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itsclydebitches · 3 years

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RWBY Recaps: Volume 8 “Creation”

Happy Saturday, everyone! Oh man, oh man, oh man. I think I'll need to steer clear of the general RWBY tags this week, simply because I know the sort of responses I'll see to this episode. From smug celebration at Ironwood's downfall, to bad takes about what makes us human, this episode is a petri dish of sensitive material handled insensitively.

Let’s unpack it, shall we?

We open on an action that feels like a summery of the last three volumes: a grimm attacks an airship from the front, no doubt killing its pilot, while the other grimm conveniently ignore our heroes, no masking in sight. The group looks a little sad at the destruction around them, but ultimately ignore it because they have bigger, heroic things to do. I could write a whole, additional essay on how the huntsmen code — to protect the people — has been warped and abandoned by our protagonists in their effort to do what they think is right. It's a tale that might have been compelling if only RT knew they were writing it.

We get a shot of Atlas drones unloading the bomb before one is taken out, presumably by Qrow and Robyn. Segueing to Ironwood and the Ace Ops, they're waiting for Penny to arrive, the former carrying a massive gun presumably capable of capturing her. Despite the horror we saw on their faces last episode at the realization that Ironwood would kill Marrow for speaking up, it seems that now the Ace Ops are entirely in agreement with these measures. A week ago the implication was that they fell back in line out of fear, but now Harriet talks passionately about "putting down" the group if they were stupid enough to accompany Penny. "The General gave his terms." Vine sighs at this, but doesn't actively disagree. He's just "retracing the steps that led us here."

So, congratulations on introducing four new characters, not bothering to develop any of them, killing one off while ignoring Qrow's hand in that, and having the other three become all, "Yeah! Mass murder is a perfect solution!" off screen. Marrow is the only one with something resembling development and, as covered in these recaps, that's been pretty badly executed too.

Ironwood sends them to deal with Robyn and Qrow after Winter reappears to "assist" him. That gets quotation marks because most viewers at this point have realized that she's who our two birbs spotted in the elevator. Winter isn't on Ironwood's side anymore, she's just skillfully clearing the field for the final attack. Indeed, we get a moment where she hesitantly brings up the bomb and Ironwood responds that he hopes she's not going to try and talk him out of it. No. Winter doesn't think that's possible. This was her final attempt at peace.

One of the reasons why I think I'll stick to my own blog for a while is because the fandom has a tendency to paint broad personality traits as evil when applied to some characters, yet simultaneously heroic when applied to others, when really it's about how that those traits are used. What I mean is, I've seen a lot of Ironwood critical posts that emphasize how stubborn he is. He thinks he's right and he won't back down. He wont listen to others. He's going through with this plan and if anyone tries to stop him? That's their mistake. Totally evil, right? Except, this is the exact same behavior Ruby displays, particularly in Volumes 6 and 7. She was stubborn about stealing from Argus and continuing the fight to the point where it endangered her and her teammates, to say nothing of the rest of the city. She refused to listen to Qrow, or Ironwood, or the Ace Ops, loudly announcing that she was right about, well, everything. If they didn't agree with her, the options were to leave the group entirely, or fight her. The actual difference here is that the writers have taken Ironwood to an extreme, one that's incredibly easy to understand as bad because it is bad: bombing Mantle has no defense. Ruby pulls the exact same nonsense, it's just not to that same extreme and her actions are followed by scenes that are meant to make us forgive her: a sad look because she didn't mean to get a city attacked by a leviathan grimm, a cry on the staircase because she didn't mean to risk the lives of an entire kingdom... even though she did. Ironwood is the bad guy because he's been written to take specific, OOC actions like shooting unarmed kids. He's not the bad guy because when other characters go, "Don't do this" his response is, "I have to." Because that's been Ruby's motto ever since she "had" to use the Lamp to rip Ozpin’s life story away. RWBY introduced those extreme actions of shooting the youngest in the group (for no reason) and threatening to bomb a city (for no reason) or shooting a councilman (for no reason) because when you remove those you've got a man who looks exactly like our hero. Ironwood's arc has been peppered with these confusing, unpersuasive actions because if you just keep the story as him stubbornly keeping to a plan he thinks will save the world, you're left with the reminder that all Ruby has done lately is stubbornly keep to plans she thinks will save the world. This moment with Winter just highlights how ill thought out Ironwood's descent has been because he does everything Ruby does... with a few, tacked on, “and randomly shoots people!” moments to ensure we understand that he’s definitely evil. No comparison to our heroes here, folks!

Ironwood is a bad guy now. That’s certain, but he was made that way so the story never had to grapple with the question of what that means for Ruby if we really start condemning things like lying, secrets, stubbornness, or endangering others for the greater good. Well then damn, if we strip away the hypocrisy then she might not be a good person after all. Or the people she’s simplistically labeled as bad might not be the devils Ruby claims they are.

But that’s a level of nuance RWBY would rather pretend doesn’t exist.

All of which is highlighted by Ironwood’s reaction to "Penny." He sighs and sags over the gun, immediately putting it aside. With his hand on her shoulder, Ironwood tells her she's "done the right thing." Precisely the same way Ruby would lower Crescent Rose and give someone a smile when they decided to fall in line with her.

Which, of course, is the moment when Emerald reveals herself, dispelling the Penny illusion and revealing Team JNPR The Second behind her. She gives a quip about it feeling "weird" to do the right thing before disappearing.

From there the action picks up fast. I really enjoyed this battle simply from a choreography and energy standpoint. It gets the blood pumping, Ironwood's hand-to-hand is spectacular — especially that moment against Ren — and the group actually displays teamwork for the first time in what feels like forever, all of them needed to land a hit on Ironwood. As always, out of the context of the rest of the show it feels and looks great. My primary issue is that we get this fantastic fight against Ironwood. Not Salem, not Cinder, not Watts (like last volume when Ironwood was still a hero), not even Emerald as a means of transitioning from murderous villain to the group's best bud. No, what's arguably the best action sequence in the volume thus far goes to beating up the guy they betrayed from the start. There's no catharsis for me here, only frustration as we watch Ironwood stand in shock as Winter powers up Nora — who's fine now, I guess — and she slams her hammer into his face.

It never should have come to this and when a good character is done so dirty, their downfall doesn't evoke the emotions the writers are looking for. Watching Ironwood fall doesn't generate feelings of victory, or even tragedy at a course of events others were powerless to stop. It's just frustration at watching years worth of bad writing, sprinkled with fantastic ideas that never go anywhere.

Oscar gets a few hits in, Ironwood snatches his cane, and just as he's about to throw a punch, Winter arrives with the most dramatic sword slash I've ever seen.

Ironwood's aura breaks and he falls, unconscious. We cut to an image of a droid's head separated from its body, one of Robyn's arrows through its skull. That doesn't have meaning or anything.

I suppose I should be grateful they didn't rip Ironwood's arm away during the fight, or outright kill him, though I'm still expecting him to die before the end of the volume.

Hmm. Wouldn't that be something? If after Salem's arrival, freezing cold, a Hound attack, grimm soup, a giant whale, a massive army, and a hack ending in self-destruction, the one character who actually dies is Ironwood.

It's looking more and more likely.

Honestly, beyond all the obvious, what's so frustrating about this fight is that characters are only now using their impressive abilities to their fullest. Emerald creates an entire fantasy of what's happening and then straight up disappears, but she only does a half-assed version of that when fighting against Penny. (And really, she put more effort into helping the heroes she just joined over Cinder, the woman she's been obsessed with since the start?) Marrow refuses to use "Stay" against a group they wanted to peacefully arrest because that's just too horrible an act, I guess, but he'll do it on his own teammates the second Qrow and Robyn don’t want to fight.

This is what I mean when I say the rules of the world bend to assist the protagonists in absurd ways. It's not nearly as egregious as Amity suddenly being up and running, but the fact that characters become substantially more powerful while fighting for the protagonists than they do against them is still a significant problem.

So Ironwood is down and out. As much as I hated watching that and didn't necessarily want more, am I the only one who felt like it was... a bit lackluster? I mean, the action was great, yes, but relatively short. There was no dialogue, such as another delve into the moral questions that led to this fight in the first place. There certainly wasn’t any hesitance against fighting a former ally. (Again, we’re meant to believe that the Ace Ops won because they just couldn’t bear to fight the group seriously, but every former ally here is capable of wailing on Ironwood without a single pause or pained look?) Ironwood just skillfully blocks for a while, is blindsided by Winter's betrayal, and then falls unconscious. Given that we learn he and Jacques will be evacuated after the rest of the kingdom, it's possible he'll escape somehow and we'll get a fight 2.0, but if not that feels like a rather tame end to the guy forced into the antagonist seat. Plus, what was the point of having Qrow frothing at the mouth to kill him this whole volume? I never wanted that to happen, I'm glad it hasn't, but I'm nevertheless left to ask why we bothered with that eleven episode side plot if we were going to erase it with one sentence from Robyn about Qrow being better than this. If that's all it took, let them work through Qrow's irrational anger while sitting around in a cell.

Winter tells the group to move onto "phase two" which is when we're treated to a flashback. We return to the ending of the last episode, with Ruby realizing that opening the vault is an option. Jaune, all smiles, goes, "We never considered using what's inside!"

This is what I mean about no consequences! This is what I mean about it all being a meaningless circle that ends with undeserved praise for the group! We started this horror show with Ironwood going, "We don't have a plan to protect the people, so I'm going to take what people we do have to safety" and the group going, "We don't have a plan either, but we're going to stop you implementing your plan because it's not perfect, risking a kingdom's worth of lives in the process." Now, the group has used two plans, one of which two characters knew about at the start and another they could have devised with the information they had. Oscar and Ozpin's, "We have an all powerful magical blast in our cane" and the group's "What if we used the Staff for something other than raising Atlas?" are both things that could have come up in the office debate. These were both always on the table! Instead, Ruby grew furious over the mere thought of cutting their losses, betrayed Ironwood again, attacked his people, denounced him to the world, and then two days later goes, "Oh wait! We could do something now that we could have easily done before if we hadn't made a needless enemy!"

Everyone realizes how much worse they made things, right? Turning against Ironwood, bringing everyone left in Mantle directly under Atlas, sitting around while an army was devoured, drawing it out until Penny was hacked... all of it would have been avoided if the group had thought and discussed things for a few minutes, not jumping straight to violently resisting what Ironwood came up with first. "We never considered..." Ruby says. Yeah, you didn't, except that's not something to smile about. The group made the situation a thousand times worse with their reaction when they could have just magically evacuated the kingdom from the start. “Maybe we could use it to save Penny and get everyone in Atlas and Mantle back to safety." Nothing has changed! They had this ability the whole time! Nothing about the last twelve episodes led them here, they just randomly thought of it after RT had padded the volume with needless drama. Considering that they're heading to Vacuo now, we could have just made this the finale of Volume 7 instead: big fight with Ironwood, revelation, get everyone evacuated while Salem attacks, leave her behind, then Volume 8 begins in Vacuo with the group knowing Salem is out there looking for them. This entire volume has been pointless. What did they accomplish?

Oscar got kidnapped and beat up, Nora was scarred, Ruby and Yang realized horrible things about Summer, and the whole world is panicking about a witch. Good things are... Ren and Ruby unlocked some semblance stuff? Weiss loves her brother again after he proved himself useful to her? Great work, team.

So this one moment makes everything they've done up to this point useless and, of course, once thought up the plan goes off without a hitch. Note that the summary of this episode says, "It's risky, dangerous, and nearly impossible — but it's the only plan they've got." Nearly impossible? That's a whole lot of talk for a plan that was implemented perfectly.

There is, admittedly, one snag, but one that is likewise made meaningless just seconds later. We'll get to that.

We see Winter call Weiss who also smiles at hearing from her sister. Obviously interactions like the group's with Emerald are the bigger concern, but it's still an issue that no one reacts as they should to people reappearing in their lives. Rather, RWBY continually confuses audience knowledge with character knowledge. We know Winter is on their side now, but Weiss hasn't a clue. Last she saw, she and Winter were agreeing to head down different paths. She has no reason to think her sister isn't loyal to Ironwood, so why isn't the group treating this call with suspicion? What if it's Ironwood trying to mess with them through a presumably safe party? I swear to god, with any consistency in the story this group would be dead ten times over because their decisions are so stupid. Oscar decides to believe in the guy currently beating him to a pulp, the group decides to trust a villain over a flawed ally, and now they see Ironwood’s second calling and are like, “Great, big sister Winter is checking in!” There’s a difference between a hopeful story filled with second chances and characters whose reliance on the narrative bending to assist them makes them come across as insanely naive.

None of which even touches on characters forgetting that other characters are presumably dead. Ironwood shot Oscar off the edge of Atlas, but doesn't react to learning he was kidnapped, or when he shows up to the fight. Thanks to Marrow's comment, Winter thinks YJOR have perished in the whale, but also has no reaction to them appearing to help with this plan. Absolutely nothing is followed up on.

We then get a flashback within the flashback (fun) of Winter — shock — not arresting Marrow. It's precisely as I assumed, with Marrow angrily asking why she hit him and Winter responding with, “Because you were about to get killed if I didn’t do something!” As I said last recap, I feel like I should let the marginalized groups lead this discussion, but I do want to add that no matter how well intentioned — or strategic, as I mentioned last time — the imagery itself is still harmful. No matter the context, we were still left with white woman Winter putting her knee on black man Marrow's back to arrest him, and it’s an image that everyone in the U.S. should be familiar with the horror of. Far more of a problem than the (presumed) ignorance of this scene is, I think, the choice to make Winter entirely unrepentant. I think some of this discomfort could have been alleviated if RT had written Winter as apologetic, contrite that it came to that and asking Marrow to understand that she only did it as a means of assisting him. Asking his forgiveness. Instead, we get this

So what, the only emotion we have room for is gratitude that Winter beat him up? Yikes.

As a lighter side note, I find the animation here unintentionally hilarious. Winter's assistive device makes her shoulders look too high, making this gesture more, "Woman exaggeratedly pouts about not getting ice cream for dinner" and less, "Woman sternly closes off during a disagreement about saving lives and betraying their general." Gotta find our humor where we can, right?

What's intentional, but far less funny, is the needless animation to show us that, yes, Marrow is peering at Winter calling Weiss. Oh, the shenanigans.

The elevator opens where Qrow and Robyn spot them. "Speaking of help," Winter says, as if she has any reason to believe Qrow didn't kill Clover. He and Robyn lower their weapons a bit, as if they have any reason to believe Winter and Marrow aren't still loyal to Ironwood. Would it really be so hard to have Winter immediately throw up her hands in the face of their almost-attack, blurting that she's not their enemy and needs their help, please listen? Again, RWBY can't remember which characters know what, let alone what their motivations and reactions should be.

We then enter the third part of the flashback where everyone piles into the Schnee dining room and discusses doing the things they could have done from the start. I'm metaphorically banging my head against that table. In RWBY's favor though, we also get a long shot of Jaune continuing to boost Penny’s aura.

Though it's only one of many issues, just the other day I asked, "Hey, why has Jaune always needed to hold onto the person he's assisting, but now suddenly he can touch Penny once and the boost remains?" It still doesn't explain why he was letting go before/why him needing to boost her continuously didn't put a hard time limit on their plan — not that Mantle's hour limit meant a thing — but at least they're showing more of that here.

Oscar notes that Atlas has enough gravity dust that it won't fall immediately when they use the Relic, but they will have to move fast to ensure no one is underneath. Yeah, like all the civilians you put there. He also cautions that the Staff isn't a "magic wand" that they can just wave to make all their problems go away... even though that's precisely what they're going to do. Ozpin gets some lines that aren't apologies or followed by attacks — hallelujah! — about how the Staff's spirit is a "character" and requires that you be able to precisely explain anything you want him to make. Blueprints, examples, a firm knowledge of how this will be accomplished — all of it is required to actually get what you're after. That's a cool limitation. It's just too bad we didn't know about it episodes ago, forcing our heroes to find ways to meet those requirements. Instead, they already have everything ready to go the moment they learn about it: Penny has her own schematics and Whitley apparently has knowledge of the entire kingdom after sending some ships out. Normally I'd go, "Really?" but I'm still just struck by how much good he's done compared to everyone else in this room. Your show is seriously broken when the side character the writers didn't even want the audience to like until a few episodes ago is more active, mature, and sensible than the heroes.

From there we see the group implementing the plan. They fly up through the hole Oscar left, straight to the vault. Penny opens it without any trouble and Ruby uses her speed to grab the Relic and stop time, halting her self-termination. I do like that combination of skill and their knowledge of how this magic works. That felt like a smart move. What's interesting though is that the Relic appears to stop time in the entire kingdom. We see people in Mantle and Atlas slowing to a halt too. I assume no one remembers that happening after time restarts, otherwise people would be freaked out by suddenly being frozen in place.

Wouldn't that have been cool though? The group often takes a while to use the Relics, either deciding what they need, or watching Jinn's information, so what if you had a population that blinks and suddenly, from their perspective, half an hour has passed? How long might Ozpin have sat on his knees after Jinn told him he wasn't able to defeat Salem? How long was that space frozen? We could have had a world built around rumors and fairy tales. Not the random stories Ozpin brings up to make a point and that we never hear about again, but tiny details that foreshadow these revelations. A Beacon where the kids tell each other spooky stories of people suddenly losing time, once a whole day. The wives, sisters, daughters, and nieces who disappear, or wake up one day with horrifying, unnatural powers. We see magic influence the world around it, but we've seen very little of the world reacting to that influence. The one time I can think of is Blake reading a book about "a man with two souls," the fiction clearly inspired by knowledge of Ozpin. And indeed, it felt great to recognize that as a significant detail and then be proven right years later as the lore was revealed. We could have gotten so much more of that if RWBY was better planned out.

I'm getting off track though. As time stops we see a series of images: Ironwood being led to a cell with Jacques, Penny succumbing to her hack, Team JNPR The Second preparing to contact the kingdom about what's going on. Then everyone is distracted by the giant, blue, buff Ambrosius who comes out of the Staff.

...there's a lot of innuendo in that last statement lol. At least RWBY is committed to the crazy design they chose? I was never particularly comfortable with the image of characters gaping up at a giant, naked woman in chains, so it's nice to balance that a bit with an equally giant, naked dude in chains.

From here things get confusing. In all honesty, I'm not sure if this is another moment where RWBY is trying to pass off a retcon as the group being brilliant, or if I, as an individual, simply didn't follow the logic. I won't bother to rehash the slow, meandering way that Ruby reveals their plan — that certainly didn't help with the clarity. Not in an episode where we didn’t even know these rules ahead of time — but it boils down to this:

The moment they have Ambrosius create something new Atlas will start to fall. Two of his creations can't exist at the same time.

He needs clear instructions about what he's making in order to create it.

The group has brought him Penny's schematics so that he understands how she's built.

They want, specifically, "a new version of her... using her exact robot parts."

They can't just create an exact duplicate of Penny because that would carry the virus with it.

They can't create an exact duplicate without the virus because that Penny would cease to exist as soon as they used Ambrosius to make an evacuation plan instead.

So they essentially want Ambrosius to create a new Penny by removing all the robot parts from the Penny that currently exists, carrying the virus with them, and leaving only the human parts of Penny behind: her aura/soul. Then, the purely robot version is destroyed when Ambrosius creates something new.

Except... this new Penny, this human Penny, still needed a human body. That's what Ambrosius created and that's the snag I don't understand. They want a version of Penny that's just her aura, just her soul, but that soul still needs something to be housed in. Ambrosius himself notes that. At first I thought the group would just have some wisp-like version of Penny they'd have to find a new body for — perhaps leading to a new one for Ozpin too — but she's just... given a human body when he takes the technology away, something she absolutely didn't have before. That is Ambrosius' creation. That is what should have disappeared along with the removed parts of Penny, leaving only her soul — what Ambrosius didn't touch — behind. Instead, the plot oh so conveniently has Penny get a new body for free and it's untouched as they move onto the next task.

Ruby drops a casual line about Ambrosius not being able to kill, or destroy, or something, which I think is meant to be the justification here. The rule (which, again, we JUST learned) about not killing anyone supersedes the rule of two creations not allowed to exist, allowing Penny to stick around. But even if that’s true, it’s a load of bull. What, does the magic think no one in an entire city might die if the floating mechanism is removed and it plummets to the ground? Ambrosius didn’t say, “Sorry, can’t stop floating Atlas because thousands of people are still here and they’ll die if I create something new,” but we’re supposed to believe the group skated by on, “Sorry, can’t destroy the last creation like everything else because there’s a single person still using that body and she’ll die if I create something new”?

Seriously, did I miss something? Or is this another, "Amity is ready because the group needs it" situation? The rule of creations ceasing to exist is bent because the group needs to have their friend around. Ambrosius is certainly enthusiastically complimentary, saying how "smart" the group is and that they've "done their homework," but I'm not so sure. It feels like a moment where the show is (once again) insistent that the group is far more talented and brilliant than their actions actually imply. It's only the rules of the world twisting and turning that allows for their success. To say nothing of how the episode dropped all these rules on the viewer in a ten minute info dump, ensuring we didn’t have any time to think about them before the deed was done.

It doesn't add up for me and honestly, even putting that aside? I hate this. I absolutely despise it. Look, if it turns out this really does make sense then props to the group for coming up with that plan. Our snag aside, the rest is a legitimately well thought out wish. I don't have a problem with the execution so much as the message. I've been saying since Volume 7 that RWBY has done Penny a disservice in terms of her "real girl" narrative. Whereas before we had a firm message that you don't need "squishy guts" to be human, to be real, Volume 8 continued to carry us further and further into the idea that it is necessary. That Penny's body is entirely inhuman, something to hate, but at least her soul is human and good. That's what the virus arc taught us: your terrible, technological body might be betraying you, but hold onto the parts of you that are really human. I hated that too, but I never thought RWBY would go this far. They made Penny fully human and went, “THIS is the version that always should have existed.”

And this isn't just me reading into the implications. It's right there in the text. Blake says that they're looking for “Penny, the girl who’s always been there underneath." Meaning, underneath the metal. The girl exists trapped in the robot body. Yang holds up her arm and says that the metal is only "extra," it's not really who you are.

That gets into two perspectives on disability that RWBY just doesn't have the nuance for: what's an integral and celebratory part of one person's existence can be seen as something separate and discomforting to another. Though there are many people with disabilities who would happily cure themselves with a magic Staff if given the chance, there are just as many who say no, this is a part of my identity. I don't want to change, I just want the world to accommodate my existence. However, RWBY takes a hard stance here, saying that any metal in your body is intrinsically bad. We didn’t use to have this take, but now the show has embraced it. Blake says the real Penny is trapped in there. Yang's words implies that she'd get rid of this "extra" bit of her if possible. Mercury with his metal legs is the enemy. Ironwood with half his metal body is the enemy. Whereas once difference was truly accepted, now it's shunned and fixed whenever possible. Those who can't be fixed, like Yang, must simply deal with the lot they've been dealt, reassuring themselves that the metal isn't really them. But Penny? Penny they can fix.

So they do and the very first thing Penny does is hug Ruby, exclaiming, “Do hugs always make you feel this warm inside? Wow. More!” and proceeds to hug all the others.

What's the underlying message there? Penny didn't understand hugs before this moment. She never experienced the "warmth" of them while an android, despite the fact that here warmth is entirely metaphorical and has nothing to do with a literally cold body. RWBY really went and said that the "real girl” android was never actually real at all — not as real as she could be — because it's only when she's given "squishy guts" that she understands the true happiness of a hug.

Wow.

I mean seriously, wow.

Never-mind that, you know, we've seen that happiness and warmth since she was first introduced.

RWBY is really rewriting all the core themes introduced in Volumes 1-3 and it sucks. The show is absolutely the worse for it.

To say nothing of all the other disservices to Penny's character here. There's all this buildup about whether she'll still be the same Penny once the wish is complete, but of course she is. We wouldn't want to have Penny struggle when she becomes something other than what she's always been, would we? After all, it took Yang an entire volume to work through the shock of a metal arm, but taking away a metal body for a human one is in no way traumatic. Having a normal, human body is intrinsically a good thing! Of course Penny accepts it with nothing but smiles. Becoming human is celebratory, but becoming more machine is a horror.

She gets to watch her body self-destruct, glitching out and collapsing in front of her. But again, nothing to unpack there that can't be covered with a hand over her mouth.

There's no discussion of whether Penny still has the Maiden powers, or whether a wish like that would mess with the transfer in any way. How did the group know this action wouldn't register as a clear-cut death, forcing the power out of her and into someone new? Obviously they couldn’t know, but no one even thought to bring it up?

And the entire time they're formulating their evacuation plan, there's no talk of whether these portals will appear before everyone currently alive in the kingdom. I mean, if they do then Ironwood and Jacques can just waltz through and escape into Vacuo. If they don’t, then Maria and Pietro don't necessarily have a way out. We still don't know if they're stuck floating in Amity, or if Amity crashed, or if they made their way back to Mantle or Atlas. More importantly, the characters don't know. I have no problem with RWBY keeping that a surprise until the finale, but I absolutely take issue with Pietro's daughter walking through a portal, seemingly not to care whether her father is going to make it out too.

It's been the same with Qrow and his nieces' relationships. The show is good at insisting that these families love each other because they hug and smile while on screen together, but when shit is actually going down, none of them care about pesky things like disappearances, arrests, or “The last time I saw you, you were with an old woman on a damaged station after a villain attack, potentially stranded in deadly cold if life support failed.”

So yeah, this entire arc with Penny has been a disaster. From throwing away her framing subplot, to giving her a virus that did absolutely nothing, to giving her the Maiden powers which she's also done nothing with, to erasing her android status for a “She's really human now” message, Penny has been done dirty by the show these last two volumes. Not nearly to the extent Ironwood has, but still. At this point I wish they'd just kept her dead dead. Why do I want her back when that resurrection produces no reaction, her conflicts lead nowhere, and one of the core things that made Penny Penny has now been magically erased?

I've been saying for weeks that killing Penny off and keeping Penny around each had serious downsides attached, yet I never expected RWBY to do BOTH.

Also, I'm warding off any, "But Pinocchio was made into a real boy too" defenses. RWBY is not Pinocchio. Penny is not Pinocchio. I thought the allusion was going to be the Pinocchio inspired girl heading into the whale, not the show forcing the exact plotline — down to a blue, magical creature — onto a character whose entire journey has been about accepting herself as an android. Congratulations, RT. You just obliterated years of work.

Again, if you'd like an example of how to do this far better:

As Penny's character falls apart, Atlas shakes, alerting Jaune and the other that a new wish has been granted. Jaune pecks at the screen and realizes "That did, uh, something…?” but doesn’t realize that there's a giant, red "LIVE" up in the corner.

Jaune tries to warn the entire kingdom about their plan, but what he actually says is

“Atlas is falling, but — !”

And then the communications cut out.

Watts, perhaps?

Our heroes are really good at saying things that make large populaces panic, huh? This is the one (1) snag in their "impossible" plan, but as said above, it doesn't amount to anything. We get a shot of Nora, horrified at the thought of kingdom-wide communications being down, but literally seconds later Team RWBY has made portals appear that everyone can walk through. So... why do we care about communications? More importantly, why does the show try to make us care? So much time is spent getting the viewer invested in problems that never come to mean anything.

Including the problem of Salem herself.

Because the group successfully creates that evacuation plan. This is it. Everyone is leaving while Salem still reforms.

Yang asks if they can use the vaults themselves as a single point for everyone to go to and Ambrosius agrees. So everyone is going to pile into the Vacuo vault that can only be opened by an unknown Maiden? They're going to put an entire kingdom's worth of people, including their enemies, into the vault where the Relic of Destruction is? Yeah, that's great. Prior to this — like if this had been the plan at the end of Volume 7 — I would have 100% agreed that these risks are better than death by Salem/grimm/cold. Now though, Oscar as axed Salem for an unknown length of time, the cold is having no impact on the civilians outside, and the grimm only attack background military personnel that supposedly no one cares about. They couldn't have spent another few minutes (especially with time stopped!) to figure out a means of getting to Vacuo that doesn't involve revealing and providing access to the location of a super secret vault? To say nothing of what they're going to do if Salem wakes up and snags one of those portals for herself. Two kingdoms for the price of one!

But that's what they're going with. Weiss gives Ambrosius a schematic of the kingdom, I guess, and he makes branching pathways appear with numerous portals for everyone to step through. They'll enter through one and, when they exit another, will be in Vacuo. Easy peasy, right? Especially since Ambrosius doesn't seem to have any limitations about how often his power is used. Is it three creations every 100 years like Jinn? We're not told, at least not to my recollection. However, I was expecting there to be a waiting period, that they'd fix Penny, go to evacuate the kingdom, and learn that sorry, I can't make another creation just yet. It feels like the sort of shit move these beings would pull — "Don't cry to me when it's not what you wanted" — it would have been another commentary on the group's insistence on putting friends over the people's safety (like demanding the Ace Ops not bomb the whale because of Oscar), and crucially, would have kept the action in Atlas. Isn't that what this volume is? The battle for and potential destruction of the Kingdom of Atlas? We have two episodes left and, unless something unexpected happens, we're moving that action to Vacuo. Why?

Meanwhile, Penny's corpse is just chilling in the background 😬

While all this is going on, Winter reassures Jacques that he and Ironwood will be evacuated too, though she makes it clear saving him was Weiss' idea. It checks out, considering Weiss is the one who turned her father's arrest into a joke last volume. Winter still takes his abuse seriously.

The group prepares to leave with a celebratory, "We did it!" from Weiss. I'm still banging my head against that dining room table. Before they can pass through the portal though, Ambrosius leaves them with one, dire warning: "Do not fall."

In any other story a line like that is a neon sign announcing to the audience that someone will absolutely fall, and maybe they will, but RWBY has dodged consequences so often I wouldn't be surprised if this was merely another way to string us along. Remember all the hype surrounding Salem? The cold combined with her army and magic? How she was going to decimate Atlas and leave our group broken in a Fall 2.0?

I mean, we still have two episodes left. Forty minutes of content. Salem might still decimate them, especially since something has to happen in the finale. But god, it's a problem that we've come this far without a payoff. Salem randomly decided not to attack anyone, was stopped by a weapon added in solely for this purpose, and now the whole kingdom is being evacuated with a plan the group could have used at the start. This volume really is meaningless.

“We go to vacuo and hope we’ve thought of everything” they say as the camera zooms in on Cinder's smiling face. For the second week in a row.

Bingo time!

Winter betrayed Ironwood, the group used the Staff of Creation, and I'm axing Maria on behalf of Pietro. You can't have the guy's daughter become human — after he was killing himself to give her his aura?? — and magically walk to Vacuo, not knowing if he's even survived since she last saw him, and expect me to think he hasn't been forgotten. Same with Maria. Has the group mentioned her since Amity cut out, notably for reasons they couldn’t explain? Of course not. Did they care to find out what happened? Of course not. I have no doubt they'll both re-appear in the next two episodes, Pietro crying over how perfect his girl is now and Maria congratulating the group on their actions, but we're still marking it.

This is the ugliest thing I’ve ever created, I hope you all are enjoying it :D

Another week, another couple feet added to the hole we’re digging. I know I keep saying I have no idea what's going to happen next... but I have no idea what's going to happen next. A Vacuo ending was not in the cards, not outside of them miraculously showing up in ships. Maybe they have been on their way to Atlas (somehow...) and will arrive precisely when everyone has left! Anything is possible at this point.

See you next Saturday, everyone. Hold on until then lol. 💜

#rwby #rwby spoilers #rwby volume 8 #mymetas #rwby recaps #rwby creation

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brawltogethernow · 4 years

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So, I don't think I've ever asked you this... what IS the whole point of the Spider-Sense? It really seems like something that only exists for writers to ignore or work around when they want to inject Legit Tension into a story.

I’ve thought about this power so much, but never with an eye to defend its right to exist, so I needed to think about this. The results could be more concise.

Ironically, given the question, I have to say its main purpose is to ramp up tension. But it’s also a highly variable multitool that a skilled creative team can use for...pretty much anything. It does everything the writer wants it to, while for its wielder always falls just short of doing enough.

I went looking through my photos for a really generic, classic-looking example to use as an image to head this topic, but then I ran into the time Peter absolutely did not reimburse this man for his stolen McDonald’s, so have that instead.

A Scare Chord, But You Can Draw It

That one post that says the spider-sense is just super-anxiety isn’t, like, wrong. It’s a very anxious, dramatic storytelling tool originally designed for a very anxious, dramatic protagonist. I find it speaks to the overall tone of the franchise that some characters are functionally psychics, but with a psychic ability that only points out problems.

Spidey sense pinging? There’s danger, be stressed! Broken? Now the lead won’t even KNOW when there’s a problem, scary! Single character is immune to it? That’s an invisible knife in the dark oh my god what the fuck what the fU--

Like its counterpart in garden variety anxiety, the only time the spider-sense reduces tension is in the middle of a crisis. But in the wish fulfillmenty way that you want in an adventure story to justify exaggerated action sequences, the same way enhanced strength or durability does. Also like those, it would theoretically make someone much safer to have it, but it exists in the story to let your character navigate into and weather more dangerous situations.

For its basic role in a story, a danger sense is a snappy way to rile up both the reader and the protagonist that doesn’t offer much information beyond that it’s time to sit smart because shit is about to go down.

Spidey comic canon is all over the board in quality and genre, and it started needing to subvert its formulas before the creators got a handle on what those formulas even were, and basically no one has read anything approaching most of it at this point, so for consistent examples of a really bare bones use of this power in storytelling, I’d point to the property that’s done the best job yet of boiling down the mechanics of Spider-Man to their absolute most basic essentials for adaptation to a compelling monster of the week TV series.

Or as you probably know it, Danny Phantom. DON’T BOO, I’M RIGHT.

DP is Spider-Man with about 2/3 of the serial numbers filed off and no death (ironically), and Danny’s ghost sense is the most proof in the formula example of what the spidey sense is for: It’s a big sign held up for the viewer that says, “Something is wrong! Pay attention!” Effectively a visual scare chord. It’s about That Drama. And it works, which won it a consistent place in the show’s formula. We’re talking several times an episode here.

So why does it work?

It’s a little counterintuitive, but it’s strong storytelling to tell your audience that something bad is going to happen before it does. A vague, punchy spoiler transforms the ignorant calm before a conflict into a tense moment of anticipation. ...And it makes sure people don’t fail to absorb the beginning of said conflict because they weren’t prepared to shift gears when the scene did. Shock is a valuable tool, too, but treating it like a staple is how you burn out your audience instead of keeping them engaged. Not to go after an easy target, but you need to know how to manage your audience’s alarm if you don’t want to end up like Game of Thrones.

The limits of the spider-sense also keep you on your toes when handled by a smart writer. It tells Peter (everyone’s is a little different, so I’m going to cite the og) about threats to his person, but it doesn’t elaborate with any details when it’s not already obvious why, what kind, and from what. And it doesn’t warn him about anything else-- Which is a pretty critical gap when you zoom out and look at his hero career’s successes and failures and conclude that it’s definitely why he’s lived as long as he has acting the way he does, but was useless as he failed to save a string of people he’d have much rather had live on than him.

(Any long-running superhero mythos has these incidents, but with Peter they’re important to the core themes.)

And since this power is by plot for plot (or because it’s roughly agreed it only really blares about threats that check at least two boxes of being major, immediate, or physical), it always kicks in enough to register when the danger is bearing down...when it’s too late to actually do anything about it if “anything” is a more complex action than “dodge”.

Really? Not until the elevator doors started to open?

That Distinctive, Crunchy Spider Flavor

The spider-sense and its little pen squiggles go hand in hand with wallcrawling (and its unique and instantly identifiable associated body language) to make the Spider-Person powerset enduringly iconic and elevate characters with it from being generic mid-level super-bricks. Visually, but also in how it shapes the story.

I said it can share a narrative role with super strength. But when you end a fight and go home, super strength continues to make your character feel powerful, probably safer than they’d be otherwise, maybe dangerous.

The spider-sense just keeps blaring, “Something’s wrong! Something’s wrong! God, why aren’t you doing something about this!?”

Pretty morose thing to live with, for a safety net! Kind of a double edged sword you have there! Could be constantly being hyperattuned to problems would prime you for a negative outlook on life. Kind of seems like a power that would make it impossible for a moral person to take a day off, leading them into a beleaguered and resentful yet dutiful attitude about the whole superhero gig! Might build up to some of the core traits of this mythos, maybe! Might lead to a lot of fifteen minute retirement stories, or something. Might even be a built in ‘great responsibility’ alarm that gets you a main character who as a rule is not going to stop fighting until he physically cannot fight anymore.

Certainly not apropos of anything, just throwing this short lived barely-a-joke tagline up for fun.

One of my personal favorite things about stories with superpowers is keeping in mind how they cause the people who have them to act in unusual ways outside of fights, so when you tell me that these people have an entire extra sense that tells them when the gas in their house is leaking through a barely useful hot/cold warning system that never turns off, I’m like, eyes emojis, popcorn out, notebook open, listening intently, spectacles on, the whole deal.

It also contributes to Peter Parker’s personality in a way I really enjoy: It allows him to act like an irrational maniac. When you know exactly when a situation becomes dangerous and how much, normal levels of caution go out the window and absolutely nothing you do makes sense from an exterior standpoint anymore. That’s the good shit. I would like to see more exploration of how the non-Parker characters experiencing the world in this incredibly altered way bounce in response.

It’s also one of many tools in this franchise hauling the reader into relating more closely with the main character. The backbone of classic Spidey is probably being in on secrets only Peter and the reader know which completely reframe how one views the situation on the page. It’s just a big irony mine for the whole first decade. A convenient way to inform the reader and the lead that something is bad news that’s not perceivable to any other characters is youth-with-a-big-exciting-secret catnip.

Another point for tension, there, in that being aware of danger is not synonymous with being able to act on it. If there’s no visible reason for you to be acting strange, well...you’re just going to have to sit tight and sweat, aren’t you? Some gratuitous head wiggles never hurt when setting up that type of conflict.

Have I mentioned that they look cool? Simultaneously punchy and distinctive, with a respectable amount of leeway for artists to get creative with and still coming up with something easily recognizable? And pretty easy to intuit the meaning of even without the long-winded explanations common in the days when people wrote comics with the intent that someone could come in cold on any random issue and follow along okay, I think, although the mechanic has been deeply ingrained in popular culture for so long that I can’t really say for sure.

It was also useful back in the day when no artists drew the eyes on the Spider-Man mask as emoting and were conveying the lead’s expressions entirely through body language and panel composition. If you wiggle enough squiggles, you don’t need eyebrows.

Take This Handwave and Never Ask Me a Logistical Question Again

This ability patches plot holes faster than people can pick them open AND it can act as an excuse to get any plot rolling you can think of if paired with one meddling protagonist who doesn’t know how to mind their own business. Buy it now for only $19.99 (in four installments; that’s four installments of $19.99).

Why can a teenager win a six on one fight against other superhumans? Well, the spider-sense is the ultimate edge in combat, duh.

Why can Peter websling? Why doesn’t everyone websling? Well, the spider-sense is keeping him from eating flagpole when he violently flings himself across New York in a way neither man nor spider was ever meant to move.

How are we supposed to get him involved with the plot this week???? Well, that crate FELT dangerous, so he’s going to investigate it. Oh, dip, it was full of guns and radioactive snakes! Probably shouldn’t have opened that!

Yeah, okay, but why isn’t it fixing everything, then? Isn’t it supposed to be why Peter has never accidentally unmasked in front of somebody? ('Nother entry for this section, take a shot.) That’s crazy sensitive! How does he still have any problems!? Is everything bad that’s ever happened to characters with this powerset bad writing!? --Listen, I think as people with uncanny senses that can tell us whether we are in danger with accuracy that varies from incredible to approximate (I am talking about the five senses that most people have), we should all know better than to underestimate our ability to tune them out or interpret them wrong and fuck ourselves up anyway. I honestly find this part completely realistic.

*SLAPS ROOF OF SPIDER-SENSE* YOU CAN FIT SO MANY STORIES IN THIS THING

The spider-sense is a clean branch into...whatever. There is the exact right balance of structure and wishy-washiness to build off of. A sample selection of whatevers that have been built:

It’s sci-fi and spy gadgets when Peter builds technology that can interface with it.

It’s quasi-mystical when Kaine and Annie-May get stronger versions of it that give them literal psychic visions, or when you want to get mythological and start talking about all the spider-characters being part of a grand web of fate.

Kaine loses his and it becomes symbolic of a future newly unbound by constraints, entangled thematically with the improved physical health he picked up at the same time -- a loss presented as a gain.

Peter loses his and almost dies 782 times in one afternoon because that didn’t make the people he provoked when he had it stop trying to kill him, and also because he isn’t about to start “””taking the subway’’””’ “‘’“”to work”””’’” like some kind of loser who doesn’t get a heads up when he’s about to hit a pigeon at 50mph.

Peter’s starts tuning into his wife’s anxiety and it’s a tool in a relationship study.

It starts pinging whenever Peter’s near his boss who’s secretly been replaced by a shapeshifter and he IGNORES IT because his boss is enough of an asshole that that doesn’t strike him as weird; now it’s a comedy/irony tool.

Into the Spider-Verse made it this beautiful poetic thing connecting all the spider-heroes in the multiverse and stacked up a story on it about instant connection, loss, and incredibly unlikely strangers becoming a found family. It was also aesthetic as FUCK. Remember the scene where Miles just hears barely intelligible whispering that’s all lines people say later in the film and then his own voice very clearly says “look out” and then the room explodes?? Fuck!!!!

Venom becomes immune to it after hitchhiking to Earth in Peter’s bone juice and it makes him a unique threat while telling a more-homoerotic-than-I-assume-was-originally-intended story about violation and how close relationships can be dangerous when they go sour.

It doesn’t work on people you trust for maximum soap opera energy. Love the innate tragedy of this feature coming up.

IN CONCLUSION I don’t have much patience for writers who don’t take advantage of it, never mind feel they need to write around it.

#spiderman #peter parker #spiderverse #spidey #marvel #danny phantom #one day you'll see what i'm doing with it in the project i'm collabing on w/ my brother and then you'll all be sorry and hopefully impresse #mirrorfalls #asks answered #essays

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lovely-v · 3 years

Text

LOTR (films) Review

So I finally watched the LOTR films (20 years later). I’m super excited to review these because I read the books very recently so I feel at least a little prepared to voice some opinions. Overall I loved the films, here’s a very long (but by no means exhaustive) compilation of my thoughts, which are of course, totally subjective:

(Warning: a lot of me saying “well, actually, in the book...”)

THINGS I LIKED

- Casting! not much to say here, I thought the casting was great. One of my favorite actors that I didn’t think i’d have a huge opinion on was David Wenham as Faramir. I was kinda ambivalent on him when I saw pictures but i thought he did a great job. he showed his quality.

- Music. so much has been said about the films on the music front. I can’t offer too much original insight but when a bit of the Shire theme started to play as Frodo tries to make his way up Mount Doom I cried a little.

- Boromir and Aragorn. I liked the scene where they interact a little in Rivendell. I also like how Aragorn saves Boromir in the Moria battle and gives him this little nod of friendship. I think the films did a great job portraying the dynamic they have where Aragorn is clearly suspicious of Boromir’s motivations but grows to respect him to the point where he doesn’t even blame Boromir for being corrupted by the ring because he understands that, at heart, Boromir is a good person.

- Sam and Frodo in Osgiliath. I expected to be kind of annoyed with the way this plot point played out (I knew ahead of time that it strayed from the book), but I actually liked it a lot. As I’ll say later, there’s some gripes I have with the way the films extremely play up the disagreements between Frodo and Sam, but I loved the scene where Frodo pulls the sword on Sam and then seems so defeated when he realizes what he’s done. I was pleasantly surprised by how emotional this scene made me. It’s admittedly A Lot, but it was done nicely, especially in conjunction with Sam’s “there’s good in this world” speech.

- Treatment of the ending. I almost think I should dislike the ending as it is in the movies, but my heart is soft and I like that they sugarcoated it a bit. I know the whole point of the Scouring of the Shire and Frodo’s depression conveys a lot about war and trauma and I think that is important, but after watching these things for twelve hours I just wanted Frodo & co. to be happy and I was kinda relieved that they cut the Scouring. Does that make me weak and perhaps bad at film analysis? yes. do I care? no. I was also very glad that the movies didn’t portray how depressed Sam was about losing Frodo in the end. Yes, he cries, but when he walks home to his family he seems happy and in the books that scene came off so much bleaker. I definitely liked the lighter tone.

THINGS I WAS NEUTRAL ON/DIDN’T LIKE

- Arwen. (Neutral) I don’t hate her, I don’t love her. I think the story she and Aragorn have is compelling and I 100% get why the filmmakers decided to add it to give her character more depth, but it felt misplaced at times. maybe it’s just because it was the only storyline I didn’t know in depth, but the scenes with the Arwen/Aragorn flashbacks felt a bit confusing and disorienting. Don’t have anything against Arwen as a character though, I think she’s pretty alright.

- Gimli. (Complicated thoughts) I want to start off by saying I don’t dislike Gimli. I like him a lot! I just think the movies did him a bit dirty. He had some good movie-exclusive moments, but I think his character really fell into this place of being the butt of too many jokes. Would have liked to see some more serious Gimli development, especially with his relationship to Legolas. Their friendship felt too much like subtext here, whereas it’s explored far more in the books.

- Two Towers Pacing. (Didn’t really like). The pacing of TTT was...weird. maybe I’m going into this with a closed mind because of the books, but it was odd to have the movie begin with Frodo and Sam and then have them only appear for a few rapid scenes after that. I think the fact that a WHOLE LOT of what happens to Frodo and Sam in TTT is moved to RotK is what makes it feel that way? In the books, Two Towers ends with Sam discovering that Frodo isn’t dead from Shelob’s sting, and I was surprised by how long it took the movies to get to that part. However, I will give the films a little leeway because I think they needed Frodo & Sam content for RotK, since most of what happens in that book is them walking through Mordor basically starving and dying. Doesn’t make for great cinema I guess, so they had to put the whole Shelob/Cirith Ungol saga into the final film. Still, I think there’s a weird lack of Frodo and Sam’s presence in TTT.

- The go home/missing bread arc. (Full of rage abt this one) yeah. so. my criticism of this is gonna sound pretty tired because people complain and complain about this part of RotK. but I’m gonna complain some more!! I don’t think the split between Frodo and Sam does anything for the plot. I really don’t. I guess it emphasizes the fact that Sam doesn’t understand how much Frodo is projecting onto Gollum, but it’s just. unnecessary angst? They had enough angst in the Osgiliath scene! Which I actually liked! And it simply doesn’t make a lot of sense for Frodo to suspect Sam of eating the bread when Sam had already offered Frodo his own food and made it clear that he would very much starve if it meant making sure Frodo could eat. But what I hate most about this scene is not that Frodo gets mad and tells Sam to go home. No. It’s that Sam actually... thinks about doing that? he actually? goes down the staircase? emotionally this is bad because Sam clearly cared enough about Frodo to follow him this far, to nearly drown for him, so why would he leave now. Practically this is bad because 1. how would Sam get out of Mordor alone and 2. where would he go. He turns around almost immediately, yes, but what was his plan. where was he going. why.

THINGS I LOVED

- For Frodo! This line, and every other shoutout to Frodo. In the books, they didn’t really actively talk about/worry about Frodo (and Sam) as much as they do in the movies. I like that they talk about Frodo more in the movies! I like that they’re thinking about him! I know it was implied that they were in the books, but I really like how it’s shown here. I think it gave a more complete picture of how much they all care about him on a personal level in addition to just needing him to succeed from a pragmatic standpoint.

- Merry and Pippin! I feel like Merry and Pippin were so well rounded in the films. I’ve heard criticism about them being turned into comic relief characters (which they always were a little bit) but it honestly didn’t feel that way to me. They had a bit of a rough start because the films didn’t make their motives for going with Frodo as deep as the books did, but I think that by TTT they were absolutely amazing characters in every scene. In RotK their respective arcs hit really well and the scene where Pippin is singing to Denethor? *chef’s kiss* poetic. beautiful. sad. idk man I just feel like I have such a newfound appreciation for Merry and Pippin.

- Parallels! people have pointed out the parallel of Frodo and Sam’s hands before (drowning scene/mount doom scene) and I love how the movie did that. Just stunning. Also! The moving of the Smeagol & Deagol scene to RotK surprised me because in the books it was like,,,at the beginning of Fellowship, but I think the placement of it in the movies really helped emphasize the similarities between Smeagol & Deagol and Frodo & Sam (and how much Frodo fears this similarity.) There were a lot of other well done parallels between storylines and a few bits of dialogue that were repeated with great timing, but I can’t remember all of them at the moment.

Edit: here’s one I remembered! when Frodo wakes up after being rescued and sees Gandalf, he says Gandalf’s name in a very similar tone to the one he used at the very beginning of Fellowship. It was a nice little subtle connection.

- I can’t carry it for you...alright this is self-indulgent. everyone knows I love this line. I’m just so glad it made it into the movie intact. Sean Astin’s delivery was amazing. I cheered. My mom cheered. It’s a raw line and it makes me feel secret emotions...like if shrimp colors were feelings. that line makes me feel shrimp feelings. idk i’m so tired i just watched twelve hours of movies this review is decreasing in quality by the minute but i’m about done for now anyway

Various silly afterthoughts

- I would have liked to see Sam kiss Frodo’s hands at least once. This happens 50 thousand times in the books, they could have given me one scene. one little extended edition scene. Please Peter Jackson I’m dyin’ out here

- They literally made Gollum so hateable. kinda the point yes, but I was so on board with Sam’s murderous rage. I know why Gollum’s a profoundly complex character, I know why Frodo pities him, I know why murder is bad, but I too would throw hands with that creature. also he literally body shamed Sam so much what was that skdjksdjksd. Sam is lovely. let him commit a small homicide.

- the scene where merry and pippin drink the tall boy juice (as someone once referred to it in the tags of one of my posts)... not accurate to the books (since they don’t ever drink it with the end goal of getting tall) but so accurate to life. if I found some water that made me taller than my friends? let me at it

- Frodo panicking when he falls into the spider webs. so real bestie. i felt just as panicked watching that. i am terrified of spiders and Elijah Wood did an amazing job doing exactly what i’d do in the situation. yelping a lot and falling down.

- I feel like it’s never stated that Sam’s a gardener (or at least that he’s specifically Frodo’s gardener) until he tells Faramir he is. Did I miss this. Or do they really never say. are you just meant to know. are you just meant to pick up gardener vibes from him.

This has been a very chaotic lotr movie review. Thanks for reading.

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seyaryminamoto · 3 years

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I think the episode Th Beach was supposed to portray Zuko in a sympathetic manner, but in my opinion it makes Zuko look worse. This is the ONLY episode in which Zuko spends a substantial amount of time interacting with the fire nation citizens, and he can barely control his jealously and temper around them. He even wreaked Chan’s house. Those are his future subjects. He should have learned to treat them better if he’s ever going to be fire lord.

Playing the devil’s advocate just slightly, as I’ve mentioned elsewhere, I’m pretty sure Zuko’s complete incompatibility with the Fire Nation during the first half of Book 3 intended to convey a message that says Zuko doesn’t know how to fit in with his old life anymore. Hence, he couldn’t have a particularly positive thing going for him in the Fire Nation besides Mai, because then he’d have enough roots to keep him locked down in his role as Ozai’s heir and he wouldn’t feel as easily compelled to turn his back on his royal life and do the right thing.

Nonetheless, it is a problem from a thematic standpoint, I agree 100% with that. I have more than enough problems with Zuko’s character arc, but that his connection with his nation is practically severed or non-existent feels really wrong to me, especially when the show makes a point to feature Team Avatar bonding with ordinary Fire Nation citizens, and even finding some, like Piandao, who aren’t supporters of Ozai’s rule.

In my personal opinion, Zuko could have undergone a storyline akin to that of Alejandro in Mask of Zorro, who was absolutely out of place amid nobles, but he had to play a role so he could find the information he needed and put an end to their self-serving plans. There’s a very heartwrenching scene in that movie when the group of nobles are basically touring a gold mine where enslaved locals are forced to serve their lords, and one of these slaves, an old friend of Alejandro’s, attemps to attack them only to get killed immediately by the asshole captain protecting the nobles. Alejandro then steps forward and cradles the dying man, who recognizes him and realizes what Alejandro is doing, disguised as a nobleman... and then the man dies in his arms, smiling because he believes Alejandro will set things right. But he still dies, and Alejandro is obviously both livid and depressed about it because he couldn’t save his friend.

Obviously... there’s no way Zuko would be put in a similar situation, at least not a situation that’s 100% the same as this, it’d be way too dark for Avatar even if Avatar did feature dark situations when it suited the plot. But if Zuko’s journey had been mapped thoroughly from day one... gee, how about Jet doesn’t die, but instead gets captured and handed over to the Fire Nation, and Zuko finds him in a cell at the Prison Tower when he’s on his way to meet Iroh? His old frenemy, in horrible shape... Zuko finds he doesn’t care about the past, because he knows this is wrong and Jet’s been through more than enough by Fire Nation hands, so he releases the guy and they escape! And then Jet potentially acknowledges that not all Fire Nation people are garbage thanks to Zuko... while Zuko realizes, through Jet’s words, that if there’s good in the Fire Nation he has to find a way to help it grow, and that there’s so much he can start doing to fix the mess of a country he’s supposed to rule someday.

With that as a starting point, Zuko could begin to travel through his nation, to learn more about his people, to visit cities and villages and find out if they’re living well or not (then maybe confront his father about their living conditions, showing a Zuko who’s no longer scared of standing up to Ozai, not even if it means risking the approval he chased after so desperately for years). Imagine him showing up at Jang Hui village, finding this horrid situation the villagers are living in! He’d not only cross paths with Team Avatar, which could be interesting at this stage, but he’d also potentially offer the people an alternate living location because he wants them to be free to live in better conditions than this... only for Team Avatar’s approach to teach him that maybe the answer isn’t running away or leaving when your house is on fire, but to put out the fire by any means you have available. Then, Zuko could start having many similar epiphanies throughout his journeys in his own country and understand that his work with the Fire Nation has to be FOR the Fire Nation itself, and not the glorified concept his father believes in: he’d have to work for the people who are unaware of how oppressed they are, the people who barely can get by in these times of war, those who have lost family, those who have lost friends, all be it for a war that makes no sense. Had Zuko’s character arc focused on THIS rather than exclusively on his own internal struggle... you probably wouldn’t see that many Zuko-critical posts on my blog. It would convey a strong message about what it really means to be a leader, and Zuko’s character would benefit greatly from that.

... But yep. Instead we got him losing his temper at small triggers, acting out and being very much socially inept. I understand what they were going for, I repeat it, and I don’t think it’s fundamentally WRONG... but I do think it’s too simple considering the scope of the story they were telling, and the character development they were trying to build for Zuko. There’s way too much to address with a character like Zuko... and that all his growth was meant to be internal (with even a few things that either were never addressed or were addressed poorly or that he supposedly grew out of but then regressed into all over again) may not have done him any favors.

... And well, I’ll say, I actually don’t think most of The Beach intended to portray Zuko as sympathetic? Maybe only the point where he gives Mai gifts that she rejects, and when he goes to the old family villa, but in general he feels like such an ass in that episode that I’m pretty sure they were making him an ass intentionally xD Yet I can’t agree more, it’s really wrong that the only time we see Zuko interacting normally with common Fire Nation people, as equals, he acts the way he does. I’tll never not confuse me that Team Avatar gets to see and learn more of the Fire Nation, and interact positively with their people, than Zuko did...

#anon #the eternal zuko debate (?)#so many eternal debates (?)#a lot of times I feel the core issue with ATLA...#... is that they didn't have enough time to get to everything they should have #and by they I mean the writers and showrunners #I know some people might say it's a problem of wasting time with fillers but you know what...#ATLA's fillers actually WORK #maybe a few aren't great #but you get to learn more about their world and the characters inner lives and that's great as far as I'm concerned #but if they had longer than just 20-ish episodes per season #maaaaaaaaaaybe...#they could've handled these subjects a little better #maybe #*shrugs*

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queerenteen · 3 years

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It’s difficult, learning not to hate yourself. To forgive yourself. I find it very healing as part of the story, compelling from both a character and a thematic/metaphorical standpoint.

And I’ve heard a lot of people saying it’s not queer enough, which hurts- they’re both genderfluid and bisexual. That’s queer by default.

Hey anon, I'm going to assume this is regarding the loki meme I put up?

Firstly I wanted to say thank you for bringing up the second point about what is 'queer enough' because I have been itching to write about it for months and this gave me the perfect opportunity.

Secondly, I do not ship Sylvie and Loki romantically.

I think their dynamic is the most important one in the show and your point of it being the most meaningful in the show is absolutely correct. It is actually healing for me personally as well because I have a lot of self-doubts and they sometimes manifest as hatred.

I do not ship them romantically because they are technically, the same person. If the sacred timeline is to be believed, there is only one true Loki (in terms of genetic material).

That means they have the exact same DNA.

For reference, even siblings do not have that--there will be variation. The only people who have the exact genetic material are identical twins.

So yes, having Loki and Sylvie in a romantic ship together does not appeal to me personally.

About your second point that if they were to be in an m/f relationship they would be considered queer?

Absolutely.

While their relationship might be straight passing, both of them are bisexual and genderfluid.

There is no such thing as not queer enough.

If someone doesn't agree with me, unfollow me right now.

Even if there is an m/f ship where one of the involved parties is cishet, as long as one of them is queer--it means that the relationship is considered queer.

There is so much debate even within the lgbtq+ community about this and it makes me so sad.

Hell, even I probably had a similar mindset a while back because of my own internalised biphobia.

I have been wanting to recommend these books with queer m/f relationships forever so here:

Wild Beauty by Anne-Marie McLemore

For nearly a century, the Nomeolvides women have tended the grounds of La Pradera, the lush estate gardens that enchant guests from around the world. They’ve also hidden a tragic legacy: if they fall in love too deeply, their lovers vanish. But then, after generations of vanishings, a strange boy appears in the gardens. The boy is a mystery to Estrella, the Nomeolvides girl who finds him, and to her family, but he’s even more a mystery to himself; he knows nothing more about who he is or where he came from than his first name. As Estrella tries to help Fel piece together his unknown past, La Pradera leads them to secrets as dangerous as they are magical in this stunning exploration of love, loss, and family.

Perfect on Paper by Sophie Gonzales

In Perfect on Paper, Leah on the Offbeat meets To All the Boys I've Loved Before: a bisexual girl who gives anonymous love advice to her classmates is hired by the hot guy to help him get his ex back Her advice, spot on. Her love life, way off. Darcy Phillips: • Can give you the solution to any of your relationship woes―for a fee. • Uses her power for good. Most of the time. • Really cannot stand Alexander Brougham. • Has maybe not the best judgement when it comes to her best friend, Brooke…who is in love with someone else. • Does not appreciate being blackmailed. However, when Brougham catches her in the act of collecting letters from locker 89―out of which she’s been running her questionably legal, anonymous relationship advice service―that’s exactly what happens. In exchange for keeping her secret, Darcy begrudgingly agrees to become his personal dating coach―at a generous hourly rate, at least. The goal? To help him win his ex-girlfriend back. Darcy has a good reason to keep her identity secret. If word gets out that she’s behind the locker, some things she's not proud of will come to light, and there’s a good chance Brooke will never speak to her again. Okay, so all she has to do is help an entitled, bratty, (annoyingly hot) guy win over a girl who’s already fallen for him once? What could go wrong?

I'll be the One by Lyla Lee

The world of K-Pop has never met a star like this. Debut author Lyla Lee delivers a deliciously fun, thoughtful rom-com celebrating confidence and body positivity—perfect for fans of Jenny Han and Julie Murphy. Skye Shin has heard it all. Fat girls shouldn’t dance. Wear bright colors. Shouldn’t call attention to themselves. But Skye dreams of joining the glittering world of K-Pop, and to do that, she’s about to break all the rules that society, the media, and even her own mother, have set for girls like her. She’ll challenge thousands of other performers in an internationally televised competition looking for the next K-pop star, and she’ll do it better than anyone else. When Skye nails her audition, she’s immediately swept into a whirlwind of countless practices, shocking performances, and the drama that comes with reality TV. What she doesn’t count on are the highly fat-phobic beauty standards of the Korean pop entertainment industry, her sudden media fame and scrutiny, or the sparks that soon fly with her fellow competitor, Henry Cho. But Skye has her sights on becoming the world’s first plus-sized K-pop star, and that means winning the competition—without losing herself.

I highly recommend that everyone checks these books out--they are very well done, and great reads--some of them are my favourite books of all time.

#the summaries are from goodreads #loki #loki laufeyson #slyvie laufeydottir #queer #lgbtq+#meta #book recs #wild beauty #perfect on paper #i'll be the one #queer m/f romances #straight passing #internalised biphobia

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stop-breaking-my-heart-telltale · 3 years

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Why do you think Lilly and Joan typically have more “haters” than like a majority of the other villains? Is it just because they’re newer?

Hmmm, interesting question.

I’ll start with Joan-- she’s a crappy antagonist that does only ONE [1] cool thing.

On paper, Joan mostly works-- a leader of a community that saw the incredibly heartbreaking loss within her home after a bad winter swears to do everything she can to never experience that again, and if that means raiding other camps under the noses of her co-leaders, then so be it. She’s older, so she has that “sweet old lady who would never hurt anybody” vibe going for her that’s deceiving, she’s implied to be manipulative and power-hungry, and she’s willing to exercise her control by having a public hanging for the town.

The problem? Poor, poor execution. Joan isn’t compelling-- hell, half the time I forget her name! That’s how forgettable she is within the pool of fantastic antagonists such as the St. John’s and William Carver.

Again, the ONLY moment she shines as an antagonist is when she presents the play with “You can save one: Tripp or Ava.” and then immediately betrays that promise by executing the one you wanted to save.

That betrayal is amazing and it’s too bad that the character doing it is so... bleh. Joan wasn’t developed, she wasn’t hinted as being bad, and we only learn that she’s the big baddie by a passing comment made by Max!

Hell, there’s a reason so many people forget Joan and dub David the antagonist of ANF. David is WAY more compelling, he has a familial connection to our playable protagonist, romantic interest, and child in our care, he’s developed from the very beginning of the season and appears in all five episodes, his performance is beautiful and emotional, and he has moments that showcase his humanity, fears, and desire to be better without knowing how to.

Joan just... sucks. I’m sorry, but if she wasn’t just a flat piece of cardboard with shallow character “development,” then she could’ve been on the level of the St. John’s with how good that betrayal choice is.

Now... Lilly... is a thing.

TFS Lilly is a betrayal to S1 Lilly and that’s not how it should’ve been. Now, of course, Lilly’s going to be different eight years into the apocalypse. The problem is we don’t know what happened to her that developed this extreme change in her-- they failed to show or explain her backstory in a compelling way.

Lilly is apart of a community where they kidnap children and turn them into soldiers, forcing them to fight in their war against another community that they tell us are far worse-- y’know, make Abel look like the Virgin Mary, if you will. Which is pretty bad.

However, we don’t care. All we care about is the fact that Lilly is hurting Louis/Violet, Aasim, and Omar, and that she murdered Mitch.

Lilly isn’t the worst antagonist-- She and the delta are actually pretty good from a storytelling standpoint, even though the execution could’ve been done better and less... eh, mustache-twirling villain.

That’s the thing-- Lilly is so far up her own ass that you can’t help but hate her. She’s smug, she gets off on control and hurting children to make herself feel powerful, she forces everyone to address her as “Ma’am,” and she commits the worst crime of all-- hurting Louis and Violet, which I think is where most of the hate comes from.

Like, you know how defensive everyone is about those two, and it invokes the “If you hurt them, I will lose my fucking mind” thing fans have... and well, Lilly did the thing and everyone hates her.

My personal hate is a bit more than that, but the shit she pulls with Louis and Violet is definitely apart of it, as well as the shit with Mitch and James.

So, why do people seem to hate those two more?

In my opinion, a lot of it is boiled down to wasted potential. The execution could’ve been done better, motivations should’ve been explored more, and little satisfaction with their arcs and how their stories end.

#asks #twdg lilly #twdg joan #twdg clementine #twdg javi #twdg louis #twdg violet #twdg mitch #twdg james #twdg tripp #twdg ava #twdg david

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ronnytherandom · 3 years

Text

I started Writing My Thoughts On Things Again, I'm Sorry

15/8/2021:

Mass Effect Legendary Edition (Whole trilogy w/ all dlcs, Adept Class, Hardcore difficulty, 68 Hours):

Still brilliant! I adore this series. The first Mass Effect was one of the first games I ever played back in 2010 and Mass Effect 2 is one of the games I’ve played the most accruing several hundred hours over multiple playthrough from 2010 onwards, while Mass Effect 3 is a game I greatly appreciated but have more mixed feelings towards. Retrospectively as much as I liked the first Mass Effect, I did not nearly appreciate it enough back in the day. For a first entry in a new IP it is incredibly fleshed out with interesting Lore, an intriguing story and a cool galaxy to explore. I appreciate its combat far more now than I did back then but would still argue it is relatively weak in comparison to more modern titles and its own successors. Though the VA is rough in some places it is excellent where it matters, especially in the case of Sovereign whose iconic dialogue on Virmire is etched into my brain. A key element of the first mass effect I felt was sorely missing from the later entries was its exploration. While the galaxy grew routinely larger no game after the first had a drivable Mako, a vehicle I adore, and further lacked the opportunity to land on and explore the terrain of alien worlds for resources and side missions which I feel lends a lot to the atmosphere of the setting and could be made even more compelling using updated technology and a larger selection of assets and interiors which might have emerged from the higher budget successors. As it is I appreciate its inclusion in the first game. Mass Effect was also my first encounter with impactful choices in a video game and this is certainly something I appreciate but leads me to a major criticism specifically targeting the dialogue wheel layout as it is strange to me how you can puzzle out all of these possible dialogue outcomes but put exactly all of the positive outcomes behind the Upper Left dialogue option. While this is less pronounced in the First entry as the Renegade dialogue fills roughly the same purpose while sounding more badass, it becomes truer throughout the series as renegade options routinely just become nasty and exclusionary.

Mass Effect 2 innovates in some key ways which I have grown to appreciate more in the past 20 hours of play than I did when it launched. Primarily, its focus on characters and your relationships to them. Barring a couple of notable exceptions I found myself greatly invested in every single member of the Normandy crew and I think it’s a remarkable feat that each crewmate could be written to be so sympathetic, relatable and interesting in a world so full of appreciable elements. I would go into specific examples but id end up listing every character except Miranda and Jacob. This of course plays well into the Suicide Mission narrative which is perhaps my favourite overarching plot within the trilogy as it incorporates not just all of these incredible characters and plays upon your investment in them but also relies on the threat of both the Reapers and Collectors which are two excellently designed enemies which I find significantly more compelling than Saren and the Geth or Cerberus and the Reaper Husk Armies. Mass Effect 2 has a powerful horror element composed of the Collectors phobic horror and the reapers cosmic horror and it does wonders for the game’s atmosphere. I remember at this moment the Collector soundtrack which, like the rest of the soundtrack is absolutely excellent. Inasmuch as I would criticise it from a purely musical perspective for being simple at times and perhaps overly repetitive it perfectly fits the camp space opera that is mass effect. Galaxy Map and Suicide Mission are absolute bangers. I would hesitate to call the combat great. Playing the game as a weapon heavy class is superior, I’d argue as even with an armour build dedicated to decreasing ability cooldown it is too long to adequately utilise the powers of ability heavy classes like the adept. Additionally, ability play feels far more limited than in the game’s predecessor due to the limitation of this games skill tree elements which are frankly a step too far in simplifying the interface. It doesn’t massively affect enjoyment of the game but I couldn’t help but note every time I visited the abilities menu how much I missed Mass Effects abilities menu. So while I would say Mass Effect maintains a very well balanced game with regards to combat, roleplay and story, Mass Effect 2 eschews combat and mechanical roleplay in favour of an excellent story. Additionally while lacking an exploration aspect the more structured side-missions found by scanning planets throughout the galaxy create a lot of fun moments and interesting gameplay, emblematic of the fact that mission design vastly improves between this game and its predecessor.

Mass Effect 3 goes some way to resolve its predecessor’s imbalance as the majority of the game possesses enhanced combat, a much better abilities mechanic and an excellent story. First the addition of more mobility, loadout and engagement options benefits the combat greatly, while the addition of more complex enemy types than previous games pushes you to fully utilise these new options. A massive reduction in ability cooldown combined with liberal cooldown reduction bonuses in the skill tree means that abilities are very useful and versatile and you generally feel very powerful. Sometimes too powerful if you’re thinking from a balancing standpoint but given it’s a single player game this criticism is much diminished and being powerful is fun regardless. The skill tree system in this game forms a synthesis between its predecessors’ systems and comes out the better for combining a regular sense of empowerment with interesting choices within your own character build. All of this contributes to a much-improved combat experience, especially over Mass Effect 2. This also lends itself to the old multiplayer system which I honestly enjoyed when it launched (who cannot love a playable biotic Volus?) and feel is sorely lacking from this legendary edition. I would argue the only real problem with the multiplayer was requiring a player to engage with it in order to achieve the best story outcome; the actual multiplayer gameplay was thoroughly enjoyable and it gave players the opportunity to experience combat as an STG agent or a Krogan Warlord which were both fulfilling experiences from my memory. The aforementioned story is truly excellent and successfully builds off events in previous games but primarily succeeds due to Biowares exceptional character writing which persists from Mass Effect 2. Even in the case of its worst side mission content but especially in its primary missions the stakes and outcome of events are thoroughly compelling and the involvement of beloved Normandy crewmates is bound to incite intense emotions. This is possibly the only game that makes me cry multiple times throughout a normal playthrough. Unfortunately my goodwill often runs out when it comes to consider the ultimate ending of this series which I do not approve of. I admit there are mitigating factors: you should not play the mass effect series for the culmination of its plot. This series lives and dies with its characters and all of the major character arcs reach satisfactory endings before the final moments of Mass Effect 3, so the final moments have no real meaning as the thematic purpose of the series is achieved by galvanising the galaxy and uniting all these disparate races into a single force to fight the Reapers. Thematically the game is a success but the extent to which it utilises the choices the player has made, upon which the series builds its reputation, is limited in scope. This can likely be laid at the feet of the leaks of the original story ahead of the games launch which pushed the developers to create a new ending to avoid spoilers, but the quality of that ending is poor as it boils all the choices made throughout the series down to selecting the colour of a space laser. To make an odd comparison, this is why I think Game of Thrones’ and Mass Effect’s endings are different kinds of bad. Mass Effect reaches a fully satisfying conclusion in the moments immediately after launching the final mission, whereas Game of Thrones built its whole series asking the question “Who Will Sit The Iron Throne” With the final answer being “Actually, no one” after slogging through multiple series which did not live up to the quality of the first. Mass Effect answers its dramatic question of “Can Shepard Unite The Galaxy Against The Reapers” satisfactorily following sixty hours of excellent content and the colour of the space laser doesn’t actually matter. It just hurts to think that the finale could’ve been so much grander and more interesting. I would recommend the games, the disappointment of the finale doesn’t even come close to outweighing the grandeur that is the rest of the experience of Mass Effect 3, let alone the whole series.

There are only a few pieces of content I had not encountered prior to this Legendary edition playthrough. The Mass Effect DLC Bring Down The Sky is fun in that it adds an interesting combat experience with incredible stakes and immerses you in a stellar scale event, but the experience is very short. As part of the legendary edition I recommend it but having to pay extra for it at its time of launch I would have found it disappointing. Mass Effect 2s Overlord DLC is very good, introducing fun combat encounters, an opportunity to operate the fairly fun Hammerhead vehicle (even if it doesn’t live up to the Glory of the Mako) and explore a nice open environment with a truly haunting ending which is a kind of non-choice but it is gratifying to make that choice anyway. Additionally the visuals in the final station when interacting with the VI elements are very nice. The Arrival DLC is also quite fun, with a pseudo stealth section to open it, something which I believe occurs nowhere else in the series. The general element of operating solo is quite novel for mass effect as I believe outside of this moment, the opening of the Citadel DLC and the final moments of Mass Effect 3 there is no point where you fight alone. The indoctrinated nature of the project team does not come as a shock but regardless the dlc is enjoyable as a combat experience and the scale of destruction shown necessary to even slightly inconvenience the reapers lends a lot to the scale of their threat. I do not believe I played any DLCs in Mass Effect 3 before, insofar as I did not consider From Ashes DLC content as it was already on the disk and all buying the day one dlc did was activate it. Leviathan is very interesting from a lore perspective and does interesting things with its investigative process but I find it to be a relatively passive and uninteresting experience for the most part. Omega was more my style with a lot of good combat and interesting new enemies and a bit of bombast besides but still left me largely unmoved. Citadel was excellent but mostly for its “endgame” content rather than its story content. Despite featuring many hilarious moments throughout the actual plot it failed to interest me but I was definitely there for all of the fun character moments and the party is absolutely hilarious.

Ultimately a hearty recommendation but with tempered expectations for the finale.

Deaths Door (True Ending, 13.7 hours):

A Delight. Deaths Door is a charming little game about a bird that stabs things and I love it. It is incredibly impressive that this was made by a team composed of two people. The gameplay is fun in all regards. Navigation is a good time especially when all of the environments are lovely and full of personality. Obstacles come mainly in the form of puzzles and these are at a sweet spot between ease and frustration without being at all complex. Combat could’ve used a bit more work, primarily to create more meaningful distinctions between weapons or add a little depth, but it is still engaging and good fun. While the main bosses are challenging and satisfying to defeat, I worry over the side bosses; perhaps something could’ve been done to make them more distinct from one another? But a small gripe. I like the world, the aforementioned environments are well realised, the general aesthetic is artful and distinct and the story is good if slightly sparse. One notable element is the dialogue which is very good with a quick wit. The finale of the main game has the right amount of spectacle and weight while the endgame is cool and fantastical, with an ample supply of secrets and collectibles to find. Over all the music is incredible, soundtrack full of absolute bangers. I really enjoyed completing this game and I’d recommend it to anyone who’s into action adventure and souls-like games.

The Bad Batch (season 1):

This was Allright. To open I cannot overstate how good the animation and art of this series is. It is routinely beautiful and well-choreographed. Visually there are no complaints. The problems begin with the opening episode which I feel overpromised on a relatively dark take on the Star Wars universe by immediately dropping us into an Order 66 plot full of death, danger, brainwashing and the threat of an emergent empire. Now granted this series never explicitly promises that all of this would continue but I enjoyed these elements of the first episode and I was dissatisfied by their limited usage throughout the rest of the show. This is not to say I disliked the show, I did enjoy the characters who are all good fun, and most of the plots were good. This series I felt had a lot of filler episodes, which I’d simply describe as episodes I enjoyed less due to underwhelming plot or conflict, but they were still enjoyable despite what id perceive as a lesser quality. The show also “suffers” from what I’d called Star Wars Syndrome of Filonitis which is how Everything Must Be Interconnected, with regular cameos from extended universe characters which I feel is beginning to get a bit much. These features feel to me more often like nostalgia grabs rather than organically featuring a character in service of the plot and development. For example, I appreciate the Captain Rex feature as that served to highlight the inhibitor chip problem and drive the characters to seek a solution, however I appreciated Rafa and Trace’s feature less both because I’m less attached to those characters (especially Rafa) but also because the episode didn’t serve any particular purpose or create any particular set piece which couldn’t have been achieved without those characters. This is a similar issue I have with The Mandalorian, I adored season one as it was relatively self-contained and only featured vague or subtler references to the wider canon: to contrast season two is full of cameos from the wider universe sometimes for no reason other than to have a cameo when those roles could easily have been filled with new and creative content which doesn’t rely upon nostalgia to make something interesting. Ultimately Bad Batch is worth watching for the characters and the good episodes, it is fun and entertaining, it just has its issues.

Jojo’s Bizarre Adventure Part 1: The Phantom Blood:

Its uh, its not good. Now that’s a very broad statement, as to assess this show critically at all is to take it far more seriously than you should, but to be more even handed the show certainly has a bunch of fun elements. Only from a story perspective, there isn’t really that much there; and from a pacing perspective it needs to be seen to be believed. I’m certain that if you condensed the show down to a reasonable size for the amount of content it has, you’d probably have a movie with a two-hour runtime at most which would be quite enjoyable but on a whole this first part wastes about 80% of its time on overlong drawn-out internal monologues and the dilated timeframes of the show’s fights. It also has an annoying habit of overemphasizing the weight of a moment or the genius of a characters unexpected action usually with no less than three people commenting on any slight manoeuvre which ruins the pacing beyond belief. Now I understand this is a staple of the Jojo series, only part 1 handles it very poorly in comparison to later parts. The fighting is especially hindered by this as most actual combat usually involves only four or five punches but they tend to take twenty minutes getting to each one. Additionally, Johnathan Joestar is pretty boring as a character with no notable qualities aside from being good both morally and at fighting. The intrigue of the stone mask is cool but this part deals in that very little. Like I say though, Part 1 is still fun to watch if you can disengage your brain and admire the potent meme quality of the series. It is not “good” from a critical perspective but it is incredibly amusing and the campness gives it a degree of charm. If you just want to watch a bunch of beefy men shout at each other and perform magic punches this is a good time. Speedwagon, despite being the worst offender of the “Explain Everything Twice and Ruin the Pacing” category, is still entertaining for the awful accent and endearing character. He’s also definitely in love with Johnathan and I will not be taking questions on that. Baron Zeppeli has a cool hat. Theres a lot of fun to be had as the show embraces the weirdness of everything that’s going on. So, check it out, it might just be a So-Bad-Its-Good Masterpiece.

300 (film):

This film was not so great in my eyes. I think there was one particular shot of the landscapes around Sparta which I felt was visually cool but everything else about the film lacked quality for me, barring practical effects which have aged significantly better than the graphical effects. The visuals are largely uninspiring, the washed-out colour pallet doesn’t help. Perhaps the dialogue was amusing at release but for me it’s all been memed to death. I can’t say any of the performances are particularly compelling, nice to see Magneto and Faramir though. The action could’ve been good and there are certainly moments where it has impact, but the constant application of slow motion I feel reduces the sense of power that should be there, like watching people fight on the moon. Ultimately, I can’t stomach it for two primary reasons: Historical inaccuracy and Racism, which feed into each other. The values of the Spartans do not accurately reflect ideas that historical Spartans held to and I must ask why? Historical accuracy is the default state, so to usurp those ideas in favour of others means the author of the graphic novel Frank Miller and director Zach Snyder replaced those ideas with purpose, in order to make the film more appealing to a mass audience or to express their own ideas perhaps? And the values they chose for the Spartans were freedom, justice and democracy which were things the slaving and monarchical Spartans did not believe in at least in the modern sense. This reeks of an imposition of the propagandised values of western nations on a historical society. This in itself would not be so much of an issue without the demonisation and perversion of the Achaemenid empire and the peoples therein. To establish the primary conflict as one of Civilised white westerners against barbarous non-white easterners, when historically the conflict was between two nations of a broadly similar heritage both possessing facets of good and evil, in the early 2000s? It feels as though some reactionary interpretations of the War on Terror have simply been recreated here with classical history as window dressing. Add to that reactionary attachment to the battle of Thermopylae as a representation of the western world’s struggle against the eastern world, in addition to other more problematic interpretations, and this film plays straight into extreme right-wing ideas of race. Cannot recommend, there’s a lot more better things you could be watching.

18/08/2021: Darth Vader (2015) comic (incl. Vader Down event):

This was really cool. The first comic I’ve ever actually read so I don’t have much frame of reference but I certainly enjoyed this. It was compelling, I’ve blitzed through this whole run in a single day. I think it serves a valuable purpose of demonstrating Vader’s potential and development between Episodes IV and V, as well as the nature of internal conflicts within the Empire. A side note, it is amusing that Palpatine identifies infighting as a factor in the fall of the Sith Empire and yet encourages it for his own political purposes anyway. I felt that the art and style was very good and fit well with the Star Wars aesthetic, though I couldn’t say if it is truly excellent or just standard: it certainly wasn’t bad, though I think a few designs such as Dr Aphra’s ship were hard to read as it were. Speaking of, I think characters new and old were well portrayed. The titular Vader is unmistakably the same character as appears in the classic trilogy, similarly for Han, Luke and Leia etc. And it was a pleasure to see Chewbacca absolutely destroy someone. The aforementioned Aphra I thought was fine but she lacks distinction to my mind, the real star was Triple Zero and by extension Beetee who I thought were excellent comic relief in addition to being a genuine threat, something I can’t necessarily say I felt with regard to the antagonists. This latter part doesn’t matter overmuch, I think the purpose of these antagonists was more to present Vader with pressure to fulfil his personal goals rather than actually oppose him and they work well in that regard, but are unmemorable beyond their basic attributes. What I think this comic does particularly well is create a kind of puzzle narrative and its almost thrilling at moments when Vader’s plots might be discovered. As a result of this I am looking forward to reading more comics in future.

The Suicide Squad (2021): Highly enjoyable! A big step up for the suicide squad as a franchise and a lot more fun, playing into a brighter and more humorous genre than its predecessor to good effect; This time with good editing, soundtrack, direction… well good everything in comparison. I enjoyed all of the characters and their acting particularly the rivalry between Peacemaker and Bloodsport and Margot Robbie is still fantastic as Harley. They all pale before King however, who is endearing beyond belief and a lot of fun to boot. The “villain” if that term is applicable is very interesting and actually threatening, no mere beam of light into the sky! And the willingness to engage in more mature elements such as gore and character morality is of immense benefit, serving to distinguish it from generally more childish superhero media and reach towards more interesting themes around colonisation, foreign intervention, America and such. Only a reach towards however as I don’t think it ultimately says anything beyond “This thing, kinda bad and dumb”. As I saw noted, it observes the theme but doesn’t comment on it which is a shame as that would bring it all together quite neatly. I feel it can drag a little at times and sometimes the dialogue and specifically its humour don’t hit right but the rest is of such quality that it hardly matters. It looks good, sounds good and offers a chance to engage in a little mindless and bloody violence. I hope Harley keeps the javelin.

27/08/2021: JoJo’s Bizarre Adventure Part 2: Battle Tendency: TW: Mention of Nazism, Discussion of Sexism

This is MUCH better. Part 2 covers most of the problems I had with Part 1. The Monologues are less egregious so the pacing is much improved; the lore is fully integrated into the story and creates a genuinely good narrative and Joseph is a much more compelling and interesting protagonist with a quirky and entertaining personality. The Pillar Men are excellent villains and the fights are fully engaging. Even when you know that Joseph will pull out a “And next you’ll say” twist at the end of a losing fight it’s still surprising simply by dint of the strange and wacky solutions he creates. And these adventures are even more bizarre, playing into the weird camp of the series which works so well. All in all, the quality is excellent here HOWEVER there are some highly problematic elements. The show being set in the 1930s is a neat part of the travelling through time factor of the series but when you’re globetrotting around Europe you need some solution to the problem of Nazis popping up everywhere and this show does not provide one, and fails so drastically to offer even a slightly critical perspective on the fascist characters. The noble sacrifice of Von Stroheim and his later resurrection and heroism serve to idolise a Patriotic German Nazi Officer, which is not good, and this unchallenged perspective on an Actual Nazi is troubling especially when the character himself is an unrepentant mass murderer. Additionally, the show has a horrible attitude towards women, who exist almost exclusively for sex appeal and romantic interest in this show. Lisa Lisa does demonstrate ability and character but when presented with genuine combat is relegated first as a bit of eye candy during the fight with Esidesi (notably eye candy for Her Own Son) and later as a Damsel in Distress during her fight with Kars. Women are frequently used as objects in this part; Caesar Zeppeli uses women as props by controlling them with his Hamon powers and Suzi Q exists only to be rescued from Esidesi and then to be romanced by Jojo. It’s pretty ridiculous to be honest. I am informed that this improves over the course of the series but as for this part in particular it is a lot of fun just so long as you can ignore some incredibly troubling portrayals.

13/09/2021: Rick and Morty Season 4:

There is ultimately not much to say as Season 4 is simply more Rick and Morty and operates as such. It is good, even very good. It’s still very funny. Its voice acting is still the pinnacle of such work. It is still smart and has a lot of interesting ideas, only not to the extent of the copypasta fan boys. Its sci-fi universe is cool and its design and aesthetic are still excellent. I feel the show has passed a threshold however as there’s only so much time you can spend on the “dysfunctional family is dysfunctional theme”. I hope season 5 proves me wrong once I get to it, but season 4 is fun and I’d recommend it all the same, it’s just more Rick and Morty and I think that’s enough.

Shang-Chi and the Ten Rings: Spectacular! Very easily amongst the best if not The Best Superhero Movie (aside from Into the Spiderverse). To begin with complaints as they are limited, the colour grading was a bit dark in a couple of the fight scenes and in some moments of the climactic fight the CG effects are a little Too Much and distract from the central action of Shang-Chi, Xialing and a Dragon owning the shit out of a multiversal super spectre, which incidentally is fucking epic. Additionally, the standard MCU comic relief dialogue is a little meh at times but what’s new there? They still need to get a handle on that, especially because this film was really strong when it was serious. As much as I love Ben Kingsley’s Trevor Slattery, he was just a tad much here. Aside from a few moments of weak dialogue however the rest of the film is excellent. Acting is good, effects are good, the film is quite beautiful primarily once Ta Lo is reached and the score is bangin. I appreciate most of all the fight sequences which to me look well-choreographed with interesting arenas which were always appropriate to demonstrate the characters abilities; the sequences serve to develop character and plot at key moments also. The way the camera is handled during the fights is also a big step up, with wide perspective and long shots rather than the snappy close shots of old which serve to really show off that choreography and don’t muddy your understanding of the flow of combat. There is a good thematic line throughout the film of reconciling the bad and the good of your familial and personal history, to understand yourself better and channel that into developing and achieving your ambitions and I adore how that ties in with Shang-Chi and Wenwu’s final confrontation due to the nature and treatment of the Ten Rings themselves. They are a very interesting fantastical element especially once Shang-Chi acquires them and the way that he utilises them create a very cool combat style I can’t wait to see more of, even considering that their full potential is yet to be unlocked. I additionally approve of how they have been differentiated from their comic counterparts which to my understanding are just slightly weaker infinity stones; thus, a one-to-one reproduction would’ve been a boring mistake to make. It’s a fantastic film, go see it.

26/09/2021: Sable (20 hours, 99% complete) Sable has the makings of an absolutely fantastic game, it just has a few hiccups and hurdles to deal with. Thankfully most can probably be dealt with by patch as there’s nothing fundamentally wrong with the game; but a game should never be released in a state where it needs a patch to function normally. This game is incredibly buggy. Probably one of the buggiest games I’ve ever played at launch, and I preordered Skyrim. Most of my complaints are with the menus, which simply do not work properly sometimes, but there are other documented issues with collision detection and weird bike movement among others including one annoying persistent issue with the soundtrack being replaced by random ‘bong’ noises. For these reasons I cannot recommend the game Right Now until it is patched or if it is on a significant sale. However, once the bugs are fixed this game will be a stunning achievement. The story is good and leads to powerful emotional moments, aided along by an excellent atmospheric soundtrack and beautiful visuals. The style and colour give this game an exceptional look, though diminished by a fairly rapid day/night cycle. I understand that this creates a visual contrast to make the daytime feel more vibrant and impressive, but I would also hold the sun still in the sky if that were an option. The world is well built, with interesting lore and cool design work. Varied environments show off a range of colourful landscape all with their own distinct atmospheres and landmarks which are good both for navigation and exploration, this being the bulk of the game. Exploring these environments is satisfying for curiosities sake but also offers collectible Chums that I adore and an intriguing backstory and world history to consider. Riding a hoverbike is cool and fun, and the customisability is nice though I would take issue with the “balancing” of bike parts as the best bike can be acquired only a few hours in and must be bought, where bike parts earned through long quest chains pale in comparison. This annoys me as I believe players should be rewarded more for great deeds than for acquiring currency, besides which the quest bikes look cooler. This is of little importance however as the game is a very casual and chill experience, keeping an excellent balance where it is not strictly challenging but does maintain your focus and attention. This world is full of strangeness and a little sci-fi magic; though I would argue it could use more of this I think that would threaten to overwhelm the player when even this world’s most mundane elements are still stunningly cool. I think a thick coat of bugs covers what is ultimately a magnificent game with many cool things to explore and even marred by its worst features I still had a great time playing it.

27/09/2021: The Matrix

Brilliant. A very cerebral action movie which definitely earns its place as an iconic work of cinema and its clear to see why its influence is so widespread. Fantastic action with a clear and open perspective which utilises the interesting and dynamic cinematography that runs throughout the movie. I particularly enjoy how over the top the fights are in terms of environmental destruction and gestures as a whole, with a great deal of emphasis added by practical effects which I enjoy. Cool characters, good dialogue and excellent performances across the cast. And, an interesting world well-built and designed. The robots particularly are quite intimidating and I like their arthropodal form. All of the design works well to create the feeling of a greasy industrial post apocalypse which contrasts sharply with the boring homogenous simulation, the latter having its own value as a setting due to its familiarity which would’ve been especially prevalent when this film first released. I love the soundtrack, especially the final feature of Rage, but most of all I love how deeply you can read into this film and its meaning. Having watched many videos about it I was primed on the trans allegory going in and it is very clearly a present part of the narrative before even considering the context around the Wachowski sisters and their own experience. It is a very interesting part of the story and plays well into other themes built around deconstructing the illusions pressed on us by our society, drawing strong parallels between the struggles of living as a trans person and fighting against an imperialist capitalist society. It is worth watching for any of its constituent parts but together they form a magnificent work of art.

28/09/2021: Star Wars: Visions

The series is a bit of a mixed bag. It definitely overpromises with its first episode which is of a remarkably distinct style, is incredibly cool and has great wacky moments in addition to tasteful call-backs to the wider Star Wars canon. I love the umbrella sabre, it’s a fantastic idea and there needs to be more of them. From there a few episodes are fantastic, The Elder and the final episode, and id rank the Ninth jedi just below them, but the rest of the series is definitely not to my taste. The wide variety of styles on show are all fantastic and the animation is universally very good, just some of the plots are more childish than I would appreciate and the rest are simply not engaging for me to the point that despite a great deal of spectacle occurring I would often be distracted. It’s worth a look if you’re into animation and unique takes on star wars but I find generally lacking.

Django Unchained (2nd Watch) TW: Discussion of Racism and Slavery

Red Flag: Tarantino Movie is good. Very good. Stellar performances from Jamie Foxx, Kerry Washington, Leo Di Caprio, Christoph Waltz and everyone else in the movie to be frank; a special note for the trivia about Leo Di Caprio’s cut up hand during the dining room scene, a lot of respect for a man who can keep working through that kind of injury. We can go through a Tarantino Checklist say the film is well shot with beautiful environments; has excellent and witty dialogue with good attention to detail and mannerism; and finally has great and gory action which does not flinch from terrible injury and really appeals to a perverse bloodlust that seems to crop up from time to time in normal people. Strangely enough however, I could not recall if Tarantino indulges in his predilection for feet here. This film does indulge in Tarantino’s other predilection however and that’s the N-word, but here I respect it. Unlike his non-period works, the use of the N-word is a facet of slavery just as chains, whips and plantations are and slavery is the subject of this film which seeks to be historically authentic. If anything, the absence of the N-word would be very wrong in this case despite being the project of a white man as without it the film would lack the context of a key form of oppression that still exists today. I think Django does an excellent job documenting and commenting on the institution as it existed in the pre-war period. Django experiences every level of status a black person would encounter in this setting: first a slave, then a freedman, a black slaver and finally a Liberator and the final message of the film is that slavery deserved to be destroyed and any argument made for its return is horseshit which is kind of a “Duh” statement but with the state of modern politics and the state of education in the US it’s something that needs reiterating. You can interpret this beyond the bounds of slavery itself in addition, by arguing that there are existing powers in this world which seek to discriminate based on skin colour amongst other factors and create oppressed minorities for the benefit of a wealthy few with power and should the systems that create this environment be completely destroyed it would be cause for celebration. Beyond this I particularly enjoyed the historical authenticity of the environments, of the very varied biomes of the wilder parts of the US at the time, and the contemporary outfits especially King Schultz’ coat which I desire more than any item of clothing I’ve ever seen. The film is good at building suspense both in the moment to moment and through longer story arcs, particularly the second act, but I do feel like the 2nd act lulls a little, perhaps spends slightly too long reaching its climax. This is a great spectacle of a film which looks and sounds fantastic, puts excellent performances on show, tells a great story and has quite a bit of meaning bundled into it.

29/09/2021: The Road to El Dorado (Unfinished)

Despite not finishing it I think this film is actually really good. It certainly has a few elements which don’t fully gel with me but I enjoyed my time with it; I only felt like I should really be doing something else and that I wasn’t fully engaged with it, potentially as I’m not keen on cons and high stakes acting as it feels like a form of vicarious embarrassment for me which makes me immensely uncomfortable. Personal hindrances aside most everything about this film is excellent, I loved the animation and the very colourful world. The characters were fun, the voice acting good, the constant horniness was a great bonus also. I take issue with the music, much as it’s not my right to criticise Elton John, I feel it would’ve been better fully incorporated into the film. I enjoy animated musicals more when said music is diegetic and I think them beginning to employ non-diegetic music is part of what led to their downfall, outside of market saturation. Additionally, I was not a fan of The Trail we Blaze, just not a song that worked for me. I also appreciate the integration of 3d and 2d animation here as I felt the styles were reconciled better here than in most movies, especially for the time. I might take issue with what seems to be a plot about two Spanish men of the colonial age coming to central America and “enlightening” its people through humanitarian acts and music as that would reflect some troubling attitudes but I hold out hope that by the end of the film they decide to come clean about the lie, return the gold and help defend El Dorado from Cortez and his troops. Its enjoyable, I don’t feel drawn to finishing it though.

30/09/2021: Hunters Moon, Ghost

Here’s a new one, music reviews. This single is pretty good I enjoy it a lot. Opens slow and gentle and rapidly builds into some strong rock with a very 80s feel which scans with Ghosts whole historical rock and metal style they’ve always employed but have gone in extra hard on since Prequelle. The lead riff the track opens on is really nice and I would love to have seen it explored further, but the heavier style that ramps up progressively as the song continues is still great climaxing on the 9/4 post chorus riff which goes hard as fuck and I love that bit especially. It feels like it would be spectacular to witness it live. The bridge is a moment I’m not so keen on, the initial bass work is a little bare bone and overly repetitive but it definitely picks up once the guitar and vocals come in, even if just for the final moments. The final chorus leads into a good finale though I think it’ll serve better on an album version with a transition into another track, as I usually prefer to be fair. Technically I enjoy all of the different sounds and effects employed on all the instruments, especially in that leading riff, all of which are played well with good time. The vocals are great as usual. It’s a great track, I feel it was maybe a little short and could’ve explored some of its musical ideas or given them a bit more time to breathe; perhaps less time could have been given to overrepresented elements like the bridge and given over to work more into the very atmospheric leading riff but this is still a hard and heavy rock track and I enjoy it greatly.

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forestwater87 · 5 years

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Would you want Gwen and David to become a couple at the end of CampCamp? And adopt Max as well? Cuz' I do...

Gwenvid becoming canon is one of those things I simultaneously love and feel is unnecessary. The show will never let it be as pure and fluffy (or emo) as the fans will make it, anyway, and there is no force on earth that will stop me from shipping this ship with every ounce of my shriveled little heart, so I’m kinda ambivalent on the whole thing. (Besides, I know at least one of the showrunners is not at all into it, so I don’t see it happening no matter how much we may want it to. As long as they keep giving us little ship nuggets we can read way too much into, I’ll be good.)

Also I’m not convinced CC is the kind of show that needs an end, so “at the end” is one of those things that … eh, whatever. It’s an endless summer existing outside of time. Does it ever have to end, as long as they keep having new ideas?

As for the other part of this question … oh, boy. Anon, you did not ask me to go the fuck off on this question, but I gotta because I’ve been holding all this inside for literal years, and I don’t even care that this will make me hemorrhage followers because I’ve been very good and very quiet about it for a long-ass time and I just gotta –

I fucking hate Dad//vid.

And you know? I didn’t used to. My feelings, much like those regarding Cute Waitress, went from “how cute!” to “eh, not my thing but whatever,” and now we’ve circled all the way around to my entire soul lighting on rage-fire every time it’s mentioned, and just … I hate it so much … it’s just …

I feel like this deserves an explanation. And I think the people who’ve already blocked me or whatever aren’t going to read it, so let’s put it under a cut just for the sake of scrolling. But here’s the cliffs notes version:

1. It’s #NotAllDad//vid. There are some iterations of it I don’t hate, and even quite like.

2. David adopting Max, as a general concept, blows. There are exceptions – see #1 – but 99 times out of 100 I hate it with all of my hate. (The short reasons why: David is baby and Forest has Issues, it’s kiiiiinda racist?, and it’s lazy, boring, and way overdone.)

3. The fandom will not fucking chill about it – at the expense of all other explorations of David and Max’s relationship. And that makes me highkey annoyed.

That being said, anyone who’s worried my blog will become a cesspool of dad//vid hate, please don’t be concerned. This is like lancing a boil of something (I’m bad at metaphors). All the garbage pours out in one massive textblock, and then I go back to being more or less chill about the whole thing. We’re dealing with years of repression here. Shit’s gonna be a lot more intense than it needs to be, and then we’ll settle back down to our regularly-scheduled CC fluff times.

I’m hoping this doesn’t make the fandom hate me forever … but given #3 up there, I’m pretty dang scared it will.

(And hey, I don’t want Cute Waitress to explode in a pit of fire and snakes anymore, so maybe my opinion on dad//vid will change eventually too. Always hold out hope, right?)

1. #NotAllDad//vid

Like I said, I didn’t used to totally despise the whole Dad//vid thing. Like, I love the idea of David having been a counselor for so long that he just has ingrained Dad Instincts (see S4E14 for the most recent example of this). David as the Dad Friend? Good shit. David as the mother/father hen of his little cabal of campers? Very good shit. Nonliteral interpretations of dad//vid are usually really cute and fun and have some solid basis in canon, and I’m all about it.

Even some of the more literal David-adopts-Max AUs aren’t … the worst. Some of my friends have written versions of it that are original or at least were at the time and really compelling, and usually they found a way of skirting past the majority of the issues in #2. It can be done well.

It just … usually … isn’t.

And for that we gotta see #2.

2. David-Adopts-Max Sucks as a Concept

There is nothing good about the idea of David adopting Max, at least based on what we’ve currently seen in canon.

(Yes, I am aware that I should couch statements like that with “in my opinion” and “with exceptions” and the like, but that’s a lot of work for this and a bunch of the stuff I’m gonna say in a second, so please just assume for the purposes of everything I put on this blog that it’s in my opinion. I’m not out here dropping Cold Hard Facts about Camp Camp of all things; I’m just spewing my feelings.

I have lots of feelings.)

I don’t really have a cute little opening segment for this, so let’s skip the hors d’oeuvres and hop right into the meat of it:

David is Way Too Young to be a Father (According to Forest, Who Has Massive Emotional Baggage About These Things)

David is 24 goddamn years old. You know who shouldn’t be put in constant legal charge of a 10-year-old? Someone who is only 14 years older than him. If he’d had Max the old-fashioned way he would be too young to go on 16 and Pregnant.

That is too fucking young.

I know that some people become parents that young, and even younger. I’m not saying your experiences are bad or invalid. I’m just saying, from the standpoint of being 26, that if one of my two-years-younger friends told me they were adopting a kid they knew from work, I would tell them they were fucking bonkers and to hand that child over to a grown-up immediately. This is especially true of David, who has remarkable emotional maturity but is also mentally about 8 years old. Gwen is the adult at that camp, and David is such a baby.

Please don’t give the baby a baby.

Also, I’m terrified of having children. I never plan to, I’ve only recently accepted the fact that I don’t have to (grew up religious; it was kinda a whole thing), and get knee-jerk defensive over the idea of anyone my age or younger having children. It freaks me out, and that’s not a good or right emotional reaction to have but it’s mine, and I lowkey panic every time I think of David having children because if he should have a child at 24 then I’m already late.

Yes, I get the feeling that I’m running behind. For something I don’t actually want, ever. In comparison to a fictional character. Whose fatherhood decisions are not even remotely canon.

TL;DR I have issues and my other arguments are decidedly more valid than this one

So How About That Racism, Huh?

I know this has been a matter of some debate in the CC fandom for a while now … but you know what? It’s not nearly enough of a debate. People should absolutely be talking more about the potential problematique aspects of having a way too young white kid take a child from his immigrant parents on some pretty shoddy evidence (which I’ll address in the next section). There’s some White Savior stuff going on there, some negatively-stereotyping-poc-and-immigrant parents going on there … I’m not saying these should completely disqualify any dad//vid AUs or speculation or anything, but it should absolutely be much more of a conversation than it currently is.

(This is why one of the few David-adopts-Max concepts I like is one in which his parents have died. Not only is it more interesting – again, see the next bit – but it neatly sidesteps some potential gross stereotyping, and that’s just always rad.)

I feel like the common counterargument to this is that there are not-great parents of color and not-great immigrant parents IRL, so wouldn’t it be dishonest not to portray that in fiction as well?

I mean … I dunno.

I’m not here to tell anyone how to write the One Pure Dad//vid AU or anything. But I will say that I don’t think most people in love with this concept have done anything resembling due diligence in considering how best to sensitively portray the complicated familial, racial, and other implications of this particular AU or concept.

Besides, it’s not real life. It’s fiction, which means any decisions are being made deliberately. It’s a choice to depict Max’s parents as abusive and neglectful monsters who immigrated to America to give their son a better life but that’s for the next section, and it’s not inherently a bad choice, but it’s one that should be made thoughtfully, with an eye to the history of negative stereotypes that already run rampant in fiction. That’s just part of the writing process, and not one that should be shunted aside because it’s more work and less dramatic than creating the biggest of big bads for David to make grand speeches at and/or punch in the face.

Just Not Very Interesting (And Done to Death)

Regarding the overdone thing: Reading a David-adopts-Max AU most of the time is just like reading every other David-adopts-Max AU; I’m pretty sure I could put all these fics on transparencies, overlay them on top of one another, and still have a legible story because they differ so little.

Now to be clear: This – along with the rest of my points in this section – are about personal taste. Some people love reading the same story over and over again, and it brings immense comfort to them. That’s okay, and you shouldn’t feel bad about reading (or writing) these stories and not wanting to break your back trying to find a new angle for it. Cringe culture is canceled, and my personal tastes should not dictate the fandom. You do you.

That being said, I’m also allowed to be so bored by almost all of these fics that I nearly fall asleep scrolling the AO3 feed.

And the frustrating thing is, it would take so little to make it different. All it would take is asking: what if it wasn’t that simple? What if his parents aren’t all bad? What if they’re trying their best, but aren’t able for whatever reason to care for Max the way he needs to be? (I’m thinking Deja’s mom from This Is Us, for a cool example.) What if they later come to regret whatever behavior is making them so sucky, and reconcile in some fashion with their son? What if David and/or Max have fundamentally misread the situation, due to being on the outside and a kid, respectively, and it turns out his parents are actually making the best decisions they can in this situation and David doesn’t need to literally become Max’s dad, but integrates into the family in another way? (Seriously, even “what if they’re dead instead of evil?” would blow my mind in terms of originality. It’s been done, but not nearly enough.)

So that’s the overdone thing out of the way. What about lazy and boring?

It just seems to me that, based on the evidence we’ve been given in the show, there are infinitely more nuanced and creative alternatives to “Max’s parents are canonically abusive and neglectful and deserve to have their child ripped away from them by the guy who sees him at his job like 2-3 months out of the year.” I, in fact, refuse to believe Max’s parents are bad people based on the current evidence, and won’t do so unless canon forces me to see no other option.

Because as of right now, I just don’t buy it.

Didn’t show up to Parents’ Day: Well, we know they immigrated from India to escape “menial labor” (S1E4), and we know capitalism stomps all over the kind of people stuck doing menial labor, so what if they were unable to get away from work or they’d be fired? Hell, what if they couldn’t afford it for whatever reason – car broke down, they don’t have a phone or were out of data, they got hurt or sick or something came up that was interpreted by a small child as a lack of interest because he’s been shown that he doesn’t fully understand either adults’ motivations (all of S1) or the complexities of living in adult society, though he thinks he does (S1E4)?

Didn’t give him an activity: What if their grasp of English isn’t great? It’s a damn hard language to learn, and I sure as hell couldn’t pick up a second language if I was working to the bone to support my family. I’m exhausted trying to get through my 5 minutes of French on Duolingo, and I have a relatively cushy job and the benefit of an owl harassing me every few hours. Maybe they looked at the absurd camp activities and assumed they were misreading something, so they handed it over to their son (who is clearly fluent) to pick something he likes. Maybe they wanted to give him some responsibility and a sense of autonomy in deciding what he wanted to do for the summer, and he was so annoyed at being sent off to camp that he refused to do it and interpreted their hands-off nature as not caring. Maybe they were tired and just told him to pick something and it’s as simple as that, because parents are allowed to be exhausted sometimes. Just strikes me as pretty bizarre that they’d bother sending their son to a summer camp (and those things aren’t cheap, even one as not-awesome as Camp Campbell) but not be invested enough to give him the activity. Saving all year to scrape together enough money for a summer camp, sure, but filling out one line on a piece of paper? Pfft, who has time for that bullshit?

(I recognize that assuming they’re poor based on a single line about “menial labor” might seem like a bit of a stretch to some people. But honestly, to me it’s no more of a stretch than assuming that they hate or don’t care about their son, or any of the other wild theories thrown around about Max’s parents all the dang time. At least this one is relatively new.)

Sent him a sweatshirt and a short note: Again, maybe their written English isn’t great. Some people are better at a spoken language than a written one. Or maybe they didn’t have enough time to write a long note, or they knew Max wouldn’t read it (he doesn’t seem like the type to be all that into long emotional letters). Regardless, they knew to send him something he’d like that would likely be worn down by constant wear at camp. And sweatshirts aren’t cheap. Neither is mailing a package. Just seems like a surprising amount of effort to go to if they don’t care about or love him.

Sent him to Camp Campbell for the summer: Let’s say they’re poor, based on the evidence we have. It makes sense to assume that they work relatively “unskilled” jobs, or are in school, or both. Because those jobs don’t offer benefits or a lot of money, we can also reasonably assume that they either work multiple jobs, long hours, or both. They probably don’t have family in the area or even the country, and it wouldn’t be reasonable to expect neighbors or friends to take their son in all day, every day, all summer so he’s not home alone while they’re at work (especially considering he’s not all that easy to get along with). He’s familiar with the city (S3E11), so we can assume he’s grown up in an urban environment, which means he’s probably to some extent a latchkey kid. Sending him to a summer camp would get him out of the city, around people his own age, where he’d be supervised and kept busy while his parents are at work until school starts. Camps are expensive, but I imagine Camp Campbell might be the best they can afford, and they’d assume it’s better than him sitting in an empty apartment all day.

Max’s insistence they don’t care: He’s … ten years old. Not only has he made it clear that he assumes the worst of most people, including adults, but it’s also relatively common for kids whose parents worked a lot while they were growing up to interpret that busyness as a lack of interest in them. It’s hard to understand things like expenses or financial security as a kid and view it as “my parents are never around and so they don’t love me.” Hopefully when he’s older he’d appreciate everything they’ve sacrificed for him, but at 10 years old it’s expected he’d feel neglected.

I’m just saying, maybe a borderline emotionally unstable child isn’t the most reliable source, is all.

This isn’t rock solid, I realize; I’ve made a lot of leaps of logic and assumptions extrapolating from what we’ve been given. But I don’t see it as any less plausible than his parents hating him or whatever the prevailing fan theories are, and more importantly: it’s a fuck of a lot more interesting (yes, yes, in my opinion). I think adding nuance and sympathy to Max’s parents will always end up more interesting than “good David vs evil parents.”

Of course, we’re in a bit of a limbo since we don’t know necessarily where RT is going to take this. There is every chance they’re going to drop the bomb that Max’s parents are literally as bad as everyone has made them out to be – and worse. Maybe they’re actually Xemug. Fuck if I know. And if that happens, I’m gonna call it out for being the cheapest and least-interesting of the possible options. Bad, lazy writing that pits pure good against pure evil is always gonna suck, even if it comes from the writers of one of my favorite shows.

I really, really hope they don’t go with that (to finally, I guess, answer Anon’s question fully). And I’m pretty forgiving when it comes to things people hate CC for: Dolph doesn’t bother me, most of the problematic episodes don’t bother me (that pee one is still pretty rough though), but if they go the “Max’s parents are the devil and that is why Max is the way he is” route, I’m gonna … well, just be so profoundly disappointed that the showrunners could’ve done something interesting and decided instead to go for the lowest-hanging fruit, that’s all.

FINALLY:

3. This Fucking Fandom

So here’s the thing. Dad//vid is unique among the “ships” in the fandom in that it is deliberately placed as “the anti-Max//vid.” And I understand why that was done, and I appreciate it holding up that particular vanguard; max//vid has no place in dad//vid, and vice versa.

But the problem with dad//vid being set up as the not-max//vid is that everything that isn’t dad//vid is suddenly viewed as “max//vid-lite.” Even when that makes literally zero sense.

See, even when I was briefly into dad//vid in its very literal “David adopts Max from Max’s evil parents” form, what I was really drawn to was the idea of David being Max’s older brother. Back when the fandom was like 100 fics on AO3, I had started planning out this long plot involving David taking on a brotherly role to this kid I thought really needed one. Admittedly I’m just a sucker for sibling relationships, but from the beginning I’ve been all about this brotherly bond, and so when a popular artist came up with the term “bro//vid” and it started gaining traction, I was all over that noise. There was finally a version of this relationship that wasn’t either “Max and David fucking” or “David literally adopts Max and becomes his literal father,” and I couldn’t be more excited.

And then … I found out that apparently “bro//vid” was becoming synonymous with “max//vid but secretly.” And … man, it really sucked to suddenly be treated like I was supporting pedophilia because I didn’t like the idea of David-adopts-Max as much as the whole big brother thing. I can’t even imagine how much it must suck if your favorite iteration of Max and David is something along the lines of mentor/friendship, without some sort of buffer of “well they’re basically (or literally) related.” Because if “these two as brothers” is max//vid-lite, then I can’t fucking imagine what that would be called.

And even when it’s not specifically about max//vid, it just keeps cropping up. I posted about the Season 4 premiere and expressed how much I saw a cute, brotherly relationship between David and Max, and someone immediately replied saying that they thought it was more like father-son. Which … yeah, fine, I don’t care if you see it like father-son, go nuts, but I am getting really sick of the fact that father-son is the only acceptable “ship” and everything must lean in that direction, no exceptions. (I know, it’s not a ship technically, but I don’t know what else to call it. Don’t read anything weird into me calling it that.)

I don’t think “please just let me enjoy these two and their relationship dynamic without making it pedophilia or insisting David adopt Max from his terrible evil parents” is that tough an ask.

Or at least, it really shouldn’t be. But somehow it … kind of is.

And that sucks.

(Also, I hate the whole “Max is David’s favorite camper” thing. It’s not technically tied to dad//vid, but it does often come hand-in-hand with that and it just irks me to no end. If David has such blatant favorites, he is terrible at his job and kind of a douchebag. I think he gravitates towards the camper(s) who need attention the most, because he likes feeling like he’s made a difference, but I don’t think David would just straight-up pick a favorite like that, not when he has a full camp of kids who need him. Just saying.)

#in which i rant a lot #campcamp #Anonymous #i am very sorry anon #and others #if you read all of this i will give you a cookie #if it made you think i will give you a hug

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stevenuniversallyreviews · 5 years

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Episode 116: Gem Heist

“We won’t stand out if we play the roles we were made for.”

There’s nothing like a good heist. You’d think a plot with such a consistent formula (build a team, go over a plan, execute the plan and adapt to its inevitable failures) would get stale, but consider for a moment that Inception and Fast Five premiered within a year of each other, and are both heists following the same general beats, but they’re fully different experiences. I’m not gonna say which one is better, but only one of them has a car chase where a car is chained to a giant safe and uses it like a wrecking ball, so.

In some ways, Gem Heist drops the ball on what I want from a heist: there’s barely a planning stage, and the team is already together, so it’s all about the execution and the wrenches thrown at our heroes. But while it’s hardly the caper I hoped for from the title, I can’t help but admire how it takes the tropes associated with heists and uses them to comment on Gem society.

A heist is all about specialists with clear jobs. Safecrackers, getaway drivers, demolitions experts, con artists, the whole point is getting a bunch of talented people who are each essential to the group. This element is only briefly touched upon in the traditional sense in Gem Heist, with Steven referring to Pearl as “our hacker,” but in its place, our heroes must succeed by putting themselves into the very roles they escaped by becoming Crystal Gems. Sapphire is a wise advisor and Ruby a disposable bodyguard, and the two must be separated. Amethyst must be huge. Pearl must be lowly servant. And Steven, who can’t exactly take the leadership position of his Gem parent, must play the dumb human.

This conceit drives the episode and makes it unexpectedly solid in terms of characterization, given how bland its plot ends up being. This is basically an episode about walking through a hallway, and instead of a third act we just get two minutes transitioning Steven to the Zoo that could’ve been spent in our next episode (or heavily cut). Even Adventures in Light Distortion feels more meaningful from a sheer plotting standpoint, and that was literally just getting the Crystal Gems from Point A to B. But because of how fascinating the characters are to watch when forced into the positions they’d be stuck in had they not rebelled, I’m able to enjoy what would otherwise be a slog of an episode.

The surprise lead of Gem Heist is Sapphire, who takes charge of the situation right away and finally shines on her own. Ruby got a head start in Jailbreak in terms of screentime, and takes up more room when the two are together thanks to her louder personality, and has a whole squad of counterparts to define herself against, so I love seeing a focus on Garnet’s quiet half.

Sapphire’s serene baseline is portrayed so well by Erica Luttrell that she’s often played comically straight (her casually agreeing to call Steven “Esteban” is a great example here), but we already know from Keystone Motel that she’s more than just her calmness. It’s great to see her lose her cool so early in the episode, putting up a confident front while planning but getting frazzled with its inevitable failure before the team even disembarks. I wouldn’t quite call her a ham in the way Ruby and Peridot can be, but her overacting while narrating her activities to warn her friends of danger is wonderful. And of course, she gifts us with the universe’s cutest wink.

Charlyne Yi always brings a lot to the table as Ruby, and while she’s had more to do than Luttrell after Hit the Diamond, this is the first time since then that she’s voiced our Ruby. The line of the night is her furious declaration that Blue Diamond “hates fusion and love?”—it’s such a horrible thought that Ruby treats it like a question rather than a statement, because how hating something as good as love even possible? Still, Ruby’s bigger highlight is all in the animation as she runs up a locked door, claws at it while screaming, and admits defeat when this doesn’t immediately work.

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Pearl also benefits from the visuals, which portray her humiliations in ways Deedee Magno Hall can’t in the moment due to her needing to be quiet. Which isn’t to say Magno Hall doesn’t do a lot with what she’s given, going from embarrassed and deferential around Holly Blue Agate to pissed off while alone with the Crystal Gems. And while Amethyst is the first Crystal Gem to go, Michaela Dietz picks up the baton from Yi and Magno Hall to play other amethysts; it’s neat to hear her turn down the playfulness for gruffness without completely removing the prankster edge from her voice. And what we do see from Amethyst is a reasonable amount of nervousness around a first encounter with her peers, which pays off wonderfully in That Will Be All (as does the actual sentence “That will be all” that Pearl will soon get the chance to redirect).

Steven is surprisingly low-key here, all things considered, but I suppose with all the focus he gets in the first two episodes of this arc, as well as our next one, it makes sense to look more deeply at the Gems; after all, they’re the ones who were born into an oppressive class structure that they must temporarily return to (give or take an Amethyst, but she still has plenty of issues stemming from societal expectations). He’s got some decent jokes, and dominates the last part of the episode when separated from the Gems, but the last part of the episode is so boring that I don’t really care.

Still, none of these characters would have the chance to shine without Holly Blue Agate, who comes in hot and seems physically incapable of chilling the hell out. Christine Pedi voices Holly in just two episodes of the original series, but boy does she know how to leave a mark. After seeing Homeworld loyalists from the bottom of the totem pole in Peridot and the rubies, a Homeworld loyalist who’s a known hero in Jasper, and two leaders of Homeworld in Yellow and Blue Diamond, we encounter perhaps the worst kind of zealot: middle management.

Holly Blue Agate is the Dolores Umbridge of Steven Universe. She’s not given the stage to become main villain material, but she sure knows how to be the most detestable kind of miniboss we could hope for. She’s a shameless sycophant whose worship of Gems she considers superior is matched only by her disdain for those she sees as beneath her, but because she actually has some authority, she’s able to be far more tyrannical than the likes of Peridot. She’s hardcore lawful evil on the classic alignment chart, but if we allow for variation to the classics, I’d consider her more petty evil than anything.

With one character, we personify the entire toxic class structure that the Crystal Gems were born to defy. And with every word, Holly Blue proves that our heroes were correct to abandon this caste system. She’s flippant in her physical abuse, and wears her bigotry as a point of pride, taking glee in enforcing the inferiority of every Gem around her but Sapphire, who earns the same kind of swooning she applies to Blue Diamond. This is all performed under the thin disguise of politeness, because again, this is Umbridge we’re dealing with. She yells that there’s no yelling allowed, then gets mad when an amethyst corrects herself by being too quiet. She either pretends to not understand human speech or genuinely doesn’t get that Steven is talking (I could get into a whole thing about the necessity of an unrealistic translator for the Gems, but first off they’re magic so unrealistic things are fine, and second off what’s clearly more important here is Holly’s attitude).

It’s almost a shame we don’t get more of Holly Blue, because she may be loathsome, but she’s the compelling kind of loathsome that makes an excellent villain. Aquamarine is similar in feigned sweetness and cruelty, but Holly lacks that Cartman-inspired awareness of how miserable she is, which makes her less extreme and more relatable to real-life monsters in our daily lives who are blind to their own awfulness. At least she gets one more episode to be horrible and receive some decent comeuppance for her behavior in Gem Heist.

As I’ve said, the actual story here is pretty dull. We get some hints at lore, as it’s now pretty clear that the Era 2 referred to by Peridot was separated from Era 1 by the death of Pink Diamond. We get further indirect characterization of Blue Diamond with Holly Blue Agate’s praise and Ruby and Sapphire’s scorn. And the final sequence, while feeling tacked on, at least gets some neat usage out of what looks like the same tech as Peridot’s gone-but-not-forgotten robofingers. But if not for the stark reminder of why the Crystal Gems’ ability to decide their lives is important, this would be one of the least consequential episodes of the series. Plenty of episodes have great characterization, this is Steven Universe after all, but most of those also bring more to the table.

I’ve never been to this…how do you say…school?

Second episode since Gem Harvest to feature the Floridoverse as the main promo, and while it’s a little unclear whether this is another Floridoverse promo where a new adult character is portrayed as a teacher (Holly’s uniform vaguely resembles Greg’s and Ruby’s) I’m gonna go ahead and hope the intent is for her to be a student because man, that vibe on a peer is in some ways even worse than on a superior.

We’re the one, we’re the ONE! TWO! THREE! FOUR!

Lousy plotting really knocks this one down, considering how great an actual heist could’ve been, but the character work barely scrapes this from an episode I don’t care about to one I enjoy. It straddles the line between Like ‘em and Enh, but I’ll be nice this time.

Top Twenty

Steven and the Stevens

Hit the Diamond

Mirror Gem

Lion 3: Straight to Video

Alone Together

Last One Out of Beach City

The Return

Jailbreak

The Answer

Mindful Education

Sworn to the Sword

Rose’s Scabbard

Earthlings

Mr. Greg

Coach Steven

Giant Woman

Beach City Drift

Winter Forecast

Bismuth

Steven’s Dream

Love ‘em

Laser Light Cannon

Bubble Buddies

Tiger Millionaire

Lion 2: The Movie

Rose’s Room

An Indirect Kiss

Ocean Gem

Space Race

Garnet’s Universe

Warp Tour

The Test

Future Vision

On the Run

Maximum Capacity

Marble Madness

Political Power

Full Disclosure

Joy Ride

Keeping It Together

We Need to Talk

Chille Tid

Cry for Help

Keystone Motel

Catch and Release

When It Rains

Back to the Barn

Steven’s Birthday

It Could’ve Been Great

Message Received

Log Date 7 15 2

Same Old World

The New Lars

Monster Reunion

Alone at Sea

Crack the Whip

Beta

Back to the Moon

Kindergarten Kid

Buddy’s Book

Gem Harvest

Three Gems and a Baby

Like ‘em

Gem Glow

Frybo

Arcade Mania

So Many Birthdays

Lars and the Cool Kids

Onion Trade

Steven the Sword Fighter

Beach Party

Monster Buddies

Keep Beach City Weird

Watermelon Steven

The Message

Open Book

Story for Steven

Shirt Club

Love Letters

Reformed

Rising Tides, Crashing Tides

Onion Friend

Historical Friction

Friend Ship

Nightmare Hospital

Too Far

Barn Mates

Steven Floats

Drop Beat Dad

Too Short to Ride

Restaurant Wars

Kiki’s Pizza Delivery Service

Greg the Babysitter

Gem Hunt

Steven vs. Amethyst

Bubbled

Adventures in Light Distortion

Gem Heist (barely!)

Enh

Cheeseburger Backpack

Together Breakfast

Cat Fingers

Serious Steven

Steven’s Lion

Joking Victim

Secret Team

Say Uncle

Super Watermelon Island

Gem Drill

Know Your Fusion

Future Boy Zoltron

No Thanks!

6. Horror Club 5. Fusion Cuisine 4. House Guest 3. Onion Gang 2. Sadie’s Song 1. Island Adventure

#gem heist #steven universe #su #steven universally #review

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nellie-elizabeth · 5 years

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Really long and rambling Queliot analysis...

Okay, so I have some Queliot Thoughts that I wanted to write out before the finale murders us all. This isn't discourse about the show's handling of queer rep. I have thoughts about that too, but this is more about the relationship and how I view it in universe, not in terms of the writing/authorial intent. This gets very long so I'll put it under the cut.

Also I wrote this quickly and didn’t really edit for content so seriously please be warned... this is kind of a mess. Here goes.

I'm such a fan of angst and obviously I love all of the angst-y interpretations of everything post-3x05 given the conversation we learn about in 4x05. But before I saw 4x05, I always sort of had this different interpretation of Queliot in the aftermath of the mosaic timeline, and I find it really compelling.

So, Q and Eliot get their memories of the mosaic timeline back, and it's obviously really emotional and intense for them both, but their memories aren't necessarily crystal clear. Some things feel incredibly real and immediate, but other things feel like they happened in a dream, or under water, or just slightly... off. But without realizing it, totally subconsciously, they just sort of... operate like a couple. Not in terms of confessing their love or holding hands or anything obvious like that, but they're just so comfortable and in sync with each other. Their minds are used to living in close quarters, sharing a bed, sharing the little pains and joys of everyday life, and so they just keep doing it without meaning to. We as the audience get to see that play out in 3x06. Eliot doesn't even think about what he's doing, he just straightens Q's clothes for him, and they lean into each other on instinct, El giving Q that little forehead kiss. (Obviously in light of Eliot's rejection, that scene seems super sad to us now, but I also like the idea that it's just an ingrained instinct for them to behave that way).

We know, from a writing standpoint, that the revelation in 4x05 wasn't something that was planned all along, it was developed as they were writing that episode. That means that the majority of season 3 doesn't take it into account. So, when Q is being tormented by the depression key, none of his insecurities or self-loathing are tied back to Eliot, and the rejection he has just faced. But if you go with this interpretation, Q doesn't feel insecure about Eliot. I kind of love the idea that even though Eliot regrets what he said to Q, he wasn't 100% wrong, either.

Now, by that I don't mean that Eliot was right when he said they wouldn't choose each other. That was hurtful, and it sucks that El didn't trust Q to know his own mind in terms of his sexuality in particular. I absolutely think Eliot owes Q an apology. But there's that moment when Eliot reminds Q that they've just been hit by 50 years of emotions all at once. I think there's some truth to the idea that jumping in to a serious relationship would have been a mistake. (I want to pause and say that my head-canon is all in service of an eventual Queliot endgame, OF COURSE). Q and El remember this life they've lived together, but I don't think that those 50 years have stuck entirely in their minds and their development, if that makes sense. This goes back to my theory that their memories, while real, retain a certain element of dream-like or hazy quality to them.

In that moment, if Eliot had said yes to Q in the throne room, they probably would have been so happy. For a while. But I think Eliot would freak out any time something came up that they hadn't had to deal with in the mosaic timeline. I think Q would be too nostalgic for a life they never lived, and I think the pressure to replicate or repeat that life would have torn them up inside. Let's say that in the moment, Q is crushed by Eliot's rejection, and El hates himself so much for being a coward that he locks that memory inside of himself and never thinks about it.

And let's say that the next day, Quentin has had some time to think about it, and he decides that his relationship with Eliot is good. It's always going to be good because it always has been. They can be together, be a couple, or not - and neither option is going to ruin their long and loving life together. Neither option could possibly cause a rift in something so fundamental and true in both of their lives. Eliot and Quentin are not ordinary friends, and that was true long before the quest took them into Fillory of the past, and it will be true long after, no matter what.

Think about their relationship - when they meet in season one, they are both deeply damaged people. They do a very destructive thing under the influence of the emotion potions and Eliot's substance abuse, and have sex with each other and with Margo. And while this causes huge problems for Alice and Q, and while Margo and Q have their falling out over it, Eliot and Q seem... fine. They never really have an on-screen apology or reconciliation, because they didn't have a falling out. Q yells at Eliot in that scene in 1x12, but El is way too fucked up and in his own head to really care. As Eliot heals his own issues, he and Q come out of the whole thing stronger than ever. They've been loving and supporting each other since they met, and I think when you compare their friendship to the other ones in Q's life, it's really the most stable, consistent support system he has. Obviously Alice really loves him, and obviously Julia is awesome and they get to a really good place eventually too... but Eliot is really the only character with whom Q doesn't have a lot of bumpy road to travel.

So Q is disappointed that Eliot doesn't think they should give their relationship a shot, but Q also knows Eliot really well. Maybe he doesn't fully understand that Eliot regrets rejecting him, because Q's not a mind-reader, but I think Q does know that Eliot loves him, and that's something he can be confident about, no matter how that love manifests.

Throughout the rest of season 3, Eliot is repressing the fact that he fucked up and he wishes he could be with Q, but Q is quietly, contentedly, finding ways to move on from the hopes he briefly had that maybe he and Eliot could be together. Q will always love Eliot, and if he knew how Eliot was feeling, he'd probably fight for them and all that... but his heart isn't shattered into a million pieces or anything. He gets to be Eliot's friend. He gets to love him always, and that's enough for him.

The end of season three arrives, and Q makes his choice to sacrifice himself and stay with the monster. So many people have tied this decision to Queliot, saying that Q was willing to give up his freedom because he had nothing to live for, since Eliot doesn't want him. In my less angst-y interpretation, Q is being a hero. He's making a sacrifice. I also think, applying Queliot to the decision, he feels like he's already had a wonderful, full life. He got to experience marriage and fatherhood and growing old. That ties in with his conversation with his dad. He's willing to sacrifice a lot to bring magic back, because in some ways he's not sacrificing anything. It's obviously not a happy thought, spending eternity in a castle with a scary monster, but it's something he's genuinely willing to do. Eliot, on the other hand, is not in the same good place emotionally that Quentin is. He's simmering with love and regret over the loss of his loving partnership with Q, in a way that Q doesn't understand because he took Eliot's rejection mostly at face value, and forgave him and moved on from it in a mostly healthy way. That's why Eliot can't respect Q's choice, and shoots the monster with the god-killing bullet. He can't stand the thought of never seeing Q again.

Flash-forward to 4x05. Q is in a really bad place because his dad is dead and he believes Eliot is dead, not to mention all the drama with Alice suddenly showing up again, and then Eliot does The Thing - he breaks through and he says "proof of concept" and he says "peaches and plums," and Q is so fucking relieved and he loves Eliot so fucking much, and now he has hope, a desperate, frantic hope, of saving Eliot's life. I think the whiplash of losing Eliot and then the potential of getting him back is probably enough to stir up a lot of the emotions that Q thought he had put to rest. But, in keeping with what I've written above, Q hasn't been harboring a broken heart all this time. He's been in love with Eliot, sure, but that was a settled part of him, something true but dormant, if that makes sense. We can't forget that when 4x05 starts, Q believes that Eliot is dead, and hasn't seen Alice since her terrible betrayal. During the course of one single episode, Alice is back in his life, and he talks to Eliot, discovering the chance to get him back. These are his two main love interests of the show, and there's definitely a parallel being drawn with the fact that they're both suddenly back in his life at the exact same time.

I want to take a moment to say that I don't actually have a big problem, character-and-plot-wise, with Qualice. If Queliot had never been introduced in canon, I'd probably root for them. I don't think I would have been an avid and passionate shipper, or anything, but I'd find the story compelling. In fact, I still do find it compelling, I just no longer root for them to end up together. There are so many stories with the will-they-won't-they element, but there's something cool and slightly different about Qualice, in my opinion. We don't have to wait long for the "will they." They do, half way through the first season of the show. And then they break up in a spectacularly dramatic way, and Alice dies shortly afterwards. For the rest of the show thus far, their romantic plot thread has been about seeing if they can crawl their way back to what they once had, and even if they get there, is it what they remember? Are they the same people who fell in love with each other? Often in genre shows, where death is impermanent, the deaths of major characters are there for plot reasons, they're there for angst reasons, but often the lasting effect of something like that doesn't really play out. Here, the ramifications of Q and Alice's relationship from season 1 are only just starting to get unpacked here at the end of season 4. Some people might find that incredibly aggravating, because they're sick and tired of the relationship, but I actually find it compelling, as long as they don't erase Alice's development for the sake of her love for Q.

We also have to remember that the story's not over yet. Q and Alice trying again makes perfect sense to me, given everything that's happened on the show so far. But it also makes perfect sense to me that they finally work out that while they will always love each other deeply, they aren't going to make it as a couple. If we look at how I've imagined Q's inner thoughts and feelings since 3x05 happened, he's not wallowing in misery over Eliot. He loves him, but he loves Alice too, and he doesn't think that Eliot is an option for him right now. Maybe the "proof of concept" thing threw him for a loop, but Q has known all along that Eliot loves him... that was never a question in his mind. He still believes that Eliot decided not to be with him, despite the fact that they love each other. And Alice? Alice was his first love. Alice is someone who he hurt deeply, and who hurt him deeply in return, and Q likes to fix things. He wants to fix this, and I say it makes perfect sense for him to give it a try.

So how would I go from here, if I were in charge of the show? Well, let's assume that Q, Alice, and Eliot all actually walk out of the finale tomorrow alive. I'm not sure I think that's likely, but let's pretend. Obviously we get an awesome reunion hug, and tears and joy and Margo is there and Eliot gets to cuddle with her and with Q and everyone cries.

So now we’re in season 5. Eliot learns that Q and Alice are together now, and while he's disappointed, he decides to follow through with the promise he made to Memory!Q when he was trapped. He pulls Q aside and tells him he's sorry for what happened when Q asked him to be with him. Q is a bit startled at the apology, and Eliot explains that he deeply regrets being so dismissive. Eliot isn't sure if the two of them would have worked together or not, but that's not the point. Q was being open and vulnerable and honest, and Eliot brushed it aside. He downplayed the importance of their life together on the mosaic quest, and he hates himself for making Q think he was alone in his feelings. Q tells Eliot that he understands, and he's happy to think that maybe now they can share their memories of their life together without this barrier between them. Q leaves the conversation at first feeling like he's gotten some closure, and Eliot is wrestling with a totally unfamiliar feeling of jealousy and heartbreak as he watches Q and Alice go on with rebuilding their romance. (In my head-canon, Eliot was never jealous of Arielle and the three of them were in a totally happy, loving, devoted poly relationship, so Eliot has truly never felt jealous of anyone over Q before).

But then, because this is The Magicians, some magic shenanigans brings some stuff to light. We've seen the show do stuff with sex magic before, with Q and Alice, and there was Penny-23 worshiping Julia, so I would want there to be a scenario where maybe sex magic was required, but there's a twist about it being between life-time lovers, or something. Or maybe it's a truth serum that forces people to reveal any and all secrets, so Alice and the rest of the gang finally learn about the mosaic timeline. Something magic-y and plot-important-y happens that forces Q and Eliot to talk and think more about the mosaic timeline, in some form, and Eliot, either out of necessity because of the magic, or because of the emotions it brings up, confesses to Q that he's still in love with him and wants to be with him.

Q is shocked, and confused, because he felt like he had reconciled his love for Eliot and his love for Alice in his mind. He loves them both, and since Eliot doesn't want to be with him like that, it was okay for him to love them both and try to build a life with Alice. But now? Suddenly realizing that Eliot is an actual option for him? It hits him that he really wants that, that he had it backwards. He thought Alice was the love of this life, and Eliot was the love of a life he once lived. But instead, Alice is the memory of something he once had that made him really happy, and Eliot is the here-and-now. But he's made a commitment to Alice, so he's incredibly torn. I want Alice to be the one to dump Q. She realizes that he's thinking about staying with her out of obligation, and she tells him she deserves better than that, and runs into Kady's arms and decides that she needs to be single for a while, and continue to work on redeeming herself and finding her purpose and goals in life.

But now, see, Eliot is insecure because he thinks if Q chooses to be with him now, it's only because Alice decided not to be with him. It goes back to the whole "not when we have a choice" thing. We'd have a couple of conversations, some insecurities and doubts, and then some other dramatic plot-y thing would happen where Eliot or Q are in danger and the other one has to do something heroic to save them, and there's a desperate thank-god-you're-alive kiss, and that leads to an honest conversation and a decision to try and see where their relationship might take them.

Aaaannnd... scene.

This ended up way longer than I thought it would... lol. Congrats if you actually got to the end. I think the reason I felt compelled to write this is that I wanted to see a way of writing Queliot that felt actually true to the character development we've seen on the show thus far. When I'm reading fic, you can bet I LOVE reading about how Quentin is madly in love with Eliot, and Alice is a non-factor, or how Q and Eliot have both been silently pining ever since 3x05... but that doesn't square with the canon of the show. How do we reconcile what we've actually seen on screen, in terms of Quentin's character development, and Eliot's and Alice's as well? I think the above analysis is as sound as any other I've seen, and if the show actually follows through on the Queliot build-up, it would be an organic way for them to start to bring that relationship to the forefront without betraying Q's canonical and on-going love for Alice, and the fact that there's no hard textual evidence to support the idea that Q and El have actually been pining for each other this whole time. Just because they've got other people in their lives, even other loves, doesn't mean they couldn't still end up getting together on this show.

Fingers fucking crossed.

#my posts #queliot #the magicians #magicians #quentin coldwater #eliot waugh #alice quinn #the finale is going to kill me dead you guys

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fantroll-purgatory · 5 years

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Haemir Elazra - Doctroll Extraordinaire

Planet: Alternia, minor AU/Alternate History elements

Name: Haemir Elazra Haemir: From Haem, an alternative spelling of Heme, the oxygen-carrying, iron-containing molecule in blood. Links up to his blood caste woes and his lusus.

Elazra: From Azrael, Angel of Death, and Lazarus, the man brought back to life. It fits in with his role as a healer on a planet of death and slaughter, and also to his status as the last living limeblood. An Angel of Death is also a specific kind of serial killer; a nurse that kills their own patients. Fun fact! @chaoticevilfantrolls (SA here to say that you have designed a troll that 400000% appeals to my interests. I screamed when I opened the box and saw him here!)

Age: 7.5 sweeps. He’s a youngster, compared to my other trolls.

Strife Specibus: caneKind. Not much reason behind it beyond the fact that actual IRL plague doctors would use canes to distribute treatment. Plus the Rod of Asclepius could reasonably fit under this strife spec. (If you wanted to go a bit more Black Death with it, you could weaponize some herbal medicine for poisons? Fight with some syringes?)

Fetch Modus: Quarantine. Items are stored and sterilized in little plastic bubbles. It makes cleaning his equipment a breeze! But, he can’t store anything he intends to eat, and living things have a habit of turning up dead from the storage process.

Blood color: Limeblood! The whole concept of the character revolves around a mysterious figure with strong empathy becoming a doctor to soothe the woes of others, so I figured a lone limeblood would work. He’s based heavily around the headcanon that limebloods were killed off for their empathic abilities, which lead to a rebellion in this particular setting. (We LOVE an Empath Limeblood. I have not reviewed your other trolls, so I don’t wanna poke too much into Limeblood Politics without knowing the AU, but if they’re still in hiding, I’d suggest on blood-color alone a little bit of generational trauma? A little skittishness from Literally Feeling all of the death and pain his people have gone through, and the Knowledge that that kind of feeling comes with.)

Symbol and meaning: The alchemic symbol for Alkali. Alkali are chemically basic substances used to make soap. That’s about as far as that goes for depth, haha. (Soap Troll! Soap Troll! Soap Troll!) (There’s a whole suite of Alchemic Symbols out there, but if we’re zooming in on a Soap Troll, I think this dovetails into some expansion. Let me explain:) (Soap’s a cleansing agent, both of wounds and of places. Most alkaline substances (think Lye and Quicklime) wash things away with ferocity, and can burn skin. I think you could easily expand Haemir -who already has a darker, death element to him- with a bit of vengeance? A bit of anger? Something sincere and hard to excise from himself. Someone who, at his core, wants to wash away the sins of the past and plant the seeds of tomorrow.)

Trolltag: caduceusCreed [CC] Caduceus: The staff carried by Hermes, associated with the medical profession through it’s adoption as a symbol of American military medics. The Caduceus was mistakenly chosen over the Rod of Asclepius, and thus has become a bit of a point of contention in the medical professions (for those that even give a shit, at least.) Creed: Well. I mean. Kind of a reference to the Hippocratic Oath, just in a way that fits GCAT, out of personal preference. (Basic, easy to scan, and effective. I think you could use Asclepion instead of Cadecus for a more fitting tag, though using old Traveler Man’s symbol could hint at a desire to travel, to tell, to proclaim.)

Quirk: He’s got a simple quirk going. All lowercase, with t’s turned into crosses and doubled, as well as doubled x’s to represent stitches. He otherwise uses proper punctuation, and he really capitalizes on his corny jokes to ease the stress of his patients (putting the pun in all caps). He represents his mask in his smiley faces. Which is to say, he only ever uses one smiley for all emotions ever. 8>

CC: ++he quick brown foxx jumped over ++he lazy dog. (This scans well and doesn’t seem too out of place.)

Special Abilities:Beyond having an extensive knowledge of medical practice, as well as some more traditional healing, Haemir’s most fundamental ability is that he’s a powerful empath. He’s not able to impact the emotions of others, nor can he weaponize the feelings he picks up upon. No, the danger of his power is from how it encourages him to help and heal.

Haemir is able to pick up on the emotions and feelings of near-by trolls, especially discomfort and misery. Because he’s a bit of a soft boy, and because he personally feels that discomfort himself, he feels compelled to treat that discomfort in any way he can. He’s been a doctor as much as he’s been a stand-in moirail. (I think my conflict with your vision from a review standpoint comes here. Nothing about the ability needs to change, but I think you’ve let it dominate your character’s Path, put a pin in this- we’ll talk about it further into the review.)

Lusus: You know the big snake monster from Hiveswap? The one with like, sixteen arms? Imagine that, but a horse-sized white leech with massive fangs. That’s the Leech-Lord, and Haemir’s main mode of transportation. (I find this ESPECIALLY amusing because both of my limeblood trolls have serpentine-modified lusii. Limebloods really just have that Slithery Energies.)

Personality: Haemir is… odd, and by most trolls standards an aberration. He’s a limeblood empath on a hostile world with a strong inclination to help people, even when he knows there’s no reward in it for him. This doesn’t mean he’s a fool, by any means, even if other trolls tend to confuse his compassion and conviction for cowardice.

He believes strongly in everyone’s right to live, and live well, even if another troll would see him dead for his blood color. That’s why he dresses in heavy clothes, wearing a mask at all times to hide any hint of skin or mark that could potentially betray his color. He also tends to be very flighty and anxious when people attempt to get too touchy with him, often prompting adorable squeaks of frustration. He’s perfectly capable of speech, mind, he just chooses not to most of the time. (We’re getting into it! There’s a nice undercurrent of justice, of human(troll) rights, of life and death and the societies we build to combat them. Being shaped by the society he lives in and yet wanting to change it, ignoring what’s laid before him to forge his own path…)

Interests: Medicine, biology, anatomy and physiology, and surprisingly enough, an appreciation for teen romance novels and movies. He just wishes there were less books about rainbow drinkers and lycanthropes and more about those hot, hot plague doctors. (Hshshshshshshsh I want him to have gotten into the Plague Doctor getup due to some ill-advised CW Show about Troll Black Death and he was like “that’s it! I’m gonna dress like a featherbeast!”)

(For expansions on this: I definitely think History is a solid interest, given that he dresses up like a historical profession. Reading about the Limeblood Rebellion and the flow of Alternia- he’s probably done a lot of reading on the Condesce as well- learning how to Speak Truth to Power and how a Ruler shapes the lives of people she’ll never meet and- I could be here all day.)

Title: Sylph of Heart (I will be blunt with you: This character is neither of these things. Remember my comment under Special Powers? Here’s where we take that pin out.) (You’ve built an incredibly solid character here, which makes pointing this out very, very easy. I scanned this profile once and knew immediately what I was going to recommend.) (Let’s talk about why this is ill fitting: -First, this character is no Passive character. He already has the team/community focus that a Passive class would teach him, and given that- he’s taken matters into his own hands. This is a really solid Active player. -With Creation classes (and Sylphs ESPECIALLY), you have to think: What is this character destroying? A Sylph is but a Prince reflected. With Heart, your character would be Actively Destroying Mind- breaking people’s brains and toying with their emotions. Your character FEELS their emotions biologically, he doesn’t go out of his way to take hammers to their decision making. Sylphs also LOVE to meddle, which is why healing comes naturally to them. Your character has elements of this, but not in quite the sly, background kind of way.) (Heart, is traditionally linked to Derse (similar to Time) because it’s portfolio of disguise, facade, and truth being mutable all lend themselves very well to the Dersite playstyle. Your character, while hiding his face, doesn’t deal in facades as much as your typical Heart player, nor does his path as a character seem to fortell him learning to be different people or play with their heartstrings.) (My recommendation: Maid of Life or Bard of Doom) (But SA! A doctor that’s a Life player? That’s so cliche! And yes, it would be, on a character without as many hooks as this one.) (Maids learn to rely on themselves- look at Aradia, who dies and comes back in many forms as she takes time into herself. Your character looks like a Doom Player, and yet is a healer, and grower, a shaper.) (The Life-Doom inversion is much more than Life and Death, it is also Energy and Society. Your character is a healer, an active bringer of Life, and in doing so, not only directly counters Death, but Alternian Culture too. Your character isn’t a Prince of Doom, for instance: he’s not actively challenging society, he’s changing it as a side effect of his own actions. Life-Doom is much broader than individuals.) (The Path for this character is less in changing as a person and more in reinforcing his good nature. Learning to be more open, learning what needs to be done, learning how he can be the force of good in the world that he’s already being, even if it feels small.)

Land:Land of Miasma and Malaise

Dream Planet: Prospit (I like this guy as a Prospit Dreamer. Even if he hides his face, he can’t really hide who he is- that sense of care and justice end empathy shines right on through.)

CD here with the design time at SA’s behest. The design was already pretty much perfect, just a few little tweaks. The design read a little costumey/like a human dressed up as a troll and I wanted to fix that. So as Really, Really Cute as the eyes were, I replaced them w/ more typical shiny plague doctor lenses in a still contrasty eyeball orange. I put some hair over the horns to make them feel more integrated and less tacked on, and I adjusted the outlines of the shoes to make them feel more integrated and less like the human kids’ shoes!

(This was a great troll to work through, thank you for submitting!)

#limeblood #submission #sa review #Haemir Elazra #haemir #elazra #review

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