#whatever they’re good and I see myself in them but they’re also Really Meaningful characters outside of being nice to project onto

[blueish-bird]

burnout is sapping my hyperfixation of creative energy, but not to worry! I’m still thinking about Aki and Angel an incredibly abnormal amount

[meraki-yao]

i really don’t know why some of yall are concerned about a romance sequel having conflict like ya every relationship encounters conflict but being able to see them over come any kind of conflict whether that’s about the politics of the rwrb world or their relationship in some way seeing a queer couple continue to over come conflict is what’s the most meaningful and important thing like what kind of media do yall consume where conflict is none of any kind existent?

Well…

Okay.

Before anything, I gotta clarify that my answer is based on my experience, thoughts, opinions and preferences, and I can only speak for myself.

I’m not against all conflict. I think as humans, conflict is inevitable, and that’s where character growth comes from.

I’m unsure about any more big conflict. I’m unsure about a conflict that’s dramatic, high stakes, and long enough to sustain a movie’s 2 hour run time.

There are a few reasons to this:

Because I love firstprince and treat them as semi-real, there’s this parasocial feelings of not wanting anything bad to happen to them. It’s like when my close irl friends introduce me to their partner and they seem like a healthy, good pair, I think “damn, I hope things go well with them, I hope they last”

The immediate/basic big conflicts a relationship like this has: getting together, getting to know each other, falling in love, becoming committed, coming out, all of these were covered in the movie already. Please also note that these are all over-arching and continuous.

The remaining conflicts I can think of are homophobia perhaps from the public (but most likely not the majority of the public if the Buckingham protest is anything to go by), remaining conflicts with the royal family (maybe the King, Maybe Philip gets a redemption, maybe Princess Catherine comes back into the picture), and figuring out how their gonna manage their relationship now that they’re out and committed. But the thing is I don’t really think these points suit the format or structure of movie storytelling. These are closer to moments of life, which is why I personally want/think a sequel series would work better. Even for the book, the bonus chapter shows smaller conflicts and moments, but it’s not a continuous, over-arching thing like the main plot in the book/movie is

I don’t want them to create conflict for conflict’s sake, whatever happens should be reasonable and in character. So with that being said, they’re not gonna be on the verge of breaking up. Alex already established that he would rather hurt himself before he would ever hurt Henry.

But if the conflict isn’t about Firstprince’s relationship, it kind of no longer fits the understanding of a romance movie

The current movie has such a “fairytale” feeling to it, and the ending, even with the shooting star, feels so much like a “happily ever after” conclusion, that going “sike we’re not done there’s more big conflicts” feels… slightly off? It’s kind of like the distorting feeling I got when I watched Into the Wood for the first time

And this is entirely me, this is entirely personal, but I don’t really want RWRB movie-verse to put more focus on the political aspect (note that I mean straight-up political details, not Alex’s ambitions and desire to help people, I still want the latter) such as what happened with Richards in the books. Partly because that’s much harder to write and perform in a good way, partly because it takes away from the “fairytale-ness” of the movie

So TL:DR I’m not against conflict, it’s just part of life and any story, but I’m unsure/ don’t want a relationship plot conflict that suits a movie structure. I want to see them deal with the pre-existing, less dramatic but still important conflict that they currently have, and in my opinion, that would suit a series more. This is why in my first post about a sequel, I said I don’t want a sequel in the traditional sense of a streaming media movie sequel

[idkhowtopickausername]

Are you still doing the unpopular opinions meme? 🔥 Naruto leftist discourse (and a precision: since Naruto Tumblr is the home of Naruto fans criticizing the Shinobi System and the narrative and so a huge chunk of the critique of the show on here is centered on those aspects, do you think people sometimes go too far and take it too seriously or don't take it seriously enough, etc.)

Hi! Yeah I’m still doing the ask game!

Yeah I do think there are times I see people taking it too seriously and people not taking it seriously enough. I think it’s good and important to be able to see how the stuff the show frames positively re: the shinobi system is really fucked up and to be able to see that Sasuke’s perspective is fundamentally correct despite him being vilified, and to be able to see that the ideas of morality that are being presented are very hypocritical and at times pretty awful. And when people who are actively engaged in Naruto discourse on here choose to dismiss or make fun of that analysis it does bother me, because I know they’ve had it explained to them and still refuse to see it.

That being said when it comes to the fandom on Tumblr it matters much more to me that people understand the problems with the show’s messaging than that they like the same characters/ships as me, and while there’s some characters that I don’t really see the appeal of and somewhat distrust the opinions of most of their fans, and vice versa characters I love and distrust the opinions of people who dislike them, I care more that people generally understand why the show’s messaging around genocide and its condemnation of the use of violence to resist a violent system are bad. I think getting super vitriolic towards people based on their subjective feelings about characters or ships is a bit embarrassing to witness. And similarly getting really vitriolic over people like not taking things seriously enough because they ship [x] or whatever or have some minorly flawed take, and claiming that they’re inherently selfish and morally depraved or something because of that is like kind of absurd to me lol, like it’s genuinely not that deep.

Also when people compare in-universe events to actual real-life atrocities it’s taking it a bit too far imo. I also think that while there are definitely connections between people’s opinions on fiction and their politics, and fiction is inherently political, you can’t reliably extrapolate people’s irl politics from their opinions about Naruto like I know people who are definitely leftists who I think have mundanely bad naruto opinions bc they’ve just never thought that deeply about it until I talked to them, and I’ve run into a couple of people on here who were Sasuke stans but turned out to be politically conservative, like there’s no clear line you can draw and it’s a bit weird to think that way imo. Also when people like to claim that Sasuke stans are like using Naruto discourse as a substitute for political engagement it’s hilarious lol like why don’t you think people can have hobbies like talking about fiction they like and also be politically engaged irl, they’re not mutually exclusive.

I think the reason leftists are drawn to analyze Naruto this way is partly because it illustrates really well the hypocrisy of systems that are inherently violent but treat resistance towards the status quo as the only real form of violence, and also illustrates how a militarized profit-based system affects lots of characters in different ways on a personal level. And I think Sasuke does develop a (flawed but still powerful) revolutionary ideology over the course of the story, and he has a big pivotal role in the story, and that resonates with a lot of people, myself included. He’s also a really complex and sympathetic character imo who manages to both feel very real and human and grow and change in meaningful ways (e.g. not just be the mouthpiece for a certain political viewpoint) and also opposes the dominant system at the same time.

[acacia-may]

Be it romantically or as Brotp, but what about Luck and Sally?

Hi there! Thank you so much for the ask and for playing bingo! 💖

(The pink denotes my feelings about them as a romantic ship and yellow denotes my feelings about them as a brotp)

(Not quite a bingo… Oh well… 😅)

As a romantic ship, I know the square says “Nope. Sorry not sorry,” but I am sorry, anon—this one just isn’t for me. 😅 I talked about this in my post about Magna and Luck so I apologize if I’m repeating myself here, but I really just can’t see Luck with anybody in a romantic way. He is just now starting to learn about friendships and family, beginning to heal from his painful past, and building deep and meaningful platonic relationships—which is beautiful but which also means that I don’t think he’ll be ready for a romantic relationship any time soon (possibly ever). In my personal interpretation of him and his character, I’m just not convinced that he’ll ever even want romance or that kind of relationship with anyone. But that’s really just me 😅 The fun thing about fandom is getting to share all different kinds of ideas and interpretations! 😊

As a friendship though, I can definitely see the appeal. They’d have so much joint chaotic energy and lots of fun together! To be honest, it is not one that I had ever really considered before, but sure, why not? It sounds like it could be a fun friendship and very entertaining too! 😂

A few headcanons about their friendship below the cut:

I imagine Luck and Sally really become good friends after their friends start settling down. Neither one of them really want that kind of domestic life, and though they’re still close to their other friends, it’s nice to have someone who is also untethered and can go out to do wild, reckless, and irresponsible things that their married friends wouldn’t/couldn’t.

Luck appreciates that Sally is always up for fighting him, and Sally appreciates that Luck is always up for her experiments. Magna often just shakes his head and says they are a bad influence on each other. When they are together, he often feels like their “mom,” and they tease him for being a stick in the mud until he'll join in whatever rambunctious thing they're doing. (For the record, he doesn’t like having to be “the responsible one.”)

Luck and Sally as a collective have been banned from multiple establishments throughout the Clover Kingdom for being rowdy and destructive. Charmy and Vanessa have threatened to ban them from their restaurant on multiple occasions, but eventually settled on banning them from being at the restaurant at the same time. 😅

Whenever Sally visits the Black Bulls’ Hideout, whoever is the first to see her making her away across the lawn generally yells “man the battle stations” to alert everyone else on the squad who frantically start running around to gather up and hide anything valuable or breakable. Overall though, everyone is glad Luck has found a good friend in Sally—even if their base does pay the price for it from time to time.

Sally fits in pretty well with the chaotic Black Bulls squad. Depending on everyone's mood, sometimes she and Luck can even convince some of the others to spar with them—usually Magna or Asta. Gordon also joins in their chaos every now and again (though in a quiet, not-so-chaotic way), and he quickly considers Sally one of his dear friends because she is such good friends with Luck and makes a doll of her for his collection. A lot of the others mostly try to stay out of it (and especially out of the line of fire), however. While they are glad to see that Luck is making new friends, they decide to be happy for him from a "safe distance." Finral, for instance, swears Luck and Sally’s friendship has taken years off of his life—to which Luck usually replies “That’s silly! You’re not even involved.” While Noelle is just glad that sparring with Luck distracts Sally from wanting to run experiments on Asta.

Luck fits right in with Sally’s friends from the former Eye of the Midnight Sun too. Rades and Valtos teach him how to gamble at cards, and he is extremely good at it. They all meet once a month to play, and if Luck wins, he always offers to gives them all their money back if they agree to fight him. Occasionally, they take him up on this offer. 😁

Sally and Luck have invented multiple (incredibly dangerous) games that generally involve trying to hit objects or each other with their magic, and they cycle through them, playing them together periodically. They tried to teach the extreme version of magical capture of the flag they invented to some of Luck’s “nephews and nieces,” but they were forced to modify the rules to make it safer for children to play. Even so, the game was a huge hit and Sally and Luck are still considered “absolutely the coolest” in the eyes of the next generation of Black Bulls.

Thanks for asking, anon! 😊

[ciaossu-imagines]

So, for day 5 of the event, I used number eight from prompt 14 for a character I’ve never actually written about, just as a sort of fun experiment and challenge! This is set in a high school AU for Klaudia Weissman from K Project, and I hope any fans of hers will enjoy 😊

Characters engage in the same extracurricular activity

I definitely think Klaudia is someone who would join quite a few extracurricular activities in high school, just because she has so many varying interests and she’s someone who likes to be busy and occupied.

Not only does she join a lot of extracurriculars, but they’re also kind of varied in what they’re about. I do see her enjoying physical activity and she loves the community feeling of team sports, so I do think she plays at least one sport. I see her either playing soccer or field hockey, personally.

She’s also a mathlete and on her school’s robotics team, doing both of those alongside her younger brother and Daikaku.

However, because she does have her own interests and passions, if the school has a culinary club, I definitely see her being a part of that, because cooking is something she honestly does love, even if she’s not the best at it.

Klaudia is someone who is very friendly, outgoing, and cheerful, so I see her being a really popular student and club member. When new members join her clubs, she sees herself as someone who can really take them under her wing, make them feel comfortable and supported in the club. Plus, on top of getting to play supportive and kind mentor, she feels she gets to make a new friend out of doing so and that’s something that really does make her happy.

If any of her fellow club members are struggling with things, both inside and outside the club, she’s always going to offer to help in whatever way they can. They’re having trouble keeping up with classes and might have to leave the club? She’ll help tutor them! Are they having personal issues or troubles? She’s always willing to listen and she gives pretty good advice, she likes to think! She’s just a really big people person who thrives on being able to have fun with her friends and being able to take care of people.

Because of this, I see her and the character/reader meeting through one of their after-school clubs. The character/reader is new to the club and of course, Klaudia does what she does best, introducing herself and making sure the character/reader is introduced to everyone else, helping them feel comfortable within the club, sitting with them at lunch, putting in every effort she can to get to know them.

It’s definitely a story about the budding and blossoming friendship, all the sweet platonic moments between Klaudia and the reader/character, though, because of her personality, her warmth, and yes, her looks, I do think it’s entirely possible for the reader/character to develop a bit of an innocent crush on her, though it’s never really reciprocated. In fact, learning to let go of that innocent crush and accepting that the platonic bond is more than good enough and worthwhile and meaningful in its own right could be a really great theme in the overall story, if I do say so myself.

[veebs-hates-video-games]

Since the last post I've mostly been playing Xenoblade Chronicles: Definitive Edition, because I kept seeing posts about stuff from XC1 and hadn't played it since the Wii version. Now there's a game that's still great. Also a couple other things I just started, but those can wait until I'm further in them to get their own posts.

What actually prompted this though was Subnautica finally going on sale for $10 again instead of various higher prices it's been for a while now. Steam tried to warn me by pointing out that I deliberately blocked the tags "open world survival craft" and "survival horror", but it can't save me from myself. Subnautica got grandfathered in when I made the decision to stop pretending I might like games like that because enough people managed to sell me on the atmosphere and general vibes before that.

Well, turns out I still don't like survival crafting games, whether they're Subnautica or No Man's Sky or Don't Starve or whatever other ones are almost universally acknowledged to be both very good and very popular.

I knew things were off to a good start when I found the text speed slider in the settings. I adjusted it to match my reading speed, which is significantly faster than the default, and then I discovered that that wasn't a good idea. If the subtitles are specifically for the spoken dialogue, just time the subtitles to the dialogue and be done with it. Changing the speed just makes them go away faster, like three words into a sentence that's still being read for a while with no text on the screen, which seems both unintuitive and not useful. Maybe there's some situation where someone would want that, but I can't think of it (possibly because I only have minor hearing problems and am somewhat out of the loop with what actual deaf people prefer?).

Anyway, the game seemed desperate to not give me any information on anything, or to tell me what to do, or to tell me what I even could do or how. That's in theory fine when the entire point of the game is exploration and discovery, but at least give me an initial shove in a direction. It did vaguely hint at stuff, but for like 45 minutes I just felt like every time I tried to follow up on some vague suggestion it just led to a whole bunch of stuff I had no way to interact with or stuff that killed me. Sometimes both if I was lucky.

If you want me to want to explore stuff, maybe reward my exploration? Maybe I just consistently picked the wrong way to go for most of an hour, but I just kept finding a whole lot of nothing I could do anything with. I joked on Discord that maybe in another 20 minutes I'd find a second piece of copper ore and could finally make something useful...and then it did actually take that long somehow. I found lots of sea life and random wreckage, but with zero way to interact with any of it it might as well have been completely inert or not there at all.

By like an hour and a half I was ready to give up and had lost interest, but in the process it also kind of made me want to stop pretending I'm going to go back to Outer Wilds and finish it and just uninstall that along with Subnautica too. Totally different kind of game, but I find the progression in it frustrating too after a point. In survival games I feel like I'm wasting so much time just surviving and not actually making a lot of meaningful forward progress on building up my character or abilities or tools or exploring the world or anything, while at maybe halfway through Outer Wilds I was starting to get a similar feeling from spending so much of my time doing the same stuff over and over again to make relatively small progress because there's no way to just skip directly back to where I was. Absolutely fascinating game and world, but the fundamental structure of it just makes some stuff feel really tedious for me.

And thinking about all that made me realize it's a lot of the same stuff that makes me not get along with Breath of the Wild either. Other Zelda games, even the original that BotW is supposedly trying to get back to, generally have a particular kind of consistent progression in them. No matter where you're going and what you're doing, you're still finding new parts of the world and new ways to interact with the world. Each new item you get opens up possibilities for how to interact with the world and solve problems, both in terms of puzzles and combat. BotW gives you nearly all your tools in the tutorial, and then the entire rest of the game has extremely minimal of that sort of progression. You don't keep getting new tools every couple hours, and with the constantly breaking weapons you don't even get a consistent stream of upgrades there either. Unlike most other Zelda games it really just felt like I was treading water and never being rewarded with new ways of playing the game, and for me that kinda sucks.

I can happily spend far too many hours playing a Warriors/Musou game, sometimes even when the overall rate of progression is slower than in games like these, because it always feels like I am progressing no matter what. It's just really unsatisfying to me to have this constant backward movement that I have to spend 80% of my time in the game compensating for.

Anyway, thanks Subnautica for being the last game on my list in this genre and for me finally accepting and acknowledging that I never have to play stuff like this again even if everyone else I know likes it. Now I can go back to silently dreading that Tears of the Kingdom, the next game in one of my favorite series, won't change any of those things from BotW at all.

[gb-patch]

Ask Answers: July 10th

I really let asks get away from me lately. I was super focused on working on that Patreon Moment. With that done I can finally think about doing other things, so here’s a new collection of answers!

Thank you for sending in questions everyone ^^.

For the new Patreon moment, will you be able to reference it in step 4? Or just like a tiny nod to it if you pick certain choices?

There won’t be. I’m sorry if you were hoping for that! The Patreon moment is meant to be entirely optional, it’s not something that gets you extra content in the main game.

Is the new CG artist the main one now? :0 I’ve noticed theres been a difference in the art style recently. Is the old CG artist still going to make art for the game? :0

The original artist still makes CGs for the game sometimes, but he mainly focuses on character sprites.

Are you going to put the NSFW our life moment on a website other than patreon? I would love to get it but I can't use patreon atm.

I don’t know. I'm afraid we can't release the Patreon Moment on a normal game storefront because we can't mix 18+ content with our family friendly game. If there's some other place similar to Patreon where it's not the normal type of full-scale public content releases we'd consider using that, but I’m not sure if there is another site that’s better than Patreon in that regard. I'm sorry.

Out of curiosity, in all of your games so far, which characters in each were the most fun to write? They obviously don't have to be your favorite characters!

Buffalo Seer in AFA, really everyone in XOD/XOBD is pretty equally entertaining to write, The Guide in LoV, and Cove in OL!

idk if you accept "personal" questions, but is there anything you've been watching/ listening to lately

Mostly, I’ve been watching/listening to Authortube videos as of late! It’s people who talk generally about the process of how books become traditionally published and/or share their own experience as they attempt to be published. I don’t have an interest in writing normal text based books, but it’s really interesting to hear about that world. I’m listening to a video about royalties right now as I answer these asks.

Will one of the desserts we get to pick be fudge? That'd be such a cute reference! 

Haha, yeah, it should. Unless I completely blank on it and forget when trying to include the various referential food options.

I don't know if this has been asked previously but what would be the approximate heights for the presets MC can choose from Step 2 ~ 4? Are there any measurement you had in mind? Sorry if I didn't make myself clear kk I've been struggling with my English lately 💀 

I don’t know, ahah. I didn’t have any numbers in mind for that. So it’s whatever you imagine it is!

I noticed a bug with the Patreon moment when it comes to what your character wears. When Jamie and Cove are kissing while my character only had dresses selected, I had both the option to remove the dress or to remove the shirt... Picking one of the options to interact with Cove, after he removed his shirt, it had Jamie remove their shirt followed by ther pants despite only having dresses picked. 

Thank you for reporting ^^

I keep refreshing steam to see when the new doc for xobd will be released. I noticed you haven't posted anything about it in quite some time. Would it be possible to ask about a timeline/potential date? (If it's even this year—) I know you and your team are probably working super hard, I'm just super curious! ~Thank you!~ 

There are more stories done, I just haven’t gotten around to publicly releasing them. Hopefully I will have a chance to spend the time on that sooner rather than later!

hello!! i’m not sure if it’s an update but i’ve just replayed our life and at the end i can’t propose to cove anymore? :(( i’ve actually tried playing twice but the options are not there anymore, did you guys remove the options? i’m sorry if you’ve answered this before!! thank you and have a good one :) 

I’m afraid things haven’t been changed or removed, so I think you might’ve accidentally picked the wrong things somewhere along the way and locked yourself out of being able to propose by mistake. Sometimes you meant to say you want to get married but instead you mis-click and have it so the MC isn’t thinking about marriage or something. All I can suggest is starting from the beginning of Step 3 and making sure to follow the steps listed in the FAQ. I’m sorry for that.

Did yall remove some of the options for when youre making out with Cove in the charity moment? I could've sworn you could grab his bonkadonk and its not there anymore 

This is the same situation as the above. We didn’t remove things and you’re not wrong that there are sometimes those options. But there are various choices you have to make to get those options and it sounds like you accidentally missed something. If your relationship isn’t long-term, you can’t do it for example.

HI IM SO EXCITED I CAN FINALLY GET THE STEP 3 DLC 

Thank you for getting it!

Is Shiloh super totally straight bc I’m very gay and a huge Shiloh fan, would my man make an exception?😩

Sadly, he is one of our super straight characters. I’m sorry.

Hi, I have a very dumb question. In Step 2 does Cove not wanna share his drink with us at the mall (or rather why he stops drinking it) because it's an indirect kiss? Or is it like ...weird to him to share? Because if I remember right he eats off our spoon in the birthday scene right? 

Yeah, he’s awkward about it because he likes the MC and it feels very personal to share a straw with his crush.

Hi! If you don't mind me asking, who is the artist for OL2? Their style is so pretty! 

Thank you for saying so! This is her Twitter- https://twitter.com/redridingheart

Do Beginnings & Always and Now & Forever exist in the same universe? 

Yep! XOXO Droplets also exists in the same universe. It’s one big GB Patch world, haha.

Do Pran's parents regret the way they raised him? Do they feel ashamed of it?

No. They’re the type of people best cut out because they’re not gonna change. Which is why Pran does go very limited contact when he’s an adult.

Hi! I just wrapped up my second playthrough of Our Life, and I absolutely adore it, but I had a question. I went to the gallery and found I was missing 2 CGS (specifically Step 1-3 and 2-3) and I had no clue where they would've shown up. Which moments are those found in? 

You get it by telling Cove about his dad offering you money to be his friend in Step 1 and Step 2. You can’t get both in one playthrough, since you can only tell Cove the truth once. I’m really glad you liked it!

Hi hi! Please, how tall is Baxter and Derek? Love the game so much and I can't wait to see more! 

I don’t know, aha. I think Baxter was around 5′10 and Derek was like 5′8/5′9, maybe. I really am not one who has specific heights for things in mind.

is adult cove a bottom, top, or switch? 

A switch, though would choose the top if he had to pick.

I was wondering if there is a way to transfer save data? Even if through the game files. I wanted to be able to transfer my save data from my desktop over to my laptop so that I could continue playing right where I left off from but I'm not entirely sure how to go about that. 

If you save the save folder/persistent data of the game from your desktop and put it into the game folder on your other device, that could work.

Hi! Is it possible for us to know the date when our life: now and forever comes out on steam? Sorry if you've mentioned it before but I haven't seen it and I'm looking foward to that happening and just wanted to know :) 

It’s gonna be a long time, I’m afraid. There’s no estimate right now.

I started playing Our Life with my sister a while ago, and I think you guys should know that we discovered your secret. >:)

L from death note and Cove are clearly the same person, and this whole game is just an origin story!!

I’ve never seen that show so I’m sorry to say I don’t understand the connection/reference you’re trying to make. I’m pretty out of the loop when it comes to media. I don’t watch movies or TV.

Will OL2 have options for disabled MCs?

I understand if it's too complicated, just curious

Unfortunately, it’s not really something we have a plan for. We couldn’t finish the game if we tried to include every disability and have it be meaningful. It’d just be too much content to create. But if we decide to only include a few, how would we choose which disabilities get to be represented and which are left out? I don’t know. It’ll probably have to be something we don’t include as an option again, sadly. I’m sorry.

playing our life > anything else 

Haha, I’m glad you’re enjoying it.

Honestly, I would like to thank Our Life for helping me come to terms with my sexuality. Before, I never would've actually thought that it was possible to like boys romantically and still be asexual. Almost all of the BL visual novels I've read had unskippable sexual content in them and it honestly just didn't click with what I feel. I'm glad I found Our Life. I love the game, the developers, and this fandom so much. Now, I can safely come out as homoromantic AND asexual (at least anonymously here anyway; my parents are still huge homophobes 😂). 

Aw, it’s great to hear you felt comfortable being yourself in the game! That’s wonderful. I’m really sorry about your parents, though.

Will the demo for OL2 be on android? Really not sure if I could wait any longer than I have to aha 

Yeah, it’ll be available for Android once we eventually release a demo!

Do all these reveals perhaps mean development is progressing ahead of schedule? Please let that be the case I'm already obsessed with Qiu 

No, sorry, aha. Art comes along much faster than script/programming-work for us. It’s gonna be a long time before the game is a finished thing you can actually play. But at least we can look at the beautiful images.

Hey! First of all I wanna say I reallllllyyyyy loooovvveeee Our Life and XOXO Droplets! I have over 300 hours of playtime on Our Life… Anyways, I was just wondering, are the Derek and Baxter DLCs going to come out at the same time? If not, which one do you plan to release first? :3 

They will come out separately and Derek will be first! Glad you like the game.

I keep replaying Our Life to get every possible iteration and I am loving it <3 I was wondering if Cove gets locked out of his confession because MC was talking to Lee, would it be possible to confess to him in step 4? 

Yeah, you can avoid the confession in Step 3 and then get it in Step 4.

Hi, my Cove wears bracelets through step 2 and 3 but I still don't get an option to give him a bracelet? I didn't even know that was possible until I seen someone else ask about it lol 

Hm, did you use the Cove creator? Maybe there’s a bug where using the creator to add bracelets doesn’t fulfill the requirement to give Cove a bracelet in Step 3.

Wait, I'm dense, when does Baxter appear in step 2? Is it from big park firework? I feel so bad since i really love Baxter and waiting to buy his dlc. 

It’s in the Soiree Moment. You have to be just friends with Cove, indifferent, or crushing but not ask Cove to the dance at all. Then while there you can find someone new to dance with. But if you bring Cove to the dance while crushing, the MC won’t wanna dance with anyone else so you can’t get the scene.

In step 2 when we go to the soiree I made my mc go alone and baxter chooses the mc to dance, i'm curious, why did he pick the mc? sorry if this has been asked before! 

Because the MC looked to be around his age, seemed to also be searching for a partner, and had nice legs. A perfect option for him.

I read some of the FAQs, and I saw that we could tell Baxter about the condo that he rented there was previously the mean old grandparents. how do we get the mc to tell him that? 

It happens in the DLC Moment “Late Shift”. If you don’t have a job you instead get a longer scene with Baxter.

I don’t know if you’ve addressed this or not, but are you planning on paying voice actors for our life: now and forever? 

Yeah, we pay our VAs in all our projects.

hey can i ask how you did the moments thing in ol? im trying to get into making visual novels and while im VERY sure its out of my comfort zone and all that atm i kinda wanna know just for the future, bc im p sure it would work well for something i wanna do :O but its also fine if you cant say for other reasons :> 

I’m afraid I’m not sure what you mean. Are you asking how we programmed the screen or something script related? Adding Moments like that is pretty straightforward, though. You just have buttons that open to different labels and then the scripts are essentially individual short stories/vignettes. Good luck with your VN!

Since Autumn becomes gender fluid later in the game, will there be a character who remains as he/him to romance in game? 

OL1 has the he/him LIs, OL2 is all about other genders.

I don't want to impose on your creative plans, but a parrot could possibly make a good pet in an OL-type game? They're pretty long-lived and likely to still be thriving by the end even if the MC got them back in step 1. 

I do appreciate the suggestion, but I’m afraid it’s not likely going to happen. I understand there are technically some animals that could theoretically live long enough to last the whole game that or we could have the MC only get a pet after some years have already passed. But the many things that would have to be considered/accommodated for makes it just something we probably can’t manage adding. I’m sorry.

As time passes will we be able to see Qiu and Tamarack's other stage arts as well?

They are both so cute i can't wait to be friends with them!

Yeah, we’ll show content from other Steps in the future. It’ll be a little while from now, though.

Can you date Cove and still have your family comfort you in the car?

You can’t get Cove’s Step 3 confession scene if you have the family comfort you in the car. But that’s not the only way to date him. You can get together with him earlier in the game or later on in Step 4.

Is Mc always going to be the one walking down the aisle or could Cove do it? Also could you choose to have one of your moms walk you? 

No. Cove wouldn’t want to walk down the aisle like that and the MC automatically respects that. And the MC also gets to have their preferences respected, so it’s up to you whether they want to do an aisle walk or not. You also can pick who, if anyone, walks with you.

Once step 4 is out, will you be able to go the whole game on crush/love without either of you confessing? 

Yes, as long as you tell the game you don’t want to progress the relationship. Even in Step 4 it won’t force you to officially get together.

Howdy, so in Step 4, there will be any Romance with Derek that is not part of any dlc? 

He’s only a friend unless you get his romance story.

Will the step 4 in OL2 be one big step or are you considering moments? 

Step 4 is just an epilogue in both games.

hi kind of a weird question but!! we know tht cliff doesn't start dating again but. wht abt flings? like does he ever do 1 night stands or anything? thank u!!!!!!!!!!!! 

Nope. Cliff has a very small interest in sex. If he’s not in a real relationship with a partner he’s crazy about it simply isn’t something he feels a need for, so one night stands wouldn’t even cross his mind.

sorry if you've already answered this, but i was wondering if there were plans for there to be bonus love interests in OL2 like how we have derek and baxter in OL1.

Maybe! There are side characters who could be given romance stories, but whether or not it will happen depends on funding and how long everything else takes to finish.

I don't know if i'm allowed to ask about ol2 here yet, if not u can ignore this or answer it later. My question is can you date one of them and be good friends with the other? I don't want to be strangers with the other bcs i love them both a lot :<

Yes you can!

what patreon level do i have to be to unlock the nsfw moment? im on the $5 one right now, will that give me access to the moment, or just access to the moment progress? 

That’ll give you access! Tier 2 and anything higher allows the player to download it.

[spockandawe]

Well, this is interesting! So, in that post yesterday, there was one line that really baffled me, a thing about people brushing off a character as an asshole “because he shows literally zero growth.” I kind of set that aside because it was such a weird non-sequitur, and guessed that it was just someone’s sentences not quite keeping up with their train of thought, which has happened to me many times. Apparently I was wrong! I already spent long enough on that one post, I’m tired of talking about that, but this is new and interesting. 

Okay. I kind of wanted to see if I could talk about this purely in terms of abstracts and not characters, but I don’t think it’ll work. It would be frustrating to write and confusing to read. It’s about Jiang Cheng. Right up front: This isn’t about whether or not he’s an abuser. Frankly, I don’t think it’s relevant. This also isn’t about telling people they should like him. I don't care whether anyone else likes him or not. But I do like him, and I am always fascinated by dissecting the reasons that people disagree with me. And the process of Telling Stories is my oldest hyperfixation I remember, which will become relevant in a minute.

I thought I had a good grasp on this one, you know? Jiang Cheng makes it pretty obvious why people would dislike Jiang Cheng. But then the posts I keep stumbling over were making weird points, culminating in that “literally zero growth” line.

So! What happened is that someone wrote up a post about how Jiang Cheng’s character arc isn’t an arc, it’s stagnation. It’s a pretty interesting read, and I broadly agree with the larger point! The points where I would quibble are like... the idea that it’s absolute stagnation, as opposed to very subtle shifts that still make a material difference. But still, cool! The post was also offered up as a reason why OP was uninterested in writing any more Jiang Cheng meta, which I totally get. I’m not tired of him yet, but I definitely understand why someone who isn’t a fan of his would get tired about writing about a character with a very static arc. Okay!

Now, internet forensics are hard. I desperately wish I had more information about this evolution, because I find this stuff fascinating, but I have no good way to find things said in untagged posts, reblogs, or private/external venues. But as far as I can tell, that “literally zero growth” wasn’t just a slip of the tongue, it’s become fashionable for people to say that Jiang Cheng is an abusive asshole (that it’s fucked up to like) because he doesn’t have a character arc.

Asshole? Yes. Abusive? This post still isn’t about that. This is about it being fucked up to like this character because he did bad things and had a static character arc.

At first, that point of view was still deeply confusing to me. But I think I figured out the idea at the core of it, and now I’m only baffled. I’m not super interested in confirming this directly, because the people making the most noise about this have not inspired confidence in their ability to hold a civil conversation and I’m a socially anxious binch, but I think the idea is: ‘This character did Bad Things, and then did not improve himself.’

Which is alarmingly adjacent to that old favorite standard of ‘This piece of fiction is glorifying Bad Thing.’ I haven’t seen anyone accusing mxtx of something something jiang cheng, only the people who read/watched/heard the story and became invested in the Jiang Cheng character, but things kind of add up, you know?

Like I said, I don’t want to arbitrate anyone’s right to like/dislike Jiang Cheng. That’s such a fucking waste of time. But this is fascinating to me, because it’s like..... so obviously new and sudden, with such a clear originating point. I can’t speak to the Chinese fans, obviously, but exiledrebels started translating in... what, 2017? And only now, in 2021, do people start putting forth Jiang Cheng’s flat character arc as a “reason” that he’s bad? I’m not going to argue if he pings you in the abuse place, I’m not a dick. I’m not going to argue if you just dislike his vibes. I’m just over here on my blog and in the tag enjoying myself, feel free to detour around me. But oh my god, it’s so silly to try to tell other people that they shouldn’t like him because he has a static character arc.

I want to talk about stories. I don’t know how much I’ll be able to say, because it’s impossible to make broad, sweeping statements, because there are stories about change, there are stories about lack of change, there are all kinds of media that can be used to tell stories, and standards for how stories are told and what they emphasize vary across cultures and over time. But I think that what I can say is that telling a story requires... compromise. It requires streamlining. Trying to capture all the detail of life would slow down most stories to an unbearable degree. Consider organically telling someone ‘I made a peanut butter and jelly sandwich’ versus the computer science exercise of having students describe, step by step, how to make one (spread peanut butter? but you never said you opened the lid)

Hell, I’ve got an example in mdzs itself. The largely-faceless masses of the common people. If someone asks you to think about it critically like, yes, obviously these are people, living their own lives, with their own desires, sometimes suffering and dying in the wake of the novel plot. But does the story give weight to those deaths? Or does it just gloss by? Yes, it references their suffering occasionally, but it is not the focus, and it would slow the story unbearably to give equal weight to each dead person mentioned. 

Does Wei Wuxian’s massacre get given the same slow, careful consideration as Su She’s, or Jin Guangyao’s? No, because taking the time to weigh our protagonist with ‘well, this one was a mother, and her youngest son had just started walking, but now he’s going to grow up without remembering her face. that one only became an adult a few months ago, he still hasn’t been on many night-hunts yet, but he finds it so rewarding to protect the common people. oh, and this one had just gotten engaged, but don’t worry, his fiancee won’t mourn him, because she died here as well.’ And continuing on that way to some large number under 3000? No! Unless your goal is to make the reader feel bad for cheering for a morally grey hero, that would be a bad authorial decision! The book doesn’t ignore the issue, it comes up, Wei Wuxian gets called out about all the deaths he’s responsible for, but that’s not the same as them being given equal emotional weight to one (1) secondary character, and I don’t love this new thing where people are pretending that’s equivalent.

When Wei Wuxian brutally kills every person at the Wen supervisory office, are you like ‘holy shit... so many grieving families D:’ or are you somewhere between vindicated satisfaction and an ‘ooh, yikes’ wince? Odds are good you’re somewhere in the satisfaction/wince camp, because that’s what the story sets you up to feel, because the story has to emphasize its priorities (priorities vary, but ‘plot’ and ‘protagonist’ are common ones, especially for a casual novel read like this)

Now, characters. If you want to write a story with a sweeping, epic scale, or if you want to tightly constrain the number of people your story is about, I guess it’s possible to give everyone involved a meaningful character arc. Now.... is it always necessary? Is it always possible? Does it always make sense? No, of course not. If you want to do that, you have to devote real estate to it, and depending on the story you want to tell, it could very possibly be a distraction from your main point, like the idea of mxtx tenderly eulogizing every single character who dies even incidentally. Lan Qiren doesn’t get a loving examination of his feelings re: his nephews and wei wuxian and political turnover in the cultivation world because it’s not relevant, and also, because his position is pretty static until right near the end of the story. Lan Xichen is arguably one of the most static characters within the book, he seems like the same nice young between Gusu and the present, right up until... just before the end of the story.

You may see where I’m heading with this.

Like, just imagine trying to demand that every important character needs to go through a major life change before the end of your book or else it didn’t count. This just in, Granny Weatherwax and Nanny Ogg go through multiple novels without experiencing radical shifts in who they are, stop liking them immediately. I do get that the idea is that Jiang Cheng was a ~bad person~ who didn’t change, but asdgfsd I thought we were over the handwringing over people being allowed to like ““bad”” fictional characters. The man isn’t even a canonical serial killer, he’s not my most problematic fave even within this novel.

And here is where it’s a little more relevant that I would quibble with that original post about Jiang Cheng’s arc. He’s consistently a mean girl, but he goes from stressed, sharp-edged teenager, to grief-stricken, almost-destroyed teen, to grim, cold young adult (and then detours into grim, cold, and grief-stricken until grief dulls with time). He does become an attentive uncle tho. He..... doesn’t experience a radical change in his sense of self, which... it’s...... not all that strange for an adult. And bam, then he DOES experience a radical change, but the needs of the plot dictate that it’s right near the end. And he’s not the focus of the story, baby, wangxian is. He has the last few lines of the story, which nicely communicate his changes to me, but also asdfafas we’re out of story. He was never the main character, it’s not surprising we don’t linger! The extras aren’t beholden to the needs of plot, but they’re also about whatever mxtx wanted to write, and I guess she didn’t feel like writing about Jiang Cheng ¯\_(ツ)_/¯

But also. Taking a step backward. Stable characters can fill a perfectly logical place in a story. Like, look at Leia Organa. I’m not saying she has no arc, but I am saying that she’s a solid point of reference as Luke is becoming a jedi and Han is adjusting his perspective. I wouldn’t call her stagnant, the vibes are wrong, but she also isn’t miserable in her sadness swamp, the way Jiang Cheng is.

Or, hell, look at tgcf. The stagnant, frozen nature of the big bad is a central feature of the story. The bwx of now is the bwx of 800 years ago is the bwx of 1500+ years ago. This is not the place for a meta on how that was bad for those around him and for him himself, but I have Thoughts about how being defeated at the end is both a thing that hurts him and relieves him. Mei Nianqing is a sympathetic character who’s also pretty darn static. Does Ling Wen have a character arc, or do we just learn more about who she already is and what her priorities always were? I’m going to cut myself off here, but a character’s delta between the beginning of a story and the end of a story is a reasonable way to judge how interesting writing character meta is, and is a very silly metric to judge their worth, and even if I guessed at what the basic logic is, for this character, I am still baffled that it’s being put forth as a real talking point.

(also, has it jumped ship to any other characters yet? have people started applying it in other fandoms as well? please let me know if this is the case, I am wildly curious)

(no, but really, if anyone is arguing that bwx is gross specifically because he had centuries to self-reflect and didn’t fix himself, i am desperate to know)

And finally. The thing I thought was most self-evident. Did I post about this sometime recently? If a non-central character experiences a life-altering paradigm shift right near the end of the story (without it being lingered over, because non-central character), oh my god. As a fic writer? IT’S FREE REAL ESTATE. This is the most fertile possible ground. If I want to write post-canon canon-compliant material, adsgasfasd that’s where I’m going to be looking. Okay, yeah, the main couple is happy, that’s good. Who isn’t happy, and what can I do about that? Happy families are all alike, while every unhappy family is unhappy in its own way, etc.

It’s not everyone’s favorite playground, but come on, these are not uncommon feelings. And frankly, it’s starting to feel a little disingenuous when people act like fan authors pick out the most blameless angel from the cast and lavish good things upon them. I’m not the only one who goes looking for a good dumpster fire and says I Live Here Now. If I write post-canon tgcf fic, it’s very likely to focus on beef and/or leaf. I have written more than one au focusing on tianlang-jun.

And, hilariously. If the problem with Jiang Cheng. Is that he is a toxic man fictional character who failed to grow on his own, and is either unsafe or unhealthy to be around. If the problem is that he did not experience a character arc. If these people would be totally fine with other people liking him, if he improved himself as a person. And then, if authors want to put in the (free! time-consuming!) work of writing that character development themselves. You would think that they would be lauded for putting the character through healthier sorts of personal growth than he experienced in canon. Instead, I am still here writing this because first, I was bothered by these authors being named as “freaks” who are obsessed with their ‘uwu precious tsundere baby’ with a “love language of violence,” and then I was graciously informed that people hate Jiang Cheng because he experiences no character growth.

[nebulous-tundra]

Jumin for the character meme? 👋😮

YES, FINALLY! my man!

favorite thing about them

his struggle with loneliness. Cheritz took a man with wealth beyond our feeble imaginings and gave him a psychosis that made him so fucking relatable. for real though they really hit the nail on the head with him: hyper-focusing on your job, dismissing big familial issues, putting too much emotional weight onto your pet, these are things i think most people can relate to do, and Cheritz tied them together with loneliness, distilled them to their base issues, and fed them to Jumin on a silver spoon. his BEs reflect how horribly his life can spiral if he doesn't properly address(BE3 is actually more of a reflection of MC's character but i digress) the root problem: his inability to make meaningful connections to other, and a dating sim is the perfect setting to explore that! unlike Damien who i was talking about before, Jumin is a perfect example of executing a premise perfectly and to it's logical conclusion

least favorite thing about them

while i do appreciate Jumin's wealth being part of the appeal of his character, his capitalistic sympathies are kindaaaa the elephant in the room for me. why run a charity fundraiser when he already has so much wealth at his disposal- i mean he's donating too but considering the things he's mentioned buying for Elizabeth the Third i feel like he's pretty close to having enough money to end world hunger......well. if i can suspend my disbelief about Saeyoung flying i guess i can also pretend the economics of the MysMe world is fundamentally different i guess lol

favorite line

"You must be blind to not know where my eyes are. You can't even see with your left eye now?

Everything you're hiding, your secrets, they're all fine. I'll trust whatever you do and follow you. But please... don't lie to me! At least not you... at least not you...! Don't you feel ashamed to Rika? And to yourself!? When did you start living with so little dignity? Even my friendship... How dare you treat it like this!

You crossed the line, V... You made a mistake if you thought you could fool me. Think about all the years we spent together. You can't even count the numbers? You idiot... Drop the soap opera. Quit with the bullshit that you have cancer.

Damn it! Where do you have to go? Where at this point!?"

this is one of the few times we actually see Jumin call out V and reprimand him, and it is so worth it. Jumin has plenty of good moments but this one definitely takes the cake, especially after all we learn about what V has let transpire in his and Saeran's routes

brOTP

Jumin & Zen, such a fun dynamic, everytime you see them in chat together you know you're in for a treat, even if Zen takes it a little too far sometimes lol.

OTP

i mean.....if i said anything other than Jumin x MC i would expect y'all to shoot me- as is your duty

nOTP

Jumin x Jihyun. purely because i hate V. also Jumin x Jaehee, because i respect her too much to do that to her LMAO

random headcanon

i feel like we already have so much canon from Cheritz that i don't even need to have my own lil headcanons buuuuut i guess that he doesn't really mind how things taste too much, he'll eat anything once(if his dietician says it's alright). despite this he has a p good idea of what he does and doesn't like, even if he strays from it at times

unpopular opinion

is it unpopular to acknowledge that he had romantic feelings for Rika? i can't seem to remember where the fandom was at on that

song i associate with them

okay i actually have quite a few of these, i have a whole playlist from when i was a neet and would do nothing but draw comics about him

Jumin's Theme v.2 - Mystic Messenger OST

<-- this one's obvious but i would be remiss to not include it

Things Remembered - Kakegurui OST

<-- good Jumin work vibes

Meltdown [Jazz Cover] - Baguettes Ensemble

<-- a nice, luxurious cover to listen to whenever i think about the nice, luxurious life Jumin must lead

What You Won't Do for Love - Bobby Caldwell

<-- good husband Jumin vibes

Flame of Despair - Puella Magi Madoka Magica: Rebellion OST

<-- good song for illustrating Jumin's emotional turmoil

Deal with the Devil [Piano Cover] - CANACANA

<-- if there was ever a MysMe anime where Jumin x MC was endgame, this would be the op

regret song - Maya Kern

<-- the lyrics aren't wholy compliant to his character, but a good song for thinking about his prior experiences with love

favorite picture of them

again i can't limit myself to one so

this has wonderful angst, have i ever mentioned i love unrequited loves as a trope?

the expression on Jumin here.....fantastic

okay this one might actually be my favorite

thanks for the ask on Jumin! i swear to god i'm gonna have a 3rd Jumin era sometime whenever i get around to playing the Rika DLC and writing out my Jumin meta on his BE2 DLC(which i have played, WOW). he is top tier husbando material

[ot3]

i watched red vs blue: zero with my dear friends today and i was asked to “post” my “thoughts” on the subject. Please do not click this readmore unless, for some reason, you want to read three thousand words on the subject of red vs blue: zero critical analysis. i highly doubt that’s the reason anyone is following me, but hey. 

anyway. here you have it. 

Here are my opinions on RVB0 as someone who has quite literally no nostalgia for any older RVB content. I’ve seen seasons 1-13 once and bits and pieces of it more than once here and there, but I only saw it for the first time within the past couple of months. I’ve literally never seen any other RT/AH content. I can name a few people who worked on OG Red vs. Blue but other than Mounty Oum I have NO idea who is responsible for what, really, or what anything else they’ve ever worked on is, or whether or not they’re awful people. I know even less about the people making RVB0 - All I know is that the main writer is named Torrian but I honestly don’t even know if that’s a first name, a last name, or a moniker. All this to say; nothing about my criticism is rooted in any perceived slight against the franchise or branding by the new staff members, because I don’t know or care about any of it. In fact, I’m going to try and avoid any direct comparison between RVB0 and earlier seasons of RVB as a means of critique until the very end, where I’ll look at that relationship specifically.

So here is my opinion of RVB0 as it stands right now:

1. The Writing

Everything about RVB0 feels as if it was written by a first-time writer who hasn’t learned to kill his darlings. The narrative is both simultaneously far too full, leaving very little breathing room for character interaction, and oddly sparse, with a story that lacks any meaningful takeaway, interesting ideas, or genuine emotional connection. It also feels like it’s for a very much younger audience - I don’t mean this as a negative at all. I love tv for kids. I watch more TV for kids than I do for adults, mostly, but I think it’s important to address this because a lot of the time ‘this is for kids’ is used to act like you’re not allowed to critique a narrative thoroughly. It definitely changes the way you critique it, but the critique can still be in good faith.  I watched the entirety of RVB0 only after it was finished, in one sitting, and I was giving it my full attention, essentially like it was a movie. I���m going to assume it was much better to watch in chunks, because as it stood, there was literally no time built into the narrative to process the events that had just transpired, or try and predict what events might be coming in the future. When there’s no time to think about the narrative as you’re watching it, the narrative ends up as being something that happens to the audience, not something they engage with. It’s like the difference between taking notes during a lecture or just sitting and listening. If you’re making no attempt to actively process what’s happening, it doesn’t stick in your mind well. I found myself struggling to recall the events and explanations that had immediately transpired because as soon as one thing had happened, another thing was already happening, and it was like a mental juggling act to try and figure out which information was important enough to dwell on in the time we were given to dwell on it.

Which brings me to another point - pacing. Every event in the show, whether a character moment, a plot moment, or a fight scene, felt like it was supposed to land with almost the exact same amount of emotional weight. It all felt like The Most Important Thing that had Yet Happened. And I understand that this is done as an attempt to squeeze as much as possible out of a rather short runtime, but it fundamentally fails. When everything is the most important thing happening, it all fades into static. That’s what most of 0’s narrative was to me: static. It’s only been a few hours since I watched it but I had to go step by step and type out all of the story beats I could remember and run it by my friends who are much more enthusiastic RVB fans than I am to make sure I hadn’t missed or forgotten anything. I hadn’t, apparently, but the fact that my takeaway from the show was pretty accurate and also disappointingly lackluster says a lot. Strangely enough, the most interesting thing the show alluded to - a holo echo, or whatever the term they used was - was one of the things least extrapolated upon in the show’s incredibly bulky exposition. Benefit of the doubt says that’s something they’ll explore in future seasons (are they getting more? Is that planned? I just realized I don’t actually know.)

And bulky it was! I have quite honestly never seen such flagrant disregard for the rule of “show, don’t tell.” There was not a single ounce of subtlety or implication involved in the storytelling of RVB0. Something was either told to you explicitly, or almost entirely absent from the narrative. Essentially zilch in between. We are told the dynamic the characters have with each other, and their personality pros and cons are listed for us conveniently by Carolina. The plot develops in exposition dumps. This is partially due to the series’ short runtime, but is also very much a result of how that runtime was then used by the writers. They sacrificed a massive chunk of their show for the sake of cramming in a ton of fight scenes, and if they wanted to keep all of those fight scenes, it would have been necessary to pare down their story and characters proportionally in comparison, but they didn’t do that either. They wanted to have it both ways and there simply wasn’t enough time for it. 

The story itself is… uninteresting. It plays out more like the flimsy premise of a video game quest rather than a piece of media to be meaningfully engaged with. RVB0 is I think something I would be pitched by a guy who thinks the MCU and BNHA are the best storytelling to come out of the past decade. It is nothing but tropes. And I hate having to use this as an insult! I love tropes. The worst thing about RVB0 is that nothing it does is wholly unforgivable in its own right. Hunter x Hunter, a phenomenal shonen, is notoriously filled with pages upon pages of detailed exposition and explanations of things, and I absolutely love it. Leverage, my favorite TV show of all time, is literally nothing but a five man band who has to learn to work as a team while seemingly systematically hitting a checklist of every relevant trope in the book. Pacific Rim is an incredibly straightforward good guys vs giant monsters blockbuster to show off some cool fight scenes such as a big robot cutting an alien in half with a giant sword, and it’s some of the most fun I ever have watching a movie. Something being derivative, clunky, poorly executed in some specific areas, narratively weak, or any single one of these flaws, is perfectly fine assuming it’s done with the intention and care that’s necessary to make the good parts shine more. I’ll forgive literally any crime a piece of media commits as long as it’s interesting and/or enjoyable to consume. RVB0 is not that. I’m not sure what the main point of RVB0 was supposed to be, because it seemingly succeeds at nothing. It has absolutely nothing new or innovative to justify its lack of concern for traditional storytelling conventions. Based solely on the amount of screentime things were given, I’d be inclined to say the narrative existed mostly to give flimsy pretense for the fight scenes, but that’s an entire other can of worms.

2. The Visuals + Fights

I have no qualms with things that are all style and no substance. Sometimes you just want to see pretty colors moving on the screen for a while or watch some cool bad guys and monsters or whatever get punched. RVB0 was not this either. The show fundamentally lacked a coherent aesthetic vision. Much of the show had a rather generic sci-fi feel to it with the biggest standouts to this being the very noir looking cityscape, which my friends and I all immediately joked looked like something from a batman game, or the temple, which my friends and I all immediately joked looked like a world of warcraft raid. They were obviously attempting to get variety in their environment design, which I appreciate, but they did this without having a coherent enough visual language to feel like it was all part of the same world. In general, there was also just a lack of visual clarity or strong shots. The value range in any given scene was poor, the compositions and framing were functional at best, and the character animation was unpleasantly exaggerated. It just doesn’t really look that good beyond fancy rendering techniques.

The fight scenes are their entire own beast. Since ‘FIGHT SCENE’ is the largest single category of scenes in the show, they definitely feel worth looking at with a genuine critical eye. Or, at least, I’d like to, but honestly half the time I found myself almost unable to look at them. The camera is rarely still long enough to really enjoy what you’re watching - tracking the motion of the character AND the camera at such constant breakneck high speeds left little time to appreciate any nuances that might have been present in the choreography or character animation. I tried, believe me, I really did, but the fight scenes leave one with the same sort of dizzy convoluted spectacle as a Michael Bay transformers movie. They also really lacked the impact fight scenes are supposed to have.

It’s hard to have a good, memorable fight scene without it doing one of three things: 1. Showing off innovative or creative fighting styles and choreography 2. Making use of the fight’s setting or environment in an engaging and visually interesting way or 3. Further exploring a character’s personality or actions by the way they fight. It’s also hard to do one of these things on its own without at least touching a bit on the other two. For the most part, I find RVB0’s fight scenes fail to do this. Other than rather surface level insubstantial factors, there was little to visually distinguish any of RVB0’s fight scenes from each other. Not only did I find a lot of them difficult to watch and unappealing, I found them all difficult to watch and unappealing in an almost identical way. They felt incredibly interchangeable and very generic. If you could take a fight scene and change the location it was set and also change which characters were participating and have very little change, it’s probably not a good fight scene. 

I think “generic” is really just the defining word of RVB0 and I think that’s also why it falls short in the humor department  as well.

3. The Comedy

Funny shit is hard to write and humor is also incredibly subjective but I definitely got almost no laughs out of RVB0. I think a total of three. By far the best joke was Carolina having a cast on top of her armor, which, I must stress, is an incredibly funny gag and I love it. But overall I think the humor fell short because it felt like it was tacked on more than a natural and intentional part of this world and these characters. A lot of the jokes felt like they were just thrown in wherever they’d fit, without any build up to punchlines and with little regard for what sort of joke each character would make. Like, there was some, obviously Raymond’s sense of humor had the most character to it, but the character-oriented humor still felt very weak. When focusing on character-driven humor, there’s a LOT you can establish about characters based on what sort of jokes they choose to make, who they’re picking as the punchlines of these jokes, and who their in-universe audience for the jokes is. In RVB0, the jokes all felt very immersion-breaking and self aware, directed wholly towards the audience rather than occurring as a natural result of interplay between the characters. This is partially due to how lackluster the character writing was overall, and the previously stated tight timing, but also definitely due to a lack of a real understanding about what makes a joke land. 

A rule of thumb I personally hold for comedy is that, when push comes to shove, more specific is always going to be more funny. The example I gave when trying to explain this was this:

saying two characters had awkward sex in a movie theater: funny

saying two characters had an awkward handjob in a cinemark: even funnier

saying two characters spent 54 minutes of 11:14's 1:26 runtime trying out some uncomfortably-angled hand stuff in the back of a dilapidated cinemark that lost funding halfway through retrofitting into a dinner theater: the funniest

The more specific a joke is, the more it relies on an in-depth understanding of the characters and world you’re dealing with and the more ‘realistic’ it feels within the context of your media. Especially with this kind of humor. When you’re joking with your friends, you don’t go for stock-humor that could be pulled out of a joke book, you go for the specific. You aim for the weak spots. If a set of jokes could be blindly transplanted into another world, onto another cast of characters, then it’s far too generic to be truly funny or memorable. I don’t think there’s a single joke in RVB0 where the humor of it hinged upon the characters or the setting.

Then there’s the issue of situational comedy and physical comedy. This is really where the humor being ‘tacked on’ shows the most. Once again, part of what makes actually solid comedy land properly is it feeling like a natural result of the world you have established. Real life is absurd and comical situations can be found even in the midst of some pretty grim context, and that’s why black comedy is successful, and why comedy shows are allowed to dip into heavier subject matter from time to time, or why dramas often search for levity in humor. It’s a natural part of being human to find humor in almost any situation. The key thing, though, once again, is finding it in the situation. Many of RVB0’s attempts at humor, once again, feel like they would be the exact same jokes when stripped from their context, and that’s almost never good. A pretty fundamental concept in both storytelling in general but particularly comedy writing is ‘setup and payoff’. No joke in RVB0 is a reward for a seemingly innocuous event in an earlier scene or for an overlooked piece of environmental design. The jokes pop in when there’s time for them in between all the exposition and fighting, and are gone as soon as they’re done. There’s no long term, underlying comedic throughline to give any sense of coherence or intent to the sense of humor the show is trying to establish. Every joke is an isolated one-off quip or one-liner, and it fails to engage the audience in a meaningful way.

All together, each individual component of RVB0 feels like it was conjured up independently, without any concern to how it interacted with the larger product they were creating. And I think this is really where it all falls apart. RVB0 feels criminally generic in a way reminiscent of mass-market media which at least has the luxury of attributing these flaws, this complete and total watering down of anything unique, to heavy oversight and large teams with competing visions. But I don’t think that’s the case for RVB0. I don’t know much about what the pipeline is like for this show, but I feel like the fundamental problem it suffers from is a lack of heart.

In comparison to Red vs. Blue

Let's face it. This is a terrible successor to Red vs. Blue. I wouldn’t care if NONE of the old characters were in it - that’s not my problem. I haven’t seen past season 13 because from what I heard the show already jumped the shark a bit and then some. That’s not what makes it a poor follow up. What makes it a bad successor is that it fundamentally lacks any of the aspects of the OG RVB that made it unique or appealing at all. I find myself wondering what Torrian is trying to say with RVB0 and quite literally the only answer I find myself falling back onto is that he isn’t trying to say anything at all. Regardless of what you feel about the original RVB, it undeniably had things to say. The opening “why are we here” speech does an excellent job at establishing that this is a show intended to poke fun at the misery of bureaucracy and subservience to nonsensical systems, not just in the context of military life, but in a very broad-strokes way almost any middle-class worker can relate to. At the end of the day, fiction is at its best when it resonates with some aspect of its audience’s life. I know instantly which parts of the original Red vs Blue I’m supposed to relate to. I can’t say anything even close to that about 0.

RVB is an absurdist parody that heavily satirizes aspects of the military and life as a low-on-the-food-chain worker in general that almost it’s entire target audience will be familiar with. The most significant draw of the show to me was how the dialogue felt like listening to my friends bicker with each other in our group chats. It required no effort for me to connect with and although the narrative never outright looked to the camera and explained ‘we are critiquing the military’s stupid red tape and self-fullfilling eternal conflict’ they didn’t need to, because the writing trusted itself and its audience enough to believe this could be conveyed. It is, in a way, the complete antithesis to the badass superhero macho military man protagonist that we all know so well. RVB was saying something, and it was saying it in a rather novel format.

Nothing about RVB0 is novel. Nothing about RVB0 says anything. Nothing about it compels me to relate to any of these characters or their situations. RVB0 doesn’t feel like absurdism, or satire. RVB0 feels like it is, completely uncritically, the exact media that RVB itself was riffing off of. Both RVB0 and RVB when you watch them give you the feeling that what you’re seeing here is kids on a playground larping with toy soldiers. It’s all ridiculous and over the top cliche stupid garbage where each side is trying to one-up the other. The critical difference is, in RVB, we’re supposed to look at this and laugh at how ridiculous this is. In RVB0 we’re supposed to unironically think this is all pretty badass. 

The PFL arc of the original RVB existed to show us that setting up an elite team of supersoldiers with special powers was something done in bad faith, with poor outcomes, that left everyone involved either cruel, damaged, or dead. It was a bad thing. And what we’re seeing in RVB0 is the same premise, except, this time it’s good. We’re supposed to root for this format. RVB0 feels much more like a demo reel, cutscenes from a video game that doesn’t exist, or a shonen anime fanboy’s journal scribbling than it feels like a piece of media with any objective value in any area.  In every area that RVB was anti-establishment, RVB0 is pure undiluted establishment through and through.  

[teresa-moyocoyotzin]

short recap of my thoughts on 5x09

okay so i was gonna rewatch the whole episode and do a blow-by-blow reaction post but i’m not sure i’ll have time and i kinda wanna focus on watching my fave scenes from the show before tonight. also, everyone else’s reaction posts p. much sum up my thoughts lol 

nonetheless, i just wanted to give my main takeaways on the episode a week later, in case anyone cares where i’m at going into the finale! gonna go over the things i liked first, anyone who wants to just remain positive and not see any salty takes might wanna just stick to reading the first part b/c i definitely rant a bit at the end lmao. we’re still having a fun time tho 😂

THINGS I LOVED

- i mean... i think we know LOL

- obviously. i loved james and teresa’s i love you scenes, and kisses, and OOF THAT SEX SCENE. if someone had told me we were gonna get that scene back in like 2017??? i probably would have started literally floating. i totally respect that people had very specific ideas of what they wanted out of those scenes and could have different feelings about it but NOT ME BABES I AM ECSTATIC!!! i did go into the episode with a ~feeling~ that we were gonna get at least one ILY in the episode, and i just had a feeling it would be james, or at least that he would say it first. i’ve already explained in my meta about the scenes why i think it makes sense that he said it first and why i love it that he did, so i won’t go into that here. but i went in having really no expectations for it other than that it was gonna happen! i was debating about whether it would happen really casually while they’re talking, or in like a big action scene, or really dramatic or what, and what i would prefer, and i came to the conclusion that i would love it no matter what lol, but i was really into the idea of james just. fucking. saying it. while they’re just talking about something really casually. so therefore i was pretty happy with it when we got sort of a mix! they’re talking about teresa’s insane death trap of a plan so there’s that drama of “i don’t want to lose you esp. not before saying ILY” kinda thing, but it’s also just. so simple and sure! and then teresa’s i love you is like the perfect scene for me where one character is super focused on something else (in this case, trying to protect the woman he loves! agh!) and the other is just like.. i love you!!!! SO GOOD

- let’s see, what the hell else happened in this ep?

- oh okay i really liked james and teresa’s vibes this episode, they were so focused on each other and had this very ride-or-die feeling about them like they knew that each of their plans was increasingly stupid and desperate and might not even get them where they wanna go, but they were IN IT TOGETHER no matter what 😭i wish we had gotten a callback to that line but at this point, i’m p. sure they Know they’re in it together, and we do too. so it’s okay. i love that teresa still asks his input and considers his opinions even if she does her own thing anyways haha 

- oh on that note, i LOVED the moment where their plans to kill Kostya aren’t working and Teresa says something like “If I can meet with him in person, I can kill him myself” and James just has this LOOK that just is the epitome of the “I am in love with a women who is DESIGNED TO STRESS ME OUT” meme lol, it made me giggle, v classic QOTS moment 

- oh and of course, I LOVED that scene with devon and james at the end!!!!!!!! i was also confused about how james was showing all his emotions in that scene esp. since he tries to be stoic about his feelings for Teresa around Devon, but now that i’ve read a few people’s thoughts about, it i’m fully on board w the theory that james and teresa already knew this was coming, b/c they’re smart, and b/c james knows devon wouldn’t have let him walk away to save Teresa at the beginning of the season without motivation (like having him in place to kill her when she’s no longer useful to the CIA) and THEREFORE james was sort of “overacting” to make it believable to devon (and the audience lol) that he didn’t know this was coming, didn’t want to do it, but felt like he had to, rather than the fact that they were already plotting a fake death. that makes a lot of sense to me and makes me really love all the layers to that scene. it does give me a little bit of hope that the finale ~teresa’s not really dead~ reveal will be at least a little well executed and not just shoved in at the very end. we shall see though! 

- alright i think that’s what i loved about the episode, if u don’t wanna hear me bitching about the little things then u should probably stop here!! just have to get out some of my saltiness lol 

THINGS I WAS ANNOYED ABOUT

- i’m just gonna get it out of the way, yes, i too was supremely annoyed at the amount of KA and Pote take suburbia; it was all 1000% predictable down to the raccoon and the cookies, and the point could have been accomplished in exactly 1 scene, maybe 2, certainly not like 10 or however many we got. whatever. ugh. 

- okay. OKAY. chicho. we need to talk about chicho. i for one, am not mad that he called pote, my boy was stressed. I AM HOWEVER, mad at the writers for making pote come back after saying he trusted chicho to take care of teresa now. like. it totally devalued THE WHOLE THING!! imo, pote shoulda stayed his ass at home where we had to watch him settle all episode, and chicho should have gotten THE HERO MOMENT HE DESERVED (esp. cuz he’s on first name basis w teresa now??) which ALSO WOULD HAVE MADE THE SCENE WHERE TERESA GIVES CHICHO THE DISTILLERY AND THE BAR SO! MUCH! MORE! MEANINGFUL!!!!! or just made it make sense at all? like .... i’m just so confused by that whole plotline like what was the point? chicho does nothing but call pote and gets T’s whole legacy in NOLA? 

- and don’t even get me started on how it makes ZERO sense that pote would have had to charge in at the last minute to save teresa when JAMES THE SNIPER W AMAZING AIM WHO IS LITERALLY. IN LOVE WITH HER. is standing outside like. ur telling me james and chicho (who again, is supposed to be her #2 after james now) just stood there like “oh hey pote yeah you go ahead we’ll wait here good luck” like WHAT also.. how did pote get past all the guards that made james stay outside? are we meant to believe pote is that sneaky? y’all. it just. doesn’t make sense. this whole plot situation maddens me more than anythings tbh UGH JUST MAKE IT MAKE SENSE 

- oksana’s daughter..... what’s her name again? idk b/c we only MET HER THIS WEEK....okay this amuses me but i’m also annoyed b/c like. there were so many other women who could have taken that spot in the opening sequence... Lil T, Castel, hell even Isabela??? Like idk how they could have done it but they put so much effort into her plot in the first seasons that i really thought she was gonna end up w/ Teresa in the end.. idk that would have been kind cool, Camila’s two “daughters” eventually working their way out of the life together..again idk how they could have realistically done it but i really do wish it had been someone we met before. if it had to be someone new this season, they could have introduced her earlier instead of one of the seemingly dozens of random guys we knew for 1 episode before they died... like.. give her some depth please. is she even gonna be in the finale? honestly she better be after making us listen to pote welcome her into the family... like the family u were supposed to leave so u could have an actual baby pote? the family that’s literally dispersing as we speak? also.. since when did pote love oksana so much anyways? also...... just.. if teresa’s gonna have some sort of daughter figure or whatever she’s supposed to be, wouldn’t it make sense to have her be the one to give the big welcome to the family speech? idk y’all..... i’m amused but also baffled at the sheer lack of planning behind this. did no one realize they needed someone for the opening scene until like. halfway thru the season? did they plan to have it be castel but they couldn’t get her for filming (hence all the weird castel plots?) INQUIRING MINDS WOULD LIKE TO KNOW. it’s whatever tho lol 

- i just hope that what’s-her-name gets a lil bit of plot in the finale esp. since otherwise it might just be pote running around being pissy (i don’t actually think that haha but i am a lil nervous that teresa won’t come back until the last few mins and i’ll have to spend all episode looking at boaz and devon and pote and KA.. i haven’t looked at any spoilers tho so i’m still hopeful! i will probably make a post about my hopes going into the finale a lil later, both realistic and unrealistic :) 

[elyvorg]

So… I was talking about aspec V3 headcanons? Well then, let me lay down the facts.

Maki Harukawa is on the aromantic spectrum. Yes, even though she explicitly develops a crush on Kaito, and no, I’m not trying to dispute that part.

This is basically canon. Let me tell you why.

Maki is aro

For this, we need to consider the conversation Maki has with Shuichi in the first training session in chapter 4, while Kaito has temporarily disappeared to the bathroom. On one level, this conversation exists to be the only actual meaningful indication* that Maki has romantic feelings for Kaito until she goes and confesses them. Someone like Maki wouldn’t care about asking Shuichi if he “liked” Kaede (in that annoying loaded meaning of the word “like” that specifically refers to romantic attraction) unless she was trying to come to terms with the idea that she also “likes” someone else in the same way, and the only plausible candidate for that is Kaito.

But even more striking about this conversation, far more so than the general implication that Maki would only bother asking this if she happened to be crushing on a certain spiky-haired space dork, is the way Maki approaches and thinks about this whole topic in general. Take a look:

Maki:  “Well… I assumed you didn’t, because that would be weird. […] Liking someone you just met… especially in a situation like this…”

Shuichi:  “… Then tell me… under what circumstances is liking someone *not* weird?”

Maki:  “…Huh? I… don’t know. I don’t… really understand what that is.”

I, as an aromantic person myself, fully agree with Maki that it just seems weird to start romantically liking someone you’ve only just met, especially in a life-or-death situation where surely there’s way more important things to be focusing on. But apparently, most people do not find this thought weird at all – love at first sight is supposedly a real thing that can happen, and something something dangerous situations can bring out more hormones and passion???? sounds fake but okay – and so opinions like mine and Maki’s here are very much outliers.

And not only that, not only does the thought of crushing on near-strangers bewilder Maki to the point of disbelief, but she also can’t even come up with an answer to when crushing on someone would ever not be strange and bizarre. Like the whole concept is just alien to her. She can barely even wrap her head around how “liking” someone in that way even works. The very reason she’s even asking Shuichi about this is because she doesn’t understand why she’s feeling this way about Kaito.

This is how an aromantic person would view this kind of thing. It doesn’t sound even slightly like something an alloromantic person would say in this situation. That’s not up for interpretation – that’s just the truth about these views that Maki is expressing. Again: I’m aromantic. I would know.

Even from a character who then does turn out to nonetheless have a crush on someone, these statements are pretty much as canonically confirmed arospec as you can get short of them straight up using the word "aromantic" or a variant.** And, well, obviously Maki isn't about to go calling herself that. From the way she’s questioning this, she clearly doesn’t realise that her perspective is the outlier, so she’s probably never even heard of the term. Besides, she most definitely has way bigger hurdles to be getting over first in terms of her self-acceptance before she's ever going to particularly care about figuring out labels for her orientation of all things.

Aros with trauma are still aros

Now, granted, I severely doubt that Maki being arospec is what the writers intended to convey. Haha, deliberate aro representation in mainstream Japanese media, especially something more complex than vanilla aro, that's a funny joke. What the writers probably meant by writing this conversation I just discussed is to suggest that Maki is viewing things this way a result of her trauma.

But hey, guess what? Even if it is because of her trauma - and I'm not denying that it probably is - that doesn't make Maki any less aro. Some people are arospec because of trauma, and that's equally as valid a reason to be arospec as without. Maybe Maki would have grown up alloromantic if she hadn't been scouted as an assassin, but that's irrelevant, because that's not the Maki who exists now.

In writing this conversation, the writers were presumably attempting to communicate that Maki is so messed up by having been manipulated and abused and moulded into a soulless killing machine that she can no longer comprehend the idea of how or why anybody (especially not herself) would fall in love with someone when they'd only just met, or even really in any circumstances at all. …And in doing that, the writers unintentionally wrote a character who, as a result of her trauma, is aro(-spec). This is an objective fact about the canon story that does not change just because the writers probably weren’t aware enough about aromanticism to actually realise this.

Aros who feel romantic attraction are still aros

So, of course, Maki does in fact come to romantically love Kaito despite this. That fact becomes very important to her, and me lengthily explaining here that she’s actually arospec is not remotely trying to diminish that. But it’s also very important to me that people realise that Maki’s romantic love for Kaito comes from an aromantic perspective. She eventually chooses to embrace those feelings not remotely because it just feels to her like the natural way things should go, but despite every single conscious part of her insisting that this is weird and illogical and doesn’t make any goddamn sense to even be happening at all. She is not going to suddenly fall into all the boring romantic cliches and stereotypical alloromantic approaches to love just because she does in fact happen to be experiencing romantic attraction. There’s nothing alloromantic about Maki’s crush on Kaito.***

As for the specific flavour of arospec that allowed Maki to fall in love with Kaito anyway? This part is somewhat more up for interpretation because there’s no real explicit indication of this in particular, but I personally like to go with the idea that Maki is demiromantic. It feels appropriate for Maki’s character and trauma to imagine that she can only begin to potentially feel romantic things towards a person when she has an emotional connection with them – when she trusts them and knows that they trust her. It doesn’t necessarily have to take very long – she’d only been friends with Kaito for a handful of days before that telling conversation with Shuichi – and she may not even have to have consciously admitted to herself that she trusts them, but she needs to have that bond. She’s normally so guarded and has such strong automatic barriers up during her interpersonal interactions that seeing most people in a romantic light literally isn’t even an option in her brain.

Maki’s confession of her feelings for Kaito does read as rather strongly demiromantic, I think. She makes a point that this is about who Kaito is and what he’s done for her, before even getting to the part where she admits to having fallen for him. And she says she “fell for” him, not that she was always in love with him or anything to that effect. This happened somewhere along the way during their friendship, because of their friendship, and because of Kaito being his incredible trusting supportive self towards her when she needed it most.

Maki Harukawa is demiromantic, and she’s wonderful.

  ---

[some grumpy Amatonormativity and Aro Erasure 101 footnotes, can you tell I am bitter about this kind of thing]

(* When I say “actual meaningful indication” of romantic feelings, I mean something that isn't just the narrative infuriatingly pointing at things that are actually perfectly platonic in nature and going “ooh look how romantic~!”. Newsflash: worrying about somebody and wanting to rescue them when they're sick and injured and have been kidnapped by someone you think is an evil sadistic mastermind is not somehow proof of romantic feelings. That is a thing that friends do. And on the same note, teaching somebody how to build a crossbow is not some kind of deep metaphor for romance; it is literally just a lesson in how to build a goddamn crossbow. Maki would have done both of these things in exactly the same way if her crush on Kaito didn’t exist.)

(** It's exactly like how characters can be considered canonically confirmed same-gender-attracted when all they've done is show attraction to the same gender****, without them actually needing to explicitly refer to themselves with the word “gay”, or “lesbian”, or “bi” or whatever else. Anyone who tried to insist that was necessary in order for it to “count” would instantly be written off as homophobic. So if that’s the case, then a character explicitly saying something such as “I don’t understand what it means to like someone that way” equally constitutes them being confirmed aro, and trying to argue that it doesn’t “count” without outright hearing the word itself is, guess what…?)

(*** This also inherently means that there’s nothing straight about Maki’s crush on Kaito either, since societally-expected “straight” attraction is allo as well as hetero. I gather that some people in this fandom like to devalue and erase Maki’s crush (and potentially also Maki herself) because they feel that it’s an Obligatory Forced Straight Romance and don’t like that, or something along those lines. Well, good news! It’s literally not that, actually, because Maki isn’t straight.)

(**** …This only applies so long as it actually is very clearly romantic or sexual attraction and not just people deciding platonic affection is totally romantic thanks to the disease that is amatonormativity. Because, you know. That happens. Literally all the time. (Even from V3’s narrative itself; see footnote 1.))

[symphonyofthewrite]

Okay, I just need to get something off my chest here.

…Am I the only one who…honestly disliked the romance between Greta and Alucard?

Don’t get me wrong, she’s a lovely character, and I don’t think she would be bad for him. I think they did a good job with her overall. And I didn’t think the romance was poorly done or anything. I am also glad they didn’t go overboard with it.

And this is a very small thing in the grand scheme of a great season.

But nothing about her character made me go “ah yes, she’s the one. The one for my boy.”

She was just a cool side character to me and that’s about it. I myself would have preferred it if they left it there.

I would have ADORED their relationship as just a really nice friendship. All their meaningful dialogue and teasing would have resonated with me personally a lot more without the romantic undertones. I would have been so delighted that he made a great new friend.

Im very picky about romance, and not an avid shipper, so maybe it’s just me and most people liked it.

Im just not really a fan of “everything’s gotta be wrapped up neatly with a bow so that means Alucard’s gotta have a romance, and oh whoops it’ll be with the first and only new female character introduced in his arc.” …It’s something I see in a lot of media and I really don’t like it.

I personally don’t think his character needs a romance, and I like his character better without it. (But again, I’m picky. (And have a preference for asexual characters which, yes, I know from season 3 that Alucard is not)).

Plus, if they didn’t put that there, shippers would have free reign! (I mean, not that shippers don’t already always have free reign, just…). I would have been much happier with “hey Trephacard could be canon!” “hey Alucard x Greta could be canon!” Whatever you want! It works in canon! I think Alucard x Greta would have been a fun fan ship. Just not a necessary thing in canon.

I feel like the themes of him remembering what he loves about humanity and learning that he can live with them, and that they’re not bad, and he’s not bad, etc would have come through much stronger if he experienced it with regards to Danesti as a whole. And yes, he does. But every time he does something with the people of Danesti, Greta comes over and feeds us the moral. Again, I don’t think that was poorly done, but I personally would have been much more impacted if I just heard the kids calling Alucard “father” and Alucard’s eyes widening and then a smile crossing his face when no ones looking. I would have loved to see him forming relationships with many people of Danesti, including, as well as separate from, Greta, showing that the growth and healing he needed had to do with his relationship with humanity as a whole, not just him needing a romance. I think seeing a bunch of interactions with the people of Danesti and how he’s opening up throughout the season would have made me so much more emotional.

I don’t know. Again, maybe it’s just me, and again, the season overall is AMAZING. Im not intending to be super negative, I just needed to get it off my chest since I’m not seeing people talking about this. It just really bugged me personally that they felt the need to stick a romance in his arc, when I feel the relationship, arc, and characters would have been much more delightful and powerful without it.

[paenling]

no ones saying you cant enjoy daniil? people like him as a character but mostly Because he’s an asshole and he’s interesting. the racism and themes of colonization in patho are so blatant

nobody said “by order of Law you are forbidden from enjoying daniil dankovsky in any capacity”, but they did say “if you like daniil dankovsky you are abnormal, problematic, and you should be ashamed of yourself”, so i’d call that an implicit discouragement at the least. not very kind.

regardless, he is a very interesting asshole and we love to make fun of him! but i do not plan to stop seeing his character in an empathetic light when appropriate to do so. we’re all terribly human.

regarding “the racism and themes of colonization in patho”, we’ve gotta have a sit-down for this one because it’s long and difficult. tl;dr here.

i’ve written myself all back and forth and in every direction trying to properly pin down the way i feel about this in a way that is both logically coherent and emotionally honest, but it’s not really working. i debated even responding at all, but i do feel like there are some things worth saying so i’m just going to write a bunch of words, pick a god, and pray it makes some modicum of sense.

the short version: pathologic 2 is a flawed masterwork which i love deeply, but its attempts to be esoteric and challenging have in some ways backfired when it comes to topical discussions such as those surrounding race, which the first game didn’t give its due diligence, and the second game attempted with incomplete success despite its best efforts.

the issue is that when you have a game that is so niche and has these “elevated themes” and draws from all this kind of academic highbrow source material -- the fandom is small, but the fandom consists of people who want to analyze, pathologize, and dissect things as much as possible. so let’s do that.

first: what exactly is racist or colonialist in pathologic? i’m legitimately asking. people at home: by what mechanism does pathologic-the-game inflict racist harm on real people? the fact that the Kin are aesthetically and linguistically inspired by the real-world Buryat people (& adjacent groups) is a potential red flag, but as far as i can tell there’s never any value judgement made about either the fictionalized Kin or the real-world Buryat. the fictional culture is esoteric to the player -- intended to be that way, in fact -- but that’s not an inherently bad thing. it’s a closed practice and they’re minding their business.

does it run the risk of being insensitive with sufficiently aggressive readings? absolutely, but i don’t think that’s racist by itself. they’re just portrayed as a society of human beings (and some magical ones, if you like) that has flaws and incongruences just as the Town does. it’s not idealizing or infantilizing these people, but by no means does it go out of its way to villainize them either. there is no malice in this depiction of the Kin. 

is it the fact that characters within both pathologic 1 & 2 are racist? that the player can choose to say racist things when inhabiting those characters? no, because pathologic-the-game doesn’t endorse those things. they’re throwaway characterization lines for assholes. acknowledging that racism exists does not make a media racist. see more here.

however, i find it’s very important to take a moment and divorce the racial discussions in a game like pathologic 2 from the very specific experiences of irl western (particularly american) racism. it’s understandable for such a large chunk of the english-speaking audience to read it that way; it makes sense, but that doesn’t mean it’s correct. although it acknowledges the relevant history to some extent, on account of being set in 1915, pathologic 2 is not intended to be a commentary about race, and especially not current events, and especially especially not current events in america. it’s therefore unfair, in my opinion, to attempt to diagnose it with any concrete ideology or apply its messages to an american racial paradigm.

it definitely still deals with race, but it always, to me, seemed to come back around the exploitation of race as an ultimately arbitrary division of human beings, and the story always strove to be about human beings far more than it was ever about race. does it approach this topic perfectly? no, but it’s clearly making an effort. should we be aware of where it fails to do right by the topic? yes, definitely, but we should also be charitable in our interpretations of what the writers were actually aiming for, rather than reactionarily deeming them unacceptable and leaving it at that. do we really think the writers for pathologic 2 sat down and said “we’re going to go out of our way to be horrible racists today”? i don’t.

IPL’s writing team is a talented lot, and dybowski as lead writer has the kinds of big ideas that elevate a game to a work of art, particularly because he’s not afraid to get personal. on that front, some discussion is inescapable as pathologic 2 deals in a lot of racial and cultural strife, because it’s clearly something near to the his heart, but as i understand it was never really meant to be a narrative “about” race, at least not exclusively so, and especially not in the same sense as the issue is understood by the average American gamer. society isn't a monolith and the contexts are gonna change massively between different cultures who have had, historically, much different relationships with these concepts.

these themes are “so blatant” in pathologic 2 because clearly, on some level, IPL wanted to start a discussion. I think it’s obvious that they wanted to make the audience uncomfortable with the choices they were faced with and the characters they had to inhabit -- invoke a little ostranenie, as it were, and force an emotional breaking point. in the end the game started a conversation and i think that’s something that was done in earnest, despite its moments of obvious clumsiness. 

regarding colonialism, this is another thing that the game is just Not About. we see the effects and consequences of colonialism demonstrated in the world of pathologic, and it’s something we’re certainly asked to think about from time to time, but the actual plot/narrative of the game is not about overcoming or confronting explicitly colonialist constructs, etc. i personally regard this as a bit of a missed opportunity, but it’s just not what IPL was going for.

instead they have a huge focus, as discussed somewhat in response to this ask, on the broader idea of powerful people trying to create a “utopia” at the mortal cost of those they disempower, which is almost always topical as far as i’m concerned, and also very Russian.

i think there was some interview where it was said that the second game was much more about “a mechanism that transforms human nature” than the costs of utopia, but it’s still a persistent enough theme to be worth talking about both as an abstraction of colonialism as well as in its more-likely intended context through the lens of wealth inequality, environmental destruction & government corruption as universal human issues faced by the marginalized classes. i think both are important and intelligent readings of the text, and both are worth discussion.

both endings of pathologic 2 involve sacrifice in the name of an “ideal world” where it’s impossible to ever be fully satisfied. in the Diurnal Ending, Artemy is tormented over the fate of the Kin and the euthanasia of his dying god and all her miracles, but he needs to have faith that the children he’s protected will grow up better than their parents and create a world where he and his culture will be immortalized in love. in the Nocturnal Ending, he’s horrified because in preserving the miracle-bound legacy of his people as a collective, he’s un-personed himself to the individuals he loves, but he needs to have faith that the uniqueness and magic of the resurrected Earth was precious enough to be worth that sacrifice. neither ending is fair. it’s not fair that he can’t have both, but that’s the idea. because that “utopia” everyone’s been chasing is an idol that distracts from the important work of being a human being and doing your best in a flawed world. 

because pathologic’s themes as a series are so very “Russian turn-of-the-century” and draw a ton of stylistic and topical inspiration from the theatre and literature of that era, i don’t doubt that it’s also inherited some of its inspirational literature’s missteps. however, because the game’s intertextuality is so incredibly dense it’s difficult to construct a super cohesive picture of its actual messaging. a lot of its references and themes will absolutely go over your head if you enter unprepared -- this was true for me, and it ended up taking several passes and a bunch of research to even begin appreciating the breadth of its influences.

(i’d argue this is ultimately a good thing; i would never have gone and picked up Camus or Strugatsky, or even known who Antonin Artaud was at all if i hadn’t gone in with pathologic! my understanding is still woefully incomplete and it’s probably going to take me a lot more effort to get properly fluent in the ideology of the story, but that’s the joy of it, i think. :) i’m very lucky to be able to pursue it in this way.)

anyway yes, pathologic 2 is definitely very flawed in a lot of places, particularly when it tries to tackle race, but i’m happy to see it for better and for worse. the game attempts to discuss several adjacent issues and stumbles as it does so, but insinuating it to be in some way “pro-racist” or “pro-colonialist” or whatever else feels kind of disingenuous to me. they’re clearly trying, however imperfectly, to do something intriguing and meaningful and empathetic with their story.

even all this will probably amount to a very disjointed and incomplete explanation of how pathologic & its messaging makes me feel, but what i want -- as a broader approach, not just for pathologic -- is for people to be willing to interpret things charitably. 

sometimes things are made just to be cruel, and those things should be condemned, but not everything is like that. it’s not only possible but necessary to be able to acknowledge flaws or mistakes and still be kind. persecuting something straight away removes any opportunity to examine it and learn from it, and pathologic happens to be ripe with learning experiences. 

it’s all about being okay with ugliness, working through difficult nuances with grace, and the strength of the human spirit, and it’s a story about love first and foremost, and i guess we sort of need that right now. it gave me some of its love, so i’m giving it some of my patience.

[cruelfeline]

I’ve been thinking about various aspects of SPoP, as I am wont to do, and as often happens, I’ve settled on trying to figure out why I feel a certain way. Namely regarding why I, personally, am able to feel so much more compassion towards Hordak rather than towards the Princesses. After all, the Princesses are the ones being wronged throughout this show, aren’t they? Their lands are being invaded. They’re the ones having to fight to maintain their way of life. They’re losing ground because of Hordak’s war.

So... why do I find it hard to care about them? Why are their experiences in this conflict just sort of... well, meaningless to me?

And why, instead, do my tender emotional responses strongly favor Hordak, despite his serious role in starting a terrible war?

Well! As per usual, I’m going to try to talk my way through it. 

(and, as per usual, your mileage may vary!)

Let’s start with the Princesses. They range from children to young adults. Seem like reasonably nice girls, despite various flaws. They clearly did not ask for a war, had no hand in starting it, and are clearly on the side of good, seeking to protect innocents and simply return to a peaceful way of life.

They appear perfectly designed to garner sympathy and connection... yet I feel so little for them. I feel little because, despite the show telling me that they’re fighting for their lives, and for their home, despite them being the apparent underdogs in their battle against the Horde, I feel like their lives remain relatively stable. Pleasant. Even enjoyable. 

Essentially, I feel like despite everything, they do not truly suffer. Not in a way that is consistent or touching. 

The arcs the Princesses go through either deal largely with matters unrelated to the war and subsequently involve less arduous difficulties, or are handled in such a way that any real pain is quickly resolved and loses its impact.

Frosta and Perfuma represent the former. Both are parentless rulers of their kingdoms, but there is no real confirmation that their parents were killed by the Horde, and they themselves seem largely unperturbed by parental loss. They maintain control of their kingdoms throughout the series. Frosta never loses the Kingdom of Snows, while Perfuma, though in brief danger of losing Plumeria due to damage to the Heart Blossom, ends up... well, defeating the Horde with a band of untrained hippies. So while they fight in the war against Hordak, they never really suffer any significant, confirmed personal losses because of it.

In fact, the Plumerian conflict is... kind of played for laughs.

The other aspects of their arcs have largely to do with friendship matters, or self-belief, and are also dealt with quickly and with little fanfare. Frosta learns how to make friends. Perfuma learns how to play with cacti. Afterwards, Frosta spends the remainder of the story essentially being a violence-happy little kid; amusing, yes, but not particularly tugging at my heartstrings. Perfuma likewise settles into “sympathetic friend” and, though she’s involved in Scorpia’s story at the end, also does little to invoke any sort of significant emotion. 

we’re just going to skirt around the whole “leashing Entrapta” thing, as it’s not relevant to this discussion

(Spinnerella and Netossa barely even register to me, given their very bare-bones roles in the first four seasons and standard “chipped loved one” narrative (that everyone experiences) in the fifth.) 

So, let’s move on to Glimmer and Mermista.

Glimmer and Mermista are arguably the two Princesses who actually lose unique things in the war and suffer because of those losses. And yet, because of the way the show is written, even their pain is dulled in such a way that it just does not facilitate me forming any sort of consistent, compassionate bond with them.

Mermista is the only Princess to actually lose a kingdom. In Hordak’s most visible evil act, Salineas is burned and beflagged, leading to Mermista deeply mourning the loss of her home, her culture, her peop- oh. Hm.

She takes it oddly well, doesn’t she? Apparently, ice cream in a bathtub is how deposed rulers deal with the loss of their entire country nowadays. 

And once she’s done with her moment of moping, she’s back in the fight, fueled by Sea Hawk’s shenanigans and her own power ballad (and Bright Moon’s lack of ice cream). There is no extended mourning for her people, no real depth to the loss she has supposedly suffered. There’s not even a real sense of it: we never see the people of Salineas, never know them, never get to feel anything for them. And with them being all but theoretical, the show appears to have no issue quickly forgetting them: Mermista never negotiates on their behalf, or visits refugees, or... anything. She might use Salineas in her future battle cries and as an excuse for increased recklessness, but that homage is the extent of emotion that we see.

Kingdom gone, bathtub ice cream finished, she goes on living life as if little has happened. And, because of her royal connections, she doesn’t even experience a decrease in quality of life: she continues to live in luxurious comfort despite an apparently raging war.

Because of how the writing handles Salineas, and her character in general, I never feel connected to how Mermista feels. Whatever pain she experiences is there and gone in a few scenes, quickly dealt with so the story can continue. There is no exploration, no nuance, nothing to really make me appreciate any sort of depth to her experience. And so I feel little, if anything, for her plight.

Glimmer, then, is the last chance the show has to make me feel something for the Alliance Princesses’ suffering during this war, and while season four nearly does it, the series again ends up falling short. 

Glimmer loses her mother. The actual sacrifice is emotional... though that emotion, admittedly, comes mainly from Adora. Glimmer’s pain comes through at the beginning of season four, when she is clearly in mourning all while needing to take Angella’s place as queen. Afterwards, season four does a fairly good job of making the loss meaningful: Glimmer becomes more and more willing to commit dark acts due to a mixture of grief and desperation. It works well, and out of all of the Princesses, I feel for her the most... until season five comes along and pretty much erases Angella from character consciousness.

Angella’s death essentially plays no role in season five. Glimmer does not appear to think back to it. While it drives her actions during season four, it appears to have been all but forgotten now, a particularly glaring shift when Catra, the one who is practically responsible, joins the group without it coming up at all. Glimmer’s other parental loss, Micah, likewise becomes meaningless not because of questionable writing choices, but because he simply never died.

Glimmer’s other problem, her rift with Bow and Adora, is repaired within an episode and never spoken of again. That... falls quite flat for me. 

And so, by the end of the series, Glimmer fails to maintain a believable level of distress and thus doesn’t invoke any real emotion in me. The one thing that really mattered, that really hurt her? Suddenly irrelevant in the name of Catra’s redemption. Hm.

And while these are the specific character examples that come to mind, the general situation the Princesses find themselves also fails to carry much weight in my mind. They are in the middle of a war, yet they continue to live in luxury. Skirmishes carry a sense of light-heartedness and sometimes seem almost fun. Battle plans are developed via a game of DnD. There is just no consistent sense of urgency or severity, no believable sense of emotional depth to convey to me that these characters are in truly dire straits. Yes, there are moments... but these moments are so brief, and carry such questionable lasting impact, that they don’t connect with me the way that they should. And as a result, the plight of the Princesses just feels hollow to me. 

I just... I just find myself unable to care about them because, when all is said and done, I don’t feel like they are truly in danger of real harm, or that they are realistically affected by their losses. It all just feels so shallow to me.

Now, let’s pivot and look at Hordak. Hordak, whom I still cry over on the daily. Hordak, who has owned my heart for over a year now. Hordak, who invokes in me all of the emotions. 

What is the difference between Hordak and the Princesses, other than the glaring fact that he is the instigator of the Etherian war and thus a bad, bad man? What makes him snap my heartstrings in half, while the Princesses barely manage a gentle tug?

The answer is that Hordak legitimately suffers. Terribly. Consistently. Throughout the entire series. While the Princesses experience brief moments of distress that the show quickly sweeps under the rug in favor of witty banter and friendship problems, Hordak is the direct opposite: he experiences only the occasional breath of happiness while otherwise drowning in a constant sea of bitterness, fear, pain, and deep unhappiness.  

From the moment we meet him, Hordak is stern and humorless and angry, and while this initially appears to be a side effect of him being a Standard Ultimate Villain Who Never Smiles, we quickly learn that it is due to his struggle. Hordak is constantly struggling against his physical defect, battling an illness that causes him not only significant health problems, but incredible shame. He is likewise constantly struggling to earn the respect and validation and nonexistent love of his god-brother. His sour demeanor, with all of its anger and dourness, originates in the fact that, throughout the overwhelming majority of the series, he is gravely unhappy. He is in ever-present distress, both physical and emotional. 

And as the series goes on, does that distress lessen? No. No, instead, he is rejected by his brother, thoroughly humiliated, and brutally “reset” back into his life as an actual cult slave. Rather than having his difficulties minimized like so many Princesses do, he finds himself in ever-worsening circumstances, graduating from (supposed) “disgraced, disabled military veteran” to “enslaved cultist desperate to be loved by his loveless master.”

Any moments of happiness are not only relatively brief, they are taken away as quickly as the Princesses’ moments of difficulty are. Hordak experiences love and friendship for the first time with Entrapta, only to swiftly lose her to Catra’s lies and spiraling madness. He finally begins to win the Etherian War (which is bad, yes, I know), only to realize that his victories stem from Catra’s betrayal before the whole affair culminates in Prime’s nauseating violation of his personhood.

It does not stop. Physically, mentally, or emotionally: not until his triumph over Prime in the season five finale does Hordak stop hurting, and even that is marred by Prime taking control of his body in a final act of nightmarish control before, bless him, Hordak is freed and able to begin his recovery.

In addition to being a series constant, Hordak’s pain is conveyed. It is dramatically shown through facial expressions, through body language, through phenomenal voice work, through scenes that clearly depict real anguish. 

The purification ritual is one of them; what other character do we hear scream like that, over and over, due to such terrible agony? His reunion with Prime is another; I will never forget how deeply I could sense his fear, how watching him tremble and beg instilled within me a sort of breathless panic because the scene actually made me want to instinctively protect him... but I could not because, y’know: cartoon. 

Hordak’s suffering is not only ever-present, it is varied and developed and communicated to the viewer in ways that result in it making a lasting impression. It is never minimized. It is never ignored. It is painful and horrifying with little reprieve, and it has a deep, life-altering effect on him.

That, friends and neighbors, is why I think I find myself feeling so much more compassion towards Hordak than I do towards the Princesses, despite his less-enticing place on the moral spectrum. Hordak is in pain. Consistently, meaningfully. He suffers, and the story takes it with every ounce of seriousness it can muster.

The Princesses, on the other hand, either experience little hurt or, when they do suffer, do so briefly before the narrative shoves it aside in favor of Catradora other things. As a result, they fail to make the same impression. They fail to garner my compassion because, in the end, they just don’t seem to really need it.

Whereas Hordak does.

[franniebanana]

CQL Rewatch - Episode 11

Is anyone else amazed at how quickly this place cleared out? It seems like it was less than an hour ago that they were still trying to kill each other, and now it’s just pristine and empty again. Magic of television! Also, reminder! Jin Guangyao is still mortally wounded and hobbling around.

I love how caring they both are for each other here. They really feel like brothers instead of a master/servant role. Nie Huaisang is worried for Jin Guangyao, and the feeling is mutual. It’s a relationship that I never paid much attention to on the first watch, so it’s nice to go back and see it again, and notice that it exists. You can sense the bond and the closeness between these two, and it’s quite nice—also makes the betrayal sting more.

Ah, and the little shared moment between Wei Wuxian and Jin Guangyao—it’s sweet that he hasn’t forgotten the kindness that Wei Wuxian has shown him—he always treated him with respect, regardless of his background. Also I wonder if Jiang Cheng feels annoyed here, because Jin Guangyao salutes him second….

See? Nie Mingjue was so pissed that he knocked over all his art and stuff. I like that little detail. We see the aftermath, but we didn’t see him actually do it. We didn’t need to—we know he’s upset and feels horrible that he even had to make that decision, let alone carry it out. We don’t know much about their relationship yet, but it’s very clear that they were close and they respected each other a lot, for Nie Mingjue to be this emotional about Jin Guangyao’s actions and banishment.

NMJ: What are you two going to do next?

WWX: Um, I’m going to go rescue my boyfriend.

Okay, so I know how the story goes, and Wei Wuxian does not go to the Cloud Recesses again for a very, very long time. However, they’ve already added so much, why couldn’t they throw that in? Just saying, I wouldn’t have minded more wangxian moments, okay? But this part makes me giggle a little, because Wei Wuxian does, indeed, want to go after Lan Wangji (the guy left, basically without telling him)—Wei Wuxian is worried about Lan Wangji going off alone, especially because of what the Wen Clan is up to. And of course Jiang Cheng has to cock block by saying that they need to go home, because if the Wens are after the Gusu Lan and the Nie Clan, then they are probably going for the Jiangs as well. Okay, okay, it makes sense, Jiang Cheng—but do you not understand how much I want to see more wangxian?

But the important thing there (important meaning the thing that I like the most) is that Wei Wuxian thinks of Lan Wangji first. It’s not the last time either. It’s part of the growing feeling that Lan Wangji becomes more his family than his family does (and I mean, they aren’t his blood relatives, anyway). Yes, Wei Wuxian loves his family at Lotus Pier, but you can’t say that he doesn’t also consider Lan Wangji part of his family. At this point, he’s already willing to risk his life for Lan Wangji. And the reverse is true as well. I’m not going to go off on too much of a tangent, but I love that this story features two people who fit in better with each other than with their actual families.

At this point, even if I didn’t know the story, I’d be thinking, “Okay, how hard are they going to fall?” Lotus Pier is too idyllic, too perfect, the people too friendly, too happy—you know it’s all going to come tumbling down. And this story is so tragic (we know that right off the bat—the first scene is Wei Wuxian dying) that you absolutely know that something horrible is about to happen.

But aside from that, I like in the book how Wei Wuxian basically has a tab open with all the vendors and Jiang Fengmian has to foot the bill. It’s cute that Wei Wuxian has a relationship with all these vendors (or at least that one in particular)—like he’s willing to be amongst the common people. It’s clear here that Jiang Cheng isn’t. They know his face, because he’s the clan leader’s son, but he doesn’t seem to share the same relationships that Wei Wuxian does. And obviously in this scene, he just wants to get home and see if everything is okay. He’s very family-focused.

I’ve been reading a lot of discourse on Jiang Cheng lately, and this scene makes me feel a lot of emotions. It’s true that Jiang Cheng’s character in The Untamed is different from MDZS. A lot of his angry remarks seem to come from a place of caring (at first), because it seems he really does care about Wei Wuxian quite a bit, and I think he considers him family. But at a certain point, his well-meaning, angry remarks start to become old, and I feel bad for Wei Wuxian that he is so eager to take the blame for things that were not his fault. He goes along with Lan Wangji (without permission), and Jiang Cheng says it’s his fault for putting them all in danger, for being punished, for everything—but Jiang Cheng didn’t have to sneak off either. Is he not responsible for his own actions? Had it really only been about his concern over Wei Wuxian, he could have just talked to their father (who knew about it and basically didn’t care, which is whatever). My heart kind of breaks for the rocky relationship these two boys have, and to know that it will completely crumble in just a short amount of time.

But that’s also what I love about it. What I love about Jiang Cheng is that he’s basically horrible. He’s self-centered, he’s unkind, he’s cold, and he can hold a grudge better than anyone I’ve ever seen. I truly enjoy the fact that he and Wei Wuxian have an irreparably damaged relationship by the end of this.

“In the afterlife, let’s still be brothers,” Wei Wuxian says, and Jiang Cheng pushes Wei Wuxian’s hand off of his shoulder. It’s such a kind of off-hand remark, but it’s so meaningful in this series, since the opposite ends up happening. But I feel like this is their relationship at its core: Wei Wuxian trying to be better and eager to please, while Jiang Cheng is always responding that he’s not good enough, always shrugging him off. No wonder he becomes so close with Lan Wangji, a man who sees Wei Wuxian for what he is, yet loves him anyway.

I’m really inclined to agree with Madam Yu here: Jiang Fengmian is not really prepared for what’s going to happen, and considering in this adaptation, I think he even knows more of what’s going on with the Wen Clan than he did in the book. I believe Wei Wuxian aptly pointed out in episode 10 that this indoctrination is basically to hold the heirs ransom while the Wen Clan tries to take control—it’s to keep the other clans from acting up so they can get what they want (which in The Untamed is the Yin Iron, of course).

But aside from that, this seems like the most unpleasant table to sit at ever, next to these two people who probably very rarely get along. I think in this scene, you find out that Madam Yu thinks that her husband isn’t tough enough or prepared enough for future attacks, that she believes he was cheating on her and in love with Wei Wuxian’s mother, and that Jiang Cheng is unfairly treated between the two of them. That’s a shit-ton of accusations right there!

I actually do wish that we knew more about Jiang Fengmian’s relationship to Wei Wuxian’s mother and why he took him in. They must have been very close. Maybe I’m not remembering correctly and they delve into it a little more later.

But! What I also noticed in this scene is that Jiang Cheng and his mother are wearing matching outfits, while Jiang Yanli matches her dad, wearing purple.

I audibly gasped when I saw this. He’s using one of Wei Wuxian’s talismans!! OMG!!!! But I never noticed that the first time, so I was super excited to see that! How cool is it that Lan Wangji respects Wei Wuxian enough to not only accept one of his talismans, but to also use it? I love that detail! They didn’t have to include a scene to show it, but the fact that they threw it in makes me so happy. And even when they aren’t together, it’s like they’re together! My heart!

And visually, it also looks cool, so I’m always pleased to see some more magic in this series, in particular the talisman magic, which always looks pretty. The butterflies here remind me of the butterfly that Lan Xichen sends Lan Wangji way later.

Oh, it’s also interesting that the characters that come at odds with Lan Wangji always point out his arrogance, but, like, he’s not. They mistake his coldness and his lack of verbosity to being conceited, but I really don’t think that’s the case. There is literally a Lan Clan principle that says not to speak unless you have something important to say. For example, the kind of chattering that Wei Wuxian does is against their rules. Lan Wangji has been brought up in this stark, spartan environment, and he has been a rule follower. Actually looking down on people for the sake of being arrogant is even against their principles—I mean…I don’t expect Wen Chao to know this, but people like Su She certain should.

I like the contrast here between Lan Qiren and Lan Xichen meditating, their incense burning, all the tea cups and knick-knacks sitting just so—and utter death and destruction outside. The Cloud Recesses are literally on fire and you two are sitting in here trying to meditate. I get it. Gusu Lan are probably the most pacifistic of all the clans, so this is totally against everything their clan is about. But really, you’re sending all your red shirts out there to die.

Also I have no idea why Lan Qiren is spitting up blood in this scene. Did he overexert himself…meditating? Maybe I’m being ignorant here. Maybe he’s doing some magic to keep the Wens at bay (even though they’re getting in and all…).

I keep having these moments where I find myself thinking, “I didn’t pay attention to this part at all the first time, but now I see how great it is.” And here’s another one. For starters, I didn’t notice Lan Xichen was crying—I knew he was getting really emotional, but I didn’t see the tears on his face until just now. Here’s a man only a few years older than Lan Wangji, possibly still a teenager at this point (in the book, he was still underage at the start of the Sunshot Campaign if I remember the notes correctly), who has no idea where his younger brother is (who he probably helped raise), pleading with his uncle to take the treasured books in the library and escape.

And then you have Lan Qiren, who also has no idea where one of his nephews is and showing genuine concern that he’s missing (once again), whose other nephew is offering up his own life in order to save his. Lan Qiren practically raised both Wangji and Xichen as if they were his own, so the last thing he wants is for either of them to come to harm. I really love this moment, seeing the Lans’ faces crumble with emotion and show that pain and grief that they are feeling, that they normally keep in check. You get to see that, yes, they are human too. And I think this is especially important with Lan Qiren, who up until this point has just been kind of a hardass. But it’s also great to see Lan Xichen fall apart like this, because he’s been so sage and wise, and so adult up to this point. Now we’re forced to see that no, he’s still young, he’s inexperienced, he can break down too.

I do think it’s kind of ridiculous that the rest of the Gusu Lan Clan is basically useless in a fight, but I will never turn down a boss bitch Lan Wangji entrance (no matter how corny it is). I mean, I guess he doesn’t do all that much. He throws some guqin chords at them and gives them time to hide in the Cold Pond Cave. But ultimately, it doesn’t matter, because he ends up giving up the Yin Iron shard anyway.

I’m sure he’s feeling like he’s let down at least his entire clan and, at most, the rest of the world who would stand against the Wen Clan. But I think he was faced with the choice of seeing his people completely come to ruin or handing over the Yin Iron—either one is bad, but in the end, he chose people over power. I think that’s very fitting with Lan Wangji in any adaptation: he will do what’s right, he will choose humanity over any kind of power. He’s later willing to give up everything for Wei Wuxian, because in the end, it’s not his reputation or his standing among the clans that matters. I like here that Lan Qiren doesn’t try and stop him either—he understands that the people are most important and allows his nephew to make that choice.

It’s a nice scene overall, plus more Cold Pond Cave looks, which I love (I can’t get over the frost in his eyebrows, it’s just sexy). And anytime Wang Yibo gets to show some emotion on his face is a good time as well—I love what he does with his micro-expressions, but that makes the impact of scenes where he shows a lot on his face even greater. Like, if his eyebrows knit together, you know something big is going down!

It’s super cute that Jiang Yanli is giving them all this food to take along. She can’t go, she can’t help them, and she can’t do anything for them once they leave Lotus Pier, so the only thing she can think of to take care of them is to give them food. It’s such a sweet moment, but there’s a desperation to her actions as well. There is such a tension in the air and it’s affecting the entire family. Also not surprising that Madam Yu isn’t there to see them off. (Wei Wuxian’s cute wave at the end—god, he’s too adorable.)

That’s the look of somebody who’s seeing their close friend after a long time, when they were worried sick about them, when they had written letters that went unanswered, when their first thought upon entering this place was, “Where is the Gusu Lan sect?” Either the director told Xiao Zhan, “You’re in love” or he just did it on his own, because I mean, come on.

Basically, Wei Wuxian’s priority here is Lan Wangji, and I won’t hear any different. He’s not thinking about the mission or his creed or the Yin Iron—he wants to know how Lan Wangji is doing. He heard about what was going on in the Cloud Recesses, and he just wants to know if he’s all right. Even after he stops saying, “Lan Zhan,” which he says several times (I didn’t count), he still continues to look at Lan Wangji.

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