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7abwis · 1 year

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ok time for my book journaling, yes spoilers included. this time for the Long Way to a Small Angry Plxnet by Becky Chxmbers

i personally really enjoyed it - s/o to zoe for reccing it to me. it’s one of those that’s very introspective about the human condition even if done through alien means. one of the biggest themes of the book is being good and loving one another is a choice, and one that’s worth it, and y’know im a sucker for that. it gives you that perspective through the eyes of many and the different ways people stick to that. and it also offers you different perspectives on many other different things that we wouldn’t think twice about.

like sissix and the whole aandrisks not getting attached at all to the babies bc so many of them die, and the babies and children not seen as people. and it’s interesting to see her perspective vs the perspective of the human crew who would obviously reflect our views, and how it’s even stated most of the GC doesn’t fall in line with that. and then sissix hits you with the well yeah why would i love something that barely has any thoughts when i could give all my love to someone with full fledged experiences with friends and family who love them and all. and in the context of a fictional reptilian alien species who, like many reptilian species, very few of them survive into adulthood, you get where she’s coming from - or you don’t - regardless it’s your choice, but obviously in an irl human context that's called You’re A Horrible Fucking Parent. but it’s interesting to rotate in a fictional space with her as an adaptation to how her species works, especially since once visiting her home planet you know the children are likely well taken care of and how aandrisks have a lot of care and love for each other (culturally speaking. barring things like what happened to the old lady at the market who was a metaphor for communities ostracizing aneurotypical people). and you know sissix herself throughout the book as a very loving person but that was just one example - and it was interesting to see other examples throughout the book of taking specific things that are just How We As People Work, turning it on it’s head and recontextualizing it within this scifi world with so many aliens with so many different ways of working. makes you think about how humans work and why we do as we do - both condemnation for our wars and violence and appreciation for all the good things we can do. and neutrality for some of the things we do too that just Are. though granted funny some things like the “humans are so modest with all their clothes!” taken as a universal human thing which is just a part of the author’s own biases (not a dig at them, biases will always exist and they stated their worldbuilding for humans as a hodgepodge of cultures stitched together after a mass loss of human culture and knowledge through a planet-extinction event caused by a more advanced stage of what’s happening today) just yknow as someone who some of my ancestors didn’t wear a lot of clothes, and because there’s so many people who don’t adhere to wxstern chrxstian standards of modesty, it’s funny to read as an absolute. found out a lot of people complained about the lack of buildup and payoff, and personally im not mad about that. felt very much like a you’re along for the ride and the journey’s what you’re here for more than the destination. i enjoyed every step of the worldbuilding and the interpersonal relationships of the characters, and that’s what made it worthwhile to me. feels like;;; i guess the closest thing i can attribute it to is how the studio ghibli movies like my neighbor totoro are. it’s not the typical plot of buildup climax, build down or whatever the actual words for it are, but the ride is wonderful nonetheless. rather than the Big Events happening in story and being given a lot of time, you’re more walked through in the aftermath about how the characters feel about it and how it’s affected them going forward, and i liked that. it’s fresh. also was in the library grinning like a madman that chapter when rosemary got that alien pussy bc it was _so_ funny going through sissix’s pov bc she had to actively think to try to parse out rosemary’s advances. like god that whole bit where sissix was like ?? ok something’s different??? she’s dressing in slightly different clothes and her neckline is a lot lower i guess??? and she’s looking at me in a way she doesn’t usually??? ohhHH!!!! OH!!!! let me make sure you’re into this and we’re on the same page actually bc i know how you guys work and i want to make sure you’re ok.... OK YEAH LETS GO. it was so fucking funny. one thing that i found interesting and would have liked a little more indepth for was corbin’s deal after basically violating ohan’s bodily autonomy and separating him from the whisperer. without the indepthness it’s fine bc it’s hinted that corbin dealt with a lot of ostracization afterwards and in the end it seemed like ohan and corbin were implied to have formed a friendship or at least continuously talked in a way that neither of them did before, but i would have liked to seen how the author went about a bit more of it - especially bc it’s such an interesting scenario of of course you should never violate someone’s bodily autonomy but this is in a completely fictional scifi setting where this species of super monkey people are infected with some virus that gives them super knowledge but also are maybe driven to think the virus is its own sentient species that is much akin to a holy being, and this virus drives them to an early death which corbin was trying to save ohan from. wild but at the very least i think fitting for the crewmembers with the least screentime and with the least social personalities. but at the same time i will admit, leaving it less detailed is fitting for it bc it’s such a gray situation to begin with, and leaving so many details unspoken lends to that scenario. also funny in the last bits when rosemary was saying all that shit in the meeting room with the temeri there i was like bitch!!! i thought you read those emails that were sent to you!!!! those bitches can hear you!!!!!! granted there might have been an ‘unread’ in the file somewhere there but idr. but interesting that rosemary’s introduction started with her begging not to fuck this up this time, the themes of her having been inexperienced but having growned and learned, and then at the end her carelessness (or just the timing that she didn’t get to read the email) did jumpstart something that killed one of their crew. but at the end of the day it wasn’t her fault and none of them will know, bc it was strictly that one temeri dude’s fault for being Like That and if it wasn’t then it would’ve been some other time. but all you can think in the book is it happened, and there’s no going back, and all they can do is move forward bc it just truly wasn’t her fault for someone else’s violence. but anyways, good book, once i get through my queue i’ll look into the second one.

#zabs book club

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dreamgirledward · 2 years

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top 5 favorite usages of music in film or tv, can be needledrops or diegetic sourcing or whatever! 🤪

spider-man into the spider-verse: "what's up danger" in the leap of faith scene. seeing that in theatres for the first time was the first time in a LONG time i actually Felt Something because of a needledrop mixed with how phenomenal the editing is throughout the scene (spider-verse's editing is generally phenomenal but that scene specifically still makes me go crazy)

lord of the rings return of the king: "edge of night" sung by pippin during the battle of osgiliath. this is probably. my favourite use of diegetic music in any film. like of all time. seeing this scene for the first time as a child actually altered my brain chemistry. any lotr fan knows exactly what i mean when i say i still hold my breath every single time i rewatch it. the sound design is INSANE. the reverb on billy boyd's voice actually makes me scream. the editing is NUTS and by nuts i mean it's so clean and EFFECTIVE and timed ABSOLUTELY PERFECTLY. there is so much conveyed without any exposition. the lyrics (implied by pippin to not have anything to do with war, violence or death) are so insanely eerie as you watch faramir ride to what looks like a needless death paired with the animalistic way denethor eats. i could literally write a 10 page paper on this scene ALONE. it's horrifying. it's beautiful. it's haunting. it's perfect.

inside llewyn davis: "fare thee well" scene. i very rarely feel anything when an entire song in a movie (yes even if the movie's a biopic about a musician!) is just performed diegetically without intercutting of anything else but oscar isaac's voice and how intimate the performance feels is so simple and beautiful i think i actually cried the first time i saw it. it really felt like you were in the audience watching him on that little stage. the first time i saw chuck singing it in spn 11x20, i immediately thought of THIS scene and all i wanted to do was rewatch the film just to experience the magic of oscar's performance again.

shrek 2: "funkytown" in the far far away scene. you probably thought i was going to mention all star at some point! syke! and yes, all star IS one of the most iconic needledrops of all time but i wanted to change this up a little because though i grew up in a household that celebrated a huge array of genres, particularly disco and funk thanks to my parents, i am physically incapable of hearing funkytown and not perfectly visualizing this entire scene despite my ability to enjoy music without fully relying on film and tv to discover it 🥲

supernatural: "renegade" in nightshifter. im sorry but i am going to have to be that bitch because this scene! is so hot!!!!! the buildup is SO SATISFYING because the writing in this ep is just THAT good - you dont know exactly what's going to happen when the fbi agents find the boys and the next time you see them, they're knocked out and their uniforms are missing and that alone would have been cool enough if you DIDNT ALSO KNOW THE AGENTS IN THE BACKGROUND SLINKING AROUND THE CORNER TO 'CHECK IF THE COAST IS CLEAR' ARE SAM AND DEAN MAKING THEIR GETAWAY. like if youre seeing nightshifter for the first time you CANT catch it but then something clicks when the music starts up and you see them making their way up the parking lot stairs and it's just SO GOOD. there's just no dialogue until dean lets out a breath and goes "we are so screwed" and then BAM, in comes in the punchy first verse. sexy. perfect. literally who is doing it like the kripke era needledrops

im cheating! but!! HONOURABLE MENTIONS bc i thought of more in the car: "never too late" in spn 13x5 (ep ending), "hoist the colours" potc: at world's end (opening), "when i kissed the teacher" in mamma mia: here we go again (graduation scene), "free bird" in kingsman (church massacre), "rocketman" in rocketman (pool scene), "epiphany" in sweeney todd, "immigrant song" in thor ragnarok (final battle), "you don't own me" in first wives club (both the ending and the scene when diane keaton gets embarrassed and like screams lolol), and lastly a tie between "our prayer" and "high on a rocky ledge" in ofmd bc i cant stop thinking about both those needledrops, which are very small moments but are still sticking with me !

put “top 5” anything in my ask and i will answer ok go

#rennie i got so excited thinking about my answers #u know me VERY WELL for asking this >:)#stuck with mostly music and not ost bc i think i would have been here thinking about any type of fav uses of music for like. days #im definitely forgetting a lot of examples i love but these are the ones i thought of first !#also #if i were an annoying Film Bro (which i have had the un-pleasure of meeting many times) i wouldve said reservoir dogs or pulp fiction :)#because film bros are boring :)#and they all say the same thing :)#so ur welcome for not mentioning either <3 #deansbarmitzvahtraxx #ask game

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shihalyfie · 3 years

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02′s influence on Adventure

You’re probably reading the title and going “...what? Isn’t 02 the sequel to Adventure? How would a series be influenced by its own future sequel?”

The thing is, assuming that Adventure was written in a vacuum and everything in 02 a retrofit runs very contrary to how both series were produced, and how this kind of anime is produced in general -- Adventure and 02 share almost identical staff members, and were separated only by a real-life single week in airing time. 02′s existence was not a sudden last-minute decision that was tacked on at the end! In fact, Adventure being extended to a second series was decided seven months into its production, right around the end of the Tokyo arc (sometime around the third cour). Despite it being a rather tonally different series, 02 is really just Adventure’s staff...writing more.

This means that by the time production had moved to Adventure’s final arc, the staff was very aware that they would be on for another year writing a sequel to this anime -- which thus likely became the fuel behind many of its creative decisions, made specifically to pave the way for 02.

The ending

Yeah, so, this ending. You know this really famous ending? The one that’s had such an impact on franchise history that a lot of later things have even tried to imitate it in some form? The one that everyone cites as one of Adventure’s most famous scenes (for good reason)? This ending only exists because of 02. You know what actually would have been Adventure’s ending if 02 hadn’t existed?

The 02 epilogue.

The ending that we now know as the “02 epilogue” was actually decided on before recording for Adventure had even started. (They weren’t even sure about finalizing the character personalities yet!) All of the most substantial details about that epilogue -- the series actually being the adult Takeru’s novel, everyone in the world having a Digimon partner, and, as it seems, even Yamato and Sora getting married -- were decided on before 02 was even in the picture. Most likely, the only material difference would have been that the four characters introduced in 02 (Daisuke, Miyako, Iori, and Ken) and their partners wouldn’t have been involved, but everything else would have roughly been the same as the “epilogue” we know now. (This especially makes sense when you consider that one of Adventure’s major influences was the movie Stand By Me, which is extremely culturally influential in Japan as a “childhood summer adventure story”, and involves a similar timeskip epilogue with one character growing up to chronicle the story as a writer.) All of this was basically intended to tie into Adventure as a narrative of “a story of humanity’s evolution”, so this ending was envisioned as the “natural conclusion” of the story of Adventure as a whole. If anything from the original Adventure ending would have been retained in this hypothetical scenario of only Adventure existing, perhaps the sentiment of “parting” at the end -- but then it would still be followed by a timeskip epilogue 28 years later and everyone in the world having a partner.

But then it was decided that a second series would be made, and at some point they decided it would be a series set three years after the first, resulting in: this.

What this means is that Adventure’s ending was only ever intended as an ending for a single chapter in the overall Adventure series narrative. A lot of people like to pose 02′s existence or epilogue as something that “undid” Adventure’s ending, as if it was supposed to be some “ambiguous bittersweet” ending about whether they ever met their partners again, but...that ignores the real-life context of Adventure and 02′s production, where Our War Game! (which depicted an easy reunion with their partners, went out of its way to cameo Miyako in advance, and, for all intents and purposes, practically spoiled Adventure’s ending by depicting them as separated at all) screened before Adventure’s last episode aired, and there’s also the Adventure mini dramas that depicted more incidental meetings (and despite the constant fourth wall breaking and absurd crack content in them, yes, they’re intended to be taken as canon).

Again: in real life, the first episode of 02 aired one week after the last episode of Adventure. Even the real-life audience was likely well aware that this wasn’t going to be the end (and if they weren’t, they certainly would be when the promotional trailers for 02 started airing right after Adventure’s last -- and that’s assuming you missed all of the promotion appearing in real life beforehand, including at the end of Our War Game!’s screenings). The production staff all knew, because they’d already been working on 02 for months now -- they postponed their originally intended ending just to make this new one, after all!

So yeah, this line isn’t supposed to be just a vague “oh, maybe they’ll meet again” in an abstract poetic sense -- it’s completely literal, because it’s hinting at said gate opening again one real-life week later.

From both a story perspective and a real-life audience perspective, this ending was never meant to be seen as ambiguous.

Takeru and Hikari’s character arcs

02 often gets an accusation of being lacking in the character development department (one that I seriously disagree with and have been working very hard to counter), but this accusation especially gets levied often at Takeru and Hikari, who are often said to be “flat” or “kind of just there” in 02 (which, again, I object to; more on this below). This is often rationalized as a theory that the writers didn’t know what to do with them because they’d already been in Adventure, but...this, again, assumes too much that Adventure was written in a self-contained vacuum and anything in 02 was just an addition done after the fact.

There’s actually quite a bit of evidence that the last cour (or at least a significant amount of it) was written with the idea that Takeru and Hikari were going to be starring in the next series in mind.

This is especially pretty apparent when you get to the last episode, where Takeru and Hikari are conspicuously the ones to leave off on the most confident “we’ll meet again” notes, compared to the other six. Of course, they do it in their own respective ways (Takeru and Patamon resolve to make it happen, while Hikari cryptically acts like it’s already bound to happen, borderline prophetically), and maybe you could chalk it up to the fact that they’re the youngest and therefore most naive of this group...but, again, remember: 02′s first episode aired one week after this one, where we would immediately be treated to Takeru and Hikari following up on this. Given that, you can basically see this as a wink and a nod: “yeah, these two have a story that’s not over yet.”

And as much as I may sound like a heathen to the fanbase by claiming this, I would actually say that it’s the opposite of the above claim: Takeru and Hikari both have pretty unresolved arcs by the end of Adventure compared to the rest of the other kids, and in fact are fleshed out more in 02. It’s honestly kind of a stretch to say that they “already got development” in Adventure -- Takeru still has a ton of unresolved issues with his family and trauma and emotional behavior that aren’t properly addressed to nearly the same degree as how the older kids have their core issues brought to the forefront, while Hikari really was only around for less than half the series, and not only is her main problem of emotional suppression told purely from Taichi’s mouth and not her own, we also get no real follow-up on how she intends to work past that.

Those are some pretty huge things to leave unresolved at the end of a series that’s known for its focus on individual character development, and considering that the premise of 02 involving an older Takeru and Hikari was likely finalized around the middle of the last arc of Adventure, it’s easy to believe that they decided to deliberately hold off on resolving Takeru and Hikari’s issues in full so that their story could be told in the next series. And, indeed, while their characters being built on “being difficult to read” makes their development not quite as visible as some of the more eccentric personalities in the 02 cast, their respective Jogress partners (Iori and Miyako) more openly discuss and get to the bottom of their issues that had been lightly displayed or hinted in Adventure but never truly been addressed.

A lot of things that were not in Adventure

Adventure was admittedly kind of written as they went along (they didn’t even originally plan to have Hikari as the eighth child at first), so it’s hard to tell exactly what was planned and what was a later addition (and at what point things were added), but considering that the 02 epilogue was one of the first things planned in the entire series, as part of “a story of humanity’s evolution” and tying into a really long theory about partners doubling every year, it’s probably at least safe to say that a lot of the worldbuilding and lore was determined very early.

02 added a lot of lore dumps about Digital World mechanics and things related to the overall state of Chosen Children, which have been said by many to be retrofits to justify a buildup to the 02 epilogue, but, again -- the 02 epilogue was supposed to be for Adventure, so it’s very likely that these lore aspects were intended for Adventure as well! This is especially because it’s been outright confirmed that there were at least certain things originally intended for Adventure that ended up in 02, or at least were in 02 because they felt Adventure didn’t sufficiently cover it:

The kids’ home lives. As famous as the Tokyo arc of Adventure is, it only covered about a quarter of it -- the rest of it was the kids stranded in another world, separated from home! It’s specifically 02 that went into all of the things like school life, family life, daily life in Odaiba, and everything closer to the real world -- basically, everything related to family backgrounds that was very likely to have been in the planning documents for Adventure but never made it.

The (in)famous 02 episode 13 (or, at least, something like it) was intended for Adventure. As much as there’s common speculation that this episode was intended to be some giant subplot that got canned, from what we’ve heard from the staff, the truth actually seems to be a lot more mundane -- Adventure was a series very big on “oddities about the Digital World that have no real explanation” (see: phone booths), and when you reframe it in Adventure’s context, it’s likely that Dagomon and the Dark Ocean were intended to be yet another of those as part of its wider lore about the multiverse, to make you think “the heck was that?” but never get any real answer to. (And while it’s unclear whether the original theoretical Adventure version of this episode would have still involved Takeru and Hikari, if you want to put a tinfoil hat on and entertain that theory, it lends even further credence to the idea that their respective character arcs were deliberately held off for 02...)

Given that, and thinking about the 02 epilogue as the eventual goal for the series, you can also easily imagine a lot of 02-introduced things leading up to it as probably also having been baked into Adventure’s lore:

You know how 02 had a subplot about Chosen Children proliferating all over the world, as a lead-up to everyone in the world eventually having a partner? This was part of a “doubling every year” formula that’s been referred to a few times in background staff testimony. If you inspect this formula, this means that there were eight other Chosen Children besides Taichi and his friends, chosen between 1995 and 1999. Now, remember how Adventure episode 52 briefly touched on the bombshell of Chosen Children existing before Taichi and co., before never addressing it again? Considering all of the above facts, it’s very likely that’s intended to tie into that formula -- and, perhaps, had 02 had not existed to continue the subplot about “more Chosen Children”, Adventure would have taken more initiative about explaining the concept of Taichi and his friends not being the only humans with partners, and led it into their originally intended epilogue.

02 episode 33 involves Miyako visiting Kyoto and learning that there may be certain similarities between Digimon and Japanese youkai, to the point where they might be related somehow, despite predating digital technology. (The concept is revisited in Mimi’s track in Two-and-a-Half Year Break and the Adventure BD drama CD, both of them having been written after 02.) The thing is, the idea that Digimon and other similar entities actually existed prior to digital technology, and that said technology only allowed it to manifest physically in the real world, also is heavily tied to the original concept of Digimon partners being a manifestation of a part of the human’s soul, and therefore having a partner being a part of human evolution -- which is, again, heavily tied to the original intent behind the epilogue. So it’s very likely that this, at the very least, was one of the original lore points behind Adventure -- and if 02 had not existed, it’s possible that Adventure might have tried to cover it as part of a lead-up to that epilogue, rather than ultimately deferring it to 02.

This is, of course, speculation -- I’m not a member of staff, so I can’t speak for them -- but I do think it’s important to consider that while 02 was a tonally different series, it wasn’t just a sequel tacked on at the last minute, and rather just (mostly) the same staff learning three-quarters of the way through that they would have more time to continue this narrative, and reorganizing things to figure out what they wanted to do now and what they wanted to touch on if they had more time. Really, this whole narrative of “02 being a bunch of random additions they came up with and retrofit” seems to almost be the opposite of what actually happened -- while some of the ideas behind 02 were certainly created later, it’s less that Adventure was some ideal perfectly crafted story and 02 an addendum, and more that they had so many things they wanted to do in Adventure that couldn’t fit and used 02 to vent more of those out:

One of the concepts behind the prior series was for us to pack in as many interesting things that we’d seen, heard about, or read about as we could into it, so for 02, we thought, what else could we put in beyond even that?, and so we looked over what we needed to have, and put in all the things we could so that they wouldn’t be left out, and the story became a multi-layered one, overlapping and accelerating. It was to the point that, after we’d gone through 02‘s story, the scriptwriters told me that they’d worn everything they had out to the ground. In any case, we put everything we had into it back then.

Which means that understanding 02 is actually very retroactively important to understanding Adventure -- Adventure’s own writing was influenced by the knowledge that 02 would be part of its story, and 02 itself carries a lot of vital facts and story points from Adventure’s narrative that didn’t fit in the first 54 episodes, and, in real life, they were both written continuously as one story over the course of over two years. It’s also because of this that I seriously warn against seeing either series in a vacuum too much -- because both series are very deeply tied to each other, perhaps more so than a lot of people want to admit.

#digimon #digimon adventure #digimon adventure 02 #shihameta

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demenior · 3 years

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Dem’s Big Post About The Spn Fics Part 1/2

aka The Wrap Up to celebrate To Exist Again and To Become a Man now being finished!

(This will be a long post. This is your only warning.)

Admittedly this is a bit of a weird thing to be doing, but I wanted to try it out for 3 reasons:

I love talking about my own work and

It functions really well as a self-reflective tool for me to improve on, and

I can answer some big questions people might have because there was a LOT of worldbuilding in these stories.

We’ll start off with reflective stuff, and move into the juicier world-building focused stuff later into the post. There will be major spoilers for both fics to come!

To begin with a funny anecdote, Why Did I Write These Stories?

I was beginning to write and work out the story that I wanted to write for Spn (what will now be To Destroy a Man. As I was writing the scene, I realized I had a LOT of ideas and while I was trying to avoid as much exposition as I could, it became quickly apparent that I was needing to create my own au (this scene eventually became chapter 34 of To Become a Man). A short prequel seemed like a good idea, to quickly hash out the ‘prior’ events that I needed to go through so all the readers could be on the same page. While plotting out prequel points, I realized Sam and Dean were going to have drastically different experiences during the same time period, and I was trying to figure out who’s pov would be better for which scenes, and how to keep momentum when they’re going through such radically different types of changes. Ultimately I decided to split their povs, which I also thought would be a fun project! And I naively assumed each pov would take about 2 chapters each, rounding out to maybe 15k total.

I had my ending points: Dean n Cas soul-merged and (basically) married, Cas on the lam from heaven and a complete anomaly, and Sam juiced up full of powers and a weird mix of archangel and antichrist but still 100% human and ready to fight God.

Now I needed to add weight to these changes, so I wrote 200k of build-up.

Am I proud of these fics?

OF COURSE I AM!!! These are the longest fics I’ve ever written AND finished AND in the fastest freakin turnaround ever (both were finished writing, barring edits, in like 6 months holy shit)

I didn’t write a single scene that I “didn’t” want to write. If I had trouble writing it, as in it was fighting me, I scrapped it. Most obviously was the scene in Dean’s pov where he and Sam were intended to meet some other hunters and Dean declines working with them because he’s nervous about being outed as queer. It was meant to be a good scene! I wanted to introduce some new characters! But it just wasn’t working so I said ‘thank you, next!’.

But it means this story was an absolute joy to write. Because for a while all I was doing was ‘if I wanted to write one scene into supernatural, what would I write?’ and then just DID that!! It’s why there’s a lot of ‘Salmondean do dumb shit or have really dumb heartfelt conversations’ scenes.

Would I change anything?

If I’d been less eager to start sharing, I might have planned out the story beats a little tighter so there were less ‘soft’ chapters and a draw/pull for people to come back and keep reading. I felt Dean’s story specifically lagged at points and could have used some tighter editing (there was a noticeable lull in directed movement between Dean n Cas getting together, until Sam corrupts Amy).

I also probably would have held Sam’s story until I’d finished Dean’s so I could make the two line up better! Probably could have inserted more scenes into Sam’s fic that way, and made sure things were a little more consistent. In an ideal world one concept I had was to release 1 chapter from each pov every week that would correspond to the same time frame so we’d be getting real-time SalmonDean pov narrative. Unfortunately that didn’t work!

The biggest takeaway overall is for me to focus more on what moves the plot, and to make my scenes do more than 1 thing so I can cut down on wordcount and increase my efficiency.

Of course every writer will find things they want to fix in anything they’ve ever written, so these are minor “mistakes” at best. I’m so dang proud of these fics.

Onto more interesting things!

How Did I Put These Fics Together (because it’s different than anything I’ve ever done before)

Normally when I write a story, I plan out the beats I need to hit, see where I need to insert any kind of foreshadowing/buildup, and then write from A to B to C and so on and so forth. Hence, this is why I can normally post things as I complete chapters, because it’s all a linear progression.

For these two stories, rather than linear plot/a normal story structure, I just sat and free-wrote any and every scene that came to mind and then pieced them into a kinda-linear form like putting a quilt together. You’ll note that this is why there’s not a lot of internal callback or a feeling of sense of time flowing within the fic (save for points where I went back and specifically edited it in). How long does the story take place over? Hard to say! Your author has the barest grasp on linear time even on a good day (how many times did I say ‘see you on [wrong day]’ at the end of chapters lmaaoooo)

This also meant EXTENSIVE editing on the back end once I decided in what order I wanted my ‘quilt pieces’ to be. Hard to say if this is a bonus or a negative!

But I did want to try and capture the vibe of the lives they lead, as a bit of a ‘slice of life’-style story, when the slice of life is the profound weirdness of the Winchester roaming life, and how things are status quo- until everyone almost dies oh shit!! And then they have to keep living because no therapy we die/undie like Winchesters. Do I think I captured this effectively? Hmm. Good question.

Dem where the FUCK did the inspiration for a lot of the magic and creature weirdness even come from?

Honestly? Music, primarily. And completely mishearing lyrics!

Nightwish ‘Ever Dream’: the line is ‘my song can but borrow you grace’ and because my brain is scrambled eggs on a good day, I heard ‘grace’ ‘song’ and ‘borrow’ in that order and have had, for YEARS, the mental image of Cas borrowing Dean’s soul to power himself up for battle.

From there I’ve always been enamored with the ‘wavelength of celestial intent’ descriptor that Cas drops in s6 for “what he is”.

I also really like ocean metaphors mostly because I’ve been obsessed with the ocean and things in it since I was like… 5??? So really this was me just rolling with what I know lmao. I love using (somewhat) accurate scientific metaphors for very intangible things!

I was also finishing my degree in biology/ecology while writing these fics and I think it shows

Stars ‘The Night Starts Here’ gives us the series title and the fic titles. Except for ‘To Exist Again’. TEA was almost titled ‘The Upwards Fall’ because I wanted all 3 of the Main Stories to have titles from this song, but I couldn’t make anything else work in tandem with the series name ‘The Love It Takes’ while also working for Sam’s personal story. So Sam, as always, is the rebel <3

Stars ‘Up In Our Bedroom, After The War’ is basically the vibes of the whole story. TFW has been, literally, to hell and back!!! There’s a bit of melancholy and sadness, a lingering dark, but the chance of a bright new tomorrow and a soft start.

Let’s Talk About Themes in The Story! What were you looking to accomplish?

My earliest notes for TFW are, as follows:

Dean’s journey of self-discovery (who am I when I’m not trying to be Dad?)

Dean wants to settle down! He wants a big family! He wants to be domestic!

Basically: Dean doesn’t want to have a short life of hunting. He wants to live!

Dean’s journey of realizing he’s bi, and him accepting that

Dean’s relationship to Sam is both older brother/parent

And continuing Dean balancing these roles while also letting Sam be an adult

Dean’s Big Issues/Fears about never being good enough for people to want to stay with him (these are effectively highlighted in that Cas thinks he’s not useful enough to be wanted)

Sub Plot:

Castiel’s autonomy

Cas’ fall from grace, to trying to restore Heaven, to wrecking it further

He’s majorly depressed by the end of s7 (before purgatory)

Wants to stay in Purgatory but doesn’t tell Dean

Remains depressed after leaving, but resolved to keep living on because he’s clearly meant for something

After the seraphim reveal: does he have free will?! How does he grapple with this? How does he live in a way he can be proud of?

And lastly

Sam gets his powers back CAUSE THATS HOT

where tf did they go????

he got them from Lucifer?????

sleeper agent??????

Sam is The Chosen One

Accepts that he is More Than Human and to celebrate all parts of him

Lucifer and Sam friends?? Work together????

Sam needs autonomy in his choices/his life

If you compare these to the overall arc of TFW within the two stories, I think I got a lot of them! But you’ll also note a lot of these things aren’t concrete goals that are easily measurable (ex: Dean wants to learn to bake pie. In chapter 1 he starts a fire in the kitchen. By the end of the story he finally makes A Good Pie.) part of the lack of concrete milestones was why I felt it was important to tell Dean (and Cas’) story by going back to the point they meet, in s4! Dean’s gradual change towards his feelings for Cas, his relationship to Sam (heavily influenced by the s7 events of this fic) and then his own relationship with himself were such slow burns that I felt it would be a disservice to try and cram a change like that into a timeline like “1 year”.

I felt like these subtle changes and adjustments actually felt a lot truer to life-- people often change in very small, gradual ways over time, even without realizing it and often times not consistently! If only we could all gain skills like the sims, where we can easily level up and remain at that high level of performance!

So the Guy Who Ate Satan, A Celestial Nuke that Developed Sentience, and Dean walk into a bar…

Sam’s story in Spn The Show has always been a ‘chosen one’ kind of narrative. Sam is living with one foot in the realm of the monsters, and I wanted to bring that back full force! It really makes sense for him that he should only continue to grow in power, might, and magic!! As the story progresses.

Cas also got a power up! I do desperately love in the show that he was kind of a grunt/nothing angel, and so even when he defected to TFW he was a huge help for them, but in the scale of things he was an annoying fly to most other angels. It really worked for the underdog story of s4/5. In this I wanted to give him a power up, and originally it was actually going to be close contact with Sam that eventually changed Cas into something unknown (you can still see traces of this in ch34 of TBAM, where Death remarks ‘Castiel could be [Sam’s] first creation’. But for a combo of reasons: how Sam’s magic needed to have intent, the entire concept of free will and consent, and how much I wanted Dean and Cas to have their effect on each other, I decided to go with the route that Cas has actually always been something angel-adjacent rather than becoming something new. TFW/Supernatural has always been about free will and making your own story, so I amplified that with Cas.

Dean has always been A Normal Guy, which is part of the appeal of him and Sam (2 normal dudes!) taking on the Very Not Normal. As explained above, Sam’s story is ‘normal guy finds out he’s the chosen one’ and so, in a story about very large concepts and huge monsters and acts of magic, I felt it was very important to keep Dean as normal as possible. To the point it became a running gag to me, personally, in that ‘no matter what cool shit happens around him, Dean has to stay as Just A Guy’. And it’s a very humanizing role that allows the story to have the scale it does!

What were the most important themes in your story?

Sam’s Autonomy

I wasn’t even going to include the plot about Lucifer’s death in this story— that was going to come up in a later story, actually! And rather than Sam having ate Lucifer, the original idea was that they’d become a SamandLucifer entity (this harkens back to a concept I wanted to write when Swan Song first aired).

That storyline would have involved a lot of mental ‘Sam and Lucifer discuss what it means to live, which one of them is more worthy of life and if they do deserve to destroy the world for the pain they’ve been forced to go through, just to create the dichotomy of good and evil for everyone else’ discussions. There would be a lot of talk about how Sam hates and fears Lucifer for the pain Lucifer put on Sam, how Lucifer hates Sam because he and Sam are the same but Sam’s brother loves him anyways, etc.

Ultimately that was scrapped because Sam’s entire story in the show is always about how the world and everyone around him manipulates him and that he never actually gets to make choices about his own life or body that aren’t influenced or part of someone elses’ design. And that always bothered me that Sam was never allowed to be himself without having to be ashamed of it, and I wanted to make sure that Sam’s triumph of being proud of himself/proudly choosing to exist (again) was evident in his story

In the end I needed Sam to have this visceral win over his tormentor. As the story shows, in this case Lucifer was abused and put into a position where he was incapable of empathy and could only express himself in violence. Sam even understands this! But it doesn’t change the fact that Lucifer tortured Sam in unimaginable ways for thousands of years.

With that in mind I didn’t like the idea of Lucifer and Sam having “co-ownership” of their new identity, so I made the choice that Sam had to be the survivor. This tied in well with Sam’s new crusade to restore free will to the universe, because he’s breaking the narrative of his own story!

While Castiel wasn’t a pov character, his own autonomy and free will was equally as important. You’ll note that many, many paragraphs and conversations revolved around that theme and that in the end Cas followed himself (and love!) which ensured his freedom of self <3

The Brothers are WEIRD PEOPLE!!!! And Codependent to a Worrying Degree, but It’s Also How They Survive

It’s very hard to show “unusual” relationships when you’re writing from the pov of the two people who don’t think there’s anything weird about their relationship. Sure, they say ‘yeah it’s probably weird that we still share a bed’ but that’s kinda more in line with ‘I had a nightmare and I want to be close to the person who makes me feel safe’. Hashtag normalize co-sleeping when you need it!!!

From there I did try to point out how the boys have a weird perception of lifestyle in the little things they did.

From thrifting everything from clothes to appliances to books (thrifting is a valid lifestyle! It’s incredibly handy when you’re on a budget.)

To never actually having condiments or knowing how to use a dishwasher cause they’ve lived in a car, a motel room, or squatted in old houses their whole life.

I tried to have them wear each others’ clothes or casually swap things as much as possible. They live out of each others’ pockets!

Also the brothers are just weird people!! It’s hard to show from their pov, cause they don’t know how far off from normal they are, but like…

Everything about Sam and Amelia was NOT right like holy shit those two were wilding in their grief. They are very lucky things worked out for them and that they got to be hashtag Weird Girls together

Dean explicitly, in the story, gets horny after killing stuff!! Violence has done a number on his psyche and he’s gotten some wires crossed that maybe shouldn’t have been, or maybe could be worked out in a safe space but… uh… how likely do we think Dean is gonna go find a safe space to deal with any of his shit???

LOVE!!! Love is truly what this whole story is all about

If you’ve read the stories, you know how much emphasis I put on love. Love is the strongest force in the Spn Universe! It’s what averted the apocalypse and saved the world (Swan Song), it’s what created free will (Cas’ entire arc!) I love love!!!!

I went out of my way to not put any definitions on platonic love vs romantic love because I think love is love is love and how you express that is the difference. Neither is more powerful than the other because LOVE is powerful!! Sam and Cas are the most important people in Dean’s life and he loves them equally! He shows this by giving Cas kisses and stealing Sam’s socks.

It’s a personal pet peeve of mine when I have to hear explanations like ‘I love you, like a brother’ or ‘I love you, but like, as a friend because I’m a lesbian and you’re a man’ etc etc in media. If you have to continuously define how your characters love each other, then I don’t think you’re doing a good job of portraying their relationship. So you’ll see that I never put those parameters in any conversation. Dean DOES muse that he loves Cas differently than he loves Sam or Bobby, specifically because there is a romantic and sexual tone that his feelings for Cas takes, but not because he loves Cas more or less than he loves Sam or Bobby.

Which means, if you haven’t realized it yet, the Series + Fic Titles are meant to be a complete sentence because the power of love IS the thesis of this series:

The Love It Takes To Exist Again (Sam’s journey!)

The Love It Takes To Become a Man (Dean’s journey!)

The Love It Takes To Destroy a Man (TBA)

And now for fun stuff. Behind the scenes!!

What’s Something People Probably Don’t Know?

The demonic fungal/hydrothermal vent growth on Sam’s arm was thrown in literally as I was posting the chapter because I had just finished a 48 hour cram session of writing a report on tube worms for an ecology class (I was chanting my tube worm song as I wrote it) and it ended up being a HUGE hit with both readers and myself. But it was so last minute I had trouble fitting it in more throughout the rest of Sam’s story!

Cas’ orders? That may or may not have bound him to Dean and removed his free will? Were written into Sam’s story and I went ‘oh SHIT that’s compelling’ and then left them there as a ‘guess I’ll figure that out when I get to Dean’s story lol’

Originally Dean and Cas were supposed to get together after having their souls bonded, and have been in a UST limbo the entire time before that. Mostly because I think the entire concept of ‘we just got married of the soul I guess we should try dating?’ is very funny. CLEARLY the two of them were way more eager to fall in love than I anticipated (thank you Cas for your honesty) but you can still see shades of this original idea here and there (especially in ch35 of TBAM)

I never intended Dean and Benny to connect so well!! Benny was going to reunite with Andrea, she was going to live, and they were going to go off into the world and leave the story. And, uh, here we are. I’m still debating if I need to adjust the relationship tag or not haha. Polyamory is fun, especially when I was planning for Sam to be the polyamorous brother...

Speaking of, I can’t believe I forgot about Sam and his sexuality! If I rewrote TEA I would have had Sam contemplate more on his lack of sexual appetite due to trauma, up until he meets Benny and he gets to rediscover how he wants to be a sexual person

Many of Sam and Dean’s absolutely stupid sibling conversations were lifted near-verbatim from conversations I’ve had with my siblings

And lastly...

Dem where’s Kevin????????????? Where is our sweet baby boy????????

He’s SAFE!! He’s in the Hunter pipeline somewhere cause Sam handed him off to Bobby’s people. He and his mom are safe and at some point they probably got rib sigils like SalmonDean did against angels, but for demons. I didn’t have room in this story for him!!! But my baby boy is SAFE and I want to get him back to university because it’s WHAT HE DESERVES!!!!

To that point: god there were/are SO many characters that I just didn’t include in the story so far because I didn’t feel comfortable including them without stalling the story for them. To that point: pretty much everyone who is alive/dead in s8 is that way in this story, except Bobby who gets to live.

[Check Out Part 2 for reader questions!]

#the love it takes series #to exist again fic #to become a man fic #dem speaks

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sailorbadger · 3 years

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The Fandom’s Least Favorite Character - an analysis on Kate

Kate is probably the most hated character in the Robin Hood fandom. Not even probably, she is the one who consistently gets the most hate. So, what has she done? Did she commit several murders? Did she kill off a beloved character? Did she do something so problematic that she deserves to burn in hell? Did she do war crimes? No, her biggest sin is existing among unfair circumstances.

The title of this post is kind of a lie. This analysis is not really about Kate as a character, but about how she is written, how the narrative presents her and how this all affects the fandom’s treatment of her. I started writing this because I am sick of seeing so much unnecessary hate for Kate. This is just me commenting on larger trends I have witnessed and a decade’s worth of frustrations finally being written out. If you do recognize yourself from some of my descriptions, I hope that this post will give you something to think about, but just know that this is not meant for any one person in particular.

I’m not going to try to convince anyone to think of Kate as their favorite character. I’m not even trying to make anyone like her. I’m just trying to see why she is so hated within the fandom. So, let’s start off with how it all began. Grab some snacks, you’re going to need them; this is a long one.

Introduction: Is it all Merlin’s fault?

To understand the context in which Kate was introduced to the show, let’s first look at where we left off at the end of season 2. I’ll start with the in-universe changes first. The biggest change obviously is that Gisborne murdered Marian. This altered the whole course of the show. Marian was such a central part of not only the show but also the Robin Hood legends, that at that point it was obvious that things were going to change. Will and Djaq left the show as well. Them leaving is not as dramatic of a change for the show’s narrative since they were not as central as Marian, but they did make up one third of the gang. This meant that there was a need for new characters to be introduced in season 3.

In our world, things changed between seasons 2 and 3 as well. There was a larger gap in production than before (with seasons 1 and 2 coming out in consecutive years and there being a gap year between seasons 2 and 3), and some of the people working on the show left or were replaced. Robin Hood’s spot on the BBC schedule was taken over by Merlin for 2008 so I guess we could blame that show for everything that went wrong in season 3. (I’m obviously joking here but conspiracy theories are welcome.)

The most important change in my opinion – and I think this is even more important to how season 3 turned out than anything that happened in-universe in season 2 – is the fact that Dominic Minghella was no longer writing or producing the show. It’s surprising to me that the fandom as a whole doesn’t ever really talk about this, when in many other fandoms creators or showrunners leaving the show are usually a big deal and mark the end of an era. I myself only found out about Minghella’s departure from the show before season 3 this year, but it seems to explain a lot on why season 3 felt so different from seasons 1 and 2.

With all that out of the way, the stage is set, and it is time to look at how exactly Kate came into the show.

Six boots, two feet

Season 3 starts off with my least favorite episode of the whole show (see my episode ranking for more details). It tries its best to address the events of the season 2 finale, but in a way that will let it quickly get to the season 3 storylines. Unfortunately, the things that happened at the end of the previous season were so important that they would have needed several episodes to cover the full impact of the events.

Kate herself is introduced in episode 2. She is immediately given a reason to hate the villains and join the fight when her brother dies. She doesn’t join the outlaws right away, but when she does, she essentially has to take over three roles at once. I do not think it’s a coincidence that I think episode 4 is Kate’s best episode and that she’s at her best before she actually joins the gang. That is the point in the show when she is allowed to be her own character rather than someone who is trying to fill a void.

Like I said, Kate has three roles to take over; she gets Djaq’s spot in the gang as “the girl one”, Will’s role as “the peasant with personal connections to the people’s suffering” (and interestingly, since Kate’s family is around, her connection could have been even stronger than Will’s) and Marian’s as “the love interest”. Since the season 2 finale got rid of both of the only female characters in the show, it was inevitable that they would eventually be replaced if the show wanted to include any romantic storylines (it was, after all, 2009, so queer representation was out of the question). With three pairs of boots to fill, and only two feet, it should not come as a surprise to anyone that Kate can’t possibly do it all alone. The show does introduce Tuck and Isabella as well to help fill the gaps, but I think Kate gets labeled as “the replacement” far more often than the other two.

A triangle without a base is just an angle

Kate had all the potential for a good plotline. Her brother died, making her hungry for revenge, yet this part of her is only sprinkled in every now and then instead of being a part of her character arc. Instead, she is made a part of not one, not two, but three love triangles.

I’ll start with the Much/Kate/Allan one. Spoiler alert: it doesn’t actually exist. All sides of this “triangle” are… weird. The writers try to frame it as a legitimate love triangle, when only one person in it seems to have any real feelings for another character. Much is shown to be interested in Kate, but we as the audience are never given a reason for why he likes her or even how he fell for her. I guess we’ll just have to take his “I fall in love very easily” (from 2x4) quite literally. Kate does not seem to have any romantic feelings for Much, and she seems oblivious to his feelings as well.

To be honest, I don’t think Kate ever really saw Allan as an option either. At best I could admit that maybe she had a slight attraction to him, but I never got the impression that it was something she would seriously pursue. I don’t think Allan was seriously interested in Kate either. His flirting with her is quite similar to his joke-y flirting with Marian and Djaq. My friend and I talked at length about this, but Allan doesn’t seem like the type of person to flirt for real. This could be a whole analysis on its own, so I won’t go too deep into it here. But I don’t think Allan considers Kate a legitimate romantic option.

So, this “love triangle” only exists in Much’s head and in the narrative the writers try to force on the audience. The Kate/Allan side of it is practically dropped the minute Kate/Robin becomes a thing.

Then there is the Much/Kate/Robin/Isabella triangle that is not a triangle either. I already covered Much/Kate for the most part, so I won’t go into it. Since the Robin/Isabella relationship is not that central to Kate’s character, I won’t bore you and myself by going through it that deeply. The buildup for that relationship is practically nonexistent, and so is the end of it. The whole Robin/Isabella relationship feels forced, because the writers didn’t know how to properly replace Marian while coming up with something new.

Kate’s crush on Robin seems to develop out of nowhere as well. It looks like a pattern when it comes to romances this season. Robin himself doesn’t appear to have any romantic interest towards Kate until he and Isabella “break up”. After that point, their relationship progresses way too fast. It doesn’t help that they seem to have no chemistry between them, and Robin treats Kate like a child and then five seconds later proceeds to make out with her.

Honestly, if Kate had to have a romance with a character on the show (and with it being 2009 obviously they could not fulfil my dreams of Kate being bi but that’s beside the point), it should have been with Archer. The two of them had more chemistry in the 30 seconds they worked together in 3x12 than Robin and Kate had the entire season. It would have also made me far less uncomfortable, since the characters would have been closer in age. Which brings me to my next point.

“There is only one thing worse than a rapist – a child”

How old is Kate supposed to be? Seriously, this show can’t seem to make its mind about her. In general, I do not trust anyone’s age on this show unless it’s been stated somewhere. I know some people try to base the characters’ ages on the actors’ real ages, but to that I say, “fuck that”. Archer is the best example of the fact that this show did not even try to cast people who are the right age, or even look the part. (Seriously, he does not look even close to being 20.)

That being said, Kate is written like she is both 15 and 25 at the same time. I don’t know if the writers had a specific age in mind when they were writing her, but there is a huge difference between those ages. I think it’s the most reasonable thing to assume that she’s in her late teens, maybe at most in her very early twenties. She is still living with her family (I know that most women at the time married in their 20s but it’s not like this show is concerned with historical accuracy) and her behavior is a little immature at times. With all that said, I hope it doesn’t come as a surprise to anyone that I find it incredibly uncomfortable that all the men that are presented as possible love interests to her are fully grown men.

It is the most obvious in Robin and Kate’s scenes. Like I said earlier, Robin treats Kate like a child and speaks to her in a condescending way, only to then make out with her in the same scene. I must wonder why the writers didn’t just age up Kate. I think it would have been more interesting to make her someone who is already married, and instead of losing her brother, it would be her husband that dies. Of course, I would prefer it if Kate didn’t have to be a part of any of these love triangles to begin with but aging her up would have made the dynamics far less uncomfortable. (I do have to also point out the fact that Meg is also written like she is a teen girl. The show then tries to pair her off with Gisborne, who is even older than the men Kate is being forced into love triangles with. So… yikes.)

Let’s take a break, drink some water

Let’s take a moment to recap what we’ve learned here. First of all, Kate entered the show in unfair circumstances and with only two feet to fill three pairs of boots. She was only ever allowed to be a part romance plots, and she didn’t get a proper character arc of her own. In general, the women in this season were not written well (not that seasons 1 and 2 were the height of feminist television either), and they were reduced to being love interests or tools to further the male character’s plotlines. Without Dominic Minghella involved and with a full year between seasons 2 and 3, the show lost some of its charm. Unfortunately, this meant that Kate was not the best written character. But I do not think she deserves all the hate the fandom has given her over the years.

Interlude: Doctor Death

Before I get too much into how the fandom has reacted to Kate over the years, I feel like I should explain my own history with this show and the fandom surrounding it.

I started watching the show when it was first airing here on TV. It was some time during season 2, and once I had seen my very first episode, I watched all the following ones as well. With the finale, there was a problem. I had seen 2x12 and knew that the final episode of the season would air the next week. I was so excited for it, but then my mother decided that we would all go out and have dinner. I kept looking at the clock all day, hoping I would make it home in time. I got home just to see the credits rolling. I’m still a little bitter about it.

After this, I was desperate to see how the season ended. I’ll remind you that this was before it was common for shows to be put online officially. Streaming wasn’t really a thing yet. I did the only thing I knew what to do; I went to YouTube. The thing is, I did not know that what I had been watching was the second season of the show. So, you can imagine my confusion, when I find the very grainy version of 1x13 on YouTube and start watching it. Eventually I figured out my mistake and watched 2x13. At some point I watched season 1 as well, but I honestly don’t have that many memories of when I first watched this show. My clearest memory is being betrayed by my own mother when she forced me to go out for dinner.

Since I do not remember what year this all happened in, I did some googling and if I’m correct, season 2 aired here for the first time in the summer of 2009, with reruns in the summer of 2010. Because I have no other memories for context, I can’t say whether or not season 3 was even out in the UK at the time. Anyway, I did not watch season 3 for a few years. I also didn’t engage with the fandom until 2012, when I joined Tumblr. (A side note: while trying to find out when season 2 aired, I found the episode titles and descriptions. Apparently 2x4’s Finnish title was Doctor Death. There were some real gems on that list but this one was my favorite.)

Over the years, I had read bits and pieces about season 3 on the internet. I was still upset about the end of season 2, and the things I read did not make me want to watch season 3. Sometime in 2012-2013 I finally gave in and watched season 3. I was mostly disappointed by the season as a whole, and as for Kate specifically, I found her annoying. In the fandom, I went along with the Kate-hate that was popular in the fandom at the time.

I did a full rewatch of the show with my friend in 2016–2017. During that time, I didn’t hate Kate as much as I did before. Maybe it was that I had a fresh perspective, maybe it was that I had matured in those few years. Who knows? I was mostly disappointed by the bad writing. Even back then, I wished that Kate had been given a proper chance.

The next proper rewatch of the whole series I did was this past winter. I watched the show in a non-chronological order with someone who had never seen it before. This time, I was angry at the writers and found myself half-ironically becoming a Kate-stan. I also began to really pay attention to how the fandom has talked about her over the years and was unnerved by the hate has she gotten.

So, here we are. Time to take a look at how the fandom has treated Kate. Most of this will be based on my own experiences and memories, so if someone else has a different point of view to offer (especially from the early days of the fandom while the show was still ongoing), feel free to comment! I just wanted to give you my own history with the fandom to show that I have indeed been around for most of the fandom’s history.

The hate-train for Kate-town leaves from platform 4

It seems that from the very beginning, Kate was disliked. I remember reading negative comments about her way back in the early 2010s (I would try to look for examples, but I just spent 30 minutes trying to find out when season 2 first aired here and it’s currently 1am so I am not spending any more time googling right now). There are fics that make fun of her and how badly she was written, and most of the jokes and dislike about season 3 seem to always come back to her. This attitude has been present in the fandom in other contexts as well. Over the years, the hate towards Kate has come and gone along with the popularity of the fandom.

Every once in a while, someone has tried to either write Kate better or even see her as a character that was let down by the writers. Mostly this has not led to any significant change in the fandom’s attitudes. I feel like whenever some of the older fans outgrow their Kate-hate by either just maturing and realizing it’s pointless or just not wanting to waste their time making fun of her, new fans come in and start the whole thing all over again.

I am grateful, however, that the general consensus in the fandom seems to be (at least in the year 2021) that the actress is not to blame for Kate’s faults. It still does make me uncomfortable that people go so far as to cross out her face on pictured etc. just to show how much they hate the character. This hate that Kate gets feels very misogynistic at times and is at least partially the result of the show’s misogynistic writing, but the actress deserves no negativity for playing Kate.

What about Isabella?

One thing that is very interesting to note is that while both Kate and Isabella were newcomers in season 3 and were both replacements for Marian in the sense that they were love interests for Robin, only Kate has received a significant amount of hate over the years. So why does the fandom not hate Isabella?

I think that a big reason for why Isabella is tolerated – not necessarily liked, I haven’t seen too many people genuinely enjoying her character – better than Kate is the way the narrative treats them. Kate is essentially forced down our throats. The show is so desperate for us to like her that they end up making her unlikeable. Isabella, on the other hand, is eventually made into a villain, and thus we’re not meant to sympathize with her in the end anyway. (I could write a whole rant about how Isabella’s treatment in the narrative is bad but let’s not do it here.) Isabella also has the advantage of being Gisborne’s sister, so her backstory ties better into already existing characters. I think it’s reasonable to say that Gisborne being a fan-favorite in certain parts of the fandom doesn’t hurt Isabella’s case either.

Isabella is also only involved with Robin, while the show keeps pairing Kate off (unsuccessfully) with almost half the cast. I think she was written in a way that reminds people of Mary Sues, and considering how fandoms tend to not like characters like that, it’s no surprise that Kate got all the hate she did.

Murder and being annoying – they’re the same thing, right?

So why exactly does the fandom hate Kate so much? Obviously, the writing is a big reason. Season 3 is not written well, which means that Kate is not written well either. She doesn’t really get a storyline of her own, and instead her main purpose is to be someone else’s love interest. I would also add that Kate doesn’t really get hate for her personality. Most of the hate that she gets in terms of character traits revolves around her being annoying, but that’s not really a personality trait. So I think the issue is not her personality, but her role.

The next reason won’t surprise anyone who has spent as much time in fandoms as I have: Fandoms do not like female characters. Well, I should probably rephrase that. Fandoms tend to hate female characters more easily than male characters. I’m not going to analyze too deeply on why this is, as I’m sure someone has already done research on this with references to actual feminist theory. There is a lot of internalized misogyny in fandoms, and female characters get hate for even the slightest wrongdoing, while male characters who commit far worse crimes often have a strong fanbase that will defend them despite these flaws, especially if said male character is played by a conventionally attractive man.

Kate is also blamed for things such as breaking Much’s heart, even though she was never really aware of Much’s feelings in the first place, so it was definitely not intentional. She’s blamed for every small wrongdoing in a way other characters in the show are not. I’ve seen people criticize Kate for small things that she has not even done on purpose. Some of these people then also go on to ignore the fact that Gisborne has committed several murders, taken part in the oppression of the poor and done many many more atrocious things, and paint him as a more sympathetic character than Kate. I understand if you do not like Kate, but it feels misogynistic that the female characters are held to different standards than the male characters. I can already hear some of the Gisborne-fans saying “but I acknowledge his actions and think what he did was wrong! I just find him to be a misunderstood and/or interesting character”. To those people I will just say: Why are you not applying this same logic for Kate? Why are you making outright hateful comments about her? If you don’t like her, why not just ignore her? If you are a Gisborne-fan and have never made these comments about Kate, this obviously doesn’t apply to you. And even if you aren’t a Gisborne-fan, but you do recognize this way of thinking in yourself in regard to some other character, I encourage you to think about it critically. I just used Gisborne as an example since I know he’s perhaps the most popular male character in the fandom (at least if Ao3’s numbers are anything to go by). I’ve also seen a similar attitude from a lot of Allan-fans, though in their case the hypocrisy is often not as obvious, but I’ll return to Allan in a moment.

Many female characters end up getting hate because they get in the way of a popular (often m/m) ship. In this regard, Kate is kind of an outlier since she doesn’t exactly do that, since there isn’t really a ship to get in the way of. Sure, she’s eventually paired off with Robin, but Marian is already dead by the time she shows up, and if people were truly bothered by someone other than Marian trying to get Robin’s attention, they would also hate Isabella with the same intensity. I do think there is one “ship” Kate does come in the middle of, and here’s where we get back to Allan.

Now, the ship Kate does get in the middle of is not in fact canonical. I am of course talking about the popular Allan/OC trope. If you go on Ao3 or Fanfiction.net, you won’t have a hard time finding fics where Allan is paired with an OC. This is understandable, seeing that the show only has four main female characters to begin with, one of whom is already in a love triangle with other people, one of whom canonically ends up with someone else, one of whom is actively hated by the fandom and one of whom just does not interact with Allan.

I want to make it clear that I think it’s fine if people want to come up with their own OCs for the purpose of shipping them with existing characters, it’s just not my thing, especially when those OCs are any level of self-inserts. (I personally don’t feel the need to ship Allan romantically with anyone. I just tend to not like OCs in any fandom.) Since Kate is presented as a potential love-interest for Allan, I think many fans who would rather see Allan with their own character or even themselves view Kate as an obstacle or a threat.

As you may see, this fandom, like many others, unfortunately treats the women in the show differently from the men. Male characters like Gisborne are viewed as redeemable so long as they are attractive, but Kate is irredeemable for… breaking Much’s heart and/or getting in the way of Robin/Marian or Allan/OC? This is something that really bothers me. I don’t mind the fact that people don’t like Kate, it’s the extensive hate she gets that makes me uncomfortable.

Conclusion: Where do we go from here?

Like I said in the beginning, I am not asking anyone to say Kate is their favorite character or to even like her. I just wanted to provide some things for people to think about regarding how they treat female characters. I think it’s about time the fandom took a proper look at itself and critically thought about how it speaks about female characters. It’s 2021, let’s not hate on female characters just for being a little annoying or getting in the way of shipping.

I haven’t seen the fandom analyze that much why season 3 is the way it is. I would love to see some meta about how Dominic Minghella’s departure and other behind the scenes factors contributed to the story and aesthetics of season 3. I would also love to see some actual analysis on the season 3 characters that isn’t focused on tearing them down. If the fandom never made another post about how terrible Kate is without providing any actual reasons, I would be happy. I can sort of understand this immature hatred coming from 15-year-olds, but I’m disappointed to say that I have seen fully grown adults tearing down Kate in this quite misogynistic way. I know that many people do not intend for their dislike of Kate to come across as misogynistic, but it does not erase the fact that that is how many of those hateful comments appear.

I think Kate had a lot of potential. Season 3 had a lot of potential. It is quite a move to kill Marian in the middle of a Robin Hood story, so they had the chance to take the story to all kinds of places. Unfortunately, the season 3 we ended up with was not of the same quality as the previous seasons. Instead of just hating on the characters or story in general, I think we should focus on really analyzing the season, and even coming up with our own ways of improving it. Many people have already done this (though unfortunately many of these attempts also include thinly veiled hatred towards Kate. It’s your story, why are you not treating her any better than the actual writers of the show?), but there’s always room for more takes.

At this point I will shamelessly advertise my own “Kate should have been the new Nightwatchman” theory and my Nightwatchman-fic. I wrote the latter in a way that would let it be a part of canon if necessary. I think that by refocusing the story and shifting the way we read the text, we can find new aspects of season 3, and perhaps even enjoy it more. That is what happened to me during my latest rewatch, and all it took was watching it in a non-chronological order and talking about it with someone who had never seen the show.

I’m not trying to gatekeep the fandom and say that only thought-provoking analysis or fix-it fanfiction is allowed. I just feel like people should be more conscious of the message they are sending out when they write hateful comments about Kate, censor her name or even cross out her face from pictures. Is it actually funny? Are you contributing something to the conversation? Is it actual criticism or just hate for the sake of hate? You don’t have to start writing posts in the defense of Kate, but you can just start ignoring her. It’s not that difficult. It’s fine to make jokes, but let’s start thinking about what our jokes say about us.

I once more want to emphasize that this is not a callout post I wrote with any one person in mind. So, if you felt offended when I was talking about Gisborne-fans, Allan/OC-shippers or Kate-haters in general, I can assure you that this post was not about you personally. This is not about any individual person. I’m just commenting on trends in the fandom I have noticed over the years. I don’t think any of you have committed any sins or that you need to be cancelled. I just hope that if you did feel guilty reading this, you’ll realize that maybe this post was something you definitely needed to read. As a woman, I would love it if this fandom worked on getting rid of its internalized misogyny.

I’m not claiming to be right on all of this, in fact I have a lot of bad opinions as well. I hope this post has provided people with things to think about. Feel free to use this as a starting point for your own meta or analysis. I’ll end my rant here, and leave you with this thought:

Kate had a lot of potential to be a good character. She did not let us down. The writers did.

#robin hood bbc #bbc robin hood #I'm not gonna tag any characters just to be polite #this is less of an analysis and more like a rant #the second half really is something #90% of this was written at night so it shows #anyway I hope every kate-hater reads this

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difeisheng · 2 years

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fic writer asks! 5 13 24 32 43 ?

(from this ask game)

5. What are your fanfic pet peeves? Do they have a huge effect on whether or not you decide to read something?

The things I can immediately think of are MDZS fic-specific. One is if characters' names are written with pinyin tones in the fic itself, it's just too jarring for my head and typically I won't click on those, even though there have been some that looked really good otherwise. There's also fics where the characters' honorifics are italicized (e.g. Wei-gongzi or Jiang-zongzhu), and my mind still doesn't like it but I'll still read the fic.

13. Do you outline your fics? How much of a headache would someone get if they just looked at an outline of yours without reading the fic?

Uhhhh, sometimes I outline, sometimes I don't. I've definitely posted fics where I was winging it based on scattered thoughts and vibes alone, but others I do write down the basic plot of, along with some details I want to add later or choice sentences. If I do outline it can get very detailed, and some of my bulletpoint fics have started out as outlines for proper narrative ones and then just got away from me.

24. What’s a trope that you’d like to never hear about as long as you live, let alone write?

I had to mentally put on a hazmat suit the other day and go onto Urban Dictionary to look up the definition of 'oviposition' in fic. No Thank You.

32. Copy and paste your top three favorite lines/jokes/sentences you’ve ever written. What fics do they come from?

Oh wow this is tough. I'm gonna stick to the fics posted on my current Ao3 for this, because I have a lot of orphaned stuff out there I don't wanna dig through. I also don't dare to rank these.

"The next day, there is a man on a train, going nowhere and everywhere, and a man he will find again one day." - The last sentence of On The Borderline, Tonight. Autumn always makes me feel a specific wanderlust in a sad but freeing way, so I guess it's kind of on my mind lately.

"For years Jiang Cheng had felt like he'd been battling in some invisible war, like the world was playing a game with him and he always inevitably lost. Then finally someone told him it was over, he could stand down, and if he's honest he might have been ready to do that a long time ago." - From The War Is Over (And We Are Beginning). I had a lot of exhausted Jiang Cheng feelings about this one and I remember tweaking those lines for a while, trying to make sure I was satisfied with them.

"I think I might love him, Jiang Cheng thinks, and he feels like he's falling as the words crash into place with sickening certainty." - From Didn't Want Us To Burn Out. Okay, this isn't a huge standout sentence on its own to me, but the whole point of me writing this fic at all was to get to this moment after writing 8k of buildup Chengxuan. It was a victory when I finally got to it, because for most of my time writing this fic I didn't think I was gonna get that far.

43. Talk about a positive experience with fanfiction or the fanfiction community that you will always remember.

I have two I'd like to ramble about! The first is, of course, the Library Pavilion Discord server you guys kindly welcomed me to back in March. I've never had a steady community throughout my time in fandom, and it's been a wonderful chatting in there about ships and writing and fics and all that good stuff.

The second is from when I was writing for the Witcher last year. I had several fics I was proud of but was later forced to orphan for personal reasons, but I went back months later to find that a group of people had podficced one of my stories after I orphaned it. They already knew I'd abandoned this fic and would mostly likely not know what they did with it, but they loved it enough to record it anyway, and it still brings me so much joy to remember that.

Thanks for the ask!

#writing #fanfiction #ask game #ashton answers #eldritch-elrics

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callonpeevesie · 4 years

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Things that bother me about Percabeth

Warning: this is going to be long and I'm not even sure if this will make sense. Also don't read this if you aren't open to criticizms of Percabeth.

Percabeth is a good ship, or at least has potential as one, but it has many legit flaws (this and this go into the flaws. By the way, go check out @takaraphoenix's Riordan crit) and I have some personal grievances. I'll write this out to understand my stance better because I need to get this off my chest.

I believe most people wouldn't agree with me on all this, but this post is entirely self-indulgent and I'm doing this for catharsis, so don't come at me. This isn't an objective analysis, just me trying to clear my thoughts. But feel free to share your opinions if you want.

Evolution in PJO

This is a pretty general point. I love the evolution of their dynamic in pjo. Their bickering, them opening up to each other and becoming so important to each other, the slow and steady buildup, it's great. Heck, I love slow burn. They have some good moments in pjo: Annabeth opening up to Percy on the zoo express, the scene with the sirens, Percy doing everything he did to save Annabeth in ttc, their conversation after Annabeth took the knife for Percy in tlo. (The underwater kiss is not one of my favourite moments, I'll come to that later.)

The romantic evolution, though, I'm not sure. I enjoyed it in ttc, there were small subtle hints like Aphrodite's scarf, or Aphrodite looking like Annabeth to Percy. But it became kind of tiring in botl onwards. Annabeth was extremely possessive and awful to Rachel. And in tlo things became a bit over-the-top.

I think Rick tried to establish them as the Most Important Person to each other. I don't like that. This is more apparent in HoO. I'll come to hoo later, but there is one instance of this in tlo: Percy seeing Annabeth in the Styx. Like one of the posts I've linked above says, it's shippy nonsense. It comes from the idea that one's romantic partner must be the most important. It doesn't make sense. I think Percy should have seen his mother in the Styx. It would make sense for Sally to be Percy's anchor, considering how much she means to him.

In short, their enemies-to-friends evolution was great, their friends-to-lovers evolution started out fine but became too much for me, and their friends-to-Most-Important-Person-to-each-other evolution was unnecessary and forced.

Luke

Luke and Annabeth's romantic subplot didn't need to exist. This isn't exactly Percabeth, but I'll say it here anyway. First of all, there's a seven year age gap, so Luke returning Annabeth's feelings is creepy. And it seems pretty unnecessary to me. It's also a bit of a mess. In tlt Annabeth blushes when Luke is around, and Luke says 'She's like my little sister.' In tlo Luke asks Annabeth if she loved him, and she says 'You were like a brother to me.' This part feels like Rick trying to add last-moment tension to Percabeth by making Luke a potential 'rival' to Percy. In the Staff of Hermes Percy says Annabeth had a crush on Luke, and as she got older, Luke had a crush on her too. Just ... Why?

They and Thalia were each other's first friends. Annabeth looked up to Luke and Luke was fond of Annabeth. That is enough reason for Annabeth to be hurt and for Luke to care about Annabeth. That is enough to set up their post-betrayal dynamic. The romance thing was completely unnecessary.

Rachel

I absolutely hate the way Annabeth treated Rachel. If there is one thing I despise about romantic subplots, it's justifying bitchiness with romantic jealousy. I guess it's okay to feel a little jealous or even possessive, and I can kind of see where Annabeth was coming from, but treating someone like shit because of that, especially in the middle of dangerous quests, is not okay. It's petty and immature. (It could be argued that Annabeth was mad because Rachel got to lead her quest, but let's be honest, she wouldn't have been that mad if it were anyone else. She specifically treated Rachel like that out of jealousy.) It was never called out and Annabeth never seemed to regret it. This bothers me so much. Fanfiction is a good coping mechanism, I suppose, but I'm here to complain about canon, not cope with it.

Speaking of Rachel, Perachel could have been a good ship. A demigod looking for a normal life and a mortal with clear sight. This elaborates on that pretty well. At the end of tlo it really felt like Rick had to get Rachel out of the way to make way for Percabeth.

Annabeth seems to be too demanding

Annabeth's attitude towards Percy bothers me sometimes. She's a good character and has a strong dynamic with Percy, but she's a bit tiring with regards to Percy (in a romantic sense; she's fine as his friend). I mean look at this quote from tlo:

I can't pretend I hadn't thought about Rachel. She was so much easier to be around than ... Well, than some other girls I knew. I didn't have to work hard, or watch what I said, or wrack my brain trying to figure out what she was thinking.

Percy feeling that way about Annabeth - his best friend of four years - just doesn't sit well with me. Percy straight up admits he's more comfortable with Rachel than with Annabeth.

There's more: Annabeth punching Percy when he asked who he should dance with in ttc, the way she treated Rachel, the way she behaved towards Percy regarding Rachel in botl, judo flipping him in moa. It's pretty tiring in general. Now that I think of it, this wasn't a thing before the romance showed up. Their dynamic was better in the earlier books in general.

Also personally I'm not a fan of Annabeth constantly calling Percy Seaweed Brain. This and this nicely sum up how I feel about that. Annabeth making fun of Percy's intelligence even after getting to know him makes no sense, especially as he was insecure about his intelligence. (And yes, I know she thought he was intelligent, as she said in the Demigod Files, but that doesn't cancel out the million times she called him stupid to his face.)

They became too couple coded

I've seen people say that Percabeth is better as friends than as lovers, and honestly I agree, and I've done some thinking to figure out why. I think it's because of the way they were written after they became a couple. They could have been fine as a couple, if they were written differently.

They started out not being able to stand each other, then gradually, they went through a lot together, got to know each other, learned to work together, and became a team. That was a great evolution, like I said before.

And like I also said before, everything I dislike about Percabeth showed up with the romance. Annabeth became catty and possessive. They became a couple. And it was as if the friendship wasn't there anymore, just the romance. They became like a cliche unreasonable girlfriend and clueless boyfriend. This is especially obvious in the beginning of Percy Jackson and the Staff of Hermes. Where's the friendship? Where's the comfortable bantering? Where's the known-each-other-for-years soundness? Hoo Percabeth just doesn't live up to pjo Percabeth at all.

(Also this is a personal bias of mine, but I'm partially romance repulsed. I can't stand cheesy romantic coded stuff. I only like lovers if they're also friends. So I guess I'm kind of pissed about Percabeth becoming so couple coded after becoming a couple.)

Their HoO dynamic

This is a related point. Like I said, hoo Percabeth doesn't live up to pjo Percabeth. All they care about is each other. They literally don't think about anyone else at all. Percy loses his memory and he remembers Annabeth. Why? Does Hera ship Percabeth? If he remembered anyone, it should have been his mom, like in the Styx. The only reason Percy remembered Annabeth, i.e Annabeth was made out to be more important to Percy than everyone else (including Grover and Tyson and Sally 'best person in the world' Jackson) is that she was his romantic partner. Again, it's shippy nonsense.

And there's this reveal that Annabeth had a crush on Percy all along. Are you kidding me? It completely retcons the enemies-to-friends development. Are you telling me that the Percabeth evolution in pjo where they learned not to hate each other was a lie? That Annabeth gradually opening up to Percy and coming to appreciate him was her acting out of a crush? I'm not believing that, no way.

I'm probably not making any sense, but my point is that Percabeth in hoo in cheesy and can't go one day without each other and people love it but I don't. It kind of messes up their previous dynamic, which is a shame because I liked pre-hoo Percabeth.

Rick seems to go overboard sometimes

I'm about to get a little controversial here. Many of the Percabeth posts in those tumblr screenshots going around social media are about the campers shipping Percabeth, or Arachne making Percabeth fanart, things like that. My theory is that part of the reason Percabeth is so popular is that the characters ship it. And Rick kind of goes overboard with that - not just with the in-universe shipping, with the ship itself.

Prime examples of going overboard are Percy seeing Annabeth in the Styx and remembering Annabeth when Hera took his memory, which imply that Annabeth was objectively the Most Important Person to Percy. I've already ranted about these above so moving on to the part about the in-universe shipping. Like I said, I'm not a fan of the underwater kiss. It's because of the situation involved. The campers just won a war and lost their friends and siblings, Clarisse just lost Silena, you'd think they'd have other things to care about than Percy and Annabeth kissing, at least for one day. And why did Arachne make fanart of that? How did she even know? There was also the matter of moving to New Rome - them wanting to move halfway across country to live together, away from New York, doesn't really make sense to me. This post elaborates on that and suggests better alternatives.

Of course, the author has complete control over the narrative, and the author wants you to believe they are making sense. And when the characters believe that too, it becomes harder for readers not to. When all the campers ship Percabeth, it's enough to convince half the readers to ship it too. (And of course, the pjo fandom has an unhealthy thing with canon ships.)

It's pretty much kept up by the fans

While we're at it, let's talk about the out-of-universe shipping. The fandom has always shipped Percabeth, partly just because they are the male lead and female lead of a series. Percabeth was set up to happen, so when Rick introduced Rachel, who actually made Percy feel good about himself and let him be himself around her, and whom Percy was interested in, he had to get her out of the way. I'm not sure I can explain it, but the Percabeth ending in the first series feels very fan service-y to me.

Platonic Percabeth vs romantic Percabeth

I think everything I've said above just explains why Percabeth worked better as friends. The had a great friendship arc and became two friends who know each other inside out, butt heads a lot but love and respect each other deeply. And then when the romance happened, Annabeth began to show these romanticized but actually toxic girlfriend stereotypes - being jealous and possessive, expecting Percy to read her mind and getting pissed when he can't, etc.

The fandom thinks those traits are okay, because they are normalised in society. People think that's how couples should work (it's not). And so the reasons I don't like Percabeth are the same reasons many people do. The date in the beginning of Staff of Hermes makes me cringe, because they were friends first and friends don't work like that. But no doubt there are many people who find it cute because society loves to romanticise the unreasonable girlfriend and clueless boyfriend trope. There are plenty of people who romanticise Annabeth judo flipping Percy or treating Rachel like shit, because things like that are normalised but I personally can't stomach them at all.

Anyway, those toxic traits come with the Percabeth romance as a package deal and there's no getting rid of them. That's why Percy and Annabeth worked better as friends, and why I feel things would be better if they just stayed friends. There was none of that tiring crap pre-romance. I can't stress this enough, I really loved their friendship in tlt or som. But when their dynamic evolved to romance, it messed up their friendship. There was a specific moment in botl when Percabeth began to feel off for me.

'She will calm down,' Chiron promised. 'She's jealous, my boy.'

'That's stupid. She's not... it's not like...'

Chiron chuckled. 'It hardly matters. Annabeth is very territorial about her friends, in case you haven't noticed. ...'

I don't know why this moment specifically, but this kind of marked a change for me. This is where Percabeth became seriously romantic, and I didn't like the related developments. This was the beginning of Annabeth's jealousy.

So what would I prefer?

I'll be honest, I shipped Percabeth for a while, probably because I love some friends-to-lovers. So I was going to make a list of things I'd change about Percabeth. I wanted to make some self-indulgent UAs (universe alterations) to fix the things I don't like. But then I started writing this thing and read up on other posts and stuff and I realised the list of things that bother me is huge and I could never make Percabeth work for me without messing everything up. So I just gave up shipping it entirely.

What I would prefer is an AU where Percabeth stays platonic forever (@elf-loving-dragon has been encouraging that idea as well). They were great as friends and I want that back. It would be so refreshing to have the male lead and female lead not end up together. Annabeth could end up alone, and still get her something permanent with her friends and camp. It would be so beautiful if something completely romance-free was specifically stated as permanent, because friendships in media deserve as much love as romance.

As for Percy, he could end up either alone or with Rachel. I don't ship him with anyone else rn. While I have made it obvious that I like Perachel, I still don't know if I actually ship it, and the idea of Percy ending up alone is not too bad either. (Update: I stan platonic Percabeth and qpp Perachel now.)

I promise I'm done now. Whew. If you've made it to the end of this long repetitive introspection, congratulations. If you agree, feel free to tell me, and if you want to argue, go ahead, I wouldn't mind listening to others' opinions. If you read this and hate me because of this just keep that to yourself. I have no patience for people who attack those who don't agree with their ship. K thanks, bye.

#pjo #heroes of olympus #hoo #tagging as #anti percabeth #so shippers can avoid this #percy jackson #platonic Percabeth ftw #rr critical #perachel #sally jackson #rachel elizabeth dare #peevesie writes #original content #annabeth bashing

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gascon-en-exil · 3 years

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A Game of Thrones 10th Anniversary Season Ranking: Part 2

Link to Part 1

Time for the bottom half of the list. The four seasons here will surprise no one, but the order might.

#5 Season 6

You can tell what I most what to talk about here...but there's an order to these things.

S6 actually has a bunch of great ideas, but they drown beneath the most slapdash plotting and character work the show has seen yet in order to set the stage for the narrower conflicts of the last two seasons. It's notorious for bringing back characters who haven't been seen in a season or longer only to kill them off (Balon Greyjoy, Osha, Hodor, the Blackfish, Rickon, Walder Frey) or awkwardly graft them back into the main plot (Sandor Clegane, Bran). There are plot threads that ought to be compelling but are too rushed in execution, like the siege of Riverrun, Littlefinger's hand in the Battle of the Bastards, or Daenerys's time back among the Dothraki and then finally getting the hell out of Meereen. Arya hits on the only interesting part of her two-season sojourn in Braavos - a stage play, of all things - only for it to stumble at the end with a disappointing offscreen death and some incomprehensible philosophy ahead of the start of her murder tour of Westeros. There's also so much cutting off the branches, enough to be conspicuous; the final shot of Daenerys leading an armada of about half the remaining cast she assembled partially offscreen says that better than anything else. Well, not anything....

Highlight: Without exaggeration, the opening of S6E10 is easily my favorite sequence in all of GoT. The staging, the music, the mounting suspense even as it becomes increasingly obvious what's about to happen, the twisted religious references particularly in Cersei's mock confession to Unella, Tommen throwing himself out a window because he can't deal with the reality of how terrible his mother is, how Cersei gives absolutely no fucks whatsoever about murdering hundreds of people at once in a calculated act of vengeance largely prompted by her own poorly thought out actions - I love it all. It's the single most masterfully-executed act of villainy in the whole show - Daenerys torching King's Landing probably has a higher body count, but the presentation there is all muddled - and if I had any doubts about Cersei being my favorite multi-season major character they were silenced in this moment. The explosion of the Sept doesn't sit perfectly with me, because I liked the Tyrells and because of what I said about deaths like theirs and Renly's in the previous post under S2, but I think that unease only cements the strength of this sequence. It's an overused phrase in fandom these days, but GoT at its best is all about moral greyness that gives its audience room for multilayered reactions. Cersei nuking the Sept and making herself the sole power in King's Landing, which in a sense is just a more overt example of the kind of character/plot consolidation elsewhere represented by Daenerys's armada, is one of those events that's impossible to approach from a single angle if you care about any of the characters involved. And hey, it's not in the books (yet, presumably), so unlike Ned's death or the Red Wedding the GoT showrunners can take the credit for realizing this one.

Favorite death: Even leaving aside the Sept and related deaths there's a lot of good ones to choose from in S6. Ramsey is cathartic but too gory for me, Osha's was a clever callback but a little delayed, it's hard to pin down specific deaths when Daenerys incinerates the khals, and Arya only gets half credit for Walder Frey and his sons when she saves the rest of the house for the opening of S7. I'm thinking Hodor, not so much because I enjoy his character or the manner of his death but because it's a clever bit of playing with language (that must have been hell to render in other languages for dubbing) wrapped up in some entertainingly murky consent issues and some closed time loop weirdness. It's all very...extra? Is that the word for it?

Least favorite death: Offscreen deaths continue to be mostly letdowns, in this case Blackfish and the Waif. Way to botch the ending of Arya's already near-pointless Braavos arc, guys. Speaking of Arya, this spot goes to Lady Crane, whom the Waif somehow kills with a stool or something. It's a dumb way to send off an entertaining minor character.

#6 Season 8

I swear that I'm not putting S8 this high solely because of Jonmund kind of sort of happening. I've never been very interested in either of them and the sex would be far too bear-on-otter to suit my pornographic preferences, but even so the choice to close out the series with them is hilarious.

I really don't need to elaborate on why S8 is down here; everyone who's ever watched the show has done as much in the nearly two years since it wrapped up. I do however need to explain why I've ranked not one but two seasons below it. My biggest argument here is that I don't believe it's fair to critique S8 for problems it inherited from earlier seasons. A non-comprehensive list:

Mad Queen Daenerys: unevenly built up beginning from S1 and continuing in some form through every following season

The questionable racial optics of Dany's army: also seeded as early as S1 and solidified by S3 with the Slaver's Bay arc

Cersei only succeeding because she makes stupid decisions and then lucks out until she doesn't: apparent from S1, directly lampshaded by Tywin in S3, fully on display with the Faith Militant arc of S5-6

Jaime not getting a redemption arc or falling in love with Brienne: evident with his repeated returns to Cersei throughout the show as one of the most consistent elements of his character, particularly in S4 and during the siege of Riverrun in S6

Tyrion grabbing the idiot ball/becoming a flat audience surrogate mouthpiece: started in S5 around the time the showrunners ran out of book material for him and wanted to make him more of a PoV character and his arc less of a downward spiral, although I've seen arguments that changes from the books involving his Tysha story and Shae set him on this trajectory even earlier

The hardening of Sansa's character: began in earnest in S4 and never let up from there

The strange ordering of antagonists: set down by S7's equally strange plot structure - the Night King had to come first with that setup

CleganeBowl and the dumber twists: from what I've heard the whole thing of writing around fans on the internet guessing plot twists started pretty much when the book content ended, so S5-6 maybe?

Yes, there's plenty to criticize about S8 on its own merits...but just as much that was merely the writers doing what they could at that point with deeply flawed material.

Highlight: This may sound cheesy, but the better parts of S8 are almost all the cinematic ones, whether that's E2 being a bottle episode with tons of poignant character send-offs before the big battle, a handful of deaths with actual satisfying weight like Jorah's and Theon's, and an epilogue that incorporates both closure for individuals and the broader uncertainty of messy socio-political systems that GoT has always been known for before working its way back to the Starks at the very end for some tidy bookending. Even imperfect moments like the Lannister twins' death and the resolution of Sansa's character felt weighty and appropriate based on what had come before.

Favorite death: Forget about the audio commentary attempting to flatten Cersei's character; Cersei and Jaime Lannister have an excellent end. Cersei especially, as the scenes of her stumbling her way down into the catacombs as the Red Keep crashes down around her really show off how her world is abruptly falling apart and how she retreats into her own self-interest at the end in spite of her demise being at least partially of her own doing. There's some stupid moments associated with these scenes, like Jaime dueling Euron to the death and CleganeBowl, but I can excuse those when the twins end up dying exactly where you'd expect them to: in each other's arms, in a ruined monument to their family's grand ambitions that, like Casterly Rock itself, was taken from another family.

Least favorite death: Quite a few dumb ones in S8 have become forever infamous. Missandei sticks out, and for me Varys too just as much because of how the writing pushes him to do the dumbest thing he could possibly do purely for the sake of killing him off ten minutes into the penultimate episode. But no one belongs here more than Daenerys Targaryen, killed at the height of a rushed and uncertain villain reveal by a man who takes advantage of their romantic history (who is also her family, because Targaryens) to stab her in a moment of vulnerability - pretty much only because another man tells him that Daenerys is the final boss. Narratively speaking that might be the case, but even so this is the end result of multiple seasons of middling-to-bad buildup. Not even Drogon burning the symbolism can salvage that. Also Fire Emblem: Three Houses did this scene and did it better.

#7 Season 5

...Yeah, we're going to have to go there.

Sansa's rape is not a plot point that personally touches me much. It's terribly framed in the moment and the followup in later seasons is inconsistent at best, but it's not a kind of trauma I can relate to. On the other hand, in the very same episode Loras is tried and imprisoned for homosexuality, and Margery faces the same punishment for lying for her brother. That hits much closer to home, not just for the homophobia but also for the culture war undertones of the not!French Tyrells persecuted by a not!Anglo fanatic who later reveals himself to be the in-universe equivalent of a Protestant. The trial is just one part of Cersei's shortsighted scheming, just as Sansa being married off to Ramsey is part of Littlefinger's, and both of them get their comeuppance in the end...but it's unsettling all the same. I especially hate what the Faith Militant arc does to King's Landing in S5, swiftly converting it from my favorite setting in GoT to a tense theocratic nightmare that only remains interesting to me because Cersei is consistently awesome. What's more, pretty much everything about S5 that isn't viscerally uncomfortable is dragged out and dull instead: the Dorne arc, Daenerys's second season in Meereen, Arya in Braavos, Stannis and co. at Castle Black. The most any of these storylines can hope for is some kind of bombastic finale, and while several of them deliver it's not enough to make up for what comes before, or how disappointing everything here builds from S4. S4 has Oberyn, S5 has the Sand Snakes - I think that sums up the contrast well.

Highlight: S5 does get stronger near the end. As much as his character annoys me I did like the High Sparrow revealing his pseudo-Protestant bent to Cersei just before he imprisons her, and there's a cathartic rawness to Cersei's walk of atonement where you can both feel her pain and humiliation and understand that she's getting exactly what she deserves (and this is what leads into the climax of S6, so it deserves points just for that). The swiftness of Stannis's fall renders his death and that of his family a bit hollow, but it's brutal and final and fittingly ignominious for a character with such grand ambitions but so little relevance to the larger story. The fighting pits of Meereen sequence is cinematic if nothing else, and even the resolution to the Dorne arc salvages the whole thing a tiny bit by playing into the retributive cycles of vengeance idea (and Myrcella knows about the twincest and doesn't care, aww - no idea why that stuck with me, but it's cute all the same). Oh, and Hardhome...it's alright. Not great, not crap, but alright.

Favorite death: I don't know why, but Theon tossing Myranda to her death is always funny to me. Maybe because it's so unexpected?

Least favorite death: Arya's execution of Meryn Trant is meant to be another one of the season's big finale moments, but the scene is graphic and goes on forever and I can't help but be grossed out. This is different from, say, Shireen's death, which is supposed to be painful to witness.

#8 Season 7

I can't tell if S7's low ranking is as self-explanatory as S8's or not. At least one recent retrospective on GoT's ruined legacy I've come across outright asserts that S7 is judged less harshly in light of how bad S8 was. If it were not immediately obvious by where I've placed each of them, I don't share that opinion.

Because S7 is just a mess, and the drop-off in quality is so much more painful here than it is anywhere else in the series except maybe from S4 to S5 (and that's more about S4 being as good as it is). The pacing ramps up to uncomfortable levels to match the shortened seasons, the structure pivots awkwardly halfway through from Daenerys vs. Cersei to Jon/Dany caring about ice zombies, said pivot relies largely on characters (mostly Tyrion) making a series of catastrophically stupid tactical decisions, and very few of the smaller set pieces land with any real impact as the show's focus narrows to its endgame conflict. As with S6 there are still some good ideas, but they're botched in execution. The conflict between Sansa and Arya matches their characters, but the leadup to that conflict ending with Littlefinger's execution is missing some key steps. Daenerys's diverse armada pitted against Cersei weaponizing the xenophobia of the people of King's Landing could have been interesting, but there's little room to explore that when Cersei keeps winning only because Tyrion has such a firm grip on the idiot ball and when Euron gets so much screentime he barely warrants. Speaking of Tyrion's idiot ball, does anyone like the heist film-esque ice zombie retrieval plotline? Its stupidity is matched only by its utter futility, because Cersei isn't trustworthy and nobody seems to ever get that.

And how could I forget Sam's shit montage? Sums up S7 perfectly, really. To think that that is part of the only extended length of time the show ever spends in the Reach....

Highlight: A handful of character moments save this season from being irredeemable garbage. As you can guess from my screencap choice, Olenna's final scene is one of them, even if Highgarden itself is given insultingly short shrift. S7 also manages what I thought was previously impossible in that it makes me care somewhat about Ellaria Sand, courtesy of the awful death Cersei plans for her and her remaining daughter. The other Sand Snakes are killed with their own weapons, which shows off Euron's demented creativity if nothing else. I like the entertainingly twisted choice to cut the Jon/Dany sex scene with the reveal that they're related. And, uh...the Jonmund ship tease kind of makes the zombie retrieval team bearable? I'm really grasping at straws here.

Favorite death: It's more about her final dialogue with Jaime than her actual death, but again I'm going to have to highlight Olenna Tyrell here for lack of better options. She drops the bombshell about Joffrey that the audience figured out almost as soon as it happened but still, makes it plain what I've been saying about how Jaime's arc has never really been about redemption, and is just about the only person to ever call Cersei out for that whole mass murder thing. There's a reason "I want her to know it was me" became a meme format.

Least favorite death: There aren't any glaringly bad deaths in S7, just mediocre or unremarkable ones. I still think the decision to have Arya finish off House Frey in the season's opening rather than along with their father at the end of S6 was a strange one that doesn't add much of dramatic value.

#Game of Thrones #GoT

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perfectlywisedelusions · 3 years

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The Live Action Mulan Is Unintentionally Hilarious

There are some things I liked about the live action remake of Mulan. The cinematography is excellent, and the locations are beautiful. The action is well choreographed and shot, for the most part. Like all Disney remakes, the sets and costumes are excellent. The score is pretty good. The movie looks nice. Now, it’s time for the things that came across as hilarious.

The acting is consistently mediocre. The best actors are the guy who played the one love interest, and Bhori Khan. Everyone else is really mediocre or bad, or we don’t see enough of them to judge. (I am leaving Rosalind Chao out of this because my Trekkie heart wants to defend her, but she has to try and cover up her very American accent and it’s pretty funny.) Mulan really never shows any emotion, nor does anyone else. (Although the actress who played Mulan was really good at martial arts and did a lot of the stunts, so she gets some acting forgiveness.) Our main characters are faced with death, and they never react at all. By far the worst actor is the emperor, who is supposed to be wise and stern but comes across kind of like a robot. When he’s in the throne room, his line delivery is hilarious. He kind of sounds like a not angry version of Anthony Hopkins in Thor: The Dark World.

The CGI in this movie is atrocious. It is funny how bad it is. The phoenix looks awful. At the end of the movie, there’s this CGI molten metal that looks really bad. There’s a scene where Mulan’s battalion discovers a group of dead soldiers, and they tried to turn the sky gray in post. It looks so bad, especially since the dead soldiers don’t look good either. It’s supposed to be a sad scene, and it’s funny instead. The witch transforms into birds a lot, but the CGI is so bad that they have to cut away or only show reflections of her full transformations. This happens almost every time she transforms and it’s hilarious once you notice it.

Even the characters’ actions are kind of funny. Mulan never thinks to tell the Matchmaker that there is a spider under the teapot, even though it is a good excuse for why she moved it in the first place. There is no reason for her to keep it secret. The general decides to take his entire army out of a fortified garrison to fight mounted troops on a battlefield. His army has, like 6 cavalrymen, and he still goes out and fights. Facing down an army on horseback when you’re on the ground will not end well. This decision is so stupid and destined to fail it’s funny. The Chinese Army doesn’t even have gunpowder or ranged weapons aside from archers, which the bad guys have, too. (Even though China had gunpowder at the time of the Silk Roads.) Anyway, the whopping 6 cavalrymen all die, and Mulan decides to go after the twelve horsemen who killed them. She follows them, at a slow pace, into a geothermal area where the horsemen have disappeared and she fights the witch. She is on what I’m guessing is a buildup of sulfur or other minerals, and we see it beginning to crack. There is a shot devoted to showing that the ground is breaking. Rather than using this to her advantage while fighting the witch, Mulan gets thrown against a wall. All she had to do was to plunge her sword into the ground. She might die, but she’d at least take the witch with her. After fighting Mulan, the witch turns into a bunch of small birds and goes to “attack” the Chinese Army. She turns the movie into Birdemic temporarily, and the army hides out under their shields. They are literally being dive-bombed by sparrows. Worst case scenario they have a few scratches. Then Mulan, rather than going after the twelve horsemen she was after in the first place, decides to go help her friends who she doesn’t know are in real danger. She gets the enemy soldiers to shoot their catapult at her, but the operator is off by 2,000 feet at least. He shoots nowhere near where he thinks the enemy is. He is so off of his target that it’s funny. Mulan returns to her friends and has to leave, but would rather be executed than sent home. She doesn’t consider that her family might want her back alive, and instead wants to die. (She later gets praised for her devotion to her family. And while this is trying to make a point about honor, we never see exactly what dishonor does to a family. The characters say dishonor is bad, but we don’t know why.) Anyway, Mulan then meets the witch again, who says that Bhori Khan is going to take the Imperial City and kill the emperor. That is all that the witch says. This is basically what Bhori Khan’s plan would have been in the first place. He’s trying to conquer China. He’ll probably go for the capital city and the ruler. But Mulan takes this to mean that Bhori Khan and his army are at the gates of the Imperial City, and no army is close enough to stop them. I have no idea how she arrived at this conclusion. Upon being told that the people conquering China were going to take over the center of power, without being given a specific time frame as to when this will happen, Mulan somehow believes that Bhori Khan is right outside the Imperial City and that no one is close enough to stop them. HOW DID SHE COME UP WITH THIS? She manages to get her 6 friends to go help defend the city.(Note-six people will be no help against an invading army.) There’s already a small army inside the city, and then six people show up to help. It’s so pathetic when they show it in the movie. The emperor gets kidnapped and taken to this building that is currently being constructed. Bhori Khan decides to burn him alive by tying him to the top of the building, then he melts metal? He has a vat of melted metal and then three pipes of fire. First of all, it’s impossible to get metal heated to the point where it is liquid without proper equipment. Bhori Khan didn’t have any equipment. Also, what was his plan? Was he going to let the melting metal catch the building on fire? He could have just set the building on fire but instead he wanted molten metal to slowly catch it on fire. Seriously. The molten metal is so random that it’s funny. IT LITERALLY HAS NO PURPOSE TO BE THERE EXCEPT TO DESTROY MULAN’S SWORD AND IT’S SO LAZY. I thought that Bhori Khan was going to pour molten metal down the emperor’s throat, because that happened in history before. But no. The metal is just randomly there. Then Mulan and Bhori Khan fight. The end fight is literally the fight in the blacksmith shop in Pirates of the Caribbean but in a building. Melting metal? Check. Balancing on the rafters? Check. Sword fight? Check. Characters launching themselves up and grabbing onto said rafters? Check. In the end, to kill Bhori Khan, the emperor grabs an arrow and uses Mulan for an assist combo kill. He literally tosses her an arrow so she can kick it. It was really stupid. The end where Mulan returns home is okay. That’s it.

The humor was not great. The one lighthearted, “funny” scene was that of Mulan getting ready for the Matchmaker, and it felt really out of place. There were some fun moments, but not much. One of the “jokes” was when one of the characters, a young, innocent boy started crying at the beginning of training. To me, this was a really relatable moment. This kid had been forced to leave home and had to train very hard under the impending threat of death. Anyone might have cried in that moment. Then the general went “Is he crying?” like that was ridiculous. It was supposed to be a joke, but that moment was literally the most connected I ever felt to any character and they made it out like his crying was stupid. I felt attacked. This movie had very little personality. The characters had very little personality. They weren’t relatable in the slightest, and when they were, they were shunned for it. Any of the strong characters, like Mulan, were special and basically had magic. It was a decent action movie, but it tried too hard to remind fans of the original. If they had tried to make it their own war movie about a girl who had to hide her skills and overcome the sexism of Ancient China while fighting in a war against a witch, it could have been okay. However, they tried to include scenes from the original that didn’t work with the tone or concept. For instance, Mulan creates an avalanche by tricking enemy soldiers into shooting a catapult at her. This shows that she might be smart, but she doesn’t think about using the terrain to her advantage when fighting the witch. She could have broken the ground, or at the very least hidden in the steam around her and used surprise. The avalanche scene is the only scene where Mulan uses her smarts, and it’s only in the movie because it was in the original. Basically Disney tried to fuse their vision with enough scenes from the original to keep fans happy. It did not work. The only sad scenes were the ones that were supposed to be funny, and the sad and dark scenes were actually pretty hilarious. The end result? Disney lost $130 million.

#movies #movie review #mulan #mulan 2020 #disney #disney live action

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adamrevi3ws · 3 years

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Jedi: Fallen Order

When I finished playing DOOM, I told myself that the next game I would play wouldn’t be one that pissed me off. Unfortunately, Star Wars: Jedi: Fallen Order did not live up to those expectations.

While the source of my frustration with DOOM was mainly growing pains with its intense gameplay and action, Fallen Order mainly drew ire from me due to its unfinished and unpolished nature. Its publisher, EA, is in the same club as Ubisoft, Bethesda, and apparently now CD Projekt Red, often releasing games as broken glitchy messes when they first come out to meet quick deadlines. I’ve seen and heard how unplayable this game was at launch, and while it isn’t as bad as it was then, it still has enough subtle mistakes to ruin my gameplay experience. The main source of this and my frustration, in general, was the extremely finicky and unresponsive controls, particularly found in its two main selling points: platforming (and plot but I’ll talk about that later) directly lifted, if not plagiarized from the Uncharted games, and Dark Souls-esque combat gameplay. Nothing really lines up or “clicks” when it really needs to. Regarding the platforming, it feels like it takes a miracle to properly grab onto something and takes a thousand tries for a jump to work. When the double jump gets introduced, it really only works when the game, in its divine ignorance, feels the whim to let it work. A lot of reviewers complained about the difficult and unwieldy ice slide sequences in the game, and while I had my fair share of annoyance on a very specific ice slide, I think it’s just a symptom of a much larger problem. The combat shares this similar “the game only works when it wants to” problem. You don’t always dodge or block right when you want it to, but I think its biggest problem is healing. Instead of pressing a button and having part of your health restored, pressing said button instead “calls” your robot companion, which needs to do a special little animation and THEN you get healed, which takes a long 15 seconds. Not only does this waste a good amount of time in a game where time is absurdly precious in its hardcore combat, but every other time I tried calling the damn robot it straight up ignored me. I don’t know if this is a glitch, or it needs a cooldown period, or you can’t heal while being hit by an enemy, but it made the fights a lot more unnecessarily grating than they already are. Speaking of straight up screw you moments from the game, whenever I hit the “target” button in close combat with multiple enemies, it’d always target the farthest away enemy, for no reason. All of this is a shame because these main gameplay components are actually quite fun when they aren’t broken? A lot of the level design allows for really fast and exhilarating platforming that is absurdly fun when it syncs up, but that’s only, like half of the time. The combat can be enjoyable too, allowing for some great lightsaber duel boss fights, which can feel pretty cinematic when the combat actually works.

Outside of gameplay, the game’s unfinished nature shows itself a lot in its cutscenes. Its graphics just straight up dip and fail to fully render for 90% of these moments, often also feeling extremely choppy and cutting off a bit too soon. There was even one time an enemy was supposed to show up in a cutscene to initiate a boss fight but they just weren’t there and it was quite confusing because it felt like the main character was speaking to an empty wall. Around the middle of the game, both cutscenes and gameplay sequences would just freeze, and this is probably the first game I’ve played in a while to straight up crash on my PS4. If the developers took an extra, idk six months to actually fix this game a bit more I’d rate it a lot higher than I am now. I was actually warned about the game’s poor performance before playing, with a friend mentioning its horrible load times, but I didn’t know it’d be this bad. As my unopened copy of the infamous Cyberpunk 2077 waits on my mantlepiece for the developers to actually make it a playable game months after its release, I fear it may have the same fate as Fallen Order, still being quite a bit buggy and annoying over a year after its messy launch.

With its buggy and incohesive gameplay in mind, Jedi: Fallen Order’s strongest element is its plot. To my surprise, this is much less of a Star Wars game and more a game that just happens to be set in the Star Wars universe. Taking place between episodes 3 and 4, I kind of expected it to be an epic quest detailing the rise of the rebel alliance, but instead, I got a more generic treasure hunt storyline heavily reminiscent of the Uncharted series. Although this sounds quite disappointing, the game’s plot still soars in its great character arcs and setpieces interspersed the vague framework of its less-than-original overall plot. Combine these great individual moments with an absolutely bombastic ending and it almost makes trudging through the glitchy gameplay worth it. This is elevated by some great voice acting performances, particularly from Cameron Monaghan, who gives a movie star performance to the main character, even in a lot of moments where he doesn’t have much to work with. The setting is also a high point. Disney’s milking of Star Wars has led to a variety of media set between episodes 3 and 4, this game feels particularly special because it is more focused on the aftermath of Episode 3 rather than the buildup to Episode 4, which I think the rest of the media in this era is focused on. It’s clear that there are so many parts of the game that the studio put a lot of love in, ranging from the plot, to the memorable soundtrack (Mongolian throat singing, anyone?), to even the hilarious enemy dialogue, I just wish they put this amount of effort to make the game fully playable.

The one elephant in the room regarding this game that I haven’t mentioned so far is the game’s worlds/levels themselves. They aren’t annoyingly unpolished like the gameplay but aren’t really a labor of love either. Instead what we get is an admittedly gorgeous maze of areas within a few planets, constantly getting more twisty and confusing as you go on. It may visually resemble an open world, but it is very much a series of paths that make you go “hmmmm, should I go back to that other branching path to see if there are any healing upgrades or character customization options I can collect?” There’s nothing wrong about this MetroidVania style format, but frankly it’s not my type. A lot of the areas look visually similar so it’s quite easy to get lost, and despite each planet’s map being absurdly big, there’s no way to actually fast travel between areas, just between planets. Finally, the incentive to go back and explore isn’t particularly convincing, where the healing upgrades are a bit too well concealed and the character customization options are like, absurdly mid. This is the one time I actually wished an EA game had its own in-game currency so I could buy something cooler than “the same damn poncho you’re wearing except a slightly less boring color combination.” Come on, man! The one good thing I’ll say about the overall game world is that the in-game map highlights which paths you haven’t explored yet, making it much easier to get on track. While the game’s maze-like level style isn’t necessarily my thing, I think if the developers tried to make it a bit more interesting a lot of people would get a kick out of it.

Jedi: Fallen Order is a game that finally made me understand my college professors that went a bit too hard on my grammar mistakes when grading papers. The central content and ideas this game presents have a lot of potential, but they’re heavily weighed down by an infinite number of fixable mistakes. I give this game a 6.7 out of 10 stars.

#jedi: fallen order #jedi fallen order #cal kestis #star wars

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nellie-elizabeth · 3 years

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Supernatural: Despair (15x18)

I'm having an out of body experience, I cannot believe this. Last night was legitimately one of the weirdest nights of my life, and not just because of *gestures broadly* but also because of *gestures broadly* and myriad other small but still totally bizarre personal things coming at me from all angles... strap in, y'all, I've got some shit to say.

Cons:

We're gonna talk about it. Ohhhh, we're gonna talk about it. But let's start with some other shit before we get there.

So... are we ignoring "Dean was willing to let Jack sacrifice himself" or something? Like there was that moment with Sam and Dean where they talked about it, and Dean apologizes for pulling a gun on Sam, and Sam is like "oh it's okay Dean, no worries." But at the beginning of this episode, Dean seems to be just as worried for Jack, and as protective of him, as the others, with absolutely no acknowledgment of what happened in the last episode. This... should have mattered. There should have been some regrouping and some serious talks about this. Seriously.

The Thanos snap thing... guys, when Infinity War did it in 2018, it was kind of fun and shocking and cool, and we knew the deaths wouldn't be permanent but it was still wild to watch our heroes react to such an immense loss and then leave us all in limbo for a year. This... is not that. The sheer tone-deafness of having this episode contain a moment of domesticity for AU!Charlie and her cool egg-making girlfriend Stevie, only to have Stevie vanish... and then to end the episode with the biggest queer-bait/bury your gays moment imaginable... like...

Okay, sorry, no, saving the Destiel thing until I've sorted out the rest of this nonsense. The point is, seems pretty clear that the deaths in this episode (other than Cas') are temporary, and Supernatural already has the biggest power creep problem of any show I've ever seen... they really couldn't think of another way to up the stakes for the ending, other than doing the thing where everyone gets killed? Didn't... Crowley... already do this to them several seasons back? Am I hallucinating? There's nothing new under the sun with this show.

Why does this show introduce things and resolve them in a single episode? Like, big, huge things? We just figured out Death was trying to double-cross them, and now by the end she's dead? This show either limps along and does nothing, or speeds through plot stuff at lightning-speed. These last two episodes were big and dramatic and full of Plot but in a way where it all feels kind of unreal. Pacing issues like whoa.

And speaking of. Ahem. Okay. Let's... let's do this. I have some things about the Destiel scene that I'm going to put in the "pros" section below, and hopefully as you read on you'll understand why it's really hard for me to be black and white about it. If I had to, if I had to determine whether I am "happy" or "sad" or "grateful" or "angry" I'd say... sad and angry, 97%? Like? Let's dive in, here.

Setting aside the larger context, a couple of smaller notes:

Acting-wise, what the fuck was Jensen doing in this scene? Misha was acting his whole heart out and Jensen gave him nothing to play off of. I don't understand how Jensen accidentally played Dean so obviously in love with Cas all this time, and then in this moment, no-homo'd it so fucking hard. Even the stage directions in the script page that was floating around said that Dean didn't reciprocate. That's dumb, like, in a shipping sense it's disappointing, but also... Dean, what was your face doing while Cas gave his whole monologue about how amazing you are? What a great and loving man you are? Even if he hadn't ended the whole thing by saying "I love you" and then dying right in front of your eyes, surely you would have been feeling some kind of way about the whole situation?

Also, the scene was shot so awkwardly, there was too much space between them, and then Cas pushes Dean out of the way and he just sits there on the floor with Pikachu-face while The Empty opens up and takes Death and Cas away, making these weird shocked noises... Supernatural often has awkward pacing when dramatic things are happening in action scenes, where certain people have to stand still like it's not their turn on the initiative order in a D&D fight or something, and this was one of the more embarrassing and awkward examples of that.

Cas' deal with The Empty has not been brought up practically since it happened. Cas has been sidelined as a character a lot this season, the past couple seasons, really, but we had this hanging over our heads, right? When Cas says "I've figured it out, true happiness isn't in having, it's just in saying it", the moment doesn't really work on a character level, because we didn't get to see Cas do any of that figuring out. We didn't know he was curious about his true happiness, we didn't know it was an internal struggle/debate for him, wondering what it could be. A lot of Destiel people wanted it to be Dean confessing his love to Cas, and that being the true happiness... but of course that would never happen in a million years. Others thought it would be "yay we defeated the big evil, we can all be a happy family together," oh snap, I'm too happy, goodbye. Which would have been... weirdly anticlimactic, but at least would have made some level of narrative sense. This idea that telling Dean how he feels would bring Cas peace is... well, it's okay, it's fine in isolation, but there's no buildup to it, no tension to his moment of "realization."

And now to fry some bigger fish...

Let's forget about the fact that we never thought this would happen to begin with. Is it actually... worse that it did? Seriously, queer angel man confesses his love to stoic human man who stands there without making a single expression, and the act of confessing said love, knowing it's not reciprocated, knowing he won't get to be with Dean or even be near him ever again, is enough to make Castiel so truly happy that he's willing to die peacefully and forever, all in the act of saving Dean's life? Is that not... like... textbook homophobia? People toss around "bury your gays" a lot and I think what they're missing is that the trope doesn't automatically apply just because a queer character dies. It means a queer character dies because of their queerness, or they are revealed to be queer but can't get any measure of happiness and then they die immediately. This is textbook that. The act of confessing his GAY LOVE is what KILLED CAS. It's a one-to-one sequence of events. It's not a coincidence that Cas died right after saying this. Saying this is what made him die. That's... appalling. Truly, in a very real sense, it's appalling.

Another thing I haven't seen people talk about much is the manufactured nature of this sacrifice. We just found out Billie was going to turn on them at the end of the last episode. If Cas was going to die in a sacrifice-y way, did it have to happen now when Billie was basically just knocking on the door trying to get at Dean for a last-minute revenge thing, even though Billie was already at death's door? This was so contrived, like, can Cas not whoosh them away to somewhere else? Keep them running until Billie succumbs? I get that it wouldn't have been easy, and maybe Billie could have caught up to them anyway, but my point is, they manufactured this moment to be "the only way" that Dean could survive, making Cas' sacrifice so noble and necessary or whatever... but I was sitting there thinking there's got to be another way. If they'd wanted to write in another way, there could have been. The inevitability felt so very contrived. And, as mentioned, the impact of dying on this show has lost all meaning, so even Billie trying to kill Dean, squeezing his heart in his chest, did absolutely nothing for me. I knew he'd be fine, because there are two more episodes left. And if Cas hadn't been there to do what he did, Dean would still have been fine because he's Dean. Am I making any sense?

We have two more episodes left. I am... fairly confident Misha won't be in those episodes. All context, both within the show and without, points to that. I truly think that after all this time, he gets the only ending in the whole show that's unambiguously unsalvageable and tragic. We have a world where the afterlife exists and people can hang out there, but The Empty is a different beast, and this means Cas is... gone. Permanently. Like, his consciousness no longer exists, he's caput. They could bring him back from The Empty, in fact, they've already done it once... but if they decide not to, that's just... where we leave things, and that's brutal and unnecessarily grim. The other characters, even if we get an end-of-show TPK (which would be STUPID, more on that later), could at least have canon or implied-canon reunions in the afterlife. If we don't see Eileen again, we can get the implied ending of her coming back to life, or Sam dying and joining her in Heaven. Same with Charlie, with Charlie's new girlfriend, with Bobby, with Donna, with every other character that's died along the way, including Mary Winchester and OG Charlie, OG Bobby, whatever you want. The fact that Cas gets this, after everything, is truly the part I'm the most sad about, setting aside love confessions entirely.

So as I said, two more episodes. I'm worried that Cas dying is gonna get swallowed up with everyone dying and not get its due, thus making the confession completely isolated. Like, here you go, gays, have this one scene, which, in isolation is quite heartfelt from Cas' perspective, but can be carefully boxed up and not touched for the last two hours of the show. If they don't want to touch on how this would affect Dean specifically, they don't have to. He can be generally angsty and sad about Cas, but they could get away with never bringing it up again, and that is some grade-A level bullshit right there, my friends. At minimum, Dean needs to tell Sam about this. He probably won't, but he should, if the show has any sense of integrity left in its bones.

Ahem. Like I said, I have... lots of thoughts. More on Destiel later, but let's turn to the "Pros" section and talk about some other aspects of this incredibly crowded episode.

Pros:

Despite my issues with everything that didn't get resolved re: Dean letting Jack die, I did kind of like the "to somehow" scene, because it was a nice little breather for the brothers, it solidified them as being on the same side to the bitter end, that despite all the crazy shit they've been through, that they've put each other through, they'll have this as a bedrock at the end of the day. I'm not a brothers-only sort of fan, at all, in fact, I think a brothers-only ending betrays most of what's beautiful about this show in its good moments. But they are the stars, they are the protagonists, they should be the center of their own story, and I like it when we get check-ins like this, that shows how unshakable they are underneath all the other crap.

Charlie and Stevie... okay, cute that their names are like that, cute that Charlie said: "I liked the way she handled herself" and that's how they got together... eggs are cute, whatever... and if these deaths are impermanent, which... come on... they have to be, I do like that Charlie gets to have a girlfriend and be happy as a hunter and as someone's partner.

I liked the tense car ride with Sam texting Eileen, with Dean, Jack, and Cas all silent in the car with him... that was a nice moment of solidarity, all of them entirely on the same page about being there for Sam and helping Eileen however they could... even knowing the futility. What were they going to do when they got there? That was a great tension-building moment, in isolation, even though the deaths are likely temporary.

Cas and Jack's talk was good, I'll admit I've definitely been won over by Cas and Sam as Jack's dads... Dean too, once upon a time, but dude needs to do some groveling before he gets to be Dad again, seriously. It's nice that in the midst of all the chaos, there was a check-in moment. Jack is the embodiment of a lot of our end-game themes, here. He had a noble destiny to sacrifice himself, and then it fizzled out and didn't work, and now he's just left in the aftermath, not sure what to do with himself. It was important that Cas tell him that Jack is worthy of love and family, even if he's not "useful" in the way he thought he could be. Definitely nice to have that nailed in.

If we're following the Infinity War/Endgame line, the last two episodes will be majority Sam, Dean, and Jack, but at the last moment there will be a way to reverse it, and everyone else will come back in a moment of triumph. But probably not so much Castiel, which... well... see above complaints. The point is, seeing Charlie, Bobby, Donna, Eileen, etc. all burst forth for one final moment of glory could be really cool, if they manage to stick the landing with it. It'll be an incredibly manufactured sense of triumph and nostalgia, but it will probably work on me because it's been... guys, I don't know if you know this, but it's been kind of an emotional year. :)

I will say, working under the assumption that the dead characters will come back, I'm actually oddly... not mad about Donna dying. It was actually a legitimately shocking twist. A rule was set up: if a person had died before and been resurrected, or if a person was from another universe, they could be Thanos snapped by Billie. Makes sense. Sam and Dean are in danger because of all their deaths, Jack and Cas aren't safe for the same reason. Charlie, Bobby, Eileen... sure. But Donna should have been safe, given the parameters we started with.

And then Dean and Cas are confronting Billie, she says she's not killing anyone, we realize it must be Chuck... and then Donna, who isn't from another world, who has never died... GONE. I gasped.

And the hits kept coming... Billie is dying because Dean killed her with that small wound, and didn't even know it. That's another excellent twist. The past two episodes, back to back, have kept me on my toes about who to ultimately be afraid of. Chuck? Billie? The Empty? It's so much better than this slow march to Chuck vs. Sam and Dean that we've been getting all season, even if we do loop around to Chuck again as the final Big Bad.

The Empty is actually quite a complex, interesting idea for a villain, this entity that doesn't get involved in petty squabbles, doesn't have personal vendettas, but actually just wants to sleep and be left alone. Having Meg be the Empty's face here at the end is also a nice touch. I wish we could have had more of this, truthfully, and I'm curious how The Empty will play a role in how things shake out, if at all.

So... I want to go back to something I've been saying these past couple episodes, about how if this show has a grimdark ending, it will be a betrayal of everything they've set up. It will be so stupid that my anger will manifest in yet another round of hysterical giggles. What I suspect is that we'll get something peaceful, something where trauma will linger but people will get to start anew. Maybe Jack creates a new world outside of Chuck's power. Maybe Sam and Dean take over as God and the Darkness, as some people suggested, and Jack is the new Death. Maybe maybe maybe. Bottom line, I could be satisfied with the majority of this ending, and I can even (obliquely, reluctantly) understand that they wanted one final perma-death to really make the stakes feel higher. If they aren't killing off the Winchesters, that leaves Castiel. So what I'm saying in this paragraph is basically that I'm not guaranteed to despise the ending of this show yet. They could still get it right.

God, that sounds pretty bleak, doesn't it?

Before I end this, I want to talk about, as promised, the few Destiel-related points that I'd classify as "pros", albeit with a big asterisk.

First off, Misha clearly found the moment very cathartic, and he pulled out all the stops, and, in isolation, the confession was hella romantic and quite poignant. Without context, just reading these lines? "The one thing I want, it's something I know I can't have" and "because you cared, I cared. I cared about you, I cared about Sam, I cared about Jack, I cared about the whole world because of you..." like, that's some premium content, I won't lie. I also kind of enjoy the idea that Cas finds happiness in saying the words out loud, in being true to who he is. I hate a lot about what happened to Cas here, but if Cas' arc, in its totality, is about embracing humanity, and Dean is the anchor to that, this really does come full circle. He pulled Dean out of Hell, he saved him, he loved him, he'll die for him, and in accepting that love, that human love, he is finally at peace with who he is. Now, mind my comments above, I'm still not happy, but I can see how in one sense, this is narratively poignant. And if others are satisfied with it, I'm happy for them.

(Added bonus, while Jensen's acting was WACK for the majority of that scene, I did like the ending shot, the silence, him not answering Sam's call, crying silently into his hands. That was very nicely shot and acted, I thought.)

Secondly, and this isn't actually praise for the show, it's more a... meta experience? I have to say, the idea that Destiel became sort of canon, but in the most homophobic way possible, in the year 2020, while we're all still waiting for election results to come in is... one of the wildest, most hilarious things to ever have happened to me. I mean it, last night sitting alone in my house I kept cackling loudly to myself, in complete and utter disbelief. I saw Tumblr explode in a way that hasn't happened in years. I was transported back in time nearly a full decade, to the person I was when I started writing these reviews, or even before that, when I was new to Supernatural, new to the whole concept of being truly involved in a fandom.

Here's the thing... I never. Ever. EVER. Thought we would get any sort of textual confirmation. I thought at most, if they went for a happy ending for everyone, we'd get Dean and Cas as hunting partners, and we could all fill in the post-canon gaps. I once told my sister that I'd be happy with a one-sided love confession from Cas to Dean, because that part was practically canon before last night, and in a way, I am happy. I'm happy that this crazy thing actually happened, and if nothing else, all of those clowns can put away their makeup. I was never with them. I never believed, and there's this sliver of me that's happy to have been wrong. It's completely bogus how it happened, but the fact that we live in a reality where it happened is still kind of tripping me out in a major way. So I'm happy, I'm... flabbergasted, but I'm experiencing a very unique, unprecedented soup of emotions this morning and I never would have felt like this if Cas had died with a no homo parting.

And that's the thing, they let it be unambiguously about Dean, not just in that one moment, but all along, and that's really satisfying in a meta narrative sense that when everyone was reading it as "Castiel is in love with Dean," they were... correct. It doesn't really matter when they decided this, in last night's episode they made it crystal-clear that it wasn't a whim, wasn't a recent development, in-universe. This has been Cas' truth from very, very early on, his entire experience since meeting Dean has been shaped by him, he's loved him all this time. That... I don't know, it's absolutely bonkers that this is all we're going to get, but it does mean something, if you want to let it.

Welcome back to 2012, Tumblr. Last night was a wild ride, I won't deny.

I'm giving the episode a bad score, but I just want to say the Destiel scene gets a simultaneous infinity-out-of-ten and also zero-out-of-ten, imploding the multiverse instantly. That's where I'm at, folks. Insert gif of Chidi dropping Peeps into a big pot of chili. I'm gonna go take a nap.

6/10

#review #supernatural #supernatural review #spn #spn 15x18 #destiel #i'm experiencing actual shock #i keep laughing #but like #you know how sometimes people laugh or smile inappropriately at funerals?#it feels like that

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gizkalord · 3 years

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Pleeeease tell me your grievances with Naruto Shippuden i would love to hear them! <3

ha ok it’s been a long, long, long time since i reread naruto shippuden so i’m working off my memory and probably won’t be able to be that specific, but i’ll give the highlights lol. I think most of my grievances can be summed up as me believing that Kishi bit off more than he could chew—there were a lot of really interesting themes presented in the series, but very few of them got the attention and complexity they deserved in the end.

1) I disagree with the overarching plot beginning with the Kage Summit arc leading into all the 4th Shinobi War arcs. I don’t think the rest of Shippuden was able to satisfactorily answer the core conflict presented by Pain in the Invasion of Konoha arc—how do you break the cycle of hatred? On a surface level, yeah, everything essentially points to understanding one another is the way to achieving peace and I agree that’s a valid sentiment, but I think that message was couched in all these crazy plot points (Obito?? Madara?? Ninja gods?? Kaguya??) that a lot of the impact was lost. I also would’ve liked to see something more concrete than that, like ideas around restorative justice and not erasing the past.

I want to put the disclaimer that YES, world peace is a really hard question that no one has been able to answer in the history of humanity, and this is a case of Kishi biting off more than he could chew, and I do understand that it’s a bit much to expect a manga series to give a satisfactory answer lol.

2) All that restorative justice/not erasing the past stuff leads me into my second big grievance over how the Uchiha massacre subplot was handled. The massacre was undoubtedly a hugely awful act, and I think it was brushed under the rug way too easily. I remember when Danzo first became Hokage, I was convinced we would see a political intrigue arc of everyone discovering what happened to the Uchiha and trying to get to the bottom of the corruption in Konoha. Making Sasuke go batshit insane just seemed like a cop-out way of not dealing with the actual ramifications of the massacre, and seemed especially not worth it when Sasuke pretty much snaps back to a relatively normal state soon after.

I really would’ve liked the massacre (and Sasuke) to be the impetus for changing the system, which I felt was something the entire series was building towards, but it really just dropped the ball on all of that imo. Again, I feel all of it got lost with all the superpowered stuff during the shinobi war arcs, and Sasuke ends up looking like the bad guy for freaking out over the fact that his family died because of a massive government conspiracy. I think the nuance of Sasuke having noble/just intentions but misguided methods ended up being lost in the ending.

Ultimately it feels like nothing of note really changed in the Naruto universe (even moreso reinforced in the Boruto series), and that was a big disappointment to me. I suppose it’s my own clownery that made me expect Naruto would get really nitty gritty with politics, war, and justice when that was never really the true focus (unlike SnK or FMA), but I was disappointed nonetheless!!!

3) TEAM 7 SHOULD’VE GOTTEN MORE TIME AND INTERACTION IN SHIPPUDEN. I am a huge team 7 stan and even to me, towards the end it felt like the only thing holding everything together was pure nostalgia, for both the characters and for the fans. Like.... there needed to be one-on-one interaction SOMEWHERE and for them to just TALK without crazy things happening. Like, it’s even fine to keep Sasuke as a quasi villain/antihero, but I just needed TALKING without all of them being antagonistic. SOME kind of bonding needed to happen for me to genuinely believe that their bonds from part 1 were still intact.

4) I think I’ve already strongly hinted at this throughout, but. I hated. Kaguya. Just an awful asspull with zero buildup. Also it was really hard for me to accept Obito’s redemption lmao, even though I saw it coming miles away.

5) Also Sakura just got shafted, powers-wise.

However, all of this is not to say that I didn’t enjoy the second half of Shippuden. I did. I thought there were a lot of great moments and scenes. Did I think Naruto achieving perfect jinchuriki form was badass as fuck? I did. Did I yell “FINALLY” when team 7 reassembled? I did. Did I enjoy the way some characters got closure through edo tensei stuff? I did.

Did my shipper trash heart explode when Sasuke and Sakura made Intense Eye Contact? Yes. Did I think the entire Naruto vs Sasuke fight was really well done? Yes. Did I shed some happy tears when the last few chapters came out? Yes.

I definitely enjoyed myself a lot and it was a wild but fun ride. I think there were a lot of missed opportunities for the story and for character development, and it wasn’t the stuck landing I was hoping for to wrap up the quality of part 1 and early Shippuden. It’s all old news now though, and in the end I think back to my time following Naruto with a lot of fondness and nostalgia.

#Anonymous #naruto #naruto shippuden #long post #me #mags.txt

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birdlord · 4 years

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Every Book I Read in 2019

This was a heavier reading year for me (heavier culture-consumption year in general) partly because my partner started logging his books read, and then, of course, it’s a competition.

01 Morvern Callar; Alan Warner - One of the starkest books I’ve ever read. What is it about Scotland that breeds writers with such brutal, distant perspectives on life? Must be all the rocks.

02 21 Things You Might Not Know About the Indian Act; Bob Joseph - I haven’t had much education in Canada’s relationship to the Indigenous nations that came before it, so this opened things up for me quite a bit. The first and most fundamental awakening is to the fact that this is not a story of progress from worse to better (which is what a simplistic, grade school understanding of smallpox blankets>residential schools>reserves would tell you), in fact, the nation to nation relationship of early contact was often superior to what we have today. I wish there was more of a call to action, but apparently a sequel is on its way.

03 The Plot Against America; Philip Roth - An alternative history that in some ways mirrors our present. I did feel like I was always waiting for something to happen, but I suppose the point is that, even at the end of the world, disasters proceed incrementally.

04 Sabrina; Nick Drnaso - The blank art style and lack of contrast in the colouring of each page really reinforces the feeling of impersonal vacancy between most of the characters. I wonder how this will read in the future, as it’s very much based in today’s relationship to friends and technology.

05 Perfumes: The Guide; Luca Turn & Tania Sanchez - One of the things I like to do when I need to turn my brain off online is reading perfume reviews. That’s where I found out about this book, which runs through different scent families and reviews specific well-known perfumes. Every topic has its boffins, and these two are particularly witty and readable.

06 Adventures in the Screen Trade; William Goldman - Reading this made me realize how little of the cinema of the 1970s I’ve actually seen, beyond the usual heavy hitters. Ultimately I found this pretty thin, a few peices of advice stitched together with anecdotes about a Hollywood that is barely recognizable today.

07 The Age of Innocence; Edith Wharton - A love triangle in which the fulcrum is a terribly irritating person, someone who thinks himself far more outré than he is. Nonetheless, I was taken in by this story of “rebellion”, such as it was, to be compelling.

08 Boom Town: The Fantastical Saga of Oklahoma City, Its Chaotic Founding, Its Apocalyptic Weather, Its Purloined Basketball Team, and the Dream of Becoming a World-class Metropolis; Sam Anderson - Like a novel that follows various separate characters, this book switches between tales of the founding of Oklahoma City with basketball facts and encounters with various oddball city residents. It’s certainly a fun ride, but you may find, as I did, that some parts of the narrative interest you more than others. Longest subtitle ever?

09 World of Yesterday; Stefan Zweig - A memoir of pre-war Austria and its artistic communities, told by one of its best-known exports. Particularly wrenching with regards to the buildup to WWII, from the perspective of those who had been through this experience before, so recently.

10 Teach us to Sit Still: A Sceptic’s Search for Health and Healing; Tim Parks - A writer finds himself plagued by pain that conventional doctors aren’t able to cure, so he heads further afield to see if he can use stillness-of-mind to ease the pain, all the while complaining as you would expect a sceptic to do. His digressions into literature were a bit hard to take (I’m sure you’re not Coleridge, my man).

11 The Power of Moments: Why Certain Experiences have Extraordinary Impact; Chip & Dan Heath - I read this for work-related reasons, with the intention of improving my ability to make exhibitions and interpretation. It has a certain sort of self-helpish structure, with anecdotes starting each chapter and a simple lesson drawn from each one. Not a bad read if you work in a public-facing capacity.

12 Against Everything: Essays; Mark Greif - The founder of N+1 collects a disparate selection of essays, written over a period of several years. You won’t love them all, but hey, you can always skip those ones!

13 See What I Have Done; Sarah Schmidt - A retelling of the Lizzie Borden story, which I’d seen a lot of good reviews for. Sadly this didn’t measure up, for me. There’s a lot of stage setting (rotting food plays an important part) but there’s not a lot of substance there.

14 Like a Mother: A Feminist Journey Through the Science and Culture of Pregnancy; Angela Garber - This is another one that came to me very highly recommended. Garber seems to think these topics are not as well-covered as they are, but she does a good job researching and retelling tales of pregnancy, birth, postpartum difficulties and breastfeeding.

15 Rebecca; Daphne du Maurier - This was my favourite book club book of the year. I’d always had an impression of...trashiness I guess? around du Maurier, but this is a classic thriller. Maybe the first time I’ve ever read, rather than watched, a thriller! That’s on me.

16 O’Keefe: The Life of an American Legend; Jeffrey Hogrefe - I went to New Mexico for the first time this spring, and a colleague lent me this Georgia O’Keefe biography after I returned. I hadn’t known much about her personal life before this, aside from what I learned at her museum in Santa Fe. The author has made the decision that much of O’Keefe’s life was determined by childhood incest, but doesn’t have what you might call….evidence?

17 A Lost Lady; Willa Cather - A turn-of-the-20th century story about an upper-class woman and her young admirer Neil. I’ve never read any other Cather, but this felt very similar to the Wharton I also read this year, which I gather isn’t typical of her.

18 The Year of Living Danishly: My Twelve Months of Unearthing the Secrets of the World’s Happiest Country; Helen Russell - A British journalist moves to small-town Denmark with her husband, and although the distances are not long, there’s a considerable culture shock. Made me want to eat pastries in a BIG WAY.

19 How Not to be a Boy; Robert Webb - The title gives a clue to the framing device of this book, which is fundamentally a celebrity memoir, albeit one that largely ignores the celebrity part of his life in favour of an examination of the effects of patriarchy on boys’ development as human beings.

20 The Book You Wish Your Parents Had Read (And Your Children Will be Glad that You Did); Philippa Perry; A psychotherapist’s take on how parents’ own upbringing affects the way they interact with their own kids.

21 The Library Book; Susan Orlean - This book has stuck with me more than I imagined that it would. It covers both the history of libraries in the USA, and the story of the arson of the LA Public Library’s central branch in 1986.

22 We Are Never Meeting in Real Life; Samantha Irby - I’ve been reading Irby’s blog for years, and follow her on social media. So I knew the level of raunch and near body-horror to expect in this essay collection. This did fill in a lot of gaps in terms of her life, which added a lot more blackness (hey) to the humour.

23 State of Wonder; Ann Patchett - A semi-riff on Heart of Darkness involving an OB/GYN who now works for a pharmaceutical company, heading to the jungle to retrieve another researcher who has gone all Colonel Kurtz on them. I found it a bit unsatisfying, but the descriptions were, admittedly, great.

24 Disappearing Earth; Julia Phillips - A story of an abduction of two girls in very remote Russia, each chapter told by another townsperson. The connections between the narrators of each chapter are sometimes obvious, but not always. Ending a little tidy, but plays against expectations for a book like this.

25 Ethan Frome; Edith Wharton - I gather this is a typical high school read, but I’d never got to it. In case you’re in the same boat as me, it’s a short, mildly melodramatic romantic tragedy set in the new england winter. It lacks the focus on class that other Whartons have, but certainly keeps the same strong sense that once you’ve made a choice, you’re stuck with it. FOREVER.

26 Educated; Tara Westover - This memoir of a Mormon fundamentalist-turned-Academic-superstar was huge on everyone’s reading lists a couple of years back, and I finally got to it. It felt similar to me in some ways to the Glass Castle, in terms of the nearly-unbelievable amounts of hell she and her family go through at the hands of her father and his Big Ideas. I found that it lacked real contemplation of the culture shock of moving from the rural mountain west to, say, Cambridge.

27 Dead Wake: The Last Crossing of Lusitania; Erik Larson - I’m a sucker for a story of a passenger liner, any non-Titanic passenger liner, really. Plus Lusitania’s story has interesting resonances for the US entry into WWI, and we see the perspective of the U-boat captain as well as people on land, and Lusitania’s own passengers and crew.

28 The Birds and Other Stories; Daphne du Maurier - The title story is the one that stuck in my head most strongly, which isn’t any surprise. I found it much more harrowing than the film, it had a really effective sense of gradually increasing dread and inevitability.

29 Someone Who Will Love You in All Your Faded Glory; Raphael Bob-Waksberg - Hit or miss in the usual way of short story collections, this book has a real debt to George Saunders.

30 Sex & Rage; Eve Babitz - a sort of pseudo-autobiography of an indolent life in the LA scene of the 1970s. It was sometimes very difficult to see how the protagonist actually felt about anything, which is a frequent, acute symptom of youth.

31 Doctor Fischer of Geneva or The Bomb Party; Graham Greene - Gotta love a book with an alternate title built in. This is a broad (the characters? are, without exception, insane?!) satire about a world I know little about. I don’t have a lot of patience or interest in Greene’s religious allegories, but it’s a fine enough story.

32 Lathe of Heaven; Ursula K LeGuin - Near-future sci-fi that is incredibly prescient about the effects of climate change for a book written over forty years ago. The book has amazing world-building, and the first half has the whirlwind feel of Homer going back in time, killing butterflies and returning to the present to see what changes he has wrought.

33 The Grammarians; Cathleen Schine - Rarely have I read a book whose jacket description of the plot seems so very distant from what actually happens therein.

34 The Boy Kings: A Journey Into the Heart of the Social Network; Katharine Losse - Losse was one of Facebook’s very earliest employees, and she charts her experience with the company in this memoir from 2012. Do you even recall what Facebook was like in 2012? They hadn’t even altered the results of elections yet! Zuck was a mere MULTI-MILLIONAIRE, probably. Were we ever so young?

35 Invisible Women; Caroline Ciado Perez - If you want to read a book that will make you angry, so angry that you repeatedly assail whoever is around with facts taken from it, then this, my friend, is the book for you.

36 The Hidden World of the Fox; Adele Brand - A really charming look at the fox from an ecologist who has studied them around the world. Much of it takes place in the UK, where urban foxes take on a similar ecological niche that raccoons famously do where I live, in Toronto.

37 S; Doug Dorst & JJ Abrams - This is a real mindfuck of a book, consisting of a faux-old novel, with marginalia added by two students which follows its own narrative. A difficult read not because of the density of prose, but the sheer logistics involved: read the page, then the marginalia? Read the marginalia interspersed with the novel text? Go back chapter by chapter? I’m not sure that either story was worth the trouble, in the end.

38 American War; Omar El Akkad - This is not exclusively, but partially a climate-based speculative novel, or, grossly, cli-fi for short. Ugh, what a term! But this book is a really tight, and realistic look at the results of a fossil-fuels-based second US Civil War.

39 Antisocial: Online Extremists, Techno-Utopians, and the Hijacking of the American Conversation; Andrew Marantz - This is the guy you’ll hear on every NPR story talking about his semi-embedding within the Extremely Online alt-right. Most of the figures he profiles come off basically how you’d expect, I found his conclusions about the ways these groups have chosen to use online media tools to achieve their ends the most illuminating part.

40 Wilding: The Return of Nature to a British Farm; Isabella Tree - This is the story of a long process of transitioning a rural acreage (more of an estate than a farm, this is aristocratic shit) from intensive agriculture to something closer to wild land. There are long passages where Tree (ahem) simply lists species which have come back, which I’m sure is fascinating if you are from the area, but I tended to glaze over a bit. Experts from around the UK and other European nations weigh in on how best to rewild the space, which places the project in a wider context.

FICTON: 17 NONFICTION: 23

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blueeyeswhitegarden · 5 years

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Arc V Anniversary Day 25

Day 25. Most surprising twists:

The reveal of Zarc, Ray and the original world were definitely some of the most surprising twists in Arc V. A lot of fans were expecting the Dragon Boys and Bracelet Girls to be pieces of deities given human form somehow, but it turned out that Zarc and Ray were for the most part regular humans that just happened to gain powers on the levels of gods through different circumstances. As cool as the gods of destruction and creation theory was, I'm still glad that they went in a different direction for the reveal. It just made the reveal much less predictable and Zarc being an Entertainment Duelist from the original world turned evil is a much more final villain than if it was a god of destruction. Leo feeling responsible for Zarc becoming a demon and being Ray's father also made him a far more compelling and complex villain than I ever thought he could be. It still surprises me just how much that backstory and his personal motivation turned Leo from a villain I was rather indifferent towards to one of my favorite villains in the series.

Seeing what led to the original world splitting into the four dimensions was also pretty great. It was interesting to see what was the first step towards Zarc's downfall and how people kept demanding for violent duels until he started to destroy everything around him was rather intense. While we didn’t see all of Ray’s first duel against Zarc, her confidence and determination to protect her father at all cost was pretty amazing. Hearing the Dragon Boys' voices right before Zarc was split apart was also a nice touch. The reveal also explained why the other dimensions had stronger readings for their specific summoning method compared to how characters from Standard used the Extra Deck summoning methods. There was so much buildup to these mysteries throughout the series and these reveals provide such great payoff. Everything we learned during Leo's account of the original world was such a huge change for the series and even now, I can remember just how amazed I was when I first watched those two episodes.

Reira taking in Ray's spirit and playing such a key role in defeating Zarc was another huge amazing twist. I already loved how much Reira had grown over the course of the series and it was already clear that she wasn't just going to be on the sidelines, but I never expected that Reira would be needed to defeat the big villain of Arc V. There was good buildup to it too with how Reira was the only one to hear Ray's spirit and chose to help her even if it meant clashing with Reiji. That was already pretty huge considering how much Reira admires Reiji, but she still managed to give Ray a body in order to use the En Cards and defeat Zarc. Sealing Zarc in her own body was also pretty shocking. They had already defeated Zarc and he was about to split apart, which would have started the cycle all over again, but Reira chose to seal Zarc's evil heart in the hope that it would prevent Zarc from threatening the four dimensions all over again. Reira would have reverted back into a baby regardless due to what we learned about the En Cards, but the fact that she chose to seal Zarc's evil heart in the hopes of stopping Zarc's destruction once and for all was really amazing. Much like Ray, Reira sacrificed herself in order to save the people she cares about and it really was the culmination of her character development.

I really liked the goal of redeeming Zarc during the last arc, as well as Zarc's true dream. Admittedly, I never thought that the Yuya or any of the Dragon Boys would duel against Zarc. It never seemed that was possible given what they setup about Zarc, but I assumed that he would be gone for good once he was defeated. Instead, there were still lingering damages from that battle and the dimensional war in general felt throughout the last arc. I thought that dealing with the aftermath and basically cleansing Zarc's evil heart by making him smile was a more interesting and unexpected development than if he was just gone completely after his defeat. Zarc was still a potential threat even within Reira just because he could revive and attempt to destroy the world all over again. It could have happened even sooner simply because Zarc had already been revived once and would be even more eager to lash out again as a result. But by being able to make Reria, and by extension Zarc's evil heart, truly smile, his evil would be cleansed and no longer a threat. That's why Reira sealing Zarc's evil heart and the efforts to get her to smile were so important. It basically gave the heroes a chance to stop the cycle so that Zarc wouldn't revive and go on another destructive rampage. It also led to some great character moments during the last stretch of the series, such as Dennis finally accepting his true self, Yuya accepting that he is Zarc in order to overcome his fear of using the other dragons and working alongside his counterparts during the finale to truly show that they have become one. It was just such a good concept to use for the last arc and gave it more memorable moments and duels than if it was just Yuya vs. Zarc somehow.

I also really liked the reveal of Zarc's true dream. It humanized him a lot more than I thought it would. It was so unexpected, but fitting at the same time. Yuya is Zarc, so the idea that Zarc was once more like Yuya felt natural and made his downfall more tragic in a sense. He was just too focused on following the crowds to maintain his own dream of making everyone happy with his duels. Dueling more violently obviously didn't make his monsters happier and their anger heavily contributed to his downfall too. It was a small moment, but it really helped to make Zarc stand out even more to me as a villain. It was another element that made Zarc come off more like a dark mirror of what Yuya could have become if he had been raised differently or didn't have the emotional support of his friends and families to give him a strong foundation for his ideals. Seeing Yuya and Reira cry upon regaining this memory was quite sad. Even Zarc's evil heart was crying once he realized just how far he fell from his true dream. It was just such a good emotionally effective moment that really made me appreciate Zarc even more.

#Arc V #Arc V Anniversary #Arcvanniversary

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wits-writing · 5 years

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Avengers: Endgame (Movie Review SPOILERS)

Avengers: Endgame, directed by Anthony and Joe Russo with a screenplay by Christopher Markus and Stephen McFeely, has a clearly delineated story structures, basically splitting its story among three different genres to bring in so much of the scope that’s been built up in 21 previous movies. Even accounting for its three-hour runtime, how much payoff and experimenting with the character dynamics from throughout the MCU’s history has been fit into this one astonishes. Each segment has ways of managing tone and dealing with the finality at play that warrant discussing how they work on individual levels. I’m going to try something different by doing exactly that with this review, followed by highlighting my favorite performances in the movie. This will mean spoilers, but the stuff I want to discuss requires that and I won’t give away the biggest moments Endgame has up its sleeve.

Final Warning: If you don’t want to be spoiled on anything about Avengers: Endgame, turn back now but know this is a satisfying finale for everything the MCU has built.

[Full Review and SPOILERS Under the Cut]

Act 1 (Prologue/Post-Snap World):

The prologue of the movie effectively tells the audience what the movie will not be about. When Captain Marvel (Brie Larson) arrives at Avengers HQ after saving Tony (Robert Downey Jr.) and Nebula (Karen Gillan) from being stranded in space, Endgame goes through the motions of the most obvious follow-up to Infinity War. The heroes regroup with their new powerful ally to kick Thanos’s ass properly this time around with the intent to get the Infinity Stones and undo the Snap. Things get complicated with a revelation when they go to find Thanos on the idyllic planet he’s retired on after achieving his twisted idea of “balance.” The Mad Titan used his second act with the Infinity Stones to self-destruct them, so the Snap can’t be undone. After Thor kills Thanos in a swift act of rage, the Avengers are left with no solid idea of what their next move will be.

That’s when the next major reveal of Endgame’s premise occurs, it’s set five years in the future from where the prologue left off. The time-skip effectively jumps us into a new status quo the characters have settled into and how some have dealt with the Post-Snap world better than others. Some of the Avengers had more invested in the mission than others and either desperately seek a new one or completely close themselves off due to lack of purpose. Others have managed to find renewed purpose through rebuilding their personal lives, finding a sense of balance and moving on, even if guilt over being unable to stop Thanos has stuck with them.

This act represents the movie at its most somber and considerate. Even the humor that does manage to creep into this part of the movie is more subdued or the product of characters lashing out in frustration. We get the most time inside the heads of the characters in the opening stretch and we’re given a sense of what they still have to lose in the aftermath of their greatest failure. However, things shift gears into the second act, when the heroes get the chance to start making things right.

Act 2 (Time Heist):

Endgame starts reintroducing the type of fun that’s more expected from the Avengers movies by way of reintroducing the audience to Scott Lang (Paul Rudd), aka Ant-Man. He emerges from the Quantum Realm after the mid-credits cliffhanger from Ant-Man and the Wasp, but the five years only felt like five hours to him. After catching up on what he missed and reuniting with his loved ones, he decides to go to Avengers HQ with his revelations about the Realm and how they could use it to bring back everyone dusted in the Snap by tracking down the Infinity Stones throughout time. Which ends up meaning the Avengers taking a tour through the events of past MCU movies.

The buildup to the actual trips through time transition from the more dower tone of the opening by turning the middle of the movie into a heist. Like any decent entry in that genre, it begins by bringing the team together. This is where the last couple of heroes that haven’t made appearances in the movie yet make their return and they’re the ones in more amusing positions post-time-skip. Some of the team use this as a chance to pick themselves back up as having a new mission breathes new life into them. Others still have some heavy lifting to do in that area that has to wait until they’re already on the MacGuffin quest. They determine which times are best for picking up the Stones as efficiently as possible with the limited resources at their disposal.

Once the time travel begins, how much an audience member gets out of it will inevitably be tied to how much they have invested in the MCU as a series and the entries being revisited in particular. I can’t be impartial about how well this would work for the casual fan of these movies, since I’ve watched most of them multiple times over the years. It’s about as blatant as fan service can get and represents the movie at its lightest tone overall. Even if specific events aren’t being revisited, there are nods, winks and cameos from past characters aplenty to go around as Endgame pays tribute to every storyteller that’s added something to this universe. My personal favorite bits come from how the movie uses this time to answer retroactive questions of “what was X-character doing during Y-event”, especially during the part that revolves around the Battle of New York from The Avengers.

It’s not all jokes and continuity nods, since going through ones own past presents plenty of opportunity for self-reflection. Characters get the chance to see how far they’ve come, reexamine their regrets and bring relationships with other characters full-circle. The exact mechanics of what can and can’t be done in the past are loose but usually in service to the character arcs being brought to fruition. Since it wouldn’t be a heist or a time travel story without something going wrong along the way, this is also where the buildup for the final act of the movie occurs.

Act 3 (Final Battle/Epilogue):

If the second act was examining the MCU’s past compared to how far they’ve come, the final act is about showing off the full spectacle of what’s been built from that past. It’s a sight to behold as stories get payed off and called back, all while the scale grows to a level that makes the battles from even the biggest superhero movies of the last twenty years look miniscule by comparison. The cathartic execution of this battle is awe-inspiring and goes beyond anything else I can remember seeing in my life. All of it leads into the movie’s epilogue as the characters are left to consider what they’ve sacrificed to win the day. The final stretch of this movie emphasizes a sense of finality on par with the multiple epilogues from Return of the King. Even as the MCU inevitably continues after this, there’s a sense that the story that began with Tony Stark in a cave with a box of scraps has concluded.

The Characters:

Since Endgame’s mainly a conclusion for what began with Phase 1 of the MCU, the original six Avengers get the bulk of this movies character work. Keeping things focused to a core group of characters makes this movie ultimately feel more satisfying for them than Infinity War, where they were mostly a reactive force to Thanos’s machinations.

Tony’s presented as the one with the most to lose before they go on their time travel mission, since he’s put the most work into rebuilding his life after the Snap. When he’s first presented with the time travel plan, he dismisses it as a pipedream of a Hail Mary pass. His own desire to make things right eventually wins out and he’s the one to put the finishing touches on the devices that make their mission possible. He’s paired up with Steve Rogers (Chris Evans) for the mission as it takes them on a tour of the intersections in their personal histories. Theirs is probably the strongest of the segments that makeup the second act of Endgame and serves as a worthwhile reconciliation for the two after their falling out in Captain America: Civil War.

Thor (Chris Hemsworth) has been stuck dealing with witnessing everything he ever defined himself by crumble with the weight of his failure to stop Thanos as his breaking point. He’s given up on any version of Thor he thought himself to be in the past, not the arrogant prince we first met him as nor the hero he became. He’s retreated from himself and that makes him the most reluctant to go along with the plan to fix everything. His depression is played partly for laughs and given signifiers of letting himself go like overeating and alcoholism. It’s likely a divisive decision to do this with Thor, but I enjoy the way it pays off. He also continues his great dynamic with Rocket Raccoon (Bradley Cooper) from Infinity War, which plants Rocket in the rare position of being the mature one in the situation.

Natasha (Scarlet Johannsen) spent the past five years actively throwing herself into mitigating the chaos caused in the wake of the Snap. She’ll take any problem as an excuse to keep herself busy rather than dwell on how her efforts to do the right thing as an Avenger added up to a zero-sum when it counted most. In the time between those dilemmas, she’s busy tracking down Clint Barton (Jeremy Renner). He lost his entire family in the Snap and it broke him. He’s gone on an international killing spree of any major criminals spared from being dusted. The two reunite for the sake of the mission and are both prepared to give up anything to make up for the sins of their respective pasts.

Bruce (Mark Ruffalo) is probably the character there’s the least to say about. The position he’s in after the time-skip is amusing. He’s managed to make peace with his Hulk-side and now permanently hulked-out with a more affable demeanor overall that suits Ruffalo’s performance perfectly. It’s a fun decision, showing one of the characters taking the perspective granted by experiencing a cosmic tragedy to work through his personal issues but it leaves him with little to do but exposit about the plot mechanics of time travel. There are some great bits where he struggles to imitate the past-Hulk’s rage to stay incognito on their time travel mission that make this decision the most worth it.

Aside from the original Avengers, the character given the most material to work with is Nebula. The character and Gillan’s performance have been a consistently underrated aspect of the Guardians of the Galaxy movies, but the spotlight she’s given here makes her best showcase yet. The time travel segment ends up showing how far the character has come since her first appearance. It’d be difficult to discuss much more without going into further spoilers than I have already, but she’s definitely Endgame’s secret weapon for why it works as well as it does.

Conclusion:

Honestly, I don’t know what else to say at this point. Avengers: Endgame makes an effective celebration of everything the Marvel Cinematic Universe has built up. If you’ve read this far past my spoiler warnings already, you’ve either already seen it and made up your own mind or wanted more details about what the experience of this finale is like. This is a curtain call on eleven years of evolution for superhero movies as a genre and I’m happy I got to see it happen. Part of me will never believe they actually pulled it off, but they did and these characters have earned a permanent place in film history for it.

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