#why isn't the complete series on dvd????

[spacecookie1438]

Me too!

I love this show~☺️

[dorkolotl]

my brain ran out of actual space for knowledge and instead has been crammed to the brim with sonic the hedgehog trivia. help

[a-student-out-of-time]

The Post-Tragedy Horrors of Despair Time

Hello everyone, Mod Bubbles here!

This Halloween, I decided to do something a little different. Rather than a dedicated post or song parody, I've decided to share a worldbuilding analysis. A pretty fortuitous one, since we've recently completed Chapter 2 of Despair Time.

I'm sure it's no exaggeration to say that DT is a pretty dark fangan, especially within its own context. I wouldn't say it's as grimdark and nihilistic as some people are convinced it is, but there's some elements to it that I feel are worth analyzing going forward.

See, it's been established that DT is set within the Hope's Peak continuity. This would mean that the canon games sans V3 (and if you want to have fun with it, other fangans like the Another series) have all happened here.

According to a Q&A, DT is set around 70-80 years after the end of the Tragedy, so if you wanted to estimate based on in-universe dates (such as Makoto's Hope's Peak brochure saying 2010 in the earliest version of the game but 2014 in a re-release), that would put it sometime around 2080 to the mid-2090s. Veronika backs this up in Chapter 2, when she mentions the Tragedy happened "almost a century ago."

Why do I bring all this up? Because if you looked at DT, you'd probably never guess it was that deep in the future. I know I didn't at first. And this is all by design, but it goes beyond simple cosmetic details. Allow me to explain to you why this is probably the darkest timeline that could've happened after Class 78's victory over Ultimate Despair.

___________________________________________________

Modern Stagnancy

So if we look at the obvious, the world of DT looks pretty much identical to our own, which should be a good thing. When you consider that this is set after The Biggest, Most Awful, Most Tragic Event in Human History- an event that saw societal collapse, wars happen for the sake of destruction, massive pollution, rampant murder, and countless killing games- then it almost seems utopian.

Cities have long since been rebuilt, the skies are clear, there are functional trains, movies, celebrities, schools, music, art, Ted-Talks, the internet, all the trappings of normality. And that's really the problem.

Once the recovery efforts were underway, the goal of those in power was to rebuild things exactly as they used to be. Bear in mind, the world looks like our modern day, yet this is set deep into the late 21st century. In that context, the world almost seems stunted in its growth or even that it's regressed, given that CDs and DVDs are used rather than USBs or digital downloads.

Not only that, but this extends to societal attitudes as well. Nico was the victim of bullying over their status as an enby by everyone who knew, including their own father. It's almost the 22nd century and anti-LGBTQ bigotry like this still exists.

In that context, it feels less like the world is recovering and more that it's been stuck in its pre-Tragedy status quo, right down to continuing the Ultimates program that contributed to The Tragedy in the first place. And who would be motivated to do that?

2. Hope's Peak And Their Kin Are Stronger Than Ever

Probably one of the most contentious aspects of DR3's ending is that, after everything the people in charge of it were responsible for- exploiting their students, covering up crimes, human experimentation- Hope's Peak Academy was rebuilt by the survivors, now with Makoto as headmaster.

Now, one could make the argument that Makoto is a better example of hope and thus better suited to lead the school to follow its stated ideals than the Steering Committee ever was. That very well may be true, but as they also proved, nobody stays in charge forever. And now, because of his decision, Hope's Peak isn't contained to Japan.

There now exist Hope's Peak branches in every major country on Earth, with two in the United States. Teruko and co. are students of the East Coast Division's 27th class, meaning that one opened almost thirty years ago. This would also mean that Japan's Hope's Peak would have seen over 150 classes since its inception.

I bring all this up because, as has been made very clear by canon, Hope's Peak is a terrible place even in concept. When you remove the idyllic aspect of fostering talent and guaranteeing its students are set for life, the truth is that ultimates are stunted in their development. They're only encouraged to excel in their particular field, whether they really want to or not.

In addition, Hope's Peak has always quietly held this belief that only people with talent hold any worth; those without talent are just "ticks" who leech off the success of their betters. Characters like Byakuya and Nagito echo those very same sentiments, this extreme elitism that encourages people to view the "99%" as inherently inferior.

Even if you wanted to say Makoto managed to undo that idea, can we really say this divide would never come up again? No matter how many years pass or how many divisions of Hope's Peak are set up across the world? That seems really far-fetched to me.

Consider Min's bonus video. As she explains, she was never scouted by the school. Instead, America's Hope's Peak announced something called the Ultimate Contest for Eminent Students, where eligible high school students would be allowed to take a test, the best of whom would be admitted to the school when they graduated. The catch is that they had 12 years to prepare. Min, who was only 5 at the time, wasn't initially going to participate, but then the founder of a company called XF-Ture Tech approached her family- who was quite poor- and wanted to sponsor her in exchange for her participation.

She spent her entire life preparing for that test. And when she passed, she realized it was all really just an experiment to create their ideal version of the Ultimate Student. She even doubted that she was the best in terms of raw score, just that she met their desired expectations by cutting out everything else in her life for that test.

It also extends beyond just Hope's Peak itself. Those with power and influence now hold a strangle hold over the most vulnerable people out there, as we can see with the Lacroix family.

Rose wanted to help her family out of their financial limitations using her painting skills and her photographic memory, which lead to her becoming an art forger. However, at 15, she was found out and her family faced tens of millions in fines. This would've been the end, but then they were bailed out by a billionaire named Richard Spurling, founder of the Spurling Foundation. In exchange for clearing her charges, Rose had to sign a contract that meant she doesn't own the rights to anything she paints.

She hates what her life has become, where she can only ever really paint things at the whims of the Foundation because it was the only way her family could survive that mountain of debt. The exploitation there is undeniable.

No matter where you look, there's still exploitation and experiment abound with the school, corporations and the wealthy. And if you think the Spurling Foundation sounds bad here, they're implied to be responsible for something much worse.

Which is also brings us to Xander. See, there's a curious detail when we first meet him in the prologue:

And I agree. Xander being the Ultimate Rebel really doesn't fit him, as he's better described as the "Ultimate Revolutionary." Except there's no chance Hope's Peak would call him that, instead paying lip service to the idea in a digestible format to still support the status quo.

Xander is an activist who works to oppose corruption, but the ones who benefit from corruption wouldn't want him to flaunt that. It's a subtle but very clever detail that shows those in power still maintain a hold even over their beloved Ultimates.

They probably had no issue throwing the obviously corrupt under the bus to save their own hides, and raised Xander up with a quasi-supportive title. It gives them a chance to look like they're supporting what he's doing while still tying an element of a "rebellious child" to his image with the name.

Had Xander survived, he had a good reason to want to bring them down, especially the Spurlings.

3. Illness and Poverty

Xander's bonus video clued us in on what I believe is one of the most important parts of DT's continuity: the fate of the town of Chariton, implied to be where he lived. It seemed to be a small town, home to a couple hundred or a couple thousand people, where the only hospital for miles was "dinky, understaffed" and barely able to handle a minor flu outbreak. They were completely unprepared for what became known as the Chariton Incident.

When he was around 14, the town was hit by a disease that caused those infected to decay from the outside in; their limbs would stop working before their organs did, meaning they would just lay there and feel themselves slowly dying. So many died that nobody was left to move the bodies, so they were left where they fell, rotting in the summer heat.

The cause of this outbreak? A contaminated river that served as the town's water source. Chariton was an impoverished community, where people had no money to treat their water, get medicine from a nearby city or to even move out. It's also implied, based on Xander's anger, that Duke Spurling was partially responsible and that he got off the hook, which may be what drove Xander to become the Ultimate Rebel. Especially when you consider he's the only surviving member of his family.

Duke Spurling is, as the named implies and Dev has confirmed, the younger brother of Richard Spurling. The money and influence needed to get his brother off the hook is the very same that has the Lacroix family under his thumb.

So as we can see, Chariton was a major event in DT's canon. Not only does it showcase corruption, it also showcases understated but still prominent problems in the post-Tragedy U.S. If you pay attention, you'll also notice Teruko, Min, and Rose mention poverty playing a role in their lives.

As we can see, poverty plays a major role in their lives, and that extends beyond a personal level. Chariton's poverty is why the incident happened at all, and a big reason is because it's also an example of a medical desert.

"Medical desert" is a term used to describe regions whose population has inadequate access to healthcare. This can be all healthcare in general or in specialties such as dental care or pharmaceuticals. This is an especially prominent problem in rural areas, but it can affect urban ones too.

If that sounds implausible to you, today it's believed that around 30 million Americans- over 1% of the population- live over an hour from a hospital. Can you imagine how bad the problem is in a world after The Tragedy? All the damage to infrastructure, established institutions, the economy, and the population? I doubt Chariton was the first to see something this bad.

Ace's execution gives us more clues. In the Death By Illness section, there are several newspaper clippings on the wall, most of which are readable. One flashes on screen saying "Unexplained Illness Kills Thousands," which I believe is another reference to Chariton (why else would it flash on screen?), but there's more as well:

"More people are dying of cancer than ever before"

"Flu season claims thousands of lives"

"Falling rates of survival for hospitalized patients"

"Antibiotic-resistant infections a growing threat in this hospital"

One is harder to read, but I believe it mentions Chronic Kidney Disease being tied to an early death

Now, the interesting thing is that most of these are modern headlines, and they can be pretty misleading. The cancer one is actually based on the fact that more people are living longer lives, thus are reaching ages where they develop cancer due to their cell infrastructure breaking down naturally. It doesn't mean there's more cancer cases overall across all ages.

The only one that's not true is the falling rates one. Which suggests that not only was it Chariton, but healthcare infrastructure in general after the Tragedy seems to be a mess.

See, I was assuming that these articles are identical to what we see today. But it's also possible that the cancer one is now literally true, and it could be because The Tragedy was rife with this kind of horror. We know that terrorism, coups and wars happened for no reason other than to spread despair across the world.

Could you imagine how many nuclear, chemical, biological and radiological weapons were used? How many diseases and hazardous materials were seeded into the environment? If it's unsafe to drink tap water after a serious hurricane or earthquake, how bad is the problem when contamination is the goal?

And this doesn't even touch on how disturbingly easy it would be to spread long-term illnesses such as HIV or CJD in contaminated food and medical supplies. Some diseases have latency periods that last decades, meaning they could still be killing people even by the time DRDT is set.

Antibiotic resistance is also a very real and serious problem. Even today, some strains have become immune to even the strongest antibiotics available. This has given rise to Vancomycin-Resistant Enterococci or VREs, which are immune to basically every medication we can throw at them.

Now, it's still possible to deal with them, such as with naturally antimicrobial metals or experimental treatments such as CRISPR and Phage Therapy, but in a world that saw such a massive hit to everything? I'm certain antibiotic-resistance bacteria have become much more serious, potentially resulting in epidemics over the years.

And when these things happen, it's always the poor who suffer the most.

4. Lethal Repetition

Now we come to the most obvious example, something highlighted by the same reveal that DT is set nearly a century into the future:

Veronika, who provided us with information on the effects the Tragedy still has, apparently has never heard about The Killing School Life.

Now, it's important to keep in mind that most of the Killing Games in DR were pretty secluded and motivated. SDR2 was only broadcast to Future Foundation with the goal to allow Junko to escape into the real world, for example. However, DR1's Killing School Life was broadcast globally as a means to break humanity's hope by showing the Ultimates slaughtering each other. Instead, Makoto and co. managed to reinvigorate the world's hope and played a pivotal role in ending the Tragedy.

...And yet Veronika apparently hasn't heard any of it.

Now, there's two possibilities here, neither of which are good:

One is that the Mastermind has removed their knowledge of previous killing games, specifically. Now, I actually consider this an unlikely explanation because, not only does Teruko seem to vaguely remember the Killing School Life happened, but what's the goal in doing so for the participants?

The canon games all had solid reasons why the other masterminds erased the participants' memories: the revelation that they'd been killing their friends, the fact that their past identities were supposed to be undone to save them, even the fact that they weren't even who they were supposed to be in V3.

But what's the purpose of suppressing the memories of the Killing School Life in the participants themselves? Especially since this game is also apparently being broadcast to the outside world, although we only have MonoTV's word on that. Is it to undermine everything the survivors achieved or to get the participants not to consider the same strategies?

The other, more plausible explanation to me is that the mastermind isn't the one who erased their memories. The outside world did.

It's possible that, in the decades since the Tragedy and the drive to return things to the status quo, knowledge of the Killing School Life has been suppressed. It would be so easy to blame Makoto's decision to rebuild the school, but it's just as plausible that his attempts to genuinely reform the school were undone over the years.

Corporations and those that came after had a vested reason to improve their own reputations, and why would they allow their connection to the Tragedy to remain public knowledge? The entire thing began as a revolution of lower classes against the rich before it became a whirlwind of mindless violence.

So what does this mean for DT? This is more hypothesizing on my part, but I'd say this could tell us a lot about the potential motivations for this very killing game. Could it be someone trying to remind the world about this event and how we got here? Is it more retribution against the wealthy? Is it someone who was inspired by Junko to slaughter her friends? Or is it something else entirely? And what role does Teruko have if someone involved is so hellbent on trying to kill her?

For now, we can only speculate. But I can tell you that, based on what we've seen here, DT is probably the darkest future we could've gotten out of the canon series.

Happy Halloween, everyone!

[raeloganthesonic06fangirl]

Y'know, I'm still salty that the DVD release is also kind of garbage

The set only has 54 of the 91 episodes. It ends on "The Darkwing Squad"

Yes.

They are missing 31 episodes in the series box set!

There are 2 volumes for the 54 episodes they gave us. THEY COULD EASILY PUT ANOTHER VOLUME IN IT FOR THE REST.

The box set was released in 2007, and was reissued in an environmentally friendly repackage in 2011. We have not received another series release since then. Not even a Blu-ray upscale.

The episodes are put in airdate order and not production order, meaning episodes are not in the correct order. That means the Justice Ducks two-parter is queued up BEFORE the debut episodes of QuackerJack, Liquidator and Negaduck, meaning that there is no context for them to exist before this.

Also means that "Toys Czar Us" is placed before "Whiffle While You Work", which, while the series isn't known for its strict adherence to continuity, means that QuackerJack's early-installment-weirdness depiction in WWYW is very off putting and strange to anyone who isn't aware this is the debut of the character, and it's really weird to go from TCU to WWYW

Actually, "Days of Blunder" is placed right BEFORE "Justice Ducks" on the DVD, when it should be AFTER TCU. QuackerJack is given his third episode before he's been introduced and is IMMEDIATELY dropped into the Justice Ducks narrative on the disc.

Literally, the DVD set is out of order, incomplete and the only saving grace is that the uncut version of "Darkly Dawns the Duck" is available there, but it's not like you can't find that elsewhere

Also

Also

The DVD menu is atrocious.

It starts out fine with some stock art and a loop of the instrumentals of the theme song, which is common for back then with these releases.

The episodes are separated under the episode select by splitting between commercial breaks/episode acts, which is fine. Numbered by episode, which is fine. Even though the episode numbering follows the airdate order and not the production code numbers, as should be intended.

The awful part comes in when Volume 2 is exactly the same, right down to the stock art, music, and numbers.

Yes.

THEY DID NOT UPDATE THE NUMBERING SYSTEM, SO EPISODE 28 IS MARKED THE SAME AS EPISODE 1 ON THE VOLUME 2 SET. ALL OF VOLUME 2 IS MARKED THE EXACT SAME AS VOLUME 1.

THEY AREN'T EVEN LABLED BY EPISODE NAME, IT'S JUST THE NUMBERS.

DISNEY, WHAT THE HELL. THIS IS HOW YOU TREAT YOUR BELOVED FRANCHISES??

Good news: there's finally a quackerjack funko pop releasing

bad news: he's apparently restricted to being a digital pop nft alongside liquidator???

im going to chew a hole in the wall and eat the load bearing support beams

This is the exact opposite of how he would have wanted his first actual toy merch to roll out

This is the worst timeline

[mask131]

I have been trying to make this post for a long time now... But I kept pushing it off again and again, because I thought if I made it I would be ripped to pieces by Tumblr's wild beasts. Now that the Gaiman accusations appeared (and that older cases were dug up), I have to admit I had a selfish little sigh of relief because I thought I could finally make this post... But then I quickly realized upon seeing all the misinformation and "hot takes" people were sharing around that my post might potentially get support just because it is against Gaiman's work... And I don't want that either because it is just my opinion about an adaptation and a TV series, and it has nothing to do with the crimes talked about currently. This is why I won't tag it "Neil Gaiman".

So I will make this post, but be warned, I had this opinion this the release of season 1 so it's old news. Now that the disclaimer is out of the way here is my opinion:

I do not like the Good Omens series.

Shocking reveal, isn't it? I have never hidden that Good Omens is one of my favorite novels ever. Heck it was because of Good Omens that I decided to give a shot to Gaiman's works, because before I just rolled my eyes at stuff like Coraline and was a dedicated Pratchett fanboy. Good Omens the book was a big part of my life, and I still love dearly this book - I am still a bit pissed off that people forget it wasn't all Gaiman, it was Pratchett too.

But I am not surprised people think it so... because of the series. The show adaptation. Which I do not actually like. In fact, I think I posted a bit about this when season 1 was over, and then I just shut myself silent because the show-fans of GO were just annoying and irritating to me. And one of their irritating trait was to completely erase or forget about Pratchett's involvment, and only praise and talk and refer to Gaiman as the sole creator of Good Omens which is... deeply infuriating.

I did not even watch season 2. I don't know what it is about, I just know the plot of episode 1, and that's literaly it. I don't know who are the characters of season 2, what is its plot, what is its twists... Never had interest to watch it, never bothered. Why? Well two reasons.

Reason A: Season 1 did not really made me giggle with glee or smile with happiness or cheer with enthusiasm. The announcement did, the pre-release pictures and promos did, the first episodes did... But by the end of season 1 I was just... "Okay? That's it? I guess... it's nice. I prefer the book though." Yes, they tried to stay faithful to the novel, yes they paid heavy homage to Pratchett, yes I understand why so many people loved it... and yet I am amazed at how different the show is from the novel. Because despite being faithful in the portions it adapts... the show removes a LOT from the original novel. It has been explained as budget cuts, unfinished post-productions, time constraint, the limits of a TV show... some of the deleted scenes are bonus in the DVDs, some only exist in the official script, some never reached the script stage at all...

But here's the thing: by removing these parts, the creators of the show made a story that isn't at all the novel. And as a result, when chatting with fans of the show, I ended up realizing we had a "deaf dialogue" as we didn't speak of the same story or the same characters. Take for example the addition of an entire episode dedicated to the backstory of Crowley and Aziraphale. Not bad in idea, very enjoyable for a fan of the Good Omens world... but very detrimental in the scope of interpreting the story. Because this, and the big advertisement around these characters, and the big stars put in their role, and the TV guides and reviews description always starting with "An angel and a demon on earth"... It led everybody to think "Good Omens" is a story about Aziraphale and Crowley. That they are the main characters, the protagonists, and everybody is a side-character.

THEY'RE NOT! Yes they are one of the protagonists - ONE of the protagonists. Yes they appear on the covers, it doesn't mean it is a story about them. It is a story about Adam, and Adam is, for example, as much a protagonist of the story as Crowley and Aziraphale. Another noticeable change: the novel ends with Adam, because it opens with his birth (well, not immediately, but it is the main big event of the opening of the novel) and thus is concluded with him. In the show they end with Crowley and Aziraphale, and a bonus section AGAIN pulling the plot by the side of the duo. GO the novel is very Pratchettian in its structure and handling of the characters - it is a traditional "early Discworld" style of storytelling, almost like a traditional Russian novel, where you have a lot of characters leading separate but linked storylines, and it blurs the line between who is the "protagonist" and who is just a "secondary character" as there is no real central focus outside of the story itself, which is the narrative lead instead of a specific character.

Results? Now everybody thinks GO is primarily and firstly a romance between an angel and a demon. When in fact the original novel is, first and foremost, about a parody of the Apocalypse and about the displacement of an Antichrist - displacement of which Crowley and Aziraphale are the most active agents, but it doesn't make them the sole protagonists of the story. This is why the announcing of season 2 made me lose interest: I could have bought new Crowley and Aziraphale adventures... but without Newt, Anathema, Shadwell, the Horsepersons of the Apocalypse, Adam and the Them? They were placing their bets on new characters invented for the show that I had never heard about, so of course it did not interest me.

(I also STRONGLY defend the idea that the novel Crowley-Aziraphale relationship wasn't meant to be just and solely a romance, that it was a bit more ambiguous and open for interpretations, but that's a fight I have to lead another time)

I am still pissed off at how GO (show) fans treat Adam and the Them sections like garbage and as parts that could be entirely cut off - when they were crucial and the heart of the novel. It was a proof that the show had manage them very poorly.

Reason B: I did not trust Gaiman's claims.

Remember, this is before the whole business of sex crimes popped up. I am not saying this retrospectively. But when season 2 was announced and released, I did not trust Gaiman with his claims of "continuying Pratchett's legacy".

See, it was well-known, recorded and reported that yes, Pratchett and Gaiman had worked on a potential sequel to Good Omens before Pratchett's death. And when Gaiman explained that season 2 would be based off those left-over ideas and concepts for this sequel (the same way several of the added segments of season 1 were leftovers of this same unwritten novel) I was "Great!". But the way Gaiman shifted around when talking about this on Tumblr bothered me.

Originally he claimed season 2 would be based on the sequel novel. But then he claimed season 3 would be based on the unfinished sequel, with season 2 merely being a "bridge" to season 3. And then he added that however season 2 was not a "filler" but was "needed" to be able to reach and access season 3's story? Despite season 3 being supposedly based on the unmade DIRECT sequel to the Good Omens novel, an unmade sequel that several elements of were directly introduced in season 1? This made me very suspicious and distrustful. This is also why I never bothered watching season 2 - it always felt to me as if Gaiman was trying to sell his own ideas under the name of Pratchett, and since only he was in the know, we couldn't prove anything.

Now to be fair, Gaiman WAS fair in handling Pratchett's moments in season 1. For example, while yes he had some of the Pratchett-written moments cut (like some of the Them's scenes), he also had several of his own sections cut (for example it is known that the Four Horsepersons of the Apocalypse scenes were mainly written by Gaiman - and I was really pissed off at how they removed basically half of their scenes because they are one of my favorite parts of the novel). But you can unfortunately feel how Pratchett wasn't on board because of precisely how his main part in the novel (Adam and the Them) ended up underwhelming and ignored by everybody... Which leads me to

Little C: This one is basically a bonus thought I am throwing here because I don't know how else to introduce it. The Good Omens show (at least season 1, again I didn't watch season 2) was so sanitized... A lot of the dark humor was cut out of the show, and it felt so hypocritical and such a classic "Amazon sanitizing" job. For example Famine's scene with the dieting model was cut off to "not offend people" and "not be triggering". Despite it being a very much needed commentary and thing to point out about human evil? And the line about the "faggots" was cut-off again to not be "offensive"... Despite it being a very clever pun on UK English versus USA English and the USA having proven VERY recently that they are NOT actually a gay-friendly nation? They gave flavor and spice and a much needed dose of the "anger under the humor" typical of Pratchett's work, and removing these little bits here and there made the show feel a bit... sugary sweet? A bit sanitized.

When tboredman said he was a bit wary about the coming of the Good Omens show because of how he perceived "red flags" with the trailers and promos, I was quite puzzled... Unfortunately now I can see it was a literal omen. By the way, if you want a very cool, very nice, very inventive webcomic that pays homage and takes inspiration from Good Omens while being its own hilarious yet dark Apocalypse parody... I suggest you check Boredman's Apocalyptic Horseplay. It is really cool! It is on Webtoon or on this very Tumblr (check @tboredman )

[seltzer-tastes-pretty-good]

Some Pico, Darnell and Nene headcanons

-Pico stims by scratching the side of his gun with his thumb. In the events he's without a weapon, he'll just scratch his own palm.

-Darnell is the smartest among his friend group. He also serves as most of his group's impulse control.

-Nene has a mild case of spectrophobia. Her bathroom mirror is covered up by a hand towel, and she'll generally avoid rooms with mirrors unless she needs to.

-Pico has a small hard drive connected to his PC. on it, contain a shit ton of sfw files of various flash pieces, mostly from Negrounds, as his own private archive. His long standing grudge at Adobe for killing flash is, thus far, unsatisfied

-Darnell, whenever he's home, will put on one of those "ambient fireplace noises background noise" Youtube videos. He can't really sleep or even relax without one of those playing

-Nene was really big on the show '1000 Ways to Die' while it was still airing. She bought a bootleg 'complete series DVD' of the show once.

-Pico's favorite food is macaroni and cheese, Darnell's is onion rings and Nene's is cinnamon toast

-Pico and Darnell spar kind of a lot. Sometimes when angry, sometimes when just bored. Darnell is usually the one to patch both of them up afterward

-Darnell usually walks Nene home at the end of the day, once the three are done hanging out. He's mostly just wanting to make sure she doesn't try to hurt herself on the way back. Pico tags along too, just in case anyone else tries to jump on them. Safety in numbers and all that.

-Nene can and will run her mouth off to anyone to listen to her special interest, seals. Usually, that person is Pico. He doesn't exactly care for the animal, but he hates not having any noise going on, to keep any bad thoughts away

On their relationship with Boyfriend (when not hired to kill him at least):

-Boyfriend and Pico, of course, dated for a bit of time, having met when BF was on an unguided tour of (read, broke into) the Newgrounds hq. The two hit it off pretty good, at least, at first. Boyfriend found Pico's contract killer life a bit too much for him, something that gave him a mild case of insomnia. Pico, having experienced what he did and having never forget what it did to him, agreed he didn't want BF to go through what he did and agreed to break it off after they talked it out. He didn't exactly feel he could leave the life behind, anyways, what would his friends say?

-Darnell and Boyfriend get along great. The two of them follow each other on Soundcloud at least, and they often hang out. The two actually collabed on a song. "Fresh - Boyfriend Mix" - which was a gift for GF.

-Nene, as soon as he heard BF and Pico broke up, immediately went like, "Oh, you want me to kill em then?", something Pico had to correct pretty fast. BF thankfully went by unharmed, mostly, but still gets a little nervous around Nene. Pico assures him that Nene won't just up and kill him without reason, but BF likes to play it a bit more cautious. She does love her knives after all.

On their relationship with Girlfriend:

-when the ex of your lover is still their friend, things can usually be a bit contentious, but GF doesn't want it to be that way. This is why she's usually super nice to Pico whenever he's around. She's usually the one to pay for stuff when she, BF and Pico's crew hang around, rich parents and all. Pico finds it a bit odd, but isn't gonna just turn down her hospitality. He does find it odd, though, that BF broke up with him because his lifestyle was too much...and then went on to date a demon.

-Darnell and GF both have a mild fascination with fire, so they usually bond over that. Sometimes, they go out back to her family's trash pit just to throw shit in and watch it burn. Boyfriend sometimes joins as well, but he has a bit habit of leaning too close in and getting his hat caught on fire.

-Nene and GF are fairly good friends. The two hang out a lot for 'gal's nights out', where they chat about their friends, family, and usually just watch shit on Newgrounds together. One special time, GF was going on about how BF and GF protect each other, and Nene mentions her contract killer gig, and brings up if anyone wanted to hurt Boyfriend. Girlfriend shut the idea down there, stating 'if anyone tries to hurt boyfriend, their not even gonna have time to smell his breath before I come in to take them out.' Nene was all, 'heh, yeah right. I'm sure if I wanted, I could kill 'em', Girlfriend wanted to challenge that, something that Nene agreed to and, no less than twelve hours later, Nene woke up in a hospital bed from the fight she tried to start with her. Thankfully, GF agreed to pay the medical bill.

[rikeijo]

Hi! I've heard somewhere that some lines of Yuuri's speech at the press con in episode 5 were mistranslated and that because of this, the speech comes across as if Yuuri doesn't know what exactly he is feeling for Viktor. I can't tell if it's really mistranslated, but I always found the subs in this scene a bit confusing. So, I'd love to know: how would you translate his speech?

Hi! Thank you for the ask!

I must admit that I've never properly watched Eng sub or dub version, and even though I bought the US edition to someday discuss some translation choices (that's imo super fun thing to do ✨) my only laptop that had a built-in DVD player broke down >.<

Sooo, I searched online for his speech in subtitles, but I'm not sure if the subtitles I've found are official...

"My theme in this year's Grand Prix series is "love". I've been helped by many people in my competitive skating career thus far, but I've never thought about "love" until now. Though I was blessed with support, I couldn't take full advantage of it. I always felt like I was fighting alone. But since Victor has showed up to be my coach, I've seen something totally different. My "love" isn't something clear-cut like romantic love, but the more abstract feeling of my relationships with Victor, family and hometown... I was finally able to realize that something like love exists all around me. Victor is the first person I've ever wanted to hold on to. I don't really have a name for that emotion, but I've decided to call it love. Now that I know what love is and am stronger for it, I'll prove it myself with a Grand Prix Final gold medal!"

If this is the official translation, then well, the overall message is close, I'd say, but at the same time, hmm... If you wanted to base a ""deep"" character analysis on it, it could probably lead you in a wrong direction... Especially the end is just mistranslated.

今年のグランプリシリーズで僕がテーマにするのは〝愛〞です。My theme for this year's Grand Prix series is "love".

今までのスケート人生いろんな人に助けられながらやってきましたが、愛について考えたことは一度もありませんでした。In my life as a figure skater until now, I've come to the place, where I'm now, while being helped by a lot of different people, but I haven't even once thought/pondered about "love".

恵まれた環境にいながらそれを生かしきれず、１人で戦っているような気持ちでずっといました。けど、ヴィクトルコーチが現れて、僕の見ていた景色は一変しました。I've always been in a very favorable ["for me to be a figure skater" in this context] environment, but I wasn't able to make a full use of it and I always felt as if I had been fighting alone. But, Coach Victor appeared and the scenery I see [that is: the way I see the world around me] changed completely.

僕の愛。それは分かりやすい愛や恋ではなくて、ヴィクトルとの絆や家族や地元に対する微妙な気持ち。My love. It's not [general] love or romantic love that is easy to understand, but my bond with Victor, and the lukewarm way I feel about my family and my local community. [This sentence, imo, is often mistranslated, but you can also argue about how it should be interpreted in Jp. However, to do that you have to be able to notice nuance just from the intonation of the sentence... For example, imo, because of where the VA makes a pause in the sentence, it should be "general love or romantic love that is easy to understand" and not "general love that is easy to understand or romantic love", but grammatically both option are possible. "微妙", when you look for the definition in a dictionary, is often translated as "subtle" or something similar ("abstract" is just a mistranslation, tho), but, imo, from the context, it should be the more modern meaning of the world, which basically means nowadays "not bad, I guess, but I don't really know". That's why Yuuko was offended by Yuuri's word choice. Also, based on the intonation and grammar (no need to have two "や"s in one sentence when giving examples) "bond with Victor" and "feelings towards family and local community" are two separate issues.]

ようやく自分の周りにある愛のようなものに気づくことができました。At last I was able to notice the love-like thing that is around me.

初めて自分からつなぎ止めたいと思った人、それがヴィクトルです。The first person that I myself [the vector of the action starts from Yuuri, it's an allusion to what the Nishigoris talk about with Victor in ep. 2] wanted to tie to me [and don't let them go] is Victor.

その感情に名前はないけど、あえて愛と呼ぶことにしました。This feeling doesn't have a name, but I decided to dare to call it "love".

愛を知って強くなった僕をグランプリファイナルの金メダルで証明しますっ！ I'll prove myself, who got to know what love is and because of that became stronger by [winning] a gold medal in the Grand Prix Final. [The way it's worded suggests that Yuuri wants to prove his own "worth", not necessarily that what he says is true - it's not "I want to prove that...", but "I want to prove myself, who...".]

Oh, and by the way, if you read the speech carefully, Yuuri talks about "two loves" here - first, he explains that his theme is "love" and what that word "love" means to him - so "something like love, that is around him", and only then he starts talking about one more feeling - the feeling that doesn't have a name, but he decided to "dare to call love" - and that is what he feels for Victor. Because the word "あえて" is there, and it means "dare to", do something "daringly", to me it always felt as a variation/reference to the famous quote from Oscar Wilde's lover, Lord Alfred Douglas' poem "The love that dare not speak its name", but maybe that's just me ✨

[my-rose-tinted-glasses]

Welcome to the last Absolute Zero Day aka Thank god that's over day aka I can't believe I made it Wednesday.

Well... this is it. Last episode folks, this has certainly been interesting, if not good.

Here we go, last episode the adults reunited and became instant boyfriends.

Both adults and Sine ( I'm gonna refer to the actress name again because I doubt anyone who isn't watching will remember the char name) are having a conversation at the coffee shop because Soon is gonna move to the upstairs apartment. Again. Sine keeps having the feeling of deja vu. I wonder why...

Now the couple is in the room and it's time for flashbacks of "that" time. Oh and Soon found a cat on the street, Ongsa named him Neon and it's adorable. It brought me back to when Tai found the cat, because they are both white cats and way too clean and friendly to be street cats.

And since I mentioned the cat Neon, my favourite bits of this episode was definitely Sine and the cat.

Since I'm talking about my favourite things...

Look at him. He so pretty. I missed him.

I got distracted by Karn but I'm back.

So Suansoon meets the parents, it's a very nice family moment. Mom seems suspicious of something but never says anything.

So the high school friends, now adults, meet Soon and are very confused by his usage of Phi when refering to Suansoon. I, too am confused as to why the show would insist on making us relieve that relationship but whatever.

And the strange continues because the girl friend of the group remembers the past where Adult Soon and Young Ongsa dated. No one else does btw, just her, Ongsa and Soon. But how? Why? No explanation, just, the writer said so.

Still in strange unexplained land, Ongsa dreams about the accident that in this timeline never happened. We don't ask questions.

Beach trip with the parents and proposal at the beach. The end.

Or is it?...

No it's not. We're back at the coffee shops that now is also a dvd renting spot, because Soon got left all the dvd's when the old guy died. However...

Who have we got here? Could it be? Of course it's him. And he's going to rent a dvd from the ones he left behind when he died. Cause why wouldn't he? And which dvd does he rent? Any guesses?

Once, my beloved. And we come full circle. Yay us.

Any questions? I'm sure loads but nor I or the show have the answers for you.

Now it's THE END.

Never have I been so relieved to check the completed box on my mdl page. So for anyone thinking about watching this show now that it's over, here is my recommendation.

Don't. This is not a good show. This is a badly written, well acted and visually appealing show that unless you disregard all logic and don't question anything that happens, will drive you crazy. It's finished and I still have so many questions. I thought about listing them but what's the point?

Anyway I'd like to thank @lurkingshan and @neuroticbookworm for sticking with me through this and leaving encouraging comments on these recaps, they kept me sane during the final stretch. I won't miss this show but I'll miss writing these recaps.

I'll bid you adieu and leave you with the last frame of the series.

[dynared]

Random thoughts on the Earthspark cancelation and what comes next for the Transformers brand

What a week, huh? So, we got confirmation Earthspark was canceled, Hasbro put the absolute bare minimum effort into their 40th anniversary celebration leading to many people going to the movie theaters expecting Transformers the Movie and not DVD-quality episodes of the TV series with many demanding refunds, and some good news, Transformers from Skybound being nominated for several Eisner awards, the first time a Transformers comic has ever been nominated for the comic book world's Oscar equivalent.

So once again, the brand, the sole surviving Western mecha brand at this point unless that J-Lo movie next week somehow launches a new franchise (doubtful) is at a crossroads, especially with their enduring business partner Paramount in complete turmoil, with more senior executives jumping ship and an official NDA signed between Paramount and Sony yesterday which allows Sony access to Paramount's record-keeping in order to ascertain the value for a bid.

So with all that said, rambling about the franchise under the cut.

Earthspark is done after this season, and it's easy to see why. While many right-wing grifter types will point to the nebulous "wokeness", an ill-defined term at this point that means little besides "bad non-traditional thing", the reasons are pretty simple. Kids weren't interested, the toyline didn't sell, and the show, whether due to being distributed on a streaming service people only get for Sonic stuff and the occasional South Park special, had very poor ratings. If you're making a kids show and you bore the kids, you're done, no matter how "important" you think the stories are. The days of Ted Turner funding Captain Planet out of his own pocket are long gone.

Since Earthspark is dead, but another series is in development, it looks like Hasbro will not be letting the franchise rest for any set period of time. The most likely follow-up for Earthspark is a spin-off of Transformers One similar to what Tales of the TMNT is for Mutant Mayhem after the latter's box-office success. It's a pretty low-risk venture to boot, with the biggest issue being the usual problems with a movie spin-off (lower quality visuals, sound-alikes since you can't pay the celebrity actors to do the voices week in and week out) so long as the movie is a success. It also lets the franchise establish some needed distance from Earthspark's lack of success.

Now, the question of "What if One isn't a success?" definitely is one that Hasbro is contemplating. For all the ragging on Snake-Eyes GI Joe Origins as a box office bomb, Rise of the Beasts was widely viewed by Hollywood as a flop and the lowest-grossing film in the history of the franchise. While a lot of that may be due to the wishy-washy way the continuity has been handled and the inability to commit to a full reboot (Madame Web producer Lorenzo di Bonaventura has been insistent that all the Michael Bay movies are still canon, even though that makes no real sense), if One isn't successful, the franchise may need to step back for a year or two.

Any other new concept for a series that fans have wanted is simply not feasible due to time and budget. With Hasbro joined at the hip with Paramount (apparently Hasbro board members own Paramount stock, hence their desire to keep the relationship going so long as Paramount exists), they don't have access to or funds for numerous studios. Studio Trigger have been asking to do a Transformers show for years now, hence all the shout-outs in stuff like SSSS.Gridman and even Panty and Stocking. Studio Orange's head took to the internet earlier in the week asking to be able to do a mecha show. Neither is getting the call from Hasbro because Paramount would rather use local Western studios and save money.

That of course leads to the final option for an adaptation, a 1:1 or similar of the Energon Universe. The problem with that is simply put, it's way too soon. While it would assuredly get a lot of attention just by putting down "From the creator of Invincible and The Walking Dead" in the promos, animation lead times mean that it would be impossible to do at this point without overtaking the entire stock of comics and either resulting in huge delays between seasons, or filler. Neither of which would be helpful.

So I guess tl:dr - Earthspark bombed not because of a non-binary owl, but because the kids were bored by it, with even the Fox News controversy failing to get the show any real positive attention with its main demographic of families. As horrible for Hollywood as it may be to see Paramount be sold for parts to Sony, it may actually be Hasbro's best bet at making its tie-in brands successful again on the big and small screens. And if One doesn't succeed, they are going to be in big trouble because nothing else is realistically ready yet.

[utilitycaster]

you getting push back on that post is crazy to me isn't it enough to watch and get invested in something for what it is currently rather than what it will be? I have so many unfinished projects in my own life it'd be crazy to demand polished completion from everything I watch/read. my unfinished sketches and embroidery and abandoned dnd campaigns still brought joy and growth without having a polished thing to present at the end

So what's funny to me is like. I have referenced this before here and elsewhere but like, as a child, I was SO bad at ambiguous and sad endings and my mother was like, not unkind about this, but neither did she coddle it, and I think that laid a groundwork that was really necessary.

My tags, which got lost bc I did NOT expect that post to break containment, do actually touch on how Netflix and other streaming services canceling things to avoid paying people a fair wage fucking suck but yeah here's a list of creative endeavors I participated in or watched/listened to/read that do not as of this posting have endings and I still liked, and many of them aren't even directly attributable to capitalism because this is just a fact of life and art.

As mentioned, both A Song of Ice and Fire and the Kingkiller Chronicles.

Multiple D&D campaigns for sure (I actually don't make D&D characters without a game in mind and find it weird that people do and so I'm like why am I the one arguing for the beauty of the incomplete).

Multiple fics, both mine and others.

King Falls AM, a podcast I binged in like 2018-2019 and despite being a mystery never actually completed bc the creators couldn't agree.

I think Battlestar Galactica 2003 is one of the most brilliant shows of its era and also the finale, which happened when the creators intended it to, is really dumb, and that doesn't undo the fact that I loved everything else.

How I Met Your Mother ends really poorly in a way that arguably undercuts the whole series, but like, I still liked that too.

Ditto for Chuck, which also struggles in that it was on the chopping block most seasons so they kept ending in ways that probably weren't true to whatever the original vision may have been.

I saw Firefly on DVD after it had already been canceled, I think Serenity is good but I don't love all the choices, and Joss Whedon has since been revealed to be a dick but like, I enjoyed myself greatly while watching it.

As mentioned, Heroes. I didn't watch much TV until my teens anyway because we didn't have cable and our reception sucked and we were very much a book household, and this was one of the first series I recall watching from season 1 and it's also the first TV series where I was like yeah I don't care anymore, and it went on for 4 seasons and I think I gave up either late S2 or early S3.

I didn't watch Supernatural, Game of Thrones, nor Grey's Anatomy but all of those are famous for outstaying their welcome, sometimes it's better to burn out than fade away, etc.

I had already long outgrown Harry Potter and started to see its limitations by the time Rowling's transphobia became public but like, now it's not something I would ever recommend to my friends' kids or anything, and that doesn't undo the fact that I did greatly enjoy it as a child and teenager; it was indirectly the reason why I was introduced to the superior fantasy of Diana Wynne Jones, which I do still reread from time to time. (I think the "well I never liked it" mentality about works from artists who end up being terrible people is tied into the "I can't get invested in anything that might end in an unsatisfying manner." Tumblr University's media studies grads are not the brightest stars in the firmament, that's for sure.)

Like, cancellation (let alone cancellation specifically because of the unique shittiness of streaming services) is just one of the many reason things might end in a way you dislike or become difficult for you to enjoy at a later date, and that's just talking about television. Are you really going to deny yourself the joy of anticipation and watching a story unfold in real-time because the thought of something not satisfying you at every single turn is so unfathomable?

(oh, and because this is, as we know, a CR blog much of the time, I should add that this mentality is really pervasive which is wild because your average 3-season canceled Netflix show is probably the equivalent of maybe 9-10 CR episodes; thinking about how many people who now claim C2 is terrible watched 141 episodes and also the person who is iconic to me who unironically asked me what the point was in getting invested in characters who will die re: Chetney)

[fructo]

OKAY, LISTEN. I've only gotten through about half of the first season of Suits (my weak little heart cannot handle it yet) AND I'VE SEEN SO MUCH content on tumblr, especially for deleted scenes

Idk it just makes me wanna splurge AGAIN and buy the complete series on DVD. I know I had waited until I watched White Collar all the way through to buy the complete series on DVD but I'm enjoying Suits in the same way (so far; the dynamic between Peter and Neal is SO DIFFERENT between Mike and Harvey)

At the same time, logically, I know, I should be saving that money but my itty bitty geeky heart and brain needs my silly attorney show. It doesn't help that I really wanna major in criminology so I need to consume all of the wildly inaccurate media portrayals of law agencies and law enforcement agencies I possible can (this isn't the reason why I wanna major in criminology, I'm joking about that part)

anyways thanks for listening HAHA

[taleroftells]

Faded Fics #2

Taking a step away from Digimon, here's a fanfic I started writing for the Ducktales reboot. From time to time, I like to re-write movies or episodes of TV shows that didn't live up to the hype, although this is the one I wrote more than a summary. It's a re-write of "The Duck Knight Returns." Enjoy!

The Duck Knight Divergence

Scrooge McDuck adjusted the papers on his desk.  It looked like casting for his latest project was complete, and filming was due to start on schedule, although he made a mental note to ask that director fellow if the villain had a mustache to twirl...

There was a knock at the door, then Ducksworth stuck his ghostly head through the still-closed entry.

"Dinner is served, Mr. McDuck.  I suggest you hurry before the children eat it all."

"Those aren't children, they're eating machines!"  Scrooge put the papers down.  "I dinna' suppose I can put them on a diet?"

Ducksworth raised a ghostly eyebrow.

"Very unlikely, sir."

"Curse me kilts..." Scrooge levered himself to his feet.  "I'll finish this later."

In another timeline, the two would have been distracted at this point by a disaster involving Scrooge's nephew, Mrs. Beakley's fine china, and a very stubborn can of chicken soup, however in this timeline Mrs. Beakley was able to stop Donald before things could get out of hand.  Now curious, Ducksworth floated over to the paper.

"What are you working on, sir?"

"A movie, based off some old TV show. I wouldna' have bothered, but the rights were about t'expire."

Ducksworth's eyes narrowed at the words on top of the page.

"Isn't this the show your new chauffeur watches?"

Scrooge paused in the middle of opening the door.

"I dinnae know...it could be."

"Perhaps you should ask him to get involved, sir?" Ducksworth suggested pointedly.  "If he knows the series half as well as he talks about it, he could make an excellent consultant.  And he'll do it for free."

Scrroge paused, the lack of desire to deal with that ditzy driver-turned-pilot warring with the word free.

"I'll think about it," he said.

***

Drake Mallard watched as the climax of Darkwing Duck episode 38 "Clyde's Dale-usion" played, before turning off the bootlegged DVD.  It was time to go.

He paused to look at himself in the mirrow, grinning as he did so.  He was going to be Darkwing Duck.  He would get his face on those lunchboxes, just like Jim Starling! 

The first scene they were filming was supposed to be what the director called "The contemplation of the eternal flame of the soul."  Or rather what the scriptwriters sarcastically referred to as "The contemplation of all the money we're going to lose" and "Angsty, angsty, angstiness" when Alastair Boorswan's back was turned.  Boorswan wasn't too popular among the rest of the production people, but he'd recieved an Omar award for "The Beautiful Soul" a year or two ago, and he'd apparently been one of those few directors who were willing to take on such an obscure old series.  Drake frankly had bad feelings about the movie, especially when they'd given him the script.  Still, it was his first starring role, and what better way to get his big break than playing the character who'd inspired him so much?

Drake tweaked that classic Darkwing hat.  He still had no idea why he'd been chosen, but he wasn't about to look a gift role in the mouth.

Exiting the trailer, Drake could see a knot of people over by the day's set.  Almost normal, but Drake recognized some of the movie's screenwriters and editing people among them, the folks who he didn't normally see by the set.  The small, but increasing, crowd was watching two people arguing heatedly over something.

What's going on?  Drake wondered.

He could see the figure of Alistair Boorswan as one of the arguers.  He didn't know the other one, some tall redheaded guy with a bomber jacket.  Drake did, however, recognize one of the onlookers as Scrooge McDuck, the world's richest duck who owned the studio.

"...And that script is not Darkwing Duck," the redhead was saying.  "It's too dark.  D.W. would never scare anyone like that, not deliberately at least."

"That's because it's 'Darkwing Duck'," Boorswan retorted.  "It's not called 'Cheesywing Duck'."

"Have you ever even seen the show?"

Boorswan froze.  "Uh..."

"Can you even name one episode?"

The silence, disturbed only by soft mutters from the direction of the writers, was deafening.

"Look, Mr. Boorswan," the newcomer said in a less harsh but no less passionate voice.  "You're a great director, I'm sure.  But, I think the movie will be better if it were truer to the original."

"Who would want to watch a comedy?"  Boorswan protested.  "Nobody wants a superhero comedy."

"Actually, Guardians of the Universe did pretty well," Drake said.  "Wasn't that a superhero comedy?"

Every head in the group turned to face him.  The newcomer looked a bit woozy for a moment before getting a good look at him.

"Oh, wow...wait, you're not Jim Starling!"

"I'm not exactly a camel, either," Drake replied using a line from the Darkwing episode he'd been watching.  He didn't expect anyone to get the reference, nobody did, but to his immense delight the guy laughed.

"You a fan?"

"Only the president of the Darkwing Duck fan club.  I'm Drake Mallard."

"Launchpad McQuack, I'm the new consultant.  Where's Jim Starling?"

"They never asked him to come," Drake admitted.  "I don't think anyone's even told him about the movie."

Launchpad blinked, then he turned to Boorswan.

"You didn't even tell Starling?  Without Jim Starling, there is no Darkwing Duck!"

"We don't need Starling," Boorswan snapped.  "That old has-been's done!"

"Not anymore.  We're bringing him in..."

"He won't be playing Darkwing, will he?"  Drake asked nervously.  "I mean, I was already hired to play him..."

"Don't worry, we can work around that.  But there's going to be a lot of changes around here..."

"You can't do this to me!"  Boorswan protested, this time to McDuck.  "I'm an accomplished, awarded director.  This fanboy knows nothing about directing.  Why should I take orders from him?"

"Sorry, Alistair," McDuck said.  "I told ye right from the start that my only requirement is that the villain has a nice moustache to twirl.  Besides, he's offered t'do the consultation for free.  You're the one who's costing most of the budget."

"That's because I'm an accomplished director..."

"Yes, and you're still the director.  You just get to direct his way now."

"Starting with the script," Launchpad added.  "Who wrote that, anyway?"

The three screenwriters looked at each other.

"That was us, but..."

"Have you seen Darkwing Duck?"

"Uh...no."

"I rest my case," Launchpad said.  "Now, this is going to be a bit tricky.  We need a new script ASAP, but I have to agree on it before anything is finalized.  Now we'd better get cracking.  Uh...anyone got a VCR on them?"

"What?"  The writer who had spoken earlier asked.  "What are we doing?"

"We're going to watch Darkwing Duck!"

"I've got a few episodes burned on DVD in my trailer," Drake offered.  "And if you guys need any help re-writing the script, I took a screenwriting course in college and I know the series."

"Great!"  Launchpad exclaimed.  "Let's go!"

It took them a couple of days working overtime to whip out a new script to make the movie into a pass-the-torch movie to link Starling's Darkwing with Drake, with a greater emphasis on comedy.  That didn't mean the old script was completely gone, some elements of the old script were kept in.  The full script was cheesy, slapsticky, and in Drake's eyes perfect.  Granted, he'd done more than his share of writing the script since he knew the show better than anyone except for Launchpad.

[Summary of in-universe film: The film would star Drake as Dick Greylag, an average guy who was currently working as a plumber.  While repairing pipes at the house of Brant Reid, a reclusive billionaire, Greylag would discover that Reid was in fact Darkwing Duck, a vigilante who had mysteriously disappeared ten years before.  Reid would not react too kindly to the discovery and chase Greylag out, but not before revealing the reason for his retirement: someone had found out his secret identity(?).

Meanwhile, Darkwing's old nemesis Megavolt would be in prison.  He would somehow get his hands on an old film projector and manage to bring the characters on screen into the real world, lead by an old-time villain with a very twirly mustache.  They would escape using the characters' abilities.  At first, Megavolt would command the fictional characters, but they would quickly decide they didn't need to take orders from him, and would keep him captive with the intent of bringing more movie characters to life.  More specifically those huge cheesy movie monsters from series like Duckzilla. 

The only thing their little plan would fail to take into account was the hapless Dick Greylag, who would stumble into their hideout while fixing toilets.  Captured by them, Greylag would escape and then try to convince Reid to help him.  Reid would refuse, since he would be paranoid about his secret identity and believe Greylag's story to be just a ruse to lure him out of hiding.  Greylag would decide Reid was just being a jerk.  In the end, he would "borrow" Reid's old costume and go out to confront the movie characters.

During a complicated slapsticky fight sequence, it would be revealed that Greylag knew martial arts and could take care of himself.  He would still be outnumbered, however, and quickly captured again.  The movie characters would then enact their plan to bring the cheesy movie monsters out, and they would trash the city.  Just when things would be at their worst, Reid would turn up in an older Darkwing costume.  He and Greylag would save the day by putting the film used to transport everyone out of the movies into rewind, sucking them all back in.

With the situation now resolved, Reid would realize that Greylag had a lot of potential, and plan to make him the new Darkwing.  Meanwhile, Megavolt would slip away, and free the rest of the old villains in order to set things up for the sequel.]

[anarchic-miscellany]

Gundam SEED: A Dubbing Journey

More fun physical media tales! "Gundam SEED"

It's not the best Gundam series, but it's good fun and the first iteration of "Gundam" which I watched. Hence I have a sense of nostalgia for it, despite its flaws (looking at you 48 episode length...).

Anime is already a fairly niche field, despite the hilarious jokes and mainstream creep us filthy degenerates are making into modern society. The age old "debate" I guess, between those of us who have never seen the sun, seems to be between watching in the original language with subtitles, or watching it dubbed.

My personal thoughts go towards the dub. Aside from the fact that there are dozens and dozens of brilliant actors in this field who make the material fantastic and more accessible (Tara Platt, Yuri Lowenthal, Colleen Clinkenbeard, my homie Kirk Thornton, Steve Blum, Michelle Ruff, Wendee Lee, Kari Wahlgren, Todd Haberkon, Joel McDonald, so, so, so, so many others) to simply ignore the dub through snobbery is to disregard the hours and hours of effort and work put in by hard working, under-appreciated actors across the field. Voice actors are my jam.

So, "Gundam SEED" came out in 2002/2003 but was dubbed by the Ocean Group with Bandai in 2004, released by Beez on DVD. It's a good dub: No "Baccano!" or "Cowboy Bebop" but then again, what is? There are some great actors in this (Andrew Drummond's brother Brian plays the best character: Andrew Waltfeld THE DESERT TIGER, Lisa Ann Beley is the ship's captain, Trevor Devall from "Cowboy Bebop" and "Team America" as Mu La Flaga, Samuel Vincent as one of the two leads and, for some god-damned reason Brad "Light Yagami" Swaile as one of the best characters) as well as some lesser known names in the industry but also great in their parts. Chantal Strand is a standout as Lacus Clyne.

The dub was an excellent work, and my first exposure to the series, it's great.

The series was released on DVD, but had a rather short run: the always excellent Beez released it in the ever delightful format of five episodes per disc and one disc per box, their usual M.O.

I am going somewhere with this, bear with me.

So far so good.

In 2014 the series was re-released in HD, fine. Excellent! More of Beez's back catalogue coming out again and to the forefront is always a good thing.

However.

The dub was redone.

The actors, for the most part, were completely replaced from the top down. Gone were Matt Hill and Samuel Vincent as Kira and Athrun, gone were Drummond and Swaile. Everybody has been changed, right down to the lesser known actors playing some major parts in the series.

And they are the people who I want to talk about.

Bill Switzer, Sarah Johns and Lisa Ann Beley are not ever going to be household names, nor ever known truly amongst the clique-like cult who follow weaboo shit. But I am going to focus on these three people for a moment.

Respectively, in the Ocean Dub, they play Sai Argyle, Lt. Badgiruel and Captain Murrue Ramius, all fairly major characters in the series.

And they were replaced.

Bye, so long, farewell, hope that you got something out of the experience.

This isn't about rambling about how "the new dub sucks" or "Grrrr, change is bad" (well, maybe the latter a little) because, in all honesty, I haven't watched it. Heck, maybe it's fantastic!

But on a more philosophical level, I guess, consider this:

Mr Switzer, Ms Johns and Ms Beley have put a lot of work, time and effort into those parts, they're actors underappreciated, underpaid and glossed over in an already niche field, and then the one big piece of art they get to do, the one big part they have to be remembered and loved, is forgotten, soon to be washed away by the new dub. Sounds dramatic, sure, but now in future should Gundam SEED be sought out by people hoping to catch up on Gundam (though, why you'd start with "Gundam SEED" like a moron when the fantabulously gay "Gundam Wing" exists I shall never know) or just picked up and watched it's more likely that one will watch the remastered dub, and Mr Switzer and co will be banished and forgotten by history.

I guess what I wanted to say was simple:

Remember forgotten art, remember obscure actors, writers, producers and the like. All art has meaning, be it terrible, great or forgotten. Every piece of art has effort and love put into it by some people.

Don't let Bill Switzer and Sarah Johns and Lisa Ann Beley be mere forgotten footnotes.

Buy a DVD of something obscure and forgotten. Remember the effort put into it.

[quartergremlin]

Top 5 anime?

what have you dome. there was so much litigation for this one. i had to consult people (one guy) (it was fun).

Im going to only include tv shows, not movies or (only)manga. And exclude "american anime" (it is very valid its just too many new options) and shows that are currently being released.

1- Soul Eater:

Beautiful animation, beautiful fights, beautiful story. Its funny and thoughtful and I wish the ending wasn't as jank as it was (as an anime from a manga that got cut short). I have the whole series second-hand from a friend's brother who knew how to burn dvds and watched it religiously through my early teens. Maka and soul's relationship drives me insane. Romantic or not, they are completely devoted to each other and on rewatch i love how their individual strengths work with their dynamic even in their introduction episode.

2- Ouran High School Host Club:

It definitely shows its age in some places, but years later ohshc is still a fun watch. Its cute! Its got romance! Its got gender schennanigains! It was my first brush with anything queer as a kid and kassanoda - bisexual king - deserves the world.

3- Blue Period:

One of the only anime ill only watch the sub of. Every episode fucks me up artistically (sometimes positively sometimes negatively) and it helped me understand composition better than art school did. I enjoy the large cast with a wide range of views on art and school and paths and their personalities clash beautifully! Cons: Too many characters with y names. I get confused.

4- Mob psycho 100:

You know why. Its beautiful. With a beautiful message.

5- Deca-dence:

THIS ONE GOES OUT THE FIVE OTHER PEOPLE WHO'VE WATCHED THIS SHOW MWAH! Do you like gay robots? Found family monster hunters? Post-capitalism post-apocalypse city car with a giant fist on top?? Wait where are you going come back the main character is disabled and it isn't "fixed" hey-

+1- My Dress-Up Darling:

Im a dirty cheater but I already cut so many things from this list let me live. I've gotta insist on the dub for this one, the sub reads as a more literal translation and the characters personalities (esp marin's) really shine in the English dub! The romance is cute, but marin and gojo's budding friendship is even cuter! they bring out the best in each other and it explores the technical details of cosplaying in a way thats genuinely interesting!

[yurisorcerer]

God.

OK. So, this requires a little context. In a Discord server I'm in, they're groupwatching every KyoAni show. Starting today, they got to Haruhi Suzumiya and are going to be watching an episode per day until we finish it. I'm not gonna write about every single episode of this show---I've seen it several times at this point so while I have a fair bit to say about most episodes it's just a lot of effort for a series I don't think many people here on tumblr specifically care about anymore---I do wanna write about this one

because, like can you fucking IMAGINE opening an anime like this in 2024? It'd be impossible. When an anime in the present day wants to make a big impact it'll go for laser focus, trying to present its absolute best foot forward, or a grandiose overlength premiere like Oshi no Ko or Frieren or something. The idea of opening your anime with *this* is just....I mean, even at the time it was baffling. I watched Haruhi a couple years after it aired and I remember being SO confused. What was this? Why is the first episode of this show---a show that aired deliberately out of order, by the way. I'm calling it the first episode here but if you're going by DVD order it's one of the last---some weird, deliberately bad student film that has a snarky narrator CinemaSins-ing over top of it?

The short answer is just that from the very beginning, the Melancholy of Haruhi Suzumiya has a somewhat antagonistic relationship with its audience. Haruhi herself, as we'll learn in upcoming episodes, is kind of a really unpleasant person before eventually getting better. And I'm not going to claim that this show invented the idea of having your title character be a complete jackoff---it did not---but at the very least, it felt new at the time. (Contrast that to nowadays where every two-bit isekai has a total fuckboy who you're clearly supposed to love from episode 1 anyway.) So the first episode is kind of a....I hate this term, but almost a troll move I guess? More than anything, it's supposed to be *confusing.*

Improbably, this worked, and The Melancholy of Haruhi Suzumiya became, for both better and worse, one of the defining anime of its era. It's been nearly 20 years and I have no idea how this happened.

Some amount can probably be attributable to the charisma of Haruhi herself---she sucks, but she makes an *impression*---but none of that is really present here since she doesn't show up until the end of the episode for the big mic drop moment, a moment where we get slightly more of an idea of what this show even actually is.

I think honestly the charm of the deliberately bad film might have been a factor. The thing is completely nonsensical; we have Mikuru running around in a bunny outfit doing plugs for random local businesses while vying for the affection of Itsuki. Itskuki himself plays a character best described as "on-screen" and "present." Mikuru's big rival both in love and for the fate of the Earth (?!?!) is Yuki, who wears a fucking awesome witch hat throughout most of the episode. At one point, in scenes that seemed utterly baffling without the context that later episodes would provide, Mikuru's eye appears to actually change color and fire a beam from it, and Shamisen the cat talks like a person. This shit was weird! Even at the time.

Also the bit where she fires a gun and goes "aaaah!" as the recoil gets out of control is still funny to me 16 years later. Many things about me have changed since I first watched this show but apparently my sense of humor isn't one of them.

Haruhi Suzumiya as a series is really important to me in that it was one of the first things I watched that was REALLY OBVIOUSLY "anime." There wasn't the plausible deniability you got with something that aired on Toonami (and thus was visible to anyone with cable TV) or one of the common entry-level access points like Cowboy Bebop or such, which are considered classics not just of their medium but of their *genre* and thus didn't carry the same stigma. The Melancholy of Haruhi Suzumiya is an anime-ass anime, with its bunnygirl outfits and improbable high school antics and psychic powers and aliens and yadda yadda. When I first started watching the series I was vaguely embarrassed about my interest in Japanese cartoons, by the time I'd finished it, I had an actual fucking SOS Brigade patch on my jacket. No less a figure than Tatsuki Fujimoto said that the series was responsible for turning his generation into otaku, and, anecdotally, he's pretty much right about that; most otaku I know of my age had a Haruhi phase at some point. (That's part of why Aya Hirano playing Makima in the Chainsaw Man stage play was such a big deal. It's not just that she's an incredible actress---although she is---that's fucking Haruhi playing Makima, man.)

Its success is also partly responsible for the light novel adaptation hellscape we now live in, so I'm not going to shy away from criticizing it either. Right off the bat there's a really uncomfortable kind of semi-"ironic" sexualization of Mikuru, helpfully lampshaded by Kyon as the film's narrator. This does not let up at any point throughout the show and is probably the worst thing about the series (although it doesn't reach its nadir for a while, if I recall). I'm not a fan.

Other than that element, I think as far as first episodes go, I wouldn't mind if more shows went back to this approach. There's something to be said for just baffling your audience into submission.

[madamegemknight]

Opinions on people claiming The Preachification of Convincing John is about unchecked consumption and capitalism (I'm still trying to wrap my head around it) (I sorta get it but also) (no <3)

ehhhhh I kinda see it? There's definitely a point to be made about how Convincing John manages to convince all of the Fraggles that doing something that will cause irreparable damage to Fraggle Rock (not eating the Doozer constructions, which will cause the Doozers to either die or leave to find new space to build) is actually the morally correct and safest choice through rampant fearmongering that falls apart the moment you stop to actually think about it, and I can ABSOLUTELY see the capitalism angle in that. Ultimately, however, the problem is the exact opposite of consumerism - Mokey wants everyone to stop eating so many Doozer constructions, and consuming them is actually the right call to make.

I think that claim stems largely from the fact that Fraggle Rock was simultaneously a show that slowly developed an overarching story over the course of numerous seasons...AND an HBO-exclusive series (at least in the States) that ran for several years and nearly a hundred episodes in a world before streaming and the internet and wouldn't have a complete series release on home video until the mid-2000s, when the "Complete Season" DVDs started coming out. You'd be surprised at how many people who watched the show as kids legitimately think that the Doozers were being used as slave labor by the Fraggles because they simply never got the chance to catch the Doozer-centric episodes that explained how it was a mutually beneficial relationship between both parties and the Doozers just legitimately like to build. Heck, I'M surprised at how many people think that, and I have to deal with them in the comment sections of every single Back to the Rock interview ever made 🙃

if you don't have the necessary context for why The Preachification of Convincing John ends the way it does because your folks stopped paying for HBO before Cotterpin got introduced, or because you had baseball practice every other week and missed Boober and The Glob, or you were on vacation when A Tune For Two aired and the bed and breakfast you were staying at didn't have HBO, then the episode being about capitalism or consumption makes more sense because you don't have the later context of Doozer Lore - and hey, I'm not saying that interpretation doesn't make sense with the necessary context (I can absolutely see the capitalism angle), just that it isn't the full interpretation with later episodes and the overall Doozer Lore in mind.

Who knows? Maybe I pulled all of that out of nowhere!!!! There's certainly more recent fans of the series who have that interpretation as well. It's just interesting to look at where different perspectives come from and how those perspectives form :P