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zeta-in-de-walls · 3 years

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Hey guys, I was having thoughts on the meta-side of the Dream SMP. Okay, so we know that Technoblade has done much of the scripting for this present arc, Tommy, Dream and Quackity have also done some in collaboration, presumably doing each of their own characters and motivations, and Tubbo and Fundy have also been involved too. Uh, this will be rambly as it’s a lot of unsorted observations.

Obviously these are my thoughts, and ideas purely based on my observations as a viewer but you can definitely tell that they’re all very aware of the fanbase and are likely very influenced by them. I could see this even in the Pogtopia arc where Tommy started reusing phrases before when debating ethics with Wilbur, eg ‘let’s lose as winners, not win as losers.’ or something along those lines and how Techno made a callback to his only universal language is violence speech in his wither monologue.

But wow, the scripting is definitely becoming a lot more obvious in this new season of the SMP. Not a bad thing at all, by the way, it’s just a difference. Clearly they’ve gotten more detailed plans and are more ambitious with what they convey in minecraft, with more players taking inspiration from Wilbur after how well he executed it. It’s also the difference in how the various people write, I’m sure.

Tommy and Tubbo have streamed the SMP for the longest and have very gradually evolved into the roleplaying and their respective approaches to it are very interesting. Tubbo’s streams are typically chill and usually involve him working on some sort of project - he’s very chaotic when with other people but is usually very reactionary when it comes to the roleplaying - doing most of his best stuff when bouncing off Tommy, or occasionally Quackity. On his own he doesn’t like to lead bits but is among the best at making other people’s bits work. Same with the RP! His character’s in a weird spot right now as the other writer’s seem to be writing him in quite an unflattering way and he doesn’t do solo, emotional performances all that much meaning he’s less sympathetic right now then he really should be. Like, Tommy garnered loads of sympathy during his exile as he gave a very expressive performance where Tubbo’s character also presumably feels very isolated and alone and he’s being manipulated by the people around him but he gives a lot less. This has made it easier for the audience to start siding more with Technoblade, the literal mass-murderer, over the traumatised kid who was manipulated into exiling his best friend and continues to face terrible choices with no good options.

While I can of course make less meta theories on why Tubbo should be appreciated more and what it says he’s got no real support and is compartmentalising his problems, in the end it’s how his streams work. Tubbo does plot related streams, and he does streams where he simply vibes - and even in the serious streams, he can joke around and cheerfully lampshade the goofiness by doing things like joking about wanting a good review from Techno while kidnapping him - that stuff is priceless and does not fit into the melodramtic scripts but it adds so much to the SMP and why it is so much fun to watch. Tubbo’s really good at making content better! He’s not afraid to look ridiculous, he will also unapologetically avoid engaging in too much melodrama himself when he doesn’t feel like it. I consider his character highly underrated in the plot right now.

Tommy knows what he’s doing. Even before the roleplaying really took off, Tommy liked to play a character and lead bits and the SMP shifting in a more scripted direction suited him exceptionally well. Tommy focuses heavily on streams with lots of content, only rarely doing more chill stuff - especially more recently. He has always approached streams with a plan - but usually their extremely loose and he has said that he’d sometimes just come up with an idea 10 minutes before the stream and improvise from there. Tommy’s good at improvising and seems to work best with a very loose plan. Where I think Techno likely came up with the plan for Tommy to get exiled from L’Manburg and then join forces with him, Tommy likely filled in how to play his character and - wow.

Tommy’s writing seems to be incredibly simple - each exile stream had no major plot points or anything and the plans that are there don’t even make logical sense (let’s throw a party in one day and let’s invite everyone but have Dream not send out the invitations so no one shows up - and I’m going to do this even with Philza and Fundy literally in the call.) but Tommy pulled every one of them off very well and proved to be compelling enough that no one cared at all whether the plot made sense nor did Tommy make much effort to justify that sort of thing - ‘cause he knows how the SMP works and how much the audience will go along with it. And instead, Tommy focused entirely on his characterisation and spent all his time exploring it. That’s how Tommy works - very simple plans, then improv in character into an engaging bit. He’s managed to pull off the most ridiculous things like that, and has confidence that the other streamers will support it - that’s how he’s prepared to try insane things like pretending to be Clarencio the llama. And, like Tubbo, he’s always willing to throw for content.

Then there’s Technoblade. He’s streamed the SMP a lot less - though he’s done so much more recently - but he’s spent a lot more time playing on the SMP, doing tons of grinding. He here for the RP but is also committed to playing the game itself very optimally. He seems to have a much larger view, taking in the bigger picture, of the story where Tommy has a very personal view. His approach to content is all about the fanservice.

He’s always trying to create big epic, moments, that both look and sound awesome. Like the butcher’s army plotline which let him both seem like an underdog, a victim against a mean group, and also an incredible badass figure who outplayed them all and came out as victorious. The butcher’s army were really given an antagonists role there, and were really made to seem unlikeable. Then he met up with fan-favourite Tommy and suggested a team-up with him. (This is also leading to the ultimate fanservice that is the Sleepybois team-up.) Techno’s got a very, dry self-aware sens of humour too and he’ll often make simple meta observations about the SMP - like noting that the pacing’s fast or teasing in the chat in the middle of wars. He’s also made himself into a bit of a meme what with logging just to say his name and leave.

I don’t know how much it’s just Techno of course, but the plot really seems to be heading in a direction that suggesting that Technoblade was Right. L’Manburg’s seeming corrupt, and Tommy is being seen as Theseus. At the time Techno first made the Theseus speech, I felt like the comparison seemed unfair - but now it’s like the plot itself has bent over to make the comparison make sense, and Techno’s one of the writers of the script. Techno also of course, prepared a vault to show Tommy so he could say ‘welcome home Theseus dramatically - total fanservice as fans were indeed talking about how cool saying a line would be, and then he absolutely did. The way Techno calls his viewers chatting as the voices in his head is also fanservice. It’s not like actually true, as Techno ignores the chat if they tell him information his character doesn’t know and meanwhile all the streamers interact with their chat too - so all chats have always been a part of the story and calling them canon is absolutely meaningless. Not a bad thing though - it is nice and makes the fans happy and makes them feel included. I don’t know if this sounds critical by the way - it’s not meant as such at all - all the streamers love engaging with the fandom, and Techno’s approach to giving lots of fanservice by providing so many epic moments is great. I just wanted to highlight it.

And those were some meta thoughts on the SMP right now and its writing. I don’t really think I had a point or argument. I just wanting to make some observations and my impressions. If you’re curious I am course a Tommy fan first. I love how he’s evolved with the SMP most of all and I appreciate his character-driven storytelling. His main weakness is probably getting too into bits and going too far and it’s so nice that the SMP is a place where even his weaker ideas are supported rather than shut down. I like how he’s able to improv so well and simply how he streams. Perhaps unsurprisingly, I love Tubbo best when he’s with Tommy as they bring the best performances out of each other. I find Techno interesting as a contrast to both of them, as he approaches so many things in such a different way.

#dream smp #tommyinnit #tubbo #technoblade #meta #analysis #long post #i don't know what this was #i should just ask for asks #so i can ramble with more direction #like i have a lot of thoughts #but they're not all as coherent as i'd like

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magnoliapip · 3 years

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Ranked: Mother of the Year (Choices) Main Characters

I can’t sleep so that means I need to make another list that I’m not going to proofread before I post, right? Of course it does. But before we start, please remember this is my opinion on who I liked best. Not who impacted the story the most, not who was the best written fictional character of all time, yada yada. This is my personal opinion of the characters I liked best.

Spoilers WILL be featured below. You have been warned.

#13 -- Tallulah Copeland

Tallulah is a parent to a child at Bernhardt Academy, a friend of Vanessa Blackwood, and an active member of the PTA. Hugo is her partner.

This woman. I would flat forget this woman existed until she would show up again just to wreak havoc on MC’s day, usually at someone else’s urging. Every single time she spoke, I just wanted it to be over and she is just an awful, AWFUL person. She’s also the only awful person in this book who never pretends to be nice and/or never apologizes for her actions. Just an all around nasty person.

#12 -- Hugo

Hugo is a parent of a child at Bernhardt Academy and an active member of the PTA. Tallulah is his significant other.

If you’re actually reading these little blurbs, you have to be wondering “MagnoliaPip? How in the hell is Hugo ranked lower than two other unmentionables in this story?”

Thank you for asking, no one ever.

Put frankly, Hugo just annoyed the crap out of me. I know that’s supposed to be part of his character, but it went above and beyond the scope of acceptable annoyance. I grew to hate every second he was speaking. He never really contributed anything to the plot other than some irritating drivel. He wasn’t an antagonist, but he also wasn’t a pleasing good guy. He’s also the reason I’m considering not re-reading this book again right away like I want to.

#11 -- Guy Ledford

This man. This. Man. THIS MAN!

This part is going to include major spoilers, y’all, so if you haven’t read it and are still intending to, skip away now!! Again, major spoilers from here on out kids.

Guy Ledford is your main character’s ex-husband who has been absent for four years since the start of the book and wants to reconnect with his daughter. He is also a CEO of a snack food company/app, Nomme. He is the main antagonist of the book.

The reason I didn’t rank him lower is he genuinely adds something to the plot. He IS the plot. He’s the reason this book exists. However, he is such a scumbag he deserves nothing. He feels like a trope for quite a lot of the time, but at least he’s not physically abusive like a true trope could have been (at least, I never noticed him being physically abusive). Just, you know, a gaslighting, manipulative, arrogant, rude, selfish son of a-

I also love that they named him “Guy”. I’ve only ever met one man named this in my life, so it’s funny to me that they named this jerk “Guy” so it’s not only the most generic sounding name (did his parents also get a dog named “Dog” and a cat named “Kitty”?), but also one that a lot of men won’t likely have so they don’t have to get name checked in relation to him.

I like that you can get a good outcome (Guy ends up with joint custody with visitations every weekend and having to back pay) without spending diamonds in this game as long as you make the right choices, but for those who DID spend all of the diamonds, I would have liked to have seen Guy end up with worse. I would have liked to see, if you made most of the right choices and bought all of the diamond stuff, him ending up with every other weekend or maybe just visitation. I know he’s trying to be a good dad (but still an absolutely terrible human being), but every weekend seems like so much when your daughter is in school.

#10 -- Augustus Blackwood

August Blackwood is one of Vanessa Blackwood’s sons and is a student at Bernhardt Academy.

I’m not going to spend a lot of time on this one. But he hurt my daughter and that’s enough. I would have liked to have seen him fleshed out a little bit more beyond being basically just a schoolyard bully. His motivations for his actions are hinted on, but nothing is really ever done and he’s mostly just a prop for something to hurt your daughter.

#9 -- Vanessa Blackwood

Vanessa Blackwood is the president of the PTA, a single mom, and a lawyer and becomes an antagonist to your character.

I’m probably going to get hate for this, but I want to like Vanessa. Obviously, she’s hateful and offensive, in some very, very unredeemable ways, but there’s something about characters like that which makes me want to forgive them and teach them how to be better. How to rehabilitate their bitterness. I felt it with Olivia Nevrakis, I felt it with Victoria Fontaine, and I know certain people in the fandom felt it with Becca Davenport and Poppy Min-Sinclair.

**DISCLAIMER** Keep in mind, I’m not trying to excuse homophobia and racism here. They are both despicable things and should be accounted for. However, after having grown up in a homophobic and racist home and learning to leave that shit in the dust by the time I was eighteen and SLOWLY teaching my family to do the same over the course of the last 10 years, I believe people can change if you give them room and help to. Not everyone will, not many people will, but I believe in giving the chance. We need to force people to take responsibility and learn from their mistakes. Should the book have been approved as a series rather than a stand alone, I think this might have been a very real option within book 2.

#8 -- Ajax “AJ” Blackwood

Ajax Blackwood is one of Vanessa Blackwood’s sons and a student at Bernhardt Academy.

AJ is the quieter of the Blackwood boys, AJ is a shy kid who hates that his brother is mean just as much as your daughter does. He finally has enough within the book and stands up to him, which was more than a little satisfying and he does seem to have a genuinely good heart. I think it would be so cute for him, your daughter, and Luz to be their own adorable trio of friends.

#7 -- Levi Schuler

Levi Schuler is your neighbor who helps save the day for MC early on in the book and becomes a friend to both her and your daughter. He is also one of your love interests.

And if this list is going to invoke hate from the masses, it will be this entry that does it. I know how loved Levi is. And I love him too! I just find him, and his musician plot, to be a bit tiring. He’s a wonderfully supportive friend/love interest, just about one of the nicest people, and he’s great with your daughter. I swear, all of the love interests in this book would be god tier in any book. It’s truly unfair to the others that we got three amazing ones here along with a great cast of characters. However, since that did happen, Levi will sit here at #7. He can have a consolatory rugelach while I continue on.

#6 -- Faye Devore

Faye Devore is your ex-husband’s new girlfriend, a younger social media influencer.

I loved Faye. Right from the start, I loved Faye. I prayed they weren’t going to make this into one of those books where we were supposed to hate the “other woman” because those plots are old, outdated, and overused. Thankfully, MOTY lets us skirt right around it and we end up with a wonderful character like Faye, who is the human definition of having the best intentions.

She gets on well with your daughter, even pointing out to MC at one point that she thinks of her like a little sister, and goes above and beyond to make her happy. She is genuinely upset about going against MC’s wishes about your daughter appearing on social media and doesn’t appear to want to cause any harm or hard feelings with MC at any point during the book. In fact, she wants to be friends.

I would have loved for this and for it to be fleshed out more, again, if we had ever gotten a book 2. I’m also that jerk who would have totally romanced her in a replay and would have emptied my wallet to get a scene in that hypothetical book 2 where Guy finds out. Take that homophobe!

#5 -- Dr. Eiko Matsunaga

Dr. Eiko Matsunaga is a science teacher who teaches at the private school your daughter goes to and becomes friendly with MC because of your daughter. She is also one of your love interests.

If I would have had a teacher like Dr. Matsunaga when I was in school, maybe I would have cared about science at any point during my childhood. Eiko is so incredibly smart but has a heart of gold. She could be off teaching at colleges or writing published journals, but she’s teaching elementary science at a private school and honestly enjoying herself! She wants to see children succeed and will give any child who wants to do so, like your daughter, all of the help they need.

I want to romance her. I want to be her friend. I want it all because I’m selfish even when I don’t because I could never possibly be worthy of the supremacy that is Eiko. Thank you for coming to my TED talk.

#4 -- Your Daughter / Zoey

Your daughter is 9 years old at the start of the book and desperately wants to be an astronaut. She is a science whiz and moves from public school to Bernhardt Academy at the beginning of the book to kickstart her education.

It makes me so sad that I will never actually have this child. “Zoey” is just so smart and funny and sweet and I love her so much. I spent so many diamonds on her. She’s a pixelated little bundle of amazing and I would die for her. That’s it.

#3 -- Alma Velasco

Alma Velasco is your neighbor, best friend, and (for part of the time) co-worker.

What did our character do to deserve such an amazing ride-or-die friend like Alma? She never disbelieves MC, is forever supportive as a shoulder to cry on and a supplier of good wine, and also helps MC out of more than one pinch. Seriously an amazing friend, and I wish we could have done something equally amazing for her to reciprocate.

#2 -- Thomas Mendez

Thomas Mendez is a lawyer and a single dad who becomes friends with MC very early on in the book. He is also one of your three love interests.

A big reason for why Thomas is at #2 is because of who #1 is but we’ll get there in a second.

There’s also something about Thomas that speaks to me as a person. It’s more than just being interested as a love interest or as a friend. There’s something about who he is. His awkwardness, his humor, his kindness and his generosity all make him someone I envy as much as I admire.

He takes on MC’s case pro bono when he doesn’t have to. He shrugs it off like it’s no big deal, but stepping back and looking at the it, by all accounts he was walking into a handily losing situation. He was also super busy at this time being a single parent himself and working on his class action lawsuit. That’s not even saying anything about him still grieving for Soledad.

However, the biggest reason I love Mr. Mendez is...

#1 -- Luz Mendez

Luz Mendez is a student at Bernhardt Academy who becomes best friends with your daughter early in the book. She is a soccer and art fan.

This little girl is the best thing I have ever read in my entire life. She made the entire book. Every character that came before her pales in comparison to her majesty. She is a goddamn queen and deserves everything.

Every scene with her is gold and I wish we had more. This little girl was completely willing to curb stomp someone with her cleats at the courthouse if something would have happened to your daughter. She is so aggressively herself and it is a joy to see. The relationship between her and her father is what really kept me going through the book’s more difficult spots. There is such true love and acceptance there, as well as the drive and desire to do better for the other than I just...There is really no way for me to properly explain the perfection that is Luz Mendez so I guess you’ll just have to read it yourself.

---

I’m not sure why it took me so long to start reading Mother of the Year (MOTY), but I’m so glad I did. In 3 days flat I binged the entire book, wasted so many accumulated diamonds, and had the time of my life. The cast of characters in MOTY is perfect and I wanted to rank them according to my opinion on which ones were the best. I ranked all of the characters I found to be profound enough to matter to the storyline or that MC or “Daughter” had enough interactions with to matter. As a result, there are several characters who didn’t make this list.

Sound off below if you wish.

#choices spoilers #choices mother of the year #moty #choices moty #mother of the year #luz mendez #thomas mendez #levi schuler #eiko matsunaga #alma velasco #guy ledford #faye devore #vanessa blackwood #mother of the year spoilers #moty spoilers #spoilers

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botwstoriesandsuch · 3 years

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Whoopsie King Rhoam’s a dick but I gotta flesh him out so

Read Part 1 here!

Part 2

If you’re on mobile, and tumblr hates this post, follow along on this google doc!

Rules/overview this rewrite in the beginning of Part 1

‘sup ya beautiful bastards it’s time to gush about the process of storytelling and writing as we fix up the fix it fic so let’s just jump into it

- - - - - - - - - -

A quick recap of Part 2, and I swear this recap is faster than the recap last time: Chapter 3 of Age of Calamity opens with a more substantial scene the beginning points of Revali’s character, and contrasting the old position that Link and eggbot have, so that their later changes in this chapter (well, at least for Link in this chapter) are more pronounced. We edited a bit of the dialogue to make Revali’s intentions make a bit more sense, while also putting some little foreshadowing points with some camera tricks for the Hollow Champions. The Hollow Champions can now speak, which means their potential for being used to bring out the flaws or bitter aspects of each character is more readily available further into the story. And of course, we’ve introduced the main antagonist of Astor, and coupling his presence and dynamic with Zelda’s insecurities. While his intentions of needing Zelda for something is clear, his motivations and backstory remain a mystery as of yet, the only true clue we have so far being some sort of connection to eggbot.

I didn’t get any big asks or comments about Part 2 so I’m going to assume that it was mostly well received (although I will note that I promise I’m going to flesh out Revali to be more than he has been presented as of yet, this is just the very very start of this development don’t you worry your feather loving butts) that being said, you should totally critique me or give me your opinions or comments. I’d love to hear them! Although, keep in mind that I am restraining my rewrite to the guidelines already said, so don’t get mad at me for not killing off all the Champions or something. Thaaat’s a rewrite for another time. So yeah if you reblog you get a little kiss from me because believe it or not I spent a lot of time trying to rewrite an entire storyline while keeping it’s tone and integrity intact. So thanks much <3

Okie dokie then chaps! Let us finally delve into Urbosa lesbian vibes, a zest of Zelink angst, rants about pacing, and a couple tablespoons of Astor backstory, all starting in the latest stage of Chapter 3: The Road Home, Besieged

So right of the bat, big problem here. This Chapter follows directly after the events of Korok Forest, so you assume that maybe “The Road Home” refers to the team, going home, back to the castle, to tell King Rhoam what’s up. But...that’s apparently not the case.

So this entire stage, firstly, it brushes over any scenes where Zelda, Link or the other Champions might talk to King Rhoam about the Master Sword, or the Deku Tree, or...hmm what else happened last stage that might be interesting to see—oh yEAH HOW ABOUT that mysterious magic guy that tried to kill Zelda and was going off about the future and stuff?? That guy that wielded a bunch of dark magic and malice looking stuff and, uh yeah, you’d think it might be important and interesting to see the King’s take on was is essentially a wanted traitor to the crown who may or may not be leading the entire movement for the Calamity’s uprising. But nope, no one asks questions, no one says anything or has interesting conversations that reveal stuff about the plot. It's just….just all about Zelda and ooooOOooo she can’t awaken her powers oh no what’s a gal to do!

And I do mean that quite literally, this entire stage is all centered around two scenes with Zelda. The first, an admittedly narratively important scene of Zelda having a quick flashback about eggbot after he sings her a song, but it lasts for five seconds. And the second, being a pep talk with Urbosa as Link eats rocks in the background. For the majority of this stage, it’s all focused on Zelda, and pacing wise, it does virtually nothing to progress the narrative/plot forward.

And on paper, there’s nothing wrong with that! Hell, people read entire fanfictions dedicated to character development and relationships that have absolutely no external plot. Having a scene dedicated to just character development is completely fine, it’s something that’s pretty common and even encouraged to an extent. The problem arises when you remember that this is a story being told through the medium of a video game.

Now, I am going to try and breeze by this because, similar to Age of Calamity, I have to also construct this post with pacing that keeps my audience engaged, while progressing with my core narrative and story. But I highly encourage you to watch through this video by hello future me (On Writing: How to Master Pacing) because a lot of what I know about this I’ve picked up from his videos, and if you’re a writer or just someone who thinks storytelling is cool, it’s a great guide to the art of pacing.

youtube

Anyhow. There are two levels of pacing within a story. There is the small type of pacing, like for the structure of a singular scene. And there is the pacing of the overall core narrative, how the larger beats of the entire story is revealed. Good pacing for your core narrative is about whether the reader feels like they are getting closer to the big thing, the big climax or answer or promise of satisfaction. The smaller type of pacing, for your singular scenes, focuses on that timing between how close you get to achieving new information, this refers to your slow and fast pacing, tension versus rapid action.

So, overall the rule of thumb is: the amount of time you invest into your smaller scenes, even put together, that must correlate with a big enough payoff in the core narrative. That’s what good pacing is. (And that’s why people make stuff like the Three Act Structure to help visualize this pacing process but obviously other forms of pacing guidelines exist like the Five and Seven Act Structures but that’s too complicated for this Nintendo Game anyhow that’s just some educational flavour for ya to impress your highschool English Teacher I guess)

So knowing that, the question now is: Does The Road Home, Besieged contribute good pacing to the story? This is going to be my excuse for changing up other later scenes in the game, so when I mention pacing and narrative again, remember this. The time spent playing for thirty minutes, minimum, in the game, to only be paid off by two lines of character development isn’t good pacing. So the answer is “no.”

Delving as long an amount of time as thirty minutes, means that pretty much everytime a stage is complete, you must introduce new substantial progress to your story. A game like this just doesn’t have time to waste it’s valuable cutscenes on character development alone. There’s an even further wrench in the issue when you consider you also need to account for sidequests, so you could really be forcing your player to go through hours of gametime before you introduce new details in the story.

Obviously it’s not always gonna be cut and dry like that—sometimes you have to account for how enjoyable the gameplay is, and sometimes the amount of character development offsets any lack of narrative development—but for the majority of stages I’m gonna change, they all suffer this pacing problem. In a game that's entire story hinges on these cutscenes, bad pacing is just something it doesn’t have time for.

Anyhow anyhow anyhow, I got to get my dose of serotonin by talking about pacing writing structure and stuff and blah blah, so now I shall grace you with the changes that address these problems that would theoretically lead to vast improvement. I gave you this reasoning and backstory to writing because I am making hella changes, to hopefully make the experience more “poggers,” which is something the cool kids say these days if you didn’t know.

Firstly, timeline wise this stage is gonna take place directly after the Korok Forest battle. The gang is returning home from the battle, with Link, the new wielder of the Master Sword, along with this new information regarding a certain Astor character.

We open the same way it does in game, focusing on Zelda’s face, before the frame is suddenly blocked by the pommel of the Master Sword. A wordless way to express how the sudden revelation of Link being the hero has forced its way into Zelda’s mind, great use of camera Koei Tecmo 10 outta 10

Now I don’t want to immediately jump into Zelda’s “oh poor me I can’t awaken my powers” dialogue because—and this is something even Breath of the Wild is guilty of—This game seems to forget that there are other characters besides Zelda. It’s marketed towards kids, sure, but I assure you that kids playing this game have a longer attention span than 2 minutes. You don’t need to keep reminding the audience every single scene about how Zelda is anxious about her powers. It gets redundant, you waste the audience’s time, and therefore you waste your own time, because you could have been using that precious screen time to develop some other thing further. So anyhow, goes a bit like this.

Zelda’s walking, the Master Sword comes into frame. Zelda looks down at the ground but keeps walking, but you can tell from her expression that she’s troubled. Don’t need to waste time on dialogue for her here, show don’t tell, we need to make the most of the scene here. Camera is still on Zelda, but the focus blurs shifts from Zelda to the Champions behind her. We can start with Mipha, I don’t have my heart set heavily on any specific dialogue, but I want her to say something along the lines of “how proud she is of Link” and what an honor it will be to fight by the side of not just her dear friend, but also someone selected by the goddess to be the hero. Subtextually, I want her to say this in a tone that suggests that she doubts the need for her to be here at all. She’ll say something like “He’s grown so…” glances up at Link who's just walking ahead, “...so much stronger than I could ever imagine. [Something Something] His power has grown so much over the course of a few days, more than I have achieved in a lifetime.” She looks down, but she still has a sweet smile.

Now I’m doing this because I want to develop further this plot line of “getting stronger” that Age of Calamity sets up but never does anything with. Remember how in Chapter 2, Mipha asks Daruk to train with her to get stronger? I really like the possibilities of this arc with Mipha as it can not only parallel with her feelings for Link, but also make her character better as an individual. Mipha wants to get stronger so that she can protect Link, but now she thinks that Link’s already growing stronger to an extent that she might not be needed. She’s not jealous of Link, nor does she wish him to be weaker, she simply wants to be more than she already is. This is literally echoing her words that she left her father, about how leaving the Domain and experiencing new challenges would be “good for her.” So I wanna run with it. The dialogue here establishes Mipha’s motivation to grow stronger, almost equivalent to a rivalry of sorts.

So after Mipha says this, Revali scoffs and butts in. Again, I’m not too set on any particular dialogue here, just something like “Hmph! Well, I don’t know about that. Seems to me all that’s happened is some magic sword gave the knight an ego boost. Blade’s only as strong as the little Hylian who wields it, and—based on my own extended experience and professional observations of course—I’ve yet to see this ‘stronger’ boy that you speak of.” Another camera pan to Link a ways in front of them. “If you ask me, hero or no, that knight is still exactly the same as I first met him.”

Revali places a wing on his chest dramatically. “Perhaps if you’re truly keen on seeing growth in skill and strength, Mipha, you’d do well to—”

“Flattering of an offer as that may be, Revali,” Urbosa interjects, “But I think Mipha might find it difficult to observe growth from one of the shortest Rito in Hyrule.”

Cue laughter from others or snickering or something. We just need some banter to add a bit more flavour to the characters. Revali can do a little huff and cross his wings or flip his scarf or something. But then Urbosa continues.

“Although...he is right about one thing.” Urbosa looks straight ahead. “A sword does not alter a hand, just as strength does not alter character.” She puts a hand on Mipha’s shoulder. “Grow as he might, there is no doubt in my mind that he is the same boy as he’s always been.” Urbosa looks up in the direction of Zelda. “Whether you realize it or not.”

Ok so, scene’s not done yet, BUT quick gush on the dialogue flow here. I’m trying to establish parallels in these character perspectives based on the flow of conversation. We started with Mipha who, like I said, wished to grow stronger along with Link. This flows into Revali who also has a similar parallel as he wishes to grow above Link’s shadow. But the distinction between Mipha and Revali is that Mipha think’s Link’s strength is earned, and Revali thinks he cheated, gaining authority through a magic sword, and not through merit and skill. Thus, leading to Revali’s perspective of Link being exactly the same as he’s always been, he believes the sword doesn’t change anything. Urbosa then speaks, because she thinks exactly the same thing. However, her distinction is that Link is the same as he’s always been: a determined young boy earned his place and cares for his friends. Then she looks to Zelda who, as we know, will develop a perspective that contradicts this. So you get it? This scene is like 20 seconds long but it already mirrors nearly all the character parallels and perspective, that’s why the flow of dialogue is important. And I know half of you probably think these kinds of details are a stretch but I promise you it’s not, just look at any movie or show ever and I guarantee you can find similar stuff there too. Ok moving on moving on—

Urbosa looks up at Zelda, comments her, “He’s the same boy, whether you realize it or not” piece of dialogue. Camera shifts back to Zelda and Link, who, idk if I mentioned this, but in the scene there’s enough distance between the Champions and Zelda and Link that the Champions can speak without the other two listening. So they didn’t hear any of this.

So the camera is back on Zelda, and now we can get her “How can I…..If I am unable to awaken my inner power….” line. Eggbot senses her sadness, does his little cheer up dance, Zelda gets a flashback.

One small change I wanna make to this flashback: Instead of just a baby Zelda going “nighty-night” I want there to ALSO be a figure in the background behind eggbot wearing a silk royal blue dress. And said woman has blonde hair and she’s by the table back there. We don’t have to show her face or anything because Nintendo hates that. Just place the woman somewhere in the back somewhere

Also possibly you could add the shadow of another figure by the doorway, maybe? It would serve good continuity purposes for the plot points that I’m telling, but that part is not as necessary. I just need at least the woman there.

Then Zelda is like “I remember you” to eggbot and all that and blah blah… Now, instead of Impa offscreen just yelling “enemy ahead!” I just want it to be a full on ambush. Not like a major one, but just enough where the group is surprised a bit. Maybe on the cliffs above, a lizalfo throws a boomerang, or a bokoblin shoots and arrow, or even just throws a rock. I don’t really care. I just need this to happen because…

As soon as this danger is presented, Link turns around to grab Zelda’s hand and they start running again. And he can like use his body to try and shield her a bit, I need it to parallel how he acted during Chapter 1 on the road to the Royal Tech Lab. However, this parallel has one important distinction because…

Zelda rips he grip from Link’s after a moment. “You don’t need to coddle me!” She says, or something along those lines. “Y-You...You’re the hero aren’t you! I’m perfectly fine, you don’t need to spend your precious time playing babysitter to me.” In the distance, a horde of monsters is beginning to form. Zelda looks between the monsters and Link’s Master Sword, her expression unreadable. “Well? Just...just go do what you need to do.” Link hesitates, looking between her, and the approaching monsters. Zelda speaks more sternly now, “Go!” So Link, not one to disregard an order from the Princess, gives one last look to Zelda before setting off towards the monsters. Maybe Zelda can take a deep breath to steady herself after he leaves, but as soon as Link unsheathes his sword, the metal glistening in the setting sunlight, it cuts immediately to gameplay. Start battle.

For essays’ purposes this is the part where I explain why this is better than the original. So here’s my reasoning:

Uhhh, it just is. :3

Ok but seriously, I’ve already talked a tone about why the pacing and dialogue flow is better than the original. But also this scene doesn’t just say “Ooo Zelda is sad about her powers,” because that’s not interesting. Like I said, it’s redundant information. What is interesting is see how characters deal with that internal conflict and how it affects their relationships. AKA Zelda’s relationship with Link, who now basically embodies the success that she’s been working so hard towards but never achieved, is deteriorating a bit. I wanted to get that sense of the Zelda that we see in Breath of the Wild because all things considered, they should be roughly the same character.

So that’s that, you fight the battle, the Hollows show up a bit, so insert “dark evil Champion” dialogue because if you’re gonna use the evil clone trope might as well use it to the fullest. Then you fight the Talus and hurray horrah the day is saved.

Then we have that iconic Urbosa motherly pep talk to Zelda as Link eats rocks in the background. Now honestly, I’m not that big a fan of the first half of the dialogue, so I wanna change it into something more interesting. But the rest of the beats and camera work go roughly the same.

Zelda: “Link is...so much stronger now”

Urbosa: “‘And yet I have not.’ I presume that’s what you’re thinking, hmm?”

Zelda: “Well it’s true, isn’t it? More and more, monsters have been appearing around Hyrule. It is a sign that the Calamity draws near. So...there isn’t much time. And still, no sign of my power awakening.”

Urbosa: *sighs* “Little bird…”

Zelda cuts her off, in an attempt to change topics: “Why do you call me that?”

Urbosa: “Hmm?”

Zelda: “Little bird...I feel like I’ve heard it before. Why do you call me that?”

Urbosa, after a beat looks off in the distance or something: “A long time ago, my dear friend would call me to the palace, or perhaps invite herself over to mine, [she chuckles] ...and she would talk with me all day, and ask me to gaze upon her little bird with her. Her dearest daughter...a princess”

Zelda: “You mean my…”

Urbosa just smiles with a soft nod: “Back then, times were a bit different. The destiny that you have was still upon the Queen, who worked day and night to refine her powers and fulfill her destiny. In just a few short years, I went from being friends with a Queen, to friends with the destined sealer of the Calamity.”

Another pause, before Urbosa speaks again: “But...she was still the same woman I had grown with. Still the same loving mother who spoke about her little bird with joy. She had not changed one bit.”

Urbosa: “Even when your mother passed, her loving smile was there until the very end. She always loved you—believed in you, Zelda. She had great hope, great faith that her daughter would grow into the beacon of light Hyrule needed. That even with her gone, you would spread your wings and fly, because you were just that amazing to her.” *Urbosa puts her hands on Zelda’s shoulders.*

Urbosa: “Destiny did not change your mother’s love, just as it does not change Link’s courage, or your value.” *the camera can pan to Link eating rocks now*

Urbosa looks directly at Zelda now: “Look how hard we’ve all worked to get this far, how hard you have worked to get here. While we may grow in strength, in that regard, we’re all one in the same.”

Zelda: “...I….well…”

Urbosa: “What did the Great Deku Tree say? There is no need to fret princess.”

Urbosa: “Our faith, Link’s, your mother’s, it’s all as strong as ever. And everyday, with every moment that you travel towards your destiny, it just grows. It is always with us. So believe in that, have hope, yet, little bird.” *Eggbot can scurry up and make cute noises here next to Zelda*

Urbosa: “I know, you are where you need to be. You must accept that too.”

Zelda: “...”

Zelda gives a solemn nod: “Thank you, Urbosa.”

So that’s that scene! Don’t let the length fool you, it’s technically even shorter than the original scene in Age of Calamity. So why is it, in my opinion, better? Because for one, we actually get an insight into Zelda’s mom and Urbosa’s relationship, something that was PROMISED To us but never given and I’m still a bit salty about it. Anyhow, in addition to just getting some lore details, that relationship between the Queen and Urbosa is important for this scene because, just like Urbosa spells out, it’s in direct parallel with Link and Zelda.

Before the Queen suddenly got sick and died, she was destined to seal the Calamity. But she didn’t let that destiny change her, she was still the same loving mother to the end. Now that is something that Zelda needs to realize about Link, as his newly acquired destiny doesn’t change who he was before, the knight who cares for her and wishes to protect her. Zelda needs to realize he’s the same and that she can still trust and confide in him. Hence, that’s why this mom backstory is in this scene and not somewhere else, because it serves to the narrative but also more impactfully to the character development.

The dialogue could probably be polished a bit more but come on, not half bad for an improvement yeah? So that concludes Chapter—

SIKE we’re not done yet. We still have to move into the entire point of this stage, the road home, to the castle.

So, badabing badaboom, I’m adding an entirely new scene from scratch right here at the end, because it is VITAL that I set up something new about the story, as a sort of clincher. So anyhow

Zelda is alone with her father, let’s set it in the royal library (Intact, not ruined, of course) because we don’t see enough of that location and it’s really cool. So Zelda is briefing her dad about the events in Korok Forest and on the journey back home. I know I always gush about cinematography but it can’t be fully appreciated since I’m….writing,,, this, BUT I think it might be fun if the side shots of Zelda have her background be some bookcases of the library, maybe half bookcases and the other half the ornate walls. Then the background for the King’s shots is the full symmetry of the elegant staircases.

[And if you needed the specific reasoning for that, because it makes camera shots more fun. Like when Zelda says something that aids in her scholarly side, the camera angle can change slightly where the bookcases take up more of the frame, and then when the King’s will takes more power, then the book cases can be angled a bit more out of frame. And then the symmetry of the King by the staircase is a way to show his higher power dynamic to her, and contrasts well with Zelda’s shots since the bookcases are dark and the stone is lighter, so on a meta level is also makes it easier for the audience to understand where they are. Shot composition is fun ok, and that’s not even getting into color theory (Thinks about Baby Driver and LaLaLand....even videogames like Undertale and Hollow Knight have such wonderful shot composition and use of color theory hhhhh love it)]

Ok so Zelda’s briefing the King in the library, she’s standing while he’s sitting at a desk. There’s maybe two or four Royal Guards on the staircase entrances, but for the most part, they’re alone. You can tell that this meeting between them has been going on for a bit now, as from Zelda’s dialogue, she’s retelling events midway through the story.

The King is flipping through some paperwork, not really looking Zelda in the eyes. She continues speaking.

“And so...with the malice cleared and the monsters being dealt with, Link and I made our way into the heart of Korok Forest.”

The King hums a response, flipping through another page. “And this is when Link pulled out the Sword that Seals the Darkness then, I presume.”

Zelda paused, as of thinking of how to phrase her next words. “Not exactly. I...we both encountered someone beforehand. A man, with a pale face, and dark hair and robes, and he had the power to control malice, using a strange object in one of his hands.”

Rhoam stops writing in his journal or whatever. He doesn’t look up, but the sudden stop he makes is obvious. Zelda notices, but continues.

“He talked about...the Calamity, and my birthday...destiny, and the future….I’m not quite sure I can remember his intentions word for word. But he did introduce himself as—“

“Astor…” Zelda and the King say simultaneously. The King has fully perked up now, looking at Zelda. She’s pleased to see a reaction from him. The King rises from his chair, and starts pacing a bit, stroking his beard thoughtfully like the asshole he is.

“So you know him then? This Astor man? Who is he, father? What does he—“

“Were you alright? Did he hurt you, or mention anything else?”

Zelda pauses for a moment before shaking her head, as if the concern he was expressing was uncharacteristic. “N-No. No, I’m fine, and Link was there. During the battle, as Link fought him off, that was when the sword was pulled. Then Astor fled, or...” Zelda pauses for a beat, “retreated...he expressed his wish to speak with me again.”

Another beat of silence, as Rhoam gets up, hands clasped behind his back. “He used to work at this very palace.” The shot is now directly on Rhoams back, as he faces a bookcase, although it’s clear that he’s just deep in thought, and not just staring at books. Rhoam is in third column of the shot (he’s to the right, not in the center)

“A trusted advisor. Someone gifted with foresight, who many years ago, had first predicted the coming Calamity.” Cut to shot of Rhoams face, the camera being by the bookcase, so that we see Rhoam’s expression and Zelda’s.

“In truth, I thought him dead. For the last time I saw him alive—truly, truly alive—was ten long years ago...” The shot goes back to the original establishing shot, of Rhoam facing away from the camera, towards the bookcase, he’s standing to the right, hands still clasped behind his back.

“...when your mother still graced this earth.”

From left frame, a younger Astor walks up and stands beside Rhoam. He runs his fingers along the books. Rhoam looks to his left, as if he is seeing Astor. Camera cuts to Astor’s right, as if looking at him from Rhoam’s perspective. He continues brushing his fingers against the spines of the books, before he finds the one he’s looking for. Pulling it out, he opens the book, flipping through its pages, before giving a genuine smile. Cut back to wide angle behind them. With the book, Astor starts walking back out left frame, but this time the camera follows him. Filter fade to a memory tint as the camera pans right to left

[when the camera fades fully into the Astor memory, the figures can have that silhouetted effect like you see in botw. Cause I know Nintendo hates making new character models for some reason.]

So if it wasn’t clear already, even though the memory filter doesn’t come immediately, Astor isn’t actually there, but it’s just a flashback. I’m a sucker for merges, which is something this game and botw NEVER do which bugs me because there are so many creative ways you could introduce flashbacks without just doing “ooOooOoo fade to sepia filter and then oooOOooOOO we fade back to reality and no time has passed.” I apologize if my explanation of the camera doesn’t make sense as it’s hard without much visual aid, but hopefully it makes sense so far. Anyhow! Let’s continue.

We’re now fully immersed in this memory, but King Rhoam’s voice still narrates overhead.

Astor brings the book to one of the desks in the library, where a woman sits writing something onto paper. News flash, it’s the queen. Astor hands her the book and starts speaking about something, although you can tell the tone of their conversation is light, almost akin to Zelda rambling about Sheikah Technology. The Queen laughs about something unheard, as Astor continues ranting about something, his hands moving to like a professor giving a lecture.

Rhoam Narration: “When he had first predicted the Calamity, things were much more hopefully for our kingdom. As although his foresight granted him only glimpses and fragments of a future, he was almost certain that with the Guardians, and the strength of your mother’s power, our victory would be absolute.”

Scene changes to the Queen walking down a corridor, Astor is leaning against the wall by a window.

Rhoam Narration: “He and your mother would often work together tirelessly to study the ancient arts, to make the most of the powers given by the goddess.”

The Queen has walked up to Astor now. She crouches down and gestures to her left, the side not yet seen by the camera.

Rhoam Narration: “In fact…”

The camera changes to focus to where the Queen was looking towards—a young Zelda, crouched behind her mother’s dress, stares up at Astor.

Rhoam Narration: “I would not be surprised if you found within yourself, a memory of such.”

I would prefer if you could see the expressions of Astor (giving Zelda not a smile, but not really a frown or anything rude either) and young Zelda. But I guess it can also just be silhouettes too cause again, Nintendo hates giving us younger character models outside of first person POV stuff. Anyhow.

The scene fades, the light from the window dimming as everything darkens.

Rhoam Narration: “I often times wish we could go back to such a time, when victory and pride swam in every corner of this castle. But of course…”

The scene brightens again, although not as bright as before. It’s the exact same corridor with the large window, but now it’s raining. A young Zelda stands alone in front of it, looking outside.

Rhoam Narration: “Such a time did end…”

We now cut to a new scene, King Rhoam is walking down a hall, the camera’s perspective is of a bird’s eye view, like we’re peering in from outside a window. We can see the shadow of Astor chasing after him, as he starts speaking frantically about something, not quite, but almost to the point of shouts.

Rhoam Narration: “After your mother died, the visions of the future shifted drastically. No longer was there glimpses of rolling fields and shimmering skies, but instead, of rubble, red earth, and death.”

You can now more clearly hear the words coming out of Astor’s mouth. He is telling something about failure, and souls, and the Calamity to the King’s ear. He’s still walking forward.

Rhoam Narration: “He was adamant that our demise was now coming faster than ever, and that without your mother, we were doomed. That even you, should you take up your mother’s mantle, could not save everyone.”

Astor: “I’m telling you Your Majesty, if you go down this path, there is no going back.”

King Rhoam: “There is no other choice, we are moving forward.”

Astor: “I don’t think you quite understand the true gravity of the fate you’re choosing for yourself. It is a guarantee that you, me, and countless others shall die.”

King Rhoam: “I don’t want to hear it.”

Astor: “And of course, there are a multitude of possibilities, but the end result is the same.”

Astor: “Do you have a preference, perhaps? Crushed by rubble? Suffocation under ash?”

Rhoam’s tone is deadly: “Stop.”

Astor: “I’ve seen fire too. I’m not yet quite sure the exact circumstances that lead to flame appearing and spreading so quickly, but rest assured that if you—”

King Rhoam: “Stop.”

Astor: “If you saddle someone else with this duty I am absolutely certain that you and I will—”

King Rhoam, voice not shouting, but still with a booming intensity: “Just like you were so certain of our victory 10 years ago?”

Astor’s face darkens. He’s silent for a moment, collecting his words before practically spitting the first articulation: “...That, future, was the one that would come to be if Her Majesty was alive. If you’re so unsatisfied with my departed wisdom you can go ahead and flail around with destiny alone. You think I choose for these events to happen? You think I lie when I saw I want what’s best for this kingdom—”

King Rhoam: “What’s best for you.”

An ugly pause.

King Rhoam: “It is decided, Seer. It’s time you accept this. My wife is dead. That is the truth. Thus the role of sealing the Calamity shall pass to my daughter. She will work to awaken her own ability. It will be her duty to save us.”

Astor half laughs: “A child?! Surely you don’t need the supernatural to see how foolish that is.”

King Rhoam’s voice is even more stern: “You are living proof that the future is not absolute. Therefore I...must place all belief in her ability.”

The King walks away, leaving Astor alone. Weirdly, he smiles. Perhaps to mask some other emotion.

After another moment, Astor yells to the King: “I’ll fix this! Alone if I must!” He’s chuckling as he shakes his head. “Your useless faith may cost many lives, but even so mark my words, I will fix this.”

The King looks back, but says nothing, his expression unreadable. He continues forward, leaving Astor alone chuckling, or perhaps something in between chuckling and crying to himself.

Rhoam Narration: “We haven’t spoken since that day. I simply left him to his devices. If he was so determined to find another way to stop the Calamity, then who was I to stop him. I doubt my word could have swayed his mind regardless.

We’re now looking at a room, the camera is just by the doorway, looking at an office, circular and domed. It’s stone brick walls are covered in parchment and ripped books, covered in symbols and frantic writing. An old Sheikah tapestry hangs crudely on the left wall, and the window on the right seems to tint grey, or even a deepest crimson. Centerframe, is the back of Astor, robe hanging just above the paper ridden floor. He is flipping through something on his desk.

Rhoam Narration: “Fixated as he was on the perfect future that you mother might have led, I still had hope that with time, he might still assist you with your destiny one day.”

The camera slowly comes closer to Astor. We can see more clearly the type of stuff that sprawls the papers and books and diagrams across his office. Some depict stars and constellations, and even a few notes on Ancient Technology, although in a noticeably cleaner font. However, as the camera moves close and closer to Astor, the papers and books depict only one clear topic: the aura of death that comes only with necromancy.

Rhoam Narration: “It seems…”

Astor finally reacts to whatever he was doing on his desk. You don’t see his eyes, but as he fully turns around to face the camera, you see his smile, along with him holding a dark orb of unknown energy. It hovers in his hand.

Rhoam Narration: “...I was mistaken.”

The camera cuts to a wide angle, looking at Astor from behind a stack of books on his desk. The stack of books on Astor’s desk brighten in color (from the memory dull filter), until the scene fully fades back into the Royal Library. The camera is now focused on a similar stack of books on the desk behind Zelda, where Rhoam was working before.

Zelda is still looking at her father, who is still turned away. Now, he turns back around to face her.

“He had disappeared completely one day, so it was my understanding that whatever he was working on killed him. However, if he is truly back as you say…”

Rhoam walks closer to Zelda, close enough that he might have put a hand on her shoulder, but his arms stay behind his back.

“It is in your utmost interest to prove him wrong. I know not what he plans on doing, but it would be wise to stop him before he does.”

Rhoam turns away now, pacing back to the otherside of the desk. “But, your more important priority is unlocking your powers, understand? Now more than ever, is not the time to get distracted.”

Zelda, taking this all in, takes a deep breath. She then nods at him. “I understand...Father.”

After a moment, the King makes a motion as if to dismiss her. She starts to walk away, her thoughts churning in her head, heart thumping to the same beat as her echoing footsteps. Suddenly, Rhoam calls,

“Zelda.” It’s not a question, but the tone is asked like one.

She turns back, looking at him, expectantly. Rhoam only stares at her, an uncharacteristic moment of uncertainty for him. The words he wants to form seem stuck in his throat, until finally, he lets out a quiet breathe through his nose, before simply saying:

“You must.”

Zelda can only frown, her shoulder’s slumping slightly, as she ducks her head and leaves.

- - - - - -

And that’s that! That’s the complete end of Chapter 3. So tune in next time for Chapter 4, including a new slight but important story changes, Yiga husbands, and shocking turns of events.

Edit: I forgot that posts with link’s dont show up in tag results so a rb is appreciated :p

#Hwaoc: The Kip Cut #fuck this is the biggest one yet #hwaoc #age of calamity #hwaoc rewrite #hw age of calamity #hyrule warriors age of calamity

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spnopineapples · 4 years

Text

ALRIGHT PEOPLE. I'm READY.

LAST OF US 2 SPOILERS!!!!

......

.......

Are ya gone yet? Have you scrolled past if you don't want to see?

....

Alright. *CRACKS KNUCKLES AND NECK* Let's jump on into this!

First off I'm done with the game.

Second off..... THIS GAME WAS FUCKING PHENOMENAL!!! 10/10

The ending litterally killed me. Finished 2 hours ago,talked the ear off of my best friend for about 1 and a half hours and gushed and lamented the whole time. Cried for about 20 minutes by myself. Had an existential crisis. So on so on. And now I'm here, in the middle of an online meeting cause, ya know, Corona, muted with no camera on, because I'd much rather be typing out this dissertation.

Y'ALL. Go play this. It is AWESOME.

Now for the third and probably longest bit of this. My rebuttal to the bad reviewers:

I still contend that the bad reviews are 1 of 2 reasons with a little of a 3rd mixed in to both. #1. Being that people are pissed they killed off Joel and think the story did a disservice to the characters. #2. People are pissed because they think Naughty Dog was pushing a liberal agenda with a heavily muscled female antagonist/protagonist, a gay Ellie, and a transgender side character, Lev. The mixed in #3 is the extensive violence which I do contend was a lot. Yeah LoU1 was definitely violent, but damned this one got dark. And that's something coming from me because I am a fan of gratuitous violence.

Let me tackle these real quick. I'll be brief about #2 here though.

IN REBUTTAL TO REASON #2 - If you honestly didn't like LoU2 because of this reason (which I explained in my previous post about how IT IS logical that Abby be built the way she is and how Naughty Dog was definitely NOT shoving this or ANY of the others i mentioned in anyone's face in my opinion) you're in need of some corrective thinking and you should re-evaluate your ideas and realize that your opinion on these social issues doesn't matter and is wrong. None of these things make the game story illogical or bad. Bottom line: there are people like this in the world and their stories in this game drive the plot. It doesn't belittle the previous games or detract from the current game at all. You're just bigoted. Calm your tits and don't play the game if it upsets you so much. Pull a Seth and bury the hatchet. Make some steak sandwiches.

But I'm going to give the benefit of the doubt and imagine that the majority of the bad reviewers were more pissed at reason #1, Joel's Death. But real quick.

IN REBUTTAL OF REASON #3 -If you hated the game because of the amount of violence, do realize that the violence was the point of the story this time AND IT WAS SUPPOSE TO BE A DRAG ON YOUR SOUL. LoU1 was about finding love again in a violent world. Love being in the foreground and the violence a backdrop, which is why the violence didn't feel so in your face even though it was PLENTY violent. LoU2 was about succumbing to the violent world because of losing love. Violence being the foreground and tainted love (insert song here ya bastards) being the backdrop that drives it. AND HERE IS MY FAVORITE PART PLEASE READ THIS PART AT LEAST IF YOU DECIDE NOT TO READ THE WHOLE THING.

Think of the two endings. LoU1 WAS a story ABOUT finding love in a violent world BUT ENDED with Joel committing a violent act to protect his love (killing all the Fireflies, 1 of which was Abby's father and the driving reason for LoU2's main plot, and DOOMING THE WORLD TO INFECTION AND DAMNING HUMANITY). LoU2 WAS a story ABOUT losing love and reacting with violence BUT ENDED with Ellie doing a peaceful act (allowing Abby to leave alive with Lev) because of the love she had for Joel (that flashback scene of Joel playing guitar when Ellie decided to forgive him for the violence and lie at the end of LoU1).

DO Y'ALL SEE HOW IMPORTANT THAT IS?

There NEEDED to be a LoU2 because LoU1 ended with violence and a lie. LoU2 fulfilled this with an ending of forgiveness driven by a memory of love from the first game.

I've read a lot of the bad reviews where they mention the violence became too much and ruined the game. And that Ellie wouldn't act like that. First off Ellie totally would, fuck off with that noise. Second off THAT'S THE POINT. This was a story about how revenge is cyclic violence and it doesn't end until someone makes the decision to end it!

BOTTOM LINE: I felt ragged 2/3's of the way thru this game because of the violence, but that's the point of the story. Revenge is not worth it. Especially when it's with people like Abby and Ellie. Because neither are villians. AND BOY HOWDY DID IT TAKE ME A LONG TIME TO COME TO TERMS WITH THIS. Because I HATED ABBY FOR KILLING JOEL. When I first started playing her I DID NOT WANT TO BECAUSE I WAS ANGRY WITH HER. I litterraly felt dirty playing her. But this game did something amazing to get me around to appreciating her character. NOT LIKING HER CHARACTER, but appreciating. And I will tackle this in my next rebuttal.

IN REBUTTAL OF REASON # 1 - Let's talk about Joel's death.

I WILL NOT LIE TO YALL.

I was mightily upset about his death. At first I thought it to be a disservice to a beloved character. But then I realized something. See above about Joel's actions. He killed all those Fireflies and DAMNED THE WORLD. Not only that it is specifically mentioned in both LoU1 and in this game that Joel and Tommy did horrible things before they met Ellie and before Jackson. JOEL WAS NOT A GOOD GUY.

I think what people are upset about is the REALNESS of this game. A lot of other game developers don't do what Naughty Dog has done. Naughty Dog did not shy away from Joel's character flaws and his past wrongs! In fact, all the user's that use the reason for hating the game as "too many plotholes" Y'ALL FUCKING PLAYIN. More on that later.

Back to what I was saying about realness. In the real world, Joel's death and the brutality of it and suddenness of it is actually a very logical event that would occur. Abby doesn't KNOW Joel like we do. All she knows is this guy killed her father and a lot of her friends and damned humanity in the process. LoU1 is not a happy game. Might I remind yall about Sam and Henry? But his death was not "sudden". And it didn't steal Joel from us. I actually really enjoyed all the flashbacks to him. We got more than enough time and I actually feel as if the time we got with Joel was better because of his death so early in the game. DO NOT TELL ME THAT THAT NATURAL HISTORY MUSEUM FLASHBACK DIDN'T FULFILL EVERY FEELING NEED.

And now for the wrap up - the big hangup that I see of those who hated Joel's Death is that the story didn't redeem it. They couldn't "buy" Ellie forgiving Abby at the end.

As I stated I will not lie. I was worried for about 2/3s of the way through this game that the bad user reviews were accurate and that the story sucked because I couldn't see where the writers were going. All I saw was senseless death of characters that I had loved and that I was coming to love. I straight up love Jesse by the way. It wasn't until Abby met Lev and Yara that I started seeing the majesty of this revenge story.

BECAUSE THE TRUTH IS I HATE FUCKING REVENGE STORIES WHERE THE MAIN CHARACTER IS LIKE, NO, THEY WOULDN'T WANT ME TO DO THIS. Before this game I'd be like "miss me with that bullshit" but after today I would say "give it to me like this." This actually felt real. And boy was it raw. Guys, the reason I started forgiving Abby is because of her decision to help Yara and Lev. Because it was her attempt to right the wrong of killing Joel which was eating her alive. Her and Owen and Mel. Guys. She is Joel. Why the hell do you think Joel did what he did for Ellie in the first game? Because he liked her at first site? BULLSHIT. He did it because Tess told him to do something good for once. IF YOU ARE UPSET WITH ABBY THEN YOU SHOULD BE UPSET WITH JOEL. I get it. Abby had to earn that with her story because at the beginning I'd have said leave her to the clickers. BUT CONTRARY TO THE USERS OF THIS REASONING SHE DID DESERVE HER REDEMPTION. The game shows over and over and over again that Abby isn't some mustache twirling villian who deserves instant death. She is complicated. She cares and she hates and she loves. She knows what's right and wrong and tries to do right as much as possible but she's human and she gets angry. Anger means you care.. and she cared about her father. She's a good human too because good humans feel shitty about doing shitty things and if you are observant at all you can tell immediately with Abby, as we play her in her Seattle Day 1, that she has doubts and isn't comfortable with her role in how Joel died. SHE DESERVED BEING FORGIVING BY ELLIE AT THE END. AND IN THE SAME TOKEN ELLIE DESERVED FORGIVING HER AND BEING FORGIVEN BY ABBY. It is very clearly obvious by the end of the game that Ellie could not reconcile her revenge killings with her best memories of Joel or with the actions she had to take to get there. Also it is of very important note here that Ellie stopped drowning Abby because of a flash image of Joel playing guitar. And then later on actually seeing the memory associated with that image that stopped her you can understand why Ellie did stop outside of just being as tired of violence as Abby was. The memory shows Joel and Ellie agreeing to try to forgive Joel for lying to her about the Fireflies and denying her her purpose. All this the night before he is killed. Note what Joel says. "If God gave me the chance to do it all over again. I would have done the same thing." Just that fucking devotion he has for Ellie shines through and she really understands his reasons for what he did. Still doesn't feel as if she can forgive him. THAT IS IMPORTANT. She DOES NOT agree with his decision. She understands it, but doesn't agree. But still decides to try and forgive. GUYS. That's exactly what she understands about Abby. Joel was sorry but he still would have done it. Same with Abby. There's a reason that image popped up as she was killing Abby and not the image of his beaten up face.

Remember that line from LoU2? Tess said it. As she is confessing to Joel that she was bit. "We're shitty people, Joel. It's been that way for a long time!" And Joel says "No, we are survivors!"

Y'all don't think for one second that Joel wouldn't have gone after that Soldier who shot Sarah if Tommy hadn't shot him? Y'all kidding yourselves.

Abby realizes this truth in the end. She realizes the part she played in enhancing and playing into the fucking violence and shittiness. Staining and tainting herself in the process. She just wanted to be clean. And Ellie just wanted to be clean.

Bombing this game is doing a fucking disservice to the emotional complexity of this story. It's been a long time since I've been that emotionally twisted.

This game isn't preachy. This game makes something clear that alot of other revenge stories get wrong. Revenge makes otherwise good people do shitty things and the shitty things taint us for the rest of our lives. At least Ellie and Abby stopped themselves before they tainted all their being.

Yeah we're shitty people. But we don't have to be.

#the last of us #the last of us 2 spoilers #the last of us part 2 #the last of us ii #the last of us 2 #I AM SO SORRY THIS IS SO LONG BUT I HAD TO RANT #FUCKING GREAT GAME #Hopefully y'all don't kill me over this #need to go post reviews so that this game gets the user rating it actually deserves #a 10 out of 10

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reaperkaneki · 3 years

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and now for my opinions on the individual routes! this is gonna get long so bear with me.

i played through the initial routes in the order of riku (blue) -> amakusa (green) -> yosuga (purple) -> kuroba (black). you could probably swap yosuga and kuroba depending on preference, or even insert tokisada between the two as a breather since purple and black have fairly heavy themes.

again, the game is romance-heavy compared to past localized otome. the structure is like this: the first half of a route is dedicated to ‘how the characters fall for each other’, the second is dedicated to ‘who objects to this relationship and also what horrible little facet of the game’s broken caste-based society are we concentrating on today’. so, romance -> antagonism and lore.

i would for sure recommend doing riku first, since his route has the least amount of spoilers for the other routes. at the very least i would definitely not do yosugas route before his because that has some revelations on the antagonist of riku’s route. i went in expecting riku to be my least favorite, but he was super cute and i ended up liking him way more than anticipated. i want to bully him a little bit. again, great for a first route.

i’ll go ahead and say that i didn’t like tokisada’s route very much. he’s only seventeen, so younger than olympia by a year, so he’s very youthful and fun at first and i enjoyed the first half of his route. his character arc is fine in theory; unfortunately, he didn’t really do it for me. he has a lot of complexes that are relatable, and a lot of genuine flaws that make sense given his trauma, but his route seemed to drag on forever and i was constantly caught between going ‘okay, this is an unhealthy but understandable and realistic trauma behavior, i should give him the benefit of the doubt’ and ‘wait this is an otome and i am not a therapist, i want to grab this little twink by the shoulders and shake him’. oh, one surprising thing though: he has a lot of kisses. for the youngest member of the cast, who definitely has no prior experience, he sure does have a lot of service? which is immediately killed by the fact that he calls olympia onee-san aaaaaAAAAAAA NOT DURING THE SPICY SCENES ARE YOU KIDDING ME.

yosuga is more plot-heavy of a route than i expected. all of the routes have some aspect of ‘certain things happened in the past that were covered up for the sake of maintaining the status quo on the island’ but other than the final two, this one has the most flavor of ‘are you sure you want to know’? while the romance was barely there compared to, say, tokisada’s where he drags you on dates for the first half of the route, i think i liked the antagonist in his route the most—they’re complex and while most antagonists in this game have suffered under some aspect of the island’s caste system and strict societal obligations, i felt the most sympathy here.

i expected either kuroba or akaza, maybe even yosuga, to be my favorite when the game was announced solely based on character design and seiyuu, and was a little hesitant when kuroba was described as an older brother type character. then i played the game and basically spent the three routes i did first pining after him. yes, he’s reliable and good with kids, but he’s actually the flirty jokester type with a serious side, and in many of the routes he plays an excellent wingman. truly the brosiest of bros. now that i’ve got my biased opinion of kuroba out of the way, his actual route? i’ve got mixed feelings. on one hand, the date scenes are really fun. kuroba grappling with ethical concerns as a doctor was handled well imo. on the other, the relationship goes through a lot of ups and downs. there are some moments where i wanted to shake him (and olympia!) by the shoulders because they’re both very. hm. guys. seriously. and lastly but most unfortunately there’s some scenes that. well. heavy content warning. sexual violence. not great. it mostly pulls together in the end, albeit somewhat messily.

speaking of plot heavy, himuka’s route is revelation after revelation about the world they live in. which is why it’s locked. (i actually thought while playing it, “what could akaza’s route possibly reveal that himuka’s hasn’t?”) but since i’m trying to keep this mostly spoiler-free, i’ll talk abt himuka himself. i liked him! he’s cute. he gives me orlok piofiore vibes. he’s very intense and socially awkward, and definitely puts olympia up on a pedestal that she doesn’t want to be on. he has very little self esteem, does a thankless job, and is self sacrificing. in short, he’s very, very similar to olympia in some respects, and utterly foreign in others, which makes him a good parallel for her.

akaza is obviously the ‘main guy’. it’s very hard to discuss his route without spoiling anything. i’ll do my best. he’s known as the iron mask, a nickname kuroba gave him as a joke but it stuck. he’s so serious it almost borders on the comical. he’s aggressive in his pursuit of olympia because she tends to avoid his romantic advances out of…. stubbornness and spite; she had a bad first impression of him because he declared he would marry her out of obligation if she couldn’t find a husband and that pissed her off majorly. this would come off as skeevy and ymmv but i think it’s handled decently well because it’s clear very early on in even the common route that olympia understands that akaza is not a bad person, he’s actually a very good, reliable man who hates injustice. akaza is fairly gentlemanly despite being pushy abt getting her to give him a chance—he explicitly talks abt consent a few times and that he won’t touch or kiss her without her permission. he’s blank faced and monotone but a good cook and a romantic at heart. the rest of his route? without spoilers, again, it’s hard. his antagonist is a hit or miss i think. some people might dislike that they’re inconsistent and hard to understand, and i totally get that, but i liked that said character explicitly states that they’ve got conflicting desires and don’t understand it completely themself. it’s paradoxical and that seems in line with their characterization. WAIT HOLD ON ONE MORE THING: akaza takes off his glasses during date scenes which makes his route a 0/10 booooooo we hate you.

my ranking for the guys based on person preference: kuroba > akaza / riku / himuka > yosuga > tokisada

akaza’s design does it for me over riku and himuka’s, riku’s character is cuter than the other two, and himuka has a certain je ne sais quoi that made me like him more than expected. they’re in the same spot because my favorite of the three changes based on what mood i’m in lol

#olympia soiree #hopefully i avoided any big spoilers. im mostly taking abt each dudes personality #long post

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wonderfulworldofmichaelford · 4 years

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Psycho Analysis: Jason Voorhees

(WARNING! He’s back! THE MAN BEHIND THE MASK!)

...ki ki, ki, ma ma ma...

The slasher subgenre of horror has plenty of villains, but the key to any great slasher movie (aside from quality kills) is having a memorable slasher who sticks in the mind of those who watch the film. You can’t just have some generic evil guy and expect the killer to be cool and memorable; you need to give them a fun gimmick. And in the scores of slashers who populated the 80s, there are few out there who are quite as legendary and iconic as Jason Voorhees. Jason is one of those few villains who, even if you’ve never seen a single one of his movies, you’d know on sight.

Even now, with him being absent from cinema for over a decade at the time of this writing due to legal disputes (though not from other mediums such as video games), Jason is still a household name, still remembered as one of the coolest, creepiest horror villains to come out of the 80s. In fact, I’d even go so far as to say Jason might be the greatest slasher villain of all time. So let’s take a look at the man behind the mask and see what we’ve got here.

Motivation/Goals: Jason as a villain is motivated by two main factors: a desire to make his mother proud, and a desire to get vengeance for how he was treated. The first few movies are all Jason taking out his anger over his mother’s death on anyone near Camp Crystal Lake. In earlier movies, he’d really only kill anyone who invaded his territory, but later sequels had him expand his killing range by going to Manhattan, Springwood, and even outer space. Basically, Jason is motivated by revenge against a world that persecuted him, and a desire to impress his mother. The simplicity of his motivations is actually a great strength, because it means there doesn’t need to be constant time in each new film adding on to Jason’s lore like they do with Freddy, Michael Meyers, and so on. Jason kills kids who have sex, that’s it. Simple, clean, effective, and a vehicle for cool kills.

Performance: There are a LOT of people who have put on the hockey mask throughout the franchise, but perhaps the most well-known name is Kane Hodder, the hulking actor who portrayed Jason in the seventh through the tenth films. He’s certainly the Jason that will spring to mind when thinking of Jasons, but he’s the obvious one. His actor in Freddy vs. Jason, Ken Kirzinger, was chosen because he had kind eyes and could tower over Freddy, and amusingly he actually appeared in Jason Takes Manhattan as a huge chef Jason tosses aside. Then of course we have Ari Lehman, the man who cameoed as Jason at the end of the first film in the Carrie-esque jump scare, most notable because he is so proud of his role that he named his punk rock/heavy metal band First Jason.

And these are just the few I wanted to highlight here; the original continuity is ten movies worth of actors playing Jason, and he even has multiple actors in some films.

Final Fate: It depends on the movie. His mortal life is ended by a young Tommy Jarvis in The Final Chapter, but then he comes back in Jason Lives as a zombie, a zombie who is only incapacitated until Jason Takes Manhattan where he is seemingly killed off for good by the nightly flooding of the Manhattan sewers with radioactive sludge (likely a safety measure against C.H.U.D.s). But then he comes back in Jason Goes to Hell where his original body ends up obliterated for most of the movie until the ending, but soon after he’s dragged right down to, you guessed it, Hell. But then comes Jason X, and he’s brought to space where he finally ends up obliterated for real by falling through the atmosphere of a planet and burning up. And this isn’t getting into the numerous deaths from games, comics, and so on; Jason is a man who is very hard to kill.

Best Scene: What does one pick for the best scene? His sleeping bag kill from VII? The liquid nitrogen kill from Jason X? The numerous amusing scenes he has when he actually reaches Manhattan in Jason Takes Manhattan? It’s a tough choice, but honestly. I might just have to go with his corn field rave massacre in Freddy vs. Jason. It’s just so damn cool.

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Final Thoughts & Score: Jason Voorhees is one of the great early slasher villains and, most impressively of all, he managed a remarkable level of consistency until the very end, at least compared to some of is peers. Compare to Michael Meyers, who had to constantly be rebooted because filmmakers kept trying to find ways to humanize and explan his motivations to the point that franchise has a fractured timeline to rival the Zelda series, or Freddy Krueger, who deteriorated from a terrifying psychopath who treated killing like a game to a non-stop quip machine that spent more time slinging one-liners than kills. Jason, while certainly going through some odd phases – recall the time he was a weird demon worm that could surf between bodies, or the time he went to space and became a cyborg – never really lost sight of the things that truly made him effective as a character.

Yes, Jason is a silent antagonist, but he says a lot with his deeds and actions. He’s a killing machine, but he certainly isn’t mindless, and he usually seems to have some sort of ethics that perhaps we don’t understand, but Jason certainly does. For instance, in later films Jason does not hurt animals, and once he’s a zombie he doesn’t kill children either. A lot of this likely stems from Jason essentially being a child in a deformed man’s body, and this goes a long to making him an interesting, tragic figure. Jason almost certainly doesn’t understand what he’s doing is wrong, and if he does, he’s almost certainly too blinded by rage to care, especially after becoming a zombie.

I think the underlying tragedy of Jason simply being a monster who only wanted to please his beloved mother and violently lashes out at those he sees, through his warped perspective, as the ones to blame makes him an interesting and complex character… and here’s the great thing! Unlike other slasher villains, this is all established very early on, and rather than continue piling on more and more backstory, the series decides to throw Jason into interesting situations. This is a problem that befell his slasher sibling Freddy; as cool as Freddy managed to be, every new film added more and more convoluted backstory rather than trying to put Freddy into an interesting scenario he could have interesting kills in. And the less said about Michael Meyers, the better. But Jason? They gave him all he needed in the first two movies, made him a zombie in the sixth, and then spent the rest of the series getting weird and creative. Jason is a villain effective because his simple characterization and motivation means he can slip into any sort of situation, be it fighting a telekinetic girl, going to Manhattan, fighting Freddy Krueger, fighting Ash Williams, slaughtering camp counselors en masse, or going to space.

It should be incredibly obvious Jason is an 11/10. He’s a testament to what makes a slasher villain great and memorable: he has a simple yet flexible mindset that allows him to be thrust into a variety of situations, he has an iconic outfit, he has an awesome weapon of choice, and he is parodied, referenced, and known throughout the world to this day. He has killer video game appearances in the likes of Mortal Kombat X and his own Friday the 13th game, he has tons of comics including ones where he takes on Freddy, Ash Williams, Leatherface, and even Uber Jason, and despite the obnoxious legal battles currently keeping him from appearing in any media to any great extent, you’d be hard pressed to find a person without even passing knowledge of Jason.

Here’s a few interesting notes, though – a lot of shout outs to Jason have characters using a chainsaw, which as we all know is the tool of Leatherface. Jason uses a machete for the most part but is very versatile, but even so the closest he ever came to using anything remotely like a chainsaw was in VII, where he used a weed whacker. Jason also didn’t gain his iconic look until the third film; in the second movie, Jason wore a burlap sack over his head. And finally, there’s a bit of trivia I’m sure most are aware of by now: Jason was not the killer in the first or fifth films. In the first film, the killer was actually Jason’s mother, Pamela Voorhees, and the fifth film Jason was still kind of dead so a copycat killer named Roy Burns took his place. So hey, while we’re here, let’s talk about these Jason adjacent killers:

Pamela Voorhees is one of those rare female slasher villains, and the fact she is so absolutely amazing makes you wonder why there aren’t more. She’s basically to Friday the 13th what The Boss is to the Metal Gear Franchise – an all-important female figure whose actions completely and totally changed the course of history. Her quest to avenge her son’s death led to her slaughtering people at Camp Crystal Lake, which led to her death… but then it turns out her son had lived all along, and her death served only to make him into a violent, vengeful monster. Add on the fact that Pamela was using the Necronomicon Ex-Mortis on her son to empower him (supported by Jason Goes to Hell and Freddy vs, Jason vs. Ash), and Pamela is indirectly responsible for every murder in the series. Or perhaps even directly, if it really is her voice Jason hears in some of the movies and the Friday the 13th game. Betsy Palmer absolutely kills it in the role (pun intended), and it’s a shame she was annoyed by the role for years, though she apparently did eventually come around and embrace it. As one of the great ladies of horror, Pamela definitely earns a 10/10.

But now let’s take a look at the opposite end of the spectrum with Roy Burns. The idea of a Jason copycat killer is not entirely without merit, and for the most part, the movie is incredibly solid, with good kills on Roy’s part. The issue comes with the ultimate reveal of his identity, which turns the entire movie into an utterly convoluted mess that makes absolutely no sense. The lack of buildup of any kind, save for two brief scenes prior to his unmasking, makes the twist lack any sort of punch, and his reasoning for killing people is just absurd. Hell, he isn’t even targeting the one person responsible – that guy gets away with a jail sentence while Roy butchers innocent people!

Basically, Roy fails at being an engaging replacement for Jason due to the film’s finale, which goes out of its way to undermine him and everything you just watched. It should come as no shock that he’s a 1/10. Still, unlike most villains with this rating, he does have a little bit of redemption due to being playable in the Friday the 13th game. You’re just controlling him as he kills without any worry about stupid backstory, so hey, I’ll give Roy that at least, and I can’t deny his mask is pretty sick.

UPDATE: Ok, I was way too hard n Roy. Yes, his motivation is stupid and poorly explained, his killings are absolutely ridiculous and make no sense with his motivation, I still stand by all that... and yet, I’m watching this movie for creative kills, right? And boy does our boy Roy provide. He slaughters his way through these oneshot characters with gusto! I think I’m just still bitter he’s not Jason, but I like Season of the Witch even if Michael Meyers isn’t there, so maybe I’m just too harsh on Roy and his movie in general. I think his dumbass motivations hold him back, but I think the correct score for him is a 6/10. He is most certainly not abysmal enough for a one and I was really foolish to issue a score like that. Sometimes even I have trouble overcoming my biases.

It’s interesting, though, that both of these characters tend to be forgotten, overshadowed by Jason. In the intro of Scream, Drew Barrymore’s doomed character accidentally says Jason is the killer of the first film, rather than Pamela. And I think that while that is likely a common misconception, it’s less because Pamela is forgettable but more that Jason is so overwhelmingly cool that he overshadows anyone else in these films with few exceptions. Jason may very well be the greatest slasher villain of all time, and if you disagree, well, who won in Freddy Vs. Jason again, hmmm?

And more importantly, what slasher villain has an Alice Cooper song dedicated to him?

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I rest my case.

#Psycho Analysis #Jason Voorhees #Kane Hodder #Friday the 13th

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encyclopika · 4 years

Note

18 & 20 For the ask game!!!!!!!!

THANK YOU SO MUCH KAT!!! <3 God this is long.

From this writer’s ask game...feel free to send me some asks!!! :D

Gonna link the stories here for reference and for anyone interested in reading!

The Missing Series // Fire and Brimstone

18. Do any of your stories have alternative versions? (plotlines that you abandoned, AUs of your own work, different characterisations?) Tell us about them.

Yes, ma’am! First I’m going to say that most do not, but the Missing series, particularly all that concerning Asuka and Ai, does in a big way...particularly the completely altered timeline that follows them if she doesn’t go away. You’ve seen the comic, where Ai doesn’t lose her nerve that snowy day and makes it obvious to him she also has stock in a deeper relationship. Yeah, that one. I’m currently working on more short comics from that timeline. Not necessarily a whole story, but snippets from that fluffier timeline. But that also means a few things happen differently - for one, Krow doesn’t join the Ryukyu offices, mostly because, in that timeline, he’s allowed to fulfill his own heroic story faster than he can in Missing. He’s not actually a rescue hero, but he doesn’t have Ai around in the main series to come into that as quickly.

I also almost went harder on Ochako’s duality in Missing, almost making Uravity a separate entity that was starting to hate Ochako’s bullshit. I honestly hated that and clearly didn’t do that. Instead, the duality is more “in her head” than anything. This idea kinda comes out in Krow and Asuka instead.

Additionally, there was, once upon a time, an alternative “Missing”, in which Deku chooses not to return to Tokyo for the Pyromancer case, and Ochako faces him alone. It gets obnoxiously dark and gritty, to the point where I’ve taken that OnO fuel and split it between Escape Artists and my little-known horror project Downpour I’ve been working on in not-secret. But, yeah, that’s definitely an abandoned plotline...*shudders*.

There are small details here and there that I changed in both Missing and Missing Out that created alts, mostly concerning Deku and how he fights baddies/figures things out, name changes for OCs, The Ring’s and Pyromancer’s whole identities changed, and Irina’s characterization has really gone through the ringer (from being another lovable asshole bird like Krow that simply gets on his nerves, to being a dangerous, but important antagonist). I also had Deku introduce the idea that people’s quirks can kill them in Missing because I intended to explore it more, and I’m not sure if that’s totally abandoned...

Thanks for asking this one. <3

20. Tell us the meta about your writing that you really want to ramble to people about (symbolism you’ve included, character or relationship development that you love, hidden references, callbacks or clues for future scenes?)

Yes.

All of that. I don’t wanna toot my own horn, but I live for hidden messages, references, callbacks, foreshadowing and symbolism. The Missing series (and to a lesser extent, Fire and Brimstone) is simply overflowing with these things...there’s so much that even with all of the people who have read it, there are still gems and Easter Eggs left to be discovered. And, before I get into it and make this post obscenely long, my reasoning for doing this is simple - I want you to read my fics again...I want to have reread value.

I’m going to put it under a cut in case anyone wants to discover them for themselves and also general spoils. Here are the ones I’m MOST proud of or that make me laugh or, dare I say it, make me feel smart. This is not an exhaustive list, and of course, I’m not pointing out any future Missing series meta for sake of spoilers.

Titling

Titles, titles, titles, girl you know I love titles. I’m a title SNOB. And I do A LOT of fun things with titles, such as:

1. Using the title of the fic as a buzz word and callback to the theme.

I get real obnoxious with this in the Missing series. The overarching theme of Missing is, well, missing people, particularly in the vain of heartache, loss, and longing. And I put it everywhere:

From Missed Chance:

Despite keeping steadfast to her goals and to her future, she knew that for a long time, she'd be missing him.

From Missing:

Today, there would be an update. As much as she wished it weren't so, the only time she saw Deku was when it had to do with Pyromancer or for a brief moment before leaving the police station in the mornings. Any other time, she was missing him.

“I miss you.”

...

“I'm always missing you.”

That's probably how he wanted it - being Asuka, the one still missing Ai, was too painful.

It couldn't ever be the same again, and Ochako was happy for it, feeling like her life was now so full.

And not a thing was missing.

From Missing Out:

“Miss me?”

“Only a little.”

But even when she was being annoying as hell, I craved her, like I knew I'd miss her.

Still, after all that time in the cold, her lips seemed like a warm reprieve...if I could have ever gotten there...

I miss her.

I'm always missing her.

^This one’s a double whammy, for obvious reasons.

2. Using chapter titles to run with a theme, too.

This only happens in Missing and Missing Out, but, look:

Chapter titles for Missing are the life of a fire and also follow the level of stress in the fic, as well as Ochako’s feelings: Hot Coals, Rekindling, Reignited, On Fire, Blazing, Inferno, Burn Out, Backdraft

Those words are used in their respective chapters too AND we run through them when Ochako is considering confessing or not in the last chapter.

I pull the same kind of crap in Missing Out, except all the chapter titles are things Ai gave to Asuka. If it’s an object, the object is in the chapter, otherwise, it’s stated in the chapter, too.: A Desperate Lie, Lunch, Skills, Home, No Conditions, Second Chances, Worry, Agony. It’s also in reference to this, because kill me, I guess.

Bonus: Since the story is told from within the theatre of Asuka’s memories, the titles for chapters 7 and 8, “Worry” and “Agony”, are spoiled in Chapter 6 here:

I didn't know I'd missed my last shot at telling her...I didn't know that I really would be missing out on a life with her.

Because everything after this is worry and agony.

BONUS BONUS - THE TITLE OF THE FIC APPEARS HERE TOO BECAUSE I’M OBNOXIOUS.

3. Title allusions and character.

Particularly for “Fire and Brimstone”, the title sounds like it’s just about the main boys, Katsuki = Fire, and Kirishima = Brimstone. BUT BUT BUT it’s also referencing biblical shit, which is appropriate, given it’s an Angel/Demon AU. It refers to God’s wrath when people use it loosely, but it is also the torment in hell for the deadly sin lust. *hint hint nudge nudge*

Okay that’s enough about titles. How about the fact that

Krow is a Crow

So many little crow quirks, lore, and bullshit is put into this character, like wow.

1. The entire concept of his quirk is all about crow lore, in that they are often connected with death in a number of cultures. This is why, although he doesn’t like to explain it, his quirk isn’t literally a sense of smell, but a little more mystical than that. It’s a sense. His quirk also references the Carrion Crow, Corvus corone, for which he’s based, which is a scavenger and is heavily associated with carrion and is native to Japan.

2. The green and purple iridescence of his wings are also referred from the Carrion Crow in particular.

3. What’s not overly obvious is that crows and ravens have positive lore too - in a number of cultures they are guides and messengers, sometimes to people, sometimes to Gods, which Krow fulfills to both Ochako and Ai (with Ai’s quirk, she could be compared to a goddess, for which he acts as the messenger - this was how she figured their partnership would work). Krow kind of puts this and the negative lore together when he explains his quirk for real in Missing Out:

As a teenager, I ignored them. Death is everywhere and it usually isn't important. Whatever messages they need sending, I'm not the crow they're looking for.

He also actually has a messenger bag in Missing Out.

4. It’s referenced in Missing and outright admitted in Missing Out that he’s inexplicably attracted to shiny things, which is more or less also crow lore, rather than fact, but still.

5. Krow’s name “Asuka” is a unisex name that refers to scents, but also birds and flight. There are a bunch of different refs that say differently, but I’m sticking with that. “Dakuro” is Engrish for “Dark”, which, if you really wanna meta, is actually his last name, considering his father is British. “Dakuro” is just how the Japanese people around him pronounce it. XD

6. He admits to collecting random shit he finds aesthetic, in reference to hoarding and collecting as crows do.

7. Asuka and Ai’s “lunch for quirk fodder” exchange, as well as his giving her the necklace and the box of quirk fodder, is in direct reference to this adorable true story.

8. Asuka speaks more than one language and is capable of mimicry during his “feral response” while fighting the Bear Trap Villain. This is in reference to the fact that crows and ravens are capable of mimicking human speech like parrots.

9. Asuka likes to sit in high places and watch people, and squats in tree for the majority of Missing Out and often bitches about walking anywhere, unless it’s to protect Ai. He has the mentality of a bird. He’s also built like a bird, with hollow bones and air sacs to assist his properly sized wings during flight.

10. He’s actually incredibly intelligent, and uses it to finagle out of tough situations and generally be a trickster, as is crow/raven lore, but crows/ravens are considered the smartest group of birds besides parrots. Unfortunately, this gets balanced out by the fact he’s a teenage human boy, which makes him lazy and capable of dumbass moments.

11. The murder investigations - there’s a number of instances where Krow can’t help but be drawn to death from his death sense in both Missing and Missing Out. He can’t stop himself from investigating the building Pyro is hiding in, the murder warehouse, and when Ai dies. Crows and ravens will gather around fallen comrades in a mix of mourning and also in an effort to try and figure out what happened and if that threat still pertains to them.

:3 Birb <3

Secret Messages and Tells and Foreshadowing and Symbolism

-In Missed Chance, the duality split of Ochako and Uravity is referenced as happening at a particular moment. Throughout Missing, Uravity is treated as apart from Ochako until the end of Missing where they “agree” on letting Deku help. It��s a duality of self representation.

-At the end of Missing, I’m hoping its clear everyone but Iida was in on leaving the two of them alone. Aoyama initiates it by leaving first.

-There are at least two instances where there’s heavy foreshadowing of the end of chapter 7, once with Aoyama:

“Then where in this overcrowded city?”

“I see. Among the clouds, then.*”

And again with Deku:

“That's a relief. Now, I just need to make sure I don't float myself into the stratosphere and you'll be right!”

-There is SO MUCH symbolism related to flying and birds, I can’t really put it all here, but it’s there. Also so much symbolism to fire in Missing, not only with Pyro’s quirk, but Ochako’s feelings..

-Krow reacts to a memory of Ai before we know she exists (since he’s hiding it) while they are interrogating Necromancer: “That’s not bringing them back. That’s nothing like bringing them back.” He also lets it slip a bit that he’d speaking from experience when ragging on Ochako about Deku. Deku also introduces the idea that people’s quirks can kill them in the same chapter, which is in reference to Ai, but also what ends up happening to Ochako, more or less.

-If you replace Ai’s name with the literal meaning of her name in some sentences of Missing and Missing Out, the UwU angst goes up to an 11. Here’s the one that’s particularly the gut punch:

Ai saved me in every way someone could be saved.

[Love] saved me in every way someone could be saved.

-End of chapter 5 of Missing Out, No Conditions, it should be obvious as hell that if Ai wasn’t in love with Asuka before, she certainly is now. Particularly in the gift box scene, he gives her...butterflies...right?

-Ai is compared to the winter throughout Missing Out. This is more in reference to what she means to Asuka than anything else. Winter, as a season, is the great equalizer and although things die in the winter, it is also necessary to the bloom in spring. This refers to the shift in Asuka’s life because of her - his villain life ends and his hero life begins.

-In fact, that whole scene in the snow is based off this gif, particularly the alt comic. It’s of two crows sitting in the snow kissing UwU.

-In both Fire and Brimstone and Missing Out, it should be getting pretty obvious I like to have my winged beasties flutter their wings when they’re in love.

Referencing Literature & Real Life & Pop Culture/Memes

-Pyromancer’s first crime in Alaska is based off the McCarthy, Alaska massacre where a lone gunman gunned down 6 of the 22 residents and injured more. Guy almost killed the entire town. Pyromancer actually did.

-I’ve referred to “The Raven” by Edgar Allen Poe a number of times, particularly in Krow’s famous line

“Nevermore, bitch!”

But I also referenced the Telltale Heart, The Cask of Amontillado, Frankenstein, The Wizard of Oz, and fanfiction in general.

-There’s a pop culture reference in Fire and Brimstone from Bioshock where Shinso says:

“Would you kindly go repent at the alter? Ashido is waiting.”

And I love it a lot, because in Bioshock SPOILERS, “would you kindly” is the trigger phrase that’s supposedly controlling the player, Jack, to do things for Atlas and in canon, Shinso’s quirk is brainwashing. Mineta upon hearing it just goes “okay” and promptly does what Shinso tells him. Shinso’s brainwashing is also referred to by Mineta just before that:

“Or get brainwashed into believing fairy tales,” Mineta said flatly from beside the Angel.

-There is indeed a motherfucking JoJo’s reference in Missing. And there’s more memes where that came from.

-Krow’s use of “my guy”, “lit” etc etc. is self explanatory. He is a whole ass meme chicken.

-In fact, I call Krow and the other birds of the Missing series “chickens” because of the meme of the girl pointing to a bunch of geese saying “look at all these chickens!” In fact, Irina calls and will call Krow a “cock” in Missing Out and Escape Artists, and it’s kind of a more sinister play on this. Transplant and Keeper, during their convo in Missing Out refer to the women captive under Keeper part of her “henhouse” and that she’d need a “rooster” to go through with her plans. Krow also refers to his fight with Irina as a “cockfight”.

-I’m not religious, but the lore is fun to allude to. The religious references should be clear in Fire & Brimstone, and a lot of the words I use relate to the topic, even casually in the narration, but also when the characters say “like hell!” Also in F&B, the real Angelic hierarchy shapes much of the worldbuilding, as do the references to real life racism, police brutality, and other shit like that.

In Missed Chance, the sun coming through the window puts a “halo” around Deku.

In Missing Out, Krow refers to demons on a number of occasions, sometimes towards himself, his family (which in comes the irony, since they look like Angels), but towards the end, it’s used to explain Ai’s mental illness. There are also these choice lines that entertain the notion of heaven and hell:

Below us was hell – mothers with agendas, school, dipshits, murderous villains, oh my! But up there? It was just us...

I was under no illusions about a heaven...hell certainly exists back down on the ground but I've been high enough now to rule the other place out. Unless this cold, quiet nothingness is supposed to be the intuitive opposite to the chaotic, unfair bullshit below.

-There’s a lot of references and characters with mental illnesses - psychosis, sociopathy, anxiety, depression and PTSD are all explored. In fact, Krow’s tendency to laugh at everything and get triggered by certain events (all of Missing Out is the result of him triggering himself in order to make Ochako realize her mistake) is a tell-tale sign he suffers greatly from PTSD, and Ai’s mental breakdowns are indicative of the anxiety I myself suffer from. Honestly, I just wanted some fics that look into it.

-In the same strain, all of the characters in Missing present different coping mechanisms towards what first-responders actively go through irl. Much of that was taken from my own life as someone with police in the family and being married to a firefighter/EMT.

Okay, that’s enough. Hope you enjoyed...I certainly had fun outlining all of it XD

#izuocha #my hero academia #uraraka ochako #my hero fanfiction #Missing Out #Fire and Brimstone #Missing #kiribaku #oc: Krow #writers ask games #encyclopika talk #THANK YOUUUUU

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hanbereviews · 4 years

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Mineo Enomoto Route Review

Our first review will be of Collar x Malice, an otome game released to the PSVita that was ported to Switch after the announcement of the vita’s imminent death. It’s pretty much universally recommended when asking for a list of otome games that are plot heavy whilst still having endearing characters that make you care about them. So let’s see if that’s true!

For a brief summary, Collar x Malice follows our heroine Ichika Hoshino who is a policewoman in Shinjuku. After being attacked during a patrol she has a collar placed around her neck with deadly poison in it. She finds out that the attackers are connected to an organization called Adonis, who are perpetrators of the “X-day” incidents. A list of monthly crimes where they judge supposed criminals. Hoshino is taken in by five former police officers who each quit their positions for different reasons and have decided to investigate Adonis independently. After playing through the common route, you can select to be the “partner” of one of these officers.

I’m going to preface this that with my being Black I’m not too geeked with the heavy involvement of police within this narrative. However the game plays so much like a traditional murder mystery and the plot itself is so outlandish that I never felt uncomfortable enough to tune out. So with that said, let’s get into Enomoto’s route! For my criteria please refer to this post.

Characterization

Enomoto’s character is actually the most stable and consistent throughout his entire route. When you meet him your impression is lovable idiot, and he kind of stays that way. This isn’t to say he’s purely incompetent, there are a lot of times that this trope is very overdone in a way where the male character is so horribly stupid you don’t exactly know how he got in the position he did. But Enomoto has a degree of intelligence to him that at least proves he knows what he’s doing.

That said, he does have a lot more idiot moments relative to anyone else. It’s actually not as frustrating as one would think, even if you dislike his particular type of character. The narrative does a good job of making him endearing whilst not overdoing it so he seems one note.

Other than that, he’s got absurdly strong morals that are never really compromised throughout the story. Everything he does lines up with what he says, and he never really has any moments where he contradicts himself. There are a couple moments where it seems like it, but in my opinion there’s not much tension in them. I found myself thinking, “oh man another situation where Enomoto might do something questionable. What’s the writer gonna come up with to make him avoid doing that.” This is not to say he had to do anything morally ambiguous for things to be interesting. Rather the drama came less from his internal conflict and more from outside sources.

This is not to say there was no internal conflict, as the first half of the route has heavily to do with the fact he’s made no progress in his investigation. Characters harp on him repeatedly for that, and he takes an appropriate amount of time to unpack that issue without it being magically solved. Of course Hoshino is there to help every step of the way, but she does it in a way that’s thankfully not the invasive fix-it heroine type a lot of otome games use.

Hoshino herself was kind of a polarizing character for me. Whilst she had many investigative and bright moments there are times she came off very oddly like a doormat. This is mostly a gripe with the conversations she’d have with her brother. He was very frequently unnecessarily rude to her, and while I don’t think it was necessary to be rude back she just does...Nothing. Except have an internal monologue which I didn’t find very effective. The game does a very poor job in explaining her family situation in regards to her younger brother in a way that justifies his clearly misdirected anger.

Even when their relationship is being repaired, it takes a completely external event to get them to be honest with each other. It felt cheap, because they never really sat down and had a true heart to heart. Regardless, when Hoshino and her brother begin getting along their interactions are incredibly funny and have you coming back for more. So he’s not a bad character by any means.

Now we move onto the villains. We will start with the sub antagonist of the route, and not so coincidentally the killer in Enomoto’s case. I think they were...A bit of a letdown. I’m not sure what impression the game was attempting to give me, be it someone who just had a target of obsession and was just generic otherwise or something else. But I never really felt anything for this character. They show up incredibly late relative to when they reveal that they have something to do with Enomoto’s case, and their characterization is sub par. The only reason I can remember them so well is because their design is completely ridiculous and ripped any tension a certain event could’ve had out of it. It’s a shame, because I loved their design, it just felt very wasted in not making a complete character.

Now the main villain is...Actually done decently. He serves as a foil to Enomoto in the most blatant way possible. Essentially being the antithesis to his morals. The problem, I think, is that he never really genuinely makes Enomoto question himself. The narrative always sets him up to be pretty much universally in the wrong. So there’s no ambiguity in what he’s doing, and makes this more of a hero/villain story than anything else.

Plot Relevance

This is where my main criticism of this route crops up and where you can see that this is clearly a giant introduction to the game. We don’t get many insights into Adonis as an organization, in fact they don’t really do much of anything in Enomoto’s route. The killer in his investigation is someone that is completely unrelated to Adonis outside of accepting a job from them, and a plot device conveniently keeps us from even interrogating them. Not to mention again that their design is so utterly ridiculous that you just can’t take any scenes involving them seriously.

However they aren’t the main villain. So this main villain must be connected to Adonis somehow right? No, actually he isn’t. Once again he has a rather vague connection to the organization at hand, that is to say he isn’t even a member. The villains in Enomoto’s route thus deal more with his personal character moments than the game’s greater plot. This was a point of frustration to me because I hate, hate, hate when otome does this. If I have a favorite picked out, I feel as if I should at least get some glance into the whole point I’m playing this game by playing their route. I’m not asking for different interpretations of the same events, but at least prove this character has some shred of importance aside from being boyfriend material. This is especially a pain point due to the fact that Adonis being an organization is definitely implied to have more than one member. Why did Enomoto not have one assigned to him?

Character Interaction

This is actually a high point in the route. Enomoto and Hoshino have a wealth of interactions with the other former officers as well as Hoshino’s friends in the police itself. You never really feel like they’re isolated from the rest of the world. While the majority of their scenes are with each other, they’re always talking to someone else by the next scene. There’s always a different conversation to be had and that makes things feel really alive in the world itself.

A small criticism is that a lot of Hoshino’s conversations with the former officers outside of plot details, without Enomoto kind of boils down to “Oh man I totally wish I could get with you. Too bad you’re Enomoto’s partner.” Maybe I’m in the minority, but I do wish she could’ve formed a bit more genuine bonds as friends with the other prospective men. It would’ve made things feel more realistic considering they were all in this together. However I do enjoy how consistent their characters were and being able to see them onscreen. A personal pet peeve of mine is the heroine and her boyfriend being completely cut off from talking to other men because she’s “his” and the game wants to make that clear.

Final Thoughts

Overall I really liked Enomoto’s route, and him as a person. He’s got a pretty significant spot in my personal route rankings and I just love love love his personality. In terms of a numbered rating?

I’d give this an 8/10. I was never really bored and that’s a good thing.

#hantome review

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dlamp-dictator · 4 years

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Allen Rambles about Episode 6

Man... I’m just never going to actually talk about anything in a timely manner, am I? Every time I say that a Rambling is coming I get distracted and talk about bad anime, other video games, or I draw my OCs for a months on end and forget all my drafts exist.

And since Children of Ursus... dense, to say the least, I’ll just finish up this draft of Episode 6 and hopefully get on some kind of proper schedule for October... hopefully.

So, Chapter 6 came out... month ago, and I’ve been meaning to talk about for some time. Honestly, I have more criticisms than praises for this episode, but there are a few good points worth talking about.

But first, as usual, a synopsis.

To keep things simple, Episode 6 focuses on the joint operation between the Hong Kong Lungmen Guard Department and the Rhodes Island Pharmaceutical Company. After Episode 5, Rhodes Island finally rendezvoused with Ch’en’s detachment in Lungmen and the two groups come up with a game plan to take out the Reunion troops in the city. Ch’en focusing on the slums and a few key locations while Rhode Island takes out the commanders, namely Frostnova, Faust, and Mephisto.

That’s the basic summary of things, but things go a little deeper.

The Story

A looong while ago I said Code of Brawl contained the best and worst aspect of Arknights. Episode 6 really shows what can be bad about it.

Okay, I’m being a little unfair since this latest Episode just pails in comparison to 5, but it’s still a little disappointing. My main issues are the disjointed story arcs and the attempted at humanizing Reunion, but before I get to that let me just go over all the little things first, just so I can clear the air of all the nitpicks and not accidentally make a 500-word segment about minor things. With that said...

Small Things that Only Bug Allen

Blaze gives Greythroat shit for reasons that seemed to have happened off screen. This makes her seem really catty (pardon the pun) toward Greythroat for no reason aside from assumed slights and weakens Greythroat’s later character growth as we don’t see her show hatred or prejudice toward the infect, not in the same way as Ch’en in Episode 2-ish.

The Doctor’s role as a self-insert really harms more scenes than helps. A lot of moments where they’re the focus feel flat since they don’t have a real personality to play off of. Just for example, imagine if Amiya was trapped in with Frostnova instead of the Doctor, I could see a much stronger chance to characterize both characters in that situation.

Gavial was mentioned several times in this Episode and didn’t get any dialogue. How dare you not give Gavial screentime.

This Episode has proven that Amiya is canonically a 14-year-old loli and in charge of a total not private military company, no I swear, those soldiers are just for CC and special ops don’t think about it too much Silverash is just a CEO of a company stop asking questions.

This isn’t a story complaint, but 6-16 was a bitch to get through. The randomness of Frostnova’s AI combined with that high damaging AoE attack just kills it for me (and half my units).

And while on gameplay, Stage 6-17 was really dumb and its only redeeming value is a free Originite Prime. I get the narrative point of it, but it’s still dumb.

Okay, so with the small stuff out of the way let’s hit the big issues, starting with...

The Disjointed Arcs

So... this Episode wanted to explain Frostnova’s backstory, explain Mephisto and Faust’s backstory, introduce GreyThroat and Blaze while giving them a character arc, further Ch’en’s character arc, humanize Reunion, do world-building on Lungmen society, reveal a political conspiracy of Lungmen that dates back years before the main story, kick-start what I pray isn’t a redemption arc for Mephisto (that’s a Rambling in itself), hint at Crownslayer’s backstory, hint at Talaluh’s backstory, and possibly reveal some stuff about Ursus.

And folks... that’s too much for one Episode to handle.

Compared to Episode 5, which just focused on Ch’en and the LGD, this was just a mess, there’s no two ways about. They were trying to do too much and front-loaded a lot of the important bits toward the end. I really wish they only tried to do two or three things on that list instead of 10 things. Arknights has a bad habit of trying to tell too much in the limited time it has our attention. Episode 4 was guilty of this, elements of Operation Intelligence was guilty of this, and even Code of Brawl has hints of this issue too by trying to hint at Mostima’s backstory while giving Bison and some other characters an arc. I get that they’re trying to lay the ground work for future events and story points, but this is really just too much, at least for one episode.

But speaking of things that are too much...

Humanizing Reunion

This is what really grabs my goat. I’m conflicted on how to feel about the attempt to humanize Reunion and add grey morality to their role as antagonist. My original draft had said this was a bad thing, since Mephisto is so cartoonishly evil any attempts at redemption feel flimsy, but... I think it could work.

The main issue of trying to humanize Reunion is that our introduction to them was Mephisto, who is so far down the moral spectrum that it’s impossible to think he or the faction he represents are redeemable. However, characters like Faust, Skullshatterer, and Frostnova are much more reasonable/understandable in their motives. Skullshatterer is ruthless to his enemies, but kind to his soldiers, and his ruthlessness is really only on the battlefield. Faust is essentially Mephisto’s leash, and just tries to reign in his evil while protecting him. Frostnova just wants to have a home for her Yetis and doesn’t care what side she has to join in order to get it, though she has her doubts about Talaluh.

This is fine by itself, but due to all the evils of Mephisto and the cruelty he’s done to Rhodes Island, Lungmen, and Ursus, it makes it really hard to see Mephisto as the exception instead of the norm for Reunion’s methods. It makes Faust’s death and Mephisto’s devastation of it feel flat since, frankly, the brat’s cocky attitude got his friend killed, and he’s just getting what he deserved. He’s killed and tortured too many for anyone to really feel sympathy toward him. When even Amiya calls Mephisto a bastard, there’s really no redemption, and while Episode 6 doesn’t try to redeem I’ve seen enough anime to know they might try and make it broken state seem more sympathetic than it should be.

Which leads nicely into Frostnova, who’s arc was done very well by my standards. While I personally think giving her solo time with the Doctor was more detrimental than helpful, it worked well enough to show she wasn’t a monster like Mephisto. It gave us some time to understand the motivations of the Yeti Squad and sympathizes with their goals of finding a home, gave us a nice hook for when Patriot comes around in full after being teased in both Episode 4 and Operation Intelligence, and if this Episode only focused on that I’d say it was a good story over all.

But... Episode 6 wanted to also hint at so much more that it was suffocating. I’ll at least say that Ch’en’s segments were fine and move on.

Gameplay

I’m going to keep this as short as I can since the story section was the big thing I wanted to talk about. However, there are a few things I want to mention in terms of the game.

6-7 was probably the best chapter in the game so far. I loved how they gave you an team already with most of them at E2. It was a great way for people without GreyThroat and Blaze and test them out. It let you see how some Operators you might have ignored perform at a higher level. It gave you a hint at where you should be at the point of this level, and the for the lore nerd it gives us a good idea on how an official team is structured for high-level missions. I’d love to see more missions like this in the future where they give you a ‘canon’ team already and have you work out the puzzle of who goes where and when.

6-16 is probably the worst. Frostnova having high stats and a second stage I understand, but so much of that map relies on getting around the randomness of what tiles she knocks out and praying you can survive her massive AoE attack in her second phase. My entire team was E2 Level 30 and it took me over ten tries to 2-star that stage. I was using a guide too. A lot of that map revolved around just praying Frostnova didn’t bonk out certain tiles or praying that her AoE attack didn’t randomly proc at a bad time. There is way too much left to chance on her stage.

General Gushing

I think that’s enough critique, let’s get to some happy stuff and talk about the things I enjoyed.

Blaze’s cattiness aside, I liked her a lot. She’s confident, she spontaneous, she’s... basically a rowdy housecat. Seeing more elite operators would be nice so Rhode Island feels like an actual force with some power and order and less ragtag.

Ch’en character arc is shaping up nicely, her barging into Wei’s office to chew him out gave me the largest grin.

Amiya’s whole speech to Wei was just great as well, really reminds you she is the top executive of Rhode Island for a reason... despite being a 14-year-old bunny loli.

Everyone mildly talking about Gavial makes me really curious about seeing her speak and act in the story. She seems like a feared woman to be sure. I’m we’ll be getting her event somewhere down the line.

Faust and Frostnova’s death, as forced as they felt, were genuinely sad and made me feel something. It gave the series a bit more weight to it.

Speaking of, Faust and GreyThroat had some pretty nice parallels, both Crossbowmen fighting for causes they’re initially apathetic toward save for a very small handful of people. Mephisto for Faust, and Amiya for GreyThroat.

“She jumped down?!” “She jumped down...” Best exchanged in the game so far.

Like Code of Brawl, save for some of the bullshit maps that just spammed the strongest, hardest-hitting units (yes, I do mean 6-5) I found a lot of the maps required some creative thinking. Despite this Episode needing E2 units, my E1 Vigna was the MVP of most stages. Ethan as well, as I didn’t have Manticore at the time and his damage of time skill and AoE damage really made those chokepoints work.

In the Future

As always, I don’t like the idea of fixing something that’s already out, but asking for future changes seems reasonable. To that end, I hope Episode 7 is focused on only 2 or three characters with little distraction. Episode 5 was great not because it focused on a fan-favorite character, but because it was a solid character arc for that one character. So far we have Ch’en and Amiya getting ready to maybe stop a war between Lungmen and Ursus, so let’s focus on these two characters. Amiya maybe finding out that Ch’en is slowly becoming Infected and helping her come to terms with that. Ch’en revealing her past to Amiya and the two connecting over losing so many close to them due to Oripathy. The two standing up to the political corruption of Lungmen, shoulder to shoulder, as women that refuse to see another life lost due to the indifference of a city’s politics.

And no bullshit maps like 6-5 too.

Anyway, that’ll do it for me. I’m... off to write some more essays and get a queue going.

#arknights #your dictator is speaking

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thelawyerthatwaspromised · 5 years

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Episode 1 Should Have Been Titled “The Truth”

Simply put...there was major indications that we are getting dark!Dany, Jonsa, and political!Jon in this last season. The major signs and subtle nuances were extremely consistent. The only real complaints I’ve seen is the “flavor” of some of Jon’s actions in episode 1. It’s an understandable criticism but I really think we were fed quite well for a premiere and a TON of plot boxes were checked off and done so quickly enough that the “there’s no enough time!” argument against the Big 3 is really starting to ring hollow.

I think I’ll work largely going theory by theory here and showing what makes them all even more likely than ever.

Big 3 Jonsa Fan Theories

1.) dark!Dany

If you don’t know already...the dark!Dany theory is the idea that Daenerys Targaryen’s arc has been tell the story of an emerging antagonist - principally with Jon Snow as her main political foe.

This is probably the easiest of the Big 3 to identify in Winterfell. Right off the bat, we get a glimpse. The Northerners don’t approve of Dany, very clearly. She gets satisfaction when her dragons flyover and terrify the bejeebers out of the commoners.

Charming.

We move on to the terrifically uncomfortable first meeting with Sansa...and we all know how this went.

I think EC did a really good job conveying the air of superiority and her dissatisfaction with Sansa’s response.

Dany doesn’t have much a poker face. And it’s shown to be contentious for good reason.

This is the first time she’s ever been to WF and she expects to be called “My Queen” like everybody is Jorah Mormont. That’s just not how it works. The first town hall meeting with the North goes even worse than the initial greeting.

“What exactly do dragons eat anyway?” “Whatever they want.”

Bingo bango. If EVER you needed a money quote point to Dany both 1) being oblivious to what it means to be a good politician; and 2) being an entitled ruler who believes the rules don’t apply to her...this is it.

And it mirrors what we’ve seen before with regard to the dragons.

Ring a bell?

Then we get maybe the darkest Dany moment of the episode. Well...at least one of the top 10 darkest Dany moments of the episode.

“If she can’t respect me...”

Then what, Dany?

Her subtle head shake before she says it conveys a “don’t you get it, Jon?” She follows it up with a very intentional narrowing of her eyes...she’s letting Jon fill in the blanks of what she means here. It’s impossible to ignore the implications.

Notice that Jon doesn’t look too thrilled and gets yet more confirmation that he is walking a very, very fine line.

Next, we get the culmination of a lot of offseason speculation that, as a Jonsa/dark!Dany/political!Jon believer...was told was NEVER going to become an issue: the burning of Randyll and Dickon Tarly.

Let’s recap...

Wonderful advice. Then..

We know how this turned out. And we were shown pretty emphatically that, yes, burning a father and son alive when they are prisoners of war is going to be viewed negatively by a family member of that father and son and it’s probably going to have an effect on how a region feels about you when your father started a war by deciding to burn a father and son alive (or burning a father and strangling a son, as in the books).

So she bumps into Sam. Because Sam’s connection to Jorah does, again, matter. Sam happens to mention he belongs to House Tarly...and Dany’s demeanor gets noticeably stiffer and more steely.

Let’s unpack this.

Randyll Tarly wasn’t executed for being a bad father. He wasn’t executed as a form of justice for “betraying” House Tyrell. He was executed specifically because he would not bend the knee. Bending the knee would have allowed Randyll Tarly to have the exact same lifestyle he’d had before he’d bent the knee. So, again, this was not an act of justice. It was an act of dominance. Unequivocally.

Then...she reveals that Dickon Tarly was executed likewise for:

...standing by his dad. Please, if you have belief in Daenerys as a hero at this point, consider the extraordinary meaning of her words here.

The Loot Train Battle was a temporary triumph and a long term disaster for Dany. There’s not enough food to eat and she executed the members of maybe the greatest non-great house (in stature) in Westeros, people that could have at the very least been valuable hostages. And it’s hurting her now even double because the surviving son of the man she executed is best friends with the man she wants to romance and who holds her only chance for political cohesiveness in her newly “acquired” kingdom. What a complete and total disaster for her. Rightfully so.

2.) political!Jon

I’m going to say that political!Jon is probably the hardest of the Big 3 to identify in the episode...but then again it was hard to identify last season too. The difference is that I’ve actually been seeing much more popular speculation that Jon isn’t necessarily as blind and foolish as he might be leading on.

First, let me remind everyone of what I think is basically the central thesis of political!Jon:

What I’m seeing from Jon, maybe more than I even anticipated from Season 7 is that his actions are also colored by a distinct emotion that seems to be increasing as the “game” goes on: fear.

Yes, Jon is afraid of what Dany might be capable of doing. To his war efforts. To his home. To his loved ones. So now, I’m practically ready to amend my central thesis of political!Jon to read:

political!Jon is the theory that Jon’s main objective for the entirety of the time after he left Winterfell was centered on obtaining Daenerys as an ally so that her resources could be redirected to the Army of the Dead. This objective was the primary reason for every significant action he took in Season 7, culminating in Jon determining that he must bend the knee in order to get Daenerys’ help in the North - and an increasing realization that, at all costs, Jon must never appear to be a threat to Daenerys’ quest for power else he and his loved ones would become her enemy and he is not powerful enough to stop her.

It’s startling in a way. He truly is Torrhen Stark in this scenario. Think back to what Jon’s seen:

A terrifying first meeting where he’s told that by calling himself a king, he’s in open rebellion against Daenerys...

And asserted her belief that she is entitled to his home...

She leveraged his fear of destruction to demand that he bend the knee...

He watched her berate her Hand for the crime of not wanting his family dead quite enough for her liking...

He had to talk her out of using her dragons on King’s Landing...

He knows how she views her “children” as her source of “specialness” and that she craves being viewed as special...

Because she told him exactly that...

And he knows that even after SEEING the Night King, she gave him no indication that she was willing to halt her war efforts in the south to help save the world unless Cersei agreed. (she also stupidly believed Cersei)

So we get to the first town hall meeting...and Jon drops this incredible truth bomb...

Act surprised if you want...but he’s only confirming what he’s said the whole damn time...

He declared in front of EVERYBODY that he could not protect the North while holding onto his crown. He doesn’t care about Dany getting her chair. He doesn’t care about her war against Cersei. BUT because of who Dany revealed herself to be throughout the Season 7 (very powerful and very volatile) Jon’s learned that being her enemy is an untenable position.

Follow this thought process if you’re still skeptical:

Did Jon believe his crown was important?

Yes, he refused to give it up during the season because of exactly that. It does matter.

Why would he change his mind then?

Theory 1: His relationship with Dany has shown him that titles don’t matter. Ok, well that’s hogwash because now Dany is threatening Sansa for not respecting her enough...and Jon himself was threatened in Season 7 for not bowing to her and calling her Queen.

Theory 2: Jon is intimately aware of how important titles are to Daenerys. And that’s exactly why he has to make her believe he could never be threat to her. He knows the things she’s said; the things she’s threatened. He knows how her priorities...else the Dragonpit summit wouldn’t have been necessary to get Dany’s agreement to help in the North. Jon is terrified of the idea of becoming her enemy because he knows how incapable Dany is at seeing things any way other than black and white.

Considering Jon explicitly states that having the crown prevents him protecting the North...I know which theory I find more plausible. You can make up your own mind on that.

This explains Jon’s behavior, I think, better than any other idea. Jon fears Dany. He fears that speaking out against Dany exposes people he cares about. He needs them to realize that this is a dangerous situation. And I think they get that - but I’m not quite sure yet that they understand the amount of destruction that Dany has openly threatened to exact on her enemies.

Sansa is more outspoken now and more confident. When Jon jokes with Arya about Sansa thinking she’s smarter than everyone, he very obviously remembers back when Sansa said that Dany would try to force his political submission before he left for Dragonstone. And that’s exactly what happened. He told Tyrion that Sansa is smart. It’s not a secret that he knows Sansa is smart. But, in my opinion, his fear is centered on Sansa being outspoken to the point where she enrages Dany and puts herself at risk...which is EXACTLY what happened...

This is precisely what Jon fears.

“I’ll protect you, I promise” and

“I had a choice: keep my crown or protect the North.”

His submission is his way of preserving lives.

What’s the best indication that Jon fears Dany? It’s the R+L=J reveal.

So Jon’s finding this out for the first time...his initial reaction is disgust. It took Jon 16 seconds to say “I’m so sorry”. He was at a loss for words. And then Jon has to deflect, deflect, deflect.

His next words? Do they address the problem? Or do they display the heart of Jon’s problem? The latter.

This is a big nothing from Jon. The reality is that this war has put Jon in an absolutely terrible situation and he hates it. But what “war”? Hasn’t he pledged himself in TWO wars?

Why would defeating the NK be in any way connected to Dany killing the Tarlys in the other war? The answer? Jon’s only doing what he’s doing and not openly confronting the realities of who Dany is because he absolutely believes that he MUST delay addressing this situation because raising issues with Dany when the war with the NK is so near creates havoc that Jon can’t even comprehend.

He’s terrified of addressing what’s happened to Sam’s family and he’s probably not even sure what to do next.

To Sam’s credit, he cuts right through the bullshit and presses Jon on the “rightness” of Dany’s actions: “would you have done it?”

I’m not going to go into some silly discussion about “well gosh, hanging Olly is exactly the same as executing the Tarlys”. They’re not the same, but it doesn’t really matter because according to the writers - executing prisoners of war for not bending the knee is very very bad and significantly different than hanging someone who stabbed you in the chest. And we all know Jon Snow wouldn’t execute someone for the simple crime of not bending the knee and recognizing him as a monarch. Every single shallow thing Jon says back is countered immediately by Sam because we know that Sam’s right.

“I wasn’t a king” “But you were. You’ve always been.” “I gave up my crown, Sam...”

JON WALKS AWAY AFTER TELLING SAM HE GAVE UP HIS CROWN.

He’s visibly upset about it. Sam tells him that Dany executed his family...and Jon feels powerless to do anything about it. He tries to walk away when telling Sam he gave up his crown.

Ok, so, if titles don’t matter, then why does having a crown or not having a crown determine whether Jon can say whether he would or wouldn’t have made the same choice Dany made? Jon is saying it’s his not his place to say because he doesn’t have a crown anymore - just after saying that titles and crowns don’t matter.

They do matter. And Jon knows this. But he can’t say it. Not yet.

The last bit of powerful political!Jon evidence is in Jon’s reaction to being told he’s the rightful heir. That, in Sam’s opinion, Jon should be the King and Dany should not by Queen. (gonna go ahead and say this means Sam’s not going to be in favor of Jon-Dany marriage...)

Jon’s first thoughts are to step towards Sam and express anger that Ned lied all those years. Then Sam explains that Ned did it to protect him. And that Jon is the TRUE King. And this is where Jon’s episode-long poker face starts to really fall apart. Jon’s backing away. Stunned. Not totally unexpected...but it’s his first words that REALLY paint the picture.

He’s immediately terrified of the talk of succession. If Jon is SO SURE that titles don’t matter. If he’s SO SURE that she’s a good queen. If he’s SO SURE that “it doesn’t matter” - why are these his thoughts. Why is he panicked? Why is he unable to make eye contact? He learns that his birth wasn’t anything like he thought and his first real words about it jump to what it means for him politically.

Sam says what he thinks: she shouldn’t be the Queen. And this evokes terror in Jon’s mind...

It’s treason. His birth status would be viewed as treason. If Dany is a just queen. If she believes in the rule of law. Then Jon SHOULD be the King and Dany should not be the Queen. it’s the line of succession. But...again...titles DO matter. They matter to Daenerys above all. Jon has spent the entire time since he bent the knee trying to craft an image of himself as a total non-threat.

He had made the best decision for the safety of his people.

“When you play the Game of Thrones; you win or you die.”

Jon had very intentionally played the Game of Thrones by not playing the game of thrones. It was the only way for him to survive. Now, The Truth of his birth throws his entire plan out the window. He’s scared. He’s backing away. He’s panicking. Because he knows what it means. He realized at some point that when it comes to Daenerys Stormborn or House Targaryen, you bend the knee and live or you do not, and you die.

Daenerys essentially uses “you win or you die” as her motto. Jon chose the option that Mance refused. He bent the knee. He became Torrhen Stark. Except now imagine he is exactly the threat to Dany’s reign that he tried so tirelessly to avoid.

It’s so clear in Jon’s reactions that he’s afraid. It’s so clear in what he said that he came to view his crown as a threat to the safety of his people BECAUSE titles matter so deeply to Dany. RLJ just exposed ALL of that because his reaction is utter terror.

I can’t even get to the Jonsa stuff because this got so long...but I’m going to end with the central question of the episode and one that Jon doesn’t answer, mostly because of the terrible implications of the question itself.

No. She wouldn’t. And he’s known it all along. And The Truth of that is what scares him most of all.

#jonsa #jon x sansa #political jon theory #political!jon #tltwp meta #anti targaryen restoration #dark!dany #anti jonerys

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aion-rsa · 4 years

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10 Best Fighting Game Movies

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Once upon a time, Bruce Lee, Jim Kelly, and John Saxon visited a crime boss’ private island to compete in a fighting tournament and it was awesome. The 1973 movie Enter the Dragon is basically the prototype for the fighting games like Mortal Kombat and Street Fighter. And when those fighting games became popular, they inspired their own movies that either tried to emulate Enter the Dragon or do something completely new.

The ‘90s gave us the cheesy live-action fighting game movies from Hollywood and the animated movies from Japan. There have been several live-action Mortal Kombat movies as well as a few animated ones. There have also been multiple Street Fighter movies, four attempts at Tekken, a trilogy of Fatal Fury films, and more.

Are most of them bad? Yes. But did we pick our 10 favorite fighting game movies anyway? You bet. Here are our picks:

10. ART OF FIGHTING (1993)

Eh…it’s harmless.

The Art of Fighting series is mostly defined by the twist that the first game’s final boss is the main character’s father and the second game’s final boss is a younger incarnation of the villain from Fatal Fury. Take away those aspects and you’re left with a rather lowkey storyline for a fighting game where a teenage girl is kidnapped by a mobster and is rescued by her brother and her boyfriend.

Wait, I said that weird. It’s two different people, I swear! Except in Capcom, where Dan Hibiki is literally both of them merged into one character.

In the 45-minute Art of Fighting movie about Ryo and Robert, who are like chiller and dopier versions of Ryu and Ken, we watch as the duo gets sucked into a plot about stolen diamonds, martial arts criminals, and angry police lieutenants. It doesn’t take itself seriously and it’s a fine, breezy watch.

Ryo’s incorrect hair color kind of irks me, though.

9. STREET FIGHTER ALPHA: THE ANIMATION (1999)

This movie suffers from the same problem as Fatal Fury: The Motion Picture. It features a cast of heroes from a fighting game taking on a villain created for the movie instead of the villains we actually give a shit about. But the movie does also have some brief but awesome cameos (Kim Kaphwan and Geese Howard from Fatal Fury and Dan Hibiki and Akuma from Street Fighter Alpha) to brighten up a less-than-stellar plot.

Street Fighter Alpha: The Animation does at least get by because the original characters play up Ryu’s whole fear about being overcome by “the Dark Hadou.” This leads to some cool animations where Evil Ryu looks like a mindless, shambling zombie but also an unstoppable fighting machine.

The movie’s main storyline is about a kid named Shun who claims that he’s Ryu’s long-lost brother. He too is a fighter cursed with an inner dark side, which is used as a red herring to suggest that Shun’s father (and presumably Ryu’s father) is actually Akuma. That ends up being bupkis and Shun is just linked to some scheme by a mad scientist or whatever.

Probably the funniest thing about this movie is the directors’ infatuation with Chun-Li’s midsection. She’s wearing her form-fitting Street Fighter Alpha costume and there are dozens upon dozens of random close-ups to her lower torso from the front and back. If this were a drinking game, it would kill you.

8. FATAL FURY 2: THE NEW BATTLE (1993)

Of the Fatal Fury movie trilogy, this one is easily the best, even if it makes all the good guys seem like a bunch of overly-serious crybabies. The basic story is that after having avenged his father’s death, Terry hits rock bottom, dusts himself off, and comes out the other end stronger. Good, good. Going Rocky III is the perfect direction for a follow-up.

The problem is that Terry comes off as a bit of a whiner and the other heroes try way too hard to vilify the movie’s main antagonist, who hasn’t actually done anything that terrible. Krauser shows up one day, challenges Terry to a fight, wins, and says, “Okay, when you get better, train and fight me again.” Krauser isn’t trying to take over the world or murder orphans or whatever. He’s just a dude with huge shoulder armor who wants a good fight.

But everyone acts like Krauser’s the absolute worst. Terry starts drinking and falls to pieces while his buddies hope to get revenge. What a bunch of jerks.

While a fun romp, the worst thing about this sequel is how they redesigned Krauser. Gone is his mustache and forehead scar for the sake of making him seem younger. Kind of a bullshit move, considering he’s supposed to be the half-brother to middle-aged Geese Howard.

7. TEKKEN: THE MOTION PICTURE (1998)

This hour-long anime is almost great but just can’t stick the landing. It runs into the same problem as Mortal Kombat: Annihilation where the game series tells a specific overall story but the movie cuts corners to tell the same story. Tekken: The Motion Picture covers the first Tekken while setting up Tekken 3 and skipping Tekken 2 completely.

It means that everything’s well and good until the confusing and rushed finale. Otherwise, the movie is a fine use of the Enter the Dragon formula. Heihachi Mishima has a special island fighting tournament and the entrants include his vengeful son, a couple of cops investigating the situation, a gigantic robot, an angry Native American girl, two feuding assassin sisters, and a bunch of awesome characters who only get about three full frames of appearances each. Really would have liked to see something from Paul, King, and Yoshimitsu, though.

Other than Kazuya being pissed at everything, the best scenes are the over-the-top ones. When Jack does crazy robot stuff, when dinosaurs show up and start eating people, and that memorable sequence where Heihachi catches a hatchet with his mouth and then shatters it with his jaw.

6. STREET FIGHTER (1994)

I know this movie is just a GI Joe script with Street Fighter names pasted over it. I know it’s a cheesefest of dopey ideas and Belgian accents. I’ve long accepted that. Thing is, the movie is still a total blast to watch. What it lacks in faithfulness to the source material, it makes up for with pure camp and ham.

The 16 characters from Super Street Fighter II are represented here, except Fei Long is replaced with the forgettable Captain Sawada. How ironic that the movie star character isn’t even in the movie!

In general, the movie features some head-scratching depictions of classic Street Fighter characters. All-American Guile is played by Jean Claude Van Damme, Charlie Nash and Blanka are the same character, Dee Jay is an evil hacker, Ryu and Ken are comedic conmen, and Dhalsim is a frumpy scientist.

It’s Raul Julia’s M. Bison who keeps this guilty pleasure afloat. He’s to Street Fighter what Frank Langella’s Skeletor was to Masters of the Universe. He gives 110% and his performance is easily the best reason to watch this movie. It’s truly a wonder to behold.

Games

The Forgotten Fighting Games of the 1990s

By Gavin Jasper

Games

King of Fighters: Ranking All the Characters

By Gavin Jasper

The movie is infamous for inspiring a fighting game based on it, but you know what nobody ever talks about? The Double Dragon movie also had a fighting game based on it made by Technos and released on the Neo Geo. And Double Dragon wasn’t even a one-on-one fighter to begin with!

Anyway, if you intend to sit back and watch Street Fighter, make sure to add in the RiffTrax commentary.

5. DOA: DEAD OR ALIVE (2006)

Enter the Dragon meets Charlie’s Angels is a heck of a concept, but DOA: Dead or Alive is so confidently tongue-in-cheek that it succeeds as an action comedy that’s way better than it has any right to be. Part of why it works is that Dead or Alive has never had much of an overarching storyline, but is more defined by the individual characters (plus, you know, all the cheesecake). Enough of those characters appear in what’s your regular “fighting tournament on a mysterious island” setup.

The whole thing moves with such energy that it’s easy to get sucked in. It’s the opposite of the live-action Tekken movie, where even though the film features accurate versions of all the characters, everything is so drab and lifeless that you just can’t wait for it to be over. In DOA, the combatants spend their downtime playing cartoony action volleyball with Fake Dennis Rodman on commentary, while in Tekken everyone mopes about dystopian capitalism.

Other than Helena’s character being “important dead guy’s daughter,” most of the main characters are charismatic enough to keep your attention during the 3% of the movie when fights aren’t happening. It must suck for Ninja Gaiden fans that Hayabusa is depicted as a total dweeb, but he at least gets to do some cool stuff here and there.

The movie also has Kevin Nash playing a character based on Hollywood Hogan and he’s so likeable that I’m genuinely bummed that he peaces out about halfway into the movie. Luckily, the movie is entertaining enough that I didn’t even notice until after it was over. It helps that during that time, we get more of Eric Roberts, his amazing hair, and his special sunglasses that turn him into the ultimate martial arts master.

Spoiler alert, but the secret to defeating him is, get this, removing his sunglasses!

4. MORTAL KOMBAT LEGENDS: SCORPION’S REVENGE (2020)

It took a while, but Warner Bros. Animation is on fire these days. After that Batman vs. TMNT movie and Teen Titans Go vs. Teen Titans, the studio appears to be hitting more than they miss. That’s exactly the kind of team needed to put together the latest animated Mortal Kombat movie.

This is the umpteenth retelling of the first game’s story. Not only does it have to compete with the first live-action movie, but also the events of Mortal Kombat 9, which depicts the tournament in cutscene format. Fortunately, Scorpion’s Revenge has a few tricks up its sleeve. First, it puts Scorpion in the forefront as the protagonist. He was barely a character in the original movie and the game just had him kill Sub-Zero and feel bad about it for the rest of the story mode. Now he feels like a character in a crossover, making a mark on the original story instead of being put in the sidelines.

We also have the wonderful stunt casting of Joel McHale as Johnny Cage. More importantly, Jennifer Carpenter plays Sonya Blade, which is such a step up from Ronda Rousey’s voice acting in Mortal Kombat 11.

This cartoon has a very hard R when it comes to violence. From the very beginning, Scorpion’s origins are gruesome and grisly. Once Jax is introduced, it doesn’t take long until we realize, “Oh, that’s how they’re dealing with THAT plot point in this continuity.” Then there’s a surprise villain death late in the movie that not only comes as a shocking development, but it’s so graphic and nasty that you can’t help but be taken aback.

Scorpion’s Revenge is a fantastic first chapter of what is hopefully a series of animated movies, but it does have its pacing issues. Scorpion being the protagonist may be a welcome change, but at times it does feel like a square peg being crammed into a round hole.

3. TEKKEN: BLOOD VENGEANCE (2011)

One of the best things about the Tekken series is the endings. While the cutscenes from the first couple games haven’t exactly aged well, these CGI epilogues have become a staple in nearly every installment. What better reward for your time and success than watching a rocking action sequence with Yoshimitsu and Bryan Fury killing each other in the jungle?

And so, to play to the series’ strengths, Bandai Entertainment released a Tekken movie that’s really just one big ending cutscene. It’s not canon, but it feels at home with the games.

Since Tekken’s main conflict is with two ruthless megalomaniacs (Heihachi and Kazuya) and a disgruntled nihilist (Jin), it’s hard to treat any of them as a real protagonist here. Instead, they go with Ling Xiaoyu, who is portrayed as the person who sees the good in Jin and wants him to see the light. She’s given a robotic BFF in Alisa Bosconovitch because Xiaoyu is kind of a tame character and needs someone with chainsaw arms and a jetpack to liven things up.

The first hour or so is good enough to keep your attention and its lightened up by a couple appearances by Tekken’s best character, Lee. But once it gets to the third act, it just becomes a completely awesome Heihachi vs. Kazuya vs. Jin fight, with Xiaoyu taking a backseat to watch all the crazy shit going on. It’s a full-on fireworks factory, as we not only see Devil forms of Kazuya and Jin but a very special final form for Heihachi that’s a true delight for Tekken fans.

2. STREET FIGHTER II: THE ANIMATED MOVIE (1994)

Let it be said that for someone who grew up in the ‘80s and ‘90s, finding a faithful cartoon adaptation of a video game property was not easy. Link and Simon Belmont were unlikable sexual harassers. Mega Man was a more annoying sidekick than Scrappy Doo. Mario and Luigi teamed up with Milli Vanilli. Power Team was…a thing. When we got an animated movie based on Street Fighter II, it was mind-blowing. This was a movie where the very first scene was Ryu tearing Sagat’s chest into a bloody gash thanks to a well-animated Shoryuken.

There’s a lot going on in this movie, but at the same time, nothing is going on. By this point, there were 17 characters in the various Street Fighter II games, and outside of a blink-and-you’ll-miss-it Akuma cameo, it feels the need to include every single one of them. Some get minor roles, like Cammy and Dee Jay. Then there’s Zangief and Blanka, who fight each other for no reason other than for the sake of giving them something to do. Even Ryu vanishes for a huge chunk of the runtime.

Once everything funnels into the third act, this movie is great. And the earlier fight scenes are straight fire too, including the memorable Chun-Li vs. Vega brawl. Even though the movie already feels true to Street Fighter II, it’s even better when you realize that it’s all supposed to be a prequel to the game itself.

Or at least I hope so. Otherwise, all Sagat gets to do is get his ass kicked by Ryu and get chewed out by Bison.

1. MORTAL KOMBAT (1995)

The stars truly aligned for this one. Mortal Kombat Mania was at its peak, so it makes sense that this movie was a retelling of the first game’s story with added aspects from the second game, all while hyping up the arcade release of the third game. CGI was such a novelty in Hollywood in the ’90s that even if it looked primitive, it still looked cutting edge at the time. It was the perfect time to release this movie.

But Mortal Kombat isn’t perfect. Reptile is embarrassing. Scorpion and Sub-Zero being relegated to goons still stings. I still roll my eyes at the part towards the end where Sonya is suddenly the damsel in distress and Raiden flat-out verbally buries her by saying she couldn’t beat Shang Tsung in a million years. Otherwise, it’s the perfect storm of ‘90s action garbage.

There are so many over-the-top and charismatic performances here. Johnny Cage, Raiden, Shang Tsung, Kano, and even Goro are a blast to watch. All 10 characters from the original game are given something to do and, most importantly, they realize how uniquely weird the game’s story is and actually dive headfirst into it. The movie isn’t embarrassed to be a Mortal Kombat movie but handles itself well enough that we aren’t embarrassed to be watching a Mortal Kombat movie.

Even with a PG-13 rating, the movie was violent enough. Kano talked up seeing a pile of frozen guts in the wake of a Sub-Zero fight, Scorpion got his skull sliced apart with demon brain goo spewing all over the place, and Shang Tsung got impaled to death.

With the reboot being rated R, going for the gore could very well be the right route to go, but for the love of the Elder Gods, don’t forget to have FUN. All I’m saying is, if even Johnny Cage isn’t hamming it up, then what’s the point?

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autumnslance · 4 years

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Lmao I got three I'm particularly curious about for you on the character meme. Thancred, Lahabrea, Igeyorhm. XD Feel free to do as many or as few as you'd like of course!

You asked for it. We’ll start with That Damned Rogue. The Ascians will be below.

This of course got long, so behind a cut it goes:

Thancred

First impression: I started in Gridania and took like 2 years to finish ARR 2.0, was already spoiled on the possession angle (I spoiled myself, no big), and had just @erickgage‘s affectionate joking summary of Thancred being the guy who shows up 5 minutes late with Starbucks to all the early battles. So I didn’t really get to meet the guy ‘til the Waking Sands.

And honestly, he was stereotypical generic bland anime prettyboy competent guy. His 1.0/ARR model is…just sorta there. He was a flirt, also generic as heck. Really didn’t register too much, until I finished 2.0 finally and then went hard on the MSQ through the patches and into HW and StB 4.0, when I finally caught up to content.

Impression now: Godsdammit.

My first replay through the game was on PunchyCat, starting in Ul’dah, which meant I got to meet Thancred much earlier. I was immediately amused by his nickname for Nanamo, and Papashan’s assessment of the witty Archon. I was more into the lore, getting the first lorebook and reading the short stories on the main site, and playing through all at once instead of piecemeal over months/years made things make more sense. Thancred hits a lot of tropes I commonly like in a lot of characters, so he jumped up to being a favorite.

Gunbreaker suits him as a tank job (thank goodness he can stop trying to tank warmachina as a rogue, ffs Thancred), and tanking in general suits him when it comes to fighting for those he cares about.

I’m interested in the ShB story mentioning why he wears white in all his gear iterations; I’d previously made a post about his color choices and that aspect of character design, but having a lore explanation for his affinity for that color was interesting. I didn’t think his HW model suited him, honestly; way too rough mountain man hobo. His model in ShB is closer to his ARR model, but different enough, and imbued now with actual character, that he’s a bit more visually interesting and while still pretty typical handsome anime protagonist in appearance; his true personality just comes through a lot more.

I’m still forever mad about the unintentional character ‘ship with Aeryn, tho. It took a 3rd playthrough for it to happen.

For myself, mind, when I got into playing and learned his canonical age, it was at the time the same difference between myself and my younger brother. My assessment of the Scion “family” with Thancred being the middle child (esp his behavior pre-HW) maybe helps that. I’m getting to a point, really, where I look at the characters under 35 and think “OMG disaster children, all of you.”

Favorite moment: Oh goodness. There’s some good ones.

‘How was I supposed to know all my girlfriends would track me down and show up at HQ all at the same time: a master class in how to not to deal with multiple paramours by Archon T. Waters.’

His dramatic reappearance and duel with Ardbert in HW 3.1.

Taking out his frustrations by soloing the Coerthas cyclops boss so we can get on with the Tournament and fight Raubahn. (Side Bonus: pre-tournament when he jokes about fighting for the other team to even up the odds, and then: “It looks to be a veritable who’s who of the Eorzean Alliance. The only question is: who came to watch and who came to fight? Hmm…Nanamo. Definitely Nanamo.”)

Making sure Urianger knew he was still part of the team post-Soul Surrender climax.

“All right, which one of you triggered the obvious trap?” Also learning he can hold his breath for 10 freaking minutes–but still gets to be jealous of the WoL, Lyse, and Alisaie for their kojin blessing.

That dramatic teamwork with Urianger to knock Ran’jit down the pit in Rak’tika.

That frickin’ Trolley duty and it’s aftermath with the completed checklist of anime death markers and then just sitting there battered and bleeding and smiling and then giving Ryne a name and a headpat and “You’re family.” Bastard.

Idea for a story: Have you seen my Ao3 account? *grumbles*

Unpopular opinion: While he likely used drinking as a bad coping mechanism at times in ARR’s patches, I doubt he ever really went to blackout, as losing control to that extent, after having been controlled and probably losing a lot of time while possessed, would be awful. We see him drink a few times, but I don’t think he is/was an alcoholic.

I also agree with @ahlis-xiv that his flirtatious persona was mostly adopted. While he probably does have a healthy libido and enjoys time with paramours (that Urianger keeps a handy list of), there’s a lot that’s likely exaggerated, allowed to be assumed, and otherwise used as a cover, given his specializations. It’s also noteworthy how he’s mostly acting the same even after being lost in the wilderness, right up until our foray into the Antitower. The wit/humor gets toned down a lot, but the flirting is cut out entirely after that. He still charms some ladies in the First, based on incidental dialogue, but that seems a general reaction to him being a handsome hero type rather than any intentional flirtatious act on his part.

Favorite relationship: Thancred and little sister types. I do wish we’d seen more of his relationship with Minfilia outside of informed moments and the short stories. I feel like he has a semi-older-brother relationship with Lyse, too, given their antics in the 2.0 patches (particularly the “Hoary’s fighting the WoL, come watch!” and Thancred not even considering how one of his girlfriends would see him sending Lyse to retrieve an item until after and going “oh yeah, whoops”). And now there’s Ryne, and she is totally running things if you watch their background conversations/body language. But that’s kind of where Thancred likes it; find a girl who needs a protective older brother and do what she asks and whatever she needs.

I do have a special place in my heart for the expanded broship with Urianger that Shadowbringers gave us, though. I’ve already spoken on that one.

Favorite headcanon: Everything people assume about how he spoils the nutkin. And really, focusing on taking care of and doting on a pet would be good therapy. Goodness knows he needs it.

Also I assume he and Hilda hooked up at least once during the HW patches. Part of that expectation and cover, sure, to immediately flirt with the pretty, tough, half-elezen guard captain. But also, he spent however long mostly alone, and then only with the Vath and a nutkin for company; the guy was probably touch-starved and lonely and just needing a connection to another person he could relate to (that wasn’t a bug).

Otherwise, again, have you seen my Ao3? Ugh. Damned snarky smart rogues…

————

Lahabrea

First impression: Laughing Organization XIII-wannabe is obvious villain. Wonder what their deal is.

Impression now: So much lost/wasted potential thanks to being stuck as the ARR villain when it was so hastily rewritten and acted, and so little was decided on the Ascians and their motivations yet. A lot of what we learn now retroactively makes him more interesting. The fact he was a workaholic who looked at the workaholic Scion and went “ah yes; that one will do, perfect” makes me laugh.

Favorite moment: I like his interactions with Elidibus. And I am actually fairly fond of his theatrical reveal in Praetorium about the Ultima Weapon, the Heart of Sabik, and casting Ultima.

Idea for a story: Maybe stuff while he’s possessing Thancred. Maybe stuff between then and the Reactor. I dunno; I’ve been enjoying a lot of others’ stories about our first Ascian antagonist.

Unpopular opinion: Dunno if this is unpopular, but some of the retroactive information is to excuse why he seemed so much less powerful than other, later Ascians, but I do think the Speaker could be quite devious and powerful, if he had better writing around him. He suffers for being from ARR.

Favorite relationship: I am not ashamed to admit I am a Lahabrea/Igeyorhm shipper and Hades Ex seems to agree with me so there.

Favorite headcanon: The Speaker likely also had a good singing voice. Another thing good about possessing a man whose primary cover was a bard–excuses to indulge that.

————

Igeyorhm

First impression: Wannabe-Organization XIII also hires women, cool. Wonder if she’ll get to do anything?

Impression now: I’m sad so much got cut from HW; as great as it was, a lot got left on the editing room floor and it shows in spots–particularly where the Ascians connect with the plot. We learn much about her retroactively as well, including how she worked for/with Lahabrea thanks to being the one to wreck the Thirteenth, and change Ascian policy on how to bring about Rejoinings. I still wanna know more about her.

Favorite moment: You beat the whale, good job–thanks, that’s my key now. It’s such a perfect dick move. Excellent timing and taunting.

Idea for a story: Maybe some of her inner thoughts working for/with Lahabrea. She was a raised up shard, so does that mean they found the scattered pieces of her original soul and force-merged them? I doubt it, since Emet-Selch mentions raising up those who are a piece of the previous office holder, but I wonder if it came with imbuing the new title-holder with some of those memories and knowledge. Perhaps she wonders if some of her interactions/feelings/whatever with Lahabrea are her own, or her tapping into her previous life’s memories. Something to think about, anyway.

Unpopular opinion: I dunno, she shoulda gotten to stick around longer? Or been allowed to do a lot more? Should have been much more of a presence in HW, but I don’t think that’s unpopular so much as unconsidered.

Favorite relationship: Lahabrea is really the only one she gets significant interactions with. Though I wonder about her interactions with the other few women in the Ascians.

Favorite headcanon: See above with the story ideas, really; she didn’t get a lot of time onscreen so there’s a lot of room to make things up, and retroactive info from ShB to make her more interesting, or at least her situation as an upraised Ascian.

#Final Fantasy XIV #Prompts #Thancred Waters #Lahabrea #Igeyorhm #Ascians #illegiblewords

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ramblings-of-a-mad-cat · 4 years

Text

Hogwarts Mystery Survey!

I was tagged by...well, a few people actually! Sorry, I know it took me a while to get to this, as it always does with tagged posts. Nevertheless! This was created by the epic @carewyncromwell So go check out her blog!

I shall now signal @missnight0wl @electricslytherindog @nostalgiaslithersin @ladyluckqueen and @treebels Unless you’ve already done this, of course. But otherwise square up! Y’all have been tagged :)

Let’s do this!

Favourite Gryffindor:

Oh, I’m not going to make many friends with this choice...

But my favorite Gryffindor is Patricia Rakepick. Look, even if she turns out to be completely evil with no plot twists about her loyalties...at least they gave us a genuinely evil Gryffindor, right? I’m sorry, I just...really want to believe we don’t know the whole story. Because Year 5 gave us so many great moments with Rakepick, as well as her bond with MC. The Potterverse has never had a character quite like Rakepick before, but she’s just as interesting as Snape or Dumbledore. She’s infinitely complex and it’s such a waste if she amounts to nothing more than the Cabal’s lackey. Honorable mentions: Jae Kim. He is such a mood.

Least Favourite Gryffindor:

Did you think we were done talking about Rakepick? Oh no, because right now she is my least favorite Gryffindor too, for reasons that are much more obvious and don’t really need to be explained. She’s done terrible things, and she needs to pay for her crimes...and on a personal level, she broke my heart. I don’t want this to be how her story ends. I don’t want to hate her, but with what she’s done, what else am I supposed to think?

Favourite Hufflepuff:

You can tell that the Haywood sisters were the main project for Hufflepuff, and while I find both of them to be quite interesting, I just have a real soft spot for Beatrice. I love the way she went from being a tiny Penny to being anything but. I love how she went from being little more than a plot device in Year 5 to forcibly carving her own identity in Year 6. I like the parallels between her and MC and Jacob. Both sisters are interesting, so you can consider Penny an honorable mention, I just like Bea more.

Least Favourite Hufflepuff:

Sorry to any of his fans, but...it’s got to be Diego. I will fully admit that we do not know enough about him right now to judge fairly, but that is, in some ways, the problem. When I first saw him in Year 5, he gave me the impression of being a total sleaze who would be weird toward the other students (particularly the females) because he was into them. And while the scenes he eventually gets haven’t really given credence to that...they haven’t disproved it either.

Favourite Ravenclaw:

Let me tell you a fairy tale, everyone: Once upon a time there was a fascinating and compelling character, a queen of pranks, who had a curious history with the girl who was the game’s antagonist at the time. She had a great bond with MC and a cool backstory...but the developers soon forgot she existed, and removed her from the dating quests even though she had already been there for the first two. This is the story of the underrated flower. The tale of the toad-keeper. This is the story of Tulip Karasu.

Least Favourite Ravenclaw:

Probably Andre. For similar reasons to why I don’t like Diego that much, I just don’t think his character was handled very well. Don’t get me wrong, he had a promising start....but then they didn’t do anything with him. Furthermore, his personality just isn’t my favorite. He strikes me as being a little self-absorbed and not especially nice to other people, at least from the vibes that I get.

Favourite Slytherin:

Let me tell you a fairy tale, everyone. About the toad-keeper’s true love, the song of the shadows...Merula Snyde. Okay, okay, no more fairy tales. But in all seriousness, she’s a a real contender for being my favorite character in the game. Right up there with Rakepick. I just find Merula to have so many layers to her character, she has so much history influencing her actions. And yeah, she’s frustrating as all hell, but that’s part of it. And while she may be an acquired taste, I know I’m not alone in thinking that she can be positively adorable. She’s a character that I hope reaches her full potential, a character I just wish I could rescue and get her the therapy she needs.

Least Favourite Slytherin:

This one is genuinely tough for me. None of the Slytherin characters in this game are badly written, and none of them are that unlikable. Do I pick Ismelda, for her stunt with the Love Potion? Well, even in spite of that, I find myself hoping she can learn from her mistakes. Do I pick Barnaby, because as sweet as he is, he’s normally kind of one-note? Well, even in spite of that, I always love it when he’s onscreen. Could go for Felix, but he’s actually my favorite Prefect, and choosing a Prefect for a least favorite would feel way too easy anyhow. No, let’s go with Liz. Don’t get me wrong, I adore Liz. But she’s extremely under-utilized and we just don’t know that much about her.

Favourite Quidditch Character:

This one, on the other hand, doesn’t require any pondering at all. It’s Orion. I can’t even begin to describe how much I love this lonely sage. He deserves the world. He deserves a hug from his Quidditch family. Every time he’s onscreen, passing on his wisdom, I just get a big goofy smile on my face. He’s basically all the best parts of Dumbledore, and he’s a better big brother to MC than Jacob could ever be. Also, his hair is fantastic and I can’t wait until I get him to LV 10 because I want it.

Least Favourite Quidditch Character:

This one is purely a matter of choosing someone by process of elimination. It’s not Orion, of course, and if you’ve been on my blog for a while then you know I do not hate Skye Parkin at all, so it isn’t her. I also quite like Murphy, so...the only character left, who we still don’t know that much about, is Erika Rath. In this case, “least favorite” is a default term. I like Erika and I will gladly defend her...just, not as much as the team trio.

Favourite Teacher:

My immediate answer is Flitwick. Even though McGonagall is one of my favorite characters overall, from the original books...when it comes to HPHM, she hasn’t been as involved. Flitwick on the other hand, has gotten fantastic development as a character and some genuinely great moments of bonding with MC. He was one of the nicest surprises about this game. There are so many little things - like him realizing, without MC needing to say anything, that they are going to keep pursuing Beatrice’s rescue no matter what he says. Another moment I love comes in Year Three, when he’s the only Head of House to show any sympathy to MC about banning them from Hogsmeade. Unlike the other Heads, you really get the sense that Flitwick doesn’t want to do so, that he’s being overruled by Dumbledore. An honorable mention could go to Rakepick, but....eh.

Least Favourite Teacher:

I’m gonna get a bit out of the ordinary for this one. Sure, I could say Snape, but in this game he’s miles beyond his usual quality. He’s much more tolerable and even pretty funny sometimes. Sprout is kinda boring to me, I suppose, but she’s not that bad. I don’t know if Dumbledore technically counts, and Filch certainly wouldn’t. Rakepick, despite everything she did, was technically a good teacher. No, for my least favorite teacher, I’m gonna go with Madam Hooch. I’ve never liked her. Not just in this game, either. One moment she says “I don’t believe you, but I don’t have any proof you’re lying.” and then five seconds later, “Don’t ever let me catch you in a lie again.” I’m sorry, what do you mean again? Not believing someone is not the same thing as “catching” them in a lie, you arrogant bludger.

Favourite Non-Teacher Adult:

Both in the books and in the game, it is Hagrid and it will always be Hagrid. He is the biggest cinnamon roll and I would gladly eat his rock cakes no matter what they do to my teeth. Friends are more important than teeth! Just let MC take a break from all this Cursed Vault nonsense and go off to the Reserve with Hagrid to pet some nifflers.

Least Favourite Non-Teacher Adult:

Folks, here’s a fairy tale about-no, we’re not doing that again. It’s Dumbledore. The punch line is Dumbledore. Setting aside all of the terrible things that he does in the books...HPHM sees him constantly rewarding MC’s dangerous behavior and once again stuffing the ballot for the House Cup...only to abruptly change his tune at the end of Year Four and give MC a year’s worth of detentions for doing what he previously encouraged, and only MC gets these detentions, not their friends. The very next year, he sanctions Rakepick’s apprentice team and they continue where MC left off. Not to mention that post Portrait-Vault, Dumbledore appoints himself as MC’s makeshift therapist and keeps talking like he understands MC’s feelings, like he knows what’s best for them. The game fucking forces you to tell him about your feelings, and god damn it where is the option to say “None of your business.” Like UGH.

Rate Rowan on a scale of 1-10, 1 being “Why are we even friends?” and 10 being “BFFs for Life!”:

100,000,000. What’s that you say? I went well over the cap? Nonsense. I simply gave Rowan a score as high as they deserve. I know we are all appreciating them a lot more now, for obvious reasons...but I can recall back in the day when most people didn’t spare them a second glance. (Though to be fair, MC didn’t either, some of the time.) Not me though. I was always loyal, thank you very much. I always knew this adorkable cinnamon roll who would have taken a bullet for MC (and...pretty much did.) deserved more love. They deserved the world.

Rate Jacob on a scale of 1-10, 1 being “You’re dead to me” and 10 being “Love you forever, big bro!!”:

A solid 5. I believe that’s the only score I can fairly give, because there’s still so much of Jacob that is uncertain and hasn’t been explored. But the character we released from the Portrait, assuming it is the real Jacob...has been kind of an asshole since he got back. On the other hand, he was sealed in a Portrait for five years. Five times longer than even Beatrice was. That has to mess a person up, right? So perhaps I should be more forgiving. I honestly don’t know.

Rate MC and your similarities on a scale of 1-10, 1 being “MC is nothing like me” to 10 being “MC is ttly a self-insert lol”:

Is this just like, MC in general? Or our own personal MCs? Because with Gail...I’d have to say, maybe a 4. She does inherit some of my qualities but she’s primarily inspired from one of my friends. Luca, though? Luca is easily a 9. After all, when I first created them, I used a file that was once my “personal” file. So it was that they inherited a lot of them-self from me.

Favourite Side Quest:

You’re all going to think that I’m weird, but my favorite quest, at least right now, is the Comet TLSQ. I like it for a lot of the reasons that people hate it. I think that it’s an interesting and amusing story. How can I not love a quest that ends with a whole field of cruppies? Beyond that, if was during this quest that I really grew to love the Quidditch characters as a team. And, yes, this quest only made me enjoy Skye as a character all the more. What can I say, I just had a big smile on my face during the whole ordeal, especially when the three Quidditch characters were together. Honorable mentions: The Frog Choir TLSQ. I’m a major Tulula shipper, enough said.

Least Favourite Side Quest:

The one that immediately comes to my mind is the Knighthood TLSQ. I’m sorry but the whole thing just felt incredibly pointless. Why does MC even want to be a knight? Couldn’t they be doing something better with their time, like pursuing the next vault, doing some homework, practicing Quidditch, playing Gobstones with friends or....basically anything else? Sir Cadogan is funny in small doses but he gets old really quickly. He has that in common with Lockhart. Oh, and Penny is shoe-horned in. Again. Big surprise.

Your Ideal Ending for Patricia Rakepick:

-Sigh- Okay, you all know what’s coming. I don’t really want Rakepick to die. I don’t want her to go to Azkaban. I’m convinced that she probably will die no matter what, but that isn’t what I want. First and foremost, I want her to be a double agent. Working for Dumbledore or otherwise. I want Rowan’s death to have been staged - not just because it would absolve her of the crime, but also because it would mean Rowan comes back...and that the forest scene would actually make sense. There’s no explaining away her torturing Merula, other than her stalling for time, which isn’t an excuse but it would be enough to return her to being the “ruthless good” that she was before. I want her to sacrifice her own life for MC and Merula, but she need not necessarily die in the process. She could be saved. On the other hand, a death might be more poignant. But if not that, she could go on the run. I mean, she did cast an Unforgivable on a child. I’m not sure even Dumbledore’s protection could get her out of paying for that. Either way, I want her to blindside R the same way she blind-sided us in the Portrait Vault.

I made it to the end! And somehow, I managed to praise Beatrice, Merula, and Skye...along with bashing Dumbledore...and insisting that Rakepick is secretly good, all in one post! This is like...the ultimate trailer for my blog.

#HPHM Characters #Tagged Post #Harry Potter: Hogwarts Mystery #Patricia Rakepick #Might as well tag her cause this talks about her a lot.

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