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bookaddict24-7 · 5 months

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REVIEWS OF THE WEEK!

Books I’ve read so far in 2023!

Friend me on Goodreads here to follow my more up to date reading journey for the year!

This is going to be just ONE review because of the length.

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212. Wild Tongues Can't Be Tamed by Various--⭐️⭐️⭐️⭐️⭐️

My biggest regret with this collection of essays is that I didn't read it earlier (I have an ARC that the publisher kindly sent me back in 2021...oops). I listened to the audiobook, so I had the pleasure of hearing each author read out their essays or poem and it was ✨magical✨.

Before I start reviewing each essay (because they all offered their own message and importance), I want to say that very few audiobooks have held me as captive as this one. I remember sitting very still while listening to one of my favourites and just...living in it. It was so beautiful. As a Latina, so much resonated with me!

Long review up ahead. I ran out of characters LOL.

Essay breakdowns and reviews:

1. Eres Un Pocho by Mark Oshiro

I will admit that when I started listening to this I wasn't fully invested in the book yet. I didn't know how much I would relate, or be impacted by the essays. So, some of the beginning is lost in the ether for me, BUT Oshiro was also the one that really got me into this book with their commentary on the stereotypes that the Latine community may encounter (especially in North American countries and sometimes even in the countries that are meant to be our home countries.) Oshiro had to relearn their identity as a child and even into their adult years. This reminded me a lot of families who have immigrated with children and in order to "fully incorporate" into their new home, they sometimes let their kids forget a language or the culture they come from. I related to this a bit because I was almost one of those kids, but thankfully my parents walked back this notion that in order to belong, you had to erase your "otherness". The bullying, racism, and stereotypes of what a "proper" Latine or Hispanic person should look like, sound like, or act like can wreak havoc on a child whose identity isn't as clear as society would prefer.

2. The Price of Admission by Naima Coster

I didn't connect with this one as much, however, it does deal with a very real issue in today's world with immigrants: the devastating reality of families separated by Government laws and how the stereotype of "one of the good ones" can easily be applied to Latine & Hispanic people as well--especially when it comes to who has a fighting chance at not being deported, and who just doesn't seem to offer enough for the country to not deport them.

3. Caution Song by Natasha Diaz

This one was a poem (song?) and it was a powerful depiction of stereotypes, assumptions, and expectations. One of my favourite lines from it are at the very end: "Because if you call me spicy/you should expect me to bite your tongue". Bam.

4. The Mark of a Good Man by Meg Medina

This was one of the pieces I related to the most because it was a Cuban experience essay. It dealt with the struggle of getting your family out of a birth country that makes it very, very difficult to live. It's about chasing the dream of a better life in a world unknown and taking that risk because anything has to be better than the hell you might be experiencing in your birth country.

It tackles the difficult and often-times heartbreaking familial relationships that can shape us and how they can leave us less than put together when those people leave or die. It also explores the complex gender stereotypes and norms found in Cuban communities. One of the quotes is "If only we had our men, life would be easier" and it reminded me so much of the times where I was reprimanded as a teen for doing something a man should have done for me. Finally, one of the topics that isn't explored enough in books but is brought up here is that of how many men immigrate for or with their wives or girlfriends, only to turn around and either immigrate to another country with a different partner, or find themselves a new partner in the new country (in their misguided and asshole search of the better life/dream.) I've seen this so many times and it is also a warning for any woman who falls in love with a Cuban man. I'm not saying all Cuban men are like this, but I've seen my fair share of it happening that I think it's worth mentioning in books like this one.

5. #Julian4spiderman by Julian Randall

My absolute favourite essay from the collection. It had me completely hooked and I couldn't pull myself away. The approach of using Miles Morales as a sort of template for this essay was genius. He's always been my favourite Spidey, so it was a nice surprise! It was such a powerful essay and I think it'll resonate with a lot of young Black Latine readers.

From the mention of having to correct others on how to pronounce a name (very relatable), to the fact that a teacher had Randall argue in favour of Slavery (which is fucked up), this essay had so much meaning and heart. It also had a lot of punching quotes, like "[A]merica taught us we were invisible, and the only way for the invisible to punish those who refuse to see us is to first punish ourselves", or "Afro-Latinx life is this in so many ways, to be taught that you are dangerous, and shameful and difficult to imagine." We read about the love of a father for their child, like Miles Morales's own father, and what it means to be a mixed-race Latine person whose identity is constantly questioned, despite the fact that characters like Miles never question who they are, even though if he were real, he sure as hell would be. It was a powerful essay and it left me thinking long after it was over. It was also the essay that made me want to digest the rest of the book even more.

6. Half In, Half Out: Orbiting a World Full of People of Color by Saraciea J. Fennell

I'm always intrigued when I hear stories of a Latine Indigenous person, mainly because as a Cuban, we don't have many of those stories. As my mom tells it, many if not all of Cuba's indigenous citizens were murdered during the creation of Cuba as a country. So, seeing these stories is always eye-opening and makes me wish we still had that in my country. Fennell speaks of her experience as a child taken into the foster system and put into a home with a white couple, as a result she and her sister were out in a school full of white children. Being able to see the difference between yourself and the rest of your classmates is an interesting sort of hell--you love your culture and the way that you look, but you also question it because you know it makes you different from the rest of them.

Fennell dealt with familial abandonment, finding solace in a friendship with one of the other Black girls in her classroom, and (relatable) the reality of being confused for her friends because they shared a skin colour. The amount of times I've had to tell people that I know I look like someone they know, but as Fennell writes "[N]ow that I'm older, I know that it was just white people confusing us." The final topic I'll touch on from this essay was how Fennell explores the racism that causes such a disconnection for a person from their identity. If a child looks "too white" or "too Black", they might not fit a white person's perception of what their ethnicity "should" be. I'll end with this particular quote: "The way Western culture, and, especially, American culture, shames us for being non-white is heartbreaking" and this quote is relating to the things non-white people do to make their appearance more palatable for white people (i.e. the styling of hair).

7. Haitian Sensation by Ibi Zoboi

One of the definite themes explored in this collection is that of stereotypes and how damaging they can be. Zoboi's essay is the embodiment of that and the dangers of how the proximity to whiteness can affect the way one views themselves, or others around them. I will admit, I'm not the biggest fan of Zoboi--her fictional writing doesn't resonate as much with me. BUT this isn't to say that her essay isn't powerful.

When speaking on how American culture can sometimes override a person's identity, she comments that "[It] didn't last, of course, because identity has a way of calling you back to your true self," and honestly, I found this to be incredibly important, especially for any reader who might be torn between the identity offered to them in their society and the one they have forged from family, culture, and language. There is, of course more important quotes found sprinkled in her essay, especially ones touching on the topic of being Afro-Latine (which I have seen people actively deny this identity on celebrities that are both Black and Latine--they argue this term like they're on a political grand stage, finding fun in debating someone's identity so it fits their idea of what a group(s) of people should look like) but I will end my review of her essay with this quote I loved: "I am proud to be a part of a movement that recognizes and honors the part of ourselves that colonialism tried so hard to eradicate."

8. The Land, The Ghosts, and Me by Cristina Arreola

This one had a theme worthy of the Halloween season. While Arreola explores the topic of literal ghosts and the power of lore and mysticism in Latine cultures, she also speaks on the loss of identity in a world obsessed with labelling humans in a certain way. As she states, "I wanted this ghost gone, yet I feared the void. Who was I without ghosts? They were an essential part of my being. They were the thing that made me feel whole and real and connected in some small way to the place that birthed me and made me who I am." An absolutely stunning quote and metaphoric exploration of identity and what it means to feel that ever-present threat of losing the thing that haunts those who don't fit certain societal expectations--especially when you carry a culture with you that is always under threat of being erased or forgotten.

Her final quote that I highlighted captured this notion wholly and while the essay is scary and probably the most metaphoric of all the essays in the collection, it holds a haunting power of its own: "My whole life, I've been trying on different versions of myself, haunted by the weight of the expectations of who I'm meant to be. How strange and wonderful it is, I think now, that the ghosts don't know who they are either. The ghosts are haunted, too." Simply gorgeous.

9. Paraiso Negro by Kahlil Haywood

Haywood starts his essay with an already powerful quote: "When people think about a Spanish speaker they don't necessarily rush to think about someone who looks like me." What follows is a recounting of something I myself experienced growing up--going back to my family's birth country (and my own), where I spent summers with my cousin and friends, both learning more about my culture, my family, and my first language. The misadventures, the way things change over time, and the unforgettable memories of a childhood spent somewhere other than Canada and the US was like a projector in my mind, showcasing images of a childhood never to be forgotten. As Haywood says about getting to have these experiences without realizing how we were privy to moments in history and lives forever changed, "It's something that you could easily take for granted as a kid."

Of all the stories, this one held the most nostalgia. This essay also spoke on the important topic of how diverse Latine cultures can be. I think, as the daughter of an interracial couple who had to argue that me being a mixed Latina IS an actual thing to another Latine person, that this topic is incredibly important. At one point, Haywood even mentions a situation he's been in when he's been forced to ask himself "How Latino am I? How Black am I?" This is something most Afro-Latine people may be asking themselves, especially when they live in a world that barely recognizes the term.

10. Cuban Impostor Syndrome by Zakiya N. Jamal

I found this essay interesting and such a great commentary on how Americans and Canadians handle the topic of being Latine and race. Being someone who has been back to Cuba many times since we immigrated to Canada when I was seven, I've been privy to seeing how Cubans treat diverse people. There is definitely racism--Cuba is an incredibly diverse country--but it reminds me of when I made a comment about what mixed people like me were called in Cuba to a Black American once and how offended she was. It is definitely a case of different cultures/countries=different perceptions of race.

With that being said, Jamal's experience as the Black granddaughter of a Cuban who didn't teach her children Spanish (a big part of Latine identity because not having the language might feel like you're missing a piece of yourself) is both heartbreaking and eye-opening. Her starting her essay by sharing an experience where one Cuban didn't fully internalize that she was saying she's Cuban sets the tone for the rest of her essay. She does not meet an expectation and it is devastating. Another example of the consequences of denying the identity a child seeks during their formative years is that her mom didn't even ask her if she wanted a quinceañera, which must have further thrown her off when she saw her Latine friends having their own fifteenth birthdays being celebrated.

But I think that while it is important to note that though "[f]rom a young age, my mom made sure I knew that Black was beautiful and that our culture and history were meant to be celebrated, always" it shows, yet again, the dichotomy of celebrating one aspect of a person over another, rather than letting them co-habit to form an identity. This is, along the stereotypes explored, one of the most consistent topics explored in this collection--that internal and societal power struggle between two warring identities. And this, of course, is the beautiful body of the "Cuban Impostor Syndrome" essay.

11. More than Nervios by Lilliam Rivera

Telling my Latina mother I have anxiety, or that she herself has anxious thoughts is like nails on a chalkboard. "Solamente estoy nerviosa!" Rivera's essay hits home with how much mental health is downplayed in Latine communities. As she says, "Depression is a word never uttered in my family. It simply doesn't exist." This is so incredibly dangerous, especially as the world changes and awareness grows.

Another quote, "America is built on the belief if you are a modern woman and you work hard enough, you can have it all," serves to show how much further North America pushes this narrative that if you have everything, there's no way you can be depressed. Not only is your mental health non-existent in many Latine families, the portrayal of hard work and achieving certain life "goals" is further proof that silly you, there's no way you're depressed.

This essay could be super triggering, so be ready for a very frank conversation about Rivera's mental health. But I think it's incredibly important, especially if you can relate to her and her familial experience. Her quote, "the cycle to present pain as weakness ends with me" when referencing her daughters and how open she will be with them about mental health, is something I hope comes to fruition. Rivera is presenting the breaking of a cycle that I'm hopeful future generations will adopt.

12. Alaiyo by Jasmine Mendez

Probably the most creative essay of all, Mendez's essay speaks of taking back the power in spaces that refuse to open up for Black, Indigenous, and Latine people. But throughout the essay, we see the reoccurring theme of others dictating the kind of space one can take up. One of the biggest and toughest pills to swallow is when you can read the racist levels in a comment, like in this quote: "'You don't fit the part' is just theatre teacher code for "you are not the right skin color." When I tell you that I've had a similar conversation like this back when I was in high school, and I'm sure as hell that we're not the only ones who've experienced this--whether it's as a child, or as an adult.

Her quote: "My Black friends always said I wasn't Black or at least not 'Black enough,'" is incredibly relatable to me because as someone who is mixed and always struggled with whether I felt too Black to be white, or too white to be Black, or having been raised as a Latina, rather than a mixed Black and white person, I couldn't relate to the experience of Black Canadians. This is a constant internal battle--even one I had to battle with some of my old friends back before I had a better grasp on my identity. A lot of people who don't struggle with a sense of dual identity can't truly understand how disorientating it can be to simply exist in a world that is constantly trying to pull you in one direction or another.

There's also a creepy instance where a white teacher hella acts inappropriate with her and it gave me the biggest ick.

13. Invisible by Ingrid Rojas Contreras

While I didn't highlight as much in this essay, I found it to be the most timely. Across the world, people are arguing and discussing political beliefs, human rights, and the treatment of others. Contreras is a very (rightfully so) angry woman who refuses to be kept quiet by her in-laws. This is a classic story of policing one's anger and the incredible power of ignorance.

"The United States of America was then and is now living through a time that makes whiteness visible, even to those who lived their whole lies willingly ignoring what it entails." Although this essay collection came out a couple of years ago, the disparity between how white people are treated in comparison to people of other races grows. We see it in the media, in the justice system, in history, and in politics. And the policing of those who refuse to accept the status quo is very, very real. At one point, even Contreras's husband comments that she is "fucking scary when [she's] mad. [...] [Does she] think [his] parents are going to want to talk to [her]?" Just, ugh.

I'll finish my commentary on this essay with this powerful quote: "Violence begins with language or lack of it. If you insist that something doesn't exist, it is in that darkness that calamity slips in."

14. Abuela's Greatest Gift by Janel Martinez

While Martinez's essay brings up the importance of family and tradition, it brings further attention to Blackness and how "There's no room for Blackness within Hispanidad or Latinidad." This was an important essay and exploration of identity, but I am running out of characters.

15. A Mi Orden: A Meditation of Dichos by Elizabeth Acevedo

This essay explores the expectations of purity, family, & the sexism of parenting boys vs. girls in Latine cultures (as lived by your's truly, as well). Also important, but no more characters. Welp.

I super recommend this book!

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Have you read this collection? Would you recommend it?

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Happy reading!

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worstloki · 3 years

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the person who says dr strange would win in a fight i bet the person doesn't even have a clue about their characters.

To be fair the MCU has been trying to get rid of Loki since Thor 2 and keeps deciding deaths are the way to develop him instead of... actually doing it

#Loki’s been played down so much that Strange probably could match up to him #and unlike Loki Stephen uses his magic regularly so people remembers he can do it #in fact he gets framed as doing super mega cool magic tricks regularly !!!!!!!!!#meanwhile Loki should be AT LEAST able to take him on #what part of Loki DIDNT they butcher ://#Loki doesn’t even need development all he needs is a few decent conversations sprinkled through Ragnarok with Thor !!!!#and BAM there go most character arc issues #all you have to do is keep in mind Loki’s legitimately suffered so he’s not being an entitled brat for laughing at death threats #it shouldn’t be so hard #that can coexist with the comedy genre istg if slapstick humour is all you can come up with for someone :/#Loki’s got more morals than Thor I can’t believe people keep pointing at him and going Evil Bad

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gazeopard · 2 years

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Thoughts on the upcoming Beastars Season 3

Now that I know Beastars is returning for the final season, and I’ve known about it since first seeing Studio Orange post it on their Twitter, I hope the anime will make improvements to the Melon arc. I heard from some people that Season 3 will be split into two parts, much like AOT’s final season. My assumption is that Part One will be an adaptation, mostly, of the Dropout arc, then in the end (possibly a post-credits scene?) we’ll get the introduction to Melon. I don’t know how credible the rumors are, saying it’ll be in two parts, but I can’t see the Melon arc being resolved all in one season, unless there were 26 or 24 episodes.

If it does get a two-part season, we’ll probably get twelve episodes for both parts, though I hope the Melon arc will have more episodes, since there’s just so much that happens in it. Whether they keep the usual twelve episodes or not, I hope the Melon arc adaptation will vastly improve the issues the manga suffered. I hope they’ll replace everything filler that happened with scenes that move the plot and characters forward.

I hope the issue with Jack and the onions will be handled better, instead of “lol a big whale stopped the war”. I hope the ending with the black market being destroyed will be replaced with an anime-only idea to keep the market as a necessary evil (as Louis said to not avoid the market) while also keeping the trading of fish and seafood to the land, since some carnivores can eat fish while others can’t. Because for Yafya to refuse the offer to trade fish and seafood to the land-animals, and with the BAM destroyed, the manga ended without any proper resolution to appease the carnivores’ cravings for meat. Now, that means there will be MORE predation attacks in the city than ever before.

The manga ended without ANY resolution to ANYONE’s conflicts. Ugh...

I also really hope they’ll cut out everything with Kyuu. Or, if not cut her out, at least give her and San actual relevance. All she did was drag the manga further and everything she did only added nothing. Her relationship with Gouhin (which should have been father-daughterly, not romantic to me), the imaginary-chimeras, selling-out Legoshi, even her “good boy”/”okay” command in the final fight with Melon amounted to nothing. And Louis’s backstory was much stronger with him being the only survivor, meaning all his friends got eaten and he was left with survivor’s guilt. The inclusion of Kyuu and San (who was even more pointless, as he only appeared in two chapters and never again) always just felt like a retcon to Louis’s tragic past to me.

I hope they’ll fix the ending, where Louis and Haru actually do some stuff in the final battle (similar to how I thought the manga would end). I’d have personally thought it would be more poetic if the final fight ended with the Shishigumi mansion going down in flames in the chaos after Legoshi confronted Melon with Haru and Louis, similar to how the first arc ended with Legoshi breaking into the same mansion. Unless that would have been too repetitive...? I dunno, but I also hope they’ll not backtrack on Louis’ arc and at least have him attempt to get together with Juno. Azuki was never really much of a character to me, and him getting together with Juno also seemed more like something he actually wanted, not what was forced upon him by a role in society. It always looked like it was building up to a relationship between the two.

Speaking of relationships, I also hope they’ll fix Legoshi and Haru’s relationship, since it ended up being pretty underdeveloped for the most part. Legoshi mostly ghosted Haru throughout most of the manga after the Meteor-Festival arc, and Haru become mostly a background character who only existed to be motivation for Legoshi. You’d think there’d be A LOT more scenes between them working out their flaws and the issues in their relationship in order for it to work, since they’re supposed to be THE main couple. We never saw Haru overcoming her seeking validation through sex, that one point where she tried to get herself eaten by Legoshi was never brought up again after the Meteor Festival arc, and we never saw her fully grow as her own person outside of the relationship, just as we never fully saw Legoshi get over his social-awkwardness and make efforts to keep in touch and be with her. By the time they FINALLY got together, the manga was finished. I remember feeling very confused by the end of the manga, thinking “Wait, NOW they’ve started dating? That’s it?”

Instead of Legoshi ghosting Haru after dropping out of school, getting a predation record, and having to hunt down Melon to get it removed (and after Haru saw Legoshi with Sebun that one time in the Dropout Arc), he should have been confronted by Haru about it, forcing him to explain everything to her. I also would have loved to have seen them actually discussing their future together and what the circumstances of having a hybrid-child would be like.

A lot of the time we spent with the pointlessness of Kyuu could have been spent developing Legoshi and Haru’s relationship, Louis and Juno’s relationship (since it looked like they was going to be the 2nd power-couple of the series), Melon’s motives and his gradual rise to power (similar to Louis’s, instead of him just starting a riot and everyone accepting him overnight), the Bloodbone Drug corporation in the market and the ivory trade’s relationships with Melon (since they got dropped after Legoshi beat up the thugs in the Dropout arc), more development with the other Shishigumi members, and the other bonds between the Drama Club and the 701 dogs.

And please, Studio Orange, PLEASE let either SOMEBODY take up the role of Beastars, because it's literally the title of the manga and what was the point of Yahya retiring to become a vigilante if that was what being a Beastar was already??

Also, I hope they’ll at least do something with the Melon and Haru stuff. It really looked like it was setting up Melon kidnapping her and recovering his sense of taste and feeling through the gradual emergence of his leopard-side. I also hope they’ll at least foreshadow his transformation. I would have been cool with it in the manga if there had been hints, like Melon noticing his strength was changing when he cut Dolph’s throat, or noticing more spots or his claws growing... Just... SOMETHING. XD

There’s probably other things I hope they’ll improve upon from the manga that I’ve missed, but these are the big main ones I hope they’ll make changes to.

Happy belated New Year and happy Tiger/Bill year! XD

#beastars #beastars season 3 #beastars final season #beastars legoshi #beastars louis #beastars melon #beastars haru #beastars kyuu #beastars gouhin #beastars jack #beastars spoilers #beastars manga #beastars anime #studio orange #animal xenofiction #beastars shishigumi

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hintsoftheredlightdistrict · 3 years

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Very frustrated that I keep seeing people on here complain about 25th Bam's supposed plot armor when that's actually one of his main character flaws.

Like sure, he can withstand some attacks he shouldn't be able to, and he can punch well above his metaphorical weight class. If you're willing to read through this, I want to do my best to convince you of two things - first, that Bam has always been written with this intent in mind (i.e. that this is not a case of runaway power levels a la Dragon Ball) and second, that the themes of the story are directly served by Bam being OP (i.e. that much of the series' emotional weight is not just in spite of Bam's power, but because of it). I'll be talking about the current arc so if you care about spoilers this is your one and only warning

In order to illustrate the first point as briefly as possible, let's go over a bulleted list of some major moments in Bam's life, as well as some notes on what we can learn from these about Bam's desires and eventual conflicts.

Bam spends his early life in extreme isolation in a cave. He has one friend who occassionally visits, Rachel. As such, Bam has a strong desire for companionship and autonomy.

Rachel tells him not to leave the cave. I can think of three main reasons for this: 1) that Rachel was worried people outside would abuse or manipulate Bam, 2) that Rachel feared Bam's destiny would directly interfere with her dreams in some way, or 3) that the physical environment or the nature of Bam's resurrection prevented him from being able to survive outside.

Bam makes a contract with the Administrator on the 2nd Floor. The Administrator tells him that this contract - arguably the source of Bam's abilities as a Wave Controller - is a shackle. Bam's powers are thus suggested to come at the expense of his autonomy.

FUG manipulates the 2nd Floor testing process to separate Bam from his friends, essentially using them as hostages to make him participate as JVG, Slayer Candidate in their bid to commit regicide. Bam's power and his Irregular status are both explicitly cited in the text as reasons FUG interfered in his life and endangered his friends. Because Irregulars are not bound to the rules of the Tower, Bam is thought to be one of the rare few exempt from the rules of Jahad's immortality contract. This makes Bam's desire for autonomy tragic, because his unusual capability to act as he wants

Bam, as JVG, allows himself to be pulled into the newly-formed Team Sweet & Sour. His FUG mentor realizes how important it is for him to have these new friends and decides not to punish him for violating FUG's earlier command that he pass the floor test alone. From this point on he has three teams of people who are for the most part significantly weaker than himself who all want to climb the Tower with him.

Ok, this got much longer than intended already so time for the lightning round

Bam's initial motivation to be with Rachel

SIU deciding to have Bam basically unaware of, and uninvolved in, Horyang's recovery.

Bam initially rejecting Blue Thryssa's offer of tyrannical power

Endorsi's team turning against Bam temporarily in the Name Hunt Station

Bam's failed promise to save Deng Deng

Khun and Hatz's homoerotically-charged anxiety about the increasing possibility that Bam will simply become too powerful for them to keep up with him, and their desire to continue climbing the Tower with him as long as they can.

Here's a question about the bolded bits above - are these the strategic decisions of someone who intrinsically values victory and strength? Are these conflicts that Bam could have overcome through sheer power and durability? Does Bam's power lend itself to the type of life he wants to live?

This has been a lot, so let's return to the issue at hand: the idea that Bam is 'overpowered' or has 'plot armor.' As much as the phrase 'plot armor' irks me, I do think it signifies a real issue with how stories driven by a Main Character often struggle to make mortal threats the Main Character faces seem credible. I think this is actually one of the reasons for the recent ubiquity of power-fantasy based isekai - faced with the task of dangling the marshmellow over the campfire only to yank it out at the perfect golden-brown moment, some decide not to bother and just eat them straight from the bag instead. There is no 'correct' way to write a story, but in my opinion the most promising isekai authors often do what SIU has done with Tower of God - convert narrative weakness into strength by using the protagonist's invincibility and immense power as a catalyst to introduce conflicts that these superhuman traits cannot directly solve.

I'm sorry if you feel like Bam's power dulls the stakes of the story, but in my opinion these are the highest the stakes have ever been. He has brought some of his closest friends to war with Jahad's army, endangering their lives for the sake of one man - one of the guys responsible for threatening his friends to begin with, at that. Even if weaker characters like Shibisu manage to make it out of this thing without serious injury or death, they will be targets of Jahad's soldiers and assassins for the rest of their lives. Physically, Bam will survive and continue to grow stronger and climb the Tower after the Nest. But otherwise? I see no reason to believe the Nest will do anything less than humble Bam to an unprecedented degree.

#tower of god #tog #kami no tou #tower of god spoilers

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antiloreolympus · 2 years

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11 Anti LO Asks

1. So I won’t say RS is a terrible writer because she does have her talents but for the wrong characters.

Thanatos in my eyes becomes likeable. When we first see him, oh screw that guy for stealing the train. And then he goes to Minthe to check in and she doesn’t even seem to like him which was like ooo interesting. I thought the fling Minthe and Thanatos had was a little weird, but Minthe breaks it off and he’s actually fine with it, even tho he has a fuck boy bun. And then Daphne softens him up and bam I like his character and WE KNOW he’s on borrowed time with Daphne but I’m dying to see how that all goes.

Minthe starts out bad, but slowly redeems herself because hades “wants to take their relationship seriously” because he was gonna propose before even tho she didn’t want to. Sure she didn’t like Persephone but she was her own character cause drama but also recognizing her mistakes and paying for them. But then once they learn about Persephone AOW all that slow building was thrown out, and I was hoping when Thetis and Thanatos went to the door after Minthe and Thetis broke off Minthe would go “I don’t care” and break it off with hades. But she still has Thetis and the break up is all about Persephone and not the slap.

I know neither character would ever be main characters, but imagine if Minthe actually went through redemption and Persephone was like a surprise villain or something.

I just feel there was more development for Thanatos and Minthe than Persephone had gotten at all .

2. Something that doesn’t feel right with me is that Artemis is sorta a loaner despite being a patron goddess to women and children. I do like that she tries helping Persephone into independence, but that’s her only female friend is what we’ve seen. I wish instead of loaner Tom boy she was like an athletic woman on a sports team and her team is what makes her lose focus on Persephone

3. RACHELS ON ANOTHER BREAK!! And she doesn’t know how long!!

4. I know that Mythos Redone comic has some similar elements to LO (like the colorful gods, tho they get more creative/symbolic with the designs) but the LO fans who interact with it are nothing but nice to them. Maybe it's because it's more general mythology than strictly HxP? Their arc of HxP too was polar opposite to LO's depiction and the fans were still positive about it. Maybe it's because it's not "stepping on" LO's toes like Punderworld and Ficlets might be seen as? That's my guess 🤷🏿‍♀️

5. What I find so frustrating about LO is Persephone herself, and how Rachel refuses to actually let her actually stand her own.

I’m not saying her being sensitive or “sweet” is bad, that’s fine, the issue more so to me is how she insists Persephone is this badass, strong, confident woman who doesn’t take shit and is the most powerful goddess ever … but also she can never actually control these emotions, much less her own actions herself (because that would mean she’d be held accountable for all the pain and suffering she’s caused!) and she needs everyone else to handle all her issues for her instead of her acting like even like a sentient being, much less an adult and eventual queen like she’s supposed to be.

Seriously, even this trial is about Hades taking care of it while Persephone just sits there and at best cries like a spoiled child, but more often just does nothing. She’s passive within her own supposed narrative! You can’t claim she’s the destined queen who will strike the fear of god into the hearts of the Underworld when she can’t even defend herself at her own trial, especially when she purposely deflects from her actual actions and we saw she was more than willing to hide forever instead of owning up to it. This is not a strong lead, this is a spoiled child masquerading as an adult. This is a character who needs the literal writer to insert random monologues from others about how “powerful and amazing” Persephone is without actually showing it. Rachel wants the praise of making a strong character without actually making one, which is doubly insulting considering this is supposed to be a literal worshipped goddess who had real people worshipping her for centuries, now reduced to a helpless little girl who needs her pseudo father love interest to take care of everything for her. It’s just insulting.

6. it's honestly impressive rachel always makes a terrible story idea in LO and ends up making an even worse result from it. People are pissed what she did with Apollo? Just blame Leto now! People were calling it a straight mess? Be acephobic and make the only lesbian rep be oppressive to the straights! People were concerned P has no goals? Give her the only goal of marrying Hades and giving him babies! The list goes on and on. I would respect how batshit this is if it wasn't so insultingly bad.

7. I dislike the "you only critique LO because you're misogynistic!!" excuse bc no?? overwhelmingly the people critiquing it are women who arent doing so because "women bad", theyre critiquing its many issues, many of which are actually misogynistic (the madonna/whore trope, sexualized violence and abuse against the women, using women as props for the men, etc) plus the only male "critic" of lo was ran out of the anti community bc he was being an actual misogynistic creep, so??

8. Looking at that drawing of Hades nose suddenly being smaller from a bottom view angle is so weird? Like if the art team needed references to draw his long nose from different angles literally just look at Gru from the Despicable Me movies 💀💀💀

9. Imagine if Persephone asexually created a baby clone of herself as an heir for Hades. The poor kid would grow up ignorant of the fact that her “father” is attracted to her..

10. Persephone asexually reproducing for Hades would create shitty dynamic between the cloned kid and Hades just like the relationship between Gendo and Rei in Neon Genesis Evangelion (basically the child clone of the wife will be an object of fixation and inappropriate affection for the husband…)

From OP #9 and #10: I doubt he would be since I doubt RS would stoop to that level of creepy. Plus, Persephone looks pretty similar to Rhea and Hades isn’t attracted to Rhea (still weird though ngl).

-----FP Spoilers/Mention-----

11. FP spoiler: The fashion is now so ugly. Many of the goddesses now just wear those ugly looking buns and wear similar looking monochromatic dresses. First Aphrodite in the trial, then Hera and Hestia in 187. Not only that but Hera’s blue eyes and shininess are gone and Hestia is barely even orange anymore. The woman are losing their defining traits and it looks so bad.

#anti lo #anti lore olympus #lore olympus critical #lo critical

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spockandawe · 3 years

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

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

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

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

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

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

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

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

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

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

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

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

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

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

You may see where I’m heading with this.

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

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

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

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

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

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

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

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

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

#jiang cheng #mdzs #the untamed #disk horse #long post/#abuse/#only tangentially #but better safe than sorry i hope

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astudyinfreewill · 3 years

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“it all comes down to the soul(s) in the end”: or, characters make the story work, and not the other way around

outing myself yet again as a dabb era critical blog here but. i just think the difference between carver era and dabb era is that carver era was character-arc driven while dabb era was overarching-main-plot driven with some good character moments thrown in (which may be to do with the fact that - iirc - during carver era for a while they didn’t know if they’d get renewed so they couldn’t plan too far ahead and just progressed the story by increments, as opposed to dabb era knowing they had a longer time frame to work with and deciding the plot beforehand).

the thing is, i think most of us can agree that after the kripke era - which, for all its flaws and setbacks (hello writers’ strike), had a self-contained myth arc involving both an internally coherent narrative and certain well-defined character beats - and going into the gamble “hot girl summer but make it angst” era, the appeal of supernatural relies largely on the characters. it has to, because for a show to keep running after 6-7 seasons, you have to be invested not just in the story/stories being told, but in the people driving the story forward. it simply won’t work otherwise.

and - to my perception at least - the carver era (perhaps largely due to ben edlund’s imprint in s8, lbr) knew that. some examples of what i mean:

it gave dean an arc about dealing with the toxicity of his upbringing and his unhealthy attachment to sam, as well as starting to explore other meaningful relationships for himself (benny, charlie, and of course him continuously reaching out to cas) - essentially it allowed dean to confront that he wanted things.

it gave sam an arc about dealing with his trauma re: demon blood, and having to confront what it means to be good, how he always felt impure through no fault of his own - and it shifted him over into accepting that his calling in life is as a keeper of lore and mentor to other people, by contrasting the failure of the sam/amelia relationship with him finding the bunker and discovering a different part of the hunting world

it forced cas to confront what he wants for himself, by making him deal with his own changing nature (being human, then an angel again, and the whole arc about living on borrowed grace), and with the other angels falling and what that meant for him; he got the chance to be on his own and be with the winchesters, to both make mistakes and be a leader to other angels - and then give up that leadership by choice because he prioritised his human family to his reputation in heaven (which should have been a clear indication of endgame human cas but i digress)

it brought in compelling new characters - primarily charlie and kevin, though they were both horrendously mistreated by bucklemming writing them off - claire novak as an angry teenager, aaron and his golem, metatron as a fascinatingly meta (ha) antagonist, rowena as a frenemy, and gave old characters compelling story beats (crowley and his “humanity addiction”). also, it had writers like robbie thompson who were attuned to the fan community in an unprecedented way.

with the dabb era, i feel like because they’d set their mind on where the story was going (e.g.: killing dean, having a new and “better” god in place, giving sam a white picket fence ending) they didn’t really care if they had to break the protagonists’ characterisation to get us there. we still had moments of great characterisation - steve yockey episodes first and foremost, and of course robert berens carrying the dean/castiel beats - but mostly, characterisation came second to what the story would need. this is how we get dean winchester, friend and protector to kids everywhere, being A-Okay with sacrificing a kid he supposedly cares about, not once but several times over, because the plot needed Emotional Stakes™️.

(and this, by and large, is my issue with jack as a character too, because he spends so much of his time on the show so clearly being a plot device - a literal deus ex machina - that he ends up being not very compelling to me. “but baby jack!” i hear you say. and yes, yes, he’s cute and i like him, but listen -- his characterisation reads as a blank slate because ultimately that’s what the narrative needs from him - and there’s a whole separate post i could make on that, really).

but i think the main problem is that the endgame the dabb era had in mind conflicted openly with the stakes they had set up in the carver era - and that the most attuned writers kept up with even in seasons 12-15, which is why the finale felt as stridently wrong as it did (other than being ridiculously badly written). by which i mean:

dean was set up as wanting something more for himself, more than hunting and violence, and we see that in moments - but it’s not what he ends up getting. additionally, he spends so much of seasons 8-10 breaking down his toxic traits, and then bam - suddenly, he’s turned into john 2.0, because the story demands it.

sam was set up to become a new kind of hunter, one with a men of letters background, and find happiness in the life - so you get a side plot where he successfully organises and leads a group of hunters - but ultimately he leaves all that behind and abandons the bunker (and eileen, his natural companion going forward).

cas was set up as choosing humanity over heaven because that’s where he wants to be, and choosing to become a hunter because he wants to be useful and do good - but that gets boiled down to “cas is still an angel but now he’s Also A Dad and that’s his one purpose in life now” (i’m sorry, i am not here for the hot take of “jack is good for cas because he can’t just revolve around dean”. first of all, that’s a disservice to cas’s character over the seasons, and second of all-- oh but it’s ok for cas to just revolve around jack? it don’t make no cents luv!)

i don’t think story-driven eras are inherently bad. i enjoyed seasons 1-5, but they take place when we’re still getting to know the characters; and there is a certain evolution for them there that you may like or dislike, but it makes narrative sense for them. but if you decide to go forward into a new era with well-established and beloved characters, you have to know who the characters are and what they want or your story will always ring hollow. the main problem i have with the dabb era is that it decided the story it wanted to tell - and didn’t stop to consider whether the characters living it out would actually organically fit into it. and isn’t that chuck’s whole mistake?

#spn #meta #spn meta #supernatural #dabb critical #team free will #my meta #mp #ambra.txt #in short: carver era my beloved. you committed some atrocities but i forgive you #big BIG thanks to tierney for watching me work out a shorter version of this in real time #tier i'm tagging you just in case you want to see me ramble even HARDER about this #katebushstandean #will i get cancelled for being critical of jack? stay tuned to find out #long post #long post for ts

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thesmpisonfire · 3 years

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Okay now that everyone here is also thinking about how much Fundy’s character is tossed aside I think this is the right moment to tell one of my Biggest Issues regarding how the other characters treat him (this is very salty so if you try to derail the topic I will bite you)

- This is about Characters -

The Spy Diary Reveal

I need to say that Fundy has been one of my favorite characters since I saw the war video from Wilbur and that dumbass straight up said “I’m in a crayon suit, what the fuck do you want from me?”

Bam, he got a place in my heart

So I started to watch at the Election Day stream, most exactly right after Wilbur and Tommy got exiled (I got the time wrong and was there 1 hour late, oops) and then focused on Fundy the moment he had his stream

I saw the whole spy arc, how well he played and what he did to maintain his place. He almost got caught by Schlatt twice, and I can’t explain the pure fear from when Schlatt opened an enderchest looking for whatever thing Fundy had in his hands that he put in there before Schlatt got close. Or how much it hits when Fundy walked to Pogtopia after the Festival, looking for Tubbo, Niki or even Wilbur. When he opened the diary and wrote how wrong he was in believing that Schlatt could do any good

He searched about Schlatt’s health on stream. He talked to Ponk and included him in the plot as the doctor that took care of the President. Fundy discovered what was the easier way to kill the Big Bad Guy, and he was right when he said it was his bad health

He showed all his mental process, all his writings, his fear to end up like Tubbo, and also that he was the last one by Schlatt’s side

After the failed meeting, Fundy walked to Pogtopia (He wasn’t streaming) and in front of Quackty, Tommy and Wilbur (+around the total of 150k viewers at the time), he presented himself as a spy

And I can’t verbally explain how mad I was when they laughed at him

They boxed and water-boarded him without reason. Not even Quackity, who publicly vouched for their exile, was treated like that

Wilbur was serious when reading the important part about Schlatt, and even he was surprised when he saw that there were 28 pages written there, all by hand because Fundy needed to come up with words. Not a single page with less than half-way full to prove his commitment with his role

Fundy started to explain himself but he couldn’t even do it right because Tommy kept talking over him and making jokes. I was so frustrated for Fundy’s character at that moment because that was supposed to be his big moment. When he would reveal that he was at Pogtopia’s side the whole time under Schlatt’s nose because of his smarts but Tommy kept on cracking jokes to the point Quackity also joined the laughs (I was watching Big Q’s stream and he was taking it serious at the beginning of Fundy’s explanation)

Wilbur tried to stop it but it was too late since Fundy just gave up and cut off his part. He was really going down with this smooth reveal (”what a nice day for a good old double crossing” as his introduction phrase was very dramatic thank you Fundy) until his words were drowned by Tommy (I don’t hate Tommy but this made me so angry)

Then! As if this wasn’t enough! Wilbur goes and says that he despises Fundy.

For me, that moment made me root for a triple crossed Fundy so much. He just turned his back and went back to Schlatt because Pogtopia didn’t deserved his help. I spent like 2 days posting about this and waiting for a well deserved knife in Tommy’s and Wilbur’s back

This moment was the peak of how much Fundy is tossed aside. Ever since here I think that Fundy understood that people never respected him. I believe that he only stayed because Wilbur trusted in him and Quackity when talking about a traitor (which is ironic)

Even later, when Schlatt dies by a heart attack, no one mentions Fundy or his research, about him being right. His whole work in writing that book was basically tossed aside as one simple “mole reveal”

This shit makes me angry until today, and now I think its a moment to bring this back because everyone is also on the edge about how is character is slept on

Plus I needed to let this out for a long time

Thanks for reading!

#fundy #mcyt #dream smp #this is about characters <3 #yes im spiteful and salty

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riathedreamer · 3 years

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Zero is Null

A discussion of Zero’s love-hate-relationship with RvB and struggling independence; including a hotdog too big for the bun, tragic backstories, a single bow-chicka-bow-wow, and a cookie at the very end.

Welcome to what will be a lot of text. Basically, it will explore why Zero fails as an RvB (with emphasis on RvB) season. I will not be the first one to bring forth some of the points, and I promise to be fair and civil and fun. This isn’t supposed to be a piece of hate – in fact, I’m writing this because I love Red vs. Blue.

Okay, first of all, to increase your fun – take a guess on just how much of Zero is spent on fight scenes. You see, I’ve calculated the exact amount, and I will reveal it later, but for now, take a guess and remember the number. Maybe you are the winner!

Alright, time to share my thoughts. Wait! Since I suffer from anxiety and have this one annoying voice pretending to be all those critical statements my opinion could be met with, let’s give it an actual voice and address the points throughout this review.

“Why would I care about your opinion, Ria?” – I don’t know, you’re the one who clicked Read More.

“Your opinion doesn’t matter!” – Of course, it doesn’t! Geez. Do you think your opinion matters, though? Listen, we’re on Tumblr, the actual equivalent of screaming into the void. And it’s fun, too!

“If you don’t like it, don’t watch!” - *activates Uno Reverse Card* “You can’t talk about something you haven’t watched!”

“You’re just a Hater” – Actually, this is a point I’ll come back to. Like a cliffhanger. Also, at the end of this, there’ll be a cookie. But this will also include me talking about the stuff I like, because, surprise, Zero is not without talent!

“You just don’t like it because the Reds and Blues aren’t in it!” – Actually, that’s a good point, so instead, this review will start with a sole focus on Zero and discuss the problem that lies within that story. Then we can address why the lack of OG cast is understandable and problematic and weird.

But first! Backstory.

When the first 5 second teaser dropped back in spring (you know, when we were young and innocent and the world didn’t feel like an apocalyptic movie yet), I held onto that one image of what I thought (hoped) to be Grif and Simmons in the sunset, hopefully addressing Grif’s hateglue arc, but boy was I wrong because a) that’s not Simmons, that’s Sarge, and b) the image was from a PSA since the Reds are not in Zero.

Actual face-reveal of me below:

Admittedly, when I heard that the Reds and Blues were not going to be the main characters (or even show up), it felt like a gut punch. However, I actually found myself getting excited due to the creators’ hype. I want to praise them for this. It’s been a while since an RvB season was talked so much ABOUT before its release; it had advertisements, it had creators and voice-actors talking about it. Please. More of that in the future. Their passion rubbed off on me, and that deserves recognition. So it pains me that this was clearly a passion-project, and then when I gave it a try, I didn’t want to touch it again for weeks.

Here’s the thing. I cannot whole-heartedly say that Zero is bad. It’s not gonna melt your eyes. It’s not even so-bad-it’s-good. For me, it’s meh. It’s a Saturday-morning-cartoon aimed for a younger audience with a rushed plot and clichéd characters. The problem is that it calls itself RvB, and with that title comes something to live up to – but more importantly, something to continue.

My main issue is that Zero forces its story into existence by ignoring established content rather than adjusting to it. Let’s call this for the hotdog-too-big-for-the-bun syndrome solely for the sake of the bow-chicka-bow-wow that’s coming now. Bow-chicka-bow-wow. Many of the separate issues I will dive into all add to this hotdog-issue, so I will scream “Hotdog!” whenever this is the case so we can all keep track of my argument.

You can continue the story of Red vs. Blue without the Reds and Blues. While that would personally crush my heart, it can be done. There’s a story of Red vs. Blue that can be continued. The world can be expanded, the previous actions of the Reds and Blues can be explored from another angle.

So.

How does Zero do this? It doesn’t.

I just want to make it clear that new elements can definitely be added when it comes to worldbuilding. That’s literally the point of sequels. But Zero’s settings are presented with so little grace and with no connection to previously established worldbuilding. We get Alliance of Defense and GLASS thrown in our face as very big important organizations – yet we’ve never heard of them before. A big central plot point of RvB is the UNSC and Project Freelancers, and those were introduced naturally with the plot. We already have big established intergalactic organizations. What is AOD’s connection with those? We aren’t told. We are just told they exist and expected to accept it, no questions asked. If this was a whole new world and story – fine. But when you need to build on an already established worldbuilding, you need more grace than this. Chorus was a whole new setting, but it was explained, and it was connected to the previous plot. Same with Iris. Same with Desert Gulch. In Zero, it feels lazy. It feels forced. These organizations are just there because the story is built around them (HOTDOG).

This vagueness when it comes to wordbuilding is also reflected in the settings - we have a desert, a training base, a lab, temples, Tucker’s workplace, and we do not know if all those are set place on the same planet. If that is the case, what is this planet’s relationship with Chorus? Is it Earth? And most importantly, what is the deal with the temples? Why are they connected to Tucker’s sword if it isn’t the same planet. Are they made by the same aliens? Are people okay with this? Why haven’t these temples been explored before? Chorus makes sure to establish this, while Zero doesn’t, adding to a growing amount of confusion.

Okay, so no connection with previous worldbuilding. What about characters? I mean, we got Wash and Carolina and Tucker! So we have RvB characters, it gotta be RvB! Technically – yeah. But it feels dirty. These three characters are not here to be characters. They are here to be props to the new cast. They are not given any development. Their presence isn’t even that important, and if this was a whole new show, they could easily have been replaced with an unknown face. Worst of all, they feel miswritten.

Carolina and Wash are working at a new military organization? Leaving the Reds and Blues behind? To help people? First of all, fucking bad idea, Carolina, the last time you left the Reds and Blues alone, they changed the timeline. But most importantly – Carolina and Wash just joined this new super elite military organization? After being mistreated and manipulated by such an organization in the past?

Carolina is there to introduce the characters. That’s it. We are force-fed their personality by having her literally read out loud their personality. There is no gentle introduction to the new cast. We are not allowed to get to know them naturally. Why show when you can tell, huh? That’s Carolina’s role. That’s why she is there. To introduce the cast and explain their story. That’s it. (HOTDOG).

How about Wash? He is there to get beat up and be a damsel in distress so that the new cast has a reason to explore the plot. Oh, and that brain damage that was the consequence of previous seasons – gone now. The guy who literally has trauma from having an AI explode inside his head is fine with having a computer inserted into it instead. Because that’s needed. To explore his brain damage wouldn’t work now when his role is to be a prop to lure the new cast for one episode and then be put onto the bench for the rest of the runtime (HOTDOG).

And Tucker – he is there to die for a second and have his sword taken from him. That’s literally it. And for the few moments he is there, he feels like old super flirty Tucker, which erases the character development he went through in previous seasons. Okay, so Tucker dies, and then not dies, and then he is put on the bench with Wash where they can sit and talk or whatever (‘cause holy shit, the new cast is not allowed to that), because he isn’t important. The sword is. Tucker is just a prop, even more than his sword is (HOTDOG).

Damn. Wash gets beat up. Tucker gets beat up. Dies. Gets his sword taken away. Almost seems like a Red’s wet dream. Sorry not sorry, Blues, you were done dirty.

So there are miswritten old characters. Even worse is the retconning. The plot needs a “normal” Wash, so, bam, magic computer solution. Never mind Wash’s trauma and character traits. Never mind the logic of the new worldbuilding which also includes a character suffering for years to heal an illness. But the brain damage that was such a big consequence that it became the main part of the plot of the last two seasons – gone. I mean, a gunshot to the head can be healed by CPR. That’s canon. But no one gave Wash CPR so it’s a big thing, okay. It was canonically a big thing, and Zero erased that. This is not me saying that a Cerebral Enhancer couldn’t work in the RvB universe. Imagine it being done right. Wash struggling with the choice of getting used to his disability or accepting the possibility of help - at the cost of reliving his trauma. The struggle between what to choose - what should he choose when he wants to help as many as possible, the sacrifices he thinks he has to make, the way it could have been used as a part of his character growth. But in Zero, the enhancer isn’t a part of Wash’s character. It’s there so the story can work without having to deal with the previous plot’s consequence (HOTDOG).

Same with the sword thing. They sorta explain it by having Tucker flatline, but it’s weak. Honestly, I find it sorta offensive. What about Locus’ sword as well? It’s twisting previous lore to make the new plot work (HOTDOG). (Also, are we not gonna talk about the ultimate power being Spencer Porkensenson’s helmet? Have the writers forgotten Spencer Porkensenson? Have we as a community forgotten Spencer Porkensenson?)

If you have Red vs. Blue in your title, you cannot ignore what you inherit from it. You need to respect the worldbuilding, the established characters, and the previous plot. Zero does not do this.

Let’s talk about the Triplets. No, really, let’s do it. I don’t think I’ve ever talked about them before, because season 14 was a mixed bag for me (that I have now learned to appreciate. Thank you, Zero.) because I have heart at the size of the Grinch and can only love a few characters at a time, and that did not include the Triplets. Can’t even remember their names. Well, I can, but I can’t for the love of me remember which state is which, and my tongue is twisted every time I try to say Ohio, Iowa, and Idaho, and I know it’s on purpose. I know it is. And it got me good. That being said, the fandom actually embraced them really, really well! Seriously, I’ve seen more content for the Triplets than for Zero as a whole.

Why talk about the Triplets? (Was Iowa the lesbian? Or was it Ohio? Fuck.) Because like Zero, they introduced new characters with a story of their own. The Reds and Blues didn’t play a role. But here’s what I feel like the Triplets got right. They didn’t change the settings to force their narrative. They used stuff already established (Project Freelancer), added their own story as a continuation of that. They even included old characters in the beginning (Wash and some other Freelancers) but it felt natural and it didn’t feel like it happened at the expense of the old characters. Wash’s writing felt natural, and his presence wasn’t needed to tell these new character’s stories. He wasn’t a prop to them. He was there to establish the setting and to establish the relationship with these new characters, and then he and the other familiar faces (helmets??) left, and we as the viewers were left with these new characters. And the new characters told their own story by themselves. It felt like, hey, here’s something you know – remember Mother of Invention, and remember Wash’ lower rank, but now, try to imagine being even lower rank than him, aren’t you curious about those fates? Now let’s hear their story! It was new, it was something else, but it didn’t wreck what came before it, and it stayed true to the classic vibes of RvB.

As I said before, the hotdog-issue is my biggest problem with Zero. It infuriates me. I will return to this. But there are more issues, even if we try to look past the title-related problems.

If we try to imagine Zero as its own story and universe (as it should be, in my opinion), it still earns the meh review from me.

These isolated issues include awkwardness, the writing, lack of self-awareness, and pacing. First of all, holy shit, this is a tell, don’t show. Nothing is subtle, nothing is allowed to develop. It’s like the show thinks you are six years old with an attention span of a goldfish. You are not just led by the hand – they have literally pulled off your arm by the end of the show. We are force-fed every bit of information, every bit of personality from these new characters.

The voice-acting is a mixed bag for me. Sometimes it’s pretty good, sometimes it’s not. Some of the problems can definitely be blamed on the dialogue that you can only do so much with. It’s not good. I can’t remember any good jokes (the one joke I really appreciate was the cast on armor, and that was freaking visual humor. That was so RvB. Kudos to that. It was fun. More of that, please.), and RvB is known for having memorably good lines. This is a show built on good, clever, funny dialogue. Zero does not deliver. You have to sit through clichéd lines – “You’re not my dad”, “I trusted you”, “Come with me”, “It can’t be!”, “She’s way too powerful”, and “We have to do this together” – performed unironically. I cringed more than I laughed. Worst thing is that Zero could be a good parody. Sometimes, it feels like it is. One-dimensional characters, a villain wanting ‘the ultimate power’, very overpowered characters, bad one-liners, etc. But Zero takes itself seriously, and I was one of the people rooting for Jax to show up at the end and yell “Cut”. That would have been a funny-as-fuck twist. A spin-off parody. If I can’t have “Sarge the Movie”, I would have taken that and loved it. I would have forgiven everything. “We put so much info into finding that power, but we had no idea what it was” is really a line in the finale, and I cannot believe this is real in a show that somehow still tries to present itself as serious. What a plot.

We have to talk about pacing. God, first of all it should be stated that RvB is a mess when it comes to pacing. I honestly get what they were going for. Sometimes, RvB has come across as a bit boring when you get three episodes stretched over three weeks without much going on. I know season 11 did not have the warmest welcome because it was seen as boring until the finale. But when you see season 11 as a whole, as a movie, as a part of a trilogy, it works so well. Zero is more focused on being episodic. They want something to happen all the time so we will stay tuned. The thing that will happen – a fight. Oh god. The fight scenes.

I have done the math. I have run the numbers. I deserve a freaking cookie for this. Are you ready?

If you put all the episodes together, you have a runtime of 106 minutes. HOWEVER, with the introduction of credits in every episode, you gotta account for this. Removing the credits, this gives us 94 minutes of actual runtime. Out of that, 45 minutes are dedicated to fight scenes. That means 48% of the show is fight scenes.

If I wanted that many fight scenes, I’d watch Death Battle. Except the actual RvB Death Battle episode has a runtime of 20 minutes, and out of that, 5 minutes is dedicated to the actual battle. For the people who hate math – that’s 25% of the actual runtime.

RvB Zero has more fight scenes than a show called Death Battle. Take that in.

The pace suffers from this. Where’s the time to explore the characters? Where’s the time for good dialogue? All I can think of is this:

I get that RvB is a show that’s literally making fun of itself by acknowledging all their characters do is stand around and talk. I get that you want characters to do more than that. But for the love of Church, would it kill the new characters to stand around and talk? For just a minute? Stop fighting, I am begging you, stop fighting! Am I a pacifist now? Am I purple? Have I joined Doc’s team? What has Zero done to me?!

The good thing though is that fight scenes are very good. They’re entertaining. However, they seem to deconstruct themselves when we need to get a fight scene in every episode. Usually, the few fight scenes in an RvB season were in some of the most climatic episodes. In Zero, I can hardly keep up with the pace because they won’t stop moving. Fight scenes aren’t plot. They aren’t character development. You need more than just fight scenes. They entertain, but there’s a limit to that.

Noël Wiggins, the co-writer, stated the inspiration was a Saturday-morning cartoon. They nailed that vibe. If that was their goal, hurray, they have accomplished something! Because of the poor plot and constant fight scenes, it feels like you could just switch on the TV and drop in at any moment and let yourself be entertained by the cool and colorful soldiers punching and kicking each other. I will admit that the fight scenes entertained me. But they don’t make it a good season.

If I were the six-year-old with the attention span of a goldfish that the show believes I am, I honestly would enjoy it. The stiff dialogue and the constant tell-don’t-show makes you feel like an audience that’s not supposed to do anything else but admire the flashy fight scenes. I miss the cleverness of RvB. I miss the characters I get to connect with as I see them grow.

I miss the tone of RvB. Because this isn’t RvB to me.

It’s not that RvB hasn’t changed its tone before. Holy shit, I sorta do want to experience the absolute shock the RvB fandom went through when s6 aired and they were given new characters and serious plot. I would have loved to experience that, but I was too busy being ten years old. The Freelancers seasons also introduced a new tone and more fight scenes with very talented fighters compared to the Blood Gulch gang, but a balance was kept by having half of the season still revolving around the Reds and Blues. But Zero – Zero is so much change. And it’s on purpose. At least this has been made very clear from the beginning.

They constantly seem to appeal to new fans, rather than be directed towards older fans of the show. If you want an entirely new audience with a season with a new cast, new worldbuilding, and new tone, I’m confused as to why they don’t just make a new show. The hotdog-problem begs for this solution. This story and environment and characters feel so out of touch with the original RvB, that with a few rewrites and lack of Halo-armor, it could just be a new show. Problem solved.

If not this, then present it as a spin-off. In all ways, it feels like a spin-off (again, see everything marked HOTDOG). But the creators refuse to do this, and I don’t understand why. I could forgive many of these issues, had they officially separated themselves from canon.

Ah, what’s the idiom? You can’t both swallow and blow? (You can hear the Bow-chicka-bow-wow in the distance). Something about eating cake and having it. Forgive me, English isn’t my native language. POINT IS why are you calling yourself RvB while actively fighting against the core essence of RvB? In my humble opinion, you can’t be both. Marketing it as a spin-off would have granted it some defense when changing, well, literally everything, and I just, would someone please properly describe why it isn’t a spin-off? Isn’t this season marked by its association with the plot of RvB rather than a continuation of it? Zero presenting itself as not a spinoff feels like a toddler clinging to the hem of its mother’s dress while forcefully running away from her, ripping the dress in the process.

When they do connect with the original RvB, it leaves a bitter taste in my mouth. When they let Carolina, Wash, and Tucker appear for a moment, it feels like luring viewers in with the RvB title. Look at me. Look at me! I’m not saying this is the case. I say that it gives me the annoying vibes of being lured, rather than letting the characters be a part of the show for their own development, rather than having RvB in the title to continue its story. I should not be getting these vibes at all. But I am.

If you want to use RvB in the title, something from the core of RvB needs to be embraced. Things can be changed. They should. Something new should be brought in. But there’s a limit to how much you can change and replace and twist until it would have been better with an original show. As a season of RvB, it should tell the story of Red vs. Blue.

From my perspective, Zero fails to do so.

It pains me that the old cast has been replaced, but as stated earlier, a season could have worked without them. However, I do not like the take that one should be excited about all the new characters. That it isn’t a big thing that the OG cast got replaced. That we should just deal with it. Just, try to imagine another show suddenly replacing the main characters with characters we’ve never met before. Imagine RWBY suddenly only focusing on a new team of huntresses with the previous main characters reduced to an Easter Egg presence, or Camp Camp suddenly being about a new team of campers, no warning given. Can you imagine the outcry? So maybe let’s agree that a replacement of the main cast is a big thing and should be addressed and it’s valid to be upset about this change.

Could Zero have worked? It’s hard to answer this. How can I accept something as RvB if the season actively pushes away the core of RvB aside for an isolated story that could have been told in any other media? As a spinoff, I could have ignored it. To enjoy Zero, I have to fully separate it from RvB in my mind, and then it’s alright. S’not good. But it’s not bad. It’s entertaining enough. I really ended up liking Raymond and Tiny, and there were a few good jokes, and the fight scenes were admirable (but too much) and I love the creators’ passion. But it’s not RvB. I also wish that the new characters had been attached to previous worldbuilding, for example soldiers on Chorus or agents from Project Freelancer. That way we could build on familiar lore which would have decreased the confusion and added a much needed connection with the previous seasons of RvB.

God, the anxious voice is back (by the way, it sounds like Tutter from “Bear in the Blue House”).

“You’re racist” – I hope not. Literally, I do not want to be. Tell me if I’ve ever crossed some lines, because I swear, that is not my intention, I will apologize and most of all, change and do better. I included this because I’ve seen this take thrown around in the big ugly mess that is the fandom clashes regarding Zero. And racism is problem within RT community (this includes AH and RvB, sorry, I just use RT as an umbrella term for the latter), and I’m not saying it hasn’t been a problem with this season. Writers should never be harassed, and never-fucking-ever because of their skin color, and voice actors shouldn’t be treated like they are responsible for the choices of the show. But I was legit nervous to post this review, and I hope it’s been factual without feeling like personal attacks on the creators because that has never been my intention. I was delighted to hear about the diversity behind this project, and Torrian’s passion legit blew me away because it’s been a while since I’ve seen that for an RvB project. I’d hoped for it to be good, and when I feel disappointed, it’s for the reasons stated in this analysis. That said, Zero is made by a diverse cast and it’s made with love, and both of those things are so, so great, but it does not mean that Zero cannot be criticized. It can, and it should. It’s a product, just like all the other seasons, and fans are allowed to discuss it – both what they loved, and both what they found troublesome. And to repeat previous points, and be respectful, always, fuck racists, and never-fucking-ever harass the staff behind a season, what the fuck is wrong with you if you do this.

“Don’t you get it, it’s different because it’s trying something new!” – Hey, remember the philosophical question: if you replace all the parts of a ship one-by-one, is it still the same ship when you’re done? If it doesn’t include the Reds and Blues, if it ignores previous plot, if the old characters feel miswritten, if it values animation over dialogue, if it values fight scenes over comedy, if it wants to be Fast and Furious instead of Red vs. Blue – is it still Red vs. Blue? Because it doesn’t feel like it to me.

“It's been 17 seasons, it’s time to let the Reds and Blues go so someone else can shine!” – I simply do not understand us having been with the Reds and Blues for 17 seasons should be an argument to let them go, rather than be an argument as to why their absence hurt like hell.

“The Reds and Blues ran out of things to do!” – Did- did they, though? I mean, if we were discussing pretty much any other show, I’d probably agree that they were running out of content. But for the Reds and Blues… I think the PSAs nailed it this year! I’m not kidding, I had more fun watching the Reds and Blues discuss how to do laundry than watching Zero. You could literally give me an hour of the Reds and Blues trying to bake a cake or clear a gutter or simply settling down with an ordinary life, and I would trust them to make it worth the watch.

“The flaws were due to the fact it’s only 8 episodes long!” – Look, I can only judge a product the way it’s presented to me. I cannot come up with excuses for it. If they had 8 episodes to work with, they need to come up with a plot that works with this runtime. Seriously, this excuse cannot work when 48% of the season is spent on fight scenes. They could have used more runtime, sure, but the show needs to be able to pace itself and be planned accordingly.

“The OG cast couldn’t be a part of this year, hence Zero!” – That might be true. But. Would one year without RvB kill it? Is Zero necessary? Again, I just can’t judge excuses for the show. But trouble with the cast has been an issue before. Season 15 solves Geoff’s sabbatical by actually making Grif’s absence a part of the plot. Zero’s lack of Reds and Blues just feels like this excuse to tell a story that needn’t be a part of RvB.

Am I a hater? I guess? I greatly dislike Zero for the critique stated above. I do, however, not harass the creators and no one should ever do that. However, I have to admit that I feel there’s been this weird rejection of any critique of Zero where everything’s been brushed off as haters gonna hate, including the critique stated above. And I think that’s a problem because critique, as hard as it can be to hear (and I know this. I’m an author of original works. Weird flex, I know), is valid and necessary and shouldn’t just be shrugged away. As always, both sides of the fandom should always be respectful, but my own opinion is that addressing the flaws of Zero should not be controversial.

Does this super long rant/critique/whatever mean you cannot enjoy Zero? Gods no! I almost envy you if you enjoy this season, but holy shit, feel free to love it and tell the creators that you love it! Me pointing out the issues I have with the season shouldn’t be stopping you. I loved (and still love) s15 when it came out, and it was majorly rejected by the fandom. There were many, many critical posts, people were going on about how RvB should have ended with s13, and it evolved into the writer receiving death threats (me, once again: never ever harass the creators, assholes). But I didn’t tell people to stop being negative. I actually agreed with many of the flaws that were pointed out, and I enjoyed the season despite this, because that is possible. We, as RvB fans, should agree that RvB, is... I mean, it’s not the greatest, most flawless of shows, but we love it nonetheless. So go ahead and love Zero. This is not a stop sign. This is my opinion that you chose to read.

Wait, I promised you a cookie, didn’t I? Well, you’re not getting one. Why? Because I’m a Red and this is my chance to piss off a Blue. As Caboose wisely said: “Well, at least I don't go around... knocking on people's non-doors... and promising them cookies... and then NOT. GIVING. THEM. COOKIES!”

Blue Team sucks.

End speech.

#rvb zero #rvb #rvb zero critical #rvb critical #rvb0 #my rvb stuff #pls dont hate me for this #this is my honest opinion that people apparantly wanted to hear #as a standalone story zero isnt totally bad #as an rvb season it is

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testingcheats0n · 3 years

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I'm gonna make everyone hate me because there seems to be some kind of unanimous opinion about this, but I don't like Niki's character.

I think she's boring, and I think that it's understandable that she wouldn't be included as much in the lore. She lacks background, character motivations and significant impact in the greater story. It's not that the DSMP is sexist or whatever, Puffy is doing her own thing reasonably well without any drastic villain arcs that honestly made me hate c!Niki where I was perfectly neutral towards her in the beginning.

It all stems from 2 things. c!Niki's neutrality and cc!Niki's personal preference to not get as involved in the beginning. The latter is no one's fault she might not have been as into the roleplay as Wilbur in season 1 and changed her mind later on for whatever reason in season 2 which put the already established arcs in a bit of an awkward situation where the writers might have to acommodate for an extra character. Rewrites like that can be done smartly, but the writers must have something to work with so... (also most people wrote their own scripts, and she could've done the same- there are so many cool and impactful things to do solo, if the others can't add her to their own thing- which would later make opportunities to be incorporated in the greater lore, but if I speak I'm just a hater :|)

Secondly, we have these wars, all that political intrigue and struggles for power, but... she builds a bakery? Even the Badlands are less neutral damn, if a bakery in the middle of war doesn't spell 'leave me tf alone' then I don't know what does. From what I understand the other creators didn't know what to do with her, and it's definitely not something they should worry about while doing casual roleplay for fun. Now HR is on their asses- I just think it's ridiculous. It's a sandbox game, the limits are her imagination. It's unfortunate that she might not interact with others for a while lore-wise, but Sam managed (Karl, Ponk, Punz and Foolish are doing it as well). He was gone for most of the bigger events, then Dream asked him to build the prison which was done mostly off camera and solo, which was then inserted into the lore and bam, he's a main character.

Also, I have to note that Fundy and Jack Manifold are in the same boat as her, and there's certainly no lack of Fundy fans, (which is due to his early involvement in the lore, so that might have something to do with all of that)

That said, I never planned to write on this issue, but a post I saw today tipped me over the edge. I don't care about cc!Niki, I'm neutral towards her and her concerns may be valid or not (I don't know since that's between her and the rest of the SMP, we as the audience can do nothing but watch her streams, eh 👀), but I draw the line at labeling everyone else in the SMP sexist. Just for not adding a woman into the lore when another fared reasonably well-off... that's an L from me.

Also the particular post I saw, fairly popular- almost 2000 notes, derailed completely from:

'The DSMP has a problem with comunication and it might be a sexism problem that must be addressed'

To:

'Tommyinnit is sexist, this has nothing to do with lore, but the entire server is sexist and Tommy is the worst offender.'

Oof. Not a great way to make me listen to Niki's plight even if we as the audience could do anything besides tune in to her streams (which you appear to not have done in the first place- I'm not pointing any fingers, but if her character is so interesting then her lore streams must be right up there with other creators' in views... right?)

Even when she did inset herself in the story, I didn't see a particular boom in interest. It was all very performative, 'go queen' type of deal, but the metas are scarce and the fanart mostly revolves around burning a tree and a completely separate SMP-

Also just to add a final jab.

The most expectations and speculations I've seen related to c!Niki were with her relationship with Wilbur- do with that what you will- and her relationship with Puffy. So half of her appeal as a character is her relationships with other, more relevant characters (one of them a fellow woman, just to note) and the other half is how her character negatively impacts others' (Tommy, Tubbo, etc.) Still barely nothing on c!Niki alone. The fact is that not everyone can be an MC no matter how hard they try, there's always side-characters and side-characters have small roles.

#dream smp #nihachu #negative #rant #proping up people by bashing othera isn't the way

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twdmusicboxmystery · 3 years

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The Awake/Asleep Theme (and How it Applies to the CRM)

Okay, this is an epiphany I had thanks to 11x06. All of us theorists noticed how much emphasis they put on the fact that Connie had not slept, and that was a big part of why she was freaking out the entire episode.

At one point, Virgil even accuses her of hallucinating what she saw behind the wall because of lack of sleep. So, it crossed most of our minds that the creatures in the house might not be real, but might be a hallucination.

That, it turned out, was not the case. But mentioning it at all felt like a nod to the hallucination theme.

But when I re-watched the episode, I noticed something else. At the beginning, when Virgil is telling Connie she needs to sleep, and she keeps shaking her head, he says the word, “Rest.” All by itself.

It reminded me of something Maggie said to Daryl in 5x10, Them. After she wakes up and the two of them talk about Beth, and he gives her the MUSIC BOX, she says, “it’s okay to rest now.” It makes sense in the context of the episode, since it seems he was awake, keeping watch while the others slept. She was just telling him that since she and others were awake now, he could get some sleep. But it’s just such a weird wording, you know? I always thought it must be symbolic of something, but I never knew exactly what.

So, we have this sleep/rest theme that ties Connie and Virgil (Beth and Daryl template) to Them, which was right after Coda, and literally minutes before the music box woke up.

The other thing that jumped out at me is when Caver said to Leah, “Shaw, wake up!” The way he said it just reminded me a lot of how Denise said it to Daryl and Rosita right before she was killed.

So, as I often do, I tried to step back and take a broader view of what the characters actually mean when they say stuff like that.

For Carver, when he said it to Leah in this episode, he basically means that she needs to wake up to the truth. She can’t see the truth (that Daryl is deceiving her) and she needs to stop being duped by him and allow herself to see the truth.

The way Denise used it was slightly different, but related. She was talking about how Daryl and Rosita weren’t even trying to deal with their issues. Basically, they weren’t really living, which is theme we heard from Beth at Grady. Kind of the equivalent of “sleeping through your life.”

And then I thought about the fact that we actually see Beth wake up at Grady. And as always, it makes sense in context because she was, you know, unconscious, so clearly she’d have to wake up at some point. But they just emphasized it SO much. Seeing her eyes flutter open. Seeing her slowly sit up and look around. I mean, how many times has TD posted those shots?

And that’s when it all clicked for me.

I said in the Matrix theory that the truth, what’s really going on, has to do with what TF has not recognized yet. It has to do with the CRM and what they’re doing that is negative, but most of TF (excluding Beth and Rick at this point) are still completely oblivious to it. So that is the “truth.” The truth that people need to wake up to.

So, thematically, being “awake” represents knowing or being able to see the truth. Being “asleep” represents being blissfully ignorant of the truth.

Think about how they used this theme in 11x06 with Connie and Virgil. Connie hasn’t slept. She’s refusing to sleep, which we all know is a bad thing. You have to take care of yourself or you’re gonna start hallucinating, which Connie kind of does here.

But because she refuses to sleep and goes to check the house again herself, she sees the creatures in the walls. She sees the danger. Danger Virgil doesn’t see. Because she’s awake. When she runs back down to tell him, we actually see Virgil SLEEPING. See what I mean?

So how do we interpret this in other cases. When I started thinking through these, they kinda blew my mind. Such great planning on the writers’ parts.

Beth at Grady:

With Beth, as we’ve already said, Grady is most likely tied to the CRM. I said in the Matrix theory that Rick and co should have awakened to the CRM and what was happening when they visited Grady, but they didn’t. They left and went back “into the Matrix” as it were, and back into blissful ignorance where that was concerned. I’m gonna come back to that in a minute.

The point is that we saw Beth waking up, because she was basically waking up in “Wonderland.” She was in a place where it was possible to see the truth for the first time. So, she was both literally and symbolically “waking up” to it.

When Maggie says to Daryl, “It’s okay to rest, now,” I think that’s the writers’ way of saying that they all went back to sleep, as it were. Back into the blissful ignorance of the Matrix, not understanding that Beth really lived or what the CRM was up to. She says it’s okay to rest, and he agrees, and they all “rest,” closing their eyes to the truth. Because it’s just easier to do that than to stay awake after the storm.

Now let’s look at Denise:

We immediately tied her death to Beth, because it was so similar to what happened at Grady. But that sequence indicated SO much more than that.

Denise was yelling at Daryl and Rosita about not being awake to their lives. And I’m not claiming Denise knew anything about the CRM. What was happening in her arc was its own thing, but thematically, yelling at them about not being awake could be seen as yelling at them about not understanding what’s really happening with the CRM. What’s really going on.

Think about what she said. She said they were both really good people, and they weren’t even “trying.” And literally the last words she spoke were, “and if you don’t wake up—” and then she was shot. In the eye. And died. On the TRAIN TRACKS. Right in front of Daryl. Just like Beth.

So, it’s almost the writers hinting that something about what happened with Beth should have woke them up to the truth. They need to wake up and see it, or they’re going to die.

And perhaps by extension, Daryl needs to wake up and see it or he’s never going to get Beth back. I mean, really think about that sequence. “If you don’t wake up—” Bam. Shot in the head.

Rick’s Old Man Coda:

Remember in S8, we kept seeing visions, which turned out to be Carl’s, of Rick waking up as an older man? Some things I want to point out here.

Rick is waking up in this sequence. It also has the vibrant color scheme that we often see in these dream-like scenes. I think the vibrant colors represent Wonderland, or the “truth” which means they represent the CRM or the world outside the one TF is currently aware of.

So, these “old man codas” as I liked to call them foreshadowed many things. They foreshadowed Carl’s death, the fact that we’d see Judith as an older child eventually, etc. But I also now understand that they represent Rick disappearing into the CRM. Thus, why he seems to be “waking up” in “wonderland.”

There are plenty of other symbols we could point to. The flowers, which are reminiscent of his hospital experience in ep 1, and thus also point toward Grady (tied to the CRM). The fact that the song, “Another One Rides the Bus” is playing in the background. That’s part of the yellow theme. Which applies to Rick in a big way, btw. I already talked about how we saw it during 7x12, which foreshadowed his death fake out.

But we also have this huge arc where Michonne, and of course Daryl, are looking for Rick along the river. But he’s not there. They’re looking in the wrong place. Yellow theme.

Grace in FTWD 6x12:

I won’t go into too many details about this, but we also saw this theme with Grace in Fear. She had a dream sequence that also employed these vibrant colors. And you could interpret this theme about 5 different ways in that episode. Parts of the dream had truth in them, which means she was seeing truth in the dream. Just a different truth than she thought.

Parts of the dream were also false, so she had to “wake up” to reality. And then things that happened near the end of the season around these events led a chunk of her group to connect directly with the CRM. Several of them were picked up by a black helicopter in the season finale. So, the awake/asleep theme was definitely being employed there.

And finally, that brings me to Leah:

We still think the vibrant and sometimes blurry colors of FM suggest a dream-like state. We’ve been trying to nail down the timeline and things just don’t add up. So at the very least, we still think some of this is being remembered wrong.

But I also think perhaps the reason for the vibrant colors is that Leah is Daryl’s Grady. In the sense that he’s just getting a tiny inkling of what’s going on, on the outside with the CRM, but really hasn’t put it all together, yet.

I think Leah is going to lead him, in a big way, to waking up to the truth of the CRM. I think that’s her entire function in the plot. And of course there’s all this back story and all the stuff with Maggie and the Reapers. Lots of complicated arcs going on. But Leah is how Daryl will finally “wake up” to the truth, which will lead him to Beth. And eventually Rick.

That’s all. Thoughts?

#beth greene #beth greene lives #beth is alive #beth is coming #td theory #td theories #team delusional #team defiance #beth is almost here #bethylforever

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ihatetaxes99 · 3 years

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A Brief Retrospective Look At MVA (In The Anime)

Well. Here we are. Every end of the time is another begun. After what has felt like years of anticipation (mostly because it actually has been years), My Villain Academia has been fully animated. Well, "fully" may be the wrong word here, but that's something I'll get into later.

To honour the end of the arc, I decided to do two things: One, I re-read the entirety of the arc in the manga all in one sitting; Two, I rewatched all five episodes of the anime's adaptation back to back once again. My life is pain and I know not of sleep. Anyway, the reason I did this is because of a little project I proposed to myself back just before the first episode aired; Once MVA was done and dusted, I would go back and give my own retrospective on the whole thing. Because why the hell not, sounds like fun. This will also hopefully be less emotional than my thoughts I shared as the episodes were still airing, but who knows?

So, let's begin. And I wish to start by stating that My Villain Academia is my absolute favourite arc in the manga. It did a lot of things right. It focused entirely on my favourite faction, the villains. It offers a glimpse into their lives and goes a long way in humanising them, particularly Spinner and Shigaraki. It sets up key points for others too, such as Mr. Compress' habit of thinking more about the bigger picture than the others, which would factor into his major reveal during the Paranormal Liberation War and of course the formation of the Front itself. It introduced us to Rikiya Yotsubashi, one of my favourite characters in the manga, even if he honestly peaked in this arc and was never as good again. And it gave us a large-scale, grueling fight for supremacy in which I found myself actively rooting for the League. It is, in my mind, the very best of BNHA, the only arc I would want them to do well in the anime. They could screw up literally everything else and I would be happy if MVA was even just as good as the manga, it didn't even need to be better. I would have been delighted to have an excuse to experience the arc all over again, seeing my favourite moments with the sublime soundtrack and voice acting.

Yeah…

But before I get to that, let us take a little trip of sorts down memory lane to see the road to MVA, what led to it. So, 2021 rolls around. What a fun year. It's just 2020 without the excitement of everything being so uncertain, and frankly it's been really fucking boring as a year. However, BNHA Season Five was announced. In February, we get the first trailer for the upcoming season. It's... It's fine. Obviously, it focuses heavily on the Joint Training Arc (in fact, that is all it shows) and although I despise that arc with a passion, it's not too bad. I had not watched the anime since Overhaul ended, so my plan was I just wouldn't watch JTA and would wait until the big attraction, MVA. And so, Joint Training starts. And it goes on. And on. And on. I checked back almost two months later to discover it still wasn't over yet. Now I found this odd. Joint Training Arc was horrible for many reasons, but the big one was that it dragged on for so long as a result of Horikoshi's health complications, which is by no means his fault. But, surely the anime, which would consistently release on a weekly basis, wouldn't have the issues associated with this. Episodes of BNHA have always encompassed around three to five chapters, and Joint Training's were shorter than usual, so why was it taking more than ten episodes to adapt it?

Very strange, but I didn't question it much. Then, the key visuals released, confirming that MVA was at the very least happening. Great, wonderful. I love it. We've got the whole gang there, seeming like they're in Deika, looks pretty good.

Wait, did I say whole gang? Yeah, my bad, there was someone missing. Spinner. Now, I am not the biggest Spinner fan so I wasn't prepared to riot over his exclusion like I would have been if Compress wasn't in it. But this was starting to get strange. Spinner was the main narrator of MVA. Even if his importance was not on the level of Shigaraki, Twice and Toga, it was certainly more than Dabi and Compress, who did both appear in the art. Why was he excluded? Obviously, I bet you're all having a good old chuckle to yourselves right now because in retrospect, this makes perfect sense now.

Alright, then. I heard from a friend around June time that Joint Training was finally over. Awesome, great, time for the good stuff- why is there a Christmas episode here?

Yes, this was probably what really started to get the alarm bells in my mind going. The Christmas episode- in June. Very, very strange. Also, absolutely no mention of Rikiya, which even if they were reshuffling things, I would have expected him to appear in the episode of Bakugo and Todoroki getting their licenses, since it directly ties in. Concern levels rising, I shrugged it off and waited for next week.

Bam. Major reshuffling. Now, Endeavour Agency comes first, fuck you if you want context for who the hell the PLF are or the significance of Destro's memoirs. This was really starting to worry me now. I told myself that the key visual meant that MVA had to be happening, but it was starting to seem like the villains were being shafted. A fact not helped by the new OP.

Look, I'm sorry. I don't mean to complain or whine, but season five's second OP is just bad. The music is fine, I have no problem there. But the visuals are just awful. Not only is there an extended focus on that stupid bloody trio of Midoriya, Bakugo and Todoroki, not only is there more screentime given to characters who don't appear in MVA or EA than the main cast of the former, but the animation itself is just so stiff and lacking. It had potential, but the visuals are the worst out of any recent anime opening I've seen in a good few years and this was what got me really panicking.

Boom, a beach episode smack in the middle of Endeavour Agency to promote the upcoming movie. Boom, adapting two chapters per episode during EA. Boom, the Shirakumo episode, which I always thought was part of the War Arc and not EA. But finally, mercifully, the title leaks came and it was revealed that episode 20 of season five would be the start of MVA.

20. Out of 25. And it was pretty obvious that they weren't going to end the season with MVA, so really, up to 24. Ohhh no…

But hey, I'm an optimist sometimes. I was excited to just finally be clear of all this nonsense and get to the real good stuff. Hell, in preparation, I watched the entirety of the season up to that point. I finally realised why JTA took so long and it's one of the most depressing things I've ever learned, in a bad way. Were all those flashbacks really necessary? EA was okay, as someone who as a manga reader, already had the necessary context for the PLF stuff. The beach episode, I watched half of, got too bored and skipped the rest of. And you know what, I liked the Shirakumo chapters. They weren't as good in the anime, but it was nice to see.

And then, finally, in comes episode one of My Villain Academia, on a cold, dark August morning. I even bought Crunchyroll Premium to watch it as soon as possible, I was excited. All the messing around, all the crap, it was finally over and the time had come to enjoy what this season was really all about.

I can now safely say why Bones kept pushing back MVA, because if I was them, I would be embarrassed to show this.

No, that's not fair. I promised I wouldn't get too snarky, so let's reek things back in. As a whole, MVA has been… fine. Just fine. Not good enough to justify the bullshit, but not horrendous (mostly.) In fact, right now, I'll give a ranking of the episodes, my worst to best:

5) Episode One

4) Episode Two

3) Episode Three

2) Episode Five

1) Episode Four

Yeah. So, there's a clear pattern here, that things more or less got better as time went on. From just straight up bad, to still not great, to alright, to the final two episodes being what I would comfortably call good. This is not a good look. I'm sorry, but Episode One, an episode that I just called bad, is still one of the season's best in spite of that. That spells out awful things for this season as a whole. But what exactly made this such a disaster?

Well, cut content is the big thing. MVA in the anime cuts out:

The League's battle with the CRC

Their struggle with poverty

The sushi joke setup

All of Spinner's character

All of Rikiya's character, including most mentions of Detnerat and Miyashita

Fairly integral pieces of Skeptic's character

Most of Giran's integrity and bravery

This doesn't look too bad at first. It could be far worse. We got basically everything else from the arc, so what? Well, I would already be annoyed about all of these cuts, but the issue is that they cause a knock on effect. Without the establishment of the League's poverty, the payoff of Toga's duffle coat now makes no sense. Without the setup of Spinner's characterisation, his battle with Hanabata now feels hollow. Rikiya's surrender to the League now makes even less sense, as his love of human life and desire to cause no more death is completely non-existent. The first time Rikiya being a CEO is mentioned is in the closing minutes of the arc. The sushi scene is hamfisted into a two second flashback just so that the payoff makes some sort of sense, but again, it is hollow without it being at the start (this is also the first mention of the League's poverty and it literally happens just as they are freed from it.) Can you see how these little seemingly unimportant cuts spiral into bigger problems? I would have been pissed even if they hadn't caused some tremendous cascades, but the fact that they did just makes this from a subjective issue to an objective one.

Yes. They did some things well. Toga's backstory is mostly intact, SMP is just as satisfying as the manga, Tenko's backstory is one of the best things the anime has ever done, the awakening is very well done, I adore the PLF formation as much as I did in the manga. Everything important is intact, but as I keep saying, you cannot just keep the bare minimum and expect it to work. How about in the next arc, they decide to cut everything involving Bakugo out, and only keep him jumping in front of Midoriya because it's the only absolutely necessary thing he does in the arc? People would be pissed, and it's the same thing that's happening here. It's a problem, it's not just a bad adaptation, it leads to bad storytelling in general.

The animation. Now, I do not believe this is a be all, end all. BNHA's anime is never going to look as gorgeous as Horikoshi's art, that is a fact and I do not begrudge them for that. They have a week to draw hundreds upon hundreds of frames, it's not a process that lends itself well to good looks and the animators and artists do their best with what they have. This does not change the fact that it is extremely hit or miss. Some things, Tenko's backstory in particular, look fantastic. Other things, mostly every action scene, make me laugh at how bad they can look and some things, particularly Twice and Re-Destro's hideous designs in the anime, make me cringe. The lighting is also an issue. Garaki's lab looked fantastic, but every other scene is just boring mid-afternoon with dull, basic lighting. I don't expect huge detail, but sometimes, it fails to achieve competency and as an extremely popular show, I don't think that's okay. I don't blame the animators, I blame the higher ups. And while I wouldn't mind the poor animation and art in an MVA that at least has all the story content, this does not have that and so I am even harsher than I would have been.

MVA was rushed. That's not up for debate. It took forever to get to it and once it came, things moved so quickly that they gave me whiplash, with no time to think or lament. Now, this could be attributed to the story structure of the arc, which is essentially a series of big fights, and it just isn't as bad in the manga because I can stop at any time to catch my breath. But I think it's worth noting that the anime at least highlights these issues. Curious dies in the same episode where she first appears, really driving home how pointless she was in the end. Episode Two alone tries to cover everything from the journey to Deika up until Jin finding Toga's body. That's a lot of content to fit in one twenty minute period and it was bound to feel messy in the end. I will say that, much like everything aside from the animation, this did get better as time went on, with episodes three, four and five adapting more reasonable amounts of content, compared to one giving us almost nothing and two giving us too much.

At the end of the day, that was it. The show's over. MVA has been closed in the anime. It will never be given a chance to improve, to go from just fine to anything even close to the manga. Why did this happen? I don't think we'll ever truly know. Some blame the new movie, others the studio's lack of faith in the villains, and there are those who say that it's just how fate turned out. I personally think it's a combination of all of these things. Without the movie, that beach episode wouldn't exist, giving more time to MVA, without the studio's hesitation, we'd perhaps get stuff like an actual good OP and perhaps some more general hype for it (I mean, MVA didn't even get a trailer.) Whatever the reason is, we got what we got. My verdict is something that's very overplayed as of late, but seriously, just read the manga with the fantastic soundtrack playing in the background. The anime's adaptation of MVA is not worth the time investment, when you could read the manga in roughly the same length of time and get more content, a more coherent plot and beautiful artwork.

So, what may come next for Season Six? I don't know. Season Five has definitely been one of the most unpopular seasons in the anime, with a lot of people speaking out against it, but this mostly seems to come from the Western fanbase, so it's up in the air if Bones will learn from their mistakes. Since they'll have a full season to do presumably the War and Rouge Deku arcs, then I feel like they'll put on a better show. But we just don't know. Spinner had his spotlight stolen this time around, will Compress suffer the same fate in Season Six? Dabi and Toga will probably be handled well, since they have inexplicably high amounts of popularity, but with his own lack of recognition rivalling Spinner's, I can see Sako ending up much the same way. Time will tell, I suppose.

#my villain academia #mva #league of villains #Meta Liberation Army #studio bones #bnha season 5

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discotreque · 4 years

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LwD 1.10, “No Small Parts”

Well, that was the most fun I've had watching Star Trek in literally a quarter of a century.

I had high hopes for this series. I love TAS, largely because of its wacky outsized concepts that could only have worked in animation—not that they all did work, but the potential was so apparent to me, even as a kid reading the Alan Dean Foster novelizations—and as an adult, there's something about the imagination of Lower Decks's FX setpieces that transcends even the glorious CGI bonanzas of Discovery.

Pause for a confession. I've long pushed back against criticism of serialization in new Trek. That's just how TV is now, okay? Might as well complain about it being in widescreen. But I'm backing down a little, because I've realized there is something about Star Trek that's inextricable from at least a partially-episodic format. And while Picard was telling a different kind of story, I can't deny that my favourite episodes of Disco have been the ones with a mostly self-contained A-plot. After 10 delightfully episodic instalments of LwD, its focus on long-term development of characters instead of a season-spanning puzzle-plot (okay, mostly just Mariner, but we only have 10 × 22 minutes and she is the star) has been downright refreshing.

So here we are, at the end of the most consistent and well-executed Season 1 of a Star Trek series since, arguably, Those Old Scientists. And sure, if they'd had to produce another... yikes, 42 episodes? Then sure, they probably would have dropped a clunker or two—but they didn't, and winning on a technicality is still winning. I'm practically vibrating with excitement for Disco to come back next week, but damn, I'm going to miss this little show while it's on hiatus.

Spoilers below:

Something I've been keeping track of finally paid off this week! (Which never happens to me, lol.) The destruction of the USS Solvang marked the first present-day death(s) of any Starfleet officer on Lower Decks, the only other on-screen killing at all being a flashback in "Cupid's Errant Arrow". Which makes sense, being (a) a comedy, and (b) about typically "expendable" characters: it hasn't been afraid to flirt with a little darkness here and there, but killing people off at Star Trek's usual pace wouldn't just be wrong for the tone, it would be downright bizarre.

But... people die on Star Trek. That's one of the core themes of the show, really: space is full of knowledge and beauty, but also danger and terror, and believing that the former is worth the risk of the latter is (according to Trek) one of humanity's most noble traits. I'm the least bloodthirsty TV watcher I know, but the longer we went with a body count of nil—ships completely evacuated before they were destroyed, main characters hilariously maimed without permanent consequences, etc.—well, I didn't mind per se, but the absence of truly deadly stakes was definitely getting conspicuous.

Turns out they were saving it up for maximum impact. And holy fuck, I've never felt such a pit in my stomach watching a ship get destroyed that wasn't named Enterprise. It felt grim and brutal and somehow both much too quick and dreadfully inevitable—and yeah, it looked extremely fucking cool—and I'd like every other Star Trek property for the rest of time to take notes under a large bold heading labeled RESTRAINT.

Comedy doesn't need to do this, but my favourite comedy does, and in a way that few other art forms can even approach: lower my emotional defences by making me laugh, endear character(s) to me with goofy-but-relatable antics—then BAM, sucker-punch me in the motherfucking feels. M*A*S*H is probably the classic example on TV, Futurama was notorious for it, and even Archer has pulled it off a few times; it's also a staple of some of my favourite standup. I wasn't sure if Lower Decks was going to go there in Season 1—and wasn't sure if they'd earn it—but I knew if they did, that they'd nail it, and damn. Feels good to be right.

Last batch of notes for the season!!! I rambled enough already, so let's do it liveblog-style:

I fucking KNEW they were going to use "archive" visuals from TAS at some point, I KNEW IT :D

"THOSE OLD SCIENTISTS" ahahahahahahahahahahahaha

I like chill and confident Boimler a lot? You can really see—

oh bRADWARD NOOOOO

That opening shot of the Solvang tracking down to the red giant was extremely Discovery-esque... minus the motion sickness, that is

A lady captain AND a lady first officer? That's—oh hey, it's Captain Dayton's brand-new ship. Hahaha, that means they're totally fucked, right?.

Yep! They sure a—umm, wh—shit, okay, but—oh no—no, you can't—wait DON'T

...fuck

FUCK.

Narrator: "And then Amy needed a five-hour break."

[live-action Star Trek showrunner voice] "Gee, Mike! Why does CBS let you have two cold opens?"

Okay, yes, the bit with Rutherford cycling through all the different attitudes in his implant was transparently an excuse for Eugene Cardero to vamp while waiting for something to do in the story, but as far as I'm concerned they can contrive a reason for him to do a bunch of different silly Rutherfords in a row any time they damn well want, because that was classic!!!

EXOCOMP EXOCOMP EXOCOMP EXOCOMP

AND THE EXOCOMP IS PAINTED LIKE THE EXOCOMP IS WEARING A LITTLE EXOCOMP-SIZED STARFLEET UNIFORM

EXOCOMP!!!!!

The slow burn and now the payoff of the Mariner-is-Freeman's-secret-daughter plot has been executed so well. I'm beyond impressed with this writer's room, y'all—they are threading a hell of a needle here

"Wolf 359 was an inside job" would have been a spit-take if I'd had anything in my mouth

...how many memos do you think Starfleet Command has had to issue asking people to stop calling the USS Sacramento "the Sac"?

CAN WE TALK ABOUT HOW THEY'VE DECORATED THE SHUTTLECRAFT SEQUOIA THOUGH

Is, uh, is it weird if I'm starting to ship Tendi and Peanut Hamper a little? It is weird, isn't it. I knew it was weird...

Coital barbs??? I take back everything I said about wanting to know more about Shaxs/T'Ana.

The "good officer" version of Mariner is... kind of hot, tbh! But Tawny Newsome has done such a great job of building this character all season that her voice getting uncharacteristically clipped and martial and "sir! yes, sir!" is also deeply, deeply weird

Ah, so this is literally exactly like when TNG (and DS9) would bring in, and then blow up, a never-before-seen Galaxy-class ship, just to underscore that we're facing a real threat this week, baby. And hey, it fucking worked—my heart was in my throat, omg, for the reveal of the—

PAKLEDS?????????

The fucking PAKLEDS have been gluing weapons to their ships for the last 15 years. GREAT.

(We interrupt the SHIP BEING SLICED INTO SCRAP for an interesting bit of world-building: on Earth, the traditional First Contact Day meal is salmon!)

"I need a dangerous, half-baked solution that breaks Starfleet codes and totally pisses me off! That's an order." I'm starting to think Captain Freeman might actually be overqualified for the Cerritos, y'all—she's REALLY awesome

OH SHIT IT'S BADGEY, this is a TERRIBLE IDEA

"How much contraband have you hidden on my ship?" "I don't know! A lot!"

Awwww, Boims!!!

AHAHAHAHAHAHA, FUCK THIS, PEANUT HAMPER OUT

BADGEY NOOOOO

AUGHHHHH WHAT THE CHRIST DID HE JUST—BUT—RUTHERFORD'S IMPLANT????

RUTHERFORD!!!!!!!!!!

SHAXS!!!!!!

F U C K ! ! ! ! !

ahaIOPugdfhagntpgjrq90e5mgu90qe5;oigoqgw4ouegrw5SP;IAEHURVa IT’S THE TITAN???????????

IT'S CAPTAIN WILLIAM T. RIKER ON THE MOTHERFUCKING TITAN??????????

i'm screaming I'M SCREAMINGGGGGGTGGGTGQER;LBHAOIBVNV;OAPBIJNVagr;h;oagruipuwtnaetbaetgq35ghqet

I'M SO GLAD THIS WASN'T SPOILED FOR ME WTF

I AM WEEPING LIKE A CHILD

...

(Just a brief 20-minute pause this time)

And oh wow, seeing Will and Deanna hits different after Picard too, in a few different ways, which I may even get into later now that my heartrate is back to normal, lmao

Oh, I am always here for some jokes at the expense of the Sovereign class. The Enterprise-E sucked. They should have built a new bigger model of the D and new Galaxy-class interiors for the TNG movies, and I will die on that hill

OKAY, FINE, YOU GOT ME, RUTHERFORD × TENDI WOULD BE ADORABLE AND THIS IS ACTUALLY A PRETTY GOOD SETUP FOR IT

Awwww, Shaxs though :( Congrats on the single most badass death in Star Trek history, dude. The Prophets would—well, the actual Prophets would probably be slightly confused about most of it, but Kira Nerys would be proud of you and I feel like that probably counts for more. RIP, Papa Bear

I am here all damn DAY for the Mariner–Riker parallels, ahahahahaha

Pausing it to record my prediction that Boimler's commitment to not caring about rank anymore is going to last 3... 2...

Yep.

Bradward, how DARE YOU.

"Those guys had a long road, getting from there to here." OH FOR THE LOVE OF—

What a brilliant way to resolve and renew the various character arcs and relationships moving into Season 2! The writers could easily have brought everything back to status quo—chaotic Mariner fighting with her mom and being a bad influence on Boimler, etc.—and done another 10 just like these, but I suspect that wouldn't have been ambitious enough for these writers. What a blast. I cannot wait for more.

Thanks for following along, friends! Stay tuned for my (similarly patchy and amateur) coverage of Discovery, starting next week!

#star trek #star trek lower decks #lwd spoilers #lower decks spoilers #lower decks #amy's episode notes

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