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jinruihokankeikaku · 3 years

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summary bulletpoint review of Shin Eva

[obligatory disclaimer that this is all, just, like, my opinion, man<3]

POSITIVE

Shinji's instrumentality scene with Gendo

Ryoji Kaji the Younger and Misato's development as an actual mother was great, deeply moving and deeply painful (as Eva should be.)

the entire first act of the film, honestly

more characterization for Asuka Shikinami and Ayanami/Rei 3, perhaps the best in all of the Rebuilds

it's a beautiful film, the animation in magnificent (even the CG, if you ask me), and the setpieces and action scenes all worked really well and didn't seem to have a disproportionate presence relative to other parts of the film

cannot emphasize enough how good the first act is. If the entire film had carried on that tone, atmosphere, and theming, I think my overall impression of it would have been much more favorable.

i liked the music, especially the callback to "The Passage of Emptiness" around 0:20:00 (I'm sure there are other score callbacks that I didn't catch, too)

many of my issues with / questions about 3.0/Q were resolved in a serious, focused way

the third act was nothing short of stunning visually and narratively, despite my thematic objections

I had fun with it. It was an enjoyable film, and still a cut above a lot of both recent anime and recent Western scifi blockbusters I've seen. For all my issues with the film, I'd be lying if I said I didn't enjoy it on both of my viewings so far, and I've no doubt I'll come back to it. I would unequivocally recommend Shin Eva to both fans and non-fans, despite....everything I'm about to say.

NEUTRAL / MIXED

everything about the Book of Life (whatever that is) and the non-resolution given to the question of whether or not the Rebuilds constitute a sequel or a separate continuity. It'll doubtless be a subject of debate for years to come.

by extension, everything to do with Kaworu, frankly. I thought he was great in Q, and because of that, my feelings on his presence in 3.0+1.0 amount to something along the lines of "he was great, insofar as he was there, but I wish we'd more of him."

the resolution of Gendo and Yui's relationship. I know it was pretty polarizing, and while I understand both the "perfect narrative resolution" and "misogynistic and deeply unsatisfying" takes, I'm not sure I'd entirely agree with either of them. It's well-executed for what it is, but still fundamentally unbalanced and not quite on par with the way it was handled in The End of Evangelion, imo.

the resolution of Shinji and Kaworu's relationship. I almost put this in the negative section, but to be frank, I never expected them to end up together, and as much as I love Kawoshin, I understand that that's not the direction the Rebuilds were ever going to take, nor is it a direction I think Shin Eva should've taken. Furthermore, I think the way the concept of the Time Loop was handled about as well as it could have been - an excellent balance between Nonetheless, I think the Kaworu section of the Instrumentality sequence was weak and overly dismissive towards the validity of Kaworu's feelings, his actions, and (if you'll pardon the irony) his humanity.

the balance of action / atmosphere / characterisation. It's not perfect, but it's better than any of the other Rebuilds, with (as previously stated) the first act carrying most of my favorite atmospheric/character moments, and the second act containing the best action sequences.

the general tone of the film. It started off very strong, with a feeling reminiscent to that which The End of Evangelion left me with, and maintained a suitably dark-yet-hopeful tone for most of the second act as well. However, it fell apart entirely for me in the third act, and especially in the final scene (which I'll comment on further later).

Rei 3 / Ayanami. I adored her. For exactly that reason, I think it's a damn shame she had to LCL-splode less than halfway through the film.

Ryoji Kaji the Elder. Everything we saw of him was magnificent! So I sure wish there was more of it! Given the scope of Shin Eva's content, I guess that's more of an objection to 3.0, but...I guess I just dearly hope we get more material covering the 14-year timeskip, WILLE's revolt, Kaji's sacrifice, and everything leading up to it. It feels like a missed opportunity (unique to the Rebuilds) for character development Kaji might've received. But on the whole, that's a minor quibble relative to how fond of his and Misato's relationship in the Rebuilds were handled in 3.0+1.0.

NEGATIVE

Mari / "Mary Iscariot". Enough has been said about Mari's "enigmatic" character, so I'll not harp on this too much, but....as someone who loved Mari's presence in 2.0 and was basically okay with her role in the Rebuilds as a whole, there was still a remarkable dearth of character development for her, which left me disappointed on the whole, especially considering...

...the final scene. That final scene. Oh man. I don't want to devalue the personal meaning it has for Anno, or the sense of satisfaction some of my fellow Eva fans got from it. But the more I think about it, the more it doesn't work for me. After the credits started rolling on my first viewing, I remember writing in my notes app - "How am I supposed to feel about this?". After my second viewing, I was left with.....exactly the same feeling. The scene is framed as unambiguously positive, and yet....it simply doesn't come across that way, upon further contemplation. Even setting aside my abiding love for KawoShin and AsuShin, I think even from a ship-neutral perspective the scene doesn't quite carry across the message of Hope what it seems to intend to.

The film's themes. For all its narrative and visual strengths, the film left me feeling confused, empty, and....fucking confused. And not in the same way EoTV or EoE did - my confusion was not to do with the actual events of the film, but with the emotional and psychosocial messages conveyed. I won't presume to know Anno (or his co-directors') intentions, but....it's hard for me to not feel like I'm being told to set aside the past and hope for a deus-ex-machina to fix my life. This is also something about which a lot of ink has already been spilled, so I'll keep my thoughts on this front short (especially since I can't tell if I'm giving the filmmakers too much credit, or not giving them enough), but....the plain fact that Shin Eva seems, at least superficially, to present itself as a thematic antithesis to The End of Evangelion is enough to leave me upset or at least unsettled. That's more of an emotional reaction on my part than an actual critique of the film, I know, but....I'd be remiss in not including it in my review.

Ritsuko - specifically, the fact that she was reduced to a side-character at best, with arguably less of a presence than even Fuyutsuki, and perhaps even comparable to the minor roles of the rest of the Bridge Crew. She was so very compelling in Neon Genesis Evangelion and even in her brief screentime in The End of Evangelion, and while I can hardly say I was expecting her to play a key role in Shin Eva after her diminished presence in the previous Rebuild installments, I can't say I wasn't hoping for that, either. Ritsuko deserved better, but like a few other things I've mentioned, that was more of an issue with Rebuild of Evangelion as a whole than it was an issue with Shin Eva.

Asuka Shikinami. She had her moments, but fell short of the intensity and depth of character Asuka Soryu was given. There's much more to be said here, but frankly it merits its own post, cos this one is getting long already.

And finally, I'll just say again that more than anything else this film left me confused. It left me questioning the value of the Rebuilds as a whole, the messages of NGE and EoE, and my own character as a person. Maybe that was the point. After my first viewing, I said out loud something to the effect of "So this must be what so many people felt after seeing The End of Evangelion. Now I get it!". Perhaps that speaks to the power of the film - it certainly speaks to Anno's enduring talent as a writer/director - but, for a film that was meant to be a spiritual successor to The End of Evangelion, it's impossible for me to say that it didn't fail to carry on that film's message of Hope despite everything, Hope in the face of despair, Hope against the hopelessness of the human condition, and the abiding power of the human person to persist beyond both the indignities it suffers at the hands of others and the indignities it inflicts upon others. It failed in that regard, to my view, and for all that I loved about Shin Eva, that's one failing I'm afraid I might never be able to get past.

TL;DR

I loved Shin Eva. I hated Shin Eva. I respect it for what it is, but I can't bring myself to put it on the level with Neon Genesis Evangelion or The End of Evangelion. Watch it. Definitely watch it, if you haven't already (and if you haven't, why are you reading this?!). The film leaves you with a closing sequence that demands that you draw your own conclusions, and ultimately, I think that's all you can do with a work that carries with it such personal weight (for both the creators and the viewers) and such heavy expectations.

#shin eva #neon genesis evangelion #evangelion spoilers #evangelion 3.0+1.0 #shin evangelion #3.0+1.0

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thechekhov · 4 years

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Due to popular demand, I’m making a 4-part series about how to make a comic! Check out the other parts while you’re here!

1) Thinking of a story 2) Making characters (this part) 3) Drafting pages (coming not soon) 4) Presentation (coming eventually, we hope)

So, here’s the big question:

How do you make a good character?

I’m going to have us step back for a moment to say:

There is no such thing as a “Good” Character. Because how good a character is or isn’t is subjective. We can argue back and forth for hours about what we value in a character, but no one will ever agree. You can’t make a character that EVERYONE will like, and you shouldn’t try to.

Instead, I urge you to focus on trying to make ONE or MORE of the following:

Relatable characters

Sympathetic characters

Useful characters

“What the FUCK is goin’ on here I just wanna know” characters

I think they’re pretty self-explanatory, but let’s go through it anyway.

1. Relatable Characters:

What is says on the tin. These are character you and someone else could relate to. Maybe they’re a teenager who hates school. (Timeless classic.) Maybe they’re a young adult down on their luck and in need of money, willing to forgo some moral standards to get by. (Millennials, roll call!) Or maybe they’re just like you (or literally you. We don’t judge self-insert. There’s a reason Write What You Know is a thing.)

Regardless of what you want to believe, many human experiences are universal. Some of them are universally unacknowledged, but they are still universal. You want to just be careful about falling into the ‘my character is so special and the rest of my characters are dumb’ trope. That isn’t interesting - or realistic.

(source: xkcd)

2. Sympathetic Character:

I also call this the Looking Glass Character.

Even if most of us have universal human experiences, many of our own experiences are also unique to us. Some experiences are things we will never live through - but we can still sympathise with the emotional state of the characters. If a story allows us to experience new things THROUGH a character, we feel connected to them.

Keep in mind - this character still has to be somewhat relatable. We have to be able to say “if I was in this situation, I would do that too!” Allowing your readers to believe what is happening makes the reading experience more believable.

(I’m pretty sure none of us have been a half-gem half-human hybrid suffering through trying to right your defected-the-diamond-authority war-criminal mom’s past mistakes, but seeing Steven repeatedly say “I’m fine!” as he descends into madness is something we can all sympathise with.)

Similarly, if your character is in the woods and finds a tiny house on the edge of the prairie and it’s getting dark and the house has flickering lights - whether or not they go inside is inconsequential to sympathy. What matters is if they have a good REASON to go inside. Sometimes, it’s not the actions that’s sympathetic - it’s the motivation!

(My sister disappeared in just such a house! I must get revenge! vs I’m a bored teenager with a potentially unrequited deathwish and/or a crush on a ghost. Well... scratch that, I can sympathise with both scenarios.)

3. Useful Characters

I was previously asked what to do to avoid making your characters into a Mary Sue. This part will be about that.

Let me start by saying: I don’t think Mary Sues are as prevalent as some people bemoan them to be.

A Mary Sue is a character that is often described as ‘too perfect’ - they can do everything, know everything, never fail at anything, have a tragic past that excuses every emotional outburst, and are overall just ‘too good to be true’.

I think, if played correctly, such a character can still be a good one. What makes all the difference is how useful these aforementioned traits are to the plot - or to other characters.

Let’s acknowledge some universal truths (aside from the one about the men in want of wives and the relation of such a desire in proportion to their fortune):

The plot must go on. That’s obvious.

In order for the plot to move, there must be things happening (in one sense or another). Also obvious.

In order for things to happen, there must be a conflict or a tension of some sort. THAT is your litmus test for a ‘Mary Sue’ character.

“If I remove them from the plot, will the plot suffer any holes? Will they impact the plot or impede it? Will their OP superpowers make some other worldbuilding completely useless? Will their incredibly tragic backstory overshadow another conflict between other characters?”

Characters should be like legos - they must have a function within your plot. Looking cool isn’t a function. Well, sure, it CAN be - but it must also be a function that doesn’t break Newton’s Laws. An object at rest will remain at rest. If your Perfect Character is already flawless, they have no reason to change, ergo nothing needs to happen.

Make your character serve a use within your plot!

4. WtFiGOHIWK Characters:

Do you ever watch a show, or listen to a podcast or read a webcomic and think to yourself “Okay, cool, but what the FUCK is UP with _____? What’s their deal?!”

I like to categorize these characters in a group of their own. These characters are likable ONLY because we all have a socially wired brain that makes us CRAVE comprehension of social background like drugs. We CRAVE THAT MINERAL. And the mineral is - gossip. Backstory. Tea. The DEETS.

Many characters are somewhat of an enigma, and the initial plot doesn’t give away all their secrets. We get hooked not because the characters are relatable, and sometimes not even because they’re sympathetic - but because their social tension within a group of other characters is RIDICULOUS and we are wired to want to understand them.

Everyone has their own examples, but one of my favorites is this asshole:

Do I relate or sympathise with Dr. House? Broadly, no. He’s obscene, rude, and most of the time he’s not even the good guy in any given episode. But his morality roadmap resembles knitting directions for a scarf and his reactions to the most mundane situations are FASCINATING.

(Never underestimate the power of human curiosity and how strongly it can work to make your readers turn to the next page, even if your whole plot is about a dumpster truck on fire next to a fireworks factory.)

Q: So how do I make a character?

There are several options:

- Wait and do nothing. The character will happen when you least expect it or are least prepared. Now they’re in your head. They won’t leave. aaaaAAAAAAA!

- Take a person or another character you know. Change 3-5 fundamental things about them (I don’t mean name, hair color and shoe size... I mean something PERSONAL, like background, motivations, religion, dream job, species, etc.) BAM character. (I mean, is it QUESTIONABLE to write a story about your sister as a lizard who wants to go to the moon? MAYBE. Should she still be more grateful than she is? ALSO MAYBE.)

- Take yourself and change uhhh... at least one thing about the character. Try to veil the fact that it’s actually just you. Fail. Wipe away tears. Write the story anyway. Hope no one notices.

- Write a story in your head and then think “Who is the LEAST likely person to participate in these shenanigans?” There’s your character.

Q: What should I avoid in a character?

Honestly, you can go around to 100 people and ask this, and they’ll give you 100 different answers. What people dislike and like in characters is so vast that there’s NOTHING you can do to stop people from hating on a character.

But yes, there ARE some overused tropes and I want to share 1 rule that I personally keep to when making characters. (Keep in mind, this is MY personal list. It isn’t the end-all-be-all, and yes, you can argue about this. But don’t @ me, I don’t care.)

DON’T describe your character as “______ is kind and friendly until you piss them off - then they will kill you.”

This has been my biggest pet peeve since high school - and it’s unfortunately an absolute staple of any YA character. Someone is ‘friendly’ and ‘nice’ and ‘shy’ UNTIL - you hurt their friends. Then they go berserk.

I know it’s tempting because ‘usually demure character lets loose their True Potential’ is a very empowering thing to see. (And I admit, I think Mob Psycho 100 pulled this Trope back in by the scruff of its neck and managed to get JUST the right angle for it to work.)

BUT it’s overused and it tells us absolutely NOTHING about your character. It’s a calorie-free fact. Feels like a description but is actively devoid of any interesting information about your character.

Why? Because literally EVERYONE is like this.

We are all, at a baseline, somewhat friendly. That’s... just how most people are. Societal convention tells us we must behave with some semblance of dignity and respect towards others in standard situations in order to keep peace.

And I daresay getting pissed off and Breaking Character is ALSO a thing that most humans experience. Getting angry when your friends/loved ones are hurt is the bare minimum necessary for being relatable.

Not to say your character can’t do this but - it doesn’t need to be described as a part of their personality any more than, say, the fact that they have hair on their head.

Q: How do I make my character more believable?

Research.

We all hate that word, because school usually teaches us to think of research as boring but it is ESSENTIAL to your desire to make ‘good’ (relatable, sympathetic, useful) characters.

IF YOU PLAN TO WRITE FOR AN AUDIENCE, THEN YOU NEED TO PUT IN THE EFFORT OF MAKING YOUR CHARACTERS MULTIDIMENSIONAL.

That means - knowing their background. Knowing details. Knowing cultural, financial, religious terms you need to know to write them believably.

I know, I know - what if I’m just writing for myself? you say.

Well, fine. If you’re not planning to have your work be widely public, if you’re just having fun and don’t care, then write whatever you want. Make a Japanese character with a Korean name. Force your UK characters to use USA slang. Forgo any historical accuracy. Change up facts! Erase the moon landing, whatever.

But if you want to share your work with people, and if you want people to interact with your writing on a more serious level, then you NEED to know how to use Google and gather at least SURFACE information what you are writing. If you don’t but pretend you did, people WILL be jolted out of their zone.

Research the things and people you are writing about. And more importantly - READ about the experiences of the people you are writing about! Avoiding Stereotypes in this day and age is EASY. You literally have an endless, free encyclopedia in your hands. If you can send a tumblr ask, you can google it.

That’s all for now, and CHEERS!

#how to comic #how to comic part 2 #chekhov writes a tutorial #writing

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mugen-monogatari · 5 years

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5 Quality Yet Accessible Tragic Anime You Should Watch

Let’s talk about tragedy in anime. Ain’t nothin’ like watching some sad anime boys experiencing sad things while I sit there and cry. I love tragedy in anime, there’s just a certain satisfaction in ‘dissatisfaction’. Sometimes, it’s far more meaningful for someone to lose a fight, to make a hard decision or sacrifice something. Maybe the hero never saves the girl, or a loved one just doesn’t make it. Yes, in a perfect world everyone ends up happy, but this isn’t a perfect world. People suffer, and sometimes it ends on a good note, sometimes everything goes to hell and the world burns. That gritty realism and human error adds a level of empathy and depth to many shows that would otherwise lack it. I personally think it’s worth talking about that, since I don’t think tragic anime get enough love.

So I thought I’d make a quick list of 5 accessible yet Quality tragedy series, ranging from pretty popular and accessible, to slightly more niche. Many of you have seen these series I’m sure, but with the continuous stream of shows being released every single season, it can be hard to either go back and watch older shows, or stay on top of newer ones. These are just a few picks that I would urge anyone and everyone to go and at least try.

I should also preface this by saying, when I say tragedy, it doesn’t mean the show has a depressing ending. By tragedy I’m referring to tragic events happening in a show regularly, be it at the end, the beginning or throughout. Simply putting something on this list, doesn’t mean it has a tragic ending, so you can rest assured there are still surprises to come when watching these.

Also, these are all my opinions, everyone is entitled to them. You can disagree or agree, it’s up to you, we can even discuss my peeps. Just don’t brutalize me for shows you don’t like or if one of your favorites isn’t on this list.

All of that being said, Here are 5 tragic series I think everyone should at least try:

1. Code Geass

Starting off simple we have Code Geass. What a show this was back in the day. Death Note, mixed with Mechs and sci-fi and chess and a whole lot of edge. For many people, they have already seen it, it’s almost guaranteed if you watched anime in the early 2000s. However, as time goes on, this series slowly falls into obscurity, many people being less attracted by its flamboyant art style and the ever growing age. It seems like Code Geass is slowly fading away with time, people online aren’t forgetting about it, but moving on, and many new fans are understandably detracted from a show like this.

But they’re all wrong. This series is incredible. It’s a fundamental “must-watch” show. Sure, it shows it’s age now, but that doesn’t detract from it’s plot and characters. With a very likeable cast, a constantly expanding story, high stakes, insane powers and mind games, politics and action, all of these make an insanely good series, one that warrants repeated viewing to this day. What starts as a boy being in the wrong place at the wrong time, blows up into a worldwide conflict. This is one of those series that sticks with you, there are scenes and moments in this you just never forget moving forward.

Some of the things I love is Sunrise’s mech designs, Lancelot as well as many of the Knightmare frame designs in the movies and show are still fun and vibrant to this day. Many old Mecha shows become redundant years later as the designs don’t hold up. This one though, certainly does.

I also really love the voice acting. Yes the sub is good, but the dub (fight me) is just mwah. Johnny Yong Bosch as Lelouch is nut worthy. Just watch the first episode where he gives his first command. Insta nut. I’m telling you.

I also love the endings of both seasons. I think the first is a really good climax, while the second season closes about as well as this could, while still coming out of left field.

Some things that I think detract people, definitely start with the art style. Sunrise’s designs for the machines and backgrounds and such is fine, it looks good, however Clamp’s character designs are definitely an acquired taste. They’re not for everyone. Everyone looks super slender, almost cartoon like in their clothes and proportions. Yes you get used to it, but they still look very “different” to the standard, even back when it first came out.

Another is sometimes, the show just goes to very strange places, for example having an episode to do with drug addiction that just came out of left-field. In the same vein, some people have very mixed opinions on season two, not entirely liking the direction it goes and some of the character developments. However, a lot of these things are subjective and I’ll leave them up to you to decide.

Spanning two, 25 episode seasons (you can definitely just pretend the movie never happened) as well as several spin off OVAs and Shorts (Those you actually can watch though), the series is a pretty long watch by today’s standards, but it’s definitely worth it.

2. Zankyou No Terror

Next up, we have Terror in Resonance. This one for sure is worth the watch even without the tragedy. This is one of those shows, which is so visually appealing to watch. It’s one of the most aesthetically pleasing shows I’ve ever seen. I guarantee anyone who’s interested in aesthetic gifs and images of weeb stuff, has seen shots from this show without even realizing it. It’s not exactly a niche show, but it’s a little less accessible than something like “Angel Beats”, with a much more serious and gritty tone. It’s not criminally underrated, but I just really wish more people had seen this, since it genuinely is a beautiful series.

Some of the things I really love about this show, is (as I’ve mentioned a thousand times) the aesthetic sense. Every shot in this series is screenshot worthy, with plenty scenes making for ‘straight-out-the-box’ gifs and icons and whatever it is you kids use screenshots for. Even the food, just like papa Gigguk mentioned, is just mwah, spicy stuff. I attribute this to the very well considered color palette, realistic lighting and designs, as well as just overall good cinematography.

On the less visible side of things, the story hold ups really well too, with some very genuinely emotional moments and scenes. Just like Code Geass above, this series has a very well considered ending, with a “Wholesome”(?) message at the end.

The only negatives I can really give for the series, is some pacing issues if you’re an impatient brat like me, as well as almost a complete lack of lightheartedness. The series can be sweet and touching, but it’s almost always dark and serious at the same time, with no time to relax or breathe throughout.

I think there isn’t as much to say about ZnT as there is about Code geass, as it’s not as subjective. It is an objectively high quality show, your own enjoyment of it is what varies. Unlike Code Geass, there isn’t many flaws, but it doesn’t take as many risks. To me, this show is a very safe bet. It looks gorgeous, is only 11 episodes (you big boys and girls can binge that) and tells a satisfying, self-contained story. A little bonus is that it’s directed by Shinichiro Watanabe, famous for Cowboy Bebop and Samurai Champloo, so hey- It has that going for it too.

3. Parasyte: The Maxim

Following on, we have one of the series that introduced me to tragedy, Parasyte: The Maxim. Let me tell you, this series is dark. And violent. Very violent at times.

When it first aired in 2014, the response was pretty good, it didn’t reach critical Acclaim, but had its own cult following, with the manga having been published from the late 80s to the mid 90s. For me, this was one of my first truly “darker” and more violent anime, having really only watched shounen and some seinen before that. This to me isn’t one of the best stories ever, the characters are fine, and the show looks acceptable. But while it doesn’t excel in anything, it does everything really well. To me, it’s the perfect bridge from Casual fan, to serious- or even as a primer for more dark and violent stories, such as Berserk or dare I say it Tokyo Ghoul (Read the manga, please don’t support the anime adaptation).

For me personally, I really Liked the main character, he drove the show on for me. Watching him develop into someone completely different from the beginning of the show, was a real draw to me. He’s likeable, relatable to an extent, and he had a complete character arc. Shinichi in the beginning is not the same character as in the end.

This character is also used to convey a deeper meaning about what humanity is and how we define the term. It’s a really interesting series about us as a race, with some genuine things to discuss and think about, which leaves a longer lasting impression than most shows. It’s the sort of series that makes you want to share it with other people just so you can talk to them about it. Ah- and it’ll hit you in the feels. This show is genuinely tragic through out, but still stays personal to the small cast, which to me, is the sign of a really good tragedy. Despite things going on in the entire world, they make you care about these few people specifically.

However, it has it’s own problems too. Art wise, it’s very faithful to the original source material, capturing the feel of it, the low key oppressive vibes. However, this also means, it can look a little… ‘Bland’? At times. The earthy colors can be a little drab, especially in an age were Studio Trigger, for example, can make an eye-gasm worthy scene using colours you didn’t even know existed.

The other problem, is some of the characters are very one dimensional. Take the love interest, she doesn’t really develop or change at all throughout the series, but I personally give this a pass as she’s not super relevant to the story anyway.

A fair warning though, this series has some strong violence, plenty of gore and mutilation, if that’s a problem for you, I suggest either giving this one a skip, or just trying to sit through it. It’ll be a good learning experience.

Spanning a fair 24 episodes, having aired in 2014, this series is both bingeable, and holds-up very well in the modern ecosystem of anime. To me, this is a pretty top tier show, a solid 8/10, it’s very good, a really well made show, It makes for the perfect bridge into far more serious and dark stories, such as maybe Berserk and Devilman, hence why I put it on this list.

4. Fate/Zero

For my second to last show, perhaps one of the most well known franchises, that is lowkey kinda niche. Fate is a series everyone knows the existence of, but not as many people have actually watched, especially not casual fans. To be frank, it’s intimidating. The series has no real easy entry point, and all the timelines are relatively interwoven, you can’t just bounce around. Everything spoils everything and it’s scary to even look at a list of fate entries.

That’s why I picked Fate Zero. To me, it’s the best entry point into the Type/Moon genre. For those of you who don’t know, it’s basically a battle royal between seven summoners who each have a servant of different classes. They all have to fight for the Holy Grail, an artifact that will grant them a single wish. Sounds simple right?

Well it’s not. The entire series is full of not only badass action, but plenty of mind games and ‘cat-and-mouse’ between the characters. It’s brutal, it’s tragic, violent and uplifting. Ufotable delivers some of the highest quality animation you’ll see in your life (they’re renowned for it), but it doesn’t just look good. The story is compelling, the characters are genuinely likeable and by the end, I wanted everyone to live and survive. Everyone has believable and compelling motivation, and even the objectively evil characters, like Caster, are still likeable, because you begin to love to hate them. The entire season honestly plays out more like a compressed microcosmic version of Game of Thrones, than a battle royal anime.

There are plenty of things I like about this series, the plot is really fun, the fights are pretty damn cool and it can be a very emotional show at times. I could talk about these aspects endlessly. However, the thing that really makes Fate for me, is the characters. Each individual characters gets some time and attention, and with the exception of a few, you really genuinely like and care about everyone. You want everyone to win, or at least survive, since all of them are either genuinely lovable, or have very compelling motivation.

The other part to it is, this is the best starting point for the rest of Fate, and I would actually argue that it enhances many scenes found in the subsequent (story wise) series, even if they aired prior to Zero. This series both introduced me to Fate, and got me attached and invested in the world, which is the sign of a good (technically) first series.

On the other hand, it has problems. First of all, it’s pretty interwoven with the later series. Those came before it and set up a lot of mysteries and ideas that Zero goes out of it’s way to explain, from character identities to events in the timeline, watching Zero will spoil a lot of those things, which may lessen the later experiences for some people.

The other flaw is despite being maybe the best starting point for Fate, it still isn’t entirely accessible. The show can be straight up confusing at times, at least for someone who hasn’t seen Fate. Many elements of the world aren’t explained and you’re just expected to go along with it, since it’s either just a part of this world, or explained in other series. Which is fine, but often lead to some rather “But wait… What just happened?” moments.

Ultimately, Fate/Zero is fantastic series for anyone looking for a really good character drama, full of magic and badass historical references. It’s not the best introduction but it’s the best you’ll get from Fate. Similarly to Code Geass and ZnT, the series has a really good conclusion in my opinion, with plenty of tragic moments sprinkled throughout.

For Fate, Zero specifically consists of two seasons of 12 episodes each, for a bingeable 24 episode series. For ideas where to go next from this, look for my upcoming Tumblr Post explaining the fate continuity.

5. Mobile Suit Gundam : Iron-Blooded Orphans

And Finally, we come to our last pick of the day. This is a series, I would urge anyone to watch. If I could make you watch one Single series from this list, this would be it. Throw away any views you have on the franchise or the genre, don’t be afraid of the name, just give this series a try.

Iron Blooded Orphans follows a small mercenary band of boys who just want to make a home for themselves in a galaxy strained by political unrest. The premise is simple, just people trying to survive and make a life for themselves.

Well what if I told you it was directed and written by the same Duo that made AnoHana, one of the most commonly acknowledged tragic shows out there. This duo write and direct stories about innocent children being put through immense hardship and this series is no different. This show is tragic, painful even. I sobbed as many times as I laughed and smiled in this show. We spend a season watching them come up in the world, only to watch everything get torn apart in the second season, and it is genuinely emotional and heart wrenching.

Something I love about this series, is the characters and how attached you become to them. Death is a genuine threat in this show, even if you don’t feel it in the beginning. When people die, it hurts, and that applies to IBO, where each death leaves resounding ripples on the people around them. It handles familial relationships really well, making you believe in these people and their emotions. When they suffer, you cry for them, and when they get brief moments of respite, you do too. I love how invested you become in this ragtag team of boys, making some of the later scenes all the more devastating when they happen.

Another thing I love is the stakes. Within the second season, the pressure to perform is on, the first season, while having threats and such, was never even close to season two. To be vague, one of my favorite moments is when a character has to land a decisive shot in the midst of a battle, and everyone’s lives are on the line. That entire confrontation is one of my favorite scenes in anime of all time. It is truly suspenseful and will take you on an emotional journey.

To top it all off, it’s made by Sunrise. If you like Mechs, well oh boy do they have you covered, and if you don’t- well oh boy, you will when you’re done. This show makes the mech Genre, and Gundam entirely accessible, you need no prior knowledge, you don’t need to be a fan to enjoy it. The fights are really fun and have genuinely cool moments, as cool as it can get for a mech anyway. The characters and story are well written and everything just comes together to make a very well produced show- Good job Sunrise.

It doesn’t go without it’s own problems though. The first 20 ish episodes, until they get to earth, are not pointless, but have some pacing issues, as well as low stakes. There are threats and people die, but you never feel that scared or intense. Then towards the end of season one, the show kicks into high gear. To counteract this slow start, the series has a phenomenal season two that I genuinely believe everyone should watch, as it’s a perfect example of character drama done exceptionally well.

The series is comprised of two seasons of 25 episodes each, totaling a measly (if you’re a big boy or girl) 50 episodes. There is several related forms of media, nothing worth mentioning though, for more Gundam, you’re better off watching other series from the franchise.

If I can only force you to watch one, please go out and watch Iron Blooded Orphans. To me, it’s 9- pushing a 10/10 series, with a undeniably slow start, but a fantastic heart felt, emotional ending.

So that’s it from me guys. Thanks for taking the time to read the ramblings of a mad man like me, but I hope this gives some people some ideas on where to go next or what they can watch now. If you enjoyed, make sure to follow me for more discussions and lists and whatever else anime related. If you have any advice, or want to discuss something with me, go ahead let me know, other than that- Leave, go outside, get some fresh air after reading all that.

#anime #discussion #Iron Blooded Orphans #Fate #code geass #Parasyte #terror in resonance #IBO #Gundam

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freedom-of-fanfic · 6 years

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I'm kind of torn on the Mary Sue issue. On one hand, I don't care what anyone writes for their own amusement, but writing is still an art that does and should have standards for professionals. As someone who has degrees in writing and does it as a profession, it's a little insulting to be told that the work your poured tons of research and time into is on the same level as amateur self-insert fic. That's why I advocate for different standards for fandom vs pro work.

I feel you, anon. and I have a lot of respect for people like you who got degrees and write professionally, because words are held rather cheap with the internet being around and anyone who can get paid to write words impresses me to some degree. but:

I’ve always felt like comparing fanfic and original fiction to be not exactly congruous? and

I think Mary Sue suffers from maligning because she’s disproportionately evoked by the youngest/least experienced of writers.

this got … pretty long … so i’m dividing it up a little for ease.

the concept of ‘standards’

first of all, I also advocate for different standards between published/professional/marketed works and fan works, but I do so because of 1)potential spread and 2)they aren’t accomplishing the same thing.

In general, a fanwork will have limited appeal outside of the fans of the canon the work is based in; they cannot stand on their own without some additional effort. Further, fandom has its own language to some degree or another, and fanworks are frequently best understood in the context of other fanworks, like scientific papers citing other scientific papers in passing because the audience is expected to be other scientists in the field who have read it. In other words: the audience is probably fairly niche and in on the ‘lingo’. its potential damage circle is therefore relatively small. if somebody fucks up their research for a fic, it’s nbd, for instance.

On the other hand, an original work with a professional marketing team will certainly reach a much more diverse audience and probably a much larger one. It’s therefore responsible, imo, to be proportionately aware of the potential impact of the subject material and approach it accordingly (though true fiction will always have an unpredictable effect on any given individual, so there’s only so much the creator can do). I’d expect accuracy where research was done, if for no other reason than to avoid spreading false information to such a big potential audience.

and of course I’d hope that if somebody is being paid to write, their grammar/prose/proofreading will meet a certain standard of readability. (the same cannot be expected of free works done for fun that take a few minutes to post on the internet.)

having said that: standards for quality fiction writing will always be subjective. I’m always going to have questions about why The Sound and the Fury is an American classic (I couldn’t make sense of it no matter how hard I tried). What gets published can be as simple as having good luck with the slush pile reader that day. I’ve seen fanfiction complimented with incredible research: there’s a Tokyo Babylon work-in-progress with an author who has traveled to fic-relevant locales to nail story and character details. I feel the line is blurring these days, especially because there are people who make a living off writing commissioned fanfiction now (too small-scale to be an IP concern, of course).

I think the fundamental difference between fanworks and original works is not quality of the work itself or effort expended. It’s related to structure and aim.

Fanworks, even AU fanworks, are like interior decoration. A 'good fanwork’, even an AU fanwork, works within a pre-built framework to elaborate on or add to or evoke what drew its audience to the framework in the first place.

Original works build a whole new house, creating a new framework from bare construction materials to draw in and house the emotions of its readers. (and then maybe its readers decorate the house with their own fanfic.)

tl;dr: if an AU fanfic was so different from canon and the characters were so OOC that the author can shave the serial numbers off and repurpose it as an original story, it might be a great original work. But it wasn’t a very good fanfic, was it?

why is mary sue so offensive to us?

I don’t know if you’ve ever read the post Mary Sue, What Are You?, but what I keep coming back to is its iconic opening. the author describes an OC at length: orphaned as a child when her parents were killed in front of her, she decided she would dedicate her life to fighting for justice. She grew up to be rich, athletic, beautiful, sexy, angsty, a genius, undefeatable in a battle of wits and agility, and everyone who meets her is instantly lovestruck. In other words, a classic Mary Sue …

but also Batman with female pronouns.

I think one could argue that Batman is not always well-written, but the relevant point here is that Batman - and Mary Sue - might be 99.9% perfection in the shape of a human around whom the universe revolves, but if its their own canon and the universe doesn’t recognize their perfection the way the reader/writer does, it’s not really 'bad’. (And there’s something to be said about why giving this power fantasy male pronouns seems to render it so much more palatable than female pronouns, but for more on that I point you to the referenced essay.)

Your ask is worded to suggest that Mary Sue is synonymous with unprofessional writing. I … kind of agree? Mary Sue is frequently the main character of Baby’s First Fanfic, and let’s be real: Baby’s First Fanfic is often being written by somebody who might be as young (or younger than) 12-13 years old, with all the inexperience, grammar mistakes, and lack of training that suggests. and as far as characterization goes, I think that anyone who takes decent writing classes will be discouraged from writing a Mary Sue. But like Batman, Mary Sue can be a perfect princess and get away with it under certain circumstances.

I posit that Mary Sue characters (or Gary Stus) - whom I will call Flawless OCs from here - are not really a problem on their own. Further, Flawless OC is more agregious in fanfic than original works. Because what makes the Flawless OC so irritating isn’t their perfection, really: it’s what the character’s presence must do to the universe (which is, in the case of fanfic, the universe the reader came to experience in the first place) that’s the real problem.

To show what a good fighter Flawless OC is, they defeat the best canon fighter.

Flawless OC has a backstory more tragic and painful than the most tragic canon backstory, and they cope with the trauma of it better.

There’s no room for Flawless OC because canon wasn’t holding a spot open for a self-insert, so now there’s a 6th Lion or a 10th Fellowship member or a Second Child Who Survived Voldemort.

The entire universe bends to ensure Flawless OC has perfect luck; their enemies are helpless before them. Everything seems to go their way except in the chapter where the their love interest is supposed to rescue them from danger. (the rescue goes flawlessly, of course.)

Depending on the author wish that Flawless OC is meant to fulfill, Flawless OC will defeat any undefeatable enemy, solve the unsolveable problem, be the envy or lust object of any character, etc etc, often without regard for the original context of the enemy/problem or the canon personality of the character.

In short, Flawless OC usually have two major issues:

they render canon irrelevant to glorify Flawless OC, and

the universe constantly validates their choices to a degree that wrecks narrative suspense.

what makes each of these things 'bad writing’ is different.

The first problem I mentioned - warping of mythos, plot, and characters to accomodate the Flawless OC - is a fanfic problem. Canon-warping absolutely allowed, but what makes it fanfic - the canon source that acts as our shared experience and usually our main reason for being a potential audience to the fic - is almost always nigh-unrecognizable. That makes for bad fanfiction, but it doesn’t always make for bad fiction. Change all the parts of canon enough and you’ve arguably got an original work. It might even be a good original work if the author has writing skill.

The second problem - the validation of the universe - is what makes Flawless OC a dull read in any context. If Flawless OC wants something, you know they’ll get it. If Flawless OC hates someone, you know they’re going to catch hell. If Flawless OC needs to be vulnerable for their love interest, something just bad enough to make them vulnerable will befall them. The perfection of the OC is less of an issue than the lack of meaningful conflict. (A character can have no faults and still be interesting to follow if they must struggle against a universe that doesn’t care.)

to wit:

there’s a fantasy book by David and Leigh Eddings - The Redemption of Althalus - that I read long ago. it stuck with me to a peculiar degree because for a book with such a unique conceit, it was incredibly boring. This is published fiction: it had editors, a marketing team, and was written by professionals with lots of experience! But looking back, none of this saved the story from featuring Gary Stu in a universe that catered to his every need.

The main character, Althalus, is ostensibly a person in need of redemption for being such a bad person all his life and never punished for it, but he’s a loveable, quick-witted rogue almost from the start. To 'redeem’ himself, he’s tasked with saving the world from Enemies (we’re told they’re evil, but I don’t think we see them more than once or twice). Protected by the Goddess of Luck - literally - for the entire novel, there’s never a single moment where Althalus’ victory over the Enemy is in question. He never does anything really awful that would explain his need to be redeemed (in fact, it turns out the Luck Goddess is the one who protected him from punishment all his life). The enemy is weak, forgettable, and constantly outwitted, and the protagonists, supposedly people of gray morality, never did anything worse than be snarky.

The unique conceit that kept me reading was the House at the End of the World. Being the home of the Goddess, it had doors that opened to anywhere on the planet. but for an idea with such double-edged possibilities, it turned out to be an impregnable fortress of Good. The House and its owner were the forces that bent the whole book’s universe to the inevitable triumph of the main character and his companions.

A counter-example might be Miraculous Ladybug. I’ve often wondered if Mary Sue could be written well and be likeable, and Marinette - the titular Ladybug - is probably close. She’s good at almost everything and always outwits her enemies; even when she seems confident to the point of arrogance, it’s justified by her endless successes. (Her only real flaw is being clumsy when she’s distracted, and it only happens when it’s conveniently cute. this is a walking Mary Sue cliche.) Her power is to be lucky, after all.

However: even though everything ends up right for Marinette at the end of every episode, she’s not rewarded when she acts poorly towards others. She causes herself problems when she does. Her luck powers give her the ability to bend the universe a little, but the universe is otherwise unforgiving; she’s subjected to the same banalities as everyone else and learns to be a better person along the way.

OTOH if you put Ladybug in another canon with a makeover to recast her as Flawless OC, changing everything so she could occupy a central role like the one she has in her own series, she’d be insufferable: hence Ladybug is a solid example of how a Mary Sue can prosper provided she’s in a universe designed to both feature her and contain her powers for the sake of Good.

I apologize for how long a reply this is. Still: I hope it successfully illustrates for you that:

though original writing and fanfic writing use the same tool (words), and both can use them masterfully, what original writers like you do and what fic writers do are, in general, very different things.

And Mary Sue is what you make of her. In the right universe, she’s just a very lucky person. :)

#in defense of mary sue #in defense of fanfic #origific vs fanfic #fandom meta #miraculous ladybug #david eddings #i think i read that book because I liked some other book of his #but wow it was a dull read #I kept waiting for everything to fall apart #but it didn't #anywho #long post #y ik es #Anonymous

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symphysins · 7 years

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Have any other good fics for us???

sorry this took a while to reply back to. i’ve been compiling this for a while.

since you didn’t specify what kind of fics, i’m gonna give like a smorgasbord of different ut fics i love w/ a blurb of stupid commentary from me :’D

(be warned, snas is my fav so a bunch feature him/are centered around him.)

(also be warned that not everything i like may be ur cup of tea, so make sure to read the tags/warnings.)

longpost under cut. ready? here we gooo~ ᕕ( ᐛ )ᕗ

Universal Displacement by knowmeknot: A forgotten doctor once theorized that when the same event occurs at the exact same time in two separate universes, they converge for a single moment and something… spectacular happens. A destabilization maybe. Or a merge. Or better yet, a displacement of two similar but different entities.

one of my favorite kedgeup things is when ut!sans or uf!paps lands in the other’s universe, and this fic expands on this idea rlly well.

A Lack of Brotherly Love by Askellie: After a brutal series of genocide runs, Sans wakes up in an alternate universe where the monsters were saved, everyone is on the surface and the future looks bright…except the fundamental difference in this universe is that its resident Sans never loved or supported his brother. As a result, Papyrus is a lonely outcast, unable to fit in and scarred from years of emotional neglect.And Sans isn’t going to let that stand.

i desperately want sans to punch the fuck out of dr.serif. and then go give poor paps all the hugs he deserves.

To Love Yourself by undertailsoulsex: UF!Sans fights with his brother and doesn’t know what to do with himself. He ends up traveling to the Undertale Universe where he meets the kindhearted Sans and Papyrus.UF!Sans has to come to terms with his depression and his newfound feelings for the other skeletons.

this fic emotionally destroyed me… but in a good way i swear! it’ll lead you on a rollercoaster of feels, but it’s worth it.

It’s A Long Story by RiseiTekiSensei: a soriel series detailing toriel and sans’ relationship in the underground and aboveground. i really like how both of them have their own issues, and how they support eachother through those issues. i also love how head over heels sans is for toriel.

A Fortune Cookie For You by Darkhymns: “In bed” jokes are the lowest form of comedy. So, of course, Sans and Toriel love them.

the jokes man. the jokes are the best.

Never a Lovely So Real by Kaesa: The city of Ebott, 193X. The market’s down, the crime rate’s up, and Sans is just trying to make a buck and keep an eye on his brother by working for the Dreemurr crime family. But after the Dreemurrs rescue a human child from their rival gang, the Flower Boys, Sans soon finds himself in way over his head. (Well. Not that that’s hard.)

i love all the research put in to make this mob au fic really authentic. reading the little anecdotes at the end is rlly fun.

Our Skeleton by yastaghr: The people who love him come to realise Sans may be hiding something from them.

this. this is the fic that really got me into sansgoriel. royal goats showering tiny skele in love is the best.

for queen and country by tealmoon: Being the Judge of the Underground isn’t just a job, it’s about being chosen to carry out the infallible will of the Royal Family, to keep chaos and crime at bay, to protect all of Monsterkind.

And for Papyrus, it’s about being helpless, and afraid, and alone.

us!paps suffering: the fic. somebody give this skele a friend. pls, he desperately needs one.

Fired Up and Bone Weary by perniciousLizard: slowburn domestic sansby series. sans is written so in-character and grillby is really fleshed-out as a character. there’s tension and drama here and there, but it still feels mellow overall. reading this fic feels like sitting next to a warm hearth.

These are our Days by Rehlia: Two days ago, you said goodbye to your best friend. Yesterday, you lost your job with no prior notice. And then today, you had a fight with your mom. So that’s your day today. Lonely, fighting with your mom, jobless. Perfect Day for a drink or two, right? What’s that on TV about monsters?You didn’t expect the monsters to accept that application for a social media job you sent them while you were drunk. Now you’ve suddenly moved to Ebott and spend your days hanging out with monsters, documenting your weird new life, and marvelling at how different monsters and humans can be - and how similar.

god, i love all the worldbuilding in this fic. the little things about monster culture are so great. this fic really makes me invested in monsterkind’s integration on the surface. and the build-up to the sans/reader relationship rlly makes it all the more satisfying.

Tend to your memories by Rainbow_Sprinkles: Post-Pacifist after many, many resets. Explores political, social, and personal facets of monster integration into human society. Begins in 211X and spans over many years. Political and social climates have undergone major shifts from those of the present day. Character development and platonic-familial relationships receive the most attention. Major motifs include health, medicine, and science.

realistically, i think a lot of the ut cast have been traumatized in some way, and this fic explores that very thoroughly. i think my favorite part about this series is the frisk, flowey, and chara development.

Kingship, And What Comes Next by CatKing_Catkin: This is the story of the Underground after Sans hung up the phone, after Papyrus took the throne. There’s no one left to guide him, no one left to look up to. Papyrus doesn’t want to let anyone down, especially not Sans when his brother is working so hard to support him. Sans doesn’t want to let Papyrus down, when his brother really is all he has left.They make mistakes, they miss one another, but together, they try to figure things out.This is a story about growing up, moving on, and what’s important in life.

this fic managed to take one of the saddest (imo) endings and turn it into something hopeful.

lest ye be judged by nilchance: in an alternate universe, asgore became something like a parental figure to sans and papyrus. the whole series is wonderful, and i love the relationship sans and asgore have.

Tsum Papyri by BarkingPup: In this world there is only Papyrus and… more Papyrus

the super sweet tsumtsum au made by zarla turned incredibly horrifying.

Overextension by MaxieSatan: Strength and weakness are not mutually exclusive, and neither one always looks the same.

i like reading fics about undyne & sans, bc you really never see them interact in game. it’s interesting to think about how they’d act around eachother.

Late Night Snack by EvilZebra:

Tuesday 3:55 amRUDE SKELETON: did he ask you to help too

RUDE SKELETON: he did i can hear more pots dying

RUDE SKELETON: pls spare my ketchup it does not deserve this

papyrus cooks at 3 in the morning. sans and undyne suffer.

social links by simplycarryon: Friendship’s pretty neat, or so your video games and anime dictate. But you are not an anime protagonist, and you’re not sure you know what friendship is any more.

i love sans and alphys being science buddy friends.

Angels in the Underground by joliemariella: 200 years ago, angels were banished from the surface world after the commander of the heavenly host, Asgore, declared war on mankind. Now, young Frisk has fallen into the Underground and must conquer the angels’ seven trials if she, and the angels themselves, are to have any hope of escape. Along the way she meets Sans, a wounded seraphim who agrees to guide her through the trials at Toriel’s request. Friends are made, history unfolds, and Sans comes to hope again.

monsters with wiiiingsss. also seraphim dad sans is best dad.

Butterscotch and Bones by kaliawai512: Toriel promised herself she would never leave the Ruins. She had to stay there, to make sure that if a human fell, she could care for them - even if she couldn’t stop them from going to their deaths in time. But now and then, leaving is inevitable. The Ruins have only so many resources, after all. This time, before she heads Home from her latest expedition, she decides to stop and check in on the asocial Royal Scientist who was once her good friend.

She doesn’t find him.

She finds two other someones instead.

FLUFF. SO MUCH FLUFF. some sad, bUT THAT ONLY MAKES THE FLUFF SWEETER. this fic is like a balm on the soul from the hurt of the handplates au.

Under the Veil by poplasia: Sans has gotten himself stuck in the void between worlds in a successful attempt to stop the resets of his timeline. He’s not sure how long he’s been chillin’ alone there, but eventually a chance at escape stumbles his way in from the Veil of Death. His name?—Sirius Black.

crossovers are great. crossovers with two of my favorite fandoms are even better. i’m really excited to see what these two pranksters will do next.

Missing Child Case by StoryCloud: Against all odds, the police find the four-year old that went missing around the summit of Mount Ebbot. A story from a child’s perspective has many interpretations.

it’s really rare to see fics that deal with neutral route endings, so this is a nice treat. also the fact that frisk is only four puts things into a diff. perspective.

The Best of Times, the Worst of Times by ABadTime: Set immediately after the pacifist run, the dark history of the skeleton brothers begins to surface when everything that held them together unravels, leading to the revelation of dark and transformative truths.The Best of Times, the Worst of Times sees the rise of heroes of unusual stripes in the face of unusual traumas, and explores the value of relationships in unusual times. The True Labs hold a great many terrible secrets only some of which have been able to reach their conclusion.

leaves you hanging on at the edge of your seat at some points, and has a satisfyingly happy ending. not to mention super cool gb!sans.

a lesson in grief. by ohmygodwhy:

you’ve got pressure dripping off your shoulders.

or: sans tries to deal with some things.

let’s end this off with some of that sweet, sweet sans suffering. one of the first few ut fics i read. the ending was like a punch in the gut.

#paperbeanbag #ultra mega long fic rec post!#hope you like it?#i could scream on and on about how much i love fic #there's even more fic i have bookmarked but this post was getting too long #if anyone wants a more fontcest/skeleton centered list i could probs make one

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angeltriestoblog · 4 years

Text

I watched a couple of movies! (April roundup)

I’m glad to announce that I finally found a way to rave about the movies I’ve watched without boring you all to death, driving myself to the brink of insanity, and damaging my eyesight even more. Instead of giving a comprehensive review on each one, I decided to give you my top picks for every month in an attempt to convince you to watch these life-changing pieces of cinema! Maybe someday I could include some of the worst I’ve seen as well because it's easier (and more fun) to point out the flaws I spot.

So without further ado, here are the creme of the crop for the month of April!

Philadelphia (1993, dir. Jonathan Demme) ★★★★★

This superbly crafted film was one of the first in Hollywood to tackle the issue of HIV/AIDS—and with the right amount of sensitivity—during a time when discrimination against victims was at its most rampant. That fact alone makes it deserving of the praise, recognition, and accolades it has collected over the years. Add to that the remarkable performance of Tom Hanks as Andy Beckett, the lawyer fired from the prestigious firm he works for who enlists the help of Joe Miller (Denzel Washington) to take this matter to court. His dedication to the role is evident not only in his dramatic weight loss but the intensity of the emotions he brings to all of his scenes. Though I know a lot of audiences are concerned that the account is told mainly from Miller’s perspective, I found this aspect crucial to his growth as a character and the movie’s effectivity as a call to empathy and compassion.

Certified Copy (2010, dir. Abbas Kiarostami) ★★★★½

It's so difficult to review this without giving away what makes it different from anything that's ever been made, probably. But then again, even if I dive deep into the plot and provide my theories, I doubt it’ll make sense so I’ll say this. Certified Copy is a mind-bender of an arthouse film disguised as a love story of the Before Sunset variety. It’s a deceivingly linear tale of a French woman known only as “She” (Juliette Binoche) who goes to a book signing and offers to explore the city of Tuscany with the author (William Shimell). His work asserts that the reproduction of a certain thing possesses as much value as the original, so much so that it can even take its place. The extent to which this is true is shown in the many ways their relationship changes in the span of a single afternoon. It’s normal to be frustrated once you’ve finished it. I had a “What the hell?” moment myself and had to rewatch some parts a few more times. But once you realize that the plot is an artifice, like fiction and art itself, that’s when you come to terms with how real it actually is.

The Farewell (2019, dir. Lulu Wang) ★★★★★

This is practically Wang's two-hour thesis on why grandmothers are the best people on the planet and we don’t deserve them. It's not like I needed an external source to prove it was true but I adored it anyway. This Oscar snub is “based on a true lie”: Nai Nai (Zhao Shuzhen), the matriarch of a Chinese clan, is diagnosed with cancer, and her loved ones go to extreme lengths to keep it a secret from her. I appreciated the accurate depiction of the mess that is the Asian extended family: immigrant parents, their first-generation kids, and the relatives they left behind at the homeland under one roof can only mean endless bickering and picking at old wounds. But in all seriousness, its grasp of human emotions—as seen in the brilliant acting performances and authentic dialogue—reels you in instantly and keeps you emotionally invested and painfully waiting for the heartbreaking (?) conclusion.

Interstellar (2014, dir. Christopher Nolan) ★★★★★

In what is arguably Nolan’s most complex and ambitious work yet, we find Cooper (Matthew McConaughey) in what appears to be a shadow of the Earth we live in right now. After a fateful turn of events, he is tapped by NASA to carry out a mission in search of a habitable world for the human population. Rarely do we see a creative project that aspires to be everything at once and succeeds with flying colors. Interstellar is that gem for me. It pushes the limits of our imagination and tests the very boundaries of science and space while serving as a reminder of what it means to be human. It may clock in at 167 minutes but I think that if the run time had been cut down, it would be impossible to do justice to this multi-faceted story. In fact, with the emotionally resonant performances by the cast as well as the phenomenal score (Hans Zimmer, you are a god) and cinematography, I am honestly willing to see another three hours of extra footage.

Mommy (2014, dir. Xavier Dolan) ★★★★½

This… was a lot. I remember watching this first thing in the morning a couple of weeks ago, and not being able to do anything of importance for the entire day since I was too busy wondering if I’ll ever be suitable for the lifelong commitment that is motherhood. This award-winning, affecting tale revolves around Die Despres (Anne Dorval), a struggling journalist and single mom to Steve (Antoine Olivier Pilon), her hyperactive, abusive son diagnosed with ADHD. Although a law had been passed in Canada which lets cash-strapped parents place their troubled kids in hospitals, she refuses to give him up and takes him under her wing: after all, they’re best at loving even when it’s hard. What unfolds after makes it hard to tell how the whole thing ends, but it’s a visually arresting and thought-provoking experience anyway. Dolan also possesses a strong command of the language of filmmakers: critics agree that its most notable aspect is the fact that it was shot in a 1:1 aspect ratio, which allowed me to assume the position of a next-door neighbor peering through their living room window.

Frances Ha (2012, dir. Noah Baumbach) ★★★★★

Before Greta Gerwig was the director extraordinaire we know her to be, she was Frances Halladay, an aspiring dancer who moves to New York City with her best friend and comes face to face with several, consecutive life crises. Her reality couldn’t be any further removed from mine (as a 19-year-old student on the complete opposite side of the world), but it remains highly relatable. At their core, her problems are rooted in a fear of loneliness and failure—just like the rest of us! Come to think of it, maybe that’s why it’s in black-and-white: to give the movie a sense of timelessness since it tackles themes and issues that remain universal and prevalent across generations. I loved Frances as a protagonist, though she far from perfect: she’s immature and petty and quite frankly, she had no clue what she was doing until the last 15 minutes—just like me! And yet she powered through in the end, which gives me hope that I’ll be able to do the same.

Fight Club (1999, dir. David Fincher) ★★★★½

Believe it or not, despite its straightforward title and predominantly male fanbase, I was completely taken aback when the unnamed narrator (Edward Norton) and Tyler Durden (Brad Pitt) started beating each other up in the middle of a parking lot—the very event that led to the establishment of their underground fight club. What initially appears to be a man’s search for a way out of the boring humdrum of his everyday existence evolves into a structural analysis of consumer capitalism and critique of toxic masculinity. There’s a lot of gore and violence but I pulled through thanks to the stunning visuals, unpredictable plot, and Brad Pitt’s beautiful face. Although the twist towards the end wasn’t exactly revolutionary for me because it kind of resembled Primal Fear (1996), it was still a mind-blowing and fitting conclusion to this cult classic.

Pretty Woman (1990, dir. Garry Marshall) ★★★★★

This modern-day Cinderella story about a hooker who falls in love with a wealthy businessman has become problematic for my generation. There are a ton of essays on Letterboxd attempting to start discourse on its ethics, calling it out for its misogynistic undertones, and criticizing it for being unrealistic. I actually saw a review that said it indirectly promotes prostitution as a means to get ahead in life, which could wrongly influence teenage girls. (How stupid do you think we are?) At the end of the day, this is a romantic comedy—and an outstanding one, at that! This probably has the most equal distribution of swoon-worthy scenes and laugh-out-loud moments out of all the romcoms I’ve watched, and we have the lead actors’ insane chemistry and the consistently witty script to thank. Needless to say, Julia Roberts is an absolute delight as Vivian Ward and it’s only fitting that it was this particular role that catapulted her to superstardom. Now if you’ll excuse me, I’m gonna rewatch this then proceed to play It Must Have Been Love for another 70 times.

The Fundamentals of Caring (2016, dir. Rob Burnett) ★★★★★

I genuinely think that everything Paul Rudd touches turns to gold. Here, he plays Ben, caretaker to Trevor (Craig Roberts), a sarcastic teen suffering from Duchenne Muscular Dystrophy. Together, they make a spur-of-the-moment decision to take a cross-country road trip to see several roadside attractions and of course, come to terms with their own issues. I admit that my love for this comes with the acute awareness that if I had found it on Netflix at a different time, I wouldn’t have appreciated it as much. It’s fairly predictable, it doesn’t strive towards anything complex or require much reflection on our part but it ties together neatly and satisfyingly in the end—truly a perfect comfort film! The equivalent of the warm, 10-second-long, oxytocin-inducing hug that we all need and can't have right now, given the state of our world!

Edit (05/09/20): I’m currently binge-watching Timothee Chalamet interviews and he just told Stephen Colbert that he had auditioned for this but wasn’t accepted for the job. Imagine him and Paul Rudd together... the visual power that duo would hold... I would miss the point of the movie entirely.

So, that’s it for this month! I’ve actually been spending more time writing lately but I hope I can continue to squeeze in something to watch into my schedule so I can actually be consistent with this series. Till next time! Exciting things up ahead! Wishing you love and light always, and don’t forget to wash your hands, check your privilege and pray for our frontliners!

#recs #quarantingz #angeltriestoblog #my eyesight just went up a grade #check out my new about page!!!#and portfolio!!!#<3

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mild-lunacy · 7 years

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It is what it is (so here we are)

I've just said recently that I do still see implicit Johnlock, and even if I'm not blindingly happy with S4, then at least I'm not turned off from the canon (just from fandom, but then it doesn't take much). I enjoyed it a lot, particularly the pulp genre stuff and the clever bits. It's hard to remember when I'm on Tumblr, but I did. It's my sort of thing, story-wise. Of course, it could have been more. And I do think it *should* have been more. But it is what it is. I want to celebrate that and not drown in negativity for the characters I adore and writers I still admire, but at the same time, I'd certainly like to support fair critiques. And in that spirit, I feel the need to push back against the negativity directed at all the people who expected implicit subtext to become explicitly canon, and are now disappointed. Quite rationally so.

Basically, I feel sort of on the fence right now. As I recently said, in many ways, TJLC as a fandom phenomenon has left me behind. And I do understand @unreconstructedfangirl's frustration at the state of fandom-- squee harshing has been an understatement, and my own squee balloon is definitely in danger of popping. But frankly, I'm never going to apologize for having been a TJLCer (and other people's beliefs or behavior have nothing to do with me; I claim neither fault nor credit). Just because some people do things one disagrees with doesn't mean a title (eg, feminist) shouldn't apply to everyone else, so I'd embraced the TJLC label although I had usually referred to it as 'canon Johnlock'. To me, it's simply been about analyzing the direction of a TV show to the best of my ability. It turned out that it wasn't as internally consistent or as groundbreaking a narrative as we all thought (and hoped), even though it remains a wonderfully made, clever, fun and moving story that I'll always love.

I feel very entitled to speak about this 'cause I know 100% I'm not being hormonal or emotional. I'm absolutely not speaking out of shippy feeling (though of course I have feelings). This isn't about feelings for me, and it's not about shipping. It's continuously frustrating that after all this time, Johnlock-friendly people in fandom still think this is about shipping. Canon Johnlock was the result of my *analysis* and my understanding of narrative construction concepts as a writer and critic. In my reasoned opinion, this awareness should be part of the analysis of the show's character arcs made by any halfway intelligent or literate person. This actually includes Moffat and Gatiss, even *if* the subtext wasn't intentional (which I find very hard to believe). The fact is that the overall narrative doesn't really make sense unless you integrate the subtext of the show, and that subtext is that John and Sherlock have romantic feelings for each other. This is explicitly referenced by many characters, supported by multiple mirrors, and overall just hammered into the textual themes and is central to Sherlock's humanization arc.

To make it absolutely clear, this isn't about my fangirl's shippy need to see John and Sherlock kiss and live happily ever after. I literally do not even *care* about my favorite characters' happiness: I'm an angst fan. I also don't really care what fandom does or *can* do in terms of shippy fanworks based on the text. I can never really relate to such arguments, or be glad canon Johnlock wasn't actualized for the sake of fannish diversity. Honestly, I find such claims to be derailing. I do love the fandom's creativity and I enjoy many, many different types of fanworks. But the fact is that I'm a canon-whore through and through, and I was *talking* about canon when I talked about TJLC and canon Johnlock.

So basically, talking about what fandom needs or could/couldn't use in fics is just alienating to the point of being meaningless to me. I don't see why it's relevant or why I should prioritize this in my analysis of a relationship I consider purely on its canonically-based merits. I also think that whole conversation can get especially derailing when we were talking about representation, which is (of course) a whole other kettle of fish, but not one to ignore or hand-wave. Certainly, it's not something to hand-wave like the BBC has done recently, with references to the creators' attention to queer charities. However, neither is it something to use as social capital in fandom wank, with constant references to being queer yourself or any other kind of 'queer cred'. This isn't about your and/or mine and even Mark Gatiss's queer cred (or the lack thereof). The very *idea* of queer cred and all the ways people from the BBC all the way across fandom feel the need to be defensive about it is fundamentally derailing. This is about the *story*, and secondarily-- but not less importantly-- about its impact on and meaning for its (often queer, often young, often vulnerable) audience.

Personally, I just want good, consistent writing that makes sense, that builds on its own themes and honors and develops the characters. I will admit, of course, that emotional pay-off and resolution is part and parcel of what makes fictional suffering work in an arc, unless you're writing a tragedy. Needless to say, Series 4 did not offer this-- not simply for Johnlock shippers, but for anyone who wanted to feel the pain in Series 3 and 4 was 'worthwhile'. I say this even though I personally don't really need such pay-off; I'm a cold-prickly type reader who's generally happy with implicit emotional resolution, but it's not how most audiences work, as any good writer would be aware. Story arcs come to explicit conclusions because that's how good stories work, not because that's how shippers want them to work. This may not always be relevant, but BBC Sherlock is *already* a Western-style genre narrative in the classic style, filled with many romantic cliches and queer-coded up the wazoo. It's already a traditionally structured narrative, and its main characters are already shown to be in love to anyone not being strictly limited by heteronormativity. Even people who don't label themselves 'TJLC' get this, either due to literary analysis literacy or a willingness to see what's right in front of them. Given that, the disagreement was only ever about the likelihood of there being an explicitly romantic resolution by intent. However, the fact is that regardless of Moffat and Gatiss's intent, good writing means following your characters' lead rather than doing what you apparently always wanted, whether it's to do with only 'flirting with the homoeroticism' in the narrative, the direction of the character arcs or plot-wise.

Of course, I disagree with many of the critiques that say TFP represented a complete break in characterization, and I agree with Ivy that TFP did work as a resolution of Sherlock's main arc; I also agree that it opens the door to resolving the 'rifle on the wall' of Sherlock's avoidance of romantic entanglement. Further, I don't really think Mofftiss have some sort of direct responsibility to their fans or to the world, and of course they should be free to write the story they wanted to write (just as others are free to critique). But at the same time, Moffat himself has said that good writing is "defined by whether or not you've written or created something people want and like", and it's not supposed to be self-indulgent. It's *supposed* to consider the audience, on his own terms. He's also called himself a fanfic writer, and he's failed his own measure of what makes a good fanfic work: writing "for other people". That approach is definitely not consistent with the fact that they admitted at SDCC in July that TFP was 'insane wish-fulfillment'. This is not up to the standard Moffat and Gatiss have set for themselves during the run of the show.

Like I said, though, I'm definitely on the fence-- I'm torn, because of course I *enjoyed* Series 4 and I'm not really that confused except insofar as wondering why Moffat and Gatiss have so often felt the need to deny what's clearly intentional subtext placed with care and affection into the narrative by the entire team. I'm definitely not enjoying the fandom imploding, or the fact that it feels pretty lonely around here in the post-S4 fangirl bunker. But the negativity about canon Johnlock is no more rationally justified simply because it has not actually happened (I mean *only* rationally, of course; obviously, irrational reactions due to bad blood are eternal). I'm definitely frustrated with the fact that I'm still one of the 'delusional fangirl' brigade when it comes to BBC Sherlock, even though I know perfectly well how rational I am. I will not be gaslighted so easily. And I've just tried to see the straight!John in ASiB, but it's just too hard. There's no way all that's an accident, somehow. So here's what we're left with, after TFP and the end of Series 4 of Sherlock: the good and the bad. And while I still think the good included implicit Johnlock, the bad unfortunately did include queer-baiting.

#fandom meta #me myself and i #the great divergence #tjlc #sherlock feels #oh fandom #series 4 #sherlock spoilers #reader response #narrative #queerlock #johnlock feels

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panharmonium · 3 years

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next round of in-progress naruto thoughts under the cut! i haven’t done one of these in a while - been doing a lot of individual posts instead, but seeing as we just finished a season and started a long filler arc, it feels like a good time to collect my thoughts.

[spoiler policy disclaimer first, as always: I am watching naruto for the first time. i am trying to avoid spoilers, so please don’t interact with this (tags included, because the notifications now show them to me automatically) with any spoilery commentary, including even general things like “oh i love this show but it gets less good after X point” or “X season is better than Y season” or any general assessments of quality/likability/etc re: future seasons. Thank you! <3 ]

okay uh where to begin. UM. so much is happening that this is not going to be a comprehensive commentary, just certain things that stuck out in my head.

two annoyances first, and then the rest is my usual lovefest:

- if i have to listen to one more speech about how amazing naruto is i’m gonna start fast-forwarding through them. i’m sorry; i love him so much, but in the last couple of episodes there have been at least 10 separate speeches saying the exact same thing, and i need a little break from the naruto praise-fest. i already know he’s wonderful! you do not have make every single character tell me so. spend that time on resolving the other characters’ arcs on their own terms, the way they deserve - naruto is very important to all of them, but he also isn’t the only reason they're here.

- i love how the show made such a big deal once again out of sakura refusing to let sasuke and naruto go on without her, saying “i’ve finally caught up to them; they’re not going to leave me behind this time” and then they literally just...leave her behind lmao. the show has tried to resolve her arc in exactly this way multiple times and every time it goes right back to its old nonsense. i don’t know why i keep believing it when the show says she’s just as integral a part of the team as sasuke and naruto. i am charlie brown with the football, and i keep landing flat on my back.

and now better things:

- i loved gaara’s relationship with shukaku coming back into play! when he swooped in to pull shukaku out of obito like “come here, shukaku” because naruto had no connection with the one-tails...that was awesome. and also him asking for shukaku’s help like “i’m not ordering you. i’m asking you. if you don’t agree, that’s fine” - i LOVED seeing that.

- that whole episode with the three-way deadlock...you ever see a particular shot and think “foreshadowing, foreshadowing, foreshadowing”???

- perpetually distressed over how entertained i am by orochimaru’s dynamic with taka and then needing to remind myself of how EVIL orochimaru is lmao. like. i’ve always loved his character; there’s never a dull moment when he’s around, but then in this arc they’re almost like...making you imagine what it would’ve been like if he had been on their side the whole time and you’re kind of...enjoying all these moments he has with the kids but then you have to be like NO! THESE KIDS ARE HIS EXPERIMENTS! HE’S THE ONE WHO STOLE BABY YAMATO AND RAISED HIM IN A TEST TUBE!!! THIS MAN IS EVIL!!!!!!! and yet...

- i was losing it laughing at sasuke’s snake calling him “lord sasuke.” i’m sorry, you all know i love sasuke more than anything but this kid’s ego does NOT need further swelling. my sister and i were both like “yeah ok kakashi’s gonna put a stop to that immediately” lmao - like there are some levels on which sasuke needs love and support but there are also some levels on which he needs an adult to bop him with an empty paper towel roll and tell him NO.

- i love that sai is still the smartest one in the room, telling sakura that they don’t really know sasuke’s true intentions and can’t trust him. and i really liked the callback to his initial arc way back in season 2, where he looks at sakura and says to himself “your words may not be lies, but i can already tell that your smile is fake.”

- i know it’s all going to go to shit eventually but in the meantime i love seeing team 7 sniping at each other.....“don’t drag us down, naruto”...... “remember, he can only be affected by sage jutsu!”/“i know that, i’m not YOU”...........just like the Good Old Days XD

- also how much did i laugh when minato was like “you and the others go and deal with madara” and naruto was like “OH RIGHT! I FORGOT ABOUT HIM!!!” ‘forgot’ about the antagonist. in the middle of the war they’re fighting against him. that’s the naruto we know and love. XD

- LOVED when shikamaru needed ino to connect him to the entire army and he asked “can you do it” and she went “that doesn’t matter; i’m GONNA do it!!!!” i am crying for both of them forever but i love seeing them continue to be so amazing

- i talked about this on another post, but i have loved having minato around for these episodes. i finally feel like i’m actually *fond* of him, whereas before, the best i could say was that he was an impressive shinobi and i didn’t DISlike him. but it is so much fun to see what a massive awkward weirdo he is, with his ridiculous jutsu names and asking naruto “sooooooo......is this your girlfriend?” the man is a DORK. he’s a certified dork.

and yet at the same time - in a fight, he still possesses that sort of cold, “our family is shinobi” ruthlessness, which sounds like a bad thing, but isn’t how i mean it. it’s just a “we do what we must” vibe, and i respect it, especially in this situation, when we really need someone like that on our side. eg, when he realizes that it’s obito up on top of the ten-tails, he teleports there and cuts his throat INSTANTLY. and it’s clear in the aftermath that it kills him to do it, but he does do it, without a second’s hesitation, because it has to be done.

that sort of decisive action is what i would have expected from him, given our past introductions to his character, but i appreciate that this arc is also showing us his human side, and the depth of compassion he feels, and the weight of his guilt, and the fact that he actually cares about what happened to the kids who were his responsibility and whom the shinobi world swallowed whole.

- all of those images of what life could have been like if obito had just come home...........that was EVIL. why would they make me see that. the knowledge that he and kakashi could have gone through all of their suffering together, that neither of them would have had to ever be alone, that they could have had in each other what kakashi’s kids are going to have someday...that was too much. i already think about that daily. i did not need to see it animated for me onscreen.

- i appreciate the fact that naruto’s attempt to talk obito over to the other side didn’t work. i just think on a fundamental level that this isn’t really something naruto should be able to do. naruto’s presence and what he represents make a difference, obviously, but i just think that reaching obito is kakashi’s job. which is essentially what minato says when he sends naruto away, so i appreciated that.

i’m sure there are lots of things i’m missing (so much is happening!) but just some yelling about the end:

- sooooo naruto is almost dead. or temporarily dead. my assumption is that gaara is taking him to kurama’s other half inside minato? but that’s just a guess; i dunno. (i’d be happy if that’s where they were headed, because it would at least mean that naruto and sakura and kakashi are back in the same place together, so i’d appreciate that.)

- sasuke is also almost dead. hopefully taka can go pick him up...even though he’s been so terrible to them...he owes them so many apologies

- WHAT HAPPENED TO BEE????? *distraught face* obviously we all know naruto and sasuke are going to be fine eventually, but bee must’ve been disconnected from eight-o too......... ;_______;

- i’m just gonna come out and say it. i think yamato is here. you all can laugh at me later if i’m wrong, but i think yamato is here trapped inside swirly and i cANNOT handle that

- madara said something very brief about sasuke’s eyes that i’m curious about......are we finally going to get more information about the different sharingan patterns?

- the new ending credits start off as the usual naruto-sasuke show but then kakashi and sakura come bursting in and honestly the emotions i felt......THAT IS WHAT I WANT. I WANT ALL FOUR OF THEM TO MATTER AND TO BE THERE TOGETHER.

#pan watches naruto #naruto

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