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perseephoneee · 2 months

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𝓒𝓱𝓪𝓹𝓽𝓮𝓻 𝓘𝓘𝓘

In which, you, a lady of the ton, are forced to participate in courting season. Except that courting season comes with one particularly silver tongued Prince who is making it his mission to drive you absolutely insane.

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a/n: sorry for the delay!! i'll try and get chapter IV out much faster

“He’s so infuriating,” you groaned, flopping down onto Ivy’s bed as she sat at her vanity, peering at you with amusement.

“But how was Thor–”

“He insults my wit, my wit,” you huff, rolling your eyes. “My wit is what makes me interesting.”

“I think it’s interesting you’re focused on Loki when his brother is the one that’s courting you,” Ivy mumbles, looking at her nails. You send her a glare, biting the inside of your cheek. You had come home from the races coursing with adrenaline. It was a lot more exhilarating than you expected, even if the company was lackluster. You hated the stares from the rest of the ton as you sat with the two princes. While you appreciated Thor’s company, having a verbal sparring match with Loki was not on your agenda for that day. Which is why the second you got home, you ranted to your sister.

“This whole courting situation is rather tiresome,” you groan, holding a pillow over your face. Ivy chuckles, grabs the recent gossip column (Lady Valkyrie), and sits beside you on the bed.

“You’re the talk of the ton,” Ivy sighed, slight envy in her tone. You sat up, looking at her curiously. “Everyone is gossiping about you and Prince Odinson.”

“I don’t want to be the talk of the ton,” you rub your eyes, glancing at the words on the page. Lady Valkyrie talks about your ‘spitfire personality’ in a way that gives you slight satisfaction. “Why can’t you be the talk of the ton?”

“Because I am not as interesting as you,” Ivy says, eyes bright as she looks at you. “And that is alright.”

“You deserve it more than me.”

“It is not a matter of being deserving; it just is.” Sometimes, Ivy could be wiser than you gave her credit for. You wrapped her up in a hug, resting your head on her shoulders as she patted your head. “There’s another dance happening today if you want to come?” Ivy looked at you expectantly, but you just shot her a look. “Or not.”

“Why are there so many events?” you inquired.

“I assume people are desperate to meet the one,” Ivy sighed, getting up and returning to her closet. She held up two different gowns, raising an eyebrow in question. You pointed at the right one and then went back to scowling. “You should go.”

“I’ve done enough socializing for one lifetime,” you curled into a ball facing the window. “I’m going to stay home and read.”

“Fine, have it your way,” Ivy hummed, already messing with her hair.

The truth was that you needed more books to read, having already exhausted your collection. Which in and of itself was a feat, considering you seldom ran out of books to read. You decided to take a self-care day, heading to the town and finding a new novel to distract yourself. The town wasn’t that far of a walk, and you needed the space to think critically about your situation.

It wasn’t that you didn’t like Thor; you did. He was kind and courteous and found you attractive and not at all crazy (or he found you crazy but didn’t care). Still, you didn’t feel that spark. That sense of electricity that was described in your romance novels. You just felt…the same. You had never been in love, though; there was no barometer.

The air was crisp, and you enjoyed feeling the wind tossing your hair around. You gave polite nods to anyone you passed but generally kept to yourself. The bookstore was close ahead, though, and you were anticipating your next novel. Unfortunately, any chance of solace you had was ruined by the sight of a familiar raven-haired prince exiting the shop. You felt yourself glower as you approached, and he shot you a smile that read as anything but happy.

“All alone?” Loki asked, raising a brow as he looked you up and down. You huffed, rolling your eyes.

“I’m allowed,” you went to move past him, but he blocked the entrance. “Is there something the matter, your highness?” Loki shook his head, moving out of your way. You pushed into the store, hearing the bell ring above your head as you headed straight for the section in the back left. You felt Loki follow you inside, trailing behind you as you started looking at different titles.

“I didn’t take you for a romance reader,” he said, voice close to your ear. It made you jump, and you turned to find him directly behind you.

“Do you have no sense of personal space?” you hissed, but he ignored you. Loki grabbed a book from right above your head, grimacing as he flipped through the pages.

“Terribly drab.”

“Bold of you to comment on what is romantic,” you snatched the book from his hands, hiding your grimace. It wasn’t a novel you would’ve chosen of your own volition, but you felt insistent on not letting Loki know that. You put the story back on the shelf, grabbing a different title instead from an author you admire. You appreciated that while the book involved romance, other storylines were going on that didn’t make it dreadfully dull. There was adventure, treasure, and more. Loki narrowed his eyes at you as you held the book to your chest.

“For a lady being courted by a prince, you don’t seem to be excited about the ordeal,” Loki exclaimed, startling you.

“That’s none of your business–”

“It’s my business when it involves my brother,” Loki leaned against a shelf, arms crossed and head tilted like you were a fascinating creature. You hated how relaxed he seemed, even as there was a split-second thought that he looked good posed against the various hardcovers.

“You don’t seem that interested in any of this, either,” you shot back.

“I’m not; people are boring,” Loki chuckled, a dark sound that sent chills down your spine. You fought the urge to shiver. “Let me help you.” You narrowed your eyes, unsure what he was getting at. “Whatever reason you are participating in the season, it’s not because of personal want. My father is eager for one of us to get married, and it won’t be me,” Loki sighed at this point, turning so his back was against the shelf and looking up at the ceiling. “I’ll help you secure my brother, and in turn, you help me get out of my familial expectations.”

“I don’t need your help with your brother,” you scoffed.

“Sure you do,” Loki smiled like he knew a joke you weren’t a part of. “Considering he could be courting another lady at any moment, your obstinance won’t get you anywhere. You’re also the…best choice.” He had to spit out his words at that like it pained him.

“Best choice?” Your words caught in your throat when Loki stepped closer, towering over you with the haughty air of someone who knew they held all the power.

“I don’t like you,” Loki murmured, close enough for you to hear every word. “But you’re more interesting than the rest of the ton. If anyone will join this family, I would hate for it to be one of them.”

“It sounds like you do like me,” you replied, heart beating slightly faster.

“Careful what you say, pet,” Loki stepped back, taking the heat from the air with him. Clutching the book to your chest like a shield, you carefully observed the prince before you. You didn’t need help, or at least, you didn’t think you did. You were under no illusions that you’d experience a love match. Still, perhaps Thor was your best option. It would satiate your grandmother, and you wouldn’t have to see her disapproving gaze daily.

“If I say yes…what do I have to do?” You whispered, eyes looking down. You could almost feel Loki’s satisfaction in a way that made you grit your teeth.

“Just wait,” he hummed. “You’ll know soon enough.”

“You’re terribly ominous.”

“Perhaps,” he grinned, his smile half-cocked and a serpentine glint in his eyes. It felt like making a deal with a demon, a promise that would only do more hurt in the long run than good. You can’t help thinking about your grandmother and this ridiculous expectation she put on you. You didn’t want to get married; you didn’t care. But the woman was more impatient than not, and you hated how she beat down Ivy for her inability to secure a match. It took you several seconds to meet Loki’s green eyes and even more before you could steel your mind into an impenetrable fortress.

“Then yes,” you mutter, eyes narrowed. “I say yes.”

Loki just chuckled. “Then let the games begin.”

taglist:: @gruftiela @eleniblue @iwrite-things @youneedanap @huntress-artemiss @linaax @pisces-celeste @marygoddessofmischief @saay-karani @choki.laufeyson

#my writing #my fic #loki #loki laufeyson #loki x reader #loki laufeyson x reader #thor #thor odinson #marvel #marvel fic #marvel x reader #tom hiddleston

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miraculouslbcnreactions · 2 months

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The Many Failures of Lila's Writing

There are three main issues with Lila Rossi (or whatever her name is): she was introduced too early, she doesn't fill a unique role in the story, and her lies are too over the top for her to feel like a good villain. Let's go through that list in order because the issues build to create the show's most annoying character even though her setup could have lead to a legitimately great character who we would have all loved to hate.

Issue 1: Lila Shows Up Three Seasons Too Early

Lila is introduced in the final episode of season one and then essentially disappears from the show for a full season. The only time we see her in season two is her brief appearance in season two's finale where she takes on the role of Volpina again in order to help Gabriel fake Ladybug's death. That's also the episode where we learn that Lila has been "in Achu" for some unknown amount of time.

[image: a list of Lila's season two appearances (source)]

Season three sees Lila show up with reasonable regularity (8 episodes, none of which are two-parters) and we get a real conflict with her, truly establishing her as a villain who lies like crazy and who wants to destroy Marinette.

Then season four comes and Lila is once again forgotten about. She shows up more than she did in season two, but only as a background character and most episodes don't see her at all. She doesn't have a single line until the final three episodes of the season and her role in these episodes is exceedingly minor. She does a few petty things to remind you that she's awful, but she's not the focus of the plot. She's just there to remind you that she exists and to establish her and Chloe as coconspirators of some sort.

[image: a list of Lila's season four appearances (source)]

Then season five comes and Lila is back to being an active antagonist. She shows up in almost every episode and we even get her very lackluster defeat.

This is some of the worst pacing that I have ever seen. It's honestly impressively bad. I hope the issue speaks for itself, but in case it doesn't, you don't chop a story up like this without a good reason and, frankly, their isn't one. Lila's introduction, villain setup, and defeat should have all take place over the course of a season or two, forming a mini arc.

Just in case you don't know what that is, most stories have a main conflict that drives the whole narrative (ex: getting the butterfly miraculous back) but within that story you have lots of mini stories. Things that get resolved so that it feels like things are moving forward and so that the audience stays engaged. If you don't get any satisfying resolutions until five seasons in (or more), then the audience will start to get annoyed or just stop watching. It's also a good way to keep expectations from getting built up too high. If every season or every other season has a satisfying conclusion to some big conflict, then you don't leave everything riding on the big finale.

By chopping Lila's story up, you made the audience spend four seasons dreaming of her defeat. Expectations were sky high. She's more hated than Gabe! If she's been introduced mid season 4 and had the exact same story arc, then her lackluster take down would be a mild disappointment and not a major issue for most of the fandom.

Issue 2: Lila and Chloe Should Never have Coexisted

When it comes to story telling, characters fill roles. Ladybug is the lead. Alya is the plucky best friend. Gabriel is the big bad. Etc. Etc.

Generally speaking, you only want one character in a given role. Having two or more characters in the same role leads to character bloat where characters are fighting for screen time because they don't have a clear place in the story. This is especially true for key antagonistic roles. It's a lot easier to balance two best friends than it is to balance two big bads.

Enter Chloe and Lila.

I've mentioned before that I thought that Chloe was going to be redeemed. The reason I thought this was not because of anything to do with Chloe. It was because the show introduced Lila and, narratively speaking, Lila and Chloe are the same character. They're both petty school bullies whose main job is to cause trouble for Marinette while she's at school and to give setups for akumas.

However, in terms of perceived threat, Lila is the bigger badder Chloe. No one but Sabrina likes Chloe. Everyone but Marinette likes Lila. Chloe doesn't make plans. Lila lives to manipulate and plot. If you're going to get ride of Chloe, Lila is who you'd replace her with. That's just how this works.

One of the most well known examples of this type of setup is Zuko and Azula from Avatar the Last Airbender. Zuko is the main antagonist of season one, but season two sees him step out of that role as he starts his journey of self-discovery and redemption. And who is introduced at the end of seasons one? Azula, Zuko's evil, more powerful sister. In season two, Azula fills Zuko's former role, but also makes things feel more serious because she's a bigger badder Zuko.

This brings us back to a big part of issue one. Namely, Lila's ongoing disappearing act. She only does that because of Chloe.

Chloe is a much easier villain to write. She doesn't have to hide anything. She is openly petty and evil. So if you're going to pick a character for a petty conflict, you're going to pick Chloe. The only time Lila gets pulled in is when the drama revolves around lies because Chloe is actually a strikingly honest character. She rarely lied prior to her "friendship" with Lila because, for the most part, Chloe doesn't care if everyone hates her. She only cares about the opinions of a chosen few. (Or, at least, she acts like she does.)

For Lila to work, Chloe needed to be redeemed or written off the show. The best proof of this is seasons five, where Chloe straight up becomes Lila's minion because the writers had to force that relationship if they wanted to have both characters involved in the plot. It's also why season four saw Chloe suddenly obsessed with Marinette when, prior to that, Chloe bullied everyone. The only way to team Chloe and Lila up was to give them a common goal and that didn't exist in the first three seasons.

So, building off of point one, Lila should have been introduced much later and she should have stepped into Chloe's shoes after Chloe either switched roles or completely left the show.

Issue 3: The Lies

I think that we can all agree that Lila is a terrible liar. Even a toddler could see through the BS that spews from her mouth. There are multiple satisfying Lila takedown fics that don't involve clever plots to beat her. They involve Alya or someone else doing a google search because - even with the declining quality of that tool - that's still all that it would take to prove what Lila is.

This is a really bad way to write a character who is supposed to be a master manipulator. Especially when she's going to be the next big bad. They desperately needed to tone her down.

For example, DON'T have her claim to be Ladybug's best friend. Have her claim that Ladybug saved her. That would still go up on the Ladyblog and, more importantly, it would be a lot harder to disprove. I doubt that Ladybug remembers everyone she saves so no one would fault Alya for just taking that at face-value, but Marinette could still instantly peg Lila as a liar.

Tinnitus from saving Jagged Stone's cat? How about tinnitus from being too close to the speakers at Jagged Stone's latest concert? The concert where Lila even got to meet him because she had back stage passes. Once again, hard to disprove. Jagged meets a lot of fans. I doubt he'd be able to tell you that she was lying.

And definitely don't have her openly state that she's a liar. The fact that she did that and was STILL able to manipulate the adult characters is abysmal writing. Especially because it comes right before Lila disappears for a season, giving the impression that her confession essentially defeated her, only for the show to go PSYCH! No one cares about her confession, it meant nothing for the Lila conflict.

I've had someone tell me that they think that Lila's lies were suppose to be a joke and, to be fair, that's plausible. The show relies on a lot of ridiculous humor. If Lila had shown up later, then this might have worked. But because Lila has been around for so long, we've all had time to think about her lies and build up the expectation of how they'd be handled.

I don't just mean Lila being exposed. I mean the fallout of all of her "fans" having to deal with the truth of who Lila really is, an issue that I won't go into here because this is already super long and I think that the issue of how her lies effect characters like Nino and Alya is pretty well understood.

There's also the Chloe thing. Chloe is very over the top, so replacing her with a character who is over the top in a different, more terrifying way would have made some sense. But Chloe's still here and she's more ridiculous than ever, so Lila matching that ridiculous just makes them an annoying duo that we all have to suffer through. Their team up was one of the most forced elements of seasons five. I just do not buy that Chloe would ever subject herself to being someone's minion. When it comes to that team up, the hand of the author is glaring.

Conclusion/Final Thoughts

Manipulative characters are fun. They make for fantastic villains and Lila could have been one of these fantastic villain, especially if Gabriel was played as more sympathetic. If there were lines that Gabriel wouldn't cross, then Lila getting the butterfly would be terrifying. As-is, I don't see how she's any worse than the dude who created Chat Blanc. Plus I'm not even sure why she needs the butterfly. She could already get anything she wanted with minimal effort because her lying powers are so OP. Like, why should I care about that twist? What has changed with the passing of the butterfly? The stakes have not been raised. If anything, they've been lowered.

Lila is just your generic evil villain who is evil for evil's sake. The heroes already hate her. Finding out that she's the big bad is not emotionally devastating. If anything, Marinette should be thrilled that she finally has an excuse to punch Lila.

It's possible that the writers will give Lila an interesting back story, but because she's been around for five seasons, I don't have any faith that they will. I mean, what was the point of introducing her all the way back in season one if you weren't going to use that to set her up in a satisfying way? I've seen people say to just wait and see and wait for what? They couldn't manage to pull off Gabriel's defeat or Chloe's defeat/redemption or Lila's first takedown in a way that was narratively satisfying. Why should I give them a chance to disappoint me with Lila's next take down? Three strikes and you're out!

@tallwriter as requested, there are my thoughts on Lila. As with every character in this show, I think she deserved better. She could have been great. She's one of the worst examples of squandered potential because everything about her was done wrong.

#ml writing salt #ml writing critical #ml season 5 salt #Lila salt #Lila Rossi salt #Lila Rossi deserves better #She's got everything she needs to be the kind of character we all love to hate #Instead I see her and I just go “oh no not her. The writing is so bad when she's around.”

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regarding-stories · 5 months

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The dark abyss that is Andor

There were several things that led to Andor.

On the one hand, Disney screwed up its Star Wars intellectual property by handing it to complete hacks for Episode VII to IX, leading a potential cash cow to attract less and less viewers over the course of three increasingly bad installments. Seriously, The Last Jedi is one of the worst disappointments I've actually watched, and not only was I thinking "This can't get worse..." every five minutes only to be proven, "Yes, it can!!", it completely killed my appetite to see IX (and I would have left the cinema at that one's sheer stupidity). With VII, I saw it once with some initial excitement in a cinema when it released and a strange feeling afterwards, and I never revisited it. VIII I saw on two separate long-distance flights because I couldn't stomach the thing in one sitting. IX I didn't see at all, but devoured YouTube videos ripping it apart. Clearly, Disney had a Star Wars problem.

The other thing is the reboot that was The Mandalorian, especially season 1. The Mandalorian had a penchant for not very strong logic in its writing that you still accepted because you had so much damn fun and loved the characters. Given the fact that it clearly pulled lots of viewers into Disney+ that were loving its vibe that was true to the core of Star Wars, Disney management saw the fact that theaters and theme parks were closed due to COVID on the one hand and that big Star Wars movies were at risk of actually losing money on the other hand, and they did what executives are wont to do - they decided that if it worked once, it will work again and declared they will pump out TEN Star Wars series in the near future.

Meanwhile they cancelled also their ongoing series of "A Star Wars Story" movies that started with what could be called "Episode III.5" - Rogue One. Rogue One was plagued with production problems, so much so that seeming key scenes from the trailer weren't in the movie. "I rebel!", anyone?? Still, it turned out to be something new - a new kind of Star Wars story. It took the idea of a war movie (or its modern equivalent, Band of Brothers) and put it into the Star Wars cinematic universe. It did without an actual Jedi (kinda-sorta) and it showed a strong performance of Diego Luna as the morally gray Cassian Andor. And... (spoiler alert) ... it killed its whole cast in its finale.

I know people that say Rogue One is their favorite Star Wars movie. (But other people dislike it.) I hold it in high esteem. The way the resistance is portrayed also seemed to be somewhat subversive - both to its previous image on screen and to what is portrayable on screen for mainstream audiences in general. It became clear that unlike in the original three Star Wars movies resisting an empire is, on the ground, a dirty business and not just about big battles or commando raids. (Which then happen anyway. Because Star Wars.)

Then followed the lackluster Solo and the third installment Yoda was never made as Star Wars increasingly lost its ability to draw crowds into seats.

And thus it came to Andor

Now what do you do with a character that (spoiler alert? really?) dies. You make a bloody prequel. Which is funny. Andor is a prequel to Rogue One which is a prequel to A New Hope. Prequels, like sequels, carry the risk of rehashing the original material without adding anything to it (Solo ...) and being trapped by the inevitability of what has to happen next, curtailing its writing (Kenobi ...). But Andor season 1 betrays none of that. (Talk about being addicted to prequels, Disney...) It is a strong piece of cinematic art in its own right.

And yes, I'm saying art. About a Star Wars series. That's how I feel about it. Andor not only has strong execution, it has depth. It was a show that made me pause it and think about what just happened on screen. It's a show that gets deeper if you know about history, unlike most shows that actually reveal their shallowness to the knowing eye. (Looking at you, The Man in the High Castle. Boy, I hated that tripe.)

But even before we get into that, let me say how I impressed I was with its set and costume design. Whereas the Book of Boba Fett gave us cyberpunks on floating scooters, Andor poured a lot of heart into how everybody looked in their various environments, creating a more rich and varied Star Wars society by portraying various strata thereof, from the life of imperial senator Mon Mothma to the middle class living literally in her shade somewhere on the middle levels of planet-city Coruscant to the mining town labor class that we find Cassian in. It flawlessly cuts between different well-thought out locations, including, of all things, a holiday resort.

This is paired with some very strong performances by similarly strong actors. I mean, we all knew Stellan Skarsgard would deliver, sure. But Denise Gough absolutely kills it, acting-wise. Her delivery as a villain is perfect, the way she manages to always look so sour and annoyed already is quite something, how she normalizes evil into a technocrat career. Every flinch of her face conveys books of information to me as the fascinated viewer. She is at the heart of this series, and worth the price of admission alone.

And let's not forget Andy Serkis' heart-rending performance. Really, we're being spoiled. People are seriously acting, not just standing in front of a camera wearing costumes! In Star Wars!!

And yet, if it was only that, it still wouldn't have impacted me as deeply as it had. There's one more layer to this, and it's the massive bottom of the iceberg that is Andor. I haven't forgotten, even though I'm writing this a year after watching it.

(And definitely spoilers from here on onwards.)

Life under fascism

The second half of season 1 however can put deep horror into any thinking person's mind. It radically departs from previous portrayals of the evil Empire. It's not relying on cheap gimmicks like Episode VII where we see a village razed by the First Order. (So evil. So cliche, too. Also murdering Max von Sydow. Tsk, tsk. They had to get him off stage before any good acting happens...) Andor creeps under our skin and then reaps havoc.

(This part of this entry will become increasingly dark. You might not want to read on. Because fiction is one thing, and comparing it to historical reality is another. This is an actual trigger warning. Proceed with care.)

The first half of the season is standard fare, almost. Cassian gets himself in trouble and there is really no redeeming quality about it. He also gets everybody else into trouble. The Empire in its heavy-handed hurry to eradicate resistance actually creates it in the first place. And still... the lack of compunction about torture, about going victim by victim, vanishing people into its torture cells, breaking them... this is merely an overture. No hero is born here, but evil wears its mask imperfectly.

Cassian escapes his small world to eventually live the good life on a resort world, getting laid, pretending to be someone else. Instead of being caught as the fugitive and murderer and partisan he actually is by now, he simply gets caught up in the arrest of somebody else. The way the Empire "perpetrates justice" not only gets him arrested while having done no wrong (in that cover identity), he also gets sentenced by a court that doesn't even pretend to actually care about due process in any way. There's a machine of oppression, and instead of competently catching him, Cassian becomes caught up randomly in one of its many gears.

And while this may seem random, it's brilliant. It's one of the many reasons why resistance exists. Because the Empire's overreach is everywhere, grinding up people just living their lives while trying to perfect its control. The corruption of the desire for power leaks through in its banality.

What follows is Cassian's imprisonment, and this segment is brutal and horrifying on a deep level. The more you know, the worse it gets. Cassian is transported to a prison facility where he's forced into repetitive labor to make equipment for the Empire. There's a set of steps every labor team has to execute, and the team with the lowest quota gets punished with electric shocks. Day after day.

This is "Vernichtung durch Arbeit." ("Destruction through labor.") This is what the Nazis did to their political opponents. Before there was a Holocaust, there were concentration camps. And prisoners were made to work - the cynic motto across the gate of Auschwitz was "Arbeit macht frei." ("Labor sets you free.") People would gradually be ground down until they gave out in one way or another, fell sick, die of exhaustion, broke psychologically. The series never tells us its "inspiration," it just goes through similar motions. With the veneer of a super-clean techno prison over it.

Not only that, the very scene reminded me of what I read in a book about the Holocaust. Towards the end of the war the engines for the new secret weapon jet planes or rockets were manufactured by prison labor. Crews of malnourished prisoners would each execute a few pretrained steps and crank out more jet engines in slave labor than was previously done in the Reich's armament factories. This was the culmination of the Nazi system where all labor-intensive things like the bunkers of the Atlantic Wall or the underground factories of Dora-Mittelbau were erected by and on the back of slaves that were themselves gradually killed in the process.

Without ever breathing a word of what is portraying, Andor portrays the same. Skillfully, horribly so.

The devil is in the details

Some way into this horror, everybody gets their sentence doubled. The counter simply goes up. No explanation. Total helplessness in the face of total control. The deep gut feeling of "No one gets out here alive" or "It will never end" begins to descend. That number was a sort of life line for people to brave another day. And it lies!

As unbelievable as it may seem, people did get released from concentration camps, especially those on "lighter charges" like "antisocial behavior." But nobody really knew how long they had to stay or if they were to be released. Often, initially told they had to do 3 to 6 months depending on their conduct, and yet most people never left alive. A quick read in a book behind me says that 8 million people were sucked into the system, 7 million died, 200,000 left by being released by the system itself. The idea you might be released one day added false hope that in itself could create further psychological torture if it was dashed over and over again.

Then there is the "divide and conquer" approach to prisoner management. Work crews are led by other prisoners, rebellion and resistance is quelled within the ranks. This Andor merely hints at, but the Nazi oppression system skillfully created hierarchies to make sure a comparatively small detachment of guards could handle a large mass of inmates which could overwhelm them if acting together.

But it doesn't stop here, not in Andor, either. Eventually we learn that the Empire starts to eliminate the prison population. Rumors start to spread that an entire floor of the super prison was eliminated by electrocution. Just like the real Nazis the space Nazis start to construct yet another death machine to eliminate opposition.

And this leads to that sub-plots final chapter, the prison revolt. There are a few historical mass escapes, even from Nazi death camps. There's also the heroism of the two uprisings of Warsaw (including the ghetto uprising). Left with nothing to lose, left with nothing but death ahead, the prisoners overwhelm the guards.

And this happened in real life, too. It's probably based on the historical case of the death camp inmates that were forced to run the gas chambers and crematoria themselves. This is part of the Holocaust itself, the Nazis had finally dropped all pretenses and resorting to kill people in an industrial manner. And these people knew that eventually their whole detachment would be killed. They knew too much, were witnesses to this massive crime against them and humanity itself. They were also among those destined for death. Like in an antechamber of hell itself they were merely bidding time. So they managed one of the few mass escapes on record.

While Andor doesn't stray as far down the road as actual history does, it knows how to cite history for those who know. It's not made up of whole cloth. It actually is referencing the real history of the most inhumane version of fascism, but it does not put the fact in your face. But if you know, its chamber of horrors becomes so much deeper.

And that's why

This is what makes Andor an absolute masterpiece. It recreates the conditions without blindly copying the source. It adapts, but you can feel how deeply inhumane the circumstances are that it depicts. It gives you the bloody creeps, and even if you don't know how much it is rooted in darkness, you will still feel it. It shows. It tells. But it never spoils the source material.

This is art. This is the deep craft. The banality of evil, the careless, uncaring attitude of evil towards those it deems unworthy and not human. It's all on display. It switches us into the place of Cassian and of Andy Serkis' character as it draws us in as audience. We don't see what happens on other floors. We don't have the information advantage. We can only imagine. We are subjected to the fact that we can only imagine it. And so we share a bit in the plight of these characters. Sometimes not showing a thing is the highest accomplishment of movie making.

And this is why I'm pissed that a series that was planned for five seasons was already cut to play out in two. Because we need more of this and less of more Jedi doing backflips. Just like Loki plays on a completely different level than the rest of the Marvel Cinematic Universe, Andor leaves all of Star Wars in its dust. If Rogue One was the attempt to tell a different kind of story in the same universe, Andor is the attempt at a different level of depth.

And this, more than Rogue One, makes it clear why they fight.

Watch it if you can.

And sorry if I horrified you.

#andor #andor series #cassian andor #rogue one #star wars

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crimium · 3 days

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My thoughts on the new Hifuu Album

Well, Taboo Japan Disentanglement just came out! after reading the story and listening to the tracks, I thought I'd share my thoughts on the album!

The tracks

I'm going to go through the album tracks in order and give my individual thoughts on them.

1 - Morning Comes on Tanabata Hill (Original)

This is surprisingly emotional for an opening track. The new drum set here is wonderful, and the piano is soothing and atmospheric. I do think the melody is kind of all over the place though, and it's a bit hard to follow. All in all, a really nice calming song.

2 - Tinkerbell of Inequality (Original)

I've been excited to listen to this one ever since the album got announced because of the interesting title, and HOLY SHIT THIS SONG IS AMAZING. The instrumentation is so weird but oh so good. The track is ominous but jazzy. The melody is catchy. It reminds me of GFC and CoSD, with it's apocalyptic futuristic vibe. This is easily the best track in the album. Solid.

3 - Does the Forbidden Door Lead to This World, or the World Beyond? (HSiFS arrangement)

Now we get to the arrangements. The song is sporting a new drum set and piano, and I can safely say that the instrumentation is a huge improvement to the original. To be frank, I'm not too much of a fan of HSiFS's instrumentation, now don't get me wrong, the songs are great, but they suffer a bit because the instruments ZUN uses are a bit lackluster. Here, that is not the case, this a great arrange. Something I do want to note, is that the BPM of the arranges seems to be lowered a bit from their original counterparts. Not a bad thing, but it's interesting to keep in mind as you keep listening.

4 - Smoking Dragon (UM arrangement)

HOOOOOOLYYYYYY SHIIIIIIIT. The key change. the new drumset. the new, climactic/triumphant atmosphere. The new section added in??? It's all so perfect, this does the original song justice. I love this so much. One of my favorite arranges in the whole album.

5 - Mugen Noh ~ Taboo Marionette (Original)

This song is calming, but sinister sounding as well. It hits a nice balance of calming and uneasy. The instrumentation, once again, is really good here. I do feel that the electric guitar a bit later in feels a bit out of place, but in general, the song creates a really good atmosphere, and it's definitely a standout track.

6 - Crazy Backup Dancers (HSiFS arrangement)

I don't really have much to say about this one, other than that it's a fairy good arrangement of the original song. ZUN added a new synth(?) into the mix, which gives it a distinct sound from the original. It's fun!

7 - Yorimashi Between Dreams and Reality ~ Necro-Fantasia (AoCF arrange)

ZUN. you can't keep getting away with this. This is peak. The song has a newly added intro of the Necrofantasia main theme before the song kicks in, and WOW does it create an atmosphere. The instrumentation is once again great and the key change (that just dissapears half-way through lmao) is also really cool. This is a great track.

8 - The Lonesome Path in Hitachi (Original)

A surprisingly upbeat track given the title. It's composed in swing rhythm, and because of that, it kinda reminds me of Let's Live in a Lovely Cemetery and Like the Brilliance of Fairies. Not that that's a bad thing, but it does make it sand out a bit less for me. Still a good track, though! Also ZUN chill out with those reverbs

9 - The Lamentations Known Only by Jizo (WBaWC arrange)

I like the new choir here, it makes it sound more dramatic. I am a bit disappointment that the flute kind of overshadows the Spooky Lead from the original, but it's not a bad arrangement at all. And man this drum set is really doing wonders rn

10 - The Concealed Four Seasons (HSiFS arrange)

WOW. TALK ABOUT A GREAT FINALE. This arrangement tweaks just enough without completely changing the vibe of the original song, and it's fantastic. About halfway through, there's a key change that makes it sort of feel like a phase 2 to the song, and it really completes the whole package. Fantastic.

11 - Apparitions Abound Even Outside of Night (Original)

Oh cool, what a nice, calming, uplifting trac- ZUN WHAT ARE YOU DOING. So the song starts off very calming and atmospheric, and then turns into digi-rock like a minute in. It's kind of jarring but I think it works, the song is still fantastic, and does a good job wrapping things up for the album, and the story. Speaking of which...

The story (spoiler warning)

Without going into too much detail, because I highly recommend you read the story on your own, the predictions of Merry and Renko being separated where not exactly wrong, although I think the story was a lot less heartbreaking than everyone thought it would've been. It serves as a nice drama and really shows how these characters relate to each other. Seeing Renko drop everything just to save Merry shows that even if they get on the wrong foot, they're still the Hifuu club, through and through.

In conclusion, this album is absolutely stellar. ZUN's instrumentation this time around is incredibly diverse, and I can tell he was having fun experimenting. The story is also well written, showcasing these two characters and their conflicting yet similar ideals. Please, go give this album a listen! It may have been 8 years since the last hifuu album, but it was definitely worth the wait.

#touhou #touhou project #hifuu club #hifuu #maribel hearn #renko usami #touhou music

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meruz · 4 months

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hi im putting all my asks in one post again. these are from like the past month and a half approx? some digimon thoughts some tmnt thoughts some art musings u know the usual

@waywardistics YAYY thank you so much for ordering! I'm glad it got to you & that you are enjoying it!

this is kind of a missive to everyone who ordered but: I am very nervous about pre-orders whenever I do them... nervous that not very many people will order, nervous that there will be supply chain or production dilemmas and I won't be able to get copies out to people in a timely fashion, nervous about having people's money but having an indeterminate amt of time where i have not yet "held up my part of the bargain" etc etc SO. THANK U GUYS...FOR ORDERING and being patient and im so glad it got to y'all

@seanonthemoon (idk why i cant tag u BUT) interesting... i gotta be honest I don't think abt the crests that much. i agree that they're very much like heres the "girl" crest heres the "nerd boy" crest etc to the point that it becomes almost meaningless. but i think what makes them even more meaningless to me, and is probably the reason they kind of designated girl/boy crests etc is that i think like the digivices they're toys and merchandise more than they are actual narrative tools LOL. I wouldve loved something with cody and mimi! theyre both so deeply empathetic and sensitive.. theres a lot they share but i think because they look so different on the surface it would make it difficult to market that merch...booo capitalism boooo toy marketing its all sexist bullshit at least here in the u.s. idk if japan is that different though.

I'm actually a little frustrated with how often 02 and 02 related media squanders cody in general lol. he feels like a parallel of izzy, joe, and TK(season 1 tk) while also being kind of none of those and suffering through lackluster characterization as a result... and then once ken joins the team it feels a little redundant. there's a couple cody-centric eps of 02 I remember really liking but then i think abt how he's been used since in like post-series content and 02:the beginning where they made him type on the computer even though obviously that's yoleis thing but because he had nothing else to do and aghh... my blood boils. i feel like the youngest but most serious anime achetype even at its bare bones is actually rly interesting idk why they don't play it up. UM. Once again my opinion is that he should be taller LOL and maybe they should play up his kendo martial arts honorable training stuff more idk. tallest + youngest + most serious just seems like a recipe for success for me. well. theres still time. and theres always fanfic.

THIS IS SO NICE TO SAY and not the first time someone has said it but i appreciate it everytime because i really admire the mm art style so much. It's like part of why I got really into the movie because I really recognized my own artistic sensibilities and aspirations in the way they stylized everything.

UM And i feel like since watching the movie and looking at all the concept art and making my own art i do feel like its only become more obvious how much my own art is lacking LOL LIKE when you see something that feels so similar I think the differences only become more stark. those artists are definitely on a different level than me. But it's nice to hear people say it doesn't look so different from their pov. thank u ^^

thank u!!!!!!! i love mundanity and naturalism... there's something so beautiful abt it to me lol... I feel like my anatomy needs work actually but ive been feeling better abt it this year so it's good to hear! thank you!

DLKGDSGDLALSNDF WAS IT TOO FAR..?? firstly, yeah I was thinking late teen/young adult ages for both of them ie 18-19ish, definitely not the age the kids are in the movie lol.

but also they arent DOING anything in that pic it is literally just a confrontation + some innuendo... I think teens should be allowed some less than subtle innuendo.. its like one of the top 3 classically teen pastimes...

this is such a funny ask to get because i feel like i haven't been able to do thin lineart until like. this past year or two maybe LOL. UM having a line-centric art job helped I think. I started on craig of the creek back in 2022 and thats a show where we spend a lot of time inking so I had a job where I was constantly moderating my line weight 40 hours a week every week for over a year. disappointingly, much of improvement is simply horrendous amounts of practice.

Here's a tip though: I think a lot of thin lineart boils down to confidence. I think instinctively we read thick, bold, fast lines as confident but theres actually a lot of obscuring you can do with a thick line. if you're not sure whether the nose on the face or a browline should be a little more left or a little more down you can hide that with a thick line and pretend its a shadow. or hide it with a bunch of quick lines and the eye can kind of approximate where looks best among the mass.. whereas a thin line is rly singular and stark and hides nothing, it needs to be precise. so anytime i know i want thin lineart i spend a LOT of time sketching, making sure i know exactly where i want my lines to go. so im not second guessing by the time im inking...

ok thats kind of a broad tip lol... here's one thats more applicable: IF POSSIBLE, lower your pressure sensitivity on your device. most devices have some way to edit your pressure sensitivity curve. I use a surface pro at home and this is what my pressure curve looks like most of the time.

When I work on a wacom it looks even more like a reverse L shape LOL. I'm naturally a really heavy-handed artist and I use a "light" or "hard" pressure curve to compensate for how hard I'm always pressing on the pen lol. if you're like me and you struggle with going too hard with the ink too fast... this will probably help a lot!

SFHASLDFH I LOVE THIS ASK this is like the type of question a person gets asked when chalk drawing on the sidewalk at recess LOL. but i understand because I've been struggling also for like. months. I think I'm finally starting to nail it down though so here's some of my observations.

[feel free to save this img but **please do not re-post it or share broadly**. my biggest fear in the world is to spend 30 min on some notes and become a widely proliferated art tutorial im not even kidding. i made it low contrast and difficult to read on purpose.]

my other tip is to just look at and study a lot of reference because that's all ive been doing. the tmnt are really cartoony so its difficult to use like actual anatomical reference unless ur going for that look BUT theres been so many adaptions in so many different styles that there's a real treasure trove of stuff to look at for how to simplify, stylize, and dissect these characters while keeping the recognizable essence. so theres lots to pull from.

If you want to expand further, it's also good to have 5) something sci-fi 6)something fantasy 7)something mundane/slice of life. a bedroom is a really good go-to. And of course some bgs can be two or more of these things at once.

I've definitely answered asks abt bg tips before but here's one specifically for if you want to do bg design for a job:

Your portfolio should probably have at least one of each of the following 1) an interior 2) an exterior 3) a cityscape 4) a nature scene. Just to cover kind of the basics of what you'd be asked to draw on any given project.

I actually feel like I don't have that many cityscrapes in my portfolio... this is something I'm gonna try to work on in the coming year LOL. OH ALSO. This is a very basic tip and people will tell you it all the time but its worth repeating: look up portfolio websites of artists who have the job you want. An easy way to do this is to go onto imdb for any cartoon or movie you like and to find the names listed as "bg/background designer" or whatever then just google that name +"art" or "animation" most artists have some public facing internet presence so it's not hard. spend time studying their work and hold those images in your head! it's a good way to get a good idea of what "industry standard" looks like and comparing ur own art to it... I know people sometimes get bummed comparing their art to others but if you can keep your head up lol.. it'll help you figure out what you need to work on!

ok thats all i have to say sorry for typing so much. happy new year everybody who read this far LMAO!!!!!

#ask

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guybitesatgames · 2 months

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A Primer/Refresher on Celia (and why the TMA listeners are freaking out)

Below the cut, I've written up a little synopsis of all Celia's appearances in The Magnus Archives, for those who are just joining during The Magnus Protocol and want a little background context. There will be HEAVY spoilers for TMA season 5, so if you don't know what happens as of episode 160 generally, and episodes 190-194 specifically, and want to remain unspoiled, steer clear.

After that, I will be discussing her appearances in TMAGP 06 and 07, so spoilers there as well.

Following the summaries, I have a few theories about the Celia we're seeing in Protocol, based on a few extrapolations from TMA Celia.

Celia's first appearance was in MAG 100 - You Had to Be There, where she was going by the name Lynne Hammond. She showed up to the Archives to give a statement about a flaming ghost that would visit her at night up until she moved apartments. The details were… lackluster, because she was giving the statement to Martin. Normally the Archivist's powers grant the statement-givers a better recollection for the event and some amount of verbosity, but Martin's no Archivist. She came to give her statement not because she was particularly perturbed, but because according to a friend, the Institute compensated people for their stories.* She left without having met John.

We next see her after the Eyepocalypse in MAG 190 - Scavengers, where she is a member of Georgie and Melanie's cult. She was rescued from a domain of terror by Georgie and Melanie, but not before the domain took her name, so she goes by Celia now.

Celia seems head-over-heels about G/M, very well attuned to their likes/dislikes, and is first to notice and alert them to the appearance of a tape recorder. She's eager to hear how G/M rescued John and Martin, but they put it off. Georgie and Melanie perpetuate the idea that John and Martin are prophets like them in front of another follower, Arun, but it's unclear whether Celia is present in that scene. I assume the info gets around.

In 191 - What We Lose, John and Martin talk about Celia and confirm that it seems like she doesn't recognize them. She never met John, so that makes sense, but she did give her statement to Martin, and he remembers her and her former name (and doesn't even tell her, rude).

In 194 - Parting, Celia is the one to alert John to the fact that Martin left with Annabelle, but we don't get much other characterization for her, and that's the last we hear of her in TMA.

Now, in Protocol, we're meeting Celia again -as Celia-, not as Lynne Hammond. So far we can't know whether this is meant to be the same person as the one in TMA, but we do know they share the name and are both voiced by Lowri Ann Davies. In the two episodes we've had her, TMAGP Celia has said some suspicious things.

In TMAGP 06, we get this allusion:

Back in the cult, the reason Georgie was able to survive The Horrors unharmed was that she was biologically immune to fear. Now, there was nothing indicating she could grant that power to others, but this line could be a callback to that.

Failing that, we know that Lena's interview requires that the applicant has seen something terrible, that no one would ever believe, and Celia even remarks upon it to Sam and Alice. So even if this isn't TMA Celia, this is a Celia who has seen something.

In TMAGP 07 - Give and Take, she starts hunting around more directly.

"Buried alive or meat" seems pretty specific for someone who doesn't have reason to know about the Buried or the Flesh, but let's come back to that later.⸸

After "Chester" reads out the case, Celia is audibly shaken. Notably, it doesn't seem like the Too Close I Cannot Breathe aspect of the story bothered her (which might have made sense given the "buried alive" quote). It was the voice that read it.

This one throwaway line‡ really stuck out (as I'm sure it was intended to).

It COULD just be an easter egg for all the TMA girlies. But it could ALSO be...

Theories

-Is this Celia the same one from TMA?

I think there's an argument for "no", for two specific reasons. First, that Celia was not well versed in either fear cosmology or The Magnus Institute. Remember, going back to our first *, she'd only visited there originally because she thought she could sell her ghost story - the one she seemed utterly disinterested in. Post-change, she doesn't even seem to remember giving a statement - the appearance of a tape recorder doesn't trigger a memory of the Institute, nor does she recognize Martin.

Second, we have this exchange:

Post-change, Celia hung on the words of Georgie and Melanie. They named the Archivist as a prophet, a nightmare strider like them, and shortly after he left the cult, the Eyepocalypse ended. Even if she didn't believe he was the reason it ended, "unimportant" doesn't strike me as the go-to adjective, even if she's lying to Alice.

-Then who is this Celia?

⸸ This Celia is someone who may be familiar with Smirke's 14 fears categorization.

‡This Celia may have direct, remembered experience with the Magnus Institute's filing system (which TMA Celia did not seem to have).

I think this Celia has worked with an organization dealing with the supernatural - possibly the Magnus Institute itself - before.

Wild Stretching - One Possibility

Let's make a bunch of assumptions. We know there's a multiverse situation and that people can be pulled from one continuity to another without obvious cause (see the case of Anya Villette in MAG 114: Cracked Foundation). Might it be that Celia came from not the TMAGP continuity, nor the TMA continuity, but one we haven't seen? One where John was unimportant, just another researcher? If she's hung up on "being buried alive or meat or whatever", maybe she was an aide of Gertrude's and witness to The Last Feast. I'm connecting too many dots there, but it's for illustrative purposes rather than a firm belief.

I think this Celia has been displaced from a continuity where she had more than just hapless-bystander-level involvement with the supernatural, and I'm willing to bet there is a reason she's not using the name Lynne Hammond.

#long post #feel free to skip to Theories if you're otherwise caught up #celia tmagp #celia ripley #Lynne Hammond #tma #the magnus archives #tma spoilers #tmagp #the magnus protocol #tmagp spoilers #tmagp theory #tmagp celia #magpod

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spop-romanticizes-abuse · 3 months

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fuck it, i'm feeling generous today so i'm going to listen out some of the few things i do like about spop.

the theme song. i usually skip the intro when i watch a show but holy shit, this one SLAPS i could never skip it.

entrapdak. the only relationship in the show that was actually healthy, well-written and had good chemistry. if only we got more of it.

s3 and s4. while there were still a few unsavory moments in those seasons, i did enjoy them for most part. mostly because we see adora actually giving up on catra and focusing on herself and her friends for once. and we see catra spiral into a mental breakdown, which is always fun to watch.

catra as a villain. yeah, catra was a pretty effective villain. she had an interesting conflict with adora, she was a foil to glimmer and she was slowly turning into the same person she feared and despised. she was everything that horde prime was not a.k.a an intimidating villain who actually served a purpose to the plot. the only complaint i have is that she was overpowered, but i've talked about that enough already.

double trouble. i know there's some problematic implications with their character design but i can't deny this, i really do like double trouble as a character. they're fun, they're morally grey, and they're just there to stir shit up.

animation and character designs. despite the lackluster worldbuilding, i do think the scenery of etheria was beautifully drawn and i really like some of the character designs as well. a lot of the side and background characters were beautiful.

shadow weaver. i know everyone loves to talk about how shitty she is but i really enjoyed her as a character and i loved how morally complex she was. heck, she might have been the most morally grey character in the entire series.

the voice acting. gotta say it, the VAs did a fantastic job of voicing all the characters, especially catra's VA. while i dislike catra herself, i do think that her emotional outbursts were really well done.

i meant to have at least ten things on this list but i can't think of any more. but hey, eight isn't too bad for a show like this.

#spop #she ra

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rebelcracker-s · 1 year

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okay no because i am so fucking TIRED of male content creators using female friendship/"sisterhood" to discredit popular f/f ships??????

obviously this is about wenclair, OF COURSE THIS IS ABOUT WENCLAIR.

in case you weren't aware, wednesday co-creators miles millar and al gough just had an interview where they adressed the potential of wenclair being canon in season 2. millar started talking about the show's central "idea of sisterhood", of "exploring the friendship" in future seasons and not letting their vision get "misdirected by fans."

what the fuck. i know the title of the article linked says they're open to this relationship becoming romantic, but it really doesn't sound like that to me.

it's glaringly obvious that wenclair is FAR more popular than wenxavier and wentyler combined. a general majority of fans agree that the wednesday love triangle was lackluster and unnecessary. if the creators haven't decided on making wenclair canon, they're missing out on a massive opportunity to skyrocket the popularity of the show.

for an example of the popularity that wednesday could reach, let me remind you that the owl house, known for its canon f/f romance, reached second on tumblr's top 22 of 2022, after stranger things. lumity ranked number 7 on the ships list, being the second highest sapphic pairing on that list (the first being a stranger things pairing, of course).

if wednesday's creators committed to wenclair, they could be seeing popularity of that height. but no, they've decided that they want to "explore the friendship" instead.

how could these creators decide that representing "female sisterhood" is more important than sapphic representation, or more importantly, the show's popularity?

female friendships are NOWHERE near that rare that wednesday and enid's platonic relationship needs to be prioritized. if wednesday's creators wanted to show a sibling-esque relationship while also making wednesday and enid's relationship romantic, they could focus on wednesday's relationship with her brother pugsley or with eugene. hell, if they needed a female friendship, they could develop her relationship with bianca or create a new female character for wednesday to bond with.

this is not about female friendships at all. this is blatant homophobia.

there is ample room for female friendships in any piece of media. refusing to include a sapphic relationship because it interferes with the "friendship" or "sisterhood" of two characters (cough, cough, SOMAN CHAINANI) is just a horrible excuse to hide the fact that you're too lazy and homophobic to include sapphic representation.

which begs the question ... why are men in charge of these descisions at all?

men, ESPECIALLY straight men, have no right to be deciding the fates of female characters' sexualities and romance plotlines. they have absolutely no experience with what it means to be a queer woman in modern society. especially with the blatant bias against sapphic representation in media. while heartstopper, they both die at the end, and song of achilles are enjoying immense popularity due to their representation of m/m relationships, shows like the owl house and first kill are being axed just for their f/f representation.

there isn't just a demand for proper sapphic representation. there is a NEED. and it shouldn't be denied just because a man wants to focus on female friendships, something he doesn't know shit about.

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kruemel8 · 1 month

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Looking at the other Netflix regions, I can't understand the Nordic one. We had little promotion and a beautiful premiere. Netflix UK promoted Queen Charlotte for months and even took the cast to the US and Brazil. Netflix Brazil promoted the third and final season of Good Morning, Veronica for two months. Young Royals was promoted for just one week and that's it.

I think hope there is more to come. They are posting Young Royals every day and if I remember correctly there are hidden videos on YT. But I’m frustrated as well because I want to see Edvin and Omar in interviews and not just read them. In general it’s a bit lackluster. 🤷‍♀️ The day NN changes their header back to normal it’s over for real. 😭

#young royals #yr s3 spoilers

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cloudsoffire · 1 year

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Misogyny in Sonic Boom

Most of you are already familiar with the 3d animated Sonic Boom cartoon running from 2014 to 2017. Despite the lackluster critical reception of the games, the show has a dedicated following, and a ton of good reviews. I myself am a fan. However, there are plenty of things to criticize. In the body of this post, I'll be addressing the misogyny present in the series.

To begin, let's talk about that one moment with Amy and Knuckles. Because when feminism is brought up in regards to Sonic Boom, this clip is often what comes to mind.

youtube

It's funny, sure, but it's also not an incredible moment. Amy's characterization here is also lackluster, but let's focus on Knuckles. sure, what he's saying sounds good to a general audience, but if you think about it even a little, it quickly falls apart.

In this scene, we see Knuckles, a man, talking down to Amy, a woman, about female empowerment. What he says is wrong as well. Breaking of gender roles is an exception because we live in such a gendered society. It's something that we should call attention to and celebrate. It isn't the status quo, and what he's saying is extremely liberal. We all know women are just as good as men at doing stuff, so why say it? Why draw attention to it? Why disrupt society? They're bad arguments. Arguments that come out of the mouth of a writer instead of Knuckles.

That's not where it starts, though. That episode is actually from season two. But rather than going moment by moment, episode by episode, we'll be breaking down how both Amy and Sticks, are treated by the narrative.

Amy is a feminist. But in an extremely watered down sense. She talks about gender equality, but in a way that's played for laughs. And you know it's just for comedy because of all the other stuff she does. In "My Fair Sticksy," Sticks is invited to an awards ceremony for saving the town. Rather than allowing her to go as herself, Amy takes the opportunity to force femininity and gender roles onto her, a complete 180 from the female liberation she touts throughout the show. Sticks saves the day by tossing Amy's teachings aside, but that doesn't really change anything. It just shows that Sticks herself is unchangeable, not that gender roles imprison society.

So Sticks is the one who breaks away from societal expectations in a meaningful way, right? Well, sort of. She's paranoid, lives in a hole in the ground, digs through the garbage, she's not exactly ladylike. But that doesn't protect her from the writers.

"Blue with Envy." A green shrew named Swifty comes to town, sporting shutter shades and bastardized 90s slang. The episode's twist is that Swifty is actually several robots built by Eggman to usurp Sonic. But before their big race and Sonic's subsequent banishment, Swifty wins over the hearts of the village. This includes both Sticks and Amy, who actually faint over him. Sticks even says she'd disable her traps if he came to visit her, to which Amy responds by saying she never disables her traps.

And there wasn't even any mind control going on there, unlike in "Battle of the Boy Bands." It doesn't speak to Amy or Sticks' characters, specifically because of that, but the episode itself does use them to make fun of the stereotypical "fangirl". Which is at best low hanging fruit and at worst actively misogynistic. There is nothing wrong with liking a boyband or any other media, so long as you don't buy merch with food money or use it to harass people. But that's not a thing unique to women. There are plenty of men who live on instant ramen because they buy stuff for their interests. But the way those men are talked about is way different from how people describe women who are into things like boybands. There's another post I saw a while back that digs into this and it's not the main topic of this one, so I won't go too far into it.

As a whole, Amy's character is "the overbearing feminist," a tired archetype, but she's also meant to be hyper-feminine and proper. This could work if she just found that identity the most comfortable and still supported others, but instead she tries to get people outside the norm, like Sticks, to conform.

Sticks breaks the mold on the surface, but she's still a woman, and you know how women are.

They're treated badly by the plot, the writers make them say things just for the audience to laugh at them for being women, and as a whole it's just kinda gross.

This is getting long but I'm sure there are other things online that go into much more detail that I did. I didn't read any of them so I'm not 100% sure on that, but it's so blatant I'd be genuinely impressed if they didn't exist.

#essay #sonic boom #amy rose #sticks the badger #sth #capital letters to make it seem more professional #these are just my own thoughts #amy and sticks do have good moments throughout the show #but the bad ones shouldn't be ignored #Youtube #fire.txt

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uninformedartist · 1 year

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So the new episode of helluva.

So gripes 1st. Hate that Stella is still a one note character, she's also whining in this ep and immature as hell. Andy (ice brother) annoying aswell no personality other than annoying ice twink. His and Stella's dynamic together was... off to me. Like the things he said to her and their interactions were just.. off. I've heard suspicious/questionable things in postings and such about them but I'll leave it at me just feeling off about them

The B plot with Loona and Blitz was forgettable, only connection is it to the hospital Stolas also ends up at. The censorship was annoying and the almost r-word was 💀 yeah wait to shove it to the critics that voiced issue when it was said in the pilot Viv really sticking it to them 🙂 I love it haha. Anyway Moxxie and Millie has some role in this ep unlike what happened in season 2 ep 2, still nothing to develop Millie all I can say is that she's nice to others by thanking those singing imps but that's all, same old story for her. What really bugged me was again pacing, had to rewind the whole time because it moved too damn fast even for me who picks up on fast info put before me. Had a problem idk if its just me but the ep was lagging in some areas and glitchy and I rewinded multiple times but the issue persists.

Hate hate the sympathy Blitz feels for Stolas, unlimited woobiefication because one Viv wrote this ep so of course and 2 their relationship is based on cohesion, power imbalance and r*pe. I hate their relationship how toxic it is and how season 2 turned Blitz into the instigator of their relationship when season 1 clearly stated it was Stolas's idea and now Blitz feels sorry for his abuser like what. I don't care sorry that Stolas got hurt, he's an immortal abuser that sees anyone even Blitz an imp as below him and took advantage of him. Not changing my mind on that. Lastly, the songs suck point blank.

Pros 2nd: Props to the artists involved on this ep as always. Liked the ice bird's castle, Moxxie and Millie were actually on their own on a mission cool, was lackluster in general but they were somewhat useful in this ep.

Other than that um, yeah wasn't good or bad just eh, much better than the previous one but it was eh a 4.5/10 maybe a 5 if I was high.

#helluva boss critical #vivziepop critical #my post #spindlehorse critical #helluva boss criticism #review

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66sharkteeth · 7 months

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I've been rereading City of Blank before it gets censored, and I just wanted to say I love it just as much as I did when I first started reading 3 years ago, if not more so now that I can see plot elements being set up and foreshadowing, etc. It made me sad to see you on twitter/X talking about how S1 isn't good. I can understand being hard on your own work, I'm like that, but why S1 in particular? I really like it! I could make notes as I go through listing out each and every thing I love in every chapter and I'd be doing it for ages. I've read a ton of web comics before and after finding CoB and yet it remains my favorite even still, including S1. Ignore my question if you want, I don't wanna bother you, but please at least accept the compliments because you deserve it and more, thank you for sharing your story 💜

Hmm, to be clear, it's not like I think season 1 is a steaming pile of crap or anything... I just think it's...nothing special and not particularly good.

I think it's biggest issue is it's pacing. S1 feels like...2 or 3 episodes, all stretched out into 25 episodes. A big part of this is because I was told they wanted s1 to end on Jericho's reveal, and back then, they didn't want first-time creators like myself committing to 50+ ep seasons they weren't sure they could keep up with. And honestly, not a ton happened between the first ep and Jericho's reveal. In hind sight, there was a lot more I could have done. I could have had Rex bond with Des and Lyss more, and just...given Lyss more screen time in general. I know so many people dropped the series because Lyss is introduced and when boy meets girl in media, they assume there's gonna be SOME romance there...but then Lyss just kinda fucks off and is asleep for literally 2/3rds of s1, losing that entire audience. Even if...Lyss didn't end up being the love interest, I wish I kept her around more to at least give people the false hope that she would be so I could have just maintained that huge part of WT's audience LMAO.

But instead, half of s1 was spent on that night on the town with Rex and Des and fighting Claude. These are things that crossed my mind when writing it but... I don't know how else to put it other than back then I just had the mindset of "eh, good enough." And on that note, I think the story just wasn't nearly as personal to me back then. I remember literally telling people like "It's nothing deep. The blanks don't represent anything. Sometimes people just wanna tell a fun story." Which...to be clear, 100% valid to people who wanna tell stories like that! But uh... by the end of s2, that stopped being the case. And this story became very personal to me. It became really impossible for blanks and their struggles to not represent things deeply personal to me. Around end of s2 is when this story started to be a lot more than "just a fun story w/ no deeper meaning" and when I really really started to pour my heart into it, and I LIKE to think it shows, because s3 is hands down where I'm most confident in my writing, compared to s1, when it was just trying to be a safe shonen adventure.

Lastly, going back to s1, I guess I kind of underestimated just how much this would end up meaning to me, and how having a weak-ish s1 would impact me 3 years later in s4. Back then I wasn't thinking about how the audience I get back in s1 is only gonna be a fraction of the audience you maintain in s4. I didn't realize there would be literal discussions on Reddit of comics people dropped and CoB being one of them bc of a lackluster s1. I wasn't thinking about how I would eventually be showing this to agents and publishers and that they might not look past it beyond s1 as just very average, mid content.

I was really just kinda in the mindset of "This is just Canvas 2, and if people like it, they like it!!" I wasn't thinking about how not putting 100% into s1 was going to potentially cost me thousands of readers, dollars, and even potential opportunities.

So TLDR, I don't think s1 is the worst thing ever, but a lack of heart, ambition, certain conditions, and just experience made it very lackluster in my opinion. I wish I could put a huge disclaimer on the series "IT GETS BETTER I PROMISE"

#city of blank #rambles

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rondocapri · 5 months

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I think the worst part of scoring right now is not just the focus on difficult elements… but really the conflation of GOE and PCS that comes with just doing them.

This has been a problem for so many years in which the judging system does not allow a skater who is excellent at jumping to grow into their artistry at all. If we reward these skaters for lackluster performances just for doing crazy elements, then they have nowhere to go in the coming seasons. There’s no motivation to change what they’re doing because they are already getting the scores they need to win. Why would someone choose to work harder on their program component scores if they’re not guaranteed that doing so will help them. Especially when you’ve had jumpers who take the time to improve their artistry and ended up losing consistency with their jumps

It’s just ridiculous to me that in the state of scoring across devisions that GOE is only applied to how nice the element looks rather than to the actual rules. And that things like entries, exists, cheated takeoffs, and landings don’t really matter.

And if the judges continue to score this way, we will keep seeing (like we already have) a younger generation who chooses to focus on the harder elements rather than the entire program. There’s been so much evidence to the burnout you quickly get if you are young and throw your body away to focus on difficult elements (look at Eteri’s rapidly changing lineup), and a sport that focuses on what accomplishments can be achieved rather than on the skaters themselves is one that will not be able to sustain.

#it’s just FRUSTRATING #I want to see these skaters grow #because I want to see their scores reflect the rules #I want there to be MORE regulations on how the elements connect to each other #I want flutzes to be called out #I want cheated takeoffs to be regulated #I don’t hate any skater but it’s hard to genuinely enjoy watching someone when you know they don’t deserve the scores they get #figure skating

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animentality · 14 days

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Your hot take on the boys and invincible kinda piss3d me off, not cause I totally disagree, but only because superhero media as a whole is lazy. Specifically for these two, though? The boys isn't just evil superman, it's corporate owned supervillainy, vigilantes who don't have powers, and yeah the shock value gets too much sometimes but like clearly you haven't seen it. And invincible is about a kid (son of superman) who is betrayed by his idol and forced to fight him and lose. Maybe don't judge so quickly!!

What, I have to watch the entire show to judge it?

That would necessitate that I take time out of my day to watch something that I don't like.

And if I watched the entirety of both, and still hated it, you'd tell me I shouldn't watch things I "hate" and I should just leave you and your dumb opinions alone.

So we're discarding that part of your argument because it's pointless.

oh wait.

but that's your entire argument.

hm.

well.

ok. let's talk anyway.

so first off. you just said that superhero media as a whole is lazy.

that's quite a generalization to make about a genre.

I don't disagree but you're giving me shit for saying deconstructions of super hero movies are worse, to me personally, than super hero movies themselves, when you just made a blanket opinion statement disguised as a fact.

Think about that for a second.

Then I wanna talk about the whole "it's about politics" and "subversion of superman" schtick.

you're telling me that the boys is about politics, and invincible is an alien invasion story.

yet neither of those things need to be told through a superhero angle. they just are because of the superhero hype justifying their existence in the market.

and that's fine and all... but to me that's what they are.

gimmicks based on what was hot at the time, which was super heroes.

so they don't exist without the superhero genre to make fun of. they don't have relevance except by being reactionary.

and that's a lame selling point for me.

super hero movies have been dying lately, and frankly, I didn't even know invincible had a season 2 until I saw invincible had popped up on fortnite.

and even then I didn't see anyone talking about it, aside from the shock value of the rape scene.

but don't worry. we'll get to that.

as for the boys, well, I don't know, it could last for some time... but do deconstructions that wallow in misery and mega angst and are highly topical based on the year they were released really stand the test of time?

I don't know. we'll see.

all I know is that no one anticipated the fall of marvel after the success of Endgame...

but look at it now.

The Marvels, Antman 3, Madame Web... the lackluster performance of DC...

if you look back at the boys 50 years from now, what will you see?

a satire of the Justice League.

but it's not something on its own.

at least watchmen, as garbage as it is, has unique characters and a weird, but mildly interesting take on history.

the boys is like oh what if there was a world where superheroes existed and they killed people?

yeah that'll stand the test of time I'm sure.

Spiderman has lasted this long because he's relatable. He was the prime example of a changing genre, that allowed its heroes to be more down to earth.

Batman has his gothic detective thing, and you can tell so many stories with him, as he's just an ordinary man, who's also coincidentally a huge freak at the same time. what's not relatable about that?

And even Superman... oh, so he's boring because he's a good person?

yeah. sure. I don't particularly like him. I don't think he's that deep.

but his popularity did come from the basic idea that people should be good to each other.

what is the average jackass going to learn or remember from the boys?

oh that homelander likes drinking breast milk.

gee, that's relatable.

also that the deep fucked an octopus.

because haha... Aquaman, am I right?

so.

now let's move on to shock value.

It sucks.

the boys is made for people who hate super heroes.

it's fine to hate super heroes, but Jesus Christ.

you hate them so much that you make them edgy. you make them rapists and mass murderers. you make them do nasty shit just because you wanna make someone vomit.

like. ok.

I don't like shock value in anything, not even horror movies.

if there's no plot reason for it, then I don't want to see it.

but the boys is all about throwing in sex scenes wherever they can, and making them as fucking weird as they can just because "oh we're not marvel."

yeah. I know that. even marvel pretends to have a story from time to time.

the boys literally starts off with a fucking 90s ass rape revenge story. like seriously?

so revolutionary ahahaha.

with a guy who fucks animals.

and is meant to be sympathetic later on because he's pathetic.

soo soooo deep.

good rape revenge plot.

reminds me of the misogyny of blade runner, and the director saying well I'm objectifying women because sexism exists in real life.

gee thanks, guy.

forgive me if I was turned off by a show that immediately sexually assaulted its main female character.

I'm a triggered snowflake, hahah, you got me.

but when I look at all this, it's like...

I never got into game of thrones because I never liked the mega edge lord plot of that either.

but at least game of thrones was doing something different with a genre, rather than just making a satire or parody of the genre.

it stands on its own.

the boys relies entirely on shock value and superheroes having sex in depraved ways.

it might have some valid political commentary somewhere in its messy gory insides, but nothing I couldn't get, and much better, from the Wire.

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