#what even was that final antagonist and fight? what?

[wildxenomorph]

Ok so I saw sonic the hedgehog 3 last night and I want spill my thoughts

SPOILERS BELOW

I really liked that Shadow was explicitly described and portrayed as a kid—he’s Sonic’s age (minus the 50 years in stasis, where he clearly didn’t age physically or mentally)… he was manipulated by Peepaw Robotnik, he was a hurt child that was used by the govt and later someone he considered something akin to family………

Anyway that scene of sonic and shadow sitting on the moon… ahh damn it makes me tear up to think about

Also I like that sonic isn’t perfect—I like that he decides he needs the use the master emerald, he goes back on his promise with knuckles and tails and is ready to actively fight his friends to get to it, both to stop the evildoers and to get revenge for his/their father… he leaves his team after promising they would always work together, and he realizes that what he’s doing is wrong, realized that killing shadow wouldn’t make Tom better, it wouldn’t reverse what happened, and it would only make him regret taking a life

And seeing that compassion, that ability to make a difficult choice, even in emotional turmoil, has such a profound effect on shadow, because suddenly he’s seeing someone going through something similar to him, who begins responding like him before… not. He sees an option, a path, that previously wasn’t even considered—forgiveness, moving on… etc

I also like that knuckles calls sonic out when they square up over the master emerald. He explicitly tells Sonic that he’s in no mental state to make such a drastic decision, but he trusts Sonic enough that he lets him get the emerald anyway, and despite not agreeing with his choice he still turns up with tails to help out at the end.

I really hope that shadow is not just dead now, though, because clearly they plan to continue this film series (metal Sonic and Amy seem to be coming next, based on the after credits scene)… I’d like to see shadow pulled into Sonic’s funky little family with two parent humans, a dog, and a handful of mutant alien animals…

Let shadow learn how to have a family again, to move on, to honor and remember Maria but live a fulfilling life because it would’ve made her happy to see him happy

Also let him get some mfing therapy

Oh, also, I really appreciate that they used the super shadow coloring from sonic adventure 2, where shadow is more of a silver-gold rather than the bright yellow-gold of sonic (shadow’s coloring is way more like Sonic’s in the shadow the hedgehog game, and I kind of hate it)

Really my only complaint: about the film, besides them not hinting at or showing shadow surviving (please don’t kill my blorbo) {Edit; I have since seen a second end credit scene that I missed—thank you to everyone for sharing!! My boy lives!!!), is the fact that Rouge is just not around… which like, she absolutely wasn’t necessary, plenty of characters are/were omitted but I feel like with the pattern of introducing characters in pairs (Tails and Knuckles in 2, Metal Sonic and Amy in presumably 4), it’s weird that Shadow didn’t have some other character introduced in the same movie… Rouge could have helped with the infiltration of G.U.N., for example… but again she’s not necessary and it doesn’t really take away from the movie.

Final complaint is the G.U.N. lady, her name escapes me… the one who acted as essentially a secondary antagonist and was trying to secure the weapon keys. Tom gets the key from her by impersonating the other G.U.N. guy who died, and that’s the last we see of her!! Feels unresolved imo (though I wouldn’t be surprised if we see her again in 4, perhaps accusing Sonic of crimes committed by metal, maybe leading to a similar city escape-framed by lookalike situation that happens in adventure 2 with Sonic and shadow)…

Oh and last thing: I do think the movie spent a bit too much time on the Robotnik’s… it could’ve used a bit more shadow screen time imo…

And those are my unorganized thoughts fkejjdjndidkejs fun movie def recommend watching it

[amber-in-the-rough]

why would Aaravos want a mortal vessel?

alright, so

I've watched the new season. I've already screamed and cried and rolled under the table and I have one final question left.

Why would Aaravos want a mortal vessel? Especially now, when the Archdragons are gone. He is supposed to be infinitely stronger than any other being on Xadia. Supposed to, yeah. Did you see the so called 'master of all six primal sources' show off his mastery more than once? Because I didn't. And it pisses me off beyond measure because it really seems like bad writing to me. He just fucking didn't do anything, just stood there, waiting for his enemies to charge at him. He was easily overcome by fucking human chains and ballistas- and one archdragon- when we were said that in the past he could easily hold off against all of them! Damn. Imo, Aaravos was seriously downplayed this season.

I know, perhaps this was his plan- to get himself killed and take all of the archdragons with him. Even so, he should've put up more of a fight. NOT JUST STAND THERE WAITING TO BE SMACKED!

And still why? Why want Callum as a mortal vessel? It doesn't make any sense. Maybe the Star Council or what's they're called- maybe they have a restriction prohibiting them to hurt mortals? Which sounds rather stupid but it's the only explanation I can think of.

The creators tried to do the build-up for arc 3 and in doing so they rushed and blurred the arc 2 finale. Putting together the archdragon drama, killing Aaravos drama and Rayllum drama was a mistake. Neither got fully developed. And were they seriously trying to tell us that the main cast would have survived the nuclear burst explosion of a star while being protected only by Domina's wings??? What are the wicked things even made of?? Oceanic mithril???

The final showdown felt like a series of Chekhov's guns which never fired. They just made a lot of drama around them, then showed them to us and- that's it. I suppose, Aaravos's plan was to get stabbed by the Nova blade, then take over Callum's body (for whatever reason) as his giant form was being destroyed. But then- we return to the question of why move to another body when there's nothing stopping Ezran from stabbing Aaravos in Callum's body (aside from their brotherly bond but that's no big deal, he just needs to ask Soren or whatever-).

As a result, we got Ezran with a Nova blade which never got to be used- Callum with his coin spell which was interrupted halfway because Aaravos got charged at by a dragon and Callum's gunsight was broken??? ??? That's- I'll be honest, this is so dumb. No Nova, no dark magic. Why even bring that at all?

And finally, what did Aaravos even die from? He did not sustain any lethal damage. When Zubeia and Avizandum were lifting him up (and yes, why didn't he stop them? did he forget all of his spells and telekinesis as well??), what were they thinking?.. What were they gonna do? It looked like they were about to drop him but- this is also so dumb. I don't think that would have worked because if Aaravos is so easy to kill- Why the fuck didn't they kill him 300 years ago??? "Didn't want to?". God damn.

I won't believe that Aaravos didn't have the power to take down the archdragons and that's why he simply decided it would be easier to go boom and set off the rebirth cycle. I refuse to believe that he is so weak. After all, one, he already killed two archdragons and that went fine. And two, even humans managed to kill one! They even survived!

Overall, I am absolutely in love with the first half of the season. I loved all the conflict everywhere, the part in Silvergrove was wonderful, felt like a real holiday- The adventures of Claudia and Co were also very exciting to watch!

But after that... It got rushed, blurred and very, very odd.

At least we got a white streak Callum. And a whole lot of 1 (one) interaction between Aaravos and Callum. That's an achievement, yeah. I love when the main protagonist and the main antagonist only have two interactions throughout all of the seasons (no, I don't, I fucking hate it).

That would be all. This is entirely my humble and angry opinion so- you are welcome to disagree. But I will stand my ground. This went very oddly and some parts I unfortunately didn't like. But I am all in for arc 3. Even angry and a little disappointed, I still fucking love this show and would be more than excited to see how it all goes from here. We still have so much to learn and see. The cube, Claudia, Rayllum, Elarion, grown up and talking Zym (it was such a twist!), Harrow in a bird... Please let us see this! Please, Netflix! Aaravos is not defeated, he merely retreated, please let us see how they'll deal with him in seven years!

[shoechoe]

When I was a little kid, Scooby Doo: Mystery Incorporated was my favorite incarnation of Scooby Doo. I would watch it over and over. Even as my memory of it faded I always just kind of regarded Mystery Inc. as the best thing from the franchise by far.

I just finished rewatching it today and I am so angry. That was fucking terrible, what the hell?

[leatherbookmark]

oh god okay i understand that maybe not everyone is as indecisive/comfortable with saying "it depends!" as me, but like, i'm sorry, i'm sorry, but i just can't take people who call izzy a villain seriously

[deus-and-the-machina]

I definitely get being torn about TOH finale bc it was amazing in many areas and the crew worked so hard to get it all together so if there was something you didn’t like about it it’s a bit of a guilty feeling and whatnot, while also understanding that they couldn’t do all they wanted and stuff. I’m mostly just glad we can come together and celebrate this amazing show.

But I do find it annoying if someone goes “well if you didnt like this thing you just don’t get the themes and purposes” like. sometimes I do get what they were going for but it wasn’t to my liking ok. It having meaning does not mean it must be liked, and also maybe it doesn’t have a meaning, maybe it was just because Disney cut it short so they needed to wrap it up early and couldn’t elaborate. It’s ok to admit that.

Most of all I’m just so glad the crew was able to get it done after being sabotaged through everything

[luna-azzurra]

How to Create A Villain

The best villains? They don’t even see themselves as the bad guys. They’re 100% convinced that what they’re doing is right, even if it’s messed up. Maybe they’re trying to “save the world” by doing something super questionable, or they think enforcing strict rules is the only way to keep society in check. They truly believe they’re the hero of their own story, which makes them way more interesting and real.

And Yeah, your villain might want power, but the real question is: Why? Were they humiliated in the past and now want control? Did they grow up powerless and now crave it to avoid being vulnerable again? When you dig into their backstory and show us why they’re doing horrible things, it makes them a lot more relatable—even if they’re totally wrong.

Flat, one-note villains are boring. If your antagonist is going to stick with people, they need depth. Show us what’s going on under the surface. Maybe they lie awake at night, doubting their choices, or they’re still haunted by a massive failure that’s pushing them toward their goal. A villain with personal struggles and vulnerabilities feels way more human and way harder to fully

A great Villain doesn’t just fight the hero, they reflect them. They might have totally different goals, but at their core, they share similar traits, maybe ambition, stubbornness, or a tragic backstory. When the hero looks at the villain, they should see a bit of themselves, and that’s what makes the conflict between them so intense.

When the villain finally goes down, it should feel big. Their defeat shouldn’t just be a fight, it should hit them emotionally. Ideally, their downfall comes from their own flaws, maybe they got too arrogant or made a mistake because of their obsessive goal. The best villain defeats leave the audience feeling a little sad or conflicted, not just happy for the hero’s win.

[allseeingdirt]

everytime i think about kath for too long especially when considering the wider picture im like. ngeremes plastik

[tobiasdrake]

Which DBZ antagonist do you like the most?

Boring opinion, I know, but I gotta give it up for the Obvious Choice.

And I'm not just saying that because I haven't had a chance to talk about him yet.

Frieza runs a real estate empire that carries out genocidal acts of gentrification, purging tracts of land of their native inhabitants so he can sell their land for profit. Commenting on this choice for his ultimate villain, Akira Toriyama stated that he made this decision because real estate speculators are the worst people there are.

Fucking based.

From the moment we meet Frieza, he is a monster. Toriyama likes this Big Guy Little Guy dynamic where the Little Guy is the one you really need to watch out for. Frieza is the Littlest Guy ever.

He's so tiny. And yet you know exactly who the most dangerous person in this group is. Zero question.

By the end of this altercation, Frieza reveals one of his signature attacks, giving us our first glimpse of the kind of person and the kind of fighter he is. This is such an important moment for his character and I'm kinda mad that the anime had Dodoria do it instead.

Muri destroys the Scouters and blinds Frieza. I've talked before at length about the devastating impact that this move and the Namekian warriors' attack has on Frieza's campaign.

But once it's done, he has to face the music. He's not getting out of this alive.

In one last desperation play, Muri tells Cargo and Dende to run while blocking them with his body. And that's when it happens.

This is Frieza.

Specifically, this is Frieza's Death Beam. It's never actually given a name, but is generally referred to as Death Beam. We've seen a move like this only once before.

The Dodonpa, signature technique of Tsuru-senryu, first introduced by the assassin Taopaipai, was built for extreme lethality. This is not a technique for fighting; It's a technique for killing.

What makes Frieza's Death Beam stand out from the Dodonpa, however, is its accuracy and its speed. He threads the needle around Muri to hit Cargo before anyone even has a chance to react.

We see its accuracy and speed again six days later, when it finally catches up to the other child fleeing from him here.

The panelwork here calling attention to everyone's reactions as Frieza's ki bullet shoots past them, as his shot threads the needle between all obstacles in his path to strike his target far behind them. Dende is dead before anyone can even process that Frieza fired.

This is the difference between the two techniques. The Dodonpa is a gun. The Death Beam is a sniper rifle. Faced with the physical hurdle of bodies impeding his path, Frieza point-clicked Cargo and Dende to death.

He later executes Vegeta this same way.

Done with you.

All of this context for Frieza's sniping shot serves to set up the stunning subversion when Goku arrives to fight.

Frieza's never seen this before. Goku shouldn't even be able to see the shots coming until they've perforated his lungs. That's how Death Beam works. It's this moment that lays it out: Frieza's about to be tested like he's never been tested before.

Speaking of cool techniques, I've always been partial to this move from his Third Form.

The anime gives Frieza little ki bullets coming out of his fingers but I want to note that we never see a physical projectile when he's doing this. Frieza jams his fingers back and forth in the air while something pulverizes Piccolo.

I've always imagined he's poking the air so fast that it's hitting Piccolo with pressurized air currents. Similar to Goku's Mazoku air current punch from the 23rd Tenkaichi Budokai.

But that's just me.

In any case, Frieza's got some fun moves. He's something of a hobbyist martial artist. Which is to say, Frieza has an interest in martial arts. In addition to his Death Beam, Frieza's concocted a litany of other interesting techniques.

He even invented the Kienzan, independently of Krillin.

Though he can remote operate his Kienzan so it's strictly better than Krillin's. Frieza, in his spare time, has come up with a bunch of cool moves. Too bad he has no idea how to use them.

Frieza's greatest weakness is his inexperience. He practices martial arts the way a business CEO who bought a log splitter so he can cut some wood and feel woodsy practices agriculture. Frieza has never had a proper chance to truly experience martial arts, because he was born too powerful.

The only partner who's ever even dirtied his skin was his dad.

And even that isn't much. Frieza's too strong. He wants to pursue martial arts. He wants to hone his technique. But when you win every fight by blinking too hard in the opponent's direction, what even is there to practice?

Frieza created a transformation to seal away his immeasurable ki because he was born with so much ki flowing from him that he can't even contain it. At his peak, Frieza's ki bleeds out of him. He simply can't contain it.

Goku wonders aloud why Frieza took so long, even after the fight turned against him, to go to 100%. Frieza's been all "Oh I'm only using 10% power this is my 50% you made me go to 75%" and Goku's like, "Okay. My dude. What's this about, for real?

This, incidentally, is not a great translation. What Goku's saying here is supposed to be basically, "Perhaps when you use your full power, your body can't handle it."

He is correct.

Frieza's Full Power has a lot in common with Super Saiyan 3. His theoretical maximum ability is wildly different from the reality of what he's capable of, because he bleeds ki like it's going out of style.

So, while other characters wound up earning transformations that make them more powerful, Frieza created a transformation to seal away some of his incomprehensible ki.

Then he created a couple more because even though he could now control his strength and even manipulate the amount of ki he's releasing at a time, he was still too powerful for anyone to ever compete with and needed even more ki sealed away.

Again, not a fantastic translation from the people who brought us "bottom-tier boy", as Frieza's statement here could be interpreted as saying that he gets taken by a berserker rage or something.

What he's saying is more like, "My power is so great that I can't properly contain it."

Point is, Frieza transformed to lock down his ki and seal parts of it away, so he could control the rest better. Then he kept going, locking away more and more and more of his ki. And even at his most nerfed, he's still five times more powerful than the Second Strongest Guy in the Universe.

Frieza has never in his life had the opportunity to be pushed. That's what makes Goku so enthralling to him.

Frieza plays with Goku because he's genuinely having the time of his life. This guy can fight him in his Final Form. Nobody can fight him in his Final Form. He's so happy, he straight-up forgets that he's trying to complete a genocide against Goku's entire race.

He said that five minutes ago. Gohan's hidden power freaked Frieza the fuck out. Saiyans are too strong now. They've gotten too strong. Frieza cannot permit them to keep existing because they're getting strong. Every last Saiyan, every last one, must die. Every single one. Scorched earth, no survivors.

But then he meets a Saiyan martial artist who's a technical master and pushes him more than he ever thought possible and suddenly:

He goes from "Saiyans are TOO STRONG and they all must die because they might threaten me" to "OH MY GOD I'M HAVING SO MUCH FUN CAN I KEEP YOU!?"

It's this desire for a true rival, this opportunity to satisfy his amateur's curiosity about martial arts, that ultimately unravels him. Frieza has one ruthless and pragmatic option for ending this fight once it starts to be too much for him. He can technically stop the fight any time he wants.

But he can't bring himself to do it. He wants to fight. He wants to compete. Frieza's been on the outside looking in at martial arts for his entire life and even when his greatest fears are fulfilled and the Super Saiyan is in front of him, he wants to try.

So when he does attempt to pull his Lethal Ragequit, he pulls back at the last second. He can't bring himself to do it. Goku initially assesses that Frieza held back out of fear of hurting himself.

But later, as Frieza begins unlocking the final chains on his ki, Goku changes his assessment. Noting that if Frieza really held back simply out of a mistake, he could have shot the planet again at any point to finish the job. He's been letting this play out because he can't bring himself to end the greatest fight of his life that way.

This fight is still happening because Frieza wants to compete. I mean, he wants to win, of course, but he wants to win as a martial artist. He's never truly gotten to be a martial artist before.

He is not the guy winning the gold medal at the Tenkaichi Budokai. He has never been that guy. He's the guy who buys up the land the Tenkaichi Budokai is held on and then bulldozes all the people off of it. But in his heart of hearts, he wants to be that guy. That guy is so cool. Frieza wants to play too.

In a sense, by hosting the Cell Games, Cell got to live Frieza's greatest fantasy.

This is who Frieza is. He's the cruel and wicked heir to Genocide Realtors Inc., who is in love with the idea of being Tenshinhan - A desire that exists at odds with - and undermines - his pragmatic business sense, so to speak.

He is the most vile character in the history of Dragon Ball. The worst kind of person. He is also an overeager child whose wealth and privilege prevents him from ever truly enjoying his hobbies, to an extent that he'd be almost pitiable but for all the genocides.

And he is Dragon Ball's greatest villain.

[call-me-strega]

Dc x Dp Prompt #3: Of Apples and Academic Frenemies

Au where Jason and Danny are attending the same college course on mythology and classical literature and they are always getting into debates about the depictions of the characters and the historical context of stories and stuff bc the both have a different exposure to the myths. Like Jason knows literal demigods and Amazons but Danny knows Pandora and the Greek myth related ghosts plus time travel from Clockwork and the infi-map. The debates can get heated at times but the respect each others intellectual takes.

This creates a peculiar situation where everyone in the class thinks they are academic rivals who hate each other (except for the few with their shipping goggles on and sense the homoerotic tension underlying their debates) and are deeply invested in watching them interact like their own personal drama even thought at this point in time they are at best friendly acquaintances and at worst annoying classmates.

Jason rants to his family about his debate partner/rival bc he’s happy to have some who will talk to him ad-nauseam abt this stuff but also bc he wants to complain about how Danny's a “smart but annoying little twink who’s got some real audacity”. And while the batfam is happy that Jason is experiencing some normal life things like an academic frenemy they’d love to stop hearing about this guy's “smug fucking smirk” and the “annoying gleam in his eyes". They are worried that Jason will snap and beat this guy up for being too annoying. Well, except Tim who thinks Jason would rather make out with this guy than debate with him.

One day the course decides to do a big themed party/fundraiser to save up for a class trip to an excavation site of some temple ruins or something. Both of them volunteer for the organizing committee bc of the offered extra credit. This encourages the two of them to start seeing each other more and to hang out outside of their classes so the can work on event planning. Over time they actually become pretty good friends (Danny's presence filters Jason's toxic ecto and cures pit rage due to increased exposure. It was happening anyways as classmates but the close proximity sped up the process) and Jason and Danny develop mutual crushes on each other.

For the event they do, like an Olympic games style format and have people sign up in teams for events a couple of weeks beforehand. Anyone in any sort of classical/mythology related course can join and they opened the event for public spectating. They have a few traditional events like a foot race, long jump and chariot race. But the also have some silly ones like Medusa's Snakes, where they shove their faces into bowls of whipped cream and fish out gummy worms, Pandora's Amphora, where they stick there hands into a box/jar of mystery contents (grapes, slime, a live animal like rats or kittens, a bunch of glitter, soda, etc.) and whoever keeps their hand in the longest wins, and Gladiator Fights, where they try to knock each other into a foam pit with those foam and rubber jousting sticks and the such.

Neither Danny, nor Jason want to participate for fear of their physical/supernatural abilities being discovered so the both get talked into doing the emceeing and commentary for the events. They make a really good duo, snarking and bantering with each other, playing off each other's energy and providing fun commentary to the events. Everyone, including the batfam who came to spectate, is a bit baffled by how well they are getting along bc last they checked these two were rivals of a sort, mildly annoying at best and actively antagonistic at worst. However, they really seem to be enjoying themselves.

The last event of the day is a trivia contest, which they both decide to take part in and let someone else take over the emceeing. The final winning trivia question is "what trope was falsely understood as a marriage proposal or declaration of love by misinformed media, that was actually closer to a ploy of seduction and indication of sexual desire according to Greek texts" and the both ring in at the same time to say "tossing an apple to someone" and an tie for the win. They both go up on stage to receive the prize (idk a gift card or smth) and shake hands before walking away in opposite directions.

Then suddenly Danny calls out to Jason just before he leaves the stage and chucks an apple he seemingly produced out of nowhere at him. The apple has a note with the time and date of a dinner reservation on it and when Jason looks back up at Danny he see the slightly flushed boy tentatively smiling at him.

" What do ya say Jase? Will you go out with me?"

And instead of replying Jason just straight up kisses him in front of everyone. Everyone else is gobsmacked by this whole turn of events except Tim who's cackling his head off, screaming "I FUCKING KNEW IT". When the two of them break apart they grin at each other widely and Jason drags Danny of the stage presumably to go make out somewhere.

[bunabi]

I finished Veilguard btw so here's my long thoughts (be warned I've been writing notes during my entire playthrough so this is very long) for folks who want it:

My favorite parts of DAV:

Best level design in any DA so far. The platforming grew on me, and I think the levels were well-thought out and mostly fun to navigate. Arlathan Forest was exhausting but other areas felt nicely balanced with branching paths, hidden rooms, etc. Exploration in smaller contained maps done right imo.

Mage combat is really satisfying at higher levels. Pure ranged combat is totally impossible unless you have Davrin and Taash popping taunts back to back, but dropping a massive AOE while fighting close-range feels good too.

Being able to auto-equip and compare new gear is great.

Same with the codex entries. Not having to hunt down whatever note I just picked up is a huge improvement.

Upgrading equipment via duplicates incentivized treasure chest hunting, which I would have otherwise skipped lol. It really helped me slow down and take time exploring areas, and I appreciated that.

The final act didn't make the previous 70+ hours feel better, my fault for spoiling most of it for myself, but it was neat. Cool set pieces, cool fights. I was worried Elgar'nan was gonna have the same moveset as the Regrets, but his final battle was great.

Oh, I forgot Felassan! His notes were a tragic delight. Such a good man. Funny too. They didn't need to kill Varric to make Solas less sympathetic...I think Felassan's betrayal(s) serve that purpose well already.

Rook & Their Faction:

Without rehashing what I've said over the past few weeks: this is my least favorite protagonist.

Being a funny and sarcastic and irreverent hero in a DA game is not new. Not having a choice in the matter is. The Inquisitor was pretty fixed in their tone too (cant even choose a personality for them in CC) but even they had better aggressive options available.

Folks say not to judge Rook's depth by a Lord of Fortune playthrough but since factions are asymmetrical on purpose here are my impressions:

The Lords of Fortune didn't contribute to my run in any meaningful way other than getting Emmrich hot which is not unique, as it turns out, to any particular background. In fact, learning Natalene was a galley slave as an aside detracted from my experience. Being a former galley slave, former Circle mage (again: Rivain doesn't have Circles), semi-Dalish city elf with DIY vallaslin is unreal. Especially as characters continuously imply Rook is a young 20-something. The fact this wasn't immediately caught and course-corrected shows -- to me -- how hectic and spread-thin DAV's development really was. :(

Story & Antagonists:

Elgar'nan and Ghilan'nain have cackling witch disease. No motivations outside of power. That was a little disappointing. Was also hoping they'd at least comment on Rook/Davrin/Bellara's vallaslin but they're too busy plotting world domination to really notice. Love their designs though. I'd love to hear a deep dive on how they animated Ghil's tentacles.

Veilguard feels like an immediate follow-up to Trespasser, not the ten year timeskip it says it is. I wonder if that's a symptom of adapting the live service story (content that was likely meant to stretch, similar to Anthem and Destiny, over a decade) for single-player.

I miss the politically-motivated meddling. Every villain is allied with the Evanuris. We needed some that aren't. The Right and Left Hand of the Black Divine, corrupt brothers of the Imperial Chantry, the agents of the Archon, a Minrathous street gang, some Rivaini pirates, anything, anyone.

It's crazy how all elven resistance seemed to evaporate with the dissolution of the Dread Wolf Army. As much as I'd hate seeing them duped and betrayed by Solas…I prefer that to just pretending everything's fine now. I could easily see alienage elves and slaves take Cyrian's path, desperate for change no matter the source, especially since oppression is all they've known and there's no end to it in sight. Especially with their gods confirmed as the source of the blight. All downhill from here I fear.

The Butcher. Would. That voice and that frame....it purred I fear. But even he was not immune to cackling witch disease. Wish he stuck around longer for personal reasons. My South is under siege and I aint talking about Ferelden.

Combat:

I found myself switching builds a lot, which was nice and kept things fresh. That being said: DAV needed loadouts for skills and equipment and a menu showing active passive skills + enchantments. A QOL update for this stuff would have been amazing. I want to try an archer run, but I dread (🐺) fussing with skill tree nodes again.

After fighting Mythal (my first full dragon fight) I was disappointed how all dragons share her same attack patterns. They didn't have to reinvent the wheel or anything -- this was the case with dragon battles in DAI and I thought it was fine -- but Mythal of all enemies should have been unique.

High-level demons are limited to Rage and Pride. High-level darkspawn are limited to Ogres. I miss those little scrungly lookin' despair demons and nasty ass hurlock emissaries. After 60 hours I did get a little tired of the same handful of mobs over and over.

Companions & NPCs:

The Veilguardians feel like my kids. Except Emmrich who's absolutely convinced he's in an age-gap relationship with my older lady Rook. It's not that they're uniquely dependent or rudderless, it's that their struggles are solved with nurturing pep talks. Reaffirm their worth, give them a hug, and all that inner turmoil is cancelled. Rich coming from the 'I should have been able to influence my companions more in DAI' girl, but Rook's impact on the Veilguard, the way their doubts vanish completely via some life coaching, feels off.

Speculation: I think the companions were originally planned to be NPCs. Their written banter in some of the notes, their verbal banter throughout the Lighthouse, they feel like they're meant to stay in the hub and act as quest-givers in the live service game. Especially with how Rook is excluded. That's fine btw it just helps explains some things. (Just remembered something else: when you talk to quest NPCs out in the world and the camera focuses in on the conversation, you can't see your companions. They chime in with disembodied voices, always hidden out of frame. That also gives me the feeling they were added later. Not confirmed btw just my hunch!)

Torn about Taash. I love them for breaking the 'agreeable companion' monotony but hate the ~animalistic race~ tropes they were saddled with. I've had issues with Weekes' handling of race and culture in the past. I'm disappointed to see it continue a decade later. I'll leave it there. Sten cannot smell ovulating coochie!

I tried to kill Lucanis during the final assault. Had full faction strength but I didn't complete his personal quest. It didn't work. Sorry Zevran!

Shathann's VA was acting her ass off. Great performance. Absolute bars from Taash's VA during their scenes too.

I dreaded (🐺) opening the Lighthouse map to see who wanted to talk. I usually love chopping it up and getting to know my party; that's my favorite part of any DA game. But so many conversations were just spent restating the obvious (Bellara is worried about The Gods and her brother, Harding is worried about her powers and Solas, Davrin is worried about the griffons and Gloom Howler, you know like in case you forgot). Running person-to-person-to-person and feeling no sense of accomplishment or progress for it seriously drained me.

The Inquisitor… I assumed vowing to stop Solas would block my Lavellan from pining and questioning herself after a decade apart and two very clear rejections. She kept asking whether he could still be reasoned with even in the midst of the final operation. I'm disappointed how little that choice mattered in the end. The second-hand embarrassment was crazyyy.

Romance:

Now this part is a little unique. Sorry for what I'm about to say about Emmrich. If it helps: I found him the most fun of all the companions. He's handsome, thoughtful, and has a fascinating past. But I ended up being dissatisfied by the end, and not just because of being soft-locked into a May-December fling, cringe commentary from Rook, and feeling like I was straight-up harassing Emmrich in early flirting dialogue.

The main issue: I don't care for the Mourn Watch. I like the Mourn Watch characters, but the organization makes me crazy. We hear so little about how they function in the context of an Andrastian nation like Nevarra. Summoning the dead in a world that still believes souls join the Maker's side in the Fade is huge. I wanted to really dig into discussions on the afterlife but in the end I'm supposed to go 'waow cool skeletons' and forget that religion is such an important facet of Thedas. I was so bummed!

I made him a Lich because he didn't seem to care either way. Reuniting him with Manfred is morally good, turning him into an eternal protector of the Necropolis is morally good. Emmrich is happy with whatever, so I gave him whatever, and I said 'whatever' when it was all over. My god is that man cute, but the romance overall just didn't do it for me.

Should've known when I saw his rotunda lol Bioware you sly dogs you got me again!

Personal final thoughts:

Well? I don't think I'm sad anymore, but I am left with complicated feelings. Obviously things are a little different for me being an EA Partner and getting an idea of just how much work has gone into making the game exist period. And I think because I can't blame it all on one person, shit all over it, and move on that these feelings are just kinda churning with nowhere to go.

Things could have been handled better. Didn't like the attempt to hide the world states until launch, or the dismissive comments from writers about it. Didn't like the AMA answers. And this isn't really my business but I'll say it anyway: I feel like the community council was thrown to the wolves, having to base their DA4 impressions around the sliver of content they were allowed to see, and having a much more hands-off role than implied.

I hope DAV is taken as an opportunity to refocus, double-down on what makes Dragon Age so beloved, and lean into those strengths unapologetically. Easier said than done -- as much as I loved Swen's speech about creating games free of marketing expectations and mimicking the latest trends that's often times impossible -- but I want to believe it can be done in this case.

Anyway both Sabine & my antibiotics are complete and I'm overcoming my moodiness and getting back to work on commissions! I've cured the Blight in more ways than one! 😄

[mxtxfanatic]

Every time I see mxtx fandom discourse about how villains and antagonists “had no choice” in doing evil and how we should feel sympathy for this cowardice because “it’s not like they (actual factual ruling class) had the real power to break the mold,” I think of:

Si Xiyan, imprisoned disgraced cultivator, being told that she can be accepted back as the most beloved disciple of one of the most powerful cultivation sects in the world if only she would kill her baby, and her choosing to ingest the poison on her own so that her child could be born safely at the cost of her life.

Gongyi Xiao going against his entire sect to rescue Shen Qingqiu from the Water Prison despite already having an increasingly tenuous relationship with the sect leader and his daughter.

Shen Qingqiu, certified scum villain, risking his life over and over again to do right by Luo Binghe even though he is certain that Luo Binghe will repay his kindness with death.

I think of:

Lan Wangji, a clan heir, fighting his own beloved family to protect one of the few people in the cultivation world willing to stand up for what’s right, and accepting being whipped for it.

Jiang Yanli, a clan heir’s widow, running onto a battlefield and giving her life for her little brother.

the Wen siblings, labor camp escapees and remnants of a reviled clan, sacrificing themselves so that their protector wouldn’t be killed for the crime of self-defense.

Mianmian, a servant only just elevated to becoming a disciple, publicly defecting from her sect in protest of them slandering a hero.

I think of:

Yin Yu, a banished god, choosing death over regaining his godhood by harming Quan Zizhen—the shidi he’s always been told to had “stolen his rightful status” in life.

the street performer, a poor man who could only make money performing humiliating entertainment for the well-off, choosing death over saving his own life by harming the man who for all intents and purposes stole his business.

Mu Qing, a staple god for about 800 years who had betrayed friendship for the approval of other gods, finally choosing to make an enemy out of the ruler of the heavens over betraying his former friend again, even if it meant that said former friend would never believe that he didn’t betray him again.

Of all of these characters, some of them were people of privilege, but many of them were the very bottom of their social hierarchies. Some are staring down the edge of the knife with their only hope of survival and living well being to make the immoral choice. Nevertheless, they chose to be moral people by putting themselves on the line rather than sacrificing others for personal gain, a choice that no antagonist—all of whom are people of power and means even if they didn't start out that way—makes in an mxtx novel. “But everyone would have hated them!” is not an excuse for participating in evil. “But they would have died otherwise!” is not an excuse for participating in evil. If other characters of less means could do it, if their peers could do it, then why didn’t your fav?

[linkspooky]

The Next Gojo Satoru

As you've probably guessed I have a lot to say about this chapter. However, right away I want to start out by pointing out once again that the fandom is taking a mostly gojo-centric view of this chapter. Which I understand it's Gojo's body that's being puppeteered around and dehumanized in the exact same way that Kenjaku one of the sickest and most inhuman characters used Geto's body.

However I think it shouldn't be understated how shocking it is to see Yuta betray all of his values like this. The most human character who represents love in the cast has given up on the cast and betrayed someone he loves. So let's talk about what this all means for Yuta under the cut.

GOJO GETS AN F IN TEACHING.

I understand why most of the focus is on Gojo, because yes Gojo's body is the one being violated here. He's not even allowed to rest in death after fighting on the front lines against Sukuna to the point where his brain was hemmoraging in the middle of battle and he was brutally cut in half.

Considering how much horror Gojo experienced when he saw Geto's body taken from him and made into Kenjaku's pupet. Cosidering the horrible pain that Nanako and Mimiko endured just seeing Geto's body still moving around denied a good death (Nanako and Mimiko were tellingly willing to let go and not try to take revenge against Gojo for killing Geto because of their friendship even though Geto was their whole world, but they'd never forgive Kenjaku for taking his body). Considering that Gojo even went out of his way to say he wanted to kill Kenjaku / Geto on Christmas Eve again in order to give him a proper burial it's understandable how horrifying this update is.

This is also a series where the two main antagonists are parasites who take the bodies, and steal away all bodily autonomy from characters like Yuji and Megumi and then force them to do horrible things they would never do and bear witness to it, such as the slaughter at Shibuya, or the murder of Tsumiki at Megkuna's hands.

It's understandable how people had such a visceral reaction to this chapter. However, I think the fandom has a tendency to paint Gojo like he's the central victim of all of Jujutsu Society when he's both victim and perpetrator.

Gojo is someone who has only been regarded as the strongest his entire life, and been used as a tool to keep Jujutsu Society stable his entire life. Gojo is also someone who never tried to be anything other than the strongest, never tried to empathize with anyone other than those who were just as strong as he is, and who raised all of his students to be tools too.

To illustrate my point here's an incredibly similiar character from Tokyo Ghoul: Arima Kishou. They are so similiar that they're both white haired mentor characters to the protagonist, they're both the strogest in their respective worlds, and Gege straight up copied this section of panels from the Tokyo Ghoul Manga.

Arima is a breeding project, who was bred by the Washuu Family who mxies blood between humans and ghouls through a series of controlled marriages for the purpose of creating hybrid ghoul human children. Arima isn't the ideal hybrid they were looking for, but he was so ungodly talented he quickly rose to being the most powerful and well-respected investigator in the CCG.

However, this is how Arima reacts to the fact that his entire purpose in life was just to be a weapon to kill ghouls.

Arima loathes violence, he loathes being an investigator, he loathes himself most of all and designs his entire political revolution around him finally being killed by Kaneki - to punish himself and also to relieve himself of the burden of living a life where he was only meat to kill others.

Gojo on the other hand loves being the strongest, he lives for Jujutsu. Arima's death is tragic and nihilistic believing his life had no real worth because all he ever was was a weapon to hurt others, whereas Gojo died satisfied.

Arima's last battle against Kaneki is grim, silent, and tragic, he does everything he can to make Kaneki despise him, to force Kaneki to kill him by being the worst version of himself and when Kaneki still wants him to live he just slits his own throat because even if Kaneki forgives him he can't forgive himself. Gojo laughs his head off and has the time of his life fighting against Sukuna, and going out in a blaze of glory.

Gojo dies smiling, Arima dies finally breaking into tears after a life of pretedig to be cold and emotionless. Gojo's dying regret is 1) that Geto wasn't there to say goodbye to him, and 2) that he wasn't able to draw out all of Sukuna's strength. Arima's dying regret was all the pain and suffering he caused throughout his life and how he was never able to rise above his circumstances and be anything other than what he was born to be.

These two characters are incredibly similiar, they are both the strongest, and they were both made into tools by a dehumanizing system they were born into. However, their attitudes are entirely different. Gojo enjoys being strong, and yes part of it is that Gojo himself doesn't realize he's a victim or what society has groomed him into becoming, but the other part is just because it's an ego trip for him. Gojo doesn't see himself as the tragic victim his fandom makes him out to be.

If you were to transplant him into Tokyo Ghoul Gojo would be happily killing ghouls, and he would think killing ghouls is fun because he's the strongest and best at killing ghouls. This is the complexity that is Satoru Gojo, he has been dehumanized and put on a pedestal his ow life, but Gojo also enjoys being on that pedestal and won't ever step down from it willingly.

I'm not saying that Arima is a better person than Gojo. I think the fact that Gojo doesn't think of himself as a victim is tragic in its own right, because he lacks the self-awareness to actually grow and change as a person. In the end both Arima and Gojo believe they couldn't be anything better than what they were, and their only release is death which is just insanely sad to me because as long as the future exists people always have a chance to get better no matter who they are. To give up on the future, to see an early death as a good thing simply because you can't endure life any longer is one of the most hopeless things imaginable.

Gojo's not sad because he was born to be a tool exploited for society's benefit, he's sad because he was lonely. He doesn't even realize it's his own darn fault he's lonely, because not only has Shoko said that he's not alone she's always been right there, but this chapter we get a repeat of Gojo's students begging him to let them in and Gojo himself decided to draw that line between himself and others and thinking an enlightened, godlike being like himself can't possibly be understood.

All of this to say I think Gojo is the sole victim here, but he's the middle of a chain of of victimhood. I think ultimately the biggest victim here is Yuta, and yes I will not only play trauma olympics here I'm going to win.

If this chapter goes to show anything it's that Gojo has completely failed in his ideals of protecting the youth from the dehumanizing system of sorcerers that takes children and reduces them to cogs in a machine.

A lot of people criticize Jujutsu Kaisen for dropping basically all of its political elements and themes of reform in the second half after Shibuya, and while I understand the criticism I think Gege intentionally shifted away from politics because Gojo's political revolution was never going to succeed.

From the beginning Gojo's solution to reforming Jujutsu Society and it's habit of taking away the youth of children and raising them up instead as child soldiers is... to make stronger child soldiers.

This is Gojo's blindspot and it has always been Gojo's blindspot.

It's why Gojo is completely okay with someone like Mei Mei who at the best uses her brother as a human shield to get out of curse domains and has stolen his entire childhood away to make him own pet little shoulder, and at worst actively molests him.

It's why Gojo is stated in the databooks to have only taken an interest in Megumi and Yuta because they were strong.

Gojo understands that he's being exploited by Jujutsu Society, but doesn't understand you need to deconstruct unfair systems of power and exploitation in order to build something better. Gojo from the beginning only had one plan, and that was to replace the people at the top with his own allies who'd support his agenda. He just thought waiting for them to die out and the children to grow up was the more peaceful way of doing it.

Gojo's political revolution was doomed from the beginning and that's why we see him go back on his word this chapter and just slaughter everyone at the top. His choice of a new leader for Jujutsu Society is hardly better than the elders, the person who executed Gojo's teacher and tried to get all the children to kill Itadori early on. Good choice.

This is what Gojo said would happen though, if he just wiped everyone out at the top no real systemic change would occur because they'd just be replaced with someone who wasn't that differet. Gojo's just given up on the notion of lasting change out of pragmatism.

Which is why Gojo himself is not that different from the elders in the first place, not because he's a bad person but because he was shaped by that same society and he's the pinnacle of that society.

I think the thing is and this point often gets ignored - a lot of the choices the elders make are because of outdated traditions like choosing to oppress Maki and Toji just because they challenge the traditional notions of cursed energy.

However, some of the decisions they make are out of cold hard pragmatism. Gakuganji actually turned out to be right in his assassiation attempt against Yuji Itadori. If they had succesfully killed Yuji, then the massacre in Shibuya would have been prevented and likely Kenjaku's plans would have been pushed back. The elders didn't sentence Yuta to execution just to be cruel, or just because they're superstitious but because he's already had several incidents of nearly killing people because he can't control Rika.

It's easy to dismiss the Elders as evil because they're just faceless entities, but then we witness in this very same chapter the main characters making the same heartless decisions out of the same sense of pragmatism.

Gojo understands Jujutsu Society is flawed, but doesn't understand exactly why it's wrong. He doesn't raise his students to be independent free thinkers because then they might question him, he raises them to be very powerful because that's more pragmatic.

Here are the next generation of sorcerers who are going to bring about the change to Jujutsu Society that Gojo so desperately seeks.

Nobara Kugisaki: Dead

Hakari Kinji: His greatest ambition is to start a fight club

Yuji: Actively calls himself a mindless cog and just wants to kill whatever society points him at and tells him to kill.

Maki: Mass murderer.

Yuta: Just stole Gojo's body and said he had to become a monster i Gojo's place.

Megumi: Begging to be killed.

Inumaki: Tuna Mayo

Panda: Is a Panda

(Joke lovingly ripped off from @kaibutsushidousha)

I understand that fighting Sukuna takes precedence now, but do you think once the dust settles any of these characters are going to do anything to make lasting change?

Are we going to see anything for them at the end of the road other than a mountain of their fellow sorcerers corpses?

Gojo didn't nurture his students to grow into healthy adults, he raised them into stronger child soldiers and yes that's the pragmatic thing to do to help them survive in the Jujutsu World, but the elders make those decisions out of cold pragmatism as well.

MHA is also showing a story where the children are failing to learn from the previous generatio's mistakes, but it's far less frustrating to watch in JJK because it almost seems like that's the point?

Maki sacrificed Mai for the sake of becoming someone strong enough to reform the Zen'in Clan, only for her sister to die and Maki to slaughter the rest of her family failing in both her goals to reform her clan and protect Mai.

Yuji became the host of Sukuna in order to help others, because the total deaths of people in the world would go down if he ate all the fingers. Not only did that decision lead to the death of thousands in Shibuya, but he's even lost his role of being Sukuna's host to Megumi.

Yuta wanted to find a reason to live and a purpose in protecting his friends, and also wanted to pay back the man who saved him, not only is Yuta choosing to die in a way that breaks his friends heart he's also violating his beloved teacher's bodies.

There's a lot of arcs like this where characters fail in what they set out to accomplish, because like in most tragedies they don't try to grow as people they only care about getting stronger. It's the same choice over ad over again, a decision made of cold pragmatism that brings about their tragic ending.

I think it speaks to why systems like this perpetuate themselves, because it becomes so hard to hold onto your humanity that even trying gets you actively punished all the while people like Mei Mei crawl to the top. However, even if you throw your humanity away purely as an act of survival you're still helping perpetuate that system instead of fighting against it.

Anyway, that's enough hating on Gojo, onto the main event.

THE NEXT GOJO SATORU.

It's almost masterful how perfect the foreshadowing for this chapter's twist was. Yuta sharing a common ancestor in Sugawara with Gojo.

The irony that Kenjaku said out loud that someone like Yuta could never become Gojo, on top of the fact that Yuta's true power comes from detaining his loved ones soul. He's turning Gojo's body into a weapon the same way that he once used Rika's vengeful cursed spirit as one (he even channels her strength into a sword, the same way Maki uses the sword that Mai gave her life to create in battle).

The way that Yuji's first impression of Yuta from his powerful presence and cursed energy alone was calling him someone even creepier than Gojo.

The idea that Kenjaku has been trying to get his hands on the six-eyes for years, which is what led most of the fandom to theorize a possible Kenjaku return by stealing Gojo's corpse. The fact Tengen said the six eyes, himself and the star plasma vessel are all connected and one time Kenjaku killed the six-eyes from a child only for another one to appear right away.

Yuta being told he could never reach Sukuna's heights because he lacks the selfishness of a calamity.

Even Yuta trying to tell a nameless assassin Uro to be less selfish, only to be chastised by her for not understanding because it's impossible for someone as blessed as he is to know what it's like to not have a name, to not have a face, to not be someone important.

Now here Yuta is, not only is he making the selfish decision to use his teacher's body as a tool, he's also most likely in five minutes going to die in someone else's body, having sacrificed not only his name, and face, but also his personal values in order to become a monster.

This arc makes it seem like Yuta's gone against everything he's stood for, making his arc a complete circle from Jujutsu Kaisen Zero and that's kind of the point. Heck, even something as small as Yuta's decision to show mercy to Ishigori was rendered pointless because Sukuna immediately killed him soon after taking Megumi's body.

If Yuta's regressed in his character it's because Gojo's purpose was not to raise these children into healthy adults, but strong soldiers.

What happened to Yuta is a direct consequence of the way Gojo recruits these children, and the underhanded motivations he has behind those recruitments.

Yuta's decision to take Gojo's body is more tragic on Yuta's part then it is on Gojo's, because Yuta is a child, and Gojo is an adult.

It is sad that Gojo is all alone, that he's forced to become a tool to society, but Yuta shouldn't be the one who feels responsible for that. Gojo is supposed to protect Yuta, he's the adult, the teacher, the one with power and Yuta is the child. Yuta is not the one who should be making this speech because it is not Yuta's responsibility to do any of this - but Yuta thinks it is because he owes Gojo.

However, when Gojo recruits people it's with the unspoken implication that they now owe him. He wants them to feel indebted, because then they'll be easier to use as pieces in his intended political revolution. We see this blatantly with the way he recruited Megumi.

I'll make sure you and your sister don't starve but you owe me in the form of labor later on in your life.

Gojo saved Yuta because he thought Rika was powerful and the elders were foolish for executing a potentially powerful sorcerer for THE GREATER GOOD instead of teaching him to control his power out of fear. Gojo recruited Yuji, because someone with Sukuna's power and who could eat his fingers as a vessel had the makings to be an incredibly powerful sorcerer. Gojo didn't even think of Megumi until after Geto defected, and Gojo decided he needed to start making changes to Jujutsu Society.

While Gojo's pragmatism is understandable to a point it also poisons his more nobler intentions. Since Gojo expects payment in return when he sticks his neck out for people, because these children are assets first and children secod.

I think Gojo likes Yuta. I think he gets along with him well. Yuta clearly respects him as a mentor. He did in fact go to great lengths to save Yuta from execution. He was right that it was more ethical to teach Yuta to control his powers rather than execute him for the danger he might represet. He even gives Yuta emotional advice a couple of times.

However, if Yuta was just like a grade 4 sorcerer with no special talent I doubt Gojo would have blinked at his execution. He sees Yuta for his talent first, and his potential to become someone like him. If anythig there are clear comparisons to both Megumi and Yuta. They're both prodigies born with incredible techniques, but Yuta is a lot more receptive to Gojo's grooming than Megumi is who's too traumatized to function. Gojo's not just grooming Yuta into being a powerful sorcerer, but another version of himself.

So it's almost karmic that not only does Yuta basically turn his back on everything that makes Yuta himself (his love for people, his desire to live and be surrounded by others), he also does so by literally becoming Satoru Gojo and transplanting his brain into Gojo's body.

Because Yuta is despite possessing a similiar level of talent as far from Gojo as possible. Gojo is not well liked by his comrades, he's there because he's needed due to his power. Yuta on the other hand has everyone vehemently disagreeing with his backup plan in the event of Gojo's death because they don't want to lose him.

People need Gojo, they want Yuta because of the connections that Yuta has made with them and because they care about Yuta as a person. Gojo is someone who deliberately draws a line between himself and others because he believes the strongest can't be comprehended, Yuta only fights for the sake of being accepted by others because he needs their approval in order to live.

Yuta's now turned his back on those two things, his tendency to put his loved ones first, and his desire to live, both because he feels he owes Gojo.

This comes about because of two factors, number one Gojo helping him with the implication that this help means that Yuta owes him something which makes Yuta desperate to pay him back and therfore easy to mold, and number two Gojo's intentions to begin with to take Yuta and make another Gojo out of him. To make a successor who would carry on the same burdens that Gojo did.

Gojo succeeded one hundred percent in making his successor as opposed to Megumi who turned out to be too different from Gojo i the end. He took what make Yuta unique and ironed out all those wrinkles until he was left with someone willing to make the same inhumane, pragmatic decisions that Gojo was.

I think it's tragic that as much as Gojo wanted to make things better for the next generation, he basically led Yuta down the same road he did, to make the same choice to throw his humanity away along with all of his loved ones. Especially since Yuta started out in such a different place.

Yuta has learned to become selfish like Gojo, because selfishness is apparently now the only way to get by in this world. A cycle that has been started with the elders, and continued on with Gojo, remains unbroken as Yuta becomes just another link in the chain. Yuta's likely going to die in a stranger's body, leaving all of his friends behind to mourn him, but even if he lives what life will that be exactly?

It speaks to the arcs in Jujutsu Kaisen that they're all kind of circles at this point. We have this heartwarming goodbye of Rika telling Yuta to live, and Yuta's whole arc was to learn to try to live without Rika and make new friends, but it's now likely goig to end with Yuta dying a year after Rika finally moved on.

Choso was told to try living on as a human and Yuki even sacrificed her life to give him the opportuity to escape the fight, and he only lived a month longer to die right in front of Yuji's eyes.

Gojo put all of his hope in the next generation, but now not only did he put all the power in Gakuganji's hands but he ended up dying a year after Geto did just like Yuta will likely die a year after Rika.

I think these character arcs are turning out to be circles because the characters aren't actually doing anything to try to break the cycles that they're trapped inside of - they're only trying to get stronger. Which is why they end up resembling the actions of the villains, Yuji becoming more curselike, Yuta stealing Gojo's body the way Kenjaku did with Geto's.

It reminds me of a quote from Critical Role that I absolutely adore.

“I have just taken an audience with the Raven Queen who has snuffed any hope of my redemption, for which I am truly grateful. With new clarity, I can finally see my life as a series of compounding, poor choices.” Vax winces. “There was nothing I could’ve done to save my family, yet I still sold my soul in search of vengeance. Later I allowed Ripley to leave, knowing full well she was a greater threat to the world than the Briarwoods would ever be. I traded the world’s safety for the belief that I could murder my way to peace; that if I could be a greater horror, it would bring my family back. And once this lie was shattered I scrambled to find asolution, to make a deal, to undo my mistakes and balance the scales. I nowunderstand that there are no scales, there is no redemption, and no ledger that judges me good or evil. I am free to simply be myself and live with the terrible mistakes I’ve made."

Especially this sentence: I believed I could murder my way to peace; that if I could be a greater horror, it would bring my family back.

Maki is a character that I have not found all that interesting in a while because she committed such a huge mass murder, only for it to have no consequences in the narrative and never be mentioned again, but this chapter she suddenly became an interesting character again.

Maki who lost everything but gained strength, doesn't seem all that bothered by the loss. People compare Megumi's reaction to losing Tsumiki to Maki's reaction to losing Mai, but Megumi's reaction is much more interesting because it's always better to see a character be weak and fall apart then to be strong and power through things.

However, maybe the reason Maki hasn't experienced any grief at all towards Mai and has instead delighted in her newfound strength and independence is because of this, because she still had Yuta.

Maki is a character who's not really said anything other than exposition the past like twenty chapters, but now she's the most vocally against Yuta sacrificing himself for the greater good. Yet this is against Maki's own ideology of doing everything you can to be stronger, to win. Maki was always about individualism, not about friendship or the bonds between others, she severed her own bonds to be free. Yet, she can't stand to see Yuta do the same thing as her, to become more like her.

This might be the consequence of Maki's continued choice to value freedom and the power to achieve that freedom over all else. Now, the one time Yuta is trying to throw away the same things that she threw away she can't say anything meaningful or convince him to stop him.

Which reminds painfully of this chapter as well.

Mai killing herself in order to free Maki from cursed energy is an obvious parallel to Sukuna devouring his own twin in the womb, but the difference is in this situation Maki didn't want Mai to go, she begged her not to. However, just like with Yuta there was nothing Maki could ahve said or done by that point to convince Mai to stay. Maki has always chosen power over her sister, she's always abandoned Mai, so what exactly can she say to convince her that she cares more about Mai more? That her dream of defeating the Zen'in and having revenge against them isn't worth the price if it comes at the sacrifice of Mai?

Maki didn't want to abandon Mai, or for Mai to sacrifice herself, but tragically her every action indicated otherwise. It all comes down to this: I believed I could murder my way to peace; that if I could be a greater horror, it would bring my family back.

Maki seems to have achieved peace by murdering the Zen'in, but we see the same kind of circular arc that we have for Yuta.

Maki gave up on everything for strength, but Maki's not strong enough to finish Sukuna then and there, forcing Yuta to sacrifice himself the same way Mai did.

Maki can't talk Yuta out of making that sacrifice, or come up with any convincing argument with why he shouldn't because of all the choices she's made before this.

Maki chose to murder her way to peace, but it came at the cost of her humanity and growth and thus she's faced again with the exact same situation with Mai and she's forced to watch her heart be taken from her again.

It goes to show that we think these characters are getting stronger but they're actually sacrificing something vitally important.

These characters are just going to keep going around in circles and you have to wonder just when is it going to stop?

[thankskenpenders]

At long last, the trailer for Sonic movie 3 is here, giving us our first look at Shadow! It looks like a fun time, though my excitement is probably more tempered than a lot of peoples' due to a few things I have mixed feelings on. Here are my off-the-cuff thoughts about it.

Shadow

Yes, it does seem like they've really nailed Shadow here. Fowler's attachment to the character clearly shows. The action looks cool and really sells Shadow as a serious threat. He's got his bike, he's doing Chaos Control all over the place, it's great. Keanu is very much just doing his regular voice, but it fits well enough. The backstory from SA2 seems to mostly be there, though I'm sure some details will be adjusted. Mostly I'm still just amazed that we're getting a major tentpole blockbuster movie this Christmas starring Shadow the fucking Hedgehog that treats him as a serious character worthy of respect. We've come such a long way...

I mean, just... what an image to see on the big screen.

I also really like the way they're setting Shadow up as a foil for movie Sonic, kind of his dark mirror image as a Mobian hedgehog whose family life on Earth ended in tragedy and turned him into a vengeful antagonist. It's pretty straightforward, but it works well.

Robotnik(s)

Welp. They put Jim Carrey in a fat suit. I suppose we knew this day would come eventually.

I guess a small part of me is glad that movie Eggman finally actually looks like Eggman in every way that matter, but they're completely playing it as a joke at his expense here. And, yeah, the Sonic franchise isn't immune to fat jokes, the early years of the franchise (particularly Western adaptations) gave Sonic tons and tons and tons of jabs about Eggman's weight. But I thought we'd moved past that. But here we are with a depressed movie Robotnik binge eating and gaining a lot of weight like Fat Thor and the other characters think he's so GROSS and look his clothes don't even fit him anymore, haha! There's so much of this crammed into the trailer. I can only pray they don't do this in every fucking scene he's in in the movie.

I do like the plot of Sonic reluctantly teaming up with Robotnik to try and stop Shadow, though. It's very different from SA2, but we knew it would be, and I think that gives the movie some potential for Sonic to have kind of a dark turn of his own that mirror's Shadow's. I have a feeling that Sonic will try to get back at Shadow for something he does - maybe hurting Tom or something like that - and in the end Sonic sympathizes with Shadow and decides they have to stop their cycle of revenge, teaming up to stop some final threat.

Oh, and, of course... Jim Carrey is also playing Professor Gerald. Who might still be alive? Or maybe it's a hallucination on Ivo's part? I don't know, but either way, I'm here for it. Everyone joked about them doing it and then they went and did it. Yes, it risks playing him as a joke character, but the shot of him and Shadow mourning Maria while surrounded by GUN soldiers makes me believe he won't be a total joke. I wouldn't be surprised if he was the true final antagonist of the film, which would diverge a lot from the games but would work as its own version of the story.

And again, WHAT an image to see on the big screen lmao

Everyone else

The human cast is VERY downplayed in this trailer, but let's not forget that they're still going to get a lot of screentime one way or another. The Sonic 2 trailer barely showed anything from Hawaii. Where oh where is my best friend Wade?

Speaking of the Wade show, Knuckles... frankly still seems to be mostly a comic relief character heavily influenced by MCU Thor here, getting some jokes in the trailer but immediately getting Worfed by Shadow when it comes time to fight. Tails seems to be flying the gang around in a real-ass helicopter, and his big pilot's helmet is funny, but otherwise he doesn't really do anything here aside from getting stomped by Shadow. I really hope they don't get sidelined too hard, but frankly I fully expect them to, Tails especially.

And, of course... I can't help but think about who isn't here. Namely: the girls. Yes, three movies and one streaming miniseries into this film franchise, exactly zero of the female (animal) characters from the games have made the jump to live action. Please allow me to bitch about this.

Despite her being both 1) a main character in the game this movie is loosely adapting and 2) my fave, I suppose I can understand why Rouge isn't here. Paramount took one look at that bat cleavage and went "nope," cowards that they are. There was some speculation that Kristen Ritter could be playing Rouge, but we now know she's just playing someone at GUN. But, again, I at least get why they'd be hesitant to include her.

But Amy... Amy is such a glaring omission at this point. There's no excuse. She's the female lead of the franchise. She's one of Sonic's closest friends. (Honestly, these days it's more accurate to say Team Sonic is Sonic, Tails, and Amy, not Knuckles, especially in the comics.) And she's also a key player in Shadow's arc in the game. Shadow has his change of heart because Amy reminds him of Maria! And yet, she's nowhere to be seen. It sucks.

(I know some fans are still holding out hope for Amy, but the toys for the movie already leaked and she didn't get anything, so I have to assume she's not in it.)

It's not like I really expected either of them to be in this movie, but that doesn't make it less disappointing that they set up the film franchise in a way that makes it logistically difficult to include 90% of the characters and conveniently managed to leave all of the girls in the "low priority" pile. Yes, I know everyone points to how much Tails was downplayed in the third act of Sonic 2 as evidence that it's just so impossible to introduce more than one new Mobian character in each movie and give them the focus they deserve. Yes, I know having to come up with a story excuse to bring more characters over to Earth is an obstacle, especially when they're gonna have to devote time to Shadow's backstory. But these are excuses. It's a writer's job to figure out solutions to problems like this. They could make it work if they really wanted to. I'd take Amy having a suboptimal amount of screentime over her not being in it at all. It's just not a priority for them. That's what disappoints me. You can justify these absences from a logical perspective, but I just care way more about Amy and Rouge as characters than I do about Shadow, so there's no way for this to not sting.

But, at the end of the day, for what the movie is actually trying to do, it seems to be pulling it off well. Aside from the fat jokes. I don't like the fat jokes. But the Shadow stuff is good. As always, this live action version of the franchise is never going to be my ideal version of Sonic, but it's turned out far better than it had any right to, and I'll probably have fun when I go see this in theaters and hear Live and Learn.

[literaryvein-reblogs]

Writing Notes: Story Plot

Plot - is what happens in a story.

Every story is made up of both events and characters.

A story happens because a pattern is interrupted.

If you are writing about a day that is like any other day, it is most likely a routine, not a story.

A Strong Plot

Centered on one moment—an interruption of a pattern, a turning point, or an action—that raises a dramatic question, which must be answered throughout the course of the story. This is also known as plot A.

Every element of the plot—each scene, each line—exists in service of answering that question. There are myriad plot devices that can bolster the main story; these are considered subplots.

7 Types of Plots

The nature of the dramatic question informs the plot and what kind of story it will be. Are the characters threatened by something external or internal? What genre will the story be?

Tragedy

Your main character should undergo a major change of fortune — almost always from good to bad, happy to sad.

Tragic characters have to suffer.

Comedy

Even though your characters have defects, their defects should never wind up being painful or destructive.

Comic characters make it through unscathed.

Hero’s Journey

The hero of a story must undergo two things:

Recognition and reversal of a situation.

Something has to happen from the outside that inspires the hero in a way that he/she didn’t realize before.

Then he has to undertake a quest to solve the situation.

Rags to Riches

Remember Cinderella? The classic fairy tale follows a simple rags-to-riches plot:

the protagonist is downtrodden, impoverished, or otherwise struggling, and through a series of events—either magical, like in Cinderella, or more realistic, like in Great Expectations — achieves success.

This type of plot often features a happy ending.

Rebirth

The rebirth style of plot follows a character’s transformation from bad to good.

The character will frequently have a tragic past that informs their current negative view of life, however, a series of events (usually set in motion by the protagonist or a narrator) will help them see the light.

See: Scrooge in A Christmas Carol, or the Beast in Beauty and the Beast.

Overcoming the Monster

Otherwise known as the good versus evil plot, this type of story features a protagonist (good) fighting an antagonist (evil).

The protagonist can be a singular character or a group united in their mission.

The antagonist is generally a big, bad evil (like Darth Vader in Star Wars) who continuously throws obstacles in the protagonist’s way—until the final battle.

Voyage & Return

This plot is a simple point A to point B and back to point A plot.

The protagonist sets off on a journey, only to return to his or her starting point having gained wisdom and experience (and sometimes treasure too).

Paulo Coelho's The Alchemist is a beloved contemporary illustration of this plot.

How to Outline a Story Plot: Three-Act Structure

Beginning

The beginning of your novel has to accomplish a lot.

It must introduce the hero, the villain, and the world of the story, as well as the story’s dramatic question, and it must do this with enough energy to grab your reader’s interest right away.

A prologue can be useful for seizing the reader’s attention.

Middle

Your job during the middle of the story is to make the hero’s quest as difficult as possible so that at every moment it seems less likely that the hero will triumph.

You must raise the stakes along the way and create obstacles of ever-increasing intensity while keeping your eye firmly fixed on your conclusion.

The different plot points can include the basic plot, plus various subplots.

The main plot of a story always has to build up to the resolution.

End

The end of your story answers the dramatic question, which already has your ending hidden within it.

For example, if your question is:

Will Ahab catch the whale?

Then your story’s finale will be the moment when he does.

Often, tension evaporates in the middle of a novel, so it’s a good idea to write your ending first. It may not be perfect, and you can always change it later, but it’s useful to know the climax to which your characters are headed.

Having that destination will help you stay focused during the “middle muddle.”

Freytag’s Pyramid

German novelist Gustav Freytag expanded on Aristotle’s concept of plot by adding 2 additional components to the beginning, middle, and end:

Rising action and falling action.

Freytag’s dramatic arc, also known as Freytag’s Pyramid, includes the following:

Exposition. This is the beginning of the story.

Rising action. Once the story has begun, it is important to create tension by raising the stakes. You must raise the stakes along the way and create obstacles of ever-increasing intensity while keeping your eye firmly fixed on your conclusion.

Climax (middle). The pinnacle of your plot.

Falling action. The falling action occurs after the climax but before the end. Falling action frequently depicts the protagonist dealing with the consequences or fallout of the climax. The falling action is when the protagonist ties up loose ends and heads toward the conclusion. It is also referred to as the denouement.

Resolution. This is the end of the story.

Source ⚜ The 3-Act Structure: History & Elements ⚜ A Guide More References: Plot ⚜ Character ⚜ Worldbuilding ⚜ Writing Notes

[milkyboybluewriter]

Why Bill Hates Dipper

Ever since the Book of Bill came out, I've been pondering why Bill seems to love tormenting Dipper.

I don’t doubt Bill Cipher could find amusement in anyone and everyone’s suffering but he seems to take a special interest in hurting the youngest Pines.  This even goes back to their first interaction where Bill blows a hole in Dipper’s chest before Dipper had said a single word to him, as opposed to Mabel whom he ignored despite her attempt to tackle him moments beforehand.

In Sock Opera, Bill repeatedly harms Dipper’s body with forks, drawers, stairs, drowning, and who knows what else off-screen.  And in perhaps the darkest moment of any Gravity Falls media, Bill’s note from Journal 3 boasts about his ‘grand finale’ of killing Dipper, making it look like a suicide, and forcing the poor boy to wander the mindscape forever.  

During Weirdmageddon Bill repeatedly ridicules Dipper after Ford’s capture, teasing him with insults, Ford’s body, and burning his precious journals in front of him before ordering his Henchamniacs to eat him. In Mabel’s Bubble he responds to Dipper’s rejection by turning Fake Wendy into maggots and delivers an ominous warning to an obviously disturbed Dipper. 

This trend of tormenting Dipper has only intensified with the Book of Bill and Thisisnotawebsite.com.  Every mention of Dipper in the book is an insult or mockery, including two pages dedicated to embarrassing moments of his young life.  Meanwhile, on the website he tries to trick Dipper into staring at the sun until the boy goes blind.  

So why does Bill seem to have a special interest in making Dipper Pines miserable?

It could be as simple as the bully picking on the victim.  Maybe Bill thinks Dipper takes himself too seriously and wants to knock him down several pegs.  Or perhaps Bill resents Dipper for being the closest to what he considers Lawful Good among his family, or for trying to be a hero while categorising the town’s weirdness in opposition to Bill’s desire to create chaos and misery, or because he’s the primary antagonist and Dipper is the primary protagonist?

But Bill probably doesn’t hold Dipper in high enough regard for that to be his only reasoning.  In fact, Bill appears to have a very low opinion of Dipper, in comparison to certain other members of the Pines family. 

In both Book of Bill and Dipper and Mabel’s Guide to Mystery and Non-Stop Fun, Bill claims to like Mabel, comparing her free-spiritedness with his desire to spread turmoil. To him, fun and chaos are the same thing and Mabel’s all about having fun and doing whatever she wants, whatever other people think of her.

Ford worshipped Bill for a time, and is the one who summoned him and created the portal.  Feats Bill was so pleased by, that he apparently grew some degree of affection for Ford if the Book of Bill is to be believed; telling him about his past, ‘gifting’ him with dead rats and the like.  Even though Bill answered Ford's attempts to escape him with horrific torture, Bill still offered him the position of Henchmaniac when he achieved physical form, implying he was willing to put their past aside, on his terms.

Bill’s interactions with Stan are limited to entering his mind and the final battle.  Perhaps, as a fellow conman and trickster, it could be argued Bill might approve of Stan’s crimes even if he’s not exactly impressed by them.  But Thisisnotawebsite.com makes it clear that any affinity he may or may not have had for Stan is gone.  Now there’s only bitterness and rage at having been bested by someone he deems a joke.

Sounds familiar. 

Because it was Dipper who brought the others into Stan's mind and taught them how to fight back against Bill.  Dipper found Wendy and Soos, rescued Mabel and got the ball rolling on the resistance movement that led to Bill’s defeat.  In Mabeland especially, Dipper proves his tenacity by being the only one capable of resisting what Bill declares is his most diabolical trap. 

And when Dipper proved he had the strength to refuse his greatest temptation, Bill reacted by turning heaven into hell for a few moments.  Again, a member of the Pines family had rejected his promise of granting their greatest desire.  But this time, it wasn’t the genius Ford who’d rejected him and threatened his plans, it was the meek little boy - the lesser twin in Bill’s eye.  

Dipper isn’t wild like Mabel, brilliant like Ford, or cunning like Stan.  He’s just a kid trying his hardest to do what’s right.  A concept Bill no doubt finds hilarious. 

It’s one thing to be bested by a foe you respect or admire, but it’s quite another to be beaten by someone you consider a joke.  

But he was.  Repeatedly.  First by Dipper and finally by Stan.  

And it probably drives him mad. 

[fanarchoslashivist]

I think what I love about Vontra is that you immediately pick up that she's an antagonist.

Spoilery bits below, mostly I'm rambling.

We spent this whole movie with characters being introduced as threats, they attack Roz, break her, steal peices of her, insult her. Roz is subjected to the brutality of the food chain every scene of the movie, but for the animals this is natural, this is normal. You eat others, others eat you, you fight to stay alive every day.

Roz's compassion in encoded into her, it's the human pack bonding that makes everyone in the film think she's weird, and she never loses this most human part of herself. Proof that she was made by human hands, it saves her and everyone else.

Except that it's a part of human kind that humans in power don't like.

The place that made Roz wants everything to be perfect, it's a city of the future, an oasis for select humans to escape what is slowly revealed to be a world in ruins from climate change, but we never see more of that except the passing scenery of destroyed cities.

Life is still growing, still thriving, and corporations are still building walled cities and promising the ultra wealthy a completely subservient servant class.

When the ship arrives to collect Roz, the ship she's been trying to signal half the movie, we don't know what to expect. Are they friendly? Are they here to fix her? She's been slowly breaking down the final half of the movie, leaking fluid, losing peices, shutting down as her battery depletes faster and faster. She gets fatigued, she uses a prosthetic, she goes days without moving.

She is disabled.

And down from this ship that is supposed to rescue her drops a peppy sounding companion who promises to 'fix' her.

Even though she is programmed to sound happy to put others at ease, as she states, you know immediately that she is Bad News.

The way she talks down to Roz, her manner of speech, her constant invasion of personal space, her pointed questions that are obviously accusations.

Yeah we all went "ooh toxic yuri >3" because we love queer coded villains getting flirty.

But it was also very obviously meant to feel violating, specifically similar to medical violation.

Roz was on display as a disabled robot, something in need of repair, in need of help, but Vontra saw her as something needing to be Corrected, not simply fixed but full factory reset, all the bits of her that are unique sent away to be studied.

Roz wanted help, she wanted to belong, she wanted to be repaired, but she also still wanted to be HER. However it's her disability that influenced her changes in coding, she needed to create her own updates to get around issues she faced, and it created a personality she enjoyed being.

She wanted a choice, but Vontra was programmed to see all deviation from the norm as something in need of repair. Roz wasn't a person in need of help, she was a defect to be collected, studied, adjusted, and put back out into production.

Respecting Roz, her boundaries, her thought process, even her willingness to be touched, it didn't even occur to Vontra. Because Vontra is a robot programmed to collect broken robots, and Roz is a broken robot.