#this scene however is a fantastic adaptation

[selkiewife]

“I wish...”

A Song of Ice and Fire: A Storm of Swords, Tyrion X by George R.R. Martin | Peter Dinklage as Tyrion Lannister in GAME OF THRONES: “The Laws of Gods and Men,” Season 4, Episode 6 | Alice in “Vinegar Tom,” by Caryl Churchill.

[blluespirit]

Overall NATLA Thoughts

Okay, now that I've watched the series, I can give my thoughts.

Overall, I thought it was good!!! I had fun watching it! I'd rate it a solid 6.5/10. It's nowhere as good as the original, but it was definitely enjoyable and made some nice changes here and there that I liked. There were also some things I was also Not a fan of too.

I said in another post that it's best to treat this like an AU of the original. There will things that are great and things that are bad. That's the nature of adapting something.

Having said that, I need to get my initial thoughts off my chest... here we go.

Things I thought were good:

Sokka's characterisation - I really enjoyed him! I thought Ian did a good job! He played the funny moments well and retained the underlying seriousness/cautiousness. It wasn't perfect, but I enjoyed the changes a lot and think it was overall a solid performance.

Zuko's characterisation - Like Sokka, I do think I was most satisfied with their performances. A lot of Zuko's moments from the cartoon are sometimes... well, cartoonish and definitely wouldn't translate to live action, but I think Dallas did a nice job at balancing Zuko's desperate anger and that occasional sassiness well.

Zuko and Iroh moments were great. Had me on the floor crying. As it should have.

The bending looks a trillion times better than the movie - I understand it would not have been easy for the actors but, overall, I was very happy about it.

The scenery was stunning. It just looked so beautiful. I loved it so much.

Absolutely ADORE that they made Zuko a good calligrapher and artist. I read a fic about a million years ago where Zuko is a fantastic calligrapher and I thought it was perfect and made so much sense, and now I can say it's canon. This is perfect for me.

S U K I

The Freedom Fighters were ✨ perfect

They were so real for making Oma and Shu lesbians

Koh, Wan Shi Tong and Hei Bai looked fantastic, but I have more to say about all of them below, unfortunately.

I actually like the change they made that Katara is Aang's sole waterbending teacher.

Aang is not perfect, and needed more goofy scenes HOWEVER, I did like how they've had Aang's guilt more prominent in the story. The original didn't do a very good job with that, imo.

Zuko entering is breaking and entering era by breaking into an impenetrable Earth Kingdom prison is just perfect.

In Masks, I like how Aang and Zuko got a longer conversation - that was pretty cute.

I liked how they changed Yue a bit and got her out of the arranged marriage... how Yue saw Sokka in the Spirit World before meeting him in the real world.

Things I didn't like:

Far too much info-dumping/exposition. So much spelling things out. It was not as egregious as the movie, and I get there's a lot of information that needs to be conveyed well and quickly... but sometimes it really took me out of the show.

Why are Mai and Ty Lee here.... I was hoping the live action would give them a bit more depth (and they might as it goes forward!), but why put them in season 1 at all if they're just going to stand around???

Some odd changes - putting this as one point, but there are some bizarre changes that didn't make sense to me, as they did not benefit the story or deepen the characters. I have two main examples: a) making it so Aang didn't run away from home, and b) making it so Zuko actually fights Ozai in the Agni Kai.

Characterisation of Katara was Not Great. I don't think I got many hints of the reckless, compassionate, badass Katara until the end when she fights Pakku and rallies all the women together to fight (which happens off-screen). She was sweet and kind, but she just lacked the fire that OG Katara has.

Azula's characterisation - Azula is desperate to impress Ozai and so her character is just…. brewing with anger, frustration, desperation. I was SO excited to see the Azula we are introduced too… perpetually and irritatingly calm, calculating and ruthless. She's perfect, she's terrifying! She's literally the character of all time. But this Azula had more Zuko vibes? I don't think there's anything wrong with giving Azula more concrete motivation by wanting to impress Ozai and establishing that Ozai is abusive to both his kids, but I do think trying to do that right off the bat is a mistake.

WHY is Wan Shi Tong here. I love Wan Shi Tong, but like I said: Why Is He Here? Why could we not have his iconic, ominous as fuck introduction from The Library, and instead he's introduced in a random season 1 episode giving Aang Information(tm) about the Spirit World.

When Aang gave Koh the statue, and then he just takes it and immediately lets all the villages go, and neither of them even say anything, I actually laughed out loud. Like, I am so sorry, but what in the jesus fuck was that.

Speaking of Koh - I think Koh is better the less we know about him. Roku saying ~all Koh wants is a family like the rest of us~ just pissed me off?? I like my Koh the Face Stealer Terrifying and Unknowable, thank you.

NOTHING EVER REALLY HAPPENS WITH HEI BAI!!?? where's my precious spirit bear?? Like Aang never really does anything with him and the replacement Koh story is boring and it sucks.

Bumi.... sorry I just didn't vibe with him at all.

Things I can't decide on:

Fancy spirit knife to kill the moon spirit annoyed me a bit, but I guess they wanted to Kuruk something to work with and a little bit more interaction with Aang which I get but idk. I really flip/flop on this one.

I've been very on the fence about having Azula (and Ozai) being in the show in season 1 in general. I'm not sure if it benefited either of their characters.

Azula & Ozai's dynamic - Okay, so, I think they're trying to give Azula more depth, right? They're trying to establish what it was like for Azula to live with Ozai and that she's also (like Zuko) trying to desperately prove herself to him, but Ozai using Zuko's... achievements to do that just felt so weird. I get he's doing it to manipulate her, but that just felt so wrong when in canon it's very obvious that Ozai just didn't give a single fuck about Zuko. Ozai pits Azula against Zuko by saying he's a failure, he's a bad bender etc. Azula is born lucky, Zuko is lucky to be born - like, Ozai says that to Zuko's face. I don't know if I am communicating this point very well, but it just didn't seem right to me??

Zuko vs Zhao in the Siege of the North... I genuinely do not know how to feel about it! I didn't love it, I didn't hate it. I don't know how to feel about Zhao telling Zuko that his mission is a sham and that Azula is the prized one... It feels like it's saying the quiet part out loud? In the OG we all know that Ozai sending Zuko on that mission was an excuse to get rid of him, but we can work that out, no one actually says it. And then Iroh just fucking killing him/mortally wounding him instead of the Iconic scene where Zuko reaches out to save him despite everything Zhao has done to him, but Zhao's own pride gets in the way from letting him accept help from Zuko.

Zuko’s crew being the 41st is not necessarily a bad thing at all!!! But I do just want to say that in the original, the attack goes ahead, and presumably, those soldiers die. It’s horrible. Zuko’s sacrifice is in vain, and it was always going to be in vain because the Fire Nation as it stands would not allow Zuko's compassion to win. Ozai would not allow it. While not necessarily a bad choice (all the soldiers bowing to Zuko on the boat was so sweet I loved it!) but I think it does take away some of the horror of Zuko’s story (same as it does with making Zuko fight back in my opinion) because the whole point is that Zuko did the right thing - and he was punished for it, and those soldiers died anyway.

anyway...

Okay!! got that off my chest. I know I just had a big whine here, but I still had a lot of fun watching this show. I think some of the backlash is a bit over the top and unwarranted. It was never going to stand up to the original - and that's okay.

Enjoy it for what it is!

[katerinaaqu]

Hello!!

Since I've seen that you've listened to both Epic and Paris the musical, I was curious to know what are your toughts on them! Did you like how the myths and characters where handled? What do you like best and worst? (If you'd like to share, what's your favourite song/moment in each?)

Thanks :]

My my you really wanna get me have an even bigger target on my back than the one I put already! Hahaha! Ok so be it! Hahaha If this gets waaaaaay too long or too runty forgive me! ^_^

You have noticed from many of my comments and my notifications, memes or jokes. I am not a fan of EPIC. Not at all. I believe I am one of the most disliked people on Tumblr on mythology matters because I so openly speak my dislike against EPIC and being annoying about it! Hahaha! XD The thing I absolutely love about it is of course the guy's passion with the project, the way the music works and all (undoubtedly the guy is a very talented composer and can combine the scene with music and emotions and the tricks he uses with music are great) but the way the plot of Odyssey was twisted beyond recognition and to the point that to me you can literally change the names of the characters to anything else and still have the story he presents with the Musical. Maybe that was his goal but in my head that is not what a retelling or an adaptation is about. A retelling to me is not something that seeks to change literally as much as possible from the plot to fit the modern standards or the fanbase. A retelling is something as the word says that "retells the story" aka adapts the story as loyally as possible and adapts it to the audinece by taking creative liberties that are still generic to the story as it was originally told so that it will fit more to the modern standards or ear.

I believe we have so much twisted the word "retelling" that nowadays "retelling" seems to be equivalent to "let's change the hell out of the story because the original plot is not even THAT important to be salvaged and no modern person would watch it anyways" which in my opinion is not the case at all. Unless of course one writes satire. Then it doesn't matter, as I mentioned to another ask of mine.

I lost interest and was massively disappointed from the end of second saga and the song "Storm". The first two sagas were a masterpiece. The creative liberties were amazing to make sense with the plot and give the characters motivation (for example "I'm just a man" was FANTASTIC! The way the myth from Iliou Persis that gave us only one phrase "Odysseus kills Astyanax by throwing him off the wall" is now transformed into a marvelous emotional dilemma and a painful decision). In this case the creative liberty work WITH the plot and not against it. I didn't mind it as much that they made Polites a fluffy guy for no reason to fit that stereotypical "innocence of the team" plot because Polites is a clean slate character in Odyssey. However after Storm I started seeing your typical "Hollywood film 'adaptation' logic with changing stuff at the plot". I was intrigued at how they decided to give Polyphemus an excuse to kill like the guys enter a cave that is obviously habitable and kill an animal that is obviously domesticated and they do not know someone lives there? In the original it was clear someone lived there which made Odysseus curious to interract with them. I was willing to ignore that because ok creative liberties but then Athena was there!? And she gave Odysseus every opportunity to kill him while Odysseus was just "TOO NICE?!" like since when? Odysseus was all about killing him but he had no guarantee he would plus he needed him to open the cave. And the way he revealed his name in the musical was so rush and almost "out of spite" for Athena not a result of a secclusion in a cave for days and days and then his pride speaking up when Polyphemus called him a coward (which I tried to capture to my fic, not sure if I succeeded but still). So anyways at that point I was sure we wouldn't see the last of it with the changes. Poseidon destroys the ships instead of the Laestrygonians (no surprise there, rarely ever see anyone even mention the Laestrygonians yet alone show their contribution to the Odyssey) but then Circe happened and I just knew that we would have to derail from the original more and more

Circe's role was incredibly diminished for the sakes of making her actions more mellow and pass the message of loyalty and kindness. Circe in the original gives Odysseus valid information for his trip provisions and much more. In Epic not only we do not see the importance of Odysseus selling himself to Circe and we have Circe for some reason seducing him to kill him (removing her humanity from when she got scared that her magic won't work on him, potentially thinking he is some kind of god, begging for her safety to then suggesting her bed as Hermes predicts) I mean she had lions and wolves to her disposal she doesn't need to seduce him to kill him. Then of course Jorge realized that a big chunk of plot is missing and so he made Odysseus find out about Skylla by the sirens?! Like...okay... Even Tiresias gives him almost nothing (in the original he also tells him how to break the curse) Which seems interesting how Odysseus breaks down with "Monster" in Tiresias when he has received an act of kindess before. Wouldn't it be more amazing if he had that breakdown AFTER he paid the price with Circe with his own body? That even kindess has a terrible price? Of course the most iconic scene of the Odyssey after the murder of the suitors and Cyclops, the Sirens were twisted to whatever we had there; Odysseus listening to their song was of massive importance to his natural curiocity and we didn't get that (not to mention how would the sirens spell work on him and have Penelope there if he didn't hear their song in the first place?) and of course the fact that he kills them?! Like...how that even works I have no idea and like in the original people were running for their lives. Didn't even look back. Apparently they had all the time in the world to capture them, they knew apparently exactly how many they were and then they kill them?! Like I won't even say that they used the medieval mermaid instead of the sirens and then they "leave them drown" (how you drown fish people is beyond me! Maybe they are sharks that need to keep moving lol) and of course again that scene seemed to me that it was there only to show that "Odysseus is a monster" which makes no sense Odyssey-wise for many reasons. and then of course again Skylla; Odysseus doesn't gear up to protect his men, he is the one who chooses the sacrifice out of spite etc etc

Many others got sped up like the Helios cattle but ok I guess that is expected up to one point even if it could be handled differently but of course then we have also Zeus being a jerk and again making Odysseus choose? The storm that took the lives of his men was a natural consequence, not some twisted thing to prove how "monstrous" Odysseus is. In fact Odysseus tried till the last moment to sail away and save the lives he could (see my other analysis here) and of course again as many people said on God Games and all how Zeus was twisted yet another time although in Odyssey he had zero reasons to object apart from the natural hubris nemesis sequence. He never called Odysseus "shameful" either. In fact he says he agrees with Athena that calls him the most pious.

I think the massive change that I believe is abused by modern retellings is the whole "monster to man" trope. Odysseus losing his moral compass and "becoming the monster" and the plot around revolving to it. That was never the pont of Odyssey in my opinion. Odysseus never really lost his moral compass it is just his morality was not all pure and lovey in the first place. Was he changed by his experiences to be more ruthless in general? Absolutely but he was never changed to a monster according to Homeric version (because post-homeric versions already treat him as a villain from the get-go)

As for the things I liked about it, I had made a post you can see here:

I do love the harmonies and the music in it and I love the passion and the talents of the people in it. It is just that the whole plot for me is just not it. Also maybe I am also mostly annoyed with how the "fandom logic" has taken over it. Like internet getting swarmed by it. Epic quotes or facts getting literally mixed up or associated with the original or the fact we can no longer speak on the original unless someone brings up Epic the Musical... This annoys me to no ends. Of course I recognize the passion of the fans of the musical. Is just a personal thing to me. I felt the same when people were using Percy Jackson or Miller's books to talk on mythology before. Is the same here.

Of course I need to say this all the above is my PERSONAL OPINION. I have literally NOTHING against people who love the musical and the original equally. I am just NOT one of them. Also i have nothing against the artist either. I just do not agree with his outtake. Still appreciate his hard work. However when I saw the firsttwo sagas I knew this guy KNEW his mythology which is why I feel so disappointed that his later sagas felt like "Hmm...let me use that knowledge I definitely have on Odyssey just to change the hell out of it!" And that had me very sad and lowkey annoyed because I think this guy had some real stuff to create an actual Odyssey adaptation and yet again we had your average hollywood film plot where you barely see any of the plot he ellegedly adapts

Now on Paris the Musical I had answered another ask you can see here

I will not take more space on this already huge and runty post that probably made me more annoying and irritating around Tumblr! XD Generally again has little to nothing to do with Iliad but I loved the music (it was arguably one of the most original choices for music for a musical) and the songs I mention to the ask. Apart from that I am ot ecstatic by it either (arguably stage musicals do not seem to work for me when it comes to the ancient classics to a large degree because of how much the plots need to be overly simplified to fit the time frame) but I am more happy that it din't get blasted out of proportions like Epic was so the plot of it doesn't even need to be pointed out that it is not accurate and all. It is self-evident. The fact that the creator of Epic needed to "warn the fans" on how inaccurate his work is, speaks volumes to me.

I will close this runt now because is already too long. I think both Epic and Paris musicals have little to nothing to do with the things they adapt but Ironically Paris the Musical changed less stuff than Epic in comparison to magnitude. Both are passionate projects with great potential and very good music but plot wise I am not anymore surprised that they do not follow the actual plots or character developments. I am surprised that Epic was more accurate to the character development of Eurylochus than the main protagonist Odysseus! Made me focus more on Eurylochus than Odysseus! Hahaha!

I am glad that the musicals make more people willing to read the originals though. For that I am grateful.

And if I have to pick one song from each musical I would say "Just a Man" and "Business" respectably but of course I like others as well especially from Epic such as "Horse and the Infant", "Will of the gods" and "Storm".

I hope this answers your questions! I will elaborate further on some of the points I make here if you want! ^_^

[toorumlk]

Hey! Do you think there’s any chance they might not make Romione canon in the upcoming HBO series because of the popularity of other pairings and JKR’s somewhat recent statements concerning the ship?

fair warning this is gonna be a long post!

you know anon, i’m not gonna deny that the possibility of romione not being canon in the hbo series doesn’t keep me up at night HOWEVER COMMA-

I believe romione will be safe because i’m placing a lot, if not all, of my faith in the upcoming hbo series being repeatedly described as a "faithful" adaptation of the 7 novels. which we can deduce to mean romione friends to lovers slow burn endgame and all that good stuff (maybe i'll talk about the potential of book romione and the serial tv medium some other time)

and sure, it can all be marketing/pandering/etc. but i find it so hard to feel cynical about hbo because i love LOVE their shows and i'm of the belief that they know how to tell a good ass story (and romione happens to be a good ass romance subplot). i also have such positive feelings about the showrunner Frances Gardiner (consulting prod on succession and also has killing eve under her belt) who JKR chose herself and one of the exec producers of the show who's set to direct of a bunch of episodes Mark Mylod (succession, the menu, tlou, got)!!!! and if you know me at all you'll know that succession is one of the main pillars of my personality and i fucking love that show so bad I would follow anyone who was part of the making of that show off a cliff if they asked me to. and Mark Mylod is a fantastic fucking episodic director who's directed and produced some of the best episodes of television ever, so i know he knows how to tell a good story. and though i'm a lot less familiar with Gardiners' work, she is a female creative who has some of my personal favourite episodes listed in her imdb (chiantishire, living+, tailgate party) who's pitch of the show made joanne give her the job so.... and y'all know im a canon bootlicker and love the books so all i'll say is.. real recognizes real.

so knowing the creative team behind hp series had a direct hand in making my favourite show of all time gets me so excited and giddy!!!!

but here's where my personal theories and speculations start: I really think with this hbo series, JKR is on a mission is create something wholly and newly hers. she was barely involved creatively in the production of the movies until DH pt. 1 and 2 and the movies have almost become an entity of its own that's drifted so far away from her. of course i realize me even just talking sympathetically about JKR is deeply touchy and might piss some people off but as a fellow creative, i feel for her man!! when i think of the best books in the series in my opinion that are filled with the best bits of world building and political commentary, what i find is that GoF was handed to a director who didn't even read the book, OotP was the shortest movie in the franchise despite being the longest book and how it entirely missed the Quibbler plot and all of harry's rage, or HBP that was filled to the brim with *chefs kiss* tom/voldemort lore which was done a complete disservice in the grey and brown sludgy mess that is the HBP movie.

and knowing that JKR now has a strained relationship or had a falling out with most of the top dogs involved in the films like Kloves and Yates (hallelujah what who said that) and Emma Watson and Daniel Radcliffe means this show has the chance to be a behemoth that’s entirely joanne’s, like the books are. it’ll be free of Kloves' Hermione and harmony (harry x hermione) favouritism or Watson's take on Hermione's character that makes my ass itch or Yate’s complete inability to direct his actors and make non-action scenes have heart, soul and heft. but i also can’t not address the elephant in the room: this section of the discussion is filled with every shade of grey possible because what led to the falling outs was that they all vehemently disagreed with JKR's anti-trans views and good on them they absolutely should! but like.............. i hated kloves' writing and his butchering of ron's character, i think yates is a static and boring director and im not a fan of emma's acting so like... a win is a win? NO IT'S NOT. but IT IS. BUT IT'S SO NOT. but do you see what i'm getting at???

the point i'm trying to make is that joanne is not the same person she was when she was first writing the books or when the movies were being made. I think she's a lot more ruthless and cutthroat now and while i disagree with her methods and condemn her transphobia.... i think this newfound hardness to her will lend itself to making the hbo series the best HP adaptation it can be, I'M SORRY it's absolutely fucked and i acknowledge and abhor her gender critical politics as a queer woman but im also an artist who just wants good, high quality stories to be told 😔😩

and as for the other popular ships and JKR's somewhat recent comments about romione:

I think its safe to say that joanne dgaf about this fandom and what's popular in it anymore LMFAOOOO 😭😭😭 i genuinely respect that she's always stood ten toes down about how draco's not some antihero, bad boy love interest and at best is a cautionary tale on prejudiced bullies, so I don't think that's changing anytime soon. especially considering that the dramione cottage industry that its fans have made is more or less a reactionary "fuck you" to joanne and canon which they do by writing fanfic about crimes against women and making merch and binding physical copies of said fanfics (really showing it to the big baddie transphobic DV survivor by *checks notes* auctioning hermione off as a sex slave) so I doubt she'd ever consider other ship's popularity seriously. as for the possibility of harry and hermione becoming endgame um..... if the show plans to faithfully adapt the books then we'd get harry and hermione’s quintessential sibling dynamic plus we’re already free from Kloves (also i have faith in francesca and mark knowing that harmony are just plain BORING) so i think the chances, again, are low. and if joanne really wants to stick it to her old colleagues, she can go down the route of pushing romione that much harder (and she really wouldn’t have to do much, it’s all in the books already) 😭

as for the comments on romione that she’s made in recent years, i think a lot of it’s been blown out of proportion or have gone through a terrible game of telephone. what she said (paraphrasing here) about ‘wishing she’d handled ron/hermione differently because a lot of what went into them was a wish fulfillment fantasy’ has turned into ‘jk rowling regrets making romione endgame???!!’ which is just *takes a drag from a cigarette* just another tuesday around here. i also would link to two meta posts by @saintsenara on the topic of endgame romione which i wholeheartedly agree with it

all i have to say is that going into making this show i hope joanne remembers that she based ron’s character off of a person in her life she liked when she was younger and who is still a good friend of hers now 😭😔

you guys probably know i’m in animation school which is basically film school in a different font. so i’m quite literally training to one day work in the story department on projects and work alongside writers, directors and producers, so this stuff means a lot to me! she and the creative team behind this upcoming show have the chance to make something really special and i’m finding it hard not to root for them!!!!!

[nyerus]

Hello! I'm really sorry to bother you with some stupid questions but I'm a little bit confused. Can you tell me about the TGCF revised version and what to expect from it? I made my research a little bit but I'm not sure I get the full picture. I just finished reading all the novels in official EN translation and it bugs me a little that I just got everything settled in my brain and now...smth will be changed in the revised version? What does it mean for canon?

I'm sorry it I make no sense, just a little bit disoriented. Thank you for answering in advance!

Hello Anon!

I totally understand how confusing it could be! I'll try to help clear it up, so no worries!

There are two main versions of TGCF now:

Original/Serialized

Revised

The original webnovel was released in a serialized manner, and this is the one all existing printed translations are based on. Including the official EN translation! This is also what the manhua and donghua are adapting. It was never released as a printed version in mainland China.

The revised version was released in early 2023, in mainland China only (thus far). It has significant changes here and there such as: removal of some minor characters, revision of certain characters' backstories, fleshing out of some inter-character relationships, expansion of existing Hualian-centric scenes, several additional scenes (mainly Hualian-centric), modification of some arcs/plots (e.g. the Bloody Banquet is quite different -- all the way from the lead-up to the ending -- though the broad strokes of it remain similar to the original). Plus just a lot of general streamlining! However, the overall structure of the story and the main plot remains the same.

The printed revised version that was released in China is also a censored edition (for obvious reasons). There is no publicly available uncensored edition available for us to read. That being said... the audio drama is actually working on the uncensored revised version (which they got from MXTX directly, it seems)!

The AD is absolutely fantastic, and if you're interested in checking out the revised version, I HIGHLY recommend it. It's easily my favorite adaptation, by far. This is an old guide on how to purchase + listen, but it still mostly works (you can purchase the entire season with google pay now too). Follow this for enabling EN subs (MTL). There are folks doing fanTLs, but those are not yet complete and still in the very early episodes as of now.

Additionally, there is a fan translation for a few select chapters from the printed revised version, done by Clearnoodle256. Though while yes, it's censored, the plot stuff and extra scenes are absolutely amazing. There's a lot of extra insight into Hualian especially, but also other characters like Lang Qianqiu! Check it out here!

If you'd like more information, I also made a twitter thread about the different versions, but it's similar to what I have already outlined here!

MXTX has said that both versions are just as "canonical" as each other, and fans are welcome to pick-and-choose aspects of both. Personally, I adore what I have seen and heard of the revised version thus far (though there are a few parts where I prefer the original ver). It doesn't feel like a whole new story, but more like seeing the same story with fresh eyes and getting a lot more details! It's very exciting to be able to somehow experience TGCF all over again! 💖

[fancy11schmancy]

Finally, after all this time, 1920’s AU Link’s Main outfit concepts are all done!!! It’s been a challenge traveling for work and having time to work on art, but I am slowly getting better at it! (Sorry this took so long ;;)

AU Main Summary:

Since travel has been restored between the light realm and the twilight realm, a newfound unity flourished between the two societies. New friends, new towns/cities to explore, never-before-seen technologies and fashions at their disposal- all seemed well...until nefarious rumors of a returning great threat started to spread... Brief Lore of Link’s Role In The AU: With the new alluring land of Twilight open for entry and for any and all visitors, Link jumps at the chance to visit the amber-hued and shadow-filled world as Zelda’s accompanying guard for the latest council meeting. What and who lies in wait for Link to meet in this parallel reality? A world far more alien and advanced than his own? Rumors of an ethereal beauty shrouded in shadow? ___________________________________________________________ Link, a kindhearted, brave and daring country boy, is ready to make a name for himself as Hyrule’s greatest explorer! He’s known across the land as the “one-man army” for being extremely adaptable and prepared for any situation at any time with his wide arsenal of tools at his disposal. Some may also call him the “evergreen mountaineer” being as there is no mountain or peak he cannot scale- and by the fact he is always seen donning his famous dark green field coat, cap and his pickax of legend. He always greets friends and acquaintances alike with a warm smile and a firm handshake with a hearty hello (or ‘howdy’) with a slight southern draw. (A trademark from those who hail from “across the field," the Ordon Region.)

With his natural talent for exploring and his insatiable hunger for discovery and adventure, he’s charted vast ancient ruins, several dungeons of lore, and has uncovered a fantastic array of numerous treasures on both land and sea. Because of this, he’s occasionally seen as a young, irresponsible and reckless lad, especially due to the extreme nature of most of his exploration missions and his tendency to throw safety to the wind. He may seem like a “lone wolf” most of the time, but he always manages to bring along his dear friend Princess Zelda (and sometimes Midna) for any excursion he may be heading on…but in secret, of course. If the King of Hyrule were to ever find out about the “dangerous” adventures he’s been dragging Zelda onto, surely it would not go well…. Besides adventuring, Link spends his time helping his adoptive family back in Ordon with their expansive pumpkin farm and raising goats that are for producing the finest of goat cheese known region-wide. Any other spare time he has is at the right-hand side of Zelda, helping her with daily royal errands, solving mysteries, or just going out on the town to a local pub or to a delightful picnic in Hyrule Field. When he is at the pub, he can be seen boisterously playing an array of instruments, ranging from drums, stringed instruments, and most notably, his Ocarina (a very cherished gift from Zelda). While Link may be a bit of a country boy, he is no less capable of assisting Zelda in her pursuits of solving the various mysteries popping up around Castle Town, often providing a unique perspective from being the most skilled survivalist around. Once Midna arrives on the scene, she often enables Link’s craziest ideas- bringing out his secret (or not-so-secret) mischievous side. However, Link absolutely loathes Zant, Midna's towering Valet, due to his arrogant nature and his occasional mocking of Link’s short stature.

[yurimother]

Yuri Anime Review - Whisper Me a Love Song Series Premiere

A delightful school romance that captures unfettered joy and attraction

2023 was nothing short of an incredible year for Yuri anime, packed with an astonishing lineup of new offerings, including Yuri Is My Job!, Stardust Telepath, The Vexations of a Shut-In Vampire Princess, I’m in Love with a Villainess, my personal favorite, the runaway success that was The Magical Revolution Of the Reincarnated Princess and the Genius Young Lady and of course the continuation and conclusion of the surprise Yuri sci-fi Mobile Suit Gundam: The Witch from Mercury. Whisper Me a Love Song has the unenviable task of following up and providing a cap on this unprecedented boom of Yuri anime. The adaptation of Eku Takeshima’s high school romance manga was initially announced alongside many of the aforementioned works. However, it ended up being delayed from its initial January debut for various reasons, not the least of which was the switch in directors from Xin Ya Cai to Akira Mano.

Further compounding the pressure on this series is the comparisons it will draw to Bloom Into You, one of the most beloved and well-received Yuri series of all time. Now, these comparisons are mostly unfair, as Bloom Into You had the mighty weight of Kadokawa’s marketing behind it, although, to be fair, Whisper Me a Love Song’s campaign has been no slouch. Moreover, the two series are very different, save for their shared high school setting and Yuri romance. Bloom Into You was a slow-burn romance that leaned into shounen drama, while Whisper Me a Love Song takes a noticeably lighter tone and incorporates more slice of life elements. It does not help that the Whisper Me a Love Song manga debuts the same year that Bloom Into You concluded its serialized run and would go on to replace the latter as the top Yuri series in many audiences’ eyes, and for myself, would go onto fill the same niche of an extended high school romance. All this is to say that the expectations around Whisper Me a Love Song are unreasonably mammoth. However, the anime’s debut episode assured us that we are in for a warm and harmonious display of young love.

The Welcome Concert

The show begins as Himari Kino (Hana Shimano) wakes up for her first day of high school. At a welcome ceremony for new students, she witnesses the light music club band, SSGIRLS, perform their song "Humming Love,” and the temporary lead vocalist, Yori Asanagi (Asami Seto), instantly enchants her. This scene catalyzes the series’ ongoing story and helps highlight some of the most critical aspects and features of this adaptation: the music and the animation. 

Whisper Me a Love Song does not set the world on fire visually, boasting animation that, at its best moments, can be described as “pretty good.” Yet, it does more than a serviceable job, smartly utilizing its resources and clever framing that keeps the viewer’s attention and makes the story easy to follow while saving on animation. There are some flaws, such as stiffer animation during dialogue-heavy scenes and the noticeable use of 3D CGI elements for background characters and objects, like flower petals. However, these do not distract from the narrative nor detract from one’s enjoyment. However there are positives as well to point out here.

For one, the series does a fantastic job with its lighting, applying generous highlights to characters’ faces and hair, enhancing their features, and preventing them from coming across visually as flat or simplistic. The frequent use of a light, soft background that bathes the subjects in a warm glow matches this choice, and they work together in tandem to help convey the anime’s light and happy tone. The anime occasionally employs this lighting to accentuate story beats, such as when Yori peaks through the curtain at the crowd, casting most of her body in shadow as she worries about performing in front of such a large crowd.

This welcome ceremony has noticeably different animation than the rest of the episode. Here, the members of SSGIRLS are injected with an electric sense of movement, playing their instruments with enthusiasm and energy that honestly felt jarring when compared to the more limited shorts of Himari reacting to the performance. Given its importance in the story and the fact that the anime reuses this scene for the opening theme, it is clear why the animation was given more attention and resources. However, and I am likely in the minority here, I actually dislike it for this reason. The heavily referenced footage stands out a bit too much, especially given that it is intercut with more straightforward static shots of Himari, creating a jarring effect that pulls focus away from the characters and their feelings.

The Musical Advantage

Where the series did not disappoint me is musically. In recent years, Yuri works have drawn more and more from musical-themed settings, including Hello, Melancholic!, The Moon on a Rainy Night, and Amongst Us, not to mention the myriad of “Yuri-ish” musical series. However, the apparent disconnect is that manga and webtoons are visual mediums devoid of sound and score. While some titles, such as  After Hours and The Guy She Was Interested in Wasn’t a Guy at All, mitigate this flaw by releasing companion playlists or soundtracks, it is not the same as incorporating the music into the product itself.

Here, Whisper Me a Love Song’s jump to animation truly adds to the experience, elevating it above its source material. Himari’s instantaneous infatuation is so much more believable when we, the viewers, can experience the music alongside her; her “loving” obsession with Yori made that much more real because we also hear the upperclassman’s performance, provided by Kana Sasakura’s wonderful singing voice. Studios Cloud Hearts and Yokohama Animation Laboratory are, of course, aware of music’s central role in the story and have done it justice, giving the fictitious SSGirls multiple chances to shine, not just in the episode itself but also in performing the opening theme, “Follow Your Arrows.”

Returning to the episode, after the welcome ceremony, Himari runs into Yori and begins to fangirl over her, confessing that she “fell in love at first sight.” Yori is stunned by this sudden confession and taken with Himari’s cuteness and openness. After confiding in her bandmates, she realizes that she has fallen in love, much to the other’s delight.

Supporting Characters Steal the Show

These conversations are excellent, as they give us the chance to get to see more of the series’ other characters. Like the original manga, Whisper Me a Love Song has a terrific supporting cast that adds to the humor and drama. Each of the other characters has a striking, unique design and personality that helps them stand out, like the drummer Mari, who is slightly more stoic and comes from a wealthy family. She is contrasted well by the playing keyboardist, Kaori, who often flirts and teases Mari. Siblings Miki and Aki act as the best friends of the lead characters, usually providing them guidance and encouragement. Each girl excels on screen thanks to some stand-out writing and performance. While each is different from the others,, they all have one unifying characteristic: their encouragement and excitement for Yori and Himari, which is infection, making us want to root for them, too. The lone exception is Aki, who herself harbors feelings for Yori, which will come into play in future episodes.

I like these supporting characters even more than I did in the manga, thanks in no small part to Minami Yoshida's fantastic work adapting Eku Takeshima’s characters to the screen. They capture each character perfectly; Himari is cute, ditzy, and full of adoring exuberance. Yori’s appearance portrays her as cool and elegant, but her movements and posture help convey her more anxious and apprehensive nature. And, of course, each of their friends is striking and memorable, and their depiction matches their personality. For example, Mari is prim and proper, weaning her uniform and hair unadulterated from modification and maintaining a hardened, no-nonsense expression. However, Kaori has a more rounded, goofier face, complete with a dopey smile and a bright yellow hoodie, betraying her more playful personality.

Rooftop Romances

The episode's high points come in its second half, two scenes on the rooftop with Himari and Yori alone. The first begins with Yori singing as she thinks about Himari and her confusing feelings for her, while unbeknownst to Yori, Himari walks upstairs thinking about Yori’s singing. It is an excellent reflection of the central conflict these two will face in their upcoming “romance,” the fact that their feelings of love for each other are different, with Yori’s being a more mature romantic attraction and Himari’s a child-like obsession for the older girl’s singing.

Put plainly, it is beautiful, showcasing the best singing we hear from Yori, a light, melodic hum, and some of the best emotional work of the episode as she makes sense of her feelings. Unfortunately, this scene also showcases Whisper Me a Love Song’s weakest aspect, its pacing.

The rhythm of the manga was already a frustrating issue, as it both fussed about with little for extended stretches and introduced and resolved conflicts with little time for rumination or exploration. This issue is only exacerbated by the anime’s truncated story. The first episode alone covers two and a half chapters of the manga and sees Yori change her emotional state about a half dozen times, first being anxious about singing, then confused by her feelings for Himari, then realizing she might be in love, confessing that love, feeling the embarrassment of her misunderstanding, and at last confirming that she is in love with Himari and vowing to make the other girl recognize and reciprocate her feelings. It is less of an emotional rollercoaster and more of a rapid, rambling barrage of issues and feelings that have no time to breathe or create any real impact in the story. I wished they had spent a few episodes playing out this arc, letting Yori slowly come to terms with these new feelings of love for Himari and working to overcome her trepidation surrounding them.

After plotting with her friends how to make Himari fall for her, the episode ends as Yori walks up to the roof to find Himari already waiting for her, a nice flip on the previous rooftop scene. There, Himari requests Yori sing for her, which she does. It is an exceptional sequence. The characters' feelings and differing attractions for each other come across so clearly. Himari is so visibly excited to hear Yori sing, and the older girl has such a wonderful mix of cool and collected affection and awkwardness that you cannot help but smile while watching it. Both girls have such a warm, gentle, and loving disposition, perfectly matched by the soft orange sky and quiet, empty rooftop. As Yori sings, the perspective shifts and employs some scenic Yuri, focusing on the sky and indirect views of each character until finally settling back on Himari’s blushing, glowing face from Yori’s perspective, a perfect encapsulation of the adoring girl that she has fallen in love with.

Conclusion

I am so happy with Whisper Me a Love Song. The anime did everything it needed to, from maintaining the manga’s fun, light tone of young love to adding excellent music that helps you understand how these characters became drawn to one another. It has flaws, with middling animation quality and an unfortunate dedication to the poor pacing and speed of the manga. Nevertheless, these do not distract from an overall adorable and fun experience. Most importantly, the anime nails the excitement, affectionate, and intense joyfulness of its two characters and their love for each other. I cannot wait to enjoy every second of their relationship and confidently declare that this Yuri series is an easy recommendation, untainted by the usual list of qualifications or warnings I am usually required to make. Whisper Me a Love Song is just a sweet, simple, and delightful school romance that you should absolutely watch. 

Ratings: Story – 8 Characters – 10 Art – 6 LGBTQ – 9 Sexual Content – 0 Music – 7 Final – 8

You can stream Whisper Me a Love Song with English subtitles on HIDIVE.

This review is made possible by Avery Riehl and the rest of the YuriMother Patrons. Support the Patreon today for early access, exclusive content, and to help fund LGBTQ+ content.

[professorhayforbreath]

my blog probably gives the impression that i think the show is bad as a whole, but the reason this show frustrates me so much is because it's definitely NOT 100% bad

like... the movies are bad adaptations. everyone knows it. they have some great moments (an embarrassing amount of which are better than the show lol) but overall they are widely considered blatantly bad adaptations. it's easier to make peace with that

the show, however, is far less consistent and i find it much more difficult to wrap my head around. there are parts that are bad and i'm happy to say that with my chest, but underneath numerous questionable-at-best writing choices, there are glimpses of really, really good stuff. the first few episodes had so much promise—percy burning blue jellybeans and praying to sally, the consensus song. these are brand new additions but they're good, they capture the spirit of the story and characters successfully

and sprinkled throughout the rest of the show are other strong choices! for example in the last episode i really liked that they set the betrayal scene during the fireworks, it created a fantastic ambience. i liked that grover left camp at the same time as percy and annabeth so the three of them got to part ways as a trio on half-blood hill

there are good changes being made, but they're almost all small in the grand scheme of things. in my opinion, the bigger, more consequential things are where they missed the most marks, and that prevented me from fully enjoying the show as a long time book fan

when it comes to writing nothing frustrates me more than wasted potential. mediocre writing is one thing, but mediocre writing that could have clearly been so much better is INFURIATING. i don't dislike the show because i wanted it to be a 1:1 recreation of the book, i dislike it because it's just okay when it could have been great. it so EASILY could have been great and i don't get why it's not. a lot of the writing choices are just baffling in their mediocrity, and sometimes technical weakness, when compared to the well written and effective source material. i wish i could have been a fly on the wall in that writers room when they were making some of these decisions, seriously

the cast is phenomenal. their budget is more than sufficient. they marketed it as a "redemption from the movies", as the adaptation that would finally give fans book accuracy. and the show we got is... fine. it's all right. it's not all that book accurate even though it was advertised as such. there's plenty to like but it comes hand in hand with plenty to dislike. it's only natural for people to be disappointed

i know my critiques can come off as venomous but please never mistake my harshness as hating for the sake of it. i adore the original pjo books so i really wanted to adore the show as well, but unfortunately i can't get there yet. "yet" being the key word because there's still plenty of time for this show to pick up the slack, and for that reason i'm glad it got renewed. i don't have the most faith the writers will listen to the feedback but i'm rooting for them to prove me wrong

[simonbreeze]

Time to visit the grim, dark of the Black Library once more with a Tyranid invasion story, Leviathan.

'The dream.... it is a portent... of the end.'

A decorated Lieutenant of the Ultramarines recognises the signs of an imminent Tyranid attack and launches a desperate counter-offensive to save Regium, a proud Imperial world.

I didn't find this story as entertaining as I was hoping for. With the book being tied to the 10th edition launch of Warhammer 40,000, I guess I was hoping for.... more.

The writing is good, however the characters and the story felt lacking scale and depth. One element particularly really niggled me. The Tyranids from hive Leviathan in the Warhammer 40,000 universe have evolved beyond other Tyranids and therein is the rub. I expected the Tyranids on this story to be like the raptors from Jurassic Park, outsmart in the humans in ways that they hadn't considered and being really clever and terrorizing and something to actually fear. Instead, what we got was 'dumbed-down' Space marines being out maneuvered by Tyranids consistently throughout the story. There's even a scene where the Tyranids went left instead of right and the space marines always assume they go right, to make if worse, there's scenes before this happens where it's been established by the Space Marines that the Tyranids have adapted and evolved are using new strategies and tactics. But, belligerently the Space Marines still continue doing the same old same old and the constantly surprised and caught out by the Tyranids. I found this element really frustrating to read, and it is a shame, because the rest of the stories okay, and there are some interesting characters. If you want to read a good Tyranid story, go grab a copy of The Great Devourer. It's a fantastic read, and it's one of my favorite Warhammer 40,000 books - it leaves this one in the dust.

⭐️⭐️⭐️

[theflikchic]

Hey, is your mind boggled by Trump's constant yapping about Hannibal Lecter? Never seen Silence of the Lambs and are invested in the trainwreck of American politics? Well have no fear. In their most political post yet, a Canadian whose special interest is The Silence of the Lambs (aka me) breaks down Trump's misunderstanding and obsession with Hannibal Lecter.

Basically, we have three major points:

1) Hannibal is coming across the border because the border is weak. Hannibal is bad.

2) Hannibal is a great actor, now dead, he eats jerks, and one time, he said he liked Trump. Hannibal is good.

3) Hannibal is currently in America. Which is bad because every mentally ill person in America could be Hannibal. Hannibal is bad.

What Trump has not mentioned is the jerks Hannibal eats (this is important). Specifically, the version of Hannibal Trump is referring to is Anthony Hopkins' Hannibal in Silence of the Lambs. However, Trump has never said Hopkins' name, just the name of the movie movie. He knows it's a movie but somehow has not ever acknowledged that Hannibal is fictional, implying that a) he thinks everyone knows the name of the actor who played the Hannibal he's talking about (only in a perfect world, D-man) or b) he thinks Anthony Hopkins is Hannibal Lecter (soooo who does he think Mads Mikkelsen is? my mother asks).

Trump is clearly trying to make a metaphor with points 1 and 3. People like Hannibal, not Hannibal himself, are stalking America: immigrants and mentally ill people, sometimes both which is the scariest of all and which Hannibal canonically is.

However, because Trump never specifies a difference between Hannibal and Hopkins, it appears that he doesn't realize Hannibal is fictional at all and really does fear that he's either in America or coming to America to eat people. And yet, he keeps praising him? Why? Especially he's so scared of him, or the ideas he represents and is meant to represent so that we actually simultaneously fear and humanize him through the film's epic protagonist Clarice's eyes while Chilton hates him.

Let's talk about Chilton. In Silence of the Lambs, if you haven't seen it, Chilton is an abuser. He's the man in power at the asylum where Hannibal is. He is intended to be perceived as ableist, self-centered, and misogynistic (something more *ahem* modern adaptations I think have forgotten). At the end of the movie, Hannibal kills Chilton off-screen as revenge and it's...fantastic. It's meant to be.

Although Hannibal is a rich, white, cis man (definitely not straight though, I headcanon bisexual) and although he does horrendous things in this film (I cannot stress enough how disgusting he is), he is still being abused for his mental state. So him killing Chilton is basically the audience being put into the shoes of a revenge fantasy while the abused never learns his lesson of what it's like to be on the other end of that ableism (Hannibal isn't kind about his own patients he had when he was a psychiatrist). Trump recognizes that the ending is meant to be great. He praised Hannibal recently for it. But here's the thing: Trump is Chilton.

He's a misogynist, a preener, and importantly: someone who fears foreign mentally ill people and uses that fear and claim that only HE has the power to control these people to win votes and attention (Chilton does this, resulting in the iconic mask scene you've probably seen pictures of). But again- explicitly- Trump praised Hannibal for killing Chilton. So this leads to two theories that lead into two more theories:

1) Trump is secretly self-aware and knows deep down he's Chilton. But he pretends not to be so he praises Hannibal for killing him because, well, Chilton effing sucks.

2) Trump has no self-awareness and just feels the undertones of that epic final pun Hannibal says (and yes it's Hannibal's final line in the film) so he quotes it because he thinks it's cool and has no friggin clue what's really happening in the scene (this is the most likely theory imo).

Trump has also taps into Chilton by referring once to the Baltimore State Hospital in the film as a "mental hospital on steroids" (which he again recently said to describe irl asylums). He uses this as fear-mongering, to explain to Americans why asylums are necessary and why they should fear the borders being open: asylums are needed to keep these dangerous mentally ill people inside and they're ALL like Hannibal so when they're released...where do they go? In your neighbourhood.

Yet, he seems to love that damn final scene.

So again, Trump is aware it's a movie. But he still doesn't seem sure that Hannibal isn't a real guy. Chilton would never praise Hannibal so why is Trump?

And why the late great stuff?

Hannibal doesn't die at the end of the film and if you consider the 2001 Sequel That Shall Not Be Named canon (I don't), he doesn't die there either! So why all the warnings and then praising? Here are my next two theories and both could be true at this point:

1) Trump seriously does think Hannibal is a real person and that he and Anthony Hopkins are the same person. So he flops back and forth because he gets scared that Hannibal will come and eat him if he criticizes him too much. Thus, he says "he's great".

2) Trump genuinely has no clue what "the late great" actually means in the English language. I'm serious. He keeps saying "late great" because it sounds good, not because he knows what it actually means.

To top it all off, Trump covered all three of those points in the exact same speech. Plus, I don't think Anthony Hopkins has really ever endorsed Trump. He did an impression of Trump on TV once back in the 90s (he's good at impressions, autistic king) and I seriously think THAT'S what Trump is thinking about.

So what does this all mean? What's the grand conclusion?

Uhhh... I dunno. Trump saw Silence of the Lambs, and it scared the everloving shit out of him but he doesn't want to admit it and now America is in hell because he thinks Hannibal's gonna kill him? He thinks everyone is Hannibal now? That's all I got. I'm honestly surprised he hasn't roped Buffalo Bill (the other villain of the movie) into this what with America's current transphobia and all (please God I'm begging, don't let him bring Buffalo Bill into this).

Uhhh...if you read this far? Thanks. This is how I cope. All I gotta say is if you have the stomach, watch The Silence of the Lambs. Seriously, do it. Watch it chunks if you have to, sound down, with the lights on, in a safe place, any way you want to. I wish it was more palatable for people because it's a very important film, for better and for worse, and criticizes a lot of bullshit happening in the West right now. It's still very relevant...even if now for the wrong reasons (Trump).

[burningvelvet]

Quickly and poorly reviewing and ranking adaptations of Jane Eyre (1996, 1997, 2006, 2011) by their pros and cons:

1996 pros:

Best fire scene, easily. It actually gave me that excited feeling that good cinema gives a person. Much of the cinematic art was enjoyable altogether, including the costumes.

This film probably has ond of the best Bertha's in my opinion. She's truly sympathetic, beautiful, and fierce. probably tied for my favorite Bertha actress with 2006. She and Poole are given little time in the story, however.

Most adaptations shit on St. John. Here, that isn't the case. What little time he has is spent in making him much more appealing than I've ever seen him, both physically and characteristically. I like this, because many forget that Jane did love him in her way, and he is supposed to be attractive and nice despite his zealotism.

1996 has the best Adèle, which is amazing for me as a big Adèle fan. There is more focus on her and her relationships with Jane/Rochester. I particularly love the scene where J draws R and Adèle tries to play cupid a little, and when Adèle is offended when the ladies insult Jane.

Best Lowood plot by far. This is the first time I've been able to stand the Young Jane scenes, and little time was devoted to her early life with the Reeds, just enough to let us know she was abused. I like this choice. The young actresses playing Jane and Helen were the best and most rebelious I've seen yet. Their hair cutting scene brought tears to my eyes, which rarely ever happens for me.

Good Blanche plotline. I absolutely love the cinematography/aesthetic & set design.

1996 cons:

the actors are individually endearing in some ways (the scene of Jane and the mirror is particularly touching, as is their reunion). However, The biggest downside to this adaptation is that the chemistry between Jane and Rochester was lacking in my opinion. this is particularly notable in their meeting scene and first proposal scene.

William Hurt is a fantastic actor, and he's likeable, but he's not my favorite Rochester ever. He's alright. On a rewatch I could see myself warming to him more.

I love Charlotte Gainsbourg more for her music than her acting. Granted, she was young here like Jane is supposed to be, so I do not blame her. Visually, aside from her height, I can absolutely see her as Jane. As the film went on I warmed to her acting style; Jane Eyre is a hard role to perform due to her inwardness. I don't think she was horrible, but Anna Paquin (of later True Blood fame) as Young Jane Eyre somewhat outshined Gainsbourg.

I was disappointed in Adèle being sent away to school before the disaster and her not coming back in the end (why couldn't they have had her running with Pilot in the landscape shot!!!).

1997 pros:

Maybe the most accurate Jane and Rochester. I wasn't expecting to like him at all but he blew me away. excellent chemistry between the actors. The dancing scene was very captivating, as was the scene with him jumping from the walkway, their outdoor talks, him chasing her down the stairs — really, I was impressed, because I thought I'd hate this film. Like in the novel and in 96, both actors are a bit conventionally unattractive (well, compared to 11 and to some extent 06) - and like them, the characters grow on you.

BEST ST. JOHN (although 2006 has the best Rivers sisters) - St. John is described as being nice though serious, and looking like a statue of a Greek God with all the coldness AND beauty - and this movie is the only one who relatively understood that assignment (96 came close emphasizing his niceness). Most adaptations adapt his coldness but not his conventional Eurocentric good looks, which not only symbolize his colonizer attribute but also his appeal to Jane and the others. It's also important to have a conventionally handsome actor play St. John just as it's important to have a conventionally less attractive Jane Eyre because one theme of the novel is the critique of Victorian physiognomy & beauty; Jane/Rochester being unconventionally attractive is a contrast to Bertha, St. John, Blanche, Georgiana being attractive, so I think this element is not inconsequential. The difficult part is that beauty is highly subjective, so relying on conventional standards is key, as is the reminder that Victorian standards were a bit different from our own.

good Lowood plotline, good Gateshead plotline, fantastic Adèle with lots of adorableness & miraculous though OOC bonding between her and Rochester, fantastic costuming (though I don't know about accuracy), good Blanche plotline overall. Probably my favorite Bertha plotline for being sufficiently creepy.

1997 cons:

this isn't really a con for me but many people may dislike 97 Rochester for being passionate to the point of coming off crazy, and physical domineering as when he grabs Jane when she tries to leave — however, this does kind of fit for canonical Rochester & I don't mind it since he's supposed to be that way, but this is still arguably a con nevertheless. he does come off as too forward but i get they were trying to capture the whole overpassionate thing. it does come off as a little more toxic than other depictions perhaps!

I have very few complaints overall. I don't think the chemistry is as appealing as 2006, but it is accurate. I wish there was more Adèle, but you can't have everything.

The posters are bad and make the actors look worse than they are which subsequently turns people away. I think 1996 was marketed a bit better but that 2006 also suffers from bad poster syndrome which had an effect on me also. Presentation is important; marketing and advertising are also important in cinema. The aesthetic isn't as good as 1996 although I don't think the visuals are bad overall.

Jane is a little dissociative seeming, which can be off-putting for myself and other viewers I assume, but to be fair she is described as being like a weird little elf creature in the book, and the actress plays this very well, actually looking quite ill when Rochester asks if she is.

2006 pros:

Best chemistry between Jane/Rochester by far and for this reason will always be my favorite because it actually made me fall in love with Rochester in the end though I didn't like his portrayal at all at first (that's power! — and my love for this Rochester should arguably be a con for the sake of my sanity and pride). best Rochester imo and a fantastic Jane. I love love love the way they did the Rochester storytime flashbacks and fleshed out his character as a result.

Best and most enjoyable Blanche Ingram plotline by far (although no one likes the lack of Rochester-in-drag, the party scenes & insertion of the twin flame theory was delightful).

some of the best dialogue, fantastic Adèle plotline, good Bertha plotline, best Pilot, best Rosamond, good costuming, good sets/locations (the fairytale ambience of Jane walking outside before meeting Rochester! Rochester's weird study!), I like the extra focus placed on themes such as nature/genetics/science, religion, travel, sexuality, etc.

2006 cons:

I dislike the way they did the Lowood and Gateshead plots, and although the Rivers sisters were good, I resent their St. John plotline for the most part. I disliked the lack of mystery surrounding Bertha; I think they made it way too obvious & not creepy enough, especially in showing her perspective from the window and giving her lines (one line, calling Jane a whore in Spanish) which no other adaptation does. I was sorely bored before and after Thornfield and only really revived when she got back to Ferndean (although Jane's flashbacks and some of the St. John plotline [the references to love, reminding us of her inner thoughts of Rochester] kept me alive). I suppose there were prices to pay for the excellence of the Jane and Rochester moments. - in comparison these seem like small prices, but still!

2011 pros:

deciding to go with a non-linear structure was a fantastic choice though I was skeptical of it at first, good St. John plotline for the most part & which they put emphasis on, really fantastic Jane with a lot of good fierce moments & lines, maybe the best Gateshead plotline including Mrs. Reed & the Red Room scene (although the lack of red was disappointing, and the lack of explanation for the chimney monster is conflicting – was it all in her head?), good young Jane, one of the best Richard Masons, star-studded cast, good dialogue, maybe the best costuming, Aesthetic™️

2011 cons:

least favorite adele (not insulting the child actress, this is the fault of the writers/directors)

— this is where i call security to protect me from an onslaught of jane eyre 2011 fans here on tumblr. alright, maybe i should watch it again — but i was expecting a lot more. particularly from michael fassbender as mr. rochester. probably my least favorite rochester by far & the least sympathetic. this rochester captures the dark and dangerous part of him but imo not so much the higher feelings that define him. the lack of humour & lack of unrepressed passion/drama/rage is noticeable - rochester isn't supposed to be quiet; as toby stephens (2006) said in an interview, rochester never shuts up in the book, he's really too eccentric to even be adapted accurately; he has to be toned down to be realistic, but here he's muted too far. - i felt like mia was carrying all of their scenes on her back & that the chemistry really rested on her primarily.

Cinematography-wise, there are some gems in the stills (famous hand holding gif), but I dislike the overall muted palette of the film; many will think this suits the tone and in some ways I agree, however, I will always prefer color and dislike the epidemic of desaturation we've seen so often in 21st century cinema. For this reason, 96, 97, 06 all triumph against 2011 aesthetically for me personally, although I still recognize some of the artistry of 2011, it is not my preference.

My overall ranking: 2006 (primarily for Jane/Rochester), 1997 (excellent overall), 1996 (good but flawed), 2011 (I tried but overall did not enjoy it).

[leer-reading-lire]

Last read:

Title: Dracula

Author: Bram Stoker

Illustrator: Edward Gorey

Number of Pages: 427

Rating: ⭐️⭐️⭐️⭐️⭐️

First published: 1897

Read: 3 May – 27 November 2023

Thoughts: 

I finally got around to re-read this novel! And I couldn’t have done it without Dracula daily and everyone in Tumblr commenting the story and sharing their art. 

I loved the experience of reading along with so many people and their posts about it always gave me food for thought. It truly made my reflections about the book richer. 

The first time I read this epistolary novel I was fifteen years old and since then I had forgotten many important plot points, as well as some characters. However, I remembered that I had loved the story, and I was fascinated by Mina Murray and Jonathan Harker. Mina was my favorite character and, back then, my favorite suitor was John Seward, followed by Quincey Morris. 

I definitely appreciated reading the letters and diaries’ entries in chronological order. I think it may be the better option for a first-time reader.

This time around I felt Jonathan’s terror, hopelessness, and desperation. I was genuinely moved by his trials and tribulations when he was held prisoner at Dracula’s castle.

I loved the voyage of the Demeter because I could feel the anxiety and fear of the sailors. The whole journey was nerve-wrecking.

A character that took me by surprised and completely won me over was Lucy Westenra. I’m angry in her behalf for all the horrible adaptations that portray her under misogynistic lights. A particularly terrifying scene for me was Mrs. Westenra’s death. And when Lucy died was heartbreaking. 

The part with the Bloofer Lady was intriguing. Here I have to say that while I had overlooked Arthur Holmwood in my first reading years ago, this time I got to appreciate his character and I could clearly see why Lucy had chosen him. He was so kind and loved her very much. They were so in love and eager to start their live together, it was all so tragic. 

Likewise, I’m in awe for John Quincey, Arthur Holmwood and Quincey Morris’ friendship. The affection that the three friends had for each other is hard to miss. I was astonished by Stoker; all his depictions of masculinity are something else. Specially, in Jonathan’s case.

Abraham van Helsing annoyed me and frustrated me for most of the time that he was on the page. I think I only warmed up to him in the final part when he and Mina traveled to Dracula’s castle.

Mina was extraordinary! I loved that she liked to ask about ghost stories, and she was so smart, organized and kind. I’m particularly keen on her hyperfixation with train schedules. 

The whole scene when Dracula attacked Mina was appalling, truly nightmarish and gruesome. I can’t for the life of me figure out why there are so many adaptations and (fan)fiction where they’re presented as a romantic couple! In my opinion, romanticize abuse is nauseating.

In general, I think pop culture has failed both Lucy and Mina and they certainly deserve better. 

The last section where the whole gang finally comes together; they miraculously stop keeping information from Mina (as they obviously should have done from the beginning); and they work together to defeat Dracula is very exciting! 

The ending was gratifying in many ways, although of course it was ultimately bittersweet. 

This is a fantastic book, extraordinarily well written and full of adventure, fright, suspense, anticipation, mystery, and action. It’s without a doubt one of my favorite novels ever. 

[marvelmaniac715]

David Tennant has been involved in/can be linked to practically everything I study in English aside from the poetry and it is starting to scare me:

Okay, SO. For reference, I have studied the following in English Literature since the beginning of high school (I am now in college):

A Midsummer Night's Dream

Romeo and Juliet

Much Ado About Nothing

Of Mice and Men

Macbeth

Measure for Measure

Atonement

Hamlet

Here is how David Tennant connects to each one in a terrifying way:

A Midsummer Night's Dream - he once portrayed Puck (performed one monologue as the character) as part of a show about Shakespeare

Romeo and Juliet - he played Romeo

Much Ado About Nothing - he played Benedick in a fantastic production that had Catherine Tate as Beatrice

Of Mice and Men - he was George in a BBC Radio 4 adaptation of the novel

Macbeth - he was the title role in a radio version of the play that was required listening for my class and he went on to play the role live on the West End just last year

Measure for Measure - I had to dig deep for this, but years ago he portrayed Angelo for just one scene as part of a six part documentary about the impact of Shakespeare that has now been lost to time, however I did find footage of his scene and pictures

Atonement - in the film adaptation of Atonement, Benedict Cumberbatch plays Paul Marshall, and he went on to cameo as Satan in Good Omens, which stars David Tennant as Crowley

Hamlet - he played Hamlet in both a filmed performance and live on stage, with the real skull of Tchaikovsky who donated it so he could be featured in Shakespearean productions after he died (just a fun piece of trivia), additionally, the skull was traditionally only used in rehearsals so as not to distract the audience with the presence of a real skull, but David Tennant insisted on using the skull in live performances

So there you have it - when I graduate college, I must personally track down David Tennant and shake his hand as thanks for his extensive involvement in my studies.

[dropintomanga]

I Saw the Live-Action Blue Period Movie

This past weekend at Japan Society NYC, I got a chance to see the live-action adaptation of Tsubasa Yamaguchi's critically-acclaimed manga, Blue Period, a month before Japanese theaters are showing it. As someone who hasn't read the manga beforehand, but knew the premise, I wanted to see why this series is beloved by a lot of fans, especially those who have been through art school.

The movie captures the 1st major arc (Volumes 1-6) of the series. I was impressed with the portrayal of the main character, Yatora Yaguchi. He totally gave off the vibe of someone who's just going along with the flow until the world of art comes into his life. Ryuji Ayukawa left an impression on me as well. I thought his relationship with Yatora was fascinating as both have different personalities on how they view life. Yotasuke Takahashi was great in the film. He had a lot of audience reactions from the crowd at certain moments because he's quite a bit of a tsundere. I don't have much of an opinion on Maru Mori, despite her being a prominent influence on Yatora. However, one of her paintings that involved prayers looked fantastic on screen.

I did read all of Volumes 1-6 afterwards to compare and contrast. A lot of the information about art styles and techniques was cut off from the movie, so the story became even more of an emotional story. I love how grounded the movie is and while there were some CG effects in the movie, they were minimal. I liked how the movie made the process of getting into a top-tier art university intense as hell. It helps that Yatora's inner monologues about himself and the process are so well-portrayed by Gordon Maeda, the actor who plays him. The scenes where you see the actual art process during the manga's important art moments are impressive as well.

Even though some character plots and portrayals were put on the back seat, Blue Period was a fun movie to watch. I did almost tear up at certain moments because I have at times wanted to just follow the expectations of others to feel safe. But I felt life became exciting and full of meaning once I decided to choose how I wanted to live. Sure, I may not be rich and life is sometimes hard as hell, but I feel like I'm living a life I'm okay with. Plus, even though it may not be contemporary art, manga art has had quite the influence on my life. Manga art has compelled me to think a lot about life and the relationships that definite it. Although I never wanted to draw, I realized how much I wanted to talk about the medium's stories to a lot of people I know. I also understood why former art school students love Blue Period so much.

I know a good amount of live-action adaptations are hit or miss, but I can tell you this one is a hit due to how real the story and themes are. If you're a fan of the manga and the movie comes out in your area, this is worth a watch.

[themattress]

The Brilliance of Sailor Moon Cosmos

Because I watched it on Netflix last night and I'm sorry - I ain't done talking about it!

First off, some background: the Stars arc is the fifth and final story arc of the Sailor Moon manga. According to Naoko Takeuchi's editor, things in the worldbuilding such as the Galaxy Cauldron were a thing in Takeuchi's head since starting the series, and that he was the one who convinced her to make the Stars arc to wrap things up after she initially intended on ending the series at the fourth arc (which was after initially intending to end it at the third...and before that, the first. The second arc was the only one not designed to potentially be the end, despite half of it ironically transpiring at a later chronological point than the other arcs).

Naoko Takeuchi served as the supervisor of the Sailor Moon Crystal web series, which became the Crystal: Infinity TV series, then the Eternal film duology, and finally the Comsos film duology. One particularly cool thing is that Sailor Moon Crystal begins including this shot:

It's the Milky Way galaxy....and Sagittarius A is very noticeable, setting up the end stage from the very beginning, which shows Takeuchi was dead set on adapting the entire manga.

What the preceding Dream arc, adapted in the Eternal films, did perfectly was set things up for this final arc. Things appeared to come full circle as the Sailor Senshi faced an evil queen nemesis to the Silver Millennium that predated Beryl and Metalia, the source of Mamoru's power and connection to Usagi's power was revealed as the Golden Crystal (Golden Crystal and Silver Crystal, Golden Kingdom and Silver Millennium...perfect symmetry!), the Inner and Outer Senshi were fully united, Chibiusa came into her own, and the goal Usagi's had for a while of reaching Neo-Queen Serenity's level finally transpired with her becoming Eternal Sailor Moon, with a heavy emphasis on how it's her loved ones who give her that power.

The end message seemed to be that nothing was more invincible than a Sailor Senshi.

So how does the final arc begin?

An evil Sailor Senshi rips out Mamoru's Golden Crystal, and he fucking DIES!

Oh, wait, sorry; that wasn't how it begins. It actually begins with a meteor shower.

Sound familiar? Well, no, not if you've watched Crystal sadly. But in the manga:

It's a way of saying "Oh, you thought the Dream arc brought things full circle? Just wait."

Now, I didn't care for the Sailor Starlights in the manga. I didn't hate them like in the anime, but I didn't really see the point of them. They were primarily build-up to Princess Kakyuu's character, and there's nothing they did that couldn't have just been given to Kakyuu if she was out and about from the beginning. However, I actually liked them in Cosmos! I think getting to hear their voices in things like their songs plus getting fully animated facial expressions did a lot for them, as did the big change in how they ultimately get taken out. In the manga, they were knocked unconscious by Sailor Lethe and stay that way even as Sailors Phi and Chi eliminate them to take their Sailor Crystals. In Cosmos, they are awake and take an active last stand in protecting Kakyuu, reaffirming that this is their life's mission and that they are proud to fulfill it. It's a stronger send-off and a far better emotional moment for Kakyuu, who now has to watch them die for her rather than simply watch them die.

Chibi Chibi is a fantastic subversion of expectations. She enters as a little pink-haired child from the future with an umbrella, which gives even the characters the impression that she's a Chibiusa retread of sorts. In reality, she couldn't be further from that, as we will later see.

So, Rei and Minako are absolutely a couple. I just can't take this scene any other way.

Another interesting thing to note about the Dream arc in relation to this one is that Usagi, quite deliberately, did not have much of a character arc. Chibiusa took center stage instead, with Usagi's role being more about proving how much she's matured and cementing that, in the words of Kingdom Hearts, her friends are her power. It perfectly sets her up for now, where she has a character arc that shakes her to her core and puts everything that she is to the ultimate test. Those friends are gradually and methodically taken out, starting with her true love. She actually represses that memory and lives in a haze of denial for a good while before finally being forced to confront reality. All of the strength and maturity she's developed seem to be failing her, her hope and faith are threatening to be crushed, and she is tempted to give in to feelings of rage and hate toward Sailor Galaxia. It's all as Galaxia herself plans, as she knows that to claim the Silver Crystal from Sailor Moon, first she has to break her.

Sailor Tin Nyanko of Shadow Galactica is utilized to show how the Sailor Animamtes aren't evil at heart. When Sailor Galaxia attacks their planets, she gives them the sadistic choice of perish with the rest or assist her in destroying everything, with those who accept having mind-controlling bracelets that grant them power put on and their Star Seed holding their soul extracted, meaning that if the bracelets go, so do they. Nyanko is the only of the Animamates that still feels a connection to her soul and still has good intentions behind following Galaxia: to ultimately get her Star Seed back and the bracelets removed, and become the new Sailor Mau on a new planet to honor the memory of the old one and her old planet. After seeing Sailor Moon protect Luna, Artemis and Diana, she lets her live...at the cost of her own life.

My favorite of Takeuchi's story arcs, the Black Moon arc, gains even more relevance in this final arc. First of all, we have Usagi still haunted by Safir's words that she and her Silver Crystal are the cause of everything wrong, which is a sentiment that goes hand in hand with Nehelenia's words in the preceding Dream arc about how light will always beget darkness.

We then get a huge fix to an issue from the previous two arcs: the Black Moon arc set up a definitive future where everyone makes it out OK, so the stakes of the Infinity and Dream arcs feel neutered when you remember this. But here, Sailor Galaxia point-blank challenges the notion that the future is set in stone...and indeed, what we see transpiring in the future shows that she might just be on to something, a theme that is revisited with Chibi Chibi's character.

And finally: Wiseman / Death Phantom! The series' best Big Bad returns with a major role in Sailor Galaxia's backstory. Projecting himself from the future with the Malefic Black Crystal's power, he is the one who guides Galaxia to the Galaxy Cauldron...and, of course, to Chaos.

While both Eternal and Cosmos do the same thing of dividing the manga arc in half, with the first movie being the first 5 and 1/2 chapters and the second movie being the next 5 and 1/2 chapters, Cosmos does it better. Eternal had to close out its first film with the second half of its 6th chapter and open the second film with the first half, which made it feel a little disjointed and caused the first movie to end rather abruptly. Cosmos, meanwhile, has its first film just end on the first half of its 6th chapter, which is a way more appropriate place to finish given that it follows a battle with Sailor Galaxia herself and has Usagi firmly rediscovering her heroic resolve, cutting off just before she and her new friends leave Earth to go into space.

I love Sailor Lethe and Sailor Mnemosyne. They have a sad and understandable backstory regarding how they joined Shadow Galactica and what they seek to gain from it, the compellingly tragic factor of Lethe hardening her heart and bloodying her hands all for Mnemosyne's sake with the latter having to anguish over this, and a great redemption with Mnemosyne finally stepping up to stop Lethe and undo the damage she's caused which is shortly afterward followed by the previously stubborn Lethe finally standing down after Usagi is willing to allow herself to be killed in order to secure a better future for them. I also love that after they are killed, they are included in Usagi's flashback to all of the friends she has lost.

Sailor Heavy Metal Papillon is the definition of a One Scene Wonder. She's only on screen for two minutes, but my God: the butterflies in a funeral procession, the graveyard of all Sailor Senshi that Shadow Galactica has killed, the gravediggers she has digging fresh graves for Usagi, Kakyuu and Chibi Chibi, the way she fucking crucifies them and then tries to burn them alive all as she relishes it....it's simply unforgettable. But OK...she goes out like a bitch. One-tapped by the Sailor Quartet doing a circus routine kind of puts a damper on her overall.

The Inner and Outer Senshi as mind-controlled zombies is a twisted but perfect penultimate hurdle for Usagi to overcome: can she kill her precious friends, the source of her strength? But I will admit to groaning when Mamoru showed up as well. "Whaaaat? Tuxedo Mask is brainwashed and evil!?" Haven't seen that before! No, wait, we've seen it twice before! It's no longer effective. He really could have just stayed vacantly at Galaxia's side and not said a word before getting shoved to his second demise and that would have been perfectly fine.

The animators spared no expense on this battle. Hot DAMN.

Bad touch, Galaxia! BAD TOUCH!

Speaking of Galaxia, her plan is brilliant. She not only deliberately broke Usagi down, but she also fully counted on Usagi building herself back up, which would make it all the more devastating when Galaxia melted all the loved ones she sought to revive into the Galaxy Cauldron, followed by Chaos revealing the truth about itself to her. Usagi would then be so unstable that her power would go out of control. When Chaos then tries to possess her and the Silver Crystal, Usagi would wipe Chaos out along with herself, leaving the Silver Crystal and control of the universe for Galaxia. Another full circle type moment calling Beryl and Metalia to mind. And it would've worked, too....were Chaos not fully aware of it, of course.

Speaking of Chaos and the truth about itself: it's a being that failed to make it out of the Galaxy Cauldron and become a star, which warped it and turned it into pure evil, negative energy. While still unable to escape the Cauldron, parts of Chaos have been able to leak out of it, and they became all the major enemies Sailor Moon has faced. The point is that so long as Chaos exists, so too will conflict. The battle between good and evil will rage on forever.

After Usagi defies all of Galaxia's expectations by saving her life from Chaos, we get one of the story's biggest, most subversive twists. Chibi Chibi, in reality Sailor Cosmos, the Big Good, has all this time been waiting for the moment at hand where she can urge Usagi to destroy the Galaxy Cauldron in order to destroy Chaos...even though this ultimately means the death of the galaxy since no new stars will be born. She is the advocate for the wrong solution. And then Galaxia, the Big Bad, becomes the advocate for the right solution through a resigned acceptance that no matter how much power you have, you cannot control the nature of existence. Even if this galaxy dies, another one would be reborn, and the conflict between good and evil would continue. Destroying the Galaxy Cauldron is not the answer.

This also leads to Galaxia's death scene, and despite how horrifically evil she has been, it still got me a little misty-eyed. Galaxia was not born evil, she was shaped that way through a truly hellish life on a barbaric medieval planet, and she always sought to heal the wounds it left on her soul with more and more power, attempting to make herself into a god in order to finally feel a sense of belonging. But only now at the end does she see that Sailor Moon, the person she had tried so hard to break, is actually the true sort of person she wished to become, and that true security and belonging lay in her values of compassion and acceptance. She is the star Galaxia has sought for so long, but as she puts it, she can't reach it. It's far too late for her to be that sort of person. But at least she can hope that Sailor Moon will last forever, since as long as she does then wretched souls like her can still find salvation in her light.

I mentioned before that this arc and its thesis statement is sort of like Puella Magi Madoka Magica, but there's actually another comparison to be made: to Neon Genesis Evangelion. The messages of "so long as life goes on, as existence exists, then there will always be hope no matter how dark things get" and "every human at their core yearns to be with others and achieve a sense of belonging" are in both. And Usagi's epic final act displays this beautifully: combining Galaxia's Sailor Crystal with her own so that even she too can be reborn, she dives into the Galaxy Cauldron and pushes the ascendant Chaos back downward, her heart resonating with the Cauldron's power in the process. She succeeds in causing the Cauldron's energy to erupt like a geyser and send all the Star Seeds within back into the galaxy, and even attempts to embrace and purify Chaos, who pushes her off and accepts falling back into the primordial sea rather than be redeemed. It's a stunning and truly inspirational conclusion.

Can I just say how hilarious it is that all of the Sailor Senshi, including Sailor Moon herself, die in this arc....except for the Sailor Quartet, who somehow manage to outlive all of them and never once get killed and reborn. Never underestimate those four circus trolls, it seems!

When I originally read the manga, the whole Sailor Cosmos stuff was the most confusing to me, but the movie clarified it a lot better. Sailor Cosmos is the future version of Neo-Queen Serenity, who has achieved the highest possible level of power due to tapping into her bond with the Cosmo Crystal (the Galaxy Cauldron's own Star Seed) and Guardian Cosmos (basically God) that she achieved through this big sacrificial act. The Japanese version was far more blatant about this connection, as Sailor Cosmos had Guardian Cosmos' voice.

If Cosmos is God, then Chaos is the Devil. And in the far future, Chaos finally escapes the Galaxy Cauldron and incarnates as Sailor Chaos. Rather than just be grateful that she's now a star, Chaos continues to lash out in resentment of all those who became stars before her and wreaks destruction as she tries to conquer the universe. The brutal war between Sailor Cosmos and Sailor Chaos lasted so long that for all her great power, Sailor Cosmos lost all hope of prevailing, which is why she transformed into Chibi Chibi and went back in time in order to persuade her past self to destroy Chaos and the Galaxy Cauldron. But witnessing her past self's hope and faith utterly shamed her, making her realize that she can never truly be the ultimate incarnation of Sailor Moon unless she recovers that same hope and faith. Honestly, this is an ingenious Izuru Kamakura-style deconstruction of a Power Fantasy - Usagi can become immortal, insanely beautiful, and powerful to the point of being a living god, yet still end up as a failure and a coward who is outshone by her greener teenage self.

The movie adds this scene of Usagi going home and reuniting with her family and Luna to address two long-standing fan complaints about the manga. The first was that we never saw any of the cats after their death, which I always found to be oversensitive: we confirm that the Crystal Tokyo future is coming to pass, meaning Diana will be born, so of fucking course Luna and Artemis are alive again; everyone who died in this arc was revived when the Galaxy Cauldron erupted and the Star Seeds released. But the other, which is far more valid, is that we don't see Usagi's Earth family again following the scene where she leaves to go to space and Ikuko starts crying because she feels like it will be the last time they ever see her. This feels like a more valid complaint, since it feels cruel to have that scene be indeed the last time Usagi's Earth family ever sees her on-screen, plus it reinforces their importance to her.

Finally, I appreciate how the scene where Usagi wakes up in bed with Mamoru frames her as having forgotten much of what transpired in the arc as a result of her going in and out of the Galaxy Cauldron...not everything, of course, but a lot of it is now hazy. This means that she most likely doesn't remember Chibi Chibi, which in turns means that will allow her to become Chibi Chibi when she's Sailor Cosmos in the far future. It seems to reinforce that in the setting of Sailor Moon, time travel is in fact incapable of changing history, only fulfilling it. Crystal Tokyo and Neo-Queen Serenity wouldn't have happened without the Black Moon Clan trying to destroy them in the past, Neo-Queen Serenity also couldn't have come into being without the Holy Grail which was partly made by a time-traveling Chibiusa, Sailor Pluto couldn't have been on hand when she was needed had she not died in the future and gotten reincarnated in the past, Galaxia couldn't have met Chaos and set everything in motion if Wiseman hadn't projected himself from the future to tell her about the Galaxy Cauldron, and Sailor Moon couldn't have made her big decision concerning the Galaxy Cauldron if not for Sailor Cosmos as Chibi Chibi being there trying to push her into making the opposite choice.

Bravo, Naoko Takeuchi. I know it was a pain to have to keep working on Sailor Moon for longer than you ever anticipated, but you could not have ended it on a more perfect note.

[karinta-agogobell-unified]

Five underappreciated anime that I would recommend!

1. Canaan (2009)

This is, from what I understand, an adaptation of a side-story chapter for the visual novel series 428: Shibuya Scramble, guest-written by Nasu Kinoko and guest-illustrated by Takeuchi Takashi. That is to say, the Type-Moon guys — the creators of Tsukihime, Kara no Kyoukai, and the now-legendary Fate/Stay Night. However, Canaan doesn’t take place in the Type-Moon shared universe(s), since it’s for another company’s property.

That being said, the anime adaptation is quite comprehensible on its own terms, likely due to the adaptation being written by the prolific and highly skilled screenwriter Okada Mari (Hanasaku Iroha, O Maidens In Your Savage Season, Mobile Suit Gundam: Iron-Blooded Orphans, Maquia). Her writing imbues the narrative with enough emotional intensity to make up for the occasionally-convoluted nature of the plot, and the backstories of the characters are hinted at just enough so that the viewer can understand their relevance, without taking up too much precious screen time. It can be a little hard to follow at points, but I ended up understanding it decently well anyway.

The production values are very high indeed, due to the anime being produced by P.A. Works, and directed by Andoh Masahiro (Sword of the Stranger, Hanasaku Iroha, O Maidens In Your Savage Season). The action animation is consistently stunning, the characters are beautifully expressive, and the overall look of the show is fantastic.

And the voice acting is an absolute treat, with the lead role of Canaan herself taken by Sawashiro Miyuki, the antagonist role of Alphard taken by Sakamoto Maaya, and Nanjou Yoshino in the role of Oosawa Maria, the POV character for a lot of the story. The supporting voice cast is packed with talent too — Hamada Kenji, Tanaka Rie, Nakata Jouji, Tomatsu Haruka, Hirata Hiroaki, Noto Mamiko, and even Ootsuka Akio in a minor role!

The premise is sort of a science fiction type of thing, but set in the (quasi-)contemporary location of 2000s China, where outside of the sci-fi conceit, the setting is largely realistic. The tone and mood is mostly that of an action thriller, with some nail-biting suspense here and there, but there are some beautifully soft and tender moments as well — often involving Canaan and Maria. Yes, folks, this has yuri in it, although it’s (strongly) subtextual.

Anyway, I would recommend this to people who love Ghost in the Shell: Stand Alone Complex, Kara no Kyoukai, Fate/Zero, and probably also Cowboy Bebop.

2. Tetsuwan Birdy OVAs (1996)

This is distinct from the later adaptation of the original Tetsuwan Birdy (Birdy the Mighty) manga, called Tetsuwan Birdy Decode, which came out in the late 2000s — this one came out in 1996 and was produced by Studio Madhouse in their prime.

The main characters are Senkawa Tsutomu (voiced by Iwanaga Tetsuya), a hapless teenager who gets accidentally killed(!) by an alien spaceship on his way to school one day, and Birdy Cephon Altirra (voiced by Mitsuishi Kotono), a human-looking alien and an intergalactic government agent who saves Tsutomu by merging her body with his. Effectively, they become two people in one body, which can shift between the forms of Birdy and Tsutomu…. except Birdy still needs to deal with all the rogue aliens who threaten the safety of the galaxy, while Tsutomu needs to study for his high school entrance exams. From what I’ve been told, the premise is fairly reminiscent of Ultraman and other classic tokusatsu series.

It’s four tight episodes of classic ‘90s OVA goodness, with a fun and slightly silly sci-fi concept that is nonetheless wrung for some surprisingly effective drama at times. The main thrust of it, though, is action comedy — and it definitely delivers on that front. The fight scenes are superbly animated, including some early-career work from now-legendary animator Suzuki Norimitsu, and the character designs by Takahashi Kumiko (Witch Hunter Robin, Snow White with the Red Hair, Cardcaptor Sakura) are amazingly expressive. Birdy’s striking asymmetrical design is a particular favourite of mine. The direction by Kawajiri Yoshiaki (Cyber City Oedo 808, Ninja Scroll, Vampire Hunter D) is solid, and the writing is quite serviceable despite the brevity and premise.

Overall, I wouldn’t say it’s much of an intellectual watch, but if you just want a fun action-comedy ride with an extremely charismatic female protagonist and stunning animation quality, Tetsuwan Birdy is likely to be your jam. I’d recommend it to people who enjoy classic tokusatsu series, the original ‘90s Sailor Moon anime, and the less-depressing parts of Neon Genesis Evangelion.

3. Noir (2001)

This anime series is perhaps not as underappreciated as the others on this list, but I do still feel that not enough people have seen it. It was made by the studio Bee Train, and it’s the first entry in their so-called “Girls with Guns” trilogy (which isn’t actually a coherent trilogy, since they’re three different stories). The series was made right at the end of the cel-anime era, before the transition to digital colouring and compositing, so the masters were shot on film, but it was also made at the beginning of the slow transition to widescreen TV broadcasts, so it’s one of the very rare cel anime that’s in 16:9. This allows for a beautifully detailed look that, IMO, serves to offset the occasionally-limited animation and the frequent re-use of footage.

The premise is basically “secret assassins in France are caught up in weird intrigue and conspiracies”; as such, there’s a lot of very fun gunplay and kickass fight scenes, but also a lot of suspense and mystery. The writing is a little bit slipshod at times, but it ends up holding together, and the characters and (especially) the fantastically moody vibe make the show worth watching.

The characters are imbued with a lot of life and colour, both by their extremely attractive designs and by their voice actors’ wonderful performances. Mireille Bouquet, a young Corsican assassin and one of the two protagonists, is voiced by Mitsuishi Kotono; Yuumura Kirika, the other main protagonist who is a Japanese schoolgirl who has seemingly lost all her memories (but not her exceptional assassin skills), is voiced by Kuwashima Houko; and the mysterious Chloe, who shows up partway through the show, is voiced by Hisakawa Aya. There are definite yuri vibes between Mireille and Kirika, but as with Canaan, it’s all subtextual.

The main draw of the show, though, is its phenomenal soundtrack, courtesy of Kajiura Yuki (.hack//Sign, Kara no Kyoukai, Fate/Zero, Sword Art Online, Demon Slayer) in her very first anime scoring gig. It’s at times propulsive, at times dark and moody, at times beautifully serene, at times melancholy and nostalgic — and it’s utterly memorable.

I would recommend Noir to anyone who likes Canaan, Witch Hunter Robin, Ghost in the Shell, or anyone who just wishes that James Bond were a woman.

4. Flip Flappers (2016)

This anime was produced at Studio 3Hz and directed by Oshiyama Kiyotaka, in a dazzling yet underappreciated directorial debut that was presaged by his impressive animation work on Dennou Coil, Space Dandy, A Letter to Momo, The Secret World of Arietty, and The Wind Rises. Owing to this extremely solid animation background, Oshiyama was able to recruit a lot of prime animation talent for Flip Flappers, and it definitely shows in the stunning sakuga of the wild action sequences that pepper the show’s narrative.

While the fantastic animation is a key draw of this show, the sheer creativity in the worldbuilding, conceptual, and visual design spheres also contribute to its inimitably psychedelic look and feel. The landscapes of the worlds contained in Pure Illusion — the dream-realm that the protagonists enter each episode at the behest of a mysterious scientific organisation — and of the “real” world are whimsical, storybook-like, and slightly “off” in a slightly unsettling but compelling way.

The dreamlike atmosphere pervades the narrative as well — very little about the mechanics of the world is specified out loud, relying heavily on symbolism and visual storytelling to do the heavy lifting for the audience’s understanding. This might be a turn-off for audiences who prefer to have things spelled out for them clearly, but the point of this story is not always to make perfect logical sense, but rather to work on an emotional and metaphorical level. And work, it certainly does.

The episodic structure involving the various worlds of Pure Illusion explores the concept of the Umwelt (the individual sensory “world” of a person or organism), as well as some Jungian concepts and archetypes, in order to express the strange and sometimes-scary developmental stage of adolescence. The characters of Cocona (voiced by Takahashi Minami) and Papika (voiced by Ichimichi Mao) undergo a metaphorical and literal puberty, a coming-of-age similar in some ways to that experienced by the protagonist of FLCL, but with significantly more yuri. In fact, this show has the most outright yuri of any of the anime on this list. But that isn’t very strange for what is essentially a psychedelic magical-girl show: lots of magical-girl anime seem to include homoerotic vibes in some form or another, from Sailor Moon to Nanoha to Madoka.

There are some minor flaws in the storytelling towards the end, IMO, but overall it’s a wonderfully impactful emotional journey to watch Flip Flappers. Plus, the OP and ED are both extraordinarily catchy tunes that I’ve found myself humming on many an occasion.

I’d recommend this anime to anyone who loves weird magical-girl stuff, weird yuri, and/or amazing action animation.

5. Claymore (2007)

An adaptation of the manga by Yagi Norihiro, this anime is considered by many to simply be “basic”, or at least simply “inferior to the manga”. Now. I haven’t read the original Claymore manga (yet! I plan to eventually), but I found this anime to be compelling nonetheless. And if it really is the case that the manga is better, then I definitely look forward to diving in.

Having been produced by Studio Madhouse in the mid-2000s, it’s unsurprising that the vast majority of this anime was outsourced to Korean animation studio DR Movie, a longtime powerhouse subcontractor for both Japanese and American animation alike. That said, the direction of Tanaka Hiroyuki (director of a portion of Hellsing Ultimate and frequent close collaborator of Attack on Titan director Araki Tetsurou) remains sharp, compensating for the sometimes-limited animation with good storyboarding and a strong sense of mood and atmosphere.

Another aspect of Claymore which helps make up for the occasional visual shortcomings is the soundtrack by Takumi Masanori. The compositions are a mix of harder rock and electronic elements with a strong orchestral backbone, as befits a dark-fantasy setting and mood — the faster pieces are edgy and propulsive, very appropriate for the bloody action scenes, and the calmer pieces have a melancholic beauty to them that sticks in one’s memory. I wish the soundtrack were on Spotify, but alas, it is not.

The other sonic element that helps this anime out immensely is its absolutely STACKED voice cast. The main character, Clare, is voiced by Kuwashima Houko, in a fantastic yet understated performance. The other main character, Raki, is voiced by the less-well-known Takagi Motoki, but nearly all the other roles — including many bit parts — are filled with industry legends. Teresa is voiced by Park Romi, Miria is voiced by Inoue Kikuko, Irene is voiced by Takayama Minami, Rubel is voiced by Hirata Hiroaki, Priscilla is voiced by Hisakawa Aya, Ophelia is voiced by Shinohara Emi, and Jean (whom I cannot help but ship with Clare: there’s so much homoerotic tension there!) is voiced by none other than Mitsuishi Kotono. Yes, they got three of the original Sailor Senshi VAs — and I don’t know why that’s funny to me, but it is. And all of the voice actors deliver killer performances.

The premise of the show, before I completely forget to explain it, is that of a dark fantasy world where demons called youma ravage human settlements, with only the titular Claymores to protect humanity. They are a guild of platinum-haired and silver-eyed warrior women who possess superhuman fighting abilities, due to the fact that they’ve been fused with youma essence, and wield the massive broadswords that give them their name. Basically, (s)he who fights monsters must become (partly) a monster to do so.

I’ve heard the vibe of Claymore compared to manga like Berserk, and I don’t know how true that is (not having read the latter for myself), but there’s certainly a lot of bleakness and monstrosity in this fantasy tale. However, the Claymore manga was published in none other than Weekly Shounen Jump, so it’s perhaps unsurprising that the story remains resolutely forward-looking, the protagonists’ arcs focussing on the power of grit, determination, true friendship and loyalty, and protection of the weak and downtrodden. It’s never cynical or sarcastic — always straightforward and sincere despite the frequent darkness of the story.

The writing is consistently solid, even through the controversial anime-original ending (the manga continues long past the point where the anime cut things off), so I’m not sure who to point to for that: Yagi Norihiro for writing the original material, or Kobayashi Yuuko (JoJo’s Bizarre Adventure, Attack on Titan s1-3, Kakegurui, Casshern Sins) for adapting it cleanly for the screen? Either way, it made me want to read the manga to experience more of these compelling characters and their travails.

I would recommend this anime to those who enjoy Kill La Kill or RWBY, or just to those who enjoy powerful women hacking at monsters with massive weapons and making lots of blood spray out.