#this was originally just a legacy challenge for me. But now I'm expecting drama
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fogclan-legacy · 4 months ago
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doing a different clan, because i lost flameclan
we're starting on moon 27, with a murder mystery
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purposelynana · 3 years ago
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What Did I Watch: #22
Nothing.
Kidding.
I watched too many western series. Thanks to Skam and all of its remakes. I decided to just not caring about kdramas, cdramas and thai dramas. New challenge and new territory, that's all I need. But obviously we can't just go away from the things that shaped us. Below I've listed all the series that I watched on the past weeks.
Skam France
wtFock
I kinda wish to watch all of the Skam's remakes that is out there but it was hard. Like I struggled a lot with using google drive and so on just to download the episode. I had to save it in my cloud drive for re-watch purpose. But still, it was too damn inconvenient for someone that used to this kind of stuff back when I was a little bit younger. Right now, I just hope the show that I want to watch available in any streaming services.
Yet, there's a reward for every effort that we put. Those shows are freaking good. I could biased because I love the original one. But nope. I legit thinking Skam France shot in film camera because it was flawless. And the acting in wtFock made me in awe. These kids were first-timers and still they even better than any teenager actors that I came across before this. Gosh. What a joy just to find a show which trigger you in a good way and taught me in life better than a freaking preacher.
God, I miss Axel.
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Eyewitness
I was bored okay. And tumblr gives me this weird algorithm and then I found this little gem. The perfect epitome of 'be gay, do crime'. I feel inclined to have the show more into noir-ish vibe but then, it didn't go there. I want to like it so bad but the camera language was terrible at times. When I look at on who's the director, well it's the least surprising name out there. Ha.
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9-1-1: Lone Star
Because it was on a freaking trending topic for days.
Abbott Elementary
Actually this is the first time I finished a whole season of sitcom. And thank god, it was funny enough for me to continue.
Meng Hua Lu
On hold indefinitely. Its feminism point of view felt too unrealistic. Plus, they weren't willingly to go there for the sake of censorship. Fortunately the romance, for the first time, was actually make sense and look at that shot. Beautiful. Stunning. Gorgeous.
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The Summer I Turned Pretty
Team Connie all the way. We all should just make older siblings union. He deserves all the hugs in the world. I relate to him, me, a 27 years old spinster, relate to a freaking teenage angsty boy. He had a lot of baggage and I couldn't imagine when Susannah really really [redacted] how bad he can be.
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Obi-Wan Kenobi
WHAT A FINALE.
Thank God I could live long enough to see this. To see Deborah Chow performed magic on my screen. To look at Hayden Christensen back as Vader, my fucking role model. Yes you read it right. Darth Vader is someone I'm aspire to be. And Ewan McGregor, hands down this is Emmy-nominated performance yall. Come on. COME. ON.
Maybe it was nostalgia or whatever. It was clearly a nostalgia that brought us to our screen, to increase our expectations, and to connect with a certain joy which probably last appeared more than decades ago. It was nostalgia and legacy, whichever it is, evidently set me up into this journey that led to Star Wars. A great reminder I was build like this because of Star Wars. The interest which initiated early by my father. The very first movie that I watched before I knew anything else is A New Hope and that memories engraved deeply in my heart. So, by watching Obi-Wan and absorbed any kind of life values contained in it, felt like a full circle to me. Everything is finally coming back to its own place.
And let's remind people, you can't create someone more tragic than the life of Anakin Skywalker. No one could ever come close to him.
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casually-inlove · 5 years ago
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Hello. In one of your responses, you wrote: "I also have things that I don't necessarily agree with." Can you tell us about it? I am very interested in your representation of this manhua. What do you think is written well in the story, and what is not? What would you add or remove? What is missing and what is too much in history? I would very much like to know your TianShan headcanon. I have too many "wants". I'm sorry if I was rude.
Dear anon, this was not rude at all. Indeed, you have many questions, so much as I try to be concise in my posts, this one is going to be very lengthy. Let me start with a little disclaimer. Everything below is entirely subjective. It is in no way meant to undermine anyone's enjoyment of the series, nor is it supposed to be an attack against the author. I value the comic's episodic nature and light-heartedness myself, otherwise, I would not have stuck around. It is also true that for the past half a year my interest in it waxes and wanes. Besides, I am well aware that certain groups of fans grow dissatisfied with the manhua direction. That said, I must state once again, OX has every right to write the story as they please, while the fans, no matter how displeased they may be, do not have the room to make demands of the author. So then, without further ado, some of my quibblings follow below. Beware of the wall-of-text.
1) The plot and characters get stagnant at times — these two go hand in hand. I suppose it is a prevalent gripe with 19 Days, and I am sure everyone has experienced it at least once. Some of it stems from the very way the story is told: the manhua timeline moves slowly in comparison with the readers' timeline. It works for depicting slow-burn relationships and subtle changes in the characters' outlooks. The problem is, more often than not, the latest chapters are inconsequential to either plot or character growth. They do not have the substance or the conflict to them. When OX had introduced the characters, while undoubtedly charming and loveable, they were practically walking tropes. Jian Yi, the bubbly airhead. ZZX, the stoic childhood friend. HT, Mr Popular. As time passed, OX did the clever (and the right) thing — they have subverted these stereotypes, by showing us that the characters are not who they appear to be. Thus, we learned that Jian Yi is a lonesome, affection deprived kid who on occasion dreads going back home because it's empty; his bright grin is there to hide his sadness.  We also learned that HT had a dysfunctional family and had been exposed to violence since a tender age; we also learned that he used to lead an empty life devoid of close interpersonal connections and passions, etc. I am not going to write about Mo because it is obvious and self-explanatory.
That sudden change in the perspective is what made those characters fascinating. A few of these developments co-occur with the addition of the “darker” mafia/gangster subplot. Indeed, the introduction of the criminal legacy theme (which is true for Jian Yi, He Tian, and Mo to an extent) allowed to show the wounds and troubles these characters had to face. It also dangled the prospect of an intriguing plot direction — a mafia-related story that is disguised as a school-themed slice-of-life. It was the underlying gangster plot-line that hooked me up; I kept asking myself: Are they connected (the Jian family, the He family)? Were they responsible for what happened with the Mo family restaurant? Will their backgrounds converge at some point? How does Jia Yi's kidnapping fit into all this? That sort of stuff. Alas, right now that subplot seems to be put on a backburner, which is a shame because this is the plot-line that leads to future events, such as Jian Yi's disappearance. The kidnapping is still going to happen and the threat looming over Jian Yi is still real, yet OX does very little to explain anything about it. Naturally, revealing everything at once is out of the question, but if it were me, I would have opted for unveiling bits and pieces now and then. To start with, it would have propelled the plot forward. Apart from that, it would have given the readers some food for thought and kept the intrigue fresh — they would have been cracking their heads to piece the puzzle. Finally, the characters' darker backgrounds provide the opportunity to give them development. For instance, how would Mo's view of He Tian change, if he learned that the latter had to face his warped father to save Mo (ch. 245 and further on)? Or how would Mo react, if he learned that He Tian lost his mother (presumably) due to his family shady dealings? Would it make him understand the other boy, relate to him on some level? Etc. 
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The comedy and fun, light moments are precious, but I miss those moments when the manhua challenged my impression of the characters. Right now, the plot stagnates in the sense that we know that someone is threatening Jian Yi, but we aren't being given any clues or updates on the matter, as if the whole thing wasn't important. So, in response to your question “what would I have removed”, I would say that I would probably drop quite a few school-centric chapters in favour of “criminal” subplot. Just a bit: maybe show Mr Jian's messages, or Jian Yi's mother discussing the situation with him, or He Cheng receiving some reports on the situation.  
The character recent portrayal also disappoints me on occasion. They started as stereotypical manga characters, then they were given some depth, and now they are close to becoming yet another set of stereotypes. Yeah, I get that Mo is a tsundere and enamoured He Tian is an idiot in love — OX has been depicting them as such for the past year. It would be cool to take a look at other facets of their personalities now and then too. While it’s understandable that only a few weeks have passed since the beginning of the story, OX should remember that years have passed for the readers; keeping the audience engaged should be among their priorities.
I suppose I do have a bias here because as an adult I have little interest in all things school-related, and in general, I am not too fond of slice-of-life (I typically avoid reading it).19 Days attracted me because it had some universal themes, like dealing with past and legacy, finding your path, healing from the old scars, learning to handle difficult relationships within a family, and of course its low-key “mafia” subplot. It could be that OX truly doesn't have a meticulously chapter-to-chapter thought-out plot, hence why the manhua meanders at times, or it could have something to do with Mosspaca's internal agenda. Perhaps, it is the latter and the company somehow insists its artists stick with simplistic plots for the sake of keeping their target audience. Even so, there's a catch here, which was brought to the attention by @agapaic: the original reader audience has aged up already so to keep them hooked it would be wise of OX to “mature up” the comic as well. Not in the sense of 18+ content, but in the sense of introducing more mature subjects alongside the comedy and slice of life. Perhaps, they are not looking to keep the fans but to attract the new, younger ones. Who knows.
2) Drama and comedy imbalance. It is a pet peeve of mine which I consider to be one of the prominent manhua flaws: there is lots of slapstick comedy which ends up being out of place on occasion. I do realize the comic is humorous, however, there is no denying that OX introduced themes and topics that are no laughing matters. Jian Yi's and He Tian's loneliness, bullying and ostracizing, extortion racket, absentee parents, youth gangs and violence — just to name a few. There is a lot more, but you get the picture.
It is also obvious that three out of four main characters carry the remnants of childhood trauma with them, which directly affects their present selves. All the same, these topics practically fizzle out as soon as they get introduced, or get swept under the rug with comedy. Considering the humorous nature of the comic, it is given that dispersing some grimmer topics with playfulness will be used now and then. To my mind, however, OX relies on that abrupt drama-to-comedy switch too heavily, which makes the transition steep and often out of place. At times, it creates an impression that the author does not take these issues seriously. There have been numerous episodes when emotional moments were subverted and then dropped, without gaining climax and closure. For instance, the moment that sticks out to me the most is when He Tian attempted to tell Mo why he liked him. The visuals made it clear that it wasn't easy for He Tian to say out loud, yet OX never gave the intense moment the needed closure.
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Mo brushed He Tian off and the latter just rolled with it, as if it never took him any courage to say those words, and then everything was swiftly engulfed by slapstick humour (the ball-slapping scene). A panel showing a glimpse of He Tian's face sinking to indicate he was somewhat let down by Mo's nonchalant response would have been appropriate — in fact, it would be natural for someone to get hurt when their confession is taken lightly. Likewise, I half-expected OX to show a bit more of He Tian's reaction towards Mo's story about his meeting with She Li. We got to see his expression darkening when he learned that She Li gave Mo the ear piercings, yet this time — mind you, when Mo suggested that She Li might have murdered someone — we never see He Tian react much. For the record, it was He Tian who asked She Li a rhetorical question about being able to take responsibility for taking a life.
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Furthermore, I believe that someone romantically invested in another human being would have naturally shown more inquisitiveness upon hearing a story like that. Sure enough, some would say that Mo would not have liked talking about a traumatizing event, and that is fine as well — just show it. A single panel of He Tian being concerned and trying to inquire further and Mo refusing to talk would have been a very neat detail that could have potentially smoothed the transition into humour, while keeping our heroes in character.
3) Sometimes there is too much focus on the couples. The manhua has introduced several reoccurring supporting characters which are directly linked to our main quartet. For example, Mo had bonds before meeting our boys: his henchmen, the Buzzcut. Likewise, He Cheng was the one to raise He Tian; he shaped the boy's outlook on life.  These characters all played important roles in making our boys the people they are today, and yet we know so little of their bonds. Maybe the Buzzcut is unimportant in the larger scheme of things, He Cheng, however, is not only linked to He Tian, but he also plays a part in the underlying mafia/gangster subplot. It would have made sense if he was the one to shed some light on the situation with Jian Yi and He Tian's traumatic past. I would have loved to see our boys interact with other people as well — it would have served to show the variety of relationships out there: friendships, familial bonds, mutual respect between the leader and underlings, etc.
Anyway, I am going to stop now. I could name a few more, but this text is already more than 2000 words long. I have made some posts with my nitpicking before, so if you wish you can read them here.  
link & link 
Once again, this is all entirely subjective and it is not meant to be perceived as me saying that the manhua is poorly written and no one should enjoy it. Writing and creating compelling plots is a tough job, especially when it comes to long pieces. It also goes without saying that the author should keep their target audience and marketing goals in mind. 19 Days appeals to a great number of people of all ages and that means that OX succeeded in creating something compelling. Their writing is indeed flawed at times, but there is no way around it. It is impossible to excel both at being a great artist and a good writer. While there may be things that each of us would want to change (when comes to characters or the plot), it is still important to remember that it is not our creation. We can only decide whether to keep reading and enjoy what we get or move along. There is no point in attacking the author or generating constant pessimism.
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nomadicism · 5 years ago
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To be honest, I'm not that surprised that Voltes V is being adapted into la before Voltron. Voltes V is extremely popular in the Philippines, even now. While I think Voltron was big in North America during it's time, it's not nearly as popular as was back in the 80s, even with the Netflixs series. It's like how Saint Seiya is still super beloved in Latin America to this day, despite it being made in the 80s.
Hi Anon, thank you for the Ask!
I’m surprised-and-not-surprised that Voltes V will be adapted into live-action before Voltron, both for the reasons you mentioned, but more importantly, it’s because when IP holders of cartoons (doesn’t matter what cartoon it is) attempt to get a live-action film made, they nearly always fail to get it made. Live-action TV series adaptations don’t do well either, for mostly the same reasons.
Note: I’m not counting live action adaptations of anime, b/c that’s a completely different beast.
My self-indulgent axiom is: The moment that there is an announcement about a cartoon being made into a live-action film or series, is the moment that such a thing ever happening dies on the vine. There are quite a few of them languishing in movie rights limbo, so I never take it seriously. 
There are a lot of factors involved as to why they fail to get made, but the biggest reason has to do with special effects budget/capabilities vs perceptions about how much money the potential audience will bring in. Since cartoons in the US are for children—obviously, they don’t have to be, but sadly that’s the widespread cultural belief—then that limits what can be done for a film that is based on a cartoon. This isn’t the same as an original animated film that is not adapted from an existing cartoon.
Basically, PG, PG-13, and R movies bring in more money. TV series face the same issue, even though live-action series traditionally bring in more ad revenue. The special effects budgets that would be required to adapt most cartoons (given the fantastical content) practically demand a movie adaptation rather than an on-going series, or mini-series.
Rated G movies can bring in mountains of money (especially if you’re Disney), and even then, Disney’s live-action films (notably based on IP that Disney purchased and are not even uniquely Disney) bring in more than their most beloved animated films, and no Disney G-rated film has broken $1B. Their top grossing animated film to date is the 2019 Lion King, which, being realistic CG, effectively makes it a live-action film. 
Frozen and the recent CG Lion King (2019) are in Disney’s top 10 as of 2019, and they are both rated PG. CG Lion King is #7 and Frozen is #15 of all top grossing films. FWIW, CG Lion King is ‘realistic’ to the point where I don’t think it really counts for what I’m on about here. Its realistic look makes it indistinguishable from the rest of the top 10 highest grossing films to date.
No company wants to spend tens of millions (or more) to make a cartoon into live-action if they have to keep it rated G, and they have to keep it rated G due to audience perceptions and expectations. The Scooby Doo movie got to dodge that a bit for some reasons that are unique to its franchise and audience (also, they still had to cut content/tone it down to avoid the R rating). The live-action He-Man movie is a good example of everything that could possibly go wrong, and I suspect that its infamous failure still looms large in the minds of those who write checks to produce movies.
The Michael Bay Transformers movies did well b/c the technology was there to make them look good, they were PG-13, and Bay’s “explode all the things” film-aesthetic was hit the right notes in the zeitgeist of the time. Even if I don’t really like the Bayformers, I can still respect them for bringing something fresh to the franchise, and looking damn good for CG robots.
Compare their success against, the animated Transformers: The Movie. That one did not do well in theaters and the more mature themes caught fans and viewers by surprise and—as much as I love the movie—many parents and kids were upset by it at the time and I agree with the reasons why. I also saw it in theaters as a kid and was upset at the time, but eventually grew to love it. That movie is another example of just how tricky it is to bridge the cartoon-to-film gap, even when animated. The Bayformers movies bridged the gap right (again, even though I’m not a fan of them, I respect them for what they are). I can’t think of any cartoon-to-live-action film that made the adaptation gap as well as the Transformers did. Obvs, there is no live-action TV series for Transformers. It can’t be done.
TMNT did well for the first two films, but again, they were films and not a TV series.
What follows is speculation on my part:
In the case of IP like Voltron or Robotech, I suspect that the reason why they have been in movie rights limbo for so long is to prevent someone else from buying the rights and making a movie of the original source material. Even a shitty Golion or Macross live-action movie could harm WEP or Harmony Gold’s control or water down their vision for the IP. Voltron and Robotech are unique b/c technically, a Japanese studio could have gone to production on a live action Golion or Macross movie, but if the license to make them is tied up with American studio/production houses (and royalties being paid where applicable) will prevent that. This doesn’t mean that WEP or Harmony Gold couldn’t challenge said hypothetical Japanese studio over an adaptation, but it would be a legal battle that no one wants. The rights get tied up indefinitely simply to keep another studio from buying them and possibly making the film and doing a great job of it.
It’s such a Cold War mentality, but I can’t see any other rationale for it other than WEP and Harmony Gold being really awful at brand and IP management to the point where they actually believe that a studio would risk millions on a live-action adaptation. At this point, Robotech would be more likely to get adapted since HG has the fire lit under their ass by looming copyright changes and that Sony was interested enough to get involved. They’ve got like 2 years to make that happen so we’ll see.
How this relates to Voltes V:
Since Voltes V is an anime, a live-action adaptation won’t be bound by the same expectations for content rating, especially if it is not being made for an American audience that expects rated G or family-friendly PG. The love for Voltes V among Filipinos puts the IP into a special place, and it’s probably a lot like Transformers, where there are a lot of older fans who are waiting to see their beloved show get some attention, whether big screen or small. There is that legacy audience plus the popularity of robot anime and video games in the region gives a Voltes V a good chance at a live-action TV adaptation.
To me this means that, since this adaptation won’t be a movie, but instead will be a “seasonal” series, that it’s going to do well enough for the Philippines, and probably have a quality similar to more recent Ultraman series, or Power Rangers. They don’t have to go all-in like a big budget Hollywood film, or an HBO drama. I’m curious if this live-action is actually live-action + CG, or if it’s going to be all CG animation that’s mostly realistic looking but also stylized.
Whatever happens, I’ll be happy to see Voltes V get made b/c it’s a fun-and-interesting story that deserves more attention, and it’s really a shame that there was never a reboot or remake. If it does well, then maybe Toei might bring it back in animated form.
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