#and I do think the show has the chance in its adaptation and condensing of material to make improvements or at least avoid mistakes

[thedeadflag]

I've rewatched WoT S02E06 three times now, and once again I find myself hoping beyond hope that we get a better ending with the Seanchan at the end of the show than what RJ/BS managed with the books.

Like, I get the "little in life is black or white, we exist in the greys" bit that's routinely pushed, and the narrative exploration of the politics of privilege and how the majority of a society can grow to tolerate and appreciate the subjugation of others and the horrors their government inflict if it means their own lives benefit. I get the spotlighting themes of Law vs Justice and Order vs Peace they bring out. I get that. I do think both authors really had a tendency to stumble when writing towards those aims, and it often came across as minimizing the evil of the Seanchan. There are things in life worse than death, and I never did see the Seanchan as any better (and often saw them as worse) than the Dark One's forces. By the end of the series, the dark one's imprisoned again, and the Seanchan are reasonably well equipped to eventually conquer the world within a few generations (and iirc we do get glimpses of that future through Aviendha). The only other alternative would be if Shara only let a trickle of their forces to the final battle, and had enough of a channeler army to pose a threat, and they honestly wouldn't be any better. Shit's seriously fucked.

And I have little doubt that not too long after that conquering (or perhaps in the later stages of it), some desperate people will bore into the Dark One's prison again and release him in exchange for the power to defeat the Seanchan. And I honestly wouldn't blame them (and the Dark One probably worked to build that force over the centuries as a plan B if all else fails), and it may just be the right thing so that the Seanchan society can die off, and hopefully when the Dark is defeated once again, there won't be the threat of a looming incomprehensibly evil society ready to take over.

Like, I don't need a kittens and rainbows happy ending in the show, it wouldn't fit the series, but I do want one where the threat of the Seanchan is seriously considered and where there's some glimmer of hope for a better turning of the wheel. Throughout the series, I always considered them on par with the Dark One as the "big bad", if not the sneakily primary one, since they're more 'digestible' as the more human face of evil, but still no less evil than the Dark One and its forces. And it's a big reason why Sanderson's books kind of fell flat for me and often undermined the tension they tried to build in sections related to them, because the threat of the Seanchan really wasn't addressed well, at least not IMO.

It's probably because RJ planned another book series featuring Mat that would potentially explore the deconstruction of Seanchan society and the political intrigue and philosophical issues involved with changing the core principles of a society and the elements of imperialism/colonialism involved in that, but we're never getting that story, so can we please just ensure the show ends with a decisive L for the Seanchan? Please let them reap the consequences of their own actions for goddamned once, at least to some extent to where there's meaningful hope for a better future.

Or maybe just have Semirhage completely eliminate all Seanchan leadership and capability to enslave channelers during her time in the Seanchan mainland, and publicly collars a few sul'dam before killing them to break public faith in that whole system. Like, screw the civil war nonsense, just cast them into utter chaos, left to question everything they believed in. That way, by the end of the show, there may be less narrative impact to the truce, but it'd make for a more hopeful ending given the slim likelihood of the Seanchan culture and principles lasting long after the end.

Like, I don't care all that much how it happens, only that it does happen. The writers have a chance to make their own mark in a good way, and if the series lasts that long, I hope that they take it. (And also maybe just omit the Shaido abduction arc entirely, it doesn't need to happen and they wouldn't have the runtime on screen to justify that conclusion.)

#wheel of time #wheel of time spoilers #wheel of time book spoilers #wot on prime spoilers #long post #it's probably too large of an ask given the potential backlash it could result in but the Seanchan make me feral with rage #and if anyone feels like arguing with me over this please don't bother #because I'm 100% right on this and no one could convince me otherwise #this is an opportunity for the show to be better than the books in one particular way #i don't like that a 15 book fantasy epic ends their battle of light vs dark with fantasy nazis having the means to conquer the world #allow for a better turning of the wheel please #I am a fan of the books but I do not perceive it to be flawless #and I do think the show has the chance in its adaptation and condensing of material to make improvements or at least avoid mistakes

[raven-at-the-writing-desk]

I really live the idea of the twst anime just showing random things that happen with the characters that we don't see in the main story, the obey me anime did that too and I think it was for the best! I would also like to see some events played put in the anime bc I think it would be fun to see some of them in a form other than the game! that would give us a chance to maybe see some different places other than nrc too! I think the masquerade event might be too big for one episode of the anime but it would be really cool to see it animated. I also want to see najma, cheka and some other family/friends that we either have seen little of or haven't met before (deuces mom and malleus grandma! the leech parents! azuls family??? SEBEKS MOM AND DAD??) they don't have to play a big part in it, just little bits with them if the anime is focusing on certain characters each episode

[Referencing this post!]

In talks of the TWST anime (which we still don't have a lot of details about), I do often hear comparisons made to Obey Me, which got an anime adaptation that focused not on the main story but on the daily lives and stupid shenanigans of the characters. As I mentioned before, I would prefer if TWST went this route for its anime rather than repeating the main story for (what is it now?) a 4th time (game, manga, light novel, now anime).

The main story is fine and all, but to me each retelling barely adds anything new to the actual plot (even if the Yuu is changed up), and I'm personally not all that invested in them when they don't play an active role for half of the story. I feel like the art form of animation could be much better utilized to explore things not tackled in the manga or the light novel: new locations, new characters, new lore. It could even be adaptations of the less serious conflicts in events or vignettes! This would get newcomers introduced to TWST without spoiling the main story while also providing fanservice to preexisting fans. There's just so much of TWST not touched upon outside of the game, and I think that's a real shame because Twisted Wonderland has very interesting places, cultures, and people! I personally want to see more of the characters interacting and more of the world in the anime rather than the episodes trying to shoehorn Yuu into scenes they don't necessarily have anything to do in. (That's honestly a lot of the gripes I have with Yuu; their presence oftentimes feels contrived and lacking 💦 and I feel like this issue will become extremely apparent in animation unless Yuu is changed significantly and actually given things to do where game!Yuu did not (ie during battles, in book 5, etc.)) I definitely feel like my interests are more aligned with learning more about the 22 boys in the main cast and their relationships and families. Maybe we could have an episode or two dedicated to just how their friends/families reacted to them being accepted into THE Night Raven College! The anime certainly sounds like a faster way to see the family members of the boys over waiting for them to be introduced to us one by one in randomly placed hometown events 😅 I just want something more slow-paced and character focused, time to take in the scenery and how the characters act around each other... not, "Oh gee. Fancy that, starting with Heartslabyul all over again."

In regards to Glorious Masquerade, I do think it would be possible to cram everything into one episode's run time (especially if you condense the boys exploring the City of Flowers into a quick montage), but I don't think it would be paced too well. To be safe, it could take place over the span of a few episodes, maybe 2 (with part 1 being the pre-crimson flower phase and part 2 being the post-crimson flower phase).

#twst anime #twisted wonderland anime #twst #twisted wonderland #disney twisted wonderland #notes from the writing raven #spoilers #Obey Me

[sswirlicuee]

A brief summary of the on-going campaign to get SoC spin-off and SaB season 3

What are we doing? We’re putting the show on loop without actually watching it (because most of us have seen it so many times) to raise the number of hours streamed. We’re also posting and making content on social media to get the attention of the people doing social listening. All this only to improve the chance of Netflix greenlighting Shadow and Bone season 3 and/or Six of Crows spin off.

Why are we doing this? Because we couldn’t get enough organic viewership and streaming time to warrant the next season and/or the spin-off.

Why can’t we get enough organic viewership? Because of the story of the show. Let’s face it: season 2’s writing was not as good as season 1 (where we were not as hard-pressed to act as we are now). Why? Because what the writers were trying to do here was condense 5 whole volumes of book into 16 episodes. That’s a really tall order. Think the Hobbit, but in reverse order.

Why are we still campaigning for it? Because we’re coming together to say f*** the story, we just need to see more of the actors on screen. We just want the scenes that we read about in the books to be adapted. We’re saying that even if the story in season 3 and/or spin off sucks big time, we’re still going to be here to watch it. I’ve read so many feedback about the show and each of us has specific TV-compromised elements that we could not tolerate. Still, all of us have something that we love in the show. And that’s what the show is to me: a visual representation of the story, even if it came in bits and pieces and is not always coherent. And this is important because the show cannot exist independently without the book reader fanbase. The fandom is all the more stronger because of its readership.

Now on to the stats… Apparently I don’t know how Netflix budgets and makes decisions, but surely they have a way to account for the viewership that they’re looking to target. If it’s just the hours count, our senselessly playing it in the background might do the trick. But if that’s not the only metrics that they’re looking for, if they’re also looking for a wider audience instead of the same group of people streaming it on a loop, then we’re back to square one. We can only keep streaming and make content for so long and it’s not even proven that this will secure the renewal. Let’s say if the investment for SaB is roughly the same as that of the Witcher, Netflix could be aiming for the same viewer response, which is admittedly not likely to happen. But surely there might be other perspectives to consider, like fan loyalty? I’m just thinking out loud that what’s happening with SaB might be a rare phenomenon in the TV industry, and I sincerely urge the people doing the maths to please consider our voice as well.

All in all, personally I think the main reason we all have our devices on, running the show non-stop without even looking at it is because we all appreciate the cast, the acting and the production so much. And if the show doesn’t get renewed, it’ll be such a blow to the viewers because we won’t get to see one of the most legendary book-to-screen adaptations fulfill its potential…

These are all my personal opinions and I’m just thinking out loud… I’ve said what I’ve said and now I’m back to putting SaB on again…

#shadow and bone #six of crows #soc spinoff #sab netflix #sab s2 #sab season 2

[thehomothings]

Analysis of Kite's conflicting moralities, relationship with death, and the toll reincarnation may take on one's psyche

So, today I decided to compile all the thoughts I have had about Kite's interesting worldview since the first time I saw him into one post, mostly for my own sake, really. If you're familiar with the few posts I've made, you know it's gonna be a mess, but hopefully a comprehensible mess.

A heads up, this is going to be spoiler-heavy, and very much deal with subjects of death and dying as a whole. Also, some of these conclusions are drawn from my own experiences and close brushes with death, I'm not going to go into much detail but it might get personal and definitely dark. I'm not even sure if I can call this a meta-analysis, and I'm obviously no expert, so mayhaps take all of this with a grain of salt.

Been getting into drawing lately, and during the more simple and mindless part of the painstaking process of dotting every single star in this, I let my thoughts wander through the latest part of the fic I'm writing, and I got a better grasp on what exactly made Kite such an elusive character to me.

I'm not quite sure why I got so attached to Kite. Perhaps it was the air of tragedy surrounding him, how despite his sordid past he remained still open and gentle even if outlined by a healthy dose of cynicism.

But sometimes, I think it's the fact that he is so paradoxical. He's brave, yet fears death to such a degree that creates a whole Nen ability around it, is a pacifist yet will not hesitate to spill blood for his own sake or someone else's. Despite the many ultimatums and warnings of 'I will not protect you', he gave his arm and then his life to save Gon and Killua. He approaches each hunt and battle with a clear plan of action in mind, but his Hatsu takes the form of a roulette that gives him random weapons which are never what he wants, but what he seems to need for that exact situation, which he cannot dispel without using. When he draws a weapon, the decision is locked in and his or his opponent's fate is sealed. That's why each time he dubbs his weapon a bad roll. Every time he has to gamble, he sees himself as having run out of luck. When it comes to having to choose between himself and somebody else...well, there had never been a choice. In fact his aversion to using it may feed into its sheer power that we, unfortunately, saw too little of.

Let's go over his very first appearance when he saves Gon from the mother Foxbear.

It's not hard to see the strain searching for Ging has put on him; he's rash, prone to anger and punching a child for daring to get into trouble. In his mind, he's failing at his most important task, has not yet earned the right to call himself a hunter despite being in possession of his very own hunter license.

After killing the mother Foxbear and raging about having done so, he says this interesting line:

So yes, he finds killing for any reason rather irksome as most would do, yet I think something deeper caused him to absolutely lose it in this scene:

He had not been aware of Gon's identity, and despite being an animal lover and a naturalist, he made a choice to save the human instead of allowing nature to run its course. In fact, he says: 'No beast that harms a human must be allowed to live.'

How does one weight one life against another? How is the worth of it determined? The value of life... an impossible choice he's faced with and a choice which he seems to regret to some degree.

The Foxbear cub.

Here, he's speaking from experience, a tangible loss he has felt himself, and a hard and bitter life he does not want to impose on the cub.

His backstory is exclusive to the 2011 anime adaptation but there are hints alluding to it in the manga, for example, the fact that he does not seem to know his birthplace, or:

The choice of words is chilling.

Reading between the lines, one could draw the conclusion that he is an orphan. Something supporting this hypothesis is how he visibly deflates after Gon tells him his parents have (presumably) died.

So we see he is willing to go against his own moral code of not killing as to not doom another living being to the life he led, a lonely, hopeless existence that could barely be called one. He saw it best to put down the cub rather than leave it to die a painful, slow death.

The reason Kite himself isn't as cynical and cold-hearted as one would be after witnessing cruelty in its rawest form is those small crumbs of human kindness which he may have found in Ging.

It was not only a chance at an honorable life being Ging's apprentice gave him, but it also 'saved' him from being broken and twisted into what he hated and worst of all, death.

If we take that one minute of backstory as canon to his character-which I find myself inclined to do- these quirks of his make much more sense. He lived on the run. He lived on the knife's edge between giving up or pushing forwards. He lived as so a wrong move could be the difference between survival and the end.

Between rock and a hard place creates a mentality of black and white, absolute good or extreme evil, this or that. Except in reality, it's much harder than that. Deciding who to save and who to strike down is a heavy burden to bear.

It's almost easy to see how struggling to keep surviving could lend itself to a crippling fear of death and subsequently developing a Nen ability which once more goes against his own moral code in order to give himself a second chance...yet something about it strikes me as unlikely when I look at it this way.

Living life knowing it could end at any moment has the opposite effect, at least for me it did. One comes to accept that it is fleeting and while not eager to let it go, when death eventually and inevitably does come, there is no fighting it.

Especially when there is no hope that tomorrow will be a better day than this one.

Frequent near-death experiences numb one's fear in a way, even if it drives them to take precautions that render it unlikely to happen again and results in c-PTSD, but still, it does. It sparks a certain nihilistic view of 'if it all can end so easily, then what's the point of it all?'

Unless there are things to live for, a sure promise of a better future, and Ging gave Kite that. When he faced the threat of losing his second chance at life:

Really, what else could lead someone to develop the ability of 'the hell I'm going to die like this'?

I think a separate event, an even more brutal near-death experience that almost cost him his life as the hunter he so strived to be set him off to develop the secret roll of Crazy Slots, what I call Roll No.0, Ars moriendi. Unlike other weapons, it cannot come up in random and is directly summoned by him, or better said, summon by his overwhelming will to keep going and hopelessness of fighting a losing battle. I don't believe roll No.3 was the weapon that allowed him to reincarnate. I've named that one Wand of Fortune, a sort of armor instead of an offensive weapon since I find it hard to believe Kite, a Conjurer, would not focus on defences as well, and I will go into both mechanisms of these weapons hopefully in his backstory.

Despite knowing this battle to be a pointless one and being acutely aware of his soon to be demise, he did not immediately draw Ars moriendi, no, he stayed back and fought for the sake of the boys, kept Neferpitou occupied until they could reach safety. We can see evidence of this in the aftermath of the battle that seemed to have gone on until dawn, a torn apart landscape only signaling a fraction of the devastation that was Kite's power unleashed. It still wasn't enough.

In the anime sub I watched, when Gon apologizes to Ging about Kite's death, Ging said a sentence that infuriated me, because it belittled the utter suffering of the NGL trio.

"He would not die in your place." (No screenshot, sorry)

And I remember practically shouting at the screen, screaming 'how could you possibly say that? Of course he did. He absolutely did die in their place. How could you not know your own apprentice? Why-'

It was only last night that it hit me why Ging would say that.

Once upon a time, maybe Kite would not have given his life for anybody under any circumstances, even if he had a way out of it all. He would still need to die to come back to life.

His Thanatophobia could be attributed to the (possibly untreated) PTSD of the near-death experience in his later life, being so certain of dying that finding himself alive afterwards drove him to never want to go through that again. He quieted his fear by creating a sort of a loophole, that even if he lost the battle he would remain. Ging remembered that, but as evidence shows, something changed. Maybe he healed a bit, perhaps growing up dulled his fear to a certain degree, but eventually when it came down to his life or another's, he didn't choose himself.

Now, I can hear you saying 'but he didn't die, so what are you going on about??' And so I reply: Yes, he is alive, but he did die. He experienced that painful, horrible moment of staring death in the eyes and thinking 'This is it, this is the end', went through the actual process of having his soul removed from his body. And that moment stretches into infinity, ten lifetimes condensed into the mere seconds before oblivion.

Dying isn't so hard if one stays dead.

It's not so easy to open one's eyes and find oneself alive again after that, no matter how much that is the heart's desire. It's difficult, nigh-impossible to reconcile with life and walk amongst the living when everything had been so final, when death had been accepted to its fullest.

So Kite awakens, the twin of Meruem and back from the dead, his mind and identity both intact and fractured. In that he is Kite is no mistaking, yet he is not the same gentle pacifist whose first reaction upon sensing a monster's aura was to shield two kids from it at the cost of his arm.

I don't think many of you are familiar with Zoroastrian ideology, but Togashi is known for loving his religious imagery, and it's not only Christianism he derives inspiration from (evidence of which can be seen all over Kite's character and resurrection).

In Zurvanism-a branch of Zoroastrianism- there is talk of the twin spirits: Ahura Mazda -epitome of all that is good- and Ahriman -epitome of all that is evil-, the parent god Zurvin decides that the firstborn may rule in order to bring "heaven, hell, and everything in between."

Upon becoming aware of this fact, Ahriman forcibly tears through the womb to emerge first. Sounding familiar yet?

Zurvan relents to this turn of events only on one condition: Ahriman is given kingship for 9000 years, and then Ahura Mazda may rule for eternity.

Meruem ruled for 40 days, his death leaving the throne vacant for ant Kite, wearing a dead girl's face and seeming to be brewing some nefarious plan. No more is there any sign of that unrelenting pacifism and the sanctity of life he held so high, losing his own may have only served to show him how meaningless the pain and suffering he went through had been, dying only to be reborn as a member of the species that killed him. It may be that he has no desire to rule over the remaining Chimera ants or create an army of his own-

Yet I dread to think what a broken mind possessing limitless power might do to the world.

And that's it. If you made it this far, thank you for reading! If you found it interesting, stay tuned, as I think a lot and I will make it your problem.

#Cw: talks of death and PTSD #When I say I unknowingly projected onto him #I can't tell if writing this was cathartic or torturous #and I gave myself heart palpitations so this is enough for today #And yes I refer to ant Kite by he/him pronouns because misgendering him on the account of his body being afab is just ignorant #even if I think skrunkly's genderqueer af and actually wouldn't mind she/her #still i wanna push the trans ant kite agenda #So yes this is how I unknowingly picked up Kite as a coping mechanism even if out attitudes towards death are practically opposites #don't mind your grandpa trauma dumping #What I'm saying is get ant Kite therapy before he sinks the world #I love reimagining Kite as a villain and I don't know why #Kite hxh #hxh kite #kite hunter x hunter #kaito hxh #hxh #hunter x hunter #meta analysis #theories #fic rambles #Icarus waffles #Kitkat #gon freccs #Ging freecss

[papers4me]

Fruits Basket Reboot: Analytical  Overview of the Anime

Fruits Basket’s reboot is one of most successful anime reboots since it has:

Amazing story that celebrates human weakness, digs into the depths of human identity & doesn’t shy away from depicting child trauma & abuse. Teaches the values of letting go & walking forward.

The author’s blessing, nostalgia factor from loyal fanbase.

Fixed scheduled 3 season comeback with 63 eps in total planned from the very beginning.

Finished source material with its ending approved by manga fans.

Anime follows the official manga ending.

The “slice of life/shojo” genre doesn’t need budget for fight scenes or big scale realistic animation for its lore.

All these factors contributed to its success, however, this doesn't mean the anime was a masterpiece. It is very good but had issues aren’t in the writing, but rather in the format, overall vision & its effect on characters’ depths.

1. Format:

a. ( Is Fruits Basket an episodic anime or a plot-driving story?) 

-The anime couldn’t decide how to adapt the manga content, should it follow it literally & combine two chapters together each time, or take the core plot & drive it by character, or focus on its vision or what? they KNOW that can’t adapt everything. They have 63 eps in total so they have good number of eps to do any choice. However, since the anime is advertised as “ a faithful adaptation” they wanted to cement this announcement in se01 & chose “character of the day” format. Once, the manga fans are assured & hooked, they can drive the rest wherever.

-Se02 was slightly less episodic (minus the beach arc which had perfect pacing). Afterwards, the yuki content was approached similarly to se1 but centered around “ episodic themes”.  Lots of characters arcs are pushed to se3 to keep the “mother” theme of se2. that’s why all eps ended happily minus few eps such as tohru’s nightmare ending in isuzu’s ep.

-Se03 is where the anime really had the biggest issues & couldn’t decided between keeping themes or rolling like a true well-written drama-infused story. Thus we see them trying to keep the episodic themes as long as possible in 5 eps & once ep 6 starts & they can no longer label a flowing plot into themes, they rolled into the climax. The entirety of tohru’s neglected issues outside of her role as a mother was condensed in one ep via audio narration, since ep 7 should drive akito into the climax spot, ep 8 is kyo’s & ep 9 is female antagonist vs female protagonist clash. The rest of the eps focus around wrapping the growth arcs of kyo, akito, yuki & tohru.

I wish they kept the episodic forma for se01 only. Se01 is episodic by design since you can’t maneuver around character introduction, but they should’ve let season 2 & 3 flow smoothly without imposing episodic themes that a junior high schooler could detect, simply because the theme will choose which character fits this ep & which must be cut. Hardly a smart decision for a drama-focused story. Example: Se02 post-beach arc, being “mother tohru” themed meant the cut content of any “teenage girl tohru content”, focusing only on her role as a mother & shoving the rest of “tohru” into the unbelievably packed se03.

b. ( How the seasons are divided & which one is best?)

Lots of fans believed that: se1 (kyo focus), se2 (yuki focus), se3 (tohru focus), I don’t think this is the correct official anime format at all, but rather the fans wishful thinking, here’s why:

se01 isn’t kyo’s focus at all.  Kyo has ONE focused ep each season: se01:ep24, se3: ep9, & se03: ep8. He gets more screen time in se03 to deal with the aftermath of ep8 & to mark his growth & close his arc. But, yuki had more focused eps in se01 than kyo. Example, se01, ep 12, yuki tells the audience abt his dream of new friends, home & new self, sth he achieved gradually ever since that ep ended, thus, Kisa’s ep is a yuki centered ep as well as it marked the beginning of (a) “mother tohru” issues, (b) him deciding to join student council & get out of his comfort zone which is the beginning of “ new yuki”.

se2 is indeed a yuki centered season.

se03 is not a tohru’s focus at all, we still had (akito, shigure, kyo, kureno, momiji, isuzi, haru, machi, motoko, & more yuki) to start or finish their arcs & it is 13 eps only. tho, Tohru had a self-focused role at last which is good.

-I believe the following format better describes the anime’s seasons’ division since it is driven by themes:

se01: Life teachings for the youngsters, due to the direct format of advise given by mother kyoko thro her daughter to the characters/ audience.

se02: Life teachings thro a coming of age story. The trio are struggling to choose a future, afraid & burdened by their trauma’s. Yuki with the help of “mother tohru” , leaves the nest “youngster stage” & sets his foot into the future & struggles to: have fiends, express himself, face his parents, be honest with himself, form an identity & understand himself.

se03: Life teachings of mature issues to those who have already chosen wrong once or twice. bigger issues are presented such as: guilt, death, trauma, extreme self-loath, self-destructive tendencies (kyo), grief, lack of self-esteem, refusing to let go of the past, abandonment issues, constructed polite girl identity with false happy mask (tohru), superiority complex, false forced identity, sins & misdeeds (akito), other themes such as adultery, manipulation, passiveness & enabling can fit the other characters.

So, naturally, season 3 is the richest in content, extremely entertaining story-focused, plot-driven, multi characters depth, plethora of themes, issues & variety of fascinating character writing to distinguish between various arcs & wrap ups. Honestly, se03 carries the whole success since it IS the story of Fruits Basket ( a basket of different fruits & we get to hear/see them all, including the rice-cake!). Still, se03 suffered from the issues of pacing & format I mentioned above, plus condensed content due to short number of eps dedicated to 12 characters.

2. Overall Vision:

Tohru being the main protagonist carries the story’s vision, however, I think Taklaya-san wanted the vision to expand to all her characters. I duno abt the author’s true vision since I haven’t read the manga, but if I were to guess based on the overall story: it is “the acceptance of human weakness”. Yuki isn't the perfect prince, tohru isn't the angelic mom, kyo isn't the horrible monster. These assumptions are the OTHER characters’ perspective of them. Not their true identity or reality. We later even learn that the abusive akito herself, chose a healthier identity, the atoned family head. However, in the anime, characters’ weakness isn’t the center of the anime’s vision, rather its vision is abt the “nurturing effects of the mother figure”, which is supported by the writing as well, but shouldn't be the core driving plot. The anime is more centered around mothers & more narrowly guided. The characters’ weaknesses takes a second seat until the focus on the mother role is over. This does not affect tohru only, but all characters including yuki himself.

-Tohru being the female protagonist shouldn’t be angelic as this contradicts the core theme, thus tohru is given her own set of (human aspects):  trauma, frustrating character traits, faulty coping mechanism: the fake happy mask. Her role as yuki’s mother is only ONE part of her, as big as it is his life & as huge as it is from his perspective. It should NOT be what the audience can only see & feel from tohru. If it is, then Tohru is forever the 16 year-old mother of her peers, sth a normal teenager shouldn't, contradicting the basic existence of the human aspects mentioned above.

a. How does the overall vision being focused on “tohru’s motherly role” affect characters’ depths?

-For Tohru: In the anime, tohru being yuki’s mother lasted for 2 seasons, during that time, we are ONLY allowed to see HER from HIS perspective. Everything abt her human weakness is either vaguely hinted “ few scenes here & there” or pushed to se03. In se01 & 2, tohru is only allowed to act as a “teenage girl” in front of two male characters: (kyo & momiji):

How is tohru depicted in front of kyo & momiji? If you re-watch the anime, once tohru is around these two, her character is very different & she stops giving advice & instead “listen” to them. She is shown more lively & drawn younger & girly, asking more than talking, receiving advice, they both look at her as a normal girl with burdens on her shoulder rather than “savior/care taker”. Kyo complains to her few times abt that & calls her out on her self-denying antics, momoji takes a different approach & subtly provides chances for her to be a “teenage girl”: going to a hot spring & vacation. She opens up to kyo slowly in all her scenes with him, but while she doesn't open up to momiji, she allows herself to show vulnerability & throw her mask a bit in front of him (se01, ep12: she listened to his talk abt his mom, related to him, cried & hugged him with NO advice even tho she didnt tell him abt her mom), se02, she listened to his talk abt his sister, related to him, cried & gave NO advice even tho she didnt tell him she thought abt her mom).

The anime’s heavy focus on her “motherly”side, contradicts showing her as vulnerable & traumatized, hence her backstory lasted for 4 minutes in her own ep, se03, ep6. Later when she faces akito, tohru’s growth kicks in & she starts relating to her issues of abandonment but all this growth came from those 4 minutes of backstory in ep6. In ep9, in front of akito, tohru was depicted just like how she is depicted in all yuki centered eps, ( giving an advice, smiling, a hallow of light around her, the sun rises, the rain stops & she shines her kindness to heal the wounds). 

-For Yuki: In the anime, Yuki is shown seeking a mother & all the right monologues & issues are perfectly presented. However, his weakness isn’t only wanting a mother!! yuki is depicted as a prince by others, so a huge part of his growth is to leave the princely persona behind, which is sth that was not focused on in the anime. Outside of his issues on viewing tohru as a mother & wanting friends, yuki continued to be depicted as prince & wasn't much allowed the freedom of being “a normal teenage boy”. Machi narrated that part of his growth, motoko too, but it wasnt depicted much on screen & yuki continued to have dashing bubbles, sparkles, hair flowing on wind & extreme focus on beautiful face. Him becoming a dynamic character outside of his “finishing my tohru-mother confession to my friend” is very short lived. This would’ve easily been fixed if less attention was given to his “mom tohru” phase. He is more than “I used to look at tohru as my mom”.

-For kyo: In the anime, kyo never looked at tohru as a mom, hence from the beginning kyo didn’t fit the overall vision. Hence, all his issues are pushed into se03 when tohru’s “mom role” is finished. There is a reason we have ONE kyo centered ep in se1 & 2. it IS contradicting the current tohru-image of being a mom. Also, kyo’s thoughts are blocked completely for dramatic purposes but he didnt need to be absent from tons of eps which he was, even his growth ever since se01 finale is very subtle in order to not derive from tohru’s image as a mom. We have some scenes of kyo & tohru interacting, but they should be sparse se01, ep 23 (soup ep) or se02, ep2, or short scenes such kyoto scene or tohru’s worried abt her grandpa scene in se2, ep14. Most of kyo’s & tohru’s scenes aren’t solely romantic in their nature but they provide in depth peek into their true personality & identity as humans. With her kyo isn’t angry or annoyed & with him tohru isn’t bubbly with the “I’m okay” mask.

Side Notes:

There is no doubt that the anime was made with respect & love to the source material & the author. I can see this clearly & I don’t deny it at all. This isn’t meant to ridicule them at all. I respect them all plenty.

There is no doubt that the anime team were trying their best & if you like everything, then good for you, if you like some parts & don’t agree with others, then that’s fine. Criticizing is a form of loving, too. Just be respectful.

Preferences, tastes, visions, & outlooks, all differ from one human to another. This is normal & healthy.

The director or decision maker in the anime having different vision from the author is fine, too. After all, he’s a different person. His perspective & understanding of her characters is different. Disagreeing with him is fine. All medium of art are exposed to the audience perspective. I disagree with him on lots of creative decisions such as reliance on monologues, wide shots on intense moments, lack of zoom on facial expressions, most parallel scenes are very in the nose, need for exaggerated drama & over dramatic drawing of tohru & akito at times.

You can even differ with the writer herself on some parts of her writing, that’s fine, too.

I enjoyed this anime lots, it helped me make new friends, discuss lots of fascinating content, & practiced writing short critical reviews, which is sth I’ve missed from my college days!

I love the writing for the main male characters: Yuki & Kyo. I love their arcs so much! Yuki got the best focus on his core issues. Kyo, in particular surprised me as I used to think, due to the minimum content on him, that he’s only the secondary rival of the main male protagonist. But kyo’s story turned out fascinating & very psychological informed. 

Still, the anime is lacking to me for its depiction & presentation of women. The main female characters (Tohru & akito) are lacking realistic depiction of their core issues & time dedicated to that.  The focus on tohru’s mom role steals from realistic existence as a character on her own right. Akito is a villain for so long & her atonement is quick & her love story is quicker. Both females didn’t get to tell us their traumatic backstory in detail like the boys & they didn’t have enough focus on their human side.

Altho kyo had (1) way less screen time than yuki or even tohru, (2) his true backstory was only revealed in the climax, (3) his inner thoughts were blocked for suspense, he was written wearing his emotions on his sleeve from ep1, so, we grew to feel for him & dreaded what could’ve broken such endearing boy, hence, once it was shown we understood the psychological trauma that destroyed him. One third of the puzzle of his story was revealed each season gradually. (1) se01 (true form), (2) se02 (his bet with akito, knowing kyoko & loving tohru), (3) se03 (His whole backstory including the abusive father).

I wouldn’t say, I wish tohru was given the (yuki treatment) cuz then we’ll need more than 13 eps for se03, I just wished her story & emotions to at least be given the (kyo treatment): Divided into clear thirds (parts).

The anime is a lovely treat that I can recommend to lots of ppl with ease. You dont have to be into shojo to get into it, but it’ll undoubtedly trick you into its subtle main love story that subvert most shojo tropes. The other love stories are good as well, there’s a type of love for every fan!

There’s a number of platonic friendships which is very refreshing! 

My Final Verdict of the anime: Very Endearing as it tugs at my heart!

#Fruits Basket #Anime Only #overall impression #analytical overview #tried paper #Recommended anime for sure! #Will read the manga! #se03 sells the manga good!

[mc-critical]

Could you do a personality reading/analysis on Nurbanu? Her development, crucial points in her story. Also, do you think she truly loved Selim or only cared about becoming a Haseki and then working towards becoming Valide Sultan? Early S4, we see her asking Canfeda if Selim is going to become Sultan, which raises the question if she was plotting for her own benefit or actually fell for Selim?

I find Nurbanu to be a character ripe with personality, despite that she only has a single season of material. Just like with Selim, or perhaps even more so, I find what was done with her fascinating. She's the second character that follows the general pattern of a "SOW" arc and it's interesting to see how much she parralels and differs from that arc.

While Hürrem starts out on the ship that was going to the Ottoman castle, we meet Nurbanu already there, standing right in front of the doors outside; sharing the same fate as the others next to her, yet it looks like she's entering there like an external witnesser of a whole other culture. But she hasn't forgotten who she is. She's used to a fairly calm life she looks very much proud of, the life of a Venetian noble woman with dignity and pride, and that is suddenly snatched all away from her. She justifiably resents those that have done this to her. She wasn't willing to go through the harem life at first, so she wanted to take her own life. I feel this comes from her genuine hopelessness that overtook her in the beggining, the situation she was in might have been way too much for her. After all, she isn't faced solely with a sense of lost identity, her current position in the harem is the exact opposite of what she was meant to do before. But after she was saved by Selim, it was perhaps then she decided to fight and survive in her curcumstances.

That said, while it may be result of her more condensed development, I always remain surprised of how fast Nurbanu found out what exactly she had to do to go on top. Maybe I shouldn't, since part of her motivation may come from not only her natural instincts, but also her will to return to the closest equivalent of her previous position once again, but the way she orients herself, how quickly she tends to react, the way she decides exactly how to act following both instinct and logic. I really like that about her. She reacts so well in tense situations, knowing which buttons to push to get the wanted effect in all her interactions with Hürrem, Selim, Canfeda, etc. It's telling of how much one particular event can change a person, opening up traits and qualities one may not have previously demonstrated. And for me, Nurbanu is one of the best examples of this.

Her "tertiary character trait" is very unique for the show, and overall: her ability to read the stars is amazing on its own and should be more appreciated, but the way it complements her character makes it even better. It's like a consitent guide for her: whether she's going on the right direction. And when she sees she's supported by fate itself, she gets even more of a push to rise up in the hierarchy and pull a victory. I loved the scenes where she went out to see the stars and where she told Hürrem of her future - they establish a lot about her. I only wish we saw even more of it. (I feel that ability of Nurbanu's works pretty well in a thematic way, as well: it enforces even more strongly that times/eras change, just like the positions of the stars change. And the motif of changing eras is major for her future conflict with Hürrem and the SOW, as a whole.)

Nurbanu also has a very psychological side of hers that was key in helping her realize what exactly Selim needed to get the motivation necessary to fight for the throne. She so often understood what exactly he needed and what had to be done, making her a voice of reason for him that could give him her word of advice. And that evolved even more as time went on: first she helped him to stand on his feet, then both of them made plans on how to get further ahead in the game, in conjunction with her own rise in the hierarchy. Even her provocations (mostly towards Huricahan, but Hürrem too later on) seemed more intentional than anything even when they weren't. Most of the time, she knew where to hit and what to say.

Even though she had a tendency to work more alone and had the intention to rise to power from the start (similarly to Hürrem), I think she fell for Selim. Wanting power, knowing what you need to do to get it and still caring for the person next to you that advances your power aren't mutually exclusive things, especially not in that time period. Maybe all Nurbanu felt for Selim was gratitude for saving him at first, but when she went to Manisa, she did come to love him eventually. She felt jealousy anytime he touched other women and always strived to comfort him in his problems and I don't think it's solely out of manipulation, knowing the core of her arc.

For me the major goal of Nurbanu's character development, her gaining more agency to fight her way to become Valide Sultan aside, was her slowly and mostly letting go of any possible scruple left in her in order to win- letting go of her more human side. We see in many instances in S04A that there's much humanity left in her and sometimes she isn't ready to do cruel stuff, even if asked to and no matter how much she wanted to adapt, she didn't realize how far exactly did she have to go to achieve her goals until a certain point. Because Nurbanu is a very patient character that goes more "one step at a time" in Manisa. She's focused on one certain aspect of the goal that contributes to the bigger victory: first it was to go to Manisa, then to win Selim over, then to make sure no one stands in the way, then to help him get advantage, then to grow herself, then help him defeat Bayezid, then erase the obstacle of Defne, as well, to become Valide, with little to no break in between. And sometimes both her own mistakes (like beating up Huricihan) and the system's cruelty (like Mustafa's death) tend to surprise her and go to paths she didn't expect to go otherwise.

I summarized most of the major story beats in her development (and talked a bit more about her in general) here, but I'll delve into them more. Her relationship with Hürrem demonstrates the best of Nurbanu coming into her own. It's not to be denied that Hürrem was the one who gave her a head start with giving her the name and sending her to Selim's sanjack, Nurbanu's arc began with her being loyal to someone else. But she's just as brave, ambitious and determined as Hürrem and for that reason their paths were always meant to separate. Nurbanu wanted for her own time to come, not to be bound by someone else, hence she isn't one that would blindly follow orders. From the beggining she had her own compass and instincts she would follow and that slowly made her clash with Hürrem, who envisioned Nurbanu as someone loyal to her first and foremost. The distance also helped in separating them, with them only sending letters to each other, when Hürrem was doing her own thing in Topkapi, while Nurbanu - in Manisa, both working for different goals entirely. The first challange of her loyalty she faced was also connected to her humanity, to the demise of someone close to her. Even though she obeyed the order (albeit more accidentally), she swore not to repeat it again and her remaining loyal was put at doubt right then and there. But what sealed the deal was Huricihan, where I feel Nurbanu got completely disappointed at Hürrem not wanting to cover for her, which is why she put out that ultimatum in the first place.  Even then Nurbanu was surprised to detach from her completely, even though the hints were there before. I don't think she truly expected for Hürrem not to support what she worked for with Selim in the end, because it was only natural for Nurbanu to help him fight, not only preventing and covering his mistakes. Turning against Hürrem was more of a necessity for Nurbanu - she knew where she came from, but she was ready to fight for her position, even if it meant fighting against Hürrem herself. She was careful enough with her before they became full on enemies, though- she asked her for help when Selim messed up in Topkapi, she was reporting to her about the progress in Manisa, she showed the necessary respect for Hürrem. But that appeared to be over when she stole the ring, the symbolic demonstration that now, the power is in Nurbanu's hands - that's the truth and that's the future, no need to lean on the past anymore. And it's the main thing she would capitalize on now.

Her humanity shone most in two personal aspects of hers: her relation to Nazenin and her fight with Dilşah.

Her relation to Nazenin is probably the clearest showcase of her old ways she's still letting go of. Once they arrived in the harem, Nazenin seemed to adapt way faster; their dynamic changed to a point they were already on equal ground, something Nurbanu isn't used to and doesn't take very well, as a result. When Nazenin is the one supposed to go to Manisa instead of her, Nurbanu didn't like it, either, and wanted to be the one to take that chance instead of her. And when they reunited, they had to deal with the difference in their changed positions much more openly, with "fighting" about who's superior. It's like their dynamic changed in the blink of an eye and it's moments like these where Nurbanu shows her remaining pride to people in front of her, because seeing a person in a lower position before being elevated as highly as her, no matter how much she would care about her, wounds the pride she once had as a noble woman and that was on her way to keep going on. Even then she certainly didn't want for Nazenin to die and her death was about the last fraction of Nurbanu's past going away and the first step of her human side going away, too. Despite their strained relationship, Nurbanu lost a close person who's been with her from the beggining in this game. [Nurbanu and Nazenin have their share of parallels with Hürrem and Gülnihal: both pairs were together from the start and were forced to stand against each other through an order (though for Nurbanu and Nazenin that wasn't the entirety of it), both Nazenin and Gülnihal wanted to gain their agency and became understandably proud of what they've gained and both Hürrem and Nurbanu were against that and did something to them that put that kind of conflict to an end. Nazenin could also be the "Leo" to Nurbanu in terms of the past to an extent.]

Her dynamic with Dilşah, while mostly being a fight for Selim we knew Nurbanu was going to win, caused another human side of Nurbanu to go away - her bringing a dog in the harem and that dog ending up killed by Dilşah. (similarly to Valide killing Hürrem's horse, which played a role in comforting her during the Isabella arc.) That strongly implied that Nurbanu had a soft spot for animals and that she had a warm, caring side, contrasted with her otherwise cold and pragmatic nature. The killing of the dog, done solely to hurt her, helped to further enforce that coldness and pragmatism and went against any attachment, because perhaps such attachment would only render you vulnerable. 

But Mustafa's death was the turning point of Nurbanu's arc, just like with Selim. It sealed even further the path of no return when she saw something she doubted was ever possible ("can a father kill his son?") and while she has "played dirty" before, now the methods she was slowly developing were even more assured. It's like she and Selim had to become unscrupulous at all costs.

In spite of her plans working almost everytime, she has definetly acted irrationally and that is a part of her pride. She acted against Huricihan mostly out of sheer pride and she wouldn't allow for someone to challange her position, even rightfully. That ounce of pride doesn't consume her, however, and doesn't go in the way of her plans, and even if it does, she can turn things around in her favor, like with her part in Huricihan's death.

In the end, Nurbanu has reached a point where she is fixated on her own power and victory at hand, mostly discarding anything else. She looked like a very strict mother the moments we saw her as one - wanting the best for Murad and keeping an eye on who he interacts with. She's developed a huge perceptiveness and sensitivity of future threats that extended to Defne and fixed on Safiye - I feel she realized she would be a danger later down the line during their scene together, even if we leave alone her being raised and gifted by Mihrimah. She may not have expected the amount of Safiye's growing power and influence and that may have caused her to be drastic. We're meant to believe through Safiye's words that Nurbanu became crueler as a Valide Sultan, but that could be coupled by both her development and Safiye's own distinct view on Nurbanu. She probably used means similar to both Ayşe Hafsa and S04 Hürrem.

I see Canfeda as Nurbanu's guide in the Manisa harem itself that also helped her in quite a few ways. But they always came to work more as a unit, considering what is best for Selim and the future in that moment. Both of them are smart, quite opportunistic and dedicated to what they do, that's why they complement each other so well. Canfeda, similarly to Nigar, saw Nurbanu's potential to elevate, but still insisted on following the harem tradition when it was needed. (like with Selim's concubines) Nurbanu seemed really eager to learn from her. They had soft spots for each other, but the quickly changing circumstances they were in didn't allow for many "heart to heart" moments.

#magnificent century #muhteşem yüzyıl #muhtesem yuzyil #nurbanu sultan #ask #nurbanu-baffo

[whatudottu]

Petropia wouldn’t exactly be the type to grow its own plants, but with a few quick searches, I can say that’s it’s possible. And, when looking at the existance of Petrosapiens, surely there comes animals too, right?

This will hardly be concrete, just speculation, but this will... fill out the world of Petropia a little more.

So, starting off, y’all know how I love to include red sleep in my string of headcanons. It’s a little plant that can be easily added to a rock garden, not that you’d want to.

A little tidbit on rock plants though, there IS a tiny requirement for soil. Now, for our little crystal eating friend here, we can say that red sleep has adapted to turn crystals into soil, which it then consumes and takes its nutrients. This, for one, signifies an evolutionary adaptation that may have occurred in more that one species.

Convergent evolution is a wonderful thing, and given the mostly if not all crystal environment of Petropia, it’s highly possible that a lot of its species has this crystal to nutrience adaptation. Yes, I am essentially saying here that crystalivores (crystal-eaters) are most likely to produce the same chemicals in digestion.

So, much like stomach acid to Humans is more than likely to harm ourselves, Petrosapiens have the same issue. Unlike Humans, where most soil-based plants on Earth do not produce the same stomach acid, the plants that eat crystals on Petropia DO, and it’s far more common and widespread.

But rock plants aren’t the only plants that can grow on Petropia. There are air plants and water plants too.

Now, Petropia doesn’t have much in the way of weather, not only because it’s naturally subterranean, but also because there isn’t a lot of stuff on the surface to actually form weather (save from wind of course). However, that does not mean that moisture does not exist on Petropia at all. One of the cornerstones of cave development is water, made not from rain, but from condensation.

Life may or may not exist thanks to water, life may or may not come into fruition without it, but to avoid going fantasy, water Petropia shall have. Their ocean would take up quite a lot of the planet’s deepest reaches, but that’s how our ocean works anyway.

Lakes, rivers and the odd waterfall also exist on Petropia, but running water only typically forms after years of crystal erosion. An occasional, unique water system are shrinking lakes, where instead of growing from the condensation, the minerals in the water actually form new crystal ground. It’s a cycle.

Getting back to plants, water plants can take root in these conditions, requiring at least an inch of water most of the time. Air plants, despite the name, would also thrive in these damper areas, seeing as though they take the water heavy air and incorporate it into their systems.

But what of sunlight you ask, what about photosynthesis.

Well my friends, my recent Petropia post talked about how the crystals of its walls would glow from the UV light of the sun. Plants closer to the surface would be bright light plants, but those deeper in still get a glow, being naturally low light plants.

Truly underwater plants, like the equivalent of seaweed, may have some trouble in forming like Earth seaweed. But no matter, low light rock-based plants may adapt to survive no light, feasting on the walls, floors and cliff edges of the underground sea that they cling to.

Now that the plants have been set, let’s begin talk about animals. Maybe as a way to try and make this flow, underwater animals may in fact exist. Since direct exposure to the sun is impossible from an underground, a lot of the creatures underneath may be more akin to midnight zone fish on Earth.

Almost in reference to Petrosapien’s occasional glowing eyes, the idea of having majority a of the sea creatures be bioluminescent seems really cool. Ah, my bias is showing, yes, but scientifically bioluminescence is a certain natural chemical reaction to oxygen. Structure wise, the deeper the fish the less likely they have bones, or in the Petropian equivalent, natural biological crystal structures.

Motile creatures can and do occasionally evolve armour, and depending on the pressure of the water, may be Petrosapien-like with their crystal structure acting as an exoskeleton. Sessile creatures, however, are more likely to grow or even dig into the crystals. In fact, a rather large proportion would most likely be crystalivores too. Not to say that Petrosapiens had initially evolved from sessile coral type creatures, but there is a higher chance that they do share a common ancestor than not.

Predators of crystal-covered animals are typically both carnivores and crystalivores (a combination word would need to depend on what... i think it’s class if insectivores have anything to say about it). However, certain predators are only crystalivores, while others are pure carnivores. Herbivores typically don’t have this battle, as a majority of plants don’t typically rely on crystals for protection.

Stepping out of the water, terrestrial animals can either have endoskeletons of crystal, with whatever appropriate skin material as their outer layer, or exoskeletons, where their skin is almost completely not present, acting more so a liner between crystal and flesh. Fur is most probably not a factor, it’s rather humid underground in damp caves, but perhaps one or two species develop a waterproof coat.

There’s sure as heck gonna be loads of little critters that no doubt contribute heavily towards pollination of plant life, if not just serve as the Petropian equivalent of bugs. Being small would mean that there is an explosive amount of niches yet to be fulfilled, and even if I new every one of them, it would take forever looking into the specific.

I would say, the creatures that have endoskeletons would most likely grow to large sizes, mainly due to the square-cube law. This would mean that Petrosapiens themselves are not all that large in comparison to certain animals. Perhaps to the point of predators? I’ll get to that.

Whether or not Petrosapien’s have the same innate Human desire to adopt something can vary, but my brain is smooth and only thinks of funky alien animal companions. Like, just imagine a little dog-sized pillbug-armadillo looking buddy that’s just... you as a Human can’t tell, but from a Petrosapien’s perspective could just as well be a VERY happy puppy. And it’s just, it’s baby but aside from the funky alien pupper I have no clues on how culturally they would be domesticated like???

A!

Anyway, back on track.

Ever since I starting thinking of north and south Petropia, I couldn’t exactly stop. I would say that Petropia’s ‘moons’ may have previously been apart of the planet, ages and ages ago, so that safe passage from north and south WAS a thing. Just like how the ice age opened and closed some pathways to different areas of Earth, this could functionally be the same for Petrosapiens.

However, I will say that, because there’s no feasible way for Petrosapiens to get across the planet (unlike Humans and boats across the sea), whichever side was the last to be populated and eventually trapped on the other side were forced into changing to fit the new environment’s niche. Now, they didn’t change all too much, being still very much Petrosapien, but there are some visual distinctions.

Uh, what those are though I don’t know.

The primary differences however are the different ecology, since animals don’t demand finding out new things and being ocean-bound prevent water to land back to water journeys. So, if Petrosapien’s were to have predators, it depends on who you ask.

I have two ideas, mainly inspired by caves and also rock eaters of Earth. One, being the cave influence, are essentially megafauna bat, that can play frequencies that can on the odd and most beneficial occasion ring crystal (not a good thing if you have tuning forks on your back). The other are giant seaslug squids, ones with shells that glitter with consumed crystals.

Who gets who is up in the air, but this post wasn’t meant to be a specific analysis of all the species and body plans of Petropia.

Welp, I hope you at least enjoyed it.

And yeah, I’ve learnt my lesson. Went straight to notes on this one.

#petrosapien #petropia #xenobiodiversity #xenoecology #ben 10 #headcanon #ramblings #this is a very long one #i have many thoughts on petrosapiens #this was just a smattering of google searches and vague imagery #so it’s not as focused as the other posts but #i hope you’re still into it

[the-bejeesus]

To Those Who Say “I’m not gonna catch up on One Piece until it’s finished. Why would I watch/read 1000+ episodes/chapters when I don’t even get to know how the story ends?”

      Now for the past few years, when I came across somebody who said this, my rebute would be something like “Well the series is great already. It doesn’t really matter if I don’t know how it ends, because the journey itself is enjoyable.” or “Man if that’s your excuse, who you gonna explain why you read/watch stuff like Berserk, Hunter X Hunter, JoJo’s Bizarre Adventure, and My Hero Academia? Newsflash, they aren’t done yet.” But it came across my mind that I can now apply a completely different approach:

“If you start watching/reading at this pace right now, it will be over by the time you catch up.”

      If you’re a fan of the series, you’ll know that for awhile now Oda has been saying that he plans to end the series in just 5-4 years. Now he’s made lots of claims in the past that turned out to be ridiculous. However, many One Piece researchers have compiled his claims and found out that they only get more accurate as time goes on, with the most ridiculous claims being found to be myths. And with the most recent claims of ending the series in less than 5 years, even his editors who are usually skeptical have started to trust that he can do this. After all, he has officially set there to be only one more saga (which isn’t necessarily one arc, but it’s either going to be 1-2 major arcs or an anthology of 5-6 shorter arcs). And now that we can trust this claim, we can essentially extrapolate how many chapters/episodes are left and what pace we have to binge to catch up at just the right time.

If you plan to read the manga (black and white):

The manga in black in white is a perfectly fine way to enjoy One Piece. It’s what Oda draws, it’s how he intends it to be viewed, and best of all, it will be the first version of publication to finish.

     Out of the 1223 weeks since the first chapter published in July 19, 1997, 1000 chapters have published, meaning on average he publishes 42 chapters per year, or in other words, there are only 10 hiatuses per year (including holidays where WSJ does not publish). Now if I wanted to be more accurate, I’d only look at the chapters published this year, to exclude outliers like how he had no hiatuses for the first 200 chapters, or how he had a 4-week hiatus during the timeskip, but 2020 has been a bit crazy, so we’re not doing that for this or any of the others.

     Going off of this, the final chapter would be chapter 1212 in December 28, 2025 (yes, the 28th would be a Sunday again.) So here’s how you’d calculate the pace in which you need to read One Piece, and really this is how we’ll calculate it for every version)

     Now I know math is boring, but the reason I’m showing this to you is because the amount of weeks until One Piece ends will vary based on when you start this binge. Chances are you aren’t going to start the day you see this post, and there’s an even greater chance you won’t see this post the day it’s posted. For every example I’m going to assume you started binging on December 28, 2020. Now let’s try to use it for this example.

     And there’s your answer, just read 4-5 chapters per week. By the end, One Piece should be nearly over or have very recently ended. To put that into a different perspective, you could purchase and read just two volumes per month and you’ll be at prime pace. Or you could read one chapter every day, but only on weekdays.  If you want to, you can see this calculation in action in graph form.

     While this is a very rudimentary graph, it’s a basic visualization of what we’re calculating here. We’re calculating what speed we need to binge to catch up at exactly the right moment. I say exact, but ultimately no one can predict how many chapters there will be exactly, nor how many hiatuses Oda will go on during it. It will be important, as you’re nearing the end, to find a spoiler-free way to keep up on how close One Piece is to ending. To know whether you ought to speed up or slow down.

If you plan to watch the anime (subtitled):

For years now people have hated on the anime “terrible animation!” “terrible pacing” but at the end of the day, it’s the more popular version. Or the more viewed version I should say. And personally, I think that once you acknowledge its problems and learn how to deal with them, it’s a perfectly fine experience. There’s enough good voice acting and enough good storytelling that you’re easily able to ignore the problems. Plus, the animation has substantially improved since Wano.

      Now for this we’re going to have to change a lot of variables to get this right. We’re going to have to adjust when publication started, and recalculate when One Piece will end by looking at how slowly the anime adapts the manga, and how behind it is. The anime aired on October 20, 1999, and has aired 956 episodes since then. This means on average they air 44.9 episodes per year, meaning there is pretty much only 7 breaks the entire year. With these 956 episodes, they have adapted 955 chapters, making the pace almost exactly one chapter per episode. However this is really inaccurate, considering all the better-paced arcs earlier on in the story. Looking solely at episodes 2012 and onwards, the anime adapts at a pace of 0.65 chapters/episode.

     Knowing that there are roughly 212 chapters left, and Toei adapts at 0.65 chapters per episode, we can assume that there are going to be roughly 324 episodes left. That sounds like too many, but keep in mind that there will be several, several instances where the manga will be on hiatus whereas the anime will keep on airing. Knowing there are approximately 324 episodes left, and that the anime only takes about 7 breaks a year, we can assume that it will take 7 years, or 374.49 weeks before the anime will end. So now we have the information we need to do the math again.

x = 1280/374.49

x = 3.417 episodes/week.

     It may seem like a more relaxed binge, since you get a whole 2 extra years to binge, and you only have to do 3-4 episodes per week, compared to the 4-5 chapters. But keep in mind that these episodes are 24 minutes each. Still not at all bad, but you will be spending more time on it overall.

If you plan to watch One Pace:

One Pace is a fan project that edits the anime so that filler and padding is cut, other edits will be made to make the anime more manga-accurate, such as reorganizing scenes, or adding title cards where absent. Originally only used by a niche number of One Piece fans, One Pace has grown in popularity, and has tried to improve its quality to accommodate more fans, such as making their episodes Dual Audio (meaning you can switch between the dub and original Japanese audio tracks), and including Spanish subtitles.

      You’d think we’d have to adjust for when One Pace began, how slowly One Pace catches up, and the works, but there’s not much to calculate. Fortunately for us, no matter how far behind One Pace is on editing the current arc, they always like to wrap things up just a few weeks within when an arc ended, if not the very same week. So really all we have to calculate is how many One Pace episodes there will be by the end of all this, so that we know how many you’ll need to watch per week.

      Looking solely at what they’ve covered so far, One Pace has taken 573 episodes and condensed it down to 259 episodes. That’s a pace of 2.21 anime episodes/ paced episode. Earlier we calculated that there would be 324 episodes of the anime left, making for 1280 episodes total. This would mean that there would be around 578 One Pace episodes by the end. And One Pace would probably wrap up in, let’s say 376 weeks, because as I said, they’ll probably finish editing the final arc a week or two after the last episode airs.

x = 578/376

x = 1.53 episodes per week

      Now that’s a relaxed pace. 1-2 episodes per week? That’s so slow, I’m not even sure if I’ll remember what I watched last week next time I watch some episodes. The only problem is some of the pre-timeskip still haven’t been edited. They’ll probably be done by the time they finish the final arc, but that’s not gonna work out fast enough. You’ll hit your first roadblock about 7 weeks in when you need to watch the Baratie arc and it’s not done. And don’t even get me started on how many arcs aren’t done in dub or Spanish sub yet. Hopefully you could just switch to the anime or manga when you hit these arcs, readjusting how many episodes/chapters you need to watch/read when you do. But that’s a bit of an excessive amount of math for something that’s supposed to be fun. So yeah, if you’re still convinced you shouldn’t get into One Piece until it’s ended, maybe this is the option for you.

If you plan to read the manga (Colored):

Since 2012, Shueisha has made a colorization of One Piece. It’s not a fan coloring, it’s as official as it gets. Many consider the color schemes portrayed in this version as the most canon, as the majority are pulled straight from whatever colored illustrations of Oda’s they can find. And quite frankly it makes the manga at least 10 times more beautiful. It’s especially great if you have trouble interpreting dense, small black and white panels.

      This one is a doozy. You’d think all I gotta do is calculate how far behind the colored manga usually and just adjust from there, right? Wrong. Because how far behind the colored manga is, or how frequently they release volumes in full color, is one of the most inconsistent things I have ever seen. You wanna see what I’m talking about? This is how they’ve chosen to release each volume since 2012:

Volume 1-12: July 15, 2012

Volume 13-23: September 28, 2012

Volume 24-63: December 4, 2012

Volume 64-65: April 4, 2013

Volume 66-68: December 20, 2013

Volume 69-70: August 25, 2014

Volume 71-72: September 16, 2015

Volume 73-75: October 4, 2016

Volume 76: December 2, 2016

Volume 77: March 3, 2017

Volume 78: July 2, 2017

Volume 79: September 4, 2017

Volume 80: December 4, 2017

Volume 81-82: March 3, 2018

Volume 83: October 4, 2018

Volume 84-86: August 2, 2019

Volume 87-92: September 16, 2020

     How I am supposed to find out how long it will take for Shueisha to colorize the final volume of One Piece is beyond me. I guess the first step would be to look at how far behind the manga each release was on average, but I’m going to ignore all the ones before 2013, because those were clearly just Shueisha catching up really fast cause they just started and didn’t want to be dozens of volumes behind forever. So of the 14 publications between 2013 and now, on average the last chapter of the last volume they colored was 97.78 weeks after that chapter had published in Weekly Shonen Jump. This means that if the final chapter of One Piece is chapter 1212 on December 28, 2025, then you can expect the final colored volume to publish November 14, 2027.

x = 1212/359

x = 3.37 chapters/week

     So if you prefer the manga but don’t want to read 5 chapters every week for 5 years, this might be a better option for ya. But yea, I have no doubt my prediction is at least a little off for this one.

If you plan to watch the anime (dubbed):

Unlike the 4KidsTV and Odex dubs of One Piece, the FUNimation dub is a perfect way to enjoy One Piece. The DVDs come with enjoyable commentary and a marathon mode, great for binging.

       FUNimation’s releases of the dub are inconsistent, although not nearly as erratic as the colored manga release. However, there was recently a 2-year hiatus we only just got out of. Since Episode 1′s dub in May 27, 2008, the dub has gotten as far as Episode 614. But that’s only looking at the DVD releases. If you’re willing to stream on FUNimationnow, the dub is as far as 641, and if you’re willing to digitally purchase it from an e-shop such as the Microsoft store, it goes all the way to Episode 654. With that being said, that would mean that on average, FUNimation dubs 1.004 episodes per week. Although if we go back to before the two-year hiatus so as to exclude it from the average, it’s actually 1.10 episodes per week. Not a huge difference, actually. And then if we look solely after the two-year hiatus, it’s actually 2.25 episodes per week, which is insanely faster. It’s hard to tell what the future of the dub will be. I can’t assume they’ll go this fast forever, so I’m just going to take the average of all 3 and say it’s 1.45 episodes per week. Don’t know if that’s the best mathematical approach, but the number seems about right.

     So knowing that the dub is at Episode 654 and looking at our previous guesstimation that the anime will be 1280 episodes long, we can predict that it will take 431 weeks before the dub catches up and ends. That would be in 2029! Sounds quick at first until you notice it’s 4 years behind!

x = 1280/431

x = 2.96 episodes per week

      Looks like it’s almost exactly 3 episodes per week. Not as much less of a workload as I expected, compared to catching up to the sub. You know, I figured those 4 extra years would make you binge a lot slower.

Final Thoughts:

      There’s a lot of my math that was estimation, approximations, extrapolations. Feel free to correct me or fact check me, especially if you plan on using this. I figured this would be a fun thought excercise. There’s also a lot of smaller variables I simply didn’t want to take into account because of how long this is already. For example, reading the black and white manga. The calculation can vary slightly depending on if you read it the day it’s published (which I assume would have to be a fanscan unless you can read Japanese), reading the weekly publication legally on Viz.com, waiting for the physical volume release. The dub can also vary depending on whether you buy from Microsoft, wait for the FUNimationnow release, wait for the DVDs, or wait for the Collection sets. So feel free to take this into account.

#One Piece #OP #ワンピース #Wan Pīsu #anime #manga #FUNimation #dub #One Pace

[imagineclaireandjamie]

Shielded. Chapter Two.

Anonymous said to

imagineclaireandjamie:

We cannot direct the wind, but we can adjust the sails. [Dolly Parton]

Happy Sunday all - Chapter Two is up and ready, I hope you enjoy. You can find Chapter One HERE. MBD

War and Peace:

It was sunny outside, she could see the clear blue sky through the thick white netting. Having let themselves in to the property with a key in one of the officers back pockets, they were waiting in the small lounge for John’s mystery friend to appear. With the long winding roads down to the house they had taken longer than originally planned to arrive and the gentleman, one James Fraser, had been forced to leave and attend to his milking duties before he’d actively met his new house guest.

Not that any of them minded. In her own head she was still rolling her new name, saying it over and over again as if to make herself believe it. At least when she was introduced she’d be able to return the greeting gesture with some authenticity.

“You can leave you know.” She had said this to the officers on several occasions. Knowing little about milking, she did assume it wasn’t a quick job and had been quick to allude to the face that Mr Fraser might be out for some time. Shaking their heads, though, they had pointed out that they were required to do handover and were not going to simply leave her without properly passing off to Mr Fraser.

Her living with another person brought about its own complications. For a start they both needed to be briefed on the situation, they both needed to know the implications and outcomes of anyone learning her existence (which they were bound to do at some point) and the severity of anyone learning her real name or her reason for being here.

She suspected that there was more of a backstory to come, but had waited patiently to be informed of it rather than asking. It was unlikely that John had sent her here with little more than a new name and she was ready and keen to adapt to this new situation.

He’d have the letter, she thought as she held the coke bottle tightly between her fingers. In the twenty-four hours she’d had to prepare her exit, she had written a letter to be delivered to her husband this morning so that he didn’t attempt to register her as a missing person. Though some of the force knew of her plan, naturally only a small few knew intimate details and most knew nothing at all. The last thing she needed was a group of policemen and women tracking her down and ruining the whole operation.

The sound of the key in the lock brought her attention away from her worries and she tried to relax herself so that she looked less like a deer in headlights and more like she was happy to be there. She was, of course, more than content to be far away from her old life but the trip had left her hollow and fatigued and she didn’t want to appear ungrateful the very first moment she met her unwitting host.

Smoothing down the thin material of her leggings, she surreptitiously wiped the sweat from her palms as she caught a glance of John’s friend.  Her mind, however, was torn between the present and the future and she found it almost impossible to keep herself grounded in the moment.

It wasn’t until they were all sitting in the lounge with a cup of tea did she even notice the tall stranger stood in front of her. They must have been talking for a good ten minutes, she noted internally, as the steam was still freshly piping off the brewed tea.

“So, Mr Fraser,” the officer stated, bringing her attention fully back to the room, “we’ve got a long drive home so we’ll leave you and Claire to get acquainted. The number in the envelope is the contact should you have any emergency concerns but it should only be used when really necessary. Alright?”

“Aye.” Mr Fraser responded quietly, shaking both her driver’s hands before ushering them out.

Once alone, she picked up her tea and blew across the top. The front room was tall and airy, certainly quite old, probably built around the early 18th century. She took note of the engraved sconces, the plain wallpaper and the large fireplace as she waited to be joined again. Enthralled by the rather encompassing oil painting, she jumped a little as Fraser entered the room.

“That’s a great-aunt of some description, if I remember correctly. Painted sometime in the 1890’s before the turn of the century. She was keen on highland dancing, hence the flashy tartans surrounding her. A lost art, I fear.”

A small smile pulled at his lips, he seemed calm but not yet used to human companionship.

“I’m so sorry, I don’t think I caught your name.”

“Jamie,” he replied, holding his hand out to meet hers, “Jamie Fraser.”

“And you live here alone?”

Clearly he did, she had been told as much but her mind had gone blank. Between leaving Oxford, the long drive and transforming into someone new in a few short hours, her brain was looking for conversation starters and coming up blank.

“Aye, have done for a good few years now. The farm takes a lot of work, I have a few helpers from nearby plots that come and help when needed, but I mostly dinna notice.”

“Long hours then?”

“From dawn to dusk most days, though I have been known to take a day off.”

His joke made her smile and she sipped her tea to stop it from becoming a full on fatigued laugh.

Seeing the glazed look pass over her eyes, Jamie cocked his head and pointed to the staircase at the back of the room. “Would you like me to show you to your room? I’m sure you’ve already had a long weekend. It has an ensuite so you can just rest in there until you feel human again?”

Nodding she felt grateful that he hadn’t used her new name yet. In her own head she’d had trouble making herself believe it and she wasn’t sure it was familiar enough yet for her to answer to it. As they walked, her filled suitcase in his hands whilst she hoisted her rucksack onto her back, she tried to repeat it to herself over and over. It felt strange that she could no longer think of herself as Elizabeth. Luckily, she wouldn’t have to worry about strangers calling out in public and her answering them.

It stung, though, to remember that she was locked down and unable to investigate her new home.

“This is it.” Opening the door, Jamie took a step inside.

The room was vast. Another great fireplace centred the room and there were doors either side of it.

“To the left is a closet for your clothes, I’ve emptied it aside from a couple of shoe boxes of old photos, I hope you don’t mind. To the right is the bathroom. It has a wetroom-type shower and a toilet. There is a bath, but it’s in the main bathroom down the hall, feel free to use it any time.”

Getting clean and into fresh clothes was at the top of her agenda and a calm washed over her as she saw the solid four-poster bed, all made up with light blue sheets and pre-fluffed pillows.

“Thanks, Jamie, for everything.”

Having missed her chance to thank John, she felt like all she would be able to say to Jamie for weeks was thank you.

“Nay bother. Just…” he paused for a moment, his hand resting tightly over the door handle as he moved to leave, “everything here is yours too, aye? Make yerself at home. I work a lot, long hours and long weeks, so I’ll be here there and everywhere. There’s food in the kitchen, a TV in the living area at the back of the house as well as books and more creative things.” He was talking fast, his nervousness becoming clearer as he tried to give a verbal account of the facilities without forgetting anything important. “Through the kitchen there is a door, it leads down into the cellar. That’s where the washing machine and dryer are if you want to wash yer clothes...anything else…?”

He had placed her suitcase down by the door and was running his hands through his hair as he tried to think whether he needed to mention anything else.

“Thank you.” She said again, giving him a free pass to leave now he seemed settled that he’d bought her attention to the most important appliances. “It really is extremely kind of you to open your home at such short notice.”

“It’s a pleasure,” returning her gesture, he held out his hand and took hers, shaking it lightly as she backed towards the bed and he moved back into the doorway, “Claire.”

It felt strange to hear him finally say it and the sound of his deep scottish accent stayed with her long after he’d closed the door and disappeared back downstairs. As she wandered slowly around her suite she opened and closed her right hand, the warmth of his palm still echoed in her flesh. Having had tender relationships before, it was almost as if her flesh knew the touch of someone gentle before the rest of her did.

Whatever it had been dissipated as she caught sight of the brown envelope sticking out of her purse and she took a seat on the bed before pulling a series of pieces of paper from it.

Jamie must have been introduced whilst she’d been in her haze as she didn’t remember anything prior to noticing the cup of tea and, with tired eyes, she pushed the notes aside, eager to get some rest before reading on further.

The clock on the mantel ticked, the click of the hands signalling another hour gone by and before she knew it, darkness surrounded her.

Having fallen asleep between the mass of her new life story, she rubbed her closed lids, yawned and then rose. Her limbs felt heavy, her joints stiff from being in the same position for hours. Stumbling across the room, she felt around for the light switch before investigating the small bathroom attached to her living space.

It was new, that was certain, the porcelain and white tiles sparkling with a sheen that only occurred right before they were sullied with condensation. She pulled the extractor fan cable, switched the shower on and turned up the heat before shedding her clothes and standing beneath the spray. Fortunately there was a towel neatly arranged on the heated handrail, she noticed, as she washed the journey from her skin with some nice lemon scented shower gel.

Clean and dry, she tucked herself between the sheets, carefully stacking and placing the paper back in the envelope before she did so.

That can wait, she thought, her eyes closing before her head even hit the pillow. Once more, sleep found her easily, the swirls of pixelated colour appearing behind her closed eyelids as she began to dream. Silence surrounded her, not like the hum of the city that buzzed in her ears whilst she slept in Oxford, but the blissful nothingness that remote country living afforded those who inhabited it. For that she was grateful.

Kind, blue eyes invaded the deep black nothingness and she felt warm and safe. Snuggling further down into the duvet, she let the warmth encase her as she finally allowed herself to relax.

#Anon #ask #;mod mbd #shielded #ficlet #Jamie Fraser #claire beauchamp #jamie x claire

[x0401x]

Have you watched Tsurune, by an chance? If yes, what do you think about it?

Finally managed to write down a reply for this! (Told y’all I was gonna do it and I did not give up, lmao.)

So this ask caught me off-guard for two reasons: one is that I never see it coming when people send me Tsurune asks now that the anime is long over and the fandom is inactive, and the other is that nobody has ever asked me this question so straightforwardly. Whenever I got asks about Tsurune, people would question me about the differences between anime and novel, the anime versions versus the canon versions of the characters, fanservice and ship tease, alterations in character relationships and my opinions on specific episodes, chapters or scenes. As far as I remember, no one has ever asked me what I think of the anime (or the novel) in general.

I won’t go into the novel since this ask is just about the anime (I can do that in another one if you like), but I’ll end up mentioning it every now and then because it’s pretty impossible to discuss about an adaptation without talking about its source material. Still, I promise this review won’t be centered on that.

This is actually a very condensed version of my thoughts, because the real thing would be a bible. It’s still a lot, though. Here comes a long-ass ride.

I guess I should start by making clear that I usually follow the history of KyoAni’s productions very closely as I’m a big fan of the studio. This includes reading the novels and mangas they adapt into anime as well. I had read volume 1 by the time the Tsurune anime came out, so I already knew what the canon was like. I must add that I was also familiar with Japanese archery to some degree and I was reading Zen in the Art of Archery when the anime was airing (it’s referenced early in the novel, so I decided to give it a try).

With all of this being said, when it was announced that Tsurune would get an anime, my first reaction was to worry. This surprised even me, because I usually have high hopes for any KyoAni adaptation, even the ones I end up not liking. I mean, it’s a studio filled with brilliant stars and holds the golden standards of the whole industry, so even when the content isn’t good, the quality of the animation itself is enough to make their shows worth anyone’s time. But the choice of director had me very concerned.

Now, this is Kyoto Animation that we’re talking about. In no moment did I fear for the animation’s quality. Most of Tsurune’s staff members, if not all, already had previous experience working on Violet Evergarden. And we all know that even newcomers freshly graduated from KyoAni’s preparatory school can make a stunning visual masterpiece. Yes, I am talking about Kyoukai no Kanata. And yes, I said visual masterpiece, because we also know that what these productions normally lack is the most essential part: the content.

In those cases, the one who actually makes a difference is the director. I’m a firm believer that the more inexperienced the staff is, the more competent a director they should be placed under. If not a senior animator, at least let it be a rising talent with the best prospects possible. But the schedules usually don’t help with that, so these hatchlings ended up under Yamamura Takuya’s wings.

To elaborate a bit further on why I think brighter animators should be the ones leading new packs (no, it’s not discrimination against the less accomplished, because you gotta start from somewhere), it’s because they usually have this knack for bringing the most out of the stories they’re working on. When the story is great by itself, that’s a different thing, but when it doesn’t quite reach its full potential with just the text, then the one to give it life has to be a person with more vision.

Am I saying that Tsurune is one of those stories? Absolutely. Tsurune is about archery, which is an art that is best appreciated when observed. You can’t get everything out of it just with words, and there are many things in it that people who don’t know much or know nothing about Japanese archery wouldn’t understand without actually seeing them, so the series obviously needed an anime in order to reach its full potential. But other than that, I’ll be honest: I love the Tsurune novel for its cultural baggage, the handling of its characters and its fairly innovative views in the repetitive and boring scene that sports animanga are nowadays, but I don’t consider it a well-written novel. Because it isn’t.

This might seem controvesial coming from someone who defends the canon with claws and teeth, but I’m aware of its flaws. I think Ayano Kotoko has a lot of room for improvement, and she’s evolved remarkably from volume 1 to volume 2. But volume 1 is what the anime was based off, so there was a deep need for a clinical eye in that production. One that could measure the original work’s strengths and weaknesses and balance them out by powering one up and overcoming the other. And also a certain level of knowledge about Japanese archery. Sadly, Yamamura Takuya didn’t have any of it.

As much as I admire Yamamura as a key animator and in-betweener, I believe he has a long way to go before he can be considered a good director, and I certainly don’t think he was ready for his debut when he was put in charge of Tsurune. I would rather, and I mean this in a good way, have seen him work as anything else for the rest of his career. Being a series director was too much for him. I say this taking into consideration not only the fiasco that the Tsurune anime was in sales but also Yamamura’s history in the studio before becoming a director.

This might sound funny, but Yamamura had no idea how big Animation Do and KyoAni were before he decided to join. He also was never very skilled. His in-betweening was actually not approved at first when he was trying to enter the company. He even once admitted that his knowledge of animation was extremely limited at the time, and what a time that was, because the studio was busy up to the neck with the making of Lucky Star back then. He didn’t know left and right, basically, and he recalled in an interview from last year that he is still surprised the studio actually hired him.

Despite all of this, Yamamura joined the company with the intention of becoming a director. While he did manage the feat in the end, it took him +10 years and a few frustrated attempts. Animators usually start out at in-betweening and earn other positions through passing exams. Yamamura failed his first exam to be key animator, only managing to pass half a year later. He also failed his first exam to become a director. At his second attempt, one of their colleagues even suggested that maybe he should stay a bit longer as a key animator, and I couldn’t agree more. While he did pass the test, I can only bring myself to think that he did so with an average score.

Now, I did say that this info came from a 2019 interview, when the Tsurune anime was already over. But they weren’t really what shaped my opinion on Yamamura regarding his direction. It was the anime itself. But this interview served to confirm something I had already noticed from his tragectory to series direction: with him being in the studio for so long and having worked on so many titles, it was weird to me that he was rarely an episode director in comparison to key animation and in-betweening. Episode direction is a step that I consider crucial for one to become either series director, animation supervisor or series composer. I do know that quite a few directors take just as long as he did or even longer to debut and actually do thrive in the end, but observing Yamamura’s work always gave me the impression that he was better off following decisions made by someone else rather than making his own.

Yamamura also loses points with me in that he’s backed up within the company by Kawanami Eisaku, another director who doesn’t get rave reviews on his works. He’s the one who replaced Utsumi Hiroko after she migrated to Mappa, and ever since he took over the Free! franchise, its sales decreased to less than 1/3 of each of the first two seasons separately. I personally don’t like that he seems to look down on Utsumi despite his lack of success in inheriting her legacy, but leaving this aside and focusing only on his skills, I’m not fond of directors who opt for simplistic approaches in general. I think animation is a medium that should be used to amplify the appeal of the source material, not water it down. It also feels like these kinds of directors are always trying to play safe, which (they don’t seem to realize) goes against the audience’s expectations and kills the hype. It strikes me as cowardly, to be frank. I also don’t like when they ignore what the characters had been building up and simply retool them to their own tastes. I was praying that Yamamura would be different from this bad example, but turns out he was actually worse.

I got a really bad feeling when the anime PVs of Tsurune were released. My very first impression was that Yamamura was still too much of a beginner and he wouldn’t be able to make Tsurune into a successful anime. I know this might seem like an exaggeration, but here’s the thing: ever since KyoAni started making its own titles, I’d never seen lack of hype for their upcoming works. Ever.

Until Tsurune.

Every time a PV of a KyoAni show comes out, people go crazy. It’s not always a frenzy like it was with Free! in its heyday or Violet Evergarden when the novel commercials were the only pieces of animation we had of it, but there’s usually lots of debate and speculations going on. With Tsurune, almost no one cared. You’d see next to nobody talking about it save from a few people on Reddit. And honestly, why should they bother? It didn’t seem promising at all. Didn’t show much of the characters or the story’s premise, didn’t highlight any particularly interest aspect of the plot and didn’t leave any impression animation-wise. It was very bland, to say the least. Unfortunately, so was the anime series.

It might be blunt of me, but my overall evaluation of Tsurune is that it was a really boring show. Nearly all elements that made the story and characters interesting were either taken out or squeezed into a cookie cutter mold, cliche version of what they looked like they were going to be at first but turned out not to be in the novel. And I say this because one of the things that make Tsurune a good novel is how it turns stereotypes upside-down. It introduces the readers into what seems like is going to be a typical sports shounen and starts out describing the character archetypes in the most common ways possible and puts them in the most common situations possible, then it reverses them all. That’s what’s most charismatic about the books. It’s what incites actual character development and gives us different sides of each relationship, yet the anime makes no use of it.

The anime also hardly makes any use of all the mystic, Zen and lowkey folklore-ish veils of the novel, which are supposed to add up to the archery elements. The Zen part is actually essential since Japanese archery is fundamentally a Zen form of art. Yes, art. Japanese archery is, in fact, not a sport. This is one of the aspects that elevate Tsurune above other works of the sports genre: it’s only categorized as such because it can’t fit anywhere else, but it’s not really a sports novel. That could have elevated the anime to the same status too, if only the studio hadn’t treated it like a sports one. But they made that mistake.

Still, I think the biggest sin in this adaptation was to try to cling to tropes that are considered successful and ignoring the characters’ personalities, which didn’t match these tropes at all, resulting in both characters and bonds being utterly destroyed and the flow of the story slowing down to a slug pace. By the second half of the anime, literally either nothing interesting happens or the things that were supposed to be interesting don’t hold the audience’s attention enough, which the animators attempt to cover up with queerbait. Everything is so tediously predictable that I’ve seen countless comments from the Japanese side of the fandom about how similar the Tsurune anime was to Free! and how “KyoAni only ever makes male characters like that, don’t they”. They were referring to Seiya and his weird jealousy, by the way. Even first-timers could tell that the characterization was a disaster.

The sad thing is, they were right. The Tsurune anime really did feel highkey like a Free! copycat in the characterization department. The main character is always getting swung about by everyone around him. The best friend is very clearly co-dependent. The deuteragonist is revealed to be bitter because of a deceased relative and is an asshole to the rest of the main cast for a good portion of the series. The rival from the other school is rude as hell for no reason and he’s got annoying groupies on his team who don’t exist outside of idolizing him. There are only four female characters and they have almost no screen time. And the list goes on.

As for the animation itself, I would like to say that it was perfect, but what really rang the alarm in my head was the many beginner mistakes so evident here and there, such as missing frames, the opening theme starting out of nowhere, the colors of the background often being too bland, lack of movement or scenes where the characters are too static, etc. I shit you not that when I saw the title splashing onto the screen all of a sudden in the initial ten seconds of episode one, the first thing I thought was, “This won’t sell well”. Sure enough, it didn’t.

So there you have it. I didn’t like the show. The only things I enjoyed were the archery scenes and the soundtrack. The rest simply didn’t do justice to the original work. I hope this summary has explained why, but if you want more info on it, maybe visit my Tsurune tag. You’ll find me elaborating more on particular topics in response to similar asks. Or you can send me other questions if you feel like.

That’s it!

#tsurune #how cool is it that i finished just in time for the anime's anniversary lol

[letmemendthepast]

what is captain harlock and how do i look into it 😳

ALRIGHT. so he's space pirate captain harlock, and, believe it or not, he's a pirate... and he's also in space. this is my only interest i feel like i can actually discuss to some degree of accuracy so here goes!!

tl;dr harlock is a space pirate captain, popularized by anime and manga released in the late 70s and early 80s, who fights for his ideals, rebels against the government, and saves the world a few times. no big deal

i'm mostly familiar with harlock anime, but you could start with the original series space pirate captain harlock (42 eps) or you could watch endless orbit ssx (22 eps).

space pirate captain harlock is the main character of the eponymous 1977 manga by leiji matsumoto. he looks like this lol:

i still haven’t read the original manga, but the first harlock anime, also called space pirate captain harlock, was adapted from it! it was the first harlock media i consumed, and it is 42 episodes of PURE space opera. UNADULTERATED galactic drama. set some time in the distant future, an alien race seeks to claim earth as their own. with an apathetic populace and a government that refuses to acknowledge the threat, earth is fucked. or it WOULD be, were it not for captain harlock and the crew of the arcadia. the motley band of space pirates gains a new member at the beginning of the story, and the audience learns about the arcadia's mission along with him.

i personally thought it started off strong, like in the first few episodes it absolutely intrigued me, but others have said it starts off very slowly and has a lot of filler eps. a lot of blatant worldbuilding happens at the beginning, but once the setting is well established things start to pick up. if you're not interested by maybe episode 3 or 4, it's probably not your thing. which it very well may not be, i guess it might be what you would expect from the 70s!!

i think you’ll be able to tell right off the bat whether or not you can handle watching the animation. some of the space backgrounds are very pretty though, and the old tech art is an aesthetic of its own.

i’d have to do a rewatch to list more specific triggers, but there’s some violence and death, nothing too graphic. some, maybe most, of the fighting is done in space though, so there are spaceships exploding and that kind of thing. there are also a few instances of nudity (just tits out i’m pretty sure).

BEYOND THE ORIGINAL SERIES, there's a movie and another, shorter series from the early 80s. 

arcadia of my youth is the prequel to this second series and tells harlock's origin story. i should say ONE of his origin stories because there are quite a few variations of literally everything regarding harlock. and ok this is going to sound fucking horrible but. i paid absolutely no attention to the movie when i watched it. i don’t remember this movie at all. i honestly can’t tell you whether that’s due to me just being an idiot or the movie just not being any good. (will update you when i watch it again?)

anyways. you don’t have to watch the movie (you probably should, i just forgot everything that happens in it because i’m built different), but it sets up for the plot of endless orbit ssx. this second series, at 22 episodes, is much shorter than the original series; it was supposed to be around 40 episodes as well, but it had to be cut short because cultural focus had shifted from this type of romanticized space drama to shows like gundam (which is why i have yet to touch any gundam stuff—i hold a slight grudge against the mecha genre in general for this lol). i was expecting a really shitty ending due to that, but as a whole the show is still very enjoyable and the ending is fine, if clearly rushed.

endless orbit ssx was i think a bit heavier than the main series. earth has fallen under control of aliens, so this time harlock & co’s goal is to find arcadia, the mythical planet where they can all just live in peace and whatnot (a change of pace from the original series, i guess they know there’s no chance of saving earth this time around?), but along the way, as you can guess, they're opposed by the reigning alien race.

admittedly, i'm VERY biased when it comes to how good ssx is, simply because tochiro gets a lot of spotlight in the show. you should recognize him from somewhere ;)

he is just a fantastic little guy, i adore him, and his design in ssx is very very good (he just looks like a weird little man in some other media. full offense). he's smart, impulsive, and has a sense of humor, which makes him an excellent complement to harlock, who is often shown as the stoic, emotionless hero. they're best friends, like they have this bond where they’re pursuing their shared dream and all that. pretty cool i think :)

even aside from tochiro, ssx is still very good. in terms of writing and plot, i think it’s about on par with (or maybe better than) the original series, and there’s less room for filler. also, things get going much faster, so i’d say you could only give it an episode or two before you decide whether to keep going or drop it.

ALRIGHT SO. that's what i have to say about harlock, condensed as much as i could manage (and hopefully put in words a normal person might use). there are plenty of gaps in my knowledge, and a few shows and movies i haven't even bothered to watch myself. obviously the harlock stuff isn't for everyone, so. good luck i guess

you can find everything i’ve discussed here on 9anime.to!

#i only just started gun frontier #which is from idk early 2000s #and i can't recommend it. it's about tochiro so i was obviously hoping it would be really good #but the weird casual racism and sexism is offputting #that kind of thing was NOT prevalent in the other series which is why i can say they were good #anyways. smiling through the pain #also i have yet to touch the 2013 movie it looks. somewhat uncomfortable #not too bad though. i'll get around to watching it someday #anyways. Aaron i already said this but you're such an enabler. i love you #asks #jezzo #captain harlock #space pirate captain harlock #leijiverse #wait this probably wont show up in the tags bc links... oh well #i've edited this like 50 times since i first posted it help

[alyssa-ward]

Return to the End

[ Following Bared and Stolen Souls ]

Anger. Panic. Frustration. Pain. It all came flooding through as the link ripped violently open without so much as a 'Hello, how are you?'.  It’s a shock to the woman in the dagger, snapping her attention to Riley as the single word comes through in Alyssa’s mind. "Fuck..."

"What happened?" Alyssa, still reeling from the mental assault of Riley’s emotions, she lets her own worry come through.  The last thing she remembered was Riley telling her they were getting the soul tonight.  Clearly that’s gone wrong.

"You remember how I said 'if everything goes according to plan blah, blah, blah..." Laughter both heard and felt with a dark undertone that puts Alyssa on edge. "Well, that was my first mistake. The second - and this one's a doozy - was assuming that insufferable prick's bodyguard had turned in for the night after the shift change. Because of course, the one fucking night he doesn't..." More laughter, but the pain is still visible, audible too in an exhaled sigh. "Plans change, we adapt, we survive." The words spoken like a mantra, repeated over a couple times before she regained her focus.

"Can we just kill the bodyguard too?" Alyssa interrupts the repeated mantra, trying to not let too much of her concern or thoughts show through the link. But she's worried.  If Riley dies here, this is the end of it.  Enough to make someone think they might be cursed. "I can make use of both...you okay? Hurt?" She pushes off the stump with the wolf, and a moment later she's standing before Riley's soul, studying it for harm.

"Just took a lucky shot, I'll be fine," the reply is pained, but it doesn’t seem overly labored. "Didn't even make it to the mark before this bastard blindsided me," and then quieter, as though not directed at Alyssa "...throws punches like a damn Gronn..." "The bastard's big, but he's slow. I've been leading him to the outskirts - figure that'll save me from having to dispose of a small giant in the middle of the city." Another pause to slow her breathing and better clear her thoughts. "You ready in there..?"

"Don't die on me, I'll start to think carrying me around is bad luck," after deciding there's nothing she can do for Riley's soul she returns to the clearing, already gathering power into herself. "I'm ready. He might still try to take a few swings after you cut him but he'll go down fast."

"Me? I'm too stubborn to die." A lighthearted joke in the midst of chaos is almost too appropriate for the woman delivering it. "As for our oversized friend, I'm not too worried ab-..." Riley's words cut jarringly short, but the link remains open.  Whatever just happened, she’s still holding the dagger. A flash of blinding rage in the wake of sudden shock, and then the link starts to flicker, weakening in waves that become increasingly more pronounced with each second that ticks by. 

“Riley?” Alyssa’s worry rises and flares as the connection wanes.  She’d only meant the death thing as a joke.  "Riley stay with me. Don't you die on me. I don't want to have to explain to Kat at the end of this that I got her friend killed."

There’s a distinct lack of fear from the other side. Instead, an almost eerie sense of calm, felt even as the connection continues to wane, and in that surprisingly serene break in the chaos, Riley's voice comes through her thoughts, clear as day. "Hope you're okay with a bit more than a cut..."

Relief across the link from the warlock as the voice comes back through. "More than okay, just get me his blood."

And then the action requested comes through clear as a bell.

The trees in the Darkened Woods of Alyssa’s mind part.  As every time before, the vibrancy of the soul the blade has stabbed into is intoxicating.  Her mind blanks, hands thrown outward to entangle the bodyguard’s revealed soul in chains of fel and soul magic, purples and greens leashing her hands to the very essence of the man.

Whatever happens outside of the blade is lost to the Warlock.  Even Riley’s soul dims at the corners of her vision as she puts single minded focus forward.  She can feel the man’s suffering as she tears out his soul, the chains binding and tightening as it condenses and draws into her extended palms, forming yet another perfect little purple crystal.

Alyssa stares down at the crystal in her hands, shoulders trembling as she has once again given in to her addictions.  Riley’s voice, raspy now, snaps her out of it. "Will it work..?" The question ended with a grunt, and the trees to the now empty clearing that was the bodyguard close once more.

"I'll let you know when I figure it out. It's going to take some work to separate the usable stuff out of this. His soul is not a very bright one." the reply is distracted, Aly’s mind is already racing with next steps.

"Sorry about that..." Riley murmers, her voice straining with the effort before she returns to purely mental communication. "If there's nothing salvageable, I'll find something better," tone is cold, but not disingenuous. "Otherwise, we continue with the plan, and make our way to Uldum."

"Agreed," Alyssa replies. "How long will it take you to travel? I couldn't even estimate how long this will take me, because...time and all." Her inability to determine durations from within the dagger goes unsaid. "I'm going to strip this soul apart, I'll fuel myself with the bad parts, nothing will go to waste. Whatever good there is in here, I'll see if it can strengthen the wolf." A pause before she adds, "I'm sorry Riley. There's every chance I could be wrong about all of this. I could be misunderstanding what Kat sent me. This may not work at all but I don't have many ideas."

"I've got a connection that'll set me up with a portal, so I could be there as early as tomorrow morning. From there, it'll take some time to travel to the right camp, but I figure... if we can just find her, we might be able to buy a little time for you to utilize whatever tricks you've got up your sleeves." A pause. "Metaphorical sleeves, of course." The attempt at levity seems to cut through her previously chilled tone in favor of something slightly more welcoming. "You've got nothing to be sorry about, Alyssa. Not as far as I'm concerned, at least. If this doesn't work, we'll just have to figure out something that will. It's as simple, and as complicated as that."

"It's nice to work with someone who shares my feelings on the impossible. If nothing else works I will find my way into the Shadowlands and pull her out myself. She's not gone. I don't accept it." Riley's levity, and determination makes her smile, a warmth that can be felt across the link through the weapon. "We'll figure something out. Simple and complicated as that," she echoes the other woman's words, finding a liking for them.

"Seems stubbornness is a trait we share in spades," Riley’s reply makes Alyssa smile to herself.

About to end the conversation, to turn focus fully to the soul, something else strikes Alyssa.  Something put off too long. "Could you do a favour for me, before you leave Stormwind? We are in Stormwind right?"

"Your tab's starting to add up, Alyssa," Riley’s tone is teasing, but it’s not unfounded either.  Alysa already owes a great debt to this woman. "You name it, and I'll do what I can."

"I'll pay it if I'm ever alive to make good," amusement bleeds from the Warlock in return, before her tone sobers. "When I died, my home burned down. It was a...cautionary measure. I don't think my brother knows what happened to me, he's been left with nothing but the mystery. Could you have a letter delivered? Just something simple. Alyssa is okay, she misses you, she'll be back eventually, something nice like that?"

A somber sense of understanding emanates from Riley's side of the link then, and her gentle nod is almost felt. "Of course. You tell me where it needs to go, and it'll be done."

"Thank you. He's lost enough, he shouldn't have to lose his sister too. Not yet." Appreciation can be felt in return. She gives the address, a townhouse in Old Town near the fountain, and the name, Damien Ward.

"I'll make sure he knows you're still here, until you're able to tell him yourself." There's a faint flicker of hope in Riley's tone, despite the many uncertainties that lie before them. That handled, the subject turns back to the most pressing matter. "I'll give you some space to get to work while I take care of things out here, and check in with you once everything's in order. Yeah?"

"Yeah, I appreciate that. I'll let you know too if I make any breakthroughs. You make a good partner...we'll find her." As much for herself as for Riley, as her attention shifts off the conversation and onto the soulstone she now holds. Splitting apart a person's soul into its base elements is taxing work, and a slip up could cause whatever she has to escape into the shadowlands, so for now, she is silent and focused.

Theory and practice are very different things.  Alyssa finds as she works that if this were the real world, if she was in her physical form, this task may be wholly impractical.  “Y’really not goin’ t’elp me even a little are you?”  She asks the wolf, without looking up from her work. The soul shard now dances through the air, shattered into a million little motes of flickering crystal shards, like glitter on the air of her consciousness.  If she truly breathed, rather than the false life she lives in her dagger prison, she would inhale the dust of it, but here it is safe.

Though she can’t extract actual memories from a soul, what she can see is intent.  The glittering motes of the bodyguards soul are washes of intent.  She begins the slow process of work, hands extended out to manipulate.  The bits of colour dance about with subtle gestures of fingertips.  Steady concentration slowly separates the motes out into clusters along a timeline, capturing bits and pieces of brighter light from childhood, from times of innocence.  Darker along the ends of a life lived in sin and anger, of dark deeds.  A flick of her wrist motions the entire back half of the man’s life to coalesce into a ball of inky dark glitter that drifts into her palm and is simply absorbed.  The wolf won’t need those parts, but she can use them for strength.

Sifting through the rest she pulls on moments of intense emotion.  On the hints of a first kiss.  On the warm memory of a mother caring for a sick son.  On the thrill of freedom of a first coin made honestly.  These glittering bits and pieces she plucks from the myriad array of crystalline fragments before her, slowly and painstakingly pulling every drop of goodness and light and justice out of this battered soul that she can.  

Some motes darken at her touch, her own corruption bleeding through and ruining them, those she absorbs for herself, redoubling her efforts to create a small clean pure soul.

It feels like it’s been days.  A week or more.  Of every moment digging through the atoms of the universe that made up this man.  It can’t possibly have been though.  If so much time has passed, Riley would have stopped her, chimed in.  Regardless of the true passage of time, Alyssa holds, floating above her palm a small crystal, all but radiating light to a near painful degree.  More pure and just than any soul has any right to be, let alone one from the source she took it from.

The freshly born have done more wrong and seen more trauma than what she holds now.

The moment of truth, Alyssa approaches the sleeping wolf with shaking steps.  “Y’ready f’this?  I’m countin’ on you t’take it and do...somethin’.  Anythin’.”  Her hands extend out, floating the crystal towards the wolf, carefully not touching it lest she taint it with her own essence.  The glowing crystal presses against the white wolf, and then sinks into it as Alyssa’s woven magic infuses it into the creature

A glow begins beneath the fur of the white wolf, beginning from somewhere inside and then radiating along its body, rippling beneath white and grey with a brilliant light.  Aly finds herself covering her eyes against it, a grin lighting lips, excitement as something begins to happen.

And then her face falls.  The energy infused burns away, eaten up by the sleeping creature.  It dims, fades, and puffs away, and all the hard work is gone.  The moments of painstaking extraction snuffed out in a small puff, with no sign or trace of the magic she put into it.

Alyssa sighs, slumping down to the forest floor to rest head against the log, and await the next time she sees Riley’s soul visible in the woods.

"Riley? I don't have good news," time has passed, who knows how much, but the woods part, Riley’s soul revealed, the link re-established.  Alyssa wastes no time.  Her voice dejected and lost.

Clear hesitance from Riley. Not surprising. "I'm afraid to ask..." she finally says, bracing for what's to come.

"It won't hold the energy," the news could be worse. Alyssa didn’t kill the wolf. She didn’t take away any shred of hope, and yet, she feels in many ways like there is none. "There was some reaction, but then it simply burned off what I put in and we're...back to where we were. Maybe more power? But I don't know how long we have to keep trying things. Best to just find her." The temptation to ask for more is there.  Kill a priest, a paladin, bring her a better soul, try something bigger...but she’s not ready for another failure, nor is their timeline.

The equivalent of a long, deep sigh could be felt, a definite sense of begrudging acceptance. "Of course..." It comes quietly, but Alyssa with their connection still hears it well enough. Still, the disappointment didn’t seem directed at her. "Alright. Alright- at least we know now, yeah?" Riley pauses, letting that small sliver of reassurance hang by a thread for a moment. "We'll stick with the plan. Get to Uldum, find her, and... whatever comes after that. If an opportunity arises between now and then to try for something a little stronger..?" Another pause. "Well, I've never been one to pass up a good opportunity..."

"That all suits," Alyssa certainly isn't defeated, but she'd hoped for a breakthrough. The lack of one shows in her tone. "Yes, if we get the chance at something stronger, we can take it. Otherwise...well if we find Kat we will go from there? I have no idea what to do Riley."

"We just need to focus on what we do know." Riley’s words make Alyssa smirk.  What they know isn’t much. "Take this whirlwind of shit one step at a time..." Once again, she seems to be making an attempt at convincing herself just as much as she was Aly. "Are you alright..?" The concern, for a moment, surprises Alyssa, but then, they do seem to be establishing a rapport. "I'm just about packed and ready to go, but... are you ready for this?"

"I appreciate you asking. I'm as alright as I can be. No harm done, I'm recharged a bit off what I took from that person if anything. I'm just...tired emotionally." As if that wasn't evident enough in her bleed into the link.

"At least something good came from all of that..." The sentiment in Riley’s words feel genuine, as opposed to leaning towards sarcasm. "You? How are those injuries?"

"I'm fine. I don't want to come off as a prick with the whole 'I've had it so much worse' routine, but... I really have had worse. Just a couple bruised ribs and a whopper of a headache."

"I actually don't think I can say that right now," some amusement about the situation comes through in Alyssa’s reply. "Surviving the end of Gilneas was close, but I think my current situation is about as bad as I've gotten." Being dead and trapped in a dagger is...its own sort of special.  

"Alright. I think you win this one..." An attempt at a lighthearted tease to add to their brief moment of levity before she also shifts her attention back to their looming journey.

Alyssa lets attention shift back to the topic most relevant, "I'm ready as I will be. I think it's on you now, I don't know what else I can do beyond supporting you until she's found."

"I've got everything squared away here. All that's left to do is lock up and head out - with any luck, I'll be ankle-deep in sand within the hour." This she does not seem happy about, despite her phrasing.

"Going to have to go see Uldum for real some day, if I ever get out of this. I've only ever been as a kitchen accessory," Alyssa's trying to stay light, it's easier that way. "I'm here. We'll get through this."

"Hey, for what it's worth, you make a good-looking knife - these engravings are gorgeous." Riley falls into a pattern of light banter as though it's second-nature. Perhaps it is. "Hold tight in there, Alyssa. I'll see you on the other side..." Perhaps a poor choice of words before the link is severed, given what they're about to walk into.

"Thanks. Good genetics," she jokes back. And then once more the link is gone, and Alyssa returns to waiting.

[ @blue-eyedraven ]

[ Mentions of @kat-hawke​ & @dardillien-ward​ ]

#ic #rp #the dagger #blue eyed blade #isolation

[mobius-prime]

269. Sonic Universe #2

The Shadow Saga (Part 2 of 4): Time & Again

Writer: Ian Flynn Pencils: Tracy Yardley! Colors: Jason Jensen

So, do you remember how way back when we got the single-issue incomplete "adaption" of Sonic Adventure 2, I mentioned that the events of the incident would be clarified by Ian Flynn in a later issue? Well, this is the one! Interspersed within the events of the modern story are flashbacks to what happened during Sonic Adventure 2, heavily modified to fit within the comic's world. However, I've elected to tackle the modern half of the story first, and explore Sonic Adventure 2 afterward, mostly because though Ian seems to be trying to draw parallels between the latter story and the former, they don't really… work all that well, nowhere near the level that they did in the first arc of KtE anyway.

The modern story opens with Shadow approaching the Freedom Fighters' camp not far from the Eggdome in the middle of the night, waking Sonic up to invite him along to a little bonus mission.

I mean, while I can understand wanting to invite Sonic on a mission against Eggman, 1. he's already on one, and 2. you'd think Shadow would realize he'd need some sleep before the final battle against his arch-nemesis. What, you can't handle this alone, Shadow? Well, as it turns out he's not actually alone, as Sonic reaches the rendezvous point first (zooming off ahead of Shadow, of course), and finds Rouge waiting for him. Apparently, Eggman's been working on a sneaky plan to turn a telescope in the city into a massive laser capable of wiping the Freedom Fighters' little camp off the map, shield or no… as well as half of the rest of the city. Sonic thinks this is overkill even for someone like Eggman, but as Shadow catches up he explains that GUN doesn't quite think so.

To be fair, Sonic, you haven't been seeing the behind-the-scenes insane ramblings of his that Snively's been subject to recently. They break into the laser control room, and Sonic and Shadow deal with the smaller security lasers while Rouge hacks into the control system, trying to disable the thing. The cannon is already moving into position to fire, and worse still, the console then fries itself, Rouge having accidentally triggered a self-destruct command. Sonic and Shadow try to destroy the cannon directly, but no amount of spindashing or Chaos Spear-ing will pierce its armor, so Rouge suggests going for the bolts holding it in place, hoping it might throw off the shot.

Brilliant job, guys! Shadow, seeing no other choice, removes his inhibitor rings and climbs onto the top of the cannon just as it begins to fire. He uses all of his power to force the shot to misfire outwards instead of straight ahead, wrecking the barrel but saving the Freedom Fighters. This is really the only place where the parallels Ian tries to draw make sense, as then we see a flashback of him using his power a year ago to force the ARK back into orbit, and subsequently falling back into the atmosphere.

Aww, look at 'em! As the sun begins to rise, the three walk back towards the camp, and Sonic asks if they want in on the invasion. Shadow refuses, saying that he believes this is Sonic's fight considering how long he's been fighting against Eggman. As Sonic leaves, Rouge smirks at Shadow, and remarks on how far their relationship has come from before. Shadow, of course, has to defend his ego and insists he merely respects Sonic, to which Rouge teases him even more about how of course he can't admit he's made a friend.

Now, time to take a look at what their relationship used to be like, in the very-condensed Adaption 2.0 of Sonic Adventure 2! Instead of following exactly how it's portrayed in this issue, I'm just going to explain how exactly everything went down starting from the beginning, relying on context clues from this issue and previous ones. In case you've forgotten, during the events of the incident, both Tails and Knuckles were otherwise occupied, Amy was chilling in Mercia with Rob, and basically no one was even aware of where Sonic was at the time, as he was apprehended while sneaking back into Knothole while he was still supposed to be confined there. StH#98 covered what happened leading up to his arrest and subsequent breakout, but naturally, after the GUN truck chase he was rearrested and taken to Prison Island. Meanwhile, of course, Shadow had been released from his pod by Eggman, stolen a Chaos Emerald from Station Square, and presumably explained how the ARK's Eclipse Cannon worked to Eggman. Like in the game, Rouge also showed up at this point to offer her support in procuring more Chaos Emeralds - though as you might remember, at this point in the comic's history the emeralds still hadn't been combined into their distinct seven forms yet, so the Eclipse Cannon only required seven random emeralds to fire. Conspicuously missing is the entire plot point about Rouge stealing the Master Emerald from Knuckles, and the both of them subsequently searching for its shattered remnants all over the world, but if we're being quite honest the entire story still makes perfect sense without Knuckles and the Master Emerald, which I suppose is lucky for Ian trying to make sense out of all of this.

The point at which this issue actually starts recapping prior events begins on Prison Island after Sonic had broken out of prison once again - without the help of Amy or anyone else, mind you, since once again, they were all elsewhere at time. Really, this version of events is so stripped-down precisely because half of the game cast is missing, which is why the events of the game were able to fit into a single day despite several days passing in the game itself. Sonic and Shadow had their famous "faker" exchange in the forest and began fighting each other, with Rouge's voice coming over Shadow's communicator and informing them she'd found the remaining six Chaos Emeralds they'd need. At that point, Eggman reminded Shadow the whole island was about to blow, and at the same time Rouge called for help as she'd found herself stuck inside the vault. When Sonic heard Eggman tell Shadow to leave her and that they'd come back later to "dig the emeralds out of the ashes," he was outraged and offered Shadow a truce so they could rescue Rouge together. Shadow accepted, and they raced back to the facility as the timer counted down, with Shadow Chaos Control-ing them off the island and into the desert just before the place exploded.

See, while I understand where Ian is going with this, I really don't like his rewrite of Shadow's motivations here. For those not familiar, in the game, Shadow makes the decision to go back for Rouge entirely on his own, because the thought of her dying alone in the facility made him flash back to Maria's death. Later on, when she tries to talk to him about how he saved her, he avoids her questions, giving a similar excuse to this one, but with it being pretty obvious that that's not the case, as he hasn't stopped thinking about Maria since the mission. Here, Ian makes it seem like Shadow actually didn't care and indeed was only after the Chaos Emeralds, and he only went to the trouble of rescuing her thanks to Sonic's suggestion. However, I understand why this was kind of necessary - with his main allies elsewhere, Sonic needed someone to ally with for the next part of the plot. He ended up teaming up with Rouge, who was quite offended at Shadow's attitude, to break into the pyramid containing Eggman's base, and she piloted the space shuttle within up to the ARK. As I've pointed out before, at no point in the comic is it even slightly hinted that Eggman broke the moon in half as he does in the game - the only indication we have of such an event would be in StH#197, when Sonic recognizes Mobius from orbit by its half-destroyed moon, but in all fairness, the issue doesn't actually state the reason why the moon is broken. Remember, it's canon that Mobius has one hundred moons - that wasn't even retconned! Ian just made up a story behind it and put it in the Complete Sonic Comic Encyclopedia afterwards, but with one hundred whole-ass moons, it's entirely probable that at least one got bodied at some point in the planet's history, and Sonic just happened to recognize that particular one as he was reentering the planet's atmosphere. But anyway, once Sonic and Rouge made it up to the ARK, Sonic and Shadow quickly got into a fight on the catwalks outside the station, presumably while Eggman slotted the emeralds into their positions in the cannon.

*sigh* One of the biggest problems I have with the preboot is its handling of Shadow's entire story. I don't think Shadow ever got an actual chance to shine from his initial appearance until StH#171, when he had his whole "This is who I am" moment after exploring Gerald's digital diary. Everything about him, his entire backstory, was horribly neglected compared to his actually very rich and deep character arc from the games. This, above, is exactly what I'm talking about. In the game, it's implied that Shadow actually wins his final fight against Sonic (though Sonic obviously doesn't die from it), and then once the Eclipse Cannon is up and running, he moves into one of the ARK's observation rooms to quietly reflect on the past and watch the station crash into the planet. He doesn't snap out of it until Amy enters the room and her subsequent words trigger a flashback of Maria's real final wish. Furthermore, he's the only person in the cast who doesn't actually see the video of Gerald's execution or read his final diary entry. In other words, in the game, he comes back to his right mind organically, by remembering what his purpose is, while in the comic he apparently just got to watch a video telling him outright why he's wrong without him actually having to do the thinking that brings him back to reality. Seeing as Shadow is my favorite character in the entire franchise, this brushing-aside of one of the most important moments in his character arc irks me a little. But then again, I will still acknowledge that Ian wasn't really left a lot to work with here, and if anything the fault lies more with Karl Bollers and Kenders carelessly brushing past Sonic Adventure 2 in favor of their ongoing story about Robotropolis getting nuked or whatever.

Anyway, in the end, Shadow and Sonic went to the ARK's internal chamber that housed the Biolizard, and when it fused with the ARK to bring it crashing down to earth anyway, he and Sonic went Super and defeated it out in space, just like in the game. The game actually doesn't give a very clear reason why Shadow fell from orbit while Sonic was fine, but in the comic, it's shown that the act of teleporting the ARK back into orbit exhausted all his energy, resulting in the loss of his Super form early. As one of the above images shows, Sonic actually reached for him but was unable to catch him in time, hence his remark of not wanting to go through that again (even though realistically a fall from a five-story cannon is hardly going to do the same damage to Shadow as a fall from orbit). And that's it! As I said, the comic's adaption is incredibly stripped-down from the events of the game, but with so much of the cast missing, it kind of had to be. While I don't agree with all of Ian's decisions on how to adapt the circumstances while still retaining the basic gist of the story, I understand his ultimate conclusions, and in the end, they do work pretty well given how different the history of the world is in the comics versus the game. And despite Shadow not having a clear history with Rouge in the comics as he does in the games, Ian's finally saw fit to bring them together as a team in this issue, and they remain as such for the rest of the comic, including through the reboot.

But - hey, speaking of which, remember another adaption that was missing a few key plot points? Say… the first Sonic Adventure? Remember how the conclusion of Gamma's entire character arc was totally forgotten about and ignored? That would seem to imply that he's still out there somewhere… I wonder what he's up to nowadays. And for that matter, with the entirety of Sonic Heroes missing from the comics' timeline, where the heck is Omega in all this? Does he even exist? Gee, I wonder if we'll ever get to see these two important robot characters in the comic - like, say, next issue?

#nala reads archie sonic preboot #archie sonic #archie sonic preboot #sonic the hedgehog #su 2 #writer: ian flynn #pencils: tracy yardley #colors: jason jensen

[animatedminds]

What If: Every Character In Dragonball FighterZ Had a Dramatic Finish? (Pt. 3)

And here we are at the third leg of this little brainstorming session. Since yesterday, UI Goku has come out - people are enjoying the apparently pretty insane defensive options he’s got, and the new Kefla Dramatic Finish, but that doesn’t mean our work here is done just yet. If you haven’t seen the first two installments of these, this week in honor of the Ultra Instinct Goku DLC for Dragon Ball FighterZ I’ve been doing a little hypothetical thinking about Dramatic Finishes - those awesome re-animations of classic Dragonball moments that Arcys lovingly put into the game. Specifically, we’ve been approaching the question of “what if there were even more Dramatic Finishes” - since only a select portion of the cast has one. Over the last couple of days, we’ve been going through each of the characters without a Dramatic Finish and trying to find the best choice, the most cinematic moment, coolest and hopefully most epic shots of each character’s history that could work as a Dramatic Finish for them. This is more of a hypothetical: as I said in the previous installments, I’m not seriously saying that every character in the game should have a Dramatic Finish: Arcsys puts a hell of a lot of work into each of them, and the majority of the roster getting such time consuming devotion is just not happening. This is more of a thought experiment - and an excuse to rewatch a ton of clips from all over Dragonball history, of course. And as before, I’m looking for good scenes that would make appearances in Dramatic Finishes, not necessarily wins - so some of the characters on this list are going to lose.

If you want to the whole thing in one shot, you can always just listen to it on Soundcloud: we have a whole cast for it right here. But if not, then buckle up: cause here we got into Part 3. When last we met, we went through the Cell Saga (and Videl), so the next character up without a Dramatic Finish should be...

Majin Buu

Buu has been in the game since the beginning, but never did seem to get much attention - the main villain of his own arc, albeit one in which is many additional forms and personas took center stage after himself, Buu’s got quite a bit of interesting moments under his belt, with his own brand of destruction that’s as terrifying as it is silly.

I do want to preface this by pointing out that in the last video I went over an option for Super Saiyan Vegeta, which involved compositing the Final Explosion moment from his stint as Majin Vegeta into his regular Super Saiyan form and using that as a Finish, and before we go into more options for Buu I’ll say that at the end of the day I still think that’s the best option both for Vegeta and for Buu himself, but too give something extra for this segment...

The tricky thing about Buu is that he does a lot of fighting but not a lot of finishing - in this form, at least, he mostly wreaks havoc on innocent bystanders while the heroes can’t stop him. There are some scenes, like him killing Dabura by turning him into a cookie, that would work - but which would involve characters that aren’t currently in the game.

So I ultimately came up with two options (technically three, but I’ll save that third one for the next section).

The first is a less serious suggestion, since the steps required to make this scene smaller for a Dramatic Finish probably aren’t worth it, but its is a version of this anime-only scene where Gotenks attempts to fight Buu and - predictably - is defeated. This scene works in a general sense due to the good framing: Gotenks is knocked into a wall so hard he gets embedded into it, and then Buu destroys everything around them while he is helpless to stop it, and in transferring the action to the City stage you could make that simple idea work pretty well.

The thing is, what would really make this scene work as a Dramatic Finish is something that would be kind of extra for this game: the army shows up, and they kill massacred while Gotenks fails to get them to run. That would really put the drama in this Dramatic Finish - the hero fails to save the innocent bystanders and all, and without it the scene is just kind of bland, but there’s no way Arcsys is modelling all that just for a reach of a Dramatic Finish, so in the end there are better options for both characters.

So for the other, better option? Give him one of his scenes where he goes up against his later forms. Majin Buu ultimately turns good and fights against his later, eviller transformations, which makes for some good moments. The first of which would simply be a Dramatic Opening which adapts the scene where Kid Buu spits out Majin Buu who (later) gets up to attack him. It’s a two separate scenes, but they’re both quick, and easily condensed condensed into one: just have Kid Buu spit out Majin Buu, who immediately steps up to fight.

But for finally a Dramatic Finish suggestion, we have another one that requires some finagling: take the scene in which Majin Buu attempts (and fails) to turns Evil Buu into chocolate, and give it to Kid Buu instead.

This would be a win for Kid Buu (again, replacing Evil Buu with him in this case), and it would work pretty easily, given that a lot of Dramatic Finishes so far use a formula like this: Kid Buu knocks Majin Buu back, who gets mad and tries to strike back with the Chocolate Beam. Kid Buu blows it back and Majin Buu gets hit instead. A piece of chocolate hits the ground, Kid Buu picks it up and eats it - then end with a shot of Kid Buu laughing maniacally, or perhaps shift one of Evil Buu’s poses over to Kid Buu.

It wouldn’t be the first time something from one of the earlier forms was given to Kid Buu in this game, and it works out fairy well - though I will say again that the Final Explosion moment is still the best option for Majin Buu in my opinion.

Next on the list...

Gotenks

Gotenks is, if anything, even trickier than Buu. The entire concept of Gotenks is a warrior who is extremely powerful and versatile, but also a complete fool and a blowhard. He’s many times more powerful than either Goten or Trunks could ever be alone, but in terms of character and wisdom he’s less than the sum of his parts - and so, he can never win.

This presents an interesting problem for this list: Gotenks has no follow through. Not only does he never really finish off an opponent, he also has a tendency to screw up and get himself taken out in inglorious ways that wouldn’t make great Dramatic Finishes either. The option I gave in the preceding section, losing against Buu, is a good example: it just has too many problems even given that it’s an above average choice in comparison to a lot of his other moments.

But there are a couple options I can think of, still. The first is a good choice for a Dramatic Opening - in fact, the very first thing I thought of for this section: that anime only fight that I brought up with Majin Buu begins in an interesting way: Gotenks blindsides Buu with a cheap shot. Then we get a surprisingly cool entrance for a scene meant mostly to fill time, in which Gotenks - wreathed in shadow against a vibrant blue background - makes a dramatic speech about how he’s going to kill Buu for good.

Really, the visual effect of this is so good that even given that they would have to transpose it to a different stage (the City, again) I wouldn’t mind seeing it as a Dramatic Opening. It’s at least an option for this section, though... let’s face it, it’s not quite there yet. We can at least think of a Finish for here as well, can’t we? Well, the one I figured on is - unfortunately for Gotenks - a loss, and it’s more of a funny moment than a Dramatic moment, but I’d say either of the versions of Beerus’ defeat of him during the Battle of Gods arc (either in the movie, or in Super):

For reference, he’s the Battle of Gods version as well.

The perfection of this scene is that while it may not be a titanic moment that shook the heavens like most of the Dramatic Finishes, it gives us a chance to show off another side of Dragonball that’s always been a strong factor: the humor. The Super version, especially, gives Koichi Yamadera and Jason Douglas a chance to let loose their chops and give us a complete rant that’s as all over the place as it is fun to watch, and ultimately even if it’s not epic, it’s definitely entertaining. To imagine a Dramatic Finish that’s just Beerus stopping the action, taking over the camera and shouting about pudding in as over-dramatic a way as possible for half a minute sounds oddly good to me - kind of meta, and a heck of a non-sequitiur.

Yes, at Gotenks’ expense, but these two options really run the gamut of Gotenks’ scene: either he’s crowing dramatically about how awesome he is, or he’s getting humiliated in a fight. I love the kid, but he could use some character development (Super gave Goten and Trunks a little, but they were out of focus so much you’d never notice).

Either way, we move on to...

Vegeta (Super Saiyan Blue)

When it comes to characters for who felt a bit left out, it was somewhat surprising that neither Super Saiyan Blue Goku nor Vegeta got Dramatic Finishes when the game came out: this was Super was current, and it was assumed the game would try have a bit of synergy with its moments - but then again, it also makes sense. Animation lead time takes forever, and game lead time takes forever, and since it takes over a year to make either of those things waiting to make a moment in retrospect sometimes is just more worthwhile than rushing to do something in the moment.

You can see how doing adapting quickly might not end with the best result in Ranger 17′s FighterZ moveset, which has to fill blanks with Cell saga moves and a couple things adapted from other video games, unable to use a lot of the things that made Ranger 17 so fun to watch because the character was already in production when those happened.

But let’s not get distracted. Vegeta Blue is in an interesting spot, because no matter how powerful he is Vegeta’s role is still the same: do well against the less powerful opponent, then get wrecked by the main antagonists. This ultimately means that a lot of Vegeta’s best moments in Blue are against characters not in the game. A favorite moment, and the one I would absolutely want as a Dramatic Finish, involves a character I’ve personally wanted in the game since launch - but who is almost certainly never going to make the cut (Auta Magetta), a titanic Final Flash + Punch that ended up becoming his LVL 3 in the game itself. Other good options include his hilarious and cathartic defeat of Frost in the Universe 6 vs Universe 7 tournament, and his defeat of Toppo in the Tournament of Power, all of which involve character that are unlikely to be in the game even as DLC (though they’re at least more likely than Spopovich).

But if we only look at characters who are in the game, we’ve mostly got fleeting moments of victory that quickly turn around to defeat. But, if we’re looking that those there is one that stands out as particularly cinematic: the end of his fight with Freeza in Revival F (or Super).

In this clip, Vegeta defeats Freeza, who has a cheap shot attempts to blow up the entire planet. Think the Freeza vs Goku Finishes or the Gohan vs Cell Finishes, except in this case the hero fails. The cheap shot works, and Freeza destroys everything... until time gets rewound and Goku stops this from happening by taking out Freeza before he can.

The irony here is pretty funny. You either get a Dramatic Finish where Blue Vegeta loses, or one where he wins but Blue Goku still steals his thunder. EIther way, though, it’s still one of the most cinematic options. Especially if you add in a little of the Super version of Freeza blowing up the Earth, with bits and pieces of all the characters as they have only a moment to react to their sudden doom. You could even do something akin to how Arcsys did Dizzy’s instant kill in Guilty Gear Xrd, and have your different teammates all react differently depending on who is on your team, though that might be a step too far.

Either way, all you’d need is to win against Blue Vegeta while Blue Goku is on your team. Freeza throws a fit, Vegeta attempts to execute him but is stopped by Freeza blowing up the planet... then rewind. The scene replays, but this time Goku leaps forward and finishes Freeza off. End with a shot of Vegeta yelling at Goku or something for stealing his moment.

It’s a pretty great option, even if it’s not Vegeta’s most glamorous moment - but then, that’s pretty standard for Vegeta. Either way, we can move on. Next up...

Hit

When I was first putting this list together, last week or so, it was before Blue Goku was revealed to be the version of Goku with the Kefla Dramatic Finish. Everyone assumed it was UI Goku, so I had a Goku option lined up - but him now having one (and thus being out of this list) works out fairly well, because originally the choice I made for Blue Goku and the choice I made for Hit ended up as the same thing anyway.

Hit and Blue Goku’s fights feature some of the best scenes either character (which is to say, Hit and that version of Goku) have in Super, and it’s a no brainer that the finish for this section would come from that fight... but, since the first version of that fight ended inconclusively, I would actually suggest compositing scenes from their first fight with the conclusion of their second, anime-only rematch: which ends with a titanic moment - though yes, another Kamehameha - where Goku literally breaks through and shatters Hit’s time stalling technique.

Meanwhile, while the second fight provides the climactic conclusion, the first fight provides the build up and the best visuals: featuring epic scenes where the two rush each other in sprays of blue, red and purple that could really show what Super was capable of when the animation really got going.

So the key here is to make a new Dramatic Finish that combines elements of that first fight and the conclusion of the second: much like the Super Broly Finish, have the first part be moments from the first fight adapted together, to create the flow of a single stretch of combat. A win for Blue Goku, of course, this would start out as a blistering clash between the two.

Then, end it with the conclusion of the second fight, with Goku completely overcoming Hit’s time skip and blowing him away, through collapsing in exhaustion afterwards. Given the differing locations of their two fights, this could either take place in FighterZ’s original stage - Galactic Arena - which is loosely inspired by the Universal Tournament area, or the Archipelago.

Then much like the Jiren Finish, the last part of the scene would be them palling around - or as much as a guy like Hit can pal around - after the fight, promising to come at each other with even more power next time they meet, just like the ending of their rematch. It’s a strong Dramatic Finish that shows off the best of both.

It seems like Blue Goku has been the theme for the last two sections... but we might as well not break the trend now. We move on to the last section of the day, and the last character introduced in Super to not have a Dramatic Finish...

Goku Black

Yes, Zamasu’s insidious disguise himself. While Zamasu got several Dramatic Finishes to his name, Goku Black has since launch had to make due with the semi-special finish you get if you kill him with Beerus’ LVL 3.

As the primary Zamasu faced during his eponymous arc, Black does most of the legwork throughout that saga, but a downside to the way that saga is built is that there isn’t much in the way of “final” moments throughout it all: it’s basically a running fight in which the fighters take break for Round 2, Round 3, etc - most big moments on one side are instantly undone by big moments from the other side, with neither really gaining ground enough that you could build a Dramatic Finish out of it.

There is, however, one pretty decent moment that would make a great moment - featuring a cinematic comeback for Blue Goku followed by a brutal shutdown by Black. We’re talking here about Goku’s fury, the moment where he finds out what Black did to Chi-Chi and Goten in his timeline (note: not pleasant), followed by his enraged - but short lived - revenge.

The flashback is just too long to really work in a Dramatic Finish, unless you did it in snippets like Bardock’s flashback in his, which I would suggest, but given the whole fight scene afterwards might end up a step too far. Either way, it’s a win for Goku Black, in the City stage: he has Goku literally up against a wall, torturing him alongside Zamasu... only for Goku to break free and completely lose it. Following would be another fight scene within a Dramatic Finish, in which Goku goes to town on Black and Zamasu, seemingly winning... until Black turns it around by powering up himself, finishing Goku off with the God Slicer (or Divine Lasso, depending on your preference).

Final shot is easy: a shot of Goku’s broken body on the ground, as in the source, added with a shot of Black standing smugly over him smugly. It’s one of Black’s more epic moments - at least that isn’t inflicted on innocent bystanders - and works very well as one of those few moments where the villain gets one over on the hero.

And that’s it for today! We’re coming up on the end: to be concluded, tomorrow!

As always, if you don’t want to wait just check out the whole thing on Soundcloud, and in the meantime let me know what you think of the choices for each character and whether you have any other ideas! But either way if you’re a FighterZ player I hope you’re enjoying the DLC, and if you’re a Dragonball fan I hope you’re keeping up that endless search for more power. Stay sparking!

#dragonball fighterz #db fighterz #dragonball #dragonball super #dragonball z #dbz #gaming #dlc #ultra instinct goku #kefla #blue goku #majin buu #vegeta #blue vegeta #gotenks #hit #goku black #zamasu #dramatic finish #hypothetical #speculation #arc system works #animatedmindsforanimatedtimes

[thatfairyfangirl]

Part Of That World Chapter 8

Your eyes lingered on Bucky’s muscles glistening under the lights of the training room as Nat’s foot landed in your stomach. “Ughf.” It didn’t exactly hurt, but it definitely wasn’t comfortable as you landed on the mat. 

“You alright?” Nat asked short of breath as she lowered herself down to you, following her friend’s eyes to the former assassin sparing with Steve on the other side of the room before giving you a knowing smirk. “You seem a little distracted.”

“No I don’t...No I’m not. I uhh, I just had some hair in my eyes.” You protested as you pushed your blond and aqua hair from your face. 

“Mm hmm sure.” She said as she turned to the super soldiers. “Hey Steve, I need a break, what do you say to a coffee run?”

“Sure. Buck can you work with (Y/n) while we’re gone?” He turned to you, letting out a sigh as he watched your eyes sadden at the thought of being stuck training with him. “The more practice you get with those knives the better. Plus,” he turned to Bucky, “you getting some action against her harpoon might not be a bad idea either.”

The two of you just stood awkwardly as you were left alone for the first time since the halloween party. “So...Should we maybe talk about-”

“No.” You said sharply as you reached for the knives Steve had given you. “Let's just get this over with.”

“Alright…” He sighed as he readied to spar. “It’s just,” he dipped to the side to dodge the slash of your knife, “I’ve been wondering...” he dipped to the other side as you slashed again with enough firosity to make him think you might actually be trying to hurt him. “Did you know it was me?”

“Of course not!” You snapped as you both traded blows. “That was my one chance to get to know some people as an equal, you really think I would have wasted it on you?” 

As you attempted to punch him he grabbed your hand with his bionic arm, then the next with the other. “It’s just, Wizard of Oz is such an old film...Hell, it was the last movie I went to see before the accident. Is that really your favorite movie?” 

“Yes.” You replied as you attempted to pull your hands free. “Me and Great Aunt Pearl used to watch it all the time back in Maine. It reminds me of my childhood.” As you stood there at a stalemate he found himself looking into your eyes, heart racing. He thought about how the mystery girl from the party made his heart skip a beat with just a smile. How could this be the same girl?

~ ~ ~ ~

With a sigh you settled into your usual reading spot by the window looking down onto the streets below, barely colored with the few leaves in the city changing their colors. “Pretty isn’t it.” Bucky said with a half smile as he came close to admire the view of Central Park off in the distance.  

“It’s alright. But Maine this time of year is breathtaking. I’m thinking about going for a visit.” You said as you set Return of the King down.

“You’re still reading that book? Didn’t you start it over the summer?” Bucky half teased as he came to lean against the window.

You looked up to the ocean blue of his eyes, still finding it hard to believe this was the guy you had such a good time with at the party. As he leaned over you, you realized just how intoxicating his musk could be. He smelled just like he did the night of the party. “No, that was Fellowship. This is the third one.” You explained as you stood, worming out from between him and the window.

“Hey you two!” Steve called from down the hall, on his way to their rooms to look for them. “Shield came up with a lead on a possible Hydra base in the Rocky Mountains. Think you two can play nice long enough for a recon mission?” You both looked to each other before nodding. “Good, suit up.”

~ ~ ~ ~

You and Bucky let the auto nav system fly the quinjet as he did a last minute inspection on his guns and you did some last minute testing on your h2o condenser gauntlets. “So...Maine? Any plans for while you’re there?” 

“You mean outside of being away from you?" He couldn't help noticing much less disdain for him in your voice as you spoke. "Oh not much, maybe visit the marina dad kept his houseboat in.”

“You should go. It might help you cope with stuff.” He offered lightly as he prepared his weapons. 

You raised a brow as you looked over to him, the black leather of his uniform mingling perfectly with the metal of his arm and the dark tendrils of hair dancing over his shoulders. “What is this? What are you doing?” You asked suspiciously as you pulled your hair back into a tight bun, realizing you were close to your target. 

“It’s called being nice. You should try it sometime.” He answered with a smirk before the cabin of the quintet shook violently. "Shit!" He exclaimed as you both tumbled toward each other, arms reaching out instinctively to steady yourselves against the other. "The hell was that?!"

"You act like you've never been fired at before." Your eyes darted around the cabin. "Friday, get us out of the air!" The computer's voice was little more than static but she did as requested. 

"Well...so much for recon mission…" Bucky half chuckled  handing you your harpoon.

~ ~ ~ ~

Though the jet had been shot at you were glad to see it landed in one piece before managing to sneak your way inside. But, what you found in there definitely left you less than thrilled… The facility hidden deep within the mountains held a large tank, thankfully empty. But what sent the worst chill down your spine was the sheets of paper covered in sketches of Atlantean biology and calculations for just how much water they would need and how much sedation would be effective. "I think I'm going to be sick." You scoffed as you pieced together that what you found was a research facility and test lab for a crossbreeding program.

Bucky nodded in agreement, his eye not once leaving the scope of his gun, aim constantly moving, ready to shoot down anyone who stumbled on them. But no one did...the place seemed to be deserted. "I don't like this. We should have ran in to trouble by now."

Your eyes scoured the room. As much as you hated to admit it, he was right. "There has to be someone here...who shot at the jet?" You asked as you searched for any clues.

"Might have been an automated security system." He answered as he continued to look around. Spotting a map Bucky lowered his scope, a deep sense of dread growing in his gut. The map had colored pen marks  in seemingly random points in the oceans. But one spot he recognized...where they found you. "Hey...what do you make of this?"

Your eyes looked up from a journal filled with notes before you stepped closer. "Oh good god… " you muttered, recognizing each pinpoint as a different settlement colony. "How did they find them?" You asked in a worried breath before reaching up to tear the map off the wall.

~ ~ ~ ~

“So uhh...we have a problem.” Bucky announced with a scrunched brow as he turned back to face you.

“Oh god what?” You groaned as you came to lean over him at the cockpit. The gold and blue of your hair danced over his shoulders as your head dropped in defeat seeing the black screen that was supposed to be showing a map as you realized the hit you took on the way in knocked out the auto nav systems. "So? I thought you knew how to fly this thing?"

“And what good will that do if I don't know what way to point it?” Bucky's words spat out as he gave the computer a frustrated hit. You both knew well enough neither of you knew how to fix it. "Looks like you get that vacation you were wanting."

“Just radio the team for help.” You suggested, already annoyed with this as you reached for the com set. Nothing but static. “Oh you've got to be kidding.” You shouted as you threw the headset. “FUCK!”

“It's not so bad. They'll figure out something's wrong and come looking for us in a day or so.” Bucky offered as he got up searching the jet for the emergency rations.

“How well are you adapted to the cold?” You asked folding your arms, interjecting a healthy dose of reality into Bucky's unfounded optimism. “We are in the mountains in the autumn. As soon as the sun goes down it's going to start getting colder.” You informed him. “Get your priorities straight Buck.” You added before leaving the jet, disappearing into the wilderness.

Hours later you returned with a pile of wood kneeling down in the clearing the jet landed in. Bucky watched as you got a fire going. “How does a mermaid know how to do that?” He wondered out loud as he emerged with the blankets he found.

“Atlantean. And I didn't always live in the water… Dad loved to go camping a lot when I was a kid.” You explained as you took the blanket to wrap around you. Sitting by the fire your eyes drifted up to see the stars beginning to come alive in the mountain sky. Realizing how long it had been since you've seen them you let out a long sigh, studying each point of light.

“Man that's really something amazing.” He said referring to the soft smile and starlight twinkling in against your face as he sat beside you, leaning back on the blanket. It was nice to see you looking at peace for once.

With a growing smile you leaned back as well, your fingertips brushing slightly against his as your hand landed in the plush grass.  “Yeah...I've spent so much time in the water I almost forgot how beautiful they were.” You reached up with your other hand pointing to a cluster of stars. “That one is called puppis. It was always my dad’s favorite, he named his fishing boat after it.”

“Puppis? Why would you name a boat that?” He asked with a raised brow.

“Its part of a cluster that makes up the Argo. Its this ship from Greek Myth. Dad called it the impossible ship. The constellation moves westward but it sails stern first.” He watched your eyes go wide as you spoke. “Oh my god I'm an idiot!” you announced as you jumped up, the blanket fluttering from your shoulders.

“No objections here." He chuckled, watching you put the fire out with your powers. "Didn't you just get that going?”

“Yeah but I can get us home!” You explained as you scooped the blankets up.

“Did you suddenly remember Tony showing you how to fix the nav system?” He asked with a raised brow.

“Why? We have a working nav system.” You pointed upward. What sailor can't navigate by the stars? Once back on the jet he watched you slip into the co-pilot' seat as you helped direct him back to New York as you both sailed through the stars.

#bucky #Bucky Barnes #bucky x reader #Winter Soldier #winter soldier x reader #Avengers #avengers x reader #marvel #marvel x reader

[mc-critical]

Hello, I just found your blog and I like it very much, it’s very interesting to read!!!. My question is : what is your opinion on Ahmed and Kosem’s relationship? Do you think he truly loves her? What do you think about him seeing other women? And what do you think about his relationship with these women (Mahfiruz, Katerina, Gulbahar and Yasemin).

Thank you for liking my stuff!

I think that, just like Süleiman, Ahmet loves Kösem in his own way. It's not as toxic or problematic or often questionable writing-wise as Süleiman's love for Hürrem, but it still has both its ups and downs that make it interesting to explore.

Ahmet and Kösem is perhaps the love story where the writers made the most effort to mask the possible worse aspects of. It could even be considered actually romantic at points, with their amazing first scenes in the gardens and the amazing chemistry of Ekin Koç and Anastasia Tsilimpou, the beginning sense of wonder and "mystery" it started out with.... when she first met him, Anastasia didn't know he was the sultan and put all her trust in him - a certainly good first impression. Ahmet himself is also very far from Süleiman's direct endeavors and tests of loyalty, he tries his best to be respectful in his own way, despite that he fails to do that a bunch of times. That's why it's easy to miss the darker aspects of the relationship at first and it could be perceived as probably the only thing in the franchise that is remotely close to a "fairytale" of sorts.

However, when the curtains start to fall slowly, but surely, we come to realize that while, say, Hürrem learns to want what Süleiman wants, to be fully loyal to him and to cave to his demands just like he often caves to her own, Ahmet and Kösem as characters have entirely different values and needs throughout their whole relationship. The fact that Ahmet wanted Anastasia because of a picture, without him having ever met her, is incredibly telling: he has created an ideal of her in his own head from the start and he wants to consistently maintain it. When he's with her, it's as if he's living his own dream, his own perfect world that has place only for him and that young girl. (that's why the garden is so symbolic: Ahmet calls it a place of solitude, only for himself almost immediately after the audience is introduced to it; also that line from him: "The world is on one side, Kösem - on the other." - quoting by memory again, but the meaning is the same) Their world views gained from their past and present environments begin to clash from the moment she finds out he's a Sultan - she wants to desperately go back to her family, both because all of them are still alive and her free spirit that cannot bear to live in this golden cage. Ahmet doesn't let her go also because he lacks the understanding of this desire: he has grown in the strict Ottoman system and having people like Anastasia stay in the harem forever is something he finds perfectly natural; for him it's unthinkable to stand against it. But despite of that "minor offense", Ahmet's idea of Anastasia's "purity" and "perfection" was working for awhile, with her seeming to meet his expectations and slowly warm up to him. But the real truth is way stronger than your own made-up lies. Anastasia's pleas to let her go only get stronger until they reach their climax with her attempt to escape. And you know what? If it weren't for her contrived, yet convenient excuse to come back to him, he would've lost her. Helplessly, in a blink of an eye, he would've lost her, due to what she sees as sheer ignorance from his part. And when she gains her own bit of agency later in the season and becomes Kösem, when she develops and realizes the actual stakes of the game, beginning to play it herself due to survival by default and the will for revenge, Ahmet's "perfect picture" breaks apart and that apparently hurt him so much, he stayed mad at her for quite some time. This wasn't the person he knew and loved anymore, this was an entirely new, reborn woman. He didn't seem to love and respect her for the virtues she actually possessed, but for those that he had imagined her to always have in his head. That is another, more "subtle" level of toxicity than with Hürrem and Süleiman, but it's still toxicity, that's why this relationship is far from healthy and the "beautiful, but quirky" dynamic it sets the impression of.

Kösem's view of Ahmet is very interesting and complex, writing-wise. I actually don't think she grew to love him as much. The place she forcibly got in made her feel very limited by him mostly, since he was the reason she was here in the first place and he was calling the shots in terms of her future (whether she would visit her family or not?). What made her become a bit affectionate wasn't fully him himself, but rather the oh-so-prominent theme of adaption in the harem. She wanted to escape so desperately, but there were so many happenings and situations during the time she was in the harem that just demanded for her to get used to everything. So when Iskender gave her the chance to escape, she as become used to the harem's environment so much, she felt unsure of herself outside of it. Her return was out of necessity rather than love and even her standing up to the people when Ahmet was sick was done out of necessity, too (like I elaborated in another ask about Kösem). I'm not saying that she didn't feel any affection whatsoever, but the affection she felt for him was easy to let go of (E25: "Today I didn't marry only Sultan Ahmet, I married the country!"), because I don't think Ahmet did his best efforts to understand her and I don't think Kösem felt completely comfortable around him, all that contrasted with Kemankeş in S02, who according to her, understands her better than anyone ever could.

Ahmet loves Kösem, because even after his perfect picture with her was broken and his anger and denial and refusal to accept it passed, he did try to make things better. What I loved most about his dynamic with Kösem, is his open honesty with her that continued till the end. There have been scenes where they seemed like true companions, especially their beginning one in E21 with all the kids gathered around them. I loved that despite of his mistakes, he did try to set things right. There was this sudden protectiveness that activated in him when Kösem told him the truth about the death of his father and why she acted the way she did and that could mean she now became something of a "cinnamon roll he just protect" and that is certainly a flawed mindset to have in many aspects, but that showed he could actually care for her beyond his idealistic perspective of her.

Am I okay with Ahmet having other women? Honestly, I'm glad that MCK lowered the concubine arcs to a minimum and with the way they did it, it doesn't offend me as much. I would even love some of them to be more developed for a change, because they did turn out to be solely drama tools, thanks to their lesser episodes and MCK's different themes as a whole, that basically did their purpose and left, instead of stretch out and outstay their welcome and that is just the other extreme in a bad disguise.

I won't talk about the relationship he had with his other women as much, because they just aren't fleshed out. I would've liked to see more of Ahmet and Mahfiruze: I believe he was way more decent with her than say, Süleiman was with Mahidevran, and their scenes weren't half bad. Too bad that would've demanded Mahfiruze herself to be fleshed out more as a character and the writers to give her more of a place in the narrative. Katerina was present only for an episode (or was it two episodes?) and we don't have as much conclusions to drive here. We only have his mild infatuation with her and... that's it? We have no idea what Katerina actually felt or how their dynamic would play out in the long run. We can only speculate. Gülbahar, by contrast, also had the least screentime of all his women who have comparatively minimal screentime, but her exploration in S02 helps us gain a better idea of how it went between them. I have the impression that she was the least favourite concubine of Ahmet's, ever. She did succeed to get pregnant and have a child, but it probably was a one and done thing and she didn't seem to get any other grasp of manly affection since then. Which is why, along with them taking away Bayezid from her by exiling her, she was so focused on scheming for one particular goal and this became what defined her. But then again, that is still a speculation in my part. Now, with Yasemin we have much more on-screen chemistry and interaction: that relationship felt very similar with what Süleiman thought of Firuze - infatuation, massive infatuation, but still not love, because just like Firuze, Yasemin also gave him poison and we don't know how much the poison affected his psyche, along with the sickness it brought upon him. These relationships have the opposite problem MC's concubine arcs had: these women were all unfavored or favored very temporarily in the span of an episode or two, which made them very stale and lacking in material.

Lastly, while MCK in its entirety, isn't very big on love stories, Kösem and Ahmet's relationship still had an evolution throughout S01, even if that evolution was more "condensed" than the others similar to it. It still remains the most fleshed out love story in the show, along with Kösem and Kemankeş's, and it was a very important part of the story that helped shape much of the narrative that succeeds it.

#magnificent century #magnificent century kosem #magnificent century kösem #magnificent century: kösem #sultan ahmed #kosem sultan #kösem sultan #ask #elenahoward