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insomniacowl · 4 years ago

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Neon genesis Evangelion Analysis Chapter 23: Katsuragi Misato Part 2 Dear Shinji, this is my will.

Misato: So you don't want to meet your dad?

Just like me

Let us start from the beginning. The scene in the first episode where Misato drives down to meet Shinji. Her first words to him were, "Sorry, I made you wait." This, I believe, is the first of many times their interactions will revolve around the theme of "Waiting." The line also contrasts with her final words to Shinji, "Let's continue when you get back."

Her cross is first brought to our attention through Shinji's eyes as Misato shields him from the blast of explosions from the Self-defense force's missiles used against Sakiel. Then, on their way to NERV, Shinji confides to her about his feelings towards Gendou. Misato empathizes, saying, "You're just like me," pointing to their commonalities.

She later consoles Shinji as he refuses to pilot Eva-01 and tells him to "Not run away from himself." At this point, she was already seeing herself reflected in Shinji, and those words were meant for herself as well.

After this point, Misato constantly finds herself reflected on Shinji. While it has a positive influence, like in episode 1, it also frequently caused Shinji to hurt. One criticism viewers lay on Misato is the sarcastic tone she sometimes takes when talking to Shinji about his actions. "You don't want to pilot the Eva? With that kind of determination…. What a pain!", Is one of the harsh words directed at Shinji. Even in episode 12, her cold reaction to Shinji's contemplation regarding Asuka is also, in its own way, infamous.

Yet, if we consider that she sees a lot of herself in Shinji, those lines come to represent her self-contempt rather than how she sees the fourteen-year-old. Misato was not really in the position to take care of teenagers if we consider her character flaws.

While such actions are worthy of criticism, there is room to empathize considering the traumas she had to endure, which has shaped the kind of "Adult" she became. As a young child, she was in the center of the Second Impact, and the psychological impact has led to her being mute for a few years. However, she seemed to have eventually recovered. Perhaps to compensate, we are told that she became an overly happy and talkative person. On top of this, she has studied hard and become a student at the Second-Tokyo city University. She met and began living with Kaji in the year 2005, at the age of twenty. According to Ritsuko, she even had a week-long sex marathon with Kaji, where neither of them left the house during the period.

To elaborate on her constant need for physical pleasure, we can start from the glimpse of her inner monologue we get during the instrumentality. We learn that it was one of the few things she had control over that made her feel alive when she was intimate with Kaji. Yet she breaks up with him because She saw a glimpse of her father reflected in him, although that was what got her attracted to him in the first place.

What are you embarrassed about? You wanted the man you love to see you for who you were. NO!

I wonder about that. You wanted your father to see you for who you were. That's not true!

We can identify Misato as struggling with Electra Complex (Oedipus Complex for girls) regarding how she views her father. She then attempted to quench the thirst for affection her father failed to provide her from a different man who felt similar to him. This can be observed through Kaji and Shinji. Two people sharing the same character flaws as her father (Workaholic and being bad at human interaction) being the two people she opened herself up to (Mentally, emotionally, and sexually). Misato was hoping to compensate for the loss she suffered and recover from her past trauma using her relationship with these two.

Consciously or unconsciously, she likely understood this side of herself. She felt disgusted by herself, leading to her breaking up with Kaji while punishing and labeling herself as someone "Undeserving to love." While her relationship with Kaji was open and overtly described in the series, some of you might wonder how Shinji is involved in this process. Especially regarding the sexual aspect of this analysis.

We can definitively say that Misato and Shinji do not share a simple Guardianship relation. But the discussion about Misato and Shinji can wait for now. First, let us discuss Hyuga Makoto.

Hyuga is seen approaching Misato as more than just a direct superior at work (Especially after Kaji's death). "Only if it's with you (I don't mind dying from the base self-destructing)." It is a telling line that highlights Hyuga's feelings that he begins acting on in the latter part of the series. Turning him into a more dimensional character. While Misato seems to be aware of such advances, we never see her acting on it. Neither accepting nor rejecting him outright. Since this is at the low point of her emotional journey, Misato would have been okay with anyone. Thus, it makes us wonder if there could have been more intimacy between the two off-screen. I'd argue that Hyuga died a virgin (or at least that there was no sexual relationship between the two) based on Hyuga's fantasy during the instrumentality.

To bring our discussion back to Kaji, we are shown that he was the first man she trusted and gave her first intimacy to. At the same time, she was someone Kaji was able to trust and be vulnerable with. We never see either of them refer to each other by their names. While the reason is not depicted, we can make an educated guess and say that it stems from their determination to interact professionally. Without letting their (embarrassing) past hinder their work.

But perhaps it was destined that this guise was not meant to be. In episode 15, we see the two confide in each other. Misato laments about her father and her regret of not being a good lover for Kaji. Kaji embraces and accepts her of it. The last time they ever shared a bed, Kaji gives her his final present. His death led to Misato shedding many tears, but the present helped guide her to her next step. Before this point, we see her constantly drinking her favorite beer, but never after this event. All we see her drink from then on is canned coffee, Kaji's favorite drink. And now, two peoples' worth of "Will" lived on inside her. One from her father, the other from Kaji.

Now, let's discuss the last "Male" in her life: Shinji. As mentioned earlier, Shinji was more than just a child under her care. Shinji's first introduction of Misato was through her photo that she sent him. It is a revealing photo of herself with arrows drawing attention to her breast. As a side note, the actual words in this image were written by Anno himself, and the lipstick mark was from one of the female Gainax staff.

From the photo, we can see that Misato wants Shinji to see her as more than a potential caretaker (as ethically should), but as someone of opposite gender and a "potential" love interest. Although, of course, we can brush it aside as a part of her quirky and fun-loving attitude. But the problem arises in the latter part of the series where this attitude crosses the line. The suspicion is confirmed in the official pamphlet's character introduction describing her as Shinji's family + co-worker + superior + "lover."

Misato: Shinji, I'm going in. This is about all I can do for you right now.

Shinji: No!

The scene central to this discussion happens in episode 23 when she takes her seat next to Shinji, who is grieving the death of Second Rei on his bed. Although surface-level reading is, Misato wants to hold his hands to comfort him. If that is the case, the line "This is all I can do for you right now" is unnecessary. And not only that, but Shinji's rejection of this advance is also too strong to justify the conclusion of the surface level analysis. If anything comes to mind about an act that two grown-up adults do on the bed is "Sex."

Even if we try to give the benefit of the doubt and stay at the surface-level conclusion that is psychologically comfortable, this is Evangelion. It refuses psychological comfort. The film book released by Gainax has a note about this scene that says, "Misato is attempting to give Shinji her body." This is even alluded to in the shot right before the line, the head of the chair being where Shinji's Penis would be, and Misato coming to sit right on top of it.

Throughout the series, both Misato and Asuka approach Shinji as the "Other sex." it's natural for Asuka since they are the same age. However, it is unnatural to think of Misato (Who is twice his age) approaching Shinji sexually (neither should be accepted). So let's dive into how Misato might think about that. As early as episode 2, we are shown Misato yelling at Ritsuko through the phone, saying, "There is no way I will lay my hands on a boy!". This is perhaps foreshadowing what she will be doing in the later part of the series. So what changed in her throughout the series that she would end up trying to lay her hands on Shinji sexually. Did she genuinely believe that it was the only way she can console Shinji? Or perhaps there was a more selfish reason, to distract herself from the sadness of losing Kaji? Well, it could be both. There is a middle ground and an explanation that I prefer. Kaji was the only man she allowed herself to be vulnerable with. Because the best means of communication between the two have been sexual, she most likely believed this to be the most effective way to empathize and be vulnerable with Shinji.

We can see this as another manifestation of her Electra complex if we consider that Shinji also reminds her of her father.

As many of you are aware, Evangelion borrows concepts from psychology and is strongly influenced by Freudian psychoanalysis. Psychological terms are heavily used, especially in later episodes. The characters' internal conflicts are put into the spotlight in episodes 18, 19, and 20. All these episodes use terms from psychoanalysis for their title. Let me touch on each of them briefly over here. Episode 18's title is "Ambivalence." It refers to the coexistence of two conflicting emotions (Love and hate) regarding something and was coined by Eugen Bleuler in 1911. Freud borrowed this term in his analysis. His followers believed it to be an essential state that leads to the sadistic sub-phase of development. Episode 18 is also when the dummy-controlled Eva Unit-01 destroys Bardiel. Thus the title can also help us understand the Destrudo-led sadistic destruction of the dummy program.

Episode 19's title is "Introjection" and was a term heavily used by Freud. It is the unconscious adoption of the ideas or attitudes of others and a psychological defensive mechanism used by the ego to minimize anxiety. Almost every human being goes through this phase and is a part of healthy development as an individual. Episode 19 is when Shinji emits a strong dose of Destrudo and achieves a 400% synchronization rate. Here, we can try to explain the use of this term for the episode title in two ways. The first is to refer to the synchronization process of the pilot and the Evangelion. Secondly (and more specifically to the episode), to refer to Shinji becoming an individual that has become a part of Unit-01. Becoming a part of Unit-01 who have just absorbed the S2 engine and become as though god.

Last is episode 20, titled "Oral stage," and is the stage central to Freud's theory of Libido's development. Libido is the potential sexual energy, and Freud categorized the development into four distinct stages, starting with the oral stage. During this stage of development, the child clings onto its mother's breast for nourishment. This is also when the child begins to develop the ability to distinguish between themselves and the other. The significant happening of episode 20 is salvaging Shinji from Unit-01's Core, trying to bring Shinji back as an individual and away from the comfort of his mother. This can be seen to parallel the child leaving its mother's womb and coming to be born into its own person. And to add, they had to inject Libido into the Core to salvage him.

To return from our long detour, Evangelion is a series that heavily draws its conceptual inspiration from Psychology and Freudian psychoanalysis. What Freud posits, and perhaps most central to his scholarship, understands that desires created by both Libido and Destrudo, any forms of mental energy are irresistible and irrepressible. That is to say, if during one's development if any of such mental energies' expressions are disturbed and blocked off, it will results in the development of harmful coping mechanisms as an adult. In the case of Misato, her father's absence resulted in the absence of ways to healthily release her Libido. Therefore, Misato's inappropriate advance towards Shinji could manifested the harmful coping mechanism she developed as a child.

Losing her father as a child resulted in dysregulation in Libido. Losing Kaji, the only person she truly loved, left Masato broken. At this point, she had no other way to release her desires other than laying hands on a vulnerable child. When both Shinji and Penpen refused her the physical affection she needed, she could only find comfort in listening to Kaji's final voice message in repeat. Yet, she did not lose all possibility to recover. She was able to dry out her tears and began to follow the road her father once took. This leads her to analyze the evidence Kaji passes onto her and begins questioning the truth behind Rei. By the end, she manages to reach close enough to understand the "Truth." This is how she was able to explain to Shinji what was going on. She also experiences character growth through this process, becoming able to fully understand and empathize with the pain of others.

This is also when we see her starting to differ from Asuka. While both lost Kaji, whom they both loved, Misato comes to accept this loss and can carry herself as an adult. By the end, she was mature enough to send the grieving Shinji to Unit-01 during the End of Evangelion. While Misato has always convinced Shinji to get on the Eva, now, she was different from the past. Unlike in episode 4, where she emotionally manipulated Shinji into piloting Eva. Unlike episode 12, where she drew a hard line and coldly forced him. In EOE, she was no longer forcing Shinji out of her own hatred of the angels. All there was, was a grown adult's desire to convince a child that "Life is worth living." Even if she were to die during this process. All there was, was Misato's advice as an adult to the crying child. And it was this "will to live" that was passed on from Misato to Shinji.

Misato places her necklace on Shinji's hands and wraps his hands around it. Just as how she once held onto it while facing death in its face. Her father's memento. The love towards one's family. Hope for humanity. And all else that the cross symbolized. And the cross passed on from Misato to Shinji like the passing of the torch. To pass on the will to live. This was followed by a grown-up's kiss, just like how Kaji showed her, the perfect way to, perhaps the only way to fully communicate this will and pass it on. To want the other to continue living and hoping to live on as a part of their memory.

With the kiss, Misato stopped pretending to be Shinji's inept guardian.

She sent Shinji off, hoping that he could become a grown-up who can stand by himself.

Misato: You will be alone from this point on. You need to choose for yourself.

Shinji: No. I can't.

Misato: Crying isn't going to solve anything, either!

Misato: You hate yourself, don't you? That's why you hurt others. Deep down, you know that you suffer more when you cause someone else pain than if you just let yourself get hurt. But Shinji, that was your decision, so that makes it a valid choice. That's what you wanted, so that makes it worthwhile, Stop lying to yourself, and realize that you do have options. Then accept the choices that you made.

Shinji: But you're not me. You don't understand!

Misato: So what if I'm not you?! That doesn't mean it's okay for you to give up! If you do, I'll NEVER forgive you as long as I live.

Misato: I'm not perfect either. I've made tons of stupid mistakes, and later, I regretted them. And I've done it over and over again. A cycle of hollow joy and vicious self-hatred. But even so, every time, I learned something about myself.

Please, Shinji. You've got to pilot Eva and settle this once and for all. Find out why you came here. Why you exist at all.

And when you've found your answers, come back to me. Promise me. See you soon.

Kaji: Go and do what you can. No one will force that choice on you. Think for yourself and decide for yourself. GO and do what you must right now. So that you don't live to regret it.

Misato: If I had known it would end like this, I would have changed the carpet as Asuka suggested.

Many discussions about Eva centered around her last words, the one about the Carpet and Asuka. Most of the theories have interpreted it with the spilled coffee during the instrumentality scene. I'll touch on the scenes shown in instrumentality in future chapters. But for the discussion here, note that the coffee was not spilled on the carpet during the instrumentality scenes. So I'd instead interpret this line separately from it. Personally, I believe this to be Misato, as an adult, regretting not being as kind and compassionate as she could have been to Asuka.

Unlike Shinji, who she managed to pass on her will and true feelings, she did not have that privilege with Asuka. Instead, she wallowed in her sadness, not looking out for Asuka, who was herself suffering from traumas and grief. The regret of not being a good guardian and not making the home comfortable for Asuka would have hit her as waves of regret crashed in as she laid bleeding cold on the floor of section R-20.

After Shinji, who she just sent off, Asuka, who she feels sorry for, After Penpen, who was always there for her, Kaji now crosses her mind. Was she waiting for his praise for passing on his will to Shinji?

As though she can see him, she stares at the sky. Right before the explosion, we see Rei standing over her. Perhaps it was Lilith who traveled through time.

And we come to the final scene of the EoE. Shinji and Asuka are lying down on the shore, staring at the sky. At this moment, we are reminded of Misato through the cross, now nailed to a wooden post. The cross has come to symbolize Misato's hope and dreams for the two children who will now be growing up into two adults. Will Misato be able to revert back to her human form by her soul desiring it? Nobody knows. But I don't think that matters. Because now, Shinji carries on her will.

Let's continue when you get back.

I'm back. Welcome back.

Welcome Shinji, this is your new home.

I'm back.

Welcome back!

Sorry, made you wait!

TBC Chapter 24: Ritsuko Part 1 Mother and Daughter

#Neon genesis evangelion #Evangelion #Eva #End of Evangelion #Nge #Nagisa Kaworu #Lilith #Sci-fi #Ikari Shinji #Soryu Asuka Langley #Asuka #Ayanami Rei #rei #Anno Hideaki #Katsuragi Misato #Kaji Ryoji #Anime #Analysis #Review

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themosleyreview · 3 years ago

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The Mosley Review: The Harder They Fall

Who says westerns can't be fun?! There seems to be this constant narrative that all westerns should be super serious, long drawn out and heavily dramatic. Yes, westerns are mostly known for their showcase of living on the Great Plains and tales of legendary gunslingers, but the history of this film genre has almost been completely forgotten. Westerns were the original genre benders before there even was the MCU or DCEU. You had your historically accurate stories, comedies, romantic comedies and of course the action thrillers. I am so happy that finally a western comes along that highlights what we all love in an action western. Its got a unique visual style while staying traditional, great comedic moments, great action and a story that is good and fun. Ever since 1993's Posse, we haven't had a full and strong black cast in a western that wasn't stereotypical and I'm glad that it has finally come back with such flare.

The cast across the board are fantastic and play real people even if the story is very stylized. Johnathan Majors was truly charming and fun as Nat Love. He may be a man on a simple revenge mission, but his conviction and emotional journey was fun to watch. Zazie Beets was strong and cool as Stagecoach Mary. She represents that strong independent woman with a heart of gold that you never want to break. I liked the chemistry between her and Nat as they reconnect in a steamy scene. Zazie handles the action extremely well in this film and better than most. Danielle Deadwyler was excellent as her head of saloon security Cuffee. She was tough and she gets many great moments to shine. Edi Gathegi was cool as Bill Pickett and I thought he was great as the somewhat level headed character in the gang. RJ Cyler chews up the scenery as Jim Beckwourth. He may be the hotshot quick draw kid of the gang, but he is one of the most loveable. The comedic chemistry between him and Pickett was truly a highlight and you felt their strong friendship. Delroy Lindo always represents the pillar of wisdom and order and he was no different as Marshal Bass Reeves. He may be the law in the region, but he even values a good ally when facing true evil. As the historically accurate first black Marshal, he carries that history with grace and an iron fist. Deon Cole was good and flawed as Wiley Escoe. He was perfectly slimy and enduring as the town's owner and I liked the history he had with the main villain.

The rival gang in the film was so well casts, that I almost enjoyed them more than the heroes of the story. Regina King was dangerous and intense as Trudy Smith. She commands the room with just a look and you have no idea what she's about to do next. She may be the right hand of the main villain, but to me she was the coldest. Lakeith Stanfield was outstanding and slick as Cherokee Bill. I couldn't keep my eyes off of him and I held on to every quip or anecdote he had in every scene. He was so magnetic in even the more tension filled scenes and surprisingly great at dark humor. To me he nearly stole the film from everyone. Idris Elba was great and brutal as the main villain of the film, Rufus Buck. He was rotten to his core, but there was a heavy burden that he was holding on to throughout the film. He wasn't the standard one dimensional villain and I loved the layers that get peeled back later on.

The score by Jeymes Samuel was fantastic and captured that classic sound with a little bit of flare in the action and warmth in the emotional scenes. The soundtrack is the real driving force and energy of the film as it keeps you bopping your head during each transition. There are so many great songs written and produced Jay-Z and others. My favorite 2 are Guns Go Bang and Blackskin Mile. Both are epic in their own ways and kick in at the perfect moments. Visually this film was stunning as the cinematography truly highlights the characters in some amazing shots. If you're a western purist and want a accurate telling of all these characters' stories, then this film isn't for you. If you're looking for a fun western that has an amazing cast that is just silky smooth all around, then this is your jam. I loved this film and its definitely one of my favorites of the year. The Netflix Original film is currently streaming. Let me know what you thought of the film or my review in the comments below. Thanks for reading!

#the harder they fall #johnathan majors #zazie beetz #rj cyler #edi gathegi #Danielle Deadwyler #regina king #lakeith stanfield #idris elba #deon cole #netflix #netflix original

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thattimdrakeguy · 3 years ago

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Favorite tim writers

Sorry for taking so long to answer this one. I'm still moving boxes, and I had to get a shower cause I got all sweaty and such. Gross I know.

But hmmmm. I been trying to think about it along the way.

1) Marv Wolfman.

He created Tim. No other contenders for me. While he may not have wrote him a lot, he wrote enough to make the base for all depictions of Tim at least should be based on.

2) Adam Beechon.

Why you may ask, because I think he understood the character at Tim, and used the personal trauma that Tim had amassed at the time in a way that stayed true to Tim's character. Showing that Tim can evolve, while not losing who he is for simple melodrama. And plus, he's this high, mainly cause while I like most of Dixon's writing till later on in his run, he's a prick.

The only thing off the top of my head is that Adam Beechon made Tim just a bit too cool. Because while he isn't the biggest geek ever compared to his friends who are obsessively geeky. Tim is still a big geek. That often felt a bit forgotten to make him more of a popular kid. Tim has his cool moments that get recognized, I think mainly his confidence in certain situations. But Tim needs to feel at least like a notable bit of a geek.

He didn’t write for my favorite era. But, I admire he kept Tim consistent while others destroyed him for the drama. Plus he had a longer chance to write him compared to others who either had him for a few small issues, not under his solo, or in Dixon’s case--wasn’t an asshole.

Beechon still can’t write Cass Cain, though.

3) Meghan Fitzmartin.

She's mostly got a very solid understanding of Tim, if not his relationship with some of the others. Typically one that's honestly not paid attention too for so long, it's just made to be generic, pretty, and bland.

There's a few flaws in the way she writes Tim, that, while small, are just not enough to make her go higher. Plus, you know. Revealed Tim's gay. Which is pretty nice.

Like this could just be me needing to reread, but I felt she made Tim take himself way too seriously. Tim never took himself too seriously. He took the job and being Robin seriously, but not himself. So sometimes when the story was focused on purely Timmy, he felt just a bit off.

4) Alan Grant

Though never a writer of Tim's solo, as far as I am aware. He wrote some of his earliest stories, and among them at least a hand full of his most important stories. I also think that he understood Tim's more childish side compared to Dixon, who I saw gave Tim a line about insurance deficits or something--like a 14-year-old boy would even care to do that, let alone reference it.

I think his biggest flaw if I remember right, was just that Tim's dialogue could be worded like he was tryna think of how a 90s kid would talk. Which dates it a bit. But mostly he was just fine and it fit in with how Tim was established to speak in his origin. A little kid doing his best to sound smart, with enough innocence, and naiveté, and with a genuine kid voice in there that makes it all work within what his origin establishes about him.

How well Alan Grant always achieved that--eh, but, still. I remember him being quite good. And I think he deserves more credit than he's given since he helped establish Tim, alongside Marv Wolfman, and Dixon.

5) Chuck Dixon.

While stated before he's not a morally great person. Who's bigoted opinions are shown well through his own contradictions made in his attempts to defend himself. He still wrote a very good Tim, and Tim's best stories. His biggest flaws to me, where sometimes feeling like he forgot what a kid was like within Tim's dialogue. It would sometimes be very good, which, that's part of writing a very good Tim. But every now and again Tim--didn't really feel like himself, and talked more like I imagine Dixon would speak. Going from a joke Tim would make that references TMNT to a joke only a curmudgeonly 30-year-old man would make, is very distracting.

And every now and again would portray Tim as a bit too mature, or--something along those lines if not the exact word to use. Tim was a light hearted kid that used his brightness to make Bruce hopefully remember his own light side. Dixon at times would struggle at this and write Tim more like how Dick would get at, at Bruce, and not Tim himself. Or just overall have Tim say something that, I really don't think the same kid from Lonely Place of Dying would be saying. He also made Tim proper mean in the few things of Young Justice he wrote. Clearly not understanding the Young Justice dynamic. Like Dixon couldn't help but leak out his own cynicism on a character literally created to be idealistic and a bit of an optimist.

He's a writer that could easily be one of Tim's best writers, which he showed with series like Tim's first Robin mini. Where, while Tim was portrayed as a bit more mature than in Lonely Place of Dying. Made more sense as his "mommy" had just died and he was trying to prove he's not just a kid. While also writing him to show just how much of a kid he really was deep down with his obliviousness and naiveté.

That still persisted in the solo, but there's just some moments where it's like. "He does remember what Tim's like right? And what a kid is like?" Which would created inconsistency among the Batman or Detective Comics writer that still had Tim just a bit more closer to his lighthearted naïve, but ready to prove himself roots.

Not to say this makes Tim's solo bad, but the more I've read it the more I noticed odd moments, I think towards the middle, and some even more towards the end where it could get very noticeable. Tim by the end of his run didn't always feel like Tim, and when he did, more often than not a very bland two dimensional version. Though there’s a few moments like that even in the beginning.

If I can think of anymore I'll add them, but as it is now, that's the best I can think of, and tried to give my reasons as to why on their positioning.

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goneseriesanalysis · 4 years ago

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Drake Merwin

I am soo sorry, this is super late but I got incredibly distracted with reading and forgot that literally anything else existed. Drake was a really hard character for me to analyse because his characterisation was just so disappointing to me - but luckily my intrinsic desire to have everyone hear my opinions prevailed, and so here it is. I hope you enjoy!!

Spoiler Warning: Major spoilers for Gone, Minor spoilers for the rest of the series and the monster trilogy

Old Opinion: I had a sort of morbid obsession with Drake and thought he was a top-tier villain

New Opinion: So far Drake is tied with Astrid for most-changed opinion. His character has almost no-depth and could be placed in almost any story without changing a single thing about him - and it would make sense. I found myself desperately trying to make him more interesting than he is in an attempt to justify younger me’s obsession - but alas I was unsuccessful. He had a lot of potential, but instead he ended up as a copy-paste villain with no realistic motivations and no real intrigue.

1.) DRAKE’S APPEARANCE:

Drake is, I think, the character who is best (as in most thoroughly) described in the first book. Not only do we get an idea of his actual appearance beyond the vaguest possible descriptions (sorry to Sam, Caine, Diana and every minor character) but we also get some idea as to the effect his appearance has on other people.

In Chapter 14, when we are first introduced to the Coates kids, Drake is described as, “a smiling, playful, mean-eyed kid with shaggy, sandy-coloured hair.” I actually really like this description. Contrasting “smiling” and “playful” with “mean” really brilliantly sets Drake up to be a complex villain – the kind of villain we all love to hate, who cracks a joke while slitting your throat. It has the implication of a layered personality but sadly, this is not the villain we get. In fact his character in the first chapter compared to the character we get as the book continues is so drastically different that it almost seems like mg did a complete 180 on his character. An original description is supposed to give us some indication as to what a character is like – their personality and role in the story, and we know that mg can do this really well. (Sam’s non-descript description setting him up to be the underdog, Quinn’s mismatched attire hinting at his inability to fit in, Astrid’s colour scheme reflecting her innocence and religiosity), and so it seems particularly odd, not to mention disappointing, that Drake’s description gives us…nothing. No real indication as to who he is or his purpose other than to hint to him being an antagonist (which we already guessed from his affiliation with Caine.) I could go on and on about what a waste Drake’s character was, but I’ll save it for a later paragraph.

We will then skip ahead to Chapter 37 where both Howard and Lana describe a similarity between Drake and Pack Leader:

“The one time she had seen Drake Merwin. He had made her think of Pack Leader: strong, hyper alert, dangerous. Now, the lean physique looked gaunt, the shark’s grin was a tight grimace, his eyes were red-rimmed. His stare, once languidly menacing, was now intense, burning hot. He looked like someone who had been tortured beyond endurance.”

“The two of them, two of a kind, it seemed to Howard, stared holes into each other.”

This is a much better example of mg using descriptions to establish the purpose of a character. By drawing a comparison between these two, mg sets up Drake’s later role in the books, where he replaces Pack Leader as the gaiphage’s right-hand man. This almost leads me to believe that mg had decided very early on that Drake was going to desert Caine and this is possibly why he seems so out of place and underdeveloped as Caine’s underling in the first two books. Mg had already moved on from this side of his character…and it shows. Lana’s description of Drake also works as a basis for showing the reader how he has changed since losing his arm (before gaining his whip) and acts as an insight into his current mental state – which is important as we don’t get much introspection during Drake’s POV’s. But, I still have a few issues with this. First of all, his “lean physique”. Now this isn’t really a problem all by itself, but unless I have forgotten what 14 year olds looks like (which is a possibility though I doubt it) I don’t think that they should be muscly with minimal body fat. And Drake is not the only character he does this with. Quinn gets extremely muscly later on in the books (I’ll admit that there is a plausible reason behind this so this example isn’t terrible but it’s mentioned like every 5 sentences) and in Fear Caine is described as having wash-board abs. Why are we sexualising children?? Children should be pudgy and awkward and still growing into their bodies, not lean and muscly!! The attractive, damaged man who hates women for no reason at all is also a really really really common trope and tbh I’m just so bored of it. It’s not relatable (at least it shouldn’t be) and it’s just really unimaginative – although it does help us to understand Drake’s character as we’ve seen him before so many times in all types of media. My second issue with this description is the way it really really highlights how much of a waste of character Drake was. The potential of a high-school bully with a skewed world-view due to the death of his father and the later abuse of his mother at the hands of his replacement father figure trying hard to impress the charming “leader” with unimaginable power (that he so desperately wants) only to be undermined at every turn by a girl who teases him by pointing out his flaws and insecurities taking his anger out on everyone around him (especially women) as a way to cope with his childhood traumas then turning into a heartless monster who not only enjoys others pain but lives for it after being “tortured beyond endurance”, was astronomical. But we don’t get that. Instead we get a cheesy, one-dimensional cartoon villain. The change that his body and mind go through after his maiming should have been pivotal to his character, but that just doesn’t come across in the writing. :/ But more on this later.

And last but not least, the whip-hand, which is very important to Drake’s character. It turns his actual body into a weapon and his excitement over this is indicative of his sadistic nature. Again, I think this is an example of a wasted opportunity. I would have liked mg to have gone in to depth about how Drake’s body undergoing this change affected his psyche (and I’m not counting his one-off line in the monster trilogy). I think it could be argued that Drake’s “change” is a metaphor for him going through puberty. Him gaining the whip that ultimately turned him into his very own weapon shows his transition from a child [a little messed up but still just a kid] into a monster, someone who is capable of committing atrocities without a second thought. It would have been particularly interesting for Drake and Orc’s final battle to put some focus on the fact that they both suffer through monstrous physical changes that can be used to represent their shift from children to young adults but whereas one relishes in this, one is completely disgusted. The whip-hand is described as being an “impossible blood-red snake” and then that “It was stretched. Like it had been turned into dark, blood-red taffy. It wrapped twice around his body.” – Both of these occurring in Chapter 39. I don’t have much to comment about this – other than that I think red is great colour choice for Drake, thematically at least.

I know this point was mostly about what Drake could have been as opposed to an actual analysis of his appearance, but I’m just so tired of the attractive misogynistic villain that seems to appear in every single piece of media. His characterisation really bummed me out and put me into a slump so instead of analysing his appearance I decided to roast him instead. But, onto actual analysis now (I am going to further expand on some of the points I made here I promise).

2.) DRAKE’S PERSONALITY AND CHARACTER

I mentioned in the previous point that a lot of Drake’s characterisation seems like an afterthought at best and one of the things that made me think this, is the inconsistencies with his character and the most obvious example of this is the discrepancies with his birthday. In chapter 20, Diana says that his birthday is “April twelfth, just one minute after midnight.” But, in Chapter 33 we get the line “Sooner would be better,’ Drake drawled, ‘what with me having a month.” This is a really small nit-pick, I know, but it just really bugs me that mg overlooked something as simple as a birthday – especially when birthdays are such an important plot point in this book. But anyway, moving on. I promise this whole review isn’t going to be negative.

Backtracking now to Chapter 14. Drake’s character here seems to differ quite drastically from his later characterisation. He seems here to be an example of the laughably evil trope, he has a kind of dry sarcastic humour that is quite fun and seems to lighten the tone of the story a little bit. Rather than showing us the boringly disgusting misogynistic villain that Drake turns out to be, we instead see a funny, charismatic character who seems to prefer picking on those who already have power – as is seen here:

“Drake paused halfway, turned back, and spoke for the first time. In an amused voice he said, ‘Oh, um, Captain Orc? Have your people – the ones who aren’t injured- line up outside. We’ll work out your… um, duties.’ With a grin that was almost a snarl, Drake added a cheerful, ‘Later’.” – Chapter 33

Now I understand that the reason we don’t see the real Drake here is because Sam is obviously not yet aware of his true personality – my issue lies in the fact that based on just this small excerpt here, I expected so much more from his character. We get hints of his sadistic nature here, with him joking about Cookie’s horrific injury and clearly taking joy in exerting power over Orc, but it is evenly balanced by the fact that he’s kind of amusing and we don’t really like Orc at this point anyway. Can we see that something isn’t quite right with him?? Yes. But do we kind of like him anyway?? Well I did. At this point. I would have really loved it if mg had carried on this idea of Drake abusing those who already have power – him enjoying to take down bully after bully so he can be King bully, instead of him picking on people who he perceives as weak and vulnerable. Mg relying on misogyny as a motivator is just really disappointing to me because there is no depth to it, and it’s pretty lazy. He hates Diana because she is a woman and he sees women as beneath him?? Weak. Over-used. Dull. He hates Diana because she has power over Caine in a way that he never can, which makes him feel insecure in himself and the fragile sense of stability and power that he has struggled to cultivate within his damaged psyche?? Yes pls. Not only would this have made Drake a much more engaging character, but it would also have made his desertion of Caine in hunger much more impactful. And while I think there are aspects of this within his character, which I will go into later, I wish there had been more of it. Again, I’m sorry that this has become more of a “what could have been” rather than an analysis but there really is just so little to analyse without just pointing out obvious facts and statements. There’s no spice here :/

Moving on now to Chapter 16, where we as an audience, as well as the characters within the book, begin to realise what Drake truly is – an unhinged madman. We are told by Sam that Drake has been abusing his power as Sheriff – which particularly stands out as, so far at least, Drake is the only member of Coates who has shown this kind of behaviour (Caine is actually a pretty sound leader until he loses his shit and attacks Sam). And this is the first major distinction that we get between Caine and Drake and their capacity as villains in the story. Caine is a bad person who will do bad things to achieve his goals, he is power-hungry and ambitious but he is not needlessly violent. Everything he does he (in his own mind) is able to justify as it helps him to achieve his vision. Drake, on the other hand, doesn’t really seem to have an end goal. He is violent for the sake of being violent – he is a sadist who enjoys the suffering of other people as we see here, “Drake was more than a little scary. Kids who defied Drake or any of his so-called sheriff’s had been slapped, punched, pushed, knocked down or, in one case, dragged into a bathroom and given a swirlie. Fear of Drake was replacing fear of the unknown.” Now, we still don’t get to see the full extent of Drake’s madness here. Most of the crimes listed are pretty mundane bully things – they’re still wrong, but they aren’t life-threatening. He hasn’t bashed anyone’s head in with a baseball bat. While Caine is playing with politics, Drake seems unable to move past his role of high school bully. If he had played it right, the role of Sheriff would have been perfect for him. I mean, how many actual police officers get away with literal murder in the name of “upholding the law”?? But he is unable of seeing the bigger picture, unable to grow and fit the new world order as Caine does so naturally, and so, instead of properly taking on the role of Sheriff and building up his own authority in this way, he turns back to his tried and tested method – hurt them and they’ll fall in line.

I particularly enjoy this as I think it explains, a little bit more, why he hates Diana and Astrid so much. Now I know the bottom line is simply that he is a violent misogynist – but that doesn’t explain why he hates Diana and Astrid specifically. Is it because they’re both attractive women and he is unable to distinguish sex and violence in his head?? Partly yes, but then Taylor is also described as attractive (and most people find her annoying) and yet he doesn’t seem to hate her to this extent. I think the real reason he hates these two specifically, more than anyone else, is because he simply cannot understand them – and that scares him (although he is unwilling to admit it). Drake only knows how to gain power through violence – he sees this work at home, he used it on Holden, he used it to gain his reputation at Coates and, although he has the ability to gain authority in other ways, he continues to use this method even now in the FAYZ. Diana and Astrid cannot do this, they are not fit to fight, they are not able to use violence to assert their status – and yet they both have more power in the FAYZ than he does. They make him question his whole world view and, as he cannot or will not adapt to the new hierarchy of the FAYZ, he resorts to trying to destroy them, in order to return the world to what it was before. His hatred of others gaining power through (what he sees as) unconventional means is then further established with his dislike of actual powers and the people who have them:

“I’m sick of all this powers crap. You saw what we did to freaks at Coates?? Who do you think it was that took care of that?? All these kids with their stupid so-called powers. Starting fires and moving stuff around and reading your mind and all?? Who do you think it was grabbed them one by one in their sleep and beat them down and when they woke up their hands were setting in a block of cement??

[…]

That’s right. And I didn’t even have a gun then. It’s not about who’s got powers, morons. It’s about who’s not afraid. And who’s going to do what has to be done.”

We get told by Diana that it was Drake’s idea to cement the kids in the first place (and a bad one at that) and I really think that is all the evidence you need to see that Drake’s hatred and fear all stem from his complete inability to adapt. He is trapped in a cycle of abuse that started with his father, a police officer who teaches him how to shoot people (however unwillingly) and is then continued by his step-father (an actual abuser) rendering him incapable of recognising any kind of authority if it is not gained from violent means. And so of course he hates the powers – none of the kids gained their powers through suffering or through causing suffering. They didn’t earn their authority in any valid way, according to him. (This is also another reason why I think Drake was so ecstatic at gaining his whip-hand. He suffered for it and therefore, in his twisted mind, he earned it. It is physical proof of his supposed power over these kids.) It’s tragic really – but mg then goes on to make him so disgustingly unsympathetic that his story loses its meaning. I love mg’s writing but Drake’s character truly was butchered for shock value and plot convenience and it makes me so sad.

Ok back to Chapter 16. Here, not only do we hear about some of the things that Drake is capable of, but we see them as well. His beat-down of Orc is the first indicator we get that Drake is someone we should really be afraid of. Heads up, this is a long quote:

“Nobody move,’ Drake said. Orc pushed Edilio off and jumped to his feet. He started kicking Edilio, landing size-eleven Nike blows into Edilio’s defensive arms. Sam jumped in to help his friend, but Drake was quicker. He stepped behind Orc, grabbed him by the hair, yanked his head back, and smashed his elbow into Orc’s face. Blood poured from Orc’s nose, and he howled in rage. Drake hit him again and released Orc to fall to the concrete. ‘Which part of “nobody move” did you not understand, Orc?’ Drake demanded. Orc rose to his knees and went for Drake like a linebacker, Drake stepped aside, nimble as a matador. He stuck his hand out and said to Chaz, ‘Give me that.’ Chaz handed him the bat. Drake hit Orc in the ribs with a short, sharp forwards thrust of the bat. Then again in the kidneys and again in the side of the head. Each blow was measured, accurate, effective. Orc rolled over on to his back, helpless, exposed. Drake pushed the thick end of the bat against Orc’s throat. ‘Dude. You really need to learn to listen when I talk.’ Then Drake laughed, stepped back, twirled the bat in the air, caught it and rested it on his shoulder. He grinned at Sam.”

“Sam had gone up against bullies before. But he’d never seen anything like Drake Merwin. Orc outweighed Drake by at least fifty pounds, but Drake had handled him like a little toy action figure.”

Orc has already been established as the top bully in Perdido beach – we’ve already seen that our main character is afraid of him – and for good reason. And so for Orc to be defeated so casually and so easily is shocking. It lets us know that the old world order has collapsed and old fears are fading away with it, with new, much more threatening adversaries taking their place. I actually think that this scene was exceptionally clever of mg. Drake is attacking someone who has already been set up as an antagonist, at the same time rescuing Edilio, who the reader has been conditioned to like. But, through context clues, we know that this is not a good thing. It sets up the villainous nature of the Coates kids, Orc’s redemption, Drake and Orc’s rivalry and Sam’s fear of Drake. And it feels natural, even after re-reading the book multiple times. It’s scenes like these that really remind me how great of a writer mg is.

Another thing I really wanted to talk about here IS Drake and Orc’s rivalry because, yet again, I think mg missed a huge opportunity with this. Drake and Orc are very similar before, and in the early days of the FAYZ. Both have abusive fathers (a step-father in Drake’s case but still), both enjoy asserting their power over people through violent means and both are put in positions of power that they are unable to fully take advantage of – Sheriff and Sheriff Deputy. And even as the books continue, similarities can still be found. They both suffer mutations that turn their bodies into grotesque weapons, dehumanising them and alienating them from their peers and That Scene in Plague tells us that Orc and Drake sometimes have similar “desires”. Their stories are constantly intertwined, with them being played off of each other from the start and Orc becoming Drake’s jailor later on (and in turn Drake sort of becoming his). Their differences come from their reactions to the horrific acts of violence they have committed – and of course why they do them. I’m going to make a whole separate post on this because it’s long enough to be a standalone, but my I just wish mg had played up both their similarities and differences more. It would have made Drake so much more interesting.

We also get more hints at his sadism in this scene. He is later unbothered that Betty has been hurt and it seems that the only reason he attacked Orc was because it gave him an opportunity to assert his dominance over him. All in all, this is one of my personal favourite scenes in the book as it establishes characters, themes and relationships very well. I just wish some of these had been developed further – but mg dropping certain aspects of the story does seem to be a common problem.

The final thing I wanted to talk about in regards to Drake’s personality and character is this line we get in Chapter 23, “It was small, just two bedrooms, very neat, very organised, the way Drake liked things.” This was another thing that irked me slightly. It’s such a small aspect of his characterisation but it reinforced the idea that drake is just another cookie-cutter villain with no real personality, nothing that makes him stand out in the sea of white male psychopaths with a hatred for women. His whole character could be replaced with any other misogynistic psychopath at no detriment to the story. My immediate though when reading this was that even the smallest aspects of his character can be seen in other, more developed villains – this line in particular is hugely reminiscent of Patrick Bateman. Nothing seems to be his own. No aspect of his character is even remotely unique. (I think this may also be why some young fans develop an obsession with him. His character is comfortable because we’ve seen it so many times before.) He is so entirely replaceable and replicable - only reason he isn’t completely forgettable is because you are constantly plagued by the horrific things he has done. Mg sacrificed depth and development for shock value and it’s so disappointing

3.) DRAKE’S PAST

Onto Drake’s life before the FAYZ. Not only does Drake receive some of the longest and most POV time in this book, he is also the character whose life before the FAYZ we learn the most about (with the possible exception of Sam). This is especially shocking to think about seen as Drake is arguably one of the most underdeveloped characters in the whole book, but anyway. There are two scenes I’m going to talk about here, both occurring in Chapter 23, with the first being his dad teaching him how to shoot. I apologise in advance for the long quote:

“His father had taught him how to shoot, using his service pistol. Drake still remembered the first time.

[…]

He remembered the way his father had taught him to grip the butt firmly but not too tight. To rest his right hand in the palm of his left and sight carefully, to turn his body sideways to present a smaller target if someone was shooting back. His father had had to yell because they were both wearing ear protection. ‘If you’re target shooting, you centre the front sight in the notch of the rear sights. Raise it till your sights are sitting right under your target. Let your breath out slowly and squeeze.’ That first bang, the recoil, the way the gun jumped six inches, the smell of the powder – it was all as clear in Drake’s mind as any memory he had. […]

‘What if I’m not shooting if I’m not shooting at a target?’ He’d asked his father. ‘What if I’m shooting at a person?’ ‘Don’t shoot a person,’ his father had said. But then he relented, relieved no doubt to find something he could share with his disturbing son. ‘Different people will tell you different techniques. But if it’s me, say I’m doing a traffic stop and I think I see he citizen reaching for a weapon, and I’m thinking I may have to take a quick shot? I just point. Point like the barrel is a sixth finger. You point and if you have to fire, you shoot half the clip, bang, bang, bang, bang.’ ‘Why do you shoot so many times?’ ‘Because if you have to shoot, you shoot to kill. Situation like that, you’re not aiming carefully for his head or his heart, you’re pointing at the centre of mass and you’re hoping you get a lucky shot., but if you don’t, if all you’re hitting is shoulder or belly, the sheer velocity of the rounds will knock him down.”

Ok so the first thing I want to analyse here, is how important this memory clearly is to Drake. He remembers it fondly, in immense detail and seems to call back on it when he needs to clear his head (notice how this memory is placed while Drake is trying to figure out what to do, not while he is doing it.) It seems that rather than just using this memory as a source of useful information, it is also a source of comfort to him. Now there are some things that I really wish mg had told us that would help to analyse this scene better, like: How old was Drake when this memory took place?? How old was Drake when his father died?? How did his father die?? But alas, we don’t know these things (at least not that I’m aware of, and not within this book) so I’m going to try and do the best I can with the information that we have. Now, in Light, Drake makes it seem like his step-fathers behaviour has been significant in forming his worldview – which makes sense, trauma does that. But he spends half of his time away at Coates, which says to me that for this behaviour to have had such a profound effect on him, his step-father must have been around for a while. Right?? I’m gonna take a guess at 3-4 years at the least. Give Drake’s mother about a year to meet and start dating this man after the passing of her husband – this means that Drake would have been around 9/10 at the latest when this scene took place. That’s pretty young. Like, this is a formative memory and from the way it’s written, it seems like this may be some of the only bonding that Drake and his father ever did together. No wonder Drake has such an unhealthy obsession with guns as is seen with these quotes:

“He started from Astrid’s house, which was already beginning to smoke. He worked his way methodically, a hunter, looking for any movement. Each time he spotted someone walking or running or biking, he would take a look at them through the rifle scope, line them up in the crosshairs. He felt like God. All he had to do was squeeze the trigger.” – Chapter 23

“Drake kept all three guns loaded all the time. They were set out on the dining room table, a display, something to be gazed at lovingly.” – Chapter 23

“Drake could not leave the gun alone. He kept thumbing the safety on and off. He rolled down the window and aimed it at stop signs as they passed, but did not fire.” – Chapter 31

Drake shooting Sam and his gleeful reaction – Chapter 34

For him, guns are the ultimate symbol of power and authority. He was introduced to these weapons of incredible power at such a young age – of course he loves them. That being said, it seems that Drake has always been “disturbed” so I suppose we can’t fully blame his father and step-father for his mind-set – and I have to say I don’t really like this. Drake’s issue as a character is that he is completely de-humanised by all the horrific things he does. By having it seem like Drake was irredeemable from the off-set, it just adds to this idea and again removes any possible depth or character development. Imo it would have been much better to present Drake as becoming the way he is AFTER his father’s death. It would bring a sense of tragedy to his character – the way he uses his father’s advice to hunt down Astrid would seem less like a by-product of his sadism and more like a misguided attempt to feel connected to his deceased father.

However, flawed though it is, this scene does give us some insight as to why Drake is the way he is – through the characterisation of his father. Admittedly we don’t get much, but one line really stood out to me, “Because if you have to shoot, you shoot to kill.” Ummm..sir?? I don’t think that’s how police officers work. Isn’t your goal to incapacitate – not to just kill on sight?? The fact that he not only stands by this rule himself, but also gives this advice to his CHILD is disconcerting. Drake is not only receiving this harmful rhetoric from his father figure but also a police officer. Someone who is meant to uphold the law. I think this links back to my earlier point on how Drake only recognises authority if it is gained by violent means. While we get no indication that his real father was ever violent to Drake or his mother, he openly tells Drake that when he is upholding the law (in this hypothetical situation) he does it by using force. That is a dangerous thing to tell a child, especially a child who you already think is disturbed. This twisted-take on a father-son relationship nicely sets the precedent for Drake’s warped perceptions, I just wish it had been developed further. And this leads us nicely into the next scene – the shooting of Holden:

“He remembered with vivid, slow-motion detail the time he had shot Holden, the neighbour’s kid who liked to come over and annoy him. That had been a bullet to the thigh, with a low-level calibre gun, and still the kid had nearly died. That ‘accident’ had landed Drake at Coates.”

Again, first and foremost I just wish we had a little bit more information. It is not clear whether this situation occurred before or after his father’s death – which seems like a pretty important detail to me. Although, we don’t actually find out that Drake’s father is dead within this book, and this omission again makes me feel like mg adding that detail was little more than an after-thought. It feels like in Light he wanted to quickly try and make Drake more of a sympathetic character and so he added in an abusive step-dad to try and tone down or at least explain Drake’s violence and misogyny. It seems like Drake is a plot-point first and a character second and the lack of detail here really highlights that for me. What purpose did these scenes really have in the story?? They did very little to flesh out his character, they introduced no new themes or relationships. It seems like mg just wanted to let us know – “Hey! Drake knows how to use a gun. That’s gonna be important later.” That being said, there are a couple of other things I would like to quickly mention. Firstly, I think the fact that Drake did not aim to kill Holden, even though he could have, is meant to be indicative of his change between then and now. It’s done to tell us that Drake wasn’t always this bad – there was at one point some hope. For this to have the desired effect though, I really think mg should have waited until after Drake lost his arm to straight up try and murder Astrid and Little Pete. Like, you can’t tell us that Drake was a little messed up but still redeemable before his maiming and then go and have him try to kill a random girl and her five year old brother. Because that’s more than a little messed up (and that’s not even mentioning the cementing). And it also contrasts the idea that Drake has always been disturbed. An idea that was introduced to us not even a page ago!! The other thing I wanted to pick up on, which I actually quite liked, is the ambiguous “who liked to come over and annoy him.” Because this is Drake’s point of view – so “annoy” could mean anything. Was Holden actually just an annoying kid?? Was he just trying to be Drake’s friend?? Or was he actually a bully and Drake doesn’t want to admit it?? I guess we’ll never know.

4.) DRAK’ES MOTIVATIONS

For this point, I wanted to focus on three particular motivators: Caine, Diana and Astrid. These are the three people, I believe, who provide, either consciously or unconsciously, the motivation for his actions within the FAYZ. I’ll start first with Astrid and Diana, the two people who Drake hates the most. Throughout this book it is clear that Drake has no real goals – he has no desire to be in control like Caine, no desire to re-invent the world like Albert. All he wants is to cause pain, with his preferred targets being these two. And, as I’ve said before, I think this is partly because he hates the authority that they have within the FAYZ – which stems from manipulation and intelligence rather than violence.

In Chapter 20, Drake explains his hatred for Diana, “Drake had made the time to check out Diana’s psych file the day after the FAYZ came. But her file had been missing by then. In its place she had left Drake’s file lying open on the doc’s desk and drawn a little smiley face beside the word ‘sadist’. Drake had already hated her. But after that, hating Diana had become a full-time occupation.” What I take from this scene, is that Drake’s loathing stems from Diana’s ability to get under his skin, to make him feel inferior – to annoy him. (Perhaps Holden had a similar talent). I’m going to assume that his prior hatred of her can be boiled down to his misogyny and his disgust at Caine’s weakness for her, both of which have been explicitly stated in the text. His hatred after this though, comes from a pretty mundane incident. I mean all she did was get there quicker, and do exactly what he was going to do to her. And so I think this loathing is less about what she did and more about his own personal reaction to it. Diana was able to weaponise Drake’s own anger against him – to make him feel inferior and powerless. She challenges Drake’s fragile perception of authority and takes a diagnosis that he seems to not only be ok with, but is actually proud of, and makes him feel embarrassed. His whole perception of power is rooted in the idea that his ability to inflict pain on others with no guilt or remorse is what makes him better, it is what gives him his power. But she takes this idea and belittles him for it and so his initial reaction is to attack. This is an idea that is again seen with Astrid. Astrid intentionally tries to make Drake feel inferior by bringing up his biggest insecurity, Diana’s treatment of him “Doesn’t it bother you that Diana treats you like some wild animal she keeps on a leash?” And she does escape him – twice. Her and her autistic brother (and we already know how Drake feels about autistic people). She also proves herself to be more intelligent than him, in their little argument over the r-slur. Drake only gets violent after he realises that, in an intellectual sense, she has more power than him. It seems to be his defence mechanism just as much as his pleasure – and therefore Astrid and Diana’s power over him motivates him to use it.

Now onto Caine. Caine and Drake’s relationship is, for me, one of the most interesting aspects of Drake’s character and while I’ll only be mentioning it in its capacity as a motivator here, I have a whole post planed out for it. Drake seems to simultaneously hate Caine and admire him. He is constantly looking to impress him and the only time we ever see Drake think about betraying him in this book is when Caine gives his attention to Diana rather than Drake. And, because of this, I can kind of understand why people ship them (although I personally dislike the idea of Drake being gay). A lot of the time this motivation is completely unprompted by Caine himself, like in these quotes:

“Drake cursed and, again, for just a moment, felt the almost desperate fear of failing Caine. He wasn’t worried about what Caine would do to him – after all, Caine needed him – but he knew if he failed to carry out Caine’s orders, Diana would laugh.” – Chapter 23

“I got him’ Drake announced. ‘I got them all.’ ‘Yes, you did,’ Caine said. ‘Good work, Drake.” – Chapter 34

In Chapter 23, it seems that both Drake’s need to impress Caine and his need to prove to himself that he is better than Diana are his main motivators for his extreme attack on Astrid. I think it’s important to note that he only planned on trying to catch her, until Caine told him to kill her. His sadistic nature is brought out in full because he needs to prove himself to Caine. But why does he?? If he is planning on taking over from Caine in the end, why does he have a “desperate fear of failing Caine”?? Sure, part of it is his desire to prove himself to be better than Diana. But even this has roots in his absolute need for Caine to take notice of him. Drake is drawn to Caine because of his power and authority over people. Caine seems to be the closest thing that Drake can get to an equal, someone who shares the same motivations, ambitions and worldview (of course Caine and Drake do not share these things, but Drake doesn’t realise this…yet.) He seeks validation from Caine because he wants to have these things in common with someone – yet another motivation for his hatred of Diana as she constantly gets in the way of this.

We also know that Caine is, at least, partly aware of his effect on Drake. He is paranoid that Drake will turn on him (because Caine sees being equal to someone as relinquishing power) and he is able to manipulate Drake’s misguided feelings when he wants to – most notably in Chapter 36:

“It’s not Diana or Chunk or even me,’ Caine said. ‘It’s none of us, Drake. It’s Sam. It’s Sam who did this to you, Drake. You want him to get away with it? Or do you want to live long enough to make him suffer?”

This is such a clever moments as it sets up Drake’s whole character in Hunger, and it’s false. Because yes, Sam is the one who burned Drake’s arm and Drake has every right and reason to hate him. But it was Caine who abandoned him to save himself. And it was Caine who refused to let Drake die, even though he was begging for it (and let’s face it, he didn’t refuse to kill him out of any affection – it was a selfish decision.) But Drake is so desperate for that equal, for that validation that his worldview is correct and is shared by another person, that he just idk forgets?? He never brings up this conversation again and just accepts Caine’s word as gospel. I have so much more to say about their relationship but, as I said, I’ll save it for a later post.

5.) DRAKE’S MENTAL STATE

And finally, we have Drake’s mental state. Now I’m not going to try and give him an official diagnosis or anything, but I wanted to make a small point specifically about his mental state after his maiming. I think we can all agree that what Drake went through was pretty horrific, and while I personally struggle to feel any amount of sympathy for him due his own list of horrific crimes, the change he goes through after this is extremely significant, or at least it’s supposed to be. I think mg wants us to believe that Drake’s descent into madness was directly cause by the loss of his arm, and that before that he did have the chance to be redeemed. I think whether you buy into this depends on how forgiving you are, but I want to focus more on the actual proof of change that we see.

I’ve already talked about the physical changes he goes through, and the implications of this so I’m going to focus solely on his mental state during and partly after the whole ordeal. I think the first and most important thing to talk about is the fact that Drake didn’t actually want to survive:

“Don’t cut off my arm,’ Drake cried. ‘Let me die. Just let me die. Shoot me.” – Chapter 36

He would rather die than lose his arm (his gun arm to be specific). Now, while I don’t doubt that the burning was indescribably painful, I’m still not sure that the majority of people would beg for death. Especially when an alternative (in this case losing his arm) is presented. Not to mention, he doesn’t actually talk about the pain when begging for his death – what he talks about is the loss of his arm. Of course it could be argued that the reason he didn’t want his arm to be cut off is because he knew it would mean more pain, but I don’t think that this is the case. Rather, I think that Drake is so scared of losing the power that he has, that he would genuinely rather die. This 14 year old boy is so messed up that his own death is preferable to the idea of no longer being able to hurt people. And so when he gets his power back, he doubles down. He has realised by this point what he truly wants, that he would rather die than be rendered powerless, so he begins committing more heinous acts (like attacking the prees). Pair this with the amount of pain that he went through, which most definitely will have had an effect on his already damaged brain, and you can see how a high-school bully became what he did. The groundwork for an interesting and though-provoking character was right here. I think yet again the problem with his character is the execution. Interesting aspects of his personality are dropped in favour of plot convenience and shock value and it cheapens his character as a whole until all the intended nuances are lost and over-shadowed.

I’m really sorry if this is a bit all over the place and not quite as polished as my other posts. I found Drake so difficult to write about and so my thoughts kept going haywire. Thank you so much for reading (and being patient with my brain). I hope you enjoy!!

#the gone series #Drake Merwin #character analysis #gone

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lady-griffin · 5 years ago

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The extra comic in volume 6 is max adorbs. Any thoughts about it?

I just saw the comic. Super cute and rather insightful.

I love that those small details expanded on the characters and fleshed them out some more.

I’m sure if you asked me what the harem’s most precious items were, I would’ve given items solely tied to Katarina - so I’m really glad that wasn’t the case, actually.

For some of them yes, but it made sense for said characters.

Geordo - First Snake Toy

I don’t know if ever wrote it down in one of my theories or in a response to question, but I had the head-canon that either Geordo or Alan kept the first snake toy. I thought it would be very endearing if it was Geordo, but I was leaning towards Alan being the one, as it was overall such a happy memory for him and the day when things truly changed.

I’m really happy that Geordo kept the snake. It’s sweet. I am curious to how he thinks it will help to get Katarina to do what he wants, because I’m not exactly following his logic - perhaps it’s explained more in the actual novel? (Haven’t read yet, no spoilers)

I think it encapsulates their relationship rather perfectly.

It’s a “weapon” that Katarina developed to save herself from Geordo.

Similar, to Alan, I think Katarina learning Geordo is afraid him of snakes made her realize (to some degree) that he’s real and not the perfect two-dimensional prince from her game who had no weaknesses or flaws.

It’s also a literal representation of how weird and different Katarina is from literally everyone else. And just how truly unpredictable she is.

I mean think about it from Geordo’s perspective.

Not only did Katarina learn about his fear of snakes, but what did she do with that information? She literally weaponized his fear against him No one else would have ever done that. Even some of his rivals at the time (Keith or Mary) wouldn’t have done that, but his fiancé did.

And there is no logical explanation for why Katarina would do such a thing. A prank? To try to scare him? Why?

It’s such a great example of the complex, unpredictable puzzle that is one Katarina Claes. A puzzle that Geordo, despite how well he knows her, still hasn’t figure out.

Also, this was probably the first time, Geordo ever showed her his Dark-Hearted self. His scary look, terrifying both Katarina and Alan, and when he smiled sweetly and asked what’s she doing and where her mother is. As well as him threatening to tell on her and despite her begging him not to, he goes through with it.

And from Alan’s POV we know that Geordo’s smile was also a happy one, he truly was having a good time with Katarina – teasing her and making her suffer just a little bit.

It’s just extra sweet and really endearing.

Alan - Musical Sheet

I love that his most precious item was something that Geordo gave him and that he was embarrassed by it. So cute.

Keith - Pocket Watch

Really, if someone asked me what his most precious item was, I would assume it would be a gift from Katarina. But it being a gift from his parents (and Katarina as a way of them showing him he is a Claes and their son, and is one of them, is just so much better.

I loved that!!!

Mary - Mother’s Necklace

I liked that it was her mother’s necklace. It’s very normal and simple, but I think that’s what makes it effective. I also like that while it has nothing to do with Katarina, but she brings up that Katarina thought it was pretty.

Which makes me think that Mary showed it to Katarina when they were younger and she was probably very nervous of what Katarina thought about it as she knew it wasn’t very fashionable for the current time and her sisters probably made fun it.

So, when Katarina said it was pretty, Mary must have been so happy, not just for the compliment, but just because someone was being kind to her.

While I think Mary and her love is very similar whether it’s for Alan or Katarina, there is a slight difference, I can’t help thinking of.

When Mary improved herself to be the perfect wife and a worthy partner for Alan, I think it was also out of a need to prevent any future bullying. Looking how talented, skilled, smart and perfect she is – what is there to even criticize. But I wonder, if she had the fear that if others learn (including Alan) of how much work she had to put in to become that way, would they think less of her or make fun of her?

When Mary improved herself to be a worthy companion of Katarina, it started out the same as it was from Alan. But Katarina learned about the work Mary was doing and how hard it was and instead of making fun of her for trying so hard, Katarina was impressed and in awe.

And in general, I think Katarina’s kindness and always being supportive of Mary, made Mary realize she deserves better treatment from others.

Maria - Scarf (Mother’s gift)

I have the headcanon that this was the first gift that Maria’s mother has given her in sometime do to their strained and repressed relationship. So, it’s just very sweet that it’s Maria’s most precious item.

It’s also just a nice symbol of their relationship improving and overall the fact that it is in a far better place than it was earlier on.

Nicol - Fountain Pen

I really loved that it was something he inherited from his father and it’s a very practical gift (but has meaning for the two of them). That just seemed very Nicol and something I wouldn’t have thought of.

I also like the connection of his father using it when he was aiming for Prime Minister (to be with the one he loved) and he hopes that Nicol will do the same for Katarina -- not become Prime Minister, necessarily, but actively fight for her.

Sophia - Sophia and the Emerald Princess

This would’ve been my choice and it just works.

Katarina is Sophia’s first friend and this is the book they bonded over. Also the way Katarina complimented her appearance was similar to the book. And just, Katarina was the Emerald Princess for Sophia and her hero and in a way, Katarina was like a fictional character out of a book to Sophia (which is a nice little twist, unintentional or not).

This unbelievable person, who is a highborn lady, beautiful, and impossibly kind and she thinks Sophia is also beautiful and has no fear or disgust in her eyes when she looks at Sophia. The person who showed Sophia the beauties of the outside world and introduced her to new people and new friends and who saved Sophia.

I just…of course that book is Sophia’s most precious item

Raphael –

Poor baby, just let him rest.

Sora – Katarina’s Jewel/Brooch

I loved that it’s the Jewel that Katarina gave, because of course it is. I personally have two head canons about it -

1. Sora wears it as an accessory (a brooch) and is very open about how it’s a gift from Katarina and it represents their bond and relationship. And everyone, particularly Geordo and Keith, just hate him for it. Geordo definitely wants a present like that from Katarina, but has no idea how to ask for it and Sora is just so goddamn smug when he rubs it in everyone’s faces.

2. Sora tells no one how he came by the jewel but the others have seen him playing with it in his hand or staring at it and smiling softly to himself. Raphael asked and to his surprised Sora actually blushed and quickly pocketed it, while rambling on with a very obvious lie from where it came from. Raphael quickly realizes it was something to do with Katarina and while he feels jealousy, he is honestly just too tired to deal with the prospect of another rival.

Anne – Everything Katarina has given her

Super sweet and lovely. I also love the running gag of Anne ending the questionnaire and everyone (especially Geordo and Mary) are super jealous of her answers.

But everyone is jealous and desperately wants a passionate letter from Katarina telling them not to got through with a marriage to another person. Because of course!

It was simple and cute, but I thought really expanded on some of the characters and each item fit each of them nicely.

I do wish we got a specific item form Katarina, that would’ve been interesting. (Doesn’t have to be from a member of the Harem)

#Hamefura #Katarina Claes #Bakarina #Otome Game No Hametsu Flag #Destruction Flag Otome #My Next Life as a Villainess #browntiger15

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princeescaluswords · 4 years ago

Text

Expectation of Service

So, after I posted my most recent thoughts, I received this

A few things in reply:

1. This is the original post. I’m not sure where I said what you think I said. Can you explain?

2. Yes, my name is Dennis. I fully understand that peppering your anonymous asks with my Christian name is a threat. I want you to know that doxxing is both unethical and slimy. I also want you to know you can’t intimidate me.

3. Scott McCall has never treated Alan Deaton as if he was that particular trope. You know why?

Because unlike the Sheriff, the Argents, or every character in 99% of fan fiction, Scott actually cared about Alan’s life, even beyond saving it when he was in trouble. The scene above is from Lies of Omission (5x09) -- even in the midst of his pack imploding, even during the apparently unstoppable reign of the Doctors, Scott took care of Deaton’s clinic .

Deaton is more than a source of information to Scott. He’s more than just a resource. Scott treats him as a person with his own value and his own needs and wants, and those needs and wants are valid beyond serving the greater good.

The suspicion and racism directed toward the character of Alan Deaton depends on the expectations that the fandom -- and most viewers -- have toward non-evil minority (and very often black) characters who possess power. United States viewing audiences have come to expect these archetypes should willingly help other characters -- particularly white characters -- with no expectation of reciprocity. These characters tend to be treated as objects -- manifestations of a benign and undemanding universe -- and are expected to assist or save or even sacrifice themselves for the good of the protagonist.

The application goes far beyond the flattening of the character into a sort of two-dimensional supernatural charity. If the character -- such as Deaton or Morrell -- has their own agenda or even their own belief system which they use to decide when and for whom they use their abilities, it is invariably seen as selfish or sinister. I’ve never watched The Vampire Diaries, but I’ve heard that the powerful black female character of Bonnie Bennet is basically bullied and shamed repeatedly into using her power to help immortal white serial killers. I’ve never watched The Originals either, but I heard it happened there as well. I’ve watched it on Sleepy Hollow where Abigail Mills was required to sacrifice everything (her career, her emotions, and ultimately her life) for Crane’s traumatic past. I can barely even speak about how American Gods got rid of Mr. Nancy for having his own point of view.

I’m sure you can find other examples.

Let me give you another comparison from Teen Wolf’s Season Three. There’s a scene where Stiles, in full entitled, shitty, white-boy mode, storms into Deaton’s office and demands that Deaton tell him what he wants to know. The scene is shot and portrayed as Stiles reminding Deaton that he has an obligation to share his information, though the show never got around to explaining why Deaton had to tell him anything. Oh, I forgot -- the kids are out of their depth and it would be cruel to leave them without guidance.

Now compare that to the way the show presented Derek up and just leaving at the end of Season Three. Scott, without any training in being an alpha and -- as fandom loves to remind everyone -- no idea what he is doing, wishes Derek good travels and hopes he’s happy. It’s never portrayed as inconsiderate.

Now, I don’t begrudge Derek’s trip with Cora, but you have to notice the difference between the way these things are presented and received. Deaton’s avoidance, sprung from the trauma of losing the alpha he advised and loved, is treated as a flaw to be overcome or simply villainy. Derek’s journey to find himself is treated as ... well, something he has a right to do, even though he left suffering teenagers behind in Beacon Hills.

This is a pattern, and it repeats itself across many different productions in the genre. Minority characters have a responsibility to help others, suppressing or discarding their own emotional needs. This is a burden not placed on white characters; they can help or not help, but they aren’t considered immediately sinister if they don’t.

Scott has asked for Deaton’s help. He’s even been desperate during those times. But Scott never stopped treating Deaton as an actual person with rights and motivations that might not coincide with Scott’s. That’s more than any white character did for Deaton (with the sole exception of Lydia), and it’s something you almost never see in fanfiction. For some reason that eludes them, fandom seems to think that the simple fact that Deaton has knowledge and power means he is required to put it at the disposal of other, particularly white, characters.

BUT IT’S NOT RACISM.

#teen wolf racism #scott mccall defense squad #asshole anon #alan deaton defense squad

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masteroftheblade · 3 years ago

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What are your favorite and least favorite animes? Why do you like/dislike them?

oh god here we go lmao 🤠👍 prepare for an entire novel as always lol

my favorite animes atm are Naruto, Dragon Ball, Attack on Titan, and Claymore. Overall, my favorite genre of anime is shonen (and in case you dont know what that is, its basically shows that are marketed to young boys. it'll have shit like superpowers and poorly written female characters). My least favorite genre is Shoujo (marketed at young girls). I honestly don't hate the entire genre, I just hate how much romance is in there since im pretty romance-repulsed. If there were more Shoujo series like Claymore, I'd probably be in love w/ it. I'll start talking about these shows individually, starting w/ Naruto.

1. Naruto.

Honestly, the only reason I started watching Naruto was because my friends peer pressured me into doing it, and it actually differed from what I expected it to be story-wise. The beginning of the show started off amazing; it had excellent world building, magic systems, interesting characters, and it attempted to address how messed up the whole shinobi system is. But then Naruto got on the front page of Shonen Jump, and everything went down from there. It started to focus more on cool fight scenes than the actual plot. I wont get too much into that, because you can literally find entire blogs dedicated to dissecting that, but Naruto killed itself w/ its own popularity. That said, I love the characters and world building and I can look past most of its flaws anyway.

Would I recommend reading/watching it? Yes, but only to say you did it for bragging rights. Don't go into watching Naruto if you want deep looks into imperialism and militarized governments, because you will get the complete opposite of that :P Also the best way to watch it is to watch it with friends.

2. Dragon Ball.

I only started watching DB about a month ago, so take what I say with a grain of salt, but I think its a garbage series. The fight scenes have little to no weight to them, because no matter what, the protagonist of that episode will always succeed in some way. For example, when Goku (a 12 y/o boy) was fighting Giran (a 10ft tall godzilla man) and was getting his ass beat until Goku just... randomly grows back his tail that was cut off earlier and wins. We are never told why he grew back his tail, and i think he only gets it back so he can have a cool fight scene in a later episode. Goku can literally be battling genocidal gods and he will still always win. The show also goes out of its way to sexualize/show a female character being harrassed. Every. Fucking. Episode.

That said, it is a fun show, and I really enjoy watching it. Like Naruto, I really love the characters and the world they are in, I just hate the way it was handled, and its painfully obvious that DB was made by a bunch of old men in the 80s. Unlike Naruto, however, I really appreciate how simple it is. It doesn't force a narrative about space genocide or whatever being bad, and I'm very thankful because that kind of narrative would be absolutely botched in this kind of series. It's also nice to have a show that doesn't take itself too seriously. Shows like AOT are amazing and important, but those shows can be overwhelming with their heavy subject matter. I would only recommend watching DB if you want to see some really good art/character design. Don't take the show seriously, and you'll have a good time.

3.Attack On Titan.

This anime was actually the first I've ever seen! I saw the very first episode when it aired in 2014, so I'm definetely biased in that regard, but I still try to look at this show in the most objective way I can. This show does almost everything right. The pacing, the characters, the art, the plot, you name it. It takes a concept that looks silly on paper and turns it into this grueling story about war, politics, and the trauma of being a soldier. It never treats it's characters like they're only one-dimensional, or like they are there just for one purpose only. These characters feel human in a way Naruto and Dragon Ball could never be. But there is one thing that has me concerned about this show, and its about the weirdly anti-Semitic undertones it has.

You probably heard the controversy already, but it really effected the way people on the outside of the fandom view the series. The show is heavily inspired by European culture, specifically that of Germany, and there are an ethnic group of people called The Eldians in the show that are pretty anti-Semitic in this kind of setting. The Eldian people have the capability of turning into Titans, and the Titans are what divided the world and killed millions. As a result, another group of people started doing the shit the Nazis did to Jewish people, basically making the Eldians into this weird allegory for the holocaust??? Which was kind of a shock to me when I first realized that was the angle they were going for. I genuinely did not expect that considering what the series started off as. The foreshadowing is there and all, I just didn't think they'd use real-world events as inspiration.

Now, this actually has the complete opposite problem Naruto and DB had. Naruto and DB had amazing ideas and concepts that went to shit, AOT's whole holocaust narrative was trash from the beginning.

The show could have easily had a different kind of social/political commentary without even going near the holocaust narrative. It comes off as kind of a half assed idea that people put way too much effort in, so it's kind of in this weird grey-area between "modern anime masterpiece" and "what the fuck were they trying to get across with this show?". If you asked me what the moral of the show was, I wouldn't be able to tell you.

Now, because of the fact that the Eldians can literally turn into man-eating beasts, this makes the comparison of Jewish people and Eldians very racist, and it doesn't help that Japan is still full of legitimate Nazis, making the whole situation look even worse. Since I am not Jewish, I wont speak for other Jewish people. There is a very heated debate on whether the show is racist, and frankly I don't think it's within my right to say if it is or isn't. What I will say, is that I really loved the show and appreciated the social commentary it provided, and I think a lot of people would benefit from watching it, but I think it's also important to listen to Jewish people's views on the show. For this reason, I specifically avoid reblogging AOT stuff, but I do love that show and I wont hate on people who do reblog stuff from it. It's definitely not a light watch, but it does provide a lot of thinking material.

4. Claymore.

This. Show. Was. Amazing. But. Underrated.

First off, this is a shonen show that is led by a majority female cast and a female protagonist, and all of those women are badass swordwielding lesbians and I love it. Second, the art style is beautiful. Third, the story is really interesting from so many angles, so much so I am not even going to mention what its about because you dont need to know, you just need to watch it and see what happens. The first season was an absoloute ride of a show, and if you love shows like AOT or Berserk, you'll love Claymore. Honestly, this show was what AOT should have tried to be. It also has its fair share of militarized imperialist commentary, but this is the only show on this list that actually fucking critiques imperialist ideals and has a main character that actively refuses to participate in that kind of oppressive system, choosing to fight it all together.

But the show got fucking cancelled right before the first arc even finished. You can thank shows like Naruto for that 🙃🙃🙃

10/10 Would reccomend, but just be prepared to be left on a major cliffhanger. You can try reading the manga, but it's kind of hard to follow since all of the warrior girls look the same.

#i spent too much time writing this #oh well #im not gonna tag the shows i talked about in this bcuz if i do ill get discourse blogs to start shitting on me #so im just gonna avoid it all together lol #also didnt write abt my least faves because this was too long to write as is #anyway as promised we can now get married any time you want @kindasortasalty /j /p #👩‍🦲

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sonofsallyjackson · 5 years ago

Text

Heroes of Olympus should have been in first-person.

@jo-march-is-a-lesbian wrote a really wonderful post about how “Percy Jackson and the Olympians is better than Heroes of Olympus…because it understood simplicity and character development.” It highlights some reasons I also found HoO less rewarding namely that it was an overcomplicated story with limited character growth, lacked a common thesis, and was super jarring when it switched perspectives.

And with that my little brain went: I can fix this. Which frankly is ridiculous. I can’t come up with a compelling thesis like “The idea that we should place our hope in our loved ones, our friends and our family, and if we do that, we won’t be tempted to give up hope again.” But I can imagine a simple change that would have solved some of the issues and also played to Rick’s strengths as a writer: Each book should have been written in first person and narrated by a different character.

With so many people on the quest, I often felt like I was watching a bunch of one-dimensional characters fight for their right to be the main character. I didn’t know who to focus on but I was also dissatisfied. There were all these new wonderful characters in front of me who I wanted to love, but I didn’t feel like I actually knew them. I mean I don’t feel like I know the Stoll Brothers either, but I’m not concerned about that fact because they are side characters. When everyone is painted as the main character, I have certain expectations for growth, personality, and voice. The story would have been better served if the characters took turns narrating the action, allowing us to settle into their perspective, see their growth, and better understand their personality.

Plus Rick kills first-person. While I’m not particularly a fan of Trials of Apollo, it’s not because I don’t know the characters. Apollo is so very different than Percy. Their voices, even though they can both be jokesters at times, reflect their different life-experiences, thought processes and provide massive insight into their characters. If the Seven (and Nico and Reyna) got the same treatment, I would be absolutely giddy.

I recognize that rewriting the HoO series in first-person is something a talented fanfiction writer with a lot of time on their hands could actually do. But I am not talented like that and I certainly don’t have the discipline to actually write that much fic, especially if I was trying to keep the events vaguely the same just with different narration and pacing. So instead I’ve included who I think should have narrated each book below the cut. I’d love to hear any opinions people have regarding this idea, especially who they would have wanted to see to narrate each book.

In addition to picking the narrator, I’ve highlighted what should be the “quest” so to speak of each story. Personally, MoA, HoH and BoO are kind of a blur to me despite reading them all recently. It’s hard to distinguish what happens in each book because it’s all one massive quest with a whole bunch of mini-quests. While the different narrators would obviously make the books more distinctive, splitting the series into seven books would also help simplify each book’s individual goal. Eight books would have allowed for better integration of the plot to find the physician’s cure, but with the prophecy of seven, it seemed like seven books was the best option, if I was going to be doing something as blasphemous as splitting books.

As a note, I ran out of steam as I went so not all opinions are fully fleshed out.

Book 1: The Lost Hero The Quest: Rescue Hera/Juno Narrator: Jason

Why this would be cool:

He is literally Juno’s chosen sent on a quest to rescue her. It’s poetic enough to give him the book.

Jason’s journey is just as much about rediscovering himself as it is about saving Juno. Of the new characters, I feel like I understand Jason the least. Mainly because I felt like I was missing the entire first half of his story. Jason, like Percy and Annabeth, is a hero of the Titan War. I know some of his accomplishments, but I don’t have any bearing on what his life was like or how he felt about it. He doesn’t seem like the type to relish Praetor-ship since he doesn’t have the same intense need to get back to his camp as Percy. Was he just hoisted on his comrades’ shields after killing the Titan without any real choice in the matter? Give me Jason’s memories coming back slowly over the course of the quest (with potentially a fractured memory of a mistake he made in the Roman’s final Titan battle that makes him doubt their ability to both rescue Piper’s dad and save Hero but he makes the decision to anyway because he can’t just hurt his friend like that. Let me understand how Jason is the person he is today. Give me glances of the Roman Camp with emphasis on the heavy expectations that have always followed him as the son of Jupiter and foreshadow why he eventually chooses to design all the shrines for the minor gods so he can have his own place in the world as a figure between the two camps.

Let’s dive into those feelings of anger/guilt/resentment when people at camp are disappointed with him for not being Percy or in Chiron’s case are nervous about what his presence means.

I want to dig deeper regarding Jason’s feelings about reconnecting with Thalia. He knows that if the gods hadn’t been determined to keep the two camps completely separate, he could have grown up with his sister.

What does telling the narrative like this sacrifice:

We miss some of the internal turmoil regarding the fact that Piper’s Dad has been captured and she must betray her friends.

We also don’t feel the tensions of Piper’s relationship with Aphrodite. I don’t see Piper bringing up the conversation with her mom saying that her mist memories were so strong because she automatically sensed the potential of a romantic relationship with Jason.

We don’t have any of Leo’s conflicted feelings regarding rescuing Hera or his fear of being made an outcast for his fire abilities. Jason has to go with Leo to discover Bunker 9 and Festus.

Leo doesn’t actively save the day with the Cyclops.

We don’t know how Piper feels about her charm-speak or see her defeat Madea (as the boys are in their weird trance thing).

Knowledge about Gaea’s involvement in wrecking Leo’s life will come later.

Book 2: The Son of Neptune The Quest: Free Thantos Narrator: Hazel

Why this would be cool:

The stakes are so incredibly high. Hazel is literally risking her second chance at life by agreeing to go on this chance. She’s going to the place she died to fight the monster she created. She also has to deal with the trauma of knowing she may have bought the world time with her first sacrifice but it now means nothing if she can’t succeed again.

We get to see Camp Jupiter from the view of someone who loves it but doesn’t really fit in. Hazel joined Camp Jupiter just after the final battle. She enters a community that has learned to fight as a well-oiled machine but that has lost people. Dakota or the others may remark to her about how things were before or the people who are missing. Hazel sees a community that she’s not quite a part of both because she didn’t fight in the war and because she’s in the fifth cohort with a feared godly parent.

It would explore her relationship with Nico more (because I love their dynamic and I want more). She knows she can’t replace his real sister, but she feels comfortable and happy at the opportunity to have a brother, especially one who is out of time like she is.

What does telling the narrative like this sacrifice:

Frankly, the largest pushback would be from the fans who expected this to be Percy’s book since we just watched Jason rediscover who he is.

Percy’s phone call to his mom doesn’t have the same intensity.

Frank’s relationship with Mars and how desperate he was to be claimed but now he doesn’t think he can live up to his father’s expectations.

Frank and his grandmother. We aren’t in Frank’s head as he changes shape till later.

Book 3: Mark of Athena The Quest: Close the Divide Between The Two Camps by finding Athena’s statue and Rescue Nico Narrator(s): Annabeth and Leo

Why Annabeth:

So I can have all the emotions at the reunion with Percy.

Annabeth’s relationship with her Mom has never been great, but imagine beginning the book with Annabeth being given the Mark of Athena. They haven’t left for New Rome yet and her nerves are already all over the place. Then Athena/Minerva comes, gives her an impossible quest, and breaks her hat. Annabeth wants to prove to her mother that she’s worthy because despite everything she still values her mother’s opinions. Also her fatal flaw of hubris makes her believe she will succeed where everyone else failed.

Much of the book already follows her in third person limited so we just get things with a little extra emotion.

Why Leo:

Leo has to grapple with the fact he started this war by being the one to fire the cannon even if he didn’t have any control. He is motivated to fix it

If we’re going to include the Sammy plot, we need to do it now. Leo doesn’t like being the odd one out on the ship but he certainly doesn’t like the feeling of being notable because of his grandfather.

We still need to get into those feelings of abandonment and anger at Gaea for killing his mom.

Nemesis

Leo comes into his own with the discovery of the Archimedes sphere and the decision to value people over objects.

What does telling the narrative like this sacrifice:

The aquarium shenanigans

The fight between Jason and Percy in Kansas needs to happen differently so that the others are present and try to stop it.

Neither of them went ashore to meet Hercules.

I think we might need to move up the Calypso meeting to this book, but that also kills some of the suspense since Frank will have the fireproof coating prior to his adventures in Venice when he gains faith in his abilities. It also might mean Leo opens the fortune cookie from Nemesis unless for some odd reason he doesn’t have it. There’s a lot more narrative weight for it coming later, but in order to get in as many book events as we can in, it might need to come earlier.

Book 4: House of Hades Pt. 1

The Quest: Survive Tartarus Narrator(s): Annabeth and Percy

The first time I read House of Hades, I read it out of order (reading all the Percy and Annabeth chapters until they were on the elevator out of Tartarus before going back and reading the others), because I couldn’t handle the back and forth. I felt like the tension would build, I’d be invested in this plot and then we’d switch to the other plot. Plus I was very concerned for my children. So I feel fully justified in saying that there is more than enough material to give the two of them their own book.

I just feel like all the feelings would be magnified.

Percy’s commentary slowly losing its humor because he can’t anymore.

Annabeth’s guilt at having pulled him in being extra loud.

Downsides beyond adding an entire book: Just imagine all the outrage at two cliffhangers in a row, because you know the book would end with them in the elevator remembering Bob’s words about the stars.

Book 5: House of Hades Pt. 2

The Quest: Close the Doors of Death Narrator(s): Frank and Hazel

Frank and Hazel experience the most growth on the quest to close the doors so this book is all theirs. Hazel learns to control the mist. Frank experiments with his transformations. I want nothing but them growing into themselves and their abilities.

The good thing about turning the two warring storylines from House of Hades into separate books is that we lose very little plot.

Book 6: House of Hades Pt. 3/Blood of Olympus Pt 1 (Personally I would call this one Ambassador of Pluto)

The Quest: Unite the Gods’ Personalities. Narrator: Nico

To clarify what I mean by HoH 3, I just mean anything done with the intention of trying to cross paths with Reyna, including the adventure with Cupid, in addition to the existing Nico&Reyna plotline in BoO.

Nico dealing with all the emotions and his most recent near-death experience.

He kept the secret of the camps so the world wouldn’t end in chaos, but now that the world is in chaos he will be the one to fix it.

In the short time he’s on the Argo 2, Nico realizes that even though this wasn’t his quest; this is his family and he needs to protect them.

The reader has a pretty good idea Nico is gay, even if the word isn’t explicitly said from the descriptions (his guilty Percy thoughts - he let down the man he loves even if he won’t admit it.) This means that Cupid’s forceful outing is potentially less surprising so the reader can be properly outraged at Cupid.

Downside: Reyna definitely has adventures when Nico is passed out, especially the whole waking up with the Hunters, but I think it’s excusable for a whole book from Nico’s perspective.

Also, the battle between the camps and gifting of the statue needs to happen in this book, but we shouldn’t find out if the gods have regained control of their forms yet. We alleviate some tensions because Camp Half-blood is likely to be overrun with Octavian’s monsters instead of the Roman armies and Gaea could awaken any second, but there’s an odd moment of calm and an uneasy truce. (Octavian is potentially taken under custody to be held for trial only to escape in the next book.)

Book 7: Blood of Olympus Pt 2 (and the aftermath)

The Quest: Like The Last Olympian, the final book’s focus is entirely on defeating the series’ big bad, in this case, Gaea. Leo’s quest for the Physician’s cure parallels Percy’s River Styx visit.

Narrator(s): Leo and Piper

Leo has his death hanging over his head. He has decided that he will be the one to die not any of his friends. He got the cloth from Calypso so the “fire” portion of the prophecy applies to him and not Frank. (Yes I know you can’t control prophecies, but do you think that’s going to stop Leo.)

It’s the ultimate revenge for killing his mom. We can have memories of both the happy times with Esperanza and the fear he felt for thinking he caused the fire.

Piper’s perspective is necessary as we need to be with her during the fight with the giants.

This series began with Piper, Leo, and Jason. It ends that way too with the three of them killing Gaea and the two of them narrating.

Downsides:

The Percabeth I love you-the feud is over scene remains in Piper’s perspective.

Since we’re not following Reyna’s delivery of the statue concurrently we don’t know when to anticipate the healed gods appearing in the battle with the giants.

The book can still get away with not showing us Percy’s reunion with Sally or forcing Leo to tell the others he’s alive so they’re all grieving.

#pjo meta #pjo fandom #pjo/hoo #hoo #riordanverse #heroes of olympus #my meta #percy jackon and the olympians #the seven #jason grace #hazel levesque #leo valdez #piper mclean #percy jackson #annabeth chase #frank zhang #the fandom once again improving hoo

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nyx-the-dragon · 5 years ago

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A Miraculous Rant

Miraculous: Tales of Ladybug & Chat Noir is a show about two teenagers who can transform into superheroes, fall in love with each other, save the city of Paris, and all without knowing who their partner is behind the mask. Sounds great right? It is, but there's a giant problem with it. The problem, to me, is simple. It’s the writing. Before you get your pitchforks and torches, hear me out. In this essay I will explain and point out where I believe the flaws are.

Season 1: Oh boy, where to start? Well, how about there is no driving plotline in practically all of season 1. Sure, we need to hash out the world and concepts first, but that shouldn’t take 24 or so episodes! The first three episodes aired are “The Bubbler”, “Mr. Pigeon”, and “Stormy Weather”, in that order here in the U.S. and they tell us plenty of information.

The plot of all three episodes, and almost all of the rest of them are the same. There are two plots in each episode, Plot A, a problem arises or it’s the story of how someone becomes an Akuma. Plot B is the Akuma fight with our Superheroes. After Plot B ends, Plot A is usually resolved, and whatever happens is never spoken of again. Rinse and repeat. The only episodes that stray from this formula are “Evillustrator” and “Origins”. In “Evillustrator” we get practically nothing about Nathaniel and the focus of Plot A is Chloe and Sabrina.

And for “Origins”, while we never really spoke about what happened, we didn’t forget everything.

Ladybug tells us in “Antibug” that Chat and her are partners, even though they don’t really show it. Ladybug claims she needs Chat, but fighting wise, Ladybug always manages to take down the villain when Chat gets controlled by the villian/taken out of the fight. Plus, Ladybug is the only one who can purify the akuma and repair the damage. Chat just seems to be there for moral support and to use Cataclysm when Ladybug needs it.

Season 1 Plot Points: I remember three, count them, THREE plot points that moved the story along. Nothing important happens until “Princess Fragrance”, where the audience sees Master Fu for the first time, and then the old man disappears from the spotlight until “Volpina”, where Marinette meets him again, and we all find out he is the Guardian. Then “Origins” is finally released and we see that he gave out the Miraculous to our protagonists, and gave them no training. Seriously who thought that was a good idea?

Season 2: We finally inch along in the story more, as new characters, potiens, kwamis and miraculous, and new holders are introduced. Hawkmoth’s identity is revealed/confirmed, and both heroes and villain are thrown off the identity trial.

Power shifts to Ladybug as she knows who the guardian is first, gets to pick new holders, and gets to learn about the zodiac miraculous. Chat Noir gets left in the dark, and slowly starts turning into the sidekick some people view him as. He finally meets the guardian, but Marinette seems to spend the most time with him, so the scale is still tipped in her favor.

Season 2 Character Developments:

It turns out that season 2 is our character development season, with a bit of worldbuilding involved. We learn more about their classmates, including Alya, who we should’ve learned more about sooner, and get introduced to new characters, one of which keeps making cameos. It’s good to focus on other things aside from just Ladybug, Chat Noir, Marinette, and Adrien. It helps make the world three-dimensional and broadens the edge of the Miraculous world.

Season 2 Plot Points:

I’ll be honest, I don’t remember there being any important to the overarching story plot points in season 2, other than the 2 parter season finale, Lila, and maybe the temporary holders.

The finale 2 parter is the closest they get to catching Hawkmoth, but he escapes with the aid of the Peacock miraculous holder. They practically go back to square 1 except the fights will get harder. Also, we finally see what happened to Lila Rossi.

Season 3:

Oh boy, the most recent season. And the cringe and second hand embarrassment I experienced here, oh the writing staff in some of those episodes had it out for Marinette.

“Animaestro”: She crawls around on the floor, wastes food, and teams up with Chloe of all people to ruin Kagami’s outfit! Marinette should have been doing the job she signed up for, not embarrassing her parents’ business by doing those ridiculous things. And then she gets rewarded by being given Astuc’s ticket and gets to sit next to Adrien.

“Weredad”: I get she panicked, but did she have to say she was in love with Chat Noir? What happened to not wanting to lie to a friend? You live there for Pete's sakes, it’s not unusual for you to be on your balcony!

“Party Crasher”: Marinette abandons her friends to try and party with the boys, eventually using a disguise to get in. Marinette you’re no better then the boys!

“Stormy Weather 2”: Was just lazy, enough said.

“Feast”: It’s sweet that Fu wanted to protect them, but he ran like a coward and was willing to abandon Paris to Hawkmoth’s cruelty.

“Reflekdoll”: Alya! Marinette clearly doesn’t want Adrien there, but you just ignore her and pull him along anyway! What if he wanted to spend that extra hour with Nino and you made him feel like he had to help Marinette out? And I‘m not forgetting the fact you ignored Juleka’s panic attack and wish to be a model, and didn’t apologize! Also, they should’ve let Mister Bug figure out how to use the lucky charm. That would’ve been a great way to show that the two are equal, not that Marinette is great at wielding the Ladybug and Cat miraculous.

“Ikari Gozen”: Marinette, you tried to leave Kagami when you saw she was your partner in the friendship game, badmouthed her Alya, and tried to make you lose on purpose, all because you were jealous of Kagami being close to Adrien, who also doesn’t have many close friends. And Kagami, Longg literally said he was going to tell you the plan, but you just decide to transform without listening to him.

“Desperada”: Marinette picking Adrien to be Jagged’s guitarist was dumb, did you even know if the boy could play? Marinette, you can’t focus around Adrien, why did you give him a miraculous!? And Adrien, why did you accept it, you’re Chat Noir!?

“Ladybug”: Are you kidding me Chat!? Ladybug has never shown interest in you before, why on earth would you think that’s normal!? Also, Marinette getting expelled like that? Did anyone on staff do their research about expelling someone?! I’m pretty sure that’s not how you do that!

“Battle of the Miraculous”: Chloe, how stupid are you?

I also have some complaints about “Chameleon”, like, what were Marinette’s friends and classmates thinking?! A napkin can’t gorge out an eye Max! And for goodness’s sake, wouldn’t Jagged Stone’s pet being rescued off a runway be on international news?! Their brain cells were gone that episode.

Season 3 Plot Points:

Master Fu’s memory is erased, leaving the two kids on their own. This will drive them closer together or farther apart as Ladybug will have more responsibility and need to keep more secrets as Guardian. Hawkmoth and Mayura have the translated Grimoire and they have fixed the broach.

Season 3 Character Developments:

The characters we really focus on the most beside Adrien and Marinette are the love rivals. That’s right, Luka and Kagami. Adrien appears to have started dating Kagami and Marinette is hanging out with Luka more, so more knowledge about them is needed. Other characters star in some episodes too, such as Max and Markov in Startrain. Turns out his mother drives trains and wants to be an astronaut. Also Markov is baby.

It turns out Juleka wants to be a model, did this happen because she can be in pictures now, and she enjoys it a lot? Where did this even come from? Regardless, it’s nice to see Juleka coming out of her shell a bit. Also the cheek kiss from Rose was cute and I don’t care that Relfekta called Rose her bestie, that Hawkmoth talking. Also Juleka is the second person, Lila’s the first, to be akumatized three times as the same Akuma.

Speaking of Lila, she shows up in the first episode, and it turns out everyone is still wrapped around her finger over her ridiculous lies. Sure, their class is accomplished, but really? Fans of Jagged Stone know he has a crocodile, right? Or that paper napkins can’t gorge someone’s eye out, especially glasses-wearing Max? She threatens Marinette in the bathroom, declares them to be at war, then does nothing to turn people against Marinette until “Ladybug”. Sure, she violated Adrien’s space and privacy, and got Nathalie and Gorilla in trouble, but that was never specifically against Marinette. We learn she doesn’t want to take the easy way out, instead she lays out this giant trap that would’ve come crashing down if Damocles had actually done his job by listening to both sides, calling Lila’s mother, watching the security footage, basic stuff right? It shows that Lila can be kinda clever, but her kingdom is a stack of cards waiting to crash down at the right push.

We get Master Fu's backstory, like how he lost the Peacock and Butterfly miraculous, plus the Grimoire. Also, he gets a lady friend, who we never really bring up again except at the end of the season.

And Choe. Chloe, Chloe, Chloe. We in the fandom had high hopes for her. From her not believing what Lila’s ‘selling’ to her becoming a better person. That all crashed and burned in the episodes “Miraculer”, “and “Battle of the Miraculous”. Turns out Chloe doesn’t even remember Lila, despite being upset that ‘Jagged wrote a song about Lila and not her’ in “Volpina”. Having Audrey around does not help Chloe’s case, as she tries imitating her in order for her mother to love her, which is really messed up.

The fandom:

Pitchforks down people! This is not, I repeat, not an insult to the fandom. I enjoy reading fanfics, including salt and fix-it fics. I just find it sad that the fandom has better writing than the actual show. It's kinda depressing that people who write for fun are writing better than the people doing it for a job. For example, when Chloe gets the redemption arc the show was building towards. Astruc said in a tweet that Chloe turned out to be not redeemable, which some people have translated as they couldn’t figure out how to redeem her so they didn’t.

Plot:

Astruc and staff need to actually make strides towards the end goal. The way they write the show now, there seems to be no goal that they are actually working towards. The episodes that will move the story along are few and far between, and as of now, they aren’t any closer to their goal as compared to the beginning.

Contradictions:

There are contradictions in the episodes, for example in “Queen Wasp”, it’s stated that only cataclysm can break a miraculous. But then Alix’s watch turns out to be a miraculous, and suddenly a contradiction is revealed. The Ladybug and Cat miraculous are supposed to be the most powerful of all, right? Well, some of the other miraculous have stronger powers then those of the Cat and Ladybug. The Rabbit can travel through time and the Monkey disrupts others’ power, rendering them useless. Why have the Ladybug and Cat miraculous, the ones the bad guy is desperately trying to steal, out in the open when you could use the other miraculous just as well? You could just use Venom on the Akuma and easily get their akumatized item. Boom, battle over in seconds. Sure, you would still need the Ladybug to purify the akuma and erase any possible damage, but at least the Cat miraculous could be safe in the Miracle Box. It’s like they have no idea what was going to happen in future episodes, and when they make a contradiction, Astruc will just brush it off as a mistake, and the show will just carry on as if nothing happened.

Conclusion:

Miraculous Ladybug is a great show, but the writing is subpar. There are episodes that are really great, and there are episodes that are bad, and make me want to stop watching from second-hand embarrassment. In all honesty, I’m still here for the fanfiction.

#ml rant #ml salt

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austennerdita2533 · 4 years ago

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We both love GG forever, but what are some things you'd change, even pre-revival?! In no order, for me it's 1. Keep writing Luke as sharp, edgy, more quick-witted and interested in issues/the world around him like he was in S1-he got too one-dimensional, simple and less interesting 2. Stop even trying to tackle class issues---it was way too inconsistent, exaggerated, etc. 3. Show a bit more consistent progress in the Lorelai/Emily relationship - they kept regressing back to square one (1/2)

(2/2) 4. Show Rory changing, growing and even failing while retaining more of her original core characteristics - at times she felt like a completely different character 5. Write Luke/Lorelai as a couple with more joy, affection, connection, and differences that are complementary and challenging rather than just incompatible 6. Have Rory and Lorelai acknowledge their mistakes and consciously try to improve - like Emma Woodhouse :) I love the Gilmore Girls, but... 7. Oh, and less Dean, please!

I agree with most of these!

I constantly wish we would’ve gotten more insight into Luke’s background and beliefs. How did he vote, for instance? Did he read newspapers or listen to the radio to stay abreast of the local/national news? What were some of his other hobbies besides fishing and baseball? What was the actual age gap between him and Liz, and had he and Jess has much contact when the latter was younger?

I really do wish Lorelai and Rory were more willing to acknowledge their flaws and failings, too. They have a tendency to skirt past their mistakes without much reflection or self-examination.

As for Lorelai and Emily, I am all for a one-step-forward-two-steps-back kind of dynamic (because it’s fitting for them) but I agree that I wish they had a little more forward momentum. That said, I do think they made a lot of strides on that front in the OG series. It was in AYITL, however, where Lorelai couldn’t think of a SINGLE nice thing to say about Richard after he died that I was left ?????? because it seemed to contradict the growth she’d had with her parents through 7 seasons.

Better communication in some of the depicted relationships would’ve been great as well.

#what-would-jane-austen-say #replies #the loveliest of lovely people #ashlee bree's gilmore girls babbling is infinite

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nautiscarader · 6 years ago

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The Dragon Prince - Season 2

It is very rare to see a show which has improved in nearly every aspect, but lo and behold, TDP season 2 delivers more.

Just... more.

More drama, more characters, more action, more humor, and more dark, complex, and mature storylines.

Spoilers galore beneath

First and foremost, I am very happy that the animation department has listened to our cries - the choppy animation is no more. The cell-shaded animation is odd, but it certainly no longer distracting from the action. And if you want to watch TDP season 2, then you need to pay attention to everything on the screen, because the things that happen on the screen are marvellous.

The ongoing story, together with expanded flashbacks are excellent, and make the world believable and realistic. Wars do not happen in one day, they are the effects of years of conflicts, slowly building up, and the show has given us excellent reasons to believe and be invested in them.

Very few shows have created such interesting villains like this one. Soren, Claudia and their father, Viren aren’t just evil. They are not evil overlords and kidnappers - they are properly constructed characters with deep motivations.

Viren is a pragmatist, who is slowly consumed by the dark magic, thus skewing his morals. His children follow his steps, though themselves start to realise he might be wrong, and yet come to the same reasoning as he did: that power can be used to overcome problems, even if it done in an immoral way.

Our protagonist grow up as well: I was mighty afraid that the show will do the “liar reveal” cliché between the brothers, or between Rayla and Callum, regarding the news of their father’s death, but fortunately, the writers have dodged the bullet on two occasions, because of proper build-up and the mountain of trust between the three (or four, since Claudia delivered it). The lessons they learned were deep, life-changing and not easy to swallow, and I think they accepting them will help kids all over the world.

Speaking of difficult things to bear: Soren’s kinda-disability. the way it was handled was magnificent, albeit with Soren’s slightly awkward acceptance of it. But Claudia? She reacted just like you would if you were hit with such grave news. Characters in TV shows get slammed all over place without any bones breaking, but here? No, they did not joke. A dragon smashes you into a rock, you get a spine broken. End of story. On one hand, it would be interesting to see his character with the disability, but given he is a part of the cast, it would be problematic, I guess. And Claudia using Bambi’s life forces to revive his ability to walk might have even more dire consequences. Will she have to sacrifice more and more animals to keep him alive? Will the dark magic flowing through him corrupt him? Will Soren have to sacrifice his ability to walk in order to cleanse himself? Who knows, the possibilities are quite vast.

Speaking of possessions: Callum and dark magic. That was something I wanted to see in S2, and I think it has been handled really well. Callum has potential to be a dark wizard, and while he has discovered his sky arcaneum, I have a feeling he will be tempted to dabble with dark magic in the future, breaking our hearts again.

And on top of that, you have relationships. Callum, Rayla and Ezran have very different connections to Soren and Claudia, as, say, Team Avatar to Zuko and Azula.

Callum and Ezra were - and arguably are - friends with Claudia and Soren, they do have strong bonds (in case Callum and Clauida something even stronger), since they’ve known each other since childhood. It is not just a hero/villain cliché - they are, once again, well-defined characters, and as a result their relationships are strong, well-grounded and believable.

And the hugs between Rayla and Callum are melting all of shippers’ hearts, I cannot overlook that (but still no kiss, or almost kiss yet, but have almost had “I love you”).

The action is superb. Fight scenes are fast, well-planned, and gripping, exactly what you’d expect from a fantasy series.

And of course, with a whole new half of continent to explore, as well as half a dozen plot lines in the human half to resolve, new seasons will have tons of opportunities to once again punch us in the gut, make us laugh, cry and be thrilled.

So, are there any negative aspects...?

Well... yeah.

One thing that is kinda unavoidable, are the parallels to Avatar The last Airbender. From occasional jokes and subtle nods, like with the haiku and syllables counting, through slightly more transparent like the animal hybrids, through bloody-freaking-obvious, like Callum being an airbender. Or sky mage, or whatever you name them here. It is pretty weird to see this happening again, since, well, it invokes the parallels to ATLA instantly, and let’s face it, ATLA is still better, so you might not necessarily want to remind us of a show we’d rather watch, Dragon Prince.

Another one is Ezran’s character. Mind you, he got better in S2, especially with the revelation of his father becoming a spirit birb hybrid dying forever, but he is just a bit bland and too perfect for a 10-year old. I joked about it in my recaps, but he is jesus - he can do no wrong. And that is bloody boring! Look at Callum - he has flaws, he makes mistakes, that’s what makes him complex. And what does Ezran do? He goes off-track and can’t even get himself mauled by a banther properly. Get rekt.

He reminds me of Charlie from Tim Burton’s Charlie and the Chocolate factory - that kid was freaking perfect, without any flaws whatsoever, spewing moralistic phrases left, right and center, contrary to the one from the book and the classic movie.

Plus, his abilities are never explained, and are so damn plot convenient! It is one thing to just having a skill of handling animals - that I would accept - another thing is being able to understand them - that’s a bit too much, but still cool - and something wildly different is TO HAVE A DIRECT MIND LINK WITH THEM. Ezran is OP, pls nerf. And the worst thing is, with just a bit of clever rewriting, they wouldn’t need that. Just move the splitting scene after they cross the moonpath bridge - so that Ezran is still with Zim when he has to fly to save them. Solved.

I guess you can make a counter-argument that he also learns it, just like Callum does with magic, but guess what: Callum makes mistakes, so we see he learns! I would like to see Ezran mistranslating some wild animal’s wish and getting comeuppance when he has to run up the tree. I KNOW! BRING THE TAFFY HIPPO FROM HIS DREAM! YES! HE WILL BE HIS SPIRIT TEACHER! Ekhm, what was I talking about? Oh yeah, Ezran’s unexplained abilities.

In fact, I think so far TDP kinda delivered a disappointing deus-ex-machina payoffs in both seasons: mind link in S2 and Zim’s magic-breaking teeth in S1 allowing Reyla to have her hand. I was slightly disappointed then, and I was slightly disappointed now.

But I am willing to forgive it. Because quite literally anything else in the series is top-notch. The characters, for the most part, are complex and three-dimensional. The decisions they take are not simple and black-and-white. The villains are superb and blood-freezing, being able to scare you from the screen. They have added just enough Azula and Ozai juice to Viren and Aavaros to make them menacing and entertaining to watch. I love it.

On more than a few occasions the show has caught me off-guard and surprised me with its decisions, and I cannot wait for more of them.

#tdp #the dragon prince #tdp spoilers

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jerjclooners · 6 years ago

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With Mac’s performance, It’s Always Sunny In Philadelphia can no longer be a show about nongrowth.

Its only been like a day since I saw that beautiful season 13 finale of It’s Always Sunny In Philadelphia, but I can already sense the people around me getting tired because it’s all I want to talk about. My roommates are only vaguely aware of the show. They’ve never been obsessed with it like I was from 2012, until 2016. And then now. I’ve been haunting the apartment with my laptop, opened to youtube, the video clip of the end of “Mac Finds His Pride” queued up, ready to be watched for maybe the ninth time. I sent it to my friends who I think would be willing to have a conversation with me about it. It doesn’t matter to me who has the context of the rest of Sunny, and who doesn’t. All that matters to me is if someone is willing to watch and listen. Because I want to talk about it.

I think it was in 2016, in the middle of the 11th season, when I finally gave up on the new episodes. But sometimes, I’d open Hulu and binge on seasons 2 to 8, and I’d think about what I believe has gone wrong with the latest seasons, starting from season 9. I’ll think about why I stopped watching.

Maybe its just me, but it seemed like every character in Sunny had all turned into caricatures. In the beginning, the popularity of the show stemmed from the fact that these are all terrible people who no one would want to meet in real life. None of them have any sense of social responsibility, or empathy. But what made the show good, and the antics funny, was that on some level, the audience could understand the impulses the gang acted on in every episode. It was low budget with a simple concept. The worst people in the worst city in America acting on their worst impulses. And for the show to keep working on this concept, their characters could never learn from their behavior, could never grow or develop.

It’s Always Sunny was a good show until it wasn’t anymore. I don’t know. The jokes began to feel stale. The show couldn’t give me character development--this was their promise from the beginning, but it wasn’t giving me anything else to make the characters and their antics fresh. I could start to predict the plot easily. A few episodes might get a chuckle, but not a hearty belly laugh. The new episodes just didn’t feel new. The quality of picture and sound maybe got better, the budget more expensive. The gang was leaving Philly more and more often, and the schemes were getting wilder, bigger. But I wasn’t laughing anymore. My opinion was that keeping Sunny running for so long was a mistake. It seemed like the creators were becoming more progressive people who were trying to address complex topics--definitely a good thing, but they were growing past their own show, because their characters were not capable of complexity. Sunny taught their audiences that their characters will never change, and so the show was becoming stale because they were recycling material and old jokes without complicating them, because how could they when their own characters are not meant to be seen as complicated. They cannot grow or develop. That was the point from the beginning.

A couple days ago, I came across a few shots of Mac’s Dance. I thought, “Oh cool, Rob Mcelhenney is in another thing.” I never considered that those shots would be from It’s Always Sunny until I saw the whole thing. They looked too serious, too polished and sculpted.

My opinion is changed. Rob Mcelhenney did something insanely brilliant with Mac in the season finale, reversing the tone of the show unexpectedly, taking a giant leap, so to speak. And I don’t know what to do with this new thing Sunny has given me. But if any character of Sunny deserved character development, it was definitely Mac. If you were to ask me, he had the most complicated material to work with, not only including his sexuality. When I actually try and consider it, he was always the most sympathetic. As a practicing Catholic, he operates off of some kind of moral compass, no matter how flawed, damaging, and often bigoted. Of the entire gang, he was the one who tried the hardest to be a good person, or the person he believed he should be in the confines of something bigger than himself. The rest of the gang never thought of their identities as deeply as Mac. That was why coming out of the closet was such a big deal for him. In the episode where he comes out to the gang, he accepts his sexuality, but he gets depressed, telling the group that God is not real, because even though he accepts his sexuality now, he cannot accept that God would make him gay. The two main components of Mac’s identity, Catholicism and homosexuality, are contradictory. He cannot accept them existing at the same time. I can’t think of anything nearly as interesting happening with the other four.

Mac also has body dysmorphic disorder. He constantly changes his physical appearance as he seeks the approval of others. That’s part of the joke, though, that his appearance is constantly changing and nobody knows or understands why. In season 13, it only comes off as another joke aimed at Mac’s dysmorphia. The joke is that he gets ripped because he thought it was part of one of the gang’s schemes when it wasn’t. It’s a call back to a previous joke in season seven. Mac gets fat because he thinks he’s “cultivating mass” for another one of the gangs schemes, which isn’t actually part of any plan. In season 13, he presents his ripped torso to the gang, who don’t understand what is going on. Charlie then explains, “Oh, yeah, no one ever really knows what’s going on with Mac. He’s fat, he’s skinny, he’s muscular. It’s really a cry for help and attention, I think. So, what you do in that situation is you ignore him.” Then Mac, unsure, asks, “We’re not going to put it into the plan? Why did I do it?” Everyone: “Nobody knows.”

Mac: “You guys like me, right?”

Nobody answers.

Mac’s character was always seeking the approval of someone. It begins with his father in season 3, “Dennis Looks Like A Registered Sex Offender,” which shows Mac desperately trying to bond with an unresponsive father. In later seasons, Mac mainly seeks his approval from Dennis, who doesn’t approve of anyone in the gang, the gang is just easy for him to control, especially Mac. So, when Mac didn’t have approval from his dad, he sought approval from Dennis and from God. Neither of which worked out for him.

Now, we have the season 13 finale. It’s just so, so good. It’s emotional, heartbreaking, and the reason for this is because of who Mac is. He’s actually a sympathetic character. He’s complex, three-dimensional. Flawed, but tortured. The audience can react emotionally to the dance because of everything Mac had given thus far, not just from the beginning of “Mac Finds His Pride,” but maybe as far back as season six, or even further, in “Dennis Looks Like A Registered Sex Offender,” when Mac struggles desperately and fails to connect with his emotionally distant, ex-con father. Sure, in that episode, it’s meant to build to a punchline of the joke at the end, that as soon as Mac reacts appropriately to the way his father was treating him, he finds out that his dad did have plans to connect with his son, before Mac ruined it.

The dance is unexpected. For 13 seasons, Sunny fans have been taught that no matter what, Mac would make a fool of himself. Not this time.

In this article from Vulture, Rob Mcelhenney expresses his intention for the finale. “’We got a really overwhelming emotional response from the LGBTQ community last year,’ McElhenney said. ‘I took it seriously and I felt it would be completely unexpected to have this much more emotionally resonant end to the season. You would expect that Mac would express himself through the art of contemporary dance and it go horribly wrong, until you realize that’s not the direction we’re taking.’”

All Mac really needed was for someone to tell him that all the confusing things going on inside of him (the storm they are dancing in, the dance itself, all of it meant to represent his struggle) is okay. Mac needed someone to tell him that it was okay, that everything he is, and everything he feels even though it is confusing and contradictory, is okay. Thinking back to everything the audience has seen from Mac, you realize he is just a deeply wounded person. Maybe he’s involved with a bunch of narcissists like Dennis, Frank, Dee, and Charlie because of how wounded he is and has always been. But even before this, he has shown more complexity than all the other characters combined.

Again, from Vulture: “Rob came out of the writers room saying he wanted it to represent the struggle, the push and pull, and that helped Leo and me to put the choreography together in a way that showed vulnerability and strength,” Faulk said. “The woman represents the light and the good and everything pure and amazing — and he’s the dark. So it’s basically a giant metaphor for being able to love and accept yourself.”

Sunny did something completely different and unexpected for one of their most complex characters, they gave him a platform in which he is able to find love and acceptance, and then receive it as it came from somewhere he wasn’t expecting.

I feel pretty inspired by what Sunny just did, and now, I am going to expect more from the show. The creators have grown as people, and the stories they want to tell are more complex than before. Their characters are going to have to, or will have to continue to, catch up with them. I’ve been waiting for the show to end, thinking it could never grow. Sunny just proved me wrong.

One concrete example of what I wish to see in the next season: Mac standing up for himself against Dennis. If the show goes back to the way they were doing things before season 13, I will be completely disappointed. I don’t necessarily expect Mac to be completely different after this, but he’s the character who has shown the most character growth and complexity, even before the finale. If Dennis treats Mac the same way and Mac doesn’t stand up for himself in some way of another, I will be deeply uncomfortable. I might even feel betrayed.

It’s Always Sunny In Philadelphia just threw away their old playbook. It’s a new show now.

#iasip #discourse

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