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antianakin · 5 months

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what are your opinions on the sequels? specifically how luke (and his new jedi order) is portrayed. but also like just the jedi stuff in general, the training and everyone becoming force ghosts and somehow palpatine

Oh gosh, it has been a MINUTE since I've even watched the Sequels. I'm planning on rewatching them sometime early next year for Reasons, but for both episodes 8 and 9, it'll be the first time I've seen them since I saw them in the theaters. I MIGHT have seen episode 7 after its theater release, but not often. I can definitely say I haven't watched a single one of them since 2019 lol.

All of that to say, I don't remember them super well. I liked episode 7, but didn't care AT ALL for TLJ and was ho hum on TROS. My overall opinion is that it's too bad these characters didn't have anyone writing for them who seemed to actually CARE about them at any point and that nobody bothered to create a fucking blueprint for the entire trilogy and then stick to it. Say what you will about the execution of the Prequels, but Lucas had a damn vision in mind and a clear end goal for the story and the characters and he STUCK TO IT. You can go back to those films and rewatch them and find that story and see the arc he was trying to take the characters on. You may not LIKE what he chose to do or feel like it worked very well, but it's clearly THERE. The same cannot be said for the Sequels. The characters change personalities in basically every film, the primary motivations and intended end goals for them are never consistent, the relationships aren't built up well, and the theme and message of the Sequels is so muddied with all of these changes that they may as well not exist.

All of that is very broad, though, and doesn't touch much on your specific question about the Jedi and Luke and how they were portrayed in the Sequels. To be honest, I don't remember it very well, and when I saw these films, I was a pretty casual Star Wars fan who was still what I would now consider Jedi critical. I didn't hate them by any means, but I had absorbed the fandom osmosis of the Jedi having been too repressive/old-fashioned and how they caused their own doom. So I haven't watched them from a more pro Jedi lens yet in order to comment on it with any level of authority.

What I DO remember feeling was that making Luke bitter was a bad choice. There's undoing a character a little in order to allow them to develop somewhere, and then there's complete and utter character assassination and TLJ's characterization of Luke falls closer to the latter for me. The biggest thing anyone remembers about Luke is that he chose not to kill Anakin in ROTJ. That's his big climactic triumph. He goes on an entire journey towards understanding Anakin and having to accept that Anakin was a person making evil choices so that he could believe in Anakin's ability to be BETTER. That's kind-of the core of Luke's WHOLE JOURNEY. So I don't really get the entire concept of Luke reacting so violently to "feeling some darkness" in his teenaged nephew. He's already sort-of worked through that particular flaw of his and overcome it, why is he suddenly reacting this way? What's the point of that? And why would Luke just completely lose himself to cynicism and bitterness in the aftermath of that kind of failure? What was the point of leaving a piece of map behind or whatever? None of it really seems to make any sense to me and you can just FEEL Rian Johnson sort-of tossing things in the trash as he wrote this so that he could do his own thing.

All of that being said, what I've seen other people comment on is that there's a lot of shit Luke says in TLJ that are pretty anti-Jedi, but that the whole point is that Luke is wrong. Luke is succumbing to despair and so he feels like he's defeated and there's no point to anything and he's WRONG. The movie does pretty strongly emphasize that he's WRONG to feel this way and act like this. So I think a lot of people take what Luke says in this film sort-of at face value without taking into account that context that you're not SUPPOSED to agree with him any more than Rey does. I'm interested to see how I feel about it when I do end up rewatching them in a few months, but it rings relatively true to what I can remember.

It doesn't seem wrong that Luke and Leia could end up being able to ghost, it doesn't make any sense that Han can ghost but we all know that that happened specifically because Carrie Fisher died mid-filming and they had to figure out how to work around that, so I'm willing to give a little bit of slack to TROS for that exact reason.

I don't remember much training even HAPPENING on screen. I remember Luke barely teaching Rey anything at all in the one week she spends with him and Leia sending Rey on an obstacle course at the beginning of TROS. I wish they'd chosen to spend more time really showcasing more of Rey's actual training (or, ya know, FINN training in Force abilities at all), but I don't have any strong feelings about it at this point.

And as for Palpatine, I think everybody knows it was a bad choice to make at this point. It was lazy, it was silly, and it doesn't work. It feels like a direct response to Snoke having been killed off too early and disagreements between the directors and the studio execs about whether Kylo Ren should be a villain or not. It doesn't work and nobody likes it.

So, yeah, my feelings are a little faded at this point because I disliked them enough that when I do my Star Wars marathons, I never include the Sequels in it and I just stop at ROTJ. I feel like that says enough on its own.

#star wars #star wars sequel trilogy

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caelestis-composition · 3 years

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killshot anon! YEAH i totally agree w/ your view on kaeya. it's so weird to me that people will blame him for his role in a situation he was forced into as a child through no choice of his own. that itself had to be traumatic, not to mention everything that happened later. i hate when people say he's untrustworthy - like yeah, he's lied, so has everyone? it's clear he does it mostly to protect himself. not to mention that (& sadism) can be symptoms of trauma. kaeya deserves nothing but happiness

take a seat folks it’s time for a “brynn should’ve been an english major” lesson! today we’re gonna learn some literary theory; specifically, we’re gonna apply psychoanalytical trauma theory to kaeya’s backstory and current character. killshot anon i bet you never thought this would result in a whole ass essay.

disclaimer one! you are allowed to dislike kaeya! i am not saying you need to like him or his character, you’re entitled to your opinion and i’m not here to change your mind.

disclaimer two! i am in no way an expert and this is all for fun! this is just my silly little analysis of one of my favorite characters as someone who’s studied literary theory and rhetoric and can also apply personal experience. seriously analysis is like a hobby to me and this is just an excuse for me to ramble about kaeya.

disclaimer three! this contains lots of spoilers! basically for everything we know in-game, general knowledge as well as stuff from his voicelines and character story. don’t read this if you don’t want spoilers.

since this is going to be filled with spoilers and is about to get really long, everything will be under a cut. for those who wanna read my dumb super informal essay: enjoy!

final note: yeah this is over 2000 words long can you tell i like analysis

⭒

let’s start by getting a quick rundown of trauma theory out of the way. to begin, what is “trauma?” in this case, trauma is going to refer to an experience that greatly affects and changes one’s life; attitudes, memories, behaviors, mental state, etc. while not all changes may be bad, per se, the overall effect of trauma is generally a negative one, which is why it’s so significant. literary trauma theory, then, explores these changes and the impact of trauma in literature. it analyzes the psychological and social effects of trauma, explaining what those effects are and why they happen. in the context of a specific character, trauma theory breaks down said character’s behaviors, feelings, and general mentality in relation to their past experiences; trauma theory hopes to explain to others the reasons for why a character may act or feel the way they do, all based upon the character’s experiences, particularly traumatic ones. our character today is the lovely kaeya alberich, with the “literature” being genshin impact. i’ll be referencing kaeya’s wiki page to ensure i get all details correct for his character story and voicelines.

it would be good to review kaeya’s backstory before delving into the actual analysis. though we don’t know much about his life before living in mondstadt, we’re told he was sent as an agent of khaenri’ah. and by “sent,” i mean his biological father abandoned him in a completely unfamiliar land to serve khaenri’ah’s interests and fullfil his mission—what this entirely entails hasn’t been revealed. mondstadt, however, welcomed kaeya “with open arms when they found him.” crepus ragnvindr took him in as his adopted son, with diluc as his adopted brother. kaeya and diluc were “almost like twins,” so close they “[knew] each other’s thoughts and intentions without a word.” he’d began a new life in mondstadt, one surrounded by friends and family that loved him; one that was completely shattered by crepus’s death. kaeya arrived at the scene of the disaster, and was led to believe diluc was the one who killed their father to “set his father free” from the effects of his delusion. there’d always been one big question in kaeya’s life: if it came down to it, who would he support? the nation that abandoned him, but he still felt loyal to, or the nation and family that took him in and really loved him? overrun with guilt, kaeya confessed his purpose to diluc, sparking a fight between the two brothers. in this fight, kaeya receives his cryo vision. though both brothers stepped away alive, they’ve never been able to make peace with one another. now, kaeya is the eccentric and charming cavalry captain of the knights of favonius; a man who gets his way by using any means necessary, regardless of whether or not it seems right.

kaeya’s not evil; he’s morally ambiguous, and that stems from what appears to be a general distrust of others. his life is one shrouded in secrecy. from the moment he stepped foot into mondstadt, he was surrounded by secrets. even now, he doesn’t talk about a lot of things, namely his past, vision, and feelings. though he’s always willing to get information out of others, kaeya never reveals anything about himself. he repeatedly tells the player they can confide in him, but whenever you try and pry into his life, he deflects your questions with some sort of witty comment or flirty remark. anything he does reveal is vague, or spoken in some sort of “code.” for example, his “interesting things” voiceline. he tells us about the owl of dragonspine, how it “seems to look right through you, while letting go of none of its own secrets,” and then tacks on a “quite fascinating, don’t you think?” it seems like an awfully accurate parallel to himself; kaeya does all he can to get information from others, but never gives anything about himself. now, this whole thing—his relationship with diluc falling apart and his need for secrecy—could have probably been avoided if he had just come clean about his mission years ago. so why didn’t he? to start, kaeya was a literal child. not only are children unable to properly tell the difference between right and wrong, but they’ll also typically follow their parents’ orders blindly. kaeya had just been abandoned, and he wouldn’t want to risk being cast out by mondstadt as well if he came clean right away. you see, there’s this thing about trauma, something that trauma theory states. traumatized people feel a sort of shame or guilt regarding their traumatic experience; they’ll keep quiet because they don’t want to cause problems or bother others with their issues. of course kaeya wouldn’t tell the truth about his past, he doesn’t want to destroy the genuinely loving relationships he’d built in mondstadt. his fight with diluc only proves what he was afraid of: if he’s honest, he’ll be abandoned again. and if kaeya’s used to all the lies, why should he bother changing?

another thing, if he’s not going to tell the truth, then why would he have initially gone along with his father’s plans? again, he was a child. he really had no choice, and was forced into a very wrong and cruel situation. there’s a good explanation for this, too, which is also stated in trauma theory; traumatized people will still do their best to please their abusers. especially if said abuser is a parent, that will drive traumatized people to work even harder to please them. although his father hurt him by ruthlessly abandoning him, kaeya still sought to make him and his homeland proud. he was willing to be used as a tool for their gain; that is, until he found people who actually cared about him. he was an impressionable child, of course he’s going to obey orders. but as he gets older, he feels torn. does he serve those who abandoned him, or those that took him in? his father—and arguably, khaenri’ah as a whole—hurt him, sure, but he still feels some loyalty and connection to his former home. instead of revealing anything, he lets the situation play out. that way, he can’t be blamed when things fall apart.

the thing about claiming he’s untrustworthy is that hardly anyone in-game believes that. he’s adored by the older folks in mondstadt, and foes and allies alike find him easy to talk to. despite seeming lazy and uninterested in work, kaeya takes his job very seriously. in fact, his story states that crepus’s death was the “first and only time kaeya failed in his duty.” the “only time” is especially important, because it signifies kaeya still fulfills his duties successfully. he’s had a total of one slip-up, and hasn’t failed since. no, kaeya is not untrustworthy. rather, kaeya finds everyone else untrustworthy. it’s not unlikely that this is a direct consequence of being abandoned as a child. although it’s been established that kaeya and diluc were very close as children, when crepus dies, kaeya assumes diluc is the one that killed him. in order to jump to such an extreme conclusion against someone he was so close to, there had to be some underlying sense of distrust. furthermore, kaeya expresses feeling as though he doesn’t belong anywhere. he was abandoned by khaenri’ah, and then worried he wouldn’t be accepted by mondstadt. he is, but there’s still that worry. if you place him in your teapot as a companion, he tells you that your home feels like someplace he belongs, following it up with a “heh, who’d have thought…” kaeya still feels as though he doesn’t belong in mondstadt; despite the fact that he’s a high-ranking knight of favonius and rather popular, he still feels like an outsider. he doesn’t trust that anyone actually wants him around, and he finds joy in testing peoples’ trustworthiness. it’s noted in his story and through his voicelines that the beloved cavalry captain has a rather sadistic nature. he likes putting people into difficult situations, to see what decisions they will make. he does this to both opponents and allies, testing to see who’s going to back out and who’ll keep fighting; in the sake of allies, who can he trust? or who will turn tail and abandon their teammates at the slightest hint of danger? i mentioned it previously, but kaeya doesn’t care what measures he has to take so long as his job gets done and he gets the answers he wants. it’s a sort of self-preserving mindset, putting himself above the safety of others. kaeya’s trying to protect himself, which makes sense with all he’s been through. he doesn’t want to be hurt, and instead finds pleasure in threatening harm upon others. it’s twisted, sure, but it’s because he can only trust himself in a world that he believes is out to get him. he’s got as many enemies—if not more—as he does allies; of course kaeya focuses on protecting himself first, whether physically or through keeping his secrets, well, secret.

his most obvious traumatic effect is definitely his alcoholism. but he uses it as a distraction, not just to wallow in self-pity. this is seen again in his story, particularly in story 3. it’s found that when his favorite drink, death after noon, is out of season, mondstadt’s crime rate is decreased drastically. at face value, this just means kaeya spends more time working when death after noon is low in supply. but kaeya doesn’t skip work to go to taverns; it’s already been established he takes his job very seriously, so this means he actually patrols and tracks down threats while off work when he can’t indulge in his favorite alcoholic drink. he doesn’t get drunk simply because he’s depressed. if he did, there wouldn’t be a drop in incidents when death after noon is out of season. no, kaeya uses both the alcohol and fighting to distract himself. after all, it’s a little hard to think about feeling sad when you’re either drunk out of your mind or fighting for your life.

despite being so secretive, kaeya gives us glimpses of his true emotions from time to time. as previously mentioned, his flirty attitude is nothing more than a mask to hide how he really feels; and kaeya is terribly, terribly lonely. that may be why he seems so extroverted. constantly being around people should, logically, drive away that feeling, but it doesn’t work like that. when he talks with the player, he frequently expresses disappointment when you have to leave. each time, though, he dampens the weight of his words with playful or flirty language. he’s lonely, but doesn’t want you to know that, like he’s afraid of asking you to stay. he takes the seriousness of his feelings, and basically bends it into some sort of lighthearted joke. kaeya hides his true feelings—negative feelings, to be exact—so that he doesn’t bother anyone. which is, again, something that happens with traumatized people. he displays that hesitance to reveal his true feelings, because there’s a shame or guilt that comes with his past. he doesn’t want to bother others or hold them back, so he puts on a smile and amps up the charisma. one other very important thing—but very small detail—i would like to note is his feelings toward family. his fell apart not even once, but twice, and kaeya still holds familial relationships in high regard. we know he doesn’t exactly care how he goes about getting his work done. he doesn’t pay attention to what’s “right” or “wrong,” so long as he gets what he needs. but one of his informants, vile, notes that the cavalry captain has one exception: he won’t work with those who threaten others’ families. in fact, kaeya claims those who do should be hunted down and destroyed. even though his own families have caused him so much pain—and he ended up estranged from both—he still understands the importance of having people who love you in your life. because he didn’t get that.

kaeya’s not evil. ultimately, as a knight of favonius, his goal is to protect others, because no one was there to protect him. and because no one was there to protect him, because he’s been hurt time and time again by people who were supposed to love him, kaeya has taken to protecting himself. he hides any and all negative feelings with a charismatic, friendly façade, because he thinks it’ll drive away his persistent loneliness. any “bad” actions of his were hardly his fault; he was forced into a life of secrecy and lies, and then abandoned by the first people who truly loved him. kaeya’s a multi-faceted, tragic character, one that toes the line between good and evil, and that’s what makes him so interesting.

#brynn yells #brynn answers #killshot anon #brynn's writing #genshin #genshin impact #kaeya #kaeya alberich #genshin kaeya

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ectora · 3 years

Text

Review episode 312

It’s weird because I enjoyed the episode but most of my comments are actually criticism so bare with me 😂

Overall it was a nice episode to watch. The acting was on point especially for Sarah and Poppy imo they carried this episode but also probably cause they’re the one with the most compelling stories on this one. The episode kinda felt like a filler but honestly that’s because the show is focusing too much on the allergy and we know that’s not gonna be fixed til the end so as long as they make that the main story of the sisters, most episodes are gonna feel like fillers when it comes to them. Macy and Maggie had their own little adventure with a ghost which was funny (again kudo to Sarah), Harry and Mel went on a quest for a soul tho we still have no clue what it actually meant and Abigael was going through her own little traumatic hell in the tomb (Poppy really has been particularly slaying this storyline acting wise ).

Screen time

Abigael: 6m11s

Macy: 17m24s

Mel: 11m15s

Maggie: 18m24s

Harry: 11m03s

What I liked

Maggie still got the internship and I’m glad back she deserved it. I really don’t dislike Antonio but I’m also glad they kinda made it clear she wasn’t interested and that she finally made progress with her feelings for Jordan.

Abigael. I liked it because it gave us more insight on Abigael’s past (tho I still think they should have given us this earlier). I always theorised that from her childhood, she was obviously scared from the fact her mom never really accepted her demon side which created her deep feeling of rejection and how she was never accepted and never belonged. But I also thought she had some kind of loving family. Like to me these two things were not necessarily contradictory. Well apparently not. Her mom straight out abused her during her childhood. Which definitely explain why she choose the demon side like that. Both her parents were terrible to them but as she said in the past, at least she can understand demon a little but. She can rationalise it base on their nature. When it came from her mom however, it came fully from a place of dislike which must have been very harmful on a child. So obviously when I say I like it I don’t mean I like what her mom did to her, but I really like the insight and explanation. And again, Poppy did an amazing job. She made Abigael feel so vulnerable and scared, and confirmed that, ultimately what Abigael always wanted was acceptance. Which she first needs to give to herself.

Marisol and Macy sharing a scene. I have my issues with how it went which I’ll come to later. But I’m glad it existed and Mads really showed great emotions.

That was a short list because if I did enjoy the episode and there was some highlights I’ll talk about later, I also can’t really pintpoint things I loved.

What I disliked

Harry’s story. I just really don’t like how they make it all about the relationship when it could be so much deeper than that. I also am not sure I like the length to which he’s ready to go for it. Like the entire soul donation is a bit weird to me.

Marisol and Macy. Listen that one made me angry. Maybe it wouldn’t have if Macy actually had other stuff going on than her relationship with Harry but with the way the show has been writing her mostly around her relationship with Harry, it really didn’t come across well to me. The fact we had for the first time a in present tense scene between Macy and Marisol and all they talked about a man has me fuming. Maybe if they had had a longer time to talk. But they had like two minutes and most of it was about men.

The sisters. I don’t like the fact Mel wasn’t there when they were going to connect with their mom. I feel like that should have been a story kept for all three of them. I’m also annoyed that they once again refused to give us some Mel and Macy. I would have liked to see them a bit. Once again that sisterly bond feels like it’s non existent.

Melby. I cannot believe anyone would actually look at them and think yes that’s good. The treatment is absolutely terrible. The buildup was bad - because it was supposed to last - and the fact it’s all off screen is absolutely terrible. Ruby has been in three episode this season. One of them she didn’t actually share a scene with Ruby. The second episode they were full of drama and jealousy and they were so easily breaking up. And suddenly we jump to the I love yous. And were supposed to find that cute ? Like what are we supposed to think they love about each other? The constant breaking ups ? Cause that’s the most consistent thing about them. It kinda feels cheap in the way it’s done ngl.

What doesn’t make sense

Why was Jordan in the description ? I feel they’re kinda trying to avoid putting Abi’s name in the summaries (or at least it feels like it) but like .... Jordan had not reason to even be talked about. He didn’t appear once. It should have been Abi’s name in there.

The pills falling from the pocket Like ... Harry you had literally one job. How exactly did they fall ??

Why did they seem lost until their realised Jordy was a descendant and they could use his soul. Did I miss something saying it needed to be a male descendant ? Cause like ... Gil (Jil ? Idk) was literally right there. (Nevermind apparently I missed them saying « male descendent » my bad dkdjd

How did abi know she was in the tomb. Like I know my girl is smart but like ... she has basically no contact with the sisters at this point so how on earth did she learn how the tomb works and what happens inside ??

Highlights

The hammer. Listen, don’t ask me why but this picture of abi has been sending me for weeks now and I’ve been wondering the context since I’ve seen it. Like it gives me the biggest dumb bitch energy ever. The fact that abi is a very smart person and just thought a hammer would get her out of the tomb just has me laughing like it’s just too funny to me 😭

“The British hot lady” Swan I understand You

The way Maggie calls for Abi and gets into her apartment. I don’t know why I just love it.

Macy trying to lie to Antonio. Macy’s face when she lies is always a delight.

No but do any of these older generations know what not having an affair even mean? But I mean like father like son I guess.

« Who footnotes a spell » Macy’s face was so funny 😭 she was so done with it.

Theories

Not gonna lie. I’m a bit scare about next episode. I think it might be really interesting but also I’m very scare of the execution especially when it comes to Abigael and Macy. I do believe Macy has valid to distrust Abigael. However the show has been terrible at portraying those. And ultimately, especially lately, the sisters and Abigael have barely crossed paths. They’re barely in each other’s lives. All the do is coexist in the same city and interact when demons are involved which isn’t really the case. So right now all abi is doing is keeping the demons in lines. So I’m scared that Macy’s rightful dislike and distrust is almost gonna come across as pettiness or jealousy. But I also think that there is a difference between not trusting Abigael and say she deserves to be in the tomb. Cause at the end of the day past episode 4 what has she really done so terrible that deserves eternal suffering/delusion or whatever the tomb actually does. She’s manipulative and self serving sure but she also helps more than anything. The sisters have actually nothing to win have having Abigael stuck in there. And more to lose.

One theory is that the perfecti are trying to isolate the sisters. Putting abi and Jordan in the tomb is separating them from their allies and helping Harry to lose his powers is taking their guidance/healer away from them.

Another is just that really just have a very strict black and white vision and Abigael being a demon and Jordan helping them makes them automatically in the black category. Which the title seems to be referring to so it’s probably this.

I think the upcoming episode might be a way to introduce the whole controversy around Macy’s demon powers. And slowly bringing up the story of Abigael giving them back to her.

I think it also might be a way to actually have the show approach the wrongs Abigael did in the show. But also the rights. After all, it seems like they’ll need to prove she doesn’t deserve to be in it. Which I personally don’t think she does. Though she definitely did wrong things in her life. So I think they might actually use this as an occasion to have the sisters talk about what she did do that was wrong. And hopefully also highlight that she did help them on multiple occasions.

With the “previously in charmed” it makes it feel like they’re still going with Maggie not knowing Jordan can actually touch her and this doesn’t stop confusing me. But I can see the show have them hug once he’s out of the tomb and then kinda admit their feelings finally and Jordan say something in the lines that he kept it from her because he didn’t want to put pressure on her or that him being able to touch her didn’t change the fact she wanted to focus on herself or something on those lines.

One thing I want to talk about is Abigael. Please don’t read this paragraph if you haven’t heard about the rumours going around. //// The fact is, there is a very strong change Poppy is leaving the show. And the way they made this episode made it very clear Abigael was abused as a child. But that she is also absolutely craving love and acceptance. And that she does love her mom and always wanted her love. I’m very scared that if they make Abigael leave (better than die) they’d make her go back to her sister and family and try to fix their relationship. Which would absolutely be terrible message to give as we literally know now that she was abused. And making a character go back to their abusers because of the trauma it caused (her fear of rejection and inability to actually accept herself) would just be disgusting. But I’m scared that’s the road they’re gonna take.

#charmed #charmed cw #charmed reboot #charmed 2018 #charmed review #abigael caine #mel vera #maggie vera #macy vaughn #harry greenwood #jordan chase

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hmgfanfic · 3 years

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Talk about all the Fillory worldbuilding in LQoF, please :)

THIS IS INEXCUSABLY LATE. I’m so sorry!

And I wish I could say it was just my scatterbrainedness, which is definitely a constant factor, but it was also that when you sent this, I was deeeeeeeep into writing the final few chapters of Little Quirks of Fate and I was kind of... in my head about it. It took a lot longer to finish than I had planned (a cardinal sin to my particular combo of severe ADHD and Type-A personality) and I was spending excessive amounts of time making sure I figured out a satisfying ending by my own exacting standards, so I just didn’t have the headspace to think through my early process yet. Very sorry about that :( But now that I’m finally done, I’m excited to look back! So if you’ll indulge me a very late answer, I’d be tickled. 💗

Long ramblings and major fic spoilers under the cut.

The truth is a lot the world building came down to character stuff foremost, followed closely by my preferences as a writer. I adapted the world to the story I wanted to tell, while using the little bits of information we’re given in canon as a baseline, rather than building the story around the world. And that was a lot more fulfilling for me, since I only really love worldbuilding through the lens of character, rather than as an exercise unto itself (though it’s super fun once you get rolling.)

To explain what I mean by that, you need to know that Little Quirks of Fate was originally going to be a oneshot. My plan was about 25-30k (lol) of a pure S2 retelling, only with Quentin in the role of Fen. It was also going to take a much more traditional enemies-to-lovers’ path—with Quentin as an active member of the FU Fighters—and the whole thing was going to be in his POV. Also, they weren’t even going to kiss until after the bank heist (which, yes, was going to be a thing here), but that got abandoned the fastest in favor of trying my hand at smut. But two things made me realize I needed to significantly shift course:

1) I was struggling to make Quentin actually feel like Quentin. I wrote this very atmospheric early scene at the FU Fighters encampment, with lots of description of the bonfires and the way their shirts dyed in Fillorian red looked like blood (you get it.) It took place in the black of night, shrouded in secrecy, and when Bayler questioned Quentin about his new husband, Quentin said something like, “He’s a drunk idiot, we have the advantage.” It was all very lush and dramatic, but it really, really, really didn’t feel like Q in any recognizable way to me. Now, I’m not someone who thinks Q needs to be a precious sweetheart all the time, but what I was writing didn’t have his idiosyncrasies or a motivation that felt true to who I feel he is.

2) The draft was DEFINITELY missing Eliot’s story and his perspective. I certainly don’t think Eliot’s POV is always necessary (sometimes not having his direct thoughts heightens tension in romance especially), but it felt really necessary here, to fill in the gaps of what Quentin was assuming and also—more importantly—because the events were just as impactful on him, but in a very different way. So I knew I was missing half the narrative, but that meant I would need to deal more explicitly with the Beast (i.e., Mike, the most devastating storyline to me, personally) and I really, really didn’t want to do that.

My first step in making a more recognizable Quentin was figuring out a way he could more or less use the same syntax that he does on the show. Voice is the first way I connect with a character, so while many writers in this fandom thrive at modifying speech patterns and keeping the heart of a character alive, keeping close to Quentin’s canon speech was an easy fix for me in a story I was excited to get rolling. Sort of like the old adage of uplifting your strengths before putting outsize energy into things you struggle with.

The easiest way I could think to give him the same syntax was to figure out a way Quentin spent some significant time on Earth during his formative years. And once I rewatched 2x06 and was reminded that Ess went to Phillips Exeter Academy for high school, I lost my damn mind. I started sketching out ways that Quentin could get there too and that’s how I built out the idea of Umber brokering a marriage deal with the actual landmass of Coldwater Cove, which included an education opportunity for the boys (in a nod to Fillory’s patriarchal nature), and also the reason why Umber did that, which was to take advantage of his brother’s orgy mistake with the first Children of Earth to usher in a more productive and orderly Fillory. So that created a whole new set of rules and essentially a whole new world for me to play with... all for the sake of Quentin getting to say “fuck.” It was that important to me. :p

And as I worked through all that, I realized I also wanted to give Q magic, since Quentin’s relationship with magic is something I’m interested in. But I had read on ye olde Tumblr that the reason Illario uses a wand in 2x06 is a nod to the books, where Fillorians specifically aren’t Magicians and that’s the rationale for the Children of Earth royalty. And while I generally see the books as interesting supplemental material with zero bearing on the television show canon, I still said to myself, “Self, wouldn’t it be kind of funny if Quentin was the only native born Fillorian who had magic and so the FU Fighters believe he’s the chosen true High King, but instead of it being because he’s ~special~, it’s because Umber made a clerical error? Lol! Hilarious!”

So while all my questions for how to explain all THAT spun out into more and more detail, at the same time...

I caved to the idea that this story was going to be a No Beast AU, just like my last two stories, mostly because I really couldn’t bring myself to deal with the Mike of it all, even tangentially. I could have just changed that single element, but I’m not a half-measure gal! But I still wanted to stick with the vague background theme of Fillory = adulthood from a questing perspective and I wanted Julia leading the charge this time, but without the sexual assault that occurs in canon. So obviously, the answer was avenging all of the murdered and cannibalized “grown-ups,” i.e., master Magicians, by seeking out help from the gods in a balanced Fillory free from the devastation of the Beast. Duh! ;)

So then, like anyone would do, I rewatched every episode up to 4x11 that makes a mention of Fillory and took about twenty pages of notes on the canon worldbuilding, along with an analysis of how much a particular piece of information would be impacted or not by balance in the realm. For instance, the existence of geraniums (per The Fillorian Candidate and Tick’s misunderstanding of “power plants”) and the lack of diamonds as a precious stone (per the River Watcher not knowing the value of Margo’s earrings in Knight of Crowns) struck me as static facts unaffected by Ember’s reign of chaos. But I shifted the overall feel of Fillory to one that’s more functional and a lot more bureaucratic, leaning on things like the existence of socialized health/vision/dental insurance (the idea of which is canonical, per a petition from the beavers requesting dental coverage from acting High King Josh in Ramifications), strict taxation plans, and an overall sense of thriving Ceremony to show Umber’s influence.

Basically, I wanted Eliot to inherit a much, much easier Fillory to rule—especially with the highly educated Quentin as a built-in and passionate advisor—mostly so it wouldn’t completely strain credulity when a lot of his energy goes toward his love life rather than the intricacies of ruling (though Margo would say he still favored his personal life more than he should have, and she wasn’t... wrong. He wants to be a husband more than a king!) But I specifically made it so most of the chaotic elements were played as whimsical (sorry) quirky shit or smaller hints of greater injustice (see: Ember getting rid of STDs, but still letting magic-poor citizens die of sepsis because that’s too boring to deal with), all while a cataclysmic danger lurked under the surface.

After that, I just filled in details as they worked with character stuff and plot stuff, and I tried to make sure they didn’t contradict each other in a way that couldn’t be chalked up to “chaos.” I basically lived with the Fillory map open all the time and also took screenshots of Benedict’s map of Loria, which gave me alternate ideas for the overall feel of the landmass rather than just the kingdom. And pretty much that’s the basic process I used to create the world! It was extremely fun, and I learned a lot, though I’m *definitely* focusing on some pure relationship kind of stuff for a while because... oof, sometimes it was a lot.

Annnnnnnd if you’re still with me, here’s some stray observations, for funsies:

I wanted Quentin and Eliot’s starting points to be more mature than in the show. Quentin when we’re introduced to him as an adult in LQoF is a lot more jaded and cautious than S1 Q, which is because in this world, his S1 mentality happened while he was on Earth and came to a head during the throes of his fucked up relationship with Bayler. Similarly, Eliot had already gone through a lot of shit too, and was much more self-actualized by the time he agreed to be High King here than in the show. It was still out of desperation for purpose, but not coming out of a direct trauma spiral. I think if they had been younger, both in age and mentality, the story wouldn’t have worked because they would’ve blown it up day two. They’re both still disasters, as we like to say, which is why the... everything happens, but they’re not disasters in the exact same way as in early canon. I thought of them as closer to their S3 selves, pre-Mosaic.

While I mostly kept Quentin’s syntax the same as on the show, I did change it up in some ways to reflect his Fillorian upbringing. The most obvious was replacing “goddamn” with “godsdamned” and “Jesus” with “Hades,” but I also made him slow on the Earth idiomatic uptake and slightly more likely to use passive voice and less likely to use contractions, especially early on and especially when speaking with Fen. He also said slightly out of date things even for someone who last remembered 1999, since Earth was still overwhelming despite his immersion. E.g.: In the epilogue, he asks Eliot if he can spend some time “Googling the World Wide Web” instead of watching Gossip Girl together, even though by 1999 most people were saying “on-line” or “the internet” by a pretty wide margin. But in my mind, the first term he learned was World Wide Web and he stuck to it like glue.

I originally had a full-blown coronation scene, where Quentin helped Eliot with the answers to the 90s questions via subtle charades, such as flapping his hands at his sides to give him the answer “Wings” (and Eliot was eventually going to Eliot-Logically use that moment to argue to Quentin that maybe Q really is the true High King since he was the one who actually answered the Knight’s questions, etc.), but I cut it and only showed bits and pieces in flashbacks because it didn’t really matter. They had to treat it seriously because it was An Event in this version of balanced/un-Beasted Fillory, with a full audience bearing witness, but the whole thrust of the external plot was about dismantling that moment and the concept of monarchy in general, so giving it too much weight outside of the Eliot and Julia friendship felt disingenuous to the story I was telling.

This is also why it was important to me that Margo hated the title High King Eliot the Kind, even though I only brought it up textually once or twice. But in my view, she fucking hated it and never came around to it. Which isn’t because she doesn’t think Eliot is kind, it’s that it felt like a simplification of all that he is, and the coronation ceremony in general felt similarly shallow. It wasn’t just the four of them working out their shit on the beach; it was true ceremony after a year of questing toil and a lot lingering uncertainty/resentments (especially regarding Julia), so it was too Big Shiny Happy Bow to her.

Yet on the same theme, my greatest regret was not being able to work in the fact that Margo’s title for Penny (King Penny the Persistent) was supposed to be half-sincere and half-sex joke. She did genuinely admire that he stuck it out even through his initial heartbreak because he gives a shit about his people underneath it all, but—and this is a very important headcanon to me—she admired his dedication to the art of the female orgasm even more.

I was originally also going to include the One Day More sequence with way more details—such as Umber taking the Javert lines, Ember taking the Thenardier lines, Bayler taking the Enjolras lines, and Penny taking the Marius lines, but... uh... writing a musical number is apparently not in my skill set. Also, honestly, the weirdness of the original is its whole charm and so I didn’t want to improve upon perfection. See also, in a more serious way: Eliot bowing to High King Margo on the Muntjac, the events of Plan B, and Quentin & Penny in the Flying Forest. Would not touch it!

My favorite Fillorian detail was either the guy who sent a citizen petition requesting a “smidgen” of Eliot’s earwax for an undisclosed purpose, or the use of the verb “to peg” to describe a Pegasus flock greeting an outsider with honor. They encapsulate the obscene yet pristine feel I always tried to give Fillory.

My favorite subtle(-ish?) ironic moment is Ess, the heir to a hereditary monarchy, taking Quentin to task for not honoring the anarchy patch on his high school backpack. In general, I don’t like everything being neatly resolved, including on an overarching world level. And I very strongly felt they had ZERO business meddling in Loria, so it left some fun-to-me unanswered questions. Will Ess usher in democracy for Loria based on his experiences on Earth? Maybe! Maybe not, since tradition’s a hell of a drug and Loria has its own history and complexities. Who knows?

I misread the town name Sutton as Sultan on the map the first time I referenced Bayler’s hometown (Sultan’s Ridge), but instead of going back to fix it, I just made it a sister town. Whatever!

I do not know how Quentin got a full bookshelf of Earth literature back to Fillory with him. Magic, I guess. (That’s the answer to anything I didn’t totally think through.)

I occasionally get asked whether Quentin and Fen were physically related. The answer is no, though it doesn’t totally matter. But I intended heart-cousins to be more like close family friends. (Though I actually originally had a joke where Eliot still wasn’t sure by the epilogue, but it didn’t land/feel realistic so I cut it.)

The details of the magic frequency poisoning were DEFINITELY what I thought through the least. My main goal was to have something catastrophic happen to Fillory based in part from the historical actions of the Children of Earth and Ember, patently ridiculously but with lasting consequences. Hence, god orgy that took away Fillorian human magic and sent out a slow poisoning of the overall magic “frequency.” It sounds all well and good, but it’s definitely something that would fall apart with even the lightest bit of prodding. It serves it’s purpose though, so I figured the gaps could be filled in or politely ignored. ;)

This question was way too much fun and a helpful retrospective for me! Thank you so much for indulging me, many moons ago. 💗

#little quirks of fate #harri writes #anon asks #ze process #<3 thank you i love you #this one is a long post even for me #dialogue asker if you’re reading this you’re up next I promise!

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irkenheretic · 4 years

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okay i promised id do it and im doing it: Explaining The Plot Of That AU I’m Vague About: The Post

(as i was preparing to write this i actually got my 250th follower, which slapped)

so i’m just gonna start with the simple version, which is this: it’s a rebel AU which primarily centers around the tallest, who are both defective. they give up on trying to make any meaningful changes as figureheads, and instead direct their attention to being involved with the “neo defect revolution,” or NDR. they do manage to make one change as tallest- there is a garbage dump planet turned into a sanctuary for defectives (who in this au are executed once discovered,) and eventually enough of the populace finds out about it that the tallest have to deal with it. they finesse their way into kicking it out of the empire, so now it’s its own planet with its own rules, governments, and most importantly, immigration policies and protections

a lot of stuff happens and it’s gonna be structured using arcs, and each arc has a separate protagonist/deuteragonist/tritagonist lineup (but that doesnt mean the same lineup won’t be used multiple times!) and yes the insane list of OCs are for this au alone: some arcs are very OC-centric, some have OCs as supporting characters, and a couple are all-OC or mostly-OC.

its going to be very longform and it’ll span from the tallest’s elite training days to twenty years after zim arrives on earth. (the 20 year gap btwn zim arriving on earth and the story proper isnt as tightly plotted as later tho.) the point is to see how a revolution on the scale of the NDR works, who was fucked over by defact laws, who was fucked over by other laws, etc. theres a lot of lore and a lot of headcanons i made for this AU and even a conlang. i am a being of hubris. itll be a series of fics, some multichapter and some oneshots.

the series as a whole is gonna be called Invader Zim: Annexed or just Annexed for short. its a pun on an irken word that sounds similar but means the exact opposite. i am not explaining more bc itll be explained in the fic itself. but thats why the tag for it is #anx lmao

i didnt mean for this to be as long as it got but under the cut im gonna breakdown some of the early arcs:

so it all starts with a fanfic called Love Is The H-Word (no the “h-word” isn’t “hell.) it centers around red and purple as elites-in-training, who do a little whoopsie and have an egg. purple doesnt wanna smuggle it into a smeetery, bc then he’ll never see it again, so they go to the defect sanctuary (still a part of the empire at this point.) purple knows he’s defective while red has a hard time accepting that he is as well, due to events from his past. but being around all these other defects are starting to wear down his denial, and the fic is all about that. it also sets up some plot stuff, like how defects adopted a self-identifier in the word “heretic,” hence the sanctuary being named, “heretirk.” (hey look my url!) (no, the “h-word” is not heretic, either.)

i dont wanna say what happens in that fic bc spoilers, but stuff Happens. its also when we meet some ocs that end up being important, and the existence of others are foreshadowed. this is also where we meet the tallests’ future advisor, rarl kove, for the first time, as a local who decides to keep them company. purple bonds with kove due to their shared interest in politics, while red reluctantly bonds with titch, a young irken (a smeet in heretirken standards, an adult in imperial standards- did i mention he and red are roughly the same age? lol) who is interested in military stuff and thrill-seeking and general destruction. titch is pissed because he claims his father is stealthing on devastis as a military commander, but won’t let titch sneak in as a soldier, as titch is deaf.

(fun facts: in the au, “titch” is regional slang for “a little bit.” ironically, titch the character is above-average in height.)

due to titch’s deafness, he developed “gesturespeak,” irken sign language, so he can communicate. this existing becomes important later

a oneshot called invade the system is right after h-word in publishing order. it details zim’s exploits in leaving foodcourtia, where he was assigned and infiltrating the invading academy he eventually graduates from (in this au, zim is too short to be an invader, which sucks because the hight minimums for the military are really short to begin with lmao)

the fic chronoligically after H-Word focuses on red and purple being back in their platoon on devastis, specifically red navigating his training and his relationships with two defective platoonmates, pon and zi (who are in h-word a little,) after the realization that he too is defective. it also focuses on how the irken military works, and how they train their soldiers.

the first arc overall focuses on red and purple going thru training and such, and ends after they graduate and are on the field, working to get commander rank. (they planned to gain commander rank then leave and go back to heretirk to train an army there, as heretirk has.... no army.) in the middle of this, they’re pulled out and told they are to become the next tallest. they debate over staying and taking the job or just running to heretirk, and they ultimately decide to stay.

the next arc i call the “bridge,” tbh. its less tightly plotted than the other arcs; fics are spread apart from each other chronologically and all that. it spans the time after the tallest being appointed to a little after zim arrives on earth. it also has a couple of anthologies focusing on imperial defects- each chapter is a new character. these guys are all important and the easiest way for me to introduce their backstories without cluttering everything up is anthology style, lmao. other things that happen are a look into how the tallest work, eventually culminating with the resolution of the tallest having to Deal With Heretirk, tenn’s rescue from meekrob, and zim on earth obtaining a half-irken smeet named pip due to stealing an Unethical Science Experiment from dib (which is pip.) the bridge is basically just. “heres some stuff that happens between point A and point B so when we get to point B you’re not confused as all hell.”

the next arc focuses on zim. in the first fic, pip is sick and zim is trying to get into his neighbor’s pants, to cope. this basically sets up that zim in this au has no idea how to find personal fulfillment in living- he’s only OK if he focuses on pleasing someone else, be it taking care of pip or doting on the neighbor, some rando human named piqu (pronounced, “peek.”) this is mainly a cute romance story with the underlying veneer of “a child is slowly and painfully dying” in the background. fun!

without spoiling the circumstances, zim and pip end up on heretirk, which at this point is its own independent planet. pip is in the hospital for most of it so zim has to do his own thing. computer fans rejoice bc hes basically zims dad at this point, who tells him to go outside and get some fresh air and talk to the locals instead of schmooping or screaming in anxiety. im sneakily introducing more characters like ini, the “next-gen zim;” a short bio-engineer (she works on PAKs) who was constantly passed over by everyone because they dont trust someone that short or they dont trust someone that spazzy, even though shes actually brilliant. also her brother mo, who’s a pilot that NOBODY will teach military-class ships to (at this point, HTK has a population of ex-military that had their old ships, but still no formal army) because he doesnt talk and they think hes “slow” as a result. for the curious, he is physically able to talk most times, he just doesnt like it. zim ends up teaching him how to fly military-class which ends up being important laterrr

(haha ini and mo. wheres meenie and minie? ILL GET TO THEM)

no really, theyre quadruplets. named ini, myni, minie, and mo. these are real characters.

minie isnt introduced till later. shes too cool to be the side character in someone elses arc. she is feel uncomfortable when we are not about her.

myni is busy palling around with pip and pip’s friend “elly” (real name elevenn, with two N’s.) elly is a half-meekrob War Crime Baby and tenn’s smeet. he has vision problems (he can “see” energy signatures of things, as opposed to conventional sight. everything is monochrome and he has to really focus to see like, words on a paper. also fuck tablets) but the trade-up is telekinetic powers (that he cant use too much or his brain will melt. fun!) this isnt relevant until the arc AFTER zim’s, where they end up poking around a historical site due to myni’s interest in that kind of thing, and they find logs of an old revolution (that was actually pretty successful in their goal, before they were caught and executed,) that lead them to a man named lefy. he helps with revolutions and helped these guys, and the trio go to seek him out; myni because he wants to impress his parents with helping them, pip because after they’ve recovered enough to walk around and do stuff, feel like they need to justify the choice to save their life and make their dad proud and all that, elly because he doesnt want pip to get hurt and die. And thats where the stuff REALLY starts happening and i cant tell u more sorry

this seemed kind of disjointed but thats bc i cant really be too detailed otherwise id like.... spoil it lmfao. but thats the summary of the first few arcs.

#*falls over and dies* my poor hands and fingeys #yall better mf read this.....#ill post a fic later today or maybe tomorrow #its being betad rn #take this lol! i finally explain myself #for those of you on mobile i am SO sorry #this is fine to rb in case ur wondering. dk why u would wanna but its chill #anarchisma au #live from conventia #long post

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baconpal · 4 years

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With ARMS being free for the next couple days still I thought I'd talk about it here cus I think it's a pretty neat game. I've included a messy painting for your scrolling pleasure, but from here on out it's all words so strap in for some game design talk.

So ARMS is a fucking video game, it's hard to call it a fighting game just cus it's hard to call anything a fighting game anymore, but it's definitely about fighting and it's definitely a video game so take that as you will. People have a lot of trouble getting to grips with the game, especially the controls, but a lot of that is caused by how much more you can do than you'd initially think, and I really do suggest you try the free trial and mess around with whatever control scheme feels right to you. It was a pretty dark time the first couple months when it wasn't easy to change controls and that definitely hurt arms as a whole i feel which sucks.

It's not the most hardcore complicated video game ever but it makes very good use of the aspects of the game that are simple and loose in order to make a very free-form fighting game, and overall it does a lot of stuff that I personally consider very good design as someone with a big love of multipurpose mechanics and unique mechanics that aren't just gimmicks.

UNIVERSAL ARMS ARE COOL The one part of the game that is universal to all characters is that you got two arms that you throw around and control as they move. How those arms move and how you move around the stage are entirely dependent on the fists and character you pick, leading to very expressive playstyles in spite of every character having the same goal of hitting the other guy with some long-ass slappers.

The different types of arms all fill different purposes based on their shape and trajectory. Some arms are meant for straight forward boxing and clashing fists together, some are slow, heavy arms meant for countering weak punches or putting up defensive walls, some arms curve around the arena to avoid colliding with other arms at all, some have multiple fists to specific defensive options like dodging to the sides, jumping, or sitting in shield, and there's a variety of unique arms for all kinds of weird playstyles, including projectile arms (even though your arms are alright projectiles, they're even more projectile-y) as well as the variety of elemental arms; Elements allow for strengthening your playstyle by increasing factors like arm size, hitstun, arm disabling, movement disabling, knockdowns, knockback, vision impairment and other forms of disruption.

Overall, each arm carries its own benefits and risks, and switching arm layouts between rounds or matches is very similar to counter picking in a standard fighting game, meaning choosing arms is like choosing a character in and of itself. As a result, the game feels a lot more balanced than a lot of fighting games I've gotten into before, as any character has access to any arm, so no character has directly more damage than other characters, and powerful arms can be adjusted for all characters at once. Picking arms is just one half of ARMS' character building, the actual fighter you use also greatly changes the options you have in game, and for the most part follow a type of design philosophy that divides every action into parts, and puts lots of focus into making sure every little part of a games systems are put to use.

THE FIGHTERS AND DIVIDED MECHANIC DESIGN While the arms you chose determine the way your punches will travel and behave, everything relating to movement is determined by your character, and while most characters have the same general movement, every character has something different to offer and augments a very small part of that overall movement to change what kinds of actions each character prefers. To explain that I'll need to give a brief overview of all the movement options in the game, and split them up into parts to make discussing them easier.

Punching As explained earlier, most of this depends on the arm, but having an arm out causes your movement to be reduced, even more so with two arms. You regain all movement as your arm retracts back.

Grabbing By punching with both arms at once, a green band will connect them, and if that band touches the enemy, you will chuck em across the stage and do a good amount of damage. If the enemy punches the green band it splits and the grab is cancelled, but grabs will land even on blocking opponents, so it forms a standard power triangle of punch > grab > guard > punch, etc.

Dashing Pressing the dash button and a direction will let you do a short dash that's faster than walking around, and holding it allows you to do a longer dash that causes your arms to hang to the side and having more overall lag time. Completing a dash without getting hit or having your hands hit will give your arms charge for a short amount of time, increasing their damage or letting them use their elemental properties. If none of your arms are out, continuing to hold dash will cause a character to stand in place and charge up their arms, greatly extending the length of a charge without changing the effects.

Dashing causes punches to curve much stronger in the direction you're moving, and when an arm is out, you can only do the short dash, and when in the air with both arms in, you can do the long dash in the air, but a bit slower.

Jumping Pretty standard jumping, you commit to a jump arch for the most part, but can slow your decent by punching or change your direction with a dash. Landing from a jump is just like finishing a long dash, you gain some charge and can hold the button to charge longer. Jumps have a very notable amount of end lag where you are just fuckin standing there, with only your hands to defend yourself, so while gaining a height advantage is very useful, jumping is overall a risky maneuver.

Jumps can be short or high depending on the length pressed, though jumping with an arm out makes all jumps short. You can also jump out of a dash to jump further.

Guarding When you guard, you block all punches, even weird ones from the side and shit, but can't move. You can hold guard for as long as you want, and your arms will charge after guarding for a second, and you can cancel blocking into literally anything, as well as dash forwards/backwards out of blockstun. While blocking is useful, grabs go through it, and all damage that hits your guard will build up and damage your arms, which can disable them or break through your guard, you also cannot guard if you have a punch out or have a disabled arm.

Also just a side thing that I can't think where else to mention, while I really like how this game is fairly simple, for some reason there's just not a good place to put block on any control scheme. The default for motion control is very slow and not very accurate, and on controller the default is pushing in the stick, which is super awkward. You can remap the controls to anything that's comfortable, and my control scheme is nothing like the default, but the guard button is still never in quite a convenient enough spot, so sometimes it becomes hard to implement. Pretty much my biggest gripe with the game but it's hard to complain about it cus I can't come up with a better solution myself.

Rush A universal counter/super that all characters share. When you have full meter, pressing rush will deflect any fists about to hit you, and cause your punches to be very very fast for the next 3 seconds. Exactly how each arm behaves during rush is arm specific, but the general use of rush is for very big punishes, generally doing around the damage of 2 or 3 clean hits. It's still very possible to block or dodge a rush or to beat it out by sneaking a hit in or using your own rush.

With the basics explained, here's a general overview of how each character splits the movement into fine pieces and makes use of them.

SPRING MAN The funny spring guy is the first character on the list, and as such sets the standard for everyone else. Even with that in mind he's got a pretty defined style. Similar to ryu from streets, spring man lends himself to a grounded defensive style of fighting. Since all his movement is average and jumping is dangerous, he generally wants to stay on the ground and find chances to punish others.

He has two main differences from other characters, the first is pretty beginner friendly and easy to explain: when below 25% health, spring mans punches are always charged. This comeback mechanic is very helpful to beginners but can come with some disadvantages when using different arms, as many arms are slower or less safe to use when charged. His other mechanic is much more advanced than you'd expect of a main character, and that's his deflect. Whenever spring man is charging his punches (holding a jump or dash) and releases the charge before finishing, he will deflect any punches about to hit him just like a rush. Since new players are hardly ever gonna charge their punches, but may panic and dodge out of a charge before getting hit, it has its place for beginners but allows confident players to charge punches whenever they want and to find better punishes by deflecting the opponents attacks.

I really enjoy taking something as insignificant as releasing charge and making it into a conscious action. These are the types of design choices this game is full of that make me happy.

RIBBON GIRL Funny little air woman likes jumping around, and has 4 jumps of decreasing height, allowing her to stay in the air for a very very long time. Having more jumps also allows her to stay in the air long enough to air dash more than once, giving even more air control. As a kind of mixup/quality of life choice, holding an air dash will make her quickly drop to the ground, making her landings unpredictable, which helps when your main strength is constantly jumping, playing the exact opposite type of game as spring man.

NINJARA Funny ninja guy's air dash is a teleport, making his air movement a bit harder to read. His main mechanic is that he has no form of blockstun; when a fist hits his shield, he will teleport in the direction the player is holding and instantly be able to act, giving him the opportunity to punish attacks on block more easily than other characters. I don't play him enough to act like I know what this means for him, and the community memes him up to do nothing but air dash into grab but I'd assume he's a mobile bait and punish type.

MASTER MUMMY The big funny mummy is this games grappler sort of. He has higher throw damage than every other character, and his wide shoulders means his grabs innately have a wider hitbox, which makes catching rolls and dashes easier, but also makes a big target for punching. His jumps are narrow and his dashes are slow, but he has super armor when jumping, dashing, charging, or punching. I haven't brought up health since every character has the same health, but super armor also cuts damage taken in half to avoid the horrible pain of super armoring through a hit with multiple hits and ending up taking way more damage. This makes master mummy one of the beefiest guys in the game, and combine that with his other ability to gain health while guarding, master mummy generally wants to play a really dangerous punish game where he sits in shield to make you hit him, and punishes you by punching through your grabs or armoring through your punches. He also can corner people more easily since his arms are far to the sides, allowing him to hit people trying to run away from him more easily.

MIN MIN Funny noodle lady deflects attacks with her air dash much like spring man's charge release, her grounded back dash also does this, letting her stay pretty safe while retreating specifically. Her main mechanic is that completing a charge or landing a grab will cause her left arm to remain charged until she is knocked down. The possibilities are pretty wide with what an always charged arm can give you, and mainly depends on what arms you use, but overall it gives min min a strong advantage state while keeping a generally safe disadvantage. She's also pretty cute and I wish she'd kick my head off maybe.

MECHANICA Funny girl in a funnier robot will keep any momentum she has while charging, allowing her to slide across the stage with charged arms, or to hover in the air with charged arms. She also has super armor during these charging slides, giving her very hard to punish air and ground movement, but her large size and laggy movements do leave some openings.

TWINTELLE Funny model girl with twintail fists and a scientifically perfect ass (i don't make the rules her model literally has 2 spheres for a butt idk how much simpler you can get) slows down nearby arms while she holds dash, and also causes herself to float in place if she holds an airdash. This makes her charging safer overall, and generally lets her react to things easier and lets her punish easier, or hold the enemies arms hostage while she throws a punch around them. Also a character I don't play much but she seems to mostly be about limiting the opponent and slapping em. Also horny.

BYTE & BARQ Funny robocop and funny robodog fight together using the dogs predictable AI. It doesn't seem very predictable to the other player but its generally pretty simple. The dog punches a second after you do, the dog will roll under you if you hold jump, and he'll generally try to stay diagonally in front of you. When Byte jumps on the dog it will deflect punches like spring man, and he can high jump by holding jump when bouncing, which also immediately charges his arms. With this, the duo can stay airborne and rain down charged attacks at the cost of low mobility. Also, if the dog gets hit byte is by himself for a while and has absolutely no special traits to speak of by himself, this leads to a character with very strong advantage and abysmal disadvantage.

KID COBRA Funny snake has really wide jumps and very slow dashes, but when his fists are charged he instead has even wider jumps and very fast dashes that slide him around, allowing him to dodge punches very easily. In general his gameplan seems to be getting off a jump to get some charge then darting around like a crackhead. He also has much bigger arms than his skinny body would suggest, and a lot of people hated that about him when the game first came out but I don't hear much about it now so idk if it really makes that much of a difference for good players. Anyway another character with drastically unique movement with strong advantage and bad disadvantage.

HELIX Funny goo guy makes squash and stretch into gameplay mechanics. When he jumps, he actually stretches his body up and doesn't leave the ground until you release jump, and will stand in place, but has complete control of his torso, allowing him to juke punches while throwing down charged punches from up high. His lack of ground movement means you can surround him easily in this state, so he can't hold it forever. When helix lands from a jump or performs a dash he'll squash into a little puddle which ducks under punches, though any punches the opponent throws while helix is already in the puddle will aim down at him, meaning he needs to use it sparringly, but he can move all around the floor with charged punches in this form. Essentially he moves super slowly and is easy to corner, but his movement is erratic and slippery and he has lots of ways to get OUT of the corner once you put him in it, and if he has any distance on you he'll give you hell.

LOLA POP Funny clown and part time Dobson fan inflates while guarding and can walk forwards or backwards very fast while blocking, giving them a safe approach or retreat option. Much like ribbon girl, she can hold her air dash to quickly drop to the ground, except she inflates while falling, giving her a quick shield and making her bounce into the air again, letting her bounce over and over to regain charge on her punches. She's very elusive and hard to pin down, but she's a lot bigger and easier to punch then you'd think because of how much she spreads herself out in her animations.

MISANGO Funny tribal man has the tiki mask from crash bandicoot follow him around and change colors every few seconds. Guarding causes the mask to form a pillar in front of Misango that can get in the way of punches and grabs but also blocks the whole fucking screen get out of the way fuck. Completing a charge will put on the mask giving him some benefits until he gets knocked down. Red mask gives him super armor, blue gives him better jumps and dashes, and yellow builds more rush meter and also gives his rush even more deflecting ability. Not a guy I use much or understand the appeal of beyond being versatile I guess but there are some good as misango players so shows what I know.

BOSS CHARACTERS The next 3 characters are characters who were first in the game as bosses, but became playable characters, and is another thing I absolutely love about this game. Its the first game in a long time that makes the bosses be bosses through their character and not through being objectively broken assholes who roadblock you from playing the game. Their personalities and playstyle exude the powerful presence they have and helps round out the really good cast.

SPRINGTRON A funny robot copy of springman who has mostly the same size, slightly slower speed, and the same deflect on charge ability, but no comeback mechanic. What makes this character unique from the springer is that following through and completing his charge will instead put out a gigantic deflect that disables any punches it deflects, and will charge his arms for 9 seconds, the longest charge length of any character. The big deflect can be countered by just waiting for it to come out and attacking springtron while he finishes the move, but it makes him a very scary version of springtron who can punish you much harder at the cost of some versatility.

DR COYLE The funny mastermind scientist villain makes herself seem bosslike by having a drastically different control scheme from the rest. She floats around, so floating is considered her grounded state, meaning she always has access to short and long dashes, but can't charge by jumping. Holding jump causes her to elivate, forcing the opponent to punch up at Coyle and giving her constant heigh advantage while still being able to shoot around with dashes. Her charge is much like mechanicas but without super armor, and helps to keep her moving around. In addition, when coyle fully chages, one of her arms will duplicate, allowing her to throw out the same punch twice, giving powerful pressure to her neutral. The opponent can see which arm is duplicated before she has time to throw the punch, and her charge time is super short so its really easy to know what she's gonna do, but it still creates a threat simply by existing. Overall a very cool villain.

MAX BRASS Funny fucking CHAD. The guy from the painting at the start and my mans of choice, so I think quite highly of him obviously. The primary antagonist of the game and champion of the sport, Brass is genuinely just a tough guy who wants to have fun, completely betraying the imposing image he gives off and the general idea of "final boss = bad guy". He is a slower, wider character than most, and shares the deflect mechanic with spring man when releasing a charge, but when he fully charges, he will expand all of his muscles to become even wider, move faster, and have super armor and charged punches for 5 seconds. Like spring man, at the last 25% health, Brass will always be charged, which include being buffed up, which has its pluses and minuses.

This creates a character with the defensive strength of spring man, and the cornering ability of master mummy, giving him an overpowering image of beating down the opposition with his strong advantage state, combined with the an imposing "final form" when he's down to the wire. Like most of the cast, he has a tough time in disadvantage as a result, and his wide shoulders cause him problems with characters who can get close to him quickly or who move around too much.

While separate from his actual character, the stage you fight him on takes place at sunset, and the sun shines against his back, giving him a really strong silloute which is even more imposing when he buffs up or is own low health. Really has been a while since i've been so impressed by the presentation of a boss fight, especially for a boss who is actually really fair.

HEDLOK So this isn't an actual character, but is still part of the boss list and is yet another thing I think is super cool and well designed in this game. Hedlok is a robotic head with exaggerated facial muscles that latches onto peoples head and makes copies of their arms. This is used in the grand prix mode to make a rematch with Max Brass where brass has 6 arms instead of 2, and that giant head matches very well with Brass's giant body. He also appears to make Dr Coyle's fight more imposing as she flies around with those 6 arms. While thats all he does in the "story" mode, Hedlok can function on the head of any member of the cast with any combination of arms, and 2 of the game modes online incorporate this by having players team up against a CPU with hedlok, or letting players fight over hedlok to beat each other to death with him. I am really impressed with the design functioning to perfectly that any character can be augmented by the simple addition of 4 more arms without sacrificing any gameplay elements. It's really great how none of the game is wasted, as even the closest thing to a super boss is still considered from a player's point of view.

While just having more arms sounds objectively better, and for the most part it is, the game is still always fair, and as such these advantages still come with downsides for the hedlok wearer, the biggest being that you don't punch the 6 arms separately, they punch in sets of 3 of the same arm one after the other when a punch comes out, and all arms curve the same way. This makes the pressure strong but predictable, and also increases the time the arms stay out after initially punching, leaving a large weak point at hedlok's flank. Hedlok does have a much more powerful rush that can hit for nearly double a normal players rush, but this is to encourage players to block and dodge to the sides around hedlok, as a stationary target is all hedlok can really chew up.

STAGES Much like the characters, the stages are all wildly unique despite not being very difficult to describe, the feature a variety of heights and sizes, as well as various obstacles like pillars and trampolines, and no stage is just a boring simple arena (except sparring ring, whose gimmick is being a literal boxing ring). Stages like Spring arena, Spring stadium, Mausoleum, Sky arena, Ramen Bowl, and Sparring ring all provide different experiences through their minor changes in shape and height. Stages like Ninja college, Buster beach, Via dolce, and [NAME REDACTED] provide long, thin arenas which put more emphasis on height and straight forward defenses. Then there are stages like DNA lab, Scrapyard, Ribbon ring, Cinema duex, and Temple grounds, whose obstacles and weird shapes provide wild and dynamic matches that change with time.

The music for the stages also slaps, there's only really a few melodies that the game uses, but the stages all have such different instrumentation and theming, as well as incorporating original segments that keeps the soundtrack unified without being literally 1 song.

CLOSING THOUGHTS AND DESIGN TIDBITS Reading back most of this I guess I didn't make it very clear what I was talking about with all the divided design stuff but basically I just like how much emphasis is put on every little piece of the games design to pull the most out of it. It's amazing to have a game with such unique characters when all the attacks are universally shared. Some other small things from this game that are good touches for me are.... -Online lobbies are super easy to use, unlike a lot of first party nintendo online shit, and allow changing characters and arms without holding up any action or needing to leave and come back. -Online lobbies also have these cute little bubbles that show you what modes other people are playing and how their doing that update in real time, so while you aren't spectating directly, you do get to enjoy some amount of involvement in others matches while waiting for your own. -The other game modes in the game make great use of the same universal mechanics to offer wildly different experiences with the hoops mode, volley ball, and target breaking contests. -The tutorials are what a lot of people need in a fighting game that they don't think they need, and that's opponents who "spam" and do just one thing while fighting, giving you the chance to learn how to play around those strategies and become better. -You unlock the universal arms for character by playing a fun minigame that rewards your ability to actually play the game. This mode also favors giving arms to the character your playing while also spreading out some of the arms to other characters to encourage you to mess around. It also won't give you an arm if it won't be of any use to you, while lots of other games would love to waste your time with duplicates that mean nothing to you. -You can set controls to anything now, including changing what the motion controls do, and you can have any amount of duplicate inputs to help make your gameplay more comfortable.

Overall, while I talk about how simple the game is, it is still a very tough game due to how much freedom you have in your combat and how deep it can get. I love the game and I still get absolutely shitcanned by the top 3 difficulties, also there's lots of people who are way good at this game, but I'd like to see more from it in general cus it kinda died a sad death due to bad initial impressions, but smash has finally done one good thing and tried to help out a game get another shot, so hopefully things go well for the game.

Thanks again to anyone dumb enough to listen sift through this shit, if you were cool enough to have read it then you can add me on switch and fight me in ARMS or something idk. Here's my code, SW 7001 1122 2464. If you add me without having read this entire post I will know and you will regret it. Regardless, have a wonderful night and stay safe gamers.

#ARMS #my art #long ass post #juvenile rant #Max Brass #never had a post that was both art and rant but lets try it and see how it goes #also holy fuck this is long #good luck if you try to read this shit

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four-loose-screws · 4 years

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What would you rank all the fire emblem games that you have played.

Thank you for waiting, anon! This essay is finally finished! XD I don’t know if either of us ever intended for this to end up so long, but it did.

It’s interesting to see how each person experiences each game, so I hope everyone enjoys reading this. If anyone wants to ask questions for more details or just for conversation, please do!

I did a tier grouping ranking as well as ordering from bottom -> top, because that helped explain my feelings a little better. This isn’t really reflecting my nostalgia or personal feelings for the characters/world quite as much as “how much fun I had in my initial playthrough(s).” Because I think that’s what these sorts of lists are generally asking for.

First, I’d like to make a general statement about why I love FE games so much: Well, most simply it’s because I have more fun playing FE than any other series. That much is obvious though, right? I also love them because they all stand out in their own way, with their own unique combination of features, and because they are all super ambitious titles. It may lead to some rushing and half-baked ideas, but ambition is what excites me the most in any series. Even if the creators are not able to fully realize the ideas they had, the hard work still wows me as I play, and I can see hints of the full vision they had in every nook and cranny. Even the lowest games on this list are pretty high up there for me in fun level. The “fun but flawed” games just had glaring issues that interrupted the fun from time to time.

...FEs 1 & 3 are overall exceptions to the “unique and standing out rule,” being early games in the series; and FE6 set up post-Famicom FE, so it’s pretty basic, too - but they still get their own awards for setting a solid foundation for a fun video game series that withstands the test of time.

I can’t fully explain it, why I attached to FE the most over all other game series out there. But when I play FE, I usually don’t think about what’s not so great about the games. I just have fun. The gameplay always has me thinking, and I get engrossed in the stories and unlocking convos and supports.

Basic Tier

These games are really hard to judge properly in the ranking system, because they are just so basic for the series.

FE1 / FE11

When FE11 came out, I remember it getting so much flack for being really, really boring. But I didn’t get that. I like FE gameplay and storytelling at its core, so I don’t need the bells and whistles to have a good time. I knew this is where the series started, and was surprised with what content there was considering this is a remake of a game on the Famicom (NES).

FE1 set a very solid foundation for what the core of the series would be. Load it up next to a modern game, and it feels so the same and different all at once. I’ve only played a little bit of FE1 itself. I just can’t get through it because FE11 is SO similar to FE1, so you really only have to play one to get the whole experience. I didn’t feel like playing the same game over again at the time, so FE1 is still on my unfinished list.

Basic, solid foundation for the ages / 10

FE3 / FE12

After FE11 played it “safe” and took an “upgraded graphics with a few new ideas tacked on” approach, I was blown away by how much FE12 did, even if it was more for worse than better sometimes. It added so many conversations, was the first to tinker with the idea of a more fleshed out Avatar, added more story… and so on.

From what I’ve read recently, the new story stuff isn’t that great, but I don’t remember now. I’ve only played this game once. Overall, despite some clunk with the giant maps and so on, this game really challenged itself to improve from FE11, and it’s how I learned to love remakes that aren’t afraid to deviate from and add a lot to the original!

Set the stage for what kind of fun and ambition an FE remake could have / 10

FE3 is way more of a classic than any of us in the West can truly understand. It sold insanely well (the best in the series until Awakening I believe?), challenged the programmers to put FE1 on the cart as well, long before re-releases were a thing in the industry, and the game even made it to the Super Famicom Mini! I haven’t played it yet because again, it’s hard to get the motivation to play through the slow speed and clunkiness when I’ve already experienced the remake, but I’m looking forward to it some day.

The good ol’ days of the Super Famicom & SNES / 10

FE6

This was the first game without Kaga (the series original creator), so it set the stage for a future without him. The series might have strayed far from his plans for story and such, but this game, while it was pretty basic, firmly established a new foundation for the series on a new system, and gave a glimpse of what greatness the future had in store.

Overall though, this game is harder to commit to memory than others, except for classic characteristics like how terrible Roy is until, finally, BAM he gets his sword in the final stretches of the game; and running in circles from Douglas so you can avoid fighting him and successfully recruit him after the chapter.

Awkward, but sets a solid foundation for post-Kaga and post-Famicom FE / 10

Fun But Flaws Distracted From The Fun A Lot Tier

FE16

I really, really hate to say it, because this game tries to mix up the FE formula with the school setting and other new features and changes, and brought in a good mix of old and new, just like all the other FE games. But this game left very little impact on me for such a big experience. And I’m leaving out the fact that trying to play all four routes is dull as heck when I place the game this low. I’m basing it off of just how much I enjoyed the first playthrough.

Overall, I was most turned off by the class system. Which is funny, because I’ve seen others praise this as FE’s best class system. Everyone’s different. Classic classes like troubadours are just gone. The top tier classes are super limiting. Of course, you can just stop one tier down, but that’s not emotionally satisfying to me - I want my characters to reach the top! Despite having such free choice, I feel more limited than anything. If they’d just stopped at 4 tiers and not tried to go to 5, I think that would have been best. They had to stretch out the available classes too much to get to 5. ...Although being able to have an army of dragon riders is awesome, I’ll give it that. Dragons are too cool.

I was also really disappointed by the story. Fire Emblem has established that it can write a really emotional plot, and not be afraid to pull punches, with games like 4 and 8. I was expecting a huge contrast between part 1, where everyone is friends and classmates, and part 2, where war rips them apart, transforms them into different people, and forces them to brutally slaughter each other.

But in reality…the hate between Dimitri and Edelgard has nothing to do with the school at all… That was jarring to me. Of course there is no one right direction to take a story in. But the worldbuilding and story writing… feels even less coherent than Fates. That’s an accomplishment.

This is the one time I say ambition was really just too much. The game didn’t get enough polish. A game about the seasons doesn’t even have seasonal differences...

While my friends who don’t usually play Fire Emblem have had a fantastic experience with this one, after all I’ve been through, I found that I liked other FE’s more.

I think the best part about this game is the characters and supports. After Fates had a ton of supports in it just because it had to have them, the creators of this game weren’t afraid to change up the support formula once more, so they could balance quality and quantity. ...And then, ironically, this game went for the (almost entirely) mute, personality-less avatar character. Funny how that works out. XD

Dragon Lord Army Go! / 10

FE14

I feel this game deserves way more credit than it gets, while also agreeing with the critiques. The ambition was as great as ever. But then it got stuck in development hell and we got what we got. (For those who don’t know, the team was divided in two - the team that wanted a more fanservic-y experience, and the one that wanted to make a standard FE.)

I think the gameplay is the best part of this game, Conquest is great, and the gimmicks are indeed gimmicks, but still fun. In offering three different experiences, the entire package will please few, but that was the point of the multiple routes, to give everyone one route they would like, not to please everyone with all three.

But beyond the gameplay, the story is all over the place, the multiple routes just create more questions than answers; and features like an increased number of support convos and children feel like they are there only because of a desire to bring back “popular” features. After multiple food/cooking supports in a row, I couldn’t take it any more. There was so little that the characters were actually talking about in their supports vs. Awakening. I generally feel that more supports = better, because character interaction through supports is of course a highlight of post-Famicom FE, but in this case, the numbers did not do any favors.

Bringing back weapons that don’t break didn’t feel well done, either. I just ended up using basic weapons the whole time because I didn’t want to deal with the drawbacks of the higher level weapons.

Back to a positive for me: The hub world was neat, though it needed some convoluted story writing to be included. I was amused by going through the different features and collecting the items. I agree with Nintendo of America taking out the “petting minigame,” but since I lived in Japan when Fates released, it was amusing to do on the train and weird out the bored Japanese people who peered over my shoulder.

Since all three routes were different, this game was fun enough until the end in comparison to Three Houses, of which I am STILL trying to slog through the last route one year after release. But Fates was made for every route to be different, whereas Three Houses was not, so it’s not surprising I feel like that.

But time for the real talk about this game… why is everyone’s HP so low??? What happened?????

Up and down and all around in quality from start to finish / 10

FE15

I really want to like this game more. Oh, do I. It’s absolutely GORGEOUS, the character art makes my heart skip a beat, the game proved that full voice acting does fit FE really well, it fleshed out things like the dungeon crawling & story, and added support conversations & skills, etc. while still staying kind of basic, retaining the feeling that the original was on the NES. The momentum for the fun and ambition that an FE remake could have transitioned well from FE12 to here and led to this being a stunningly presented game.

But the creators totally missed the point on what were the defining features of the game in my opinion, and that mismatch of vision ruined a lot for me. I loved the imbalance, struggling as I placed my units in corners of maps just to survive, until I obtained all those OP items, and my super soldiers marched into battle and did wild and amazing things. Valbar with +5 move and 40 speed with the Speed Ring is the one thing I remember the best of FE2 and oh man was it fun, and did I love it.

And I mean, I understand why the creators weren’t going to keep that imbalance, it doesn’t make the game good for everyone. It’s just something I found fun, and made the game stand out among the other FEs. But the developers really just replaced old imbalance with new imbalance, the dread fighters being the one thing I remember in particular.

And they defined FE2’s best defining features as “the maps and the terrain effects” and I just did not agree. That was the stuff I DISLIKED about FE2! And that’s what they wanted to keep most? The terrain that made battles one giant miss, and the gigantic maps where I’d spend half the time just getting to the enemies? No thanks.

Then the story only cranked up the horrible treatment of the women, with Faye… being Faye, and I hated the direction they went in with Celica’s story... Ugh.

For every step or two forward, there’s one back / 10

FE10

FE games are always ambitious, but this one cranked the dial up to 10 and tripped over itself a lot. Still, it provided (even if it is info dumped) an intense and satisfying ending to the Tellius saga, and is another classic for the ages. I found the pacing boring and slow until then, though.

I think now that I’m older I can appreciate the story much, much more - and how it shows the story and aftermath of the Mad King’s War from multiple points of view - but the lack of the support conversations, and too much going on for any aspect of this game to be properly refined, still make this one lower on my list.

If only I could have played it more than once, to really get a good memory of the events of the game. My Wii actually scratched up my disk (How this happened, I don’t know, and it’s the ONLY disk my Wii ever slaughtered). It only held out long enough for my sibling and I to enjoy one playthrough each. I’ll get to playing my Japanese copy eventually!

Part 4 = Laguz Royals Emblem / 10

Somewhere Inbetween Tier

FE5

The last of the Kaga games. Still clunky and difficult, but with it’s own super unique features in capturing, stamina, and stealing weapons.

The brokenness of staves is not at all a flaw, but a feature in my opinion. Encouraging bizarre thinking and finding new ways to plow through maps is fun. I would probably be critical if this was a modern game, but I think older games need these quirks to stand out among modern titles with better graphics and decades of gaming history behind them.

And you still can complete the maps in a more traditional manner if you are determined. I did even for Reinhardt’s map.

Also, I gotta say... I don’t agree that this is the most difficult FE overall… it just has the hardest individual maps. The difficulty spikes are all over the place. The game goes from bashing your head against a wall to snoozefest constantly.

Fog of war was a mistake though, if I was a time traveler, I’d go back and make sure the programmers never figured out how to include it. XD

Steal ALL the tomes! / 10

FE13

Experiencing this game and its release in real time was an experience. The fandom really, truly thought this game might not only be the last FE ever, but also that it might not get a localization. Thinking there would never be a localization, I spent a night of my first trip to Japan buying a Japanese 3DS and a copy of the game. I only had 2 weeks on that study tour, but I was so determined that I used some of my precious free time to go shopping for it. To afford it, I even used the money my college gave to me for food, then subsided off of cheap convenience store meals with what little I had left. I barely had any true understanding of Japanese at the time, but I wanted other fans to experience this game, so I worked as hard as I could to translate as many supports as I could. This game is why I got into translation, and was what I really thought might be the end, so it will always have a special place in my heart for that.

Now to actually talk about playing the game itself. I really enjoyed it the first couple of times. Who cares that pair-up and the kids were OP, you either blast through the game with them and have a good laugh, or ignore them, set some challenging rules, and enjoy having at least a little challenge. I didn’t care much that the supports were a little lower quality because of the sheer number of them, I eagerly awaited unlocking each one, and reading what the two characters would talk about. (We fans have fanfiction to turn to if we hunger for more development. :p) The bonus content was plentiful, and a great fanservice-y way to bring the series to a close.

After all is said and done though, the game left me feeling empty when I thought about replaying it any further. The maps and story felt empty in comparison to previous games. Now that it’s been 8 years since the initial release, I’d of course enjoy a replay or two, but after having played FEs7-9 5 or 6 times in a row before moving on to the next game… anything less than that level of excitement was surprising for me. I placed this game kinda high on the list because it’s fun when you play it. It’s just doesn’t have as much replay value, I feel.

Also, as a group, the children characters are my favorite in the series. They all come from deeply traumatic backgrounds, and the way they work through that trauma and navigate being given a second chance, but also not a true second chance because this timeline is different from their own, is endlessly fascinating for me. I don’t know if other fans give them enough credit, so I wanted to point them out in particular.

Would have been a fantastic way to send off the series, despite the flaws / 10

FE2

This game is flawed, imbalanced, makes me want to throw things, and it’s all, somehow, in a way that makes me LOVE IT. ...So long as I’m playing using an emulator with a speed up button.

This game is so hard, and the hit percentages are such garbage. But as I played, and unlocked more and more OP weapons and items, until I reached a point where the zombie dragons - what once took all my efforts - were an enemy that can easily be slaughtered in 1-on-1 combat... I felt so satisfied.

Old games need some kind of charm to make them still worth revisiting in a world of much better graphics and features that have now had decades to be refined. For me, this game has that perfect kind of quirky charm in spades.

The maps and terrain though… I have no words, just bash your head into the wall and you will understand how I feel.

Also, this game reminds me of Zelda 2 in it being a black sheep of its respective series… that’s a fun little nugget of info.

Duma’s sprite / 10

FE7

I don’t remember this game as well, despite it being one that I’ve played about 5 times? I don’t know why, it’s yet another fantastic Fire Emblem with its own ways that it stands out, managing not one, not two, but three lords, introducing the tactician, and so on. Guess time has just not been kind to my memory on this one.

I remember being really impressed with the length of this game back in the day, and Hector’s mode offering enough differences to make it totally fun to replay the main game again.

Lyn gets kind of pushed to the side (because that’s what generally happens to women main characters in Fire Emblem, if there’s a male lord around), but having the three lords was really fun. With three people, you get a great balance between all of their personalities, and they all play off of each other well.

Of course I loved Lyn and Hector, most everyone does, but I was always just as much of an Eliwood fan. His average stats pushed people away from liking him as much as the others, but I always looked up to his kindness. Eliwood / Ninian was an especially favorite pairing for my sappy teenage heart. Eliwood was just so romantic and sweet to me.

And though the game was made easier with international audiences in mind, the developers hadn’t invented all of the “easier/for convenience” features yet, so this is the last time we got to enjoy some “harder” features like needing to buy weapons during battles, and a convoy separate from the main lord. That’s cool if you like that stuff.

Unlocking the paralogues is hard though / 10

Favorites Tier

FE8

When it comes to FE8, while there’s plenty to like about the gameplay (despite the game being so easy, but again, like I said with Awakening, you can just set your own challenge rules), what I really love to ramble on about is the story and its emotional impact. Lyon is so precious and kind, but has so many inner conflicts stewing deep inside of him, leading him to elder magics, and… The Demon King is just ends up as a sideshow compared to Lyon coming face to face with his own demons. Both the characters - and many players, I’m sure - hope and hope to find a way to save him, but there just isn’t one. There are never any real leads. There’s nothing. Only the harrowing reality that some people cannot be saved, no, that some people do not want to be saved. The inevitability of Lyon’s demise, and seeing it all play out, packs a punch most plots can only dream of.

But it’s not like I won’t talk about the gameplay features either. Bringing back much of the best of FE2, the overworld map and everything to do really enhances the experience. I mean, yeah, I guess two side dungeons isn’t that much to get excited over, I can see that critique… but I didn’t care, it allowed me to easily chase support conversations, and (with some RNG abusing to obtain enough Boots and money to buy the stat-boosting items, but hey, whatever it takes) I could max out my characters’ stats and truly “complete” a Fire Emblem game.

Sacred Stones is so awesome.

Finally! A postgame! I sure hope the developers keep this up in all the future games… oh. / 10

FE9

This is the first FE game I ever played, so it will always occupy the most dear and special place in my heart, even if FE4 eventually won over as my favorite.

Do you believe in first sight? I do, and this is what taught me it’s real. From the first second of the first cutscene, I was enthralled. ...And that’s saying something, when the FE9 cutscenes are the kind of thing only a mother could love. But I just knew. I may have been a wee lass of 14, but I knew a love that would last a lifetime was being born. ...Or that would at least last 14 more years. I can’t predict the future. Maybe I’ll wake up tomorrow and hate Fire Emblem with a burning passion? 2020 has taught me that tomorrow is always a big fat question mark.

Fun fact: in case you are wondering exactly what inspired my very initial interest in this series, it was a TV commercial. Probably this one. I just remember Ike running, of all things. My sibling and I both thought FE9 looked interesting from this commercial, and sought out the game all on our own with zero private knowledge that anything FE even existed.

This is where obsessions are born. Or mine at least. / 10

FE4

As I’ve established, this is my favorite of favorites. The bizarre way money, arenas, items, and more were handled, actually made the game more and more fun for me. Big maps are just so fun. Gen 1’s story is a tale for the ages, and Gen 2’s story is… well, classic FE, which never gets old for me. It will never cease to amaze me even today what the SNES/S Famicom could handle.

All I’d want added is a “warp between conquered castles” feature. I’m completely neutral on a remake otherwise. Of course a lot more could be added and detailed upon that I’d be happy for, but that’s my one specific wish.

Calvary Emblem Forever / 10

Bonus:

FEH

I played this game every day for around 2 ½ years before I finally felt I had to break the habit, so I’m not leaving it out! This title got a lot of flack for simplifying FE gameplay, but… looking at it that way completely disregards the niche app games fill, and the interesting ways developers view what type of games app games should be, and how the developers work hard to both innovate for the format yet stay faithful to the source. It is surprisingly deep, and the maps + higher focus on unit skills make you think entirely differently about how to win in what is, in essence, the same gameplay as the main series.

Plus, what fan couldn’t get suckered into the fanservice of it? My best moments include attaining a +10 Nephenee while only spending money to get 2 of her, the other 9 were all F2P orbs; and becoming a Narcian/Valter shipper after supporting them on impulse because they were both on my flier team, and realizing the sick, twisted chemistry afterwards. Discovering rare-pairs is fun.

Also, finally, this game dared to nerf magic users a bit by making them RNG 2 only. If only the main series could do something like that.

I really enjoyed Heroes a lot, I just quit solely because it was a time drain. It was time to move on and play other things. And I’m glad I got out when I did. Seeing the game stoop to over-the-top powercreep (above and beyond what it was always implementing) and add the monthly service to keep the $$$$$ raking in was hard to watch.

Perfect app-style game gameplay-wise and fanservice-wise, but why aren’t gacha illegal yet / 10

FE Warriors

Oh yeah, this game exists too! It’s a Warriors game. If you like the formula and it never gets old for you, you’ll have fun with this game. If you don’t mind the limited game representation too much, you’ll have fun with this game. For me, the answers to those questions were a yes, so I enjoyed FE Warriors. Yay for wailing on hordes of enemies / 10

#fire emblem #favorites

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comicbookuniversity · 4 years

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Dragon Ball Super and the Future

by Bunnypwn Gold

I am a huge fan of Dragon Ball, as I have stated here before and as I have written about in the past. My love and knowledge of this franchise is deep, and I will always be ready to enjoy what it has in store and wrestle with the ideas in it. And right now, it’s a great time to be a fan, because Dragon Ball Super is going strong. The anime has come to a conclusion and/or could come back in the future, and the manga is approaching the climax of its newest story, the Galactic Patrol Prisoner Saga. It’s amazing for a lot of reasons that I’ll discuss as I respond to this article by Kofi Outlaw, which praises the saga for going back to DBZ style storytelling as a “course correction.” While I agree with several points in this article, I also disagree with the basic premise and argue that the author is only saying these things about the saga because he has not been paying attention to how consistently better the manga has been than the anime of Super. I am using this response to organize my thoughts on how Super has gone so far, the divide between the anime and manga version of events, and the future of the series as a whole, not as a pro or anti stance against Kofi or his article, to be clear.

At the beginning, Kofi criticizes Super for having low stakes and focusing on making Goku and Vegeta the sole focus, increasing their power levels dramatically and leaving other characters to languish. He also said that there were a lot of gimmick fights. Overall, the story structure had changed to reflect this change in character focus and the villains were weak and unmemorable. This new arc, featuring fan-favorite villain Planet-Eater Moro and a range of great battles with his bandits for the Z Fighters to show their stuff, is a return to the DBZ structure, and it features all the brutality and high stakes of the old days. Best of all, it lays the foundations for a new future focusing on other characters.

I have to say, I agree with much of this. The focus on Goku and Vegeta as “Gods” and their super-special Saiyan-ness in the meta canon is really annoying to me. Elements of this were seen in DBZ, as the humans and Piccolo stop trying to catch up to the Saiyans, and it was all GT was about, making that series a big disappointment for me. The first three stories of the Super era are notably low stakes, as well, and I would have liked a little more tension. There could have been more focus on other characters and a larger cast in general, and that certainly would have been enjoyable. And to finish it out, I am very excited for what the Moro story means for the future. The whole thing has a “last chance to shine” feel for the old guard of characters we’ve known and loved for years, Goku is probably going to master Ultra Instinct and thus complete his journey as a martial artist, and it still opens up a lot more about the history and lore of the series to explore in the future.

Beyond that, I have a lot to disagree with. For starters, if you look at the Tournament of Destroyers and the Tournament of Power and just see a bunch of “gimmicky fights” and no stakes, you’re missing the point. I always loved the tournament stories in Dragon Ball, and both of these Super tournaments deliver on that joy. The manga had a lot of important differences with the anime in how these tournaments went, too. Before the Tournament of Destroyers, the manga went through a condensed version of the Battle of Gods events, only offering one extension in the opening to give an actual benchmark on Goku’s strength so we know where we’re starting as a series, an important gift the anime and movie fail to deliver. It then time skips past the Resurrection ‘F’ story, which I think is sad, but ultimately serves the manga’s purposes. After Goku got his God form, the next thing we see, before the Tournament, is Goku training with a new master, showing that he’s back on the path to martial arts excellence. By skipping the Golden Frieza fight, the manga passed on a story that only shows off how cool Super Saiyan Blue looks (a term, by the way, the manga invented because it’s better); outside of showing off this new form, the Golden Frieza story adds nothing. As Goku and Vegeta enter the Tournament of Destroyers, they build a team entirely focused on power, and lose one of their strongest members because of a test of intelligence. To further drive home the point, Goku’s final battle with Hit ends with him realizing that his strength allows him to outmaneuver an innovative and amazing fighting technique, Time Skip. He then forfeits the match so he can have a real fight with Hit later, where Hit can try to kill Goku and has time to train beforehand, which sounds a lot like a DBZ style story. It’s the first step in Goku relearning that technique matters more than power. In the manga, they also gave more love to Piccolo. In the anime, they had him be effectively useless, barely able to fight Frost, a Frieza parallel. The manga had Piccolo fight evenly with Frost, who later shows that he’s almost an equal with Super Saiyan Goku; Piccolo lost because of poison, not because he “could never hope to beat a strong person.” It’s not as cool as it could have been, but it’s more than Piccolo ever got in the anime.

Now, I have to vehemently disagree that Zamasu was a weak, forgettable villain who existed solely as a gimmick. The Zamasu story carefully builds and delivers on the many themes of the franchise that I identify as atheist. Throughout the series, Toriyama repeatedly introduced gods of varying kinds and levels of divinity for the sole purpose of tearing down the illusion of their importance and special qualities. Gods in this world are a verifiable fact, and not only are they just people with a particular job, but every time Goku and Vegeta meet a god, they treat them like anyone else and show them no special respect or deference. Goku and Vegeta are the best exemplars in the series of treating deities like normal people, something the series itself does regularly. It’s one of my favorite parts of the series, as an atheist myself.

So, here we have Zamasu, a deity who believes that he’s uniquely capable and qualified to rule all of existence and that mortals aren’t worthy of life. In the Bible, on more than one occasion, God decided to wash the world clean of humans because they had become too sinful; similar stories exist in other religions and cultures. In this case, Zamasu is motivated by intense and literal hatred of mortals, who he sees as not simply having “become too sinful,” but fundamentally incapable of being anything else. He extends this hatred to other gods who want mortals to exist and do as they please. His rise in Future Trunks’s time to be the almost-almighty God with a Capital G is the antithesis of what the series has said about gods and divinity on every level, and that’s exactly why he’s such an amazing villain. He also checks a lot of other boxes. He uses the power of a mortal who made himself into a god, Goku, to kill the gods and overpower the mortals. He also relies on a mortal, Trunks, to develop his power and another, Dabura, to create the opening he needed to start his plan. In working to bring the downfall of all mortals, Zamasu in effect worships at the altar of mortals and relies on their miracles to succeed, just as Goku has trained with several deities on his path to success.

Trunks is also notable, because growing up, Trunks didn’t have any gods to look to like Goku did. The first “god” in Trunks’s life was Goku, as both his mother and teacher would talk about Goku as their main inspiration for hope. Goku was made into a mythical figure that could have fixed everything, and that’s exactly what Trunks used time travel for, both times he employed the strategy. That’s why Zamasu taking Goku’s body was so impactful, because “hope” came to kill him. Goku’s ultimate failure to defeat Zamasu also tears down the idea of Goku’s “divinity” in the same way as other gods were taken down a notch. This results in Goku calling on Zeno for help. The development of Goku and Zeno’s relationship is interesting and important in setting up the conflict of this story. They become friends because Goku is the only person who treats Zeno like he’s not special, which seems to confirm that Goku’s relationship to divinity is proper. At the same time, Goku doesn’t like Zeno, because he knows Zeno is just a bored shut-in and likely doesn’t understand Zeno’s role. And really, Zeno doesn’t have a role like the Gods of Destruction and the Supreme Kais. He’s in charge because he’s the most powerful and can destroy all of existence with a thought. That’s exactly what Zeno decides to do when he sees Zamasu and the multiverse he had been ignoring, getting rid of everything because he didn’t like how it turned out. Not unlike Zamasu with mortals; in effect, Zeno is the thing that Zamasu wanted to become, and that story ends with his vision of reality being carried out. It was the ingenuity of mortal time travel that made some form of happy ending, because like in every other Dragon Ball story, you can’t rely on the gods for most anything. So yeah, Zamasu is an amazing villain and his saga was brilliant. My main criticism of the manga version was that the setup was rushed, so the death of Future Bulma happened off panel and the death of the rest of the mortals in existence was breezed by. Plenty of brutality and high stakes, if you ask me, though yes, I wanted to see it with my own eyes more.

Then we get into the Tournament of Power, a great tournament story that really drives home the point of the god-centric Super run. The Tournament of Power, if you didn’t guess, isn’t about power. It’s about teamwork, strategy, and skill. In the manga, this is made absolutely clear. The downfall of everyone in the tournament is that they rejected this basic premise or were wiped out by someone who would later meet their downfall for rejecting this basic premise, setting up their incorrect view to be knocked down in the end. Goku brought Frieza onto Team Universe 7 because he feared they would need his raw power, ignoring the possibility they bring in Yamcha or Chaozu for a friendly face that works well with their team. Hit reappears and shows that he has gotten way stronger. However, he loses to Jiren, Goku’s main opponent, in the opening of the tournament because he was relying on that raw power and abdicated the potential of his famed fighting technique. Multiple times, stronger and more arrogant solo fighters regard those fighting as a team as being weak and no threat. The main exception to those relying on teamwork being weak is Gohan, who was very strong and wanted to work as a team. In the anime, Gohan was made inferior to Frieza and ultimately lost trying to beat a lesser opponent. In the manga, Gohan, in his Potential Unleashed state and not as a Super Saiyan of any form, fought evenly with Hybrid Super Saiyan Kefla, who I suspect was the second strongest person on the field, and double-KO’d with her. In the fight, it’s implied that Gohan could go Super Saiyan while using his Potential Unleashed state, but chose not to so he didn’t have to rely on that kind of gimmicky power. It’s incredibly badass and satisfying.

As the fight with Jiren nears its climax, Goku uses a strategy that could kill him in an attempt to overpower the foe who’s stronger than any God of Destruction. This prompts Roshi to step in and admonish Goku with the single most important line in Super. When Goku says he needs more power to beat Jiren, Roshi says, “Hmph…Power, y’say? Plain old fighting strength? Who the heck taught you that? Vegeta? Frieza?” This is a great moment, because not only does it push Goku to go for Ultra Instinct and focus on bettering himself as a martial artist once again, but it pushes back on the worst lessons fans take from the franchise. Goku isn’t cool because of his strength, and he’s not so strong because he can transform. It’s all about that martial artist’s journey, baby. Goku grew up constantly learning new ways to become a better martial artist than he was the previous day, and it was pure passion driving him; he got to where he is because he took every opportunity to better himself, with his transformations just a convenient way for the story to keep upping the stakes. Jiren is the pursuit of raw power incarnate, with indifference and constant dissatisfaction his reward, and all he wants is his dead master to tell him he’s finally a good fighter. He’s everything Goku was becoming, and Goku overcame him by returning to his roots. He was able to fight Jiren evenly with a technique that anyone, theoretically, could learn if they reached the same heights of martial arts mastery, as proven when Roshi uses an imperfect form of Ultra Instinct to trade blows with Jiren. The manga anchors this lesson because it focused on technique the whole time and built towards this moment: Super Saiyan God was just another technique that showed Goku he had a lot left to learn; the Tournament of Destroyers showed how boring life is when you’re so strong you can’t actually test yourself; Zamasu showed how power is corrupting and how the pursuit of it changes you; and the Tournament of Power shows how damaging and literally suicidal pursuing raw power over personal growth is.

And to put the nail on the coffin, Goku doesn’t beat Jiren with Ultra Instinct, but instead beats him by briefly working with Frieza; you can’t master the path of a martial artist in one fight. Android 17 wins the tournament for their universe by playing dead, an age-old strategy, and uses the Super Dragon Balls to wish back all the universes destroyed by Zeno. While that can be seen as lowering the stakes, it’s no more stake-lowering than any other time the Dragon Balls have been used this way in high-stakes stories, and the stakes in this case were the destruction of eight entire universes. That’s pretty darn high. Also, it’s a good time to point out that Zeno was the real villain of the Tournament of Power. He was going to destroy eight universes out of boredom, and then remembered he could instead let one survive by having them Hunger Games for his amusement. There are no stakes, no reason to fight, without Zeno. There’s going to be conflict with Zeno in the future, I’m sure of it.

The anime followed a very different route than the manga, focusing entirely on Goku’s raw power and how cool he is. They added a lot of filler moments to both increase the number of gimmick fights and silly, campy fun, too, which made the whole thing lower stakes and less brutal. As described in regards to Piccolo and Gohan, the anime also made other characters weaker compared to Goku and Vegeta to amplify the impact of their unique transformations. In the Tournament of Destroyers, the anime introduced the idea of Goku using Kaio-ken while Super Saiyan Blue, for no other reason than to let Goku use a bunch more strength after he proved he could win. I won’t get into it, because it’s a tangent, but the entire concept of Blue Kaio-ken is BS, and the DBZ anime is where the proof lies; the Super manga actually touches on that exact thing, since Goku trying something like Blue Kaio-ken against Jiren is what nearly kills him and prompts Roshi to step in. Anyway, the anime also elongated the Zamasu story with a series of gimmick fights meant to show off how cool the three Saiyans were, even though they knew from the start that none of them would beat Zamasu. That story featured a bunch of secretly alive people, too, lowering the stakes and overall brutality of Zamasu as a villain. The time between Zamasu and the Tournament of Power, including the lead-up to the tournament, was spent showcasing filler side stories that make the other characters, ignored for most of Super, look way cooler and stronger than they actually ended up being. For as much as I wanted to see more from Krillin, Tien, and Piccolo in the manga, at least Toyotaro didn’t jerk us around acting like they were going to be way bigger players than they were. And the way the anime presented Goku achieving Ultra Instinct was focused entirely on strength and treating it like a super cool new transformation, which it isn’t. So if you were watching that story, I could see how you come out of Super thinking that it’s less intense, more gimmicky, and glorified one or two characters to the detriment of others. That’s why I think you could only be as impressed with the Moro arc as a “course correction” if you’ve been paying attention to the anime and only just now got into the manga.

This brings and end to what I’ll call Phase 1 of Super and to a time skip past the battle with Broly (which I would argue was for the same reason the Golden Frieza battle was) and into the Moro arc, which I agree is a great story that brings back a lot of things Super wasn’t doing enough of. It even brings back the meta story structure of the Buu Saga, since the first part is a very Phase 1 storyline and the second half, after Goku and Vegeta are defeated, is much more of a DBZ storyline, just as Kofi described. It’s like saying, “Yeah, we want to pivot away from this, we’re done making that point.” Looking at the first part of the Moro arc, you can read it as a way of reinforcing the grand statement of Phase 1, that the constant jockeying for power and strength and the glorifying of a couple people to the detriment of others is a bad way to write a story. The reason that’s important to say is because that’s the way a lot of the meta canon has been going for a while, at least it seems to me; all the fun, original video game stories are about Saiyans and their super special Saiyan-ness and how super cool strong they can get. It’s why GT was such a disappointment to me, and as I said, it stopped several great characters from trying to become better during DBZ. I think Kofi is right to say moving away from that model of storytelling is a good and important shift in the right direction, though I can’t say if it’s for the same reasons. That’s because, if it’s not clear, I think that what Super did along the way in Phase 1, at least in the manga, was better, more important, and more complex than the simple glorification and valorization of Goku and Vegeta, loaded as it was with themes arguing against that model and continual demonstrations of why they need to switch back to a focus on their martial arts journey. The structure of the Moro arc only serves to reinforce and finalize this thematic argument. As it continues, we are undoubtedly in store for some truly amazing fights and a satisfying, climactic battle with Moro for the entire Dragon Gang.

I also want to make a very important point for how the series is moving forward. Kofi says that Toriyama is switching back to this DBZ style story because he “has learned a thing or two from his mistakes.” For one, the massive success of Super doesn’t really seem like a mistake for anyone to learn from. For two, it’s really in poor taste to imply that Toriyama is changing how he’s writing a story because of negative fan reaction. Allegedly, that sort of thing happened with the Buu Saga, which is why Goku came back and we saw Super Saiyan 3, the perfect continuation and parody of the Super Saiyan form, all because the fans didn’t like Gohan’s high school adventures. I don’t think that’s happening again, allegedly, and in my opinion it’s not exactly a good look to say that it is. For three, that almost literally can’t be what’s happening, because Toyotaro has much greater control over the narrative by now. For those who don’t know, the way Super is being created is that Akira Toriyama writes plot summaries, and then lets the different creatives develop it from there, free to add and subtract and move around what they will. The anime team decided to focus on power and how super cool Goku is, and that version of events reflects that. Toyotaro, artist and co-author of the manga, kept his eye on the martial arts journey while executing this long vision of Toriyama’s to introduce new levels of grandeur and warn against getting lost in it, and that version of events reflects that. Over the course of the series, each creative team was given increasingly greater control over the narrative, leading to greater divergences; the two Tournaments of Power might as well be two different stories. By now, in the Moro arc, with no competing anime version of the story, Toyotaro has much more authorial control than when he started, and that will only increase until, as I hope and predict, Toriyama officially hands off the series to Toyotaro’s capable hands so he can write new stories for the foreseeable future. So no, I don’t think it’s very accurate to say that Toriyama learned any lesson because Toyotaro is the one making the important changes in how the story is told, not Toriyama. Keep your eye on the prize, you know; forgetting Toyotaro’s role means forgetting that we can and probably will have new Dragon Ball that isn’t a video game or video game-related story after the passing of Toriyama. I think the long hiatus of the anime reinforces this: Toriyama has said that if the anime team followed Toyotaro’s lead, they wouldn’t make so many art mistakes, and allowing the manga to develop lead time could be a strategy to follow the manga as a source material in the future, rather than continue this confusing dual path.

So yeah, the Dragon Ball Super manga is better than the anime in every way, and judging the series by the anime alone is setting yourself up for disappointment. The Galactic Patrol Prisoner Saga showcases an amazing villain for the franchise, and it sets up more to explore in a future that values the contributions of the full cast. It also, to my eyes, foreshadows the end of the road for the Dragon Gang we’ve been following so far, and thus a potential new beginning with their successors; I mean, there’s no more time after this between Beerus and meeting Uub to use, and meeting Uub is the moment Goku passes the baton to a successor. This is a time to look forward to that bright future and reflect on the themes the manga has been developing as we head into it, as well as what the two versions of Super mean for the franchise as a whole.

#dragon ball #dragon ball super #Dragon Ball Z #goku #tournament of power #universe 6 #zamasu #goku black #jiren #vegeta #moro #Akira Toriyama #toyotaro #manga #anime #comics #comic books

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magespuddle · 4 years

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The Classes comparison while classpecting (part 2: Maid, Page, Knight, Prince, Heir, Sylph, Seer, Mage, Rogue, Bard)

*this post is a translation of my work on VK. Other translations will be tagged appropriately*

Part 1

The Mage of Blood is here with the follow-up of the Classes' comparisons. In case someone has wondered if there is a specific pattern I am following when comparing the Classes, it indeed exists. The Classes are united into groups with the biggest similarities between units, akin to the purple illustration I did for the Aspects' comparison post. But after some talking to people I've realized these pics only confuse the readers (pardon my profile Prince of Void), thus I'll simply list the groups, the adjacent (but secondary in characteristics) roles are put in "<>":

<Seer> Maid, <Sylph> Page <Prince>, Rogue <Bard>

<Maid> Seer, <Thief> Sylph <Page>, Mage <Heir>

<Witch> Knight, <Page> Prince <Thief>, Bard <Rogue>

<Mage> Heir, <Prince> Thief <Sylph>, Witch <Knight>

Also, I am describing Classes via specific traits, some terms for which may be hard to understand. In this case, you can see the full list of them with explanations in my first post of the Classes' comparison. And now, let us continue the differentiation.

5. Heir-Page-Maid

Shared: all Classes are Increasing the Aspect and posess the qualities of the Innovators. They get mixed up because of more dense interaction with other people.

Different: contrary to the Page and the Heir, the Maid is a more Dependant and Interaction-oriented, less Egoistic Creator Class. She posesses the qualities of the Effector. Usually there is some mentor or authoritative figure in her life, the Maid is generally more susceptible to the advices of others at the start of her gourney, while the Page and the Heir can be doing any crazy or useful stuff just out of their own will and desires, and don't even try to tell them to stop. But it is hard to say the Maid thinks of herself as incompetent in the matter of her Aspect (like decompensated desperate Pages do occasionally); it's just she is OK with listening to others for a while. In addition, the Maid is more Disharmonious with the inverted Aspect, to the point of extreme unacceptance and fear, than the other two Classes. The Maid's Aspect source is External.

Compared to the Page, the Heir is a Deficient, more Basically skilled Manipulator Class, that is Harmonious with his own Aspect and Disharmonious with the inverted one. His Overall weight is smaller and his system function is Slightly increasing the Aspect. What is more, while the Maid and the Page can be quite childlike in their behaviour, naive even, the Heir is not as simple. Still, he is not as manipulative (in terms of using people to do stuff for him) as the Page is (he is so cute, it is irresistable, and he knows it), the Heir prefers to get things done himself than finding a vassal. The Heir is less interested in mastering his skills, usually he hardly even pays attention to using the Aspect — it all comes so natural and easy to him. The Page, on the other hand, concentrates on every of his attempts, at the same time (and it is a huge advantage of this Class) being less inclined to put his hands down in case of failure; his stubborness and childish confidence are big helpers in unraveling the potential. Where the Heir would be balancing in doubts, having failed before, the Page would jump into action without even thinking twice.

Unlike the Maid, the Page is a more Independant, Egoistic, Action-oriented Passive Class with Abundance of the Aspect. Also he is a Class of Changing type and Yielding category. Unfortunately, the Page is Disharmonious with his own Aspect, while Harmonious with the inverted one. He posesses the qualities of the Ace. The Page seems more naive than the Maid, although in reality he is a more successful manipulator and his mechanism of "inspiring others" to use the Aspect differs significantly: while the Maid emits some kind of inspirational aura and the people around get caught in this flow, it is a game of pride with the Page. His mistakes in the Aspect make others strive for mastering their skills out of the fear of accepting their own failures and his strong devotion to the Aspect stuff inspires to keep going forward against all the odds. The Page's Aspect source is Internal and his Overall weight is bigger.

6. Heir-Prince

Shared: both Classes are of Changing type, highy Egoistic and Deficient. The realized Prince can be mixed up with the Heir.

Different: the Heir is more Independant, Action-oriented Passive Manipulator Class, whose system function is Slightly increasing the Aspect. He is more Basically skilled, but also has lesser Overall weight. While the Prince is Disharmonious with his own Aspect and Harmonious with the inverted one, it is opposite for the Heir (which makes sense since the latter is the Prince's son according to the inheritance of the Classpects, but the inheritance theory is a talk for another day). The second Class is much lighter with the character, rarely brags about his achievements and meddles with others, he is less tense and perfectionistic with his Aspect. The Heir's self-esteem is usually higher, than the Prince's one, but it is not an overcompensation, in addition, his views on the Aspect are not as firm (in the worst case, the Prince may even be narrow-minded towards the Aspect. The Prince's Aspect source is External.

7. Heir-Sylph

Shared: both Classes are Passive, posess the qualities of the Innovators and are Harmonious with their own Aspect, their system function is Increasing the Aspect and the Aspect's source is Internal. It is not very common, but the Sylphs can Classpect themselves as Heirs due to the love for the Aspect.

Different: the Sylph is a more Dependant, Basically skilled, Interaction-oriented, Abundant, less Egoistic Creator Class, whose system function is Greatly increasing the Aspect. He is of Saving type and posesses the qualities of the Strategist. This Class doesn't just mind their own thing, like the Aspect-led Heir, but often pokes their head inside other people's business, viewing the Aspect as some highest good, not accepting different opinions. What is more, the Sylph is more Disharmonious with his inverted Aspect, than the Heir. Just like in the case of the Prince, there is a place for low self-esteem overcompensation, but instead of diminishing others' achievements, the Sylph takes up a habit of doing "useful" actibities and services to earn the much wanted appreciation. While the Heir is rarely in the race for the public opinion before his own self-image.

8. Sylph-Seer-Mage

Shared: all Classes are Abundant, of Saving type and posess the qualities of the Strategists. The Sylph is here, because this Class often self-Classpects into Knowing Classes, since Sylphs usually are quite knowledgeable (truly or not) about the Aspect and are eager to share the info.

Different: contrary to the Sylph and the Seer, the Mage is a more Independant, Action-oriented, less Egoistic Active Class, whose system function is Slightly decreasing the Aspect. His Overall weight is bigger and the Mage is Disharmonious with his own Aspect, while Harmonious with the inverted Aspect. The Mage is less sociable, spending a lot of time outside the big group and usually is not initiative in sharing his knowledge unless asked directly or provoked into action via seeing someone doing something absurd with the Aspect. Because of the difficulties with the Aspect, the Mages are often grouchy and have a hard-to-deal-with personality (mudak). Unlike the Seer, this Class usually is pretty sure about what they need to do in the Aspect to solve their personal problem, it's just… the Mage will be delaying the action till the deadline, cause this gives them the reason to be grouchy and get full of themselves and the experience they earn tough way from the Aspect! In addition, this Class gets knowledge directly and not from books/dreams/other people's experiences, is more oriented at own views instead of others' opinions. The Mage's Aspect source is External.

Compared to the Sylph, the Seer is a less Basically skilled Knowing Class, who posesses the qualities of the Ace and Slightly increases the Aspect. He is more accepting to other points of view, while his own is quite fluid and changeable after their influence. The Seer shares the knowledge generously not for the appreciation, but out of genuine interest in the subject, thus is not too pushy with his talks, though doesn't like to be proven wrong anyways. Just like Mage's, the Seer's discoveries and insights are usually working well. On the other hand, the Sylph's knowledge is quite often based on the one-sided view of the Aspect, at times even fully subjective and non-applicable to the reality, therefore many people claim them to have "special opinions". The Overall weight of the Seer is bigger, than the Sylph's. Unlike the Mage, the Seer is a more Dependant, Egoistic and Interaction-oriented, less Basically skilled and Abundant Passive Class, Harmonious with his own Aspect and Disharmonious with the inverted one, not to mention that the Mage posesses qualities of the Innovator, not Ace. The Seer is also capable of intuitive knowledge of the Aspect, through the insights and visions, symbolical incarnations of it, though it often raises the question of "Where do I even get this from??". He is more communicative and less "complicated". The Seer's Aspect source is Internal.

9. Sylph-Maid-Rogue

Shared: all Classes are Saving and posess the qualities of the Innovators. The Rogues often Classpect themselves as Sylphs because of the sharing of the Aspect and the whole "altruism" motif, ignoring the actual personal reasons behind it.

Different: contrary to the Sylph and the Rogue, the Maid is a Deficient Active Class. She is Disharmonious with the inverted Aspect, just like Sylphs, but at the same time is more susceptible to the outside influence towards her own Aspect, just because it is not as important to her at the start. The Maid is also less meddlesome, than the Sylph, more childish, but more confident in herself and listens only to those who have authority in her eyes, than the Rogue and the Sylph; those ones will gather advices from each and every person in the room.

Compared to the Rogue, the Sylph is a more Dependant, Interaction-oriented, Egoistic and Basically skilled Creator Class, Harmonious with their own Aspect and highly Disharmonious with the inverted one. His Overall weight is smaller and the system function is Greatly increasing the Aspect. The Sylph posesses the qualities of the Strategist and gets on the self-scrificial path most often for the feeling of being valuable, useful, because of the appreciative goal and egocentrism. Whereas the Rogue indeed places other people above himself, as he is deeply insecure, so deeply, that at times others tend to sit on the Rogue's head. While the Sylph usually tries to spread his opinion on a group of people, influence them, the Rogue is mostly reactive to other people's views and tries to take them all into account. The Sylph's Aspect source is Internal.

Sylphs, contrary to the Maid and the Rogue, are more convinced that they are right and are sure they have the right to make others think alike. Usually the Sylph is less individualistic in the approach to his Aspect, using the same pattern and viewpoint about it over and over, being highly devoted to it. They are wary of other people's opinion about them, just as it is for the Rogue, but the difference is that when the Sylph follows the public recomendations/obligations he would make a pretty sour face and would always remind you about his "sacrifices" for the higher good afterwards; thus the Sylph is more manipulative.

Unlike the Maid, the Rogue is a more Independant, Action-oriented Passive Abundant Relocator Class. He is Disharmonious with his own Aspect and Harmonious with the inverted one, the system function is Slightly increasing the Aspect. While the Maid is not particulary bothered with sharing her Aspect, the Rogue can often feel exhausted after oversharing. Therefore, this Class is more sensitive to the balance of the Aspect in the group and is more anxious about using it. Not to mention that the Rogue is less childish and is more perfectionistic due to his inversion. His Overall weight is bigger.

10. Mage-Page-Knight

Shared: all Classes are Action-oriented. Realized Pages can be mixed up with the Knights, due to the skillness, and the Mages, because of the similar struggles in the Aspect.

Different: contrary to the Knight and the Mage, the Page is a less responsible, Basically skilled, more Egoistic Passive Class, that Greatly increases the Aspect. He seems more naive and sociable, than the Mage. Unlike the Knight, the Page is not as perfectionism-driven and takes all the failures easier (unless there is a "good advisor" nearby to bring him down every day), coming back every time against all the odds. Moreover, he is also more likely to risk in a way the Knight and the Mage couldn't even imagine (the first one — because of the insecurities, the second one — because after thinking through it is obviously some reckless avanturism). The Page is mainly in tune with his own desires and will, the advices of others come second; and if those bits of advice are worth it, the Page looks for a way to apply them...via other person's labour at first, which is unacceptable for Knights and, more rarely, Mages. Also this Class is Harmonious with the inverted Aspect, unlike the Knight.

Compared to the Knight, the Mage is a more Independant, Saving type, Abundant Knowing Class, whose system function is Slightly decreasing the Aspect. He is Disharmonious with his own Aspect and Harmonious or even indifferent to the inverted one. The Mage is the Innovator-Strategist and Theory-oriented. He is more distant from the group and can be bitter in communication, but at the same time more confident and doesn't strive to prove his competence to anyone. Unlike the Page, the Mage is more serious, Independant and almost never naive, being focused on the consequences of his actions and mindfulness rather than chance. It is different from conducting an experiment, since the latter assumes a certain outcome or a hypothesis, not an attempt for the sake of it. The Mage's Aspect source is External and his Overall weight is bigger.

Apart from the Page, the Knight is a more Dependant, Basically skilled, Deficient, less Egoistic Active Class. He is Harmonious with his own Aspect and Slightly increases it, while Disharmonious with the inverted one. The Knight posesses the qualities of the Effector. He "has to do everything perfectly" to reach the unreachable peak of his ambitions. In addition, usually the Knights consider their business to be quite important, thus are serious in attitude, can't fool around like the Pages.

11. Mage-Prince-Bard

Shared: all Classes are decreasing the Aspect, Disharmonious with it and posess the qualities of the Strategist. Sometimes the Princes and Bards mistake the Aspect acceptance struggles for the Mages' problems, getting Classpected as such.

Different: contrary to the Prince and the Mage, the Bard is a less Basically skilled Passive Class, his Aspect source is Internal. He rarely spills his hate towards the Aspect onto others, thus it eats him up inside and lets other people to corrode him from the outside, while the invited destruction of/via Aspect around the Class is the result of complexes/weaknesses/struggles of the surrounding people themselves. It is tightly connected to the Bard being the scapegoat of the family system, but also because he is not particularly tender with others, making it easy to hit the right painful spots with careless words. Whereas if you were hurt by a Mage or a Prince, it was most probably on purpose. Unlike the Prince, the Bard is Abundant in Aspect, more cowardly when it comes to dealing with the Aspect, thus he hides and runs away much more instead of solving the problems. And prefers not to act in plain sight. Instead of the Prince's egocentrism and narcissism the Bard is at times "nasty" in behaviour, because of all the pain and unacceptance of himself during the crisis.

Compared to the Mage, the Prince is a more Dependant, Egoistic, Interaction-oriented, less Basically skilled, Deficient Destructor Class, whose system function is Greatly decresing the Aspect. He posesses the qualities of the Effector and is Practice-oriented. The Prince is firmer in his ways, often forceful in trying to convince you take his side, if needed. He is more full of himself, though in reality the self-esteem is quite low. The Prince sees more bad sides of the Aspect, than the Mage, sometimes only the bad ones. What is more, such Prince would absolutely brag about his "knowledge" of the Aspect, so that no one forgets he is an expert in it.

Unlike the Prince and the Bard, the Mage is a more Independant, Action-oriented, less Egoistic Saving type Knowing Class, Slightly decreasing the Aspect. He posesses the qualities of the Innovator and is more balanced in his attitude towards the Aspect: surely, there are some downs, but also the ups, and this Class almost never comes to think "Oh, this Aspect STINKS! I HATE IT WITH MY WHOLE HEART, IT IS USELESS!". Because if you truly need to get to know something in-and-out, be ready to experience the darkest sides as well as the brightest ones; and this is something Princes and Bards rarely do. The Mage is not so keen on sharing his knowledge left and right.

12. Seer-Rogue

Shared: both Classes are Abundant, Saving type, Passive. They get mixed up more often when the Aspect is similar to the Seer's functions, linked to learning and knowledge.

Different: contrary to the Seer, the Rogue is a more Independant, Action-oriented, less Egoistic and Basically skilled Relocator Class, whose system function is Slightly decreasing the Aspect. He is the Innovator-Effector and is Disharmonious with his own Aspect, while Harmonious with the inverted one. The Rogue is not as confident in his position and opinion, thus prefers to take up the views of others and avoids giving advice without the absolute need in it. He is easier to confuse and manipulate, doesn't have typical Seer-like insights about the Aspect. The Rogue's Aspect source is External.

13. Rogue-Page-Prince

Shared: all Classes are not highly Basically skilled and are Disharmonious with their own Aspect.

Different: contrary to the Page and the Rogue, the Prince is a more Dependant and Interaction-oriented Deficient Active Destroyer Class. He posesses the qualities of the Strategist and his system function is Greatly decreasing the Aspect. The Prince can be not very good at the Aspect at first, but regardless of the actual level he would likely brag about his mastery, often regarding the inverted Aspect. He is more full of himself and more meddlesome, while the low self-esteem is not as evident, hidden. The Prince usually gives himself no place for mistakes and often refuses to acknowledge such situations. Unlike the Page, his Aspect source is External and this Class is far less naive, especially from the external point of view, more eager to share the inverted Aspect (sometimes even when it is not needed). And when manipulating the Prince always leaves the last blow to himself, while the Page can stay away from the whole scheme of getting people do stuff for him, if everything goes smoothly anyway. The Prince's Overall weight is bigger.

Compared to the Rogue, the Page is a more Egoistic, Changing type Yielding Class, whose system function is Greatly increasing the Aspect. He posesses the qualities of the Ace and his Aspect source is Internal. The Page seems more naive, is less afraid of making mistakes in the Aspect. Some kind of childishness in the behaviour helps him to keep going towards the goal without dwelling on the bad thoughts too much, unlike the Rogue who is quite sensitive to any kind of critique and is easier to manipulate. The Page's opinion and views about the Aspect are firmer, than the Rogue's, he doesn't let others to step on his head easily. And on the whole the Page loves his own Aspect a lot more.

Apart from the Prince and the Page, the Rogue is a less Egoistic Saving type Relocator Class. He gives up a lot of stuff in favour of other people's benefit because of the low self-esteem, avoids unnecessary expressing the Aspect, even though he is pretty good in it. And the Rogue rarely pushes people around, mainly being the victim of it himself, he is not very manipulative. It is essential for the Rogue to get better and better in the inverted Aspect and, unlike the Prince, he actually likes his own, the Rogue is just scared of demonstrating this or thinks it is "not his thing".

14. Rogue-Bard

Shared: both Classes are Abundant, Passive, Disharmonious with their own Aspect, posess the qualities of the Effectors and decrease the Aspect. The Rohues get mixed up with Bards because of their false "bad" skills with the Aspect.

Different: contrary to the Bard, the Rogue is a more Independant, Action-oriented, less Basically skilled and less Egoistic Saving type Relocator Class, whose system function is Slightly decreasing the Aspect. He posesses the qualities of the Innovator and his dislike for the Aspect is quite smaller in comparison, it is possible to say that the Rogue even likes it, but lakes the confidence to express it. He views the Aspect from different angles, but the opinion about it is highly unstable and the achievements in the inverted Aspect are more prominent. The Rogue finds it easier to get better in the Aspect, due to being less afraid of it, than the Bard. Moreover, the Rogue is more susceptible to other people's influence and is more noble in demeanor. The Overall weight of the Rogue is smaller and his Aspect source is External.

15. Rogue-Knight

Shared: both Classes are Action-oriented, have a low Egoism and posess the qualities of the Effector. They get mixed up because they are inversions of each other, so the traits of the both Classes are visible in their owners. What makes it harder, the Rogue-Knight pair of roles, as well as the Mage-Heir and the Witch-Seer, often has a matching level of realization. Also the confidence is pretty similar in both, though the Knight appears to be more competent due to the facade and skillness (but he will, of course, deny everything and tell he is bad at the Aspect).

Different: contrary to the Knight, the Rogue is a more Independant, Abundant, Passive, less Basically skilled Saving type Relocator Class, whose system function is Slightly decreasing the Aspect. He posesses the qualities of the Innovator and is Disharmonious with his own Aspect. The Rogue's views on the Aspect are softer and he often relies on others for that matter. All in all, the Aspect is "not his thing". He doesn't brag about his achievements in the Aspect as much as he generally prefers not to act openly. In addition, the Rogue loves the inverted Aspect and is objectively good in it. In the own Aspect he tends to help each and every person around, while the Knight is very selective and usually divides the masses into "his pals" and "others". The Rogue's Aspect source is External.

All in all, classpecting is heavily reliant on practice, thus, if you want to master it, the best way of learning is to go out in the field and meet as many people as you can. Talk to them, make friends, make observations and make mistakes… And benefit from the experience!

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syndullastars · 4 years

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tagged by @brontes thank you !! ♡

on a scale of 1-10, how excited are you about life right now? like a 5.5 maybe

describe yourself in a hashtag? #AHHHHHHHH

if you could do a love scene with anyone, who would it be? does anyone actually like to do love scenes cause it seems like it’d be pretty uncomfortable to me

if your life was a musical, what would the marquee say? rolling with the punches

what’s one thing people don’t know about you? probably that i’m actually a mess hahaha

what’s your wake up ritual? bathroom, brush teeth, wash face, contacts, breakfast and then get dressed

what’s your go to bed ritual? bathroom, brush teeth, contacts out, read until i’m ready to sleep

what’s your favorite time of day? depends on the season, but since we’re coming up on summer i’ll go with that twilight time of the evening between like 7 and 9 when the sun is setting and you can hear all the crickets and other insects singing and everything seems blanketed in this otherworldly glow

your go to for having a good laugh? old messages/videos/photos, cracky memes and shitposts

dream country to visit? new zealand

what’s the biggest surprise you’ve ever had? my parents surprised us with a trip to disney once! my sister and i literally cried lmao

heels or flats/sneakers? sneakers

vintage or new? depends, but usually new

who do you want to write your obituary? whoever wants to i guess

style icon? padme amidala (yes a fictional character)

what are three things you cannot live without? family, friends, and good stories

what’s one ingredient you put in everything? i use red pepper a lot, but not in everything. so probably too much salt

what 3 people living or dead would you want to make dinner for? my best friend, my sister, my mom

what’s your biggest fear in life? failing / not living up to my family’s expectations of me

window or aisle seat? window, but only if i know the people next to me. i get up way too many times to bother them if i don’t lol

what’s your current tv obsession? the clone wars :(

favorite app? apple music or messages, bc those are the ones i use most

secret talent? all my talents have long been put on display and used to give me stress lol

most adventurous thing you’ve ever done in your life? moving across the country for school probably

how would you define yourself in three words? perceptive, self-aware, empathetic

favorite piece of clothing you own? maybe my fila disruptors? basic i know but they're very stompy

a must have clothing item that everyone should have? a nice pair of jeans i think

a superpower you would want? telepathy

what’s inspiring you in life right now? art and the people who make it

best piece of advice you’ve received? forgive and let go (but don’t forget)

best advice you’d give your teenage self? stop worrying so much about being well-behaved and fight back. tell people what you think even if they don’t want to hear it

a book everyone should read? everyone has different values and interests so i don’t think i can recommend one book that everyone should read

what would you like to be remembered for? being a good friend

how do you define beauty? beauty is in the eye of the beholder, so it’s whatever i think is beautiful, and also whatever anyone else thinks is beautiful

what do you love most about your body? if we’re talking about features then my eyes, but overall i’ve worked hard to get strong and i love how effortless everything feels now

best way to take a rest/decompress? lounging around and watching something, maybe with friends depending on my mood

favorite place to view art? i guess it depends on what type of art

if your life was a song, what would the title be? keep on

if you could master one instrument, what would it be? piano or saxophone

if you had a tattoo, where would it be? it would be small, just under my hairline on the back of my neck. but i would never get a tattoo anyway

dolphins or koalas? dolphins !!

what’s your spirit animal? i don’t think so

best gift you’ve ever received? probably books that i asked for

best gift you’ve given? i design a themed calendar for my best friend every year and she always really loves that, but also i did something very elaborate for my sister last christmas and she was laughing about it for weeks. the pieces are still arranged in a shrine in her room lol

what’s your favorite board game? clue, or trivial pursuit but only if it has a fun theme

what’s your favorite color? all of them!

least favorite color? there are no bad colors

diamond or pearls? pearls

drugstore makeup or designer? you could hand me one of each and i wouldn’t even know the difference

pilates or yoga? i’ve never done either so idk

coffee or tea? coffee but i like both

what’s the weirdest word in the english language? discombobulate, canoodle, phlegm

dark chocolate or milk chocolate? dark for sure

stairs or elevators? stairs, i hate elevators

summer or winter? both

you are stuck on an island, you can pick one food to eat forever without getting tired of it, what would you eat? just the thought of that makes me tired of every single food in existence lol

a dessert you don’t like? anything fancy

a skill you’re working on mastering? life drawing and general storyboarding stuff, for school and career purposes

best thing to happen to you today? the clone wars finale :((((

worst thing to happen to you today? also the clone wars finale :((((

best compliment you’ve ever received? a few of my friends have told me that i always know exactly what to say, and that makes me happy bc i try very hard to understand them and be what they need so i’m glad it pays off

favorite smell? pine trees and snow on the air, but also sunscreen and the sea

hugs or kisses? hugs

if you made a documentary, what would it be about? honestly it would be about star wars, but specifically george lucas and his vision and how the unique position the franchise is in, where multiple authors and creators are contributing to it at any given time + the disney rebranding + the fact that star wars fans have always seemed to adamantly want to discard lucas’ original intent has led to the way fan circles view star wars now and how wildly different those views can be from what lucas intended

last piece of content you consumed that made you cry? the clone wars finale lol

lipstick or lipgloss? lipgloss

sweet or savory? savory

girl crush? natalie portman

how do you know you’re in love? i’ve only been in love once and it was a very fledgling thing but it was like, they’re always on your mind, seeing them is simultaneously like there’s no ground under your feet and also like there’s no oxygen in the room, and being with them makes you insane just the same as not being with them makes you insane

a song you can listen to on repeat? right now, youth by glass animals, but it always changes

if you could switch lives with someone for a day, who would it be? definitely no one! my life is like a well organized library (even if maybe some books are missing or damaged lol) and i would hate to be dropped into an unsorted pile of books and have to organize all over again

what are you most excited for/about this time in your life? well real life is kind of on hold but my cousins and i just merged our quarantine circles which is a lot of fun so there’s that lol

this is long so i’ll just tag a few: @yensofrivia @daenerystargaryes @elizabethswcnn @kristnbell ( feel free to ignore ofc ♡ )

#tag games #about me

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veliseraptor · 5 years

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the endgame reaction post

I know you’ve all been waiting for it. It’s 3:30 am right now so this may not be totally coherent and I’m almost certainly going to forget things, but here goes.

HERE BE SPOILERS. LIKE, PLENTY O SPOILERS.

I went into this movie with one main question and that was “is Marvel going to stick the landing on what they did in Infinity War?” my answer?

sort of. I...didn’t dislike it? I liked parts of it a lot. but mostly my reaction, frustratingly enough, is kind of a “shrug, with a few ‘into it’ and a handful of ‘oh no thanks.’ I cried a couple different times but overall my emotional response is very...muted.

this could be a function of my being depressed right now, but I also think it’s because this movie...just didn’t hit the right notes, for me. it did a lot of things right, technically, and it had a lot of character moments, but it felt...I don’t know, something indefinable was missing for me.

I’m going to try to unpack that later, but let’s break things down a little.

the good

NEBULA, oh my god, Nebula in this movie was fantastic. her moments with her younger self (I’m always going to be here for older/younger self confrontations with characters with her specific brand of issues) especially, but also...in general, I felt like this movie did very well by her. and ohhhh god “you can change” “he won’t let me” my feelings.

i’m gay for Carol’s new hair and that’s that.

WAS THAT A FUCKING FLYING HORSE? WHERE DID VAL GET A FLYING HORSE. IS THERE A FLYING HORSE FARM IN NEW ASGARD

Thor and Frigga’s conversation. I...did not like almost anything else having to do with Thor in this movie (more on that later, and I know everyone and their mother has already written about this), but that conversation was...so lovely, and I’m glad Frigga got that after her fridging in The Dark World, and the “I was raised by witches” line obscurely delighted me.

this is the SECOND time we’ve seen Loki transforming into Steve onscreen and I’m just saying that Loki being obsessed with Steve? #confirmed

also, Loki taking advantage of chaos to bolt with the Tesseract is golden and while it is seriously unclear what happened to the timelines altered by intervention (more on this later too) I’m going to assume that this means there is at least one Loki out there having the time of his goddamn life

more on this later, but there were some great Natasha moments in this movie as far as character work, and I am still very into her “five years later” hair. also lots of good Clint and Natasha stuff like we haven’t seen since the first Avengers movie, so that was nice. (the arrow necklace!!)

while I have caveats about it, the ending they gave Steve was pretty much what I was expecting and the best I could hope for, so I think that’s a solid “good”

I have absolutely no caveats about Steve giving Sam the shield, and everything about that scene passing it on was delightful, and Steve and Peggy dancing made me cry, so there’s that.

STEVE’S WORTHY CAUSE OF COURSE HE IS

the whole concept of a time heist is super neat.

SO WE ALL SAW THAT A-FORCE TEAM SHOT, RIGHT? THAT’S SETTING US UP FOR AN A-FORCE TEAM, RIGHT?

wanda fucking wrecking thanos yes girl

the bad

the big obvious one first: the stuff with Thor. as a whole bunch of people have explained: it’s not the weight gain, it’s how his character change after the five year jump is treated. it’s the fact that roughly 75% of the character beats for him in this movie are weighted for humor, that even the emotional moment with Frigga is undermined by the “eat a salad” line, that while he gets moments with his grief they tend to be undercut for a laugh.

also the fact that he...doesn’t get anything back? I mean, while it’s true of Bruce to a certain extent, and obviously Natasha, Thor really doesn’t have any of his losses ameliorated. Tony gets Peter back, Steve gets his life with Peggy, and Thor...? I just...it feels like his character arc in this movie wasn’t, and I’m severely uncomfortable with how much of a fatphobic undercurrent (overcurrent?) it felt like there was in his scenes.

and while I love the idea of Queen Valkyrie, it doesn’t really feel earned, and feels like it shackles her to a role where she doesn’t really fit.

the final battle felt...tacked on. it felt like there was a feeling that “oh, we need an epic battle where there’s a whole army on both sides” and I...didn’t need that? it felt like a Lord of the Rings battle in my superhero movie and something about it felt very...mmm weird. I mean, I’m almost never one for Big Final Battles With Armies (with the major exception of the ones in Lord of the Rings) and it didn’t work for me here.

though I did enjoy “keep away with the Infinity Gauntlet”, that was a fun game.

Gamora and Nebula should have been given the chance to face Thanos again together at the very least, and preferably strike the killing blow. The fact that that was given to Tony...annoys me. I mean, I can see why they did it - they needed him to have a big hero moment for his big hero sacrifice, and it was emotionally effective (I assume, if you weren’t me), but...that victory should have belonged more principally to those two, and I’m disappointed that it didn’t.

so I guess all that “foreshadowing” in Loki’s death scene was...nothing? that was just...what it looked like? I mean okay I’m not surprised but I am disappointed

the ugly

SOMEONE DATE THOSE CARS IN THE END SCENE WITH STEVE AND PEGGY, HOW THE FUCK DOES THAT EVEN WORK, so, like, is that an alternate timeline? did Steve live a seriously down low undercover life with Peggy and that’s why it never came up that oh yeah, she was married to someone who looked exactly like Steve Rogers? how does this fit in with the Winter Soldier!Peggy? I DON’T UNDERSTAND.

basically this movie did the time travel stuff but didn’t really think all of the time travel stuff through as much as it needed to, imo. time travel plots are hard, and messy, and very quickly get confusing, and this was definitely one where they were doing some “don’t look too close!” prestidigitation to keep the holes from showing.

but I’m thinking about it and the holes are showing and I want to know how this works, are the Disney+ shows going to be alternate timelines? I assume because Vision’s going to be in one? and if Sam’s still Falcon then he’s probably not Cap in that one? BUT I DON’T KNOW it’s all very confusing.

Natasha...Natasha. I was spoiled for her dying, though I didn’t know the circumstances, and I...gah. I wrote in my notes on my phone “I wanted Clintasha BUT NOT LIKE THAT” and that’s...kind of how I feel about it? I honestly thought she was safe, is the thing. of all the characters I was worried about, she wasn’t one of them. but in retrospect...I really should’ve been. if they’re trying to shuffle the original six out of the line up then...but I felt like “surely they won’t kill their only original female Avenger, surely the optics of that...” but no, nope.

and while she wasn’t fridged per se it did feel like a lot of the energy of her death went toward providing five male characters with angst, which... [squints]

...and now I’m thinking more and if it’s been five years then all of Peter’s friends should have graduated high school. or were they not going to high school? was school suspended for five years because of the apocalypse? are we going to get fallout from this in Far From Home?

I’M TELLING YOU THERE IS SO MUCH HERE THAT JUST DOESN’T MAKE SENSE maybe it will moving forward but...I really don’t get how they’re going to sustain this five year jump forward timeline...

GUESS WE’LL FIND OUT

basically I think what I’m coming out of this movie with is “end of an era and that makes me emotional, also there is some stuff here I like but mostly....eh” and honestly I think I’m okay with that being where I land.

I said last year that I was going to hold off on my final verdict for Infinity War until I saw Endgame, because it seemed like they were, whatever they’d said, setting up a two movie arc. I thought there was some possibility that what they did in this movie might “save” Infinity War for me, or make me think it was worth it.

part of the reason I don’t feel like I can say Marvel did really stick the landing here is because it didn’t. they stuck a landing. they had, like I said, a lot of the pieces in the right place.

but I’m still feeling vaguely dissatisfied.

#endgame spoilers #avengers: forever after #a4 spoilers #AND NOW I'M GOING TO BED #jesus christ it is late

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elliepassmore · 4 years

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In the Afterlight Review

5/5 stars Recommended for people who like: dystopian, found families, psychic powers, inner group conflict, impossible decisions After where we left off at the end of NF, ITA opens up in a very distinctly apocalyptic setting. The series has always vaguely had that feel in the way most near-future dystopian books do, but the EMP and bombing of LA tipped the scale further into apocalypse territory. I enjoyed how Bracken really explored the vision of a bombed-out LA and the impacts that might have on suburbs like Burbank. Something about the image of burned, shelled cars and brick rubble and abandoned shops just does something for me in terms of settings, aesthetic, and mood. I think, in this case, it works quite well to set the tone of the first bit of the book. The second setting is pretty neat too. It’s another League location in California, but a bit farther north. The place is like a huge compound with secret rooms as well as tunnels connecting it to different locations. It’s the perfect place to hide a bunch of kids while you’re planning an action against, say, the ‘rehabilitation’ camps Psi kids are kept in. Aside from suiting the purposes of the characters, this second setting also visualizes the divide that starts to occur between what’s left of the League in CA, with some (most) of them hanging out in the Garage, which is separated from the main portion of the compound by a long tunnel, and those that are left mostly sticking to the main part of the compound. The Garage is definitely cooler visually, I’ll say that, but the ideology and plans of those who hang out there is a little too optimistic for reality. With this as the last book dedicated to Ruby’s story, it’s mostly about closing out her arc. After LA, she wants so desperately to do the right thing by everyone and is stretching herself so thin it’s no wonder certain stuff ends up happening. She’s much more in-tune with her powers, though she still doesn’t like using them and still wants a cure. I like how things go for her in this one, for the most part. I feel bad for her in this one more so than the others. She’s so down in the dumps and so few people see it, like, I think Liam picks up on it, but it’s only really addressed when they have some down time together, which is neverand then the only other one to really mention her emotional mood is Zu. So, Ruby basically has a boyfriend who’s as busy and her and a 13-year-old to discuss her mental state with….not great options. With all her issues on her powers and the insecurities that come with that, added into the mess with Jude and dealing with Clancy and the issue with the League agents and wrangling everyone, it just gets to be a lot and I feel so bad for her. One thing I am not too pleased about is her and Liam’s arguments and distance. Like…the entire thing is just so dumb and takes up multiple chapters, and then it’s resolved in one and they’re all peachy-keen again, which makes me wonder if the tension between them really needed to last as long as it did (but I’ve decided to blame exhaustion, stress, and Clancy for this one). Speaking of Liam…I’m not really sure what to think of him in this one. He’s definitely gung-ho for helping other kids and making sure that the camps are shut down, but his plans for going about it lack the teeth that they had in TDM (and, ironically, his OG plans are the ones Ruby builds on and he disagrees with, so…). I can’t tell if he’s just reeling from everything that happened in NF or if it’s just a weird character change that makes him inclined to think that a media storm will successfully bring the camp system down or what. His change in plan combined with his dislike of Cole, his distrust for the League, and Ruby’s own insecurities, just leads to him coming out as quick to irritate in this one. I will give him the fact that having your memory stolen and then regifted would be extremely jarring and invasive. I get why he writes the note, and I get why he’d be touchy and angry about that, but the rest of the stuff is just, I’m pretty sure, just his judgement getting clouded. Not to mention, he’s a hell of a lot more reckless, though we are seeing things through Ruby’s POV and he could always have been exceedingly careful, so there’s that. Outside of those interrelated changes, he is largely still the super sweet, super supportive, protective Liam we saw in TDM and NF. Even when he is fighting with Ruby, or even later with Cole, he still wants to understand and combine ideas instead of dismissing them out of turn. Chubs is once-again stuck between his two friends and hates it, though he does his best to work with them. I feel like Chubs gets a lot more mature in this one and faces things with a wiser attitude than he did before. I mean, he was always the more cautious one of the bunch but he just got an extra layer of professionalism added to him throughout this book. He seems a lot more at ease with life and with himself, which was good to see. On the other side of the spectrum, we get to see a much more emotional Vida than we have before. Sure, in NF we saw her angry plenty, but here there’s a mix of sadness and grief and desperation and camaraderie and support we didn’t get in the previous book. Her walls break down a lot more and she’s willing to admit that she’d prefer to talk about what happened to Jude rather than just shove it down and away like everyone else seems inclined to do. She also starts a surprisingly tight friendship with Zu, and the two of them are definitely a force. Zu comes in about a third- to halfway through the book. I love Zu, she’s such a great character personality-wise, but she also has a way of cutting right to the center of things and helping people. She may be young, only 13 in this one, but she’s go the insight of someone much older. What happened in the novella In Time has clearly impacted her when she first comes into ITA, but she slowly and steadily overcomes it, learning and helping those around her and letting them boost her in return. She grows a lot as a character, and it was awesome to read. Nico is an interesting character, since he was in NF, but it was difficult to really get a feel for who he was as a character in that one. Here, we see he has a lot of regret over what happened in LA, and he’s working to reconcile the Clancy he used to know to the person Clancy is now. Nico’s unflinchingly loyal, but he’s come to realize he put his money on the wrong horse and is struggling to make it up to everyone. Clancy’s still a piece of work and none of his character development comes internally, it’s all external. We do get to meet his mom, though, and combined with what we know of President Gray….well, it just explains a lot. Okay, it’s kind of spoilery, but I absolutely adore the entire thing Ruby has going on once she’s back in Thurmond. She goes back in and she’s struggling so much with the feelings of fear and absolute terror the place instill in her, plus the worry that the plan won’t work because the people on the other side won’t come or won’t come in time, just makes the fact she fights through it all that much better. I wish her reunion with Sam was a little better, though, I did want there to be a bigger thing with them, but whatever, we get that in Beyond the Night. My favorite scene from this collection of chapters is when Ruby’s in the control tower with O’Ryan and just snaps on his ass. It’s great. Of the main three books—TDM, NF, and ITA—this one comes in as my second favorite, with TDM as the first and NF as the last. The settings are, once again, fantastic, and I love a lot of the plot and events that occur in this book. I do think that Ruby and Liam fighting as much as they do only to have an insta-make-up was not great (though I do have my suspicions that they’re issues were exacerbated by Clancy manipulating Ruby. Ever notice how the two times he does it large-scale, she’s also separated emotionally, and generally physically, from (primarily) Liam and the others? My hunch is Clancy saw how well it worked the first time and used his Orange powers to manipulate it into happening again). Overall, ITA is a good ending to the series and I’m pretty satisfied with it all around. Clancy Story in 2018 Edition 5/5 stars The story picks up from when Ruby went to see Clancy at the end of ITA. The collection is basically a run-through of Clancy’s worst moments. There are some of them, like when he and Hayes and Olivia find East River to establish it that aren’t too bad. Then there are others, like the ones where he’s strapped to a table getting experimented on, that are downright awful. Most of them fall somewhere in between. The way it’s set up, I believe it’s a reverse chronological order of Clancy’s memories. The first one is from ITA, when he tells Ruby that she’s the one who tipped off the PSFs about the Sawtooth camp, and the last one is from when he’s pretty little, probably around three or four. I like that, as we progress through the story and the memories, we also get to see how Clancy’s warped mind was built up bit by bit. As a child, he obviously has little malice other than when it comes to protecting himself from others. As time goes on and he’s experimented on, that malice and cruelty grows into what it is in the first memory. Aside from the way we’re seeing each memory erase based on how recent it is, I love how Bracken chose to end each scene with “a heartbeat, and it’s gone.” There’s just something about that line, about the speed and finality of it that I just love. Nico features in most of the memories, so we get to see how Clancy, in his own weird way, does have feelings for the other boy. Clancy doesn’t have full-blown romantic feelings about Nico, or even what I’d necessarily call a crush, but he definitely is attached to him and Nico holds sway. I think this might be my favorite ‘exclusive short’ of the bunch. It’s a combo of the formatting of the piece and the way we get to see inside Clancy’s head and watch his development into the person he is in the TDM series that makes it one of my favorites.

Note: Since Through the Dark is just a bind-up of the novellas, it’s coming out on Saturday and TDL’s review will be coming out next Wednesday

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murasaki-murasame · 5 years

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Thoughts on Fruits Basket 2019 Episode 24: “Let’s Go Home”

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Thoughts under the cut [and spoiler warning for the whole manga. Also I’m gonna talk way too much about my own life and why I relate so much to this part, so be warned]

Oh boy, where to even begin with this one. The episode I’ve been waiting for pretty much ever since they announced this new adaptation last year.

Right off the bat I should make it clear that I loved and adored this episode and it exceeded my expectations. It was pretty much 100% perfect aside from one bit of awkward animation. But at least from a writing standpoint I dunno how they could have done it better than this.

For one thing, this was a very faithful adaptation of this part of the manga, which already makes it better than the 2001 version of this whole arc. Specifically this episode adapts chapters 32 and 33, plus the first few pages of chapter 34. So it’s pretty much the whole meat of the true form arc, but it’s not like they rushed it all in one episode. I was worried that they might try and cover too much in this episode, but this was a good middle ground between the idea of doing the entire thing in one episode, and stretching the arc into roughly three episodes like the 2001 anime did.

I actually appreciate the 2001 version of this arc more than most people do [though I understand why people with a longer history with the series resent it more], but this was so much better, lmao. I can understand where they were coming from with the 2001 version of it, but they went too far with trying to make it slow and depressing. It just felt way too drawn out in that version, not to mention the various changes to characterization that they did which are really jarring and weird if you’ve read the manga.

Some people might criticize this episode for being too fast, and not taking it’s time to get to the climax more, but it’s at least worth noting that episode 23 was more or less the first episode of this arc. A lot of it was about reminding you of Kyo’s issues, and making it as clear as possible that his secrets and insecurities were about to be brought to light. And then this episode just followed through on that. So it’s not like this arc just came and went in the space of a single episode. Plus there’s the fact that we still have chapter 34 to be adapted in the finale, which is where this arc winds down and we start setting up the rest of the story.

And honestly one part of this episode that I really liked was how slow and atmospheric it was. It was still adapting a little more than two chapters of content, but it felt very deliberately paced, and especially in the first half there were a lot of scenes that felt really tense and gripping because of how the pacing was done.

Mainly I’m thinking of the whole scene of Kazuma confronting Kyo and removing his beads, because holy SHIT that was way more tense and nerve-wracking than I expected it to be. It definitely felt longer than it did in the manga, but I really liked it. They went all in on the atmosphere with that one and it really payed off.

And then of course it ended with Kyo’s transformation scene, where similarly to the 2001 anime, they actually show him transforming instead of us cutting straight to the aftermath of it. I’ve been waiting to see if they’d be able to effectively get across just how viscerally shocking and horrific Kyo’s true form is, and oh boy they sure delivered. I bet most anime-only people weren’t expecting Kyo’s big secret to be THAT, lol. It’s the sorta thing where you naturally go into it thinking ‘surely it’s not gonna be that big of a secret, it’s just something that he THINKS he needs to hide’, but then you actually get to the big reveal and suddenly you realize just how big of a secret it actually is.

In general it’s representative of how this whole arc is where Fruits Basket starts to really show it’s true colours. Technically we don’t see anything quite like Kyo’s true form ever again, but this is where it becomes clear that the story’s not going to hold back with the drama, and that it’s willing to put it’s characters through some real trauma.

It’s still kinda funny that this arc being the end of the 2001 anime lead lots of people to thinking it was the end of the story, when in fact this is pretty much just the START of where things get real. Though it was still a good idea to make this the climax of the first season. It’s definitely the end of the first act of the story, which is even more clear with how the reboot’s been rearranging things. In the manga there’s a sort of transition period between this arc and the summer vacation arc where we get some more character introductions and stuff, but a lot of that’s already been covered in the reboot, so after this it won’t be long before we get into more plot progression.

Before I talk about the emotional weight of this arc and why it means so much to me, I just wanna say that I’m somehow still confused about exactly what the final episode is going to be covering now, lol. We’re definitely getting the rest of chapter 34 next week, but that clearly isn’t going to be the only chapter they cover. The episode title refers to summer starting, but I honestly can’t figure out which exact chapter that line’s being taken from. There’s a surprising amount of different chapters between now and the summer vacation arc where Tohru says stuff about summer coming soon, or already starting, or whatever. So there’s like several different chapters they might be ending this season on, and I can’t really begin to guess which they’re going for.

The obvious choice would be chapter 35, since that follows the immediate aftermath of this arc, but I looked back through that chapter in the manga and I don’t think Tohru says anything about summer during it. At least not that exact line.

I also thought it might be from chapter 48, since the last bit of that chapter would probably be a good way to end season 1 off, but that takes place when summer vacation’s already started, so I don’t think that’s it. Unless they change the context and timing of that part, though. Which is possible. I wouldn’t be too surprised if they basically cut most of chapter 48 for the anime since it’s so filler-y that it might be hard to find room for, so maybe they’ll just transplant the more plot-important part at the end of it into the end of season 1. Who knows.

Either way I think it’s more likely that they’ll just end things off with chapter 35. But I kinda don’t want them to, since it’d be a really good way to start season 2. It serves as a bit of a recap of the true form arc, while setting up some other long-term plot stuff as well. In general I just feel like it might feel jarring to have the last half of the season 1 finale suddenly switch to Yuki’s POV in a way that just raises more questions than answers. I think the end of chapter 48 is a much more fitting way to end the first season since it’s one big teaser for the summer vacation arc as a whole. And honestly even though it’d technically mean jumping forward like 12+ chapters, it’s not really that strange to consider, with how they’ve already covered a good chunk of the gap between chapters 34 and 48, with what I said before about the anime moving a lot of that transition arc to before the true form arc.

Though tbh I also just kinda want to see Rin in the final episode so I don’t have to wait until season 2 for her, lmao.

And since I have far too much time on my hands at the good old time of 11am on a Saturday morning, I decided to comb through my Japanese volumes of the series just to be absolutely sure, and as far as I can tell the line used as the next episode title isn’t actually taken from anywhere from chapters 35 to 48. Which is weird, since I think all of the episode titles have been pretty 1:1 with lines from the manga. The most similar-sounding lines are the ones from places like chapter 48 where Tohru talks about how summer’s starting, but it’s still not quite the same.

So yeah I’m at least hoping it means that ep25 is gonna end on a modified version of the end of chapter 48 where instead of happening at the start of summer, it happens before it, but we still get that whole dramatic monologue from her about how it feels like things are about to start moving. But who even knows at this point.

Anyway, that was far too much of me talking about my predictions for the next episode, lmao.

Back onto this episode itself, I’ve always thought this was my favourite part of the whole manga mostly because it’s the part I relate to the most, to be blunt. Though really it’s more that Kyo’s my favourite character and his entire character arc is great and there’s so many elements to it that I relate to, but this is the most prominent part of it, and it covers a good chunk of what I relate to most about his character. But there’s definitely stuff I’m gonna wait to talk about until way later when certain other parts of his backstory are revealed.

Either way, even though it isn’t exactly the main thing that Kyo’s whole arc is meant to be a metaphor for, I’ve always thought this arc was intensely relatable and realistic to my experiences as a disabled person, especially when it comes to topics like my relationship with my parents, and my own self-perception.

In terms of personality I’m much closer to Yuki than Kyo overall [though not fully], but in terms of life circumstances I’m much closer to Kyo.

I dunno if I’ve talked about it in too much detail anywhere on my blog before, but I was born completely blind and deaf. My condition has improved since then, mostly with my hearing, but I still have enough issues with my vision that on top of wearing glasses I’ve spent the last year or so learning to use a cane to help me get around in public. But one way or another I spend the first few years of my life blind and deaf, and for obvious reasons that had some major impacts on my family, in ways that have had lifelong consequences.

My parents got divorced shortly after I was born, and until I was about 12 I only saw my father once every few weeks, and after that I made the choice to cut myself off from him once and for all. As time’s gone on I’ve gotten more sympathetic toward him, and the stuff he had to deal with on his side of things, but a part of me will never let go of my resentment toward the fact that one way or another he decided that he didn’t want me to be a proper part of his life. I always got the impression that for one reason or another he refused to engage with the fact that I was disabled. He never talked about it with me, and whenever I visited him, he never made any sort of accommodations for me. And I was always too ashamed and nervous to talk about it with him even when I should have.

On the other side of things, my mother is more on the over-protective side of the spectrum. Which I can’t exactly blame her for, since she was left pretty much on her own to raise me when she already had one other child with special needs.

She does her best to be constantly aware of my disabilities and to support me in whatever ways I need, but sometimes it feels like she just pities me. I don’t really know how to put it without sounding selfish or disrespectful.

I think that if she could keep me in her sight at all times and never let me go, she would. I know that she’s just worried about me, but sometimes I worry about what she thinks of me, and what she thinks when other people meet me. But I think that’s more just about me being self-conscious and paranoid about how other people see me.

I can tell that she’s had a lot of struggles with raising me that she’s mostly kept to herself because she doesn’t want me to feel bad, but it makes me feel uncomfortable. Part of me’s always worried that there’s a lot of emotions she’s bottling up which will one day explode, and ultimately I just don’t want her to leave me. Even if she doesn’t love every part of me, even if she doesn’t always enjoy the process of raising me, I just want her to be able to stay with me.

And then on the final point of this whole messed up trifecta, you have me and my own self-perception. Which is a whole iceberg of a topic that I’m gonna make no attempt to fully cover, lol.

In terms of how I relate to this whole part of Kyo’s arc, all of my self-consciousness and paranoia about my own status as a disabled person within society that’s been left to fester over the years has lead to me developing this irrational, warped, self-hating idea that at the core of who I am, I’m basically a catatonic vegetable who can’t survive on their own. I always worry about whether or not I ‘look disabled’ to people when I’m in public. I can’t help but worry about people see when they look at me. So in my own way I’ve developed this image of myself being some kind of hideous monster which I have to avoid people seeing. It feels like if people see the ‘true me’, they’d be disgusted, and so I try and act as normal as possible, while avoiding interacting with people as much as I can.

So you can probably get why the whole true form arc here kinda strikes a chord with me, lmao. It’s just such a raw and visceral depiction of the feeling of being exposed and made vulnerable in a way that shows everyone everything that’s wrong with you. But it’s also a representation of the sort of genuine, unconditional connection that you secretly want when you’re in that sort of situation. It’s not really about love or hate. It’s just about not wanting to be abandoned over something that you can’t even change.

In a lot of ways this arc is also why I love Tohru so much as a character, and why I think she’s so interesting. Her whole relationship with Kyo feels like a really realistic exploration of the fundamental anxiety of feeling like you don’t deserve true love and acceptance, that you’re asking for too much if you want that, and that anyone who gives you that is just ‘too perfect’, and they’re just pitying you, or whatever. But at the end of the day, their whole relationship is about how you always do deserve love, and that there’ll always be at least someone out there who will properly accept you. And on top of all that, there’s the fact that love isn’t a simple matter of just saying that you love someone and ignoring anything unpleasant about them or your own feelings. Love is a choice that you have to keep making.

Which is part of why I always felt annoyed and disillusioned at the idea that my father still loved me at the end of the day, in spite of everything. I can admit that for all intents and purposes that’s true, but it ultimately feels fake and hollow if you say that you love someone even when you hold them at arm’s length and choose to stay away from them.

On a more specific note, this arc in particular also touches upon the whole idea of physical contact and intimacy, which has always really resonated with me. In general the whole concept of ‘turning into an animal when you hug someone’ is used to surprisingly poignant effect across the whole series, and this is one of the best examples of it. The image of Kyo as a cat laying on Tohru’s lap and crying always gets to me.

And honestly, I think that the absence of physical contact can be one of the most painful signs of abandonment, especially to a child. It can make you feel alone even when you’re in the same room as that person. I distinctly remember that my father’s relative lack of physical affection with me was always one of the things that made me feel most uncomfortable and unwanted when I visited him. At this point I know that it was probably more about his personality in general, since he was a fairly closed-off person with everyone, but it still hurt.

What I’m trying to say is that everyone has a fundamental, primal desire to be hugged by somebody that loves them, which is why I like that that’s the big emotional climax of this arc. I actually prefer it this way, to if it we got a more conventional kiss scene or whatever.

Also I just wanna point out that literally one episode ago Kyo was being all tsundere about not wanting Tohru to hold him in his cat form and LOOK HOW THE TABLES HAVE TURNED NOW, CAT BOY :)

Yes, you better believe that I’ve been hugging my own cat whenever possible ever since I finished this episode, lmao. Everyone should go hug a cat. It doesn’t even have to be one you own, just go out and find one to hug, lol.

Anyway I’m one giant emotional wreck after this episode so I’m gonna go take a nap. See y’all next week when we have to face the even greater emotional pain of being faced with the wait for season 2 to come out.

#murasaki rambles #fruits basket #this episode really went and came for my life huh

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smokeybrandreviews · 4 years

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Smokey brand Movie Reviews: Anger Issues

First proper movie of the year, and it’s Birds of Prey and the Fantabulous Emancipation of One Harley Quinn. Look, the DCEU is a dumpster fire, so much so that the WB has basically given up on it. They’ve started doing stand alone films as a way to recuperate their image and it’s kind of working. Shazam was fun as f*ck and Joker is rightfully getting so much buzz, it’s ridiculous. Even Aquaman was decent once it was released from the grimdark Snyder vision. Birds of Prey is not that. It is, at it’s core, a DCEU film. This thing might as well be called Suicide Squad but with chicks. It’s that ridiculous. But is it as bad as that? Let’s get into it.

The Great

The very best thing about this movie is f*cking Huntress. Bro, i LOVED Helena Bertinelli in this movie! Mary Elizabeth Winstead owned this part, one hundred percent! She was the MVP of this whole goddamn sh*t show but she sure as f*ck ain’t get MVP minutes! Huntress is in this thing for a grand total of ten minutes, man. It might be more, it might be less, but it definitely ain’t enough because she has NO time to shine! What little she gets, though, she kills! Talk about burying the lead, man. I understand that certain cuts needed to made in order to give the top-biller in Harley the god shots, but f*ck, dude. You can’t tease me with so much awesome and then just snatch it all away! F*ck you for that, movie. F*ck You!

The Good

This thing was cast incredibly well. I was on the fence with some of the announcements during development, but it came together nicely. There aren’t many weak performances and, overall, you can tell that everyone was having fun. There’s a lot of great chemistry among this group and i can see myself giving a proper BoP sequel a chance.

Margot Robbie is Harley Quinn. She embodies this chick like Ryan Reynolds embodies Deadpool, for the most part. She was my first pick going into SKWAD and it felt right seeing her in those hot pants. There were some issues i had with that character, mostly the vanishing accent, but she’s gotten much better since then an that growth shows here. It’s unfortunate that her character doesn’t grow in this two hour run time, especially considering how much time Harley gets onscreen.

Jurnee Smollet-Bell is probably the best Dinah Lance we’re going to get for a while. he was surprisingly adept at the part, even if everyone is butt-hurt that she was race-bent. Her Canary Cry was absolute sh*t but that was more the effects fault. Them sh*ts is cheap! Jurnee did a fantastic job as Black Canary and i wasn’t even mad she wasn’t rocking the fishnets while doing it. She kicks high.

Rosie Perez was an interesting choice for Renee Montoya but i knew she could be fantastic in the role if they gave her room to breathe. Perez could have brought that Puerto Rican heat to the role, and she did a few times, but not enough to make an impression. Again, that’s because this ain’t a Birds of Prey vehicle so all of the Birds had to kind of curtail their time in the camera, and overall character development, in order to make sure Harley got her face time with the audience. It’s kind of f*cked up and makes the movie less for it.

Black Mask was a goddamn spectacle! He’s smarmy, and arrogant, and flamboyant, and campy, and generally just brilliant. He’s one of the best villains of the DCEU, which ain’t saying much, but i can say just SO much about Ewan McGregor’s performance as Roman Sionis. His mask is stupid though. And he’s definitely Black Mask in name only. Still, for what this version is, McGregor delivers. If you’re curious what a closer interpretation of the comic character can be, check out Batman: Under The Red Hood. That’s a far more accurate representation of what Sidonis is supposed to be but I’m not mad what we got here.

Chris Messina as Victor Zsasz is okay. In the book, he’s out of his mine and ludicrously violent. Like, textbook psychopath crazy. In this, he’s still pretty f*cking nuts but he’s also wildly jealous and crazy possessive? I think that’s because of the insinuated relationship between he and Black Mask but you gotta read real heavy into that relationship to even broach that subject. Like, I‘m reaching with that statement but, for the most part, Messina does an admirable job of bringing this character to life.

The action scenes, outside of the awesome that is Huntress, is the real draw of this movie. Harley’s story is cliche and the Birds don’t get much time to develop so they’re kind of inconsequential but the action is superb. It’s, legit, John Wick levels of awesome most of the time. There is a lot of buzz about that jailhouse scene and it’s totally worth all the talk. That motherf*cker was spectacular!

The art direction is pretty amazing in here. This looks like how i think SKWAD wanted to look, but couldn’t because of Snyder grimdark nonsense. Like, if that trailer house had full reign to actually film that movie, BoP is what we might have gotten and it is a much better look for the type of movie these things are. Certain sets, like the funhouse and Sinonis’ club were awesome and the little flairs for characters were on point. The confetti beanbags were absolutely genius!

I would be remiss if i didn’t mention the costumes. Harley had a ton of costume changes, so much so a character mentions it in the middle of a fight, but i wasn’t mad. They all reflect her character and Margot Robbie is a helluva a Barbie to play dress-up with but so was Black Mask apparently. He had almost as many costume changes as Quinn and they were all amazing. I liked what they had Canary in, even if it wasn’t comic accurate and i absolutely adored what Huntress rocked in the beginning. All in all, pretty legit costuming, i must say.

Another one where the sound design is worth mentioning. The direction didn’t elevate this assblast of a movie but the sound design sure as sh*t did. There are a ton of punctuating songs and effects that give otherwise flaccid scenes, that extra Viagra boost to get them rock hard! It’s amazing what music can do for anything really. Throw a dope ass soundtrack behind constipation and you have a serenade that eases things up to drop that deuce. I say that because that’s how it feels watching this goddamn movie.

The Meh

Ella Jay Basco is probably the weakest part of this movie. She does an admirable job as Cassandra Cain for being so young but there are certain instance where you can tell this is her first big gig. She isn’t terrible by any means, there aren’t any terrible performances at all in this thing, but she was easily the weakest of the lot.

The liberties taken with the characters in this movie are interesting. I’m curious as to see where this version of Gotham can go and what these particular interpretations of such iconic Bat-Characters can go. I don’t think they are great as a direct representations, f*cking Cassandra Cain is a particular sore spot for me because i adore her in the books, but i can give her chance. I can give all of these characters a chance. I rather adored this version of Huntress. Ma might be my favorite one! Well, almost. I’m pretty partial to Helena Wayne but i digress. While i don’t particularly care for how these awesome women are represented in this flick, i can see the potential. There is a unique vision here that is worth seeing through.

The writing is so-so. I can’t say it’s bad because there is a lot of good in there, tons of interesting ideas, but the execution is real poor. Most of these scenes feel like, on paper, they were dope as f*ck. On screen, though? Just underwhelming. It’s like they couldn’t translate what they wanted or needed to film for one reason or another. I feel like that might have more to do with the direction, I’m getting to that, but the core of a flick is the writing. If you’re script ain’t on point, you’re movie can’t be and i can see how dull them pages were to begin with.

The direction in this thing is mediocre. Cathy Yan did a “meh” job with this thing. A lot of that might have been due to the script but a great director can elevate straight schlock. Look at James Cameron. Avatar is an ass of a film that rips of f*cking Ferngully but his vision got it Oscars and the number one, highest grossing, spot on the all-time list until Endgame murdered that sh*t. Yan did not elevate this schlock. They had to go back to reshoots and have Chad Stahleski touch up some stuff. Like, the best parts of this thing, the action scenes, weren’t even directed by Yan. I mean, they were at first, but this thing got screened by the execs ad all of that sh*t was tossed out. Stahleski made them things pop! No telling what else he touched up, or f*cked up, on his way out.

The Bad

This is not a Birds of Prey movie. This is a Harley Quinn vehicle with a Birds of Prey cameo. I can see what they wanted to do with this thing, backdoor origin story for one of Batman’s strongest supplementary teams, but with no Barbara Gordon as Oracle, it feels hollow. Especially considering that the Birds, themselves, have next to no screen time. I get that Harley is the money maker but this should have been a Gotham City Sirens film.

The continuity of this sh*t is dubious. It takes place in the old DCEU. It’s legit a sequel to Suicide Squad. Harley references that sh*t twice. I don’t know what that means going forward, but this Gotham ain’t that Gotham at all. It’s weird to see because you spend a good amount of time within the GCPD and no Bullock or Gordon; The latter of which we’ve seen already. It’s awkward the way WB has decided to play fast and loose with what sticks and what doesn’t. Joker is a stand alone and so is Shazam. The Batman is going to be a stand alone or it’s own franchise. Aquaman and Wondy are still in the DCEU continuity but i don’t know how long they will be, especially considering Wonder Woman’s solos are all prequels that have no ties to that Snyder depression exercise. It’s nothing to just pluck her out and add her to a much better executed cinematic universe. With Flashpoint all but confirmed, It feels like none of this matters. This one, for sure, doesn’t.

The plot is still stupid. The McGuffin is better since the reshoots because dick pics? Really? But the writing is still stupid. The whole center of the conflict is ridiculous and the resolution is just blergh.

The only thing worse than the plot is the pacing. This motherf*cker drags! There are entire scenes where nothing f*cking happens and it’s stupid. Most of the time, it’s the scenes with Harley. Her arc is just so f*cking pedestrian. It’s well acted, i said as much above, but it’s SO dumb and i kind of hate it.

This movie really hates dudes. Like, i get it, right? Respect. Recognition. Women deserve all of everything. Equality, feminism, yadda-yadda. I get it. There are ways to execute that perspective which are good. A decent writer would convey that by actually writing decent scenes, not just turning all of the men in the film into juvenile caricatures of chauvinism. I personally don’t care, I’m not a neckbeard typing with one hand while breathing heavily on my monitor in my ma’s basement, but i had to mention it because everyone is mentioning it and they have a point. This is glorified misandry at it’s finest but, you know, patriarchy or whatever. I don’t care. It didn’t take me out of the movie, the sh*tty plot did that, but it was interesting to see in person. It’s hard to justify this bullsh*t when Atomic Blonde exists.

So the gay-baiting. Like, really, dude? If you’re going to do it, go all the way. I read somewhere that Black Mask was supposed to have a homosexual relationship with Victor Zsasz but nah. None of that is expressed in any capacity. There might have been a line referencing it, maybe, but that could have been in regards to the violent outburst in the club the night before. Ambiguous because you gotta sell this thing in China! Renee Montoya is legit gay in the books and, other than a passing line early on, it never comes up again. I think that might be because of the distinct lack of characterization for literally all the Birds in their own f*cking movie, but still. That’s massive part of her character and no one talks about it. No one talks about any of the LBGTQ bullsh*t they pushed in the promotion.

All of this controversy does this flick a disservice. It doesn’t deserve all the hate it’s getting and it definitely doesn’t deserve all of the praise. This is not some super “GRRRL power”, kickass, gay-loving, action flick. It’s a mediocre break-up story that happens to have some interesting action set pieces but, ultimately, is inconsequential in the greater scheme of things. This is the Ant-Man of the DCEU. I spoke about this at length a few days ago and the nonsense that I was afraid was going to happen, is happening. No one wants to sh*t on this flick because of “Muh representation”. It’s a female lead, female directed, piece of sh*t. It is. But it’s a fun piece of sh*t and easily the best, of the worst, of the DCEU but it’s still a piece of sh*t. It’s not changing cinema, it’s not some great step forward in representation, and it’s not doing women in the industry a great service. It’s a quirky, violent, nonsense of a movie and should be judged as such. Again, Atomic Blonde is a much better example of ho to “GRRRL power” your way in the box office. Go watch that instead.

The ending to this thing feels rushed and super anticlimactic. I felt bad about it. Seriously. The way this movie resolves, after everything that took place, is just whack, man. It leaves you wanting, especially after how charismatic Black Mask turned out to be more than that, there’s no resolution. No one grows. Everyone is exactly where they were at the start of this f*cking thing. Like, what was the f*cking point? I can tell they wanted me to think that these chicks had grown into something more but did they really? Did we really see any growth out of any one of them not name Harley? Hell, even Harley is still the same motherf*cker! Like, for real, dude? Someone read that script and thought, “Okey-Dokey, this is good enough!” I just wanted to punch this movie in it’s face when it was over. Like, f*ck you, movie.

The Verdict

Birds of Prey is a bad movie. It’s gorgeous to look at, the costumes are amazing, and most of the performances are super strong. However, the plot is stupid, the pacing is on drugs, and the best parts of this flick get, like, no screen time to breathe. The Birds are guest stars in what, very obviously, is not their movie. This really should have been called “Harley Quinn and The Tiniest Bit of an Origin Story For The Birds of Prey” because that’s what it is. Technically, this should have been Gotham City Sirens to begin with but i ranted about that before. Margot Robbie is bad at picking movies to produce and she definitely produced this one. Got her unfortunate and inexperienced fingerprints all over it. Kind of doesn’t matter what should have been, though, this is what we got and this is a sh*t time, for sure. But, it can be fun at times. There is about as much to like as there is to hate especially if you’re open to being blue-balled when it counts. If that sounds like a party to you, check this thing out. If not, you can pass on it. That’s how meaningless this thing feels.

#Birds of Prey and the Fantabulous Emancipation of One Harley Quinn #Birds of Prey #Harley Quinn #DC

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pricechecktranslations · 5 years

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I am definitely not the best at my listening Japanese, and it doesn't help that they speak SO DARN FAST that I have trouble catching all of the words. So, it's possible I'm saying all this stuff while having misunderstood things, missed things, etc.

But, these are my many scattered thoughts on the Daughter of Evil musical, written as I was watching it in full for the first time (so, might not be the best thought out or expressed but still):

-Despite all of the changes, it's interesting to see how many moments appear to be lifted directly from the novels. It does feel like they had a good familiarity with the source material, but for whatever reason chose to make the story different (perhaps in part to have it be a standalone adaptation rather than going into the entire Daughter of Evil series lore).

-"The Orange Coast" is a very nice song, and I like it a lot. In fact, I like a lot of the songs that are exclusive to the musical. The exposition song about the plight of the starving people, the duet between Riliane and Kyle (the irony in that both are fond of each other but as Riliane sings of her excitement for the wedding Kyle is eager to break it off), Clarith's lament after losing Michaela, etc. There's only a few that I really disliked, either because they weren't sung well or because they felt too anachronistic in their instrumentals. However, because they had their own songs the ones that mothy made felt out of place. The only one I think really fit was Regret Message and the eponymous Daughter of Evil.

-The candy castle is pitiful. It's supposed to be an extravagant display of Riliane's utter selfish greed, to have something so large that she can't even eat all of it while her people are starving. It should be at least twice the size that it is in the play--it's supposed to be much taller than the average person, with enough room that someone could conceivably be inside.

-Riliane being unrepentant might be one of the things that pisses off fans the most, but it feels somewhat more appropriate in this adaptation. This version of Riliane shows far more awareness of the evil in her actions and how it makes her look, even taking a more active role in them, as opposed to the more innocent and sheltered Riliane of the book. Her biggest regret in the end is not that she was a horrible person (because she seems to have sort of made her peace with that early on) but that she didn't appreciate Allen's loyalty and devotion to her when she had the chance. Her dismissal of him is far more explicit in this version, where he outright tells her to her face that he's on her side and she just scoffs at him, and she spends most of the story talking about how alone she is. Basically, their relationship is the focus of her character arc rather than her morality. Even her will to live at the end is almost solely because he died for her rather than finding her own reason to live.

-Josephine is a diva and I kind of love it. I don't necessarily mind the addition of ridiculous elements like a talking horse (well, who talks to other horses anyway)--this is a stage play after all. Breaking the fourth wall is kind of an intrinsic part of theatre, and I'm always of the mind that a live performance being entertaining is more important than it being dramatic. But that's just my tastes, I think.

-I will say, the guy who plays Allen is TERRIBLE at the songs they have him sing. That's not to say he can't sing at all, but songs like "I'm a Servant" really show that he just can't hit those notes to save his life. I also don't care much for his acting, it feels a little like he's substituting shouting for emotion. Germaine is sort of the same way, but I don't mind it as much from her because her character is supposed to be boisterous.

-The exclusion of Elluka doesn't really bother me, as she had very little plot presence in the first novel to begin with (note, I don't think she's removed entirely--there appear to be some allusions to her character existing, such as in the early exposition segment with Mariam and Leonhart where she's on the other side of the stage as a hooded figure in shadow). I think it might be possible that they did so as a part of the overall trend of the musical removing the fantasy elements to begin with--no Elluka, no magic, no mention of Michaela as a former spirit (although...there is that vision of her that Allen has, not sure what to make of that), etc. In fact, the inclusion of demons is deconstructed by Keel later in the story, speculating that such things are merely scapegoats people use to hide the evil already lurking within themselves. ...Although, well...Leonhart seems to show up as a ghost...So...

-Michaela and Clarith's dynamic is interesting. It's much more light-hearted than the heavy themes of abuse and emotional recovery in Wiegenlied--Michaela's more of a happy-go-lucky pixie dream girl with no social awareness at all than simply naive about human relationships, and Clarith is down to earth and shy rather than brooding and self-demeaning at every turn (I think maybe because they shifted her into the viewpoint character). Though that might be a result of seeing them after they've already moved to Aceid. One change I found entertaining is that it's Keel who hires them for Michaela's singing instead of Mikina hiring Clarith out of generosity towards an oppressed minority, and as a result Michaela ends up making this big show about how she absolutely must have Clarith with her and that she can't do anything without her. It's cute.

-Keel is supremely entertaining and I like his character in this a lot. He's an excellent choice for outside narrator. Even in the novels he was kind of the one guy that wasn't bogged down by a bunch of emotional drama.

-There are a lot of extreme tonal shifts. Funny things following really dramatic things (Michaela and Clarith's introduction follows Germaine's declaration of war, Kyle being a goofball in the revolution follows Allen's attempts at getting Micheala to safety while struggling with his orders to kill her, etc). I think the biggest and most jarring tonal shift is Josephine defending Allen from Kyle and his lackey, though--that's the one that kind of took me right out of the story, though I will say Josephine's actor is quite good with the dance-battling. This is a big contrast from Evillious--I don't think there are many, if any scenes where mothy deliberately sacrifices dramatic moments for a joke. I don’t know if it’s made worse by the fact that Josephine fighting with a sword may not have been a joke, and it may have been something we were supposed to take seriously.

-I wonder why they kept in the green onion. I guess because it's a good character joke for Michaela, but plot-wise it no longer serves any actual purpose without Elluka and Gumillia. In fact, its inclusion kind of makes Michaela seem a bit weirder as a person, because instead of it being a magical tool that she uses she's just excitedly showing it off to people and coming up with random things you could do with it. It's a little egregious too because, while the girl who sings for Michaela is actually quite good, I don't think her voice is well suited to the "Very Amazing Green Onion" song that goes with it. It's kind of used as a vehicle for Allen's developing crush, but...Well, I'm not sure I'd develop feelings for someone just because they ranted about a vegetable at me for a few minutes.

-Kyle is...a strange fish. I think the reduction of his character to a lovestruck fool makes some sense because this is how he comes off before his character development in the series, and his psychological issues are a little too complex to go into in a two hour musical that's not even about him. So, instead of "this guy was heavily emotionally abused and then possessed by a lust demon", they go with "he's a big enough idiot to cause all this political strife over a crush". He's an outright parody of himself in every way, in every scene (like him being all diva about his Karchess identity). Having his little toady around him (I'm not sure if that's supposed to be Arkatoir or not but I do know he mispronounces Kyle's name) serves as a good balance to the energy of his character, so I think that's well done. But I also can't help but find him obnoxious, and while I think he actually can sing, his voice cracks a lot at bad times. I certainly don't love him like I did his novel character, but then given that this is a stage adaptation I think all of them are a bit more shallow than in the story proper. This is, of course, not taking into account how thoroughly unpleasant he becomes after Michaela's death, but that's somewhat in character, so.

-I question a lot of the costuming choices that aren't based directly on the novel appearances. Minis, for example, does not look like a French minister at all.

-Reina is very good at playing both Riliane's harsh, cold side, and her playful, childish side. But these two sides don't always feel like they come from the same person, which I'm not sure is a credit to the way the character is played or a detriment. It does make for a frightening shift when her murderous declarations come after a childish tantrum (like her declaring war on Elphegort). She is, also, very good at singing, which is notable considering how at least half the other cast is not so good.

-There is a neat little callback during the revolution that I liked--Germaine is introduced as fighting the palace soldiers for fun (and winning) to show off what a brash tomboy she is, and she fights those same soldiers the same way later on (it's kind of sad, actually, as they don't want to fight her).

-The framing of events near the end is actually somewhat interesting--it blends together the green invasion with the revolution, intermixing Michaela's death with the main emotional climax of the plot. The whole play in general feels rushed and lacking in enough time to truly develop all it's trying to accomplish (like, for example, WHY Michaela's death is such a big deal for everyone), but this part is actually well executed. Also note that Michaela was burned alive in this version (Ney spreads a rumor that Germaine is a witch who set the fire).

-I'm not exactly an expert but the fight scenes are decently choreographed and enjoyable to watch (though some of the extras are a bit lackluster in their performance, imo).

-I do like how they blended Chartette and Mariam's fight with Germaine and Gast's--it's a good way to save time without Gast there (I mean, his primary contribution outside of being a Final Boss was the Venom mercenaries causing tension in the country, and there isn't enough time for that so I understand cutting him out too), and has some depth with Chartette moved by Germaine's strength and determination into helping defeat her instead of continuing to defend the palace. We also get to see Mariam as the badass she is, which is nice. Though, I think the song they sing while they're fighting would be better if they weren't clearly running out of breath from the actual physical fighting (I know lip-synching is taboo in SOME circles but having the song pre-recorded might have helped? I don't know).

-I don't know what to make of Ney--partially because she's one of those people that speaks too fast for me to really understand, but I'm also not sure how we're to take her character without all the backstory and latter-end plot relevance behind it. She's certainly creepy, which I suppose is the most important thing. She does seem to have the same role--a double agent for the queen of Marlon--but it's severely watered down by the lack of Prim's presence in the story.

-I know that it's leading up to something heartwarming, but there is something kind of creepy to me about Allen shouting "TAKE YOUR CLOTHES OFF" at Riliane. And in general, I find a lot of the emotional moments undercut by the shouting melodrama of the acting. But, there is something interesting in Riliane actively agreeing to Allen's twin switch after he talks her into it, rather than being tricked into it like in the novel. The depiction of the tradeoff is good too, showing Allen literally taking her place at the guillotine as he monologues his feelings to make it more clear what it is he's doing, with us actually getting Riliane's perspective on the whole thing whereas her emotions on his switch weren't really explored properly in the novel.

-Honestly, I didn't mind the way the revolution ended either. It's...kind of supposed to be a dreary end. That's the point--Germaine's quest for vengeance only served to bring harm to the people she loved, and while they did depose Riliane, who was a genuinely terrible monarch, the ultimate structure of the country with nobles on top remains unchanged for generations afterwards. Germaine being killed sucks, but then if this is a standalone there's really no more need for her character (and killing her is what Kyle tries to do a few years down the line in the books anyway, for the same reasons too. It's also sadly in character for the version of him in this musical).

-I would also suggest that instead of people calling him Kyle, they follow his toady's lead and call him "Kael" instead.

-I actually think Riliane's declaration that she's evil at the end is meant to be...more an expression of her lack of self-worth. When she's escaping she expresses doubt as to how to be a good person, and shock that Allen would give his life for her in spite of who she is. When she says "I regret nothing, because I'm evil", I don't think that's meant to be taken as a boast. I think really the big thing is that this story is made to be a tragedy, not necessarily the Daughter of Evil series' idea of growing as a person. Though, that doesn't mean I like the ending with her telling Clarith to bow to her necessarily--I think it kind of exists just to be a bookend of "this is the Daughter of Evil" rather than giving the audience something to chew on after they leave the theater. They had a perfect opportunity to capitalize on the idea of Clarith and Riliane being similar (lonely people that had someone die in their place, sort of) and bonding over that, but they missed it.

In conclusion: Eh, I liked it. I wouldn’t necessarily watch it again, but if I could ever see it live that might be nice.

#()price speaks #i do not think it's the best thing ever #but i think some of the hate it gets is unfair #even if i find the novels superior as a story #i don't see the point in getting worked up and angry over a musical changing things #which is what musicals do all the time

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