#wins that feel... unearned?

[emberkyrlee]

Deathdream taking out the dogs at the end like:

Uncanny X-Men #10 review

Well, ten issues in and we finally hear something substantive from Nightcrawler. The Outliers are still being attacked by the Wolfpack sentinels after Ground Bear and Jubilee bailed, the Graymalkin Podcaster clown show continues, and Moonbeam and Gambit go on a date mostly off panel. It looks pretty good but it's unfocused and shallow. The Outliers are the stars and the absence of Rogue/Gambit was refreshing. There's fart jokes?

Nightcrawler thinks to himself that he doesn't want to go back to being an X-Man, except he is an X-Man, isn't he? Realistically, he's having the same doubts everyone else has had. They were left unresolved and brushed aside so I'm not going to spend much time on this. Fool me thrice.

Anyway, he's painting a roof with Chelsea, who ends up being a mutant. Great, just what this book needs more of 🙄. She's probably the wisest person here who knows the mall is a bad idea. Kurt is really enjoying this place as a 'home' that's 'healing him.' How? Doesn't matter. He's just saying words and I wonder why he's even in the book. The lady whose kid he rescued rocks up with homemade German pastries for him which is a nice moment but it's not a substitute for character development. Things happen to him, mostly.

Meanwhile, Deathdream is bleeding out at the mall and The Outliers are rallying. The adult X-Men are feeling like a bit of a distraction tbh. The kids are being developed the most, learning, growing, making choices. It's great for them, but it's an awkward situation if you want more than the barest development of The X-Men. I look back on the first arc and how much time was spent flashing back to Xavier and Sarah Gaunt. No idea what degree of editorial meddling there is, but I find it hard to believe Gail Simone would intentionally take focus off the main characters to that degree.

Jitter uses her powers to become a master combat medic for sixty seconds and takes charge. For some reason the Wolfpack just aren't attacking them right now, despite having a taste for blood and no master.

Calico has her heroic moment and aims to distract the Wolfpack. Ransom is hunting for a needle to save Deathdream and stops to cheer her on despite the ticking clock. Said clock ticks down and he's just a little bit too late, so Jitter is relying on memory. Sure. The 'if X happens, run and leave me' moment is the 5th time this beat has been played this run, and it gets the same response each time. There's value in repetition but I'm not seeing any formalism or thematic purpose here, so it just feels repetitive. Don't get me wrong, the kids are the best part of the book, but I don't get these choices. It's the kind of thing even a parody of action cliché should be embarrassed doing - and it loses power each time.

Time's up! We check in with Graymalkin, where the same dynamic as last time is escalating after the incident hits the news. Trask wouldn't kill kids because of his family history, apparently. Maybe he's referring to his sister, but that's a stretch. He had no problem with basically enslaving Juston Seyfert for his sentinel program. Whatever, maybe it's some new shit. The podcaster isn't happy, and keeps telling him to shut them down, something he's established he can't do. Not sure what was gained by including this.

Okay, Nightcrawler sees the Wolfpack situation on the news (TF are Logan and Jubilee?) He is obviously going to teleport there to meet them, but he stops for thoughts and prayers in a life or death scenario. DEEEEEP BREATH. Fucking really? Yeah, Kurt is Catholic, though he has spent the last few years having a major crisis of faith. He's also an experienced hero and pointedly not an idiot. Stopping to pray when kids you're responsible for are probably being torn to shreds is not something he would do, ever. It's embarrassing and frankly highlights why he shouldn't be in this book. Kurt Wagner is a complex, well-rounded individual. In this book he's been portrayed with 'is religious' as his defining character trait. I hate to go there but I'm dubious that Simone knows a damn thing about him - besides 'religious guy.' All that aside, if you only have room for a single flat character trait, take them out of the book. Kill him if you need to because this is painful. That would free up space for other characters to have beliefs, motivations etc.

Jitter is going off memory and Calico is regulating. The memory is fading and Ember is down though. After encouragement from Ransom Jitter does the Pulp Fiction thing anyway - Calico lapses into despair, repeating her mother's abusive nonsense.

Nevermind, Ember is fine and so is Deathdream. More than fine even. Right as rain. Ransom is reinventing the fastball special except with Ember kicking him in the heart.

Logan and Jubilee finally show up to protect the kids they're responsible for. They're held up by a barricade and a cop. Okay this must be a shape shifter or something because I don't see Logan even asking for permission, let alone wasting time arguing with this bozo. He'd leap the barrier, or slice it. Famously he does not give a fuck and is very willing to use violence. If you thought that was bad, Jubilee convinces the cop and then wastes time flirting with him. Flirting with a cop while their charges are fighting sentinels. I guess now that she's abandoned her baby in Otherworld she's got time to date. This is unserious shit.

I wish I had the gall to follow up that waste of time with 'we're not gonna make it.' This run isn't going to make it. Kurt beats them there and has his second most substantial conversation of the run. With a killer robot dog. He teleports it into the sky and kicks it without hurting himself. Maybe Calico softened them up since last issue.

Jitter and Deathdream seem fucked with two Wolfpack sentinels racing towards them. Ransom and Calico check in, while informing us that Ransom is who they look up to. I mean, she's been doing all the fighting and Ransom was going to leave last issue but sure. Why not? He does throw a robot dog at Logan for him to slice, that's leader shit. If I was being generous I'd say it's a callback to Fall of the House of X #1, where Colossus did the same thing with an ORCHIS soldier. It doesn't matter because Deathdream suddenly figures out he can kill them all. Easily. It's loosely explained and I don't care enough to quibble. His powers are established and they apparently include a healing factor too.

With that, the threat is over. They got them all, together. Right. Logan compliments Ransom who asks not to be called 'kid.' I guess he's the man now, dawg. The mutants are hailed as heroes by local news and The Podcaster is not happy. They've finally tracked down the idiot responsible for this debacle, and she sends him to be tortured. The private sector is rough. I still don't know what the Podcaster's actual deal is, she's all over the place and I can't fathom why anyone obeys or fears her. What does she want aside from a mutant prison?

This book lacks consequences. The adults keep making huge mistakes that other people suffer for yet they get bailed out. It's narrative 101 - if your characters make a mistake they should have to deal with the fallout. They learn and grow. Rogue hasn't made a good decision yet and her team are complimenting her - directly after a prison break with no plan where she spent her time punching Scott. They sent the kids to school and Calico was kidnapped in an hour. Logan and Jubilee fucked up so badly here the kids nearly died. One actually did, but luckily it didn't stick. Kurt is praying and Jubilee is flirting while they're fighting for their lives. These actions aren't being used as mistakes to learn from, they're just things that happen. There's no tension because nothing really matters. No matter what they do things work out and they're hailed as heroes. Personally, I want more out of the flagship X-Men book.

When the wisest person in the book is 6 years old, it hangs a lampshade on how cartoonishly everyone is behaving. I'm thinking that's the point. The ragtag misfits have goofy adventures that seem like the end of the world at the time, but it's just Tuesday. It's the fun book where you don't have to think hard. Moonbeam, Ground Bear, and the Podcaster. PTSD, let's never talk about it again. Diction lessons, sugah. Let's pray.

A look at the letters page tells us everyone is loving the book, and they're definitely real people that aren't cherry picked. Good for them and good for you if you're enjoying it. I'm not loving it, but I'm not hating it. It exhausts me a little but I do enjoy reviewing it. Thanks for reading, Ground Bears.

[thisselflovecamebacktome]

The only comment I will make on tonight is it's funny how different my followers are to the people they're following because I'm seeing all these "Everyone is acting like the world will end if TTPD wins AOTY" posts when tbcfh most of what I've seen is "If Brat specifically wins, I will kill myself and everyone involved" posts ngl lmao.

[misctea]

so much time and effort put into gorgeous and expressive animation and a star studded cast belting out banger songs went into poorly paced use of “literally” and “fuck” as comedy

[vintagerpg]

Flames of the Falcon (1990) wraps up the trilogy. Same creative team — big shout-out for Ken Frank’s hooked horror combat tableau.

OK, so, the Falcon escapes, obviously. The city is in chaos. She makes things worse by sending waves of undead attacks to further destabilize the situation. The players must hunt her down and finish her off. That takes them to Grey Manor (this module’s cardboard model) and, eventually, the caves beneath them. There is a lot of dungeon in this event-crawl! Populated by unusual monsters, too. The aforementioned hooked horrors, meanlocks and quite a lot of Derro. I really appreciate how the final cult complex calls out many features that were encountered in the first module’s cult stronghold and later salvaged and dragged here.

Couple things I want to highlight. First is that the Falcon is a pretty great villain. She’s powerful, ruthless, not stupid and can easily win out if the players are foolish. She’s also a she, which is worth mentioning, far more so than Zuggtmoy; she appears primarily as a Maleficent-esque sorceress with a double-horned hood, which is pretty great. She is maybe the first time in D&D that a boss has two forms — that sorceress, and her true form as a spirit naga, which could be a genuine surprise for the players at the climax.

The ending is a little bit baloney, honestly. One of the NPCs is a shape-shifting dragon who was instrumental in capturing Falcon the first time around and in the final battle, he changes form to the way he looked 60 years prior. This has two effects: it leaves the Falcon so stunned she just stands there sputtering for two whole rounds and, once she recovers, she focuses all her fire on that NPC, who can probably take it. It’s a little bit of the NPC vs NPC battle thing I so loathe, but the sputtering thing is so funny and goes to her unearned feelings of infallibility that I am inclined to give it a pass.

By the end of these adventures, the City of Greyhawk should feel like a living place full of plots and potential. I kind of love that they decided to blow it all up almost immediately, but I also understand why folks were upset.

[cherrylibby]

Jealousy at Mach Speed

Jake Seresin had a reputation.

It wasn’t exactly unearned—the cocky smirk, the smooth Southern drawl, the way he could charm just about anyone within five minutes of meeting them. It was part of who he was.

And usually, you were fine with it. You knew that, despite the way women threw themselves at him, Jake was yours.

But tonight? Tonight, that logic was a little harder to believe.

Because as you stood at The Hard Deck, watching some girl drape herself over him, laughing a little too hard at something he said, you felt a sharp sting of insecurity settle in your chest.

Jake didn’t push her away. He didn’t tell her to back off. He just stood there, smiling, sipping his drink like he didn’t have a care in the world.

And suddenly, all the old doubts—the ones you thought you had buried—came rushing back.

Maybe you weren’t enough for him.

Maybe he’d realize that soon.

Maybe he already had.

You didn’t say anything right away.

You just grabbed your drink and made your way to the other side of the bar, setting up camp next to Bradley "Rooster" Bradshaw, who immediately raised an eyebrow at your sudden mood shift.

“Alright, what’s wrong?” he asked, taking a sip of his beer.

“Nothing,” you said, too quickly.

Bradley snorted. “Uh-huh. And I’m about to win Pilot of the Year.”

You didn’t respond. Just took a long sip of your drink, staring at the wall.

Rooster followed your gaze across the bar—right to Jake, who was still talking to that girl. Understanding dawned on his face.

“Y/N,” he sighed, “you know Jake isn’t interested in her.”

You shrugged. “I don’t know anything.”

He groaned. “Okay, no. We’re not doing this.” He stood up. “I’m getting him.”

“No—Bradshaw I swear—”

Too late.

Jake turned the second Rooster called his name, eyes instantly locking onto you. His face shifted, brows furrowing as he excused himself from the conversation and made a beeline for you.

“Sweetheart,” he said, voice low as he reached you. “Everything okay?”

You plastered on your best fake smile. “Peachy.”

Jake narrowed his eyes. “Try again.”

You huffed, crossing your arms. “I don’t know, Jake. Maybe you should go ask her.”

Jake blinked. “Wait, what?”

You gestured toward the blonde at the bar. “She seemed really interested in whatever you were saying.”

Realization hit him like a brick wall. His eyes widened slightly before his expression softened.

“Oh,” he murmured, stepping closer. “Sweetheart…”

You shook your head, looking away. “Forget it. It’s stupid.”

Jake didn’t let that slide. Instead, he gently tilted your chin up, making you look at him. “It’s not stupid if it’s bothering you.”

You sighed. “I just… I don’t know. I saw you with her, and I just started thinking… why me? You could have anyone.”

Jake’s eyes darkened—not with anger, but something deeper.

“Y/N,” he said, voice firm. “I don’t want just anyone. I want you.”

You swallowed, feeling your resolve crack. “Yeah, but for how long?”

Jake exhaled sharply, shaking his head. “Sweetheart, forever isn’t long enough when it comes to you.”

Your heart stuttered.

Jake cupped your face, his thumbs brushing over your cheeks. “You think I don’t notice every little thing about you? The way you scrunch your nose when you’re trying not to laugh. The way you pretend to be annoyed when I flirt, but I see that little smile.” He leaned in, resting his forehead against yours. “The way I feel like I’m home whenever I’m with you.”

Your breath caught in your throat. “Jake…”

“I don’t care about any other girl. Never have. Never will.” He pulled back just enough to meet your eyes. “I’m yours, Y/N. Only yours.”

Tears pricked at your eyes—tears you hated because damn it, you were not a crier.

Jake noticed, of course. He kissed the corner of your eye, then your cheek, then finally—finally—your lips.

It was slow, deep, filled with every unspoken word between you.

When he pulled away, he smiled softly. “You believe me now?”

You let out a watery laugh. “I think so.”

Jake chuckled, pressing another kiss to your forehead. “Good. Because I’m not going anywhere, sweetheart.”

And just like that, the storm passed—leaving nothing but love in its wake.

[writerthreads]

How to write a good plot twist

By Writerthreads on Instagram

I know plot twists have been a highly debated topic recently (ahem Disney twist villains), so I've decided to make a post on writing a strong plot twist that feels natural yet shocking. Hope this helps!

Make it unexpected but expectable

Unexpected: The best plot twists shock the reader, but they should never feel random or out of the blue. If the twist feels completely disconnected from everything that came before, it can seem like the author is forcing it for the shock value. To make it unexpected, you could lead characters down one path, only to reveal later that things are not as they seemed. However, try to avoid a twist that feels like a deus ex machina, where a sudden, unearned event resolves everything.

Inevitable: While the twist needs to be surprising, it also must feel like it was always meant to happen. This means leaving enough clues or subtle foreshadowing that when the twist is revealed, readers can look back and say, “ah, that makes sense.”

Keep characters consistent

Twists that involve characters acting out of character are incredibly frustrating. Even in a surprising twist, characters should behave aligned with their established personalities, motivations, and goals. A twist shouldn't have a character suddenly acting against everything the reader knows about them unless there’s a reason, like a hidden motive.

Think about your characters' desires, flaws, and inner conflicts, and use them to drive the twist. For example, a twist where a seemingly loyal friend betrays the protagonist should stem from a believable motivation that has been hinted at throughout the story.

Foreshadow, not broadcast

The best twists are hinted at, but subtly. Readers should be able to piece things together in hindsight, but not predict the twist well before it happens. It's easy to explain but hard to do successfully!

To make this work, use small, seemingly insignificant details that later take on new meaning. These could be lines of dialogue, symbolic objects, or minor events that have a deeper purpose. However, be careful not to overdo it. If the clues are too heavy, readers may guess the twist early.

Subvert expectations

A twist should challenge what readers believe about the story or characters. Playing with readers’ assumptions is a powerful tool. Lead them to expect one outcome, then deliver something entirely different, yet believable.

Consider what tropes or narrative expectations you’re working with, and how you can flip them. If readers expect a traditional happy ending, throw a wrench into it. If they’re expecting the villain to be defeated, reveal that the protagonist is actually aligned with them, or the villain wins (temporarily or permanently!).

Without spoilers, a good example would be Gone Girl!

Heighten the emotional impact

A plot twist should have emotional weight and alter the stakes of the story. The emotional response from your readers—whether it’s shock, sadness, or even excitement—depends on how well you���ve developed your characters and story. If the twist doesn’t change anything meaningful or deepen the conflict, it may feel flat or pointless. The twist should add emotional layers, making the story richer, not just surprising.

Time it right

When you deliver a twist is crucial to its impact. If it’s too late, you risk leaving too much time for the plot to lose momentum afterward. Conversely, if it's too early, and it can feel rushed or not fully explored.

A twist can come in the middle, shaking up the entire plot (e.g., changing who the villain is or shifting the main goal), or closer to the end, forcing the reader to reinterpret everything. However, leave time for the characters to respond to the twist so it doesn’t feel unresolved.

Don't overdo them

Too many twists in a single story can exhaust your readers and undermine the narrative. If your plot is constantly shifting directions with twist after twist, readers may feel like they can’t trust the narrative at all, which could work well if done purposefully, but otherwise might make the readers get tired and stop reading.

Test it out

Getting feedback from beta readers can help you fine-tune the twist and ensure it lands as you intend.

Some questions to ask: Did they see the twist coming? Did it feel believable? Did it enhance the story or feel forced?

Their reactions can help you adjust the twist until it becomes a masterpiece!

Hopefully these tips help you with your writing! Do you have a favourite plot twist in literature or movies/ TV shows? Let us know in the comments :)

[burst-of-iridescent]

Writing a Final Battle: Kung Fu Panda vs ATLA

every day i think about how the po & shen battle at the end of kung fu panda 2 is everything the aang & ozai battle at the end of atla should have been and get frustrated at the wasted potential all over again.

i’ll cut the show some slack in that the personal nature of po & shen’s relationship was never going to be possible in atla given the 100 year time jump, and that ozai himself wasn’t personally responsible for the air nomad genocide, which naturally undercuts their individual connection. but given that the final agni kai fulfilled the character-based conflict of the finale anyway, it fell to the aang-ozai battle to represent the thematic one, and it fell incredibly short where kfp 2 absolutely delivered.

it’s threaded throughout the narrative of the movie that po and shen are two sides of the same coin: black and white, yin and yang, goodness and madness. they both see themselves (po in kfp 2, at least) as orphans, plagued by fears that they were abandoned and unloved. both flee from a past they’re too afraid to face, tormented by wounds they believe won’t heal, shackled to a destiny they refuse to give up. the existence of one threatens the survival of the other; shen is foretold to be defeated by a warrior of black & white, while po cannot be the dragon warrior, the title that gave him a home and identity and belonging, in a world without kung fu — the world that shen is trying to create.

even without po’s personal connection to shen as the one responsible for his mother’s death and the loss of his community, thematically the two mirror each other perfectly. and it is this mirroring that makes the moment of their divergence so impactful and essential to the narrative: that while po stops running from his past, shen is never able to do so. it’s in making the choice to accept what happened to him & find peace in who he is that po triumphs over shen, and so illustrates the themes of the movie perfectly: that your past need not determine your future. that you cannot avoid your destiny, but you can shape the road you take to meet it, and that choice is yours and yours alone.

where po exemplifies the choice for peace, for healing, for acceptance, shen represents the choice to perpetuate violence, pain, self-loathing — and the brutal, inevitable self-destruction waiting at the end of that path. a classic writing technique for a thematic conflict, executed brilliantly: to have the hero and villain rise or fall by the virtues they stand for.

now compare this to aang and ozai.

i’ve talked before about how this battle fails from a character perspective for aang, but it also fails thematically as a result. following the constructed narrative up to the southern raiders, what should have happened in this battle was aang winning because he drew wisdom from different places, using bending techniques and knowledge from all four nations, and ozai losing as a consequence of his own destructive pride and reliance on firebending alone. instead, the unity vs individualism, balance vs domination theme set up from the start with the idea of the avatar falls completely by the wayside as the battle focuses on air nomad pacifism vs fire nation violence instead — an unsubstantiated, last minute ass pull of a conflict chucked in for no good reason.

but fine, we’ll bite. it’s not a bad conflict, in theory, just poorly set up. the execution might still have worked, if not for the fact that a) the means of this pacifism is entirely unearned and b) the choice to save ozai’s life is not about ozai at all, but about aang.

po’s victory feels earned because not only did the movie set the means of this victory up well in advance — introducing the chekhov’s gun of the dew drop and inner peace in the first ten minutes — it also perfectly aligned his external conflict (defeating shen) with his internal conflict (coming to terms with the pain of his past). in other terms, it’s the classic Want vs Need: po’s want (saving kung fu) is only achieved through first meeting his need (accepting who he is and where he came from, in its entirety).

aang, on the other hand, is given the solution to his external conflict through lion turtle ex machina, and Rock of Mega Convenience, neither of which was found as a result of his own choices or autonomy. it’s like if po showed up at the final battle with shen having skipped the entirety of the scene at the soothsayer’s, and yet is able to redirect the metal balls anyway because… well who the fuck knows, just go with it.

and that’s bad enough, except then it’s compounded by the fact that aang gets his Want (maintaining his people’s values & his moral purity) by doing… uh… *checks notes* Fucking Nothing. there is no Want vs Need here at all; aang didn’t have to sacrifice anything, or undergo any internal struggle, to receive the power of energybending. (and no, being “pure of heart” in order to energybend doesn’t count — a potential moral decline or losing air nomad values through assimilation to a changed world was never an arc set up for aang, and so cannot be counted as a feasible Need.)

and as the cherry on top of this clusterfuck of terrible writing comes the moment where aang chooses to spare ozai, a scene intended to convey the triumph of the air nomads’ compassion and pacifism over the fire nation’s brutality, a scene meant to have incredible pathos and meaning… and which accomplishes neither of the above.

po trying to spare shen is genuinely moving because the scene is framed around shen. it’s about the fact that despite every terrible thing shen has done — in that moment po sees in him only someone as lost and confused and pained as he was, someone clinging to a grand destiny to cure, in vain, the wounds of the past. someone po himself might have been in another life, another time. po’s compassion is for shen and shen alone, with no ulterior benefit to himself, and you get the sense that deep down — at least for a moment — shen wants to believe in the kindness and hope po is offering. that’s what makes it genuine and gives the scene such gravitas.

by contrast, the scene between aang and ozai is framed around aang, not ozai. aang is the one who wants to spare ozai. aang is the one who benefits from leaving ozai alive, because he doesn’t need to sacrifice his morals or beliefs. aang is the one getting his wish, not ozai — who would likely choose death over defeat and losing his bending anyway. this isn’t helped by the fact that the fire lord is inherently a far less tragic & compelling figure than shen because a) he exists largely as an antagonistic force than a character in his own right for most of the series, and b) aang and ozai don’t have an existing relationship to add depth to this moment, the way zuko and azula do.

as such, the one-sided nature of the conflict only strengthens the impression that saving ozai’s life is all about what aang wants, not ozai — which makes the message of the scene seem a lot more “if you’re the hero, you’ll get everything you want with absolutely no cost or consequences” and a lot less “compassion always triumphs over cruelty” (which was probably the intention).

ultimately, the po vs shen battle works where aang vs ozai fails because:

1. the themes embodied by the characters manifest beautifully in their individual arcs, and in their eventual victory and defeat, respectively

2. they contrast each other thematically and narratively, and their individual endings are earned through their own agency from start to finish, with their external conflicts being linked to and resolved through their internal character struggles

3. the set up of the conflict is carefully planned and thoughtfully executed, and the payoff follows through perfectly every step of the way

tldr: kung fu panda will always be the superior asian-inspired fantasy about a chosen one confronting his destiny as the saviour of the world & the day we can acknowledge as a society that po’s character arc is a thousand times better and more well-written than aang’s is the day i will finally know peace.

[lurkingshan]

Japanese QL Corner

We've suddenly got an abundance of shows with dark themes and adult vibes, with a bit of a mixed bag on their execution. These are available for weekly streaming on Gaga unless otherwise noted.

Smells Like Green Spirit

A fan subber came through and we are now able to watch this show on a slight delay from the airing in Japan. This first episode was great, but be warned that this is not a light watch. This show is less a full blown romance and more of a queer coming of age story with a rather bleak worldview that will likely include a romance subplot. Our story centers on Mishima, a young person who is questioning their gender and just trying to live while being constantly targeted by school bullies. The bullying in this show is graphic and violent and Mishima has already been assaulted and targeted by creeps in the first episode, so take care and ask for content warnings if you need them. I have read the manga so I'm aware of what's in store--if you would like to know what to expect before watching, feel free to ask.

Happy of the End

CWs: Assault, attempted murder, blood, death, forced fellatio/rape (against a main character, graphically depicted more than once), revenge porn, sexual coercion and exploitation, stabbing, suicide attempt, suicide, violence

We have arrived at the end of this story, and it did not quite come together for me. I liked a lot of what it was doing; the relationship between Chihiro and Haoren giving them both a reason to persist despite their general apathy toward survival was compelling, and the actors gave strong performances in some very difficult scenes. I thought the show had a strong sense of style and tone, as well. But for me, it crossed the line into over the top trauma porn one too many times, seeming to revel in making the characters suffer and piling on unnecessary traumas that were depicted quite graphically, making the show deeply unpleasant to watch. And in the end, it suddenly veered into a happy ending that felt like a mismatch for the rest of the story, which was achieved via a time skip and Chihiro and Haoren healing offscreen despite their circumstances only getting worse over the course of the show. @bengiyo laid out why that ending felt like the show pulling its punches, and I agree. I can appreciate a story that has an established bleak worldview telling us about a specific time in these characters' lives where they mattered to each other, but slapping that unearned epilogue on it just makes the whole thing feel like torture porn followed by cheap consolation. It didn't feel honest. I don’t recommend watching this one unless you are pretty comfortable with gratuitous sexual violence.

Love is Like a Poison

We’re zipping along nicely, with this week’s episode mostly focused on the case that Haruto helped Shiba win. That courtroom scene was wild. I’m intrigued by all the advances and the early confession from Haruto, because as we and Shiba well know, the man is a con. What’s his angle, and why does he think romancing Shiba is the way to get it? Whatever he’s after, I think Shiba should give in because look at him!

Chaser Game W 2

This week we met Itsuki’s first love Yoreum, who is now a famous Korean idol and still hung up on her from back when she did a homestay with Itsuki’s family. She did a livestream from Itsuki’s cafe in the special spot where Itsuki and Fuyu like to canoodle; jealousy and dramatics ensued. Then suddenly we were doing an elevator rescue? Idek. I’m rooting for the new girl to break this couple up to be honest.

[divorcedwife]

i was thinking about traits i like and dislike in characters, here are some of the traits

positive traits (some of them overlap, some of them are adjacent but different enough to list both) : - extreme devotion to a job, a cause, a belief - angel-like - rogueish - feels like an adult, with skills and experience - thinks of themselves as not quite human, either in an inferior or superior way, or both at once - arrogance if it seems breakable ; a sense of arrogance that is bound to lead to ruin (hybris like) - feels like they are not deserving of love and kindness - lonely - self loathing - delusional - doomed - messiah complex - the "pity" factor (in that i feel bad for them) - the "pretty boy" factor (applies to women also) - the suffering - the shame

- edit : forgot a big one, the flop era. used to be much more than currently, fallen from grace in some way

a bonus trait is obviously chess of some kind. that's a huge win for me always traits i dislike : - self-pity. no matter how earned & fair it is, i just don't like it :/ - too self-aware of their issues - arrogance that feels unearned, undeserved, vain - witless wit - apathetic - immature - sheltered - selfish - flirty - warrior - vampire

but having one or multiple of these traits doesn't mean i'll automatically hate that character. well, maybe except for self-pity, i can't stand that at all -__-

[rei-ismyname]

UNCANNY X-MEN #5 From The Ashes

First of all, I should acknowledge that something I've been calling a missed opportunity has received an attempt on page - the X-Men killing in FotHox, specifically Kurt. It's a single line and doesn't make a lot of sense, trying to have cake and eat it too by nodding to it in issue 5 but not meaningfully engaging with the recent past. Kurt did NOT think he was a killer, ever. That's just a bad faith reading of the text. He was in a war against genocidal fascists, come on.

Cool new form for Calico, though.

Kurt putting his sword/s away doesn't quite cut it. Errol Flynn swashbuckling has been an influence on him since he was a child and he's been big on sword usage almost since the beginning of his publication history. It's his thing, and he badly needs personality in FTA. Also, he didn't kill anyone with a sword in Fall, he teleported them into space. Swords parry and block, they disarm and intimidate. They have use outside of combat. They look cool, and it's something Kurt is very good at. So yeah, the barest attempt was made, but it didn't land for me. There could have been space to set it up and sell it too, perhaps by toning down the Charles Xavier/Sarah flashbacks that were ultimately just a fakeout.

Speaking of things that were given lip service in issue 5 and could have benefited from more attention, Jubilee told us who she is - kinda. A panel or two of origin story that was established in the 90s, but nothing about why she's here or what she wants out of life. How she feels about the loss of Krakoa, where the hell her baby, Shogo, is. It fits in with Uncanny's overarching sense of unfocusedness and her role could have been performed by anyone - not a good look for the end of the flagship book's first arc.

We get the resolution to and defeat of Sarah Gaunt. 'She's crazy, always has been' is so unsatisfying. I can't think of any other description. It's nice that we don't have another sin to lay at Xavier's door, but attempted baby trap is not a frequently used trope for a reason. She acknowledges she was lying, but then blames him for the loss of her son years later in a different country - then transfers that hatred to all mutants? Comicsxf have criticised her characterisation as 'Monstrous Mother' and I agree. What was the point of giving it so much space, to the extent that we spent more time in the past than with most of our putative main characters? She beat the shit out of Logan and Rogue the last two issues, nearly killing them - only for Rogue to draw strength from deus ex dead kid and completely wipe her out. It's lovely that Rogue is able to summon empathy for her, it shows us why she's a hero, but taken as an arc she's rewarded with victory despite making bad decisions. Long time readers know Rogue can lead, but I think Gail Simone is going to have to do the work to convince new readers that she's right for this. It's well and good to have moral authority but leading your team to death isn't.

Harvey X was unexpected but felt unearned. Surprise is fun but internal and narrative consistency is better. I thought it was Charles moving people around, because it was signposted. Harvey X being the puppet master felt almost silly as he revealed previously unseen very powerful abilities. Why would he wait for Rogue and Logan to be nearly dead to act? Maybe that's the only time he can act, because he's dead? Idk, at least he didn't scream how hot Rogue is again. He speaks about a sacrifice he's making but what sacrifice is that? Is his power finite and burns him out, Proteus-style? It's not quite clear, and I guess we'll never see him again.

Precognition. Healing. Telepathy.

Gambit and the Eye of Agamotto was a Chekhov's Gun that mostly worked (and made me feel sah smart for calling it.) Remy prays (?) to it and then blows the possessed cultists away. I'm pretty sure Jubilee could make a bigger boom than that (I know she can) but rule of cool wins the day.

These are/were captured and possessed mutants. I hope we see them again, especially after Fawn's introduction in #1. They're not doing this willingly.

Rogue flies to meet Warden Ellis to give her Sarah back, further muddling Ellis' characterisation. I have no idea what she's about now. Nuance is good in antagonists, but for someone who wants to crush mutants with her government mandate she's awfully cooperative with them. No threats, no riddles, no ultimatum, just meekly accepting two threats? I want to give a fuck about the closest thing we have to an antagonist (for a crossover event right around the corner) but there's nothing there! This was an opportunity for something, anything. Gah! I don't understand this writing.

Rogue's threat is interesting, though I have to wonder what she and Scott are going to disagree about. It's implied Jubilee will get captured, and we know Beast already has been. 2/3 X-Men teams have their motivation to wreck Graymalkin I just struggle to see them coming to blows over it.

Rogue and her elocution lessons feel very out of character and came out of nowhere. If it was setup earlier and tied to insecurity or identity that would work, but being introduced and haphazardly paid off in issue 5 baffles me, frankly. Rogue's southern upbringing is never something she's been ashamed of, her angst has almost always been related to her powers. She's a confident woman. A story where she struggles with that could have legs, but that's not the story that's been told. She certainly doesn't need Gambit or Logan to tell her - I'd expect it to be the other way around.

I'm not sure what to make of the images we get from Harvey X's visions of the future. I'll write about them separately if I find an interesting hook.

So ends the first arc of Uncanny X-Men volume whatever. My main issue is that it doesn't meaningfully engage with what came before it, and it doesn't quite manage to establish its own identity either. What is its mission statement and what kind of book can we expect? I don't know, and I hope Gail Simone does. It's not the end of the world, mind you. Following Krakoa was always going to be tough, and the world was going to feel smaller, less connected. I can't help but wonder what it might have felt like without a lot of Charles Xavier flashbacks amounting to nothing. Maybe we'd know more about Kurt or Jubilee, even the Outliers. Ideally that'll be corrected. I don't do number ratings so I'll just say it was okay, higher if you are a Rogue stan.

[all54321]

God of… Cars?

I see everyone agreeing how funny it would be if Joel’s winner symbol would be a car, and thought of that in the context of my god au would be hilarious. He probably won’t be the god of cars specifically, but I do want to do something similar. That’s later me to figure out, I just wanted this fun snippet of the other winners just being confused.

This idea gave me the thought of the winners being themed in trios so I finally have a Cleo winner idea at least, so that’s fun. It will make me adjust Grian’s powers a bit…

—————

Grian trails after Joel, even at the risk of death he feels like he needs to let Joel test this now. The others follow after him, not objecting either.

Pearl is quick to get in his face, “Trying to get a second win, were you?”

Grian just shoves her lightly, “I wasn’t going to just hand him the win, he had to earn it. Especially to himself, Joel wouldn’t take an unearned win.”

“Yeah, true,” she admits. “You think his trap will work?”

“What trap has worked?” Grian counters with instead, not knowing the details of it.

Scar chuckles from his other side, giving his hand a squeeze, “It’s not that bad.”

“It is,” Scott comments from behind them.

“So this is what you do every time?” Cleo asks, seeming to have adjusted rather quickly. Although Grian’s not too surprised.

He turns back to look at them, “Pretty much. You don’t need to stick around if you don’t want to. I will to help him adjust, but if you don’t have anything to discuss with him you can return to Hermitcraft.”

They nod, “It’s still shocking how many times this has gone on before.”

“Yeah,” Grian murmurs, staring up at the sky and wondering for the millionth time who, or what, did this to them. What set this cycle in motion, and why did they do that?

He doesn’t have long to think of that as they reach Joel’s trap and it failed when he tries to activate. The annoyance is clear, and he fumes on it for a bit before pulling out an enderpearl.

Catching onto what his intent is Grian drops Scar’s hand and quickly exits the ghostly plane. The sight of Grian startles Joel enough to fumble the enderpearl throw, making it land just a few feet away. He winces mostly instinctively as he stares at Grian in shock, “Grian!? I thought you died?”

“I did,” Grian answers simply, “you’ve won, and I’m here to escort you to your… prize.”

“Prize?” Joel echoes, tone mimicking Grian’s strange inflection. He looks the god up and down, “Does it have anything to do with that outfit?”

Grian laughs, mostly in surprise, “In a way. What you really get is godhood.” He waves a hand and the light shifts around them.

The newest winner looks even more surprised, “And what does that mean?”

“You’ll regain memories from every past game and gain a certain… thing to be a god over.”

Joel’s eyebrows furrow, “Past games?”

“Yes, this is the seventh of its kind.”

His look gets even more conflicted, “What thing would I be a god over?”

“I won’t know until I take you to the godly plane. I will also make sure you’re not bombarded with the memories.”

Joel takes a moment to take this in, and accepts it quicker than Grian would expect. “Alright, bring me there.”

Like every time before, Grian opens the portal behind him and holds out his hand. Joel accepts it—startling like everyone else from the heat that seeps through his gloves—and lets Grian pull him back. As they enter the other plane, Joel’s gaze shifts past Grian, flickering around, but he doesn’t have a chance to speak before magic surrounds him and his outfit shifts.

“Welcome Joel,” Grian greets, echoing the voice in his head, “God of… what!?”

Joel takes in his shock and cackles, hearing the voice in his head just like the rest of them. Neither Grian nor the others speak, all of them clearly just as surprised as Grian is.

“Really?” Cleo breaks their silence first, “because of that car!?”

[bengiyo]

Peaceful Property: How I Yearn For a Good Procedural

I was originally excited about Peaceful Property because I genuinely like following BL actors into their other work to show that we are a loyal viewer base. Following Nishijima to Drive My Car (2021) was one of the best decisions I made that year. I’ve been thinking about the experience of watching Peaceful Property and why I felt so frustrated by the show. I wanted to write out my thoughts on procedurals, BL bait, and fandom so that I can move on from this show. 

The Loss Case-of-the-Week in Favor of Unearned Home Sympathy

My biggest struggle with this show was losing its case-of-the-week format around the midpoint. I was really intrigued in the early stories by how Home’s family’s business practices led to the terminal situations affecting some of the ghost stories. Like @lurkingshan I had hoped to see the show develop a common theme with its focus on stories about poverty. I also saw some potential in the read from @/maybe-boys-do-love after the episode focusing on Ride. No one was alone in this early read (@valentinaonthemoon). 

Through the end of episode 6, I had a ton of excitement about the show handling its themes around justice and forgiveness. We knew that Home was the one responsible for Peach's current predicament, and that Home’s grandfather and uncle were in on the cover up. Home knew what he had done to Peach, and fretted over it throughout episode 6. After five weeks of them focusing on completing a final act and providing closure for ghosts, I had hoped they’d give Home the chance to sit with the horror of the consequences of his own action and cowardice. I wanted the show to reckon with how Home, completely sober, left a stranger for dead, and only now cares about it because Peach is helping him feel less lonely.

Unfortunately, much of this frayed after the reveal that Home ran over Peach and the push to make Peach forgive him in the episode with the ghosts at the site of that camp. I didn’t share @respectthepetty’s read on the situation, but I did respect it and see how she got there. However, like @my-rose-tinted-glasses, it felt like the show started to rely on the inherent goodwill of shippers to overcome a major relationship break rather than deal with the underlying issues. 

I don’t think there’s anything inherently wrong with having the show turn to focus on how Home deals with Peach and Pangpang after the reveal that he left Peach for dead on the street, but I really struggled with the show not letting Home process the horror of what he did. This carries forward as we deal with the way Home’s family stole land from locals, and did not accommodate them through construction: something that had direct impacts on Kan and her father. By the time the show is forced to reckon with this, it handwaves it through Home with “You guys win! No problem!” (@twig-tea) It then goes on to give Home ghost sensing powers so he can rely Kan’s father’s final words which are just ‘get some friends?’ Now, I do think you need strong connections to survive activist work, but it felt really shitty to have the rich kid whose family caused all of this be the one to deliver this message. As with everything after Home’s biggest mistake is revealed, the show values the feeling of sympathy and forgiveness over the real work required for genuine reconciliation. 

Finally, the show jumps to the internal struggles of Home’s family in the final third of the show to focus on the destructiveness of their greed and its internal effects as well, but this feels like yet another unearned copout. The show works hard on the back half to pretend like the grandpa was just a silly old man, but there’s no way he doesn’t know what his people did to those communities, and he also knew exactly why Home was sent to America. The entire bit about the “family curse” in the last few episodes completely soured the show for me. It feels like the show even knows that, because it calls itself cringe through Pangpang when Home says he’ll “listen to those we’ve ignored.” Way to undercut the premise after giving Home the ability to hear ghosts. 

In the end, I found myself frustrated by the show turning to Newwie’s inherent charm to get us to want sympathy for Home rather than writing a genuine crisis in Home, and forcing him to grow. It feels poignant to me that the show thought it was funny to have Peach be mistaken for the help in Home’s house, and then later have Home and Peach independently decide to stay in Bangkok without talking to each other about it. Not talking about anything important was the big theme of their relationship after the hit-and-run reveal. The show did not reward any of us paying attention to its early themes on class (@lurkingshan).I never got the closure I needed here, and it’s the big sticking point of the show with me. 

BL Bait Kinda Sucks

As many of you already know, I don’t currently like what GMMTV is doing with branded pairs, and I think their shows are giving a warped view on found family narratives. I enjoyed following Off and Gun into The Trainee because they were playing a gay romance inside of a show that allowed for stories about a wider ensemble. I am really struggling with the conversation around the ways we apply queer readings to Peaceful Property because almost all of it relies on familiarity with Tay and New exclusively, and not anything the show did on screen. 

With this show, I’m struggling with the found family aspect and the moving goal posts. I don’t think Home agreeing to reinstate an onerous contract on Peach and Pangpang is a kind move from him. I also don’t know that the team basking in the glow of Home’s goodwill as the final shot is a great look either, and feels kinda paternalistic. We had a whole movie about people stuck sucking from the teat of a rich guy and how shitty that goes two years ago.

GMMTV creates its branded pairs so they can literally be used as a brand. They have these people working almost every day to sell something on socials, or at a fashion event, or appearing at an event. I wasn’t bothered by Tay and New working together outside of BL after the fantastic work they did in Cherry Magic earlier this year. I don’t mind them using their most popular actors to attract a viewer base that will follow them almost anywhere to ship them. 

I also actually like stories about the bonds between men. Currently, GMMTV is adapting School 2013 (2012) with High School Frenemy (2024). The broken relationship between two of the male characters there is incredibly well done in School 2013, and I do not think that show would be improved by making that an actual romance. I think they’re both fertile ground for shipping, but the show’s primary focus on the state of life in a failing school for the students and faculty is better served by the intensity of feelings over the broken bonds between men. People are still shipping Goblin and Reaper from Goblin (2016), but again, that story is actually better without an actual sexual or romantic connection between Kim Shin and Reaper. With Peaceful Property, I don’t think they finished the work of building and resolving this friendship between Home and Peach, and it leaves me wanting.

I share a lot of @italianpersonwithashippersheart’s general concerns around the commerce around BL with GMMTV. That being said, I don’t begrudge @respectthepetty and others having fun calling the show gay. What I’m struggling with is the difference between the shipping being satisfying versus the show being satisfying. I lost my emotional connection to this show when it failed to resolve the break in the middle. The back half of the watch is hollow for me, and I just can't let my willingness to ship Tay and New make up for that failure. 

I Need a Good Procedural

What I realized the most from watching this is that I need another good procedural in my life. The first half of Peaceful Property gave me some of that, but the back half did not. I enjoyed the performances everyone gave on this show, despite my lingering qualms with what the show chose to prioritize. I’m happy that everyone seems like they had a lot of fun working on this show, and I’m glad that the viewers clearly responded to that. This was actually a genuinely pretty show to look at, and I’m glad that GMMTV continues to embrace color in their shows this year (with a few glaring exceptions). 

With that, I will put this show to rest. This show ended up not being what I thought it was giving, and I’ll be moving on. I’ll see you all much later on future GMMTV works. 

[salisburyliam]

My WORST to BEST ranking for Heaven's Secret 2 LIs

Oh boy I finally did it!!!! never want to read this book ever again, lmao

NOTE 1: We all know that HS2 has its flaws —S1 feels like a fever dream— but personally one that really irks me is not being able to choose whether or NOT you want to marry your LI. I mention this because many LIs routes are (negatively) affected by this sudden marriage imo

NOTE 2: Winchesto you deserve so much better than Rebecca.

7. Dino - He's never been a character I've been particularly fond of, but at least in HS1 he had some narrative importance (the dynamic with Lucifer was a lot of fun too). His relevance in HS2 is, well, zero & I personally don't feel the chemistry between Vicky and him at all. That being said. Of all the LIs, the only one with whom the wedding makes absolute sense is with Dino - he's 100% husband material.

Being good should not be equivalent to being boring… but in Dino's case, it is. 4/10

6. War - His dynamic with Vicky is… okay-ish? I guess??? They are a hot couple (I personally love his design & his laugh is sexy af) but the connection is lacking & there is no emotional intimacy whatsoever. They keep saying they're in love but are theeey? You don't know each other. Also, if you decide not to k*ll him and don't romance him later in s2 he's literally just a background character. 

I don't think this man is ready to be a husband - he should get therapy first. 5/10

5. Hunger - If it were a matter of rating characters, Hunger would be in the top three. His first appearance is one of my favorite scenes in the book along with the board game moment, lmao. But if it comes to rating him as a LI… The relationship feels rushed, to say the least. Marrying a character who appears halfway through the second season makes no sense at all - their wedding scene is just weird.

You guys met like five episodes ago. How about we start by dating first? 6/10

his smile is unsettling lol 4. Malbonte - Replaying this book so many times has made me really appreciate Malbonte. A soldier who will do whatever it takes to win. I love how everyone assumes that he always, always, has a plan (he usually does). But as a LI? His main emotion is rage and pure indifference. As a husband for life, I don't understand how that could work: I can imagine Vicky asking him how his day was and Malbonte's only response being '….' 😐🙄 Go boy give us nothing!

Seriously though. I really love him as a character, but he needs to join War in that therapy thing. 7/10

3. Astaroth - The first interactions are awful & personally his sprite doesn't help either (he's literally a male M*ley Cyrus) but he has so much chemistry with Vicky, it surprised me. Their relationship feels organic as you progress, but just like the rest of the characters that appear in the second book, it all feels rushed. The wedding option should ONLY have been available for characters that appeared in the previous book - with new ones it just feels unearned.

Still, it had potential. 8/10

2. Mimi - The only female LI (how's that legal) and one of my favorites. tbh I think she's TOO good for Vicky??? lmao. A character who is impossible not to adore (even judgy Rebecca gives her approval), in-laws anyone would love to have, and a route that is equal parts endearing and passionate. I confess I kinda miss her sprite from the first book tho

The only reason she's not at the top of the list is the motherf*cker below. 9/10 

1. Lucifer - Simply put, they feel like soulmates (he was my LI in the first book so that also plays into it). I haate his behavior in S1, but even with that rocky start the dynamic between Vicky and Lucifer is, and will always be, one of my favorites. They have everything: chemistry, banter, passion, vulnerability moments... I love the contrast of the Lucifer from HS1 with the Lucifer in the final episode. That's growth.

I sincerely hope the third book focuses on their married life and, hopefully, Lucifer being a girl dad 😍😍 10/10

CREDIT

[class1akids]

Remember the time where nana shimura openly asks if deku's okay with killing shigaraki and deku literally straight up say he won't because he wants to save that crying boy and all the quirk vestiges were so proud of him for making such a decision ?! Now what just happened to that conversation 😭

I guess it's possible that Deku is not ok. Sadly, we didn't really see his face in the immediate aftermath of the battle - we are now one week later. But he's clearly seeing not being able to save Tenko's life as a failure. I've been thinking about this scene and I'm not sure that Deku is saying that because Tomure chose to stay the leader of the LoV is why he had to die. It could be more complex than that.

Deku thinking about why even with all the hatred gone, Tenko chose to stick by his friends could lead to a good thing, could lead to a contemplation of what Shigaraki meant by the "villains needing a hero".

In this chapter, in the end it's Toshinori who uses old-school shonen logic about why Deku didn't actually fail, but Deku is thinking about Shigaraki's "that will depend on what you guys will do from now on" and "do your best".

And even if All Might is all like "well you saved his heart", Deku is "yes but"

...we don't know what he's truly thinking because Bakugou interrupts and they talk about other things, like Deku's quirklessness and the rivalry and greatest heroes, and what not. The "Yes but" maybe will be explained later, because in the end this narrative about understanding villains doesn't really belong to All Might and Bakugou, so as jarring as the emotional transitions are, maybe it's on purpose. Maybe the "Yes but" will be explored in a different group, with people who understand better how Deku feels - these guys.

Like, the emotions in this chapter felt to me a lot like Ch 353, when everyone celebrates Shouto's win; sure it's not fully unearned, but there is the jarring contrast to how people feel so cheerful about "Blueflame" being defeated, while Shouto himself sits on the battlefield in tears. And how that celebration feels hollow too.

So yeah, I don't know if this will bring Tomura back, but if this leads to Deku seriously thinking about his last will and how the villains need a hero too and he'll follow that with actions, then it could be still salvaged somehow.

The framing will remain jarring, but I also noticed that Hori has been "hiding" the inner voices of the Savior Squad. Shoto didn't speak a line since Ch 390, Ochako only had a weak "gambatte" in the helicopter, and even Deku's inner narration is taken over by others. His Rising, his final punches are almost all from other POVs. People saw him punch the big bad to dust and think he's the greatest, but does Deku feel like that inside?

[gachagon]

I love it when characters who were previously incredibly pompous and egotistical realize that the pedestal they've placed themselves on is actually worthless given the current situation they're now in.

Kaiser is realizing now that his idea of what it takes to be on top, to be the best striker is wrong and that it's probably been wrong for a while. And that's really got to suck, because while Kaiser has accomplished a lot of great things, ultimately his goal pales in comparison to the people he now has to go up against. Isagi and the other Blue Locker's aren't just there to rise up the ranks slowly, this is a last man standing program and Kaiser isn't strong enough to stand on his own.

He had become a great player, but he's not the best player. And he needs to be better in order to even have that position of acclaim in the first place. I am reminded of what Isagi taunted him with earlier, calling him a "Naked Emperor/King" which is an obvious reference to the "Emperor's New Clothes".

In that short story, a king orders himself new clothing that outshines everyone else and so the court creates "Invisible Clothing that only he can see" for the King. The king accepts the clothes and "wears" them, and so to him he is wearing the finest cloak imaginable, but to everyone else he is just a naked man making a fool of himself.

In a way, Kaiser ended up being the naked emperor in that he only came to the realization that his past achievements weren't good enough to stay in the team until this very game with Isagi.

I really think that fear of losing everything he worked for was always holding him back from really going above and beyond as well, because while he does have the support of a partner to do passes for him and he's able to read the field accurately, he doesn't take chances that tougher opponents hand him.

His backstory as a thief really puts this into perspective too because thieves wait for the right moment to strike instead of going out into the open to steal. And just like a thief, everything they get is "unearned" because they just take it from other people. In a way, you could almost say Kaiser's position as the best and the king was unearned because he hadn't actually done what needed to be done in order to get to that level.

And that's why I think this makes him so upset when Ness rattles off all of the thing's he's done, because ultimately none of those things will really amount to anything if he can't keep control of this team and be the best among them. It won't matter if he's scored a goal in every match, or if he's gotten offers from top teams, his goal is to be better than everyone and right now some dude from a no name prefecture in Japan is wiping the floor with him, and easily.

You really gotta feel sorry for Ness too, because he thinks of himself as one of Kaiser's "accomplishments" in a way, but Kaiser literally doesn't care about him enough. He just see's Ness as a tool to use, someone who's easily replaceable and loyal like a dog.

My moot (@miyamiwu) made a really good observation about how Ness might just leave Kaiser soon if he doesn't keep playing in that magical way that captured Ness in the first place, and I think that's true now especially since Kaiser himself seems to also realize it. When he's thinking about all of the achievements he could potentially lose if he doesn't win this, Ness is one of them.

"I thought I was becoming human." Is so sad too because I think deep down he really did think that by being close to Ness that he was truly becoming a normal player, that he was on the fast track to achieving his goals. But because he doesn't really know what that goal is anymore, the rug has been pulled from under him now and he has to literally reevaluate what is probably years worth of self reflection.

I also think this chapter is Kaiser ditching the rose as a symbol of his ego because he's truly looking back on things and realizing that the object that really gave him solace wasn't that symbol of the impossible, but the soccer ball itself. He is coming to terms with the fact that without soccer, he doesn't have anything at all, and that it is the only reason he was even able to get this far or have the courage to fight back against his abusive shitty dad.

Instead of the rose tattoo being here, we see there's a new tattoo that's prominent now and it's in the shape of a crown. And rather than being in a place where he's most vulnerable (his neck), the tattoo is on his hand, which I think symbolizes how he is able to take his own freedom and by extension his own place as a king with his own two hands.

Kaiser's solitude is something he really needs to become the best, because if he can't do it alone, than he can't do it at all. He is clinging desperately to the things he has managed to gather throughout these years, including Ness' loyalty and he's so afraid of losing even one of those things that it's making him a worse player.

However, whether or not being totally alone is what he needs to heal as a person is another thing entirely, which is ultimately why I don't think Kaiser will ever beat Isagi and that if he does it'd actually be the worst ending for him. Throughout this entire manga, Kaiser comes off as a really calculated person who's always thinking ten steps ahead, but inside he is just a damaged kid who is using soccer as his one means of coping with the trauma he faced as child.

And that phrasing "I thought I was becoming human" really just makes me feel so sad for Kaiser, because to him if he doesn't have soccer he is less than human and has nothing to give back to the world. He has never allowed himself any time to just be a normal teenager and just make friends in a healthy way, and the one friend he does have might just up and leave if he's not playing in a groundbreaking way. He thinks so lowly of himself that he hinges his entire identity around how other people perceive his abilities in the game, and if he's not the best at the game, he surely can't matter that much as a player, no matter how much Ness tries to placate him with words about how he's "already done enough".

Ego Jinpachi said it as well after Nagi made his really good goal, that some people are content with just being average and "good" instead of being great. And that it's because they're content with where they are in life, that they never advance at all. The idea that they are totally fine in their current position makes them lose the drive they normally would have if they weren't still thinking about trying to get better.

And Blue Lock's philosophy hinges on the player wanting to always get better and better and beat the other players on the field. Being "good" is never enough, hell being "Great" isn't enough at times, you need to be the best forever. You need to make it so that dethroning you is an uphill battle.

[loycos]

How do you think Ekko feels about Caitlyn and Vi, separately and as a couple? Reed Shannon (Ekko's VA) stated in a post on how Caitlyn found her humanity and grace through her struggles; plus he resposted(?) a meme of Caitlyn alongside Ekko, Jinx, Vi and Isha from that gangster family meme; I don't know if you know the meme, it was the best way I could describe it.

again diving into personal headcanon territory, with a little bit of support from League lore (idk if its still relevant). i feel like i need to explain what my post canon vision for caitvi is to articulate what i think ekko would think of them. ramble incoming:

i think caitlyn and vi are gonna be enforcers again, caitlyn as the sheriff and vi her second-in-command (deputy). caitlyn will try to reform the enforcers with a stricter hand, and a watchful eye. theres a reason she didnt take her seat in the council- caitlyn is all about doing the hard job on location, seeing reality through her own eyes- she doesnt want to help by sitting in a tower and discussing things in theory, shes practical and realistic and she wants to experience the real thing. her job as sheriff will allow her to make that change while still giving her the access to do things on the field.

vi joining tbe enforcers will mainly be done to stay close to caitlyn and protect her if needed. vi never had a big direction in life other than the people she loves- she would jump on the opportunity to spend more time with cait and have the chance to punch people with her big gauntlets. her position as deputy is absolutely unearned in terms of experience or even commitment to the cause- but caitlyn is the sheriff and she put her there, so vi and her can stay close. which other enforcers, and pilties, and zaunites, are extremely aware of. it is corruption, even if relatively unharmful one. having a zaunite as the deputy made a lot of pilties upset, especially when shes so underqualified, and made them question caitlyn's ethics, for good reason. mega especially when vi is known to overall act out of line, cause unnecessary property damage, show overall disrespect to the reformed enforcer protocol and not bind herself to schedules, and yet get absolutely no punishment, let alone acknowledgement of her misdeeds by her boss, who turns a blind eye (wink wink) to her shenanigans.

so yeah, other enforcers are fuming, the pilties arent happy, and zaunites? well, despite caitlyn trying her best to solve the issues that ran years before she was born, there's only so much changing the protocol can do for her. she is harsher on enforcer violence and the prison under her watch has changed to be more humane, but its not like she can control every single enforcer personally. so its not perfect but its slightly better than what it used to be. caitlyn herself has the exact same attitude towards both pilties and zaunites- kind of cold, calculated, no bullshit taken, unapologetic, yet with a layer of empathy underneath the surface. kind of similar to what grayson was. this attitude doesnt win her people's favor on either side, but it does earn her respect- and especially in zaun, where her family status means nothing, that means a lot. she's definitely not a "champion of the people"- i think most people in the city actively dislike her, and the (true) rumors of corruption arent helping.

as for vi, zaunites see her as a traitor. she is known to be kind of a bulldozer that can be quite trigger happy, especially when it involves caitlyn (who we already discussed people dont really like) being in danger or disrespected. she has a dismissive "and what about that" attitude that is very zaun in nature, but since shes now wearing a badge, zaunites get annoyed with. pilties, of course, absolutely hate that attitude. so she isnt seen very favorably either, on either side of the river, just like her girlfriend.

the relationship between them is kind of an open secret. every enforcer in the force knows vi is only in her position cause she "gives caitlyn favors under the table", and those rumors reached topside and bottom as well. and again, they arent untrue, theyre just a relatively mean and shallow reading of the actual relationship between the women. neither caitlyn nor vi ever acknowledges these rumors. they stay at a 6 feet distance from each other while working, but the fact they are so interlinked really leaves no other answer. they know everybody knows, everybody knows that they know, and it's never addressed directly by either of them. their relationship is kind of an anigma to people on both sides- pilties think caitlyn settled for a street rat, zaunites think vi sold her soul to be with a rich pig. no one really knows the history or intimate details about their relationship, for obvious reasons, and thats what it looks like to them on the surface.

righttttt, this ask was about ekko. i got carried away. so ekko. how does he play into all of this? while he's not entirely on the average zaunite camp, he is reluctant to work with caitlyn, but does so anyway because ultimately they share similar goals. while he understands vi better than most people, and knows she always puts her loved ones before any political cause, he can't help but feel a little betrayed by her choice. i think he doesnt really see what vi sees in caitlyn, and since he doesnt "get" that, vi's choice to stay with her at all costs looks odd. especially since caitlyn on the surface just looks like a cold, authoritarian bitch. with good intentions! but still a bitch.

in the end, it all comes down to masks. i imagine post canon caitvi are both sporting masks for protection, and have their walls really high up in public. and can you blame them? they actively wear their weakest spot, their achilles heel- each other- on their sleeve. theyre in public positions, have a lot of eyes on them, and their "professional" relationship is extremely looked down upon. so caitlyn acts colder and harsher, and vi puts on a bravado of "i dont give a shit" and uses violence as a threat to deter people from seeing her as weak. the walls are there to ensure their safety. but like we saw in the series, when its just the two of them, all those walls crumble, and they allow themselves to just be vulnerable.