#we are at the culmination point of the first arc rn

[delarpix]

Some moments from DND campaign

[jeritzalamine]

Spoilers for XB1,2 and 3

IMO Malos is still the best villain in the series, but Z is by far the best final boss. He serves not only as a great conclusion to the arcs of all 6 of the main cast, but also to basically everything the series has been building up to thematically since xenoblade 1. Having the finale of this series be nearly the entire world fighting against the very concept of uncertainty is just perfect. Z is all of humanity’s unease and uncertainty shuffling around in a trench coat. All the moments where someone regretted their life choices or wanted something to last forever, no matter the consequences to those around them. Having that as the final boss of a series that was first about deciding the future for yourself no matter how uncertain it may be(1) and then about if humanity’s problems make us irredeemably evil and what we have to do to fix those problems(2), is just so incredibly powerful.  

The fight is great within the context of the whole “to fight against injustice in the world you have to empower the youth with knowledge and the freedom to choose how to live” thing the series has had going since 2. Its what Vandham, Zeke, Morag and Klaus did for Rex and the others in 2 and its what both the main cast and the older characters in this game continue do as well. The entire battle is the older characters giving the younger characters the ability to build the world they want. Melia and Nia gave the party the abilities they needed to get this far and made it so all the other hero characters the cast has met throughout the story could join in to fight against the world thats been controlling them. And N and M sacrifice themselves to end the fight so that Noah can make the big change he had been planning since the start of chapter 6. This all perfectly fulfils Rex’s point to Jin about how to fix the issues with humanity. You pass down knowledge to make the world a better place. 

It also makes Shulk and Alvis’ role in xenoblade 1′s ending all the more impactful. This is the first major conflict in the xenoblade series that was settled entirely without some sort of divine influence. The xenoblade 1 group won due to Alvis’ giving Shulk a True Monado, and the xenoblade 2 group won due to Pneuma and the Conduit. But this last battle was entirely won by mortals. The Sword of the End and Origin were made without any sort of outside influence as far as we can tell rn. Shulk wanted to make a world without gods and he got what he wanted. Z was defeated by nearly every single human on Aionios choosing to fight to live freely, even if it meant only living once and not knowing what would happen in that life, rather than have the security of an eternal status quo and an infinite number of redos.

Theres probably more to say here, especially with that final scene with N and M, but I don’t really have anything solid to say about that at the moment. The xenoblade games are barely connected to each other in terms of plot but they do such an amazing job of enriching the themes of the previous games and the battle with Z serves as a culmination of everything the series is.

[that-bajan-kid]

Boku No Hero Academia Chapter 293 SPOILERS

(These children used their one collective brain cell and decided to rush head first into the arms of Death with zero fucks given)

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Oh that orange hair is not a good look on Shiggy. Izuku looks adorable in anything I can't argue.

We get an adorable panel of Eri eating a cracker/cookie next Lemillion bursting forth from the ground once more. Izuku ask him how he's here rn and apparently this boy has just been chilling at Nighteye's agency, which is conveniently not to far from here. He had to of had his quirk for a while now if he was at the agency right?

Omg look at Eri!! She's so cute I literally have to point her out whenever she's on screen. I don't make the rules here, that's just how it is. And Ochako is doing her hair!!!! I'm gonna explode from the cuteness. And all that other stuff they're talking about is important to I guess.

SHE'S SO FUCKING CUTE I LITERALLY CAN NOT

They're all babies. She looks so happy to help out too. The little bounce she does when she looks back at Dadzawa for permission. AAAAAAAAHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHH-

Mirio is asking for back up cause even he can't take on 4 NHEs by himself. So of course Bakugou, with the two holes in his abdomen, leaps in to action even tho he really shouldn't. I swear these kids are all suicidal.

THESE FUCKING KIDS AND THEIR LACK OF SELF PRESERVATION IS GOING TO BE THE DEATH OF ME I SWEAR. Also, I believe the time is now upon us my brothers and sisters.

(Edit: I just realised I've been spelling his fucking name wrong this whole time. My brain just autocorrected it to the proper spelling and I didn't even noticed lmao. Please forgive me.)

Of course Spinner thinks it's cool. IS JEANIST FUCKING CRYING LMAO

I like it. It's very Katsuki Bakugou and not nearly as bad as the first two. You go, Dynamite. Man, I can't wait to see the fandom's reaction to this. How many people are gonna throw a tantrum cause its not Ground Zero? Or fucking Kacchan?

Mirio says he thinks it's funny and Dynamite says it's not meant to be funny. Mirio quotes Nighteye speech about there being laughter and you to balance out the sorrow and apologises for the absolute disrespect he just showed my son's new hero name.

Enji, sweetheart, I know your in shock about your dead son not being dead and that you're literally on death's door, but Shouto is going to fucking die if you don't move your ass. I'm not mad and I understand why you're not doing anything right now. But, and I mean this in the nicest way possible, i would sacrifice you in a heartbeat if it meant saving Shouto's life. Don't get me wrong, I like your character a lot, but you dying would be a nice end to your redemption arc if you end up saving Shouto. And at this point I honestly don't care about what happens to Dabi. He's trying to kill my son. Fuck that guy lol. Doesn't mean I don't like him tho.

Why are people defending this guy again? Cause of his trauma? Don't get me wrong, I like Dabi as much as the next guy but if his death means Shouto gets to live, I don't have a problem with that either. Dabi and Enji are in the same boat.

My boi Deku coming in clutch with Black Whip even tho he really shouldn't be to save his best friend. Dabi's gonna try to burn him too, I can feel it coming. Also Izuku is thinking about how his arms and legs don't have any strength like that's the only thing wrong with them. He'd be lucky if he can even move them when all of this is over.

"Don't put this in a Doujin" I am deceased. Cris is no longer among the living. She has ascended to the heavens. Who ever this translater is, they're doing God's work. I can't wait to see the discourse about Izuku's speech in the tags. I can already hear the "Izuku is defending Endeawhore therefore he supports abuse #canceldeku2020" posts in my head. Anyway, I like what Izu says here tho, it's very much in character for him. I also like his Froppy inspired Black Whip: Projectile Vomit Mode. Very unexpected tbh.

Izuku yells "You are not Endeavour" and Dabi responds with "No shit, Sherlock" and asks if Izuku pities him even a little bit and I wouldn't fault him for straight up saying "No" considering everything Dabi has put him and his friends through. Hell, if I was Midoriya I wouldn't even be trying to get through to him rn. A trait I strongly admire about Izuku. Dabi goes on to say he is the culmination of all of Endeavour's sins and we get a panel showing threads snapping and I don't know if it's supposed to be what's left of Izuku's mental stability or Dabi's. Or if it's an actual thread snapping. Dabi goes on to spout some bullshit about how evil will never prosper and justice will crumble now that he's shown the naive citizens of Japan who to blame, which is the heroes apparently.

Uhhh so that snapping thread I mentioned earlier is actually the carbon fibre wire Jeanist is using to keep Machia contained and like all of them just snapped like twigs. Dabi continues his speech about how chaos now reigns supreme while everyone panics about Machia. Meanwhile Deku is having a moment.

Correction, Endeavour was the one having a moment and has decided to take action despite his obvious condition called dying. He rockets his way towards Machia and bitch slaps him in the face and immediately follows that up by saying he feels numb. He totally gonna die and I'm totally gonna feel sad about it. I'm already tearing up.

FUCKING FINALLY GOD DAMNIT

I knew it was gonna work. Never doubt my gurl Creati. She's the smartest kid in class for a reason. It feels like it took forever but it was probably only a few mins. I can't wait for everything to go wrong again. Also, everyone who thinks Endeavour is either going to die or, end up with a debilitating disability, raise your hand 🙋. Mans suffering from the most severe case of heat stroke to ever stroke and is running on burnt lungs and he was impaled by Shigaraki/AFO. He's not having a fun time.

I think it's safe to say that Eri won't healing anyone after this. It looks like all her quirks energy went into giving Mirio his quirk. Meaning all these injuries that the heroes are getting won't be magically disappearing. Aizawa isn't getting his leg back, Izuku's arms are probably never gonna work again, Gran Torino is fucking dead just like Endeavour's career, and Endeavour is probably gonna fucking die too. Cause Shouto doesn't have enough trauma in his life.

Time for me to venture into the tags and see what the latest discourse is. Can't wait for everyone to call Izuku an abuser sympathiser even tho he called out Endeavour during the sports, or say that the heroes are somehow abusing Eri like Overhaul did cause she gave Mirio his quirk back even tho she clearly wanted to do it. The chaos fuels me.

Until next time.

[gear-project]

4Gamer Interview GUILTY GEAR STRIVE DEVELOPMENT INTERVIEW. "The Secret Story of the Development of the Trailer Movies, Opening Movie, and Story Mode."

Source: 4Gamer Translation: Yours Truly (Gear-Project)

Guilty Gear -Strive- (the fighting game) was released by ARC System Works on June 11th for PC/PS4/PS5/ARCADE. This is the latest work in the popular "Guilty Gear Series" of fighting games, which began with the original Guilty Gear in 1998.

Speaking of the Guilty Gear Series, it is a title that has been highly supported by Arcade Gamers for a long time as a fighting game where you can enjoy complex negotiation, but that is not the only degree of perfection by which a fighting game is evaluated. Video works with expressiveness that move in 3D graphics drawn in the style of 2D animation along with complex stories have been attracting a great deal of attention.

This time, 4Gamer asked the Production Staff including Mr. Daisuke Ishiwatari to tell the secret story of the development in the video portions such as the opening movie and story mode, aside from the "fighting game" parts of Guilty Gear -Strive-.

The Interview was divided in to two parts, the first concerning the opening movie with interviews from Art Directors Hidehiko Sakamura and Hiroshi Nagano, followed by the Story Mode itself with interview from Daisuke Ishiwatari and Hidehiko Sakamura.

In the Second Half, the Story Mode discussion tries to avoid spoilers as much as possible, but some discussion was included, so please be careful if you want to AVOID SPOILERS TO THE STORY MODE.

The Opening Featured in the Story as a Compilation of Works:

4Gamer [4G]: Thank you for your time today. In the first part, we will ask about the opening movie. It was released two days before the release date, but how was the response?

Hidehiko Sakamura [HS]: It was better than we imagined. Since the opening of the past series was only made according to the format of a fighting game, I think that the full animation like this time was fresh and more pleasing.

[4G]: The format of a fighting game is like introducing a full-body picture of a character and battle action. Why did you make it full animation this time?

[HS]: Nagano was particular about "I want to do full animation without including images of fighting games." I wanted to do the same thing myself, so I decided to adopt the full animation opening this time. All the videos are produced by Nagano alone.

Hiroshi "Ryo" Nagano [RN]: The story of the Guilty Gear Series is a popular title, and this time the story of Sol has come to an end, so the opening of the full animation featured the story as a culmination. I wanted to make it anyway.

[HS]: It's a big thing to break the story. I think I had a strong desire to take on the challenges that I had wanted to do but couldn't do, and to make a satisfactory break. Originally, all the staff like animation. It's true that there was something I longed for to make a video like this one, and I thought that the format of a fighting game (by itself) wouldn't look as good.

[4G]: It's an attempt you've never done before, but are there any parts that you were particular about in the overall composition of the opening?

[RN]: What I had in mind was the completeness of the story. I want to convey something like the connection between Sol and "That Man" from the Opening. I also think that Sol and Ky are the main characters in the series, so I was aware that the end of the video would emphasize Sol and Ky.

[HS]: As an Order from Ishiwatari, it doesn't have to be a fighting game, but there was an attractive cut for each character. After that, spoilers of the story were strictly prohibited, so I asked Nagano a lot of variations at the time of composition.

[RN]: There was also a point where I wanted you to make it closer to the image rather than making it a short movie that gathers the highlights of the story. Mr. Katano (Akira Katano), the Development Director, told me that there are a lot of non-playable characters involved (laughs).

[HS]: That was a difficult part (laughs). The fighting game part is the main part, but there are many characters that only appear in story mode.

[RN]: I really wanted to put out more, such as President Vernon (laughs). Also, in one particular part, the impression changes before and after watching Story Mode, I would like you to review the Opening after playing Story Mode!

[4G]: How long was the production schedule?

[RN]: It was about three months. Since I was left to myself, I couldn't do it, so I was very conscious of the parts I had to make in 3 months.

[4G]: Please tell us if you had any difficulties during production.

[RN]: I was always worried about whether I could make it within the period. I was so worried that I couldn't help until I could make about half of it.

[HS]: In a situation where I don't have time, I think it was quite reckless to leave it to one person to produce, but as for the animation part, quite a good number of things have come up from the beginning of production, so I myself was looking at it with a lot of peace of mind. I think Nagano had it hard.

[4G]: "Guilty Gear -Strive-" has been postponed once and changed from April 9th to June 11th. Which was the best time to make the opening movie?

[HS]: It was released in April. Composite* after video production. It also takes time, so we completed the video storyboard* at the beginning of the year and had it produced from January to March.

*Composite: Finishing multiple materials and clips in to one video.

*Video Storyboard: A moving storyboard. Script to check the flow of the entire video.

[4G]: Finally, please give a message to readers and players.

[Mr. Sakamura] Nagano has prepared the material in quite a few small parts, so I'd be happy if you could watch it while considering each cut.

[Mr. Nagano] As I mentioned earlier, the video has a different impression before and after watching the story mode, so I definitely want you to watch it again after playing. Actually, Ishiwatari's part also contains spoiler elements that are secret and difficult to understand, so please look for small spoilers after playing.

[The Reason for the Production of "GUILTY GEAR" was an encounter with "SFII".]

*Please note the following includes some spoilers in Story Mode.*

[4G]: Next is the part about Story Mode. From here, I would thank Mr. Ishiwatari and Mr. Sakamura. When I played all the way, I felt that there was a lot of volume. When did the development start?

Daisuke Ishiwatari [DI]: The first plot was published more than two years ago, so production started long ago. At that time, the content focused on more playable characters, but if it was left as it was, the content would be too bloated and the production would not be on time, so we decided to focus on the production.

[4G]: Were the playable characters decided when the first plot was released?

[DI]: It was almost solid, but some characters were fluid. The characters that were unofficially decided at that time may have been changed.

[4G]: Which production took longer, Story Mode or Fighting Game part?

[DI]: It takes time for each, but the fighting game part takes much more time. The story mode may be created by diverting the resources created for the fighting game.

Hidehiko Sakamura [HS]: I'm working on the back of the fighting game part little by little, but it's the end of the whole production that comes out. It feels like I'm working on a schedule at the very end.

[4G]: Is Mr. Ishiwatari in charge of the story part and the overall composition?

[DI]: Yes. First of all, I will put out a plot and check the volume and what material is needed by the staff. Not surprisingly, the plot stage is much larger than the retail version.

[HS]: As it is not the amount that can be produced as it is, it is the first job of the staff to ask Mr. Ishiwatari to cut it.

[4G]: Please tell us the story of the story part. What is the theme of the entire GUILTY GEAR Series?

[DI]: The Theme of "What is a Human being?" has remained unchanged since the time of the first GUILTY GEAR. From the GUILTY GEAR XRD Series, we are developing a story centered on Sol, but I was allowed to tell the outlook on life through the human eyes of Sol.

[4G]: The story of Sol is developed from GUILTY GEAR XRD, but in the GUILTY GEAR XX Series for Home use, a Story Mode was prepared for each character.

[DI]: Is it okay to say this? Actually, I haven't touched the GUILTY GEAR XX Series for home use at all. The company told me that they wanted to create a story mode when porting it to home use, but it was physically impossible to put the same story as what I had in mind, so I told them to stop.

[4G]: I didn't know that.

[DI]: However, the company asked me if I would like to have a port for home use... Then I told them that the story mode is good, but I'm not involved, so don't give a name.

[4G]: Then, was the story mode at that time lending only the (world) settings and letting them do the rest freely?

[DI]: No, I wasn't exposed to it at all. However, I dug it up (as reference) when developing the story from "GUILTY GEAR XRD". It's something that users play, and I thought it was dishonest to ignore the image and world view that got me here to continue as a continuation.

[4G]: The GUILTY GEAR XX Series was also a long-lived work, but wasn't there any talk about developing the story from Mr. Ishiwatari's thoughts at that time?

[DI] At that time, the main flow was to first develop an arcade version and then port it to home use, but behind the scenes of making home use, the development of the next arcade game is progressing. Was always the case. I didn't have enough time to develop the story.

[4G]: In this interview, I watch the story from "GUILTY GEAR XRD SIGN" to "GUILTY GEAR STRIVE" but I felt that the settings were well-crafted. When did the overall configuration and settings settle?

[DI]: The overall big flow hasn't changed since I first thought about it. However, the details are fluid, for example, it was decided that a character in the position of Ramlethal would appear, but it is different from saying that it was the current Ramlethal from the beginning.

[4G]: The whole "flow" was decided, and the rest was fleshed out.

[DI]: It was a little "too" fleshed out. Since the first generation, I had decided to make a trilogy, and at that time, Aliens were scheduled to appear at the End (laughs). As expected, it was outrageous, and the position of the "alien" changed to a character in the Backyard.

[4G]: That's an interesting change. In that case, wasn't there a Backyard Setting at that time?

[DI]: No, there was a Backyard setting itself. For the theorizing of Magic (as a concept). I needed to put out a character with a non-human perspective, and that was an "alien" at first.

[4G]: Are there any other major changes?

[DI]: Of course there are many things, but I can't talk about them. At least at the time of this work, the role and casting of each character has changed considerably. I have another (separate) character "do" what I tried to do with one character.

[4G]: For example, I think Axl is a very important character in the story, but was the role of Axl decided since the first generation?

[DI]: Axl Low hasn't changed since the very beginning. Also, in the early days, it was not decided that I-No would appear, but I was thinking of releasing a character with the same framework as Axl Low.

[4G]: Then when I-No first appeared in GUILTY GEAR XX, the settings had already been set.

[DI]: That's right.

[4G]: When I followed the story, I often found unexpected facts, and I wondered how far Mr. Ishiwatari was thinking from the beginning.

[DI]: There are quite a lot of retroactive settings, though. Especially the settings of the small parts have changed considerably. Jack-O' for example, wasn't initially supposed to be a "character."

[4G]: Jack-O'Valentine appeared in "GUILTY GEAR XRD REVELATOR" but when was the setting completed?

[DI]: I don't remember the detailed timing, but I think that the Backyard setting was fixed around when GUILTY GEAR 2 OVERTURE was produced.

[HS]: When I first saw Jack-O's design, I never thought it would be a heroine position character (laughs).

[4G]: In the first place, when did Mr. Ishiwatari think about setting up a game called GUILTY GEAR?

[DI] It was when I was still a professional student that I came up with the specific settings. I decided to make a fighting game because of my encounter with "Street Fighter II", but I think that about half the settings I thought about at that time were incorporated in to the original GUILTY GEAR.

[4G]: The opportunity was your encounter with "SFII".

[DI]: "Street Fighter II" was a revolutionary game for me. Speaking of which, "Ishiwatari Version Strike II" ("Ishiwatari-ban Suto II" the provisional name) is "GUILTY GEAR". At the time, I liked fantasy manga comics such as "BASTARD!!", and under the influence of them, I incorporated a story-like world view into the fighting game.

[Being able to Draw a Story becomes One Property]

4Gamer [4G]: In this work, the production side has been changed considerably compared to the story mode of the GUILTY GEAR XRD Series. What are the points you would like us to pay particular attention to?

Daisuke Ishiwatari [DI] First of all, in the case of GUILTY GEAR XRD, the big concept was to create a 3D image that looks like a 2D animation. This time it changed to make a movie-like image.

Mr. Sakamura [HS]: This is very difficult, so what makes a movie? What is the movie-likeness that Ishiwatari is looking for? At the beginning of the production, everything was groping.

[DI]: I didn't show the staff what it was like to be a movie. Therefore, at first I thought that I was quite stray, but one day I suddenly found the answer, and Sakamura awakened. From there, it was finished in a movie-like image all at once.

[4G]: Were any of the staff involved in filmmaking in the past?

[HS]: It wasn't there at all. In the first place, even with GUILTY GEAR XRD, I made something that looks like a 2D animation with 3D images, but no one was from the animation industry. We always imitate the appearance and continue to produce with a spirt of familiarity rather than learning.

[4G]: Just listening to the story tells you how difficult it is. By the way, why did you decide to pursue a movie-like character this time?

[DI]: I thought that if we evolved from GUILTY GEAR XRD, it would be similar to "DRAGON BALL FIGHTERZ" and "GRANBLUE FANTASY VERSUS". That may not give you a new surprise. Then it would be a movie.

[4G]: A Trailer that introduced a part of the story was released before the release, but at that time I heard a voice that it was like a movie.

[DI]: If you have been involved in production for a long time, you may not be able to judge for yourself whether you have something you want delivered to users, but I was relieved to hear such a voice. Also, I don't usually think so much, but this time when I completed and reviewed everything, I thought "I did my best", so I felt a response.

[4G]: Please tells us if you had any difficulties during production or small stories.

[DI]: I don't have a hard time talking (laughs).

[HS]: I think the hardest part was having to create a fighting game part and a story mode at the same time. Normally, I was able to focus on the fighting game part for arcade version first. Also, this time it was a culmination, so the latter half o the story was difficult with only action scenes.

[DI]: Certainly in GUILTY GEAR XRD (Sign), the focus was on conversational plays (talking heads dialogue), and at the end there was little action.

[4G]: This time it's set in the United States. Is there any reason for this?

[DI]: There is no deep reason, but first of all, Sol's birthplace is the United States. And sometimes I didn't want the stage to be the same every time. Also, it was decided at the time of the After Story of GUILTY GEAR XRD REV2 that the stage would be in the United States.

[4G]: It used to be a Western-style or Fantasy-Style world view, but I was surprised to see that it was suddenly become a modern American painting.

[DI]: At the beginning, there was an impressive scene in which the streets of the United States were drawn, but in reality, that scene was planned to draw a wider range. However, it was reduced because it was too heavy.

[4G]: Please tell us if you have any favorite scenes or productions.

[DI]: At the end, there is a scene where everyone fights with I-No. It's not a scene where I can cry, but when I first saw it, tears came out on their own. That's the one that left the most impression on me. I never felt like this when I'd been making games, but I've been trying my best to support everyone.

[HS]: I also have a great feeling for the last battle. In other scenes, there is a scene where Sol and Jack-O' run on a motorcycle at the beginning, but I think that Jack-O's cuteness at that time is considerable (laugh). It's also cute to sit in the sidecar.

[DI]: The only thing that left an impression on me was the action scene. I didn't know what kind of image it will be until it actually comes up, but I was surprised that the images that came up were beyond my imagination.

[HS]: We don't prepare storyboards* for production. I make it only with a script.

*Storyboards: A script for shooting movies and TV, instructions such as dialogue and actions are written for each cut.

[4G]: Conte has not been prepared since GUILTY GEAR XRD.

[HS]: In GUILTY GEAR XRD, we prepared only some cutscenes. I didn't prepare it at all after it became this work.

[DI]: We only get together and have meetings about important scenes.

[4G]: Do you have any favorite parts in terms of production?

[DI]: The goal was to make the conversation drama look like a movie as a whole. It feels like the conversation continues with a series of short words, rather than an explanation tone. I think I was able to create that kind of atmosphere overall in this work.

[4G]: This is the end of Sol's story. What kind of character is Sol for the production team?

[DI]: First of all, he's simply the main character. From the time I started making GUILTY GEAR, I decided to draw a humanity and outlook on life that can only be talked about by a free-spirited person named Sol. I feel that I am thankful for the time being because his thoughts have come to fruition in this work. Being able to face myself through the story was a very valuable experience.

[HS]: Sols' first image was a character that didn't reveal his emotions, but in the stories after GUILTY GEAR XRD, I think that humanity has come out very much, and I'm attached to it. He's a cute guy (laughs).

[4G]: Certainly, I feel that Sol's personality has changed considerably from the past.

[DI] It's not like a human being that the personality remains the same as the story and the times progress. As he interacts with various people, Sol also regains his humanity. I needed a background to answer the question, "What is a human being?"

[4G]: The story of GUILTY GEAR that started in 1998 has been completed. Finally, please tell us your current feelings.

[DI]: Anyway, I feel relieved for 20 years because I was able to draw the story to the end. Being able to finish what I started was very valuable to me and became a great asset. However, this time I focused too much on Sol. The challenge remained that we couldn't express what more users would have wanted to see.

[4G]: What are your thoughts on Future developments?

[DI]: Of course, I'm thinking about various things, but since I'm a good age, I may not be able to do it at the top of a project of the same scale in the future. Please look forward to the new style fo GUILTY GEAR and new IP.

4Gamer: Thank you for your time today.

[belle-keys]

Incoherent thoughts about A Court of Silver Flames (2021) by SJM

Do not expect this to be a critical, unbiased review at all. Eet just ease what eet ease. Spoilers ahead laddies. 

*unwanted preface* 

Okay, so like, you know those things that are neither objectively perfect nor unproblematic yet you love them and are attached to them anyway? Yeah, this is me with SJM’s writing. See, I been with Sarah and Throne of Glass since March of 2015 and with ACOTAR since the summer of 2015 when I was 13 and honestly, ACOTAR in particular occupied a decent portion of my formative teen years. Eventually, when I was about 16 I sort of ended up getting distracted from YA books and went into my thot and kpop era. A main reason for this is that I found ACOFAS particularly disenchanting. This ain’t about that book (sigh) but let’s just say as much as I was still attached to and in love with the ACOTAR world, I was still able to get very annoyed by the decreased quality of the writing and also the evident projecting Sarah was doing onto Feyre with regards to her own life and experiences (ahem). No, the lack of developed POC in the book had nothing to do with it ironically. 

So basically, since the spring of 2018 I haven’t read any SJM yet I never fell out of love with the books either. I’ve sworn off TOG after whatever the hell EOS was, but ACOTAR was always more special and close to my heart by tenfold, honestly. See, the best day of my 2016 was the day I found out ACOTAR was getting the extra 3 novels and 2 novellas. ACOFAS was a dumpster fire but I was actually surprised to really, really enjoy A Court of Silver Flames while it obviously has a couple (multiple) sus facets to it. The susness aside, I thoroughly felt at home reading Nesta’s book despite how irrational that might sound. No, I’m not here to say the book was objectively good but I’m here to say I still enjoyed it despite my love-hate relationship with SJM and her writing. :( :( :( 

That being said imma still roast tf out of a couple aspects of it. :)

*the susness*

Aight wbk that SJM like, projects a lot onto feyrhys right. I’m not even gonna deny it. Like as horrible as it sounds, when feyrhys were, like, struggling as a couple and shit in ACOMAF, that’s when I loved them the most but then the shitstorm that was ACOWAR hit and they couldn’t go without boning every two seconds or calling each other mates and shit and basically every character in the book started kissing their asses (except Nesta) to the point where they were infallibly good and powerful and everyone’s heads were lodged up their asses... I got PISSED OFF then, right.

Now, in ACOSF (is that correct?), they were side characters and, gratefully, that romance between them was toned down. But here are some things concerning feyrhys and the Court of Dreams that irked tf out of me, and the implications that they had for Nesta (who is perhaps one of the baddest bitches ever) had me feeling homicidal towards the IC:

Every single time Nesta said shit about Rhys and then Cassian got mad I wanted to SCREAM like yooo let her roast tf out of him like yeah I get Rhys lowkey did a lot for her both directly and indirectly but cmoooooon not everyone needs to be riding his dick like the man HATED Nesta from the get-go. I loved the idea that someone in the book lowkey abhors Rhys just for the TEA it gave me. Like yeah, okay Cassian, I get that he’s your bro but he can SUCK NESTA’S DICK also like my girl is a DEATH GOD.

Here me out: the Inner Circle completely dehumanized Nesta, they completely disregarded her personal autonomy and caged her in which is ironically the very behavior that was villainized when Tamlin did it to Feyre. First of all they restricted her movement, they made decisions FOR her, they withheld from her knowledge about her own powers, they decided what’s best for her and acted like she was a rabid dog the entire time. Only Cassian and Azriel seem more blameless in this regard, but the level of scorn and abohorence and moralizing Feyre, Elain, Rhys, Amren and Mor did towards Nes made my blood boil. At the end of the day, the Inner Circle did the VERY THING they hated being done to Feyre. Whatever happened to the freedom they professed? The autonomy they decided all members of their court deserved? That was all bullshit, or was this switch-up SJM’s way of creating justifiable conflict between Nesta and the Inner Circle... either way, there was no closure about this and the way they dictated Nesta’s behavior whilst completely mistreating her imo.

More on Nesta’s treatment - okay listen the way the narrative had every character acting like Nesta was fricking scum and for WHAT??? Okay, she didn’t hunt when Feyre and they were poor, she was bitchy, she hates the Fae... okay, why is Nesta still being punished for her mistakes like this by the Court? Does their forgiveness only apply to those in their clique? They’re acting like her drinking and sleeping around and her general bitchy behavior is sooooo toxic when they ALL coped with their respective trauma in questionable ways in their centuries of living. And the narrative never condemned them for this behavior either... like cmon they had an “intervention” about Nesta like if she needed to reach a certain moral standing to be lovable or something. Seems to me that only Cassian was willing to love her, bruises and all... “There’s nothing broken to be fixed. You are helping yourself. Healing the parts of you that hurt too much - and perhaps hurt others too”. But as beautiful as that it, it seems the IC see Nesta’s healing as her “redemption arc” when I never saw her as a villain or monster to begin with. They acted like she had to become deserving of their acceptance. Bullshit.

No cus more on this... Cassian is the only person who defended Nesta, the only person that wanted to help her heal and grow when everyone else wanted to fix her. He was the only person who was kind to her from the original trilogy (i.e. not counting Emerie and Gwyn). He stood up for her and I’ll gush about them in the next section, but the dynamic between Nesta and the IC was the least enjoyable aspect of the book for me. It was clear SJM wanted to spur Nesta towards the path to healing yet only figured out how to do so whilst only keeping feyrhys as the nucleus of this arc, and so she had them force Nesta into her “special journey” (because she loves them so much, cus they’re sooooo perfect right *rolls eye*), yet, the narrative didn’t quite condemn them for their toxicity towards Nesta at ALL, even towards the end. The good thing is that Nesta did not become an ass-kisser throughout the story and laud them for “helping her” every waking second. Only Cassian didn’t shun her for her inner negativity but embraced her. And Az was pretty cool too, can’t hate him.

Ahem, the ending: okay, I’m not even capping, but I hated that Nesta lost her power for feyrhys. I get that she genuinely did it out of love and shit and I’m not even gonna lie, the thought of feyrhys dying had me on the verge of tears cus as much as I hate them, I also love those bitches. Yet, the culmination of Nesta’s power was, what?, to save feyrhys. This way, the narrative put Feyre at the center of Nesta’s narrative towards the end. And Nesta lost that Death God power that she basically EARNED in that Cauldron. This is the biggest flaw of the story. She fought against her own power to give it up... for Feyre. Like??? What??? Why was that baby arc even necessary????? Why was Nesta giving up her power necessary to fulfil her healing arc which was the POINT of the book??? Like what?????? It left a sour taste in my mouth. No- an abhorrent acidic bitter taste in my mouth. 

Elain. I CANNOT STAND THIS GIRL. She completely abandoned Nesta and for WHAT??? For Feyre??? This only served to reiterate from the narrative’s POV that Nesta was scum and again, idk WHY. And also, why tf does this girl mistreat Lucien like this??? LUCIEN AKA MY FAVORITE CHARACTER???

I just don’t get how the narrative reiterated that Tamlin is the worst of the worst when you got Rhys hiding shit from Feyre, hiding knowledge of Nesta’s power from Nesta, all of that. Like, was the entire point of ACOMAF not for Feyre to embrace her power and become her best self? Rhys never for one second tolerated withholding Feyre’s power from her. So why tf does this apply to Nesta? Cus she’s unhealthy? Okay... so what??? Why villainize her like this and imply she’s undeserving of her power and a waste of life??? I’M LAUGHING SO HARD RN LIKE WHERE DID THIS EVEN COME FROM??? What did my girl do that was sooooo bad that yall needed to treat her like this. Tell me why feyre and amren and varian and rhys all acted like Tamlin in this book. Cardi voice WHAT WAS THE REASON. I AM SO MAD ABOUT THIS CUS THEY ACTED LIKE THE FRICKING MORALISING SYCHOPHANTS THEY CLAIM TO HATE.

Like bitch??? They’re like those youth pastors that reiterate how broken and messed up people with mental illness are? Acted like Nesta screwing guys was the worst thing ever when they should have embraced her? Like I get she would push them away but really??? “Waste of life”??? 

So we gon gloss over how Amren was insisting Nesta shut up about the baby business to Feyre (aka hiding shit from her)? How she was implying that Rhys should conquer all of Prythian? Hear me out, even as someone from a Caribbean country that was colonized by the whites, it actually doesn’t bother me when the theme of conquest comes up, like, this is a fantasy novel and colonization does not exist within the same context for me. That being said, like, it felt as if the narrative telling me lil Rhysie is just sooooo perfect that he needs to be High King. Like, I respect the fact that Rhys has no wish to do so. Homeboy never seemed to care for conquest beyond ensuring his Court’s prowess and safety so WHAT WAS THE REASON AMREN??? Like? What kinda crack was Amren on this entire book???

The worldbuilding... listen, the politics and history felt all over the place, felt incoherent and flat honestly. Didn’t bother me as much as it did in ACOWAR but it was just *meh*, not good. Not horrible, but not great. I preferred the world when it was directly the result of Beauty and the Beat and East of the Sun, West of the Moon.

The Fae have lost their *magic*: no cus what I loved about the first book was that the Fae were one with the Courts and felt very fleshed out in terms of their powers and shit, but now only Eric and Lucien and Tamlin and sometimes Rhys have that same magic for me. Like... the sensuality of the Fae in terms of their actual Celtic roots, that which felt whimsical and immersive in the first book, feels lost to me. I can’t explain it but I feel less nuance and orthodoxy in their portrayal. However, I DID love this one line featuring none other than the loml : “Amid the pink and white blossoms, the cold-faced Autumn Court heir looked truly faerie - as if he’d stepped out of the tree, and his one and only master was the earth itself”. LIKE I SALIVATED THAT IS MY MAN.

*good stuffs*

Okay let’s talk about the smut like I didn’t like the word choice as usual like quit with the euphemisms and say cock and goooooo. That being said like, okay, I like how she set up the physical dynamic between Nesta and Cassian cus the sex wasn’t some big romantic climactic build-up like how it was in acomaf like they were being NASTY from the get-go and I respect that drip. Like she did not cap on how porny the smut was and thank God it wasn’t some cliche romantic honeymoon type shit, like it was almost on the ao3 level of smutty goodness. All it was was missing was coarse language and hard kinks but in general, I liked the Nessian smut in this book more than the feyrhys smut in particularly ACOWAR and ACOFAS, like Nessian just do not cap.

Listen... you see that whole part when Nesta was like imagining how awesome it would be to dance Lucifer’s Bachata with Az and Cassian? Yeah, my girl just let her thoughts run wild. Like Nesta makes Feyre look naïve. Like you know how Tumblr porn in 2016 used to be with the aesthetic type shit? That’s Feyre, but Nesta is like on Pornhub level and it’s so fitting I was YELLIN lowkey. I feel like less importance was placed on how meaningful the sex and shit should be in the book and I respect that.

YOU SEE WHEN NESTA TOLD FEYRE ABOUT THE BABY!!! I WAS CHEERING HER ON. No cause they were being so nasty to Nesta especially Amren and then Feyre entered with all of her moralising shit like honey you KNOW damn well what you’re doing to Nesta is what you hate being done to you. Like damn right tell her, cus I could not STAND the double standard.

The whole training the women thing was a nice touch. It was kinda corny but also sweet. That being said, I laughed so hard when I realized how this entire book was Nesta’s quarter-life hippie rebirth where she learns to meditate and work out and read romance books and face her inner demons like this is some real New York college shit. All that was missing was a Starbucks.

Cassian. Man I love this man so much. No like he displayed peak dilf behavior. I think his attractiveness isn’t based on his bravery or his hotness but his humility man. Like he’s not a thot, he’s respectful, yet tough, yet contemplative. He’s contented with his life station yet wants to always be a better person yet is such a strong rock who really loves Nesta not despite her flaws but because they are part of her. I love the way he stood up to Rhys a lot, he didn’t shame her when she was awful to him, and he is protective (annoyingly so sometimes) but he really wanted her to empower herself. Their relationship isn’t perfect (I’m not in the mood to dissect the problematic aspects rn) but they were so sweet together and I didn’t expect to like them as much as I did back when they were lowkey a thing in ACOMAF.

The mates thing didn’t bother me cus I saw this shit coming since 2016. Yes, it’s cliche and annoying but the mates status also, like, has no meaning to me so it is what it is. Didn’t think they NEEDED to be mates but I was happy that them being mates wasn’t the core of the novel and it was secondary to Nesta’s individual healing journey.

Prepare for me to get sappy but another reason why I loved this novel was because it was a story of healing. :( :( :( The road to healing and growth in the emotional sense is always beautiful to me despite how flawed it often is when SJM writes it. I just felt really immersed in the emotional woes and eventual growth of Nesta despite my issues with the book and this is perhaps one of the main reasons that I found it beautiful, because healing as a theme is always beautiful and raw.

More of Nessian but like their relationship feels so real and raw too. No, cus like, it wasn’t tinged in as much fictitious idealism as feyrhys’ relationship was. They weren’t all stupidly in love and seeing each other in the universe and shit, like they just made each other happy and weren’t portrayed as the perfect soulmates who were each other’s yin and yang and whatever thank the LORD. Them having each other’s back was enough and ughhhh Cassian was just so sweet and such a good trainer and so aloof yet passionate like I been waiting to see more of him since ACOMAF so yayyy.

Okay... that scene where Rhys kneels to Nesta and she embraces him. yes. YES YES YES YES YES that shit was the shit that made my year like I want this man to be in her debt for the end of time like this hoe saved yall like big strong high lord better bow to the “witch” like I could hear angelic choirs at that scene like Rhys doesn’t just yield to people so easily so like, it was just kinda epic okay. Little bitchass Rhys with his perfect little river house and emo boi clothes stfu hoe.

No cus I love how Nesta told Cassian she didn’t wanna hear about Feyre’s special journey or Rhys’s special journey or Mor’s like I got fed up of people acting like they epitomized “good” and the “good path” to self-discovery when they can choke on a baguette as far as I am concerned.

*shit no one except me probs cares about*

Eris. So here is the thing. Since 2015 in ACOTAR when Eris was Under the Mountain being all red-headed and cunning and sexy and evil I have been obsessed with him... well, the idea of him I had in my head and how delectably abhorrent he seems (I like villains and side-characters okay). Maybe it was just his name (Eris is a hot name shut up) or the idea of a rich, cunning fox-faced prince in the same universe appealed to me. Either way, I actually never expected by favorite cameo-character to become... important. I’ll die on the hill of loving him. Here is the thing... I don’t want him to be good, in the same way I did not want Rhys to be a good guy in ACOTAR either. I don’t need him to be a secret angel, I don’t need him to be sweet and good like Rhys always was apparently. Honestly, I want him corrupt but likeable and pertinent to the story. That being said, I really want him as the main character for one of the upcoming novels sooo bad like please PLEASE let me see the autumn court and it’s two-facedness please like if not Eris then Lucien as the main character please.

Lucien... aka my fave character since the first book man. Mannn, SJM does homeboy so dirty like I have always loved Russian fables and hence, I am so ready for Lucien x Vassa x Jurian in the Vasilisa retelling with the firebird trope and Koshei. NO CUS in 2018 I was finna write a 100k word fic about this but then I forgot about it no cap, I still have the story plan in my Onenote actually but let us not reminisce. See, my ao3-loving ass wants an angsty poly relationship and also a hot Koshei I have been waiting YEARS for this you hoes, ever since Elain got the premonition of Vassa as a firebird in ACOWAR like God please please please give it to me and make it feyrhys-less as well yasss.

I lowkey wanna suspect Eris is gay and Mor, also gay, knows and that’s why she lowkey kinda tolerates him now. Yet, I cannot be sure and yeah I just wanna say that I kinda want that arc lmfaooo (my ao3-self is showing shut up).

No cus I was TEASED by only seeing a glimpse of Vassa and Jurian but THEY SHALL HAVE THEIR TIME I KNOW IT.

Tamlin living as a beast is so interesting to me. He’s a side-character now but ughhhh he was so mystical and interesting as our good ole Beauty and the Beast beastie like it’s sooooo mysterious and alluring how he’s becoming his own villainous legend like I still care about Tamlin’s blond ass self despite everything. 

Give us the snowball fight scene you coward.

I just gotta say Nessian could outsmut Feyrhys any day and that makes me proud.

FRICKING AZRIEL like first of all Mor doesn’t NEED to come out until she’s ready but she gotta let the man down nicely some other way so he can move on. I do not like Elain. Never did. I still do not. I do not, frankly, want a whole novel where she and Azriel fall in love and she rejects Lucien like... okay, I DO want her to reject Lucien so he can be with Vassa at the very least but also I am not interested in Elain’s POV rn. BUT I WANT AZ’S POV AND LIKE WHAT THE HELL AM I SUPPOSED TO DO I WANT MY EMO BOI TO BE HAPPY. This is so frustrating cus Az is a walking DILF right and so, what am I supposed to do now.

I kinda miss the Spring Court just a little. It’s pretty shut up. It got that Zuhair Murad fashion too. 

Umm like, what the hell is up with that business with Helion being Lucien’s dad? We need more on this which is why I want a Lucien POV book goddammit.

Yoooooooo yall remember that bitch from ACOWAR who hybern was finna kill and she had a name and everything and then there was some foreshadowing and shit? What’s up with her? Like I can’t even remember her name lowkey but yeah what’s up with that. Was it something like Briar or Briannon or somthing???

Is Mor getting a book? Like deadass I need the Lucien and Vassa book, I need the Eris book, I need the Mor book and I need the Azriel book. Damn. Been waiting 6 years for some of this shit.

Okay that is all for now. Yes, this book has problematic elements at every level but I still loved it yet also hated some things about it. I won’t read House of Blood and Earth nor will I finish the TOG series but I guess I’ll stick with this series which remains near and dear to my soul despite what people gotta say about it. It made me happy and that’s what matters. Nesta is a huge ass inspiration to me as a character and I still wanna see her make the Inner Circle’s life a living hell uwu. I admittedly got HELLA emotional reading this story because it’s nonetheless super meaningful to me even at age 19 and it’s really powerful for me as a comfort book, and I look forward (a little) to what this woman put out next... sort of.

Signing off! Don’t @ me (okay you CAN @ me but idc).

[tiffgeorgina]

what did you think of the new episode???

OH LORD i had a lotttt of thoughts on this episode, understandably. CONTENT WARNING FOR DISCUSSIONS OF SUICIDE AT THE VERY BOTTOM OF THIS POST (it’s a long paragraph). also obviously spoiler warning for 2x08.

National Suicide Prevention Lifeline 1-800-273-8255

please reach out to somebody if you’re feeling distressed after this episode, or if you or a loved one is considering self harm or suicide. im always here if you need somebody to vent or talk to. i love you all and i would be devastated if anything happened to any of you. 

anyways, episode discussion below:

-first of all, the corgina scene at the very beginning was PRICELESS. tiff and corkie had it DOWN until tiff lost her cool. i was DYING. casey wilson invented the word “fuck.”

-marcus/dawn and connie/mo double date. this whole scene had me CACKLING. marcus being such a comrade was not at all what i expected. the three-on-one connie smackdown i could not BREATHE. also includes classic moments such as “we’re doing black shit right now keith” and regina stealing every scene she’s in. also WOMEN xosha roquemore (connie) in dark lipstick is the best part of s2 prove me wrong

-also kind of out of order but dawn calling mo her best friend did not sit right... like in my soul. it’s like inherently wrong. so STRANGE to hear her say that.

-but connie sucks at being subtle lmfao dawn was not having any of that 

-“i can’t vote. im a felon” just out of nowhere GOD. and the fact that that’s the first time dawn’s learning that mo went to prison is fucked up. i’ve never seen a woman want a man to shut up so badly, and i’ve never been so glad that said man did not shut up lmfao

-tiff and blair’s apartment looks so good yes god!! also this season keeps referencing blair’s parents and it’s kind of putting me on edge. especially since next episode is “blair [being] forced to revisit his past.�� on another note, andrew’s voice in this scene is SO FUNNY. you can tell he’s a voice actor i think

-also like we knew blair was into older men but now we like know lmfao. the richard gere jokes had LAYERS these writers outsold

-ok blair&tiff’s relationship... yikes. i cannot tell what the writers want their relationship to be. are they unhealthy and toxic and bad to each other? or are they platonic soulmates and life partners? make up your MIND, showtime.

-DON’T INFANTILIZE THE CUP BYE KJDFHGDFKJ

-first blarris scene was TENSE. acting good

-the confirmation that roger has kids... i mean i suspected it from the moment tuc’s character was announced in september but it makes the ending so much more painful. i KNOW that’s the only reason why they pushed the fact that the harrises are parents in this episode, bc it was never confirmed earlier.

-i hate how funny michael hitchcock is. im trying to hate newell but im laughing. why are his lines so funny who wrote this. 

-the sound design in this episode was a lot to take in. the music was intense asf and it stays intense throughout the whole ep

-keith cracking onto blair and trying to reconcile with him bc he’s feeling empathetic but blair shutting him down... can’t say keith doesn’t deserve it but i would’ve loved to have seen keith and blair just talk about being closeted and having affairs and shit.

-THE TRUMP CHILDREN LMFAOOOO they all look so smug the casting was great this ep

-mo shit talking connie TO HER FACE bc he knows connie can’t give up the act... fucking priceless i love to see it acab

-dawnroe physical contact hhhhh can you tell im rewatching this ep as i type this

-the wording on the “you’re with the FBI?” line is so perfect. bc it makes it totally sound like dawn’s onto mo and connie when really she’s just like “you’re siding with the FBI bitch?” highkey genius line

-posted this too early by accident oops. im still editing im not done yet lmfao

-MARCUS MO AND DAWN SAID ACAB FUCK YES

-ROGER GRABBING BLAIR’S HAND I AM ASCENDING. i knew about the hand holding scene there but i didn’t think roger would initiate it <3

-roger nearly kissing blair :’/

-LORD the trump children are little shits god

-daddy says it makes me look hot. you mean cute? ...no.

-oh GOD not this blarris scene. i like to believe that a gay person generally wouldn’t threaten to out another gay person on principle, but blair has shown how shitty of a person he's become all season. i hate it and it’s still ooc but i’ve seen worse on this show tbh.

-roger’s got a point, if he supports his campaign fund manager right off the bat, he’ll look like a total fraud and his career will be over. the fact that blair barely gives a shit really speaks to what his character has become. “fuck them” what a classic line

-ANDREW’S ACTING!!! his voice when he says “you use me” ugh i felt that in my chest. plus roger looking away after he says that... i mean god this cast is so talented

-blair snapping god. he’s got a point, he and roger have been dysfunctional asf all season. doesn’t justify threatening to out somebody AT ALL but finally hearing some emotion out of blair, a little bit of anger and frustration, it’s refreshing.

-does “who are you, blair?” count as a parallel to “who are you, pfaff?” from 1x01?

-blair outing roger to newell... yikes. again ooc and bad. blair’s a shitty guy but we’ve seen him have empathy before, even in s2. why would they make him do this i don’t get it.

-keith finding out about lenny is good. maybe something will finally come of this arc?

-parallel to 2x02 with blair mentioning his mom’s phrase, cool. probably gearing us up for more references to his parents next ep, culminating in a flashback to his childhood in 2x10.

-this scene where the trump kids are destroying everything is classic. you can genuinely tell that everybody there was having so much fun shooting that. idk, it’s nice.

-trump reveal HA what a great end to that scene

-keith coming by and fucking everything up... i mean i guess everybody KNOWS now. dawn/marcus is over (good) and dawn is probably right pissed at mo rn. but hey, fuck em all resurgence!!! ive been waiting for it and now it’s here!

-im scared, what’s connie gonna do? fuck cops

-“that’s a long way to go just to get a dig in” “it was a stretch but-” see what happens when you’re a narc? you lose your wit :/ sad! nice exit line from connie tho

-CW SUICIDE MENTION. ok time to talk about what definitely needs to be talked about. god this has had my chest hurting all day yesterday. i knew blarris would be outed eventually bc sho likes to milk every plot point for every bit of drama they can get out of it, but i did not expect roger to take his life. and blair finding him is just devastating. i said this on twt, but the fact that somebody could be so overwhelmed with internalized homophobia that being outed could cause them to commit suicide is so incredibly and deeply sad to me. i’ve been crying for a while over that fact. 

im just. im really sad. i’ve connected so much with these characters over the past two-ish years and this is such a devastating turn of events. i have no words. it isn’t bad writing or ooc by any means, it’s just so extremely and incredibly sad. there are probably thousands of people who have been in roger’s exact position before, and the realism really hits me hard. i can’t put into words how overwhelming sad this makes me. 

also pretty upset that this came as a COMPLETE shock to me and all my friends. we all watched on the sho streaming service, which did not have the “viewer discretion advised” card before the ep. the premier did, but the episode on the app did not. i really REALLY wish they had added that before i had seen the episode so i could prepare myself, even if just slightly. also wish they had added a suicide hotline number at the end. 

seeing blair grieve his loss is going to hurt but it’s probably going to give us closure too. i think about this show all the time, and now thinking about it makes me so overwhelmingly sad. i sound dramatic but this show has been with me for so long. not being able to see much of blair’s reaction beside the initial shock has been haunting me. im so scared for what the future episodes are going to bring.

thank you for reading, i love you all <3

[magniloquent-raven]

so my dad is re-watching endgame rn and it’s making me remember all the reasons why i didn’t like the movie and if i don’t get my thoughts out somewhere ima fuckin explode so. this is just gonna be a big ol mess

i just feel like... i mean at the heart of it the movie had just the worst combo of capitalizing on nostalgia while simultaneously being so....condescending about it? like the whole movie is just one big trek through the past, right? they rushed through the setup, half-assing the time-travel explanation so they could get to the part where they make us relive past movies, and i get it, this movie is the culmination of ten years of film, it wants to remind of of that, show us the highlights or whatever. but also... they rely way too heavily on “hey remember this??” and it doesn’t feel authentic. it doesn’t feel like a genuine callback that makes me think they’re celebrating all the effort it took to get to this point, it feels like they’re building their movie out of scraps from better films. 

also the way they frame a lot of it is so cynical. like the bit where we get to see starlord’s intro again and then it pans away to rhodey and nebula just...judging him. the first gotg movie was genuinely good, and that part was awesome, but they revisit it like it’s some embarrassing high school memory. like “remember when we did that? wasn’t that so dumb??” like...no... it was an excellent character intro that sets up the tone of the film well. and don’t even get me started on “i can do this all day” “yeah, i know”

that made me so ANGRY

the times he’s said that in past films it’s been genuine and earned. it’s a defining character moment every time. and they just have him throw this line out like it’s something he says all the time, and then endgame!cap has the gall to sound embarrassed by it. it’s honestly a little insulting?? like... you see what i mean by the whole condescension thing? they’re picking little highlights from past films, giving us the little “remember this?!” thing, trying to capitalize on the nostalgia, but then they act like they’re above it somehow. 

idk man the whole thing just read more like a checklist than a script. it spent too much time being a trip down memory lane, and not enough time being a movie of it’s own. and i’m not even talking about “how dare it feature callbacks” because of course it’s going to, but i felt like it sacrificed satisfying character arcs and actual development (i.e. respectful and earned endings for the characters we’ve spent ten years developing and getting attached to) for like... cheap gimmicks? we had five minutes of a starlord vs. thor pissing contest but didn’t have time for ...idk....a funeral for natasha???? 

i think the prime example of sacrificing character moments for spectacle (because it’s easier to make a movie flashy than well-written) is the bit where everyone comes through the portals to help cap.... i know it’s supposed to be a big, momentous “holy shit, so cool!” moment. it’s supposed to be a satisfying culmination, everyone coming together in one big battle. but it falls so flat to me. i kind of hate it tbh. the people who got dusted in iw come back off-screen so that we can have a big reveal when they come in as backup. i didn’t want a huge, messy battle sequence to be the first time we see these characters again!!!!! i wanted emotionally satisfying reunions. i wanted cap seeing sam and bucky again to be a personal moment, i wanted to know what the fuck’s been going on in wakanda since tchalla and shuri got dusted and what happened when they came back. 

it was that bit that, to me, really cemented the fact that marvel doesn’t give two shits about the characters and that i was never going to get what i wanted out of these movies. flash is fine, it’s a big budget superhero movie, there was always going to be flash, but it cost us so much depth and care that i just. don’t want it anymore. 

[powerbottomblake]

The seasons in RWBY, literary archetypes and predictions for the next volumes

As we all know, RWBY is a show that is built around taking in established narrative and character archetypes, layering them, tweaking them and/or ultimately subverting them. One of its core narrative and symbolic elements are the seasons, so it seems only fitting that they’d take inspiration from and implement established overarching seasonal archetypes (in terms of tone and narration) to the plot.

One of the major works in terms of archetypal literary criticism that deals with the seasons has to be Frye’s. Frye proposed that the totality of literary works constitute a “self-contained literary universe”. Since we’re watching a show whose whole premise is having every single myth, legend and fairytale coexist in a single universe, with characters sometimes alluding to multiple myths at once, I’d hope this sounds uncannily familiar.

Frye divided all literary framework into four categories: comedy, romance, tragedy and satire. What sets Frye apart from the other critics is that he linked each category with a season. He posited that literary works were how humanity assimilated the outside world and nature at large, which is how those four types of plot structures correspond to the four seasons in the cycle of the natural world.

What does that mean for RWBY?

If, as I suspect, each narrative arc corresponding to one of the four continents in Remnant - with each continent symbolizing a season - aligns with the genre and plot structure defined by Frye, then we can make more or less accurate predictions as to the direction and themes of the two remaining arcs (as well as some of the plot points).

So, first we’ll see how the first two arcs, Vale and Mistral, hold up to the Frye scheme. 

As I said earlier, Frye aligned each genre with a season:   

-Spring is comedy, with themes of (re)birth and resurrection of the hero. The subordinate characters attached to this genre are the mother and the father.

-Summer is romance, because both are representative of culminations in the human journey, summer being the conclusion of the seasonal calendar, and romance ending with achievement and triumph, usually in the form of a union or marriage. The subordinate characters here are the companion and the bride.

-Fall is tragedy, with themes of demise, dying god, violent death, sacrifice and isolation of the hero. The subordinate characters are the traitor and the siren.

-Winter is irony/satire, with themes of darkness, dissolution, the return of chaos, and the defeat of the heroic figure. The subordinate characters are the giant and the witch.

Going off this, and knowing that each kingdom in Remnant is representative of a season, we can divide the RWBY narrative into 4 respective arcs, each assigned an archetypical narrative structure:

- Vale is Fall, meaning the Vale arc is a tragedy. Now, I know that your knee-jerk response to this would be disbelief especially with the tone set by V1-2, but here’s the thing: team RWBY aren’t the protagonists of the tragedy. Ozpin and Pyrrha are. We’re basically seeing the tragedy unfold from its supporting cast’s POV.

Once you go back through V1-3 and reread the plot through Ozpin’s and Pyrrha’s POVs, linking up the scenes having them as a focal point together (especially Ozpin’s), the tone changes drastically and it aligns perfectly with the beats of a classical tragedy. As early as V2 you get to see Ozpin growing steadily more isolated (isolation of the hero) as he loses the support of Ironwood and the Council, we see him get irreversibly dragged (and dragging our main cast and Pyrrha with him) into an inevitable confrontation, because of his complacency and passivity (fatal flaw) that ends with Pyrrha’s sacrifice, Penny’s violent death and his demise.

Pyrrha being literally based on a tragic hero, her story fills every single beat of a tragedy, V1 establishing her innocence, inexperience and righteousness, V2 being her high point but also pointing out her “fake” invincibility (thus her fatal flaw), V3 having her grow isolated and then sacrifice herself while staying true to herself and what she stood for (completion of ideal).

One thing to clue you in about Ozpin being one of the Vale arc’s tragic heroes is one of the first things Cinder tells him: “Such arrogance.” Ozpin thus dies for said arrogance, which is basically the moment when a tragic hero is punished for their hubris.

- Mistral is Spring, meaning the Mistral arc is a comedy. Don‘t think about the tone, think about the themes. And sure enough, Mistral was all about the resurrection of our heroes, both literally (Ozpin reincarnating) and figuratively (each member of Team RWBY dealing with the aftermath of V3, growing individually and culminating in them getting back together stronger and a lot more anchored in their respective roles, Yang’s resurrection is as unsubtle a callback to the phoenix’s as it gets tbh). The subordinate characters of a comedy are the mother and the father, and this arc’s primary supporting cast and driving narrative force was without a doubt the parental figures: Taiyang, Raven, Jaques, Ghira and Qrow. This arc was about our heroes going from under their guidance to challenging it, thus getting more agency and control over their own destinies. In this aspect, Mistral is both a rebirth and birth for Team RWBY: their rebirth as individuals after the loss they experienced at the end of V3, and their birth as their own people, as full-fledged heroes, going from the supporting cast of the tragedy of Vale to the main cast of this arc.

Now that we have established that there is enough of a basis to assume the RWBY arcs do in fact build up on the Frye scheme, what does it tell us about Atlas and Vacuo?

-Atlas is winter, so Atlas is irony and satire. We can expect this arc to articulate itself heavily on social commentary; I fully expect the faunus cause and the rising military dictatorship to be the focal points of said commentary. The subordinate characters of satire are the giant and the witch. The witch refers to Salem of course, our resident Wicked Witch of the West, but I also doubt team W.T.C.H’s name is coincidental, so it refers to them as a whole as well. I think by the time the Atlas arc is in full swing, all of team W.T.C.H will be there. There is another witch we’ve lost track of for a while now that this could be applied to, and it’s Glynda (though I fail to see a narrative purpose to her appearance as of now, but I feel the need to point it out just in case). 

As for the giant, CRWBY has proved time and again how they’re prone to using the same theme/archetype both literally and figuratively, and this time will be no exception. Figuratively, both Jacques Schnee and James Ironwood could be called giants, Jacques as an industrial tycoon, Ironwood as an increasingly dictatorial military leader. Moreover, Ironwood’s name quite literally refers to a place in Norse Mythology where giants were born. As for Jacques, his myth basis Jack Frost is thought to be based on Norse mythology giants. But Jacques could have links to another myth:“Jack the Giant Killer”. Quite ominous, isn't it? You see, one of the typical examples of irony in archetypal story-telling is actually the tale of Goliath vs David, where the giant is prodded by a cool and observant but almost invisible enemy into a blind, stampeding fury and then pushed to its own demise. Which, incidentally, follows the exact same beats as the “Jack and the Beanstalk” fairy tale, where Jacques Jack, a poor man climbs the social ladder through a loveless marriage a beanstalk to a land high in the sky (Atlas), steals into an enormous castle (the Atlesian academy slash military enrollment grounds), robs special treasures you’d never find anywhere else (the relic) and causes the death of the giant who owns it. What I’m saying is, I expect Jacques Schnee to go full turncloack and align with Salem and W.T.C.H, help them steal the relic and propel Ironwood’s (self-)destruction, in return for them giving the SDC ground to prosper and it being fully sanctioned by the new regime (as in, everything Ironwood is not doing rn), if not putting Jacques himself at the helm of Atlas. Jacques is a ruthless businessman first and foremost afterall. Give him good enough a deal, and he’ll sell all of Atlas over as long as he profits off the trade-off. And well, as far as irony goes, will there be anything more tragically ironic than Ironwood driving himself in a frenzy, growing increasingly more paranoid under both real and imagined threats, needled by the infiltrated team W.T.C.H and Jacques, until he triggers the fall of that which he so desperately was trying to protect all along. I think Ironwood dies here, and Jacques being on team villains means a 3-way Schneebowl is coming, Weiss vs Winter (who’s 100% team Ironwood) vs Jacques, and I think the outcome will be devastating for everyone involved but especially Weiss.

As for the literal part of the giant allusions, well. It has been a while since we’ve last seen these goliaths, and it seems too good an opportunity to pass up for CRWBY:

Or they could hit us with giant mecha structures à la Star Wars, a project G.I.A.N.T that Watts is all too ready to hack into and turn against the Atlesian military. I’d keep my eyes open for any giant allusions in Atlas’ arsenal, chances are they’ll be playing an active role plot-wise.

Which brings us now to the themes. As stated above, the main themes of satire are darkness, dissolution, the return of chaos, and the defeat of the heroic figure. We can surmise that Atlas will be the lowest point in RWBY. Frye goes as far as link winter to “Götterdämmerung myths” aka the fucking Ragnarok. Wiktionary has a second definition for Götterdämmerung which is a “cataclysmic downfall or momentous, apocalyptic event, especially of a regime or an institution”, so yeah we’re going to see the Atlas regime full on collapse as chaos takes over in there. Team RWBY will experience its must crushing defeat. My guess would be that, after Mistral establishing Ruby’s powers and having them bring a note of hope to the narrative and the upcoming battle against Salem, Atlas will be about the limits of those powers. I think Ruby is about to face the reason Summer died and lose to it, aka the Fenrir of this Ragnarok but this is a whole other theory I might delve into in a separate post since this post is already running too long and Atlas and its connection to Norse Mythology deserves to be delved into in detail. But yeah Atlas will be on SOME shit, my dudes.

-Vacuo is summer, so Vacuo is a romance. The subordinate characters here are the companion and the bride, so basically the lovers are at the center of the narrative here. As far as RWBY goes, 3 pairs of lovers have thematic and narrative importance: Salem and Oz, Jaune and Pyrrha and Yang and Blake.

So now that the Adam subplot was carried to an end in Mistral, and after the narrative centers more around Blake, gives the Faunus cause more depth and prepares her for her future role as a leader in Atlas, what does that leave Bumbleby with narratively in Vacuo, especially Yang? The one remaining hanging thread by then will be Yang/Raven, which prompts me to believe the bees will be confronted to their foil as a relationship, a.k.a Taiyang/Raven, making the latter the fourth lovers pair to mark this arc. Taiyang and Raven coming back into the narrative at this point means we’re gonna get insight about another lover of Taiyang’s, Summer. I think Vacuo is where we’ll get all the answers wrt to Team STRQ, and after witnessing for ourselves how she died in the Atlas arc, we’ll get flashbacks of how she lived in the Vacuo one, which will be the thing to propel Ruby again after losing heart in the wake of the absolute apocalypse I expect Atlas to be. I also think CRWBY would get a kick out of having Summer be a major narrative force of the summer arc in the story.

I personally am a believer of the Spring Maiden!Yang theory and I think there’s enough set-up for it, mainly:

The fact that out of all the students at Beacon, the only contenders for the Vytal Festival by the end were Pyrrha and Yang (who only got disqualified because of the Mercury ordeal)

The way Yang is always set up as the strongest out of team RWBY

Raven was established as a foil to Blake but V5 establishes her as a foil to Yang, which culminates in their confrontation at the vault

The part of her confrontation with Raven where she establishes that not only is she stronger than Raven, but readier to face Salem and thus more fit to have the Maiden powers, which is why she’s the one that retrieves the relic from the vault. Raven might be the one to open the vault but she never gets inside. CRWBY could have had the confrontation happen after Raven retrieved the relic from within but they didn’t and I think it’s significant how Yang is the one allowed inside the vault and to handle the relic first, as if it’s always been her rightful place. 

Which means I fully expect Raven to die at this point of the narrative. There’s a part of their confrontation where Yang tells Raven about the version of her Tai told her about and the one she’s always held out for, and she asks her if she killed her, too. It’s the thing that strikes Raven deeply and completely shatters her composure as she finally runs out of excuses and has to face herself and what she’d become. I think it’d be symbolically powerful to have Raven align with and die for the just cause, thus resurrecting that version of her.

For the remaining two pairs of lovers, Salem/Oz getting a conclusion in the last act of this story comes as no surprise, as for Arkos...tbh I don’t really see anything there (yet).

As for the themes, summer is for triumph, the messianic hero defeats the enemy who is associated with winter, darkness and moribund life (if there ever was a way to perfectly describe Salem this is it). Summer ends with an achievement, usually a marriage.

Now, out of the four pairs of lovers precited, I wonder who the ones getting constant and consistent development still and all throughout the story, are both alive by the end and have been shown to get growing awareness of their deepening feelings could be?

I wonder...

;)

P.S: not saying the bees get married married but yeah I expect them not to get their kiss till Vacuo. I think too much will be happening in Atlas (V7-9) for them to actually get together so they’ll be in this...limbo of not-really-lovers but definitely-more-than-friends and we’ll see them getting increasingly closer (they’ll prolly also blueball us big time with grade A pining) but again I did not expect Adam to die as quick as Mistral so who knows

[nomdeguerreblogs]

You may have done this already, but can you give us your take on Tommy's speech to Grace in the back room of the Garrison in 1.06 (what they're thinking, feeling, what it means for them as characters...)? I know it was a long time ago, but I miss these two and your analyses are always so on point!

Hello anon! I’ve done bits and pieces about the scene but not really an analysis as such and because there’s nothing I like more than overthinking them in S1, I miss them too, and I am so disappointed by the direction SK decided to take with their story arc, I fully intend to go overboard with this.

I’m not sure how much attention you pay to my blog but I’m writing a fic rn (yes it’s still coming I promise) that fills in the time between the end of 1.05 and their Garrison scene of 1.06. It’s an interesting exercise particularly for Grace’s character because during that time she’s relieved that she’s made her choice; she knows it to be the right one for her; they’re in the very first flush of love and in a heady time where everything is magic. Running counter to that though she’s fallen for a guy she thinks is capable of killing her if she’s found out, and hence has to plan her departure. The day when Tommy will be distracted at the races is her best bet and her intention is to play her part through until the Small Heath Rifles head off; but Tommy’s uncharacteristic happiness, declarative gesture going behind the bar to pull beers with her and not-quite proposal break her. She has to confess she’s going and give him the gentlest goodbye she can.

The idea of confession ties in to their church scene of 1.04 and Tommy’s ‘I confess’ in the space traditionally used for admitting one’s faults before an entity bigger than any other. Tommy is twisting the idea because he doesn’t believe, but uses the space because it is beautiful and because it is unfamiliar to Grace and places him in a slightly stronger position in regard to what he plans to tell her. Grace’s (thwarted) confession (SK’s toying with the idea of her absolution in Tommy’s eyes here, I think, especially with the love your enemy notion that comes through the letter) takes place in The Garrison, the location in the series that truly is the church for the damned, a cathedral to alcohol and escapism full of light and shining surfaces in the midst of the Small Heath grime, a place for congregations to gather and sing reality away.

Tommy’s emotional proximity to Grace is reflected through the series by their relative physical positions in The Garrison. He might own the pub, but in S1 the space more truly belongs to Grace who (excepting the very early scene with Freddie and Danny Whizz-Bang before she’s even made that entrance in emerald-isle green) is always there when he turns up. Always. The only scenes where she isn’t present come after the scene you’ve asked about and then her absence is the whole point. Their relationship is so closely tied to The Garrison that it could be implied in 2.02 as Tommy, alone, looks out over the re-opening celebrations even before her letter comes out for a sorrowful torching. Honestly he’s never looked more isolated and I still break a little at that moment. Anyway, Tommy S1 initially spends a lot of time in the snug, his bit of The Garrison, and frequently early on his interactions with Grace are either side of the pass-through. Then he’s more frequently in the main bar, culminating in the telling moment at the end of 1.04 when he’s left his brothers in the snug to spend time with her. And 1.05 happens: we see Grace for the first time working out the back where Tommy comes to tell her about Black Star Day (she moves out to continue on the paperwork for the scene with Arthur, and as there’s no logical explanation for that I think it indicates relative levels of intimacy, as well as serving the purely practical purpose of bringing the cash register into the scene); then Tommy is behind the bar with her for the ‘here’s how to handle my gun’ (lmao) scene that leads into the murders; lastly they’re in the back room, alone, and he’s facing imminent danger to see her. So they start in a public space with almost a wall between them, and wind up in a private space with a wall between them and everyone else. Notably, following those scenes in the back room, their next together are both at Grace’s bedsit and more intimate still.

The scene in episode 6 reprises the back room scene from 1.05 in many ways, but turns the tables. They switch positions as who is making the disclosure changes; Grace is pulling a risky move to be there. But, where Tommy was going to ‘be back,’ Grace isn’t, so she attempts to tell him ‘some things’ because she’s not going to have another opportunity, or so she thinks. She loves him, she owes it to him, it’s a further step she’s taking to rectify what she had to do in her job (the first was hiding him that night). It’s utterly heartbreaking for her (and us) because he’s just made a fucking joke and semi-proposed, in front of everyone, while pouring pints to help her out. A jaw-dropping ‘who is that guy?’ moment (and designed somewhat for viewers to compare Tommy in love to Freddie in love…).

But now to Tommy’s lines, delivered with increasing desperation. Once Grace says she’s leaving and is clearly upset about it he reaches for why and finds his class insecurity; “I know you weren’t born to be with a man like me.” He then promises that he will make good of his circumstances, something he always intended; then, to shut down ‘some of that other stuff,’ something he possibly did in the moment to convince her he’s worthy and has ultimately good intentions, but when he says it he means it. He tries to impress her, another theme, by talking about opening a club in London. He changes gear when he reminds her she’s got a contract with a real ‘limited’ company (calling to her line ‘to be respectable you have to be limited’ from 1.04), an obligation she has to him and for just a second his gesture is slightly controlling as he grips her chin before thinking better of it. He promises he’s going to make a success of things, she believes him and tells him she knows, cradles his face. So then he thinks she might just be overwhelmed by the idea of marrying him (class issues again) and says he’s not talking about that, slightly loses his train of thought, and winds up holding her hands with the lines that unintentionally really twist the knife in: “We know each other. We can talk. We’re the same.” He’s right, and here the scene echoes the ‘you’ve seen me’ moment that is the most explicit portrayal of them as mirror images of one another. The camerawork frames her face, then his, then hers etc in a paean to blue eyes, bone structure and innate communication (the same approach is taken to the scene at the races in 2.06). All of it breaks any remaining resolve she had not to disclose her reasons for coming into his life; “Tommy, I’ve done something terrible to you.” Jeremiah Jesus bursts in with the news about Kimber and his men, they share a final, shocked look and Tommy leaves hastily to round up the men and weapons.

Thank you anon xx