#we came all this way and there was no ultimate showdown

[hanzajesthanza]

if i thought the witcher was painfully realistic. i was wrong. it is a very clear fairytale that comforts and soothes. even in its realistic take on the genre, it inspires, even in its tragedy, it comforts.

evil is defeated epically in a final battle in the darkness, the valiant heroes fall together, the lovers die united, and all pass into legend and are remembered for ever and ever. and the spirit of our hero returns now and again to save and deliver us from evil… they become legend and in that legend they are immortal…

[wiptw]

Pokémon Stadium Series

Nintendo 64 - Nintendo - 2000 to 2001

You as a Pokémon fan are absolutely fucking spoiled these days. Aside from the mainline games you have spinoffs and fangames offering different experiences, you have entire websites dedicated to documenting everything down to the internal maths of the series, there's no end to the free content you can access with an internet connection between emulators and battle sites like 'Showdown!', and it's now socially acceptable in most circles to be older than 13 and have something with Pikachu's face plastered on it (especially if you're female presenting, especially if your friend group is also infected with the Pokémon hype). Back in my day™ you had almost none of this. You had the anime on Saturday mornings, you had the early run Pokémon licensed merch which WOULD get you called a baby if you continued buying past 10-12, and you had the games. Those sweet, sweet games that indoctrinated a generation of young people into being gamers and awoke a horde of JRPG addicts.

Literally Me

So remember this when I tell you that Pokémon Stadium, both one and two, aren't great games because they do something back then that you can't get today; they're great for what they did back then. So Pokemon Stadium 1&2 were a duology of games from 2000 and 2001 respectively that allowed players to battle Pokemon in 3D, with the addition of some side content such as minigames included to prevent the game from being 100% Pokemon battles. Because otherwise, the game is in fact navigating a series of menus and completing Pokémon battles with 3D models.

Whether it's taking on the gym gauntlets, the marathon of battles in the Pokémon cups, or just free battles with friends and loved ones, 98% of the experience is either selecting Pokémon from a roster of pre-built 'rentals' or transferring them from a saved game using the Transfer Pak, then fighting them in a series of 3D environments. An experience which you can definitely do today using web apps but as I said earlier, we didn't have that.

The peak of Pokémon battles in 2000

So if you're buying Pokémon Stadium (either version really) you're already probably a Pokémon fan right? So that means you have Red/Blue/Yellow/Gold/Silver/Crystal, so why not just play that game and get the full experience? The fun of exploring, talking to NPCs, discovering new and exotic locations? Simple, because in those games battles looked like this

While in Stadium, battles looked like this

If you grew up watching the anime while playing the Gameboy games, there was this special kind of dissonance where you might find yourself saying "Yeah, (for the time) these graphics are RADICAL but I wish I had something closer to these cool Pokémon Battles they had in the anime." As you hide under the covers with your Gameboy Color worm light, nestled in your Ash Ketchum pajamas while you attempt for the 100th time to capture a ditto. Pokémon Stadium was the answer to this dissonance, providing you with vibrant 3D graphics unlike anything you'd ever seen before; bringing Pokémon to life in a way that would be unmatched until Colosseum came out during the Gamecube era.

So, to actual mechanics, you play both games pretty similarly; by building a team of Pokémon (either on your handheld or by using the rental mons the game provides) and take part in a series of battles to become the ultimate battle master. To use your own Pokémon, you'd need to use the aforementioned 'Transfer Pak' to plug in a copy of Red/Blue/Yellow (for 1) or Gold/Silver/Crystal (for 2) with a game saved to the cartridge; otherwise the rental Pokémon covered all released Pokémon (except for some hidden ones) allowing you to build your dream team, sans a few caveats here and there.

Evolved Pokémon have better stats but worse moves, while weaker Pokémon tend to have better moves to compensate

In terms of WHERE you can battle, there's two choices: Either in the Gym Leader Castle, or the Tournaments held in the center of the map on either game. Either way, the game will then have you battle through a series of 3v3 matches versus a set number of trainers who will also select 3 random mons from their full team of six.

A bit bare bones, but there's some spice to how things are run. For one, the rental system was a huge thing for us younger players back in the day. Even if you had the games some Pokémon were hard to catch, had evolution requirements some players couldn't complete (like the trade-mons), or were locked to a version you didn't have. The rental mons give you a list of every Pokémon (some exceptions, but not many) and then lets you build your dream team. Sure, you can't set their moves, EVs, IVs, and it's the era before abilities and natures but I CAN HAVE A MEOWTH/PERSIAN ON MY TEAM. Do you know what I had to do as a child to have this Pokémon outside of Stadium? I had to find someone in the American South who also enjoyed Pokémon, hoped they had Blue instead of Red, hoped they had a link cable, then get them to agree to a trade despite both of us being children (and therefore, objectively terrible) which likely meant giving away a rare Pokémon in exchange for what amounted to common garbage in their game because it was Version fucking Exclusivity™ and everyone seemed to know that meant you'd do anything to get that one fucking Pokémon you wanted.

In the handheld games, if you wanted to build your dream team then likely you'd have to put in some more effort than other games of the time would've required of you. With Stadium, your dreams come true, and if you already have that dream team you can just import them to fight in glorious 3D. Circumventing the fact that rental Pokémon are kinda terrible overall.

Don't feel like building? The challenge cup mode that gives you randomized team comps that has it's own charm (for masochists)

Not to say all of them were bad but construct a normal distribution of 'Good' to 'Bad' picks then that graph is gonna skew left so hard you'd be forgiven for thinking it was just a straight line. To keep every choice 'viable' Pokémon rentals were balanced around stats and moves. More powerful evolved Pokémon and Pokémon with high Base Stat Totals (BST) were given weaker moves and first form and low BST Pokémon were given generally better moves. Charizard might have better stats than Charmeleon and Charmander but his only fire type move is going to be something like Fire Spin. Conversely, Charmander might have Fire Blast but his stats are gonna make him an easy target for the computer's pokemon, which are not bound to the same builds as the rental mons you're using.

Once your team is assembled, then you're off to battle trainer after trainer after trainer with beautifully scored (for the Nintendo 64) soundtracks giving you an unearned sense of importance every step of the way. Battles themselves are conducted with a weird, but functional control layout where A and B access sub menus you then check with the R button before finalizing with the c-buttons, which on original hardware or a USB N64 controller is fine but on emulation with a more modern controller like Logitech, can be a little nerve wracking as you worry about whether your 'up' input on the control stick was up enough for the game or if you accidentally drifted right or left using an unintended move.

fun fact: the name of imported Pokémon affects their coloration in Stadium

Battles are also largely regulated by (at the time) tournament standard rules. Little and Pokecup have level restrictions, and all three non-random cups include clauses for sleep, held items, and repeat Pokémon. Additionally, in any cup if you win the round with all 3 Pokémon still in tact, you're granted a continue; meaning you can retry the battle if you lose. Additionally, there is no 'draw' outcome in these games. Use a move like Explosion or Selfdestruct and the game will register it as your loss on your final Pokémon, regardless of whether you took down the opposing fighter with you or not.

You'll be doing a LOT of back-to-back fights here against trainers with varied team comps, but even with over 246 Pokémon in the available potential lineup you'll get tired fast of fighting. This is, however, slightly mitigated by the 3v3 nature of the matches but even so be ready to here the same Pokémon noises, watch the same effects play out, and wait for the same health bars to tick down over and over as you claw your way to the spot of Pokémon Master.

The art style of non-battle scenes like the main map and minigame plaza have that nice, 90's charm to them as well.

If you do get tired of battling it out, then Stadium 1 and 2 both offer minigames for players to partake in. Either in a tournament format or by using the free-play browser, players are able to take part in a multitude of different Mario Party-esque (without the hand burning) minigames featuring the Pokémon as stars. Minigames consist of stick twirling, button mashing, and point collecting all while controlling fan favorite Pokémon such as Togepi, Eevee, Scyther, and Pichu with no real rhyme or reason behind why these game exist aside from a amusement park theming the minigame zones have for their icons and menus.

You won't get a real explanation as to why you're racing Donphans, cutting logs as Scythers and Pinsirs, or playing Simon Says with a bunch of Clefairy, but you don't really need that either. The games are fun, the models are charming, and watching Clefairy get smacked in the head for each wrong input brings me a level of joy I should probably talk about with my therapist. You won't likely spend hours in this mode, but it's a nice breather from the onslaught of battles otherwise.

fun fact: I still won't talk to some people because of the outcomes to Rampage Rollout over two decades ago. You know who you are.

Additionally there's a quiz minigame separate from the main selection of minigames with easy/normal/hard difficulty selections. Players compete to see who can be the first to get a number of questions correct before anyone else based on facts about the Pokémon (typing, size, silhouette, etc) or facts about the game (where you can find things in the game, names of routes and towns, names of figures in the game).

It's not the most challenging on easy or normal, but playing on hard the game will try to screw you with trick questions so playing with others becomes a balance of "do I let the question play out, or attempt to steal it before someone else can answer correctly?"

Sometimes even playing the game won't prepare you for how out of pocket the questions can get

The real advantage of 2 over 1 is that, in addition to minigames, the game has the trainer academy; a kind of in-depth battle tutorial to teach players not only the basics of Pokémon fighting, but also some secrets as well

You can learn about held items, a feature new to the second generation, as well as participate in mock battles to demonstrate the materials you've been reading and quizzed on. Some of this information for the time too was obscure or hidden knowledge, like the fact that using Defense Curl before using Rollout would boost the damage significantly or that using Stomp on an opponent who used minimize would double the damage.

Some type matchups just make sense, like Ground v Electric.

Overall though what really makes this game is the presentation. The soundtrack does a great job selling the feeling Nintendo wants you to experience, climbing the ladder in a tournament or the Gym Leaders Castle makes you feel powerful, and the little details on top of it all just tie it together in a nice package.

The fights, for example, are also narrated by "The Announcer". A bombastic voice shouting over every detail of a fight. When you score a crit, when you apply a status effect, even using certain moves will get the announcer loudly narrating each detail like a Pokémon prize fight. Seeing the ground rip apart when you use Earthquake is only half the charm, the other half comes from that man yelling in your ears "A DEVESTATING EARTHQUAKE ATTACK!". Clearing gyms or clearing opponents in one of the cups grants you gym badges, a dream for any child growing up on the handheld classics or watching the anime who wished they too could earn shiny bits of metal that gave them an inflated sense of importance.

I would literally kill everyone I came across if it'd get me a real life Zephyr Badge.

Stadium 1 and 2 aren't evergreen classics. They're stuck in Gens 1 and 2 respectively, the roster of Pokémon while impressive is largely useless and makes collecting trophies way harder than it has to be, and the games were made before things like abilities and double battles were introduced, leading to the Pokémon battling game missing out on the generation of Pokémon that made battling more fun (Revolution doesn't count, Revolution is dead to me and disappoints me more than I disappoint myself.)

But for the time especially, it gave fans an opportunity to experience a form of Pokémon more advanced than what the handhelds could output. It was a window into a world of potential that wouldn't be truly fulfilled until arguably the 3DS era of Pokémon released, and gave fans a fun little romp handcrafted for them at every twist and turn. Whether you were a gamer or you enjoyed the anime, there was something here for you.

Overall: 7/10 Sound: 8/10 (for the time) Graphics: 9/10 (for the time) Memorable Moments: Stadium 1: Hearing about Mewtwo, thinking he was an urban legend, then finding out he wasn't Stadium 2: Finally beating the elite 4 using only rental mons.

[dalishious]

(I can’t believe I finished this so fast… I basically blacked out and then it was done lol… Anyway, please remember that this is all just my personal opinion, and if you feel differently, that’s fine!)

Dragon Age: The Veilguard Review

Objectively speaking, Dragon Age: The Veilguard is a fun game that the average player is going to enjoy, especially if that average player is coming in without any prior knowledge to the Dragon Age franchise. I believe this is a good jumping-in spot for people who are curious about the world of Thedas. But in contrast, I have seen a lot of criticism from other hard-core fans that I largely agree with. However, it just so happens that most of the criticism I have is not enough to prevent me from overall enjoying the game. That is to say, for pretty much everything I did not like, there was also something I thought was great… Unfortunately, that makes it a little difficult to give a review. So, I’m going to do my best to keep things as clear and concise as possible by splitting up the “good” and the “bad” aspects of DATV.

The Positive

The best thing to come out of DATV is the new cast of characters that make up your companions and supporting associates. While I do think that some of them could have benefitted from more development time to flesh things out further, just judging what we ended up with, is mostly great. I especially found Emmrich and Bellara to be stand-out examples of strong personalities to grasp onto, whose personal stories really touched me in an emotional way.

DATV also has fun with some returning characters. For example, now that Solas is no longer hiding his identity, we get to see a character that both believably honours his part in Inquisition, while also providing a new, refreshing side to him. There are also a number of characters introduced in Dragon Age: Tevinter Nights that appear in the game, like my personal favourites Teia and Viago, who are an absolute delight to interact with!

I think the three act structure is good, albeit with act three being quite short. There are a few sequences that are an absolutely phenomenal mixture of storytelling and engaging gameplay, like all of Weisshaupt! I also really enjoyed stepping out of the main story every once and a while, and into Solas’s backstory through the Crossroads memories – what ended up being extra special about these is how they mirror Rook’s struggle so well, by the end. They are a nice touch.

The locations are beautifully constructed with smooth interactions of climbing, zip-lining, and essentially parkouring your way around, making them fun to explore! They also came with such distinct flavours and character in themselves that influenced a sense of truly experiencing different parts of Thedas, with different cultures.

The mechanic of building up strength with the different factions, and that actually having a huge impact with the ultimate showdown in the end of the game, makes side quests feel far less inconsequential than in Dragon Age: Inquisition by comparison. That, and they number far less.

I like that the story mode actually feels like a story mode; there were only a couple instances where I really had to worry about death, and even then, I was able to just toggle off the death with the customizable gameplay mechanics and continue on.

Finally, it would be remiss not to say that the character creator for DATV is the best BioWare has ever put out. I’d go as far as saying it’s one of the best in any RPG I’ve ever personally experienced. From the flexibility in morphing a character’s head and body between custom shapes, to the little details like sclera colour, vitiligo, and top surgery scars, makes it a shining example of what RPG’s should strive for. (My only critique here is that it would have been nice to have more skin colours.)

The Neutral

I hated the combat for pretty much the entire first act of the game. I found it too hard to keep up with, and too much like Mass Effect bullshit. I can’t say that it’s completely grown on me yet, but I don’t hate it anymore. It’s fine. So, I’m giving this a special little spot before I get into what I didn’t like all the way to the end.

The Negative

As mentioned above, I do think that there is more that could be done with some of the characters to really achieve their full potential. Davrin and Lucanis—while to be clear I still really enjoy as they are—come to mind first, in terms of those who would have benefited from more development time. Most of Davrin’s screen time just revolves around Assan rather than Davrin himself, and Lucanis is so restrained that it takes a while to really crack him open. Both of these characters have intentional personalities that make them harder to get to know, I understand that, but I feel that it would have been all the more rewarding to have more time dedicated to their company after earning their trust and possibly endearment. Instead, it feels like their romance and friendship with Rook are only half-complete, and then rushed to finish.

There are some companion interactions that are just… cringe. There is no other word for it. Now, this is nothing new for BioWare games, but I feel like the “pulling a Bharv” scene for example, was hitting an entirely new low. (If someone misgendered me and then just started doing push-ups instead of just saying “hey sorry about that, I’ll try to do better” I’d be annoyed, not satisfied.) I also felt like most of the temporary rivalries between companions were artificial in nature, rather than organically part of their characters that actually served a purpose. We already knew Emmrich likes books and Harding likes nature; we did not need a whole cutscene with them bickering about camping. (The exception to this is Davrin and Lucanis, who genuinely had room to grow as people out of their multiple confrontations, not just a one-off scene.)

The music in DATV is, for the most part, forgettable and bland. There is one piece that really stands out, and that’s “Where the Dead Must Go”, which is a real banger. I am not a fan of Hans Zimmer’s OST otherwise; I think it is phoned in, just like most of his work. I deeply wish BioWare would have just stuck with Trevor Morris. The best parts musically in this game are just Morris’s work re-used from Dragon Age: Inquisition.

There are certain parts of disjointedness that separates DATV from the past games that are just… bizarre. This is especially the case when it comes to elven lore. For example, Bellara saying she is afraid that elves will be harshly judged for the Evanrus, or Harding saying that elves are “thriving”… as if modern elves are not deeply persecuted across most of Thedas. It made me question more than once if there just was not time in development to do a proper canon-compliancy check with everything, perhaps?

I want finish this part by bringing up again that the biggest flaw in DATV is that it feels very corporate. To repeat what I said in this post: It is as if a computer ran through the game’s script and got rid of anything with “too much” political substance, in an overcorrection to be “safe”. But now that the edges have been so smoothed down to make a block into a ball, it can no longer support anything.

Conclusion

It’s easy to see a lot of creativity went into the creation of this game… but it is also easy to make assumptions on how that creativity was constrained by development hell and corporate oversight. In the end though, Dragon Age: The Veilguard succeeded in being an overall good time, one that I will no doubt be putting just as many countless hours into as the previous installments in the franchise. 7/10.

[too-antigonish]

Endeavour and Fascism

There's a thread of history running through Endeavour that's been on my mind a lot recently. It's a somewhat unified arc that runs through 3 episodes: Coda, Colours, and Raga. I was curious to learn more and did some research.

It's probably nothing new for folks in the UK, but for most of us in the US, it's not something we learned about in school.

So here goes...long post...

S3E4: Coda

We get the first glimpse in in Coda when Thursday comforts Trewlove with the offer of a cigarette as she copes with the murder of a fellow officer:

THURSDAY: All right? TREWLOVE: They just shot him. Like it was nothing. THURSDAY: Here. For the nerves. Keep the pack. Stick 'em behind your notebook and nobody'll know. TREWLOVE: Thanks. THURSDAY: Tip my old governor gave me. Sergeant Vimes. Cable Street. “No Pasarán!” All right? Let’s have that jacket buttoned up, then. TREWLOVE: Sir.

It's such a little exchange, but it delights me in so many ways. There's the sweetness of the interaction between Thursday and Trewlove. There's the irony in hindsight of his "thoughtfulness" in helpfully encouraging her to smoke. There's the nod to Terry Pratchett's Discworld with the references to both "Sergeant Vimes" and "Cable Street." And finally there's the nod with “No Pasarán!”  to the actual Battle of Cable Street that occurred in the East End of London in 1936.

A nostalgic reference to “No Pasarán!” is actually a bit ironic coming from a former Met officer. As the unfortunate party charged with keeping the two opposing sides "peaceful," the Met faced some of the worst violence on that day. However, Fred Thursday would not have experienced it as a police officer.

We know from the episode Home that he didn't join the police until two years later, in 1938. We find out in Cartouche though, that he did grow up near Shadwell Basin—about a ten minute walk from where the main showdown in the Battle of Cable Street occurred—so there's a good chance that Thursday would have witnessed the events of that day and maybe even participated.

Here's my understanding of what happened: The British Union of Fascists—a group openly aspiring to create a British  state in the style of Hitler's Germany or Mussolini's Italy—attempted to stage a march through the middle of London's East End. Their leader was Oswald Mosley, a horrible but charismatic minor aristocrat with a Hitler-wannabe-mustache, his own cadre of paramilitary "Blackshirts," and—unbeknownst to him—a major problem in his ranks with deep infiltration by Special Branch. 

Why the East End? It was the poorest area of the city and thus home to the most recent immigrants—in particular, the UK's largest Jewish population—many of whom had escaped rising persecution elsewhere in Europe. At the same time, the East End was also home to the Londoners hit hardest by the rising unemployment of the 1930s.

Mosley's rhetoric had finally become openly and unapologetically anti-Semitic in 1935 and the idea that Jewish immigrants were the ones responsible for stealing jobs from the "native" British was a simplistic explanation offered by the BUF that unfortunately resonated with many East Enders. So ultimately, the East End was home to both the main target and the BUF and some of its biggest supporters.

In October of 1936, Mosley planned for his Blackshirts and their supporters to march through the heart of the East End. Determined to both defend themselves from threats of violence and stop the march from passing through their community, Jewish leaders and others mobilized, successfully recruiting thousands of their East End neighbors and others allies to assist.

© Jewish East End Celebration Society

On the day of the march, despite a massive police escort, the BUF was turned back repeatedly. The slogan of the day, borrowed from the Republican fighters in the Spanish Civil War was, "They shall not pass" or "No Pasarán!” 

Eventually, things came to a head at the junction of Cable Street and Christian Street. Multiple barricades were erected and the BUF marchers were pelted with rotted vegetables and the contents of chamber pots. It became a pitched battle at one point. Unable to break through the East End, Mosley was finally forced to relocate his followers to Hyde Park.

© Copyright Jim Osley Detail from a mural painted on the side of the former St George's vestry hall

S5E4: Colours

The Battle of Cable Street was a humiliation for the fascists and for Mosley, a victory for the Jewish community and their allies. Sadly, the happiness was very short-lived. Mosley was able to frame Cable Street in the press as an attack by the left on his right to free speech.

There was an immediate increase in support for the BUF in the greater London area, particularly in the East End, and an increase of violence against Jewish people in the UK.  Oswald Mosley himself travelled  to Germany only two days after Cable Street. There he married socialite Diana Mitford in a secret ceremony at the home of Joseph Goebbels with Hitler attending as the guest of honor. 

Mosley and Mitford CC-BY-2.0

However, the increase in support that occurred right after Cable Street was brief in itself. As the threat of Nazi Germany became more apparent in the UK, the popularity of the BUF declined. Once the war began, the Mosleys were interned under a provision that applied to active Nazi sympathizers.

Post-war, Mosley attempted to once more find a place in politics but fortunately never moved beyond the fringe. He and his wife became prime movers in advancing various Holocaust denial theories and later espoused rather unpleasant opinions on topics such as the forced repatriation of immigrants and mixed-race marriages.

If this all sounds familiar, it's because it all crops up in the storyline of Colours where the character of Charity Mudford, Lady Bayswater is a stand-in for Diana Mitford.  RL's dialogue very much captures the sheer banality of the real Diana Mitford's  evil:

BAYSWATER: I can't change the past. If Winston hadn't been so eager for office, all the unpleasantness might have been avoided. My husband had Hitler's ear. We could have persuaded him. Softened his resolve. He wasn't immune to reason.  THURSDAY: Charming conversationalist, no doubt. BAYSWATER: Actually, he was a very good mimic. Terribly witty. MORSE: Sir, is it time for that telephone call? To the station? I can take it from here. THURSDAY: The unpleasantness, as you call it, cost me six years of my life, and untold millions a great deal more.

S7E2: Raga

But we're not quite done yet. The BUF had a successor. The National Front was founded by a former member of the BUF who then joined forces with John Tyndall, the leader of the Greater Britain movement which had a big anti-immigration focus.

As with Jewish immigration a generation earlier, heavy South Asian migration to Britain in the 1970s made it an easy target for those seeking to pin all of the nation's economic and social problems on "outsiders."

The National Front eventually came out with an agenda that called for the revocation of citizenship for all non-whites in Britain and forcible repatriation to their "native" countries. NF rallies were frequently accompanied by violence whipped up by the kind of rhetoric we hear in Raga where the character of Gorman serves as a stand-in for Tyndall and his ilk:

THURSDAY: Well, we're very concerned about young Pakistani lads getting knifed on the street. GORMAN: Terrible. But I can't say that I'm surprised. You cram all of these incompatible cultures together on one small island, of course it's gonna lead to blood. And worse. MORSE: Sounds like a threat, Mr. Gorman. GORMAN: It's just an observation. If the police can't keep the streets safe and defend the indigenous population against outsiders, well, no wonder people take it into their own hands. Now, if you'll excuse me, I've got a seat to win.

If anyone sees anything that I've gotten wrong here, please let me know. This was my first time reading through any source material on this whole topic and it's complicated (and depressing as hell).

I haven't got any pithy, final point to make except to say that there are certain ideas that seem to cycle back with horrible regularity every time certain conditions are in place. They're wrong. They're simplistic. They're hateful. And they need to be stopped every time.

[startswith0]

Guys, we survived it. We're the fandom that survived all the ships (even the ones that came out of nowhere) getting together before the main quest/plot in the manga is concluded or even reaches its climax

We ticked them off one by one

Shinichi confessing in London ☑️

Takagi and Satou getting together - this was a long road ☑️

Shiratori finding his first love - finally, it was their elementary school homeroom teacher ☑️

Even Sonoko have found her The One after all those attempts at flirting, Makoto ☑️

Chiba's first love 🤨 i Don't even know how we got here loll ☑️

Chiba finding out it's Miike and getting together after several chapters ☑️

Somewhere along the way we even got Professor Agasa and his first love ☑️

Shinichi getting his answer in Kyoto 💙🌸 ☑️☑️☑️

Heiji keeps trying to get the right place to confess ☑️

Many times

And finally after thirty years, we have it, we survived the Heiji x Kazuha confession, we got it ☑️

Are we supposed wait to tick the box for

Kogoro and Eri getting back together 🔲

.... for the awaited conclusion?

Lmao or we're going to get another couple? Who's next? Inspector Megure getting a divorce and getting back together with his wife? Sera getting a love interest too perhaps? Mitsuhiko and Genta ultimate showdown for Ayumi?

🤣

[miyagi-hokarate]

The basic premise of The Karate Kid (1984) — down on his luck new kid learns how to defend himself and ultimately triumphs over his bullies with the help of a wise, old mentor — is far from unique. But since its release, a wave of movies in the 80s and even as far as into the 90s, clearly inspired by Daniel and Mr. Miyagi, came in with fists raised, ready to dominate late night television and home media.

There's No Retreat, No Surrender (1985), The Power Within (1995) (whose villain is played by none other than William Zabka), and my personal favorite of this niche genre: Showdown (1993), directed by Robert Radler

Also known as American Karate Tiger, for a reason that I could only assume has to do with the fact No Retreat, No Surrender is also known as Karate Tiger (no relation to these films however, besides in genre and story)

Anyway, make no mistake: this is not a good movie. I say it's my favorite, not because of its quality, but because there's just So Much About It that wouldn't leave my mind. This is besides the fact it's transparently derivative of The Karate Kid (hell, the main character in the movie references it in a scene! I was so mad!) — the way it's different (and worse) delights me to no end that the others hadn't achieved somehow.

tldr; a LONG assortment of words with some analysis because I need to tell people about this movie ahfkakfaf. NOT a coherent essay (or an essay at all really)

Part 1: Boring stuff like BACKGROUND or THEMES

First thing to know: there's another movie with the same name that was released in 1933 too, but that one's directed by Leo Fong. In case one Showdown wasn't enough.

Now, Showdown never calls it karate, and I'm not going to pretend and say I could easily tell from one type of martial arts to another by glance, so I'm going to refrain from calling this movie strictly any certain type. Anyway, Its fighting content is more reminiscent of another film that came out in the same year and that'd be familiar to Karate Kid fans and lovers of William Zabka's filmography: Shootfighter (1993).

Like Shootfighter, an underground, illegal fighting ring plays a significant role in Showdown, albeit being less fatal and a local scene. A group of teens and young (?) adults, led by their bloodthirsty criminal sensei, in a dojo make up some of its participants, which naturally incentivizes the high schoolers in the dojo to be aggressive in school — bullying, intimidation, cultish significance in aggression and domination blah blah blah blah we all know the type. Regardless, the high school the new kid moves to certainly doesn't need any help throwing him into the deep end of trouble. By the first five minutes of introduction, his new schoolmates are seen stealing, driving motorcycles on school campus, and contributing to these amazing shots of cinematography:

I'm sure they've all got their reasons and such for their misbehavior, or not because they're nothing more than dressing for the background when they aren't the Cobra Kai lookalikes. One thing I can assume is true for all students is a distinct sense of parental neglect, considering the only parents we see is five minutes of the main character's mom, who's job hunting is never quite resolved by the end of the movie and whom I could only guess decided to fit in to the new place by also abandoning her son to travel to the next state or two for a job.

In addition to this, the members of the school staff are either struggling to do their best or instead doing the bare minimum. The most effort disciplining and guidance we see is a pack of cigarettes taken away by the vice principal... before he's smoking it himself behind a building. Honestly, I don't blame him.

Including those involved with the illegal fighting ring, the only barely respectable adult figure around is the janitor, who is — you've guessed it — the "Mr. Miyagi" character of the movie. But considering we've first been introduced to him as a former cop who quit after having accidentally killed a teen (apparently? Everybody looks at least 24 years old) during the job, it's hard pickings around here.

Why am I introducing this all firstly? Well, it's not a deep movie at all, and yet the first thing Showdown introduces to the audience is this oddly grim mood that makes up a major theme of the film: the inevitability of violence. Even when the main character learns how to defend himself, it is with the sense of precaution to be prepared to fight, not for finding a way to end them. The aura of aggression never truly leaves the scenes to let the main character be in peace for long, and he eventually falls into the illegal fighting ring himself out of his own volition — only, it's the Mega Ultra Battle in the end so it's badass and not treated as bleak at all. Hell, the main tagline of the movie is literally "There is no other way."

It's interesting that the main character learns to defend himself because of the efforts from the former cop turned janitor. And while he busts the operation in the end, the janitor ultimately returns to the force, as well as takes up a job to teach the (now arrested) sensei's former students as his own. Sure, they wouldn't be strung into illegal fighting rings anymore, but I question how much the inevitability of violence is enforced because of the expectation of its existence in the first place. Even in the finale, when the main character and his mentor get their happy ending and defeat their respective rivals, it's not with a new future promising radical change for nonviolence and reconstruction, but a grim determination that they could rise to the challenge of the eventual call to aggression.

There is some effort to try and answer the question: "Why do people commit violence?" For example, the main character learns that many teens involved in the fighting ring are trying to pay for college. He himself empathizes, with his mother expressing frustration about being unable to find a good job. Nevertheless, both the main character and his mentor ultimately condemn the practice as exploitment and bust the fighting ring. While this frees the participants from any more physical harm, the question of how the teens fighting for money could support themselves (the reason that got them into illegal fighting in the first place) is never asked again.

This is not even to mention the actual physical — and even psychological — consequences of illegal tournament fighting that are barely portrayed, if at all. Most attitudes surrounding involvement by the teens are blasé, if content with the gigs they got. It's not hard to imagine that they've been manipulated by an intimidating sensei into what is essentially a cult of violence, but Showdown does not dwell on that. This is not the only thing it does not dwell on.

I'm not necessarily saying a former cop janitor and a high schooler in his midtwenties could singlehandedly rid their society of the deeper, insidious causes that breed the cycle of violence in communities. And frankly, this is a lot to ask for a movie that was never made to answer such questions, and it knows itself. I can recognize that. However, Showdown's fatalistic attitude towards violence feels particularly dooming in an otherwise stupid movie.

As a conclusion to this point, here are the opening words to Showdown as the first thing the audience learns about the film, with a sense of finality in its belief:

Part 2: You would think I'd introduce the characters first

Like the premise, the characters of Showdown share many of the same archetypes as the ones in The Karate Kid. The 1984 film however has a more nuanced and colorful cast, and I will be the asshole comparing the two films and their respective characters shamelessly. Admittedly, this section is the most like a summary, so I won't go through every single person but those I find interesting enough to talk about. I do promise to share whatever cool trivia I learned of the actors however, because nobody else sure will.

Firstly, let's take a look at the main character. Unlike Daniel LaRusso, who looks 12 but was played by a 22 year old at the time, Ken Marx looked as old as he did portrayed by someone who definitely was too old to be in high school.

'"I get it. When this is all over, I'm gonna know how to do all kinds of karate blocks, right? It's like, uh, wax on wax off, paint the fence, sand the floor..."

Ken Marx/Marks is a fine protagonist. New kid from Kansas, he's nice enough (especially compared to his new schoolmates) and has a strong sense of justice, but Ken seems to lack the same young, vulnerable angst as his predecessor Daniel about loneliness in someplace completely new. He, like any other supposed ordinary kid in high school, is embarrassed by the slight coddling of his single mother (who moved with him so she could find a job eventually), yet is understanding and wants to help her with money. Unlike Daniel, I could say with absolute certainty that Ken was trying to steal the girlfriend of the very guy who'd make it his mission to beat Ken up at every opportunity the minute he set foot in school. Arguably deserved some of the shit he got. Dick move, Marx (or Marks? Different sources say one or the other, but there's something funny imagining this All American guy with a name that's a little reminiscent of something... revolutionary).

One of the most notable differences between Daniel and Ken is in their state of origin: New Jersey versus Kansas. Not to profile, but I absolutely think it makes for more than just a minor change in their characters. Ken certainly doesn't have that "East Coast swagger" (as Ralph Macchio himself amazingly puts it) as Daniel does. His Midwest origins reflect through his easy kindness and endearing naïvete, but I've gotta admit that it doesn't do much to help him stand out as a protagonist. Still, even if I'm not especially invested in him, Ken's easygoing personality and humble origins are only boring and forgettable at worst, and I can admire his dedication to learn how to defend himself. That being said, Ken certainly could not be confused for Daniel and his Jersey Fire. The best example of this is Daniel versus Ken's reaction when their request to learn self-defense is first denied; while Daniel is openly upset and petulant, Ken is quiet but aquiesces with understanding. Ken is a nice kid sure, a little more mature and respectful than his predecessor, but that also makes him quite average. To further steal analogies from Macchio himself, it's like the difference between a cannoli and an apple pie.

Ken is played by Kenn Scott, an experienced martial artist. It's incredibly funny watching him throughout the movie be swamped in big jackets and whatnot to hide the guy's ripped abs, pecs, and biceps until it pays off at the end when he takes off his shirt in the big fight. Funnily enough, Scott is also in Shootfighter as Eddie, aka that guy who didn't want to go back in the ring and got killed for it.

RIP Eddie. We hardly knew ye.

Honorable mention goes to Ken's mom, whose name is only seen briefly on her shirt tag from work: Shirley. I can still hear her sighing about a job in her giant coat and 1989 Ford Probe to this day.

Ken doesn't feel as lonely as a character as Daniel does in The Karate Kid. While he is like Daniel in that they both quickly latch onto an older man who displays them a little bit of kindness, Ken finds himself another friend at school to keeps his company from feeling too lonely.

"Well listen, I just remembered I left my cat in the microwave."

Mike (played by John Asher) is meant to be funny and awkward, the wimpy but harmless guide to introduce Ken (and the audience) to his new setting. Mike even has a lackluster Clique Tour Moment à la Mean Girls of a couple distinct students or student groups to demonstrate his knowledge of the school populace to the new kid. He wears clashing patterns, says something funny for a moment or does something silly in the background, throws a few flimsy kicks and punches during a training montage, breaks the fourth wall, and walks away with the hero and his love interest in the most throuple-coded way ever.

Unfortunately, this is the most boy best friend Mike gets with Ken in the movie.

Mike has subtle growth throughout Showdown admittedly — from a cowardly goofball who shrinks away at the barest glare from the bullies and lets the new kid eat dirt on his own, to Ken's best friend that joins him in training a little, stays by his side til the end when he needs the most support, and even helps subsue one of the bad guys.

Of course, the real duo in Showdown — their rendition of the Daniel and Mr. Miyagi relationship — is between Ken and the janitor at school, who saves kids getting beaten up to make up for the fact he accidentally murdered one seven years ago.

"No, this is called toilet cleaning. It teaches humility. Then, I want you to startover here on those urinals."

Billy Grant is riddled with guilt for killing someone on the job, so much that he voluntarily quit the force afterwards — except, Billy expresses thoughts about coming back after being told by Ken of the illegal fighting ring, and eventually does return, so here's hoping Billy learned something in the seven years he "fell off the Earth" (according to his old partner at least, which I find highly doubtful. Guy's only left the force seven years ago, stayed in the area, and found a job as a janitor, but apparently disappeared?? Come on). Nevertheless, he's a Good Guy™ who saves Ken's ass at least three times — just as many times as Mr. Miyagi does Daniel's. This version of Wax On, Wax Off is just making Ken clean toilets, wash off graffiti, throw away trash, etc. — janitorial stuff — to help build his endurance. Let's be honest here though, this is infinitely more like child labor than whatever Mr. Miyagi had ever done.

One moment in the movie I find odd, because they never touch on it again after introducing it, is when Billy saves Ken from two of his bullies. In the end, he puts one of them in a headlock, which lasts for several seconds. It's strongly implied Billy would have continued holding it, if it weren't for Ken's cry for him to stop. The bully drops to the ground as he coughs for breath, and Billy literally runs off in horror.

Ken: Stop! Billy, don't.

It makes it seem like Billy could have some reason to lose control, like unresolved anger issues, his trauma, or perhaps a dark and hidden inclination to cruelty (if the movie wanted to go there). However, Ken never brings this up to Billy, and this lapse in judgement never occurs again in the movie. There isn't even a moment for him to reflect in solitude of what he almost did to those teenage boys to imply there is something more to his internal conflicts. And this loss of control is also absent in Billy's big fight against the criminal sensei.

I'm not even sure it makes sense at all with the trauma Billy actually has that influences his actions? He accidentally killed a kid by tossing him aside onto the floor, which had led to his head making contact with some stairs and killed him upon impact. This was a poorly decided action, but a quick one made in the heat of the moment nonetheless. How on Earth does this translate paychologically to losing control while holding someone in a chokehold? If the implication is that his trauma causes Billy to lose control when caught in a fight, not only does it not make sense, but it also never shows up again in the movie and thus makes the moment where he almost chokes a teenager too hard irrelevant. It sticks out, especially when Billy for the rest of the movie is otherwise unmistakenly altruistic and heroic.

Unfortunately, Billy just doesn't get to have the same room for depth as Mr. Miyagi does. Billy is kind, brave, strong, and wise, but there just aren't enough scenes in Showdown that reveal much of his human, vulnerable qualities to complement the heroic ones.

Billy may be the first major character introduced in the movie, alongside his guilt and regret, but Showdown doesn't dwell on how it's weighed Billy for long; his anger and efforts to bust the illegal fighting ring are all but stated outright to be fueled by a desire to make up for accidentally causing someone else's death years ago and wants to make sure no more young people are senselessly hurt, but the film does not let Billy open up about it. At Ken's question asking if that's the reason, Billy is silent before stoically taking a moral stance on the issue. He spins the topic back to Ken's training, and that's the end of Billy being allowed to be more than an archetype, instead a flawed human being who's been personally affected because of his mistakes:

Ken: Billy, I knew you always weren't a janitor. And I want you to tell the truth. Billy: Ken, I used to be a cop. Then I killed a kid. It was a mistake. Ken Did you have to quit? Billy: No, I couldn't handle it anymore. But I'm thinking about getting back into it. Ken: You want to bust the guys that are running the fights? Billy: ...They're hurting kids to make money, and that's not right. These people are dangerous. If you refuse to fight for them, it could be real trouble for you. Ken: Well, we'll just keep training, right? Billy: Yeah, go warm up.

Following this scene, Billy calls his old partner in the force to help him investigate a way to bust the illegal fighting ring. He's ultimately driven to action by his guilt, but do we as the audience get to see Billy afterwards emotionally open up about his choices, both in the past and the ones in the present made to rectify his mistakes? Nope.

It never feels like Billy's character could be anything else but Ken's mentor, or the big ultimate hero. For all we know, he's been dealing with the guilt of his wrongdoings all on his own for seven years, and he jumps into action the moment he thinks he could do some real, good change. But Billy's internal shift gets streamlined in order to prioritize training montages or cool cop shit. He is kind, brave, strong, and wise, but he does not get to be three-dimensional.

Of course, I have to acknowledge that no one in Showdown is. This isn't a movie that's meant to be beholden of dimensions. As I continue to compare it to The Karate Kid or lament about flatness or whatever, it's imperative to remember that Showdown is a stupid movie.

That being said, I nevertheless cannot help but feel especially disappointed by the flatness of Billy's character — not only because he is one of the most major characters of the movie, if not the most important, but also because Billy the most prominent person of color in the movie, and a Black character at that. Billy's role does not soley revolve around the White male protagonist, and he does have his own drives and motivation, but Showdown falls short in depicting Billy as a nuanced Black character with depth and vulnerability.

He's played by another actor who shares the same first name as him, Billy Blanks, whom I'm actually not that familiar with even though he is arguably the biggest name involved with Showdown. He's been in a bunch of other martial arts films, so that's cool.

Shoutout to his former partner Officer Spinelli, who gets a special shower scene in the beginning of the movie. Amazing.

Here's the crazy thing about Billy's accidental murder that haunts him: that kid was none other than the younger brother of the main villain, the "Kreese" character, who soon is driven to revenge upon laying his eyes on Billy again after seven years.

"I woooon..."

Lee is batshit insane. First of all, he's the ringleader, or at least the main attraction, of the local illegal fighting ring that occurs somehow secretly in his dojo with huge crowds of people. Second of all, he has his own version of the Cobra Kai mantra to drill into his child soldiers: "Success is control, control is success." Third of all, he hires his goons to, not only try and kill Billy, but also to make sure it's done on school campus so everyone could see the body, because this guy evades authorities so easily already. What the fuck is wrong with this man. The only trait Lee has that doesn't make him into even more of an aspiring supervillain is the protective love he has for his brother Max, and even that soon enough becomes revenge fodder for Lee when he witnesses his brother die in the prologue.

Max (left) and Lee (right), ready to take world together by storm...

Lee is played by Patrick Kilpatrick, who I can tell is having the time of his goddamn life playing such a Ham and Cheese PLATTER of a character. His performance plays jump rope with the line that splits between 'menacing' and 'ridiculous', and I love that for him. Kilpatrick was also on an episode of The Equalizer (though not an episode with William Zabka haha)! Patrick Kilpatrick wasn't the only choice to play Lee, however. Another was Bolo Yeung, but he would later turn out to have a role in another 1993 martial arts movie: Shootfighter (a William Zabka project again).

And he shares the same name as the villain of Shootfighter, Mr. Lee haha (played by Martin Kove, aka Kreese in The Karate Kid)

The greatest thing about Lee is that he has a right hand woman running the operation alongside him — almost like the "Silver" to his "Kreese".

"Relax! I don't bite — not unless you want me to..."

Kate is undeniably the brains of the of the two. While Lee uses his physical prowess, skill, and intimidation to dominate others into following, Kate smoothtalks and negotiates it all out to work in their favor with intellect, charm, and often times sex appeal. Kate is the most stylish of the cast, and probably the one with the most money, as she's seen reguarly with styled hair, classy jewelry, sleek dresses, and is in possession of a Mercedes Benz (as well as a Chysler Lebaron convertible, but who am I to judge).

Kate and Lee's relationship is professional, for the most part. He lashes out at her once, but she easily snaps at him back, and it's never clear if one is working for the other. Regardless, Kate and Lee have got their respective strengths they use to their advantage, so they each play a different role in their collective business. There are hints to some affection between the two business partners, but it's not a major focus at all.

Kate is also creepy as fuck. I'll cover more of her in the next part.

She's played by Linda Dona, whose role was initially invented when Bolo Yeung was set to be Lee. Since Yeung could not speak English, Kate was to be his translator. Of course, this was no longer needed once Kilpatrick took on the role of Lee, but Dona stuck anyway when the writers rewrote her role.

In these type of movies, it's uncommon to see more than one significant female character as part of the story, and so Kate stands out, especially compared to the love interest of Ken.

"You know, I thought you were on the track team or something. But you're not, you're working out with the janitor."

Julie doesn't have a lot to work with, besides being an object of affection for Ken and part of the source of the conflict between him and her boyfriend (the "Johnny" character, obviously). She's blonde and innocently pretty like Ali (unlike Kate's mature seductiveness), but Julie lacks the same assertiveness as the Karate Kid character. While Ali plays a pivotal role in helping Daniel and Mr. Miyagi understand the rules of the All Valley Tournament, Julie is reduced to the typical helplessness her type of character is often confined to, being pushed to the side as a spectator of the big fight in the end.

Julie does what she can in the plot — she tries to speak up against her boyfriend's actions several times, and she even stops (or at least delays) one of his attacks on Ken— but Julie, like Ali, is pacified by the narrative to do much of anything else besides express disapproval and side with the heroes. Julie also has a bit of a mean streak, but I don't think the movie knows that lmao.

Now, I am not the greatest with differentiating people, especially those with the same general look. So upon first watch, I had accidentally thought Julie and Kate were the same character, especially since Kate's introduction offered no close ups to differentiate her as someone new. AND IF THAT HAD BEEN TRUE, IT WOULD HAVE BEEN CRAAAAAZY; sweet and innocent high school girl secretly a greedy, manipulative, femme fatale in charge of an illegal fighting ring? IT BLEW MY MIND.

I WAS SEEING JULIE IN A WHOLE, DIFFERENT LIGHT. Her introduction for one thing made sense to me why it was so strange! Ken first lays eyes on her when he jumped onto the ground at the sound of firecrackers he thought were gunshots, which made the crowd of students around Ken to laugh at him. Julie is among the students shamelessly laughing at this kid, and it isn't until when they lock eyes does she stop laughing and walks away.

The scene cements to the audience that Ken's new peers are cruel, delinquent, and indifferent to his confusion — but Julie is part of that crowd! It's incredibly strange to frame Julie as the love interest by the language of cinematography, someone the audience is meant to invest in to pair off with the main character, when her behavior is indistinguishable from the callous mob, besides being pretty. She doesn't apologize for this in the scenes talking to Ken for the first time either.

Another moment that made me look back was how Julie was smart enough to calm her boyfriend down the first time he confronted Ken for trying to talk to her by alluring his attention away.

Julie: Leave him alone... Please...[...]He didn't know about you...! He's new here...

While Julie had good intentions, this demonstrates a level of manipulation towards people that she'd readily use if it meant getting what she wanted. As Kate is later introduced, this shared quality between them made me further convinced in my confusion that they were the same character — only, I thought Kate being manipulative was Julie's true colors being as sinister as they actually were.

Now, a teen girl laughing at some guy for jumping to conclusions (pun intended) and thinking gunshots in the middle of the hallway and using her attractiveness to turn her boyfriend's attention away from someone he intended to hurt are aren't glaring signs of evil or criminal behavior. But that is EXACTLY why I confused Kate for Julie and thought these actions in retrospect were subtle clues to her being more than just the bland love interest that the protagonist wins in the end.

In addition to this, Mike's first words to Ken about Julie would have been almost perfect foreshadowing:

Mike: I see, you have a death wish. Ken: ...Excuse me? Mike: The blonde, Julie... She's beautiful. She's elegant...! I mean– just forget about it. She's trouble.

Mike afterwards explains to Ken that Julie's boyfriend is dangerous and that's why she would be trouble, but if it would have been almost genius writing if she turned out to be a secret villain. The audience wouldn't think twice about that comment, especially since Mike himself only believes Julie would cause trouble for Ken because of her boyfriend specifically. There'd be no reason to think deeper about his warning!

Julie's grimacing apology the following day to Ken for her boyfriend's behavior transformed into being SLIMY, IT WAS AMAZING. I was so excited to watch him fall for someone who wasn't at all like what he thought she was — and then I figured out Julie and Kate were two, separate female characters. Damn.

You may recognize Julie's actress, Christine Taylor, because she was involved with another film William Zabka was in: To the Ends of Time. He just keeps being relevant somehow.

But speaking of William Zabka, what about his character's equivalent in this movie? I talked about the protagonists, the love interest, the villains — but who's the guy in the story that's actually the most prominent threat to Ken? Who's the third player next to Ken and Julie in their teenage love drama? Who's the student trained the hardest by Lee and treated as the best of the best, his strongest fighter, who falls at the end and almost dies at the hands of his sensei for it?

Part 3: We need to talk about Tom

warning for discussions of abusive relationships, as well as physical abuse, psychological abuse, sexual abuse, unhealthy power dynamics, and grooming

I'm dedicating a whole section to talk about the "Johnny" equivalent, because I've got so much to say about Tom, the others around him, and parts of the film around his character.

"It's payback time, needledick."

So, Tom. I had briefly shown his character earlier when covering Billy, as well as Julie — kind of hard to talk around him when he's causing so many of the issues for others, little shit. Like Johnny, Tom is tall, blond, aggressive, and does not take kindly to the new guy being too friendly to his girlfriend (ex girlfriend in Johnny's case, but still). Like Johnny, Tom is the most formidable fighter training under his sensei, and his sensei also punishes Tom ruthlessly after losing in the ending fight, before being saved by the protagonist's mentor. Unlike Johnny, Tom looks well into his adulthood — but hey, so does everybody else in this goddamn high school.

He's played by Ken McLeod, who is a real life martial artist with a black belt in karate. Honestly, he's probably doing the best job acting in this film — that, or he's just so entertaining that his performance stands out by that alone. In general, the antagonists are just much more fun to watch than the protagonists. In McLeod's case, he gets the honor of spitting in people's faces with a mean smile or scowl, huffing and puffing when anything pisses his character off, and having his momenta to act with vulnerability to show some versatility in his performance.

White the picture may imply differently, Tom has his own group of loyal friends, Showdown's version of the Cobras.

If Rob on the left is familiar, that's because he's played by Michael Cavalieri, who would soon later play Ned Randall in The Next Karate Kid (1994). I don't know how much of it was in the script, but Cavalieri adds these small, humorous quirks to his character if you pay attention, and it's great. He's the most prominent of Tom's friend, who joins in on much of the bullying, but shows an surprising honorable side near the end. Rob is seemingly Tom's closest friend, as he is almost always by his side and encourages him the most of the group. However, even Rob has his limits, as Tom's worsening behavior almost drives him away. Nevertheless, Rob can't help himself but still support his buddy in his final fight when he fights against Ken. When Lee starts to beat on Tom for losing, the other characters have to hold Rob back from jumping in to defend him (which, is so weird??? Like, HELLO THAT GROWN ASS MAN IS TRYING TO KILL THAT GUY???? WHAT DO YOU MEAN YOU'RE GONNA HOLD BACK SOMEONE TRYING TO HELP HIM?????)

Gina (played by Seidy Lopez) is the second/third most prominent female character in the movie, so that means she has to have at least one scene alluring a male character to get him to do what she wants, joy. Gina seems to be the calmest and most levelheaded one of the group — she reminds others that the best place to pick a fight is anywhere but the classroom — but even she coldly revels in terrorizing like the rest of those training under Lee. Gina may be the least troubled by his hyperaggressive leadership in fact, as she is the least visibly disturbed when Lee attacks Tom, and she is the only (former) student not to join in on the others when they start cheering for Billy after he defeats Lee at the end (she does however cheer when Billy accepts Rob's offer to teach them, so maybe Gina just ain't picky with who teaches them how to fight). We never see Gina do any fighting, unfortunately. It's clear she's not a girlfriend who hangs around the boys, as Gina not only attends the class but is seen practicing with a punching bag. Feminism win! This violent dojo is for all genders! So where's Gina's moment to give someone a shiner?

The Bill Skarsgård lookalike's name is unfortunately never said in the movie, but I'm preeeeetty sure it's Bob (credited as being played by Jeremy Duddleston)? It's the only male name in the credits I cannot easily attribute to another character, so I'll just call him Bob. It's hard listing another characteristic of his besides Loves To Fight, since he never utters a single line. While Rob may be Tom's closest friend, Bob is seemingly less significant to Tom, as there's a moment when Tom tosses his book/folder behind himself dismissively, before Bob catches it to carry it for him. But besides that uhhhh. Not a lot with this guy.

It should come to no surprise that Tom is an asshole and a bully. His introduction makes sure the audience knows that when he threatens a class monitor for daring to remind Tom that bells are a thing, before treating his girlfriend Julie with the big ol' triple three of Terrible Boyfriend Qualities: Neglectful, Controlling, and Uncooperative. And this is all before he even sees Ken! But don't worry, his behavior is just as terrible once they do meet.

I may have given Ken shit for his actions, however that does not justify the full extent of Tom's vigilance in making sure he gets violently targetted at every corner. While it gets hard to take the high school drama seriously because of how grown everybody looks, thus making their actions more comical than intended, there are times when Ken gets overpowered or made to feel smaller by Tom that could genuinely get you feeling bad for him — call me a softie, but even when Tom has his funny moments, he sure can make the audience feel as miserable as Ken does.

Tom: It's not about money Kenny. It's about respect.

Tom treats people badly when he doesn't respect them, and this includes a lot of people. In fact, he's consistently shown to be the least respectful towards his girlfriend.

It's undeniable that Tom is a godawful boyfriend to Julie. As you already know, he is infamously possessive and jealous; in addition to saying in her face that he owns her — word-for-word and in public — Mike makes it a point to warn Ken about Julie because of Tom specifically. The warning is justified too, because we know Tom spends the rest of the movie utterly despising Ken for "encroaching" on his "territory" (literally just talking to Julie). In addition to all this, Tom ignores plans he has with Julie because of his own minor reasons, and even forgets to talk to her for weeks, and yet has the gall to insist Julie must compromise and listen to his desires when she has an iota of a backbone.

Tom's behavior runs deeper than being an asshole, though. Because of him, I can confidently categorize their unhealthy relationship as being abusive, without exaggeration. The extreme control he expects to exert over Julie, her actions, and whom she interacts with taints every interaction they have together. Julie does what she can to assert herself, but it's difficult for those times to feel cathartic when Tom looks like he wants to beat or bully her into submission afterwards. Tom contantly uses his natural height against her, looming over Julie like he could intimidate her into listening, and even grabs her if he feels like it. If his treatment towards Ken is tough, it's nothing compared to how Tom abuses Julie.

Tom: I don't want you to ever talk to [Ken] again. In fact, if I catch you hanging around him, I'm gonna beat the– Julie: You can't control my life! Tom: Yes I can. You are my girl, and you'll do exactly what I say.

Besides feeling entitled to Julie as a possession than as an equal, Tom's mistreatment hits its peak when, after he approaches her like she didn't dump him the last time they spoke, Tom's rage overpowers him when Julie says Ken could beat him in a fight — Tom grabs Julie by her hair, calls her a slut, commands her to stay away from Ken, and slaps Julie. In the middle of campus. Ken soon comes to defend her, so it's not clear how far Tom would have gone to hurt Julie. However, several characters (including Julie) note Tom's worsening mental state since the their first interaction on-screen, which had been worsening before the events of the movie, and it's not impossible to imagine him sinking even worse towards Julie — in addition to the emotional abuse Tom was already subjecting her to.

While Julie ultimately finds the courage within herself to ends things with Tom, it wasn't without any conflicts, internal and otherwise — not only was Tom in denial, but Julie had her own reasons to stay with him. When Ken asks her why, she gives an explanation, and had given more:

Julie: It's just that I've been dating Tom for a long time, and... I just think he's a little confused right now... He kind of got involved with some– Ken: Look, pardon me, I'm not sympathetic where Tom is concerned, okay? Julie: No, I don't expect you to be! It's... Sometimes, I think about calling it off. But it's like I feel trapped... kind of like I have to stay with him for now. Ken: But you don't have to if you don't want to...! Julie: No, I do.

Julie's attitude insisting she has to stay because of a sense of duty towards her abuser is a common experience among many abuse victims, and so are her thoughts of feeling trapped. However, Julie recognizes that Tom's awful behavior is new. That does not excuse the abuse, but it does offer important context to his and Julie's relationship. According to her, they've been together long enough that she knows Tom's normal isn't as violent and controlling as it is now. Julie is hoping Tom reverts back, that she will see him get his sense back, and that she has a good idea who's been influencing Tom.

Julie: God. I swear, every day you sound more and more like that jerk, Lee. Tom: Listen, Lee's my sensei, don't talk about him that way.

We never see any of these kid's parents, and so they're next to nonexistent, thus Tom's most present role model and parental figure in Showdown is his sensei, Lee.

The respect Tom has for his sensei is only matched by his fear. The movie builds suspense for his reveal by having Tom be insistent in being on time for class, lest he angers Lee, a character the audience at that point could only assume is a little bit of a bad influence. They'd soon be affirmed by that when watching Lee's blaringly evil (re)introduction, giving a lesson that's half drill sargeant, half cult indoctrination. It's unclear for how long Tom has been around him, but it's been enough that it's started to affect his behavior and life in harmful ways. Tom however doesn't see it like that. While Julie makes excuses about him to Ken, Tom doesn't even consider that what Lee does is anything wrong. In fact, he takes pride in having "learned a few tricks" from him, and always defends the man whenever someone (Julie) so much as criticizes him. And of course Tom would, since Lee openly considers him to be his best fighter in the dojo, ruthlessly training him to be the undefeated champion in his illegal fighting ring. Tom is 17, 18 at most, and his involvement in crime is reinforced by the hand Lee has on his life.

Lee may care about Tom deeper than just as teacher-student, even calling him "my boy" during the final fight, but it is a relationship built on ruthlessness, domination, and abuse that easily turns violent the moment Lee is dissatisfied with Tom. He thinks of Tom as the best among his students, but Lee never hesitates to tear him down mentally, nor to physically beat him as punishment, going so far as to threaten Tom's life:

Lee: What have I told you about weakness? It's disgraceful. And when you disgrace yourself, you disgrace me. You do not have control, you have brought shame upon yourself and my dojo. Humiliation. The pain I give your outside should be nothing compared to the pain you feel inside. We are winners at my dojo. We do not let others control us, ever. If you fail again, you will be lucky if I decide to let you live.

Lee wants Tom to believe that his life is literally at the hands of his sensei, that he deserves any beating (psychological or physical) that Lee delivers because Tom's failure is justification enough, according to himself. He believes so strongly of this dominance over Tom's life that Lee does try to kill him after losing to Ken, in front of a giant crowd of people. He's a madman with full conviction that he could make a teenager his killing machine and murder him afterwards if that kid does not live up to his standards — his boy or not.

Even in the rare moments of tenderness, they're never soft. Lee always performs them in the shadow of violence; if he calls Tom "my boy", it's when Lee commands him to kill Ken. When he cradles Tom's jaw, it's so Lee can strike square in his face. The paternal role Lee has in Tom's life is poisoned with cruelty, and it's corrupted Tom into manifesting the same abuse onto others.

Tom becomes more and more like Lee, an aggressor losing his humanity in his descent towards fighting and crime, because of his sensei's own abusive influence. Lee makes Tom feel powerful, but like a tool to be used and sharpened — and inversely, Lee makes Tom feel powerless even more. And he isn't the only one that makes Tom feel powerless.

Lee and Kate are a team, so they're both invested in the careers of the former's students for the illegal fighting ring. Kate's whole business depends on them, making sure there's an abundant money flow as long as there are good fighters. She, like Lee, has a special interest in Tom — his best fighter.

Kate's mistreatment towards Tom is rather distinct from her partner's. For one, Kate never resorts to threatening his life. She does physically disclipine Tom, but it's with harsh slaps across the face, like a stern mother to her son. What she does threaten in his future in the fighting ring. Considering Tom is completely dedicated to his involvement, certainly encouraged if not groomed by Lee for it like a fighting dog, it's an easy method of controlling Tom. While Kate doesn't entertain the thought of killing him like Lee does, it doesn't make her behavior okay, because it still sends Tom the same message: Kate is the one in control of him, he isn't.

What stands out most about Kate's abuse towards Tom though is that she better manipulates him by other, insidious ways. Kate's age is never specified, but it's clear she's older, more confident, and capable of inflicting certain harm in ways teenagers can't. Kate has no qualms using her sexuality to get what she wants, and that includes preying on teenage boys. With Tom, she doesn't just disclipine him like a mother, but Kate coerces him into a sexual relationship as well. This, in addition to times when she treats him like more of a mother back-to-back, contribute to something truly appalling to watch.

To best explain the scene, here's a video of Kate's introduction, where she pulls Tom aside in the middle of instruction to take him to a dark room alone with her:

Just seconds after Kate hits Tom, she pulls him into a deep kiss, practically forceful. Note how limp Tom's arms and hands are as he's made to kiss her. Later scenes in Showdown depict Tom as more "consensual" in their relationship, but this is notably different in their first moment together on-dcreen. This is not to say that it would have been a healthier relationship if Tom enthusiastically kissed Kate back, but his passiveness as she assaults him only highlights the uneven power dynamics at play — in their first scene introducing their relationship at that.

(Remember when I thought Kate and Julie were the same person? Yeah, Kate stands in the back the whole time, only getting a little closer to the camera but not enough that it would distinguish her as someone new. In addition to them shrouded in darkness and the intimacy on-screen after, that's why I thought Julie was secretly evil and was abusive to Tom back. I became so quickly convinced that they were Evil4Evil, that it took me until several scenes later to realize that they were two different people and that something worse was going on.)

What concerns me as well is how easily Kate was able to pull Tom away from sparring, without much of a second glance from Lee or his students. How much did the other students question whenever she pulled him aside alone? Were they allowed to question? Or even worse, how much were they led to believe it was okay? Is Kate coercing more several teenagers, or is this a way to have more power over Tom to ensure he'd stay her and Lee's cash cow?

Powerlessness defines Tom's most prominent relationships with the two adults with abusive control of his life. With that in mind, it explains why Tom has gotten worse, lashing out and losing control of himself. It doesn't excuse his wrongdoings, but there is a direct, blatant connection to Tom's worsening mental health and the authority figures around him either encouraging his violent attitude or are the main causes of distress in Tom's life.

In addition to that, Tom's bullying and abusive behavior is an unfortunate expression of what he's internalized from Lee and Kate; he only treats a person well if he respects them. Due to Lee's influence, that simply means if they have power. Otherwise, Tom feels he can intimidate, belittle, and hurt them all he wants. In Julie's case, Tom mirrors the same mistreatment that plagues him and causes him to treat her badly, because Tom views Julie something he owns. Tom ultimately believes that he is allowed to abuse those that are less powerful, because those that are more powerful than Tom are allowed to abuse him.

The most alarming thing about Tom's sexual abuse is that... Showdown seems to be unaware of its gravity? Female-on-male sexual abuse and uneven power dynamics aren't often treated with the same severity as the opposite, if it is portrayed. Like I said, the later scenes with Tom and Kate show him receptive to her attraction. But even if Tom played along, Kate would have always had an uneven power dynamic over him. In the end, Kate never receives punishment for her abuse — she's presumably arrested for her involvement running the illegal fighting ring, but Kate's strongly implied sexual relationship is a total nonissue by the time the credits roll.

This is the same with Lee's own physical and psychological abusive behavior. He gets arrested for running the illegal fighting ring, and I suppose Tom could press charges afterwards, but he's oddly okay by the end of the movie, without any meltdown over losing or being almost killed by his sensei. It's not cathartic at all to see Tom calmly congratulate Ken and Billy in the end, as well as say a nice goodbye to Julie. Seriously? He's still got issues — we're just supposed to believe that Tom reverted back to being a normal kid just like that, without any psychological damage to work though?

And in the end, I suppose we are meant to believe that. Showdown is a stupid movie. Of course they weren't going to dwell on all that with sensitivity and nuance. But what if I wanted Tom to get therapy? I don't think he should date Julie anymore, when she shouldn't have been saddled with the responsibility and burden of having to stay with him. Tom should absolutely have some support system though, alongside professional help to guide Tom in processing how to live his life past Lee and Kate's abuse. I dedicated a whole section on him, dear god!! Why did Showdown do this. I hate this movie.

Conclusion: This movie is a hundred minutes long and none of it was worth it, and yet I keep coming back

Showdown is not a good movie. It's highly entertaining, completely laugh-worthy, and full of little pieces that I keep rotating in my mind to complete the puzzle, but it's held together by shoestring and duct tape. I don't recommend this movie to anybody, not Karate Kid fans, and certainly not cinephiles, except for those who want to have a quick laugh, preferably with friends to mock together — or inversely, want to be driven to madness like me. There are a lot of things I didn't mention about the movie, none of it interesting; Brion James plays the vice principal, they repeat the same song over and over again in the movie, there's a sick ass chase and fight in a theater set (because Lee hired hitmen to kill Billy at the school, remember), and so much more.

The Blu-ray Special Edition disk is like under $30, basically half off during the holidays, and contains a "Making Of..." documentary, alongside supplementary videos of the fight featurette and interviewed of various people from the cast and crew (including the director Robert Radler and Billy Blanks)! I need it.

Don't watch the movie. But if you do, tell me about it

[missholland]

Farewell, a place once called home!

I was homebound this week for an illness recovery, and thought it was the perfect time to rewatch one of my ultimate comfort shows: The Untamed.

Some people watch stuff once. Some people religiously rewatch their favs because they discover something new each time. I'm certainly part of the latter clan, and I cannot believe I never wrote about Wei Wuxian (WWX)'s post-resurrection return to Lotus Pier before.

The second half of episode 45 throughout episode 46 is quite a journey on its own right: the setting, the aesthetics, the dialogue, the emotional weight as one of the biggest secrets finally came to surface.

A very long rambling analysis ahead so bear with me!

Considering the latter half of episode 45 was mostly consumed with Si Si and Bi Cao exposing Jin Guangyao (JGY)'s dark past, there were only a couple of Lotus Pier moments that worth mentioning.

As WWX and Lan Wangji (LWJ) walked through the entrance of Lotus Pier, I was immediately taken back to what WWX said to LWJ in episode 6 when they were healing their injuries in the Cold Spring. WWX asked LWJ to come visit him in Lotus Pier one day, and I bet the circumstance they eventually found themselves in episode 45 was far from what WWX thought the visit would have been like.

Let's also take another step back to episode 34, where Jiang Cheng (JC) interrogated WWX. WWX admitted that he wanted to go back to Lotus Pier even in his dream, but at the time, he had probably given up all hopes of ever making that come true.

What else is there? His master and madam died, his disciple elder sister Yanli died, he got expelled from his own clan. It was virtually impossible to prepare WWX for the event of episode 45 where he actually got to walk into Lotus Pier again.

Let's now cruise into the main event - episode 46! Fed up with how the big clan meeting went following the revelation of JGY's wrongdoings, WWX and LWJ stepped away from the front room and made their way around Lotus Pier. They were likely just wandering around at the time, as their concentration was totally occupied with finding out who might be the mastermind trying to expose JGY. Then again, it might as well be WWX's muscle memory as they somehow ended up right in front of the ancestral hall.

Despite initial hesitation, WWX eventually decided to come in and paid respect to his Master, Madam and Yanli along with LWJ. It's not the first time we saw this incredibly tranquil and beautiful room. It really was WWX's most frequently visited room, whether it was being punished by Madam Yu (story apparently travelled all the way to Gusu) or having heartfelt conversation with Yanli. WWX telling LWJ his childhood stories inside the ancestral hall was probably the most mundane sequence during this whole ordeal, and a small moment of normality for WWX before our resident killjoy JC walked in.

Yes JC, we know it's your house but surely yelling in the middle of the ancestral hall whether your family was resting in peace isn't a very good idea? Our WWX certainly didn't expect any less from all the unpleasantness coming out of JC's mouth, as since forever he only let his anger do the speaking and not the common sense. LWJ was ready to have a showdown, but WWX calmly told him to stand down and let it go.

But did JC let it go too? Of course not. He was irritated by WWX's calmness and tried to spill some more frustration to get the other to react. He clearly picked the right route to go down on by picking on LWJ and Wen Ning (WN). Worse, he proceeded to single out LWJ and insulted his commitment to WWX.

That prompted WWX to yell out JC's courtesy name Jiang Wanyin, a name we didn't hear very often throughout the show but in this instance it was most memorable, especially coming from WWX. That itself drew a clear boundary in their relationship at that moment, from brothers to mere acquaintances in the cultivation world.

WWX wasn't afraid to ask a proud JC to apologise, but all JC was gonna do is pushing the button even more. He took a very personal swipe at their confidant/soulmate-ship that led WWX to, quite uncharacteristically, violently held JC's collar.

Our dearest is giving JC what he wants! Although to be perfect honest, I thought it was quite hilarious that JC for whatever reason was confident he could take on both of them. WWX possibly since he wasn't at his finest during that moment, but prime LWJ though...?

Thankfully, WWX looked up and saw Yanli's name. He knew very well it would break Yanli's heart seeing the two of them like this. He's gotta be the bigger person (and fair enough, he's already knackered from being the lure flag for the puppets). As our beloved couple once again tried to leave in peace, JC decided to make it as hard as possible for them. Here he is, triggering LWJ's angry lover protector mode.

I love the swift but determined arm push LWJ did to JC a second after this to get him off WWX, then right away his expression transitioned back into anxious lover worrier mode. LWJ didn't even give JC a second look. He promptly escorted WWX away but was still super alerted to give JC a good old Piss Off for STILL ONCE AGAIN not letting it go.

Let's take a moment to admire this bittersweet yet romantically charged frame before getting the tearfest started.

Now, our sweet baby WN just flew in with WWX's Suibian sword, got a couple of hits from JC's Zidian but was still determined to stand tall and asked JC to unseathe Suibian. JC was angry and confused, LWJ was probably also angry and confused, WWX has fainted, so now WN is the only sane one and the voice of reason. His cold lack of reaction (because he wasn't surprised at all) placing next to a shocked pikachu LWJ and confusingly mortified JC was the perfect comparison.

LWJ's face tells me that as soon as he saw JC taking out Suibian, he was already somewhat fearing the reason behind it. He hasn't quite reached the destination yet, but he was on the way. After all, he's one of the most intelligent and knowledgeable characters in the story thanks to his sect's education. His eyes made it look like he was holding on a tiny glimpse of hope that maybe it's not true, maybe it's not the worst case scenario, but it was certainly mixed with fear that it might be.

It's very different from JC who's just completely out of the loop, no hint of any possibility that he might be able to work out what happened. If WN wasn't there to SPELL IT OUT, JC would just remain angry and confused for the rest of the episode.

As JC is still in deep denial, and WN precisely recounted the event on the mountain in great details where JC was tricked to go find Baoshan Wanderer who could fix his core, LWJ only had eyes on WWX. His ears were listening to everything WN said too, but his focus was on WWX while he did his own reflection on how he reacted to WWX abandoning swordsmanship in the past (the same way JC did).

All the burning questions LWJ had inside his head - why WWX no longer carried Suibian, why he made all these excuses to not get back into practicing swords, why he took on crafty tricks, why he had a change in personality and demeanour, why he behaved so strangely after getting Suibian back - they are finally answered. But in the most unimaginably painful and heartbreaking way. LWJ's trembling face and tears scream PAIN, the pain you feel when you know someone you love is in pain, but you are also aware that whatever you feel is only 1/10000 of their actual suffering.

Pain and anger come together time to time, and LWJ has heard enough. He just wanted to get WWX out of here, out of this hell of a truth. He made his feeling known by stamping Bichen loudly on the ground and took WWX away, once and all.

Our baby WN really shined here. He wrapped up this dreadful revelation by daring JC to find anyone who can unsheathe Suibian, but not before hitting him with possibly the last thing any human being as competitive and eager to win like JC wanted to hear - did you know you were supposed to beneath your disciple older brother forever?

WN kept his head down and let out a sigh. He knew he shouldn't have done it since he promised WWX, but that was as much as he knew he had to do so. His guilt toward WWX was starting to hit him, but it was also obvious that a huge burden has been lifted off his shoulders.

We're now getting to the end of WWX's unexpectedly eventful return to Lotus Pier. Without JC's unreasonable pot-stirring screaming, we're finally given a lovely shot of Lotus lake at night with LWJ ensuring WWX's body not leaving his caring touch. I don't think we've had a proper conversation between LWJ and WN up to this point, and what makes it so special is that it's a genuine exchange between the only 2 people left who deeply care about WWX - a lonely anti-hero who's been walking alone on his deeply misunderstood journey for so long that it lasted through 2 lives.

Sweet WN also thanked LWJ for taking care of A Yuan and we got to learn about how LWJ managed to save A Yuan back then. It was sad but heartwarming knowing that WN was content with not disclosing A Yuan's past to him, as he's had a happy childhood and blessed life thanks to LWJ. Although, he acknowledges that eventually A Yuan would find out, just like JC did about his golden core.

Now as the conversation circled back to the golden core swap, LWJ asked WN a question that truly, you only ask when it's about someone you love. 'Is it painful?'. Not 'How did Wen Qing do it', but was it painful for WWX. What was the feeling he had, what was the pain he suffered, what was it like. It's not a sympathy question. It's something you want to know and empathise when your loved one goes through hard time. It's such a deeply specific and personal question, because when the person you love is in pain, you are too. You even want to feel it too, and LWJ is no stranger to that if we recall him leaving the same burn mark on his left chest as WWX had. Shame that this detail was never explained in the show.

As WN described:

'He should be sober enough to see the golden score which connects to the spiritual vein be separated from his body and feel the spiritual power die down little by little, until it is motionless and nothing can be felt'.

You can feel LWJ's pain peak as he was told WWX remained awake for 2 nights and 1 day with only 50% chance of success. As someone who deep down admires his soulmate's talent from a young age, what could be worse than having to hear that his other half had accepted to be mediocre for the rest of his life and never ascend to the top as he could have easily done?

Poor WWX regained conscious and realised where he was. Unsurprisingly, all of his Lotus Pier memories were tied with Yanli and he's overwhelmed by the image of her and flashback of their time together. What is home to WWX, the one who was trying his hardest to grow lotus somewhere as deadly as Burial Mounds? JC was his family, but not anymore. Yanli is no longer around, but till her death, she remained his family. She might have had married into Jin clan, but she embodied everything about Lotus Pier. Yanli is home. Yanli is Lotus Pier.

Seeing Yanli die at Nightless City was saying goodbye to the last person on earth who cared about WWX (or so he forgot about LWJ), which pushed him to giving up on his own life. So is Lotus Pier still home without Yanli? Is there even home without Yanli? WWX was barely treated like a proper guest at Lotus Pier. He was just someone who knew the way around, as home no longer hold the same meaning as it once did.

Lovely WWX was finally jolly again at the possibility of snacking on some tasty lotus seeds he must have missed dearly. Yet his little happiness was seemingly switched off by the rigid rule follower LWJ. If anything I was surprised that WWX agreed to give up the lotus seeds that quickly, of course not without sulking in disappointment.

But all of this only make the following moment even more glorious and poignant: the high and mighty LWJ who grew up obeying 3000 rules at Gusu Lan Sect literally picked a lotus with his own hand and give it to his soulmate, much to his shock and confusion.

At first I thought Well that's the least LWJ could do, has WWX not suffered enough, would a few (hundreds) lotus seeds matter that much. He's been in pain, he needs to be coddled and spoiled till the end of the world! So LWJ willing to break one tiny rule (tiny, comparing to all the others he broke because of WWX already) is a well deserved comfort that WWX needs.

But then it also hit me - it is an example of making compromise in a healthy relationship. WWX used to hold on to his wine and was willing to put up a fight for it, most of the time against LWJ himself. So why was it so easy to him to just have an awkward chuckle and drop the lotus seeds as LWJ didn't want to break a rule?

WWX compromised, as you would in a partnership. You don't have it your way all the time, you work together toward the same goal and there are times you're willing to put your partner's values above your own benefit. WWX, despite not fully happy about the decision, still agreed to give us the lotus as LWJ was uncomfortable. And in return, LWJ was okay with putting WWX's needs above his ingrained principle about 'stealing'. At the end of the day, it's not about winning or losing in a relationship. You win together and you lose together.

We really are spoiled with lotus romance in this episode!

But maybe... just maybe... LWJ doesn't know whether WWX would ever get a chance to return to Lotus Pier. Should this be the last ever opportunity, he would probably rather WWX's final memory of the visit not being JC's anger and resentment. In return, it is a rare carefree moment on Lotus lake, one his WWX's favourite places, eating lotus seeds with the only 2 people who still care so much about him and willing to go to the end of the world for him.

If this is meant to be a farewell to a place WWX once called home, while LWJ couldn't change the unfortunate circumstance that led to this challenging visit, he at least has done his best to give it a drama-free peaceful ending for the person he loves dearly.

[profounddefendorcrusade-blog]

I feel bad for Starlo. (pt. 3)

Starlo's friend, his BEST FRIEND, the woman who he's been in love with long ago (maybe he still is, we don't know because he's so nice as not to act on his feelings or even show them), the person who was supposed to be there for him, be understanding even tho she doesn't share the same passion, be considerate of the feelings Starlo's always been dealing with (hating being born a farmer, hating himself, hating feeling worthless and unappreciated)... Now, don't get me wrong, there were instances where she did try to understand his obsession and pretend she was into it, but it kinda just... fell flat. Even Ceroba herself admits:

Then there were moments like this:

Yeah, Ceroba's not trying too hard to "roll with his punches" here. It feels like she's constantly trying to figure out whether to be accepting of Star because he's so passionate, or annoyed because they're not on the same wavelength.

Then we get these:

Well, based on all this, you'd think she'd be understanding of him later on, at least on an emotional level (aka understand as to WHY he's been more 'selfish' and 'reckless' ever since Clover arrived,) but...

What now??

You mean how, instead of being miserble like when he was just a farmer who couldn't do much for his community, he now pretends not to be miserable by entertaining you all? Right??? Or do you mean he's changed in a DAY because of Clover?

But what?

huh

So you want to see the farmer who feels worthless, just being the Nice Guy™ he always has been (I decided to check out TV tropes for Star, and found out how he's basically been the "Nice Guy" archetype before Clover came. So I repeat: what's the issue with him stepping out of that for a day? I explained already how the guy's NOT to fully blame here and I really mean it. Yeah he has flaws, yeah Clover's presence brought out the "worst" in him, but we mustn't forget who he's been before that and that his true motivation has always been lifting up everyone's spirits).

The guy made all the sacrifices he could (not only worked hard to make the entire Wild East thing come to fruition, but basically became a rebel, when you remember humans are hated by monsters, and he's basically openly idolizing them) for his loved ones and even strangers. It's always been him relying on outer validation and doing stuff for others in order to feel important. But he never felt truly understood. By training Clover, he actually got to spent time with a human kid who's so much like him and shares not only the same love for westerns but the same "justice" quality. Sure, Ceroba had tried to understand, but ultimately failed and Star himself had to explain to her why he'd been acting the way he did, after Showdown.

You don't want him to have pride in himself and feel cool for a single day, Ceroba? She mentions how he's never been as ecstatic as he was that day. So in other words, Star's always been a wild card when it came to the sheriff business but not THIS wild. Which I'm sure means how other monsters have always been his main focus, and not him acting all arrogant (ties in well with that "Nice Guy" archetype). Even the training didn't feel too crazy to me, tbh. He only locked Martlet up because of the potential of his town being shut down. It's a town that he's been working on for so long, the town that makes him feel like he's more than just a nobody. Plus, he says how locking Martlet up was only a temporary solution:

I feel like I've said this a million times before, but Starlo's not a bad guy or a jerk, he just wants to be appreciated and loved and understood. Yet even his closest friends couldn't put themselves in his shoes and think: Why? What's the true motivation of Star idolizing Clover? Of him apparently acting "out of hand"?

I'll post the last part of this huuuuge rant sometime soon

[toujokaname]

Card shuffle / Episode 9

Author: Akira

Characters: Hiiro, HiMERU, Kohaku, Niki

"As you rest on the bench, it's 'me' who will step in as your pinch hitter."

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Season: Winter

Location: MDM Stage

Ten minutes later. After hearing explanations from AkanP, each unit holds a strategy meeting.

Hiiro: —So!

The first round of Matrix, a ten-round contest to determine the better idols between ALKALOID and Crazy:B, is about to begin!

Everyone, let's give it our all!

HiMERU: Indeed. Despite feeling quite worn out already, HiMERU will do what needs to be done as a professional.

Kohaku: I'm scared of what's to come if I defy Hiiro-han...

Niki: Spare me from going without meals~!

Hiiro: Hehe. Since the first match is about "vocal ability," it means we'll be competing in singing skills.

Kohaku: Well, that's rather cut and dried.

HiMERU: Yes. It seems to be a familiar format in ES, similar to the DreamFes setup.

Hiiro: Umu. By the way, for Crazy:B, and ALKALOID, in each showdown—

In this case, the "vocal ability" showdown, we're free to choose several "representative players" at our discretion.

Of course, these representatives will be chosen from among the members of the unit.

In our case as Crazy:B—Hm, though I'm still getting used to saying that...

At maximum, we can have four members, me, HiMERU-san, Shiina-san, and Oukawa-san, as representatives of the team.

Kohaku: Normally, there'd be no reason to hold back. It'd make more sense to go all out with the full lineup.

HiMERU: True. Our Crazy:B songs are structured on the assumption of being sung by a full group, that is, four members.

If someone is absent, the burden on the other members increases, and their stage presence worsens proportionally.

Hiiro: Umu... But Matrix has a bit of a troubling rule.

The representative who participates in one day's match can't join as a player in the next match.

So, for example, if we use the full lineup this time, in the next match, we won't have any representative players available.

Niki: What happens in that case?

Hiiro: Naturally, if there are no representative players, it seems it'll be a forfeit. We'd lose without even competing in that match.

Kohaku: Uh-huh... That's pretty wasteful.

It means we could possibly snatch victory by sendin' just one player, but without any representatives, that possibility's nil.

Hiiro: Umu. By the way, in the ten-match series—in all ten matches, the content of the match will be announced in advance.

So, if we're not confident in that day's match, we should limit the number of representative players, save them, and challenge the next match with more people—

Those are the kinds of decisions that we should make.

That's what will lead to the final victory.

HiMERU: Looking at the bigger picture, it's necessary to strategically select the representative players.

Hiiro: Umu. And ultimately, after all ten matches, the unit with the most wins becomes the overall winner of Matrix.

Kohaku: Hm, hm. In those ten matches, there'll be times when we gotta make some tough calls, like intentionally throwin' matches where it's okay to lose.

It's like baseball. If you're so fixated on winnin' that you go all out every time, you'll unwittingly concede points, and wind up losin' in the end.

Hiiro: Umu. I think that instead of focusing on immediate victories each time, we should aim for an overall—ultimate victory.

Rather, in Matrix, that kind of approach is required.

Niki: Huuh~ Seems kinda complicated!

Kohaku: Ah, eyes that threw in the towel on tryin' to understand from the get-go...!

HiMERU: That's just fine, we'll handle the difficult stuff.

Fufu. HiMERU has reconsidered that AkanP a bit. Well, Anzu-san probably came up with most of the specific details.

Yes—It's not enough for an idol to just achieve instant results.

Of course, ideally, they should succeed every time. But ultimately, they should aim for a long-term, overall victory.

Being an idol is a life-long job. It's a career, after all. In the inevitable cycle of growth and decay, there's no such thing as a flower that is always in bloom.

HiMERU: No matter how successful an idol is, a single scandal could ruin everything.

And thus, such an idol will never be regarded as exceptional.

They should bloom beautifully when the time is right and avoid errors whenever feasible, so that in hindsight, they're remembered for leading a wonderful life—

That's the kind of "overall victory" one should be aiming for.

No, that's the kind of "outstanding idol" that deserves to be etched in history.

HiMERU: (...Isn't that right, Kaname?)

(While you're sleeping, your Onii-chan will do his utmost to let the entire world know that HiMERU was "an all-around wonderful idol.")

(As you rest on the bench, it's "me" who will step in as your pinch hitter.)

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[imperiuswrecked]

Namor & Dorma headcanons below the cut, a very long post, lol.

Answering a question on the Namor forum: Okay, lets do this, class. You have a 6 issue mini-series, the goal is to have a dramatic and impactful return of Dorma to 616 and the world of the Sub-Mariner. What do you do?

My reply is going off current continuity where Namor is sitting in a jail cell and combining my own fanfic ideas:

Issue 1 - Namor is in jail, a few panels, or maybe a page to set up history, summary of back story/current situation to get new readers up to speed, his thoughts on his past life, his love for Dorma, his people, his friends like Vashti, his regret over how things ended all those years ago with a teen Attuma, nothing too lore heavy or complex. It ends with a splash page ACTION moment of a loyal set of Atlantean royal guards lead by Andromeda to break him out of jail while explaining that Atlantis needs him. Namor's thought bubble/narration box would be "of course Atlantis needs me, and I will forever answer her call" he stands up and breaks the handcuffs holding him, proving that he could have gotten out at any time if he wanted, a prison guard tries to stop him and Namor makes him back down with a glare as he leaves with his guard following into the waiting Atlantean ship. He takes the seat at the helm and Andromeda gets him up to speed as they race towards Atlantis. The Black Tide has returned and they've been causing havoc in the seas for weeks. Atlantis is in shambles politically and literally. Namor arrives in Atlantis and there's a few panels of him thinking about how many times his people and city have been hurt, before he asks where the council members are, many of them are dead, his cousins Seth and Dara have been trying to hold the line but both are unable to run the kingdom efficiently and mount a offensive against the Black Tide. Namor asks about Vashti and is told he's been kidnapped by Attuma several months ago. He's angry no one came to get him before but ultimately blames himself for having a pity party and trying to placate the humans. He says they are going to get his Vizier back and leads a team to Attuma's last known location via their spy network, it's a trap of course, that Attuma has baited for Namor which Vashti tries to warn them about before Attuma's people emerge, lots of action/fighting, a showdown between Namor and Attuma ends with Namor holding his trident to Attuma's neck who smiles his shark smile and holds up his hands, yielding, Namor is confused, thinking it's another trap but Attuma releases Vashti to Namor to prove his intentions were to ensure that Namor wasn't a weak king because the task ahead needs strength and if he had found Namor lacking then he would have killed him here and now. What is the task? The Stone has been activated, it's warping the waters around it in a vortex of black magic and no one knows what to do to fix it, monsters are emerging from it, and something big is coming. Ends on a cliff hanger.

Issue 2 - We are at the Stone, a huge shadow emerges and Attuma and Namor prepare to face it together, not a happy team up they still insult and snark at each other but they need to face this threat, the shadow comes out and it's Ambrose, the old giant monster goldfish pet of Dorma. Both are stunned bc the creature disappeared decades ago. It indicates that Namor and Attuma should follow him into the vortex, and Namor leaves orders with Vashti to return with Andromeda and help Seth and Dara restabilize Atlantis, and give aid, and Attuma agrees to let his warriors go along to protect everyone from the Black Tide's return. Attuma and Namor buddy road trip into the black darkness of the vortex. Action scenes as they fight twisted sea monsters/people and navigate the other side of the veil they have stepped through. Throughout we get Attuma’s backstory/history of what happened to him after the Chasm people died, basically a way to mix in his other origin of being born into slavery, except he was taken as a teen into slave camps of the whatever sea people, like idk Lemurians or someone else, he spends years getting stronger until he causes a revolt and his loyal followers are the people he liberated from the camps. Attuma of course lays all the blame on the Atlanteans and Namor, and tells him once they finish this task then he will be marching on Atlantis while dragging Namor’s corpse with him as a trophy to show Atlantis their half breed false king is dead and now Attuma is the ruler. There is a presence of Great Power in this vortex world, that they are drawn to. Ends with a cliff hanger of them being confronted by the presence.

Issue 3 - Opens with a action scene as they fight the Great Power which takes the form of a shadow demonic woman, as they do they are given flashes of their pasts, their wrong deeds, their regrets, their happy memories become twisted into nightmares, their souls darken with hate and power, their bodies begin to transform like the other people/creatures who live in the Stone Vortex, cool art of the transformations as they descend into madness and evil caused by the stone/great presence. Through the haze of this corruption, Namor recognizes Dorma is the Great Power and he pulls on memories of happiness with her, their times growing up, their time spent loving each other, fighting side by side as partners, he clings to the memories even as Shadow!Dorma tries to twist them into bad memories, he shows her his mind/memories of her death, and how badly it affected him, how lost he was after she died, how he grieved for her. Namor opens his heart & mind to Dorma knowing that if he cannot reach her then she will corrupt him as Attuma’s corruption is nearly complete. Namor shares his deep love for Dorma who finally breaks free of the Stone’s influence and remembers herself, her past, she recalls all the power of the stone. Namor and Attuma shift back to normal as a swirling vortex of power and lights rotate around Dorma who’s eyes go black as she commands all the power of the stone to be stored inside herself and locks the power away. All is quiet as the vortex world is gone and they are back in the ocean having been transported into the throne room of Atlantis, where Attuma and Namor are kneeling before a newly resurrected Dorma who radiants with power, her eyes are black, and the rest of the court watches in awe at the return of their beloved queen. Namor stands and reaches for her, saying her name “Dorma… you’ve returned.” comic ends there with a to be continued cliff hanger.

Issue 4 - Dorma's issue, it begins with Dorma as a child being raised in Atlantis’s court, her seeing Namor being an outcast and befriending him, her teachings of magic, her history, her father is her only surviving family, basically this issue is a love letter to Dorma and cements her past, her death, and explains how the interaction with the stone when she was a teen created an unbreakable link between it and her soul, how the power was so great she didn't know how to use and she just figured that after the events of King in Black she lost her magic powers but it was just dormant and after Llyra murdered her, her soul was snapped back like a rubber band into the Stone where it was trapped for all these years, how she spent years learning it’s dark magic, and being lost to the darkness until Namor reminded her of who she was and the comic ends with her back in the present, with Namor reaching out to her. She has returned, the stone and her magic resurrecting her body, but she has used much of her power and she does not have the full access as she did in the shadow vortex, which means she has magic but it’s limited bc of her resurrection. Namor and Dorma have a very heavy moment of their reunion where they hug but just before they kiss the news of the Black Tide’s return causes panic in the throne room. Ends on a cliff hanger.

Issue 5 - Namor, Dorma, and Attuma are once again reunited in battle, a call back to their time together from King in Black. Dorma tells Namor her magic is spent but she picks up a sword and is still ready to fight, Namor picks up his trident, and Attuma has his own sword. They are joined by Attuma’s people, Andromeda and the castle guard, Lord’s Seth and Dara, and… Warlord Krang. He steps forward and takes Dorma’s hand, kissing the back of it, slimy as a eel and with a glint of hunger for power in his eyes he compliments Dorma, saying he’s missed her, and how he would lay his life down for her, pledging to be her guard and friend. Namor is not impressed but he has to deal with that later. Dorma is suspicious but accepts his sword arm for now. This will play into later issues/comics where Krang is loyal only to Dorma, and slowly tries to influence her to betray Namor & get with him, but for now he fights alongside them as they go to face the Black Tide. Big showdown page. As the sorceress Sycorax uses her powers to make dead sea people’s skeletons rise and fight against the heroes, each character, Namor, Dorma, Attuma, Seth & Dara, Krang, and Andromeda have close up fight shots as they battle the Black Tide. Andromeda saves AttumaÂ’s life, citing that she only did that because she needs him to help save Namor and not because she thinks of him as her father in a kindly manner, the tension between father and daughter is there but Attuma compliments her strength and says if she had been born a son she would have led his own armies. She is hurt by the rejection even though she thought she was over it but she turns her back on Attuma and gets back into the fight. Cliff hanger on Namor facing the Black Tide’s leader Kharsa.

Issue 6 - The Black Tide wants the Stone that is currently laying dormant in the center of the throne room (later it would be revealed the stone cannot be moved from its place and it becomes a constant reminder and a centerpiece of the throne room, suspended floating in a force field that no one can touch) and they want Lady Dorma because she now the key to controlling the Stone. Namor says they’ll never touch her and he would die to save Dorma because he cannot lose her again. Fight scenes, Fight scenes, and then Dorma is stabbed in the stomach, Namor screams Nooooo, thinking he has lost her after only just finding her again, he gathers her in his arms, and she touches his face, saying that she’s always loved him but she wasn’t ready to die just yet, she had so much to live for, she “dies” her eyes closing and Namor grieves again, but then her eyes shoot open, black power with cool effects fill them and she heals herself, and she cannot control herself, as she directs all her power towards her enemies, but even as she drives away the Black Tide who fear her power and flee, she still cannot stop her destruction, she is floating with a lot of power around her, and she could kill everyone around her if she isn’t stopped. Attuma screams at Namor to kill her, but Namor refuses, instead he throws himself at Dorma’s power, it eats away at his flesh as he swims closer to her, and he yells out for her to remember herself, she sees the harm she is doing to Namor and remembers him and herself. She cries out as she shuts down the power and collapses. As she recovers she states she cannot trust the power within herself but will work towards controlling it. Wrap up the story with Namor, Dorma, and Attuma saying their farewells, Attuma promising Namor that their temporary truce is over and the next time he sees them he will kill him. Dorma is welcomed back by Vashti, Seth, and Dara, and other court members, while Andromeda stands next to Namor and comments on her return, asking Namor if it’s really her, and he says it is. Namor thanks her for being a friend and for for keeping her duties as the captain of his guard, and comments on Attuma, she says that her father will never change no matter how much she might wish for it and she’s given up trying to get his acceptance. Andromeda then asks him if he will kill Dorma if she loses control again and he says nothing. Ends with Namor joining Dorma in the center of the court and taking her hand to lead her up towards his throne where they will take their place as the ocean's rulers, a wide shot on the court, celebrations ensue, and then a pan away to one of the court members slipping away, turning a corner, and transforming into Empress Llyra, she holds up a mirror and speaks into it, saying that her plans are just beginning. The shadow figure in the reflection laughs. Ends with the promise of Court intrigue and drama, Namor and Dorma slowly re establishing their romance, and dark high fantasy adventures.

And that's how Marvel should do it imo. Anyways I will be writing this more in depth for my fic someday.

[slightlyaboveaverageiq]

Connor and the Brat {Part 6}

A/N: And Brats name will be…Ravenna 🖤 Also, Ava is going to find this out before Connor how do we think we will feel about this? I loved the idea of Ava and Connor platonically I feel like when they started a relationship in the show it was just doomed from the start so they will stay platonic. I always saw Ava swinging both ways and one of my crack ships is Ava/Sarah so that will probably be the pairing. Also might have some slight Ava/Ravenna undertones but will ultimately be Connor/Ravenna.

It had been two weeks since Connor had seen Brat, and not for lack of trying on his part. He had gone up every day at all her meal time just o show he was still there for her only to be sent away by Sarah. Sarah also wasn’t too happy with him given that Brat had told her about the little showdown they had had in her room. So while she did give him information she did it reluctantly, feeling a sense of responsibility to her patient and not wanting to upset her. Brat was doing much better after that incident two weeks ago and as of today would be allowed 8 hour passes, all that means is someone who the team and Brat both approve of can take her out of the hospital for 8 hours and do things around the city but she has to be back by 10 pm. Connor had tried asking Sarah if he could be one to take Brat out for the day and Sarah had told him that while Brat was no longer angry with him she wasn’t ready to be alone with him yet, that someone else was taking her out for the day.

“Stop pouting Connor it’s unbecoming on you.” He turned to his left and saw Ava in her casual clothes and her done. He furrowed his eyebrows wondering why she would be all dressed up and in the hospital on her day off.

“I didn’t realize we had a miss doctors beauty pageant going on today.” Ava rolled her eyes and requested the visitor check in sheet from Maggie making sure to move it just out of Connors eyeline so he couldn’t see who she was visiting today.

“I didn’t dress up for you Dr. Rhodes, I’m here for Ravenna.” Before he could ask who Ravenna was he drew in a breath at seeing Brat get off the elevator with Sarah. She was wearing a long sleeved burnt orange dress that went all the way down to her ankles and some brown boots along with a jean jacket seeing as how it wasn’t too cold yet but she probably needed something more than just long sleeves. It looked like Sarah had helped her with her hair seeing as how patients weren’t allowed to use hot tools themselves but could have staff help them her long brown hair was curled and half up half down. That’s when it hit him, Brat was Ravenna. Brats name was Ravenna Scott.

”You’re staring at me.” And indeed he was because Ava gave him a harsh elbow to the gut and he quickly regained some sense of not being a creeper. She didn’t sound nor look angry at seeing him but the usual excitement was gone from her voice, he was just another doctor to her now and he didn’t know if he would rather her be angry or indifferent towards him.

“You look very pretty, I hear you’re able to go in day passes now.” Eesh, when did small talk become so awkward between them? Maybe when you decided to victim blame her Connor he accosted himself.

“Ava is taking me around the city of Chicago, I hadn’t lived here long before I well…ended up here.” That was interesting what could have made her want to completely uproot her life and come to Chicago of all places? Had someone close to her stepfather been bothering her? Awkward silence settled among the four of them before Ava announced she was going to get the car and Sarah was needed back upstairs leaving just the two of them alone. “You came back everyday, even after I told you not to.”

“I didn’t know what would make you more angry Brat, I just wanted you to know I was there for you.” She gave a small smile and shook her head at him.

“I wasn’t angry anymore, I was embarrassed with how I had acted. And then I realized that maybe I was too dependent on you and I need to branch out more. It wasn’t that I didn’t want to see you, I just wanted a chance to make other friends.” She wasn’t angry with him anymore, she hadn’t been angry for a long time, a sudden weight was lifted off of Connors chest.

“Does this mean you’ll let me come visit you again? Maybe take you out on your next day pass?” She giggled a little bit but nodded, he thought she looked so much prettier when she laughed.

“you’ll have to share time with everyone else down here too though. Maggie, April, Will and Natalie have all visited me over the past two weeks and have asked to come visit me more. And I can only have one visitor a day.” Connors eyes grew wide he didn’t know anyone else even knew about Brat, why hadn’t anyone told him she wasn’t angry with him anymore.

“And Ava has come to see you and is taking you on a trip.” She shrugged her shoulders and he could see a faint blush coloring her cheeks.

“She’s pretty but I think she likes Dr. Reese and is taking me out as a favor to her.” Did Brat have a little crush on Ava? She was his brat first and Ava would have to make do with Sarah. Speak of the devil and she shall appear Ava came back and asked Brat if she was ready to go. Brat walked on ahead of her and Ava tugged on his scrubs so he would bend down to her level.

“Don’t scare her off again, mind your business unless she asks you to get involved. She doesn’t need a knight in shinning armor Connor she needs stability.”

[envy-and-pride]

Maiden Rose & Berserk - The Authors who just Couldn't Do It

I've been complaining ever since Inariya Fusanosuke went out of hiatus a couple years ago that her story is stagnating too much.

Before her hiatus the story was progressing at its own back and forth, "toying with it" pace. The whole point of the story was to get Taki to a place where he could move past his learned social inhibitions and enjoy his sex life and relationship with Klaus, someone who gives exactly 0 shit about the superbly and uselessly complex social expectations of Japan Taki's homeland.

So there's a lot of back and forth, we see first how Taki and Klaus even become entangled in the first place, we see them explore, we see Taki getting vaguely tempted and just indulging and discovering, then it's return to the homeland "back to being inhibited" mode, and we see Taki hiding big time and Klaus banging at the door trying to get him out.

This part of the story is pretty much the author's consciousness going around and toying with the idea of coming out, getting close to the idea, refusing (and thus being repelled away), and then getting back to the idea anyway. That's why she has Klaus always come back to Taki anyway.

But then, that's not the only story with the same back and forth "I just can't fucking commit" kind of dynamic. Berserk had the exact same problem, and that problem was so damn bad, the entire story got completely discontinued, until finally the author simply died.

In my opinion, Berserk was about a pretty similar process as in Maiden Rose: opening up, and transcending something that's holding you down. For Taki/the author, that's social sexual inhibitions. For Guts/Kentaro Miura, that was also his own sex issues and being able to open up and connect to someone from that level.

Berserk goes just a little farther than Maiden Rose, in that Kentaro Miura went and stared down what he was supposed to do right in the face.

In chapter 46 to 47, we have Guts enjoying a nice little flashback and nervous breakdown of his own traumas.

But I couldn't help but sense that there was a pulling away on his end when he did, specifically exactly at the moment Guts moved away from Casca after he ended up strangling her.

Guts had that one job of connecting to his chosen love interest, the female character created almost literally for that purpose, but when the time came for it, I feel like he just, backed away. Like he was just repelled away from the issue and he just ultimately couldn't do it.

Straight after that the entire story basically goes to shit and Casca is sidelined in the most disgusting, and my god unrealistic way possible, and she remains sidelined up until this day. With the author being dead, it's unlikely anything else will come out of it.

At the end of the day, these are and were two authors trying to approach seriously crippling and traumatic stuff. I'd be willing to bet the author of Maiden Rose went through some form of sexual trauma, and I'm fairly almost 100% sure Kentaro Miura also went through something even more straightforward. It doesn't surprise me that the author with the heaviest load died with the story unfinished, and that he couldn't approach the subject anymore after attempting it the first time.

That being said, it's seriously fucking frustrating from a story-telling and narrative point of view. Watching Casca getting grossly sidelined and treated the way she was all of the sake of not approaching the topic again I felt was disgusting. And waiting around while Inariya Fusanosuke keeps using violence to draw out her own desires is making me want to ask "well, I get it, but when will you be getting to it, then? When will you finally get to the point?"

Although, regarding Maiden Rose, with the latest chapter's showdown between Klaus and Suguri where Suguri asks Klaus to take Taki away if he ever was to lose himself in all of the politicking, I'm having hope for the story to finally be going somewhere—it seems even the author can sniff herself making a bad decision she doesn't want make, and already promising herself to take her self-insert away if it'd ever get to that.

While I completely get their inability to approach the very subject they created their story for: healing, I just also seriously wish they'd come to terms with what they need to face, and would finally put the matter to rest once and for all.

[darkjanet2]

Sonic Adventure 2: Sonadow

Chapter 20: Shadow’s Sacrifice

Outside the space, Super Sonic and Super Shadow were facing Biolizard, now The Final Hazard. It was going to be an epic battle. The Ultimate Lifeform and his counterpart were ready to battle against the prototype for their final showdown.

A communicator buzzed in. “Sonic, Shadow, can you hear me?” It was Tails’ voice. "Everyone is here rooting for you. Good luck!"

Sonic and Shadow began to fight the monster together. They worked as a team, taking out Final Hazard from all angles. “Let’s see what this new form does,” Sonic said. He sent out a barrage of energy blasts at Final Hazard as it roared painfully. The monster opened its mouth to fire a laser at Sonic, but he dodged with ease.

“I don’t like this, but we need to end this quickly before the damage gets too critical," said Sonic.

The two hedgehogs attacked simultaneously, blasting Final Hazard into a massive blast of yellow light. A large explosion rocked the area, knocking them back, but the light eventually subsided.

"Sonic, Shadow, can you hear me? He's very weak without his life support system. Aim for the red swelling areas to damage him! You're our last hope!" said Eggman.

Sonic nodded, "Got it."

"Leave this to me," said Shadow as he dashed off to go after Final Hazard. He raised his hand to shoot another burst of energy at the creature. "Chaos Blast!!" He released a beam that exploded against Final Hazard. The monster roared in agony.

Shadow winced in pain. His energy blasts hadn't been much help on top of that, but he didn't let this show.

"You okay, Shadow?" asked Sonic.

"I'm fine. Just hit my limit, that's all. But this should be enough." said Shadow.

"Let's finish it up fast then," said Sonic. "It looks like he won't be able to survive that anymore. Finish it quickly and I'll take care of him."

"Okay," said Shadow.

"Sonic, Shadow!" It was Knuckles' voice in the communicator. "The colony is heading close to Earth in about 4 minutes! Hurry!"

"We haven't got much time left! You do the blast, and I'll do the homing attack," said Sonic.

Shadow nodded, and then they charged at the Final Hazard at full speed. Shadow shot his own blast toward the monster, aiming for a mass where a few tendrils had appeared. And Sonic curled himself into a ball and hit the red swellings on its back. He was able to cause some pain, Final Hazard roared painfully.

'Maria... watch me. I will fulfill your wish!' thought Shadow. "CHAOS SPEARS!!" he threw the yellow arrow-like spears at the monster’s back. They penetrated the monster and struck several organs, causing more suffering. Final Hazard roared painfully.

"That was great, Shadow!" cheered Sonic, giving him the thumbs up.

Shadow smiled and replied, "Thanks."

"You guys!" It was Rouge's voice as a communicator. "The colony is getting close to the planet in 1 minute! Please hurry!"

They flashed and appeared in front of the space colony and they held out their hands.

"No way that's getting through!" yelled Sonic.

A girl's voice was heard from Shadow's mind.

'Shadow... I beg of you.'

"Maria...?" whispered Shadow, confused. "Maria, is that you?"

‘Shadow... Give them a chance to be happy. Please take care of the village and protect everyone. Make sure that everyone survives…’ said Maria's voice.

Shadow closed his eyes and came back to the reality.

"Now, Shadow!!" yelled Sonic.

"CHAOS CONTROL!!" both yelled in unison.

The beam of white light engulfed Final Hazard, and it was completely destroyed. The colony ARK was above the Earth. Far, far above the Earth, and the planet was saved.

Inside the Space Colony, they were cheering and celebrating. They hugged each other and celebrated the victory, and they looked at all of the surviving residents. They were all so excited, and even though it had just happened, they felt like it was just yesterday. The moment they saw each other, they realized how much they missed one another.

“They did it!" exclaimed Tails.

*Outside the space*

Sonic laughed, "We did it, Shadow!"

No responded.

"Shadow?" He turned around to Shadow was exhausted and his breathing was shallow. Sonic flew to Shadow to check on him and placed his palm on Shadow's face, making him open his eyes. "Shadow, what's wrong? You okay?" he asked softly.

"Sonic..." Shadow murmured. His super form was depleted back to his original form, and he slipped unconscious from falling to the Earth.

"Shadow!!" Sonic cried, flying down after him. He was trying to catch Shadow, but he was a meter away from him.

"Shadow, wake up!! Wake up, dammit!!" Sonic cried.

He was unresponsive as Sonic used his full speed to fly toward him trying to catch him. But when Sonic was close enough, he managed to grab one of his hands from the gravity.

'C'mon! Just a little more!' thought Sonic, trying to reach him.

One of the Inhibitor Rings flew out of Shadow's wrist and Sonic grabbed it. Shadow was far away from him and it was too late to save him.

'Maria... Is this enough...?' Shadow asked in thought. 'This is what you wanted... right? This is my promise I made to you...' He spoke his final words as he fell down to the planet and disappeared with a flash.

Sonic stood there in outer space, hanging his head down, defeated. 'Why couldn't I save him?! Why am I such an awful friend..!?' he cried in thought, gripping his ring tightly in his hand.

Sonic screamed at the top of his lungs in despair, and then he cried uncontrollably. He was gone. His lover was gone, and now Sonic had to deal with being all alone. It was his first love since he met him in the city when the G.U.N. mistook Sonic for stealing Chaos Emerald from the museum. Now that Shadow was gone, Sonic was alone again. Sonic felt lonely, abandoned, hurt... And he hated it. He hated his fate and he hated everything about it. After a while, Sonic collected himself and flew back to the ARK.

[kriosv]

My thoughts on MK1(2) story mode

I don't want this too sound too negative. I did have a lot of fun with the batshit that was the final chapter. It was insane and fun and cool to see all those cameos.

But it wasn't what I wanted. When the first trailer came out, I was looking forward to a Back to Basics story. And we got that for the first chunk of the story, and it was really good. They created a new crew that I was interested in. Johnny and Kenshi teaming up with Ashrah, Syzoth, and Baraka? I didn't know that kind of random crew could be so cool. I just wanted more of that.

And then the story just threw out every character I had grown attached to. Threw them out and replaced them with a hundred new characters who were all killed off in a few seconds and forgotten a few seconds later. Sure, it was a spectacle, and I loved watching it. But at that point, I no longer cared. Even Shang Tsung was a disappointing final boss. I grew to care about the new Shang Tsung as a threat, and I no longer care about this one.

If it wasn't for the short epilogue, Every single character arc would have been thrown away. Most were. Bi-han, Kuai Liang, Ashrah, Syzoth, Barakah, Smoke, all characters I cared about who's stories were forgotten.

It wouldn't have mattered to me if the characters or their stories sucked. But they didn't. I truly wanted to see what happened to them. And they were all forgotten. Why write characters at all? Why give them the start of character arcs and foreshadowing their conclusion? If all you wanted to write was a big spectacle, then why did you bother with the first half of the game?

I feel cheated. Every character I came to this story rooting for was forgotten. I never got to see the finale of the story I started watching, and instead saw a high budget version of the Ultimate Showdown with the Fusion OCs I never returned to after 9th grade.

MK9's time travel story worked because at the center of it was Raiden and Lui Kang. Despite the cosmic scale of everything, it was the story about a man solely focused on a goal he keeps failing at, and a devotee realizing his God didn't know what he was doing.

MKX was the best story of the NT, because it was focused on itself. I loved all the characters introduced. Kotal and his krew, the Kombat Kids, it dealt very little with the timeline and focused on the characters themselves.

MK11 was not as good as X, but it did do some things right with the time travel element. The focus of the story mode was on how the characters reacted to it. I know Kronika isn't the most liked character, but she worked. Because the focus was more on how everyone reacted to what she did. I can remember so many feelings from the Kids interacting with the 9 krew, the 9 krew reacting to their future, that's what made it special. Sure, the climax similarly threw away a lot of characters, but it felt a lot less egregious because we had been following Lui Kang for three games and this was his climax.

And It should have been his last climax. I spent the first chapter following Kung Lao and Raiden. Johnny Cage was in almost every chapter after that in a major way. And yet, we never saw the climax to their story. We hear them talk about it, but we never see it.

I was robbed of the ending of the story I was invested in.

I know this sounds really negative, but I did really enjoy the story and the climax was a fun spectacle to watch. I just needed to get this rant off my chest.

[pokehexdex]

I ran a March Madness bracket and apparently we all love Skeledirge

Last month I set out to find which final evolution Starter Pokémon was the most popular (at least among my followers). Each day, I put 2 Pokémon up against each other in a March Madness-style voting bracket, and asked people to vote for which one they liked the most, ultimately culminating in a final showdown between (theoretically) the two most popular Pokémon. In the end, Skeledirge came out on top - but there were certainly some surprises along the way!

Check out the full post

[thisisme16]

First Contact: Ch. 1

A group of friends were playing video games like every other evening when it happened. They were laughing and playfully taunting each other.

Daniel: Bomb's away!

Jericho: Oh, come on! That's not fair!

Daniel: All's fair in Smash Bros, Jer!

Charlie: Oh? Even this?

The TV screen showed a typical Super Smash Bros Ultimate match. Charlie's Ike proceeds to smash Daniel's Samus off the ring. Daniel: Dude!

Jericho: Haha! Hashtag Justice for Kirby!

Meanwhile, a Pikachu and a Mewtwo were having their own duel.

Jessica: You want some of this?!

Matthew: No, thank you!

A white poodle laying by Jessica's feet barked happily, wanting to be included.

The match continued in the same fashion until there was only Samus and Pikachu left. Each at one life left. The showdown had begun.

Charlie: No, not Pikachu and Samus! They're supposed to be friends!

Jessica: You can be friends with someone and still kick their ass!

Daniel: I am SO glad you said that!

His Samus immediately cracked a smash ball open, giving her her ultimate smash.

Jericho: Take cover!

Jessica: Ack! Abort, Peeky! Abort!

Daniel: Nobody escapes the ULTIMATE SMASH!

And then it happened. A massive explosion a short distance from the house. The sound and aftershocks shook the building. The group were stunned into silence. The poodle began to bark loudly.

Matthew: What the hell was that?

Daniel: I swear that wasn't me.

Charlie looked out the window.

Charlie: Was that a meteor?

Jericho: It must have been. That was huge!

After Jessica calmed her dog down, she and Daniel joined Charlie at the window.

Daniel: It must have landed close by. Wanna check it out?

Matthew: Shouldn't we call someone first?

Jericho: I don't know who to call when a meteor hits.

Jessica: 911?

Charlie: It's not exactly an emergency. ...How about this? We'll go take a look. If there's a fire, then we'll call 911.

The gang agreed and gathered their spring jackets.

Jessica: Noodles, you're in charge until we get back.

The poodle woofed his affirmation. He watched through the window as the group climbed into an old pickup truck and drove toward the small forest where the explosion came from. After a short drive, they arrived at the tree line. One by one they hopped out of the vehilcle.

Jericho: If it is a meteor, I call dibs!

Jessica: Pfft. Good luck dragging it back home.

Jericho: I have my ways.

Charlie reached back into the truck and gathered some masks. Covid was winding down, but the group of friends always made sure to have a healthy supply just in case. He passed them out to the others.

Jessica: Never thought I'd use these for smoke.

Matthew: I think I see smoke from that direction.

They set off in the direction he indicated. After a few minutes of walking, the group came across a life-changing sight. There was some kind of futuristic looking pod that was broken in half, but it was the unconscious residents surrounding the pod that demanded attention. Each one more vastly different than the last. There was only one conclusion.

Aliens.

~~~

Finally got around to setting up the first part of one of my Mass Effect AUs! The beginning is a little clunky in my opinion but I think the story picks up quickly afterward. OCD was really kicking my ass today so getting this update done was a real struggle. But the important thing is that I did it anyway!