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maxwell-grant · 3 years

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Any thoughts on Darkman, the Liam Neeson movie? I heard it was originally going to be a Shadow movie.

I love Darkman very much, but I've realized recently that this love comes with some pretty bittersweet feelings at the story behind it.

Michael Uslan: I was going to produce a Shadow feature film with Sam Raimi, but Sam got consumed by back-to-back movies and we ran out of time. We were headed in a good, period piece direction and managed to do so without relying on yet another bout with Shiwan Khan. I later had another major director passionate to do The Shadow, but a person at the company wanted to do a modern day TV series instead, which ultimately did not go... - comment saved from a post in The Shadow Knows Facebook group

For those of you who only now got into The Shadow or don't remember, for much of the early 00s, when The Shadow basically had no current projects and Conde Nast was taking down webpages and fan content left and right, the only things that kept this "fandom" alive were occasional fanfics (many of which are gone now), and the dim light in the horizon that was the rumors that Sam Raimi was finally going to make his Shadow film. Dig back on The Wayback Machine for Shadow web page and you're gonna see this as consistently the only thing they had to look forward to in regards to the character. These rumors floated around for over a decade, at one point Tarantino was even supposed to direct it, but he confirmed in 2013 that it wasn't going to happen. At least, not with him at the helm.

The project has been dead for a while now, and Conde Nast seems to be shuffling around plans for the character, and I deleted my Facebook months ago so I haven't kept up with any news, although it seems the James Patterson novel wasn't received too well, so I'm not sure what other plans they have in the pipeline.

Back in the 1970s, after the release of Richard Donner's Superman and in line with The Shadow's pop culture resurgence, thanks to the paperback reprints and the 70s DC run, there were plans to make a Shadow feature film, and there were quite a handful of scripts being tossed around for the following years (Will Murray states most of them were horrible), several names attached to the project at one point or another. The plans died down a bit following Gibson's death and only really picked up again after the 90s, and of course we all know that the 1994 movie came out with spectacularly bad timing. From what I recall, it seems Sam Raimi wanted to make his Shadow film in the 80s, was unable to secure the rights, and then just made his own version, which would go on to be his first major motion picture.

Even after making Darkman, Sam Raimi still wanted to make The Shadow. I guess that's ultimately the bittersweet part for me. I imagine the current state of Shadow media would be significantly better if Sam Raimi, who was a fan of the character and the pulp version (and even knows of The Shadow's connection to Houdini and stage magic), got to make his Shadow film, years before Blood & Judgment, years before Burton's Batman made it impossible for a Shadow film not to be compared to it, in a time period where it wouldn't have had to compete with The Lion King and The Mask for box office. And second, I have been drawing up my plans for Shadow projects for, what, 5 years now? And I have just barely got my foot off the door as a filmmaker. Sam Raimi had a decade-long career as a cult filmmaker before he got turned down, and decades later, after becoming a household name in charge of Marvel's biggest icon, the project still fell through. It doesn't exactly get my hopes up, y'know.

I love Darkman, it's the best Shadow film that doesn't technically star the real Shadow, and it works pretty well on it's own regardless of that association, but I do get pretty sad looking at it from the outside, because I just can't help but think on what it could have been.

In some aspects I do think the film benefits from not being about The Shadow proper, because it means Raimi got the freedom to do whatever the hell he wanted. The character of Darkman already existed separately from Sam Raimi's plans for a Shadow film, already carrying off the Phantom / Universal Monster influence, and what Raimi did was basically combine the two ideas together.

He took the basic iconography of The Shadow, a terrifying urban crimefighter in coat and slouch hat, and add in other Shadow traits like his mastery of disguise, his disfigurement, and that wonderful scene where he's invisibly running circles around a panicky triggerman while laughing maniacally, a moment which definitely feels like Raimi taking a second to indulge himself to do what you can call The Classic Shadow Scene with a character he's, for the most part, succesfully convinced us (and Conde Nast's lawyers, most importantly) isn't supposed to be The Shadow.

But then he filters these through his own influences and style to make him a new character, so instead of a mysterious mastermind with lots of resources and a enigmatic background, instead he's a disfigured and psychotic scientist with a vengeance against those who made him that way. He's like Night Raven, in the sense that he's built off traits that The Shadow has, but develops them differently to the point he stands on his own as a character. It's The Shadow combined with The Phantom of the Opera, filtered through a 1930s Universal Horror lens, played for greater tragedy and a dash of Evil Dead 2 wackyness.

He hides away in trashed up ruins and bickers with a cat, he has fits of rage that make him endanger innocents, he has a doomed love affair, and sometimes he gets so batshit he gives us hilarious moments like "TAKE THE FUCKING ELEPHANT" and "SEE THE DANCING FREAK! PAY - FIVE - BUCKS! TO SEE THE DANCING FREAK!". Moments that really show why he was such a good fit for Spider-Man despite the liberties he took with the source material.

I think the big thing that helps to make Darkman works as a property in it's own right is also that, ultimately, these influences are ultimately at the forefront of it, and the core of it works on it's own. Darkman is a believable, engaging character in his own right, one who tells a story that would be more at odds with The Shadow proper.

In some aspects, Darkman tries to be The Shadow, he is forced to become The Shadow by literally picking the clothes off a dumpster after he escapes the hospital, and it's a miserable, wretched existence, in a way rather befitting his status as a legally safe knock-off. He is a creature of nightmare who lost his face and takes on a dozen others to fight crime by turning terror against them, except he is still just a man in the end, and no man was ever supposed to live like this.

Raimi was also inspired by the Universal horror films of the 1930s and 1940s because "they made me fear the hideous nature of the hero and at the same time drew me to him. I went back to that idea of the man who is noble and turns into a monster".

He originally wrote a 30-page short story, titled "The Darkman", and then developed into a 40-page treatment. At this point, according to Raimi, "it became the story of a man who had lost his face and had to take on other faces, a man who battled criminals using this power"

A non-superpowered man who, here, is a hideous thing who fights crime. As he became that hideous thing, it became more like The Phantom of the Opera, the creature who wants the girl but who was too much of a beast to have her

I decided to explore a man's soul. In the beginning, a sympathetic, sincere man. In the middle, a vengeful man committing heinous acts against his enemies. And in the end, a man full of self-hatred for what he's become, who must drift off into the night, into a world apart from everyone he knows and all the things he loves.

For the role, Raimi was looking for someone who could suggest "a monster with the soul of a man"

It's the fact that Darkman is ultimately played for vulnerability and tragedy that really sets him apart. While I wouldn't go far enough to say The Shadow is a man with the soul of a monster, still, the difference in presentation is still there when it comes to these two. The Shadow is The Other, Darkman is You. Darkman is the victim of extraordinary circumstance that affects his life, The Shadow is the extraordinary circumstance that affects the lives of others. People react to The Shadow, Darkman reacts to people (and rather poorly).

One is the man who takes off his skin (or yours, staring back at you) to reveal the weird creature of the night ready to prowl and pounce and cackle at those who think they hold power over it's domain, and the other is the monster who falls apart bit by bit until you are left staring at the broken man within who has no choice but to be something he was never supposed to be.

The Shadow is The Master of Darkness. Darkman weaponizes the dark, but in the end, he's still just a man, lost within it. Not everyone can be The Shadow, and you would most likely turn into Darkman if you tried.

#replies tag #darkman #sam raimi #the shadow #pulp heroes #universal monsters

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kitkatopinions · 3 years

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Can we talk about the rampant bi/panphobia surrounding Yang "looks at guys like they're fresh meat in the first 3 volumes and chibi" Xiao Long? Blake's gets brought up a lot as 90% of her reason for existing is to be the romancable NPC, but it's hardly talked about with Yang. She has shown express interest in guys. Even if Bees goes canon, it's not a Bi/Lesbian ship. It's a Bi/Bi or Bi/Pan ship or what ever other possible identity that doesn't erase Yang's attraction to men. I get the whole wanting rep thing but there's more lesbians in RWBY than any other LGBT identity and they aren't really that good in terms of representation. Do we really need another angry/aggressive/problematic lesbian in RWBY? And whenever it does get brought up, Lesbian!Yang fans always go "oh, it's just comphet". Um, excuse me? Isn't comphet not supposed to be a thing in Remnant?

Okay, so there's a lot to unpack here, and I do get why you're so frustrated because as a bi person, it gets so frustrating dealing with not only a huge lack of representation, but also feeling boxed out of, undervalued by, and invalidated by your own community sometimes. I myself have been really frustrated and even hurt by the way many RWBY fans (and specifically Bumblebee fans) have talked about Blake and Yang's sexuality, like they would be less gay or less rep if they were bi, how shipping them with men is 'wrong' because it's 'straight behavior' and 'validating the straights,' and I got particularly annoyed once by a post that claimed that people only shipped Yang and Weiss so that they could force Blake - who they claimed was a canon lesbian - into a relationship with a man. I think it's clear why people talk about Blake's status as bi more than Yang's - Yang has one moment in eight seasons where she acts clearly attracted to men, whereas Blake has had two canon romantic relationships with men, Adam being her ex and her having gone on a date with and kissed Sun on the cheek. When people dispute Blake's status as a bi, sometimes they (rightly) come at it from the point of view of 'this is just my own personal headcanon for my own benefit.' But too often, Blake's attraction to men is dismissed outright and fans try and find every excuse to invalidate it so that they can insist that Blake is a canon lesbian. That's pretty openly biphobic imo. (Also I don't agree that 90% of Blake's character is a romancable NPC. I think maybe she's become mostly not an active character who only really exists as support and romance, but the idea that it's 90% of her overall show character is weird to me, Blake is done dirty by the show but that doesn't mean she's not a character for the first five seasons.)

But Yang is also worth talking about. Because of the fact that her moment of displaying clear attraction towards men is brief and early in the show, many fans have just... Thrown it out entirely, and decided that not only does it not count, but that anyone who brings it up is living in the past and is stupid for paying attention to the early seasons. That's obviously really dumb. The idea that after the first five seasons, Yang is displaying clear romantic attraction towards a girl for the first time, she is now one hundred percent a lesbian in canon because she's only displayed romantic attraction towards men once... That's also rooted in biphobia. Being attracted to men doesn't just suddenly go away because you're attracted to women and vice versa, no one chooses to be bi, gay, straight, ace, whatever. If Yang was sexually attracted towards men at seventeen, that part of her doesn't stop existing just because she's sexually attracted to women too. The thing is, headcanoning Yang (or even Blake!) as a lesbian is totally fine. I think the RWBY creators did say that sexism, racism, and homophobia doesn't exist in Remnant, but like ??? Idk why they'd decide something like that if they were gonna make jokes about Jaune and Qrow wearing skirts haha laugh at the non-gender-conformity of men, and if they'd write the first five seasons with literally one gay character, while tons of straight relationships that get credence, everyone else expresses no clear romantic inclination towards the same sex for five years of the show running. And we're supposed to think there's no heteronormativity at least? Cardin and Jaune both have clear toxic masculinity problems that Jaune grows out of, but we're supposed to think that toxic masculinity has nothing to do with any sexism or homophobia, however internalized? I think if people want their fans to believe there is not sexism or homophobia or racism in their fake world, they need to make good and sure their own internalized issues don't leak into their work. So I don't think it's wholly invalid when people decide that in their headcanon, they think Yang just acted like she was attracted to men because she thought she should. I especially think it's valid for people to headcanon that Yang had acted like she attracted to men because she thought she was. She was only seventeen, seventeen year olds put on behavior that they think is cool and she is the niece of Qrow 'wink at Winter to piss her off' Branwen, and Yang could've realized maybe during school that putting on behavior was all that was, and that she isn't actually attracted towards men and likes girls - specifically the girl dancing with Sun at the school ball. That's perfectly valid as a headcanon. But that's all it is, a headcanon.

Yang is not a canon lesbian and it's perfectly valid and supported by Yang's canon interactions for people to consider her bi or pan, and people can even headcanon her as ace if they want. Trying to demand that other people see fictional characters as the sexuality you prefer them in is just going to drive wedges, especially when so much venom seems to be directed towards bi characters, with others acting like they're literally less rep if they also have romantic interactions with people of the opposite sex. Like, people literally have the idea of "I love that Blake is bi, but I hate that people are shipping her with men or talking about Blake's romances with men and idk why the show put any focus on her romantically interacting with men." Like, sure, okay, so you support bi characters so long as they don't be bi too obviously. But... I'm getting off topic.

Here's the thing... I would caution not to get too deep in this "there's too many lesbians," concept. We're supposed to all be one community, supporting and fighting for each other. The problem isn't that there's too much representation for lesbians, the problem is that there is not enough representation for bi people, or pan, or ace, or trans men, or trans women, or non-binary people, etc. We don't have to wish less for other gay people to wish for more for ourselves. I agree that disregarding Yang's moment of attraction to men maybe isn't the way to go, but it's not that there are already enough lesbians in RWBY. There are only three side characters (by the way, two of them aren't confirmed lesbians, just because they're in a relationship with each other,) two of whom made a very minor appearance in all of two or three episodes and will likely never return to the story. As you say, the rep that lesbians have gotten in RWBY isn't very good. Them desiring more representation is perfectly valid, and I even get them wanting that representation from Yang, despite her single moment of lusting after boys in season one. That's a perfectly understandable desire. I myself want gay Neptune despite him expressing interest in women. It's not wrong. The only thing that's wrong is villainizing and mocking people for their own very valid ships like BlackSun or Yang x Jaune or Yang x Mercury or Blake x Ren or whatever ships people like. I'm sorry that I can't agree with you here, but if there was a scene in RWBY where Yang discusses her feelings for Blake and says that she realized she's a lesbian... I might not be particularly happy with the writing staff, because I already heard there's an element of disregarding Blake's former relationship with Sun in things like the comics, which is frustrating as a bi person. But I would be happy for the people who would find in this something that speaks to them and makes them feel like their own experiences are represented. Sometimes I can feel excluded from the LGBTQ+ community due to my attraction towards men, and that's hard, but I'm not going to start devaluing the victories of other gay people because of it, I'm not going to start getting upset when they get representation, or when a character they love claims an identity that reflects their own.

I do get where your frustration is coming from though, and it's perfectly valid to feel upset and exasperated both with the way MKEK write their queer relationships and in how people in the fandom tend to disregard the bi identity of characters.

#rwde #anti rwby #rwby criticism #rwby critical #representation in rwby

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thefanficmonster · 3 years

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Hey Vy! 📚🌻 Here!

How is your week going? My roller skates just got here and I'm so happy omg! My protective gear haven't got here yet so I'm trying not to fall but a almost hit my face so many times- i have to stop for some time now because I need to clean my room :_: but here's your three words of this week: Paradise, curly, radio

A lot a lot looot of loveee,

📚🌻.

Hi darling 📚🌻 !

Please be extra careful until your protective gear arrives, I'd hate to hear you've injured yourself 🥺 Anyways, hope you have fun with your roller skates (always stay safe though)! 🥰

Here comes a short drabble with your three words! This one’s gonna be a little different though - no OCs and not for the Resident Evil fandom, but rather the How To Get Away With Murder fandom, more specifically - for my favorite relatioship/characters on the show! Hope you enjoy!

All my love, Vy 💌

Better

Laurel Castillo x Frank Delfino (How To Get Away With Murder - AU: Canon Divergence; AU where the characters tolerate each other XD)

Warnings: Slight spoilers (Nothing too major though), Swearing

Laurel runs a hand through Chris’ curly hair, admiring how peaceful he looks now that he’s finally asleep. He’s got a fever that’s been giving him crying fits for two days now. Having to deal with a sick two-year-old while simultaneously trying to keep up with work and her final studies has been exhausting to no end. She’s been receiving some help from Michaela who seems utterly desperate to keep herself busy at all times, even when she’s supposed to be relaxing just so her mind doesn’t spiral into the void of loneliness she’s fallen victim to as of recent. Connor and Ollie have babysat for her a few times as well, another gesture she’s incredibly grateful for. Asher has offered to look after the toddler too on numerous occasions but that’s one offer Laurel’s never taken up. She appreciates him offering her his help, but everyone would justify this action of hers considering how reckless Asher can be at times - aka 90% of the time.

The Keating 5 has come through for her when it comes to both looking after Chris and keeping up with her studies, proving their friendship to be one of those rare ones. However, Keating 5 aside, she’s received the most amount of help from one particular person. Someone who’s prepared to turn up at her doorstep at three in the morning if she needs him.

Frank Delfino

The two had a rocky start, to say the least. Their on-again-off-again relationship as colleagues with benefits. Their constant back and fourth. Then came Frank’s disappearance and Laurel’s involvement with Wes, all occurrences blowing huge holes not only in their romantic relationship but also their friendship which has always been a second away from ceasing to exist, all things considered. Friendship is hard to maintain with such a strong, hypnotic and magnetic romantic connection. Some people just weren’t meant to be friends, ever. Frank and Laurel are among them.

Speaking of Frank, the man’s been rather concerned lately, the lack of calls and messages from Laurel worrying him more with each passing day. He overheard Michaela mention Chris’ fever in passing conversation with Asher when she was bailing on a date with the excuse of helping Laurel look after the sick toddler. He’d been surprised to hear that, initially thinking it was a cheap excuse of Michaela’s to avoid spending time with Asher considering things between them have grown sort of complicated. But when Connor confirmed this claim of hers, Frank couldn’t help but grow very concerned. He’s grown used to knowing what’s going on with Chris and Laurel before everyone else so having someone else be in the know while he was kept in the dark made him feel oddly jealous and hurt.

And he could only hold his worries and assumptions at bay so long...

Responding to the knock at the door, knowing who it probably is at this hour, Laurel contemplates whether opening the door would be the right thing to do. She’s double-checked that it is indeed him, that bringing her more uncertainty than comfort, oddly enough. She’s been doing her best to distance herself from him and his life for quite a while now. She’s been meaning to give him an opportunity at a normal life, away from her mess and chaos. She’s been wanting to give him an escape from the fiasco she always finds herself dragging him into.

But he still comes back to her, by his own choice.

“Laurel, it’s me.“ His coarse voice reaches her from the other side of the door.

“Yeah...“ She trails off, forcing her hand up to turn the lock, “...I know.“

Opening the door reveals the concern on his face a lot better than she saw through the peephole. It makes her heart swell up and all she wants to do is throw her arms around him in a tight embrace. But she can’t do that, she won’t. She’s not willing to give him any reason to hold onto her whatsoever. In her eyes, he deserves a lot better. And maybe he does, but he doesn’t want anything or anyone better.

“Hey...“ he mutters, unsure of how to start of the interaction. Things have never been easy between them and, looking back, it seems like they’ve only gotten harder. Somehow, their connection has only grown stronger though. A connection he wants to uphold and a connection she wants to sever.

“Hey...What are you doing here so late?“ Ok, that’s a sustainable question considering it’s 10PM, but then again he’s come to her apartment at odder hours. Only difference is, those other times, she called him over.

“Though I’d check on you. You’ve been rather dead with calls and texts recently. Also missed Chris, heard he had a fever so I got worried.“ She hears the undertone of accusation in his voice loud and clear. It makes her bite her lip with guilt she wishes she wasn’t feeling, especially when she’s supposed to be doing the right thing.

You can’t decide for him. If he wants to keep coming back, that’s on him.

That thought hasn’t crossed her mind yet. It almost feels like she’s letting herself off the hook, feeding into the temptation to embrace what her and Frank have.

“You hungry?“ Now that is a bit more out-of-place question, but it’s accompanied by her taking a step back to allow him inside, “I ordered Thai food I never got to finish.“

He follows the signal, growing a bit more hopeful now that she’s let him in the apartment, thinking maybe she isn’t avoiding him after all. “Loss of appetite?”

“Partly.“ She replies, hearing the click of Frank locking the front door before following her in the kitchen where the hanging lights are dimmed. “Chris was throwing a fuss all day, I couldn’t really do much but focus on him.“ She motions to the living room where the coffee table is littered with sheets of paper and highlighters, some of which have found a spot on the floor as well. “Not to mention the ton of crap I need to do for school and work.“

“Would’ve been a lot easier on you had you called me, you know?“ He comments, walking over to the fridge, taking out the two packs of Thai takeout, suggesting she had been expecting him. She wasn’t really, she was just quietly hoping he’d show up at her doorstep.

“Didn’t wanna bother you. It’s nothing serious, a simple cold, I can handle it.“ She replies, approaching the small vintage radio in the corner of the kitchen counter, turning it on to a quiet volume so some tunes could fill the silences that are bound to occur frequently with the amount of tension between them.

“You could never bother me, Laurel. I’ve told you countless times before...“ putting the food he’s now moved onto a large plate into the microwave and turning the machine on, he turns to look at her, “I love Chris like he’s my son. In my eyes, he is my son and I love him with all my heart. Just like I love you.“

Instead of allowing the deafening quiet to take over them again - the soft music from the radio aside - Laurel lets the loudness of her mind surface. She lets it seep through the barriers she built in order to protect herself and protect everyone around her from herself: “Do you never stop to think you deserve better, Frank? Better than some grown-ass woman with her life in shambles and a kid whose father’s dead. Do you not think you deserve someone who knows what they want and where they’re headed with their life? Someone who...” her confidence is slowly leaving her to fend for herself and so she does, the best she can. “Someone who can cook and do their projects and work and take care of her son simultaneously. Someone better, Frank! Do you never want someone better?”

She hadn’t realized her eyes had been darting all over the place, looking everywhere but at him. How that her gaze has once again landed on his face, she feels her stomach turn at what she sees. That concerned, hurt and disappointed frown only further fuels her guilt, making her wish she’d never opened the door in the first place.

“Laurel, where’s this all coming from? Did Bonnie say something to you cause if she did...“ she cuts him off.

“No, she didn’t. I’ve been thinking about it for a while now actually. All I am to you is trouble and a burden and...“ he gets back at her, cutting her off himself.

“And you’re none of those things, Laurel. Your view of yourself is interfering with your perception of this, of us, of what we have. You and Chris are my family. The family I choose. It’s not about deserve or idealism - it’s about what brings you joy and makes you feel complete. What and who makes you feel at home. Who is your home.“ Always cautious of her personal space, Frank takes a hesitant step towards her and another when she doesn’t back away. “Lord knows it’s no paradise, but what we have is special, Laurel, and I wouldn’t trade it for anything in this world.“

Against her best attempts at keeping her emotions at bay, Laurel feels her eyes brimming with tears as she gazes up at the man she’s never been in the clear with. She never realizes what he means to her until it’s too late. She only realized she loved him when he disappeared. She only realized he meant the world to her when he had already slipped from her grip. And she refuses to continue that pattern.

Instead, she’ll work on finding out what they are exactly and even if she doesn’t reach that epiphany, she’ll still embrace it, no matter the oddity and unfamiliarity of it all.

“Thank you.“ she manages to whisper past the knot in her throat.

“Don’t thank me, you should never thank me for the things I do for you or Chris. I choose to do them. I choose to be here. I choose you because I want you. You and no one else, Laurel.“

Just then, the microwave beeps, alerting the two that their close-to-midnight meal is warmed up. Taking the plate out and placing it on the counter to cool down a little, he turns to her with a small smile on his face, “Let’s see what’s so troubling about that project of yours, shall we?”

And just like that, the tension has lifted, allowing for a smile to appear on her face as well. That ease of the mind is not something she’s been very used to throughout her life, constantly having shit to worry about and people to deal with. That’s why she’s never wanted to be a burden on someone’s back. She’s never wanted to be a major part in someone’s life, at least not until she gets her shit together.

And although she might never get her shit together, she’s got someone she loves and someone who loves her by her side. Lord knows he hasn’t been on top of his own shit either. At least they’ll be figuring it all out together.

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fyexo · 4 years

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200926 SuperM Open Up About The Encouraging Message Behind Their New Album "Super One"

The group's members are some of the most skilled performers in K-pop history; Kai and Baekhyun are from Exo, Taemin is from Shinee, and Lucas, Taeyong, Mark, and Ten are from NCT and its Chinese sub-unit WayV, respectively.

When they join forces as SuperM, however, the result is incendiary — otherworldly vocals mesh with indomitable rapping to create powerful performances that leave viewers reeling long after the group has left the stage. Don't believe me? Just watch the group perform their breakneck power anthem "100" and prepare to feel absolutely exhilarated.

It's been less than a year since their debut, but SuperM has already made history by becoming the first K-pop group to debut at No. 1 on the Billboard 200 album chart with the release of their debut EP SuperM — The 1st Mini Album. It's an achievement that youngest member Mark credits in part to their fans, who banded together from multiple fandoms to support their debut; it was also a great source of inspiration for SuperM to work even harder so their next album would be even better than the last.

Now, SuperM is back with their first full-length album, Super One, out Sept. 25.

AKA, today! With the world currently under lockdown due to the pandemic, it was SuperM's desire to create an album that would give fans encouragement and, according to Kai, "take [them] to a place of hope." The 15-track album still includes the group's signature powerful sound with songs like "One" and "100," but also highlights the softer side of SuperM with tracks like the gospel-infused "Better Days" and funky "Together at Home" too.

We sat down with SuperM in a roundtable interview to discuss their new album, Super One, and how they hope its overall message of coming together will bring comfort to fans around the world during the pandemic.

1. After the release of your first EP debuting at No. 1 on the Billboard Hot 200 chart, did you feel any sort of pressure while preparing to release this album?

Mark: It was our first EP release, you know? So to have that No. 1 achievement itself was an honor. It was our first EP as SuperM and to have our fans really combine their strength to support us really felt great, so it motivated us to really work harder on this album. We put double the amount of effort we put in on our last album into this album, so we believe that the quality went up that much as well. We can’t wait for fans to listen to Super One too now.

2. What made you decide to combine two songs together to make your title track "One?" It feels reminiscent of Shinee's song "Sherlock!"

Taemin: When I recorded “Sherlock” with Shinee back in the day, it was one of the first times we were doing this [type of hybrid song creation], so it felt very experimental. At that time, I was a little worried about how it would end up sounding at the end of the recording process, but I think after recording [this kind of song] with “Sherlock,” I was able to see how this song would come to be as “One.” A lot of people might think that mixing two songs together is quite tall of a task, but we were able to do it and I’m really happy with the results.

3. What’s your favorite track on the new album?

Baekhyun: “Big Chance” is my favorite. I personally like taking big chances and looking for big opportunities, so just the title itself caught my attention.

Taemin: I would probably say “Wish You Were Here.” I actually think this would’ve been a great title track as well. I personally think all of the members did a great job in recording [this song] and I love how it sounds. This song is actually one that’s more unexpected from SuperM, because audiences usually expect a performance-heavy song and I think the message within it is one that really brings the whole album together and conveys the message that we’re hoping to convey with Super One.

Kai: “Tiger Inside” is one of my favorites because when you listen to it, you just feel energized and you feel that strength coming from the song. And I feel like it’s a song that showcases all of the members really well.

Mark: I honestly really like “Wish You Were Here” as well, but I’m going to say that I really like “Infinity” right now. "One" is a song that combines “Infinity” and “Monster,” but I feel like “Infinity” has its own story and dynamic and you can feel a different side [of it] than you can feel from “One” when you listen to it.

Taeyong: I'll pick “Together at Home,” because I like that message. Overcome this situation and—

Mark: Netflix.

Taeyong: And just Netflix.

Lucas: My personal favorite is “So Long” because the melody is really addictive, like once you listen to it, it hooks you right away. I really think it’s a song that fans will all appreciate.

Ten: “Infinity!” Like Mark said, the dynamics and storytelling were outstanding on that track. Also, I was so lucky that I got to try this rap/vocal kind of style that I had been wanting to try for a long time on “Infinity,” so I enjoyed recording it very much.

4. What is something you learned about yourself while creating Super One?

Baekhyun: One of the new things that I learned while preparing for this album in particular was that we were able to stretch our limits even more. As you know, we released "100," "Tiger Inside," and now we’re releasing the title track “One." Each of these songs has such a great concept and choreography — just putting all of that together was really challenging, to be honest. I think that was something that I learned when we were able to come together as a group and face that together.

5. Given that each member comes from another major group, how do you make sure that each member has their moment to shine on Super One?

Lucas: Visually, we all have different aesthetics that go along with our individual styling and I think that kind of points to each of our charms. In our upcoming music video for “One,” we all had different designs and colors, but it all still stayed connected. I feel like through those points that we give out through our art that it adds a charm for each of us.

6. Super One features a wider variety of musical styles and influences than your first album. How do you feel SuperM’s musical identity has grown with this new album?

Taemin: I would say that while putting together this album, we were able to [bring a greater sense of] harmony between the members than we did initially. Everyone is just so skilled, but with this album, we were able to experiment more and try out these different genres and see how it all comes together.

8. Which song on the album have you personally come to fall even more in love with in time, and what made you fall in love with it?

Ten: I would choose our ballad song “Better Days” because at first when I listened to the song, it sounded kind of old — seriously, it sounds like it’s from the '90s, a very old pop song. But after we recorded, I realized the song goes well with us and the concept we want to release because the lyrics are very healing. I think when you listen to “Better Days” you can get that energy that us together, we can make a better day.

9. SuperM has all of these modes of transportation that are featured throughout your music videos. At a time when we can’t travel and the world is kept apart, what does this represent to you and how do you want it relayed through the album?

Kai: If you look at our past music videos, there are helicopters, tanks, and a lot of cars. I think that goes really well with SuperM’s concept as a group. That’s why those modes of transportation were kind of illustrated through our music videos in our past songs. We can’t really travel right now because of the pandemic and everything that’s going on, but we really hope that, just like these modes of transportation take you somewhere, that this album can be that mode of transportation to take you to a place of hope and to a higher place where everyone can enjoy themselves and be happy.

10. Looking back on all of your journeys so far, what is one event that you considered a failure at the time, but now you feel it ultimately led to your success today?

Taeyong: As artists, when we start out our careers, I can’t help but feel like a lot of the moments that we go through feel like we’re still trying to get there, or like we’re not fully there yet. There are a lot of moments where it might have felt like a failure, but actually everything was a step to build up to what we have now.

Mark: When I first debuted, my hair was very short, so my bangs were above my eyebrow by like four inches and I honestly hated it during my debut. But coming back to it now, I feel like it was alright.

Taeyong: It was cute!

Mark: It was appropriate just for that age, you know! Just for that time in my life.

Ten: Like Mark, mine is the same. During the debut days like “The 7th Sense,” when I saw my own hair, I was like: “This is not going to work out.” But now I miss it so much; I’ve got to get it soon!

Mark: Hair is an important factor for a debut for us!

11. Mark and Taeyong, you both wrote and produced on the last two albums. When you're writing a song like "100" or "Together at Home," what is your creative process like?

Mark: Most importantly, I feel like whenever we have to create or produce something for our raps and rap making, the main theme and the meaning are what’s most important. This particular album, for “100” or any other song, the main meaning for the whole album is to really bring hope and to encourage people that unison is the only way for us to get through this and through all of our problems. So we kind of used that theme, in a way, to interpret each and every song. So for “Together at Home,” we really felt like, we’re all staying together at home, so what are the benefits and what are the goods that we can bring out of this? What are the ways that we can connect through our songs while we stay at home and everything? So I feel like that process worked for every other song and we enjoyed that while making the raps as well.

Taeyong: Also, the most important thing is the performances. This time, Taemin hyung fixed our choreography [so it has] more detail. I think, this time, our performance is really dope and great and untouchable. I think I’m very excited — please look forward to it. Thank you!

12. What is the key ingredient needed to transform a song into a SuperM song?

Kai: Each member's individual charms are a main ingredient, but if I had to add one more spoonful, it would be the producing and direction of our executive producer Lee Soo Man. As you know, SuperM is a group that is really strong with its performances, so that’s a really key ingredient that’s needed when making a SuperM song.

13. And finally, how has SuperM evolved since your debut together?

Baekhyun: With this new album, especially just the process of recording it, we were able to emphasize the message within the album. All of the songs have their own message, but Super One is all about unity and being unified. I think in terms of the sound of the music itself, we wanted to make sure to relay a message of positivity rather than just focus only solely on the performance. This was an album where we were able to focus on the messaging more, so I think we’ve matured in that sense.

Emelyn Travis @ Buzzfeed

#exo #kai #baekhyun #t: interview #200923 #e: interview

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lightsandlostbells · 4 years

Text

wtFOCK season 3, episode 1 reaction

So! It’s a million years too late, but I decided to talk about wtFOCK season 3.

I had fairly positive feelings about S1 of wtFOCK. It was the scrappy underdog of the Skam remakes, in a way, and what it lacked in polish, it made up for authenticity. I was very willing to overlook its flaws because of what I perceived as genuine attempts to connect with teenagers. I was really, really holding out hope that future seasons would improve on its flaws. And ... well. (Disclaimer: I still haven’t seen S2. Sorry! I just failed to keep up with all the remakes and S2 is my least fave so I didn’t feel that motivated to make it a priority, even though I did like Zoë a lot in S1.)

Heads up - I didn’t care for this season. A lot of people did, and I would never, ever want to ruin someone’s enjoyment of something, even if I personally didn’t like it. So please take this as a warning that I have a lot of negative things to say, and don’t read if it’s going to harsh your buzz for a pairing or a story that you deeply love. However, I didn’t want to just be grumpy and angry the whole time, so I tried to think of constructive ways to fix certain problems I had with this season. No guarantees that they’re satisfying solutions, but it was an interesting exercise.

Also, I didn’t watch this in real time, and I paid barely any attention to fandom reactions and/or drama, so it’s very possible that I am missing context, or that pacing issues didn’t register with me quite as strongly, etc. If one of the actors ate a live dolphin on Instagram, and then got into a fight with fans on Twitter about their right to eat live dolphins, and now fandom has canceled the problematic dolphin-eating actor, I legit do not know, do not come at me if I’m like “This actor is doing a good job” with “Wow, didn’t know you stanned dolphin-eaters??? YIKES.” Honestly, for the purposes of just grading this season on a storytelling level, I would prefer not to know anything about the cast or crew unless it directly has an impact on the show itself.

Clip 1 - House party

OK, I did like this flashy intro shot, immersing us in the Wild ‘n’ Crazy Teen Party of Wild ‘n’ Crazy Youths.

Amber rejecting every dude in site … When Will Gay Vilde Rise. (I know there have been some f/f storylines in the remakes, but if there’s one involving an actual Vilde, please let me know.)

Luca saying “We’re not walking around in a high school drama” - you can hear the rimshot.

I do like the transition from the party up to the bathroom, that’s a cool shot. wtFOCK’s directing so far is more ambitious than it was in S1.

Robbe is clearly a mess and they acknowledge his problems at home right off the bat.

We go back downstairs. wtFOCK’s version of Magnus knocks his drink on Amber and she gets pissed. She gives him the finger and he falls in love. Still a better love story than S3 Daphne/Basile.

It’s a small point, but I don’t get why we didn’t get this moment before jumping up to the bathroom with Robbe and the others? It would be a far smoother transition, just on a practical level and also in the sense of fully immersing us in Robbe’s POV after a quick update with the other characters.

Belgian Magnus joins the guys in the bathtub and announces he’s in love. They roast him when they find out it’s Amber and start talking about hot chicks. Moyo starts grilling Robbe about his type of girl, in a crass, sexual way.

This is honestly not a bad start to Robbe’s story at all. Robbe is clearly more reluctant to get into his interest in girls than Isak was - Isak was more fuckboyish from the start, Robbe seems like he’s about to start squirming and doesn’t really give an answer to Moyo’s questioning. Which is fine! I think it’s fine to start off the POV character at different stages of performing heterosexuality, as long as it’s taken into account in the writing of the character’s whole arc. The fact that the boy talk is so crude and sexual just ramps up Robbe’s alienation.

I swear, I will never understand how the girls in this scene just go into the bathroom and pee in front of strange boys … like maybe I am just a ~prude but that seems like a recipe for disaster and I would not trust those little fuckers to not be secretly recording me on the toilet.

Her peeing is kind of a power move, like marking her territory.

Also L M A O at Robbe starting to flirt with the girl while she is pissing … like now this comes off as a kink thing. OK, Robbe. Jokes aside, this gets across the same meaning as the scene with Isak: he starts to flirt with her because he was encouraged by the other guys.

Uh, flush the toilet, lady. And use some TP.

Now this version of Emma seriously radiates some Natalie Portman in The Professional vibes.

She orders him to stand up and then starts kissing him. I get way less of a vibe of Robbe’s mad game with women (like how Isak negged Emma into kissing him) and more like this girl is the love interest out of an indie romcom, all mysterious and spunky. She kisses him like once after taking his jay and then leaves. The boys all crack up. Moyo tells Robbe it’s his responsibility to get the weed back which lmao, no it’s not, all you assholes were there and could have intervened.

This scene is perfectly fine and even effective! Not entirely the same vibes as OG, but it still has a purpose and some obvious cause-and-effect, and there are some nice stylistic choices.

Clip 2 - Party pt. 2

Robbe is now making out with mystery girl. We already have a divergence in characterization from OG. Isak was being performative about making out with Emma and shut it down once the guys left. Robbe is making out with this girl because he wants to be straight, I guess? If it’s not to appeal to his friends, it’s likely that this is for himself. Again, I have no real problem with this change if it’s incorporated into Robbe’s overall arc and characterization. My thing is, if you’re writing this scene, do you realize the differences in characterization? Or do you think this is interchangeable from what happened with Isak? The latter is where you run into problems, because then the writing shows lack of nuance. I bring this up here because, well, you can guess how I feel about later events.

Luca seems rather aggro about the mystery woman, which I assume is because she still has the hots for Robbe?

It makes me laugh that we got this first-person POV as Robbe leaves through the garage, because of the “Smack My Bitch Up” song being played in the last clip (the song had an infamous music video, banned from MTV in the ‘90s, that was from a first-person POV). But again, WTFock is trying harder with the cinematography and direction, good for them.

Robbe ditches the cops by jumping on the bike with Belgian Emma. OK, I get it, Belgian Emma is too cool for school.

I have kinda mixed feelings on that, actually. I mean, I’ll be honest - I don’t see why any Emma has to be made into someone more palatable. Definitely don’t demonize her or present her in a misogynistic way! She deserves sympathy and dignity as much as any character on a Skam. But … it’s fine if she and the Isak aren’t like, amazingly compatible except for his sexuality. The Even character is supposed to be the one who really shakes up the Isak’s world! The Isak is supposed to be lost and confused and drifting and then Even comes in and is someone he can really open up to. Not just because he’s another guy who’s into guys, but because Even’s personality meshes with Isak’s so easily while still challenging him and introducing him to new things. In a way, it does kinda diminish the effect of the Even if the Isak meets ANOTHER mysterious stranger who’s an awesome person. Or at the very least, it lessens the feeling of the Isak’s detachment from everything.

And again, this could work if the writing realizes it. You can totally craft a subtly different arc from the pieces of Isak’s season. It’s just that (speaking from the future) I do not feel this is what happened.

Clip 3 - Tagging time

I don’t think it’s necessary to break up all the parts of a longer scene/set piece into a bunch of different clips. If you start a scene at 16:00, it’s OK to have the clip take place over several hours. You don’t need to chop it up unless there’s a reason why this pacing might benefit the story. Honestly, if you’re watching in real time, I think this method is often less effective at building tension/emotion/etc. But wtFOCK is not the first remake to try this tactic.

... this part where Robbe and Noor put on masks sure hits differently in 2020.

Belgian Emma’s name is Noor and she takes him to a warehouse, or something? It’s very secret and Cool Kid. And IDK, it’s fun, but again… I think making the Emma that much of a fun mysterious cool exciting person is very much diminishing the effect of Robbe’s isolation. We had a good start with establishing that alienation while he was in the tub, but now his reactions to her rad hipness feel way too sincere and act against the major character conflict of his season. He seems nervous to go with her, but not because he’s with a girl, just because it’s a risky scenario.

Noor hands Robbe a spray paint can and leads him to tag a wall. There’s a guy taking pictures. So I’m assuming one of the guys in masks is the Even? The POV seems to shift to the photo guy briefly, like we’re seeing Robbe through his eyes. And even though I’m not a fan of POV breakage, I do think this is a cool way to introduce the Even without really introducing him, you know? If that’s him. (EDIT from the future: Ummm, so that wasn’t Sander, right? I’m rewatching and it doesn’t look like him. Soooo that part has even less relevance than I originally thought. Got it.) (EDIT from the future beyond the future: @hellswolfie tells me that this actually was Sander, so I am just bad at recognizing people, lol.)

Robbe and Noor take off their masks briefly to kiss. Uhhhh, did the scene really just … cut off there? Because L M A O what a weird choice. We don’t get to see what Robbe creates on the wall, which could be a great way to establish his character, AND we end with him on a smiley, contented note which does not boost his POV at all. It legit just makes him seem like a guy who’s into this girl, and sorry, even if that’s his public persona at this point in time … that’s not what we, the audience should be getting at all.

Clip 4 - Boy squad morning after

Robbe skateboards to meet up with the guy squad. Again, the directing is far better IMO than in S1.

Robbe got the weed back so that conflict is over, I guess.

He gets a call from his mom and stops laughing with the guys and gets serious. He walks away to take the call. Then he starts to open up to Jens about his mom freaking out, and then Moyo spots some girls so they all ditch Robbe to go chase girls, and WOW, Jens, please turn in your Jonas card.

Don’t love that we didn’t hear his mom on the phone. There’s no reason not to let us hear what she’s saying since it would be in Robbe’s POV AND as it turns out, they just tell us about the situation with his mom right off the bat, anyway, so it’s not like there’s much point in hiding it.

This was effective in a sense to establish how girl-crazy his friends are, as well as setting up Robbe’s isolation, which I was worried wouldn’t come across as strongly after meeting Noor. But I think they could have NOT mingled in his mom issues to make this part more effective. Like if the goal was to show more of Robbe being alienated because he’s gay, then that’s not entirely successful, because there are non-gay reasons why Robbe wouldn’t join his pals on the girl chase. I mean, even a horny hetero Robbe might not want to chase girls with his bros because talking to his mom is a downer, so it’s not necessarily because of his sexuality. Plus he just found a girl he liked in Noor, so apparently, he’s not on the prowl. What this part IS communicating that the Belgian guy squad doesn’t have much interest in their friend’s family struggles, which ... ehhhh, maybe not great in the grand scheme of the storyline? These guys can be flawed, for sure, but we do need them to care about Robbe’s well-being. And Robbe tried to open up here, so the flaw is not in him, it’s in his friends. I’m going to let it slide because Jens was offering to help Robbe in the first clip, so it’s not like he’s been a totally insensitive friend this whole time.

Clip 5 - Phone call from Robbe’s dad

Noor jumps on Robbe and they make out. She shows him the garage and they talk about the tagging world or w/e. Again, not sure why they are portraying Noor as like … a legit love interest. I don’t get much of a sense of discomfort from Robbe. Isak was just not into Emma and was uncomfortable when his bathroom flirting came back to haunt him. And I don’t think it’s TERRIBLE not to follow that route, but you can’t just make this huge change if you don’t account for it in future episodes and Robbe’s overall arc. (EDIT from the future: Which I don’t think they do, otherwise I wouldn’t care.) Every scene should count in furthering Robbe’s character, especially this early in the season where we’re just getting to know his particular struggles. If Robbe is trying to convince himself to like girls, then I want to see definite vulnerability in how that’s portrayed.

I blame the directing/writing more than the acting for the lack of discomfort, since I sensed Robbe’s lack of comfort just fine in the bathtub scene.

Makeouts get interrupted when Robbe’s dad calls. Again, not sure why we aren’t hearing both sides of the conversation? Because we’re in Robbe’s POV. Why wouldn’t we hear them? This seems like they just want to create some suspense or mystery over the situation with his parents. But it’s perfectly possible to do so while still letting us in on the phone calls. In fact, it’s arguably more intriguing to let us listen to some phone calls where we get some vague details but nowhere close to the whole story. It’s not like Robbe’s dad is going to explain the whole situation to his son in an exposition dump. We can get some crumbs to tease us, while still keeping us in Robbe’s POV and not feeling like the show is cutting corners.

Robbe gets mad at his dad and tells Noor he needs to be alone. Closeup on Noor as Robbe walks away. OK … why? Why on her and not Robbe when it’s his POV? Why the focus on Noor’s feelings when we really need to be establishing our protagonist’s mindset in the beginning of this season? I’m not saying her feelings don’t matter, I’m saying that well, this isn’t her story. It would be better to see Robbe’s pained reaction as he leaves.

Clip 6 - Robbe’s dad drama

Jens comes running up while Robbe is being sad. Robbe says that it may be necessary for him to stay with Jens because Robbe’s mom has been committed to a mental health institution and Robbe doesn’t want to stay with his dad. Ah, so I guess we’re hearing that right away. Which honestly makes not hearing his phone calls to his parents even funnier - like you lock us out of his POV arguably for the suspense, but then you end the suspense anyway by just telling us what happened a scene or two later? All right. I guess there’s suspense in that we don’t know exactly what’s up with the mom, mental health-wise, or the root of Robbe’s problems with his dad.

It occurs to me that maybe they just didn’t want to hire people to voice Robbe’s parents? Or put in the time to film both sides of the conversation? I have a hard time believing either of those because it’s so lazy, but.

I mean, just turn the phone conversations into text conversations if you’re not going to let us listen to Robbe’s parents on the other end.

They go and play football without really resolving the situation. Sad music plays while Robbe joins in. Also, someone was calling Robbe, and I assume it was his dad, but it’s not shown.

These clips are VERY short and choppy so far. You could easily combine the last two, so Robbe is with Jens instead of Noor when he gets the other phone call from his dad, leading into this conversation.

We know immediately about Robbe’s mom’s situation instead of it being a mystery, like with Isak. Which, again, isn’t inherently wrong, but then I want them to DO SOMETHING with it.

Clip 7 - Jens and Jana

Oh hey, Jana got her braces off! IDK if that happened last season or this one, but it was something I liked, seeing a teenage girl with braces on a teen drama. That rarely happens unless it’s a joke or a plot point.

OK, they really need to film Robbe’s phone so I can actually see who’s calling…

Jens tells Jana about Robbe’s parental situation. I’ll note that first she asks if something’s up with Noor, so news of the Robbe/Noor relationship must have traveled really fast since they’ve only just gotten together. Like Robbe and Noor are clearly dating, going off Jana’s comment, and not just hooking up. Then Belgian Magnus wants to know about hooking up with Amber. Meanwhile Robbe is having a conversation off screen with his dad? Guess it wasn’t important!

And that’s the problem, obviously. It’s his POV season, anything you decide to show SHOULD be important to his storyline.

Also … it’s fine that we’re focusing on Robbe’s shit home life since that’s relevant to his story, but almost nothing in these clips has set up Robbe’s attraction to men, and only slightly his lack of interest in girls, which was negated by him seeming very interested in a girl afterwards. And knowing how long this season takes to get going with the Even character, it’s a pretty glaring omission.

So we don’t see Robbe’s phone call with his dad, but he gets snappy about it when Jens asks. One of the boys (I can’t tell who) says that Robbe’s on his period. Gonna be real, I don’t care for this squad so far.

What was the point of this clip? We already know Robbe is having problems with his dad, which is the most relevant part to the plot here. We shouldn’t be wandering from Robbe’s POV so much, but even taking that into account … we already know Belgian Magnus likes Amber, so that’s not necessary to establish. And we didn’t need to see Jens tell Jana something we already know. I assume he tells her so Zoë can find out and offer a room, but there’s no reason to see Jens tell Jana this, so. Filler clip.

Clip 8 - Zoë and Robbe at the lockers

Yeah, Zoë offers Robbe a place to stay here, but again, we didn’t need to see the news travel down the Jens-Jana pipeline. It could have been condensed more efficiently.

Robbe doesn’t want to because he says his dad wouldn’t approve. Zoë says she hopes things get better with his mom and Robbe at first snaps and tells her to leave it, then says thanks. This is an actual good interaction, writing-wise, kudos.

I liked Zoë a lot in S1 and I like her here again. I really should watch her season despite my Noorhelm allergy. The scene of them kinda smiling at each other across the hallways reminds me that this is probably the strongest relationship in the whole season, tbh.

Why was this clip so short? So many of these clips could have been combined into one. I mean, Zoë could have said, “I heard from Jana who heard from Jens...” without us needing the previous clip. Although, did Robbe really want anyone else to know about his home life? Lol @ Jens just blabbing Robbe’s private business.

So I guess they didn’t set up the Eskild situation in S2 that would lead to Eskild offering Robbe a place to stay?

Clip 9 - Robbe gets roommates

Robbe is in Zoë’s room. He sees her “everyone you know is fighting a battle” quote next to the mirror, which is a detail I actually quite like in context with the rest of this storyline and Even’s condition. It’s a good Skam thesis overall.

I guess Zoë met with Robbe’s dad. Zoë calls him a tough cookie. Robbe doesn’t want to speak to him. They bond a little over their parental problems. Again, a nice detail.

Belgian Eskild appears and teases Robbe a little before announcing that Robbe’s dad has agreed to let him stay in the flat. Yay!

Oh, so Senne is staying there, too? At least they didn’t do a pointless Noorhelm breakup in this version.

Milan (the Eskild) tries to go in for a hug and Robbe isn’t cool with it, so at least that’s something with Robbe’s issues with men. (I think? The thing is, Robbe also does not really know Milan, so it’s not as weird that he’s not ready to be affectionate with a near-stranger.) (EDIT from the future: Keeping the S2 almost-kiss that’s referenced in the next clip in mind, I can rationalize this moment as a continuation of that awkwardness from Robbe’s POV.)

They chat with Lisa (Linn) who wants to direct Robbe on what he is and isn’t allowed to touch in her room, heh. Milan and Zoë have cute interaction, and Robbe looks happy. I do like the flatmate vibe so far, they seem fun.

Clip 10 - Robbe and Milan

Senne and Zoë get cute. I haven’t seen S2 so I can’t give my opinion on their version of Noorhelm, but I did think a few things about them were less creepy in wtFOCK’s S1 than in OG. Milan talks about how they’re a Disneylike couple and Robbe laughs.

Then Robbe apologizes for something that evidently happened in S2, where Milan tried to kiss Robbe at a party? Again, I didn’t see the scene. Milan says he’d never try to do that. He offers Robbe a hug, which he accepts - tbh I don’t know if Robbe SHOULD accept based on where he is in his character arc, maybe he should have more skittishness? But it’s a nice character moment, at least. They really have to make up for lost time with the Robbe-Milan relationship, so I can get that they need to establish some closeness fast.

Not being in the wtFOCK fandom, I kinda wonder if there was backlash to that scene from before and this is damage control, LMAO.

I feel like you could’ve tweaked this to be more representative of Robbe’s issues, like have him stress here that he’s not gay, because it’s a sweet scene but again, I don’t feel like this episode built up Robbe’s internal dilemma very well. You could make this not just about smoothing over whatever bump there was in this relationship, but also about setting up some internal tension with Robbe’s sexuality issues. Multi-tasking - it’s great!

EDIT from the future: OK, I tracked down the S2 scene, and yeah, while it illustrates some of Robbe’s internalized homophobia, I really think you needed to carry this through to this clip. Because that was a very public situation, and they made a point of emphasizing onlookers’ reactions. I feel like you need to show that Robbe’s internalized homophobia isn’t just about external reactions, but internal struggles, because ... so far, that’s what it is? Like what is he doing with Noor otherwise?

Clip 11 - Housewarming party

Party is underway. Yasmina is there and is friendly with Robbe. It sounds like they’re working on a school project together. Aaron (Magnus) and Moyo are talking about hot chicks again.

Noor arrives and the boys tease Robbe about how far he’s gone, Robbe looks pretty chill and happy until Moyo says Robbe’s getting laid tonight and you can see the nerves and reluctance take over. Okay! A character detail that actually works for his arc! Yes!

Partying, makeouts with Noor … sorry but they are wasting a lot of time with this relationship. ROBBE ISN’T INTO HER. Here’s the thing: I don’t want to demonize any of Evak’s female “love interests,” right? It’s pointless anyway because Evak is the endgame pairing, Sonja and Emma aren’t “threats” in the end, but also because they’re not bad people just for wanting to date these two guys who happens to want each other instead. And I think you can do interesting things with Sonja and Emma as characters. I’ve read Sonja fanfic that’s really good!

But when it comes down to it … this is not the story of Robbe/Noor, and there’s a point where it feels like there’s too much development for something that is really intended to be a speed bump in Robbe’s journey.

I guess it’s a pet peeve of mine when gay stories devote a ton of time to het relationships, to the point where it begins to overshadow the main gay relationship. Love, Victor did this to an absolutely ridiculous degree. (I actually made notes for Love, Victor reactions, but hesitated to post them because 60% consisted of me typing I DON’T CARE ABOUT THESE STRAIGHT ROMANCES.) And I GET it, this is an experience many gay kids go through in their coming out journey, but also, less charitably… you don’t need het romance to dominate everything. You don’t need to make this about how a gay person being gay hurts a straight person. I genuinely appreciate that once Isak kisses Even, it’s fucking over with him and Emma, that plot thread is done.

Anyway, Noor tells Robbe he’s so fucking hot and Robbe looks more uncomfortable, moreso when she wants to see his room and he goes off like he’s headed to Mordor.

Aaron checking out Amber … okay, again with all the het. I don’t care!!! This is not important right now!!

Noor pushes Robbe onto the bed, ugh please don’t have them Go There.

She takes off her top and Robbe touches her boob like he’s sticking his hand into a porta-potty. We see his discomfort so at least this part is effective and relevant to Robbe’s arc. Noor is taking off her bra when the boys come into the room, wanting the weed. Okay, you dumb fucks, you’re teasing your bro about getting laid and yet you think it’s cool to enter his room when he’s with a girl? I mean, that’s a lucky break for Robbe, but his friends are extra stupid.

The mood is killed, Robbe goes hunting for weed. Episode ends.

HOW I WOULD REWRITE THIS EPISODE:

Lmao, some of my changes sounded a lot like “be like OG Skam S3.” Because Skam S3 was well-written and made sense. But I tried to think of edits that worked with what wtFOCK was presenting, not just repeating OG.

(I’m also repeating a few things in this section that I said above, btw)

While this episode doesn’t make me angry or anything, it’s got a serious problem with dithering. The first clip is a solid start to the season, but afterwards, so many of these clips feel like filler. There’s a lack of substance to them. It was hard to write about them because they ended up feeling like two minutes of nothing.

Did we need to see repetitive mentions of Robbe’s troubled relationship with his dad? No, it’s an important plot detail but we could have established that more concisely in fewer clips. Did we need to see the process of how Robbe comes to stay with Zoë, Senne, and Milan? No, not really. Or at least not dragged out over at least three clips.

I don’t feel like I’m in Robbe’s head to the extent that I should be so far. Some of this is because the show just flat-out locks us out of his POV, like not showing the phone call in the Jens-Jana clip. But a lot of it is also because of the narrative dawdling. There’s just not as much to analyze unless I bring in Skam season 3 and project what we know about Isak onto Robbe. And that’s not a good way to adapt a story.

The framing of Robbe/Noor needs to change. Combine the bathroom intro with the aborted sex scene - the boys are sitting in the tub, teasing Robbe about getting laid, so he makes out with Noor and they go into a bedroom where he’s clearly not into this, and then Moyo and Aaron come in asking for weed because Robbe still actually has the weed from the bathtub at this point. Or do what Skam France did (can’t believe I’m referring to Skam France) and have the arrival of the cops interrupt the makeout/sex session and Robbe takes his cue to exit.

But frankly, it’s not great to have Robbe acting or looking too cozy with Noor, like this is a legitimate romantic arc except when it gets to the sex. The point is that this isn’t a romance. Even if you want to show some cuddly, non-sexual scenes with Noor, you have to show more of Robbe’s reluctance and fear throughout.

Show Robbe’s fucking phone conversations with his parents!!!! Good Lord. He’s not ordering a pizza. These are important aspects of his story. Capitalize on that family tension, show us what a bad place Robbe is in at the start of this season.

Now, about the lack of Even in this episode. Not introducing Even is a bold move, but not necessarily a smart one. Even’s introduction in Skam is not just the intro of “the love interest” - he’s the catalyst for almost everything in Isak’s story. Consider that in episode 1, Isak is seen mostly unhappy and bored - he’s distraught after kissing Emma, he’s checked out of his friends’ lunchtime girl talk, he zones out staring at his teacher’s boobs, he doesn’t want to be at kosegruppa. Isak is actually very passive and just going through the motions, doing what people tell him to do. But once Isak meets Even at kosegruppa - well, that’s when Isak wakes up. In the next few clips, we see Isak taking action. And sure, they’re small actions, searching for Even online, watching the Even video over and over, asking Vilde if there will be more kosegruppa meetings. But we can see that Isak now cares about something, he’s paying attention. Of course, Robbe’s story doesn’t have to follow the same arc. However, it does the season a huge benefit to get him intrigued by something at this point, so we the audience are not just sleepwalking along with him for a few episodes.

There’s also just the simple fact that we have only 10 episodes to establish a love story and make us care about the Even character, and it’s a very risky move to waste too much time. If you are really killing it with the rest of Robbe’s arc, this could still work, but ... well, that’s not what’s happening here.

If they didn’t want to full on introduce the Even directly, one thing they could do is subtly and indirectly find ways to include him in the narrative and create some mystery. Let’s say Robbe sees the Even’s artwork somewhere and is like whoa, that’s cool, and we can tell that it resonates with him. Or he admires Even’s graffiti, or it makes him laugh, whatever. Basically Robbe has some kind of emotional reaction to a thing the Even has created or done, which helps to set up that relationship even before we officially meet the Even.

If we want to add a little more, perhaps Robbe sees a mysterious dude in a mask tagging a wall, but they get interrupted by the cops or something and have some kind of brief but intriguing interaction with each other, and Robbe’s like, who was that guy in the mask? Or Noor takes Robbe to the tagging place, the police/security bust them, Robbe and Noor get separated, and Robbe gets helped out by the Even so he can escape. So it’s an important moment, lots of adrenaline, we can frame it like there’s a sudden ~charge~ between them (ooOOOooo the Even helped Robbe stand up and their hands touched like this was a fanfic, etc.), but he doesn’t learn Even’s name, maybe he doesn’t even see his face because Even has a mask on, so Robbe spends part of the next few episodes trying to figure out who that guy is, casually asking Noor if she knows a guy like that, keeping his eyes open. Maybe we have some fakeouts where Robbe thinks he sees the Even again but it’s just a false alarm. He’s on edge, eager to know more about that mystery guy, and so are we. Bam, we have “awakened” Robbe from his deep sleep.

If you’ve seen Netflix’s The Get Down, there’s even a scene like this where Jaden Smith’s character gets caught tagging by the cops, he runs and flees with another young dude, and they have a moment where they recognize each other as graffiti artists they admire. While watching that scene for the first time, without any context or spoilers, without even knowing if there would be LGBT content in that show, I immediately thought, “This guy is his love interest.” Not even because it was overtly romantic. Because the way it was written and shot told us that this meeting was important. Because they had an instant connection. Something similar could have worked for Robbe and his Even. But in any case: it would have been best to establish something between those characters, even if it wasn’t an “official” introduction.

Stop focusing on Aaron/Amber when it’s not in Robbe’s POV. Reverse the scene at the beginning with Aaron videotaping and Amber getting spilled on. She gets pissed, he falls in love, and then we follow him upstairs and we meet the boy squad. That is a very obvious, very clean transition that doesn’t interrupt Robbe’s POV as it technically hasn’t started yet. So IDK why they didn’t do that, lmao.

Some changes with the Milan relationship:

Tweak the apology scene to be more representative of Robbe’s issues. Have Robbe apologize while still stressing that he’s not gay. Have Milan be chill and not question that statement, but maybe Robbe is so defensive that it comes across as unconvincing.

Then have Milan be the one instead of the boys to interrupt the Noor almost-sex scene. Milan wanders in acting drunk, haha Milan, he’s wacky. Robbe doesn’t realize it (though the viewers do if they’re paying attention) but Milan is only pretending and is “subtly” rescuing Robbe because he realizes, based on the earlier scene, that Robbe might be struggling with his sexuality and he wants to give him an escape option. (Although I still think it’s best to combine the not-sex scene into the opening clip, but this could work, too.)

Basic questions we need to be asking, clip to clip: what is the conflict? Where is Robbe’s head right now? Why is this scene necessary? How did this scene come to be - what’s the cause and effect here? How does it advance Robbe’s story? Is it redundant? How do we tell this story in a narratively economical manner?

#wtfock reactions

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bigskydreaming · 4 years

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Idk guys, could people maybe just try taking me at my word every now and again? I mean, what exactly is it that people think I get out of these posts?

Is it popularity? Do you think I make these posts to be popular? Because I took several months upon moving into Batfandom a year or two ago before actually making these kinds of posts more than once in a blue moon, and I was waaaaaaaaaaay more popular initially than I am now. I lost literal scores of followers once people realized this is a Thing for me, and could probably get most of them back if I just....stopped. Given the number of people who seem to follow and unfollow me regularly, as if just to see if I’m ‘done yet.’

So.....no, its not about popularity.

Is it about note counts? Do you think I make these posts to get notes, by being controversial, or with ‘the anti’s’? Because if you look through my archives you’d see that without variation, I consistently get FAR less notes on these posts that I do compared to like....literally ANY other content I post. When I write a Batfandom meta indepth, its rare for me not to get hundreds of notes on it. When I write a post like the last one examining survivor-related topics in depth, its rare for me to get up to even fifty notes.

So......no, its not about note counts.

Is it about garnering sympathy/pity? I do rely on donation posts sometimes, and I might see gains there due to people having sympathy or pity for me that they’re afraid to tangibly express online due to the controversial nature of many of my posts, but that might show up there, right? Well, sure, except for the fact that....my sob story is in no way reliant on these more controversial posts to exist, and in fact would be a hell of a lot more compelling when it comes to attaining donations if I DIDN’T add in all these other posts that are blatantly alienating to a lot of the people who were like “you had me at abuse/incest/rape survivor who needs major surgery as an end result of his gay bashing way back in college but then you lost me when you said I am a literal rapist for reading and writing specific fics like wtf dude?”

So.....no, its not about garnering sympathy/pity or even donations.

Is it about just being interesting or standing out or getting attention? Do you think I make these posts like a broken record because I have nothing else to talk about? Because uh, I have my pet topics but I can literally write essays on pretty much ANYTHING and everything about Dick Grayson or Scott McCall or Bobby Drake or plenty of other characters. And again, like I mentioned above, consistently get WAY more attention and engagement from people on any of those. I don’t need even my survivor status to be interesting, thanks, and I don’t even actually care all that much about it at the end of the day, because anyone who’s followed me for any length of time knows I would be perfectly happy to talk for a week straight about my OCs or original content even, as long as I have even just one or two people engaging with it, lol.

So....no, its not about being interesting or getting attention.

Is it about being a know-it-all, regarded as having certain expertise or being an authority on a certain topic? If so, that’d be a weird choice given how often I talk about how being a survivor is NOT a monolithic experience, and the fact that I center myself in my posts on the subject is not because I’m presuming I speak for everyone, but rather specifically to keep my views and experiences tailored specifically to ME and my own experiences entirely....the only viewpoint from which I AM qualified to speak with authority. I don’t post what I post the way I post to be viewed as the be-all and end-all of surivor views, and I don’t make it about myself and my experiences to wave my survivor credentials around and shut down opposition - if I did, it’d be blatantly ineffective given the amount of anon hate I get and derailing my posts experience, most of the time using information I’ve freely offered up in my own posts in an attempt to trigger or silence me. I post the way I post in these posts for one reason only, usually to my own detriment - I’m simply trying to humanize a topic that far too many people IMO deliberately try to view as abstract and hypothetical in order to distance themselves from the real issues. Not to mention like, I know a great deal about a lot of things? There aren’t many other former stuntmen or actors posting in this part of the internet that I’ve seen, I could focus on my own expertise there, or in any number of academic topics I’ve explored a lot just out of personal interest. Hell, I’ve been called a ‘Dick Grayson expert’ more than once, and could easily just focus on my knowledge and insight of his character, if I weren’t so often alienating half his fandom with these posts, right?

So.....no, its not about being a know-it-all or regarded as having certain expertise or being an authority on a certain topic.

So really, when it comes right down to it, there’s only two things it could possibly be, wouldn’t you agree? Either I’m speaking from a place of honesty as to very real reactions and views I have on this subject, born of my own experiences and knowledge.....or I’m just speaking out my ass from a place of wanting to feel morally superior about something.

But does it really make sense for it to be the latter? If I wanted a moral superiority hill to die on in order to feel good about myself or whatever, do you really think this is the only one I could come up with, or come back to this often? Given the number of ways it seems to shoot me in the foot in the process? Oh, I know I have a certain tone when I speak on this subject. I know I ooze the same ‘you sound so dumb right now’ tone I accuse others of when I approach stuff like this, but the thing is.....all of that ALWAYS traces back to like...me REACTING off of something, not just randomly up and deciding hey this is a good week to be hated by bringing up something I know damn well 90% of my followers would be happy to see me never bring up again.

And for a guy who clearly LIKES interacting and engagement on this platform as much as I do, does that make any sort of sense at all? Maybe every now and then, but as often as I do post about this stuff, for as long as I’ve been?

Or could it possibly just be like.....I’m telling the truth, and this shit is really, truly exhausting in a way that I, and any other survivor it exhausts, shouldn’t HAVE to put up with. Its not like I came out of the gate swinging, in fandom at large or even this fandom specifically. It took time to get me just....tired of it. The same bullshit, every day, every week, without fail. And again, it all mirrors the same shit I’ve been hearing from people my whole life, to avoid engaging with the ways they weren’t even complicit in my past traumas, but just....inconvenienced by it. People talk a good game about being there for us, believing us, supporting us, but in my experience, the second something beyond a simple acknowledgment of status is asked for, the second something someone would have to ACT UPON is asked for.....the switch flips.

And that shit. Is. Exhausting.

I don’t make noise on this subject because I in any way actionably or actually benefit from it. I don’t even make noise on it EXPECTING to, at this point. I make noise simply because.....the subject deserves noise, and I deserve to make it if I make that choice, and for too much of my life that just wasn’t a possibility. And all of this bullshit, as a result? Make no mistake, its just bullshit. I don’t ever call it me being bullied or victimized or harassed or martyred, because its none of those things and I don’t regard it as those things. (Well I occasionally refer to that TW anon as harassing, but that’s because their behavior is not just limited to me and very much fits every textbook definition of the word and needs to be regarded as such). But the rest of it? Like, I don’t have a martyr or victim complex because I don’t feel victimized by this shit, lmfao. It really is just exhausting and irritating. It makes me tired and annoyed. Not harmed. Even being genuinely triggered by shit, which happens more than I care to have it happen, is at the end of the day still just an unwanted echo of a shout that I heard years ago, and an echo is never going to hurt me the way that initial shout did or have the same impact. I’ll never quite get how people seem so convinced that their anon hate or triggering effect is going to accomplish what nothing before this actually did or be the TRULY demoralizing impact I can’t move past or whatever, as opposed to just being irritating and frustrating in its hypocrisy, but well. Guess people are projecting about feeling powerless in their own lives, lol, whoops.

But just....the hypocrisy of all this grates. And the only thing I’m really looking for out of it, if I’m even looking for anything at all, is just even a few people over the years saying something as simple as “i never really thought about it like this but I can see it now.” Is it really that hard to just listen to people? My ‘voice of moral superiority/condescension’ in these things comes from the fact that I AM listening, I HAVE been listening, and that’s why I know for a fact that the things being said in opposition are all things I’ve heard MANY MANY times before, and refuted or seen refuted each time. Can some of you say the same thing about yours? Especially when that tone only comes up in posts that repeatedly reaffirm that you’re not actually responding to anything I’ve actually said or written, but merely your own idea of what you THINK I’m saying, or else just a viewpoint you’re comfortable refuting, even if its not actually mine and at best tangential to my own? When you can find something insightful in so many of my posts about a character we both like, and understand even the most rambling of my essays about Dick Grayson just fine, can you truly and with confidence say the disconnect when it comes to hearing and understanding what I say in these posts is all mine? Are you sure it has NOTHING to do with anything you bring into your reading of these posts from a place of defensiveness or preconceptions of your own?

Just....think about it.

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sombrz · 4 years

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The Evolution of Katsuki Bakugou and The Importance of Saving

after the last chapter, i couldn’t help myself and wrote down a huge...meta? description of a collection of moments? relating to bakugou’s ongoing arc with his increasing dedication to prioritizing rescuing others in his pursuit to be a top hero. feel free to add on if i somehow forgot something!

behind the cut bc it’s really image heavy!

CHAPTER 5

we’re introduced to the concept of combat vs rescue, win vs save - and of course it’s by comparing our main boys. they started on opposite ends of the spectrum, after all. deku’s all hero, no super. bakugou’s all super, no hero. so yeah, bakugou managed to get first place in the entrance exam without a single rescue point. which is a feat considering even iida managed to get 9 points and it was clear he wasn’t thinking about helping others until he saw deku’s bravery when uraraka was in danger. at this point, bakugou’s only interested in showing off. being flashy and tough, proving he’s the best!

CHAPTER 18

bakugou’s first rescue and he could give less of a shit! he saves deku from running into kurogiri’s portal here, not with the motivation of saving his life but to get him out of the way - he jumped into the fray in order to take down kurogiri. saving deku isn’t even a plus, really, it’s just a side effect.

deku’s still grateful though.

EXTRA 1: THE FIRST OVA (actually written by horikoshi!)

bakugou initially complains about having to be on rescue duty, but he still gets praised by thirteen for his efforts: many heroes struggle with the parts of heroism that they can’t easily solve with their quirks, and simply by manually pulling the stretcher up, he’s showing he’s capable of overcoming that. a beautiful hero, indeed. then, later, while he himself doesn’t rescue todoroki, he works in tandem with deku and class 1A to ensure that save AND their victory. and while iida, uraraka and asui give deku the credit of coming up with their plan, and he modestly returns the praise to everyone, he makes sure to give indivudual kudos to bakugou - because like this OVA, aizawa’s ‘twin pillar’ speech, all might’s ‘raise each other up’ speech, and the upcoming movie all prove: deku and bakugou work best when leading their peers together using the ‘save AND win’ mentality.

CHAPTER 65 + Ultra Archive Databook Omake

saves deku again, this time from all might. this is interesting because he’s doing this for both their benefits despite still not really having the ‘rescue’ mindset. he’s counting on deku to make it to the gate, but he was the one (by launching deku towards the gate to begin with) who assigned them these roles. deku as the runner, while bakugou distracts all might and therefore, shields deku from the brunt of the attack. he’s putting himself in physical harm for deku. but he’s not thinking it that way: to him, this is still just for personal gain (passing their exam) and due to (thanks to deku) a renewed sense of willpower and drive. he sees these actions as his own willingness to destroy himself for a victory.

and he’s definitely pissed later during the databook omake that deku went back for him, seeing no positives in deku’s innate inability to ignore others when they’re in trouble (especially when that someone is bakugou himself - since we learn during this exam that bakugou equates all might being able to stand against any kind of tribulation by HIMSELF and coming up on top as what makes him the strongest hero).

EXTRA 2: THE FIRST MOVIE (not written by horikoshi but i still wanna bring it up)

uraraka can’t fight back or escape the drones because she’d have to release her quirk to do so - which would put deku and melissa in danger. but when things look grim, who comes to the rescue? bakugou does! like his first rescue, he’s not doing this with the thought process of ‘oh i have to save my friend’ but rather, ‘hey i just got here and there’s things to fight and one of them is about to attack uraraka so might as well start with that’ but in this case, it’s....the action that counts! and the action was still heroic! he did it in a very dramatic way too!

CHAPTERS 79, 80, 85, 90

i decided to group all these together. it’s all in the same conjoined arcs and it’s a little more nebulous on whether it counts for this particular meta because, well, bakugou doesn’t really do any rescuing. i didn’t bother with the sludge monster scene because it’s pretty clear-cut but i think that this really set the baseline for all future bakugou development and he filled the role of the damsel in need of rescuing - so it definitely affected his perception of it.

things i wanted to point out: during the forest, he and todoroki are together since they ended up partners during the forest activity. at some point after (or maybe as it happened) the mustard gas filled the forest, they came across tsuburaba and todoroki decided to carry him through the rest of the way. todoroki also has to continually point out to bakugou that he should avoid using his quirk as to avoid further endangering their peers still in the forest (since, y’know, fire and explosions + wooded area = bad). for this entire time, bakugou is the hothead who just wants to fight and needs to be reminded that, hey, others could get hurt if you’re not careful. he barely pays tsuburaba any mind either, and we can probably assume he refuted it if todoroki even slightly implied they take turns carrying him or something.

he still helps out tokoyami even though he didn’t really need to, since todoroki’s fire would have probably sufficed on its own. so that’s nice! but then the convo switches gears to the fact that the legue of villains are here to kidnap bakugou and his friends all agree to be his [fandom voice] defense squad. EXCEPT, WAIT, WHAT THE FUCK? HE DOESN’T NEED ANY PROTECTION, THANK YOU VERY LITTLE, HE’S FINE BY HI - oh, yikes, and he got taken by mr. compress. i do like how he did listen to todoroki telling him to follow them, and must have stopped grousing about it long enough for the guys in front to not realize when he and tokoyami got taken.

uraraka’s the first to bring up that bakugou would probably feel bad about being rescued - because of his pride. that’s what leads deku to add the caveat of, if we offer our help to kacchan, kirishima should be the one reaching out - at this point, bakugou would hate help from anyone, even though he KNEW that he was a hindrance to all might during the fight, and deku knows from personal experience after the whole sludge monster debacle, but it’s less of a blow to his ego if it’s someone he doesn’t see as a threat, and he’ll be less hostile if it’s someone he recognizes completely as a friend. the fact that he’s starting to see anyone as a friend is a lot! and though he denies it later, that grin says it all - he’s glad to be saved. he’s thankful.

CHAPTER 110 (& 113)

this is also an interesting one. i wish more people did a bit of retroactive meta for bakugou during this arc, because everything he does really shows his mental state in the aftermath of his kidnapping. anyway, while the first part of the exam was to show off your battle prowess against foes (which, another interesting note, bakugou would have FAILED without kaminari), the second test is where you show off your saving skills. and this is NOT what bakugou does. his tagalong BFFs chastise him for his behaviour, but the ‘victims’ seem to realize bakugou is observant enough to know they’re low priority civillians. this doesn’t stop them from taking points off for his bad attitude though - because the thing about bakugou is he’s actually emotionally intelligent enough to understand other people (when not clouded by personal feelings), but he repressed his empathy at a young age and therefore struggles with acting appropriately without coming off as terrible. and he ends up failing because he presumably doesn’t try to alter his method and lets kaminari and kirishima do all the heavy lifting while being unusually complacent throughout - not even bothering to check out the big gang orca fight, despite apparently being aware it was happening.

but also, side note about the first test - where kaminari notes that bakugou held back on using his more powerful attacks because he didn’t want to hurt kirishima (who was on the ground) or kaminari. i didn’t include it as its own thing here since it more shows bakugou’s development in terms of teamwork, and not really rescuing - though i DO think getting kirishima back was on bakugou’s mind - but it’s still bakugou being pre-emptive and mindful of not hurting others and caring about his friends. sowing the seeds for his future motivations.

CHAPTER 120

after he failed his exam, finally vented his guilt and frustration, and beat deku in their fight - all might shows up with some words of wisdom! bakugou admits that all that ^ wasn’t what he wanted to hear, but a cool thing about bakugou is that he always absorbs criticism and advice and takes it to heart (ex: bakugou’s start line!) he’s not averse to changing himself to improve, and if his IDOL says that being a bit more like deku is the way to be the best hero: that he can finally put aside all that anger and all those misunderstandings, and instead rise up by helping deku and keeping pace with him? surpassing him? that saving people is just as important as the final victory? then there has to be some truth to that, right?

bakugou has nothing to do now but let all those revelations simmer, attend his remedial classes, and wait to be relevant again.

and so we’re now in a different ball game!

CHAPTER 207

let’s fast-forward a few months. bakugou’s been out of the spotlight for a bit, if you don’t count him getting his babysitting credentials, joining a band and just generally being more invested in ~friendship~. but we haven’t seen him fight anyone for a while! he automatically puts himself in the leadership position of team 4, annoys his friends by being bossy and impatient, same old bakugou, and then - wait, he throws himself between kamakiri and jirou to save her?

we finally see the fruits of his labour after deku vs kacchan 2. the old bakugou wasn’t a team player, didn’t care if anyone else got hurt as long as they didn’t get in between him and his opponent - him and victory. the new bakugou is still prickly, still has the same personality, still wants nothing more than to surpass the number one hero - but he’s had a change of heart. the new bakugou has discovered a new strength, and that’s the desire to rescue others.

CHAPTER 208

i don’t even have to say anything. class 1A does it for me. while monoma, tokage and class 1B are shocked beyond belief that bakugou is capable of changing...his friends are just proud and happy. at this point - seeing him day in and out - they (especially the ones he’s built up closer friendships with, like kirishima and kaminari) all know exactly how he thinks and feels.

we also get to hear that, before the fight even started, he straight-up put it out there: ‘if you guys are in trouble, i’ll save you. if I’M in trouble, YOU gotta save me.’ and that’s the next step, right? bakugou never put stock in protecting others, sure, but he was adamantly threatened by the idea of being the one that needed protection. because that would mean he was weak, right? he can handle anything by himself! except....his friends saved him in kamino ward, and maybe - his databook bio implies this too - time to reflect on it has let him see that...was okay. we saw in the license exam with kaminari, and during the culture festival with jirou and the band (both things that are brought up here) that he’s begun to - not just acknowledge his peers as worthy of respect, as he did with todoroki and yaoyorozu after the battle trial and with kirishima and uraraka after the sports festival - but TRUST them too. specifically here, he trusts that if he fucks up or if class 1B decides to target him, he can count on his teammates - on jirou, sero and satou - to rescue him and take over when he can’t do it himself. and they do, so well done!

CHAPTER 219

the sketch is from the volume extras: to let us know that bakugou attacked from up above in the air (and the lamp post) in order to make sure no bystanders got hurt from his explosions or todoroki’s ice. :)

anyway, this is his official premiere into the hero world! his first licensed fight, and it serves as a surprising template for how bakugou operates these days. for one, he has no qualms with teaming up with todoroki - whom he claims to dislike (haha, suuuuure, kacchan). two, he lets todoroki call dibs on the main baddie while bakugou takes care of all the lackies (in one fell swoop bc he’s THAT GOOD) - even though one could easily argue that there’s less glory in that. three, he’s aware of his surroundings and notices a civillian in danger at the same time as all might, moving quick to save her, whereas todoroki only manages to react in the aftermath - because, as we’ve seen, rescue is now firmly imprinted in his mind’s eye. if he sees someone in trouble, that’s going to be the most important thing to him. four, we find out after the fight that he prioritized saving everyone’s wallets and purses before blowing up all the lackies. and i love that bakugou’s more talented at snatching wallets than actual goddamn thieves. master cook, natural musician, battle genius, honour student.....pickpocket extraordinaire?

bakugou’s still rude to the civillian, still brusque with the pro heroes (even trying to act cool when faced with proud dad might head pats), but this fight showed us where his priorities lie - and it’s not what they were when he started school and couldn’t even garner a single rescue point.

EXTRA THREE: THE SECOND MOVIE (also not written by horikoshi but it seems he had more of a hand in it)

the movie’s not even out yet but it’s clear that the boys are going to be leaning HARD into their new shared mantra. defeating nine and his lackeys, in order to save everyone on the island, and personally motivated by protecting mahoro and katsuma in particular.

so even though we don’t know the nitty-gritty of what happens yet, i felt the need to include it. bakugou’s gonna be doing a lot of saving in this movie. i can tell.

CHAPTER 248

he doesn’t do any rescuing here. on the contrary, he and the multi-quirk boys almost let a couple people get run over by a truck head-on because they’re still too slow to keep up with endeavour. but endeavour’s words here are pointed directly at bakugou: he can’t treat hero work like school, he can’t make excuses for his shortcomings - because he has to work his ass off in order to save lives.

once again, the narrative ties bakugou’s growth with the lesson that the goal of heroism is to save other people.

CHAPTER 251

earlier that week, endeavour set the three main tenants of heroism: combat/suppression, evacuation and rescue. the intent was to show that a top hero has to do all THREE, instead of just one, but a lot of fans obviously instantly tacked one of those on each of our trio. i wasn’t surprised that most put ‘combat’ as the bakugou one. because, yeah, bakugou....battle instincts, feral boy, here to fight and win....

BUT THAT’S BECAUSE Y’ALL WEREN’T PAYING ATTENTION SINCE SOME OF YOU ARE ACTING LIKE THIS IS SURPRISING. so, let’s break it down - bakugou’s the first out of the car and first to activate his quirk. he’s so in the zone that he doesn’t even turn his head when catching his suitcase. and what does he do? he, ONCE AGAIN, just like in the ch219 fight, allows todoroki to be the one that handles the villain. instead, he uses his new supernova flashstep move to focus on RESCUING THE HOSTAGE. he catches ending by surprise, securing natsuo away from him, and blasts away to safety while also using his explosions to rip the other cars out of ending’s grasp, fully entrusting in deku’s ability to catch the cars safely and evacuate all the bystanders with zero injuries, and DEFINITELY zero corpses.

early bakugou would have immediately stormed for ending (then again, early bakugou wouldn’t have chosen to do this internship in the first place) but he’s not that guy anymore. we’re dealing with bakugou 2.0 now, and we have for a while now.

WOW, THAT WAS A LOT OF WORDS BUT I CAN’T WAIT UNTIL WE CAN KEEP ADDING MOMENTS TO THIS COLLECTION OF BAKUGOU’S LOVE FOR SAVING PEOPLE.

#luisa talks about fandoms #boku no hero academia #katsuki bakugou #bnha spoilers

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dropintomanga · 4 years

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Death Note 2020 - A One-Shot Deliverance of Meaningful Attention

What a return. What. a. return.

One of manga’s mid-2000s’ hits made a big impression on February 3 with a near-90 page one-shot that reminded fans why it had the impact it did. Tsugumi Ohba and Takeshi’s Obata new Death Note one-shot special brings the story to today’s times with a new Kira. I was left thinking about what this new chapter in the story had to say about changing the world when a lot more fear and anxiety has proliferated in the information age.

How do I sum this one-shot as short as possible? We get introduced to a young man named Minoru Tanaka, who the Shinigami Ryuk chooses as a new Death Note user. The two meet in 2017 when Minoru becomes depressed over his failing test scores in high school. Ryuk decides on Minoru due to his high IQ, but Minoru decides to delay possession of the Death Note until 2019 after inquiring about Ryuk’s Shinigami nature. When they finally reunite, Minoru decides to sell the Death Note auction-style on a live Japanese news broadcast and make his auction go viral on Twitter. His plan works as Twitter users rabidly make their offers online.

Things get even crazier when foreign governments get in on the action and Minoru, dubbed A-Kira by the new L (formerly Near), decides to let them make the offer. The U.S. wins the auction and the President (who clearly doesn’t look like a famous real person we all know) decides to use the Death Note for world peace. Minoru decides to use the money earned from the auction by entering it to various Japanese bank accounts for people ages 60 and under.

It later turns out the Shinigami King was furious about the Death Note not being used for its intended purpose. He instates a new rule - whoever buys or sells the Death Note in the human world will die. Once the seller receives money and the buyer gets the book in their hands, that’s it for them. When Ryuk tells the U.S. President about the rule as he was about to transfer ownership to him, the President decides to not take the Death Note. The Japanese economy starts to thrive, but Minoru would die a month later after his grand plan. Much to the chagrin of Ryuk, he wonders who else can make usage of the Death Note for a longer period of time.

Much like his predecessor Light Yagami, Minoru wants to bring some kind of positive change to the world. What’s unique was that he decides to not kill anyone at all. I mean, selling something that’s technically legal isn’t a crime, right?

It reminds me about idealism - something that is often frowned upon as one gets older. When you are younger, you get taught about how things like justice and strong morals/ideals matter. As you get older, you start to realize how fine the lines people walk in order to preserve a sense of order that may not be just. I read an article about the rising “eco-anxiety” in children who believe their lives are already over before they begun due to climate change. Reading that piece after reading the new Death Note one-shot made me think about how adults have passed on so much anxiety to younger generations without realizing it. Adults say that youth can do anything while also saying that the world will end.

In one part of the story, Minoru comments to Ryuk that IQ tests are a waste of time and aren’t a great measure of intelligence. Plus how does intelligence equate to making the world better? IQ testing is just a form of comparison that hurts everyone and may not address more life-concerning matters. It also doesn’t predict one’s future success in life.

Speaking of hurting everyone, the one-shot subtly references how the Japanese economy is still trying to recover from their boom period in the 1980s’. That’s why Minoru used the Death Note the way he did. He knows people in his country are facing uncertainty and possibly dealing with a biased view of scarcity leading them to make poor financial reasons due to outside pressures. I know there are those who say money doesn’t matter and I will say it does matter (only up to a certain point). Having just enough to live relieves the burden of financial anxiety. That relief is perhaps more important than what Light did in ending war in his Kira days. Times of peace (as we can see in real life) doesn’t mean life is stress-free. Conflict will happen since everyone operates on different wavelengths. There are outside forces that try to instill and manipulate fear to provide a false sense of security. We still have to remain vigilant and not be so alarmed at the same time.

I do feel that Minoru’s plan is a lesson on how to better manage conflict or avoid unnecessary conflict. Everyone knows we all hate having to say things that should be said that irk those around us or dealing with drama that seems pointless. The Death Note itself is a representation of how to handle arguments or disagreements in a not-so-pleasant way. While Kira was noted to be a hero in some ways, Minoru points out that Kira is frowned upon by educators for having a god complex.

Of course, this floats back to a big theme of Death Note - getting attention. Light was trying to get the world’s attention in order to showcase his brand of justice. This is nothing new, but the world we live in today is partly run by an “attention economy.” Tech companies are trying to play into the thoughts of internet users via social media, which can lead to disastrous outcomes. While Minoru’s plan involved Twitter to a certain degree, there’s a caveat.

It took him 2 full years to come up with something grand. The “attention economy” today wouldn’t allow that. Minoru manages to cut out noise and focus on himself and what was going on in real life. He fought off the forces of commercialized attention for his and everyone else’s sake. Someone once told me that social media can be a “disease” for people with mental health issues. It can be a huge distraction and sometimes leads you down into a dark hole that’s hard to get out pf.

While I won’t argue that social media has some benefits in terms of finding communities to belong to, it’s also important to note that said communities should lead to more opportunities for offline meetups. Seeing faces and emotional reactions in person provides more warmth than a blue-lit screen. There’s nothing like that getting together in person to have fun or advocate for something important in your life.

Minoru’s cleverness suggests that it’s better to resist attention than ignore it completely (which never does any good). And that it’s also okay to pay attention up to a certain point. I think we have to ask ourselves “How does this information I found on the internet benefit me?,” “Why do I feel compelled to pay attention to this?,” “What does this say about me?,” etc.

Or just be able to grasp people’s attention on what matters to them (i.e. economic struggle) to improve their lives. Not everything has to be about you. One problem is more often than not, everyone’s problem.

I’m glad this one-shot came out. Back in 2008, I attended a Death Note fan event in my area and it really jump-started my interest in meeting new anime fans. The event was my first real taste into anime fandom. Although times have changed, checking out Death Note subtly played a part in starting my blog a couple of years later.

So I’ll say this - thanks, Ohba and Obata, for doing even more justice than your characters for a world that deserves compassion over fear in the face of all kinds of loss.

#Death Note #manga #psychology #mental health #Ryuk #idealism #dreams #Minoru Tanaka #psychology of attention

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vexus-u · 5 years

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Anti discourse is eating fandom from the inside-out at the moment. This sort of thing is everywhere in the past few years, because the minority of people who gun hard for that sort of thing are so widespread, self-assured, and so ready to drop vile accusations at the drop of a hat that they are almost impossible to ignore.

I feel like a lot of people see this going on but don’t want to talk about it or comment on it, because they’ve seen the sort of fire that can be drawn if you don’t toe the line absolutely. People skirt the issue, or avoid talking about it, because really, who does want to deal with that whole mess? Who wants to risk the backlash? And then there are the folks who haven’t engaged closely enough to see through the buzzwords; the people who see a post that proclaims that it’s condemning “real pedophiles”, and like any outsider rightly would, thinks, “oh God, that’s awful!” and clicks reblog.

It’s a good camouflage, maybe even the best. I feel like these people might even have one-upped the TERF posts claiming to rail against misogyny, but by analogy at least I think people can be shown what’s really going on.

If we are going to make fandom a safer and less toxic place, I think we need to start facing this behavior head-on and stop averting our gaze as a community. As an individual it’s hard, I know. But there are real world consequences; self harm, mental illness, and suicide attempts (believe me when I say that I know from experience), that cannot be swept aside as easily as antis/fandom police can proclaim that anyone who disagrees with them simply deserves to die. If you’ve ever had tangential contact with that sort of discourse and have internalized what these people say as the norm, I think it would benefit you to take a step back and realize how unhealthy a mentality that is to have. It’s easy to denounce anyone who questions you as a degenerate unworthy of life. Makes things a lot easier for you, but I think that we all know where that can lead.

If you are reading this and truly are unaware of what I’m talking about, let me give you a brief run-down. I don’t have the time or the stomach to jump into this discourse as deep as the rabbit-hole goes, but I will give some context as to where I am speaking from. I am a queer woman with clinical OCD. So called anti-shipping/anti-fic/fandom purity discourse started appearing in my sphere round about four years ago, and pretty much nothing since has been as dangerous to my mental health. I cannot begin to sum up how much self-hate and anguish this sort of gaslighting has resulted in for me, but let me tell you, it’s been bad. My compulsion to deal with this sort of thing tends to manifest as anxious research, and so, trust me. I know what I’m talking about here.

Namely, if you are a complete outsider, there is a school of thought that has taken root in certain younger fan communities, among groups that feel like they lack control over the world at large. As fandom is often the main community that these folks have (I counted myself among that crowd), this frustration has evolved into an reactionary ideology that takes ideas about the cultural impact of fictional works in our society to ludicrous, absurd extremes.

Ideas about poor portrayals having the potential to convey negative ideas to a reader have evolved into the creation of a code of morals that frames any interaction with fiction as a form of moral advocacy for that which it contains. Shipping is reframed as an expression of beliefs about desirable relationship dynamics. Depictions of abuse are reframed as advocacy for abuse. The concept of romanticization, which usually is only applied to ideas in the context of otherwise contextless mainstream works without prior warnings, is transformed into an indictment of any depiction of any that could be perceived as harmful which is not followed by an explicit condemnation of said act. This becomes even more absurd when you consider that these attacks are often aimed at fanfiction which has already been tagged with explicit warnings for the reader. Always invoked to justify this is the spectre of “negative influence on the children”, but this is both neither the responsibility of random internet users operating in adult-tagged spaces, and also, as with the video game violence scare of the 90s, mostly unjustified fearmongering.

Perhaps even worse, this logic is extended to fictional elements that might be thought to recall certain negative ideas in the mind of the reader. Short characters are, fairly offensively, dubbed “child-coded”, and it is verboten to include them in any adult works. Similarly, adult AUs of younger characters which include sexual content are condemned simply because the characters concerned were initially portrayed by a different author as younger! This leads into a deeper rabbit hole, where fictional characters, who are plot figments with no “real” version or portrayal, are effectively reframed as if they were actual people, who can be harmed by the way that they are portrayed in fanfic. In some extreme fringe cases, I have actually seen this been expressed literally; by invocation of alternate realities in which fiction is real, or through otherkin.

These people will claim glibly that they are fighting against real abusers, and who would want to hear what a dirty abuser might say in response? But don’t be fooled. This lens is almost solely turned back on people in fandom communities who are most vulnerable, and is driven by an underlying fear of sex, sexuality, queer expression, and perceived “degeneracy”. Any slight excuse to construe a transformative work as impure is taken as license to reframe the author or artist as scum, and therefore worthy of the harassment they will ultimately receive. Tellingly, the most affected groups are often queer women, and this sort of thing can and does destroy lives and careers. Moreover, the vicious cycle of social pressure and retribution for stepping out of line ensures that this toxic ideology holds people who step into it in its grip, lest they be expunged from their communities. Sight is lost of the fact that, at the end of the day, all that the perpetrator is guilty of is creating fanwork that some people might find distasteful.

There’s a lot more to say which I won’t, but I will stress again that the harm that this sort of thing is doing cannot be underestimated. It’s an insidious and toxic mode of thought that seeps into communities through the buzzwords it leverages - accuse somebody of being a pedophile and people pay attention! But these words are being misused, and this discourse distracts from actual predators even as it is cause for unjustified targets to be suicide baited, driven from fandom spaces, and vindictively destroyed. People who already suffer from mental health issues, and especially anxiety disorders such as OCD, can be driven to self-destruction by the repeated accusations and gaslighting. We need to remind people that these behaviors are not normal, are not the righteous causes they present themselves as, and are not tolerated. In fandom communities particularly, I honestly believe that this issue is one of the most insidious and dangerous that we currently face. Fandom has become nominally progressive, at the expense of trojan horse ideologies such as the anti/purity discourse positioning themselves as too risky to shout down.

I think it is time to stop turning a blind eye, recognize what is happening in our communities, deradicalize the people who are responsible for the harassment, and try to fix some of the damage that has already been done.

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shaymiens · 5 years

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I dont want this 2 come off rude, & its okay if u dont post this cos it might be polarizing. I love every1 @ Smosh, but when it comes 2 shourtney, Ive never shipped it cos it was so popular (its the biggest het ship) but also because, @least 2 me, Courtney & Shayne have always been "fan favorites". Olivia is always the weird 1, Keith is always the "dumb" 1 & noah is "out there" while Court & Shayne were the hot, funny blondes everyone likes. Idk if this makes sense I just wanted to vent.

Also, sorry about the weird typing, I ran out of room

omg yes this is probably v polarizing and it’s sort of the elephant in my Personal Room that i’ve always avoided so as to not incite any fandom fires but uh,, shayne and courtney (and imo, damien) are the most praised, glorified, almost fetishized cast members among the smo/sh fandom, while most everyone else in the fam is usually ignored or cast aside.

i mean, i think a lot of it is circumstantial (shayne, dami, and esp court have really bold, friendly, welcoming personalities that tend to attract fans more than the other personalities within the sm/osh fam; there’s been a lot of content of just them lately so fans are bound to focus on them more than the other members). like i try to vary who i talk about in my posts, but sometimes the lack of varied content truly does limit me.

what’s sad is that i think there may be other factors that play into this *cough* traditional attractiveness and dare i say, ethnicity??? *cough* BUT y’know……… benefit of the doubt.

i’d like to say that our fun lil tumblr fandom is a bit better at including all the cast members in our posts and fanmade content and whatever, but it’s no secret that most of the smo/sh blogs here revolve around shayne, court, and dami AND we as a collective tend to reinforce that cycle of shourtmien-centered content. this isn’t a dig to those blogs, and that’s not bc my blog already sorta falls into that category; like i said, a lot of it is circumstantial and also it’s nobody’s obligation to post about anything or anyone specific. i think most would agree that we all have our favorites in the group and it’s not bad to post about the people we gravitate towards to most.

i guess my only issue with this entire thing is that some fans only acknowledge the absence of certain cast members by praising the members that are there, which sounds backwards but hear me out. i’ve read tons of comments and posts that praise the increased focus on court, shayne, and dami; that praise the content which is noticeably void of everyone except court, shayne, and/or dami; and praise the developments of the channel that keep those three in front of the camera and restrict other cast members from joining.

it’s transparent when courtney takes over for ian in a single podcast and hordes of yt commenters respond by pushing her to stay on the podcast forever. it’s transparent when people push for more court, dami, and shayne content even though, really, that’s the only content we’ve been getting for months now. it’s transparent when i express how i’m lowkey tired and bored of this content, and in return other people must express how they just Cannot See The Problem (or they refuse to).

i understand that the situation’s a lot more complicated and complex than i’m making it out to be (availability, cast members working on other projects, the fact that court’s probably the brain behind 90% of these sm/osh pit vids) and that’s partially why i’ve hesitated bringing it up, bc i don’t think i can start up a discussion about this without leaving out some valid viewpoints. but at the same time, i truly don’t think that i can come out and say, “some of y’all are too far up shayne/court/dami’s asses to realize that there are other cast members who have been MIA from smo/sh vids for months now 😬” without having SOMEONE in my inbox go like “hmm i just think…. i really love courtney? and there’s nothing wrong with her being in videos :/” and then i’ll have to explain that I DON’T DISAGREE but “”””like i said””””””,,,,, there’s more going on than just that????????

but yeah i oughta cool my jets bc that’s just my opinion. thanks for reading all that, i’m open to hearing what you guys think and i hope that last paragraph didn’t discourage you from disagreeing with me lol bc again, i WANT to hear those sort of opinions. also anon i know your ask was about shipping lmao but it felt like part of a larger discussion that i’ve been holding back for a while now so……… hope you don’t mind me ranting pfffpfp

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goatyuzuru · 5 years

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Thoughts on 2018/2019 Season

Actually, I am supposed to be on a figure skating fast because I want to take a break, take a step back, and remove my feelings from this sport. It’s helped me a lot this week. But I think before I refast, I want to say I’m just so glad this season is finally over. The way the corruption of this sport escalated was beyond what I even expected. I knew about the corruption, the politicking, the amusement of the way judges score skaters, however, I didn’t think it took less than 1 season for it to get to a new level. I see skaters getting low 80s to mid 90s throughout 1 season. I see robbing everywhere. I see selective calls. I know it will not change even after this season ended, but having this off season will allow me to breathe.

Over the past weeks of grieving about World Championships 2019 Men’s event results, I am now in a mix of stages among bargaining/depression/acceptance. I think I ranted too much on twitter and Planet Hanyu last two weeks that I don’t think I need to talk about my denial or anger stages.

Bargaining

There were many what ifs that went through my mind during these couple of weeks.

“What if Yuzu was never injured? not at cor 2018, not at nhk 2017, or not even his many other injuries that he’s decided to never share with the public? He would probably have been invincible by now.” But that is such an unrealistic and greedy expectation for an elite skater. Also, Yuzu is a human who simply makes the most out of what he has. I don't want to think of him as invincible or superhuman. We are all human who think we are subhuman trying to be superhuman. Yuzu is already inspirational by being his full potential. He allows me to love both the weak Yuzuru and the strong Yuzuru.

“What if I never discovered Yuzu in 2016? What if I never discovered figure skating in 2010? When I first came to know Yuzu I thought because he won so much, the sport actually rewards talent. After a while I slowly discovered the ugly truth that even when he did win a lot in his life, he’s been robbed and underscored chronically. It was he who earned those titles, snatched those scores off from the judges’ dirty hands, challenged the system, and fought his way to be above the scoring corruption and above the sport. So when I found out the truth about what this sport really is, I really wished I never knew about it.” But then to know Yuzu is also one of the best things that happened to me. He inspired me as a person in so many ways. And to know Yuzu means I have known what true figure skating is. There is real figure skating in Yuzuru Hanyu and the figure skating that ISU is promoting.

“What if he never won at PyeongChang? That might have been better for me to quit watching figure skating at that time." But that would be super selfish and stupid. The gold medal is one of the best compensations that happened to Yuzu throughout his competitive life as a skater.

“What if he retired after PC? The sport doesn’t deserve him. Everyone benefited from his presence except the man himself.” But I am not Yuzu and I can’t walk his journey. I can’t feel his pain or happiness so how would I know he won’t still enjoy his difficult road ahead.

“What if Yuzu changes the way he skates? What if he tries to go with Nathan’s or Vincent’s strategy? The system doesn’t judge program components correctly or penalize incorrect techniques, so why bother following the rules when you’re not rewarded? Or "what if he changes his nationality to Canada, Japan doesn’t deserve him anyway?” But I realize from Yuzu’s interviews that while he hates losing the most, he would never change himself in order to win. I realize that it is as hard for Yuzu to empty his program for the jumps as Nathan delivering a complete program. Likewise, it is as hard for Yuzu to cheat his techniques as Vincent trying to correct his. And even if Yuzu did all of these things Nathan or Vincent did, he isn’t an American to get this treatment. Yuzu isn’t the one who should change, should lower his standard. It is the ISU, the judges, the tech panelist, the federations. Yuzu does not need a new passport to win. He did it before to be beyond the corruption, he can possibly do it again.

After bargaining so much, I realized none of the what ifs will do any good for Yuzu, for the other skaters, for the sport, or myself. I was led to a stage of depression.

Depression

I guess to many spectators, the scoring discourses on social media and among fandoms seem very silly or “not that deep”. But as someone who thoroughly invest my time, energy, and emotion as a fan for it, I find the necessity in having these voices so that even if the scores don’t stand or the system collapses, the true figure skaters can be remembered, the message of unfairness can be reached to new fans. Seeing myself, who is this much invested into the sport just as a fan, I wonder how much more the many figure skaters, who’ve gone through such pressure and discipline, financial hardship and injuries, emotional breakdowns and sacrifices, have been robbed of their potential titles/scores/sponsorships.

The problem I’m seeing is not only the skaters who don’t benefit from the corruption are negatively affected, the skaters who benefit from the corruption also get hate from many people. Look, I don’t hate the American skaters like Nathan/Vincent/Bradie or the Russian skaters from Eteri camp/Samarin...etc. When I don’t like someone’s skating I am usually just indifferent to them, meaning I don’t bother following them. That’s simple; if you don’t like something, you stop watching it. The problem is these skaters are being shoved into my faces and the way they are being overscored robbed me of my enjoyment for the sport because I find it unfair. That’s also very simple. So I hate to see people generalizing all of the rants are coming from a place of biasness or antis. That is not true. Also, as soon as you are a fan of certain skater, in my case a Yuzuru Hanyu’s fan, you are automatically being labeled as a sore loser or hater. The thing is, many fans who truly study figure skating would agree that the scores don’t match with what are being seen. But it happens that they might be a smaller part of a fandom and don’t get too vocal about this. So instead of seeing everyone as an obsessive fanyu, perhaps the reason many of them fight so hard is to see someone like Yuzuru Hanyu, who is the epitome of a figure skater, gets rewarded deservedly. Perhaps it’s because we value great technique and great skating and the skaters who won happen to not have those? I think it is fair to say a lot of people would get hurt because their favorite skaters did not win and the initial reaction could be a bit overwhelming. That’s normal. But if what they are witnessing in the sport that led to their criticism are fair, they should have the right to vocalize their criticism in order for justice to be heard, especially the rulebook to back their criticism.

Yet over and over, no matter how reasonable many people have been. No matter how much effort in putting up videos to compare skaters’ programs or to explain the discrepancies in the way the tech panel called or didn’t call certain elements, the ISU and general public decide to be ignorant about it. They create their own narratives or put up media play to benefit themselves. They take down videos to remove the evidences. I even think of proposals on how to change the scoring system/format. Maybe the skaters shouldn’t get the scores right after they skate? Maybe we should only have 1 panel of the same judges? Maybe the judges/tech need more time to review the elements and program components? Maybe ice scopes should be inplemented for all jumps and in all countries. Every single element will be put into video cuts for the judges and tech to review and mark the bullets accordingly so the GOEs will autopopulate? The definitions in the rulebooks need to be given more objective, quantative metrics based on collective data or stats? Maybe the scores should be temporarily announced 2 hours after the competition (if the scores get announced later, the competition will be shortened) and the public can vote for what scores need to be reviewed. They can ask the judges to write a review at the end of the day on why they score the elements/PC and if the public do not agree they judges will get a strike. After 3 strikes in their career, the judges will be banned from judging? If any fed decides to bribe the public, at least someone can report it? I thought about all of these possibilities...

And I realize the products are not going to change as long as the creator isn’t willing. There will always be some loopholes.

Acceptance

I am slowly accepting all of this, what I cannot do and what I can do. Accepting neither means that I am agreeing with the results or scores nor normalizing the way the sport plays out. I only know that I cannot change the way ISU/feds politicking or how the general public’s view about certain skaters/achievement stans bandwagon on the glory of its beneficiaries' achievements. But what I know is I will not give them what they want: my attention/money/support. I don’t want to give attention to the undeserving skaters whom I feel like they try to promote. Rather than giving these skaters attention through my ranting, instead, I can just go back to how I should, which is stop watching them. It will be hard since Yuzu will be competing against some of these skaters and that I will follow his career as long as he allows me to, which makes it inevitable that I would see other skaters somehow. But if I would just really ignore, it would allow me to stop feeding on my hatred/bitterness toward other skaters, who aren’t bad people and are pretty talented per se, and just support Yuzu as his fan. I want to spread the love so that even if he perhaps might not always win or get the highest scores on paper, his greatness could still be felt and seen. Because of the love that is spread for Yuzu on twitter, Olympic Channel acknowledges him as the biggest star. Laureus twitter now actively tweets about him. Figure Skating is such a low profile sport but Yuzu is often compared to other greats like Rogers Federer or Tiger Woods (lol) or even Ronaldo by commentators. That shows how he really beyond this sport.

At the end of the day, I console myself that whatever Yuzu has achieved does not even define everything about how great he is as a skater. So I will just try my best to enjoy his career when I can.

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pxiao · 5 years

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Yeah I pretty much agree but if I want to say my general feelings. I hate Jud//ai the least of the three and if given the chance would beat him to death along with Yusa//ku. I mean Yu//ma is just a kid so he gets some more leeway from me.

Ok essentially Ju//dai is at the end of the day a selfish prick and he has always been a selfish prick. He’s ok in BBT but that’s because he’s the least focused of the three protagonists. And I’ll be honest I don’t think Ju//dai is gay or straight or any sexuality really because the only person he loves IS HIMSELF. He barely has enough care to think about his friends and even then if it doesn’t align with his desires, he doesn’t care. He doesn’t have it in him to pay attention to others enough to be physically attracted to anyone and I don’t mean that he’s asexual. No that’s insulting to actual asexual people as they still care about people! Ju//dai never grows up despite what GX likes to tell us. Ju//dai is a selfish jerk that doesn’t care enough of his friends to help them if it doesn’t benefit him and he ENDS the show that way. Doesn’t help that he seriously hogs the screentime in his show. His biggest flaws is his hero complex, his self-centered nature and just how lazy he is as a person and I don’t mean schoolwork either. The fourth season he was supposed to be researching Darkness and he SAT ON HIS ASS THE ENTIRE TIME TILL THEY ATTACKED! Au///stin DID ALL THE WORK! Season 3 is all about how he needs to grow up because everything comes to easy to him which is just faux-philosophy at the end of the day. Essentially they’re saying his flaw is HE HAS NO FLAWS! But at the end of the day Judai is just an aggreving character and doesn’t do any real harm. While his fandom worships him, they mostly stay in their own lane. So he’s easy to ignore.

Yu//ma is also a dumbass douche like Ju/dai but like ten times stupider. His main issue is he’s just static so instead of maturing and growing, he just makes the same mistakes over and over. Despite the show saying that he’s nice and kind, he’s got a lot of douchey moments for no other reason than for bad comedy. Like he made Ko//tori get off from the rollercoaster control ride thing to have a serious duel and promises to get her when the duel is over and legit forgets about her. Leaving her stranded in an amusement park and only remembers when he’s eating dinner. After two of his friends, one of which is his BEST FRIEND no less were traumatized by a duel they had which HE SAW, Yu//ma went about the next day not giving a shit and walking around. And for As/tral when he gave up one of the Number cards for a kid that needed luck for an operation, he IGNORED As/tral’s worry that Yu//ma wasn’t going to get it back. Considering each number card is part of As//tral’s MEMORIES, it’s rather cruel to essentially ignore his reasonable fears about losing part of his identity FOREVER. But he is a 13 year old and yeah we can all be jerks and idiots. So I’m not going to be AS hard on Yu//ma as Jud//ai. But Yu//ma’s still an asshole. The issue is he has a legit flaw to him that the show just tries to say is really a strength. His naivete. There is a BIG difference between optimism and naivete and Yu//ma is very much the latter. Yu//ma honestly believes that if you DUEL with someone you’re friends now. Even if a duel is a conversation, I don’t become friends with everyone I talk to. See how dumb that idea is. Yu//ma also believes in everyone EVEN IF THEY HAVE HURT YOU AND INTEND ON HURTING YOU. Like wth Ve//ctor whose first real interaction with Yu//ma was trolling him to break his friendship with As//tral and very nearly killed him and his friends. And since then Ve//ctor has continued to be a sadistic freak that keeps trying to murder him and then he tries to save Ve//ctor and after Ve//ctor revealed it he was planning on letting Yu//ma die to save his own skin, Yu//ma was FINE WITH IT. And then the show KEEPS ON PRAISING HIM FOR HAVING A HEART THAT TRUST OTHERS WITHOUT ANY QUESTION. AND THAT’S FUCKING STUPID. I don’t think we should automatically think everyone in the world is evil and wants to harm you but going the exact opposite is just as dumb. Not everyone is kind and wants what’s best for you and if you aren’t careful, you will be used and be hurt. I hate Yu//ma more because he teaches a HORRIBLE lesson to kids about overly trusting. And it’s not fun watching him as his dueling is stale. He use his monsters just to power up Hope and if that doesn’t work, he cheats a card with Shinin//g draw. And his fans are also annoying thinking he’s better than Yu///ya, which is 10000% wrong but in general they’re not a big issue due to Yu//ma mostly being rather unpopular.

OH YU/SAKU or PM. I LOATHE HIM WITH EVERY FIBER OF MY BEING. Like you said, he’s bland and that’s the nicest thing we can say about him. At least Ju/dai and Yu//ma had personalities, PM doesn’t even have that. He’s just PSTD kid with no background or interests. He’s at best character traits of stoic. His “comedy” isn’t funny and more just sudden shut ups. Everyone in the show worships him, that’s a literal fact of the dumbass show. And the worst part of it is, HE DOESN’T DESERVE ANY OF THIS SHIT. He’s honestly not that good of a duelist since he didn’t actually make his deck and even then he rarely wins duels with just the cards in his deck. THE VAST MAJORITY OF HIS DUELS ARE WON BY CHEATING A NEW CARD. His strategy is basic power up my monsters and try to get my LP lower than 1000 to use my skill. His PM design is ugly, everything goes his way and his deck is pure shit. The only decent card is Firewall and that’s banned so he doesn’t even have that anymore. He’s not that smart as he’s gotten into PLENTY of TRAPS because he rushed in head first. He’s not active at all with him being at best reactionary to threats even in season 1 despite him wanting revenge. THE ONLY THING HE DID OF HIS OWN INITIATIVE was storming SOL and even then nothing came out of it as he couldn’t decode the Ignis code. Narrative there is no reason to like him as he RARELY CARES ABOUT OTHERS. When G//o first turned against him, he didn’t care at all and went about his mission. Great way to show he cares about the people he worked with. HELL the next time he sees G//o, he brings up that they used to work together SO WHY DOES HE SUDDENLY CARE???? BUT THE WORST THING HE DOES IS SEND THE WORST MESSAGE TO PEOPLE SUFFERING FROM MENTAL SICKNESS. He says after his trauma, he got counselling but it didn’t work and he gave up on it and allow me to say this. FUCK YOU YOS//HIDA! As someone that had to take treatment due to mental illness that means Yu//saku is a wimp. My therapist told me this, “the treatment only works as well as you try.” I’m not saying all therapists are good but since Yu/saku apparently only tried ONE THERAPIST, he concluded it didn’t work and stopped. HE’S GIVING THE IDEA THAT THERAPY DOESN’T WORK. AND LET ME TELL YOU FUCK THAT SHIT, HE’S TEACHING PEOPLE THAT THERAPY DOESN’T WORK TO A COUNTRY THAT ALREADY DOESN’T LIKE THERAPY, WRITTEN BY A MIDDLE AGED MAN WHO PROBABLY DOESN’T GIVE A SHIT. THIS IS A SHIT LESSON AND PLENTY OF HIS FANS USE YU//SAKU TO NOT GET BETTER AND STAY MISERABLE! HE’S A HORRIBLE CHARACTER AND TEACHES THE WORST LESSON EVER AND HE CAN GO DIE IN A DITCH FOR ALL I CARE.

Also his fans are annoying, they cuddle him and act like he’s great when he’s really nothing but a projector. And if anything his fandom is shrinking just to them realizing how boring he is. I would say about 90% of his fans are Data/storm/shippers and they’re their own bag of stupidity.

#genex damn it #zxl damn it #vr damn it #yoshida damn it

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krisroley · 6 years

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Toxicity

Maybe this wisdom comes with the benefit of age, but I have enough to contend with trying to keep my own shit under control these days. I don’t have the energy or the desire to try to lock down someone else’s business. And yet, these days I look around and all I see is people trying to do just that.

There are two ladies I know that have dealt with this recently. One just had a date. Just a date. She could tell it wasn’t going to work. I see in my head Ellen Barkin in the movie Sea of Love telling Al Pacino that if there’s not an immediate spark, she’s not interested. In the perfect world, they pay their own bills and go their own separate ways. No harm no foul. But that doesn’t happen in this world sometimes, because some guys can’t take rejection. In the reboot of Sea of Love, Ellen Barkin would say she’s not interested, and three days later she’d have to block Pacino on Facebook because he’s been DM’ing her the whole time saying he’s a nice guy and she must be a complete and total cunt, because only complete and total cunts think he’s not worth the time.

I know another lady who has a stalker. Real piece of work, apparently. Went so far to follow her to a concert given by a band that he doesn’t like, and…I find this part incredible...bought a ticket to the show, JUST to walk around close to her and intimidate her. Frightened the fuck out of her is what it did, and I can’t blame her. But again, we’re talking about petty and small men trying to be bigger than they really are.

We live in a time where women just hanging out at their sorority house can be murdered because they rejected the wrong guy. Where people playing a video game can be shot because someone lost. Where…do I really need to go on?

These tragedies are about the assertion of control, and there are so many other tragedies we don’t hear about that have to do with the same thing. These small people assert control over others because they cannot control themselves. I know. I was one of these people.

I would be lying if I said I have never acted like these boys. In my teenage years, I was head over heels in love with a girl, and it took me years to tell her. Before I had the chance, she started going out with my best friend, which crushed me. I can honestly tell you that I never had any intention of destroying two friendships in one night, but I did, and for years I had decided it was their fault, not mine. I was a very cruel person to both of them for a few years after that. In the scope of things, my cruelty was rather small. I wrote a story that made them the villains. I deposited that story at their doorsteps on the way out of town in a situation where I felt I was never going to return to Virginia Beach.

I returned to Virginia Beach a few months later and ended up facing the music. That compounded everything, and I never saw them again. In retrospect, that may have been the best possible outcome.

A small example, but an example of the lack of self control and assertion of it elsewhere nonetheless.

It was 1988, and I was 18. Some years ago I was able to apologize to the male friend in this equation. I found the lady this year. I felt like I should reach out. I was going to send her a letter. I ended up sending her a DM, and in true dumbass Roley fashion, the address I was going to send the letter to was at the top of the DM. Not a good look, really. I tried, I meant it, and that’s all I can do. Too much water under that bridge.

Between then and now of course, I’ve gotten married, and had kids. Both these things end up changing you, like it or not. Marriage and parenting hasn’t been easy. I’ve had my special moments. But somewhere along the line, I grew up. I got older. I realized that—as Billy Joel said—just surviving is a noble fight. A dirty little secret that no one tells you: When you realize that you can take that energy you spent worrying about what people think of you or trying to put someone else on a leash and you decide turn it inward, a funny fucking thing happens: You end up improving yourself to the point that it no longer matters. You become the person you were trying so hard to convince other you were the whole time. But that control is one of self control, and that power is the power of quiet knowledge of who and what you are. And what I have found, is that kind of control and power is quite enough, thank you very much.

That kind of control and power also gives you the ability to not give any more fucks than you have to. I wish that for you. I really do.

But of course, we know—don’t we—that not everyone gets that message with age. Or, some do and then lose their way. Ask Bill Cosby. Ask Donald Trump. Ask anyone hit by the #MeToo movement. They didn’t get wisdom with age. They hid behind some mask of power that they used as a weapon. Ask the Incel Movement, who uses their self-enforced chastity as a cudgel. Ask the GamerGate or the Remake the Last Jedi Movement…hell, ask any toxic element of fandom that’s mostly men who can’t stand the fact that there might be a woman somewhere in the world that knows about this precious special thing, and maybe knows a little more about it than they do.

There’s a meme from a Twitter account called Swear Trek. It has Doctor McCoy in the animated Trek cartoon, attending to a fallen Kirk. It says “His dick fell off because a woman said something somewhere on the Internet.” Sadly, this is funny because you can almost believe it to be true. I KNOW it to be true. When I first posted on USENET back in the late 90s, I didn’t realize that the default was my name. My full first name is Kristen, which is generally assumed to be female. The first response I got back from a Doctor Who group was a request to show my tits.

Don’t think I don’t get this. I get this. Of all the forms of discrimination and harassment that abound in today’s society, that is the only one I can tell you I have a little—just a little—understanding of.

As it happens I also have a harasser, of a sort. He happens to share my last name mind you, so the debate is open as to whether or not you can actually call him a stalker. What we definitely have is someone who has a lack of self control and a desire to assert control over others. In this particular case, he has recently been released from State Prison, and would like very much to speak with me, despite being told by me that I no longer wish to speak with him. In his most recent voice mail which lasted 55 seconds—a lot of which is dramatic pause--he goes from begging me to call him, to directing me as to what I shall and shall not do. Mentioning this on my podcast was one of those things I was directed not to do. Because I am a person who has learned with great difficulty to control myself, I have decided that this is not a situation I wish to involve myself in, because doing so cedes control to him. So he will not be getting a call, or a text, or anything of the sort. What he will get is an entry in a log that I’m keeping of dates and times, so that when the time comes I can take it to the authorities and ask for them to intervene. As many of you know, that intervention is reactive not proactive, and as many of you also know too well, sometimes that ends badly for the harassed.

As I said, don’t think I don’t understand. Right now I very much understand.

#Roley #Podcast #Control #Toxic #Masculinity #Politics #Security #Self Improvement #Discipline #Sociopathy #Malignant Narcissism #Control Freak #Freedom

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aion-rsa · 3 years

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The Legacy of Women in Anime with Funimation

https://ift.tt/3bZv67f

This virtual panel is presented in partnership with Funimation.

Anime has grown by leaps and bounds over the past decade as it’s progressively evolved from a niche interest into mainstream entertainment. There are now more places than ever to consume anime, whether it’s on broadcast television or any of the available streaming services, some of which are devoted entirely to anime content.

It’s truly exciting to see the medium’s continued success, but part of the reason that it’s found such universal acclaim is because often anime is just as concerned about representation as it is with entertainment. Anime doesn’t just speak to everyone, but specifically highlights those that may get overlooked elsewhere and feel like their voices are diminished.

Monica Rial (Case Closed, Golden Kamuy, and Dragon Ball’s Bulma) and Caitlin Glass (My Hero Academia, Fairy Tail, The Vision of Escaflowne) are two highly accomplished voice actors. In celebration of Women’s History Month in partnership with Funimation, we spoke with the actors to discuss female representation in the anime industry, the versatility and freedom that anime can provide women, and the joys of inspiring the next generation of talent to realize and reach for their dreams.

DEN OF GEEK: What sort of relationship did both of you have with anime—if any—before you started working in the industry?

CAITLIN GLASS: I started as a voice actor in 2004, but I’d been watching anime since I was a kid before I even knew what anime even was. I remember being really young—like elementary school—and watching this Grimm’s Fairy Tales show, that I only found out decades later was anime. So yes, I’ve been watching anime since I was a kid, but I really got into it in high school.

In college, anime was an escape for me. I was a theater student, so I spent all my time in rehearsal and I just needed something else to focus on and so I picked anime. I was like, “I used to like anime in high school. Let me go back to that!” Within months of me picking it back up as a hobby, I ended up with an audition at Funimation and the rest is history.

MONICA RIAL: For me, it was my little brother who got me involved in anime. My family is from Spain, so we would go visit over the summertime. Of course, him being a little kid, he would wake up really early to watch all the Spanish anime. One of the shows was a little thing called, “Las Bolas de Dragon” — Dragon Ball. I got to translate for him and it made me really familiar with the show and just really enjoyed it. Then when we came back stateside, he started looking into more and more anime and It made me realize that I, like Caitlin, had been watching anime since I was a kid, but didn’t realize what it was.

After that he started getting into more mature shows like your Akira-type stuff and the big ones that were popular. I’d watch these with him and really enjoyed them. I was in college at this point too and one of my colleagues was like, “Hey, I’m doing this thing and you should audition.” It just so happened to be a company in Houston that dubbed anime and things started there. It’s really neat for us to have this history with anime, but then also get to be a part of it. It’s really, really cool.

DEN OF GEEK: With anime did you realize what you were being drawn to in particular? Did you see something in the material that perhaps wasn’t getting represented in other animation or programming in general?

CAITLIN GLASS: When I was a teenager, I had friends in theater in high school who were into Sailor Moon. I think we were really attracted to the beautiful costumes and the art in the manga, as well as in the cartoon. The more that I watched it, I started to realize that what I loved about it is the variety of personalities represented amongst all of the Scouts. How you could see yourself in one or more of them. Liking that show immediately gave you a community when you found someone else who also liked it, because you could be like, “Which Scout are you? Who do you like the most?”

The Resplendent Queerness of Sailor Moon

By Michael Mammano

Culture

The Sailor Moon / Buffy the Vampire Slayer Connection

By Michael Mammano

There was very limited merchandise, but I remember being able to find some and feeling like I was the coolest because I had the Sailor Mars brush and then my friend had the Sailor Jupiter one. I think that anime helped pave the way for showing not just some token female with a group of guy friends, but that there could be a show that’s led by all female characters who have a variety of personalities to them. It lets the viewer truly find themselves represented in what they’re watching.

MONICA RIAL: I agree. What’s so intriguing to me as an actor is that so many of the stories in anime are character-driven. Sure, the story’s important, but the characters are really what get fleshed out and usually we really get to know them as human beings. As a result, this is also true with the female characters as well, which is not something that you see in all media.

A lot of times you will have these female characters that are present, but they may not be as fleshed out as you would like. You want to know more about them and it just never happens. It never comes to fruition. So, being a part of a medium where women are not only present and sometimes carry the show, as Caitlin says, but they are also real humans. We get to see their good sides and their bad sides. Not just the stereotypical. That stuff is in there too, but there’s not as much of it in the anime world.

DEN OF GEEK: Like you guys were saying with Sailor Moon, I think anime does such a good job with projecting different types of female relationships. Sailor Moon specifically helped normalize same-sex female relationships way ahead of the curve. Does it feel good to be a part of that inclusivity and to get to see it evolve even further, a decade or two later?

MONICA RIAL: I would say 100%. One of my first memories in voice acting was an audition that I went to and I remember being so amazed that the character that I was playing in this audition was a lesbian. I was so excited, because at that time in the late ‘90s and the early 2000s, that wasn’t really huge in media. I remember seeing the director later and being like, “I really want to play the lesbian. She’s so great. Like what a great character.” We don’t normally get characters like this, that are so well-rounded and so much fun to play, but also have that aspect. There’s not always a lot of LGBTQ representation, especially at that time.

It’s so cool to be able to play a character like that. I felt like it was life-changing because then you go from there and it’s like all those stigmas working in that industry just kind of disappear by normalizing it and making it a part of what we do. And I love that with anime fans today there’s not even a second thought over what a person’s gender might be. It’s like, everybody is free-rolling. We’re all putting our 100% into it. And there’s representation everywhere, which I think is fantastic, because it’s so needed.

CAITLIN GLASS: I think it’s great that people who enjoy anime fandom can really find a home and a place to belong within it because anime is not a genre in and of itself. It’s a medium of storytelling. There are so many genres of stories within it and there is something for everyone. And as far as LGBTQ content goes, I think that here in Western society, I think that we’re actually able to handle that material in a way that respects it possibly even more than the Japanese do. I’m concerned sometimes, when I see it in anime, that it’s really just there for someone’s fetish, as far as Japanese viewership goes. Because as a culture, they are not necessarily as open as anime may lead you to believe. So, it is a comfort to be at conventions and see people just getting to be themselves.

DEN OF GEEK: Something that I think is so interesting with anime is that there seem to be more roles for women, which isn’t typically the case in other fields. Talk a little bit about that dynamic and if you started more with voicing female or male characters?

MONICA RIAL: I haven’t really gotten to do a lot of male characters. I don’t know if there’s just something inherently female in my voice. I have no idea! I would love to do more of it! However, what I do adore about the medium is the ability to be completely different than what you are in reality. The roles that I’m cast in, I would not get to play on screen and I would not get to play on stage. I tend to do a lot of what I call, “critters,” which are kind of the ambiguous, not of this world, alien types of things. Or sometimes literal critters, too. That’s a lot of fun, because that’s not something I would get to do on stage. Or even the opportunity to play a little girl is something that I can’t do in real life because I’m a 45 year-old woman. Being able to have those opportunities to play things that are outside of what you would normally be cast in because of your physical appearance or biology is such a huge benefit for an actor. And it’s just so much fun. We get to play all the time.

CAITLIN GLASS: Like Monica, I haven’t played many male roles, though it is on the bucket list. I really, really want to get to play a young male protagonist who has more than just a scene, but is like a leader. The 12 to 13-year-old spunky boy or whatever. I’d love to do that. But you’re right, it isn’t as prevalent in media otherwise, outside of anime. I think nowadays in Western cartoons, the trend is to actually get real kids. Though, in cartoons when I was younger, it was still normal to have a female playing a male lead. I think of shows like Dexter’s Lab, and maybe even more recently, Fairly Odd Parents. Those shows have females in those young boy roles. The reason for it is that they intend for the show to run for a long time. You can’t do that with a real boy who will experience puberty and his voice will change.

I’m also a director as well as a voice actor and I love the idea of getting to work with real young people. But I also recognize that the subject matter of anime may not be something that’s appropriate all of the time to have a real 12 year-old kid doing. So, it’s nice for us, as Monica said, to get to play against type. Sometimes the show comes along and it’s just an all-male cast. It’s an all-male story. That’s just how that story is. But I think, maybe they’ll have a flashback when they’re all six years old, and then I’ll get to be in it!

DEN OF GEEK: Both of you also have experience working as ADR directors and having a hand in casting and the performances in anime. How does your work as a voice actor affect and inform your directing work and is there anything that you try hard to bring through when you’re directing on projects?

CAITLIN GLASS: Yes. Being a voice actor certainly helps at the job of being a director, because you can understand the actor’s perspective and you know how to communicate with them. You know what is going through their head while they’re in the booth, trying to do the math, and make the words fit the animation. I will say, I started directing shortly after I became a voice actor, in 2005. Over the years, I’ve seen a great increase in female representation in the industry side of anime. I can’t do anything about what the stories are about, but it is nice to see a lot more female directors, female engineers, female ADR writers, script adapters. That’s really encouraging. I just want people to know that women are behind the scenes and doing a lot. We have producers that are women, vice presidents that are women within the company.

I do feel it is our responsibility as directors, if you’re able to make casting decisions. At Funimation I’m able to cast my own shows and it’s really important to me that the shows that I dub sound like the people who watch them. I mentioned when we can go to conventions and we see all the people there getting to be themselves and it is the most wonderful, diverse picture I’ve ever seen in my life. People from all walks of life, all races, all sexual orientations and genders, just hanging out and having a good time together. I really want the shows that I produce and that I direct to sound like these people. I’ve made it my goal in the last handful of years to be more diverse in my casting and be purposeful about it, so that people can hear themselves in the media that they like so much.

MONICA RIAL: And it’s so appreciated! I remember back when I started that there was a group of us that were Hispanic and we would joke, “Oh, we’re the three Hispanic voice actors. Go us!” There just wasn’t a lot of diversity when we started. I don’t know why that was, but as we’ve gone through the years, we’ve gotten more and more diverse. I think, as a result, our dubs sound more interesting because they’ve got different kinds of voices and accents. Natural accents and things. I think that makes it sound much more interesting than just a bunch of people that all sound the same.

As a director, I think Caitlin hit the nail on the head, but I think that being a director sometimes can help you be a better voice actor. I learned so much by watching the people in my booth. As an actor, you don’t ever get to see the other actors’ processes, unless you’re on a stage production or something. As a voice actor, we work individually. I never got to see Caitlin’s process in the booth or anyone else’s. Once you finally get to see that you kind of go, “Oh, wait, you can just do a wild take in between? I didn’t know that. I’m going to start doing that!” It definitely makes you a better voice actor. But I’m so proud of Caitlin and the push for diversity that she’s been doing, because I think it’s phenomenal. Her shows sound so cool as a result!

DEN OF GEEK: To expand on that, it feels like the variety of anime that get dubbed now covers a much broader range than how things were a decade ago. Have you noticed any changes in this area and if anime has become more progressive in that way?

MONICA RIAL: I’m surprised that after all of these years that they’re still coming up with these really, really creative ideas. How do you not run out of ideas, Japan!? I find that absolutely fascinating. I think that it’s really cool to watch, but it’s even cooler to think about the fact that it’s all still going. We’ve had so many periods in time where there was a question of, “Oh, is this is it? Is anime going to pitfall? Popularity is going to go away. It was fun. See you guys later.” Every time we get to that step something happens that kind of brings it back. I assume it’s the fandom. Thank you guys so much. It’s really great to see because every time it comes back it comes back a little bit stronger. Right now, anime, in my opinion, feels like it’s more popular than it’s ever been before. That’s just so cool when you’ve spent so much of your life working on something that you truly believe in and love.