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beta-adjacent · 1 year ago

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“Woof” by Chai (me!)

This is the first post of its kind on my blog— my analysis of a song written/produced by me! This initial post will just have the song lyrics, my interpretation of them, my inspirations for the piece, and some “behind the scenes” of my writing process. If I can get my shit together, I’ll hopefully reblog this with an audio file with the actual song, so you can understand the song’s tone more!

Without further ado, I present….

I. The Lyrics

The reflection of the headlights passing by on the backseat window / I am happy pretending it’s the moon (awoo) Don’t ask about the silver on my neck/ you were never meant to know/ That I domesticate myself for you I want to say I’m sorry/ Or get angry/ I can’t even muster up a smile/ I am stoic but my tail will wag all the while Because it means you see me/ Do you see it? Do you finally see me?/ And I’m sorry/yeah I’m sorry I see you clearly Mind to mouth/for mouth to mind/ For all the words / I’ll never find:/ The fool in me/ will bark again/ And pray you’ll hear a labyrinth Mind to mouth/for mouth to mind/ For all the words / I fail to find:/ The fool in me/ will bark again/ And pray you’ll hear/I pray, I fear The reflection of the headlights passing by on the backseat window / and I’m happy pretending it’s the moon

II. Theme(s)

The major theme I try to tackle in this song is the juggle between desiring to express your wants while struggling with internalized shame for wanting. And I found that easiest to explain with this analogy of a werewolf, with the human side trying to forcefully domesticate this inner beast inside them.

III. Line-by-Line Analysis

The reflection of the headlights passing by on the backseat window / I am happy pretending it’s the moon (awoo)

This picture above kind of illustrates the imagery I was hoping to go for with this line! It's what inspired the whole song tbh; I was literally sitting in the back of the car late one night, and I kept seeing headlights reflecting off the window. It made me think of dogs who sit in the back of cars, which made me think of a domesticated wolf seeing headlights as the moon instead of the moon itself.

I think that the theme of being trapped/trained by the human side is shown well through this imagery, because the very key to the wolf's transformation —the full moon— is synthetic.

The little "(awoo)" part is just a silly thing I did in the recording, but I thought it was funny to keep in the lyrics because. because howling at the "moon".

Don’t ask about my silver on my neck/you were never meant to know/that I domesticate myself for you

I struggled a lot intially with this lyric, with some earlier drafts using "the dogbed in my room" and "my grandma-eating teeth" (referring to the little red riding hood tale). But I settled for the silver because it reminds me of dogs that actually wear a silver chain as a collar. It also made me think of a shock collar, since silver is like, a classic werewolf repellent, and that lended itself well to the theme of "training the wolf".

For a while, the lines were "don't ask about the silver on my neck, you were never meant to know /that I am always at your beck and call", which was really just an attempt to rhyme 'neck'. But I changed it because “beck and call” implied a servitude more than a protection, which isn't really on-theme.

I want to say I’m sorry/ Or get angry/ I can’t even muster up a smile/ I am stoic but my tail will wag all the while

I am hoping that everyone who's been on Tumblr understands the trope of a dog character wagging their tail because they're happy on the inside but trying not to show it. Fun fact: I spent so long recording this part specifically because I kept saying "my tag will wail".

Because it means you see me/ Do you see it? Do you finally see me?

And here's where we learn that the very neglected, overly supervised wolf-dog-thing is actually being noticed, probably during some argument that would normally warrant the human side to be apologetic/angry/sardonic/happy/etc. The stoic-ness (meant to imply a tiredness/jadedness) from the human side now makes sense; the thing being domesticated is going against its training by being seen. The toggling between someone seeing "it" versus "me" is also pretty painful to wrestle with, because it's an acknowledgement that, despite hiding away the wolf, it's still a part of the person or even a “glitch” in which narrator is talking (though I don’t think I ever bring up that concept of multiple narrators anywhere else)

There's also a large question as to whether the repetition of asking is done out of joy, desperation, or even a disbelief (like a “really?? Uh huh, yea sure *eye roll*”).

And I’m sorry/yeah I’m sorry that I see you clearly

It's heard way more in the recording, but there's a lot of sass in the last line. There is a suggestion that human has the ability to see the vulnerabilities in others, while struggling to show that vulnerability themself. And that having that ability brings some sorrow or regret, which gets expressed through that sardonic tone.

Mind to mouth/for mouth to mind

HANDS DOWN MY FAVORITE LYRIC IN THIS SONG AND MAYBE EVER IN THE HISTORY OF MY SONG WRITING!!!

So yes, obviously, there’s the implication of a disconnect between what you want to say versus what you think/feel, “there’s a disjoint between mind and mouth”, you’ve been reading so much of this post that this is just a restatement of the theme.

So instead, look at tHE SYNTAX!!!!!! LOOK AT HOW MANY WAYS YOU CAN INTERPRET THIS SHIT!!!!!!!!!!!!!!!

“Mind (noun) to mouth (noun)” for mouth (noun/verb) to mind (verb): first describing the transcription of words as an effortless/involuntary process, that then needs constant oversight/hindsight to not fuck up

Mind (noun) to mouth (verb) “for mouth (noun) to mind (verb)”: the mind itself is hyper-aware that there needs to be constant oversight on what is being said, could even be read as dismissive of the mind like “whatevs, not my problem~”

Mind (verb) to mouth (noun) “for mouth (noun) to mind (verb)”: reminding the mouth of its purpose to be overly analytical of what’s coming out of it, like a sardonic courtesy

Now, those are just Chai’s top 3 favorite interpretations. But I think that, because it’s 4 words (2 minds, and 2 mouths) that can be interpreted in 2 ways each (verb or noun), there’s 8 possible combinations for this lyric, or maybe even 16 depending on your calculation (4 multiplying versus squaring by 2)!!!!

And granted, this is a stretch, but since it’s a sentence About misconstruing thoughts/words, any other words listeners could hear (ex: ‘mind’ becoming ‘mime’) make a Legitimate alternate interpretation. In fact, the lyric would still make sense if the listener heard absolute gibberish, because the lyric is about Speaking Absolute Fucking Gibberish And Our Brains Will Fix or Rationalize It!!!!!!!!!!!!!!!!!!

And my favorite part is that it ALL depends on the prepositions. “Mind TO mouth TO mouth TO mind” is an Entirely different meaning than “Mind TO mouth FOR mouth TO mind”!!! And hopefully misinterpretations even fuck up the prepositions like “Mind TO mouth OR mouth TO mind”, (which btw is another awesome interpretation; it questions if the mind or body is truly the one in power).

Point is that this lyric is RIPE with potential, and that potential is endless. It is so easy to fuck up this (or any) lyric by hearing/singing/reading the wrong thing, but it still can be analyzed and have a thoughtful meaning regardless. And that process is Exactly what the lyric itself is describing!!! And that daunting feeling, that your words could be taken in any possible way, is such a major loss of control and matches the theme of the rest of the song seamlessly!!!!!!!

Isn’t that just the coolest fucking thing ever????? It’s definitely not The first lyric ever to do this, but it might be My first lyric to ever do this, and it might be nonsensical but goddamn it, I’m Proud to say I can extrapolate all of that from 6 fucking words!!!

The fool in me will bark again/and pray you’ll hear a labyrinth

Second favorite lyric, and it’s much simpler to wrap your head around too methinks!! This entire bridge is mind-melting tbh and I love it

Revealing this hatred of the inner beast (by calling it a fool), and how its attempts to articulate can’t (or rather, shouldn’t) be recognized as something worth listening to, or even something human.

And do you guys ever listen to an animal speak, or even a baby cry, and you’re just…. confused? Like, “I can’t tell what it wants and am glad it’s not my responsibility to figure that out”? That’s what the “labyrinth” is supposed to mean. The speaker hopes nothing of true value is heard in the barking. Instead, they pray that a warning label is produced, a placard with the face of a minotaur and the words “string store 300 miles left!”. Through careful training, the barking should threaten people to get lost inside of something larger than life (aka the meta-analysis of speaking/behaving, as described in the “mind to mouth” segment), so that they never actually venture in. Which hopefully also makes listeners question…

"why pray for it if the speaker can control it?", to which the simple answer is "it can't because fool is inside of the speaker, not the speaker itself; it’s a separate, uncontrollable entity, like how the mind and mouth are separate” or even cooler “it can’t because the general process of ‘mind to mouth’ takes the speaker and the listener, and since the listener is out of the speaker’s control, the whole process is out of control”, or even “the fool and the man are the same entity, but have been so alienated from each other by their own actions that reconnection of the self feels impossible!!!”

Either way, it’s a hopeless lyric, a pitiful cry for help over something already expressed to be uncontrollable. It’s a short way to explain how interaction is a two-way street, and almost always leads to a conversational car crash, which is so routine now it’s become desired

And in a way, this is the wolf. This overwhelming complexity —a black hole of thought and emotion that is near-impossible to describe due to its sheer vastness, which controls every layer of thought and perception, something that can’t even truly be understood or acknowledged by others because of how you interact with it— is the wolf.

Hopefully now all of the desperate measures from before make sense. The contradicting feelings when someone glimpses into the wolf’s personage. The internal strategies to keep the wolf contained. The futile scrambling for a simple reality. If you were plagued with a wolf, and how much letting to roam free could hinder you and others, wouldn’t you want to train it too?

Mind to mouth/for mouth to mind/ For all the words / I fail to find:/ The fool in me/ will bark again/ And pray you’ll hear/I pray, I fear

Can you believe I loved my lyrics so much that I just had to repeat them? It’s a popular motif in music so I’m not bothered, and it’s important to me at least to emphasize that 1) This Is Where The Analysis “Meat” Is At and 2) You Don’t Need an Analytical Brain to Enjoy This.

Which, speaking of, is a good time to bring up rhythm!! Because I don’t remember the poetry lingo, but this is the Most on-beat part of the song and it’s very stable (which is ironic). Let me rewrite it so you can see where phonetic emphasis is intended:

Mind to mouth/for mouth to mind/ For all the words / I fail to find:/ The fool in me/ will bark again/ And pray you’ll hear/I pray, I fear

Also here people get to sit on the amount of alliterations (mind, mouth, mind/ fail, find, fool) and repetitions (mind to mouth, and the pray/hear/pray/fear), and are able to enjoy a new rhyme scheme (the again/labyrinth versus the shortened hear/fear)

Speaking of, that shortened rhyme is a lead up to the final lyric:

The reflection of the headlights passing by on the backseat window / and I’m happy pretending it’s the moon

Which I fear is a segue easier seen on paper than heard because we’re mirroring the rhythm/notes of the first line, so the jump is a bit harsh. It’s meant to read like “I fear the following: 1) the reflection of the headlights passing by on the backseat window and 2) I’m happy pretending that’s the moon”

But analytically, the last thing we’re left with is a fear of being content with all of the training and trapping of the beast. This feeling of unrest, of wanting life to be simple but refusing to commit to simplicity or complexity, makes it a constant back and forth between man and beast. Really, this is meant to be when we can step back, and let the meta-analysis of the inner battle wash over us as the final chord is played, leaving us in a similar state of being stuck in our own heads, idly watching life pass us by…..

And yea, that’s the whole song! :> Congrats for reading/scrolling this far!!!

IV. Inspiration

My music has been heavily influenced by Midwest emo bands, especially ones like The Front Bottoms and McCafferty (Mom Jean and Pet Symmetry get honorable mentions). And I emphasize The Front Bottoms and McCaffetty because of the “mind to mouth” verse. The rhythm and the lyrics of this segment sound exactly like something these bands would write!!!

If you recognize these bands, I encourage you to read this verse again (pasted below), imagining the lead singer belting it:

Mind to mouth/for mouth to mind/ For all the words / I’ll never find:/ The fool in me/ will bark again/ And pray you’ll hear a labyrinth

If I find a decent Nick Hartop AI, it’s over for y’all!!

IV. Outtakes/“the Process”

Making this post: I had the terrible, terrible idea at one point to work on this post in the presence of humans, and at one point they saw my search history. Seeing “shock collar dog”, “silver chain dog”, and “bad guys tail wag gif” all in a row made them….Really concerned for me.

I wanted to share the song itself in this but I wussed out. Mostly because I’m terrified the FBI (or worse, my friends) will stumble across that file by accident (it’s the wolf, I suppose LMAO). I did convert it into an AI cover using Sonic the Hedgehog (which gave it a lovely Blink 182 quality) and even tried out Garage Band and using the piano feature! But I’m also a lil afraid bc it is Midwest emo inspired, and I don’t know much more than power chords (ooh, “not much more than power chords” is a good lyric, no one steal that unless you show me your demo first). So the backing is…kind of missing A Lot (like a consistent beat). If people want to hear it, I’d probably drop the half-baked piano version I made, which doesn’t do the song justice but would at least help people get the music’s vibe

V. Conclusion

Hopefully, I have been able to convince you that my song, “Woof” may be simple at first glance, but a lot of thought was put into its creation!! Making songs like these is one of my all-time favorite ways to understand my perception of the world. It’s really a process I treasure.

As perhaps expected now, the Meta-analysis Wolf in my mind is worried that everything I wrote is disjointed or that it’s not telling the cohesive story I want it to. So, if you have questions about anything mentioned in this post, or wanted to share critique, feel free to do so! My only request is that you be kind; I am a nothing more (and nothing less) than a student of thinking and creating

And I feel like I need an upbeat takeaway for this post sooooooooo…….. if you find something in you, urging you to be creative, listen to yourself!! Follow that instinct to be a fellow student in thought & creation!!!!!!!!!!

#keep reading at your own risk: this shit is lengthy and a lil existential?#you at least get to see into my anxieties; that’s what you sign up for when reading an analysis of a song used usually as a coping mechanism #song analysis #chai rl #lyric analysis #original song

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base-set-remastered · 7 months ago

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Patch 1.11

First of all, thank you for all your continued support! Excuse this incidental blog post, but I want to address the state of the project at this moment. You might have noticed a lack of updates in the recent times. On one hand, I have always intended for this project to "end" at some point but, on the other, I was actually sitting on some changes I wanted to bring into the format. The reality of the situation is that, in recent months, I have switched jobs a few times, making it quite a chaotic time. It's all good now - I have found a studio making a kick-ass game that I am sure will compete with the best in the business. I am also working on my own RPG project on the side. All of this is to say, Base Set Remastered has taken a back seat during this time. That is, until now. If you've visited the Set List recently, you might have noticed that all the pictures are missing. This is because Discord has stopped allowing hosting images outside of their platform. This has forced me to re-upload all cards to a different host website and, given that it's quite a bit of work to fix the Set List, I have procrastinated of this task. This is because I also wanted to make a Patch at the same time. But enough self-deprecation - if you're reading this, I have done it, all the pictures are back on the site and these are the new patch notes.

Putting "Special" back in "Special Conditions"

One of the first changes I've implemented in this format, before the cards were even finalized, was to make a blanket rule - or more specifically, remove a rule from the original game - that all Effects on a Pokemon stay on it, even if it was retreated. That, to me, was sensible at the time - for starters, just from experience I knew that this rule was confusing to new players. If an Effect says a Pokemon cannot do something "this turn", it stands to reason this change sticks around for "this turn" and not just for as long as the Pokemon is Active. Additionally, I wanted to remove cases where double-Switching a Pokemon would just remove all effects and make it brand new. In reality, the latter case would never happen, as I made it impossible to double-Switch a Pokemon during a single turn - on purpose. As such, this rule doesn't really apply anymore. Additionally, it's somewhat inconsistent with the video games - in the games, it's the Special Conditions that stick around, while all effects, good or bad, wane from a Pokemon once it's switched. As such, the rule is changed - all Effects are cleansed from a Pokemon when it is switched UNLESS it's a Special Condition (that's not Confusion, of course).

Now that we're on the topic of Special Conditions, there are a few changes in that category as well.

Resident Sleeper

After many games of testing, I really felt like Sleep is in a weird place. In many ways it's just a "better Paralyze", that needs flips to go away. That said, it doesn't feel satisfying even for the attacking side, as Sleeping Pokemon tend to get immediately Benched until they wake up, which they usually do quite fast. Any attacks such as Nightmare have a low chance of succeeding, as nobody would stick a Sleeping Pokemon in the Active Spot. There had to be a better way. We had a few great discussions on our Discord (thank you!). Ultimately my thoughts wandered back to the video game for the inspiration. The video game sleep has one major difference from the TCG Sleep - the owner of the Sleeping Pokemon chooses an attack, then a check is performed if the attack went through. If it did - great, the attack goes through! If not, the Pokemon continues sleeping. Now, this was NOT the case in Generation 1, but since the theme of the format is to bring "modern design to the old game", that's a piece of official balancing that I'm happy to bring back. So, what's the rule exactly? Sleep is now a permanent effect - it doesn't go away on its own, and stays on the bench. The only way to get rid of it is to announce an attack (or pass the turn) when your Active Pokemon is asleep. After you do, you flip - just like you would during a Confusion. If you flip tails, the Pokemon stays asleep, and the attack does nothing. If you flip heads, the attack goes through and Sleep ends permanently. What does it mean? This Special Condition is now completely different and plays differently. For starters, it objectively has 50% chance of doing nothing. Your opponent might flip heads on the attack and render the effect useless. However, unlike in the official game, where you get that information immediately at the start of your turn, here you get it after you announce an attack. This completely flips the planning on its head - are you going to risk your attack to wake up your Pokemon, or are you going to retreat into a fresh attacker? If you do, the Sleep sticks around to annoy you another day. I believe the old Sleep and new Sleep have roughly equivalent power levels, meaning I won't change the costs of any attack that afflicts it. I am excited to see how this change will affect gameplay.

Toxic

In design you often spot mistakes that need to be fixes. Sometimes you can manage to do it on your own and, the better you are, the more likely it is you'll do so. Often, however, these mistakes will be pointed out by your coworkers. And when you work by yourself on a project, like I do here, it is very likely that some mistakes will be spotted by the players themselves. So was the case with Poison.

In my hubris I thought I came up with a cool way to manage Poison - each Poison Counter would deal 10 damage to a Pokemon. If a Pokemon would "become Poisoned", that would mean placing a Poison counter on them, if they don't have one yet. Certain cards, most notably Nidoking, expanded on that idea and allowed the player to place more Poison counters on a Pokemon. This is where trouble started brewing. Look at this Nidoking card below.

What does a "second Poison counter" mean on this card? It's easy enough to understand when that Pokemon is not Poisoned, but what if it already is Poisoned? Also, why does the last sentence specify the effect of the Poison counters? If that Pokemon had, say, four Poison counters on it, would the last sentence change how the damage behaves? It is just an extremely confusing wording for this effect. Now, take into account Ekans as well:

Ekans allows you to move a Poison counter. This is less confusing after I explained the Poison mechanic, but the point stands - such advanced effect shouldn't exist on a Basic Pokemon, allowing you to stack Poison counters for massive damage.

As such, here is the full explanation of the Poison mechanic: A Pokemon is "Poisoned" when it has at least 1 Poison Counter on itself. Each Poison Counter denotes 1 damage counter the Pokemon takes at the end of its owner's turn, if that Pokemon is in the Active Spot. When a Pokemon is "now Poisoned", a single Poison Counter is placed on it unless that Pokemon is already Poisoned, in which case nothing happens. When a Pokemon is "no longer Poisoned", all Poison Counters are removed from that Pokemon. Effects might place or move Poison Counters.

As for the changes, Nidoking receives a new wording. Ekans, on the other hand, receives a pretty standard "apply Poison" attack - I always felt like the "Jessie & James" deck was lacking a good, early-game Poison applier.

Stand Up Applause

Finally, a small change that's all about fanservice. I have learned that, apparently, many people consider Wigglytuff's "Do the Wave" attack to be iconic. I have moved this attack to Gyarados to better suit the Water type but, in all fairness, it's also true that Normal-type has access to all effects. As such, I have gave back this attack to Wigglytuff and replaced the frankly overdesigned alternative.

#custom pokemon #pokemon #pokemontcg #pokemon cards #pokemon tcg

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sortasirius · 4 years ago

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What the Fuck Happened to the SPN Finale?

Okay so here it is, my Charlie Kelly style manifesto.

Before I get into it, I recognize that I will look like this to many of you, and that’s okay, I understand:

Secondly, your personal Takes about the writers don’t interest me, I don’t need to hear them. This, as I’ll explain, is going to remain a writer positive blog, and that’s the end of it.

Third, and most importantly: some of what I’m going to talk about is fact, and some is highly educated speculation. I will notate what is speculation, just so there’s no confusion or hot takes in my inbox that I’m a conspiracy theorist or stirring shit up for no reason.

A list of what I’ll be discussing

The episode in regards to the rest of the season

The episode issues: length, editing

Scene placement and speculation of scenes cut

The scrubbing of Jack, Cas, Eileen

Network involvement and general timeline of when things were cut

Misha: theories on where he was, official company line, why we can’t expect to hear anything directly

The silence of the cast post episode (in Misha’s case, mid episode) and what this might mean

Jensen speaking with Kripke about the ending: why it doesn’t mean what you might think (also why kripke remained positive on the ending)

Walker, and why this episode had a major shift

Why the network would do this or get involved

Why the writers of the show simply aren’t the bad guys here, and what I “want” out of this post, since I know it’ll get asked

This is very long and under a cut, but I hope you’ll give it a read.

The Episode In Regards to the Rest of the Season

So, I’ve discussed this already here, but it’s the most obvious thing to me, and that’s the way this episode simply doesn’t fit with the rest of the season.

These people in this room have, truly, been nothing but consistent when it comes to their arcs, especially this season, and the marked dropoff in quality for the finale episode is just too sus to discount to me. Dabb’s whole focus has been character-based. In his seasons, we’ve moved far away from MOTW and bro-codependency, the found family taking it’s place. Does it really sit right to anyone that that was all thrown away in literally the last episode of the entire show?

This is speculation on my part, but as a writer myself, there is no way I would be happy or willing to stamp my name on something that I didn’t think would, at the very least, wrap up the season+ character arcs that I and my team had been crafting.

And before anyone comes in here saying, “well GOT did that!” Bruh. The writing was on the wall for GOT long before the final episode. You could tell that the showrunners just wanted to be done (not only from the plot, but from the fact that they lobbied for a shorter season). Miss me with that, it doesn’t apply here. Andrew has, besides Singer and J2, been with the show longer than anyone. He cares, he is meticulous and detailed, and this ending feels worse than anything Bucklemming has ever written, let alone Dabb.

Additionally, I’ve seen a lot of people say that Dabb was never behind Destiel, that it was all Bobo and Meredith and no one else. That is reductive to the point of insult of the work Dabb has done to get this greenlit. This man did not write the s13 Dean grief arc to be slandered like this. That being said, YES, Bobo and Meredith were the leads on the DeanCas arc this season, but ANDREW IS THE SHOWRUNNER, TO GET EVEN THE CONFESSION APPROVED BY THE NETWORK HE WOULD HAVE TO HAVE THEIR BACKS. AND HE DID.

Finale Issues

So, now that we’ve gotten the fact that this episode doesn’t hit on any of the major themes the show was barrelling towards all season, let’s discuss the fact that the episode is just...weird.

Not only is it shorter than any other episode (I think with the intro and the credits/crew thing at the end, it was around 38 mins), but it was also...idk, 90% filler?

One of the lovely humans in the POLOL server did the legwork here, and broke it down:

This is weird, y’all. Most series finales are LONGER than normal (Lost, SOA, Longmire are the ones I can think of off the top of my head), and for the final episode to be this? I saw more than one person point out that we only really needed 19 episodes, what was the point of 20? AND THAT’S EXACTLY IT? WHAT WAS THE POINT OF THIS FINAL EPISODE IF THIS WAS ALL WE WERE SUPPOSED TO GET?

It simply doesn’t make any sense, the first half of the episode was rushed, a final monster hunt gone wrong, but in the second half? Nothing really happened? Sam lived his entire life and Dean just drove around. It doesn’t make sense to have all the emotional arcs left unaddressed in an episode that definitely needed some kind of spark.

Here’s the speculation I have: the episode seemingly went through a lot of changes between the initial inception of the final season and when we actually got it, but I think it would have been passable (as in, we wouldn’t be sitting here asking each other why each arc feels incomplete) until the editing room got ahold of it. The only think that makes this episode make sense is network fuckery. Truly, that is the only thing. It explains the weird, cuts, the rushed pacing of the first half followed by nothing in the second half, the double montages of “Wayward Son” back to back, and Dean just...driving around for the last half of the episode.

Scene Placement and Speculation of Scenes Cut

Before I get into this section, the info of the shots in the episode I have come from a source that @occamshipper got a week or so before the finale. She’s talked about this here.

So here’s what Min was given:

1-5: 1 INT MEN OF LETTERS – DEAN’S ROOM Dean is greeted by Miracle

6-10: 6 INT MEN OF LETTERS – HALLWAY/SAM’S ROOM Sam has his routine

D1 1 11-15: 15 EXT FARM HOUSE Establishing

N1 1/8 16-20: 19 Dad’s journal, marker, drawing of masked man in journal.

21-25: 23 INT IMPALA – PMP Driver picks the music

N2 1 3/8 1,2 26-30: 28pt2 INT BARN: A face from the past

28pt3 Sam and Dean say goodbye

28pt4 Shot early for technical reasons, presumably the overhead shot

N2 31-45: 41 INT MEN OF LETTERS – SAM’S ROOM Sam’s alarm goes off D4 1/8 1 46-60: 56 INT N7glasses for Sam, laptop.

So...it all fits right? It all tracks with the actual episode, where it lands, etc. The issue is between shots 29-40 which were apparently “too big to spoil.” Uh. Where are they? And where’s 28 pt4?

After Dean dies, the next scene is Sam burning him, then shot 31, the shot of his alarm going off.

So. Where are those 11ish shots?

PLUS we have the boards, which are scenes we KNOW were actually shot:

As well as scenes for 20 that were shot in 19.

It’s just...weird, it’s weird and again hits on the fact that the episode is so short and like 80% montage.

The Scrubbing of Jack, Cas, and Eileen

So now we have to reckon with the fact that Eileen was last mentioned by Sam after she got snapped by Chuck, Jack’s last mention is that he’s off being God somewhere, and Cas’ last mention is a ~knowing look~ between Dean and Bobby.

I’m sorry, make it make sense:

???????? That’s the end if it? They don’t need to be discussed after this??? It’s just simply not something a writer would do, they would not introduce these characters, these arcs, without thinking there’s going to be some kind of follow through here.

So not only were three major characters (including two leads and both of the original characters’ love interests) completely wiped from the finale episode, it was as though Sam and Dean never even needed them, which just...ain’t it.

So why Eileen and Jack too? Why not just take Cas out of it if they were afraid of the gay? Because, ultimately, the episode went back to Kripke’s original story: just the bros, they only need each other and no one else. They don’t want anyone else, they don’t need anyone else. Easier to go back to something they knew was successful than trust the writers and their audience and take a big leap.

Alex even said he shot for 20 with “some of the guys” here. What happened to that footage?

The complete 180 of it all still shocks me, I still cannot believe that we were essentially at the finish line, and the network just stopped short, and decided to go run another race, at the expense of the arc of this fifteen year legacy show.

Network Involvement and When Things Were Cut

Okay, now into the juicy stuff.

So I’ve pretty well established that network fuckery is clear, but how much did they get involved, what was the original intent?

Well again, we may never actually know what Andrew’s original script was, but I think, at the least, it would involve Dean speaking his truth to Cas and Sam living a life with Eileen.

Now, it seems today, that Misha said that Jimmy Novak was supposed to be in the finale in one iteration of the script, and while initially my brain was like “that truly makes no sense and he’s either straight up lying or telling a half truth,” I think what may be happening is Misha talking about as much as he can right now.

So Jimmy right. Weird as fuck. Why would he been in the Roadhouse and not Cas? My current thought (this is about as reachy as I’ll get) is that Jimmy had no lines, could he have been in the Roadhouse as a red herring, like it said “Jimmy” in the script but it was just Cas in human clothes, a way to get around the network saying Cas couldn’t be in the final scene. Also, you’ll notice that Misha didn’t say that Cas wasn’t supposed to be in the ep at all, just Jimmy in the last scene.

All this to say, there have clearly been multiple versions of the script, getting lighter and lighter with Cas and Eileen as the network pulled further and further back. Remember, Dabb has to get things approved before they get shot, and if the network kept asking and asking and asking to cut Cas and Eileen, he had to find a way to work around it. Granted, I still think that if we had been able to get a Dabb script that wasn’t torn to shreds in editing, it wouldn’t be so bad. It may not be what a lot of us wanted (Dean speaking his truth to Cas and a reciprocation), but doing everything he could to give it to us in subtext or visual clues.

Plus, in all honesty, my man can’t keep his story straight anyway. He said twice in his panel that the Empty and offscreen Heaven ending weren’t his original ending either.

In addition, remember that Jensen did ADR post episode 18, AND said in a meet and greet last weekend that Dean’s reaction to Cas’ confession was “cut down.” (Source here). Many of us clowns got excited when we first heard about ADR, because we thought it would be upping the ante on Dean’s reaction, but I remember being a little sus when it was just crying. My speculation on that is that they cut out Dean actually SAYING something, @winchestersingerautorepair spoke about that here.

The biggest sins were, in my opinion, committed during editing, where the network got too gun shy and sliced the episode until it was nothing but a heartless bro-fest of a finale, not mentioning anything about the other major characters that we all love, and letting the boys just suffer in separation until Sam died and finally joined Dean in Heaven. The editing came by cutting all the major emotional beats between anyone other than Dean and Sam, leaving the skeleton of the story intact, just shorter and less...poignant than it was ever supposed to be.

Misha

We know Misha was in Vancouver, we know he quarantined, but we also know he wasn’t in the final scene, when he spoke about being in the last moment of the show months ago. We were not crazy, he was there, he quarantined, and, in all likelihood (speculation but fitting with the timeline), he actually may have shot something (not much, but something).

I have sources here, here, here, and here showing where Misha was at that time.

Remember, the man was completely open about coming back until they finished shooting (look at this thread). The switch happened, just like everything else, halfway through them shooting.

Please also remember Jake Abel posting his “Where’s Misha” video here. Jake isn’t malicious, he isn’t being nasty here. Misha was there, and everyone that’s trying to convince people he’s wasn’t just...isn’t telling the truth about it.

This is one of the things that makes me really mad, because they’re literally attempting to gaslight people into thinking, “oh we were totally wrong he was never supposed to be there” WHEN HE WAS THERE, WE KNOW HE WAS THERE.

So we’ve already heard from several people (Meghan Fitzmartin, Jay, a PA on the set of 19 (WHO WAS NOT WORKING FOR 20), Misha himself) that this was all down to Covid restrictions. Ultimately, as this post says, we’ve heard FIVE versions of where Misha was. None of it makes sense, but the Covid protocol seems to be the company line that others are repeating.

You may ask: why? Why lie to all of us when we have questions? Why, in Jay’s case, say that we’re all spreading false lies to stir up trouble, when we just have questions and things that do not make sense. Simply? Warner Brothers is absolutely massive. These people have their careers to protect and are likely all under NDAs. They want to work for WB again and don’t want to burn bridges, including Misha. It sucks, but that’s why it’s unlikely that we’ll hear someone come out and say, “yeah we’re lying to you.”

Silence of the Cast Post Episode

So this is...probably the worst part of all this, at least in my opinion.

The guys had all been pretty excited about the end of the show (especially Jared, but Jensen’s panel last week was Jensen as happy and jokey and positive as I’ve ever seen him. He was so excited about episode 18, about what it meant for Dean and for Cas, and I just cannot buy that he would have been that excited unless he thought there was something more in the episode.

Misha live-tweeted the episode, and was watching it with his kids. It’s well known that Misha and the kids don’t watch the show because it’s too scary, and let’s ask ourselves, why would he have them watch an episode that he’s barely even mentioned in?

He also stopped live-tweeting at a very specific point in the episode (Dean’s death) and has not mentioned Supernatural since then.

None of them, not Jared, Jensen, Misha, or even Alex, said anything about the episode for nearly 36 hours, when Jensen posted a salty photo on instagram. It’s just...not what you’d expect for the end of a 15 year show, when the cast and crew are so close to the fans, so close to each other.

My theory? They didn’t know. They thought Misha was, at least, going to be in the episode in some way, and when he wasn’t, they decided not to say anything.

You really think that Jensen “Heller” Ackles would have been so excited about the end of the show last week if he thought Cas wasn’t going to be in it at all? Nah son, doesn’t make any sense.

Even today, in Jared and Misha’s panels, they seemed sad and...more than a little careful, both saying that there were things they couldn’t say, both talking around things that we all have questions on.

Jensen Speaking with Kripke

So this is where a lot of people are getting fodder to take shots at the writers, saying that Jensen hated it from the beginning, but I don’t think so. I actually think I know what Jensen went to him about, and it wasn’t the lack of Cas or the weird pacing or the montages (which I don’t think were there when Jensen got the script); I think it was the manner of Dean’s death.

I know a lot of people were upset about that, upset with how...normal it was, coming off an episode where they literally beat God. I actually didn’t mind it, I thought it was an interesting thematic take to be like: you can be a hero all your life, but sometimes shit happens, and you just die.

But imagine how hard that was for Jensen to read. He would run to Kripke for that, because for him, Dean dying by being impaled by a piece of rebar had to be tough to swallow.

So, why didn’t Kripke say that? Why didn’t he say, “oh well he had a problem with Dean’s death, none of that other stuff was in the script.”

Guys. Why would he get involved? He’s not going to burn bridges any more than anyone else is. He said the ending was good because it’s the easy thing to do, it’s simple, will cause him no problems in his career, and he can just ignore the people trying to engage with him on it.

Walker

Something else to talk about is the major shift this episode had from the rest of the season: the shift from Dean to Sam. I am NOT saying that Sam isn’t important, he definitely, absolutely is, but it was DEAN who really needed to wrap up his arc, Sam just needed to move on, get married to Eileen, become the leader he was always meant to. So what changed? What was with the shirtless scene, the Austin number and random case there, most of the episode being heavily Sam focused, going through his entire life in a montage?

Anyone else notice the 375 Walker promos, or Jared’s little spiel about Walker and how he hoped SPN fans would “come along for the ride.”

It’s...kinda obvious? CW wanted to appeal to who they think the key demographic of SPN and Walker is: rural areas in the South. It would explain a lot, why so much editing, why so Sam focused, the Austin number, the number of Walker promos, all of it.

I’m not saying this is fact, I don’t know that it is, but it is a little suspicious that even in Jared’s panel today, he talked A LOT about Walker and how he hopes SPN fans will watch it.

Why Would the Network Get Involved?

Simply put: $$$

If they think Walker can be the new SPN, and that those crazy SPN fans liked it originally, it’s a lot safer to go with the “original intent” of the show than do something risky (like making one of your two original leads queer).

And? They don’t care. They don’t care that the episode didn’t make sense, they don’t care that all the emotional arcs were left hanging, they don’t care by (potentially) smashing together two of Dean’s monologues (one to Sam, one to Cas) that it came of as...gross. ( @curioussubjects wrote a beautiful post showing how part of that death speech was likely meant for Dean here). They don’t care, they never have, they just want to make their money and move on from the too-loud fandom that fought for representation too hard for too long.

It can’t help but feel insidious, which, honestly, it might be, but it really all comes down to the next cash cow, which, they think, is Walker, even at the cost of the fifteen year legacy show.

The Writers and What I Want

So here it is, all this weird, sus shit laid out on the line. And you know what? To me, there is no way to blame the writers, because they didn’t want this.

I don’t think Dabb and Bobo would have gone ahead with the confession in 18 without thinking that there would be some closure to that arc, they wouldn’t have done that not only to the fans, but for the sake of their own story as well: no writer wants to start something that they can’t finish. (And this applies to both Cas and Eileen).

Here’s a basic rundown of what I think happened: they had a clear arc from 18-20, ending in reciprocation at some level from Dean, Sam marrying Eileen, Hunter Sam as the new Bobby, Dean in heaven with Cas and big roadhouse reunion at the end. Covid prevented a good amount of that. Network had to stare at big gay 18 for six months, got cold feet. Thought about Walker, target audience and alienation of the rural areas if it went full gay. Misha quarantined and likely shot something (not much), he was then cut by execs and went home. They likely added in lines referencing Eileen and Cas to make it clear but more subtextual. They wrap, editing gets it and hacks it to pieces, so we get a shorter episode that’s mostly montages and jarringly bro-centric with nothing else. Arcs are left hanging. Dabb gets episode but it’s too late, there’s nothing he can do. Actors aren’t told so they can continue to do positive PR for the ending, they all found out at the same time we did: hence almost complete silence about the finale.

And you know what? They warned us. I talked about it here, but they’ve been telling us all season that Chuck wasn’t the writer, he’s the network. I don’t think, still, that they thought it would be cut up like this, into something so unsalvageable that it’s been panned by almost everyone, even people who didn’t care much about Dean and Cas.

Finally, a masterpiece can be ruined by editing, and while I’m not sure even the script they ended up shooting on was a masterpiece (due to the network meddling already), but to me it’s blatantly obvious that it’s no one but the network that caused this, that took away closure for Dean, Cas, and even Sam.

So what do I want? Nothing really, there’s nothing we can do, but I wrote this mostly to show people that the writers are not your enemy. In fact, to the people trashing them? You’re doing exactly what the CW wants you to: blame the obvious targets, blame Misha, blame Jensen and Jared, blame Dabb. Scream and yell at them on Twitter and about how the show is ruined because of them. The network keeps their engagement levels high, they don’t get as targeted for their behavior, and just keep moving along.

Just, please, think about who did this, Mourn the show, be angry, but not at the people who fought tooth and nail for this for literal years, not the people who wanted it more than we did, not the people who cannot say anything because of their careers and the NDAs they’re bound by.

Someone is going to spill eventually, but until then, we just have to wait, and continue to be loud.

#my writing #my meta #supernatural #spn #spn finale trash fire #MY MANIFESTO IS DONE

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shihalyfie · 3 years ago

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@sage-striaton replied to your post:

Idk how people can say Frontier has characters that lack depth. Imo it’s a very psychological season. The whole adventure thing is aimed to making them grown in their behaviours and feelings, it’s a big metaphor of their development

I’m sorry for hijacking your response to my post to segue this into another rant of mine, but I want to emphasize that one of my goals with this blog (if I can be said to have any) is that I really, really, really want people to re-examine whether they actually believe in the rhetoric that’s been dominating this fanbase for two decades, or whether there’s more to it. This is especially in regards to the fact that we’re talking a series deliberately written in such a way that it’ll change meaning and nuance as you get older, so it can “grow up” with you in a sense, and yet it seems like -- especially in regards to Adventure through Frontier, due to their position as the oldest series that the majority of the fanbase was elementary or preteen age during -- people are still regurgitating the same rehashed twenty-year-old ideas like they’re undeniable law. It’s one thing if they’re saying it because the series didn’t sit well with them the first time and they don’t want to watch it again, but we’re reaching a recurring problem where it’s sort of “brainwashing” even people who don’t actually believe it but feel compelled to go along with it, or wouldn’t feel that way if it weren’t for peer pressure. Obviously, there are dissenting opinions, and ones that are even very loud about that, but that pressure remains.

The mainstream opinion in the fanbase is that Adventure is untouchable and impervious to any criticism, 02 is its inferior sequel with half-baked characters, Tamers is an auteur work that’s the “deepest” of the original tetralogy due to being dark, and Frontier is devoid of much substance at all. Even those who don’t really believe in this will still be pressured to go alongside it, those who like 02 or Frontier will be pressured to consider it a “guilty pleasure”, and it’s only very recently when certain events revealed that the idea of 02 actually having quite its own fervent and passionate fanbase that likes it on its own merits became properly recognized. (I have actually noticed a huge uptick in 02 fans, especially casual ones, being more shameless in talking about liking it in the last two years; you’re still going to get the obnoxious person “reminding” you how bad it apparently is if you bring it up, but it’s not nearly as prevalent as it used to be.) I’m not talking about whether something is a “good” or “bad” series -- that concept doesn’t really exist to me as much as whether it’s “to one’s tastes” or not, and I think one of the joys of this franchise is that it has things that cater to people with vastly different preferences -- as much as a lot of potential for analysis and intimate thought about these very fascinating series. Even if 02 and Frontier were as shallow or half-baked as they were accused of, I wouldn’t think it’d be shameful to like them for one’s own reasons anyway, but what frustrates me is that I just don’t think that’s true in the first place!!

Not helping is that there’s still a refusal among the fanbase to admit that there were substantial differences in American English dubbing (especially in regards to Adventure and 02), which I don’t mean as a bad thing in the sense that some people prefer to stick only with that dub and consider that version what they want to work with, but in the sense that the treatment of them as “the same thing” has been horribly detrimental when two people, one coming from that dub and one coming from the Japanese version (or a dub more closely based on it), will end up often having an argument doomed to go nowhere because they were never talking about the same thing to begin with. Recently, a friend admitted to me that although they’d switched to the Japanese version a long time ago, they still couldn’t get the image of Daisuke and Takeru having an inherently hostile relationship (they don’t) out of their head due to the influence of that dub, and although they consciously knew better -- at least enough to admit this to me -- it wasn’t helped by the fact that the fanbase itself continues to reinforce this image because of how normalized it is to treat the dub version and the Japanese version as “virtually the same” and for Western fanbase discourse to assume you should be projecting those takes into the Japanese version. If you’re hanging out in English-speaking circles but are working from the Japanese version or a dub directly based off of it, you do actually have to filter out a lot of takes you’re hearing because they won’t actually apply to the version you’re watching, but not a lot of people realize this.

All four of Adventure through Frontier share tons of key staff, especially Seki, known for her focus on wanting the kids in the audience to be able to empathize with and relate to the characters on screen. All four share some of the best character work I’ve seen not only in this franchise, but also in kids’ media in general, and I also stress that a lot of this has a ton of nuance that isn’t always apparent unless you read between the lines. I do understand that a lot of this probably went over our heads as kids, and I won’t say that the choice to execute it this way should be impervious to criticism, but nevertheless, I think it’s important to call attention to the fact it is there, and much of it becomes recognizable once you see it that way; for instance, so much of "it's contradictory character writing!" comes from the fact that the series tries to represent humans in their inconsistent, messy ways, and while it'll feel "messy" from a writing trope perspective, when you think about it as "since this person has this mentality, does it make sense to approach this with this mindset?", suddenly it becomes very consistent. The supposedly “shallow” 02 and Frontier characters will act in ways that match existing psychological profiles meant for actual humans to terrifying degrees, in ways that you might actually recognize even better once you’ve hit adulthood and start intimately understanding things like depression or anxiety in ways you might not have before. Shockingly, “having heart, important themes, and kindness towards the human condition” are completely valid reasons to uplift a creative work in ways distinct from technical writing or cerebrality or how many tropes they subvert or whatever.

On the flip side, people praise Adventure and Tamers for being the naturally “superior” works with better writing, but when it comes to talking about why the writing is supposedly better, a good chunk of the reasons stated don’t actually explain anything substantial, or go back to actually being passive-aggressive dunks on the other series in some form -- it’s because 02 and Frontier’s character writing sucks that badly, or because Adventure had the “best plot” (which may be true if by “best” you mean “easiest to understand”, but that doesn’t mean much to someone who might not be very happy about how its story progression is just a boss rush), or because Tamers is the “deepest” when by “deep” they actually mean “cerebral, dark, and unsubtle about it” without any further meaning (as if Adventure and 02 were idealistic series that never went into anything nuanced and not, say, the fact they went very viciously deep into societal issues between parents and children, psychological horror, and intimate takes on the human condition). I’m personally saying this as someone who does think Adventure and Tamers have a lot to praise in terms of their approaches to realism and the unique aspects each bring to the table, and I feel that people like this are doing them more of a disservice by not bothering to uplift them for any reason that isn’t actually just inherently condescending. I mean, even taking this outside of the original tetralogy for a bit, when I was plugging Appmon earlier, there’s a reason I focused more on its theme and character writing and the use of “dark” writing to convey its sheer range, rather than trying to boil it down to a shallow “it looks cheery but gets really messed up later!”, which is unfortunately an argument I’ve been seeing about it lately.

In the end, when I write my meta, I write it "making a case" for my point of view, and I welcome others to disagree, but if you disagree, I really hope it'll be because you personally disagree, and not because the entire fanbase has been saying otherwise for twenty years and I sound like a radical. I’m not saying that everyone’s consensus takes are completely unfounded, but frankly speaking, this fanbase has some really bad takes, and in the past few years I’ve found it freeing to not only “say what you feel without worrying what others think”, but actually go out of my way to outright try and purge all the preconceived notions and pick only the ones I agree with because I actually agree with them. I encourage you to do it too! And if you do, you might find things about something you like that you didn’t realize before.

#digimon #shiha's ask box #sage-striaton #digimon adventure #digimon adventure 02 #digimon tamers #digimon frontier #shihameta

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zelkams-art · 4 years ago

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#ShowYourProcess

From planning to posting, share your process for making creative content!

To continue supporting content makers, this tag game is meant to show the entire process of making creative content: this can be for any creation.

RULES — When your work is tagged, show the process of its creation from planning to posting, then tag 5 people with a specific link to one of their creative works you’d like to see the process of. Use the tag #showyourprocess so we can find yours!

I was tagged by @milkcrates, who showed her process of making this gorgeous piece with Wei Wuxian and little A-Yuan!! It was awesome to see how it came to life - and thank you for tagging me! ✨

So I got tagged to show how this Yunmeng brothers + golden core art happened! I already included the digital sketch for it in my sketch vs final compilation, but I guess I can show some more!

This is gonna be long because I like talking a lot, so putting the rest under a cut!

1. Planning

SO. A golden core pic was on my to-draw list as soon as I finished watching the show. I had a WIP of a different pic for that waiting, but actually I noticed that a very similar thing has already been drawn, so that was kinda dropped. But I’m glad I waited until the idea for this one slapped me! It was pretty much a moment of “w a i t a second” and I had to grab a random piece of paper to sketch it while I still had it in my head.

This is the sketch - as you can see from the coffee stains, it has been through some stuff. On the left I actually tried out some different ideas for the golden core - the 1st one was the winner and led to the whole leaking/water/rain theme. I ended up mirroring the whole sketch because I didn’t want Wei Wuxian’s hand to cover Jiang Cheng’s front hair wisp, as that would make that area too crowded.

Meta-wise: I wanted to show that the whole thing was kept as a secret from Jiang Cheng. But we also knew about it - so Wei Wuxian is breaking the 4th wall and looking at us [the audience] directly, shushing to keep it a secret as well. Then there’s his hand hovering over the blindfold - it was included in the show, but also sprinkles in that extra symbolism. Then there’s the rain - the sky crying for the two brothers, so you’re not sure if those are raindrops or tears on their faces + lotus pond for the Yunmeng vibes. As for the golden core, I wanted to make it kinda messy and leaking like blood + shining and make it the main light source of the piece. Also kinda like a glow stick liquid.

I also like finding fitting music to go with my art and this one was actually supposed to go with Avicii’s Hey Brother, but when I was looking it up on Spotify I saw Kodaline’s Brother right above, gave it a listen and then the lyrics hit me. So I already knew that they’re gonna go in the caption. Also apparently it’s like The Song for them and yeah, makes sense.

2. Creating

2.1 Set up and tools

I use Paint Tool SAI + Wacom Intuos S to do all my art! The entire pic was made on a 2000 x 3000 px canvas, since I don’t like to work too big because of limited brush sizes in SAI + I don’t want to torture my laptop, as my art takes up quite a lot of processing power with a lot of layers and modes and sometimes things like to crash at the final steps 😬.

2.2 Planning and composition

So I started off by doing a digital sketch and focusing on the composition a bit more - I wanted something geometrical, so I went for the diamond shape with Wei Wuxian’s silhouette and the placement of the lotuses. Also the composition is vertical, all the important info is in the middle column - you could cut off 2/3 of the picture and it would still tell the story.

2.3 Lineart

Then I did the lineart over the sketch layer (there was a more detailed one than the “planning” sketch, but it looks like I deleted it once I finished). I usually draw more than I have to and on separate layers, so that I can move/modify things easily later - for example JC’s headpiece here didn’t really make it that much into the final piece but It Was There. Once I was satisfied with the lineart, I cleaned it by erasing overlapping things, like Wei Wuxian’s clothes behind Jiang Cheng’s head.

2.4 Planning the lighting

After doing the lineart I blocked the characters with a single color and planned the lighting. The golden core is the main light source here, so it dictates which parts are gonna be lighter and which darker (although there is gonna some ambient occlusion from the background + reflected light from the water). I also added water and lotuses in the foreground + painted the background.

2.5 Shading the characters

After that, I started shading the pic. I usually do two steps here - one with “base” shading - focusing on the details and values based on the light source, then the mood shading with more coloring - based on the setting the characters are in. The first one is mostly done with the Multiply tool and base layer blending/painting, the second mostly with layer modes like Overlay and Luminosity. I also colored some parts of the lineart to make the shapes stand out (see: wwx’s front hairs)

2.6 Environment and touch-up details

Then it was time for the water and lotuses + the “special effects” for the rain and all the stuff associated with it - water splashes, mist, sparkling drops! Also some more mood lighting. Lots of new layers to keep everything organized and separated.

2.7 Finished pic

And done! After finishing I usually adjust the contrast/gamma/saturation of my art (or just edit it all in curves) + sometimes sharpen it to bring out details → I make a few different versions and pick the one that works the best. Although with this pic I was satisfied with the raw result so no major changes happened.

3. Posting

For posting I always scale down the pictures and upload them as a draft on this art blog. Then I check if things look okay on mobile as well - from what I’ve noticed my phone makes everything more warm-toned. Depending on the time I finish drawing, I either post it right away or wait until the next day, when there is more traffic on tumblr. I finished this one around 8PM of my local time, which is fine - so I posted it right away (also I was just excited, couldn’t wait 😅)!

As caption I used the lyrics from Brother by Kodaline, as mentioned before!

So yeah, that would be it!

If you made it till this part - thank you and I hope you have an awesome day! ✨

Let’s keep the artist vibes here - I’m gonna tag (not 5 ppl but shh) @still-snowing and this piece that still breaks my heart @driszol and this Song Jiyang pic that lives in my head to this day @kushexi and this pic with fox Wei Wuxian and A-Yuan bc it still makes me melt → no pressure of course! or if you want to do some other piece that’s awesome as well!

#showyourprocess #[and now tags for my own blog →]#not art #art process #oh this was fun - thank you for tagging me!!#always crying abt those self-sacrificial siblings :'')

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atalana · 3 years ago

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[copied over from my cr blog, also this is gonna get long, i’d apologise but im not sorry]

okay, so

this is a rant probably about 7 years in the making, bc when i first watched lok i had not done any music study, i had not done any composing of my own, my knowledge of music theory was at a primary school level and i still thought tv soundtracks were just made by one person composing a whole cache of music and then the audio editors pick and choose what track to place where

(spoiler alert that’s not how film and tv scoring works, i have now done a music composition course where we had to score a short film, among other things, and i have so much more respect for tv composers jesus christ)

but this one stuck out to me even way back then, bc me barely knowing what a leitmotif was was like “hey this one little refrain keeps popping up whenever bolin does lavabending, and i like it, i’m gonna see if it’s on the soundtrack”

it was not, and that’s sort of where i left it back in 2014, but i actually did a rewatch of lok pretty recently out of nostalgia, and then noticed it even more

and to explain why (and this is also a little bit why five’s stuck out to me in tua, i’ll get to that in another ask), let’s cover, leitmotifs, and tv scoring in general

so a leitmotif is basically just a short musical idea that represents something in a piece of music. when i studied motivic development we were encouraged to make that motif four notes or less, and then develop it into something longer (aka a theme), because if you can constantly come back to a really short idea while keeping the piece moving, that’s what makes a piece of music memorable

(you can ignore those rules on purpose but that’s a different essay)

so the most common way that a leitmotif shows up in soundtracks is to represent a character or a location - you play the motif when that character shows up or when you’re in that location and boom, the audience associates that motif with that person place or thing, and you can then use this to tell the audience things without actually telling them. for example, star wars playing the imperial march whenever someone does something darth vader related - darth vader isn’t on screen, but you can feel his presence, because his music is playing

and if we were a film score, where we have two hours to show one particular character’s development, great! we give them a simple motif, and then as they grow as a person we change their motif to reflect what is happening to them, until we end up with something that communicates on a subconscious level how much they’ve grown. we toss in as much symbolism as we can, and we have a really great soundtrack that’s instantly memorable

tv scoring, is harder. partially because of time constraints (have you ever composed half an hour of original music a week, and had to make sure it fits perfectly with every beat of what’s happening on screen? these guys have), partially because there’s a much larger focus on ensemble casts

so what atla and lok do, for the most part, is not score individual character motifs for everyone. this is fairly common in tv soundtracks, instead we score ideas, concepts, and feelings - these’ll come up a lot more and give you more information than just “oh hey this character’s on screen”

the avatar state, for example, has the strongest and most recognisable theme across both shows. i’m linking an atla track in here because it has the best example but you’ll know this shows up with korra too - and with particularly important moments for wan, for kyoshi, etc. they also appear in the opening of both shows, four strong notes that start and end on the same note (in the case of what i’m linking, it’s an F#)

youtube

the first part of this track is the more uncertain, pensive theme that comes up when both avatars are feeling doubt/worry/sadness, but then it transitions into the more recognisable four. worth noting though, those are both basically the same motif. if i write them out back to back, you’ll notice they both have four notes and start and end on F#. if i had to guess, four notes four elements, and it comes back to the start because the avatar is a cycle.

korra has a theme for when she’s fighting, but not an individual character theme. the airbenders as a concept have a theme, republic city has thematic instruments, as do some big name characters, like iroh and his tsungi horn (this is also a cross-series thing, he’s always playing it in atla, it shows up when zuko has to make big moral decisions, and when we first meet iroh in the spirit world in lok, it shows up there too, to let the audience know who this is before we properly see him)

so, if korra doesn’t get a single theme and instead has several for different aspects of her life, and mako and asami follow along with the mood of the story like all the other characters, the fact that bolin has a personal leitmotif at all, let alone a solid, developing one, is pretty remarkable!

now, granted, it mostly starts with book 3, before then he was like every other character, but it has clear symbolism through those last two books! and, initially i thought it was related only to his lavabending, since that’s most of when it shows up, but since my rewatch, i’ve started calling it his hero theme

see, when people wanna criticise mako and bolin, usually the comments they get are that bolin’s too immature and mako’s too serious/uptight. but like, that’s how they work, you can’t analyse either of them without the context of the other. since they were little kids on the streets, bolin chases his heart and mako makes sure they don’t die from it, that is their entire childhood. and neither would have got here on their own because mako wouldn’t take the necessary risks and bolin wouldn’t take the necessary precautions. (like. remove either one from the equation and they’d still be working for the triple threats bc s1 and their flashback miniseries make pretty clear that bolin got them out and mako kept them out)

and then book 2 proves it! because it splits team avatar up, and what happens? bolin is totally taken advantage of by varrick and used as a pawn in his evil plan and mako ends up in jail

so what’s book 3, to them? it’s, being able to find themselves without having that codependency. mako no longer has someone to protect, which is what he’s based his whole life around so far - bolin’s doing fine and he’s no longer dating either korra or asami. and bolin’s trying his hand at some of that responsibility (look at how he immediately adopts kai who is explicitly them but younger because he wants to be the older brother for once). most importantly, they find the rest of their family, and stop being defined by being orphans. they don’t have to be that singular piece of a puzzle, they can just be themselves. and that’s where bolin’s character really starts to shine, because that’s when they bring in the bending plot, and bending, perhaps more than any other character, really gets to the heart of who bolin is

if you want more of my thoughts on that i have an essay here, but tl;dr: bolin’s an extremely powerful earthbender, but he’s not a metalbender because metalbending requires you to double down on the earth characteristics and think like an earthbender, and bolin doesn’t, he’s too fluid for that, which is one of his major strengths, so of course he can lavabend

and finally - to his motif itself! (as a note, i’ve put all of these in the same key to show where it repeats, but there’s a variety of keys used in the show)

as far as i can find, it first shows up in s3e8, when bolin stuns p’li with this well placed shot

[Edit: it first showed up in the s2 finale, but again in a simplified version and again with him doing something heroic with earthbending, so we can still start the analysis here]

mako volunteers bolin for that job, because he knew bolin was capable of it. why? because bolin landed an identical shot earlier in the episode, after trying to metalbend, getting frustrated he can’t, and cheating with some extremely well aimed earthbending. it’s just a short refrain and you barely notice it, but it’s the first connection of this motif with the theme of bolin’s bending

it looks like this, and it’s always played on a trumpet, which is part of why i call it the hero theme, because, if you’re looking at music from a western perspective, trumpets were used to herald kings, and then used to represent military glory, and then when superhero themes started happening, they used trumpets too - it’s basically western music shorthand for hero these days

(it’s also symmetrical so that helps with the good vibes)

and he’s saving everyone here, so it’s linked to his bending, but it’s also linked to his heroism

it ties the two together, and they are tied together.

when’s the next time it shows up? episode 10, when the brothers are in prison in ba sing se, and bolin tries to metalbend them out. again, he’s doing this to save people, and this motif gets a few notes added on to the end in a raising pattern - they’re inspiring, but they don’t go anywhere. which is exactly what happens in the scene, because he’s trying to go about this in the wrong way. mako believes in him, but it won’t (and doesn’t) work

it appears in episode 12 when bolin saves everyone from ghazan destroying the temple, in a more fancy orchestral remake of the first version - it’s impressive, but it hasn’t actually developed yet, it’s just his discovery of it

the book 3 finale already has its own fucking amazing soundtrack, i love that entire episode’s score, but it gets its own moment there too, and the first real development!

because what we hear is not what we’ve heard before. we know it’s the same theme, because it’s using those signature trumpets, but it’s the second part of this phrase, the answer to the question supplied by the first one. why? because bolin’s figured out who he is and he’s starting to use it. it still hasn’t settled yet though, it’s early days and he’s still just turning ghazan’s lava back on him, so again, it raises, leaving it on a question mark

it doesn’t appear in s4e7 when he lavabends as a warning against the escaped prisoners, because he’s using it as a threat, not to help people. but it does later in the episode when he uses lavabending to save them from kuvira. and that’s when we get the first full phrase, question and answer

it keeps the first motif identical, takes out the first note of the second, and ties them together - except now it’s not open ended, now it knows where it’s going - it’s been three years, at this point bolin is confident in both himself and his bending

and then that phrase appears all over the place in the finale, because all bolin does is save people - everyone from the exploding building, he slows the giant mecha with lavabending, he saves opal, he slows the giant mecha again by collapsing a building on it, and most importantly, he’s the one rescuing his brother this time, instead of the other way around (though that one doesn’t get a motif appearance bc admittedly a fuck ton of other things are happening in the soundtrack at the time)

so to that question asked in book three - who is bolin when not next to someone else? well, funnily enough, we saw it in book two as well, just in a warped way, playing nuktuk. it just wasn’t truly him because it was created by varrick, and he needed to get away from varrick too. the question put forward by the narrative is who is bolin, and the answer given by the music is, he is a hero. and i don’t know why bolin is the only one to get a theme like this, but i think it may have something to do with the fact that, while everyone in team avatar has been a hero and saved people, he is the only one who has, from the start, solely been motivated by wanting to help people. he follows his heart, and his heart cares, about everyone. it’s been the driving force behind almost everything he’s ever done. and i love him so much

#so yeah those are my thoughts on bolin go forth and cry with me about five notes on a trumpet #legend of korra #lok #bolin #music

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miserablesme · 3 years ago

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The Les Miserables Changelog Part 1: Barbican Previews

Hello everyone! I'm starting out a blog which will look at my favorite musical, Les Miserables, and will discuss the various changes it has gone through over time (musically and lyrically). As it turns out, a LOT of edits have been made over the years so this will doubtless be a series with several parts.

This first part may well be the most difficult and will almost certainly be the most incomplete, as previews can be a time of extensive editing and experimentation. At least for the first few weeks or so, it's perfectly possible any one day of previews will be slightly different than any other day. However, I only have access to two audios from the Barbican Theatre previews of Les Miserables, meaning it's likely that lyrical variants exist which I have no way of hearing.

I am aware of the existence of a third audio which is fairly early in the run of previews, as the tape's master has told me that Gavroche's death scene is in its original form (I'll clarify that later). However, that tape has never been traded, and has sadly only been listened to by its master. I am also aware of a video proshot of the Barbican era that exists in the Royal Shakespeare Company library, but currently have no access to it. I plan to inquire about whether I can look at it sometime (though I'm not sure a blog like this is "official" enough to warrant it for research purposes). As such, this comparison only entails the two widely circulated audios from the Barbican run.

Now that we've gotten that cleared up, let's get started!

First, let's look at the opening "Work Song". In the earlier recording I have (let's call it R1), the beginning music (the same tune used, for instance, at the opening of "At the End of the Day" and "One Day More" and for Marius and Cosette's meeting in "The Robbery") stops. Then, a few moments later, the more familiar opening that leads directly into the prologue begins. By the time of the later recording I have (let's call it R2), the scores have been combined so that the first tune directly transitions into the second one.

Meanwhile, in R1 there is a sequence of lines that goes as follows:

I've done no wrong

Sweet Jesus, hear my prayer

Look down, look down

Sweet Jesus doesn't care

I killed a man

He tried to steal my wife

Look down, look down

She wasn't worth your life

I know she'll wait

I know that she'll be true

Look down, look down

She's long forgotten you

Most fans of the musical recognize the middle sequence of lines ("I killed a man" through "She wasn't worth your life") as no longer being lines in the show (for good reason, as we'll get into in a later edition of this blog). However, R2 keeps the lines. Instead, it deletes the third sequence ("I know she'll wait" through "She's long forgotten you"). I have no idea if this lasted only a few performances or made it all the way to the end of the Barbican run, or somewhere in between.

During "On Parole", specifically after Valjean is underpaid for his labor and sings about his frustration, R1 uses a variation of the "Work Song" theme which, to my recollection, is heard nowhere else in the musical. It can be heard here. By R2, it was switched to an in-tune version of the number with a unique opening. The musical retains that version to this day, but in case you can't recall it you can hear it here.

Minus an unintentional line flub in "At the End of the Day" in R2, the two Barbican recordings seem to use the same libretto and score from this point until "The Runaway Cart". At this point, R1 has a rather extensive scene leading up to Valjean saving Fauchelevent, which goes approximately as follows (the dialog is difficult to make out):

(VALJEAN)

Is there anyone here who will rescue the man?

Who will help me to shoulder the weight of the cart?

I will pay any man thirty louis d’or more

I will do it myself if there’s no one who will

We can’t let him die like that down in the street

Can you all watch him die and do nothing at all?

(FAUCHELEVENT)

Don’t approach me, Monsieur Mayor

The cart’s not gonna be holding

Not my poor mother would care if I should die

(TOWNSPEOPLE)

Don't go near him, Monsieur Mayor

There's nothing at all you can do

The old man's a goner for sure

Leave him alone

Most of that dialog is deleted in R2, so that it goes directly from "Who will help me to shoulder the weight of the cart" to "Don't go near him, Monsieur Mayor". I really like the idea of the original version; it seems reasonable that Valjean, having become a more trusted man, would expect the townspeople to help him. It's more meaningful that Valjean is good enough to do what's right when there's more time to establish that no one else is. Having said that, the original version did take quite a while and didn't really contain any relevant information that wasn't in the final version. I think the cut version as heard in R2 is a good compromise and retains the general mood and pacing to make Valjean's ultimate action satisfying (something that can't be said of later cuts, as will be discussed in a future edition of this blog).

Additionally, at the end of the number Javert refers to "the mark upon his skin" in R1 and "the brand upon his skin in R2 (as well as literally every subsequent performance since then to my knowledge). I have no idea if the "mark" line was a minor flub or was actually the original lyric.

"Who Am I?" is an interesting one. The musical content is identical in R1 and R2, but in R1 after his high note, Valjean shouts "You know where to find me!" with emotion so dramatic it sits right on the border between awesome and campy. By contrast, Valjean is totally silent after his high note in R2. Neither version would see its final day just yet, although the latter certainly has become more traditional over time. More on that in future editions.

From this point until "Master of the House" everything is the same between the two recordings. Roger Allam even comes in slightly late in both "Confrontation" scenes (making his line "-jean, at last...")! However, in the opening to "Master of the House" the following lines occur in R1:

(THENARDIER)

My band of soaks, my den of dissolutes

My dirty jokes, my always pissed as newts

My sons of whores

Spend their lives in my inn

Homing pigeons flying in

They fly through my doors

And their money's good as yours

(CUSTOMERS)

Ain't got a clue what he put into his stew

Must've scraped it off the street

Hell, what a wine

Châteauneuf de Turpentine

Must've pressed it with his feet

Landlord over here

Where's the bloody man

One more for the road

One more slug of gin

Just one more or my old man is gonna do me in

All of those lines would be scrapped in R2. Personally I prefer this shortened variant than the one that would occur much later. Sure, some fun moments get lost, but nothing that actually adds any substance or characterization to the musical (unlike the later cut, which I'll discuss in a later edition of this blog). Some have speculated that this is simply lost dialog due to a tape flip of degrading, given that future performances would retain those lines. However, there is firsthand confirmation that the cuts were in fact part of the performance. To quote Trevor Nunn on page 87 of 1990's The Complete Book of Les Miserables (a page which elaborates that "the cost of overtime incurred after three hours could be crippling at a time when Les Miserables was still trying to find an audience"):

"Cameron wanted major cuts, which would have reduced its length to two and a half hours. I resisted, refusing to discuss things on those terms... Some of the other proposed cuts - like the removal of the "Master of the House" scene-setting preamble - were tried out in previews and then restored as the scenes would not work without them."

From a historical perspective that quote is invaluable. As will be brought up in a later blog post (notice a pattern today?) the musical would in fact be cut much later to avoid overtime charges. When people like myself have expressed the opinion that these cuts come at the expense of artistic integrity, I've seen others defend them by claiming that the overtime costs never were relevant to Cameron and the gang until Broadway sales began to go down, and that if they were taken into account the musical may well be in its shortened form from the beginning. However, this quote proves that argument to be false. Right from day one, the crew was aware that retaining a >3 hour runtime would come with severe financial costs, but this was deemed a worthy sacrifice in order to tell the story they wanted told. Indeed, it sounds like Cameron Mackintosh was waiting quite some time to enact his infamous cuts! (Cameron Mackintosh valuing profit above art?! Crazy, right??)

But I digress. Going back to the musical, the "Waltz of Treachery" number is mostly the same. However, after Valjean's "It won't take you too long to forget" line, R1 has over a minute of wordless vamping which leads right into the rather awkwardly-placed "Stars" song. By contrast, in R2 this vamping (which is still a minute long, mind you) leads into a humming duet between Little Cosette and Valjean, similar to the duet right before the number. A nice little bookend that makes the scene feel all the more resolved. (Much later this duet reprise would ironically be scrapped again, though!) The remaining segment of R1's vamping now plays after this sequence in R2.

Minus some unintentional missed lines at the beginning of "Stars" in R1, the recordings seem to follow the same libretto right up until "One Day More". Here, R1 uses the following lines:

(EPONINE)

One more day with him not caring

(MARIUS and COSETTE)

Was there ever love so true?

(EPONINE)

What a life I might have known

(MARIUS and COSETTE)

I was born to be with you

However, by R2 this scene is in its current form:

(EPONINE)

One more day with him not caring

(MARIUS and COSETTE)

I was born to be with you

(EPONINE)

What a life I might have known

(MARIUS and COSETTE)

And I swear I will be true

And that closes act one! Going on to the second act, the opening barricade scene has a few changes. First off, following the opening notes, R1 features a rather odd tune bearing resemblance to "Do You Hear the People Sing" (which can be heard here) before transitioning to a more true-to-form instrumental reprise of "Do You Hear the People Sing?" By contrast, R2 goes straight from the opening notes to the true-to-form reprise.

Next, Enjolras proclaims "Have faith in yourself and do not be afraid" in R1, while in R2 he instead states "Every man to his duty and don't be afraid". It's unknown if this was an intentional libretto change or if it simply reflects a flub during R1. A later sequence uses the "Have faith in yourself" line, meaning he may have just sung the wrong line for that particular scene.

Finally, R1 includes the following sequence (at least I think this is how it goes, since the lyrics are a little hard to hear):

(PROUVAIRE)

And the people will fight

(GRANTAIRE)

And join with you

Who gives a speech in the square

Fortunately, R2 uses a much less clunky (though still somewhat so) sequence:

(PROUVAIRE)

And the people will fight

(GRANTAIRE)

And so they might

Some will bark, some will bite

This isn't quite its current form ("dogs" and "fleas" will soon respectively replace the two usages of "some"), but it's pretty darn close.

I've heard that the very first Barbican preview(s?) didn't have a finalized opening to "On My Own". Sadly there is no known audio record of this, so I cannot comment on what exactly it began as. As such, the next major change takes place during Gavroche's death scene. This honestly is probably the biggest of all the changes between the two recordings. R1 uses the following death scene (in the tune of "Look Down" right up until the "So never kick a dog" verse, which is in the tune of "Little People"):

How do you do, my name’s Gavroche

These are my people, here’s my patch

Not much to look at, nothing posh

Nothing that you’d call up to scratch

Some fool, I bet, whose brains are made of fat

Picks up a gun and shoots me down

Nobody told him who he’s shooting at

He doesn’t know who runs this town

Life’s like that

There’s some folk

Missed the joke

That’s three, that’s three

That one has done for me

Too fast, too fast

They’ve got Gavroche at last

So never kick a dog

Because he’s just a pup

You better run for cover when the pup grows...

By contrast, R2 uses a much shorter variant which is set entirely to the tune of "Little People":

And little people know

When little people fight

We may look easy picking but we've got some bite

So never kick a dog

Because he's just a pup

You'd better run for cover when the pup grows up

And we'll fight like twenty armies and we won't give...

This is much closer to its current form, although the last two lines are inverted (we'll get to that in a later edition).

We now fast-forward to "Dog Eats Dog", which while recognizable is very different from the number we know today. The chorus of R1 claims that "It's a dirty great sewer that's crawling with rats", which R2 changes it to "stinking great sewer" instead. I'd definitely say the revised lyric better captures Thenardier's and the sewer's grossness.

Additionally, regarding Marius' ring, Thenardier originally exclaims that he "didn't mean to waste it, that would really be a crime". By R2, the line changes to "wouldn't want to waste it", which I'd say makes a lot more sense.

"Javert's Suicide" has changed a lot. R1 features the following remarks following "Vengeance was his and he gave me back my life":

Damned if I live in this caper of grace

Damned if I live in the debt of Valjean

I'll spit his pity right back in his face

Is this the law or has sanity gone?

(I'm a little unsure as to how accurate the final line is.)

By R2, the lines have been replaced with the current ones:

Damned if I live in the debt of a thief

Damned if I yield at the end of the chase

I am the law and the law is not mocked

I'll spit his pity right back in his face

In R1, the "Where's the new world, now the fighting's done" line is absent, and there is nothing but instrumentals in the segment where it is usually sung. By contrast, it is sung as usual in R2. My guess is that an actress simply forgot her line in R1 and it was always supposed to be there, though I can't say for sure.

The final change occurs at the wedding scene. The singing which opens the number is repeated in R1. By contrast, R2 has it sung once and then done with, as it currently is (and as it should be in my opinion, since the music isn't particularly pretty and contributes nothing to the plot).

Later in the same scene, R1 includes approximately this exchange (again, it's quite hard to make out the exact lyrics):

(THENARDIER)

I was there

Never fear

Even got me this fine souvenir

He was there

Her old dad

*indecipherable* and fleecing this lad

Robbed the dead

That's his way

(MME. THENARDIER)

That's worth five hundred any old day

(MARIUS)

I know this...

By R2, everything between "He was there" and "Any old day" were removed, which makes sense given that they essentially just rehash what was already said.

Finally, there's a subtle difference in the epilogue, specifically during the "Do You Hear the People Sing?" reprise. In R1, the ensemble sings "They will live again in glory in the garden of the Lord". R2 replaces the word "glory" with "freedom", and that word remains the one used to this day. I suppose "freedom" is more appropriate for the context of peace and prosperity. To many, I'd guess that "glory" conjures imagery of knights, battles, and the like; just the kind of violence that the characters wish to move away from! I have no idea if this was why the writers changed the lyric, but it's my hypothesis.

Towards the end of the show, the chorus in R1 sings "Even the darkest moon will end and the sun will rise". By R2, this is changed to "the darkest night". Makes more sense to me, since moons aren't known for being particularly dark!

And that just about sums this part up! If I missed anything feel free to let me know, as my goal is to create a changelog as thorough and complete as possible. I plan on making more parts in the near future covering all the changes that have been made in the show up until this day (discounting concerts). Any feedback and constructive criticism is very much appreciated.

As a side note, both for this project and my own enjoyment, I want as complete a collection of Les Miserables audios as possible. I already have most of what's commonly circulated, but if you have any audios or videos you know are rare, I'd love it if you DMed me!

Until the turntable puts me at the forefront again, good-bye...

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clownmoontoon · 4 years ago

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Recently found your blog so I was wondering, thoughts on the Animaniacs reboot?

AAAA OMG WELCOME!!! HOPE UR ENJOYIN IT SO FAR \OUO/!!!

i LOVE this question and i have sO MANY THOUGHTS ABOUT THE REBOOT so ima try to break it down into my likes, dislikes, and hit or miss (things i liked some of the time but not all the time)

🌈 10 things i liked!!!!! 🌈 <-- in no particular order

1. THE THEME SONG REWRITE!!!! ITS GREAT!!! og series callbacks, DELIGHTFULLY MORE INCLUSIVE, all those unnecessary side characters cut out, no weird celebrity references JUST RLLY WELL DONE and im glad they just redid the old one instead of making a brand new one ITS A CLASSIC!! plus this way u rlly notice those differences and how great they are

2. SPEAKING OF nO BORING SIDE CHARAS... YEAH!! THAT!! perhaps an unpopular opinion but ive never been a fan of the side characters and watched the og show p much exclusively for the warners so i LOVE that its mostly about them now!! (( i do miss the mime tho but they shoulda been nicer to him u_u ))

3. also like the theme song: MUCH LESS CELEBRITY CAMEOS/REFERENCES there are still a few but i feel like they were WAY more abundant in the og series and im rlly glad they calmed down w that, its actually Not That Fun to try and spot all the celebrities

4. mORE “IRL”/TIME IN THE TOWER!!! while there are some shorts where the warners are “acting” (gold meddlers, warners unbound etc) the VAST MAJORITY(19) of the 26 warner shorts take place “irl”!! WE GET TO SEE THEM IN THE TOWER SO MUCH!! eating together, shopping together, TRICK OR TREATING TOGETHER!!! and i just LOVE this stuff its sO GOOD FOR CHARACTER BUILDING!!

5. DIVERSITY!!!! EVEN THE BG CHARACTERS!! EVEN IN BODY TYPE!!! no more fatness only as a joke and hotness as the only other option for women, PPL ARE AVERAGE AND I LOVE IT

6. OVERALL CONSISTENT QUALITY!!! THE ANIMATION IS REALLY INCREDIBLE AND BEAUTIFUL TO WATCH!!! that was one of the BIGGEST flaws of the og series, so many eps were animated poorly bc they were handed off to studios that rlly didnt know how to draw the warners so its HELLA to see them beautifully animated in EVERY ep of the reboot so far

^^ animation by @/lemurasart on twitter!!

7. nO HORNY JOKES...POSSIBLY ANOTHER UNPOPULAR OPINION?? bUT I NEVER RLLY LIKED ALL THESE HORNY JOKES GIVEN TO KIDS IN THE FIRST PLACE LKDKD its actually rlly neat to see how creative the writing gets when they cant just horny joke their way out of a situation ALSO THIS BIT WAS AMAZING

8. I RLLY LOVE THAT THE CEO DOESNT HATE THEM!!!!! it was so frustrating in the og series that the ceo wouldnt even hear them out EVEN WHEN IT WAS STUFF THAT WOULD BENEFIT HIM its nice that this lady is insane AND greedy aND YET ISNT REALLY MALICIOUS TOWARDS THE WARNERS AT ALL at least not any more than she is to anybody else ITS REFRESHING!! I LIKE NORITA

9. ANIME-NIACS!!!!! thATS ALL I GOTTA SAY ABOUT THAT LDJLKD

10. FANGIES!!!!!!!!! they always had fangy energy im so glad it finally manifested...

⭐ 4 things i didnt like ⭐ i was gonna make this a top 10 list but i couldnt think of 10 things i didnt like djkldkljd

1. THE REDESIGN.... yes i know i was just celebrating the fangs bUT other than that i rlly wasnt a fan of the redesign.. its just too ...animal?? the triangle noses and changing their white faces to beige just seemed rlly unnecessary imo..

aLSO THEY LOST THEIR CLOWNINESS!!! ;;;;; i miss that clown aesthetic... big round red noses, white faces.. also i loved it when characters would try to describe them and say things like THEY HAVE FACES LIKE A CREEPY CLOWN dLdlkjdJLK

im not sure why they couldnt at least stay w the white n black like the old cartoons theyre based on??? THERES EVEN A SONG IN THE REBOOT THAT SAYS “LIKE US, ITS BLACK AND WHITE” bUT... THEYRE NOT BLACK N WHITE ANYMORE LDKKDJ

also the redesign is a lot more angular/less round than the original and i jus prefer the sof..

i miss this ;n;

2. GROSS OUT HUMOR ..LIKE HONESTLY WTF LDLJKLJKDD theres not too much of it thankfully but the og series had like.. nONE so it was a shock when theyd suddenly zoom in on marie antoinette’s finger and it was LIKE THAT and the pigeon scene at the end of “the cutening” actually made me feel sick sdjkdjk JUST IN GENERAL IM NOT A FAN OF GROSS OUT HUMOR SO .. EUUGHGH

3. those random new shorts that are like???? whyd u get rid of the side characters if ur gonna have these guys anyway?? the gnome in ppls mouths and the alien guy?? neither were funny to me and again the gnome short was mostly gross

4. YAKKO CANT DO MATH?? YAKKO DOESNT KNOW WHAT PLEBIAN MEANS??? HELLO?? HE HAS A VERY COMPLICATED SONG WHERE HE BREAKS DOWN MULTIPLICATION AND ANOTHER WHERE HE SINGS EVERY WORD IN THE DICTIONARY!! hES SO SMART LET HIM BE SMART hES A HUGE NERD PLS...

💣 HIT OR MISS 💣

THE SONGS!!! while i love that they brought back the musical aspect of the show (its rlly not animaniacs without singing tbh) the songs were sUPER VARIED IN QUALITY IMO

the reboot song? AMAZING

the song about dot’s zit??? ... no..

🌈 OVERALL I HAVE A LOT MORE POSITIVE TO SAY ABOUT THE SHOW THAN NEGATIVE AND IF ANYBODY ASKS I ALWAYS SAY I LOVED IT!!! 🌈

IS IT PERFECT? NAH

IS IT FUNNY AND FUN AND IN GENERAL A SHOW THAT MAKES ME AS HAPPY AS THE OG SERIES DID? ABSOLUTELY 100%!!!

✨ GO WATCH IT!!! ✨

(( ironically this scene RIGHT BEFORE THE PIGEON SCENE is one of my absolute faves DLKLKJDJKD ))

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kittasune · 4 years ago

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“winter warmth”

“WINTER WARMTH”

📘┊pairing. akaashi keiji x gn!reader

🔖┊tags. post-time skip, fluff, co-worker friends to lovers, mutual pinning, holidays, seasons abloom

📚┊wc. 4.3k

📖┊note. I wrote this for akaashi’s birthday but i’ve been meaning to write this fic for a long time now. well, here’s my first fic posted on tumblr! feel free to message me your thoughts! i plan to make this an on-going series of small one-shots so… please expect more in the future.

The biting cold that accompanies the change in seasons looms over the metropolitan city of Tokyo, the city where Akaasji Keiji was born, where his career is, and most importantly; where the love of his life is – the International Library of Children’s Literature. Literature has always been one of Akaashi’s passions to pursue as it opens endless doors of opportunities that could grant him success in the future. The majority of his stress stems from his work,

“Having a job and a stable career makes you successful!”

“You should have a steady income first before you pursue your passions so you have a stable foundation to fall back on just in case things don’t work out, Akaashi-san.”

He can hear the string of back-handed compliments and empty advice he’s received from co-workers and relatives alike echo in the back of his mind, clouding his thoughts and possible future realities he wishes to envision. Literature is one of his hobbies that became his career due to his love that caused him to become attached. Manga, novels, plays, poetry, and even textbooks sometimes caught Akaashi’s attention and he couldn’t help but consume the knowledge and navigate the uncharted waters that flow through the pages in inky waves. The beautiful thought of literature that had once been untouched and pure in Akaashi’s child-like wondrous mind has now become something as lifeless as house-hold chores to check off a list.

Now, as he sits at his desk in his office cubicle eying the unsurmountable manga panels that consume more than half of his desk with their shiny patent ink and crisp lines framing the edges of each page – he can’t help but sigh.

“You know, I’ve always been told that it’s bad luck to sigh.” Akaashi perked up at the sound of ceramic hitting the surface of his white acrylic desk. He looks up to see you holding a matching mug brimming with the café nectar that he so desperately needs.

“Is that so? You sound so sure of yourself considering that your break ended 5 minutes ago.” Akaashi hid his face in his hands to mask the upturned corners of his lips pulling into a smirk.

“Thank you for the coffee, I know that I’ll need it considering that Hide x Seek’s 100th Chapter is going to be released in this edition of Shonen Jump.”

“I heard that from Udai-san, he seemed so excited that he wanted to make this chapter special by making it holiday-themed with all the holidays being piled all together at the end of the year.” You said with a look of contemplation as you sipped the burning liquid in your mug.

“Have you read Hide x Seek before?” Akaashi leans back in his office chair and sets his gaze upon you while placing the cup next to his lips, the creaky sound apparent from the quality of wornness and evidence of sleepless nights he’s spent hunched over reviewing and editing the work assigned to him.

“I think I’ve read it once before, it’s the one where the high school students hide from an intruder but they don’t know who’s the intruder… but it ends up being the ghost of a former student that seeks to kill out of revenge and spite the higher-ups who have wronged her, right?” You said while fixating your gaze to the edge of his desk as if to recall the synopsis from memory, your coffee mug was left forgotten on Akaashi’s desk as you appear lost in your thoughts.

“Not quite, you just said the plot summary of Peek-a-boo? not Hide x Seek.”

Akaashi said while looking pointedly at your mug on his desk that would surely leave a faint circle as he knows you tend to haphazardly spill its contents as you “vigorously” stir your coffee to ensure that all additives are well-mixed. He recalls asking as to why making a vortex in a cup smaller than his hand is necessary, to which, you responded,

“I need everyone to get along harmoniously and seamlessly blend with one another, imagine drinking a cup of coffee that you’ve prepared and longed for only for it to have lumps and chunks at the bottom, no-thank-you!”

The dim grimace on your face spoke volumes of a less-than-happy experience you must have gone through and as a result, the chaotic meticulousness of your coffee shenanigans intrigued Akaashi to befriend you.

He was so lost in his thoughts that he doesn’t notice you flush red at the realization that you’ve embarrassed yourself in front of your co-worker, friend, and “potential suitor” as your friend lightly put as a shallow jab at your private love-life *hint – it’s practically non-existent.

You sigh. “Maybe I’ll give Hide x Seek a read during a vacation or something.” You mumble the words, cursing yourself for looking like a fool in front of your longtime friend, Akaashi Keiji.

The image of you grumbling and lamenting in front of Akaashi mirrors a panel sitting on his desk that has him fondly reminiscing the same image of you from last spring about how you had no one to accompany you to the Hanami Festival and so, he acquiesced to your invitation thus, establishing a tradition in your friendly relationship.

“I think it would be best to return to your desk, y/n, wouldn’t want to lose the privilege of seeing you every day and being the object of your admiration.” Akaashi propped himself up on his desk, resting his head on his forearms in a lazy slouch peering up at you with one eyebrow raised and a ghost of a smile playing upon his lips.

“You should really stop flirting with me at work, Akaashi. One of these days I might get the wrong idea and think you’re into me or something…” You chastise him while walking back to your desk which is conveniently next to Akaashi’s.

“I’m hopelessly enamored at the thought of you and it frightens me to think of a day where you’ll be missing from my side…” Akaashi thought as he proceeded to leaf through the panels laid out strategically on his desk. He looked over at you as you started to situate yourself with your work and said, “I wouldn’t sigh if I were you, I heard that if you sigh it brings you bad luck.”

“Stop mocking me and go do your work!”

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The clock struck at 5:00 P.M., then at 6:00 P.M., just right before the clock struck at 7:00 P.M. you blearily glance at the time blaring in the corner of your monitor and drift your eyes to the decorative hourglass sitting on your desk. The intricate gold timepiece hid tucked away in the corner of your desk hiding behind a framed picture of you and Akaashi posed in front of a bookstore where a work-related event took place. A faint memory surfaces from the back of your subconscious from earlier this year.

“Akaashi, why do you have a plastic apple on your desk?” You glare at the object as a red plastic apple seems so peculiar to associate with Akaashi, in your mind at least, so you questioned its purpose. Is it for sentimental reasons? Are apples his favorite type of fruit? Do apples have an artistic appeal or is it just a trend?

“It’s a tomato.” He responded, not once looking up to acknowledge your effort to engage in conversation. As Akaashi is seemingly focused on the task at hand, you further prodded with your innocent questions wanting his attention so you could lose yourself in the oceans that reside in his deep blue eyes.

“Then, why do you have a tomato on your desk?”

“Keeps me focused on the task at hand. Have you heard of the Pomodoro technique before, y/n?” Akaashi still focused on his work while you continued questioning.

“The time management one, right? I think I’ve read about it somewhere before if I’m being honest…” You lose yourself in your thoughts as you attempted to recall the correct definition from an online blog you briefly glanced at.

“Then you should know about how it helps you complete your work in a timely manner while balancing the efficacy and quality of the work produced.” Akaashi stopped in his ministrations and averts his attention to the now glaringly pointless object occupying space on his desk that was a prize Bokuto won at the Momiji-gari festival they attended together last October.

“Yes, that’s the time management aspect after all.”

“If I may then, why is it you stress about not having enough seconds in a minute, enough minutes in an hour, and not enough hours in a day to complete your work and yet have all the time to talk to me well over your allotted break time?” he swivels around in his chair to face you, steel blue eyes locked in a heated rage-ridden gaze with yours.

Too stunned to talk from the blunt harshness of his words, you reply, “Quite snappy today are we? At least I know now you pay attention when I mindlessly make a fuss about my workload.”

“I didn’t mean to offend you with my statement, I was going for light-hearted banter at best… I guess I can blame it on the weather. The heatwave must be getting the better of me.” Akaashi said while pulling at his necktie, an excuse to keep his hands preoccupied and mind distracted in avoidance from the awkward silence beginning to build between the two of you.

“Tell me about it, I never really liked summer as a season or the heat.” You crinkle your upturned nose in an act of disdain as you face the glass windows doing nothing to shield you from the overbearing sunlight pouring into the office.

“With summer comes the sun, with the sun comes light, and with light comes warmth,” Akaashi says so matter-of-factly that makes you wonder what’s his favorite holiday. He interrupts your train of thought by asking, “What’s your favorite holiday, y/n- san?”

“Winter, I like the snow. Or more of what snow symbolizes…” you trail off towards the end of your sentence deep in thought.

“Usually people like winter because of the holidays and spending time with their loved ones under a kotatsu. What’s so enchanting about snow? When you touch it, it just melts… not to mention it’s cold.” Akaashi looks over at you inquisitively that could almost be mistaken for scrutiny if a stranger were to eavesdrop between you two.

“If you are out in the first snowfall of the season with someone you like, true love will blossom between you.” You recite from memory what the old woman who owned the corner store grocery near your place told you during your times as a highschooler.

“Besides love, if you make a wish when the first snow blankets the city your wish will come true.” You swing your legs to-and-fro underneath your desk covered from the public’s eye but Akaashi can tell it’s one of your habits you do when you’re excited. The sparkle in your eye accompanied by the ecstatic hand gestures would also giveaway your feelings of excitement but Akaashi knows better. You stop in your motions and jerk towards him almost like you’ve had an epiphany, the sparkle in your eye flashed again mimicking that of a light-bulb going off.

“Snow also signifies that all lies will be forgotten, isn’t that refreshing? The thought of new beginnings with the first snow sounds so romantic! I wish I had someone to enjoy it with…” You take a chance and glance at Akaashi to gauge his reaction to your statement, he already beat your intentions by turning back to face his desk at lightning speed so you wouldn’t see the faint flush of red on his cheeks that bloomed after your profession of love for snow. He didn’t want you to know he was flustered because of the way you turned to him and uttered the words ‘besides love,’ to his face, and the realization that he was going to respond with a simple, ‘hm?’ had him leaning further into his desk in embarrassment.

“Akaashi, what’s your favorite season? You know mine and my reason now.”

“Same as you, I like winter.”

“Why?”

“The holidays.”

“Boring!”

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You shake your head in strong efforts to clear the fog that clouded your mind during that flashback.

“Nodding off so soon?” Akaashi’s voice startled you back to reality as you whip your head towards him.

“It’s almost 7:00, we were supposed to get off work an hour ago like someone said..” you fix your steely gaze on his figure hoping he could feel the mock-resentment radiating off you in waves. “I hope we get overtime pay for this as this isn’t the first time this has happened.” You lean against the back of your chair raising your arms above your head in a half-stretch with valiant efforts to hear the satisfying pop of your back.

“I made no promises, I was going to tell you this when we got off but Udai-san said we have the day-off tomorrow. The reason behind it ‘to reward you guys for your dedication to the company’ were his exact words.” Akaashi said as he began to clear his desk wanting to get to his apartment as soon as possible to sleep. This week took more of a toll on him than he would like to admit, the endless piles of work, deadlines to meet, and the cold that accompanied the winter months were taking a toll on him. The holiday season’s cold seeped into the bitterness of Akaashi’s hidden emotions, like an ice pick scratching the surface of Akaashi’s lonesome facade he tried to hide under cool indifference. In stark contrast, you acted as sunshine that brought the warmth that he desired to thaw his endless winters.

“Done with your work, too? Let’s go home.” His sunshine that spread light and illuminated the darkness that clouds his mind.

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The walk from the subway station to the shared apartment complex was only a 10-minute walk but tonight it seemed never-ending to Akaashi. The time was almost 8:00 and the streets seemed less deserted than usual. The city lights glimmer looked dim in comparison to past nights and the mood almost felt too solemn with the holidays around the corner. Akaashi was lost in his thoughts that he failed to notice the crosswalk light flickered to red signaling the oncoming traffic to cross the road, if it wasn’t for you pulling him by the back of his jacket… he ignores the thought that briefly filters across his mind.

“Akaashi, are you alright? I wasn’t going to mention it but you’ve seemed more aloof than usual.” You said while gripping onto the back of his jacket tightly almost grasping him in a silent plea.

“I’m fine.” He responds curtly while maneuvering his tall frame in an off-handed demeanor that cues for you to let-go. This action only fuels your act of defiance to pull him harder in your direction causing your bodies to collide clumsily disrupting the systematic ebb-and-flow that is pedestrian traffic. As you and Akaashi apologize and wait for the crosswalk sign to turn green, you can’t help but laugh which makes Akaashi let-out a small chuckle as he realizes what a commotion your exchange must have looked like.

“We make for entertaining crowd spectacles,” He spoke softly through a genuine small smile that washed over his handsome features that could have rivaled ‘any top celebrity that calls themselves a pretty boy,’ in your words, not his. The cold weather combined with the hotness radiating from his silent chuckles caused a light layer of condensation to form on his glasses’ lenses. As the haze rendered him sightless, he took off his glasses, pulled out his handkerchief he kept tucked away in his inner jacket pocket, and proceeded to clean his square frames. You took this opportunity to admire the man before you. His brown hair fell gracefully in a light tousled manner as a result of his hands raking through them from stress. Your gaze shifted to his hands, his hands easily engulfed the metal frames balancing delicately in between his slender fingers that looked natural holding the awkward position for prolonged periods of time. Your eyes flit over his face that was normally impassive and difficult to read, now his cool indifference shifted to a look of frustration. The furrow of his thick brows and the faint vertical lines creasing in the center of his eyebrows almost made Akaashi look younger.

‘He looks like a petulant child being told what to do’ you mused to yourself. When he felt content with the cleanliness of his glasses, Akaashi scanned his surroundings to see where you led him to. He realizes that you stopped right in front of the steps to his favorite place in all of Tokyo – the International Library of Children’s Literature. Even with the library being closed as evident by the lack of people and dimmed lights, he still found this place breathtaking.

“The architecture of this library looks similar to the Palace of Versailles don’t you think so, Akaashi? That was one of my first impressions when you first brought me here, I just forgot about it but remembered after seeing this place again” You said as you stared in awe at the smooth concrete walls and tall glass windows with lattice fixtures intricately lining the tall double doors that greeted over 1,000 visitors each day.

“The International Library of Children’s Literature, originally called the Imperial Library, was constructed by the Tokyo Metropolitan Government under the Meiji era in 1906. The artistic movement that inspired the architect was the Renaissance movement which explains the Western-like elements incorporated into the building’s design.” Akaashi recited from memory and turned to you after he finished his statement only to find you already facing him, eyes widened and mouth agape in surprise. After seeing your reaction he turns back to the building and says in a soft whisper, “This place brings back fond memories,” while unconsciously playing with his hands, fingers intertwining with one another in a playful open and close. He can feel your gaze openly assessing his figure standing awkwardly in the library’s pathway, he knows that you want the answers as to why he’s acting less like his “usual” self. You find yourself confused by Akaashi’s paradoxical behavior, sometimes he’s willing to let small cracks appear in his otherwise smooth facade of coolness, and other times he shrugs you off in efforts to maintain his cool indifference. His true emotions are caught and given to you in minuscule pieces and this frustrates you as you wish to be with the man that’s always beside you and occupies your mind all the time.

Akaashi can’t help but feel the subtle self-conscious feeling starting to arise after pondering how out of place you and him look at the moment, two people standing alone in front of a closed library engaged in a heated silent exchange. His heart sank when he realized that you two could almost be mistaken as a couple with the way the both of you look now, he wishes for this to be real, his wish is to be with you. Akaashi wishes for you to know his true feelings and declare his love for you and yet, he finds himself biting his lips to silence himself in spite of his friends saying he has a chance of being with you.

The shuffling of feet is heard as you shift your weight from right-to-left and your avoidance of all eye-contact are all tall tale signs of your unsureness, your actions break Akaashi from his own thoughts as he raises his head to see you standing closer to him than earlier.

‘You’re so close I could kiss you right now.’ He wants to say, even in a playful manner but is too afraid to be caught expressing his true feelings even through teasing comments.

“Akaashi, what are you thinking about right now?” You ask in a futile attempt for him to confide in you what thoughts occupy his brain that’s causing him to both distance himself from you emotionally.

Just as Akaashi begins to open his mouth he’s interrupted by an abrupt shout that causes the both of you to stop all conversation.

“Look mom, it’s snowing!”

Childlike excitement blanketed the distanced onlookers frolicking the crosswalks as snowflakes kissed the cherry red noses of daily commuters and people doing last-minute gift shopping. You and Akaashi fix your gazes up to the dark depths of the night sky now obstructed by the white flurries of snow clouds now hovering over all of Tokyo.

‘It’s now or never,” Akaashi thinks to himself, ‘if I can’t do it now, when will I ever get the chance again?’ Akaashi takes a deep inhale and closes his eyes to bask in the brisk coolness the winter air has brought with the changing of seasons.

“I think about how seasons shift out in a cycle of four and I find myself not being able to cope with each change.” He breathes out finally and continues, you stare at him in silent apprehension while anticipating each word.

“Seasons change, people change, and yet I find myself coming back to you… meeting in the same place where we first met each other. Fate has a funny way of telling us that we’re supposed to be together. Coincidence has a hand in pushing us together hinting that we’re meant to be. Destiny is telling me that you’re the one but, choice whispers it’s harsh words of reality only permissible when conditions are met that echoes in my thoughtless mind every sleepless night.” Akaashi locks your eyes in a steady gaze, your eyes widened in shock while his eyes portray a deep-rooted passion now surfacing after being hidden for so long.

“Our love is blossoming like the sakura trees in the spring, a love that mirrors the perennial endless summer hydrangeas in the courtyard in front of our apartment building. A love in which I catch myself falling for you like the leaves during the autumnal months. A love that engulfs me in the warmth of the fire, with its ember flicks illuminating your faint silhouette as we embrace each other in the moonlight. Falling in love with you was experiencing a life I have not lived before, for the first time I welcomed the uncertainty, my fears, my doubts never once clouded my mind. You are my moonlight that illuminates my path in the inky depths of nightfall. My starlight when I look to the sky brimming with untold stories in your constellations that guide me back to you. I want to be with you during the first snowfall of each winter. I want to experience each change of the seasons with you, I want you by my side to accompany me as we live our lives – I wish to be together with you.”

Akaashi finishes his confession of true feelings for you and a sense of relief washes over him as a weight has been lifted from his chest. Akaashi starts fiddling with a loose thread in his pockets starting to feel anxious at the sight of you as he begins to anticipate your response since you haven’t spoken since it started snowing. The feeling of temporary relief was now replaced with a sense of dread fueled by his self-doubts and the thought of rejection, he averts his gaze downward to avoid meeting your eyes.

Akaashi stayed cemented in his place with no signs of moving, so you decided to close the distance between you two. Feeling bolder after Akaashi’s profession as you were reeling from the excitement of seeing snow paired with your feelings being returned by the one you love, you grab his jacket sleeve to signal for him to remove his hand from his pocket and slowly begin to intertwine hands. He shifts his gaze from your interlocked hands to look at you, as he scans your face to gauge your reaction, he finds himself surprised by the beaming smile matching your bright energy and warmth that rivals the sun during the summer months. Your actions and the bright reaction is all the confirmation he needs to know if you reciprocate his feelings so he steers you, hands intertwined, in the direction of your shared apartment complex.

“What about your wish, did it come true?” Akaashi asks while he notices you started to swing your joined hands unconsciously, ‘probably out of habit,’ he thinks to himself silently while a smile threatens to breach his lips. You stop him and take his other-hand so now he’s facing you, you want his full attention as now, it’s your turn to confess.

“My wish was always to be with you, you’re my happiness and the reason for me to continue to live and grow. When I’m with you I’m at my happiest and your constant presence has always been comforting. The sureness in your voice and actions speak volumes about your reliability and the love you have for others. My wish was for you to see the light in yourself and for you to realize that you are loved and needed, not just I think this way but your friends Bokuto, Kuroo, Kenma, and everyone else you’ve met and encountered will agree with me on this point I’m trying to make. I love you, Akaashi Keiji and I wish to be with you… if you’d let me.”

Compared to the shuffling of footsteps and avoidance of eye-contact from earlier that hinted towards your unsureness, Akaashi can see the confidence in your stance and actions as you grasp onto his hands, the unwavering sureness you exude while maintaining eye-contact has Akaashi falling in love with you over again. The brightness in your eyes and cheery playfulness reminds him of the reasons he fell for you in the first place and he senses that he will keep finding reasons to fall in love with you over and over again.

“Let’s go home now, sunshine. I’m afraid that your warmth will melt the winter snow.”

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thevampiresiren · 4 years ago

Text

Helping Yoongi Shave

Word Count: 2.5K

Genre: Fluff, Humor

WARNINGS: Soft!Yoongi, Tooth Aching Fluff, Cursing, Slight Suggestive Themes (nothing major, just some suggestive flirting and a little talk of sex. Yoongi also puts his hands on the reader's butt)

Summary: Yoongi needs to shave, but he's too tired to do it himself. So he teaches you how to shave him.

A/n: So… This is the very first Fanfic that I wrote and I’m not going to lie; I was a very nervous about posting it until one of my friends read it for me and loved it. I’m not sure if I’ll be doing this stuff as a part of my blog ALL the time, but if I can think of anything and if it comes out good; I’ll definitely post it. Also I just REALLY wanted to do a Yoongi shaving fanfic because I think helping your significant other shave is SO intimate and involves a lot of trust. I hope you guys like it!

I was passed out on the couch in the living room when I woke up to the sound of keys jingling outside the apartment door. As Holly got up from laying next to my feet, I picked up my phone and saw that it was around 1:30 am. As the door opened, I heard the brown toy poodle bark happily while he was spanning around in a circle while footsteps stopped to where he was. "Shhh, Holly. You're gonna wake Mom up." My boyfriend whispered petting the fluffy canine.

"Too late, she's awake." I yawned while stretching with a smile on my face. Yoongi looked up from petting Holly.

"I'm sorry, Jagiya. I thought you were in bed." Yoongi said while taking his shoes off, setting his work bag down, and walking over to me. I smiled as he tilted my chin up to gently peck my lips. When he pulled away, he laughed loudly. "What?" I asked.

"Nice bed head, babe". He said smirking while nodding at me. I ran my my finger through hair and sighed. "Hey, don't be upset. It's cute." He said standing up and kissing my check. I felt a slight roughness on my skin once he made contact. I look at his upper lip and chin, smirking.

"Nice stubble, babe." I copied. He touched his face and groaned. "Don't be upset. Its cute." I mocked. Yoongi smiled.

"I'm gonna go get changed. I'm too tired to shave tonight." He said yawning while walking to our bedroom. Holly and I followed not far behind and he laid down in his little bed starting to doze off again knowing his dad was home. I walked in and saw that Yoongi had put his glasses on and changed into his black sweatpants that hung loosly on his hips and was topless. He was by no means the buffest man in world, nor did he have majorly defined abs; but he was toned enough that you could see his pecs, and when the light hit right at the correct angel; his faint abs from him most recently working out would show up. He was perfect. His arm muscles slightly moved as he threw his clothes into hamper. I was too busy admiring him before he broke me from trance. "You okay over there? If I didn't know any better I'd get the feeling you're checking me out." He said with a cocky smirk. I smiled and pushed myself off the door frame I was leaning on.

"Nah, I think your hideous and by no means attractive. And you do it to me all the time." I said jokingly.

"Your loud noises from me pinning you down two nights ago and those dark marks say otherwise, baby girl". He said smirking. I blushed while trying to cover the "love marks" on my neck and where my shoulders met.

"Shut up and let me enjoy my hot boyfriend's body when we aren't fucking." I said laughing. Yoongi let out chuckle before he went off to the master bathroom to brush his teeth. I changed out of my day clothes into nothing but his white Fear of God shirt that hit my mid thighs and put my hair in a high ponytail.

"Aish! Its so fucking bad" Yoongi groaned loudly. I looked in and saw him examining his facial hair, clearly upset with how fast it was growing. "Yoon, just shave it tomorrow before you go to work. You need sleep." I said walking over to him. I knew he was beyong exhausted by how irritated he sounded and by the slight bags under his eyes. It was comeback season and I knew he was over working himself a bit. He was eating healthy and was taking care of himself like he has been, but I still worried about him. "I can't, we have an interview in the morning and we have dance practice. Plus, I need to finish up a song in the home studio once I wake up." He said leaning his head against the mirror pouting; his raven bangs falling and covering his eyes. I wrapped my arms around his bare torso and leaned my cheek on his broad shoulder making him shiver at the contact. "What if I do it for you?" I said quietly.

"My work?"

"No, dumbass." I said pulling away laughing while he turned around. "I mean shave your face." I said poking his chubby cheeks and kissing his pout.

"You sure you're not to tired to do that for me?"

"I wouldn't be offering if I was."

"Yes you would, because I'd do it too for you."

"I've already gotten at least 4 hours of sleep. You've been up since 6 am. I have more energy and I don't want you stressing out over it. Let me do it, baby. Let me take care of you." I said seriously.

"God, I can't wait to make you my wife." He said sighing. I laughed loudly "Who said I would say yes if your proposed?".

"We've talked about it and you were weak at the knees when I told you I would give you as many kids as you want and I would find a way to make it work for you, the kids, and music. Plus, you let me take your v-card. You've already said yes based on that like I did." Yoongi said laughing.

I blushed. "Just go get your damn razor and everything else." I said crossing my arms over my chest. Yoongi turned around and opened the medicine cabinet to pull out his shaving cream, aftershave, and the black leather case that he kept his razor in. He set everything in front of the sink and scooted out of the way for me to work. I opened up the case and saw exactly what type of razor it was. Anxiety shivered through my body as I pulled the razor out carefully. I just came to the realization that I had never actually SEEN his razor. He usually was using it on tour or even over at the dorm with the rest of the guys. Whenever he did shave here, it was in the shower.

"Yoongs..."

"Yeah?"

"This is a straight razor...". I said quietly.

"I know. It gets closer to my skin and the shave lasts longer. It works better for me than a normal one.". I carefully opened the blade far away from either of us at the risk of us getting cut. I stared at it and my anxiety just continued to grow. These were dangerous and I'd never used one before.

"Hey, what's wrong?" Yoongi said looking at me concerned while reaching out and gently rubbing my shoulder.

"I'm scared I'm going to pull a Thomas Brown Hewitt and slit your throat while I shave you. I can't afford a lawsuit as big as you." I said casually as I carefully set the razor down after I slowly put the blade back. Yoongi busted out laughing loudly at my comment.

"You'll do fine, Kitten." He said calmly after he collected himself. "I'll show you how to use it on yourself first if that'll make you more comfortable.". I thought for a moment and nodded my head agreeing. Yoongi grabbed the shaving cream and turned the water on so it was hot but not scolding. "Fuck." Yoongi said looking down, his deep raspy voice just slightly about a whisper as he just noticed what I was wearing. I smirked at him with a face that said "really?" .

"Sorry, you just look really fucking cute." He said blushing. Yoongi showed me how to put the cream on my legs which was no different than I normally do. He then grabbed the razor, instructing me to put my hand where his was. He lightly wrapped his large hand around my wrist, and started.

"Okay, so the trick is to go with the grain of hair; never against it. It can cause bumps and ingrown hairs. Also keep your hand at a 30-degree angle. Anything more will cut yourself. Make sure the skin is always taught as well. And go slow and gentle. Like this.". Yoongi began helping me shave where my ankle was and guiding me with the right amount of pressure. After a few more strokes of him helping me, I had enough confidence to do it on my own. It wasn't as hard or scary as I thought. After 20 minutes, I had both of my legs shaved and set the blade down on the sink. I ran my hands down my legs and noticed how smoother my legs were. I had no cuts, bumps, or anything like I normally would. "I DID IT YOONGI! I DIDN'T KILL MYSELF!". I yelled extremely happy that I didn't have to go to the ER, wrapping my arms around Yoongi's neck . He laughed at how excited I was.

"I told you that you could do it. Are you ready to try it on me now?" He said picking the blade back up. I smiled and told him to sit down on the counter of the bathroom sink. Once he was sat down and his glasses were off, I put the water on and shaving cream on his face. Just when I had turned to grab the razor; I felt a large warm hand on my wrist. "Um.. wait a second."

While I went to look over at Yoongi; I felt a soft, light, pressure on my left cheek followed by a muffled sound. I looked between my face and part of my hair covered in white, to Yoongi's right hand also covered in white and the right side of his face showing his skin underneath. It took me a second to get over my shock before I began processing what had just happened. "MIN YOONGI." I yelled, waking Holly up, making him barm from the disturbance of his sleep before going back to bed. Yoongi busted out in a full-on laugh attack causing him to almost fall off the sink before catching himself. As I washed the shaving cream off of me, I looked annoyed but also amused at him being playful. "I want a divorce already." I said laughing with him. Once we both settled down and Yoongi had his face covered in shaving cream again; I grabbed the razor and was about to start shaving him when my anxiety started getting the better of my again. Yoongi sensed my anxiety sparking and grabbed my hand that wasn't holding the razor.

"Hey." Yoongi said while he looked up at me lovingly, running his long fingers over mine soothingly. "I trust you okay. I know you won't hurt me." He said before kissing my knuckles, careful not to get the shaving cream on my hand. I nodded smiling and slowly started shaving him. Several minutes in shaving him, while I was concentrating, I felt Yoongi's hands reach behind me to my upper thighs, pulling me closer. He gently started rubbing soothing circles on them and messaging my ass.

"Keep it PG, Min. I have weapon and I'm not afraid to use it." I said jokingly making him chuckle.

"You know what you in my clothes do to me." He said with a tired smirk. His dark lashes hit his cheekbones as he relaxed under my touch. I smiled at a how serene he looked, and it took everything in me not to kiss him. Once I was done, I rubbed my nose against his causing him to open one eye and smile. I grabbed the washcloth and gently cleaned whatever was left of his shaving gel. I grabbed his Invictus aftershave and put some on his face.

"Okay, I'm think done." I said proud of myself. Yoongi put his glasses back on and grabbed the handheld mirror I had held out to him and examined his face closely. A huge smile hit his lips and he wrapped his strong arms around my shoulders and pulled me to his broad chest. "You did amazing Jagi. Thank you." He said as he muzzled his face into my neck.

"You're welcome, Yoons." I said tiredly as I ran my fingers through his soft locks, laying my head on top of his. The faint smell of his aftershave along with the smell of him in general hitting my nose made me feel tired as I gently messaged his head. Yoongi hummed quietly into my neck before placing chaste lazy kissing to my neck, chest, below my ear lobe, cheeks, temple, nose, and finally my lips.

"I love soft, cuddly Yoongi." I said giggling. Yoongi looked at me with a soft smile, our noses touching.

"I thought you loved rough, dominate Yoongi?" He said rubbing our noses together.

"Ehh, I like all sides. I'm an easy woman to please." I said looking at him smiling before telling him it was time for us to go to bed. He yawned while nodding and we headed to our bed, setting his glasses down on the nightstand. He pulled me close, so my head was laying on his chest and placed his hand on the side of my face. Our centimeters away from each other he smiled and looked into my eyes with his full of love, care, warmth, and passion. "I love you so much, Jagi." He said tired while stroking my cheek bone. I leaned it connected my lips to his in a sweet but passionate kiss. We both pulled away with giant smiles on our faces. I responded looking tiredly into his eyes. "I love you too, Yoongi.". I layed my head on my pillow, my face buried in his neck breathing in his scent while he buried his in my hair, arms wrapped tightly around me. "I can't believe you smashed me in the face with shaving cream." I said quietly.

"That's what you get for staring at me and then parading around our bedroom in my shirt and your lace panties you brat.". He responded letting out and airy chuckle. I smiled before closing my eyes and falling asleep to his light breathing.

#yoongi x reader #yoongi x you #yoongi fanfic #bts yoongi #bts #bts x reader #bts fanfction

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g3nosarchive · 4 years ago

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ok i genuinely think a lot of other people have this problem but stop inserting yourself when xyz issue is mentioned. when someone is telling you that a person, a celebrity, some franchise is harming their identity or anyone’s identity as a minority, or part of a certain race or religion or anything shut the fuck up and accept it.

they do not need to know your emotional attachment to said thing, your disbelief, your horror, your personal experience - we didn’t ask for all that. we know just how bad it is, cus yk it harms us maybe? we’ve already gone through the cycle of being angry and indignant and now we’re here trying to get you to understand in the hopes that as a friend you do what you’re meant to do when you became friends with us. we are not your constant ball of anger to use whenever you find something that’s “crazy, unbelievably, shockingly” once again, a hate crime, when you decide you want to feel angry and care about it.

more under the cut bc i talk too much

by doing that, you’re making an issue that you didn’t even know about suddenly yours. ask yourself, what is the purpose for telling anyone all that? to get them to sympathize with you personally so you can get a pass because you didn’t know? of course you don’t know, of course you’re unaware, that’s the whole reason why you’re being told in the first place. do not water down the issue or even try to play the ‘everything has some issue like this so there’s no point in going this far’ card. especially as a white person. the reason why you don’t know primarily is because it doesn’t affect you and it doesn’t cross your mind.

when you watch a show with a black character, you don’t care about how off the character design is or how stereotypical and borderline racist the comedy gag surrounding said character is. when you listen to your favorite white music artists or watch your favorite movie with a majority white cast, white staff, white team, and white theme, you don’t care to analyze just how outdated and stereotypical the way that token asian character is portrayed. some of y’all don’t understand and will never understand the mental struggle and awareness forever plugged into the brain of lgbt and/or poc, especially black people when we consume anything, when we go anywhere, when we meet new people, to constantly catch those micro aggressions and know what to avoid.

so when someone tells you insert classic hot mess is racist and you should stop supporting it, one of the worst things you can do beside outright rejecting it is to defend it and insinuate that we don’t know what we’re talking about, that we need 30 different sources to prove it all, that you don’t think (for example taylor swifts dream colonized africa mv) is bad. you try to say the thing or person that is actively promoting all this homophobia, racism, transmisogyny etc needs to be kindly educated, is trying their best, will learn soon enough, just wasn’t educated, will do better in the future (esp looking at u kpop stans). does their apparent regret but refusal to properly apologize actually matter? the damage has already been done.

that in itself is a privilege i could never have. i don’t even try being a fan of any major white celebrity or any kpop group because i guarantee if i search up their name with ‘racist’, ‘sexist’, ‘homophobic’, ‘transphobic’, ‘cultural appropriation’ behind it something or some image is bound to show up. you will all say “oh they haven’t done anything yet” but when it comes out that they did, they have, and they do not care about who it affects, suddenly it’s a bombshell dropped on you out of nowhere.

it’s not that hard to spot these things actually. if your fav is constantly putting themselves against people of color, saying shady shit about non cishets while being a cishet themself, saying one thing and doing another, or has been silent when their voice was expected to speak up, shouldn’t you notice? y’all will reblog all these posts but in reality only 10% are actually reading and listening and actually digesting this information for future use.

and i think the thing that pisses me off is this is all from personal experience where i’m speaking from. over the past 2 days the amount of times if i’ve heard about the “tea that dropped w meghan markle” is ridiculous and annoying. a girl texted me and i sat there and i realized that she does this on a daily basis to fuel my anger and get me to validate her own useless anger. of course i knew about it and i wasn’t surprised at all - she’s still a black woman.

almost every black blog on here, when they get big enough, deals with some sort of weird shit surrounding their blackness. if you get big on speaking about issues you are now this emotionless token ‘smart black person i can actually trust’ to use as your replacement for google. this is not to say asking questions is bad, but it is so easy to pull up some of the shit you guys ask for. some people get called slurs directly, targeted for being too black or not black enough, attacked for their features and etc and someone mentioned this before but the only people that care in those situations are other black people themselves. white people will have blm in their bio but turn the other way the minute some anon starts acting up in their mutuals’ inbox, calling them a dark1e because they felt confident enough to post some selfies. and then you get sad when we dont go to you for any kind of support?

i’ve stated sometimes that asking me questions on issues and things is okay, but one of the main reasons i say that is because whether i say it or not, i’ll be asked questions and expected to know everything and i am your personal walking encyclopedia and ofc it’s natural for me to have all this information in my head, as if i didn’t research it myself. but then i think about the numerous amounts of people that specifically say not to ask them this shit because it really does tire you out, that they don’t want to have to deal with this in any space but they still get them.

and then the ones that don’t even know themself so people will use them as an example and say “well this person didn’t know and they’re ‘marginalized identity’ so it should be fine for me too”. good god just apologize, show that you really care, change your behavior and move on. do you think it was fun being asked the statistics for george floyd’s and other black peoples death in class? that you were being inclusive and giving me a chance to show off my intelligence, to prove to others that i really had something up here and you were my greatest star eyes white friend that gave me that chance? i cant close my posts like this properly but i want you to think about that shit and actually ask yourself if you’d do that. a lot of you will read this and think “i’m not that type of racist” “i don’t have those deep seated prejudices in me” yes you do. you just haven’t been called out on it.

for all the shit ive dealt with above, if i’ve ever talked to you about this before dont come to me to apologize i do not need it and you are not the only person i’ve received this from. i guarantee you that there’s about 20 other people i’ve thought about while writing this post considering i’m a black person in the real world, so keep your guilt to yourself an deal with it

white people don’t add on to this

#important #antiblackness #george floyd #death mention #ok to rb #more than ok but #here it is 😇#ill rb this everyday if i have to

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sokkastyles · 4 years ago

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Thanks for asking! I realize I never elaborated on the Jet/Zuko parallels so here goes.

Season one Zuko/Jet are both extremists, though on opposite sides of the war. Zuko will stop at nothing to capture the Avatar. Jet will stop at nothing to rid the world of the Fire Nation. Zuko is the fallen prince, while Jet is the war orphan, both trying to restore what they’ve lost. And both have significant interactions with Katara.

Focusing on book one first, I’ve already written about how Jet manipulates Katara, which makes it worse not only because she did have romantic feelings for him, but because she was totally taken in by his whole freedom fighter thing. He also manipulates Aang and tries to manipulate Sokka, but Katara was the main one who felt betrayed by him. Katara has such a big heart and fighting spirit but at this point in the story she is fairly naive, and it shows here. She probably never considered before this episode that somebody fighting on the right side could be a bad person.

I also looked up the mouth wheat thing because I’ve seen it a lot in anime for similar “tough guy” characters and as that other post I reblogged said, it is a stand-in for cigarettes. I also found out that it’s supposed to represent a banchou, which is a juvenile delinquent gang-leader. And Jet is the leader of a bunch of feral kids, although they are ostensibly revolutionaries. Longshot, Smellerbee, and the Duke do seem like they have good intentions, and they often call Jet out on his behavior.

I also think there’s a comparison/foil with Katara’s interactions with Zuko in book one, which revolve around the necklace and his attempted kidnapping of her. Zuko tries to manipulate Katara using her mother’s necklace but is not very good at it. Not necessarily because he has any moral compunctions but because he’s just not that socially adept. He is most often the victim of his father and sister’s manipulations and the few times he tries to copy them he fails ridiculously, because he is incredibly literal-minded. He’s blunt and often fails to understand things that aren’t directly spelled out. He is not a manipulator.

I’ve also seen people compare Jet flooding the Fire Nation village to Zuko burning down Kyoshi Island, in order to make Zuko look worse, but as I’ve said before, Zuko burning down Kyoshi Island was not intentional, it was something that happened as a result of reckless firebending. That doesn’t make it any less bad, but it seems like it’s been popular recently to add this to the list of things that make Zuko “problematic,” so much so that I actually forgot that scene and was surprised when I rewatched the scene recently and discovered it wasn’t the intentional razing of the village that some people on tumblr make it out to be. Zuko’s fault there was simply not caring about the collateral damage in his pursuit of Aang. He wasn’t intentionally trying to burn down the village. Plus, if we were being honest, all the gaang would cause destruction wherever they went given how much bending they do. That’s not something the show dwells on, though, the way that superhero movies don’t dwell on New York getting destroyed for the hundredth time (unless it’s a deconstruction of the genre).

What Jet does is much more deliberate. He’s aware that what he tricks Katara and Aang into doing will cause the deaths of innocents, and dismisses Smellerbee when she tells him so, and he’s aware that the gaang will not approve of his actions enough to hide it from them. There’s also an interesting elemental parallel/foil, Jet destroys a village with water and Zuko destroys one with fire - foreshadowing that water can also be destructive? Hama, anyone? Robert Frost said it.

I think I know enough of hate to say that for destruction ice is also great, and would suffice.

Anyway.

Book two, the Jet/Zuko parallels/foils are much more explicit, and highlighted by the fact that they actually meet in book two. Zuko’s on redemption road, although he doesn’t know it yet. Jet explicitly states that he wants redemption, although he’s still doing the same things he was doing before. He enlists Zuko in helping him steal stuff because he thinks he’s entitled to it, and I guess you can argue about whether it was justified, since the captain was treating the refugees unfairly, but Jet mostly seems interested in stealing food for himself and his group. To be fair, Prince “ew, poor people” Zuko doesn’t exactly have egalitarian motives, either, which is why helping Jet steal food is a regression in his arc. It’s him donning the Blue Spirit identity (although without the mask) once more because he’s trying to get closer to the material life that he lost. It’s also hilarious that when Jet asks Zuko to do this, Zuko’s dumb ass is like “well, Uncle did tell me to make friends.” Sometimes I wonder who was more naive, book one Katara or book two Zuko. Iroh is like “god, I leave him alone for five minutes and he joins a gang.”

When Jet keeps pressing Zuko about joining the Freedom Fighters, Zuko says no. Again, not for any moral reasons, but because he knows that if Jet keeps pressing, he might find out who Zuko really is. Zuko is honest with Jet when he says “I don’t think you want me in your group.” Not for good reasons, again, but the claim that Zuko somehow manipulated Jet is absolutely wrong. Jet was the one who approached Zuko and made assumptions and got pushy when Zuko said no.

Jet does genuinely want and try to change, but his major temptation is finding out that Iroh is a firebender, which he finds out right after he gets pissed that Zuko rejected him so I do think that was part of his motivation for going after them, considering how pushy Jet acted with the gaang when they rebuffed him. Jet, of course, fails the test, although what happens to him certainly isn’t his fault, even if he did make mistakes. It’s a tragedy that in the end, the choice to turn his life around was taken from him, and he was betrayed by the people who he thought were the good guys. This also highlights the theme that sometimes people on the “good” side can be not nice people, which in turn paves the way for Zuko’s redemption and the wider theme that it is actions that matter the most, not which nation you are from. Separation is an illusion, folks.

Zuko’s test happens first when he attempts to steal Appa, the last time he dons the Blue Spirit mask, and then in “The Crossroads of Destiny.” Unlike Jet, Zuko doesn’t know he’s being tested, he doesn’t know he needs to change, although Iroh keeps telling him he does. The change happens in Zuko without him realizing it.

Katara tries to heal Jet, and Jet dies. Katara almost heals Zuko, and Zuko betrays her. And this time Aang is the one who almost dies, who Katara has to heal. This certainly contributes to Katara’s mistrust of Zuko later on, all three of these events tied together. And all three boys are people she has romantic tension with.

Which brings me to another reason I dislike Jet, or rather, what he is meant to be in Katara’s story. Many people have pointed out that Katara is romantically attracted to Jet, and his superficial resemblance both to the “bad boy” trope, and to Zuko. There’s a reason Zutara shippers make this comparison, although I believe its purpose in the narrative was actually to be anti Zutara and provide support for Kataang, but because the writers really didn’t know how to write Kataang properly, it ends up as the opposite.

Recently I saw a post by a popular blog that was anti Zutara that cited Jet as an example of Katara having “low standards.” And like, I can’t entirely blame the post for its misogyny (Katara is FOURTEEN) because this is what the writers want us to think. Katara’s attraction to Jet is very much playing on the “girl develops a crush on the jerk who doesn’t care about her” stereotype. This is, subtly, one of the ways that the show punishes Katara for not returning Aang’s crush. Interestingly, in this episode Aang doesn’t get jealous of Jet at all, and doesn’t even notice Katara’s attraction, but that’s because Aang in this episode is also still naive and in his early stages of his attraction to Katara, and also thinks Jet is super cool. Sokka instantly hates Jet, though. And Sokka is right, but he also has flavors of the over-protective big brother. I do remember that this episode left a sour taste in my mouth because of the (thankfully downplayed) implications that Katara is a silly girl who falls for the “wrong” types of guys because women don’t know what they want and need a man to help them “discover” their feelings. I also think this is meant to be subtextual in Katara making the hat for Jet which Aang ends up wearing, because Aang is the “good guy” who really does care about Katara, you see? Thanks show, I hate it. To be fair, I blame the writers for this, not Aang. Aang is just having fun hanging out in a treehouse and gets to wear a cool homemade hat. It’s the writers who put this weird misogynistic pressure on Katara.

It’s funny though when people compare Zuko to Jet in order to prove Zutara wrong, because when you compare the two, Zuko is the one who ends up looking better, the one who works hard to repair his damaged relationship with Katara, who genuinely did change. The one whose life she could save after he had done the work to save himself.

#zuko #katara #jet #zutara #anti-kataang #kinda

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mor-beck-more-problems · 4 years ago

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Intro to Balancing Your Life || Morgan & Sasha

TIMING: Current

PARTIES: @sasha-r-blog & @mor-beck-more-problems

SUMMARY: Sasha drops in on a new class on campus; Morgan is only too happy to offer encouragements.

“…And who is it that determines the definition of humanity? What kind of definitions do we see offered by Victor, or Henry Cleveral, or the Creature?” Morgan asked the class. The students, while not thrilled with some of Mary Shelley’s ‘big words’ had enough preparation to offer semi thoughtful ideas. Obviously, Victor thought he could define what human means. One of her try-hard students, eager to please every adult in sight, posited that while Victor’s definition of humanity is the one that dominates the narrative, the intrusion of the creature’s perspective halfway through the book is meant to compel the reader into questioning its validity. “Yes!” Morgan tossed the kid a candy from her bowl. “The midpoint crisis here upends our expectations through thought, rather than action. It is, structurally, the center, the heart of the story, changing what we believe to be true. But, are we convinced by the Creature’s definition of his humanity? Why or why no–”

Morgan’s timer, the theme song of The X-Files, went off.

“Shit. Alright, that’s time everybody! Do your homework, do your reading, and get ready for Fan-Fiction Friday! And you–” She pointed to the newcomer sandwiched at the corner of the seminar table. “Come see me for a minute. The rest of you: glad you love each other, but please get out.” As the room cleared out she began to gather up her things. “I’ll level with you, I haven’t checked my roster, so I’m not sure if you’re a late add or just checking things out. But either way, I might be able to answer any questions you have better one-on-one instead of just looking at you across the room.”

Sasha watched the other students mingle and leave, a second of nervousness keeping her in her seat before the professor called out to her. It was hard to parse the tone in Professor Beck’s voice when Sasha’s immediate assumption at a teacher saying to “see me” was that she had fuck up somehow. But either way, Sasha walked towards the desk, dodging any curious looks from her exiting classmates.

“Um, hi. Sorry I didn’t mean to cause any trouble by sitting in.” She shifted the straps of her backpack, tugging them against her shoulders, as if the weight would somehow shield her from the awkwardness. “I’m Sasha Rodriguez. You gave me your office hours awhile ago. I uh, didn’t get a chance to visit but I saw your name on the winter session course list and thought I’d check it out. I’m trying to branch out I guess.”

It took Morgan a few minutes to place the girl. She didn’t give out her school contact information to everyone, but it happened often enough that she had more than one name floating around her head. But the more she looked at her, the nervousness, the eagerness, the closer Morgan got to a hunch. “Oh, you’re the girl trying to figure everything out in college. I’m glad you decided to come by. If you’ve got some spare time, we can go somewhere and talk? I’d love to have you join in the spring, if you like what you’ve seen so far.” She dumped her books and laptop into her bag, and shouldered the load, handling the bulk with ease thanks to her strength. “Come on. Why don’t you start by telling me what you’re branching out from and what you thought about class today.”

“Oh, yeah, okay.” Sasha said as she moved to follow the professor. She still wasn’t used to how casual some professors could be. In high school they made it sound like professors were all strict, no nonsense, and unforgiving. And Sasha had certainly had professors like that during her first semester. But here was a professor throwing candy to students and cursing in class and talking about fan fiction. It was cool, but weird to process.

“I’m in computer science and I’ve only really taken courses in that department and math stuff. Oh, and also English 101, for the gen ed.” Those classes had been a lot different from what Sasha had just sat in on. Even the one English class she took didn’t really match up, that one having been run by an exhausted looking graduate teaching assistant who didn’t seem all that interested in teaching.

“The class was cool, though I feel like a lot of the stuff you were saying went over my head.” Sasha had a moment of internal panic, worried that came off as implying Professor Beck was bad at teaching. “I’ve just never been good at looking into books, but the class was interesting. I was surprised you mentioned fanfiction at the end. I didn’t think most professors even knew what that was.” Oh no, did that sound rude too? Sasha closed her mouth before she could say something dumb. Besides her advisor, if you could even count their meetings as conversation, and Ben, Sasha hadn’t really spoken one on one with a professor before. It still felt a bit surreal.

“Oh, that’s just because you’re coming in at the tail end of the course. I don’t throw my students into the deep end before I’m certain they can at least, you know, doggie paddle.” Morgan smiled good naturedly and lead them up to the main sitting area in the English building, setting her bag down carefully and making herself comfortable. “I can tell you that looking into books isn’t so different from the way you look into the stories in other media. Movies, TV, video games, comic books--our relationship to the stories we engage with say so much about what we envision for ourselves and the world. The more we understand and invest that relationship, the more empowered we feel to take control of our fate.” Morgan stopped herself from saying anything more and laughed, low and self deprecating. “Oh, jeez, don’t tell the other professors I said that. But, anyways, yes, the aforementioned reasons are what fan-fiction and other forms of counter-storytelling are so important. But more important than that is doing something that’s going to challenge you in positive, enjoyable ways. And making time for a little fun.” Morgan held her fingers up, like this much. “Can I ask how the rest of college is going for you, Sasha?”

Sasha followed her and sat in the unfamiliar sitting room. She gave a small smile as Professor Beck talked about stories and how people related to them, finding that she had been nodding along without realizing. She stopped once she did, somehow worried that it came off as over eager, as if a professor would ever get mad at someone being interested in what they were saying. If only the professor knew how close that hit to home for her. All those stories of kids getting superpowers, it was real. As if it had jumped straight off the page. As if Sasha had willed it into being. In the back of her mind Sasha wondered how she would have reacted to suddenly growing calls if she hadn’t grown up on comics and superhero movies. It felt like the blueprint to everything now.

Lost in her own thoughts she was a bit startled when the professor’s tone shifted. “No, no I agree, I think. I think all that stuff is important. Storytelling. I mean, I’m not much of a reader but comics and games and movies have been really important to me.” She wished there was a major in that stuff. Or crime fighting. She’d be on the dean’s list if her nightly patrols counted for credits.

“It’s been going okay. I mean, I don’t really do much outside of classes. I’ve been trying to do more but I mostly keep to myself.” It was the same thing she had told her advisor and Professor Campbell, but more and more Sasha felt silly for saying it. It wasn’t like she did nothing, just nothing related to college life. But it wasn’t like she could tell her professors she was protecting White Crest. Or at least trying to.

Morgan noticed Sasha’s interest and perked up at once. “You know, we do cover films in my class,” she said, grinning slyly. “And books. But still. It’s the same kind of thought process as with books, so it might as well be given its time and place. There’s plenty of other courses like that in this department, even a film and media studies minor. You should do what makes you happy, because undergrad coursework doesn’t matter half as much as you think it does. It’s all internships and jobs and connections and recommendations that help you get anywhere. And this place, college, has a lot of flaws and problems, but one of the best ways to make it worth it is leave knowing as much as you can about the things that matter to you most.” But that was about all the pitching she was willing to do on behalf of her class. Besides, being a student at UMWC came second to being a kid in White Crest. Morgan couldn’t help but look at the girl and wonder what this place would do to her. Morgan pushed the thought away, she couldn’t let herself focus on a big, bad future like it was some kind of unstoppable force.

“This might sound silly, coming from a professor who just tried to recruit you to their class, but I hope you do find other things besides school studies. There’s a much bigger world out there, and you should have something else in your life. At least friends and playing video games or going to Al’s at one in the morning or whatever kids your age do now. Life is for doing stuff, you know? Whatever it is you’re thinking about doing or joining, you should go for it!”

“I never really thought about taking a minor. I didn’t know they had one about film.” Honestly, more and more Sasha felt like she hadn’t planned much of anything when it came to school. Or life in general. But she supposed she could change that. If anything this talk had made her actually interested in looking into classes, something she had mostly breezed through doing in the past, simply checking off the boxes of what she needed for her degree. But if the professor was right and it didn’t matter that much... “Maybe I’ll try looking into classes for film and english and stuff like that. They seem fun. At least the stuff you were talking about seems fun.”

Maybe it would make school more interesting, instead of something Sasha went through the motions of to get to her real job. “Real job,” as being a superhero paid. As if she wouldn’t one day need a day job. College was a convenient way to pass the time and something she was told she had to do, but it would be nice to actually care about it, to feel like she was actually doing something.

“I do have hobbies...” Just none she could tell Professor Beck about. “But yeah, I should probably try to do more. I wanted to check out the library. I was supposed to help out with the comic collection there as a volunteer thing. So that’s a start I guess.” It had almost slipped her mind, but that was something she had been genuinely excited for. It was just hard to remember stuff like that during the day when she was normally up all night. Her nightly patrols had turned her days sluggish and uneventful, filled with quick naps between class and maybe some video games alone in her dorm before she put on her costume and went out again. And she loved doing it, of course she loved going out at night to keep White Crest safe. But at the same time...

“Do you ever just get really focused on one thing?” Sasha asked the question before she was thought about it, but decided to keep going, even if it was dumb. “Like, you have something you like or is important and you just focus on that and everything else just kinda blurs into the background?” Sasha rubbed nervously at the back of her neck. “I don’t know if that makes sense. I guess sometimes I feel like that. But I don’t know if I want to change it.”

“The library is a great start!” Morgan said. “You’re going to learn so much, and probably find people who have similar interests to you when they come to check out materials. But I hope you do other stuff, not for credit, just for you. You’re only going to be young once--” Hopefully.

She couldn’t help but smile at Sasha’s notion, that hyper-focus was something rare or embarrassing. “Oh, all the time. I have some art projects that I do on the side, and I can get so lost in my carving that hours can pass by so easily. Same with baking, or cooking something really involved. It’s almost like you’re connecting to something else, outside of or beyond you. There’s you, the thing you’re doing, and this energy it gives you, right?” Morgan watched the girl’s expression to see if she was getting it right. “Even if it’s just kind of like that, I don’t think you should change it. Whatever that thing is, it sounds to me like the universe is giving you the green light to keep going.”

Sasha nodded, giving a small smile. She was happy that Professor Beck seemed to get it and not think it was weird. Sure, Sasha's focus wasn’t on crafts or cooking, but it was the thought that counted. Her mind lingered on what she said about being given a green light. Really, what was a bigger green light than getting her powers? But she knew there was more to it than that. There had to be a reason it was her. She had to be able to do something with her powers, something to really help people. It was comforting to have the professor say she was right, that the universe wanted her to do what she was already doing, but there was a pang of melancholy knowing Sasha couldn’t tell her, or anyone, the truth. How much did advice and validation matter when the person saying it didn’t know the full truth?

She shook the thought from her head. “Thanks. Sorry, I didn’t mean to ask you a bunch of weird questions when I came to sit in. I think it would be cool to try out one of your classes though if you still have room for students.” Sasha chased away the worry of struggling in a class she wasn’t used to. If worst came to worst she could always drop that class. At least it would be something new, something she might actually end up liking.

Beaming and unawares, Morgan took out a post-it from her bag and scribbled out the class information before handing it to Sasha. “Don’t be embarrassed about questions,” she said. “Questions are how we learn. You’re never going to find anything interesting if you always leave well enough alone.” She stood up, getting the vibe that Sasha had opened up all she felt like so far. “I hope to see a lot more of you this coming semester,” she said. “Hoping even more that you do something just for you, but.” She put a finger to her lips. That’ll just be our secret.

“Thanks. I’ll try to keep asking them.” Well that was one social interaction that didn’t go horribly. Wasn’t great that Sasha considered that a victory for herself but she was going to take the feeling of accomplishment anyways. “And I’ll try to do stuff for myself too.” That was going to take more work than just registering for a class, but maybe it wouldn’t be the worst. She couldn’t promise herself she would put in the effort though. Tucking the post-it note into her backpack she smiled and said goodbye to Professor Beck. Maybe a few new classes would be enough to make her college life, and her daily life, seem a bit more exciting and a bit less like time to just get through. But her patrolling White Crest at night was still more important. Professor Beck didn’t have to know that part though.

#wr sasha #wr chatzy #wr sasha chatzy #intro to balancing your life #wickedswriting

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beevean · 4 years ago

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3 years of Sonic Forces, the biggest love-hate relationship of the series

[note: this is the translation of @latin-dr-robotnik’s article]

Today is an almost special day, today it’s the anniversary of a rather peculiar game in this series.

On this day 3 years ago, the (to this day) newest game of Sonic Team was released: Sonic Forces. After waiting a year and a half since its announcement (and four years since Sonic Lost World’s release), it was finally time to see what the last chapter of the main series had in store for us, and the results were… okay.

There were so many warning signs in the months before the release: a marketing campaign that was noticeably absent until the very last month, opting to focus more on Mania (let’s not forget that we still get videos about Mania even after the game’s release, not so much about Forces), which added to the uncertainty caused by the footage already available at the time, which ended up being confirmed a few days before the release, when some people managed to get the game early and streamed a good chunk of the game. While one of the leakers was just a bad player, the quality of the game itself was put into question…

A harsh reality

I’m not going to soften up my words here: for being the latest Sonic game, in a post-Generations and post-Boom era, Sonic Forces fell short of everything it tried to do (if it tried). Anything positive comes from the roots of something negative, and in the context of this anniversary, after 3 years without knowing a thing about the next game, it only emphasizes the frustration and the disappointment it caused.

Sonic Forces promised a world devastated by Eggman, an epic battle to save the world and win against a powerful enemy. However, of so many promises, not even the first one, the most basic one, was kept: it was an empty takeover, explained poorly (because they didn’t even show it, they told it through text) and developed even worse. All the potential of such an exciting world was thrown away as soon as the game didn’t even try to explain some of its most important questions (like why Green Hill was in the process of desertification); to this day we still don’t know what the fuck does the Phantom Ruby do, in Mania it has some powers, in Forces it has different powers, and it’s not clear where does it come from or if it’s more powerful than the Chaos Emeralds. It is disappointing to not be able to discover all this untapped potential, and it is so disappointing that one of the oldest works on my blog was an attempt to rewrite the beginning of the game, give it more context and a better footing to start the adventure.

This old leak dates back to 2016, when the game was barely announced, and surprisingly it ended up being real, very very real. Even the title “Sonic Wars” is true, and if you don’t believe me you can open the game’s folder and read the names that appear. Source.

The confusion and disappointment don’t end here. If you have read the mess of opinions and emotions that is my analysis of the game [translator’s note: the link is in Spanish], you may have noticed that one of the biggest questions never answered was, what’s up with the order of the levels and why is it so confusing? Between 2016 and 2017, there were some leaks and statements going around places like Sonic Stadium that confirmed that the game went through numerous changes, not just in the plot, but in the levels as well. Right now I can’t find these old posts (I’m surprised that the fandom didn’t archive them), but it was said that the original idea for Forces, then still called Sonic Wars, was to shine the spotlight even more on the Avatar, or Buddy as it was called; the decision was unanimously rejected by SEGA of America and Europe, forcing SEGA of Japan to order that the game was modified. In fact, I remember that the leak that mentioned this meeting between the SEGA branches was rather bad, with a very tense atmosphere and lots of disagreements.

This is the closest thing to a confirmation of the scrapped plot that I could find. At least it’s proof that I’m not crazy and that Forces was indeed more focused on the Avatar. Source.

The mess that is the order of the levels, the questionable presence of characters like Classic Sonic, and some of the details of one of the leaked scrapped scripts such as that apparently they considered to reintroduce Mephiles – all of this shapes the network of a mediocre game, created under the premise of “from the creators of Sonic Colors and Sonic Generations” but taking all the wrong parts of those two games, using an engine that has been proven to be less efficient than Unleashed’s and Generations (and I’m not talking about the Hedgehog Engine, which is the graphical engine – I’m talking about the game and physics engine of Lost World), and with short levels and… polarizing bosses, to say the least.

The result is a game that shows a lot of potential, but in practice it doesn’t live up to it at all, be it for its own limitations (being rushed like hell) or for a noticeable lack of attention to details; it didn’t succeed in creating a cohesive and coherent world, with levels that could be worthy of what has been learned in these years. This is the reality of Sonic Forces.

And yet...

Despite everything I’ve just said, despite all the unacceptable errors that Forces made, and despite all the terribly wasted potential… we still talk about this game.

There are many reasons. On one hand, Forces and Mania have been the latest Sonic games for 3 years now, which is tragic in on itself (Team Sonic Racing disappeared from the face of the Earth); on the other, we still talk about Forces because there is something that still attracts us to it.

It’s not the same attraction we feel for Sonic ‘06, though. Forces is not a complete, almost-franchise-killing disaster like ‘06 was, it’s not a giant meme that spread from the fandom to popular circles and internet figures such as the Game Grumps. People have been trying to fix Forces’ mistakes, but not on the same scale as projects that tries to completely recreate ‘06 with a radically different engine, or fix each and every bug in the original version. Forces is nowhere near as infamous, and so the discussion goes in different directions.

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Episode Shadow is still one of the most entertaining parts of the game, and one of the most important as well, as Shadow himself hadn’t been a playable character since… well, Sonic ‘06.

On one hand, there is a cult surrounding Infinite, one that I personally don’t agree with, and I don’t know if it’s bigger than Mephiles’ 15 years ago, but I do know that it exists and it’s still present. One of the ways Sonic Team tried to “go back to its roots” was to introduce a character like Infinite in a plot that was supposed to be “more serious”. Final results notwithstanding, Infinite managed to win the heart of a sizeable portion of the fandom, which still wishes for his return and development.

On the other hand, there is the Avatar, our personal OC with an impressive customization system, which allows us complete freedom, to the point that we could recreate characters introduced in Sonic IDW like Whisper the Wolf. What at first looked like a questionable idea, nothing more than a source of memes, ended up becoming the smartest idea Forces had, with a gameplay style that, in my opinion, retains a little of the old Adventure spirit, and even had some of the most fun levels in the game. While Classic Sonic ruined one third of the game, and Sonic was somewhat mediocre compared to his past feats, the Avatar’s gameplay style manages to keep its quality throughout the game, despite the fact that the plot keeps revolving around their presence instead of focusing on the other aspects of saving the world, which is... well, a little unfortunate.

Even I, who I’m not really into Sonic OCs, had a lot of fun recreating some of the characters.

And finally we get to the best part of the entire game: the music.

Even after three years my opinions haven’t changed much. Forces’ music isn’t perfect, it has its low moments (I feel like I’m the only one who doesn’t like Light of Hope) and some disasters (F*ded H*lls lol), but overall it has good intentions and it has some pretty good highlights.

The use of synths, as overdone and criticized as it is, was an honest attempt to follow a trend present in older games, like Sonic Unleashed, where this instrument symbolized Eggman’s influence. An interesting touch that, while wasn’t completely successful, is appreciated.

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I still say that Fighting Onward is one of the best themes of the entire game, and Spaceport as the level benefits from having it.

Then there’s the best part of the entire soundtrack: the return of vocal themes, such as the main theme, the villain theme, and some of the level themes. I cannot explain with enough words how much fans were waiting for this, and it was brilliantly handled by the advertising campaign: a preview of the instrumental version of Fist Bump, a short peek of the Avatar themes, and finally the reveal of some of the major themes. It’s not surprising that it became one of the most appreciated parts by the fans. From the iconic intro of Fading World to the subtle nod to Green Hill in Set In Motion, every theme has something that makes it stand out from the rest of the game.

But even so, the rest of the music in the game has redeemable points as well. Forces in general distances itself from the music styles previously used in the series, especially from the variety of incredible sounds of Unleashed or even Lost World; but from time to time it still recognizably Sonic, like in the half-Megaman, half-Runners Network Terminal, in the extremely epic and underrated Last Judgement, or in the always-mentioned Ghost Town (not the only “good” Classic theme in my opinion, but the first one that comes to mind). Even the remixed Zavok theme sound better in Forces than in its original version.

A love-hate relationship

At the end of the day, the only thing left I could say is that Forces is still one of the most polarizing games in the series. 3 years aren’t enough to heal some of the wounds left by the 4-year hiatus, plus the disappointment of the time, but at the same time these 3 years kept alive the memory of its best moment, the discussions about the music and the uncountable groups of fans reunited to share OCs like the fandom has always done.

In this anniversary, I thought it would be interesting to revisit a bit the peculiar relationship I have with this game, as we wait for a new hype cycle for the next game. And maybe, just maybe, that will be the moment Forces will fade from our collective memory, at least for a decade, until new fans will look back to the good and bad this game has done. And I hope that, in the future, the situation of the franchise will also be different from what it has been these last years, in a good way of course.

This is all we have left of Forces today, a game that did not manage to capitalize on its opportunities, and a game that shames the legacy of the Unleashed-Colors-Generations era; but also a game that had some genuine, interesting ideas, and a different musical direction, one that (with some exceptions) was what the fans wanted. It’s a polarizing game, it’s a love-hate relationship.

#sonic the hedgehog #sonic forces #translation #happy birthday forces #i've translated this article because it sums up my thoughts pretty well #i don't hate it and there are things i unironically like about it #but overall it was a big disappointment

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bill-beauxquais · 4 years ago

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Blogging my Bravely Default II Playthrough - Chapter 2

Here we are for a new chapter!

As usual, spoilers for up to chapter 3′s title card below the cut (so all of chapter 2, none of chapter 3), you have been warned.

Overall opinion: The game is still fun to play and while I sometimes laments being so slow, I like that I can play a lot without feeling like I’m goind too fast. On a story standpoint, I’m a bit bummed that this chapter didn’t really make any real progress in its main thematics, but on a gameplay level, it was fun.

Gameplay: I talked about there being more strategy in battle already, but I realise I didn’t mention why. Compared to previous games, it seems like enemies use brave and default a lot more, and they actually go into negative. It happened in previous game, but if my memory serve, it was only certain enemies who had this quirk baked into them. Also, nearly all of them have counters and immunity, preventing you from just braving 4 times and calling it a day (albeit it still works reasonably often).

However, I did notice a flaw as well in the balancing. Some sidequests (most notably, the mushrooms sidequest) only opened to me after I finished the chapter’s story, but they took place in a dungeon where every enemy was WAY underpowered. I’m still getting underdog bonuses in the story, so I’m not overleveled. I don’t know what exactly unlocked the sidequest, but I checked everytime I set food in Wisward. On the other hand, the sidequest boss actually took me some planning, while I basically Yolo’d all the asterisks of the chapter. Weird. In the end, the whole dungeon was simply a long corridor (every enemy fleeing from me), with one tough boss at the end. Jarring.

Speaking of dungeon, this chapter really made them a lot longer than anything the serie had until now. On one hand, they can get a little boring and frustrating after a while, but on the other, I do like that they allow you to really train your new asterisks by putting more time between each of them, so overall I’d say it’s a positive.

Speaking of which, I finally looked into what you get from the boat, and I need to mention the inclusion of JP orbs, to give you JP experience on the go. It makes it easier to level up jobs without having to grind with ill matched teams, which is a good idea, since ill matched teams are sometimes really unforgiving because of the immunities and counters mentioned earlier. You still end up having to train jobs the old fashioned way, but any shortcut is good.

Speaking of grinding, I was surprised that I didn’t need to grind even once, for now. I wouldn’t qualify the asterisk battles of underwhelming, they took me half an hour on average and demanded strategy and quick thinking or risk taking, but I went into most of them with in-training teams full of ill matched underleveled and redundant jobs and still won. For me, that’s just the right difficulty to be interesting without getting frustrating.

My favorite asterisk of this chapter probably was the Shieldbearer for more Gloria Tankness (I also noticed it pairs well with White mage for a tanky healer) , but Ranger is good as well (but I’m biaised from the previous games. Always liked hunter). I appreciate that they changed red mage to be less of a watered down mix of Black and White, but I’m not sure I’m using it very efficiently. It just doesn’t seems to deal a lot of damage, and I prefered the old one’s design. This one looks a lot more boring. As for Artist, I’m not really using it very well for now either. I feel like there’s already tons of debuffing skills in other classes.

I didn’t really get the point of Wayward Wood, since you know where the correct exit is, there’s not much point in making a looping/”lost wood” kinda dungeon, because it’s not like you will get lost (unless you’re doing it willingly the first time just to see what happens). Maybe it’ll open other paths later, who knows.

Writing: Still good, albeit I think i prefered Savalon. I suppose I expected to see more of Elvis’s backstory and family, why did he come study magic, how did Lady Emma pass away... But nothing of the sort. I don’t think like it really helped see Elvis any more in depth, sure he is a good friend, but that’s something we already could infer. I would’ve liked to see his character broken down more.

I’m always happy to see dead kids stories (don’t get me wrong, I love kids, but I also roll my eyes quite a lot when writers chicken out on having anything bad happen to a kid in their stories) but I don’t know if this was strong enough to be the focus of the entire chapter. I don’t think it had any connection to Musa’s downfall or the crystals. But I could see Wiswald coming back later in the story to tie back into these themes, and maybe that was just the Wiswald introduction chapter.

With the dead kids, crazy people, greenery, hunter & red mage asterisks, and those darn Mushrooms and flower enemies, it’s also hard to shake the feeling of this being Florem.02, and Florem will always be extra special to me.

Writing - Theories: Definitely called it for Edna’s veiled ass, although introducing that silver haired lady just before almost threw me for a loop. I’m assuming she’s the traveler handing out asterisks like candies, and Adelle probably knows (or at least she knows her sister is related to asterisks in some way)

I don’t know if I mentioned it, but I had a theory back when playing Default for the first time, that asterisk made people crazy or at least, more extreme, and that’s why they all made the perfect little mascot for theirs each time. And also why Ringabel *and* Artemia in the anthology lost their memories when they lost their asterisk: it plays into their brain and personalities. So, nice to see theory confirmed by the sequel.

As expected of its unredeemable bosses, Folie kicked the bucket, which begs the question: I fully expect them to have another gauntlet like the previous games. So is a timeloop/universe hopping all but confirmed at this point, or will this be something else? Will the characters’ deaths be retconed or explained away? I feel like some of these characters could be redeemed in a timeloop, and stopped an saved before they do much damage. The asterisk are pretty much the ones to blame in nearly every case for the sudden change of heart of their holders.

I’ve got that flimsy theory that Shirley is Emma’s kid, based on a similar hairstyle, the fact the gambler asterisk pairs well with black mage, and that Shirley mentioned her mother leaving her father. Who knows. I liked Shirley.

Adelle is definitely crushing hard on Elvis, but I think he’s pretty much ace. Interesting to see how this develops.

Graphics: Gonna hand it to them, i was impressed that they actually made a unique model for Mona, all to use it for one cutscene. Long gone are the days in which they just reused Yew and Magnolia’s models for Altair and Vega, two majors characters. This is the kind of attention to detail we like to see here. No cutting corners. They even made a model for the paintings, too.

The fog effect was pretty rad as well, and definitely got me running a few laps like a giddy kid. You like to see it.

Elvis’ head looked pretty big compared to his friends, noticeably so. But I suppose Bravely Default 1 and second weren’t that much better, and even worse. The main 4 were DEFINITELY chibised compared to other characters (which made Alternis look like a baby in the Eternian team)

Performance: I noticed a bit less lag, but I also made the battle speed slower, this is probably related. Else, it’s the same things.

Music: Elvis’ theme is pretty good. I remember listening to the first drafts that were datamined from the first demo back in the day, and it was already my favorite.

However, I wasn’t a fan of Wiswald’s overworld theme, and the city’s was forgettable.

#Bravely Default II #Review #Video Game Blogging #Nintendo Switch #JRPG #bravely series

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