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riacte · 3 months ago

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Team B.A.T.S. of Ninth Life — (MCC9 Blue Bats in Life Series terms):

It’s the ninth season of the Life series with a rotating cast of 40 players per season. False and Ren loyally ally every single season they’re in and their factions end up being the second faction to be eliminated three seasons in a row so they’re like “okay we’re going to do better for Ninth Life”.

Enter HBomb, winner of two Life series so far (Second and Seventh Life) and beloved leader. He has a meta of blessing his allies and propelling them to great heights. He is also a renowned prophet. H is present in a lot of final showdowns, losing Sixth Life to Fruit’s faction and is crushed by the “rivals to teammates” meta in Eighth Life. H has never really talked to False before, but the power of ✨prophecy✨ befalls upon him and he predicts False will do really well in a final showdown given that she’s on a faction that gives her what she needs.

Fruitberries is a winner of Sixth Life but his performance was not as expected in Seventh Life, leading people to think he’s not that skilled. However, this is the kind of thing that allows the Faction Mechanic at the beginning of the session (controlled by a mysterious being called Scott) to team up two skilled players while keeping it balanced.

Team B.A.T.S form and they get matching jerseys with letters on the back. They undergo a training arc. H famously claims, “It's kinda crazy how 86% of people sleep on their belly, I sleep on my side and the entire Life Series community sleep on Team BATS.” People predict they’ll be the fifth faction eliminated out of ten factions. They invoke the power of the Underdog meta to keep them safe and hidden. They have a brilliant session one and got their comms sorted by then, and while they did well, they weren’t the biggest threats. False and Ren comment this is the longest they’ve lasted before going down to yellow.

In session seven, a freak TNT explosion gets all of them down to red and they claim it’s the worst thing ever and start dooming themselves. But they raise morale and push forward and start killing everyone else instead. They are aided by Grian, who has turned red and his faction is mostly dead. Grian eliminates 3/4 of a major powerful faction. Team BATS continue slaying everyone in sight and in the end they reduce everyone to their red lives and even claim a few permakills. They break a kill record. Fruit rises up to the peak.

Naturally this makes them a big target and everyone comes in for them. Things initially don’t look good at the final showdown— BATS keeps on being knocked down, the public doesn’t want them to win, like 75% of people believe they’ll lose, it’s the year 2020, Hermitcraft fandom is in the trenches, but they miraculously reverse sweep and in the end Fruit gets the final kill. Ren gets a crown and his role playing is irreversibly changed. Fruit is pushed to S Tier status (an even higher rank than your average Life series winner).

This is the first time hermits win so it’s very exciting. The major consequences of this is that 1) H gets invited to Vault Hunters 2) Hermitttwt rallys around this victory (and that of Tenth Life) and becomes “officially recognised” 3) Ren takes this crown and does a royalty roleplay which irreversibly changed a bunch of people and helped to normalise non canon shipping.

Tldr: the BATS significantly impacted fandom landscape as we know now.

H’s prophecy gets fulfilled in Tenth Life when False permakills four people in a row (an ace) at the final showdown :)

#mcc #this is extremely brief and simplified. there is more Lore. both before and after #we haven’t gotten into the h-false dodgebolt arc. or the joel/pearl/grian/cub bits etc #nor have we touched on fruit’s 2021 blue bats yearning and the all stars stream #hermitcraft #life series #woe maintag be upon ye #ria.txt #blue bats lore is so long it would take me 160k+ words to get from the beginning to the podium #(<- my battle scars au)#blue9 #rendog #falsesymmetry #fruitberries #hbomb94

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feministsouthpark · 5 months ago

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South Park Filler Guide - Season 9

Link for Seasons 1 2 3 4 5 6 7 8

My analysis will have spoilers, if you’re a first time viewer, just scroll to the bottom and read the list and only read full text if you are familiar with the content of the show already! S9E1 Mr. Garrison's Fancy New Vagina is CANON

For the first scene of course, you just can't miss that one! Since that's the one scene that holds the event that shifts a character's story arc! That's right, I'm talking about Mr. Slave. His loved one changes in ways he can't comprehend. S9E2 Die Hippie, Die is FILLER

No events carry over. S9E3 Wing is FILLER

No events carry over. Does anyone else have déjà vu? S9E4 Best Friends Forever is CANON

We see Satan moving on from Saddam. His new boyfriend is Kevin, and the Heaven team has a lot of upgrades as well. S9E5 The Losing Edge is CANON

I bet this is confusing for someone who doesn't instinctively remember You're Getting Old anytime this episode starts playing. Yes, this is an important part of the Randy storyline. S9E6 The Death of Eric Cartman is FILLER

You could tell me about how funny or heartwarming and inspiring this episode is. But for my purposes it's just a day of the boys ignoring Eric. S9E7 Erection Day is FILLER

Our annual Jimmy episode! Although I can't imagine many people upset over this one getting shafted. S9E8 Two Days Before The Day After Tomorrow is FILLER

Stan and Eric make a great duo. Or do they? Canon followers will never find out. S9E9 Marjorine is CANON

Mostly because of Heidi Turner's proper introduction and her parents as well. However I love including Farmer Fred's episodes, and I hope I can include most of them, even if some are already unlikely. S9E10 Follow The Egg! is CANON

This one is for the relationships. Stan and Wendy get development for the first time since "Raisins". Mr. Slave moves on from Herbert aaaand Heidi Turner gets a team-up with Eric? S9E11 Ginger Kids is CANON

The ginger kids organization will return in a major way. Also, some interesting in-series lore about Kyle's and Eric's genes. S9E12 Trapped in the Closet is CANON

This is a big one in meta-storytelling, since Tom Cruise did later try to sue South Park (and an episode was made around that case), while Isaac Hayes, the voice of Chef also left because of this episode (and an episode was around that case). S9E13 Free Willzyx is CANON

Ok, there's three episodes in a row that will play an important part in 201, so it's safe to say Trey got really inspired by this era. S9E14 Bloody Mary is FILLER

This one is a character-study of Randy and Stan. It works, and all the specifics to their relationship is here, the events though are again, self-contained.

SPOILER-FREE RUNDOWN

Again, CANON means you should watch it, FILLER means you can skip it. S9E1 Mr. Garrison's Fancy New Vagina is CANON S9E2 Die Hippie, Die is FILLER S9E3 Wing is FILLER S9E4 Best Friends Forever is CANON S9E5 The Losing Edge is CANON S9E6 The Death of Eric Cartman is FILLER S9E7 Erection Day is FILLER S9E8 Two Days Before The Day After Tomorrow is FILLER S9E9 Marjorine is CANON S9E10 Follow The Egg! is CANON S9E11 Ginger Kids is CANON S9E12 Trapped in the Closet is CANON S9E13 Free Willzyx is CANON S9E14 Bloody Mary is FILLER

CANON counter:

S1: 9 out of 13 S2: 3 out of 18 S3: 6 out of 18 S4: 10 out of 17 S5: 8 out of 14 S6: 11 out of 17 S7: 6 out of 15 S8: 4 out of 14 S9: 8 out of 14

Overall: 65 out of 140

#south park filler guide #south park #kyle broflovski #stan marsh #randy marsh #kenny mccormick #eric cartman #jimmy valmer #heidi turner #herbert garrison #janet garrison #mr garrison

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zvtara-was-never-canon · 6 months ago

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I mean to be fair the writers in the latter half of the show were fully aware of all this fanon madness and threw them some bones. Katara and Zuko were trolled 2 times at being together, Toph hinted at katara having a secret thing with haru (whatever that means) amd she herself seemee very needy and jealous being the only one without a zuko field trip,suki and sokka did it.

When people watch the show without any social media or fanon influence after netflix aired atla all the canon pairings make total sense but when i think bryke indeed did some fanservice (the way zuko jumped in slowmo into the lightning) so the writers definitely knew what they were doing.

I really liked kataang in the first 2.5 seasons but the fact that tsr and eip are both 2 episodes in a row and we never see katara apologizing to either sokka or aang even had me like wtf (tsr is a good episode but still.) Then aang disappears on the lion turtle and katara is pretty chill compared to all the times before. It would be prob better to have a book 4 where they grew apart for a few years and saw how important they were to each other to give them the proper development but it is what it is.

While I'm all for a book 4, splitting the Gaang up would be a HUGE mistake. "This could ruin the whole show" kind of mistake. They all are at their best and grow the most when they are TOGETHER. Hell, that's the whole point of the life-changing field trips with Zuko. Let's not "fix" what isn't broken.

I wouldn't really say that Katara was "chill" after Aang disappeared. They were on the edge of the biggest battle of their lives so they had a LOT to focus on, and even Sokka just immediately thinks "He's probably in the spirit world doing Avatar stuff that will help save the day." Mysterious bullshit making Aang be away for a little while, be it physically or just spiritually/mentally, is a Tuesday for them at this point. They spent an entire episode waiting for Roku to be done telling his backstory with Sozin to him. Katara not losing her mind with concern because of something that happens regularly is not the same them growing apart.

And while an apology to Katara for the Ember Island thing or her apologizing to Aang and SPECIALLY Sokka after how she acted on Southern Raiders would be great, Avatar has a tendency of just skipping apologies that are kind of taken as a given - see Aang not apologizing to Toph after how he acted when Appa was kidnaped, or her and Katara not apologizing to each other after the events of The Chase. They tend to focus on apologies for bad behavior that lasted a whole arc (see Zuko apologizing to the Gaang and to Iroh).

And about the writers throwing shippers a bone with stuff like Katara and Zuko being mistaken for a couple - yeah, I can see how fan would like that. I also remember the characters getting visibly uncomfortable with it and that the show basically mocked the very concept of the ship through the Ember Island Players.

More importantly: fanservice is not foreshadowing, set up and/or development. For exemple: I LOVE Tokka as a ship, and I find Toph's crush on Sokka really cute. But it was always VERY CLEAR that it was one-sided and that the writers decided to make him end up with Suki. The fanservice made me happy, but it was not meant to be taken seriously, so I didn't.

Meanwhile Zutarians use five minutes of bait to argue that there was a whole conspiracy in which their OTP was meant to be endgame but evil Bryke ruined it at the last second. They've argued that Ember Island!Katara saying she likes Zuko and thinks of Aang as her little brother was a reflection of the REAL Katara's feelings, even though she explicitly said it was not the case and the show itself made it obvious that it is simply an INNACCURATE fanon take on the show.

No one would have an issue with Zutara shippers enjoying the little treats the writers gave them if they weren't so hellbent on claiming that those little moments somehow invalidate three seasons of Kataang, and one season (plus a few book 2 episodes) of Maiko. Not to mention the constant "If you dislike the ship/say it's not canon, then you're sexist/racist and I get to harass you."

You can't be "fair" to people that are asking to be allowed to be unfair to everyone else. They need to grow the fuck up first and realize that, if they want to be left alone, they shouldn't go around picking up petty fights with people then complaining when they get punched.

#anti zutara #pro kataang

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markantonys · 2 years ago

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pulling together some of the s2 images we have so far! there's a LOT of stuff in the two teaser reels, so i'm focusing mostly on the shots from those that i can connect to the new promo images (which are especially helpful since we know what episodes they came from). sorry for the long post, i tried to do a read more but then for everything under the read more the images just displayed one by one instead of 2 or 3 in a row the way i'd formatted them and it looked bad.

first, rand. predicting that some of the first things we'll see from him is dream torment by ishamael (likely the source of the wheel shot) and meeting lanfear while alone and vulnerable:

then he'll go to cairhien and meet up with moiraine and lan, and have his lord arc (and get a fancy outfit):

then duel turak at falme in 1x08 (likely after receiving sword lessons from lan, which could be the Lan Shirtless With Sword shots we have several of):

i think these scenes with moiraine (and lan) are from the early episodes where she still has her s1 outfit and hair:

then she gets a fancy new outfit for cairhien (potentially the crying-in-the-bath scene), which could be where the beach scenes take place - but cairhien is landlocked (though it IS on a river), so maybe she keeps this outfit for the rest of the season and these beach scenes are at falme? i will say that i'm pretty confident the daylight beach scene is the same outfit as the cairhien promo pic, but not confident that the evening beach scene is the same outfit.

on to perrin's plotline. we have several shots (i've just included one) from a scene of his party encountering the seanchan in daytime and being made to kneel. loial is still free here.

loial appears to be getting captured here at night, and there's also shots of perrin's party fighting seanchan at night. the same scene?

we know loial is in seanchan captivity by 2x05, so all the above scenes must happen during or before that episode.

aviendha fights a whitecloak at night, which we've been thinking is the adaptation of the book scene where perrin frees an aiel from a cage (there IS a cage just behind avi here), and thus perrin & co would also be involved in this scene. could be the same nighttime fight scene as above, a three-way fight between perrin & co, whitecloaks, and seanchan? or it could just as easily be a different scene - if so, i'd guess in the second half of the season after loial has been captured and as perrin gets closer to falme.

we do know that the seanchan and whitecloaks will clash in falme, and in a market-y location that looks somewhat similar to the promo pic of perrin and aviendha:

overall, it seems like whitecloaks, seanchan, and aiel will all be heavily involved in perrin's plotline, which is great setup since all those groups are significant parts of his storyline at various points in the future.

from what we know so far, the girls' portion of the white tower plotline seems pretty straightforward and similar to TGH. egwene has novice kitchen duty in 2x01, then later prepares for a journey (with liandrin i'd imagine) and is made damane.

nynaeve takes the accepted test in 2x03 (side note: i'm extremely skeptical that portal stones and the flicker scene will make it and imo they should be cut even though they're cool, so i think the "what might be" episode title is for this episode, referring to the alternate life/lives nynaeve sees in her test, and perhaps rand can still see some alternate lives in his ishamael-tormented dreams). at some point she trains in the sword with warders, probably because she wants to be able to protect herself while being blocked. do we think that brown belt indicates she's an accepted, or is that still a novice outfit and this scene is set before her test?

the picture of elayne could be investigating in a basement while black ajah hunting? i also thought maybe the ways en route to falme, but it doesn't really look like the s1 ways.

mat's storyline is trickier to figure out because we have very limited shots of him so far. we know that in 2x01, he is crying in a room. from descriptions of the scene shown at cons, we know he is imprisoned by liandrin at some point in s2. seems likely enough that the below image is him in captivity, although it's also possible he could be at an inn or something there (feeling guilty for abandoning his friends) and gets captured later in the episode.

the only other images we have of him are these two of him wearing his exact same outfit from season 1 and the crying-in-a-room scene and standing against a generic background:

falme seems the most likely option - the stonework on image 1 looks similar to the stonework in the perrin & aviendha picture, and the arch in image 2 could be a falme arch like what we see in the perrin & aviendha and seanchan vs. whitecloaks picture. alternately, picture 2 could be tar valon since i think there were some white stone arches in the streets of that city too. if it is tar valon, it could be either a) early in 2x01 and we see his capture onscreen, rather than the episode opening with him already in captivity, or b) after he gets out of liandrin's clutches.

how will he get out of liandrin's clutches? maybe he breaks out on his own, or maybe siuan gets wind of what's going on and intervenes to make liandrin let him go - this could also serve as an event to strengthen siuan's suspicions of black ajah in the tower, leading to her creation of the wondergirls task force.

i will end the post here since i hit the 30 image limit haha

#yes i did feel very pepe silvia meme as i compiled this post #wot #wot on prime #wot book spoilers #wot show spoilers #the wheel of time #long post

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threewaysdivided · 3 months ago

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How Different do you think Young Justice Season 3 would have been had Jay Olivia and Michael Chang returned?

[For context, we’re referring to this post where I broke down the major writing/directing credits for each episode of Young Justice Season 1 and found that former Teen Titans 2003 directors Jay Oliva and Michael Chang had handled over 75% of the episodes in Young Justice Season 1 before vanishing from the credits of all later entries, and this post where I summarise how those later entries actively destroyed the arcs, themes and narrative of the original season.]

TBH it’s kind of hard to tell. I have a few ideas, but like I was saying in that first post, it can be unwise to pedestal one or two members of a creative team when there are so many factors that can impact the final quality of a work.

Here I think it’s important to mention what a director does. In situations where the director and writer are separate roles, the job of the director is to adapt the script to a visual form – working with the writers/editors to make changes as needed. Directors direct how scenes are constructed, presented, acted and “shot” – which affords them a great deal of subtle influence over the pacing, focus and framing of a story. The visual language of film can do a lot to control what information the audience prioritises as important, and how they interpret/perceive it. Unsurprisingly, when you have bad, fragmented or inconsistent directing, you end up with stories that lack direction.

While Chang and Oliva having such a presence in the direction of Season 1 definitely lent it some of their specific personal creative flavour, I also think a lot of the major benefit came purely from having two people (and likely others who formed part of the S1-specific creative team) who were experienced in working together and had direct input/oversight of more than 75% of the season from start to finish. That kind of creative cohesion makes it easier to track and maintain the continuity and progression of a narrative. Compare and contrast with Outsiders, where you have a rotating shift of three less-experienced directors and a huge revolving door of new writers, with no-one working on more than a single episode in a row, the same directors almost never getting paired with the same writer twice, and a general sense that the story was being produced episode-by-episode with very few people having a clear sense of what had come before or would follow after.

One of the challenges is that the declining quality from Season 2 onwards points to something being fundamentally broken in the creative process at DC Comics/ Time Warner productions. Young Justice Season 3 was the straw that finally broke my trust in Detective Comics Comics but it came on the heels of things like the original Suicide Squad movie (see this Folding Ideas video for an excellent dissection of those production and editing issues) and the transparently marketing-driven disaster that was Batman vs Superman. It feels rather like modern-day DC is producing the in-house equivalent of shovelware: underinvesting in the timing and budget that its creative teams need for proper writing, editing, revisions and post-production in favour of churning out superficially saleable high-profit-margin products to cash in on recognisable IP’s and existing fandom markets. Faced with that kind of incentive structure and production-crunch it can be very hard for a single (or handful of) creative team members to make course-corrections.

That isn’t to say that good media can’t be produced under tight conditions, but doing so generally requires a well-thought-out creative plan for the project. And unfortunately, that kind of plan is something Greg “I don’t write endings” Weisman is notoriously bad at both creating and sticking to. This was one of the problems I ran into when doing my YJ: Invasion autopsy: while you can correct some of the surface level problems, the root issue lies in a core story that’s bad from base principles and fundamentally incompatible with what came before. Again, this can be overcome if other production team members are given enough time and creative authority to review and revise that story-core, but that doesn’t seem to be the production environment S2+ was allowed.

With all that said, I think it’s safe to conclude that, under the circumstances, Young Justice: Outsiders was likely always doomed to be a mess. The combination of a lack (or even discarding) of a clear show-bible to act as a guide, a lack of clear project-plan (or, at least, plan-communication) from the showrunners,and a lack of pre-/post-production time for other team members to figure out what story they were even telling is pretty much a guaranteed recipe for narrative failure.

However, assuming that a pair of Oliva/Chang-like directors had been on the revival team, with input into most of the episodes, I think we might have at least seen some improvements to execution:

Firstly, we may have seen better cohesion and focus. In the multi-layered onion of bad storytelling decisions that is the later seasons, the outer layer that many people seem to have bounced off is that it’s hard to care about what’s happening. YJS2+ are boring and badly paced on rewatch, and a not-insubstantial part of that is bloat. There is a plague of random new characters, exposition and world-details that don’t meaningfully contribute to the narrative (and for the record, I should clarify that ‘narrative purpose’ is a lot more than just ‘plot advancement’ – the problem here is that these elements are actually purposeless to the point of being distracting), scenes and ‘jokes’ that overstay their welcome due to a lack of proper substance, and ‘twists’ that exist for expectation-subverting ‘shock bait’ rather than moving the story.

At a surface level, the later seasons desperately needed someone to ask: both ‘what is the focal point?’ AND ‘what is the purpose of this moment/scene for the story?’ and actually make Greg Weisman give them a coherent answer beyond ‘just trust me, it’ll be totes smart when you (read: I) figure it out later’. Like I’ve said before, there’s a lot of fat that could have been trimmed; shallow scenes that could have been reworked to serve characterisation and themeing, ‘references’ that could have had their screen-time reduced to passing easter-eggs, and other wasted time that could have been better allocated to developing a core cast of ‘focus characters’ with an understandable dynamic to help anchor the broader character web in a relational status quo. Considering what we saw of Season 1’s character-focus, and Oliva and Chang’s previous involvement in Teen Titans 2003 (which was also very good at prioritising, reinforcing and maintaining characterisation/ character dynamics) I think some improvement in story-focus, especially towards characterisation, could have been achievable.

The other gain we could have potentially seen is more sensitivity and tactfulness in the presentation of certain story beats/ characters. For this I want to highlight framing: whether something is respectful or offensive comes down less to the inclusion/exclusion of particular elements and more to the way in which those elements are presented to the audience – the priorities, assumptions and worldview revealed by the delivery.

Let’s do a couple of case studies just to get our heads around the idea:

For Example One, we’re going to make the point by jumping straight in the deep end of sexual assault and fanservice in media feel free to scroll to the next paragraph if this is a no-fly topic for you. Our contrasting studies will be The Millenium Trilogy (a noir series I’ve previous referenced in contrast to the YJ revival) and the shounen anime Sword Art Online, both of which contain assault and rape scenes. Millenium’s depictions of assault keep the perspective on the victims, focusing on the pain/ powerlessness/ degradation/ anger they experience during and after the violation, and examining their reluctance/ aversion to reporting these crimes, while maintaining a respectful detachment towards describing the acts themselves. In contrast SAO contains an infamous scene where an arc villain attempts to rape the female lead, while the camera fixates on the fanservice of her breasts quivering as he tears her shirt off (in addition to a concerning amount of other fanservice scenes where female characters are penetrated, groped or “peeped on” in ways that are clearly nonconsensual and unwelcome). From this we can conclude that the issue isn’t inherently with sexual assault being present in a story – how it’s framed makes the difference. The Millenium Trilogy respects the autonomy of its female characters, using assault scenes as an important narrative device to confront the audience with the violence of systemic sexism and condemn the cowardly entitlement it enables as part of its wider critique of misogyny; Sword Art Online degrades, objectifies and disregards the autonomy of its female characters by using narratively unnecessary sexual assault as a vehicle to ‘reward’ its target audience with fanservice. What matters is how the subject is handled: is the sexual assault of women treated as a serious problem in need of criticism or as a guilty-pleasure ‘treat’ for boys to enjoy?

Moving to a gentler and more home-field example, let’s compare how pregnancy is handled in Young Justice Season 1 vs Outsiders. It’s easy to overlook in the wake of the brick-to-the-face that was “you got a baby in there!” but Season 1 also included pregnancy as a plot-beat; Queen Mera announcing the news that she is “with child” during the episode Downtime. However, there’s that difference in framing: after it’s announced, Downtime quickly moves past the physicality of Mera’s pregnancy to focus on why it’s narratively important - because Mera and Orin are the royals of a hereditary monarchy and their child will be first in line to the throne of Atlantis. Despite this being her only episode in Season 1, Downtime also gives Mera multiple characterising moments outside of child-bearing; introduced her first as a Queen and teacher/mentor to the students of the Conservatory, and later demonstrating her power as a battle-mage during the Manta-trooper attack – her pregnancy being almost a footnote outside its narrative-relevance. By contrast, I think the reason that “baby in there” line from Amistad gets memed so heavily is because it highlights Outsiders unnecessary fixation on the physicality of female characters being pregnant, in addition to a disproportionate tendency to depict female characters as married, pregnant or mothering in the absence (or even at the cost) of narratively meaningful plot or character development – reducing these characters to little more than “pregnant sexy lamps” (as @mimeparadox so eloquently put it in their recent review of similar issues with the Gargoyles revival). Again, the difference is execution: where Season 1 used pregnancy in a character-specific and narratively-relevant way, Outsiders not only assumes but enforces it as the expected path for female characters – sacrificing both characterisation and screentime for a subtler form of fanservice: one that reinforces and validates a specific worldview of gender (and which has been increasingly revealed to lurk beneath the surface of performative ‘feminists’ like Eric Schneiderman and Joss Whedon).

At this point, I think it’s worth noting that Jay Oliva and Michael Chang are both Asian-American men (i.e. less likely to be blinded by privilege a problem that Greg Weisman has always struggled with), that Chang himself was lead director on TT2003’s anti-bigotry episode Troq and that TT2003 on the whole is often praised for its respectful depiction of female characters (and also Victor’s cyborg status).

Given this, I think similar direction could have resulted in more respectful depictions of non-white and disabled characters. As it exists, the revival at large (and Outsiders in particular) has a HUGE issue with unnecessary and disproportionate violence towards and villainization of characters-of-colour in a way that inadvertently reveals the bias of the creators; shock-value violence towards marginalised characters being treated as more acceptable and less needing of commentary because they clearly weren’t expected to be as relatable or worthy of empathy as the “main” characters. Different direction could have seen some of the more needless violence removed in favoured of equally-shocking-but-more-narratively-purposeful elements, some of the narratively-justified violence reframed in a way that was more empathetic to the personalities and bodily autonomy of the victimised characters, or - given more time for revision - used to make a critique of in-story bigotry by presenting the disproportionate targeting of marginalised protagonists as being the product of systemically prejudiced antagonists (rather than casually-bigoted producers).

Similarly, I think better direction could helped respect female/femme characters more. From Season 2 onwards Young Justice has an increasing problem with the male gaze in how it frames and poses women; Outsider’s borderline-fetishistic obsession with depicting late-term pregnancies again being a particularly egregious example. Many of these scenes either didn’t need to be included (hence the meme-potential of wasting screen time on a toddler explaining how pregnancy works to a mature audience) or could have been made more narratively meaningful by prioritising specific characterisation over generic ring-fingers and pregnant bellies. This male gaze issue was at its most insulting with Halo; even if different directors couldn’t change the incredibly disrespectful character-design decision to vacuum-seal a nonbinary, hijab-wearing minor inside a boob-socking, ass-grabbing, wasp-waisted super-suit, they could have worked to preserve Halo’s modesty and gender identity with posing and camera choices that minimised the attention drawn to Halo’s sexual features, and presented their body-language and posture in a less-feminising way.

This likely wouldn’t have fixed the underlying biases baked into Outsiders’ plotlines but I think there was the potential to soften the execution to the point that they could have felt more like a “missed the mark” than the farcical offensiveness that we got.

That said, I don’t think anything could have truly saved this series.

As I said at the start, I think the thing that ultimately doomed Young Justice was the lack of a long-term story vision; the ego and overambition of showrunners trying to build a story that runs on teasing twists, mysteries and future-resolutions while also openly wanting it to go on forever. Those two elements are fundamentally incompatible if you want a satisfying experience, and without a clear guiding plan you can’t expect the underlying creative team to successfully find a story’s identity during a rushed pre-production. You can’t provide direction if you don’t know where you’re going. It would be like trying to invent an entirely new plane and build it as it’s taking off: a crash is inevitable, the only question is the extent of the damage.

At best, I think we could have seen another Invasion-level non-story: a few isolated good character moments bogged down within a season that, while not overtly offensive, was still thematically confused, overstuffed with characters, driven by contrivance and insulting to the intelligence of anyone actually trying to follow the narrative. A slow zombification, riding out a few extra seasons on plausible deniability, rather than Outsiders’ rapid crash-and-burn seasonal rot into an offensive cash-grab parody of itself.

And, in a way, I’m kind of glad that Oliva, Chang and the other Season-1-only creative team members didn’t come back for that. Because, even if it would have resulted in a more palatable product, it would have come from forcing a group of marginalised creators to salvage a privileged dude’s mess.

I’ve spent far too many words over the last few years trying to unpick the layers of why Young Justice is such a narrative failure post Season 1 and now I feel like Benoir Blanc. Because these problems are a glass onion and at their clear centre, Greg Weisman is an idiot. He’s a demonstrable bigot, who had a publisher back away after he trashed their franchise with misogynistic queerphobia. He’s a sex-obsessed loser who tried to launch a Not-Safe-For-Work production company writing Gargoyles Parody Porn while wearing an eye-patch and pretending to be a ‘fan collaborator’. His writing reveals a consistently toxic attitude towards abuse, consent, boundaries and power dynamics. Based on some of the creepier things he’s said/written, he could be potentially unsafe for certain fans to be around. And even setting all that aside (and it’s a lot to set aside) he’s just obviously a hack: he claims things that are neither present in or even supported by the text, he promises future developments and fixes/explanations that he rarely if ever delivers, and he uses those holes as a springboard to pitch separate-purchase side-content that also seldom delivers, in a way that suggests he either has no idea what he’s talking about or is intentionally lying to grift his fans.

And, look, this problem is far from exclusive to Weisman: it certainly didn’t start with him, and it’s not even exclusive to the arts. Across industries we are currently realising that we’ve let privileged guys who can talk a good game coast by on an assumption that they were qualified to hold their positions of influence, even as we held them to far lower standards of scrutiny than we would equivalent people of any other demographic.

Young Justice was never going to survive long-term (any more than the Gargoyles revival is) because the creative load was always resting on that rotten core. I think we as a fandom were very lucky that Season 1 had both a sincere creative team and the production schedule needed to overcome it and give us something as good as they did.

I wish we could have seen that quality continue. But, at the end of it all, I’ll make peace with the disaster we got. Because it was at least a somewhat honest reflection of its lead creator, rather than enabling him to keep failing upwards on the back of his colleagues' contributions.

So yeah. Better directors would probably have resulted in better surface-level polish... but you know what they say about polishing turds. No matter how much sugar they added, Outsiders couldn't be turned into a brownie. You'd still be being fed crap.

And frankly, whether it’s his characters, his audience or his co-creators, I’d rather not continue the pattern of letting Weisman shove the burden of dealing with and correcting for his bullshit onto less-privileged people.

#Young Justice #Young Justice (Animated)#Young Justice: Outsiders #3WD Answers #90snostalgia311 #Anti Young Justice Outsiders #young justice revival #anti young justice revival #Greg Weisman #Greg Weisman Critical #Anti Greg Weisman #Young Justice Critical #YJ Critical #Sorry if this is a bit of a non-committal answer #I'd need to do much more research to feel confident attributing anything to Oliva and Chang specifically #And I barely have time to read RN let alone research that #I can't offer much more than: you can't polish a turd #Boy howdy this one sounds jaded #Sorry #Also just for the record: WHY is EVERY new thing I learn about this showrunner utterly cursed?#Started off with a motherhood fixation. then the bigotry franchise that he tries not to talk about. and now EYEPATCH PARODY P*RN???#Seriously what is this man?#(Exhausting. that's what he is. and also very stupid)#(but more to the point he's privileged; entitled; and incurious. and those are things you REALLY can't fix)

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theredengineapologist · 10 months ago

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From the ttte movies you seen, whats your fav?

✨THE GREAT RACE✨

The Great Race is THE BEST ONE! I may not have seen most of the other movies yet, but I'm very sure NOTHING is ever gonna beat this movie for me.

You're telling me they made a Thomas movie centered around what is basically a Train Pageant (tm) AND they made it a MUSICAL!!??? Hell yeah! Sign me up!

But then you actually get in to the movie and it gets even better.

EVERY SONG IS A BOP! EVERY! 👏 SINGLE! 👏ONE! 👏 THERE WAS NOT A SINGLE MISS IN THIS MOVIE! I don't know what they were on, but they were pumping out JAM after JAM!

Secondly, I think the Great Railway Show was a great way to introduce more foreign engines into the show in a way that made sense. Pity that we didn't really get to see much of them. But I also feel like we didn't really need to. I mainly just liked that we got to SEE them.

One of the things I LOVE about Brenner Era CGI Thomas is how the world of Sodor feels so much bigger. In the model series I get this sense that the Island of Sodor is this quaint little English countryside island where nothing much happens, and the engine's shenanigans are the most interesting things to happen in day-to-day life. Whereas I feel like in Brenner Era CGI Thomas, the world feels much grander. Still very much an English countryside island. But the island itself feels much bigger. The engines and the people living on it feel much busier. And in some ways I would say the cast itself feels more diverse once they gave the characters unique voices. I'm a sucker for shows that allow their characters to speak in different dialects, and giving Duck his West Country accent and the narrow gauge engines Welsch accents honestly endeared them to me more.

Anyway, main point I'm trying to get at is that the introduction of The Great Railway Show helped to expand the Thomas universe and show the rest of the world interacting with Sodor and vice-versa, even if only for a short period of time. It adds to the grandness of the world.

I also really like Thomas's arc in this movie. With how often he gets picked on for being a "little engine" over the course of the series, it's no wonder the guy's a little self conscious. If the narrator called me "short and stumpy" three times in a row I'd be pretty self-conscious too lol. But jokes aside, I did like seeing Thomas have conflict with this part of his identity. His verses in "You Can Only Be You" really made me feel for him, and I loved being able to see him finally come around at the end.

And of course, we can't talk about The Great Race without mentioning

HOW PRETTY JAMES'S DECORATIVE PAINTWORK IS!!!

LOOK AT HIM! LOOK AT MY PRETTY BOY! GAZE UPON HIS BEAUTY AND HIS SPLENDIDNESS!!!

And you know what? I'm gonna say it. James deserved to win Best Decorated Engine. Sorry not sorry RAJIV! But they don't call me the Red Engine Apologist for nothing! My pookie deserved to win!

One of these days I've got to do humanized versions of James's and Emily's looks from this movie. I can see it very clearly in my head but I also want to, um, draw other characters HAHAHAHA

Anyway, TLDR, The Great Race was an amazing movie with a killer soundtrack, great story, and a concept that appeals to ME SPECIFICALLY. I also genuinely think it would adapt very well into a stage musical (similar in visual style to the Spongebob musical). I have a clear vision in my head for what it would look like but unfortunately I don't have the money nor resources to make it a reality so it would just stay in my head. But just know that every time I watch this movie I am actively thinking about how I would hypothetically adapt this to the stage.

I''ve spent WAY too much time rambling about The Great Race but yeah, there's your answer.

Also if you're curious, here's every Thomas movie I've watched so far ranked from favorite to least favorite.

The Great Race (obviously)

Sodor's Legend of the Lost Treasure (Thomas had a great arc in this one, "Never Overlook a Little Engine" was fun, and visuals are spectacular. Solid movie but it can't beat the campiness of The Great Race)

The Adventure Begins (Solid movie. The other two are just more fun imo)

Tale of the Brave (It was a good movie and I probably would have appreciated it more if I watched it in High Quality. But unfortunately I can't stand Kerry Shale James and so I chose to watch a grainy upload on YouTube instead.)

Journey Beyond Sodor (I'm sorry to my one mutual (you know who you are) who said this was their favorite movie. But unfortunately, in my opinion, the songs do not slap as hard as in The Great Race)

#ttte #thomas and friends #the great race #thomas the tank engine #ttte james #ask answered #ttte episode review #ttte movie review #ttte first impressions #on today's episode of “thinking too hard about trains”...#redengineposts

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alias-milamber · 1 year ago

Text

Today I completed a Blades in the Dark campaign

Lessons learned:

Blades in the Dark isn't great for a short story-focused campaign

BitD works well for a single-session or a long campaign with the territory/growth rules it defines, less well for short campaigns

Even when I think I'm making a short campaign, it might last a year.

Full improvisation is fun, but if you don't take notes you'll goozle yourself.

"Your Theorycrafting about the nature of the plot is entirely correct" is a vicious Devil's Bargain

As is "I'm not going to tell you, but it gets you two dice"

Write a vague prophetic dream, and use the details later to make them pay attention when you need to.

You can build an entire year long arc on the stupid pun "the bad guy is called Carson. He wants to turn everyone into crabs"

"He wants the whole world in his claws, the shellfish bastard"

A shop full of monkeys-paw magical artifacts that you improvise on the fly is like catnip to players.

Keep a list of random threads you haven't looped back to. Don't bother to check them off, things can mean two things.

If in doubt, add more cultists.

If in doubt, venetian masks.

If in doubt, add an NPC's mirror-verse twin.

"Everyone gets nightmares about being shelled and covered in Mary-rose sauce."

Three handouts:

A Dream Of Seafood

(after a player has eaten of the sacred flesh, disguised as a prawn vol-au-vent)

The world is cold and wet, and you like it that way. The sandy floor below you, the stars above, as it has always been and will always be. In the distance you hear the song of the leviathans, cutting through the ocean water like bagpipes over a mountain hillside. The words mean nothing to you, their song as alien as yours would be to them.

You do not sing your song, sound isn't what you're made for. You are, you see, you feed, you eat.

You obey.

The sandy floor rises up below you in ribbons - you never even process the net that has caught you. Your life flashes before your eyes, hits this moment, and goes beyond into the future.

You see the world above the ocean briefly, before darkness. The smell of wood and others for a long time, and a long descent into clean water. The water scalds and burns, and the life life leaves you, without your presence going with it.

You haunt the flesh of yourself as your shell is peeled back from you. A bath of pink sauce and a bed of puff pastry. Music, and strange people.

A mouth, and darkness.

And despair.

A Dream Of Shellfishness

(The first character to atune to a sacred artifact)

Within your dream you awake. You are underwater, and this seems oppressive and terrifying until you realise that you're breathing the water without difficulty, and then it just seems oppressive and differently terrifying. You breathe in brine, it fills your lungs and then you breathe out again, and beyond your initial panic, a deeper worry sets in.

You are surrounded by stars, refracted by a perfectly clear sea. Above and below you, constellations unrecognised, twinkling gently in the pitch black night. A moving black patch above you can only be a leviathan, its gigantic form gliding through the pitch black sea like a bird of prey. Behind it, the keel of a hunting ship disrupts the surface with its infernal motorised screw engine spinning to try to keep up, but the monstrous creature swims away with no apparent concern. Around you is a barnacle encrusted cage, glowing runes engraved on a wooden frame that you somehow know cannot be broken, even by you.

That's no mean feat, you discover, as a sense of scale kicks in and your perspective shifts. You realise that you could hold that leviathan in the palm of your hand, should you be able to break the cage that surrounds you. You beat against the bars soundlessly, unheard and imperceptable.

A voice, a sound like the antithesis of music, and you see one of the glowing runes go dark on your prison.

Vengeance will be won.

The Crab God's Shanty

(To the tune of the work song from Les Mis)

We sit, we row. Fourty fathoms low. We sail, wind blow, Forty Fathoms Low.

We load cargo, Forty fathoms low, We lift, we stow, Forty fathoms low

The stars, they glow, Forty fathoms low, The tide will flow, Forty fathoms low.

The deep, plateau, Forty fathoms low We see, he know Forty fathoms low.

The undertow, Forty fathoms low, Will make us go, Forty fathoms low

He speaks, bestow, Forty fathoms low, We feed, he grows, Forty fathoms low.

Our life, forgo, Forty fathoms low, The world will know, Thirty fathoms low.

Give up, let go, Twenty fathoms low, He rise shadow, Now ten fathoms low.

He rises slow, Just five fathoms low, Yo ho, heave ho. Claws at your ship bow.

#blades in the dark #ghostlit detour

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batsplat · 5 months ago

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at least motogp channel did put sete in valentino’s rivalries vid for their vale tribute HA the valentino snipers did not get to them in time ig https://m.youtube.com/watch?v=63oLIUbRT6M

(video) it's still one of the Big Five Feuds!! admittedly to most people it's fifth of fifth, but it can't be displaced!! he had two title fights with the man!! pepperidge farm will NOT forget!!

genuinely when I sat down to watch the 2004 season for the first time and watched mugello, catalunya, assen... honestly I think I may have watched them straight up in a row because I just couldn't stop myself? like that shit hit SO good and I had this moment of?? why isn't everyone talking about these races ALL THE TIME. I'd never even heard them mentioned?? and okay the answer to that could be 'well they happened in 2004', but they don't even come up that much in discussion of old races!! they're all bangers, they're all DIFFERENT bangers, a real range of flavour that all heavily feature the same two title protagonists. they change the championship picture completely in a way where okay with the benefit of hindsight you can go 'oh ho ho valentino was always going to win that title' - well no he wasn't! valentino showed up in mugello with the wooden medal helmet for a reason! it was his first yamaha season and after that initial welkom high, he did look like he was in trouble! and you get those races to completely change the tone of the title fight?? not crashes, not just dumb mistakes, a direct contest! individually all three of those races would be a decent shout for best or second best race in a lot of seasons, let's be honest. as back-to-back-to-back races, the only trio of races that is even in the same DIMENSION this century are austria/silverstone/misano 2019 - which is undoubtedly a great shout too in all being bangers and having a sort of mini storyline arc with a fantastic conclusion, but it does feature different protagonists and also has less than zero championship implications. plus the biggest interpersonal relationship story we got out of that trio involved a rider who literally wasn't even involved in any of those duels, which is objectively pretty funny and speaks to the lasting power of that particular feud - BUT!! it's not quite the same thing as the 2004 trio

genuinely valentino is so lucky biaggi showed up at welkom to do the dramatic duel with him so that's the crowning achievement everyone remembers from the yamaha switch. like the way the pr works is that - well, people vaguely remember biaggi being the big rival for valentino at some point in his early years and valentino beat him at welkom for his first yamaha win so that might as well be the only important race of that season?? which. the biaggi thing ALREADY wasn't the main rivalry at the start of 2004!! valentino's getting away with a massive act of historical revisionism through dumb coincidence!! literally you can make the argument that this is the only real one-on-one race duel biaggi and valentino EVER have, it's not their only memorable battle (suzuka + phillip island 2001 obviously) but it is the only one in that category of race-long one-on-one! and it just HAPPENED to fall exactly then, which is obviously extremely valentino because he loves having everything work out that way for narrative reasons. but it's also super convenient! by the evidence of the entire 2003-05 period, it is so so so much more likely that duel happens with sete! it'd be unfair to call it a biaggi cameo appearance since he was still a serious factor until honda promoted him to their factory team in 2005 (I have many unanswered questions about what on earth honda was doing with their line up for much of the early noughties) and finished p3 in the standings in both 2003 as 2004, plus there was a time in 2004 where biaggi was super close to the championship lead after... uh. rio? actually no I double checked, after sachsenring he was a point off valentino. point being, biaggi was absolutely a factor but not really in terms of on-track battles!! the actual duels were happening almost entirely between valentino and sete, with ONE exception. of course valentino gets to say his favourite career win was against biaggi. twat

anyway after writing all this out. I did actually click on the video. and. they left oUT ASSEN 2004!! THEY LEFT IT OUT!! THAT WAS THE BEGINNING OF THE END YOU FOOLS YOU AMATEURS THERE WAS LAST LAP CONTACT!! WHAT MORE DO YOU NEED TO INCLUDE A RACE?? IS A LAST LAP OVERTAKE WITH SUBSEQUENT CONTACT WITH OBVIOUS POST-RACE TENSION NOT ENOUGH FOR YOU??? WHAT'S THE STANDARD HERE??

on the other hand, you could say that if a rivalry is so high quality on track that they don't even include a race like that, then it has to be an absolute all timer. I rest my case

#every time i get a sete ask it's something special to me #pr war hyping up a two decade old rivalry. we'll get there #//#brr brr #batsplat responds #also personally i would've included phillip island 2006 because it ALSO is a last lap duel AND it's their last ever :(#the thing about phillip island 2001 is that it's an objectively bonkers way to seal your title and it WAS the first #BUT but but!! phillip island 2004 was a way way more fragile championship situation!! that's another one that doesn't get discussed #also for fans of narrative. phillip island 2001 does not tell you anything you didn't already know about valentino. 2004 doesssss #curse tag

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oodlyenough · 4 months ago

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now that i've finished dual destinies here is how i'd rank the aa games that i've played.

this started as a bulleted list but then as always i ended up rambling forever, so, some of it is under the cut. spoilers for AA1-5 & AAI1. anything not listed is a game i've not yet played

1. Ace Attorney (1)

can't beat the original. ok so maybe the first time i played turnabout samurai i got so bored i took a 3 year break. that's not the point. i was weak. i think this game is the tightest and as the introduction to the concept and the characters it does a surprisingly good job of balancing and developing all of them. pretty satisfying arcs and relationships for every major character. also 1-4 and 1-5 are two of The best cases ever.

2. Ace Attorney 3/Trials and Tribulations

this one coasts on the strength of the dahlia throughline. all three of her cases are great. the fey lore develops so well and so interestingly, i loved getting a chance to play mia, dahlia is the best AA villain, bridge to turnabout has so many great things going on, edgeworth v franziska rules, phoenix investigating with franziska rules. it had some of my favourite puzzles and puzzle solving. the weak points that lose it top spot for me are that i didn't like how edgeworth and franziska evaporate from 3-5 in the second half, i wish maya had a bigger role in 3-5, and i don't enjoy anything about godot. also the two middle cases bored me to tears

3. Ace Attorney 2/Justice for All

this is a messier game than the above two for sure and i also thought it had the worst puzzle writing of the original trilogy. the magatama's use here is a bit clunky. i also think the way edgeworth's disappearance and return is handled is not quite as satisfying as it could've been for such a big emotional thing. the execution of the start of 2-4 with maya's kidnapping and engarde hiring phoenix could've been done much smoother.

BUT: i love the expansion of the fey lore, introduction of morgan and pearl and kurain, and franziska is my specialest little girl and i love that she's here. and 2-4, especially as it goes on, is such a good interesting case and some of the BEST character stuff for phoenix and edgeworth and truly made me unwell about the ship indefinitely. edgeworth hunched over his desk with bugged out eyes through gritted teeth "the prosecution... rests..." ??? peak romance

4. Ace Attorney 4/Apollo Justice

this is a really fun game that has the difficult task of introducing a lot of new characters and it pulls that off fairly well. apollo, trucy and klavier are all really fun. it's super interesting to see phoenix as an NPC and see what a mysterious galaxybrain he is when you're not given a front-row ticket to his scattered thoughts. i think the mystery writing here was coherent and pretty tight and i had fun solving the puzzles. 4-1 is one of the best tutorial cases for sure.

downside is that it's underbaked and you can tell. the new characters, while likable, barely get a chance to shine or really develop. apollo is not really much more than an avatar, the story is still about phoenix. and even when i'm enjoying the game, it just does honestly feel kind of... mean... the way the game drops every character from the trilogy and does what it does with phoenix.

5. Ace Attorney Investigations 1

fun pixel sprites, some fun new characters, it's cool to be able to walk my lil dude around and click on stuff. some of it is pretty funny. there's a surprisingly large variety of new female characters in different kinds of roles and personalities and designs and i always appreciate that.

the mysteries are not very good and the puzzles are frequently frustrating. the lack of trial day structure means the pacing feels wonky in many places. the returning characters are not written very well, franziska in particular is a flanderized shadow of herself, and most damning of all: edgeworth, the main character, is not written particularly well. the bratworth flashback in particular shows a fundamental misunderstanding of the character established by the trilogy imo.

6. Ace Attorney 5/Dual Destinies

this game had most of the same flaws as AAI and it didn't even have nice art or fun investigation banter to save it. i like athena a lot, i love aura and canon lesbians, it's nice to see phoenix as a lawyer again and get some confirmation edgeworth and the feys didn't fuckin die off screen. aa5 klavier is fucking hilarious. some of the new NPCs are funny s/o to the orca and plonco and robin.

the non-chronological plot was unnecessarily convoluted, the dark age of the law was emphasized so much only to be totally underdeveloped, the phantom plot twist was cool for three seconds and then pretty stupid in retrospect. apollo's storyline is a disaster. trucy has been replaced by an automaton that talks about panties. the lack of being able to investigate scenery makes the investigation days short, hurts character development and contributes the pacing that makes every final trial day feel interminably long and infuriating. too many plot twists rely on the game simply not providing evidence until the last second, at which point the twist becomes obvious. the nicest thing i can say for dual destinies is that it didn't irreparably break anything i loved in the previous games.

#ace attorney #oodly plays AA

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