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ariel-seagull-wings · 3 years

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TOP 12 CINDERELLA PORTRAYALS

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Rodopis. Ye Xan. Cenerentola. Cendrillon. Aschenputtel. Aschenbrödel. Zolushka. Cenicienta. Gata Borralheira. Cinderella. The heroine has several names around the world, but all of them experience the same tale: young ladies who are opressed and marginalized by father and stepfamily, but, thanks to their kindness and bravery, receive assistance to rise from the ashes more strong and beautifull, learning to love themselves and eventually finding the love of a prince that will make them happy. The tale is very old, its first writen version dating back to Ancient Egypt, and has been told, retold, writen and rewriten in several different versions, and has been adapted into a variety of media like cartoons, films, radio shows, and comics from around the Globe, wich possibilated anyone to choose their favorite versions. And today, i will share with my favorite portrayal of one of the most iconic fairy tale heroines of all time.

12º Daphne Zuniga in Happily Ever After: Fairy Tales for Every Child (1995)

This animated fairy tale anthology series produced by HBO camed with the twist of transporting well known european versions of fairy tales to different cultures, like China, Cuba and the Caribbean. In this episode, they adapted Cinderella by setting the story in a Kingdom that had culture and population inspired by Mexico, making it one of the first portrayals of the character as a mexican, wich turns it a very significative work. Cinderella herself could show a bit more range of emotions, because in this portrayal she is at her most passive, her voice is always very sweet and low and she rarely her smile facial expression, but the character design and how she interacts with the colorfull and creative world and characters in the episode still makes it wort checking it out.

11º Aylin Tezel in Sechs auf einen Streich (2011)

Grimm’s Finest Fairy Tales (Sechs auf einen Streich in Germany and Holland) is a live action TV Movie anthology series from Germany made between 2008 and 2019. In 2011, they released their adaptation of Cinderella (Grimm’s Aschenputtel) staring german-turkish actress Aylin Tezel. Tezel brings a sense of playfullness to the role, as well as a sense of altruism in helping the servants in her Stepmother’s house and a wild free spirit that she fights to keep despite the opressive rulling of her Stepmother over her life. She is basically borrowing some elements of the humanity that other actresses before her brought to the role, while making this version of the character her own, wich is not easy feet, and deserves all the praises in the world.

10º Mitsuko Horie/Lara Cody in Grimm’s Fairy Tale Classics (1989)

Another fairy tale anthology series, this time made as a japanese anime that, despite the title, didn’t necessarily limited itself to the tales written by the Grimm Brothers. But in the case of this Cinderella episode, the Grimm’s version is the one they choosed to adapt, excluding the gory element of the sisters cutting their feet. This encarnation of Cinderella is probably the one with the most highlighted innocence, wich could both bring people to love and help her, but also be turned against her by the villains. The moment where this is most explicit is when after returning from the ball, she casually comments with the birds about the tree that gaved her the ball gown to wear, without knowing that the Stepmother is listening, and later her Stepmother not only locks her in the attic, but calls a woodcutter to cut down the tree, leaving poor Cinderella to suffer in deep guilt. It’s not often that a Cinderella adaptation explores the character’s innocence having negative consequences for her, and that is what makes this portrayal of one the most refreshing.

09º Maria Kawamura in Cinderella Monogatari (1996)

The Story of Cinderella (Cinderella Monogatari) is an Italian-Japanese anime television series of 26 episodes, wich were later edited into a two part feature lenght movie. This Cinderella is the 16 year old daughter of a rich Duke who dreams of someday going to live in a castle, having her own horse and many friends. But those dreams start to become remote for her when her father has to make a long travel and her Stepmother and Stepsisters reveal their true faces: Cinderella is taken out of her room, turned into their servant, often receiving hard tasks in short spans of time, and several times is exposed to situations of danger and harm by her Stepmother, like when she is unfairly framed for stealing grapes from the royal vines. Her situation is one of the most vulnerable, and troughout the series we get nervous to see if she will keep being a hopefull teenager, or if the hardships will crush her spirit despite the support that she has from her friends.

08º Ilene Woods in Disney’s Cinderella (1950)

Going from a teenager who has just recently started to experience adversity, to a grown adult who has experienced adversity since childhood. Having lost both of her parents as a child, it becamed more easy for Lady Tremaine to lock Cinderella away from the world and educate her to be an apparently perfect servant who does every domestic shore well, fast and without any sign of complaints. But, when she is alone with her animal friends, is the moment that Cinderella voices her fealings of fear, longing, anger, sadness and tiredness, dreaming of someday becoming free. She also gives them food and handmade clothes, showing how thankfull she is for their friendship, and this inspires the animals, as well as the Fairy Godmother who sees everything, to want to help her. And in her night out at the ball, she shows a natural grace and sweetness that charms people like the Prince to instantly fall in love with her. Basically, an inspirational role model.

07º Gemma Craven in The Slipper and The Rose (1976)

An intersting bridge between Disney’s Cinderella and Cinderella Monogatari. Like Disney’s Cinderella, she is a grown adult orphaned of both parents. Like Cinderella Monogatari, since her father died when she is an adult, her entrapment into servitude is more recent, wich makes clear that she has difficulty with domestic shores and also gives her a more intense will to rebel, to the point that this is one of the few portrayals of Cinderella that says “I hate you” in her Stepmother’s face. And the rebeliousness is well mixed with a very romantic personality that specially shines after she falls in love with the Prince, who is also an idealistic rebel that matches perfectly well with our relatable heroine.

06º Drew Barrymore as Danielle de Barbarac in Ever After: A Cinderella Story (1998)

In american cinema during the 90s, it was growing in popularity the fantasy heroine who was a warrior rebel and an intelectual bookworm. Capitaling in this fenomenon, Ever After: A Cinderella Story, was made, eschewing the magical elements in favour of Pseudo-Historical Fiction retelling.

The story begins when The Brothers Grimm are invited to the home of a French noblewoman who tells them how much she enjoyed their story of Cinderella, but that they got some details wrong. She then proceeds to tell them this story: Danielle de Barbarac is the beloved only child of the widowed Auguste de Barbarac and his late wife, Nicole de Lancret. When she is eight years old, he remarries the Baroness Rodmilla de Ghent (Anjelica Huston), and brings her home along with her two daughters, spoiled and cruel Marguerite and gentle but weak-willed Jacqueline. Shortly thereafter, he dies, leaving Danielle to the care of her stepmother, who already resents the love that he displays to his daughter (especially as he calls for her over his wife in his final moments), and the estate's three devoted servants - the housemaids, Paulette and Louise, and the retainer, Louise's husband Maurice. The movie skips ahead ten years, to when Danielle is eighteen. Their estate has fallen onto hard times and things keep "disappearing," to the anger of the Baroness. Danielle has, of course, become a virtual house slave to the family, but takes comfort in the familial love she shares with the servants and the kindness she receives from Jacqueline. One morning, she is gathering apples in the estate's orchard when she spies someone stealing the horse of her late father. Enraged, she chucks apples at him, ultimately causing him to fall. It turns out to be the Crown Prince of France, running away from a father who wants to marry him off. To buy her silence, he gives her a great amount of gold. Danielle and the Prince meet again when Danielle, disguised as a courtier and using her mother's name, goes to the castle to rescue Maurice, whom the Baroness had sold into slavery to pay off some of her debt. The Prince is intrigued by "Nicole's" beliefs and courage, and asks to meet her again. A courtship ensues, in which Danielle keeps trying to tell Henry that she is really not a countess and the Baroness gets increasingly suspicious of Danielle's odd appearances and disappearances. The King and Queen, desperate to marry their son off, are delighted that he has found a girl... but are keen to meet her, something Danielle wishes to avoid. Meanwhile, Leonardo da Vinci, who has been invited to court, befriends both Danielle and Henry and everything seems to be going along well, save for Danielle's growing anxiety about maintaining the masquerade.

Barrymore’s Danielle channels the idealism and dreaminess of the Cinderella character trough her love of books, specially Thomas Moore’s Utopia, and also expands the rebeliousness brought by her predecessours by being writen as skillfull in swordfight, making her able to save herself and the ones she loves in more than one ocasion, wich was a very new take. At least for american audiences in the 90s, anyway, but we will get there later...

05º Brandy Norwood in Rodgers and Hammerstein’s Cinderella (1997)

When i was kid i watched mainly three film versions of Cinderella: the 1950 Disney animated film, Ever After: A Cinderella Story, and this TV Movie production of the Rodgers and Hammerstein musical released by the Disney Channel. It was one the first examples of a diverse, colorblind period fairy tale production i remember seeing, and it was an important mark for me ever since.

As played by pop singer and actress Brandy Norwood, this encarnation of Cinderella is a courteous, gentle young woman who is nevertheless unafraid to speak her mind, ocasionally making snarky comments as a way to cope with her stepfamily’s abuse. But she is still shown to need some boosting in confidence by her Fairy Godmother, who teaches Cinderella to see the valour and beauty in herself, and never stoping asking for the impossible.

04º Lesley Ann Warren in Rodgers and Hammerstein’s Cinderella (1965)

Whereas Brandy Norwood’s Cinderella would more easily find a way to confront others who mistreated her and become a confident person, Lesley Ann Warren’s Cinderella was a more shy and frightened person, who had to take a more slow path into becoming confident and take her chance of happiness. Because of that, the viewer has the more intense feeling that when she goes to the ball in the beautifull magic gown, she is a more glamorous and happy person, different from the meek and sad lady who usually hides around the fireplace. This was Warren’s first starring role, and we must commend her for portraying two faces of the same character in her debut as a leading lady.

03º Jennifer Beals in Fairy Tale Theater (1985)

The most simple, straightforward adaptation of Charles Perrault’s Cinderella ever made, and the simplicity is its greatest strenght. That strenght is personified in Jennifer Beals’s performance as the title character. This Cinderella is the quintessential no nonsense girl next door, who even tough finding herself in a situation of unimpowerment, always refuses to accept the absurd injustice of her exploitation as a servant, speaking her mind clearly to her stepfamily. This make all the more satisfatory when she receives the visit of her Fairy Godmother, and is reward with the deserved rich and happy life that she was loosing hope of ever receiving.

02º Libuše Šafránková in Three Wishes for Cinderella (1973)

This czech film is one of the first cinematic portrayals of Cinderella as a wild, adventurous, free spirited trickster character, who with the help of three wish granting magic nuts, can go outside and woo her beloved Prince. She enjoys horse riding, trowing snow balls, and hunting, as well as wearing pretty dresses to dance at balls. A highlight is when she cleverly hides her face with a veil to avoid being recognized by her stepfamily, and teases the Prince with riddles about who she is. You can see that she oppened the door for portrayals like Barrymore’s and Tenzel’s.

And my number one is the version that opened the door for her and many others...

01º Leslie Caron in The Glass Slipper (1955)

In this ballet-movie, french-american ballerina and actress Leslie Caron portrays Ella, a girl who not only is abused by her stepfamily, but also ostracized by the people in her village due to constantly apearing covered in ashes and not being traditionally beautifull with her short hair and big teeth. Because of that, Ella grows into a lonely, awkward and agressive person, whose only refuge is the prophecy of a fortune teller who told that someday she would live in the beautifull Palace of the Duke, and the daydreams in wich she imagine herself as a gracious ballerina. One day, Ella meets two people: Mrs Toquet, an old lady who everyone calls crazy, and a young man who presents himself as son of the Palace’s Cook, but is secretly the Duke’s son, Prince Charles. Those two are the first people who treat Ella with kindness, and because of that, she slowly blooms into a more merry person, who learns to love herself and accept the love of others.

This adaptation is very influential, being one of the first where the heroine’s birth name is Ella (wich would be later used in Ella Enchanted and Disney’s Cinderella 2015), one of the first that makes the supernatural elements more subtle (paving the way for Ever After’s complet schewing of them), one of the first that portrays a more angry and rebellious Cinderella (paving the way for Three Wishes for Cinderella, The Slipper and The Rose, Fairy Tale Theater, Ever After and Aylin Tezel’s 2011 Cinderella) and one of the first to make her meet and fall in love with the Prince before the ball, without knowing his true identity (paving the way for Three Wishes for Cinderella, Ever After , Rodgers and Hammerstein’s Cinderella 1997 production and Aylin Tezel’s 2011 Cinderella).

And because of how awkward and agressive Ella acts in her everyday life, her ballet daydreams and the transformation in the mysteryous “belle of the ball” feels more radical, like two different faces of the same coin, thanks to Leslie Caron’s full of range performance. For being the version that brought the raw humanity to Cinderella, influencing several portrayals ever since, is the reason that Leslie Caron is my number one favorite portrayal of Cinderella.

Honorable Mentions: Kim Crosby in Into the Woods (1987), The Triplets (1998).

#cinderella #fairy tales #genre fiction #fantasy #literature #folklore #pop culture #wallpaper

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themosleyreview · 3 years

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The Mosley Review: Snake Eyes: G.I. Joe Origins

If there's one film franchise that got off on the insanely wrong foot, its the G.I. Joe film franchise. I grew up watching the original 80's series from time to time and I had the 1987 film on repeat. Yeah the show was pretty over the top with the alot of action, a tone of vehicles that turned into toys, but there was a grounded nature to it at times. The camp was always there, but the themes of fighting evil and being good to one another was intact. The first live action film took the franchise into Michael Bay territory with so much CGI nonsense and Retaliation tried so hard to scale it back to a more realistic and grounded nature. Both films are still bad with Retaliation at least being a step in the right direction. Now comes this film and it had a chance to act as a soft reboot by learning from past mistakes. Well it did learn from the past, but it made all new ones. The action was cool when I could see it once the camera would stop getting so close and shaking. This entry into the franchise not only lost its identity after about 30 minutes in, but it bogged itself down with a pointless plot that you've seen a hundred times before and a scene that changes the entire film into a samurai version of Anaconda. I had a sliver of hope for this franchise, but man was I let down 10 minutes in.

Henry Golding is always great and he does an excellent job as Snake Eyes. I dug his revenge story and excellent fighting skills, but something really went wrong here. If Snake Eyes is the hero, why does he do so many villainous things and cause so much pain. Sure he learns his lesson about vengeance as the story progresses, but I ended up feeling like he was the villain in his own story. Andrew Koji was awesome as Storm Shadow and I loved his determination. I felt he was one note for the majority of the film and had nothing, but killing on his mind. The chemistry between him and Snake Eyes was good, but not amazing. Haruka Abe was awesome as Akiko and I thought she was one of the strongest parts of the cast. There's a history behind her character that I thought was intriguing and she’s a great parallel to Snake that I wish was explored more. Iko Uwais as Hard Master was cool and I always love seeing the man fight and that's all he really does in this film. Peter Mensah was wise and fun to watch as Blind Master. I liked the way he carried himself and he was particularly dangerous in a number of scenes. Samara Weaving was good as the G.I. Joe Operative Scarlett, but I felt this was one of her more wooden performances. Úrsula Corberó was alright as the Cobra Operative Baroness, but she was just there to be the face of the evil organization behind everything. Takehiro Hira was good and shady as Kenta. Its so obvious of a plot with him that its not even that entertaining. Eri Ishida brought some gravitas as Sen and the feud between her and Kenta could've been more fleshed out for something more fun.

The score by Martin Todsharow was cool and felt traditionally Japanese while mixing in modern tones and beats. The action in the film is plentiful and sometimes its awesome, but it is ruined because of the terrible camera work. Intense close ups and shakey camera don't make a fight scene all the more brutal or exciting. It just makes it more headache inducing. I really thought we moved past the 2010's style of action. Honestly, this film was a real let down and it got worse as the film progressed. The biggest problem is the fact that your lead is supposed to be the hero, but he is ultimately the villain and you end up hating him for what he does. That is the prime example of a story that didn't really want to know what it wanted to be. Maybe one day we'll get a proper G.I. Joe movie that's grounded in reality. Let me know what you thought of the film or of my review in the comments below. Thanks for reading!

#snake eyes gi joe origins #henry golding #andrew koji #Haruka Abe #iko uwais #peter mensah #samara weaving #Úrsula corberó #takehiro hira #eri ishida #hasbro

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rawsanma · 3 years

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In Memoriam of "Shin Evangelion: Curse"

*The following article contains a full spoiler for "Evangelion 3.0+1.0".*

I sat together with a person who was not in birth when EOE was released, and after watching the film we talked a bit and thought about the people who passed away without ever seeing this. I understand that fans from the old series and those who came from the new series may have very different perceptions of Shin-Eva. So I'd like to first correct a few things I said in my first impressions.

It may be somewhere between an honorable movie and a mediocre movie in general, but as Evangelion, it's garbage.

After about halfway through the two hours and thirty-five minutes, I started to look at my watch again and again. The double ending, which is both a personal novel and a product, was a fleeting fantasy, and the two songs "One Last Kiss" and "beautiful world (da capo ver.)" were not used effectively in relation to the story, only being played in the staff roll.

When I saw the first 10 minutes of the movie that was released last year, I thought that perhaps Paris was chosen as the setting for the story of "humanity fighting together in the face of destruction" or "the expansion of the Eva world (not G Gundam, but G Eva!)", but that was not the case at all. He just wanted to depict the battle using the Eiffel Tower as a FATALITY,　I realized that he hadn't made a single millimeter of progress since when he asked Hayao Miyazaki if I could film only this action scene of Her Highness Kushana in the re-animation of Nausicaa, he was scolded, "That's why you're no good!"

At the beginning of the film, they try to carefully describe the things behind the scenes that were not told in Eva Q. The third Ayanami like the TV version is the main character, and they go on and on about living in the countryside, copying "My Neighbor Totoro". The large family of our parent's home that we go back to during the summer vacation is presented as an image of happiness in life and a decent human being. It is also connected to Gendou's narrative during the Human Instrumentality Project but isn't it too Showa-era and too simple a solution? I am interested in how the young fans who are children of nuclear families who left their large families in the countryside and moved to the city saw the too sudden depiction of "life in the countryside". It was almost a gag to see Ayanami walking around in a plug suit which is a sexual orientation that has manifested itself after Space Battleship Yamato, in the images of pre and post-war farming villages depicted by recent NHK morning dramas. The director, influenced by his wife, must have been immersed in the LOHAS and vegan lifestyle as a fashion statement, which is only possible because he is an urbanite with too much stuff and too much money. As for this theme, it has already been presented in the watermelon field scene in the second film, and it is merely a re-presentation of the same theme in a diluted form.

I've pointed out before that Eva Q is "a crack in reality because of the loss of reality to rely on. "It's rude not to eat what you're served!", Shinji was scolded by Touji's father, who looked like a subversion of Hayao Miyazaki's work (Gedo Senki!). I have a simple question, how can the interior of a house become so old and wretched after only 14 years? How can a community of people of all ages be formed in just 14 years?　There was a line that implied that Touji had killed someone for the village, and it is possible that the director had extremely beautified the "Showa era" as a sanctuary where people who are hurt and regret their committing murder during the war as a soldier live nearby, and when he opened the last drawer after using up all the materials, he found the image of the original landscape of his childhood.

Misato and Kaji's child, which is only described for a few minutes, is also abrupt, and I don't feel that it is more than a plot device for the purpose of staging the reconciliation with Shinji later on. Some people seem to be moved by the fact that "behind Misato's cold attitude towards Shinji in Q, there was such a conflict in her mind," but it's the opposite. All the answers are just excuses after wasting nine years of work. Even if the wounds healed and treated with a gentle "I'm sorry," after being beaten severely by a raging DV husband, the fact of the beating would not disappear, and the wife would feel nothing but fear at the sudden change in her husband. To a situation that he had set to minus 100, he spent 2 hours and 35 minutes gradually pouring water drawn from other places and past works to bring it back to zero...I've never seen such a horrible match pump. Well, now that I'm writing this, I'm thinking that I've seen this before.

The relationship between Eva Q and Shin Eva is very similar to the relationship between "The Last Jedi" and "The rise of Skywalker" in Star Wars. In a self-absorbed rampage of conjecture that did not listen to the opinions of others, the historical stage of the series that had been built up was turned into a mess, and then the destroyed story was carefully built up again from the ground using unnecessary length, and only the shape of the story was created to end it without being disgraceful, and every scene that tries to make things more exciting is a copy of past work. As for Star Wars, since 8 and 9 were directed by different directors, I was able to settle my feelings of resentment towards Ryan and gratitude towards Abrams, respectively, but as for Evangelion, the director looks like a child who has been proud to clean up his own mess and have his female cronies praise and pat him on the head. Moreover, what kind of sympathy do you expect when you are told to "I'll make amends" for the mere act of wiping your ass after defecating, in a cool, Showa-era chivalrous tone?

In this film, as a recovery from Q and a summary of new Eva, there are elements throughout the story that critics can easily relate to the old Eva. “Oh, I can talk about this in connection with that!” This is what gives them a good impression and it has nothing to do with how the old fans perceive it. The director seems to have a dedicated person in charge of communicating and negotiating with the outside, but now he wants the critics to communicate with the fans about Shin-Eva. As long as he doesn't speak for himself, he can correct their interpretations later based on the "misunderstandings" of the people in between himself and his fans. This is a very Japanese-style system of surmising feelings, a system of authority that is formed when only a limited number of cronies are informed of the true intentions of the president. If I talk about it in too much detail, right-winged Yakuza will show up very soon, so to make it short, it is an indigenous control structure unique to Japan that originated from the "Mikado behind the bamboo blind". This time the director was very conscious of that, and I was able to see that Eva, who was a challenger, has become an authority that does not tolerate any criticism.

And what fan from the past could enjoy watching the endless battle scenes after Shinji returns to Wunder in the middle of the film? One after another, the sister ships of Wunder appear--there's almost no difference in appearance, but Ritsuko is able to guess their names the moment they appear. Right after the line "I'm pretty sure there's a fourth ship," the fourth ship comes crashing upon them from underneath, with no intention other than to make us laugh, right? As well as the repeated tenseless bombardment fight with no description of damage no matter how many artillery shells are hit, and it's quite painful being poured Asuka and Mari's Me-Strong Battles which are already enough by the time of Q, continuously down my throat like a goose with a funnel in its mouth. There's no way to synchronize my feelings with the screen, and it just creates an atmosphere as if the story is going on with the unattractive super-robot action that I pointed out in Q. It's no use pointing out, but the repair and supply problems of Wille side in a world where the industry has been destroyed were shown in the farming village part, though it was inadequate. But those of NERV side, an organization of only a man and an old man, was completely thrown away.

The last part of the story about the Human Instrumentality Project is like a fanzine where Gendou, Asuka, Kaworu, and Rei are lined up in a row and complemented in turn and then dismissed, whereas EOE was a total complement through Shinji. The director has tried to upgrade his framework by borrowing them from EOE and has failed miserably. Someone who has created works by putting his emotion and flair into a copy has dabbled in copying his own work. As a result, he had to confront his own sensibilities from when he was young and had to compare the old and the new by his old audience. Frankly speaking, only the techniques have been traced, the sound and the screen have become gorgeous, but the emotion and the sense have deteriorated. The face of the giant Ayanami that was replaced with a live-action one -- probably based on the face acting of Shinji's voice actor, and the "untested ordeal" of her tweet means this -- appears in the background like a gold folding screen in the high sand at a Japanese wedding reception. You're getting tired of all this, and you're not making it seriously, are you? The battle between Eva Unit01 and Eva Unit13 in Tokyo-III, which I expressed my anxiety about before the film's release, is a scene where the company's CG team can't produce what the director expects and he is so frustrated that he has the same mindset as in the final two episodes of the TV version, "I'd rather get a minus than a red", and after that, it became like a gag scene, including Eva fights in Misato's apartment and Shinji's school classroom, as if he was staged them in desperation. The side-shooting screenshot of the little Wunder charging at the head of the giant Ayanami is a picture of ”Cho Aniki (Japanese STG)” itself, and it's also meant to be funny, right? It's a series of loose, sloppy, and tenseless scenes that can't be compared to EOE.

What the hell have the CG team been doing for the past nine years, getting paid with no progress and making Eva look like an outdated piece of crap? Didn't anyone have the chivalrous spirit of the Showa era like "Don't embarrass our boss!"? Don't be so relieved when you get the green light! The director has just given up on you! There were a few scenes where the person at the top of the editing and collage, who has been making the coolest pictures, was not given as much good material as he used to be and seemed to make desperate staging in a way that he would never have given the green light in the past. It's been more than 10 years since Xapa was established, but I guess they don't have enough talent to meet the director's vision. Perhaps because of this, the conclusion of the film is exactly the same as the old one, that the director has no choice but to use his personal feelings to finish Eva, but the film ends up being a self-imitation of "Sincerely Yours". It is sad to see a person who "surpasses the original by putting his heart and soul into the copy" start to copy his own past works on the big screen of the theater, because he has become a big name in the animation world after reaching the age of 60, and there are no others left to be copied. However, right after "Komm, süsser Tod" started playing in the old movie, the scene where the titles of each episode and the reverse side of Cels were played in succession was projected on the wall of the studio using a projector -- the title of the new movie was added. It made me mad and thought, "Don't touch my EOE with the dirty hands of the merchant. I'll kill you."

The last things that the man who "transfers his own life onto films" presented in his costly self-published private novel were a naked confession of his own mental history up to the point where he met his wife, which he temporarily entrusted to Gendou, and the words "I think I loved you" and "I loved you" exchanged between himself and the former lover who could not be together and themselves who had separate spouses, just a reckoning of the muddled love affair that existed behind the scenes of EOE. I half-jokingly said that the distance between the director and Asuka's voice actor was important for the end of Eva, but it turned out to be true in a different way. During the recording session, Asuka's voice actor was told by the director, "I'm glad Miyamura is Asuka," which sent chills down my spine as it conveyed the horror of a creator who doesn't hide everything about his life and relationships and uses them to create his works.

In the scene where Shinji says "I liked you too" to the adult Asuka, who is wearing a tight latex suit and drawn in a more realistic character design (making us aware of the cosplay by Asuka's voice actor), while she is lying on the EOE beach, I thought "You guys should do this in a coffee shop or something between recording sessions! Don't make us watch middle-aged man and woman having unpleasant conversations on the big screen of the theater!", I almost screamed out. I think that's the scary part, the director's one-sided love for Asuka's voice actor is falsified by having the character say that she liked him, as if it was a mutual love. The director's statement at the beginning of the pamphlet says that he started working on the sequel right after Evangelion 2.0 without hesitation, using the worldview of "Q". I'm not trying to quote the line "You can change the reality you don't like by getting on Eva.", but it's not as if he's trying to cover up the fact, but he really believes that using his strong imagery, and it made me feel a bit chilly that there was no one around to correct his misconceptions.

At the end of Human Instrumentality Project, I wondered if the fact that a senior member of the movie industry had praised the shooting of EOE by flipping Cels over as a "tremendous deconstruction" was still fresh in his mind. This time, too, it was postponed after postponement, and even though the makings have been done in time, he showed the other side of the production with line drawings and roughs. The reason it was so innovative was that it was the first time anyone had tried it then, and now, 25 years later, it's just a rut. It's disgusting that everyone is praising the master's strange drawing habit and saying, "Oh yeah, that's it, that's it." As I've said before, it's like "defecating in a sixty-nine," which was successful because the first partner happened to be a scatologist. The expression of EOE was sharp and ”Rock’n’‐roll”, but Shin-Eva's "fun of anime images" has gone into the realm of traditional art, like slow "Gagaku".

The director hadn't decided who Mari Makinami was for a long time -- he was so indifferent to her that he threw the actor's acting plan to a sub-director -- but with Shin-Eva, he's changed her into an equal to Moyoco Anno, his wife. In other words, the flashy battle in the middle of the film, which is unimportant to many viewers, is revealed to have been a very pleasant pretend play for the director, in which he has his former love and his current wife fight on his favorite robots. Once again, we are shown the director's so-what-attitude, which has not progressed even a millimeter since "I'm an asshole," and which he can complete his work only by masturbation. So it's no wonder that they couldn't depict the extremely simple catharsis of Shinji's great success with Eva Unit01, which is what most of the old fans want. Because a robot with a pathetic old man on board can't get an erection due to impotence, let alone masturbation!　Oops, excuse me, sir.

And as I said before, it's time to realize that the English language has become so popular in Japan that it's become lame. You use Infinity, Another, Additional, Advanced, Commodity, and Imaginary, just because it sounds cool to you, right?　Everyone criticized the naming "Final Impact", but I never thought I'd see the time when I'd faint from the lack of taste and coolness in Evangelion, such as Another Impact, Additional Impact.

And the ending, with the wedding report in a live-action aerial shot of the director's hometown, newbie fans are screaming that it is like, "They're doing a very positive version of the old "Return to Reality!". But I felt it was too empty and cynical because it was intended to be read that way by the director. It depicts only the elation of marriage, and the pain of getting along with a partner and his or her family with different values is cut off (well, maybe Q was expressing the hardship of married life......). But isn't the emotional weight of a marriage report much higher when you meet your partner's parents?　The fact that he ended the movie by showing his own hometown instead of his wife's hometown leaves me with the impression that he's definitively an egotistical geek through and through. "You may have graduated from a good university and are making good money in the city, but if you're not married and don't have children, aren't you somehow humanly flawed?" After 25 years, Evangelion, which was such a forward-thinking Sci-Fi, is now completely in sync with the earthly ethics of Showa-era's farmers and farm horses. "I got married and it saved my life. I don't know about you, but why don't you try?" You can think what you want, but if you want to convey it as a message of salvation, you have to express it in the content of your work, not in your own talk.

I've been married for 20 years, I have two children, both of whom are about to reach the age of adulthood, I've paid off the mortgage on my home, and I'm finally at the end of raising my children, but all of that is just an outer shell of a social skin that has nothing to do with my true nature or where my soul is! There's no connection between what kind of life an individual lives in the real world and the Sci-Fi sense of wonder, in fact, there shouldn't be any connection! If you're a science fiction fan, take a page from the great Arthur C. Clarke! I was a nerd with a negative value of 100, but when I got married, I gradually poured the "common-sense values" of the Showa era into myself, and now I'm a true man with no negative value? Don't write such pathetic fiction proudly! Listen, what you presented to the audience at the end was the same thing that someone would say to you, "You seedless stallion!" It's the same kind of unethical and vulgar message that you shouldn't be giving! The old Eva became a classic of Japanimation, and no one was able to properly scold you, or you keep away those who tried, and the result of this is directly reflected in the ending of Shin Eva!　You've reached your 60th birthday and you only have such poor social common sense, damn it!

I'm sorry, I was so excited that I lost my control a little bit, just a little bit. I think the director is relying a little too much on his wife, who is ultimately a stranger on, to be his laison d'etre (lol). If they were to break up in the future, it would certainly be the soil for the next Eva, the content and development of which is completely predictable, but that is no longer my concern. I wonder if his wife doesn't like the fact that he's mentally dependent on her like this, and that it's being shown on screens all over the country. If it were me, I'd be furious, but since she's a creator, I guess she understands how he feels. Ignoring the other person's feelings and continuing to force what he believes to be love on her, thinking that it will make her happy, seems to me that there has been no progress at all since the way he treated his girlfriend 25 years ago. The person I want to hear from the most right now is not the self-proclaimed Eva fans who are looking at each other from the side and giving positive feedback in celebration of the final episode, but his wife. If the director had a child, he would not have been able to distinguish between his own ego and that of the child, and would have doted on his child, making a documentary film about his or her growth, but would most likely have turned into a controlling and poisonous parent in his or her adolescence. And he animated his feelings for his child who was rebelling against him, without the child's permission, considering it as a one-sided redemption for the child, and the child who was exposed to the whole country about their home life would have distanced from his father more and more.

In the end, Evangelion did not become a product like Gundam, but rather a robot animation that was the director's weird personal novel. The repeated use of the word "job" in the film has stuck in my mind, but in order for the studio to survive, it had to make Evangelion a product in this new series, and I'm sure that was the initial motivation behind the production of these new films. Your real "job" was to make Evangelion the same as Gundam, to protect the people who came to you because they loved Evangelion. Years from now, I can see a future where Xapa will be like Ghibli, behead the staff and continue as a copyright management company. The director, who didn't want to be embarrassed as a creator by a new challenge adopted the safe way -- I can't believe that I have to use the word "safe" for Evangelion -- to end the new series that relied on EOE only for himself, not for the future of the people who came to admire him. That's what Shin Evangelion is all about.

The good part? The fact that he didn't bring Shin Ultraman trailer at the end of the film makes me think he has grown up a bit. If you're declaring "Farewell, All Evangelions" with the intention of hurting, disappointing, and disinterested old fans like me, then your malice is unfathomable, and that's quite a feat. Brilliantly, your intentions have permanently killed a part of me that used to be an Eva fan.

As horrifying as it is to imagine, it must have crossed the director's mind to reschedule the film and set a new release date for March 11. The only reason he didn't do so is not that he has grown up to be a sensible adult, but rather because the idea of linking Evangelion 3.0 with the Great East Japan Earthquake was a fact that is too painful for him to make it public.

Ten years ago today, many lives were lost and Evangelion was destroyed.

This fact will never disappear, no matter how much the director denies and covers up with the "true" history. If there is any mission left for me as a fan, it is to continue to pass on this fact to future generations as a storyteller. It is a huge loss for Japanese fiction that the end of the great Evangelion has become a self-recovery work of the great failure of the reboot affected by the Great East Japan Earthquake, and that the potential of the great Evangelion has been consumed by the self-defense of someone who cannot admit his own mistakes, and I sincerely regret it. Shin Evangelion will be forever cursed by the dead, who yearn to see the sequel of Evangelion 2.0, and the living, who yearn to see the sequel of Evangelion 2.0.

This curse will be completed when it spreads, arrives, and is burned by the powers that be as a false history. I pray that my thoughts will reach him!

#evangelion 3.0+1.0

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keyofjetwolf · 3 years

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Pitch Me your thing!

HELLO HELLO MY SUNBEAMS. For most every category, there was an impressive turn-out for pitches, so I thought we’d utilize the weirdness of this year’s GIFTENING to give something new a try. The popular vote winner for each category will happen on the first day, but on the second, the winner will be chosen from YOUR PITCHES. Mostly those pitches will be to me. The exception is in Miscellaneous, where you’ll be pitching to my family, because what I want to do and what is most entertaining isn’t necessarily the same thing.

So! How will we do this thing? GLAD YOU ASKED. I’ll link you to a form in a minute with space for one pitch. Once you fill it out, you’ll be asked if you want to do another. There’s no limit to the number of pitches you can send in! But remember that if you submit multiple entries for the same category, you’ll basically be competing against yourself.

NOW WE’VE GOT SOME RULES FOR DOING THIS (which I mostly stole from Holligay, because I have no creativity this year). Please read them carefully! I’ll toss pitches that break any of these, and I’d rather your hard work not go to waste.

Pitch Me is open for your submissions from RIGHT NOW (22 December) through the very last day of this hellyear (31 December) at 11:59pm MT.

The thing you pitch must have come from what was nominated for THE GIFTENING 2020. (Full list of those nominations in every category below the cut on this post.)

Entries must be unsigned! I’m looking to chose based on the pitch alone, regardless of who submitted it.

The pitch itself must be 100 words or less. HAVE PITY ON ME I CAN ONLY CONSUME SO MUCH.

If you’d like to get some help, ideas, feedback, all that good stuff, the Discord is a FANTASTIC resource I encourage you to use.

HERE IS YOUR PITCH SUBMISSION LINK

And, as promised, below the cut you’ll find the list of all the nominees in every category you guys sent in this year. IT’S A LONG LIST HAVE FUN WITH THAT

Anime

A Place Further Than The Universe/Sora Yori mo Toi Basho Ace Attorney (Gyakuten Saiban) Action Heroine Cheer Fruits Aggretsuko Aho Girl Air Master Akuma No Riddle Alien Nine Angel Beats! Angelic Layer Appare-Ranman Aria Aria the Animation Arrietty/ The Secret World of Arrietty (Ghibli film) Ascendance of a Bookworm Azumamga Daioh Baccano! Beastars Black Cat Blood + (the series) Bloom Into You Blue Drop/Tenshitachino Gikyoku Bodacious Space Pirates (starting right where you left off) BOFURI: I Don't Want to Get Hurt, so I'll Max Out My Defense Boku no hero academia Bubblegum Crisis Card Captor Sakura: Clear Card Cardcaptor Sakura Castlevania the Animated Series Cells at Work Chaos; Head Chihayafuru Code Geass cowboy Bebop Cyborg 009 Death Note Death Parade Deca-Dence Demon Girl Next Door Demon Slayer (Kimetsu no Yaiba) Diebuster: Aim For the Top 2 Dog Days dorohedoro Dot Hack//SIGN Dr. Stone Elfen Lied Erased (Boku Dake Ga Inai Machi) Escaflowne Excel Saga Fantastic Children Fate/Zero Flip Flappers Fresh Precure Fruits Basket 2019 Full Metal Alchemist Brotherhood Ga rei Zero GaoGaiGar gekkan shoujo nozaki-kun Ghost in the Shell: Standalone Complex Ghost Stories (dubbed) Girls' Last Tour Great Pretender Hoseki no Kuni/ Land of the Lustrous House of Five Leaves/ Saraiya Goyou Inari konkon koi iroha Interviews with Monster Girls Inuyasha Isekai Izakaya "Nobu" Jellyfish Princess/ Kuragehime JoJo's Bizarre Adventure Part 4: Diamond is Unbreakable Kaguya-sama Love Is War Kaleido Star Kannazuki no Miko Keep Your Hands Off Eizouken! Kemono Friends Kiki's Delivery Service Kimi ni Todoke: From Me To You Kino's Journey/Kino no Tabi (2003) Land of the Lustrous (Houseki no Kuni) Little Witch Academia Lord El-Melloi II's Case Files EP0 {"A Grave Keeper") Love is Hard for an Otaku Love Live! Sunshine!! lupin the 3rd part 4 Madoka: The Rebellion Movie Magic knight rayearth Magical Girl Lyrical Nanoha March Comes in Like a Lion Mardock Scramble Master of Martial Hearts Mawaru Penguindrum Megalobox Miss Kobayashi's Dragon Maid Mob Psycho 100 Mobile Suit Gundam (1979) Monster Mushishi My Bride is a Mermaid (Seto No Hanayome) My Love Story!!! My Neighbor Totoro My Next Life As A Villainess: All Routes Lead to Doom My Roommate is a Cat NANA Naruto Natsume’s Book of Friends Neon Genesis Evangelion (hateblog) New Cutey Honey Nichijou Ōban Star-Racers One Piece Ouran High school Host club Outlaw Star Paranoia Agent Perfect Blue Please Save My Earth Pop Team Epic Pretty Cure Fresh Princess Jellyfish/ Kuragehime Princess Mononoke Princess Principal Princess Tutu Project A-Ko promised neverland (/yakusoku no neverland) Psycho-Pass Ranma 1/2 Re: Cutie Honey Re:Creators Read or Die (OAV) Red Garden relife Revolutionalry Girl Utena Rose of Versailles Ruroni Kenshin Sailor Moon Sailor Moon (viz dub) Samurai Champloo (english dub) Sarazanmai School Days School-Live! Scum's Wish Senki Zesshou Symphogear (listed as just "Symphogear" on Crunchyroll.) Serei no Moribito (Guardian of the Spirit) Shin Sekai Yori (From The New World) Shirobako Shoujo Kageki Revue Starlight Showa Genroku Rakugo Shinju Sleepy Princess in the Demon Castle Smile Pretty Cure (Japanese original)/ Glitter Force (english adaptation) Snow White with the Red Hair Sound Euphonium Strawberry Panic (yuri) Sweetness and Lightning The Devil is a Part-timer The Devil Lady The disasterous life of saiki k (saiki kusuo no Sai Nan) The End of Evangelion (movie) the Promised Neverland The Twelve Kingdoms Tiger & Bunny Tokimeki Tonight ToraDora Tsubasa Chronicle Umineko When They Cry Valkyrie Drive: Mermaid Vinland Saga Violet Evergarden Whispered Words (Sasameki Koto) With a Dog AND a Cat, Every Day is Fun Yona of the Dawn Yu Yu Hakusho Yugioh Duel Monster Yuki Yuna is a Hero Yuri Kuma Arashi Yuri On Ice!!! Zoids: Chaotic Century Zombie Land Saga

Non-Anime Animated

Adventure Time Amphibia Animainiacs (Original) Animaniacs (Reboot) Archie's Weird Mysteries As Told By Ginger Barbie Life in The Dreamhouse Batman the Animated Series Big Guy and Rusty the Boy Robot Big Mouth Bob's Burgers Bojack Horseman Bravest Warriors Captain N: the Game Master Carmen Sandiego (1994) Carmen Sandiego (2019) Castlevania (Netflix) Cats Don't Dance Coco Courage the Cowardly Dog Craig of the Creek Cyber Six Daria Darkwing Duck Dragon Booster Dragons: Riders of Berk DuckTales (2017) Exo-Squad Fern Gully Fillmore! Foster's Home for Imaginary Friends Futurama Gargoyles Glitch Techs Godzilla: The Animated Series Green Lantern the Animated Series Hedgehog in the Fog (Ёжик в тумане) Hey Arnold Hilda Infinity Train Iron Giant JEM Kim Possible Kipo and the Age of the Wonderbeasts Legend of Zelda animated series (1989) Legion of Super-Heroes Liberty Kids Magical Girl Friendship Squad Mao Mao: Heroes of Pure Heart The Legend of Korra Moominvalley Motorcity My Little Pony (Classic, NOT FiM) My Little Pony: Equestria Girls: Rainbow Rocks Onyx Equinox Over the Garden Wall Over the Moon (2020 film) Owl House Primal Rapunzel's Tangled Adventure Redwall Rise of the TMNT Roco's Modern Life Rugrats RWBY Samurai Jack Seis Manos She-Ra (1985) She-Ra and the Princesses of Power (2018) Sonic Boom Spartakus and the Sun Beneath the Sea Spiderman: Into the Spiderverse Star vs. the Forces of Evil Strange Magic Super Mario Brothers Super Show Superman: The Animated Series Teen Titans The 13 Ghosts of Scooby Doo The Animals of Farthing Wood The Dragon Prince The Hollow The Legend of Tarzan (TV series) The Magic School Bus (1994) The Mysterious Cities of Gold The Pirate Fairy (Disney Fairies) The Powerpuff Girls (1998) The Real Ghostbusters Thundercats (1985) Thundercats (2011) Transformers: Prime Tuca and Bertie Twelve Forever Undone Venture Bros Wakko's Wish Wakfu Wander Over Yonder We Bare Bears (TV) Winx Club Wreck-It Ralph (2012) X-Men Evolution X-Men: The Animated Series Xiaolin Showdown

Live Action

20,000 Leagues Under the Sea 28 Days Later 3rd Rock from the Sun A Series of Unfortunate Events American Horror Story: Asylum Babysitter's Club (2020) Batman (the old Adam West version) Better Call Saul Black Mirror Blackbeard's Ghost (Peter Ustinov) Boston Legal Boy Meets World Boys Over Flowers Bromance (Taiwanese tv series) Brooklyn 99 Buffy the Vampire Slayer Cadfael Cagney and Lacey Charmed (2018) Chopped Cleopatra 2525 Cloak and Dagger Clue (1985) Community Crazy Ex-Girlfriend Dark Crystal: Age of Resistance Dead Like Me Dead To Me Deadwood Death Note (Netflix) Derry Girls Dimension 20 - The Unsleeping City Doctor Who (New) Doom Patrol Dracula's Daughter (1936) Escape to the Chateau Farscape Fingersmith Galavant Godzilla (2014) Gokushufudo (2020 Japanese TV drama) Golden Girls Good Omens H20: Just Add Water (somewhere in seasons 1-2) Happy New Year Harley Quinn movie Hateblog a REALLY STRAIGHT soap opera. Haunting of Bly Manor His Dark Materials (HBO series) Holes Hot Fuzz House Inception Inside No. 9 Iron Chef America Joan of Arcadia Julie and the Phantoms Jumanji: Welcome to the Jungle Kamen Rider Build Kamen Rider Ex-Aid Kamen Rider Fourze Killing Eve Knives Out Letterkenny Leverage Little Women (2019) Lucifer Matlock Majisuka Gakuen MASH Merlin Mission Impossible Ghost Protocol Money Talks (1997 film) Motherland: Fort Salem Murder She Wrote Mythbusters Nailed It! Never Have I Ever Once Upon a Time Orphan Black Pen 15 PGSM Pi (1998) Picnic at Hanging Rock (2018) Pride and Prejudice: A New Musical Puppy Bowl Pushing Daisies Rome (hateblog) Russian Doll Sabrina Sense8 Sera Myu: Un Nouveau Voyage Shameless Sierra Burgess Smallville So Weird Star Trek: TOS (or their films) Star Trek: The Next Generation Star Trek: Deep Space Nine Star Trek: Voyager Stargate Atlantis Suckerpunch Supernatural (out of context speedrun the last three episodes) Sweetheart Switched at Birth Tall Girl Terminator: The Sarah Connor Chronicles The Addams Family (1964) The Big Flower Fight The Booth at the End The Bride With White Hair The Crown The Fresh Prince of Bel Air The Good Place The Kissing Booth The L Word The Librarians The Magicians The Muppet Show The Pregnancy Pact The Room The Steve Harvey Show The Stranded The Untamed The Witcher The Wolfman (1941) Torchwood Twilight Zone (original) Twin Peaks Ultraman Nexus Umbrella Academy Van Helsing Warehouse 13 Warrior Nun What We Do In The Shadows (tv show) Will & Grace Wynonna Earp X-Men 2: X-Men United Xena: Warrior Princess

Miscellaneous

Alpha Flight #41-62 Anime music dance party, the logistics of which are to be determined! Ask Hot Pocket and/or Mina-pup AskSharknado: Giftening Edition Attempt to make French macaroons Commentary on old Goggles Critical Role Crowdsourced: A Black Mirror-style day where Jetty has to ask what her choices are of the audience for everything! I give you a menu, you decide what she has for dinner? What does she wear? Does she walk on the track or do the eliptical? Does she go to a movie with Doc or play a video game with Mike? Can be done alongside other stuff. Doodle Day Dramatic readings of fan fiction! Drunk History (or whatever your favorite subject would be) with Jet Wolf! Drunk Sailor Moon Exorcising Closet Ghost Fic Prompts Day Figuarts Day! (Not specifically freeing anyone, just various fun poses and such) Guess the plot of a show based on its opening Her Shim-Cheong (manhwa) House of X/Powers of X Hubby's Choice IDW Jem comics liveblog Intros Only (watch show openings, give commentary, guess what show is about, etc.) Jackbox Games Jet Wolf paints along with Bob Ross Jet and Doc go to Heaven/Hell, respectively: Jet gets to write reams of words about the awesomeness of Rei Hino and Doc has to read all of them and say ONLY NICE THINGS. Jet does Tiktok dances Jet Liveblogs Holligay: A Nature Documentary Jet Ranks Sailor Moon Image Songs Jet Reads Goosebumps Jet Reads Legion of Super-Heroes Jet redesigns the Wolf and Gay offices! Jet shows off her knitting Jet Wolf attempts to recreate scenes from Sailor Moon with Mina and Hot Pocket and/or whatever is in the house Jet Wolf reacts to Sailor Moon tiktoks (in blog form) Jet Wolf reads Love and Rockets. Jet Wolf reads the Jem comics by IDW Jet Wolf reviews her old top 100 Sailor Moon moments list Jet Wolf talks about Archie Comics Jet Wolf talks about each cel she owns and why they are so awesome. Jet Wolf writes Poetry Jet Wolf's Top 5's Jet, Hubby and/or family play board games Jetty Rants and Raves Jet Wolf tries to crack the Gravity Falls Codes Kiwi Blitz on Hiveworks Let's Play on Webtoon Liveblog: Favorite X-Men comic book arcs Livestream Pathfinder one-shot LOONA (Collection of music videos with an ongoing story/universe about GIRLS who are FRIENDS and SAVE THE UNIVERSE) Lore Olympus on Webtoon Mike regales us with "the story of your love" while you get increasingly embarrassed Mina and Hot Pocket day - liveblog like a nature documentary Mister Tsukino Does His Taxes and the Household Budget (Sailor Moon fan comic by Shadowjack) Nancy Drew: Ghost Dogs of Moon Lake Not So Shoujo Love Story on Webtoon Pitch Mishaps for Untitled Senshi Game (it is a lovely day in Juuban, and you are a Horrible Minako.) Pitching hubby's favorite media at (readers/holligay/jill/momigay) Playing with dolls (because how could 3 women not have any dolls between them) Re-Take By Studio Kimigabuchi (All Ages Version) Real or Fake Anime (people submit descriptions of anime you guess if it is an anime that actually exists or not) Reviewing succulents Scavenger hunt! Not entirely sure how it would work, maybe folks could send in asks for you to show things like your favorite Rei Hino object, or the thing that's been with you the longest, etc. sewing/knitting/baking tutorial Share or rant about a Roman history topic Sleepless Domain on Hiveworks Talking to Docholligay 2: Doc Harder (basically you talking to Doc's future womb evictee while still in there and telling them stuff like say the greatness of Rei Hino) The Monster Duchess and Contract Princess (manhwa) The Polar Bear Plunge--I take Jetty to our finest Lake Elmo in January, and she jumps in! Note: THIS IS NOT DANGEROUS, WORRYWARTS. I'll bring a life preserver, I've done it before, and I would do it with her if I weren't pregnant. The Senshi Helpline--The Senshi, taking your advice questions, here and now! The World of Moral Reversal Virtual knitting/crafting circle! Let us craft and chat with you! What-If #24 Gwen Stacy Lived Worm the web serial Write an explanation for a drawing we send you! Yuri Hell's Kitchen

#THE GIFTENING 2020 #THE GIFTENING 2020 admin stuff

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poodlepunk · 3 years

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Expanded Author Notes: Once and Again

Hi! Can’t believe I just finished these two stories. Sorry it took so long, I got quite emotional about writing the final chapter! I’m really going to miss this version of Tamaki and Kyoya. I love when other writers talk about their process and headcanons, so if you’re interested, here are a few of mine from the Once and Again series! Everything I thought would be too annoying to put in the notes section!

(Contains some spoilers for the Ouran manga and for the two fics And So Kyoya Met Him! (Again) and Once Is Never Enough)

1. What inspired this fanfiction?

I’ve always loved this pairing and Ouran (from the anime). I like how the anime leaves the romances between all of these wonderful characters ambiguous. I was happy and content, thinking to myself that of course Tamaki and Kyoya could have made something happen post-anime.

Then, while trapped in my house by a global pandemic, I somehow came into possession of the 18 volume manga box set and devoured it with my eyes in 2 days.

That’s when I saw the side note that Kyoya ends up drifting apart from Tamaki and Haruhi (except for texting occasional pics of his cat?????), and eventually he marries some lady that will make the Ootori family look good. UHHHH NO THANKS. This was an extreme knife in the heart to me (and I’m sure, everyone reading this).

There is also one panel in the final volume (on the Barcelona side trip). It’s a low-quality panel, but basically Tamaki punches Kyoya in the shoulder, and Kyoya just gives him this stunned, small look. And I immediately interpreted that as “OH GOD, HE TOUCHED ME.” It broke my heart and every time I even think about it, I need to write another 1000 words of Kyoya finding love and happiness.

Haruhi will be 100% fine, but Kyoya needs Tamaki, and that’s what I wanted to give him. In 2020, we all deserve it.

2. Why does Kyoya have brown eyes?

In the anime, Kyoya seems to have gray-ish eyes. I always wonder, when people read fanfic about anime characters, whether they see the characters as they’re drawn or as actual 3d people? I tend to imagine them as actual humans with the features of their anime drawings. Like a live action movie. So I’d imagine Kyoya as a very, very handsome Japanese man with brown eyes. And Tamaki as a ridiculously handsome French-Japanese man with blonde hair and blue eyes so brilliant they could be called violet.

3. Is it easier to write Kyoya or Tamaki?

Definitely Tamaki. I feel much more similar to Tamaki, in that a lot of texts I send are seventeen party hat emojis. Side note, I’m also eurasian like Tamaki (though definitely do not have violet eyes). I really like the aspect of him being from two cultures, thinking about his identity and where his home is.

But I do love writing them both.

My interpretation of Kyoya comes more from the manga, I think, where he’s shown more to have a secret heart of gold (finding Tamaki’s mother, helping him catch her before her plane leaves, defending Tamaki to his father--god he would literally do ANYTHING for Tamaki). He also seems to be quite innocent (despite all his scheming) and holds himself apart from matters of the heart. I love the moment when he’s helping Tamaki get to the plane to see his mother, but refuses to join him to watch the emotional reunion because he’s “not good with emotions.” I really wanted to help him find that side of himself.

Tamaki is just my sweet, clueless sunshine boy. I could see him being one of those people who is very popular and in control in high school, makes friends wherever he goes, but gets a bit lost in college/adulthood. Especially with his difficult upbringing, need to please people, and living with the terrible decision to leave his mother behind. I could see him shutting down or turning a bit self destructive. I think Kyoya is a grounding influence on him, and someone he would always look to for stability, someone who would be solid in a crisis.

Also thank you for indulging my headcanon that Tamaki is an amazing dancer at college parties and karaoke singer. I imagine he would be the most fun friend of the group to spend a night out with because he has a musician’s timing, rhythm, and no shame. You’d want him on your side in a dance battle. Also why I imagine he would be great at sex lol.

The Sports Day arc of the manga is one of my favorites--Tamaki tends to recognize Kyoya’s feelings before he does, but he never calls them out directly. Instead, he has to play a long, elaborate game with Kyoya to get him to acknowledge them. He spends so much time and effort trying to make Kyoya happy and give him what he needs, even when Kyoya doesn’t want to accept it. This was a lot of the inspiration for Once Is Never Enough.

On a personal note: this year has been rough (for everyone, hope you are hanging in there!!). I was supposed to be spending the winter (three months) in Tokyo, but that did not happen due to Covid. Writing this fic and taking these boys all over the world really helped me to revisit some of my favorite places.

The good news is that I will have to watch a lot more anime to keep working on my preschool-level Japanese. And then write more fics! I’m so excited about it.

I cannot BELIEVE that the only thing standing between me and being a fanfic writer like the many I have always admired, was literally pushing a button on ao3. If you’re thinking about it, I encourage you to try it!!

My inbox is open if you want to chat about Ouran, writing, these fics or anything :)

Also, I don’t know if I will ever write these fics personally (I’ve been thinking about it) but here are some things that I would love to see and WHY DON’T THESE FICS EXIST YET (someone please do this or rec them to me if they exist):

1. The hurt/comfort story of Kyoya helping Tamaki battle his mother’s disease

2. Kyoya helping Tamaki get back on his feet after his (amicable) divorce from Haruhi or (bitter) divorce from Eclair

3. Where is Kyoya’s mom? The reversal story where Tamaki helps Kyoya with HIS family problems for once.

There are so many great ones, but I just wish there were even more stories about these guys. Maybe one day we will get the Fruits Basket style Ouran season 2.

I’ll be honest--I’ll probably not be able to keep from writing at least one Christmas one-shot about these two.

Thanks for reading these notes! Hope you enjoyed them! :)

#my fic #kyotama #tamakyo

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duhragonball · 5 years

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Dragon Ball Z Movie 15: Resurrection F

“Dragon Ball Z: Resurrection F” premiered on April 18, 2015. Notably, it had a U.S. theatrical release only a few months later, in August. Movie 14 got a U.S. theatrical release, but it took a lot longer, and fans didn’t really have any reason to expect that much. In 2013, we were just waiting for Funimation to release it on home video. But I think it says a lot about how successful Movie 14 was. Not only did the sequel get made only a couple of years later, but the big shots in Japan who run all this stuff finally realized that there’s an international audience just as eager to pay for this stuff. I want to say the Broly movie got released in the U.S. even faster, but I’d have to look it up. And from what I understand, the Broly movie did even bigger business than Movies 14 and 15, so I think it’s safe to say that if they keep making more of these, we can count on a speedy localization.

Do we have Fox to thank for this? I mean, would any of this Dragon Ball revival have happened if “Dragon Ball Evolution” hadn’t bombed so badly? I mean, let’s say they did a good job and made DBE really kick ass, like the Thor movies. By now they probably would have made a nice little trilogy, starring a mostly whitewashed cast. Maybe the third one would be looked down upon, or they’d try to do a reboot like with the X-Men franchise, and people would write pointless thinkpiece articles asking stupid questions about “Dragon Ball fatigue”. Teenage Justin Chatwick stans would be blogging things like “OMG Did you know there was a Dragon Ball Evolution cartoon?!?!?” Maybe those live action movies would be better than Dragon Ball Super, but they’d probably also mark the end of the franchise. At least with things as they are, there’s no telling how much more Dragon Ball content we might be getting in the 20′s.

Gee, Toei, how come your mom lets you have two logos at the start of the movie?

I just found this out last night, but Res F has the distinction of being the first movie where Toriyama wrote the actual screenplay, as opposed to just coming up with the plot and story, as in Movie 14. I’m a fan of Toriyama’s work, obviously, but I’m don’t subscribe to the idea that anything he does is pure gold and everyone else who contributes to this franchise is ruining it somehow. There are GT apologists who would try to argue that GT was more legitimate because Toriyama had some vague influence on the production, and he drew SSJ4 Goku once, so that means it’s magically awesome. It just doesn’t work. Movie 14 is better than Movie 15, and I don’t think that’s because one screenplay was better than the other, but the point is that you can’t just add more Toriyama labor and guarantee a superior product.

So there’s three big problems I have with this movie, and when I rewatched it this morning, my opinion hasn’t budged since 2015.

First, the sole premise of this movie is that Frieza comes back to menace the good guys again. That’s a bad move, period. I find Frieza overrated to begin with, and they’ve already done handful of Frieza comebacks before this movie was ever conceived. Even if it was a good idea, it’s so obvious that it’s barely worth doing. When the DBS: Broly movie was first announced, I was worried that they were making the same mistake again, but then it turned out they had a bold twist on the character to justify the effort. And that’s what it takes. If you do something obvious and predictable, if you repeat an idea you’ve already used before, then you’d better have some sort of big twist to make it fresh. Movie 15 does not have this. It does an admirable job in spite of that flaw, but it’s a pretty serious flaw.

Second, the visuals are bland and unimpressive. The point of this movie is that Goku and Frieza are going to have a rematch of their epic showdown on Namek. I just went back in my archives and pulled up a still from the Frieza Saga, and it looks ten times cooler than anything in the movie. They were fighting on an exploding planet, surrounded by red skies, lightning, molten lava, and tornadoes. Movie 15 boasts the same guys, supposedly more powerful than ever, but they fight like they’re in a video game, and the background is just this dismal cloudy sky. They had 23 years to figure out how to raise the stakes, and all they could come up with was making Frieza yellow and Goku blue.

Third, everyone acts like an idiot in this movie. Like I said, we’ve done this dance before, but everyone just repeats the same mistakes and forgets that characters can do things that they’ve done in the past. Sometimes I can’t tell whether it’s an honest flub, or a deliberate callback to classic DBZ. All I know is that I remember how it went the first time, and you’d think the characters would too, since they lived it.

Now, in spite of those issues, this film does a pretty decent job working with what it has. It’s not nearly as bad as Movies 10 and 11, which commit these same three sins and puts the main characters on the sidelines. But it’s a step down from Movie 14, and around the same time, Dragon Ball Super was starting up on Japanese TV, and that show was just adapting the movies for the first 32 episodes, so I was pretty displeased with the state of the franchise in 2015.

All right, let’s get started. The movie opens in hell, which is pretty interesting, because up until now we’ve only ever seen Toei’s version of DBZ Hell. There’s a lot of inconsistencies, like whether or not you get to keep your physical body, and whether or not hell is even that bad a place to be. Since Toriyama wrote this thing, I have to assume this is his official version of DBZ’s Hell. Conveniently, we find that it’s got plenty of layers to it, including a scary looking realm full of bats, an ocean full of Pokemon fish, and underneath all of that we have an idyllic meadow with pink trees.

This is where Frieza’s being kept, and he just has to hang from the tree in some sort of testicle-looking thing. There’s angels and fairies and a stuffed animal marching band, and it’s pretty cute, but I can see where you’d get sick of it after a while.

And Frieza’s been here for a while. This movie is set in the year Age 779, and Frieza was killed by Future Trunks in Age 764, so he’s on Year Fifteen of his infinity-year sentence. Has he been stuck in this particular torment for the entire time? Who knows? I don’t know much about Japanese afterlife mythology, but my understanding is that it’s like an even more complex version of Dante’s Inferno, where there’s all these different ordeals you have to suffer through for extraordinarily long periods of time. Maybe they let him out part of the time so he can get beat up by Pikkon and watch Goku beat Majin Buu.

One touch I appreciate is that he’s still in his Mecha-Frieza form. Does it make sense for him to retain his cybernetic parts when Trunks chopped him up into so many pieces? I don’t know, but Mecha-Frieza is my favorite Frieza, so I like the nod to that moment.

Meanwhile, Frieza’s private army somehow still exists after all these years. This movie calls it the “Frieza Force”, which I’m not too wild about, but I’ll run with it. I think it’s kind of stupid to keep calling it that so long after Frieza’s death, but maybe it’s a bluff to anyone who doesn’t know Frieza’s dead. At this point, all they have left is the name. One of Frieza’s administrators, Sorbet, has taken charge of the whole thing, and I guess he’s done a fairly impressive job if he’s kept it going this long, but all he’s really accomplished is to oversee the slow dissolution of Frieza’s holdings.

Funimation made a lot out of the idea of Frieza as an emperor, suggesting he was a head of state and the planets he conquered were part of a vast interstellar nation. I think in the dub there was a comment about how the Frieza Force used to control like 70% of the known universe, but none of that’s in the Japanese version. The original premise of Frieza is that he just has a bunch of guys fighting his battles for him, and he buys and sells planets to finance all the wine and spaceships he goes through. I rather prefer that sort of aimlessness about his organization. If he were like a Roman Caesar, you could at least balance out his brutality with the semblance of authority he brings to his conquests. A Pax Friezae, if you will. But he’s not Diocletian, he’s a trust fund baby who just happens to be nigh invulnerable. He never cared what happened to anyone else, or how things would run after he was gone.

Anyway, Sorbet just doesn’t have the manpower to hold their territory, and all he can do is pull his soldiers out when uprisings get too intense. His only recourse is to wish Frieza back to life with the Dragon Balls, except he can’t find the Namekians’ new homeworld. There’s Dragon Balls on Earth, except that’s where all the Super Saiyans live, so it’s dangerous. But today, he’s decided there’s no other way. To be on the safe side, he leads an away team with just himself and his aid, Tagoma. That way there’s less chance of them being noticed by the ki-sensitive fighters on the planet.

Sigh... this is why I hate the fucking Frieza Force right here. It’s the same old spaceships, same old uniforms, same old plans. Their shuttlecraft just looks like their regular ship, only smaller. Frieza’s been dead for fifteen years, and after all this time, their biggest idea is to try to bring back LOWARD FUREEEZA SAWMA. If that was such a hot idea, then why did he get killed in the first place?

What annoys me is that there’s probably an interesting explanation for Sorbet’s strategy. You’d think he would be happier with Frieza gone. He runs this whole outfit, and even if their domain is smaller than it was under Frieza, it belongs to him, so he’s richer and more powerful than he’s ever been. But maybe he just can’t appreciate that, and he liked it better when he was a middle-manager for a big shot like Frieza. But that never gets explored in the movie. Sorbet just acts like he’s wishing back Frieza because he’s supposed to.

Anyway, it would be risky to try to go through Bulma to get the Dragon Balls, but Emperor Pilaf has a Dragon Radar of his own, so they strongarm him instead. I wonder where he got that thing. General Copper from the Red Ribbon Army had one that was never seen again, so maybe they stole it from him?

Meanwhile, here’s baby Pan. I thought Pan’s appearance in these later movies conflicted with the final three episodes of DBZ, but maybe not. The dub said she was three, but the subs said she was four. And those last three episodes took place in Age 784, while this movie shows her being newly born in Age 779, just five years earlier. So Pan could still be four years old when she fought Wild Tiger, and her birthday just hadn’t come along yet.

Anyway, Piccolo’s keeping an eye on her while her parents are shopping.

Then the sky gets dark, and Gohan and Piccolo know that someone’s wishing on the Dragon Balls, but they don’t know who or why. Oh, by the way, there’s a big statue of Mr. Satan here, and that’s his only appearance in this movie.

So Sorbet makes his big wish to have a resurrection... of F. Which stands for “Frieza.”

Just like the title of this cartoon!

But Shenron explains that it would be kind of dumb to do that. This was the thing I never understood when this movie was first announced. During the Frieza Saga, Shenron was used to wish back everyone killed by Frieza and his men, and Kami said that this would only work for those who had died within the past year. The implication being that Shenron can’t revive people who have been dead for a really long time.

But Toriyama seems to have taken that into account here. Shenron explains that he can revive Frieza, even after fifteen years, but he can’t restore all the damage to his body.

This leads to a quick flashback of Trunks killing him way back when. I’m glad they included this, since it’s worth explaining just how Frieza died in the first place. Trunks chopped him into pieces, then blasted the pieces. Apparently, after all this time, Shenron can only undo the blasting and the dying, but not the chopping.

However, the medical technology used by the Frieza Force has advanced somewhat since the Namek Saga, so Tagoma believes they could finish the job of putting Frieza back together. Sorbet decides it’s worth a shot, so we’re off to the races.

So Shenron plats along, and a bunch of Frieza chunks fall to the ground. I like the sound effects they make when they land.

Creepily, the pieces try to gather together again. I don’t know if this is Shenron’s power trying and failing to complete the resurrection, of if this is some function of Mecha-Frieza’s cybernetics. Either way, it doesn’t work.

But the pieces are all still alive, which is siiiick. Frieza’s eye even opens and looks at them, suggesting that he’s somehow still conscious in this state. See, this movie still has some cool stuff in it.

Then Shenron asks Sorbet what he wants for his second wish, and Sorbet had no idea that he would get more than one. He considers wishing back King Cold, but before he can decide...

... Shu wishes for cash, and gets it. Sorbet’s angry about this, but he has to hurry up and return to the ship before the Z-Fighters find him. The funny thing is that Shenron leaves after this second wish is granted, but in the Dragon Ball Super version, he grants a third wish, and Mai uses that one too. This is why I’ve spent the last 16 years confused over whether Buu-era Shenron grants two wishes or three. Apparently, the deal is that it’s three, unless you use one to wish a lot of people back to life at the same time. Then it’s two. So did Toriyama goof, or was the wish to bring back Frieza hard enough that it counts as two wishes? It doesn’t matter much, since Movies 10, 13, and 14 all played fast and loose with Shenron as well.

So now they have to load all the Frieza chunks into a big garbage can and haul them back to their ship.

They almost forget a piece, but Pilaf saves it for them. I wonder what would have happened if they left that eye behind?

So then they heal the pieces in their medical machine. I don’t know how this was supposed to work, but I assume they needed someone to stitch the pieces together, then they loaded him in the tank for a while, and then they had to take him out again, dress him up in his uniform, and put him back in to cure a while longer. Also, they have Japanese punk band Maximum the Hormone playing on the stereo the whole time they do this.

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“F” is a pretty good song, and I’m glad they put it in this movie, but I’d probably like it more if I liked Frieza more. The story goes that Akira Toriyama heard this song, probably because the band wrote it as a tribute to his character, and the song inspired him to create the story in this movie.

Anyway, Frieza breaks out of the tank and splashes green crap everywhere because he’s such a drama queen.

Sorbet explains everything that’s happened, and Frieza seems mostly bemused by it all. He’s displeased that he had to wait in hell for so long, but at least he’s out. Sorbet mentions that they plan to wish back King Cold next, but Frieza tells them not to bother, since he apparently doesn’t like his dad that much. This should be the tip to these idiots that this scheme will get them all killed.

Frieza kills a guy just to see how his skills are holding up, and he declares his intent to take revenge on the two Super Saiyans who defeated him. Remember, he still owes Goku for beating him up on Namek, but Trunks killed him before he could get to that point. And that’s my main problem with all of this. We already did a Frieza comeback, and it was Mecha-Frieza invading Earth in the Trunks Saga. He miraculously survived Namek, his soldiers spent months putting him back together, and then the very first thing he wanted to do was go to Earth and kill Super Saiyans. Does any of this sound familiar?

Besides that episode, we had several other stories that repeated the same theme. Movies 5 and 6 were basically the same idea, but with Frieza’s brother as a stand-in for Frieza himself. Episode 195 of the anime had Frieza come back as part of a revolut in hell. Movie 12 had Frieza come back, only to get killed again by Gohan. Dragon Ball GT had Frieza come back and fight Goku. I think Toriyama’s attitude is that he didn’t write those stories, so they don’t count, but it doesn’t change the fact that the audience still saw all of those. By the time this movie came along, “Frieza comes back for revenge” had been done several times.

Tagoma points out that maybe we shouldn’t rush back to Earth and get wiped out in a hopeless battle. Again. He suggests that it might be wiser to focus on rebuilding the Frieza Force, but Frieza kills him for his impudence, along with several other flunkies who just happened to be nearby.

At least Frieza has a reason for wanting to start with revenge. As far as he’s concerned, the Frieza Force can’t rebuild to its former glory, not if they have to hide from the Super Saiyans the whole time. Sorbet points out that Goku’s even stronger than he was before, citing his defeat of Majin Buu. Amazingly, Frieza’s heard of Majin Buu, since his father once told him that he should never mess with Buu or Beerus.

But this doesn’t worry Frieza much. He figured Goku would become stronger, and he thinks he can as well. Frieza was born with this unnaturally incredible power that he has, so he’s never needed to train or improve his strength. But now, he thinks that if he does train, he can surpass Goku after about four months. This is basically the Dragon Ball equivalent of “Why doesn’t Bluto eat some spinach and beat the hell out of Popeye?”

Here’s what blows my mind. In the subs, Frieza estimates that he’ll reach a power level of 1.3 million. I’m amazed that they’d even cite a power level this late in the franchise, let alone a number that low. Frieza claimed to be at one million in his second form, so I think everyone agrees that we passed 1,300,000 a long time ago. Hell, there aren’t any scouters able to measure that high anyway.

Seriously, is this official canon? It has to be right? Toriyama wrote that line himself. Is he saying eveyone from Second-form Frieza to Golden Frieza ranges from 1 million to 1.3 million? So like, Perfect Cell would be 1.1 million, I guess, and Majin Buu’s 1.2? That’s wild. I kind of like it.

What I don’t like is that it’s a little convenient that Frieza can catch up to Goku so easily. It took Gokue fifteen years to reach the level he’s at in this movie, and Frieza manages to tie him in just four months? If it was that easy, why didn’t he just do pushups for a week before he came to Earth the last time? He could have wiped out Trunks in an instant.

Moving on, a few months later, Jaco the Intergalactic Patrolman arrives on Earth to warn Bulma that Frieza is coming to Earth with a thousand soldiers.

I won’t get into Jaco’s whole deal, because I still haven’t read his manga yet, but baiscally he was friends with Bulma’s older sister back in the day, and Tights told him that Bulma knows the Super Saiyan who beat Frieza. The problem is that Goku and Vegeta aren’t on Earth right now, because they’re training with Whis on Beerus’ world. Bulma can contact Whis by holding up delicious food and calling out to him, but she doesn’t know if he’s listening. Also, Jaco waited until an hour before Frieza’s arrival to say anything, so now Bulma has to scramble to alert the others.

Here’s some bank robbers. I like this bit, because in the dub, they say “We’re as rich as rich guys!”

There’s just one problem...

Krillin’s a cop.

Then Bulma calls him and tells him the bad news. I feel like somewhere in the dub, Krillin observed that Majin Buu and Gohan could at least buy them some time, but then it turned out Buu was asleep the whole time, which was why he didn’t show up in this movie. I must be thinking of the DBS version. This is why I’m not big on Buu as a good guy, by the way. They have this insanely powerful good guy on their team, and then they never do anything with him. He slept through this crisis and the Tournament of Power, and I didn’t see him in the Broly movie either.

Anyway, Frieza killed Krillin the last time they met, but Krillin’s got big brass balls, so the first thing he does is suit up to fight his punk ass. 18 offers to go in his place, but he wants her to protect their kid while he’s gone.

Also, he asks her to shave his head, so he’ll look even cooler for this.

To be honest, I liked Krillin’s hairstyle in this movie, but yeah, bald Krillin is the way to go.

As he flies off into the face of certain doom, his big brass balls clanking as he goes, 18 thinks about how cool he is. Get you a lady who admires you half as much as 18 admires Krillin.

As Frieza returns to Earth, he goes over some details with Sorbet. In particular, no one could find the Super Saiyan who actually killed Frieza, and Sorbet speculates that he may have moved to some other planet or died while Frieza was in hell. Of course we know that Future Trunks returned to his own timeline, but Frieza doesn’t and never will. This loose end doesn’t seem to bother him much, and I don’t think that makes sense. Yes, from a dramatic standpoint, he ought to be more concerned about avenging his loss to Goku, but Trunks was the one to kill him, and I feel like Frieza doesn’t spend nearly enough time in this movie thinking about his own mortality.

Sorbet points out that even if Frieza kills Goku, he could just be wished back to life like Frieza was, right? But Frieza plans to destroy the Earth along with Goku, thereby eliminating the Dragon Balls and Earth’s hell. For some reason, Frieza seems to think that Earth has it’s own particular version of hell, and the only reason he ended up in that meadow of fairies is because he happened to die on that planet. So I guess he thinks that if he blows up the Earth, that hell will cease to exist as well? How does he know that?

Is that why he’s not worried about dying again? Does he think if he dies someplace else, he’ll end up in a more favorable afterlife? What happens if you die in outer space? What sort of hell is Tagoma in right now?

At any rate, Frieza thinks he has all the angles worked out, and he checks to make sure Sorbet is prepared for his “emergency plan” in case things don’t work out. This is as close as we ever get to any sort of character development for Frieza here. The last time he went to Earth, he didn’t have a plan B, and now he does.

Meanwhile, Goku is training with Vegeta and Whis, just as Bulma said. Recall that Whis is even stronger than Beerus, who dominated the boys in the last movie. So Whis can fight them both at once without any trouble at all.

But their training wakes up Beerus, so they have to explain how they pay Whis for his lessons with tasty food from Earth. Beerus is annoyed that Whis would eat this stuff without him but he’s awake now, so he can have some of the pizza they brought over.

Meanwhile, Frieza’s ship lands on Earth, and a bunch of his goons come out.

Then he blows up North City, which he calls his way of saying hello.

So it’s up to the Z-Fighters to hold the line until Goku and Vegeta check Whis’s voice mail. Unfortunately, they’re kind of light on guys. We have Piccolo, Tien, and Krillin, and Gohan’s here, but he hasn’t kept up with his training. That’s why he wore a tracksuit to this party, because he couldn’t find his gi after all this time. Tien told Chiaotzu and Yamcha to stay out of it, since this fight would be too much for them. Okay, but why? Frieza will blow up the Earth if he wins, so what difference does it make if they stay out of this? At least if they show up they can help.

On the other hand, Krillin brought Master Roshi along, He can’t even fly! Somehow, everyone involved in making this show decided that Roshi is cooler than Yamcha, which is stone cold, 100% false. Master Roshi belongs in jail, and it doesn’t even need to be a fancy jail with a roof because he can’t fly out anyway.

Then Bulma shows up with Jaco to tell the others that she couldn’t raise Goku and Vegeta. Also, she wants Jaco to help, even though he only planned to pass along the message and GTFO. Bulma trash-talks Frieza, because she figures they still have the upper hand. After all, Gohan’s strong enough to kill Frieza, right? But Gohan explains to her that Frieza’s much stronger than he was 15 years ago, so none of them stand a chance this time around.

She asks Frieza to wait for Goku, so he agrees to hold off for ten more seconds, and then he sics his army on the Z-Fighters. I bet she wishes she had told Goten and Trunks about this rumble.

People talk about this part as the highlight of the movie, and it’s definitely one of the better parts. It’s certainly fresher,since we normally don’t see six or seven guys battling a whole army like this. Also, I like the approach of limiting the cast to a manageable number. I think it’s tactically unwise to leave Yamcha, Gotenks, Buu, and Chiaotzu out of this battle, but leaving them out of the movie is worth it, if it gives Tien a chance to shine for a moment. I’m not saying I like Tien better than the others, but we’re in a situation now where they can’t all share the spotlight, so if we have to pick one, let’s make that decision and run with it, and hope Yamcha gets a turn in a later film.

The problem I have with a fight like this is that they have all these extras floating around in the background of almost every scene, so it’s like Piccolo will do some cool spot with five or six bad guys, while fifty more just sort of stand there and watch. The only explanation I can come up with is that the Z-Fighters are moving so fast that most of the bad guys simply cannot react fast enough to keep up.

For example, you have this scene, where Gohan zips through a whole bunch of guys and takes them all out while they look like they’re standing still. Also, it’s pointed out several times that the Frieza Force isn’t nearly as strong or as well-disciplined as they used to be. Hell, the next movie makes a plot point out of how hard it is for them to recruit good fighters.

Even Jaco makes these guys look like geeks, and he’s a comic relief guy.

But he’s clever, like when he tricks the bad guys into getting eaten by a giant fish. How did he know this thing lived on Earth?

At this point, Sisami enters the battle, and he’s at least strong enough to give Piccolo a hard time.

Also, his shorts are a size too small, but his slutty uniform is his only distinguishing feature, really.

But Gohan steps in and turns Super Saiyan to take him out. Not sure that was a smart play, since they’re trying to buy time for Goku to arrive. A drawn out battle with Piccolo might have been just the thing they needed. But I suspect this scene was intended to introduce the Super Saiyan concept to the audience.

To wit, Sorbet is horrified by how easily his best warrior went down, but Frieza isn’t surprised at all, since he’s the only one on his side who’s seen Super Saiyans in action. He didn’t know Gohan could turn into one, but it’s the same diff.

This blue guy tries to apologize to Frieza for their defeat, but Frieza blows them all up. I’m just pointing him out because this guy was voiced by Team Four Star’s Scott Frrerichs, which still blows my mind to this day. Also, for some reason, I thought he played Sisima--Shisami, Sashimi... the red horny guy.

Everyone agrees that they stand no chance against Frieza as he is now, and Frieza takes out Gohan first just to emphasize the point. I guess this is his meta-revenge for Movie 12.

Piccolo has to use a ki technique to restart Gohan’s heart, and a senzu bean helas him after that, but they only have one left, so that won’t last them much longer.

Finally, Whis checks his messages and Goku and Vegeta hear about Frieza. Whis can take them back to Earth, but it’s a 35-minute trip, so it’s up to Goku’s Instant Transmission.

All right, let’s get on with this. Frieza insists that he’s learned from their last fight, and he starts out with his “final” form, except it’s not his final form anymore, because he has a new one, so right off we see that he really hasn’t learned anything. He wants Goku to turn Super Saiyan, but Goku doesn’t need to, and they fight like this for a while. Does this really make sense. Frieza came here for revenge, so why is he bothering to play-fight like this?

Eventually Vegeta gets so bored with this part of the battle that he jumps in and starts attacking Goku. Frieza mistakes this for a show of loyalty to him, but in fact Vegeta’s just sick of Goku milking his turn.

They agree to put all their cards on the table, so Goku reveals his strongest form, which he calls a combination of classic Super Saiyan and the Super Saiyan God form he used in the last movie. This eventually came to be known as “Super Saiyan Blue”, because duh, but for marketing purposes it’s still officially called “Super Saiyan God Super Saiyan” or “SSGSS” for short. I have no idea who thought that was a good name for this.

So Frieza shows Goku his new form, which is just his “final” form with a different color scheme. He says he “settled” on this color, implying that he could have made it look different if he wanted to. I like that idea, because it goes along with my contention that the Xenoverse games should let you customize transforms along with your character. If you want your guy to turn into a Super Saiyan Purple, you should be able to, or if you want your Frieza Race guy to have a Crimson form instead of Golden, you should get to have that too.

On the other hand, this is fucking stupid. It’s the same fight from 1990, except the characters are different colors. This is the sort of thing critics make fun of DBZ for, and Toriyama did it unironically. I mean, I get it, Super Saiyan 3 is just SSJ1 with longer hair and no eyebrows, but it’s the way the character is used in the story that sells the form as being more powerful.

The problem here is that both guys have new forms at the same time and they’re supposed to be stronger than almost every other character we’ve seen before. And yet this fight doesn’t look all that different from what they were doing a few minutes ago, before they transformed.

On top of that, we have these really shitty CGI animations that look like they were taken out of a PS3 game. I mean that literally, because when I watched this movie, I noticed it right away, because the way the characters move looks exactly like they do in the games I play all the time. I didn’t mind it so much on the first viewing, but now that I’m looking at screencaps of it, it just looks really awkward and bad. It’s fine in the games, because it’s interactive, and I can control what’s happening. But in a movie, it doesn’t work at all, because Goku has this blank expression on his face the whole time. Also, there’s no physics on the tails of his belt. He’s rushing Frieza here but they’re just hanging at his hip like he’s standing still.

Seriously, who thought this was a good idea? These shots aren’t even that long, and they don’t look that complicated, so I don’t understand why they didn’t just go ahead and use traditional animation. I mean, the Frieza soldiers from earlier were rendered this way too, and I get that, because there were literally a thousand of them, and they wanted to have hordes of them milling about in the background. but this is the main hero and villain in the forefront of the action. If the entire movie looked like this, I wouldn’t have a problem with it at all, really. It’s a “contract with the audience” thing. If the whole movie is CGI or 2D animation, we can accept the visuals we’re given, but once you start switching media unexpectedly, it becomes very jarring.

Then Beerus and Whis finally arrive to collect the dessert Bulma offered them. Wait, he said it would take 35 minutes to get here. Have Goku and Frieza been fighting for 35 minutes?

I get the joke here, that you’ve got this interplanetary grudge match playing out nearby, and these two dorks are more interested in eating ice cream, but it sort of undermines what little tension there was to this story. When Res F was first announced, lots of fans joked that Frieza would find himself completely outmatched by the Z-Fighters. Goten could kill him by himself. But Toriyama introduced Golden Frieza to get around that, which means at this point, Frieza has leapfrogged Cell and Majin Buu to become the strongest villain again, to the point where he might rival Beerus if he put his mind to it. Frieza’s a big deal again, except there doesn’t seem to be much concern over it. Everyone seems confident that Goku can handle it, and if he can’t then Vegeta can, and if things really got out of hand, Whis could kill everyone in one hit.

At one point, Frieza finally notices Beerus and asks him if he’s going to interfere in the battle, but Beerus insists that he’s just here for dessert, and he’s totally neutral in this.

And Frieza seems to think he’s winning, but then Goku informs him that this Golden Frieza form has a weakness. Frieza was so thrilled to have the new form that he rushed to Earth as soon as he discovered it, but he hasn’t learned to regulate his power at this level, so he’s going to tire out in a few minutes. Goku should know, because he ran into the same problem with Super Saiyan 3 a few years back, and the same thing happened to Frieza when he fought at 100% of his full power because FRIEZA HASN’T LEARNED A DAMN THING SINCE THE LAST TIME THEY FOUGHT. This movie is just so dumb. The fact that Goku has to explain this to him again is absurd.

Frieza thinks Goku’s bluffing, but this time the CGI battle shifts into Goku’s favor, and Frieza can’t hit the block button fast enough or break Goku’s combos.

Then they fight underwater, which is just as murky and grey as the sky, only there’s bubbles down here.

Finally, we reach the point where Frieza’s punches don’t even work, and Goku pokes him in the tittly and punches him.

So Goku tells him to get out of here, just like he did on Namek, and Frieza throws a fit, just like he did on Namek. This fight is the worst. I mean, it’s not Gohan vs. Dabura levels of bad, but at least Gohan and Dabura did original stuff while they were shitting the bed.

Then Frieza signals Sorbet while he’s crying, and Sorbet shoots Goku with a ray gun to take him out of the fight.

And this is dumb too, because it’s the same mistake Goku made on Namek, twice. Only this time, Frieza actually got the drop on him, which is dumb because he’s basically doing the same thing Piccolo did to Goku at the 23rd World Tournamnet. Whis even warned Goku about this overconfidence earlier in the movie. I mean, it was forteshadowing, which ought to be okay, except when everything else in this movie is a retread of Frieza’s other appearances, foreshadowing is kind of a bad move.

But Goku’s not the only dumbass in this movie. Frieza decides not to kill Goku while he has the chance, and instead invites Vegeta to do it for him. He even offers to make Vegeta his second-in-command, although his entire Frieza Force is dead except for Sorbet. Geets declines, which isn’t exactly a shock, since he’s hated Frieza for destroying Planet Vegeta. You know, the thing that happened forty-odd years ago that Frieza probably should considered before asking Vegeta to rejoin his team?

Instead, Vegeta tells Krillin to give Goku a senzu bean, and when Frieza tries to stop him, Vegeta deflects his attack so that it kills Sorbet instead.

In return, Vegeta demands to take over the fight, now that we’ve come to his favorite part, the “Frieza-murdering” part. Frieza mocks him for thinking he stands a chance, but Vegeta turns Super Saiyan Blue himself, and now Frieza realizes he’s totally screwed. I guess he figured Goku would be this strong, but he never imagined he’d have to fight Vegeta at the same level at the same time.

This is my favorite part of the movie, where Vegeta informs him that he learned to go Super Saiyan shortly after Frieza’s death. Then again, why didn’t Frieza know about any of this? Sorbet had been spying on the Earth for years, and he seemed to know just about everything else about what was going on. Why didn’t he tell Frieza that Vegeta was living on Earth and that he was about as strong as Goku? “Hey, look, I know you think you can handle Goku with this Golden form, but just understand that you’ll probably be fighting Vegeta at the same time, and he’ll be about the same level.”

For that matter, why did Frieza invade without checking to make sure Goku was on the planet first?

So it looks like everything’s coming up Vegeta in this movie, although this part of the fight is anticlimactic, becuase Goku had already softned Frieza up for him.

But then it turns out that Vegeta swallowed a bottle of idiot pills too, because when Frieza’s Golden Form wears off, he gets desperate and blows up the Earth to escape. You know, just like he did on Namek. At least I can sort of excuse Vegeta for this, because he wasn’t there the last time Frieza pulled this trick, except that Vegeta should have seen it coming, because he pulled the same stunt himself when he first came to Earth.

So yeah, the Earth explodes, again, which just makes the Dragon Ball Wiki that much harder to read, because they count both explosions as dates of death for every character. Goten died in Age 774 and Age 779 and whenever else he would have died naturally.

But all the main characters who were watching he fight are okay, because they were standing next to Beerus and Whis, who made a force field to protect them. Vegeta’s dead, though, because he suffocated when the planet blew. On the other hand, Frieza would have survived, because he doesn’t need air. On top of that, he took out the Dragon Balls, so there’s no way to undo this with a wish.

Then Whis reminds Goku that he has the power to rewind time by three minutes. Yeah, I forgot about this. Earlier, when Beerus woke up from his nap, Whis mentions how Beerus has a nasty habit of destroying things accidentally, so Whis has the power to rewind time and undo it if Beerus does anything especially stupid.

So now Goku has a chance to kill Frieza properly, which he should have just done in the first place.

KILLER QUEEN DAISAN NO BAKUDEN BITES THE DUST

So Frieza’s dead again... until they bring him back for the Tournament of Power, because for some reason fans want him to keep coming back for more of this crap.

Vegeta is understandably upset, because he thinks Goku just jumped in for no reason, but he calms down once he finds out Frieza was about to blow up the planet.

Bulma promises a big feast for Whis and Beerus for helping them, but she adds that it’ll have to wait for them to wish back everyone who died when Frieza destroyed North City. Well, that’ll take six months, because the Dragon Balls haven’t reset since the last wish, right?

Then Goku proposes that he can Vegeta actually practice working together, in case they need to really join forces next time. Vegeta’s like “nuts to that” and Goku’s like “same here”, so at least they have that much common ground.

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The end credits are accompanied by “Z no Chikai” or “Oath of Z”, by Momoiro Clover Z. This song rules, and it’s really much better than Movie 15 deserves.

In the post credits sequence, Frieza finds himself right back where he started, and the angels and fairies welcome him back to hell. Looks like Tagoma had the right idea after all, huh?

And I guess that about sums it up. I feel like this movie wasted an opportunity to do something truly interesting with Frieza. You have a guy who was invincible, then he got killed and spent 15 years in hell, only to get wished back to life by his desperate troops. This could have been a chance for him to ponder his own mortality and the futility of power and revenge. What good does it really do to kill Goku when they both know what awaits them on the other side? What difference does it make to escape the afterlife when you know you’ll just have to go back eventually? You could try to have Frieza answer those questions and have him become a much more desperate and complex villain. Instead, Toriyama just went right back to what he had already written in the Trunks Saga.

Sadly, this looks like the final entry under the Dragon Ball Z brand. Now that Dragon Ball Super is a thing, it looks like any new Dragon Ball stories, like the new Broly movie, will be produced under the DBS branding. I kind of wish DBZ could have closed out on a better note than this.

On the other hand, that Broly movie was a lot better, and even if it was officially titled “Dragon Ball Super: Broly”, I find that it’s hard for the Z to drop out of the public lexicon. When I went to see it in January, the theater had it listed as “Dragon Ball Z: Super Broly.” Old habits die hard, I guess. Maybe one of these years, we’ll see the end of the Z, but not yet.

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animeboston · 5 years

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Five Japanese Filmmakers To Enjoy After Kurosawa

Obviously, all of us are into anime. But how many of us are into Japanese cinema that does NOT involve high school students saving the planet from giant alien robots?

In their Saturday evening panel Japanese Cinema 102: Where to go After Kurosawa, hosts Liz and Zod shared their list of the best Japanese directors--and titles--this side of famed filmmaker Akira Kurosawa. Here is just a sampling of their recommendations.

Yasujiro Ozu This postwar filmmaker is noted for his very intense films that stay with the viewer long after seeing them. Film critics consider him just as iconic as Kurosawa.

Tokyo Story (Ozu’s most well-known work in North America)

Tokyo Twilight

Early Spring, Late Spring, End of Summer (trilogy)

Shohei Imamura Born into an upper-class family, Imamura found himself dealing with Japan’s black market following World War II. As such, he gained an appreciation for the country’s underground culture that is reflected in his work.

Pigs and Battleships (this explores the strained relationship between the U.S. and Japan after the war)

Insect Woman

Intentions of Murder

Seijun Suzuki

An artist with an eye for style, Suzuki tends to lean toward yakuza fare in his work. Considered a cult filmmaker in Japanese society, noted American directors like Jim Jarmusch and even Quentin Tarantino have cited him as inspiration.

Branded to Kill

Gates of Flesh

Lupin III: Legend of Gold Babylon (yes, he was one of many directors to tackle Lupin III)

Takashi Miike

Dubbed by Zod the “James Patterson of directors,” Miike is notable for putting out a slew of movies every year. As a result, his library is vast, varied, and the most accessible for North American audiences.

Audition

Ichi the Killer

Jojo’s Bizarre Adventure (yes, he is behind the 2018 live-action version of the popular manga and anime)

Hirokazu Kore-eda

Dubbed by Roger Ebert as the “heir to [Yasujiro] Ozu,” Kore-eda is noted for being empathetic and really digging into the lives of his characters, many of whom tend not to live the best lives.

Maborosi

Nobody Knows

Shoplifters (this title earned him the Academy Award nomination for Best Foreign Language Film at this year’s Oscars)

In addition to directors with storied bodies of work, Liz and Zod also shared some titles that fans of Japanese cinema would definitely take to.

Godzilla (Ishiro Honda) - Do I even need to explain this movie? Hausu (Nobuhiko Obayashi) - A supernatural horror film that is unlike anything else in the genre, in Japan or any other country. How many characters in horror flicks have gotten eaten by a haunted piano? Kamikaze Girls (Tetsuya Nakashima) - Unlike most other entries on this list, Kamikaze Girls is a sweet film that will leave its viewers with a warm feeling. Liz even shared an anecdote about a former roommate who, despite not being into Japanese cinema at all, absolutely adored this picture.

--Mike Fenn, AB staff blogger

#akira kurosawa #hirokazu kore-eda #takashi miike #seijun suzuki #shohei imamura #yasujiro ozu #film #movies #oscars #japan #us #postwar #filmmakers #directors #AnimeBoston2019 #Anime Boston

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kaiserdingus · 4 years

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Night of the Vampire Robots - 1995 Cartoon Network Retrospective

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Most anime fans in the US over the age of 25 will tell you they got hooked on anime through Cartoon Network’s Toonami block, which aired weekdays from 1997 to 2004. The block would introduce staples such as Dragon Ball Z, Sailor Moon, and Gundam to a national audience, as well as more obscure shows like Tenchi Muyo and Outlaw Star. Toonami was created by Williams Street, Cartoon Network’s in-house production studio responsible for Space Ghost Coast to Coast and Adult Swim.

Well before the launch of Toonami and its success as the premiere anime destination on cable TV in the early 2000’s, Cartoon Network broadcast three animated movies in a one-night event called Night of the Vampire Robots. The marathon aired on Saturday night, January 28th 1995, and featured three anime movies from Streamline Pictures: Robot Carnival, Vampire Hunter D, and Twilight of the Cockroaches. These movies weren’t new, they’d previously been released in theaters and had previously aired on the Sci-Fi Channel, as well as TBS and TNT.

Streamline Pictures were a small film distributor in the late 80’s and early 90’s who would release anime movies and OVAs to American theaters. Founded by Harmony Gold’s Carl Macek and animation historian Jerry Beck, Streamline’s goal was to introduce Japanese animation to American audiences beyond poorly dubbed Saturday morning cartoons. They dubbed and released several noteworthy anime films in the early 90’s, including Kiki's Delivery Service, Akira, and Fist of the North Star.

Anecdotes from viewers who tuned in detail the marathon as being heavily edited, which isn’t surprising considering the mature content in Vampire Hunter D alone. The format of the marathon was similar to that of the Cartoon Network retrospective series Toon Heads. During commercial breaks an announcer would talk over clips from the movies and explain the cultural relevance of Japanese animation.

For this retrospective I watched Twilight of the Cockroaches on Amazon Prime Video, I watched Robot Carnival and Vampire Hunter D on VRV. These versions differ from the ones that aired on Cartoon Network, being uncut and more faithful to the original Japanese releases.

Robot Carnival

Robot Carnival is a package film that was released as a straight to video animated film in Japan, but received a brief theatrical release in the US. It features nine short films centered around robots, some of which are full of action, others can be sad and introspective, and some can be funny and over the top.

The first thing I noticed during this movie was the beautiful animation. Each of the nine shorts is a work of art that could never be produced today. Japan's economy was booming in the 1980′s, resulting in a wave of great animation. Among the animators who worked on the film are Katsuhiro Otomo, creator of Akira, and Yasuomi Umetsu, creator of the Kite series. Only two of the shorts feature spoken dialog, the rest rely on visual cues and the soundtrack to carry the narrative.

The central theme is robots, with each short being about robots in one way or another. One short is about a man who creates a robot who yearns for affection, exploring the idea of what it means to be alive, or to be human. Another segment is a parody of World War 2 era Japanese propaganda films, taking place during the 19th century and features a giant Japanese mechanical wooden robot fighting an invading Western robot.

Vampire Hunter D

Vampire Hunter D is the least obscure of the three movies, having been widely available on home video and given a sequel in 2001. Its based on the popular book series by Hideyuki Kikuchi, and is credited as the first horror anime for adults to feature graphic violence and sexual imagery. This was the movie you didn’t want your parents walking in on while its on the TV.

D is a dhampir, a half-human/half-vampire, with a giant cross sword and a parasitic left hand with a sassy mouth. When the evil Count Magnus Lee begins hunting a towns woman named Doris, D is hired to protect the woman. The movie takes place in a far off future that resembles the late 19th century. Guns are actually high powered laser rifles, and the horses are cybernetic. Its alluded to, but not explained, that the vampires are actually aliens from another world who’ve settled on Earth.

For much of the movie D is seen struggling with his identity, as his father was a vampire and his mother was a human. The humans live in fear of the vampires, and anyone bit by one is cast out of society. D recognizes the suffering vampires have brought upon humanity and vows to protect humans from them.

Vampire Hunter D was a minor hit in the US, prompting the creator to allow a sequel to be made with the West in mind. A PlayStation game would launch in 2000, followed by the sequel Vampire Hunter D: Bloodlust in 2001. The books would eventually be translated and released in the US starting in 2005, and there were plans for a licensed American comic book that were canceled at some point.

Twilight of the Cockroaches

Twilight of the Cockroaches is a movie that blends live-action with animation, similar to Who Framed Roger Rabbit. The movie is about a colony of cockroaches who live in the apartment of a depressed man who can't be bothered to exterminate them. The cockroaches are depicted as cartoon characters with humanoid features, the humans are portrayed by live actors on a set.

The cockroach colony feeds off the unkempt nature of the man in the apartment. He orders take-out and leaves piles of uneaten meals on the counter tops and tables, creating a feast for the cockroaches he largely ignores. The younger cockroaches go out in the open without fear of being attacked, while the older cockroaches understand the need to stay in the shadows. The fears are eventually realized when the man starts dating a woman who isn't fond of cockroaches. In order to impress her, he agrees to clean the apartment and exterminate the roaches, leading to a war between the roaches and humans.

The story is an exploration of genocide from the perspective of the victims. It's true humans generally dislike cockroaches, but the movie presents them in a sympathetic light. The film is shown from the perspective of the cockroaches, showing the humans as larger than life figures. Common sounds the humans make, such as footsteps, boom with a loud intensity that help make the audience feel small.

Twilight of the Cockroaches was relatively obscure even in its time, though it did manage to influence later films. The 1996 MTV film Joe's Apartment was inspired by Twilight of the Cockroaches, boasting a similar plot about a society of cockroaches living in a man's apartment. Director John Payson has been open about taking inspiration from Twilight of the Cockroaches, and outside of the basic premise, the two are completely different movies.

Even though Night of the Vampire Robots was a one-night event, Cartoon Network aired the movies individually during the Summer of 1995. For three weeks in a row Cartoon Network would air each movie at 12:15 AM on Saturday night, during what they called Saturday Japanime. As far as anime for an adult audience is concerned, these would be the last until 2001 when Cowboy Bebop premiered along with the rest of the original Adult Swim line up.

Where to Buy

Robot Carnival (Amazon)

Vampire Hunter D (Amazon)

Twilight of the Cockroaches (Amazon)

Support Y2K FunZone on Patreon

#Cartoon Network #Night of the Vampire Robots #Cartoon Network Anime #Toonami #anime #90's anime #80's anime #Robot Carnival #Vampire Hunter D #Twilight of the Cockroaches

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ayellowbirds · 6 years

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[image description: a gallery of concept art and screencaps of characters from the anime series SSSS.GRIDMAN]

The anime SSSS.GRIDMAN, a reimagining of the early 90s tokusatsu series Denkou Choujin Gridman—brought to the US in the form of “Superhuman Samurai Syber-Squad”, referenced in the title of this new show—has some unexpected additional references, in the form of character and prop design. But it’s not to any incarnation of the Gridman character, nor to other Tsuburaya Productions franchises like the long-running Ultra(man) series.

No, it’s to Transformers toys, including some comparatively obscure items like the fanclub-exclusive Shattered Glass mirror universe. As Twitter users (including yours truly) have noted:

Protagonist Yuta Hibiki is made up of references to the Classics Cliffjumper figure, including wearing shoes that homage his car mode, and a backpack that looks like the “Wave Crusher” accessory when worn in robot mode.

(image source)

Yuta’s agemates are all dressed in references to Shattered Glass:

Best friend Sho Utsumi was the key that made it obvious to everyone: the slashed-out purple logo on his shirt, color scheme, and bagstrap branded TURBO in black on a yellow background all directly homage the side-changing rebel hero Sideswipe.

Deuteragonist Rikka Takarada features a subtle nod to the heroic Megatron in her color scheme and accessories, featuring a black-on-white outfit with a prominent splash of red (SG Megatron’s Decepticon insignia), and a few spots of red-orange, as well as yellow accents.

Popular girl Akane Shinjo may be referencing the patterns of the Botcon 2008 version of the evil Optimus Prime, clad in a sweater with a pattern shaped like his aero fairing, with a purple bow.that seems, like Rikka’s red one, to be an imitation of the faction insignia.

The “Mysterious Boy” has a flame pattern on his clothing, with edges that match the specific purple fire motif of the evil Rodimus, sans goatee.

Classmate Namiko wears a tie that homages the chest deco of the noble Starscream’s first toy, and she even wears a hair clip styled after that toy’s Cyber Planet Key...

...while her friend Hasu is seen wearing a facemask, green hair accessory, red bow tie, and a towel with the image and name of RAVAGE, all indicating she’s meant to be the very groovy Sir Soundwave.

A student briefly seen from behind wears a jet-themed jacket with the word THUNDER, in the the colors of the Action Master homaging heroic version of Thundercracker.

Rikka’s mother is more subtle, wearing an apron with a motif under the collar that imitates the deco found on G1 Megatron’s abdominal section—making the choice of Transformer into something that runs in the family.

A group of suit-clad characters whose names reference the mecha and weapons from Gridman and SSSS are all wearing lapel pins that homage the live-action movie Dinobots:

Samurai Calibur has a purple pin in the likeness of the pattern on Slug’s robot mode shoulders as seen on one figure, a result of the deco on his triceratops mode’s frill,

Big man Max has a gold pin that homages the jawbone-styled armor of the Japanese version of one of Grimlock’s figures.

Twintail-wearing Borr wears her own gold pin, this time imitating the chest deco of spinosauroid Scorn, as seen on another Japanese-exclusive version.

And most overtly yet simultaneously subtly, Vitt has lapel pins that form the eyes—lined up with the ‘mouths’, on his lapels—of the likeness of monster pterosaur Strafe’s two heads.

But there’s more! I thought it was just a coincidence until i saw people talking about Sho, and Yuta’s shoes, but there’s a scene later in the episode where Sho is using a pair of binoculars that are an exacting imitation of the alternate mode of “Real Gear Robot” Longview, as seen in this image put together by twitter user ussa1226:

Will the second episode feature more homages? How did this sneak in, and why, when Transformers is a wholly unrelated property owned by competitors? And does it symbolize something more about Yuta’s mysterious memory loss and the “mission” Gridman speaks of, that he’s the sole non-SG kid... especially when the Classics-verse Cliffjumper’s role in Shattered Glass was as an interdimensional traveler?

#ssss.gridman #gridman #transformers #maccadam

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rayofspades · 5 years

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Everyone in the World Forgot How Remakes and Sequels Work and I Have to Talk About It Because I’m Losing My Mind

I tried very, very hard to make this a coherent and somewhat organized post, but it’s still gonna sound like the ravings of a mad woman, so...prepare yourself.

Also, this isn’t gonna be an analysis of why remakes and sequels are so popular, because it’s exactly as simple as it seems: people like things that make them feel nostalgic and creators have caught on to this and realized that by remaking a familiar property, their new product has a built in fan base.

Great.

What I want to talk about is how the concept of remakes/reboots/sequels/whatever has been kind of destroyed. Both audiences and Hollywood have created these weird perceptions that are flooding the market in a way that is exhausting to audiences and confusing to creators.

So, I’m here to discuss all the different types of remakes and why they work or don’t work and how this culture has been conditioned to support them regardless of quality.

Alright,

let’s do this.

Part 1: Cross-Media Remakes:

I find it somewhat impossible to criticize the existence to book--> movie remakes too much because they’re a vehicle for both creativity and audience expansion, even in cases where they’re motivated by money. Harry Potter and The Hunger Games made for some pretty solid movies, and that’s largely because those books just translated well to film. Obviously some changes had to be made to account for time constraints and visual storytelling, but they can get away with having a similar structure and still feeling entirely new based on the hard shift in presentation from book to film.

I would make a similar argument for Marvel movies. From what I understand, those movies change more from their source material, and there are a lot of them, but it makes perfect sense to adapt comic books to reach a wider audience. I feel like the main reason people are becoming tired of Marvel movies is their overwhelming quantity, not so much the fact that they’re remakes.

I would also love to talk about the popularity of GoT and LotR, but I don’t think I’m familiar enough with those franchises to properly discuss them, so I’ll leave that to someone else.

But there is something else I want to talk about.

While Harry Potter and The Hunger Games translated really well to film, the same isn’t true for some other cross media adaptations.

Part 2: Adapt or Die:

In the late 70s, Stephen King wrote The Shining. I’ve read the book and I really enjoyed it, largely due to King’s writing style (the prose, the internal monologues, etc.)

The thing is, The Shining doesn’t really translate well into the film format; it’s really long and a lot of what makes it good is tied to its presentation.

So when Stanley Kubrick adapted The Shining into a film in the early 80s, he changed a lot.

a lot.

The setting and characters remain pretty much the same, and the story follows similar beats, but certain events and themes have been drastically altered to the point where I would consider it a different story.

(Brief aside; the three most famous/iconic scenes from the film (”Here’s Johnny!” “All work and no play”, and Jack frozen in the snow) are ALL exclusive to the film.)

Regardless, both the movie and the book have maintained their own popularity with their own audiences. Both are considered good and both are considered classics.

Although, from what I’ve heard, The Shining film did receive criticism back in the day for being needlessly unpleasant. Interesting.

It’s a somewhat similar story with John Carpenter. If you ask people to list good remakes, 90% of the time people will list The Thing (1982). It’s practically the poster child for “hey, not all remakes are bad, guys.”

In this case, Carpenter was working from both a previous movie (The Thing From Another World) and the prior novella (”Who Goes There?”). Carpenter’s film definitely borrows more from the novella, but it was obviously going to be compared more to the previous film, and it is v e r y different from the previous film. Carpenter’s film (like The Shining) received criticism for how gross and unpleasant it was, but became the definitive version of The Thing and stood the test of time to become a horror classic.

Basically, if you need to change the original product when remaking it, do it. That is the best thing you could possibly do. It gives the creator a chance to actually create their own unique product that just happens to be based on or inspired by an existing property. This is actually a legitimately cool phenomenon; taking preexisting stories and altering them to fit a new cultural context or simply expanding and improving on ideas. It’s a similar concept to “old wives tales” and fairy tales, and how those stories are constantly changed and retold and in doing so become timeless. Gee I wonder if fairy tales are going to come up later in this post.

Part 3: Bad Changes are Bad

*Strums guitar* This one goes out to all audience members out there who have convinced themselves that bad remakes are bad because they’re too different from the original. *Strums guitar*

Stop.

Please stop.

Look, comparing a remake to an original to showcase how bad the remake is is perfectly valid criticism. It can highlight how an idea can be botched when it’s not handled properly. Sure. That’s fine. I highly encourage people to compare the dialogue, characters, and world building of Avatar: The Last Airbender and M. Night Shyamalan’s The Last Airbender. It’s important to recognize how one story is an utter fucking masterpiece and one is a poorly told train wreck.

Here’s the thing:

people seem to criticize the film on the basis of “it’s different” and, I mean, sure. But it’s not just that it’s different, it’s that it’s different and....um....

bad?

Like, one of the “complaints” I saw about the movie was that firebenders now need actual fire in front of them in order to bend it, and I consider that to be just a neutral change. It’s not really better or worse, it’s just different. And please don’t comment on this post with “skflsfjsf NO it’s because in the original firebenders used the SUN as their source of fire” like yeah I know I get it it’s still an inconsequential change.

Now, saying that the earthbenders being held on land as opposed to the sea is a bad change? Yes, that is valid criticism because it makes no goddamn sense within the movie’s universe and just makes everyone look dumb.

That movie is an utter fucking disaster. It’s poorly directed, it’s poorly written, the casting decisions are baffling, the acting is horrible, it’s poorly paced, and it’s bad.

It’s a bad movie.

I would apply the same logic to the new Death Note live action movie (the American one). Putting aside the racial controversy for a minute, I’m fine with changing things about the plot and structure to properly adapt it into a movie. But...yeah. The plot is bad. It just comes across as really dumb and weird.

So yeah, bad remakes are bad, but it’s not as simple as just being “different.”

If y’all keep complaining about remakes making changes, then you’re only encouraging the products I’m about to talk about in the next few Parts.

Arguably the worst and most prolific products of them all...

Part 4: Sometimes, Things That Are the Same.......Are Worse

Alright, I’m gonna start with a really extreme example, but it perfectly captures the essence of what I’m trying to say.

In 1998, Gus Van Sant made the incredibly confusing and brave(?) decision to remake Alfred Hitchcock’s Psycho. And I do mean “remake,” as in, it is shot for shot the same movie. It’s some sort of bizarre cinematic experiment.

I really like the original movie, so you would assume that, since this movie is literally the same movie, I would like it too.

I don’t.

No one does.

It’s the same movie but with worse performances.

It’s pointless.

Its existence is both unnecessary and confusing. Watching it was a bizarre experience that just made me wish I was watching the original.

(The best part about this is that 15 years after this remake came out, Carlton Cuse and Kerry Ehrin solved remakes forever by making Bates Motel; a contemporary prequel/reimagining of Psycho (1960). This show takes the characters and key events from the Hitchcock film and puts them in a different setting with an altered version of plot points. The creators openly and repeatedly state that they did not want to just remake Psycho and instead wanted to tell a tragedy/thriller using the framework of Psycho. To me, this perfectly encapsulates what remakes are supposed to be. It’s a good show and it’s severely underrated. Please go watch it, just ignore like half of season 3 and you’re gold.)

Unfortunately, the most common and (arguably) the most frustrating type of remake/sequel/reboot/whatever is the “let’s do the same thing...but different” type. They can be a retread of the original plot or just take the title and elements of the original and use them while adding nothing substantially new.

Independence Day: Resurgence, Alien Covenant, The Thing (2011), and proooobably most direct sequels in any popular franchise (like the Transformers movies) fall under this category.

The most notable ones in recent years are D i s n e y r e m a k e s, but those get their own section.

Also, I’m hesitant to talk about these because it might just be a cultural difference, but it deeply bothers me when I see Japanese live action films that are based on anime and they just...keep everything the same?

Like, in a live action remake of FMA, why the fuck wouldn’t you make up some grotesque and upsetting monster thing for the Nina Tucker scene? Why would you just use the design from the manga/anime??? WHY WOULDN’T YOU ADAPT IT TO MAKE IT WORK FOR LIVE ACTION?????????????????????????????????????

But hey, what do I know. It might just be a culture thing.

From what I’ve gathered and experienced, people have the following problems with these types of overly-faithful and/or pointless remakes:

1) They’re boring because it’s just a retread that feels inferior.

2) They try to replicate elements of the original without understanding the actual appeal (aka the tangible details are addressed while the underlying ideas get sidelined or misunderstood).

3) They just...don’t adapt well.

Even if we were to take The Last Airbender and give it to a competent director who has a decently written script, that’s a case where you probably should have changed a lot more to properly make the jump from animated show to live action movie. Obviously, a lot of things would need to be cut or moved around in order to properly pace it.

I’m gonna talk more about this type of movie in a different section so for now let’s move on to the most recent remake craze that’s driving me up the wall.

Part 5: “I’ve got the power of remakes and anime on my side”

Fuck.

So part of the appeal of anime for me has always been its creativity. While some of it is pretty derivative when looking at specific genres, I’ve always found there to be a significantly wider range of creative ideas and concepts in anime than in any other medium.

But now the industry’s running on fumes and someone let it slip that you can make a quick buck by just remaking a popular IP.

Fuck.

And I don’t wanna rag on the new-ish trend of readapting old anime for the sake of following the recently completed manga. This has had unbelievably successful results with FMA:B and Hunter x Hunter (2011) becoming massive critical hits (and two of my favourite shows).

(Although it hasn’t escaped my attention that studios have, in fact, used this gimmick to make half-baked and poorly crafted products with the knowledge that the existing fan base will buy that shit anyways. I’m looking directly at Berserk (2016) and Book of the Atlantic.)

But now they’re also adapting/sequel-ing shows purely for the sake of cashing in on the original (or adapting pre-made sequel products that were already made with that mindset in the first place).

Clear Card was boring as fuck and transparently existed to sell toys.

I dropped Steins;Gate 0 after around 8 episodes when it become abundantly clear that it took the “let’s take elements of the old plot and just....do stuff” route without keeping any of what made the original cool and unique.

The Evangelion movies seem really antithetical to the original show, and the third one feels like it was made by someone who thought they understood Evangelion and hated it. (But luckily the original is coming to Netflix next year so who even cares. Give me that 10/10 show.)

Although I will admit, Devilman Crybaby’s existence kind of falls under what I was saying earlier in this post. It’s one of many adaptations of an old manga that is changed substantially to fit the current cultural climate, with some unique aesthetic changes thrown in there for good measure.

It’s pretty okay.

But um...

Oh boy...

We’re about to get into it lads.

Part 6: Production IG Broke My Whole Brain. Brain Broken. Dead. No Brain.

Hooooooooo boy.

So, FLCL (also known as Fooly Cooly) is one of my favourite shows. In fact, it’s the only show I’ve ever watched that I have absolutely no problems with. None. Not even nitpicks.

I’ve watched it 6 times, including with director’s commentary. It has an utterly perfect and unique/fluid aesthetic and I wish its visuals were just playing in my brain all of the time. It’s an arthouse comedy, which is a...rare (nonexistent?) genre, and it pulls it off perfectly. Its cool, its beautiful, its silly, its poetic, its creative, it has great themes that can reach both teenagers and adults, and there is literally nothing else on the planet like it.

So when it was announced that they were making a sequel 18 years later with a different cast of characters, I was...weirdly excited. Like a pavlovian happy response. I got even more excited after seeing the trailer.

Only a short while before the show aired did it dawn on me.

Wh...what are they doing?

From the trailer, I could see that they were taking some familiar plot elements (Medical Mechanica, Haruko, N.O., Atomsk, etc.) and adding some different protagonists.

who gives a single fuck about the plot of Fooly Cooly?

The plot elements...don’t matter. It’s just a vehicle for cool and amazing things to happen.

So the show came out, and I saw more clips on youtube. While it is cool that they’re using different episode directors with some different art styles, the difference in quality between the directing and overall visual presentation is shockingly noticeable. I partially blame the fact that the anime industry isn’t as financially stable as it used to be, but this is also a Production IG show that’s based on an extremely popular property, so that’s barely an excuse.

It mostly just looks like an anime with some cool stylistic elements, whereas the original looks stunningly perfect, dynamic, unique, and beautiful in every single solitary shot.

I’ve read and watched many reviews of the sequel, both positive and negative, and from what I can tell it’s a textbook example of a “lets take components of the original and just...use them...while kind of missing the point and appeal of the original show.” Fooly Cooly is made of 100% intangible details. That thing is lightning in a bottle, and by taking the tangible details (plot elements and callbacks) and putting them in your show, you’ve already proven that you’ve completely and 100% missed the point.

Also:

this is the new show’s MAL score. While I consider anything between a 6 and a 7 to be “okay,” MAL scores tend to be higher since people rate on separate components of the show.

Like, a 6.7 on MAL is probably a 3 for everyone else. Yikes.

But honestly, the quality of the show is completely irrelevant, because that’s not the actual problem.

The only way to make a new FLCL product would be by accident. Have a director make a deeply personal product in which they do whatever the fuck they want. Have it be stylistically wild and make it look amazing. Create some sort of arthouse comedy with resonant themes and then just get Production IG to slap the FLCL brand on it to appeal to people’s nostalgia.

And that’s when it hit me.

That’s when my whole brain broke.

That accidental, spiritual sequel product can never happen.

Because it looks like a huge risk to producers.

Somehow, by remaking one of the most original and generation defining pieces of media ever created, Production IG proved that we do not live in a world where that type of product is allowed to exist. It can’t exist.

AAAAAAAAAAAAAAAAAAAAAAAAAAH.

Part 7: Disney and the Culture of Hype(rbole)

When I was young, my family owned two versions of Cinderella on film. The 1950 Disney animated version, and the 1997 live-action version with Brandy.

Obviously, they’re the same story. They follow the same beats and have the same characters. However, there are some major differences in scenes, character portrayal and, most notably, the songs. Both are musicals, but with completely different soundtracks.

If we want to go even further, we also owned Ever After, which is a completely different retelling of Cinderella with a whole new plot made for an older audience (and it’s also very good. Check it out)

In other words, I have nothing against live action Disney remakes, In fact, I think Disney movies based on fairy tales have become their own type of fairy tale; classic stories that are being constantly retold and reshaped to remain both relevant and timeless. It’s beautiful.

What the fuck is Disney doing in the 2010s?

Right now, the trend seems to be completely recreating older Disney classics, only making them live action and, um, “fixing” them.

If you want a detailed analysis of this, go watch the Lindsay Ellis video about Beauty and the Beast. I’ll briefly sum up, but you should definitely watch the video.

Look, I personally don’t hate Beauty and the Beast (2017), but once you notice that the Beast’s character arc doesn’t really exist...

and that there are a bunch of plot threads that either don’t go anywhere or are just kind of pointless...

and that there’s a weird trolley problem with Belle and the servants that completely botches the moral of the story....

and that by adding a bunch of logic to a fucking fairy tale you’re stripping it of its appeal and also just creating plot holes...

and that the singing isn’t nearly as good as the original...

and a bunch of other problems with acting and characterization....

you start to notice that “hey, they made the exact same movie....but worse.”

But, people are okay with that.

Most people didn’t even really notice. And that’s fine, like what you like. I enjoyed the movie well enough, even though I definitely prefer the original. But...I would probably also like a different retelling of Beauty and the Beast if it was a good product. Except, then it would also be...new? And potentially better? Or at least a lateral move.

I just watched the trailer for the new Lion King (2019), and it looks...kind of good. But even thinking this...I kind of long for death, because the entire trailer is just “hey, remember THIS from the original.”

I’m just...I’m just done. I’m burnt out. I’ve had it.

When are we gonna stop making the same movie over and over again?

Or when are the changes actually going to make sense? I’ve seen most of Tim Burton’s Alice in Wonderland and it just goes in the opposite direction of changing everything, but the changes are just.....uggggh. Not good. Bad changes are bad.

The thing with Disney is that they are also a hype generating machine, especially after purchasing both Marvel and Star Wars. I once heard someone say in a video that, back in the day, people were trying to make the best possible product so it would sell and get popular. People...don’t really need to do that anymore. If you get 304958493093 billion people excited about the next movie in their favourite 80s franchise by promoting and hyping the shit out of it, then you’ve already secured tons of butts in seats before the movie even comes out. Every movie is an event movie if it comes from Disney and is part of one of their big franchises. Every new thing based on an old thing is the new “best thing.”

Even a new sequel that I actually liked, The Incredibles 2, was weirdly hyped up. (Also, even though I liked it, it didn’t escape my notice that there were a bunch of plot problems with the villain and the script proooobably needed another draft. Just saying.)

So, the big questions are, in this current culture, are we ever going to get another original sci-fi property, like the 80s Star Wars trilogy? Are we ever going to see a boom in a genre outside of Disney owned properties? Are we ever going to get another insane, passion-project smash hit like Fooly Cooly?

No. I don’t think so.

Not in the current state of things. 10 years from now? Maybe. 20 years from now? Probably.

Part 8: Concluding Thoughts

I don’t know, man.

People are still making original things, but they’re not as popular and/or creative as they need to be to change where we are right now.

The very existence of Get Out does lend me some hope. It was a creative and original movie and a very large audience of people (including myself) really liked it.

Yay.

More of this please.

So, um, yeah.

I’m going to go watch Fooly Cooly for the 7th time and scream into a void.

Mmmm bye.

#movies #Disney #flcl #the thing 1982 #psycho #the shining #beauty and the beast #cinderella #update:i fixed the video link

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icanbehardcore · 5 years

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My top 10 Powerpuff Girls episodes

(PLEASE NOTE THAT THIS WAS WRITTEN BACK IN NOVEMBER SO SOME OF THIS IS A LITTLE OUTDATED SO WE’RE NEARLY INTO FEBRUARY...ABOUT TIME I FINISH THIS DAMN REVIEW!) For some reason, @princess-peachie‘s love for PPG made me want to do this too haha! Can you believe that The Powerpuff Girls -one of the greatest Cartoon Network shows- has turned twenty? I know it's a little late but I get such great fond memories watching this as a little kid. The Powerpuff Girls was a spunky, energetic, entertaining, action packed, heartwarming and funny show. I indulged myself into watching this whenever I could and I always looked forward to it. It didn't matter if I saw the same episodes repeated again and again, The Powerpuff Girls would never shy away on putting a smile on my face. I LOVED this cartoon, it’s pretty special to me because it came out on the 18th November 1998 (my 10th birthday), at the time, we didn’t have access to Cartoon Network so I wasn’t aware of this show until early next year. My first glimpse of the Powerpuff Girls was a mention and a brief clip shown of the girls flying and staring at the camera during a line up of Cartoons showing at the time. I actually got curious straight away and had no idea whenever I’d get the time to finally watch it.

Finally one evening after 2 Stupid Dogs finished, The Powerpuff Girls was announced next and this finally gave me a chance to watch it in peace. I was alone in the living room and I quietly sat there like ...well a kid, waiting, I was excited, I would finally get to watch this show after trying to.

Unlike most Cartoon Network shows in which it took me a while to get into such as Ed, Edd n Eddy, I already found myself smiling to myself and even quietly laughing. If I can remember correctly, the first episodes I got to watch fully for the first time were “Fuzzy Logic” and “Tough Love”. I don’t know why but somehow I knew I was really going to enjoy this show more than I’d expect. The Powerpuff Girls isn’t JUST your average typical cutesy show starring three female leads. It has more than that, it had action, it had a great stories, it had great adventure, it had great voice acting, speed, pizzazz and most of all…IT was actually very funny! Craig McCracken had come a long way since making these characters onto a small card he drew, to his own animated shorts to then one of the most iconic and important shows Cartoon Network had ever put onto their channel.

I loved it more for what it produced, I really liked how it pulls your audience in thinking it’s a cutesy girly show with all rainbows and giggles, but really, it’s a cartoon that captivates the audience with it’s humor, voice acting, soundtrack, atmosphere and even the sneaky pop cultural references and of course: adult humor. I would constantly tape the show whenever I could and when it came to those memorable ones, I KNEW I’d enjoy them again after more than one watch. There was something about this show that really appealed to me and sometimes I couldn’t quite lay a finger on it. When I first watched this show, I was glad I had instantly become a fan because this was one of those shows that I got into and enjoyed before anyone else did in the household. I’m glad it wasn’t just a girly girl’s show. I was happy that the main heroes were unique in appearence and seemed all sweet innocent looking kids which do nothing other than fighting crime, play around and act like little kids. I think what grabbed male audience’s attention more were the villains and I can see why. They were all funny, engaging and their use of dialogue and voice acting were terrific. All well done to a tee!

When you’ve got voice talents such as Tom Kane, Jennifer Hale, Cathy Cavadini, EG Daily, Tara Strong, Roger Jackson, Jim Cummings, Tom Kenny, not forgetting the late Chuck McCann and even occasional to major and minor voice appearances from Kevin Michael Richardson, Rob Paulsen, Kath Soucie, Jeff Bennet and even Mark Hamill, WHERE can you go wrong? With a good cartoon, comes a good cast of voice artists.

Craig McCracken put his heart into this show and I am glad to have grown up with this masterpiece. The Powerpuff Girls is no doubt one of my favorite animated shows of all time and I will continue to watch them again and again and never get tired at watching the many episodes that are so dear to my heart. Craig really knew how to create a masterpiece and one that would go onto become a cultural phenomenon. He really knew how to create great characters young, old, male and female, and yet have the main lead cast all female that would appeal to both girls and boys is quite a milestone in cartoon history.

In honor of this series, I will be counting down my top ten greatest Powerpuff Girls episodes. I will however not be including the movie, the Christmas special or the Dance Pantsed Special, also I am only focusing on the original 90s show and not the 2016 reboot. WARNING: Spoilers ahead.

With that being said here are what I consider the greatest episodes.

10 - The Bare Facts This was one of the first episodes I ever got to record onto vhs, I remember so well on Christmas eve and I couldn't wait. I would constantly watch it played back again and again and you can see why.

Most episodes focus on the girls fighting crime and succeeding, but here, all the action is unseen...at first.

Sometimes when sibling characters argue in animation, it can be degrading, unpleasant and makes you want to lose interest in the characters all together, but here, it's done right, to a point where the arguing isn't degrading or stale and actually pretty funny. Also I love how clueless the Mayor is about everything, especially the scene about "the note", this scene always had me laughing as a kid.

Throughout this episode, the setting is all in the Mayor's point of view, complete with various styles of the girls versions of the story on how it all happened, done with an art style shift for each girl. This idea is hilarious and I love how they constantly jump in with different story telling patterns as follows: Blossom tells it mostly focusing on her (all about her, nobody else), complete with a light red tinted scene.

Bubbles tells it in a rather light hearted but adorably accurate way, complete with crayon drawing scenes.

And Buttercup tells it in a rather shadowy olive-green scene, mostly focusing on the action and not the details like Blossom did.

The Mayor however is oblivious to what has happened and is only wondering why the girls were laughing earlier.

I will NOT spoil the ending for this episode for those who haven't seen it, although I really could have done without the narrator's little puns to go with the moment. Again, the episode title just may give you some ideas.

Overall, this episode was great and was even nominated for an emmy with it's brother episode "Bubblevicious".

KEY MOMENT FOR ME: The "pretty clouds" scene. Seriously cracks me up!

9. Just Another Manic Mojo

I can't think of any episode focusing on Mojo Jojo to be as brilliant as this one, sure "Child Fearing" was hilarious, "Monkey See, Doggy Do" is a classic and "Mr Mojo's Rising" is one that shouldn't be ignored. But if I had to pick any of the Mojo Jojo themed episodes, it would be this one. Just imagine, a day in the life of a villain: Waking up miserable, going through so much hell each day and reading the news to such goody-goody acts.

Watching this episode back to back constantly, I never got tired of it and I knew it almost word for word at some point.

The first half of this episode focuses on Mojo getting up, regular routines such as showering, doing his teeth, ceasing the day and readying up for breakfast...until he discovers drama in the kitchen...ONE EGG LEFT! I just love the little ramble he does here, over a single egg, what follows is an ingenious rollercoaster of comedy gold. Whenever Mojo's onscreen, you can't help but laugh, with his hilariously bad Japanese accent and repetitive Speed Racer-esque sentences, you can see why he was a fan favorite.

What follows the events is the girls accidentally having their ball crash through their window and what do they do? They ask for it back (well, better than busting in through the roof and looking for it, eh?).

I would probably give it away if I were to describe what follows afterward, but if you really want a laugh, then this episode is the one for you. Of all the episodes where the girls drive Mojo insane, this has got to be the funniest.

KEY MOMENT FOR ME: Just Mojo Jojo, he's absolutely hilarious in this episode, the girls being a runner-up too for not keeping still. Also one word: "curses".

8. Supper Villain This episode is hilarious on many levels, most of the story is done for laughs and the setup is well...average...averagely brilliant. It's great to hear Kath Soucie on the Powerpuff Girls again (true fans should know that Soucie started off voicing Bubbles in the two pilots via What a Cartoon before Tara stepped in for the role).

The repetitive dialogue is great, played out for laughs and builds up for even more laughs, mixed with great voice acting.

The story? Harold Smith spends his life working at a mustard factory, bored with his life, he longs for something more, with a dark secret. But when his beloved wife Marianne invites the neighbors over for dinner, Harold is vulnerable and finally breaks free and shows his true colors.

His outfit reveal (obviously home made) is enough to make anybody laugh off of your seat. With his newly found identity, Harold reveals his first villainy. From here, we get some hilariously unforgettable gags, and one of the best scenes that eventually became an Internet meme: "Eat your pea, Professor!". No matter how many times I watch it, the dinner scene is just classic. Being a comedic show with guests at dinner, I'm pretty sure you can figure out what happens next.

Key moment for me: "Eat your pea Professor!" No doubt about it.

8. Jewel of the Aisle I'd like to point out here that this episode aired right as Kelloggs released a Powerpuff Girls themed cereal. Sadly it was limited and has since discontinued, so good luck on throwing your pennies onto ebay to grab a box. Now, this episode never really gets talked about enough, maybe because the main villain here is a nameless crook who you never really see again. The story's premise is simple, the girls fail to track down a thief who had just stolen a priceless diamond from the jewelry store. Unable to locate him, they retire for the night, swearing they will meet again. The crook however, hiding in a cereal factory accidentally drops his prize into one of the boxes, which then ends up in the local supermarket.

When the crook fails to find his precious gem, he's down to one box -which ends up in the hands of the Professor. The crook follows him home stealthily only to his horror to find out that Professor Utonium is the father of the Powerpuff Girls. Upon his spying, he notices a commercial (with terrifically shifted fluent animation that almost feels Disney or Warner Bros. esque) and comes up with a cunning plan...dressing up as "Lucky Captain Rabbit King", the cereal's mascot, I'll leave it up to you on what cereal brands they were parodying here.

While these cereals weren't so big here in Europe, heck, I only ever remember eating Lucky Charms in my own youth a lot until they went up in price later on. I still got the reference easily thanks to the internet. This still didn't stop me from getting laugh, gag after gag.

Think of this episode as a Yogi Bear cartoon, but instead of stealing a "pic-a-nic" basket or a pie cooling off on the window sill (or a plate of hog jowls if you're thinking Ren and Stimpy), you've got a box of cereal with a hidden unknown prize not included in most boxes. The comedy in this episode is hilarious, for example, how much cereal did the girls go through and not notice a diamond? Also, the classic usage of oblivion and determination is brilliant, it's like watching classic golden age cartoons of the 40s and 50s again. The crook taking on a role parodying the Trix Rabbit is just so funny to watch, no matter what he does, he is being outsmarted by three adorable kindergartners. I love how the girls just play along with the gag and constantly kick him out,. My favorite part would have to be when the crook disguises himself as a monster outside off the front window complete with a Townsville scenery. YOU know you're going to laugh out loud when an idiot pulls this gag out of his hat and fails to succeed.

On a spoiler's note, I felt a little sorry for the crook when he broke down, forgetting about the jewel and focusing on the cereal, I don't know, maybe it's when Bubbles (who is honestly the sweetest little living being on two legs in cartoons) actually gives in and offers t it to him. While most stories like these do tend to have a happy ending for the determined victim, we don't get that here, which is why this episode works. Again, while I've probably spoiled most of the plot, it's too simple anyway. With that being said, "Ridiculous Lucky Captain Rabbit King, Lucky Captain Rabbit King Nuggets are for the youth!". Okay, I'm actually craving junky cereal now, especially imported from USA! Key moment for me: The comedy in this episode.

7. Telephonies This is another classic episode, the comedy and timing is perfect, the plot is great and gives us a look into the lives of the villains when they are chilling out and not plotting evil schemes. When something is funny, it has to have speed at exactly the right time, otherwise the joke falls flat and loses it's cool, that's if you can pinpoint that in your head and understand where I'm going with this.

When the Gang Green Gang start making crank calls throughout Townsville, they are lacking in great ways to pull them off. So, after calling the Mayor with Grubber impersonating Ms Bellum, making him leave to "cut the ribbon for the new mall, declaring it open", giving them the free run of the Powerpuff Hotline. What we get is a rather "interesting" insight of the villains at home doing their own thing as the girls burst in and constantly beat the living hell out of them, only to learn that they were NOT even committing any crimes. Here, we learn that Mojo Jojo is more sophisticated than you think (yet we see him in Manic Mojo actually buying eggs at the supermarket), he listens to classical music and reads the paper and even takes naps in an armchair. Also, what can be more funnier than the "evilest of all evil" ("Him") working out in complete aerobic equipment? That is just friggin hilarious, I also love how polite he is when the girls break in, but the one that gave me the most laughs out of the villains was Fuzzy Lumpkins. Nobody likes having their privacy invaded, especially when you're taking a relaxing bath, the delivery here from the girls was priceless, especially when Bubbles ended it. I love how the violence and beating up here is played more for laughs and not action itself.

Another thing that still cracks me up in this episode is that these villains are all pretty close friends and even keep in touch by landline, that's right, even down in the depths of hell, HIM has his own phone to make calls. When's the last time you've seen cartoon villains in conversation over a phone? Brilliant!

The ending too is pretty funny and I like how the girls don't believe the Mayor after three cock-ups in one day.

Key moment for me: As I said, Bubbles' delivery to Fuzzy was "tell it like is is funny", BUT the true comedic gem in this episode personally is Professor Utonium. The running gag with him still at the receiver on hold is fantastic. I will forgive the fact that near the end, you see him outside the girls door but I guess that adds to the comedy.

6. The Powerpuff Girls Best Rainy Day Adventure Ever. That's right, that is the actual name of the episode and by god it's a mouthful. Now THIS episode just gets better and better every single time with each watch, whose genius idea was it to create an episode where the girls play pretend? In this case, literally playing The Powerpuff Girls. This includes them playing various roles for other citizens in Townsville and as all kids do when playing together, arguing on who gets to be who?

Honestly, this episode's premise is spectacular. I love how the girls hardly even use superpowers at all, not to mention the unforgettable one liner from Buttercup while playing as a monster. Also, it was nice to actually see the girls here get more comedy than they usually do. For most of the part in the series in general, the comedy is thrown around depending on the characters, story and situation, but here, the girls really do steal the show.

I'm pretty sure a lot of us as kids can relate, with our friends or siblings role-playing as our favourite characters from cartoons, but as each other, that's unique.

PPG Best Rainy Day Adventure Ever is definitely one of the funniest episodes of season 2, so next time you're having a bad day and it's raining, not up for walking the dog, cos it's rai-, okay, enough spoilers. Go watch this one next time you want to see a lead female cast of kindergartners at their funniest.

Key moment for me: The Mayor. You'll have to watch it so not to spoil it.

5. I See A Funny Cartoon In Your Future Seasonal rot is painful, especially cartoons that were so highly well received by critics and fans alike. After the Powerpuff Girls movie, the show followed the upgraded animated style which kind of watered down the true charm of the first four seasons, as well as lacking in great ideas for stories, most of seasons five and six were...mediocre with sour pickles on top. Luckily, this one made me laugh. A hell of a lot!

The entire story is told like episodes of Jay Ward's Rocky and Bullwinkle cartoons, complete with cheesy but hilarious and witty puns, fourth wall breaking and running gags. We also have the main one off villain here voiced by the late June Foray (voice of Rocky and Natasha Fatale). I like how she and her goosey sidekick are drawn to mimic the style of Jay Ward's characters and the little commercial near the end of the episode spoofing the Nicotine Patch. It's such a shame this episode wasn't traditionally animated, for I would have really liked to have seen some lush fluid animation to boot up this episode more. Interestingly, I never saw the Rocky and Bullwinkle cartoons as a kid, since they weren't very big in England, but I got into the franchise when I watched the movie on VHS non-stop and loved it (it's a guilty pleasure haha), so you can see why this episode gave me loads of laughs.

Also note that sadly, June Foray passed away in July 2017, leaving a legacy of cartoon voices behind and fond memories. Since her passing, Mrs Strong herself went on to provide the voice of Rocky for the new Rocky and Bullwinkle series, keeping the spirit alive as always. Good one Tara! Great work. And I mean it! KEY MOMENT FOR ME: The voodoo dolls. Seriously, I quote this a lot haha! Also, just the whole episode being a tribute to Rocky and Bullwinkle.

4. Meet The Beat-Alls Okay, this is definitely getting close to what a WatchMojo list would look like, no? WELL I'm gonna jab this list and have it up before you can say "Ringo Starr's a Powerpuff Girl!", but how can I NOT make a top 10 Powerpuff eps. list and NOT include this episode, and I quote @UmbraMagna, "This episode is absolutely fantastic!", never have truer words been spoken? Telephonies made way with great laughs, but that was more focused on the Gang Green Gang, here this episode focuses on Him, Mojo, Princess Morbucks and Fuzzy in what is probably the funniest Beatles parody I've ever seen.

Craig McCracken himself has always been a huge fan of the Beatles, so when season 3 was ending soon it ended with the sister episode to Moral Decay and you know what? It saved the season finale. Every second, there's a reference to...well, the Beatles. Sure, "Homer's Barbershop Quartet" of The Simpsons was fun and had lots of references to the band and other acts, but an entire episode where it's nothing but Beatles second after second, how can you go wrong?

From the Abbey Road walk, to the musical style, to the Yoko Ono reference, to just everything about it, it's one episode that will have you laughing after a Hard Day's Night. EG Daily (voice of Buttercup) has stated during a Comic-Kaze guest panel that this was one of her favorite episodes.

Show creator Craig McCracken himself even listed this episode as one of his top ten favourite episodes of all time. There is one little nitpick, but I guess it doesn't matter, since it still makes way for great comedy and I like how a SINGLE rock actually defeats the girls (back when cartoons weren't very pc, just the way I like'em). Whether you like the Beatles or not, Meet the Beat-Alls is a great episode with the villains at their best. Key moment for me: The whole episode, brilliant!

3. See Me, Feel Me, Gnomey. NOTE: WATCH THIS EPISODE WITH CAUTION! CONTAINS FLASHING IMAGES! I LOVE THIS EPISODE! Remember what I said about seasons five and six suffering from seasonal rot and mediocre episodes? Well, here's one that I probably consider one of the best of them during the Chris Savino era. The entire episode is much longer since the intro is cut short to make way for what comes next. An unbelievable half hour of a pure masterpiece.

For many, being a great voice actor means they have to know how to sing and here, we have a lot of it. It really gave the voice actors' chance to show off their singing voices a great workout and boy, did they nail it right out the park? While it's not the most comedic, it's still epic, fun and unforgettable. This episode was like an evil apocalypse, not even fighting on who gets to defeat the girls or who gets to cause destruction or rob banks. It's a real shame they never released this as a true soundtrack, it's so beautiful.

It's got an Andrew Lloyd Webber and Pink Flloyd's "The Wall" feel to it. I really wish this was the episode's true finale, since it's been debated and rumored to, unfortunately the true finale (not counting the specials) was that of What's the Big Idea, a complete let down, since both McCracken and Savino agreed that the show had run it's course, even though Cartoon Network did ask for a seventh season. If only...sadly, we can't have everything.

The Gnome -the main villain of this episode- was quite interesting, exchanging peace to Townsville for the girls' superpowers, yet making everyone bow down to him. Sadly, this episode was banned from airing in the USA, some say it was because of the message of communism, but the true reason for the ban was for the red and white blinking lights that flashed during the Gnome's spell. It's too bad this was never edited for safety so the US audience could experience it at the time but luckily, it was included in the complete tenth AND twentieth anniversary box set, just proceed with caution, I'm saying this for your own safety. I love the Gnome's setting, in a large rose where he lives in peace, I forgot to mention that he was voiced by the legendary Jess Harnell and boy, was he a perfect choice? Have you ever heard Jess sing OUTSIDE of cartoons? Why don't voice artists get more love? Seriously.

Speaking of which, Tara Strong and EG Daily (who only just recently released a song "Impeachable" (parodying Christina Aguilera's "Beautiful") together for charity) really got to show off their vocal talents here more. Also not to leave her out since I love all three of these amazing talents, Cathy too has a remarkable singing voice! God bless these ladies! In conclusion, See Me, Feel Me Gnomey is a fantastic episode, mixed with action, drama, music and sheer brilliance from start to finish. Key moment for me: The whole episode. I can't pick one moment. I really loved the harmonizing from Strong and Daily during Cavadini's singing solo in "You Wanna Make Us Feel Real Good". Seriously, once these three sing, it just seems unreal, yet magical.

2. The Rowdyruff Boys Okay! I'm pretty sure a lot of fans saw this one coming, I mean it's one of IMDB's highest rated episodes, as well as another one of Craig McCracken's favorites. This episode not only marked the debut of the titled characters of the same name, but was the first of many half hour episodes and of all of them, this one was at it's best. While not the MOST comedic and the boys at the time didn't have as much personality as they did in their later appearances, this episode still left a huge impact on the fans, in a good way. The action in this episode is some of the best I have seen during the McCracken era (something the later episodes lacked), probably along with Stuck Up, Up and Away and Bubblevicious. Tired from constantly being defeated day after day and thrown into jail, Mojo Jojo comes up with the perfect plan to get rid of the girls by creating a trio of kids of his own. Instead of the sweet ingredients for the perfect little girls, Mojo gathers up several ingredients to create the not so perfect little boys. I love how the idea was a reference to the little rhyme "What Are Little Boys/Girls Made of?".

There's some pretty funny but questionable moments, such as...why would the prison serve escargot? I love how the caterer actually smiles in response. Also, why is the Talking Dog suddenly a prison guard? Oh what the hey? It still makes for hilarious gags such as having his tail snatched to finish the ingredients. What I don't get though is Mojo's breath as he flushed the ingredients down the toilet...then again, maybe it was because of when the girls were born causing the chemical reaction to still have an affect which in return passes on to others, in this case, the Rowdyruff Boys. Interestingly, the boys named themselves, while the Professor named his girls. What made this episode great was the voice acting, Roger L Jackson as Mojo yet again was perfect, as well as providing the voice of Butch, Buttercup's counterpart. Cathy, Elizabeth and Tara's energy in this episode were spot on and we even get to hear the legendary Rob Paulsen as Brick and Boomer.

When the two teams meet face to face, they start a huge brawl, the action as I said is amazing, some of the best in any episode, it's like the teams have lept right off the screen.

There is a little problem I have with this episode and...well...it's the whole counterpart vs counterpart thing. I mean...is it really that hard to tell the difference between a little boy and girl with the same hair color? Especially when they use the same chunks of animation for each member fighting against each other, take the cartwheel scene for example. Other than that, the animation in this episode was terrific.

This was also one of the first episodes in which the girls were defeated and nearly for good. But with the Disney-esque tears of life trope, they are revived in seconds. I can forgive this trope here but NOT in Pokemon: The First Movie. Shamed and crestfallen by their defeat, the girls decide to leave Townsville, only to be given a pep talk by Ms Bellum.

And what we get after a little subtle adult joke followed by a defeat from the girls...without the violence, in Sara Bellum's words, "try being nice". I just love how the boys are distracted by the girls as they are standing looking pretty...well, pretty. Pretty as any little girl could be, I laugh my head off every time in this scene, it's both cute and funny, especially with the flirtatious "come hither" eyelashes and sassy “Hey boys!” expressions on the girls that aren't usually seen. You'd expect this kind of thing on a more mature character, one with an hour glass shaped figure and heels. But alas, being kids, the boys can't stand the thought of ...cooties and somehow, this kills them. Literally. No, seriously, they actually die, in a rather humorous way after a long battle with the girls. What makes this scene great is that there's no dialogue, not until the boys scream at the top of their lungs.

I may have spoiled it a little but hey, visualizing it in your head isn't the same as watching it and believe me, it is a really funny scene. Think of it has a "distracted by the sexy" trope but toned down. Also, what I said earlier about the counterpart trope, I'll make this an exception since it was clearly obvious that it was going to happen.

This episode is a fan favorite, unfortunately, it did have a reputation of inspiring fanart and fan-fictions and McCracken himself actually poked fun at this scenario in The City of Clipsville. This episode was not afraid of almost killing off the main characters and three children in fact, but then again, there was so much edge in this show, there was nothing like it at the time. The mix of action, humor and drama is perfect. It's too bad the follow-ups with the boys didn't get the same impact as this one. In conclusion, The Rowdyruff Boys is incredible and really shows that girls are tougher than they look. Take Buttercup's quote "It takes more than a couple of cheap shots to make us cry!". Inspiring.

Key moment for me: The boys' defeat...by cooties. Hilarious. After nearly an entire episode of nothing but non-stop action, violence and a huge brawl in Townsville, we get a comedic flirt scene.

NOW before I finally get to number one, here are some honorable mentions.

Him Riddle Diddle - I love the suspense and how it already started with peril, it felt like some kind of action movie. HIM sets the girls up on a riddle-fest or else the Professor will -in Him's words - pay. I could have had it on this list but...the one bit that bothered me was Buttercup piloting a helicopter...umm...when did she learn to...okay, Uh-Oh Dynamo, they are controlling a large robotic being of themselves but a helicopter? I don't know, maybe it was all done for comedy but yeah, it's still a great episode. What makes this episode great is that it builds up with suspense, from one riddle after another, still filling comedy in the cracks and gaps of course. Also when you have Him as the main villain, he's always coming up with something unique, yet nasty. I won't spoil the ending but it is hilarious, I love the girls' reactions after working their butts off to save their father ONLY to...well see for yourself.

Superfriends - @KarToonComics has already kind of gone on about this episode and I have to agree with her on what she said. I have had lonely problems growing up and found it hard to make friends and socialize. Also, I've personally lost friends due to someone else cutting in the way and excluding me by taking over them and. I don't like to go into it, but we have all had that experience.

The girls meet Robin, their new next door neighbor and befriend her, it's really satisfying to actually see the girls being kids, having fun and playing together for once.

I shut this one off the list though, because...well, some of the later episodes, I can't stand the sharpness in Bubbles' accent, it's noticeable especially in her Ls. It's like she's getting a bit of a Spanish brogue in there (which probably makes sense since she can speak the language), but I just find it really distracting.

Also, while I really liked Robyn, she somewhat looks similar to one of the other kindergartners in school. Watch Stuck Up, Up And Away and see for yourself. Her friendship with the girls was cute, I really like how they all bonded together like all little kids, but of course, being superheroes, the girls didn't always get enough time to meet their new friend, their next door neighbor in fact. That's pretty sad, you can tell the girls themselves could feel it inside them that they wish the hotline would once not ring and they could do their own thing but Townsville seems to have problems every single time.

Robin and the girls walk to school together the following week when a limousine pulls up carrying Princess Morbucks as a passenger. She offers the girls a lift in the car IF they let her be a Powerpuff Girl, the girls' decline the offer (by the way, I love Blossom's expression during Princess's little bribe).

I can't really go on more without totally spoiling the episode so see for yourself what happens from here. It's a great episode, also a BONUS for Robin's hilarious one liner and of course the entire sequence set to the song Signal in the Sky by The Apples in Stereo, damn, why couldn't we have more episodes like that, that'd be just brilliant. I'd have loved to have seen a cameo appearance of Bis, or Dressy Bessy.

Helter Shelter - I don't know why but I wish this episode was longer, then again with a premise as stupid yet funny as this one, it would probably lose the comedy after a while.

Bubbles loves animals, we all know that. In fact, she loves them so much, she has a habit of bringing them in the house.

The following afternoon, Bubbles brings in a baby sperm whale into the house and the results of trying to hide it from the Professor are hilarious. I love the way the girls panic and all the hiding spots aren't very well hidden for a large mammal such as a whale calf.

The dialogue and gags are some of the stupidest yet funniest in any episode, yet they somehow add up nicely. I also love the running gag of the Professor yelling out Bubbles' name, he kind of reminds me of Dave Seville in Alvin and the Chipmunks. .

You'll have to watch the whole episode to find out what happens but I can't say if it will make you laugh or not.

Equal Fights - This was a great episode, in fact I felt it could have been longer, but then it would probably drag on and go nowhere. The girls become sexist to all males after meeting and releasing Femme Fatale, a master thief, bank robber and also bit of a hypocrite.

While Grey Delisle did a fantastic performance with her role here, I felt that Femme Fatale was one of the more forgettable minor villains.

If this were a double length episode, I would have liked to have seen more of a backstory on why she's a misandrist.

Also I felt the character was eye-candy and fan-service material, from her slender figure to her skin-tight outfit. Also, I love how precocious the girls themselves are on a brief history lesson about Susan B. Anthony.

The morals were great but personally, this along with a similar episode Members Only just didn't quite make the cut for me. I did love the references to the Justice League though.

Child Fearing - I love the Mojo Jojo themed episodes, especially where he's with the girls throughout and they make each other's lives a living hell. Unfortunately, some were a fluke and hit and miss while others like Slumbering with the Enemy and this one; Child Fearing are great.

Late for science presentation in a rather clumsy fashion, the Professor hires a babysitter to look after the girls. There's a wonderful reference to a certain N64 game here, I don't want to spoil it in case you may haven't seen it. But it's a great laugh if you know your games. I also love the little smirk the girls give each other when they know they are alone and the Professor forgot to ring for a sitter.

Anyway, the Mayor is too busy to sit for the girls because he's playing video-games, so the girls get an unexpected visit from their arch-enemy Mojo Jojo and the results are pure hilarity, one after the other.

The girls aren't stupid, without a simple huddle or plan, they immediately decide to take advantage of all this and become incredibly obnoxious, mischievous and bratty as any little kid can be. I usually hate obnoxious characters but it's played here perfectly.

It's impossible not to laugh at Mojo here, but also feel sorry for him at the same time. It's a real shame there weren't anymore episodes that had this kind of comedy, because this one is absolutely hilarious from start to finish. Also, the TV scene is absolutely brilliant, the highlight of the episode.

Buttercrush - This was one of the many episodes that immediately got me into the show. Already silently into it that is lol. Anyway, this was an episode I felt went on just too quickly, but if it was extended, it would drag on.

The Gang Green Gang reek havoc at a playground and when the girls show up, the gang's leader Ace throws drops to his knees and does a pathetic routine of guilt. Reluctant, Blossom (being the leader of the girls) agrees, but Buttercup begins developing a crush on Ace, after a tip of his shades, a soft thank you and a wink of charm, Buttercup believes she has just met Mr Right.

Interestingly, Buttercup barely has any dialogue in this episode, heck she only has one or two lines top and tail (if giggling counts). This episode was not afraid to tackle the precocious crush issues, here we have a kindergartner falling for a teenager. It's amazing what the writers got away with in this show.

Buttercup would sneak out every night to visit the gang, I don't know HOW she managed to avoid the Professor checking in on her or anything.

This is one of the few Buttercup themed episodes that was actually good, if not the best one. Although I put it in the honorable mentions because...well...Buttercup's crush didn't last long, in a way it's a good thing otherwise her sisters would have been history, but makes you wonder how much love suddenly poured out of her own heart.

Overall, it's a wonderful episode and deserved a mention.

Cat Man Do - I was SO close to putting this one in the top 10, I saw this episode a lot on Cartoon Network when I was a kid, seriously, they repeated this one again and again yet it never bothered me.

I guess I put it here because...well...the origin of the cat is unknown and who was his master? We never see or hear from him again (minus a brief cameo).

While I haven't found of thought up any theories, that doesn't stop this episode from being a classic. I did feel like the heist scene with the Professor went on a bit too long for a ten minute short. Also, if I were to pick a moment that had me roaring with laughter (not just this episode, but the entire show) every single time, it would be the "We can keep Kitty" scene. The reactions of the girls are priceless and I love how they suddenly lighten up in seconds. Comedy like this in cartoons is rare now, especially with such speed. Also a bonus for the cat himself being voiced by Mark Hamill.

Bought and Scold - Of all the Princess Morbucks themed episodes, this has to be one of the best. Here, she buys all of Townsville and makes crime legal, making the girls' and other citizens' lives miserable. This even leads to everybody's belongings becoming property of the Morbucks household and the villains get to do what they want. Most of all, the Mayor gave the key to the city to Princess, causing her to take over Townsville.

That is until the girls think up a plan to get all they had stolen from them back in a rather hilarious twist. I also love when Morbucks finally snaps and eventually agrees to make crime illegal again, the girls just go off to do what they do best. Seriously, how can you not love the dialogue free scene with the Gangreen Gang, also Blossom's little smug expression when she shows Ace the legal and illegal papers is just brilliant.

As satisfying as it is to see a happy ending again, I can't help but feel bad for Princess here, yeah she's rotten and spoiled but maybe she was raised like that. In fact, you never see or hear of her mother in this show and her father comes off as a bit abusive as seen here with the newspaper, obviously not giving his own daughter a chance to speak. That's why I left it out here.

Super Zeroes - Kids will be kids! Whether they play make believe, go on adventures with their toys or are influenced by cartoons and comics. Which is pretty much what inspires the girls to create their own alter-egos here. Well, sort of.

The girls are sad because they don't feel like "better" superheroes. They don't have an interesting backstory, nor are they dark and tormented, nor do they even have interesting costumes. So they decide create their own alter egos complete with new costumes.

Don't question where or how they got these outfits or maintained the little abilities, I guess that adds to the comedy. I love how when a monster does hit Townsville, the girls go their own way in their own fashion, very slowly and the results are hilarious! I love how Buttercup's alter-ego "Mange" only goes out at night, kind of a not to Batman. I love how Bubbles' alter-ego resembles My Melody and other Sanrio esque characters while Blossom's got a Wonderwoman vibe to it. I can't really give the episode away without spoiling the plot truthfully but I guess the moral is to be yourself and stick up for it. Which is exactly what the girls did at the end. Only a little spoiler. The moment that really makes this episode is the fact that the girls take so long to fight, you'll have to see it for yourself to get the laughs.

Mime for a Change- Season 1 of the Powerpuff Girls was terrific, there were so many memorable and great episodes and one that particularly comes to mind when you think "Craig McCracken" is this one. I used to watch this episode a lot back in the day and loved the concept of it. I'm not too keen on clowns but Rainbow is just the average friendly harmless kind of person who does his job. She he sounds pretty obnoxious and irritating but he doesn't have many speaking roles. His villain alter ego was pretty unique power-wise, but the question I'm pretty sure we're all asking is...was the bleach radioactive? Was there Chemical X in it? Guess we'll never know, but in a way, that's what adds to the charm. Either way, the bleach seeps out not only the color on Rainbow, but his cheerful personality too. His good kind heart and light sense of humor has gone sour and his love for bright colors has switched to black and white.

Upon realizing what he can do, Rainbow or in this case, Mr Mime can now takeover Townsville by draining all the color right out of it. Not only that, but also affecting those cheerful moods of the citizens of Townsville, also they can hardly speak due to the power of mime. It's really clever. We also discover in this episode that Bubbles loves to draw and colour, especially with crayons like most little girls her age. Upon discovering the black and white atmosphere, she goes on a rampage scraping wax of colour with every crayon she has. Seriously, it's like her box of crayons never ends or run out! Ah cartoon logic.

I have to admit, Tara Strong's performance for Bubbles here during her little panic is pure gold, just listen to those vocals! Keep in mind that she was only 25 at the time. Mega talent!

Her sisters soon take action and look for the suspect. When they finally find Mr Mime, they make chase until they are at a dead end and are ambushed by him. Why couldn't the girls just fly away? Bubbles meanwhile, thinking she had proudly saved the day all by herself wonders where her sisters went and when she discovers them depressed, colorless and mute, she sobs but brightens up immediately remembering she had a crayon but to no avail, it doesn't work. Realizing that her crayons aren't magical, Bubbles thinks up the next best thing...of all 90s cliches in cartoons, she and her sisters save the day...with ROCK MUSIC! Yeah, it's cheesy and all but also a beautiful message. A message of love. Love Makes the World go round is one of the few times the girls ever actually did a musical number and oh my god was this one memorable? I wish there was an extended version of it and an official release, but I guess we'd have to make do with the hidden track on the Heroes and Villains CD. Just listen to that chorus. This is the song that Cavadini, Strong and Daily all used to warm up their performances and vocals whenever they were together in the studio.

I put this episode in the honorable mentions because of the ending, it was a bit hypocritical, one minute the girls are singing and putting a smile on everyone's faces, the next thing, they send Rainbow to jail when it wasn't his fault. Of course, he may have been forgiven later on. But who knows? Overall, this was a memorable episode. KEY MOMENT: Seeing the girls hug, it was adorable!

Ice Sore - Blossom discovers that she has a power that her sisters don't have, causing her to show it off. I put it in the honorable mentions because it deserved it, I felt that Ms Keane making all her class go outside in the frying heat to be a bit irresponsible though.

A Made Up Story - Phyliss Diller's performence as the villain was great and the comedy in this one a bit slow but did have some hilarious moments, plus that ending! It feels like what would happen if Stephen King’s Carrie was turned into a comedy.

Tough Love - One of the first episodes I ever saw and caused me to fall in love with the show as so as I watched it. The concept is dark, creepy and yet unique. When I saw those girls get beat up, punched, kicked, beaten up (heck even by adults), I couldn't believe it. I knew this was the cartoon I waited for, all my life.

Bubblevicious - While not a favorite of mine, I still had to put it here in the honorable mentions list, because, well Strong's performance as Bubbles was absolutely brilliant. Hearing her growl that epic drawn out "haaardcoore" was the cherry on top of Bubbles' character and we see a more stronger side to her. Fed up with being treated like a baby, she does things her way, something even Buttercup probably wouldn't do. My problem though was the way she treated the Talking Dog, threatening to hurt him, a bit hypocritical for Bubbles' taste since she loves animals. This episode was Craig McCracken's all time favourite and you can see why it was nominated for an emmy.

Speed Demon - I gave this episode a mention for the creepy-factor and I mean real creepy. Sometimes I don't know if I'm watching a creepypasta or an episode of the Powerpuff Girls. The show is usually full of action, bit of drama but going as low as this is unusual, this was another dark episode. Everyone chanting "your fault" to the girls is like the equivalent "They're all gonna laugh at you" from Carrie. Can you just imagine travelling so fast that you went fifty years into the future? The concept of this episode is both creepy, unsettling and disturbing.

Knock It Off - Again, an episode that isn't often talked about. This double length episode is one of the darkest in my honest opinion. Dick Hardly is one of the nastiest, sadistic and cruelest one time villains I have ever seen. Cloning the girls with a full vile of Chemical X and shipping them all over the world just sounds like yet another creepy pasta.

Also, have you seen how deformed these clones looked? Enough to disturb any audience. The scene where the Professor discovers the base and suddenly freaks out at all the hideous deformed clones is probably how anyone would react if this happened in real life. Also, seeing the girls die onscreen was heart wrenching, of course, if this show ended now, it would have been one sad finale.

Did I forget to mention that Dick Hardly's monster form was just terrifying! Those tentacles on his chest just really seemed off. On the funny side, I love how it’s like the writers were trying to push it on how many times the girls say “Dick”. Also, what was that nerd doing with his PPG doll?

The Boys are Back in Town - The sequel to The Rowdyruff Boys, this half hour romp sees the girls meeting their match for the second time. The girls learn that the boys were brought back to life from HIM and had given them a cootie vaccination, so they are now strong against the girls. I left it off the top ten list because...well, again, the counterpart battle technique just got stale and I found that the boys personality resulted in some rather gross and painfully vulgar scenes. It's like they were trying to compete with Nickelodeon's 90s shows.

Also just a side note and personal opinion: I do prefer the boys' hairdos here. Also the scene where the girls discover the weakness was hilarious. A bonus for Blossom’s cheeky little one liner.

Beat Your Greens - This was a classic episode. I remember watching it a lot as a kid. The moral is simple: eat your vegetables.

This was the time when Craig McCracken was still at high stakes on the show and this was only it's second season. A time when morals weren't always the key of the show. Also Buttercup's brief pep talk/speech to one of the kids was great and really motivating. Also I love the little Star Wars reference.

Curses - I left this one out because this trope has been done before in other shows including Spongebob Squarepants and Arthur. But that doesn't stop the episode from being funny. The villain was hilarious, a literal talking potty-mouth who basically just talks gibberish as if he's swearing and every time the girls swore, it was bleeped out with various sound effects and the results are hilarious. I think the funniest moment was when the girls flipped out on the Mayor all over a pickle jar complete with swearwords and their mouths washed out with soap. Overall, this was a funny episode but sadly, when a trope has been done to death, is there really any high stakes for it to be in a top ten list?

And the number one greatest Powerpuff Girls episode is...

1. The Powerpuff Girls Rule! I am counting this one as an episode! Argument invalid! WHERE do I begin? This was all drawn and animated on Flash and released as the 10th anniversary special and you know what? It's absolutely brilliant. Everything is thrown at you in seconds, the humor, the pacing, unpredictable moments, the voice actors returned again and are just as great and the best part? Craig McCracken came back to write this masterpiece!

Not only was this special a breath of fresh air for the fans, but it felt like a new revival for the Powerpuff Girls done right! Sadly, this was Craig's last involvement with the Powerpuff Girls...when you think about it though, it’s not the same without Craig McCracken as writer and director, so you can see why there are lots more funnies here compared to seasons five and six.

Originally, this was planned to be an hour long but instead was reduced to a full length episode, which is why everyone suffers from motormouth syndrome throughout!

I love all the little callbacks to the classic episodes, including the villains and nearly every second had me laughing with tears streaming down my cheeks! THAT'S the true essence and formula of The Powerpuff Girls. Try watching this special with a straight face if you are a die hard fan of this show, seriously! It's impossible!

Ten years before, the reviews poured in calling this cartoon "gut-bustingly funny", well, this really shows! It's like the show had won back the brilliance when Craig came back and I really wish there was more!

The plot is so ridiculous yet hilarious and I quote the PPG wikia: The key to the world is sent to Townsville, and The Mayor has the responsibility of keeping watch of it. However, he misplaces it, and all the villains of Townsville break free from prison to search for the key, each one of them wanting to obtain it and rule the world, especially Mojo Jojo. The Powerpuff Girls must find the key and return it to The Mayor, before the villains get to it.

Everything about this episode is absolutely fantastic. I will forgive the little reference to a certain 2000s meme thrown in, although it wasn't really needed, but who can complain, right? It was bound to happen since every decade, cartoons tend to have that trend that will blend in with show's plots.

The moment all the motor-mouthed dialogue starts, it's impossible not to sit back with an enormous smile on your face. This was like a true love-letter to everyone who worked on the show, filled with crazy gags and some of the funniest build up on the show, complete with crazy references and everyone filling in on tickling the funny-bone.

The moment Blossom does her impression of Mojo Jojo (COMPLETE with camera angles, close ups and a shot of the entire planet earth) is hilarious! Her sass and smug attitude here just makes it!

I love how cartoony and slapstick this special was, although a little out of character, I don't care, I find it rather hilarious! There's surprise after surprise, after surprise! I've never seen The Powerpuff Girls go beyond the mark of full-on craziness!

I will admit, the motor-mouthing did feel a little forced and rushed but the plot still made up for it with all it's glory! I can't give anymore away without spoiling the entire cartoon so go watch this special when you can!

The Powerpuff Girls Rule! is -in my opinion- the greatest episode of all time. Now ten years old, it makes us all wonder what is in store for the twentieth anniversary. With the reboot having mixed reception and the merchandise still selling, we can only dream on having another special just as fresh and funny as this one.

"Key" moment for me (okay, that pun was lame): The whole episode was filled to the brim with timeless and hilarious moments but if I were to pick one, it would have to be Mojo singing a Jimmy Hart version of Part of Your World. Honestly, the funniest thing ever done on the show, period! Kudos Craig McCracken! You can’t spell slaughter without laughter and this episode did just that almost! A new meaning for the term: gut-bustingly funny!

And with that, ends my top 10 greatest PPG episode list! What are your favorite episodes of all time? Which ones make you laugh the most? I'd love to read and/or hear your opinions! :) With that being said, after twenty years, this show still holds up and I will always enjoy it again and again whenever I have a bad day. If you really want to see every classic episode again, then go buy the complete dvd set, it’s just been re-released as a twentieth anniversary box set! Thanks for reading and thank you to @crackmccraigen for this masterpiece!

#The Powerpuff Girls #top 10 list #best episodes #PPG #cartoon network #brilliant #my opinon #screw watchmojo #haha

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