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mashkaroom · 3 years

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Lengthy analysis of Holes, as promised!. This will include spoilers, which will be marked. Just gonna go through the book and the philosophy/themes/connections I caught onto this time around. Stuff discussed, in order: connections to Camus, on the question of children’s books, systems, cycles, and why Stanley is gay and jewish 😏

Camus:

The first and perhaps most obvious set of texts/theories it makes sense to put Holes in conversation with is the works of Albert Camus. Holes starts out with a description of the sun and the heat, which readers of the Stranger will remember are major themes there. The heat continues to be a prominent part of the story, though thematically, it functions very differently in the two books. In The Stranger it primarily represents the indifference of the universe (or at least so claim a ton of sources and I’m inclined to agree) and the lack of control we exert over our own lives while in Holes it’s basically the opposite of that. The heat and drought is implied to be a semi-divine punishment for a past injustice and, moreover, the elite adults of the camp have air conditioning and access to shade: the sun does not affect everyone equally in Holes as it does in The Stranger (though even that is debatable: I don’t think this was Camus’s intent, but it’s notable that it’s only the white englishman who’s driven to murder by the sun. This could certainly be read as critique of colonizers who cannot/refuse to coexist with the land and environment and how the indigenous population always suffers for it, but I digress). The other Camusian parallel one is immediately inclined to draw is that, of course, of Sysiphus: there’s the repetitive and seemingly meaningless act of digging holes not to mention that carrying stuff up a mountain is both thematically and plot-wise a very important part of Holes. But, once again, it is eventually revealed that both acts do carry an inherent meaning. Holes does not present the image of an uncaring universe: on the contrary, destiny and semi-divine influence plays a major role. The story may start out with a series of seemingly random and inherently meaningless events, but as the story progresses, people, actions, items, and events become increasingly imbued with meaning. In the Holes universe, one must imagine Sisyphus redeemed, not through the act of rolling the stone but by rebelling against it. I have difficulty imagining that Sachar was not thinking of Camus while writing Holes, or, at the very least, that if he encountered Camus afterwards, he must have been struck by the similarities. I don’t know if there was a specific intent in creating a story so embroiled in Camusian absurdism, especially since the target readership is (allegedly) children who almost certainly are not recognizing specific allusions to Camus, so perhaps the similarities are purely aesthetic — after all, everything that is nominally similar does play quite different thematic roles. However, I would never pass up the opportunity to talk about the myth of sisyphus and I think placing Holes in dialogue with Camus can raise some interesting questions about the nature of meaning.

Is Holes a children’s book?

Speaking, though, of the target audience, the audience for this book is in fact children. What about it makes it a children’s book makes it difficult to say: the protagonists are children (and, I would argue, it is not a coming of age story, despite the claims of one piece of lit crit about Holes in which i disagreed with almost every claim made, but i digress once more) and the writing style is fairly simple: you can read it with a second-grader’s vocabulary. Also, of course, being a children’s book doesn’t (and crucially shouldn’t!) mean that it’s lacking in depth and complexity. However, I think most thematically rich children’s books tend to be quite allegorical. The Little Prince is a good example. Holes is just way too specific for its sole market to be children. It’s either intended to be read by multiple generations at once or for child readers to return to it as an adult. It addresses themes of racism (and not just generic racism, anti-black racism in the reconstruction south), homelessness, intergenerational trauma. and the modern carceral system. These are social critiques that will probably go over most kids’ heads (certainly over mine). However, the themes of the text are not inaccessible for children. You don’t have to understand the particular history of the US criminal justice system or even that Sachar is making a comparison to anything specific to get that the system that he’s portraying is unjust. Knowing the real-world context just adds another layer to the text. Holes also has one of the hallmarks of children’s books that I really like, which is a particular type of absurdism that the child characters come up against. This always rang true to me as a kid and well into my teens, when you start understanding that your life is controlled by some set of systems, but you haven’t quite gotten what those systems are or why and how they came about. Like nowadays, I can say “we did this in elementary school because of a state law, that because of a federal law, that because of the history of puritanism, and this because we got a grant for it”, but as a kid nobody tells you these things or really even cares to explain why the rules are as they are, and the systems that govern your world, often with no small degree of violence and almost always with an inherent disregard for your agency, are ineffable and slippery, and good children’s books capture this really well (Series of Unfortunate Events is probably my favorite example of this, where a secret organization that everything is implicated in and more more tragicomic details about it get revealed until the Baudelaire children find themselves to some degree members with mixed feelings is honestly an excellent coming-of-age allegory. oh, not to mention the constant conflict with bureacracy. god that series is so good, everyone read it). Back to Holes, Sachar weaves the more fantastical ineffable elements in with real-world issues so neatly. Stanley’s family is allegedly cursed, which is why Stanley keeps having bad luck, but he also lives in systemic poverty, which is also why he keeps having bad luck. Sachar eschews neither the allegorical elements common in children’s literature nor the more direct systemic critiques more often found in YA and adult lit, and it creates a really unique vibe. I think the story really benefited from having a children’s author, and I would love to see more authors in both children’s and adult lit do this!

Systems

Speaking of the systems, this book is surprisingly radical. Like it’s full-on an abolitionist text. The law is pretty much only ever presented as adversarial, both in the story of Stanley’s present time, and in Kate and Sam’s story. It’s implied if not stated repeatedly that Stanley and the other boys are pretty much victims of circumstance and have been imprisoned pretty much for the crime of being poor. The hole-digging is shown to be cruel and bad for the boys. It’s noted that in digging the holes Stanley’s heart hardened along with his muscles. This is of course very evocative of the system of retributive justice we have in America. Additionally, Camp Greenlake’s existence can ultimately be traced back to an act of racist violence, also in close parallel with our prison system. Hole’s stance on justice is very restorative. Punishments are never shown to work: only through righting the wrongs can true justice be achieved. Moreover, Holes even gives the opportunity for redemption to a minor antagonist when [minor spoiler] Derrick Dunne, the kid who was bullying Stanley in the beginning ultimately plays a small role in helping Stanley regain his freedom [spoiler over].

Cycles

Cycles are a major theme in holes, and Sachar creates a unique temporality to support this theme. There are 3 interwoven stories: that of Stanley’s in the present date, that of Stanley’s ancestors, and that of the land that Stanley is on (though, as I will delve into later, it’s at least a little implied that Stanley is descended from the characters in that story also). The stories from the past reach in and touch the present. You can’t untangle the past from the future. Looking at this again through a social justice lens, it could be seen as fairly progressive commentary on what to do with regards to America’s past wrongs. The past cannot and will not be left in the past: it must be dealt with on an ongoing basis. Even the warden, the greatest villain of Stanley’s story has a sympathetic moment at the end where it’s revealed that she, too, is stuck in a cycle of intergenerational trauma she can’t break free from.

Stanley is gay and jewish

Ok, I will now talk about how Stanley is a queer Jew, but this entire section will be riddled with spoilers, so read the book first and then come back!

A queer Jew?? i hear you ask. You’re just projecting. Yes, 100%. However, I think that interpreting Stanley as both these things adds to the thematic richness of the text. Let’s start with the Jewish bit: it’s not explicitly stated that Stanley is Jewish, but his great-great grandfather is a nerd-boy Latvian immigrant with the last name Yelnats, and his great-grandfather was a stockbrocker, so, like, ya know. Louis Sachar is also himself Jewish, as was the director of the movie, who cast Jews in the roles of Stanley and his family (dyk Shia LaBeouf is Jewish?? i did not), so I know I’m not the only one interpreting it this way. And honestly, does it not resemble the book of exodus quite a bit? They escape what is pretty much a form of slavery and wander in the desert. Sploosh resembles the well of Miriam, and then they ascend up a mountain to the “thumb of god”, perhaps in a parallel to Moses receiving the commandments. Is this a useful way to look at the text? Who knows. But what I think we do get from reading Stanley as Jewish is a more nuanced discussion of privilege and solidarity. If Stanley and his ancestors are Jewish (or at least Jew-ish), then what placed the curse upon his family (and, we see, Madame Zeroni’s family isn’t doing so great either) is the breaking of solidarity between oppressed people. But also, the fact that you are also marginalized does not wash you of the responsibility to other marginalized groups. I don’t think Sachar intended it this way, because I think he probably would have talked about it more if he had, but I would say this book can be read as a call to the American Jewish community to take an active role in forging solidarity with other marginalized groups and actively righting the wrong you, your ancestors, and your community wrought upon them.

Now, why do I think Stanley and Zero are gay? Before I go into how it augments the text thematically, I bring to your attention this passage.

Two nights later, Stanley lay awake staring up at the star-filled sky. He was too happy to fall asleep.

He knew he had no reason to be happy. He had heard or read somewhere that right before a person freezes to death, he suddenly feels nice and warm. He wondered if perhaps he was experiencing something like that.

It occurred to him that he couldn't remember the last time he felt happiness. It wasn't just being sent to Camp Green Lake that had made his life miserable. Before that he'd been unhappy at school, where he had no friends, and bullies like Derrick Dunne picked on him. No one liked him, and the truth was, he didn't especially like himself.

He liked himself now.

He wondered if he was delirious. He looked over at Zero sleeping near him. Zero's face was lit in the starlight, and there was a flower petal in front of his nose that moved back and forth as he breathed. It reminded Stanley of something out of a cartoon. Zero breathed in, and the petal was drawn up, almost touching his nose. Zero breathed out, and the petal moved toward his chin. It stayed on Zero's face for an amazingly long time before fluttering off to the side.

Stanley considered placing it back in front of Zero's nose, but it wouldn't be the same.

Girl, I’m sorry, that’s gay as shit! It’s such tremendous tenderness, not to mention the traditionally romantic imagery of moonlight and the flower petal. There’s also the non-romantic aspects. Stanley’s inexplicable happiness and suddenly liking himself evokes, for me, at least, the experience of coming out to yourself, of realizing who you are. Later in this chapter, Stanley contemplates running away with Zero despite the fact that it would make them lifelong outlaws. This book, remember, was written in 1998, and homosexuality was decriminalized in 2003, and the book takes place in Texas. It would have been, if anything, even more evocative of gayness when it was published. Now as to how this increases the thematic richness of the text: obviously, in carrying Hector up to the thumb, giving him water, and singing the lullaby, he redeems the wrong done by his ancestor, after which his family’s luck immediately changed. However, after Hector and Zero return to camp Greenlake, rain falls there for the first time. What was redeemed here? Remember that earlier on we learn that what caused the drought was the fact that Sam the onion man (who was black) was murdered for kissing Kate Barlow (who was white) — so what would a [post-factum wronging of that right look like? Zero, as we remember, is black while Stanley is white, so them being in a romantic relationship would be a successful interracial relationship to redeem the one Kate and Sam weren’t able to have. It’s also, as I said earlier, implied that Stanley is descended from Kate Barlow on his mother’s side: Stanley remembers seeing the other half of the lipstick tube with her initials on it in his mother’s bedroom. I’d also argue that Sam the Onion Man is implied to be descended from Madame Zeroni (chronology-wise, I think he’d be her grandson). First of all, there’s no follow-up with Madame Zeroni’s son who moved to America, and pretty much all other plot threads are followed up with in Holes. Secondly, Sam mentions water running uphill, just like Madame Zeroni does. Even without these speculations being true, Stanley and Hector being gay would redeem the land they’re on, but If they are, the parallel with the other ancestral redemption arc becomes to much to imagine it was unintentional.

So anyway, those are my thoughts on Holes, now everyone go read it!

#was trying to express my dad that shia labeouf is jewish but couldn't remember how to pronounce his name #so i was like. dyk sheeya labeeoof is jewish? indiana jone's son. shaya labyof. Pap. Indiana Jone's son. you know who he is. Pap come on #when he figured out who he was he asked if harrison ford was also jewish #as a joke #and turns out he fucking is! his maternal grandparents are jews from minsk!#quoth my father: 'they're everywhere. nothing is sacred'#lololol #anyway this fucking booooook you guys

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the-blue-fairie · 4 years

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Whenever I talk about how Frozen 2 feels more individualistically-minded and Frozen 1 feels more communally-minded, I always feel self-conscious and feel like I have to explain myself. Because, on one level, Frozen 2 is very communally-minded and in a beautiful way - and I don’t want to discount that. It’s a story about coming together, of finding commonality and connection, with the communities of Arendelle and the Northuldra both united by love by the end.

But at the same time, Frozen 2 is very much focused on the the individual interiority of its characters - so that the individual interiority comes to the forefront. The main characters tend to process their emotions in a more individualistic fashion in Frozen 2 instead of talking things out among themselves. When I Am Older, Lost in the Woods, Show Yourself, and The Next Right Thing aren’t solely individualistic, of course. To a degree, they all express how each member of the main cast connects with their loved ones and the world around them. But they all do so at points when the individual singer is separate from the family group.

What I love about the first Frozen and the shorts is that we see the family group interacting with each other, connecting with each other, and healing together.

We see Anna and Elsa reconnecting after years of isolation and it feels like a relief because it is a relief. Their interaction helps them both, helps both sisters who have gone through distinct but entwined traumas.

We see Anna and Kristoff working together to fight off the wolves. We see their rapport, their chemistry, their spark. We see what a great team they make.

We see the positive impact of Anna reaching out to Elsa. While the For the First Time in Forever may end in Elsa’s panic, there are so many moments that show Elsa softening, putting aside the walls she has erected all her life in moments of purest love... moments where Anna’s words reach Elsa. At the same time, we see Anna’s understanding and her love. While the sisters may have opposing positions at this point, we see them reaching out to each other, communicating with each other. It’s a step forward - and that step forward comes from their opening up to one another and beginning to talk things out.

We see Olaf helping Anna and, in the process of her rescue, the two talk about their feelings and perspectives and both Anna and Olaf grow from the experience.

We admittedly don’t see much of Elsa and Kristoff’s interactions, but what we see is cute and gives room for some lovely expansion in future.

Watching all these scenes, I latched on deeply onto the idea of this little group as a found family coming together - with particular emphasis on together because Frozen makes a recurring theme of isolation and the pain it causes. Anna’s loneliness, Elsa’s loneliness, even Kristoff’s loneliness in that he spends so much time in the mountains with Sven - aloof from other people (though he has his troll-family, who took him in when it was just “him and Sven.”) And Olaf - born a few hours ago but wanting to know more, wanting to engross himself in the world and engage with it, engage with everyone. And I immediately wanted to see more of this little family working together - because the narrative starts with them all in varying degrees of isolation and they find each other and the narrative ends with them all skating together as a family and ahhhh the found family feels.

I wanted to see how this family interacted together, how they talked together, how they solved problems with one another, how they connected with one another.

And Frozen 2′s answer to how they do all that is that... in a crisis, they each solve things individually and the narrative just happens to work out that they all come together in the end.

The narrative structure of Frozen 2 privileges processing one’s emotions in isolation despite having a support network around you.

Kristoff needs to be left behind for Lost in the Woods to have its weight.

Elsa needs to be on her own during Show Yourself because it’s all about her inner journey.

Anna needs to be alone for The Next Right Thing because it’s all about what you do with everyone, everything, and every hope gone.

Even When I Am Older is set up as Olaf on his own and thinking to himself.

When everyone tries to talk to each other, they are met with walls - Elsa not telling Anna about the Voice, Anna leaving Kristoff behind, Elsa leaving Anna and Olaf behind. How will this family interact together? With miscommunication, uncertainty, and doubt, until those last few minutes.

Now, I know people are going to rush to point out, “But Liza, isn’t discussing miscommunication and conflict between individuals with different identities important?”

Yes, of course. But Frozen 2 never really discusses the roots of the miscommunication or meditates on the characters’ differing perspectives - especially with regards to the sisters because that conflict is born of the trauma of the childhood separation and Frozen 2, as I’ve discussed already, refuses to have the sisters talk together about the shared trauma of the childhood separation even though it would be really healthy for them to talk it out together. (Some have pointed out that Frozen 2 has Elsa and Anna directly address the trauma of the separation in their individual responses to it and references to it in their individual songs - but that only proves my point about Frozen 2 being more individually-minded.)

The neatest resolution comes for Kristoff and Anna with her apology and his, “My love is not fragile.” In spite of the fact that the conclusion of all the narrative threads at F2 feel somewhat abrupt, that’s a beautiful little moment. Does it really ruminate on everything that Anna has been going through? Not exactly, but it gives her affirmation and that’s lovely.

But that’s the thing. The abruptness of the conclusions really show in Frozen 2. They’re not even bad conclusions - in many cases, they’re good conclusions - but we can’t pause to have Elsa and Anna talk together about their shared traumas, however healthy and beneficial that would be for them, the film has to end, and end quickly.

And that quickness is how we get things like, “A bridge has two sides... and mother had two daughters,” which signifies that Elsa and Anna are both the Fifth Spirit but because it’s so oblique and we have to jump the the next resolution of a plot thread, it doesn’t hit the way it should - if the amount of people who consider simply Elsa the Fifth Spirit is anything to go by.

The abruptness means that the discussion of miscommunication and character conflicts and everything else at the end feels shallower than it should. Like the Fifth Spirit reveal, it doesn’t land as well as it might have.

The movie clearly wants to focus on how miscommunication, uncertainty, and doubt impacts this family group and how they nonetheless overcome it and persevere together, and that’s good, don’t mistake me - but by spending so little time on the “overcoming it and persevering together” part, the film undercuts its ultimate goal.

I know people are still going to come to me and say, “But Liza, those last few minutes undermine your whole point! Because it does show the family coming together, united to help each other!”

I’d argue that Elsa is a bit disconnected from the group and it’s unclear how much she knows after unfreezing and all that kind of exposes the haphazardness of the “together” message, but hey, she communed with the spirits so now she’s up to speed... and that’s still not the main cast interacting together as they work in common cause, that’s Elsa suddenly getting information and going to act on that information but it’s okay because it all works out in the end and we can happily assume that Elsa can process everything to do with her own unfreezing, Anna’s choice, the spirits’ decision, her own emotions after being back in the world, Anna’s devastating emotions, and everything else within the span of moments because we need to tie everything up neatly even if it doesn’t give the emotions we have painstakingly crafted time to breathe.

There’s that oft-quoted philosophy from Don Bluth that, if you attach a happy ending, you’ll be able to explore many mature and intense themes. That philosophy only goes too far, because sometimes the aftermath of that pain needs to be explored in more depth. Because when it comes to trauma, there are... aftershocks...

Moreover - and I realize this next thing is just... personal on my part - I don’t think the focus on individualism works particularly well with Elsa’s arc in Frozen 2. That no doubt sounds completely insane because Let it Go is the most iconic Elsa moment and Elsa’s arc in Frozen 2 is a personal journey of self-understanding, but here’s the thing. The ending of Elsa’s arc in Frozen 2 hinges on community even when the meat of Elsa’s arc doesn’t focus on it. When Elsa chooses to stay in the Forest, it just... makes me want to see more of her interacting with the Northuldra throughout the film. It makes me want to see Elsa connecting with the Northuldra, learning their customs, feeling more and more at home there.

But the film doesn’t give me that.

The film puts the focus on Elsa’s individual inward journey but doesn’t balance it out with Elsa connecting to the people she eventually decides to find a new home amongst. Yes, she connects with them in Ahtohallan - but in an abstract sense. Disconnected from actual physical interactions with people.

And I know this is personal, but I don’t think that was the right direction to go in for Elsa - the little girl who spent years of her life alone and terrified of interacting with others. I want to see her interacting with people, connecting with people, broadening her horizons.

And the end of the film sort of gives me that, but it gives me that without ever actually showing Elsa spending a great deal of time with the Northuldra. The closest I get to that before the film’s end is her short scene with Honeymaren and her brief interactions with Yelena. All of which are unfortunately fleeting and not the focus of Elsa’s arc.

Which is a shame because the ending would feel more earned with more of a communal focus and it would also give characters of color more screentime.

And, as I’ve said before, it’s always great to give characters of color more screentime. I know the film is more “about” Elsa’s inner journey than it is about the Northuldra - but the narrative would be made better by enriching the Northuldra’s presence in Elsa’s journey.

#bigfrozensix #frozen #frozen 2

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iatheia · 3 years

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EDA reviews Part 6 - books 47-55

Previous part 1, 2, 3, 4 & 5

47) The Slow Empire - Uh, couldn't really follow this one at all. There are books when the first person narration works, but not here - too many jumps in setting, too little connective tissue, most of it told from the POV of a person who is barely connected to the protagonists? And that's even before they started repeating chunks of text wholesale between various parts - and I couldn't figure out if it was intended, or if it is the ebook was acting out on me. More than half way through the book, I still couldn't entirely tell what the story is supposed to be about, or if the plot has even started yet. Even having finished it, I find myself somewhat aghast. There are a few glimpses of something interesting, but for the life of me, I can't figure out what. 4/10

48) Dark Progeny - Also not really feeling it. It's not a bad story, but I do rather prefer a Doctor Who story to actually feature the Doctor and the companions front and center, whether they are POV characters or not. Here, though, they are barely in it - it's even more egregious than the previous one in actually giving the supposed protagonists stuff to do, and even on rare occasions we do switch back to them, it is all pretty generic. Anji developing telepathic abilities and the Doctor trying to calm her down all the while Fitz is freaking out in the background? Yes, please, more of that. Following around 20 interchangeable OCs that have nothing to do with the trio? No thank you. 6/10.

49) The City of the Dead - If you are invoking magic in a sci-fi universe, you need to be able to handwave it. It doesn't need to be awfully complex, "something something aliens, something something energy" is usually enough, but without it, you can't just throw magic about willy nilly. There are rules.

There are moments when it is a beautiful story, evoking a lot of dream-like wonder, and if it managed to remain a hazy dream, it probably would have been better for it. At the same time there is something very uncomfortably cynical about it, to the degree it left a bad taste in my mouth. There is a narrow line between not shying away from the ugliness of the world and deliberately making something ugly just for the sake of it, and often it felt like it was leaning towards the latter. Dunno, I started out wanting to like it, and feeling rather conflicted about it, but by the end became utterly indifferent. 7/10

50) Grimm Reality - Pure crack. Mind Robber wishes it could be as hilarious and off the wall as this story is. It throws every cliche fairy tale narrative device in the book at the characters and expects them to take it with the straight face, all the while realizing that the rules of the world are completely bonkers. And it manages to sustain this energy throughout, which is a no small feat. It's actually pretty exhausting by the end of it. Fairy tales stories do not belong to a lengthy literary genre, and even taking time deconstructing them, at 95K words becomes it becomes just too much - figuratively, and, on occasion, literally. Still, pretty great, I wish more books had its energy 9/10.

51) The Adventuress of Henrietta Street - *sigh*. My expectations were pretty low to begin with, and I still am somehow disappointed. Credit where credit's due - it is probably most coherent of the books from Miles. And at least it's better than Interference. That's really not saying much, though.

Honestly, if you've read any story about prostitutes, murder, satanic sex rituals bordering on blatant pornography, eastern culture and "mysticism of female sex" used for fetish fuel, written by a dude who clearly gets off on all of this - you've read all of them. There is really nothing revolutionary or compelling about it. On the list of "plots I never want to see in Doctor Who", they are definitely up there. And the Doctor is dying again, because it wouldn't be Miles's book without it. And he's, uh... living in a brothel, trying to marry someone, in order to, uh..... ritualistically tie himself to Earth, for, reasons? Did I read that right? After over 100 years of living on Earth and wanting to do nothing else than seeing the back of it, right. And writing books not quite about sex but definitely about sex. Because that's the thing the Doctor apparently does now. Self insert what self insert. And Fitz and Anji are just... there. On an occasion. All of it exposed on in a dull faux academic style without a shred of characterization, all the while absolutely nothing of note is happening, despite being a singularly longest EDA.

Just, if you hate the characters so much. If you don't understand what makes them tick to this degree. If you don't even care to learn. If you consider any established emotions they should have about the plot you are putting them through beneath you. Why are you writing in a shared universe to begin with? 2/10

(I did have an unintentional moment of hilarity with it, though. There is a character that is referred to as Lord ______, as if his name is censored. TTS would always pronounce it as Lord Underbarunderbarunderbar. Always gave me a chuckle).

52) Mad Dogs and Englishmen - A hilarious story, a very easy read, flowing from scene to scene. There are several occasions of fridge horror treated with levity that I would have rather have avoided. Plus, it is as incestuous as a book about books can get, and yet.... It is just absurd enough to work.

Plus, the whole, “His books are full of black magic, mind control...and perversion - moral and ethical and sexual. He is polluting the atmosphere of our group”, “What’s next? Rewrite War and Peace so it’s about guinea pigs?” - Oh, the shade. It is a good book in its own right, but just for this alone, 10/10

53) Hope - It's a pretty average book. Not outstanding, not horrible. Would have made a decent episode, all things considered, in a bread and butter sort of way. It does have some great ideas - the refuge of humanity, the conflict between Anji and the Doctor finally coming to light - not quite the type of conflict I was hoping for, though. If only it had a bit more nuisance, without neatly delineated black and white, if the antagonist didn't end up being a mustache twirling villain, if the Doctor didn't end up strong-arming everyone in a much more macho manner than he normally goes for (with a rather clunky dialogue). It had potential, even if it didn't end up being realized in full. 8/10

54) Anachrophobia - Very meh. The set up was fairly contrived, it never made me care about any of the characters, including whatever the hell the Doctor and co were doing, not to mention any of the secondary characters. Not terribly engaging, after a point I was mostly flipping through it. There is some big conflict brought up at 95% mark, and it is resolved in just couple of pages via a deus ex machina and a paradox. Overall, I might have said that I would have liked it better if I was in a mood for existential horror, but I took a break in the middle to listen to the Lease of Life - and it actually touches upon several similar themes, but with and outstanding character drama and much more graceful execution, which made this book look even more poor in comparison. 5/10

55) Trading Futures - I will give the author all the points for keeping an eye on the future. Perhaps, in 2002, predicting tablets being used as menus in fancy restaurants wasn’t that big of a reach, but I absolutely had a spit take when TTS has read to me something about “eye-phones”. There are some modestly clever moments throughout the book. Too bad that the rest of it is a complete rubbish. Not terribly original, either - a lot of ideas are copied directly from other books and other franchises. Reasonably entertaining, all things considered, but in a much more slapstick sort of way than was probably intended. 7/10

Overall impressions so far - This batch is, for the most part, fine. Some stories are worst than others, some better. With one exception, nothing horrendous, but nothing to write home about, either. They are, for the most part, serviceable. Individually, they have decent enough plots. But. There is very little character work. They can generally be read in any order, or dropped entirely, and you wouldn’t miss anything. The Doctor is mostly coasting from the excellent streak in the last batch, always in a spot light. I am starting to tire of the whole amnesia arc, though - it was good, but it ran its course, and at this point, with everything functionally back to norm, with barely a stray mention of it here and there, we are starting to be overdue for some semblance of resolution of all that. Henrietta Street is entirely a step in the wrong direction - not only it does nothing worthwhile for the characters, it’s just getting unnecessarily further into the weedworks, adding yet another plot thread that is forced on other writers to carry (they mention it occasionally, but it’s not like there is much to build upon) - rather viciously reminding of the previous mess of an ark “don’t you dare to think that it is over”. And I am so over it. Just, move on.

The companions fare rather worse. They are decent enough, they participate in action, in each book, they are mostly staying in character, with a handful of neat moments here and there (in a blink and you’ll miss it sort of way, though), they aren’t written off as an unnecessary burden to carry, which is an improvement. There is nothing meaty given to them though - they ask the necessary questions, do the things required of them, and generally stay out of the way when they are not needed. I guess Anji has at least some character driven moments, even though most of them are reduced to “I miss my dead boyfriend”. Which is... fine, we’ve all lost people, we all mourn them in our own way, but it has been 14 books since her introduction, and she is leaving in another 10. To have her character reduced to just that bit from her first book, with barely anything else to offer.... Plus, all the while, she rarely felt like she integrated into the team - because she is constantly eying her exit and returning to normality (even though she always decides to stay just a little while longer due to circumstances), it’s like from the very beginning she had one foot out of the door.

But while Anji is a bit of a one trick pony, at least she has that much. Poor Fitz gets absolutely nothing to do. The last meaningful book that addressed his character in any way was all the way back around book #42-43, and even that was just catching up on plot after his prolonged absence. He’s been essentially frozen since early 30s books. He is generally a fun character to have around, and does good supporting work, but can he please get something more impactful any time soon? Heck, by this point I’ll even take the recurrence of “finding a new love interest number 20 who will inevitably die by the end of the book” - it has been overdone, and it is certainly not a very exciting plot, not to mention reductive, but at least it’d be something. Though, I guess only one companion is allowed to carry that staple at the time, and right now Anji is it, two dead lovers is just an overkill.

And it is an absolute shame - especially when considering that on the other side, Big Finish was in the middle of streak of some of the best stories. Over the same time that these novels were published, we had audios such as Project Twilight, Eye of the Scorpion, Colditz, One Doctor, Chimes of Midnight, Seasons of Fear, which were full of character.

#doctor who #eighth doctor #eighth doctor adventures #eda

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mediaevalmusereads · 3 years

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The Lady’s Guide to Celestial Mechanics. By Olivia Waite. New York: Avon Impulse, 2019.

Rating: 2.5/5 stars

Genre: historical romance, wlw romance

Part of a Series? Yes, Feminine Pursuits #1

Summary: As Lucy Muchelney watches her ex-lover’s sham of a wedding, she wishes herself anywhere else. It isn’t until she finds a letter from the Countess of Moth, looking for someone to translate a groundbreaking French astronomy text, that she knows where to go. Showing up at the Countess’ London home, she hoped to find a challenge, not a woman who takes her breath away.

Catherine St Day looks forward to a quiet widowhood once her late husband’s scientific legacy is fulfilled. She expected to hand off the translation and wash her hands of the project—instead, she is intrigued by the young woman who turns up at her door, begging to be allowed to do the work, and she agrees to let Lucy stay. But as Catherine finds herself longing for Lucy, everything she believes about herself and her life is tested.

While Lucy spends her days interpreting the complicated French text, she spends her nights falling in love with the alluring Catherine. But sabotage and old wounds threaten to sever the threads that bind them. Can Lucy and Catherine find the strength to stay together or are they doomed to be star-crossed lovers?

***Full review under the cut.***

Content Warnings: sexism, allusions to homophobia

Overview: I feel like I’m in the minority of not loving this book as much as I wanted to. Based on content alone, it should have been a perfect storm for me: a historical sapphic romance, a lady scientist, debates about the value of art and women’s contributions... but while the romance genre doesn’t have nearly enough wlw stories, representation alone wasn’t enough to sustain my interest in this novel. It had the threads of a good story - something along the lines of The Countess Conspiracy or The Suffragette Scandal - but in my opinion, too much of the focus was on needless interpersonal drama, which left the plot dragging for the bulk of the story. So though the representation is great, and there are a number of feminist themes that I think are valuable, I didn’t enjoy this book enough to give it more than 2 or 3 stars.

Writing: Waite’s prose is about what you’d expect from the romance genre. It’s simple and straightforward, getting to the point without leaving the reader wondering what’s going on. My main criticism would perhaps be that Waite sometimes does a little head-hopping in the middle of a chapter without a section break. One minute, we’ll be seeing things from Lucy’s POV, and the next, we’ll get something from Catherine, then back to Lucy. It was a little jarring, but not too distracting - I could still immerse myself in the story ok.

Plot: The Lady’s Guide follows Lucy Muchelney as she translates, expands, and publishes M. Oleron’s Mechanique celeste (an astronomy text) under the patronage of Lady Catherine St. Day, Countess of Moth. After being rebuffed by the male members of the Polite Science Society, Lucy endeavors to render her own translation in hopes of educating readers who are interested in astronomy, but may not have had access to the range of texts needed to understand Oleron’s work. Catherine, for her part, funds the printing of Lucy’s work, while also discovering her own value as an embroiderer.

On the surface, this plot had all the things I love: women in science, valuing women’s art, a social commentary on patriarchy. But despite the interesting threads, I didn’t feel as if Waite used them to the greatest advantage. Aside from a few scenes, there wasn’t a lot of external pressure from the Polite Society; any drama that arose from their sexism was easily dismissed or avoided with a trip to the country, and I felt as if sexism in this book was more of a nuisance than a threat. This isn’t to say I wanted the characters to be constantly suffering or be miserable from an onslaught of male meddling, but I would like to have seen more of a sustained plotline where the Polite Society attempts to thwart Lucy’s efforts, thereby creating more suspense and giving Lucy and Catherine some external challenges to face together.

I also think the subplots could have been strengthened so that they enhanced the main conflict. The plot involving Eliza, the maid with a talent for sketching, was a good parallel to Catherine’s arc, which involved finding and rewarding women’s talents in art, but Eliza wasn’t a compelling character on her own, nor did I think Catherine reflect enough on the paradox of how she encouraged Eliza but not herself. I also think more could have been done with Lucy’s brother, Stephen, so that his meddling in Lucy’s career paralleled the Polite Society’s - just in a more subtle way, thereby showing different forms of sexism. Granted, there is a little of that, but like the Polite Society, Stephen pops up at convenient times before disappearing a page or two later.

Characters: I hate to say it, but I didn’t feel as if I could connect to the characters. Lucy, one of our heroines, is a mathematician and astronomer who inspires Catherine to see herself as an artist... and that’s mostly it. I guess she’s also bold and headstrong, but honestly, she felt more like an archetype than a fully-fledged character.

Catherine, for her part, is meek on account of being mistreated by her husband, but has brilliant skills as an embroiderer and is generous with her financial support. I did like the depth that Catherine had with regards to her insecurity over whether or not she could call herself an artist, and I liked that she respected Lucy’s feelings and didn’t allow her desires to be too selfish. But I also felt like she had no ambition or desires of her own until maybe 75% of the way through the book, and she mainly existed to support Lucy.

Side characters were hit or miss. I liked the idea of Eliza, the maid who gets to put her drawing skills to use as an engraver, but she wasn’t a fully-fleshed out character and didn’t hold my interest on her own. Stephen, Lucy’s brother, had the potential to be interesting, as he is an artist and acts as a foil to Lucy in many ways, but he flits in and out of the story as needed. Even Lucy’s ex, Pricilla, seems only to exist to make petty drama; there was no pining, no angst, and I didn’t see why Lucy had once loved her. There wasn’t even any commentary on how both Pris and Catherine were blond women who were skilled at embroidery.

Polite Society members had the potential to be good antagonists, but because their appearances were so contained, I don’t think they were used to their full potential. They provided some nice commentary, but I would have liked to see them meddle more often in Lucy’s translation process.

Romance: This is personal preference: I don’t like it when the love interests get together too early in the story. It usually means the rest of the romance is going to revolve around petty drama, and I think that’s what I got here. Lucy and Catherine become a couple some 25% of the way through the book, and for the life of me, I couldn’t see why they wanted to be together other than they were interested in women and happened to be sharing a house. Over time, their reasons for loving one another became a little more clear: Lucy loves that Catherine believes in her and lets her forge her own path, whereas Catherine loves that Lucy values her skills and lifts her up, rather than dismissing her (as Catherine’s deceased husband did). While these are certainly nice, I wanted there to be a little more to their romance. Because they got together so quickly, there was very little pining, very little growth in their affections.

I also think all the angst and relationship drama that happened after they got together was a little tedious. Lucy spends some time pining for her ex, which causes Catherine to be jealous. Catherine also sees the relationship as being incompatible at one point because Lucy likes science and she likes art, so of course that means they’re on different paths that can’t be reconciled. Most of the barriers to the relationship could have been overcome by either talking it out or getting to know one another a little better, so rather than good tension (in the form of suspense), I felt like there was pointless tension. I would have much rather seen Waite dive into the very real concerns, such as the economic inequality between them or the lack of permanence that comes with not being able to marry - I think those are real, life-altering concerns that could have tied in well with the non-romance plot, but unfortunately, those concerns seemed to be resolved a little too neatly.

TL;DR: Despite having some much-needed wlw representation and a number of feminist themes, The Lady’s Guide to Celestial Mechanics does little to cultivate a compelling plot and relies on misunderstandings to drive the romantic tension.

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hexcaught · 4 years

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it’s been 𝐬𝐢𝐱 𝐲𝐞𝐚𝐫𝐬 since the 𝐦𝐮𝐠𝐠𝐥𝐞𝐛𝐨𝐫𝐧 witch, 𝐌𝐀𝐑𝐘 𝐌𝐀𝐂𝐃𝐎𝐍𝐀𝐋𝐃 was sorted into 𝐠𝐫𝐲𝐟𝐟𝐢𝐧𝐝𝐨𝐫 upon arriving at hogwarts. i suppose over the years we’ve learnt that she is 𝐨𝐫𝐠𝐚𝐧𝐢𝐳𝐞𝐝, 𝐫𝐞𝐬𝐢𝐥𝐢𝐞𝐧𝐭, 𝐜𝐨𝐧𝐭𝐫𝐨𝐥𝐥𝐢𝐧𝐠 & 𝐬𝐞𝐥𝐟-𝐢𝐧𝐝𝐮𝐥𝐠𝐞𝐧𝐭, i guess that’s why they were sorted where they were. ( 𝑙𝑎𝑛𝑎 𝑐𝑜𝑛𝑑𝑜𝑟. )

𝐀𝐄𝐒𝐓𝐇𝐄𝐓𝐈𝐂𝐒 !

rose-glossed lips sweet from peach schnapps, wishing on a firefly when the night is overcast, re-organizing your room for the third time that week, the warm touch of a hand when words fail, buttery croissants in a sun-dappled cafe, and the realization you’ve grown too big for your childhood bed.

𝐌𝐈𝐍𝐈 𝐏𝐋𝐀𝐘𝐋𝐈𝐒𝐓 !

i. MIRROR BALL - taylor swift.

ii. A LITTLE BIT ALEXIS - schitt’s creek / annie murphy.

character inspo includes: tahani al-jamil ( the good place ), alexis rose ( schitt’s creek ) rachel green ( friends ), vilde lien hellerud ( skam ), elle woods ( legally blonde ), ty lee ( a:tla ), amy march ( little women ), charlotte la bouff ( princess and the frog ), galinda upland ( wicked )

mary macdonald was brought up rich. rich in money and rich in support & love. she was the only child of charles and nancy macdonald, a fairly wealthy english couple. they weren’t like, obscenely wealthy. there were no butlers ironing the morning paper, or private planes. but they were the sort of wealthy that gets taken for granted – growing up, mary never wanted for anything. she’s used to vacationing somewhere warm and historic every summer. picture mcmansions, suburban pta meetings, disney princess movies, dressing up nice for sundays at church.

her parents were very much involved in her childhood, and always supported her throughout every twist and turn in her life. she’s always been very open with her parents and tells them everything. usually.

she also did child beauty pageants when she was little. adults adored her. the word darling was frequently heard to describe mary macdonald. it’s definitely shaped who she is as a person – frequently competitive, a little desperate for validation, often too concerned about appearances, always knows how to pull on a winning smile even when you just want to go home and cry. #relatable

but the love and support in her childhood has also shaped who she is. her spoiled upbringing has gifted her with an indefatigable sense of optimism and an inability to take no for an answer. she lives in a world where everything can be solved and everything has its place. her parents’ faith & religion has taught her to believe in the genuine good of humanity, and that if you do good things, you will be rewarded.

fast forward to 1971, when mary turned fourteen, and learned she was a witch. her parents almost didn’t want to send her to hogwarts, but mary was so excited by the idea that they couldn’t possibly say no to their little girl. so off she went, bundled up in a burberry jacket and scarf, armed with the best supplies diagon alley had to offer. she was definitely that obnoxious kid with the gold scales. mary’s parents didn’t mean to spoil her rotten, they were just sending their daughter to this place they knew nothing about for several months and this was the best way they knew to protect her. they also sent her daily letters and weekly care packages for her entire first term in first year. wow

she was sorted into gryffindor upon arriving & immediately began to make friends, thanks to her chatty & cheery nature. and also thanks to her need to have everyone she meets like her. they didn’t, of course – i’d like to say most people did, at least after the initial mary shock wore off, but of course there were those who found her overpowering and abrasive. and there were those who disliked her simply because of the blood running through her veins.

she approached hogwarts with determination & optimism. and maybe a little bit of competitiveness. fun fact: the sorting hat briefly considered slytherin for her because of her ambition and charm, but when it comes down to it, she’s a gryffindor through and through. she joined clubs, she talked to professors after class, she made neat, colour-coordinated notes. she made her presence known from day 1 and took hogwarts by storm. she wanted to be popular, she wanted to be noticed

and she was – just also by the wrong sort of people. in her fifth year, she was attacked by mulciber ( something i’ll plot out more once we get a mulciber )

but uh yeah this caused a shitload of trauma ! for one thing, she was paranoid as fuck for a long while after the attack. she was terrified of being alone, and still is to an extent. she was haunted by nightmares almost every night for months. but most of all – the attack sparked an unidentifiable doubt and sadness as she struggled to reconcile her optimistic beliefs with the horrors she now knew existed in the world.

she kept it all on the down-low, though, and a lot of people who were at hogwarts at the time don’t know how bad the attack actually affected her. because she just pulled on a pageant-winning smile, and did what she was best at – pretending everything was okay. not a great way of coping with trauma !

she didn’t even tell her parents. she knew how worried they would be, and she didn’t want them to feel like they couldn’t protect their daughter. they knew a boy named mulciber had cursed her, but they thought it was just an instance of schoolyard bullying, and mary lied and told them he was expelled because of it.

eventually, she started getting past it – sometimes she still wakes up from nightmares, sure, and she still has her bad days, but she’s surviving and growing. for now.

so ! what kind of a person is mary macdonald ? controlling. idealistic. uncertain. perfectionistic. vain. tender. materialistic. flirtatious. stubborn. ambitious. charming. conflicted. spoiled. impulsive. yearning. loving.

she likes everything planned to a tee, jotted down neatly in her favourite pink leather planner. she colour codes all her notes. her room is always neat and tidy and her makeup is always impeccable.

if this were a muggle high school au, she would be the head of the prom planning committee and it would have a 1950s theme.

she will give you way too many second chances and it will break her heart. she believes in the good of humanity with a stubbornness that’s almost naive.

she is way too dependent on validation, i’m gonna tell you right now. a total attention seeker, but she manages to be just charming enough that it isn’t annoying. her good looks don’t hurt, either.

she can be petty ! she can definitely be so petty ! and way too used to getting what she wants. i hate her

she is one of the quidditch commentators except uh … girl knows nothing about quidditch. mostly just gossips into the mic about the players while her partner commentator ( wc !!!!! ) actually commentates on the gameplay. but she’s managed to keep the position cause it entertains the audience and draws out students who aren’t as interested in quidditch

loose connection ideas: ima be honest with you, mary is a ho. gimme fwb, hookups, ex-flings. the more drama the betterrr. also, girl squad wya ?? OR EX-FRIENDS. the dramaaaa. again, would love another quidditch commentator. i’d also love a frenemy plot, a bad influence, a good influence, a one-sided crush ( on either side ), study buddies, or just straight up enemies, a bickering relationship … anything tbh

#lumos.intro #𝐦𝐚𝐫𝐲 𝐦𝐚𝐜𝐝𝐨𝐧𝐚𝐥𝐝. ｢ about. ｣

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katieusualthings · 4 years

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The reason why Kimetsu no Yaiba (KnY) is so well received by the Japanese (as such a remarkable phenomenon)

Written by Vũ trụ 一１９九

Translated by Meownie

Proofread by Alice

Everyone knows that just in a short time, KnY has almost occupied the spotlight in all fields, everyone talks about it, the number of sale in goods and comics is enormous, both of them are sold out, etc.

Following my own curiosity with this phenomenon, as well as my existent love for the original work of Kimetsu no Yaiba (the manga), I dug into this issue because, in Japan, every trend has its own root.

Taking aside all the numbers of sale or whatever, which have been analyzed by a lot of people, as I’m not a data person, I will look into the content, the storyline and the core of this phenomenon in reference to many sources and comments about KnY coming from people in this country.

Many of you say that KnY is only at an average level compared to the manga/anime general standard. Then let me tell you what the extraordinariness that an ordinary series can do.

Apparently, there are always conflicting opinions, the Japanese community is no exception. However, the pro-KnY still grows bigger and there is no sign of softening. And here are some positive comments for the success of this series.

1. The anime is excellent in graphics, sound effects, the plot details are neatly arranged, easy to understand and heart touching

Cannot ignore the fact that the anime has built up the KnY’s success. Ufotable made the anime so excellent, especially in terms of visual and sound. It makes the story more approachable and the audience more empathetic to it.

The anime is a contribution to KnY’s greatest success. But many seem to be mistaken that only thanks to the anime did KnY succeed like that?

If the anime succeeds, viewers will be more interested and curious about the main storyline, so they will try to read the original manga. But if the manga was a trashy series, they could stop buying/reading it and just wait for the anime, right? So what is the reason behind the boom in the KnY manga sales until the beginning of this year, and its rankings which are always in the top 3 of WSJ magazine?

Sometimes ago, I did a research and presentation about the anime/manga industry along with the cultural reforms that contributed to the revival of the Japanese economy after the war. In that research, there was a detailed analysis of the connection between the original manga and the anime adaptation as a yin-yang relationship. They are all for the sake of the original publisher and the animation studio, so one will complement the other.

Manga is a product which only attracts a certain group of people, it is not so popular since there are homemakers, young children, the elderly, and people who are not fond of reading, those who do not find manga interesting. But anime is more universal and extensive, as you know, Japanese families often buy a TV to watch the news or to entertain on weekends. The anime is only about hearing and watching, so anyone can access it. When a manga is adapted to an anime, it brings the original closer to the people, and furthermore, hopefully, make it to the big screen.

On the other hand, the original manga is the base, the soul of the work, so readers feel more excited when waiting for each chapter be published in the magazine, waiting for the changes to be re-compiled each time for a new volume. So the manga contributes to increasing a large number of consumers. Of course, buying DVD-BD is definitely more expensive than buying the volume.

As a result, success is mutual support between manga and anime. And making an anime warmly-received is not that easy, the good base of the manga should be credited and vice versa.

I will talk more about the content of the original in the second reason. But initially, it is necessary to distinguish: not all good originals are well-received and vice versa. Everything’s got its relative value, in which context and timing play a role.

2. The charisma of the protagonist, Tanjirou, a young boy trying to save his sister; With a warm-hearted characteristic, his story is not about “revenge” but “restoration”

11 over 10 people being asked, answered that KnY’s success comes from the main character. This is yet another compliment to the editor who directed the way for KnY, Katayama-san, for orienting to make a more gentle, kind Tanjirou, eliminating the brute in the original portray.

Firstly, it is appropriate in this day and age to have a main character who is kind and gentle, which replaces for the old MC portray, who was noisy, hot-tempered and “brainless”. Secondly, it suits the plot that Croc-sensei wants to shape, a story about a boy finding a way to help his sister to be human back, about family love and values. A character who is kind-hearted, with a loving and protective care towards his sister, is more suitable for the readers. On the other hand, the story which does not turn to revenge, but to the path of helping the younger sister to be back to normal and the main character with his sympathy for the tragic fate of the demons makes the readers/audience impressed and pleased and feel like they’re saved and soothed as well.

Tanjirou takes the crown not only because of his kindness but also the determination and strong will, as he does not forgive the crimes committed by the demons. Yes, he is surely sympathetic to them but they all have to pay for their guilt. Therefore, our main character is always consistent from the beginning to the latest chapter and that personality has never wavered.

Not to mention, there is an indispensable point in the MC of WSJ, that they all constantly try their best and do not deny what they are given.

Tanjirou carries all of those points of a MC of WSJ but still reaches many different types of audiences. Lots of mothers want their children to watch KnY so they can show more love towards their families and younger sisters like Tanjirou does.

That is the greatest success of the series. And that’s the reason why the media team take the slogan “Japan’s softest slaying demon story” to PR KnY successfully everywhere.

3. The next detail making the manga a big hit is the consistency in story theme, which is “family”

As everyone knows, the shounen mangas in general and ones in the WSJ, in particular, all discuss the solidarity. But there is a theme in KnY which reaches the audience more easily and widely: “family”. This is the affection that almost everyone can receive and understand.

The modern social situation of Japan, an Asian country, where even though family love is appreciated, the family warmth have gradually disappeared. Children who reach the age of independence and are out of a parent’s guardianship are able to easily leave the country, live independently and rarely return to visit their family. Here in Japan, the proportion of the elderly, late marriage and single people is increasing sharply. The rate of living alone now in Japan is very high and alarming. So a series about love for parents and siblings in the family is like warmth for this cold society.

From an old man’s POV who are living here: “I feel wholesome and nostalgic of the days I spent with my family, feel warm when watching KnY, and how Kamado siblings protect each other.”

The elderly do not pay attention to whatever trend is, they just watch TV basically to enjoy good work and support it.

The family theme is easy to empathize and to be delivered, so even the kids can watch and enjoy it with their mom. There are some POVs from some mothers, telling that their little kids love KnY and hoping they love their family just like the characters in the story do.

Although the context in the story is dark, the path of the story, the way expressing the theme of Croc-sensei is easy to understand, which brings in the light in the darkness and makes the number of readers become more diverse, makes the work more popular and universal.

Tbh, KnY is still very “bright” compared to many series in Japan, so a lot of children can approach this manga. Moreover, there are many cute characters and details in the story.

4. The gap between characters makes a unique way in Gotouge-sensei’s character creation

The Japanese love the interesting dynamic, and they define it as “the gap”. The more surprising gap a character has, the more popular that character is. Briefly, it is, “not judging the book by its cover”.

The first example is the character has the same or sometimes, more popularity over the MC in Japan, Zenitsu. They don’t usually like noisy guys, but because Zenitsu is a cool character and has an interesting gap, which attracts readers. Apart from his noisy, cheerful behaviour, he is a serious, thoughtful and experienced person who accepts pain and loss just like an adult.

Then there are countless characters with interesting gaps like Inosuke, Giyuu, and the Pillars. Crocs-sensei’s characters are not many, compared to a shounen series. But this is the mangaka’s intelligence to choose the strengths outshining the weakness. Although sensei does not create many characters, sensei has built the base for the character very well, for the impressive appearance of each one and makes the readers/audiences remember them deeply.

The proof of this success is that KnY goods are sold out with every character, from the most to least favourite.

5. The story is clearly set in the Taisho era, coming with its proportional design and architecture that makes the reader accessible

Taisho era is neither old nor new. The people witnessing the change in that era are still alive. But Taisho was the period of transition with the insecurities in the society. So the creation of a fantasy battle with the chaos between demons and people is extremely suitable for the Taisho era.

There are billions of reasons, like the previous parts, here would mention only main points. KnY is simply a normal series, but it is the ORDINARINESS that pulls out the EXTRAORDINARINESS and delivers those CLOSER to the readers. And this “extraordinariness” is not something that a so-normal series can do.

I love the welcoming spirit of the Japanese, they always appreciate new things, yet never forget to maintain and preserve the old ones.

Because it is a constant rule in development.

The same thing applies for the WSJ: increasing sales for the currently published series, at the same time discovering and boosting new titles. And the latter is more important than the former. But they still welcome new series that inherit such values in shounen genre, the magazine would develop the series open-heartedly if it is deserved.

I am also a fan of shounen and WSJ, I think KnY totally deserves the success it has achieved now.

I also hope it is kindly well-received because Kimetsu no Yaiba was made not to be a replacement, not to take any seats from any series. It is simply a shounen legacy in WSJ magazine. You would know that the spirit in shounen manga highly values this “inheritance” characteristic.

#Kimetsu no Yaiba #manga #anime #tanjirou kamado #kamado tanjirou #nezuko kamado #kamado nezuko #giyuu tomioka #tomioka giyuu #zenitsu agatsuma #agatsuma zenitsu #inosuke hashibira #hashibira inosuke

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argentdandelion · 5 years

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Why You Should Read: The Anomaly

Introduction & Disclaimers

The Anomaly, by Coffeelemental, is simultaneously the "Saturday Morning Cartoon of Undertale sequels" and the Sistine Chapel of Undertale fan comics in its tone, dedication, polish and detail.

(In this work, Frisk is referred to as “she”. As such, the review will refer to Frisk with corresponding pronouns. The comic also has a major character death, in case one really, really dislikes that. The following review may contain minor spoilers.)

Art

Few other comics compare to its consistent precision, polish, and detail. That said, The Anomaly's sheer amount of content (128 pages, five playable segments, several lore posts and a few animations) and dedication over the years (it started on June 19, 2016) makes the work incredible even among those few.

Its great attention to detail and polish is especially obvious because of all its human characters. Many find humans hard to draw properly: there are so many ways they can look “off”. Yet, even in the comic's relatively crude early pages, humans have perfect proportions and poses. More impressive still is how Coffeelemental draws perfect humanlike anatomy (e.g., humanlike hands) even for characters where she could easily dodge the challenge.

What the Sistine Chapel does not have: a before-and-after (left and right) comparison of turtles in business suits.

In short, The Anomaly is basically the Sistine Chapel of long-form Undertale comics. As Coffelemental points out herself, in the first fourteen pages quality and style varies. But she improves very quickly: there's a jump in quality at Page 9, and it just keeps getting better.

As per its realism/detail, characters look somewhat more biologically plausible and, for lack of a better word, more monstrous or bestial. Undyne has scales in some places, as well as (this may come as a shock) a nose, though in most shots her face is largely flat with slit-like nostrils like Lord Voldemort. (well, some fish do have tiny nostrils.)

Indeed, as impressive as it is, its stylistic approach is so unique it takes some time to get used to. Furthermore, it seems the sheer dedication to precision and detail has its downsides. In Coffeelemental’s first animation attempt, she had to slightly simplify and adjust the antagonists' designs just to make animation possible, and then she could only do it in choppy 15 FPS (frames per second).

While its overall quality is rather consistent, the style/format shifts in tone. Akin to the original Teen Titans' anime-like exaggerations, characters are drawn in a simple style for comic effect a few times.

One particularly stylish element is how Coffeelemental blends in-game mechanics (such as literal buttons) with a somewhat more realistic style and tone. Referencing how battles in Undertale are in black-and-white, the pages are monochrome when Frisk resolves conflicts. Indeed, as it’s revealed later, Frisk can only see in black-and-white ever since falling into the Underground.

Plot & Themes

“Frisk is using her personal control of the timeline to ensure monsters have a peaceful return to the surface world – but the seven who sealed them underground in the first place have some problems with this.” - The Anomaly’s About page

It's clear The Anomaly's plot is carefully planned out, as is suitable for a work of its length. That most of the work takes place after an eight-year time skip, its mentions of other timelines, and its timeline-jumping might seem like risks to a simple, comprehensible plot: it's certainly complicated other works' plots. Nonetheless, in The Anomaly these are kept balanced, leading to a plot that's the perfect blend of simplicity and complexity.

(Pre-game foreshadowing, from this page. If one looks closely, the brown goat has barely visible pink blush stickers...just like Chara. Art by Coffeelemental)

In the comic itself as well as the game, there's foreshadowing aplenty---even for the events of the game itself. One of the playable segments is even an entertaining flashback sequence in itself.

Sometimes consequences are delayed across pages; characters make plans to deal with other characters later. Given the antagonists are immune to reload-related memory loss just like Frisk, they must resort to stealth, trickery and subterfuge when interacting with her.

As befitting a work with several immortal characters, it has extensive historical lore, contextualizing the human-monster conflict and immortal characters' motives. One piece of lore even neatly resolves one big problem in the game’s background: if humans can’t use magic, how did “humanity’s seven greatest magicians” create the Barrier?

The story brings up intriguing questions and mysteries. Why are monsters losing access to their magic? What is the mysterious thing connected to Frisk? Some have been resolved at time of writing, and others have been resolved in a fascinating way that just leads to more intrigue.

While some of The Anomaly's themes (e.g., "With great power [over time] comes great responsibility") are pretty common in Undertale works with a Frisk-based, Post-Pacifist timeline premise, The Anomaly nonetheless deals with those themes in an interesting way. Its biggest theme is "Are you [Frisk] strong enough to protect humanity?"

The theme is manifold. Frisk feels obligated to protect monsters (and humans) from human-monster conflicts, but a secret confidant worries the pressure of her role is mentally running her ragged. Then there's moral strength: as the antagonists fear, despite her goody-two-shoes persona Frisk has used her power for evil, selfish, frivolous or just silly ends a few times. (e.g., flirts and jokes backfiring and leaving others aghast)

Characterization

The characterization is so widespread, so outstanding, that the reviewer figuratively can’t say enough good things about it. (But, literally, will have to do so, or this post will get awfully long)

From the first playable part. Note Undyne's higher LV. Also note she eventually joined the U.S. Coast Guard (which is technically military) here sometime eight years after the Pacifist ending, so whether she gained the LV then or earlier is ambiguous.

Characters from the game itself hew closely to their original, nuanced personalities. (This is especially remarkable for Sans, given how often his character is distorted or misinterpreted in the fandom.) It pays attention to even tiny, easily-missed quirks and variations, such as the fact Sans always takes Frisk out to eat before a serious talk (Genocide Route aside) and Undyne’s military(-esque) background and combative nature. Like in-game, characters have “portraits” when talking in the playable segments, but these ones are small full-color digital paintings with a wide array of expressions.

Many works give Frisk an undefined or pretty bland personality and background. That's easy to do, given Frisk's ever-neutral expression, rare and indirect dialogue, and only faint hints of personal preferences. Yet, in The Anomaly, Coffeelemental made the rare choice of giving Frisk a particular ethnicity and background, vague it is. (Her entire pre-Underground backstory is told within two pages) It contextualizes why Frisk was such a goody two-shoes pacifist from an early age, that one (spoilers) timeline deviation aside.

Speaking of Frisk's friendly and pacifistic ways, while Frisk is indeed as described, it's not her whole personality. Though playful, flirty and, well, “frisky”, she feels responsible for the safety and happiness of a people she brought above-ground, and has kept her role as a “time-space hero” secret. Her duty has made her something of a control freak; after a major character death she rewinds time to prevent the most minor of conflicts. But that absolute control over the timeline may yet corrupt her: she selfishly reloaded just to fix a bad grade on a test.

The Anomaly is impressive not only for its seven antagonists at once working together, but for them all having distinct personalities, approaches, and relationships with each other. Though they broadly agree on particular courses of actions, their motives and level of monster sympathy differ. Regardless of their species, it's remarkable just how humanized they are as villains.

Playable Sections

At a few points in The Anomaly, Coffeelemental chooses to convey the story in a way that is “hopefully more fun and more practical than using a comic format”. Namely, in playable downloadable games.

At time of writing, it has five playable sections. While the reviewer, unfortunately, cannot play the playable sections (the reviewer's computer is rather old), I’ve seen playthroughs on YouTube. The level of characterization, worldbuilding and general atmosphere in this playable segments are excellent. It adds lovely details that simply wouldn’t fit into a comic within a playable narrative.

The author says she’s chosen speed over polish for the sake of regular updates; nonetheless, they are impressive. Four of these sections even have a turn-based battle system, and two are so in-depth they take an hour to fully explore.

Coffeelemental says she tried really hard to emulate Toby Fox’s style and sense of humor...and she succeeded. The quirks and jokes in things like item descriptions would fit right in. Indeed, when looking out the window in the first playable section, one gets the famous phrase “It’s beautiful day outside”, in a non-threatening context, long before Toby Fox did the same thing in Deltarune.

While Coffeelemental didn’t make the music for these segments, she nonetheless curated the music for the playable segments well. Often music from Undertale is used, but for situations where Toby Fox’s music doesn’t suit the situation, she’s contacted composers.

Conclusion

This gem of a multimedia work seems rather under-appreciated on Tumblr itself, or even its dedicated YouTube channel. Truly, it boggles the mind to wonder how a long-running work of such quality could stay obscure.

#Undertale #Undertale Comic #The Anomaly #Coffeelemental

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otapleonehalf · 6 years

Text

The Princess Knight Anime, Gender and Disappointment

The 1967 Princess Knight anime is an adaptation of Osamu Tezuka’s second rendition of the manga Princess Knight. While the anime’s plot diverges from its source material, the premise remains the same: To inherit the throne of Silverland, the princess has been raised and presented to the public as a prince. Only her close family and servants know she is really a girl. However, the evil Duke Duralumin seeks to reveal the secret of the “prince”, so that his son can claim the throne instead.

Princess Knight is falsely acclaimed by many as the first shoujo manga. As academic Deborah Shamoon puts it, “to single out Tezuka alone is to ignore the work of many other artists in the 1950s and 1960s who created manga for girls such as Takahashi Makoto whose visual style is much closer to subsequent trends in shoujo manga than Tezuka’s.”

Indeed, the original Princess Knight manga shares little resemblance to modern shoujo manga, beyond the fact that it features a female lead in a fairytale setting. To solely credit Tezuka with the beginnings of shoujo manga is to commit an injustice to Junichi Nakahara, Rune Naito, the aforementioned Takahashi Makoto and many other artists whose influence on the modern shoujo genre is more direct than that of Tezuka’s. Thus, it is much more practical to examine Princess Knight as a work from the God of Manga, rather than as a precursor to any modern genres.

Another common misconception about the Princess Knight franchise is that the anime is actually about the titular character. True enough the story follows Prince(ss) Knight, as she is referred to in the English dub of the anime. (From here forth, I will be referring to her as Sapphire, name she is given in the manga.) However, Sapphire isn’t always the focus of what’s going on and, as I will address later, her character lacks the depth one might expect. Her limelight is frequently stolen by various villains as well as her cherubic sidekick, referred to as Choppy in the English dub.

Choppy, a genital-less angel in Robin Hood attire, stars in both the opening and the ending theme of the series and has entire episodes dedicated to his antics. He serves as the child companion character, found throughout many of Tezuka’s works. (And he is just as annoying and creepy as his fellow munchkins.) Believe it or not, Choppy is crucial to the plot of Princess Knight.

The real reason behind Sapphire’s boyish mannerisms is due to Choppy causing a mix up when the princess was born. Instead of receiving a red heart meant for girls, Sapphire received an additional blue heart meant for boys. Thus, implying her masculine behavior isn’t solely a matter of nurture, but an accident on the part of heaven. Tezuka’s attempt at explaining gender with a color-coded binary, bestowed by a divine patriarch, fails to address the complexities of gender in any meaningful way.

Gender refers to the internalized social expectations for appearance and behavior that align with the societal roles associated with a person’s perceived sex. Sex is meant to dictate gender and gender is meant to portray sex. But by virtue of being comprised of two-dimensional lines, the characters of Princess Knight have no biological sex from which to derive their gender. Anime characters are described by scholar Susan Napier as “stateless” and while Napier uses this word to describe characters’ lack of national identity, I believe the same idea can be applied to describe characters’ lack of biological sex.

It is through suspension of disbelief that we believe drawings represent human beings and all the biological fanfare that comes with being human, when in reality anime characters are effectively “stateless” in regards to sex and all other genetic states. Anime characters must be portrayed performing a gender that implies their sex or have their canonical sex outright stated, else the audience is left to speculate. With no state to tether to the concept of gender, the anime characters of Princess Knight dismiss human biology almost entirely. Princess Knight makes no real attempt to suspend the audience’s disbelief that its characters have realistic biological qualities to begin with.

Aside from Sapphire being born from her mother, there are no allusions to biological sex in the series. Keeping in mind that this is a program made for television in the 1960s, Duke Duralumin cannot publicly strip Sapphire to reveal her secret to all of Silverland and the families watching at home. By extension, he cannot use the sound of her voice, her measurements, or her theoretical period as evidence against her claim to the throne. (After all this wouldn’t be a very long anime if all it took for Duralumin’s plans to succeed was a single pair of bloody tights.)

So instead of the more obvious routes for determining if Sapphire is a girl or boy, the villains of the series use more roundabout methods such as asking the opinions of ghosts and magic mirrors. There’s also things like magic pens that would make Sapphire write down that she is really a girl as well as a topical cream that turns blue when it touches a boy. Through these creative methods, Tezuka consistently portrays gender as something supernatural rather than something sociological.

If we step away from Tezuka’s interpretation of gender and instead use a more contemporary understanding of gender such as that popularized by feminist philosophers like Judith Butler, we can gain a better understanding of Sapphire’s character.

Our genders are not innate. They are the result of how we have learned to habitually react to our social environments. The gender we develop over time then informs our identities which serve to reinforce our habitual behavior. When gender is “performed” it is not a conscious act where everyone within proximity is aware of the façade. Gender is a constant series of small behaviors that are meant to go unnoticed and if ever noticed, be dismissed as inherent qualities inseparable from our sense of self, rather than the result of the rigorous teachings we absorb from birth through socialization.

Due to her circumstances Sapphire learned to present herself as either a boy or a girl depending on who she is around. She has developed two behavioral personas of conflicting gender: the Princess whom is known within the walls of the palace, and the Prince whom is shown to the outside world. When interacting with anyone outside of her private circle, Sapphire wears tights, a large brimmed hat, carries a sword and is read as masculine. (It’s important to recognize that attributes associated with any gender are highly dependent on societal context. Silverland’s setting is inspired by Medieval Europe and so within that context it’s understood that Sapphire’s daily attire is to be read as masculine within her society, even though her lack of pants and flamboyant hat would be read as feminine in a modern American context.)

While presenting her persona of the Prince to the outside world, sapphire is never unsure of her true status as a girl. She simply portrays a boy as necessity dictates, like many real-life women have had to do throughout history. It is because of her identity as a girl that Sapphire is so desperately committed to convincing others of the Prince’s masculinity. As the Prince she cannot brush off accusations of being unmanly, for they could raise suspicions and endanger her secret and by extension her kingdom. When fearful her secret could be discovered, and her country’s future could be at risk, she consciously attempts to act manlier. She competes in sports, challenges adult men to duels, and even starts bar fights in order to prove that she can perform feats that girls cannot. (Because obviously girls aren’t capable of any of those things, or at least those are things girls are not expected to do in Sapphire’s society.) It’s Sapphire’s ambition and rowdiness that successfully keep suspicion of her girlhood at bay. But by repeatedly performing the act of the Prince, Sapphire internalizes the masculine behaviors she puts on and they become a part of personality.

Ironically, Sapphire’s feats of toughness only prove to the audience that a girl can indeed do all the things she claims to others are proof that she must be a boy to her fellow countrymen. However, Sapphire’s accomplishments do nothing to challenge perceptions of women as it’s made clear to the audience that Sapphire is a very special exception and not the rule.

All the other women portrayed in the series fall neatly into the categories of: wicked witches, wise mothers, or daddy’s girls. For example, the characters of Queen Icicle, Sapphire’s mother and Zenda embody each of these categories respectively. These stereotype-based character’s do nothing to convince the audience that femininity has the capacity for competence. This unfortunate lack of depth to Princess Knight’s female characters even extends to Sapphire when she embodies her private persona of the Princess known within the palace walls as Princess Knight in the English dub.

In a hidden chamber connected to her bedroom is a wardrobe of wigs and dresses that Sapphire dresses up in when no one is around. In the anime, this hidden wardrobe is treated as an infatuation of Sapphire’s. Her servants grieve for Sapphire’s situation, wishing she could be a princess all the time, implying that Sapphire’s performance of femininity in the secret chamber is somehow a persona closer to her true self. It’s apparent that the servant’s view on Sapphire’s inner desires is shared by Tezuka himself. Tezuka wants the audience to pity a girl that has responsibilities beyond playing dress up, and that a girl who cannot be a princess destined to marry a prince is one allotted a cruel fate.

When Sapphire takes on her persona of the Princess all her personality traits fade to emphasize her beauty. As a Prince Sapphire doesn’t qualify as beautiful, but after quickly changing into a dress and a wig, she is suddenly beautiful enough to make a foreign prince, by the name of Prince Frank in the English dub, fall in love with her during a Cinderella-esque night of dancing.

Prince Frank only falls for Sapphire once he perceives her as a girl. When he initially meets her as the Prince of Silverland the two share a rivalry where they compete with one another as equals. When Frank perceives Sapphire as a boy he fights alongside her or tries to outdo her, but once he perceives Sapphire as a girl he becomes smitten and goes out of his way to discourage Sapphire from attending the battlefield, even when her own country in on the line. As her love interest, Prince Frank compliments Sapphire’s good looks above any other quality.

In a Snow White inspired episode, the mirror on the wall deems Sapphire’s Princess Persona the fairest of them all, emphasizing that Sapphire’s sole accomplishment as the Princess is her beauty. A shallow and stereotypical beauty, which is dependent on her state of dress and the opinion of those around her. What’s more, Sapphire’s beauty is purely due to her status as the heroine. Being a character on the side of good, Sapphire is spared of any imperfections that are found on the faces of the series’ various villainesses. Sapphire’s Princess persona is defined as a character solely by her looks, despite her literally being the same person and having the same face as Silverland’s Prince.

The audience is meant to sympathize more with Sapphire because she has the two traits deemed most desirable in women by patriarchal society, young and attractive. (Unfortunately, ugly female protagonists in anime are all too rare.) One of the most common mistakes made by men writing female characters is that they can forget women have their own perspective from which they look at things, as opposed to their existence revolving around being looked at.

At the halfway point of the series, Silverland’s sexist laws regarding the inheritance of the throne are changed and Sapphire’s secret is revealed to the public with no consequence. Once her secret is out, the show drops the surrounding conflict, and Sapphire finally represents a non-traditional take on gender within her own society, at least in appearances. Sapphire no longer must pretend to be a boy and begins to go by the title Princess full time, yet she doesn’t change her daily attire. When venturing into foreign countries where her reputation doesn’t precede her, she is still referred to as a boy. She doesn’t correct those around her, perhaps out of habit. But as for Sapphire’s masculine behavior, particularly her acts of heroism in combat, she finds a new persona to replace the Prince.

The Phantom Knight is a masked swordsman Sapphire developed in order to outwit a villain’s scheme. But even after the Phantom Knight is no longer needed, Sapphire continues to dress up and fight as him. Instead of consistently defying the sexism she encounters Princess Knight will humbly obey her orders to leave the battlefield on account of the fact that she is a girl and the Phantom Knight will miraculously appear to fight in her place. Indeed, Sapphire finds a type of individual freedom in seamlessly slipping from one persona to another to best fit her purposes without causing upset, but this does nothing to actually liberate Sapphire from her obligation to keep parts of herself a secret from everyone around her.

It’s no longer her country’s throne on the line but her reputation as a girl who upholds the role given to her. Sapphire’s clandestine heroism as the Phantom Knight is an outlet for when she doesn’t want to accept the social constraints of being perceived as a girl, but it’s not a remedy for the narrowminded people around her responsible for those constraints.

Sapphire continues to masquerade as a boy with the only real difference being that her two genders have traded spaces. She now presents her girl persona to the public and keeps her boy persona to herself. The Phantom Knight takes on the burdens of adventure, combat, justice and heroism so that Princess Knight can tend to her romance with Prince Frank, which she can freely pursue now that she’s perceived as a girl in the public eye. And as Sapphire displayed so adamantly in the first half of the series, girls are incapable of feats performed by a man such as the Phantom Knight.

With her new secret identity, Sapphire’s gendered personas are more cleanly split than before, and traditional depictions of gender are never really challenged by Sapphire or the series as a whole. After all, what Tezuka wants for Sapphire is not for her to have a secret identity or to lead the life of a prince/knight, but for her to ultimately take on the traditional goal of womanhood, marriage.

At the end of the series the final fight for Silverland’s future becomes dependent on a magic axe. Even during the most critical point of saving Silverland, when Sapphire is to use the axe to save her country, Prince Frank tries to take the weapon away from her as he deems it unfit for a girl to handle. Sapphire must take it back by force before she can run off and save her kingdom. Once the conflict is over, Choppy takes Sapphire’s blue boy heart with him as he returns to heaven. With her canonical source of masculine behavior gone, Sapphire marries Prince Frank. It’s heavily implied that she never takes on the persona of the Phantom Knight now that her country is at peace.

While the audience is supposed to be happy for Sapphire who has found love and can finally live the fantasy once confined to a secret chamber in the palace, it feels more like Tezuka has only made Sapphire finally submit to a traditional female gender role he always intended her for. Sapphire’s conservative ending is actually the second of the anime. It closely follows the solution to Zenda’s character.

Zenda is the daughter of Satan who after daring to show kindness toward a human boy, Zenda is punished and placed in an irreversible situation where she has lost all magical powers, cannot return to her family nor live on her own. The last we see of Zenda is her walking off in to the distance with a boy she barely knows. Sapphire’s and Zenda’s fates where they must trade power for a male partner parallel each other and make for a dissatisfying, if not depressing, ending to series.

Again, Princess Knight ultimately exemplifies a very simple view of gender, where once Sapphire trades her sword for a bouquet, all her stereotypical qualities of masculinity are discarded and the act of doing so is easy and magical.

It feels odd to compare Princess Knight, with its cliché fairytale wedding as its finale and ultimate lack of commentary on gender, to other manga and anime that properly tackle the complexities of crossdressing and gender. One such series that delves into gender as one of its main themes and is frequently brought up in conversations about Princess Knight is Rose of Versailles. The comparisons between these two specific series often feel misguided since Prince Knight is much less a story about crossdressing and gender performance as it is a story that happens to include those things. And yet many people not only compare Princess Knight to Rose of Versailles but even go as far to claim Princess Knight to be Rose of Versailles’ spiritual predecessor. This claim is most likely due to the similarities these two works share in their premises. In Rose of Versailles, the Commander of the Royal Guards fails to produce a male heir, so he decides to give his daughter the name Oscar and raise her as a boy.

Beyond their initial setups, the two series have little else in common. Oscar’s sex is not kept a secret. She was raised as a man, acts as a man, but is still indeed a woman. So all of Oscar’s accomplishments are as a woman, thus bending the gender expectations assigned to women, and ultimately defying the limitations placed on women by their social role in 18th century France. When it comes to Oscar’s masculine behaviors, Rose of Versailles argues nurture as the source while Princess Knight canonically argues nature.

Sapphire does not take on adventures and face danger because she was raised as a prince but because she was mistakenly given the heart of a boy. Tezuka’s simplistic approach to Sapphire’s identity means that her gender, despite being the crux of the story, it isn’t very crucial to Sapphire’s character. In a story like Rose of Versailles, swapping the protagonist’s gender would change the story entirely. But in Princess Knight, you could change the storyline to be about a male prince who happens to like dressing as a girl, but the secret could shame him out of the throne and the plot would play virtually the same. Sapphire doesn’t defy gender roles the way Oscar does. Sapphire is merely trying to uphold two roles at the same time.

As previously mentioned there is a distinct lack of sex and by extension sexuality in Princess Knight. Sapphire’s struggle with gender is never sexual. Where as in Rose of Versailles Oscar’s troubled relationships are dripping with sexual tension. Part of this is because Oscar’s struggle with gender is an internal one. She must struggle with her own self-image and how that image will affect the relationships she wants and the duties she must uphold. But Sapphire’s struggles in the Princess Knight anime are almost completely external. She only fears her secret being outed because of the threat of external backlash that’s presumed to follow. Sapphire is never unsure of who she is and what she wants, she just has to wait for the right time to reveal such things. Much like crediting Princess Knight as the first shoujo, crediting it as the spiritual predecessor to Rose a Versailles is a stretch at best.

Overall, I believe Princess Knight’s reputation over-hypes the anime series. I don’t think Princess Knight is a good introduction to Tezuka’s work, it’s certainly not his best, and I don’t think its aged very well to boot. (I think Black Jack in any of its iterations is a better place to start for those uninitiated to the God of Manga.)

The Princess Knight anime covers little new ground in its storytelling, especially when it comes to depictions of gender. Almost every episode’s premise is directed lifted from a classic fairytale and its conservation ending does nothing to challenge to audience’s nor society’s expectation for Sapphire as a female character conceived in the 1950s. Thankfully the decades that followed produced better anime with more to bite into when it comes to gender such as Rose of Versailles, Revolutionary Girl Utena, Ouran High School Host Club to name a few. Rather than looking backwards to Princess Knight’s depictions of gender and women, we should look forwards to the improved representations that have and will continue to be created as the landscape around such topics expands and deepens.

#princess knight #anime #osamu tezuka #rose of versailles

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wackygoofball · 6 years

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you once talked about the parallels between sigurd and jaime I have to point out hat sigurd is a dragonslayer who killed fafnir ( who was a dwarf who became a dragon after killing his own father fafnirAsked his father for gold. tyrion Asked his father for his inheritance (Casterly Rock). fafnir Murdered his father upon refusal. Tyrion Murdered his father in light of multiple grievances. tyrion will end up helping dany with her dragons and/or riding one so what if jaime kills tyrion

Hi megashadowdragon and thanks for the question.

I realized I didn’t meta in quite a while, but ohwell, real life calling and all.

First of all, I am impressed that you still rememberor found a way to dig up that comment I made… years ago. Anyway, I had to revisit my own post to check, butreally, the main intention of that post was to point out the many similarities thatcan be drawn between Jaime and Brienne and Sigurd and Brynhild, less so aboutmaking predictions about how those similarities may foretell the outcome of thestory. I hope that this came across and that I didn’t make it seem like I wasfirmly believing in Jaime and Brienne fulfilling the Sigurd/Brynhild saga frombeginning to end.

After all, GRRM uses tropes and themes rather thancopying word-for-word the narrative upshots of the story he takes from. Like,JB builds on the Beauty and the Beast trope in order to subvert it, but thatdoesn’t mean it’s going exactly congruent to the original tale in terms oftrajectory (I can’t seem to recall zombie!Cat to have been amongst the ensembleof Beauty and the Beast, LOL). So Itry to be cautious when it comes to making predictions based on mythologyparallels I can spot in a narrative. After all, GRRM mixed in a lot of mythology, Norse mythology *atlarge* being the first idea that comes to my mind, wherein Jaime fits multiplecharacters. Like, you can easily parallel Jaime with Norse gods like Tyr, amongothers. Or Christian mythology with the Jacob parallels. So… I am very carefulon that territory, which is why I dare not predict future outcomes based onother story’s equivalents. It’s far too tempting to just go down the rabbithole because every story parallel you choose will give you a potentiallydifferent outcome based on the trajectory of the story itself. I am much moresold on the BatB trope and trajectory because a) GRRM has affirmed that hebased JB on that trope, and b) tropes are not the same as following a storyfrom beginning to end along the exact same lines.

However, as you rightly point out, there are greatparallels to be drawn between Tyrion and Fafnir, both taking part in patricideand developing a certain greed (hence the dwarf turning into a serpent as they aresymbols for greed) for gold, which again plays well into the Lannister gold andred theme. And I am thankful that you brought it to my attention because – alsodue to my clear JB focus – did not even think about how Tyrion very well fitsinto the Volsunga Saga in that regard, and it may well be that GRRM drewinspiration from Fafnir when creating Tyrion’s character.

Yet, strictly following that analogy (for the sakeof the argument here), Regin is the brother of Fafnir who orders for hiskilling and enlists someone else to do it (Sigurd). Now of course, we caneither substitute Regin for someone to fill into that role and order Jaime todo it or we cut out the middleman for the sake of maintaining that parallel.

But anyway, perhaps we ought to see it not so strictin terms of how the characters are related and more in terms of what they doinstead. Again, the trajectory for Tyrion maps neatly on Fafnir, as you assert,even more so in the books wherein he has embarked on a much darker route thanin the show (I won’t dig too deeply into the matter as my knowledge remainslimited on book!Tyrion, not having read those chapters in their entirety justyet).

Though that in itself should be telling, I think, withregards to Tyrion’s outcome in the overall series. I think the general themewill be that most characters will move into a gray area in terms of morality(safe for the clear villains that we have… like, Euron won’t become a graycharacter, Cersei won’t either, I daresay). Characters like Jaime are movingtowards the lighter spots whereas supposed heroes have become/are becomingmorally corrupted or at the very least tested in their morality and balancingit with the need to maybe do acts of dishonor for the sake of the people atlarge. The show did away with the dark tidbits of book!Tyrion’s journey why? We will only know once the finalseason airs, of course, but as others have put forward before me (and far moreeloquently than I do here), it may well be that show!Tyrion will move into moremoral grayness towards the end, whereas book!Tyrion may well get a redemptivemoment of some kind to move him back towards gray.

I tend to think that the show wants to link Tyrion’shaving to make tough choices between his family (Jaime) and the woman of nametitles to the grayness of his character. This has already been party exploredin season 7 wherein Tyrion was kind of hoping for Jaime not to be offed byHighgarden and looking completely devastated when he had to see what the womanwith many titles could do with a flying nuke and a bunch of Dothraki in an openfield. It was surely not without purpose that a) she questioned his loyalties beforeand after that and that b) Tyrion looked so clearly devastated and was made tobear witness of the apparent horror that the woman he chose as the one he meansto support can cause to see the overall goal of her ascending to the IronThrone being achieved. They also could have chosen to have Tyrion stay atDragonstone to await the news, but the fact that he bore witness to both thehavoc a dragon can cause on a battlefield plus the barbecuing of the Tarlys wassurely not without purpose. Which was now a long way of saying that I wouldn’tfind it farfetched if his loyalties were to become ultimately tested in season8, and further, that he will ultimately have to choose between his brother andthe mother of nukes.

While characters are supposedly uniting for thegreater purpose of fighting against the White Walkers now, I am by no meansconvinced that this is smooth transition from war to the Star.garyenRestoration Period towards the end of the series, which is to say that it maywell be that we are headed for conflict among the factions and that maincharacters who offered their support last season may still find their loyaltiesquestioned in their wish to seek power and may or may not ditch the groupeffort at least for a certain amount of time. Now, I don’t want to dig intothat whole matter because that is something people have sent plenty about and Ihonestly can’t be bothered too much about either the fandom-favorite theoriesregarding the restoration period or the hype of the characters mostlyassociated with said theories. I don’t discount their overall importance to thenarrative, I am just saying that I personally have zero shits to give besidethe plot purpose they fulfill for the overall narrative, but I have no personalinvestment in the lady with many names beyond her arc contributing to theoverall series.

But I derailed now again, sorry, I suppose I justwanted to position myself so that I don’t then get questions about a character Iam not invested in and don’t want to be bothered to bash on because, really, Ijust don’t care. The point I was heading for but kind of got away from is thatI am not entirely sure whether Tyrion *will* remain Team Lady of Many Names bythe end of the series. The fact that Tyrion’s and Jaime’s conflict has not beenwholly resolved just yet (while they wereon friendlier terms again, Tyrion did only so much as dodge the big questionsstill standing between the two – namely the consequences of his killing Tywinthat had direct impact on people Tyrion did not intend to harm with that, e.g.Jaime, Tommen, etc., for his own purposes of getting revenge on his father andI think the narrative set it up in such a way that when they met again for thefirst time in the vaults of the Red Keep that it was meant to show that Tyrionwas giving Jaime the same old argument as always instead of owning up to it)has me sold on the idea that something else is still coming with regards to thequestion of where his loyalties will eventually lie.

Now, to come back to the Volsunga Saga and theparallels to GoT/ASoIaF: I would also suggest another thought experiment justto explore the many ways of looking at it: Trade in Fafnir for the woman ofmany names (undeniable, the dragon connection is strong with her… and while sheis certainly no dwarf… she is not exceptionally tall, LOL, but now I digressfor sure). She had Khal Drogo kill Viserys with gold (hence, arguably, substituting Hreidmar, the father of Reginand Fafnir, for it), hence also having the gold aspect on her side and the ideaof greed being potentially subsumed in her ongoing quest for power even aftershe achieved to establish herself as Boss in Essos. Now fast-forward to (forthe show here) season 7 and Spoils of Warand have Sigurd (Jaime) go up against Fafnir (the woman of many names) afterreceiving orders from Regin who wants to see Fafnir gone (Cersei). Yet again,gold also plays a large role, and while Jaime is not successful in killing her,he was definitely going for it right there.

So, you see, I think that you can spin this manydifferent ways (which is the wonderful thing about literary analysis that Ilove so very much) and arrive at similar results. It neatly fits with GRRM’smode of paralleling and mirror characters. So the woman of many names does wellfit Fafnir the same way you can find reasons to see Tyrion being paralleledwith the serpent/dragon.

Now, to go back to the suggestion that Jaime may killTyrion… within the narrative, I just fail to see how he would pose such a*threat* that would make it necessary for Jaime to kill him. Tyrion… is only asdangerous as is the power he is granted. If Tyrion were to go completely rogue,hotwire a dragon and ride it into battle against his brother et al., then thatwould require some… serious turnaround and it would still make the dragon the more immediate threat to get outof the way.

Now, he could use wildfire to trigger Jaime into goingagainst Tyrion and make an attempt on his life, but I have my doubts regardingthe matter. I think wildfire will be vital to the plot in defeating the WhiteWalkers, and that it won’t be only limited to being at Cersei’s disposal,because let’s be real, it kind of loses effect and is in itself a gun she issitting on, waiting to be fired. And while Jaime will certainly be triggered byit, I think it makes much more sense for him to either then help evacuate thecity or help set up the trap for the White Walkers to walk into, seeing thenecessity. Now, if we spin this into the woman of many names going rogue andwanting to torch the capitol to thus blow shit up in red and green, then Jaimewould still have more incentive to be mad at her than at Tyrion.

If we spin it in such a way that Tyrion commits utterbetrayal towards Jaime a second time and Jaime found himself in a position ofauthority in the post-war times, then this would come close to Jaime having tosentence Tyrion to death, which I don’t really see happening, to be honest. Atleast I can’t come up with scenarios that would map with what we have been setup for in terms of character development over the past few seasons. While Jaimesaid that he would kill him, he evidently did not whenever he had a chance forit (if he was serious, he could have offed Tyrion in that vault with even justone hand and a tourney sword). Because just as evidently, Jaime loves hisbrother still, which made Tyrion’s betrayal burn ever the harder for Jaime, butthe more organic conclusion to such a conflict is that they talk it out or that Tyrion makes good onhis promise of when Jaime freed him from the prison where he said that he owedJaime his life, which makes him indebted to Jaime.

So I can actually see self-sacrifice to a certainextent far more prominently being one possible upshot of Tyrion’s arc than himgoing rogue on a dragon to require Jaime to slay his own brother instead ofhaving Jaime go through the motions of committing an additional act ofkinslaying. Generally speaking, I just don’t see Jaime offing any more of hisfamily members (and yes, that includes Cersei, the whole valonqar thing beingJaime and then going into suicide for *reasons* is nothing I am getting behind,but yet again, I digress and, yet again, I think people have written enoughabout that by now, so I would much rather focus on literally anything else). Because it would be sovery repetitive for Jaime and the Lannister clan at large. Cersei killed Lanceland Kevan and the in-laws Margaery, Loras, Mace… and kind of gave rise toTommen’s fall by making him watch that shit show *ahem*… Tyrion killed Tywin. Jaime(at least for the show… for *reasons*) killed a cousin and in-law Olenna uponCersei’s order. Like, honest to the Seven above, I don’t see the Lannistersdoing any more internal family murder. I think another family can well take aturn now.

So… to somehow tie those loose threads of thought togetherthat I have been spewing out now, anon… I think the parallel of Fafnir andTyrion most definitely fits, and I think there is a lot to be said about thesymbolism and even potential trajectory of the overall story, especially if youlook at book!Tyrion and his dark journey which neatly maps on Fafnir’s fallingfor the gold/greed. However, such analysis only ever takes us so and so farbecause, as I hope to have highlighted, we can recreate similar parallels byexchanging the players and it still matches. Because that just correlates withGRRM’s way of writing, which heavily builds on involving themes andpre-existing tropes, mythology, and narratives. That doesn’t mean we can takeone narrative and go to the end to determine future outcomes for GRRM’scharacters, though. It may well be that it will turn out eventually to be truefor one case, but at this point of time, it is simply too hard to guess whichone he may pick or subvert or abandon.

Though more on a sidenote, I will say that I would notfind it entirely unlikely if Tyrion ended up riding a dragon, as you pointed toin your ask. In fact, I would find that muchbetter than Jesus I mean King in the North riding one because Tyrion has builtup a significant relationship with those scaly nukes and I would much rathersee the dragons being okay with being ridden by a guy they learned to trustthan one that has the right Targ smell to him. But then again, I think dragonsare dicks, so maybe that is why they are more sold on the King in the North orthey just really want their mom to bang her nephew… so, who knows?

Now, speaking more in terms of *just* the show/books,I don’t think Jaime will kill Tyrion because I just don’t see where they would getthe conflict if the show has already hinted at it that there is more things toconnect them than keep them apart. If the woman of many names is supposed to bethe reason why, then Jaime should direct his anger towards *her* rather thanTyrion, and I do think that Jaime canmake that kind of rational decision, even with all those feelings involved. Thenarrative would have to make some true 180° to go back to where we basicallywere in season 5 to have Jaime be again all “I will murder him first chance Isee him.” And all atrocities I can come up that may trigger Jaime would almostalways relate to the woman of many names instead of his brother.

So, in sum: Tyrion and Fafnir parallels are awesome and I am grateful that you brought it to my attention because I missed the connection before. Ithink Jaime and Tyrion will pull themselves back together. I hope that Tyriongets to ride a dragon to prove that you don’t have to smell of Targ in order toearn yourself a ride on a nuke. And I most certainly hope that Jaime’s andBrienne’s narrative will end on an entirely different note than that of Sigurdand Brynhild because I remain sold on the idea that they are, against whatseems to be commonly believed by many people, headed towards a happier endingthan most will have in mind. Naturally, I may be totally proven wrong on thematter, but for now I reserve for myself the luxury of being in the hiatus ofsweet, sweet oblivion, wherein I can imagine all kinds of scenarios where Jaimeand Brienne live happily ever after, to finally get started on the Braime Bunch™,and that if Tyrion is meant to live till the end of the series, will spend his daysin good companionship with his brother.

*flies away*

#anon #ask #game of thrones #jaime lannister #tyrion lannister #jaime x brienne #meta #got meta #essay #kind of #it's long enough to be one lol #thanks for the question

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coe-lilium · 6 years

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Would you be willing to rank the major Apocrypha characters (Masters and Servants) from best to worst? I'm curious as to how you would rank them

Gladly :D

Be warned that this will be 90% tastes and maybe 10% narrative/objective analysis. And sorry for taking so long to answer. Also, it got long ^^’

A concise, condensed ver before the cut

- 10+/10, tie between Mordred, Jeanne e Shirou

- 9.5/10: Semirams and Shishigou Kairi

- 8-7.5/10: Vlad, Achilles, Shakespeare, Caules

- 7: Chiron, Fran, Atalanta, Karna, Fiore, Darnic

- 6, I start not caring: Gordes

- “wasted” and “still bitter after 5 years”, no numbers: Avicebron and Siegfried

- 5-4, it’s complicated: Astolfo

- 4: Sieg (and it might go down to 0, I’m serious)

- 3 to 0: Jack, Reika, Celenike

Btw, I kept them vague, but spoilers/hints up to vol4 and 5

Rank “will fight the world for them, forever in Higashide’s debt, I wish one day for Nasu to write them himself because I trust the mushroom man to make me love them even more than I already do, 10+/10″:

Mordred: SHE. Higashide’s best accomplishment in winning me over no matter other flaws. Tie with Gilgamesh as my favorite Nasuverse character ever.

There isn’t a single thing I don’t love about her (bar that atrocious “dress” under the armor, delete that). The armored and casual character design. The backstory as abused and exploited child who tries to break free of her mother influence and plots but ends up following them anyway because of her other parent rejection and, ultimately, how Morgan life lasting damage could not be undone without support. Her snarky, bratty, selfish and ferocious personality she show to the outside world and the hidden insecurities, the good heart and the ability to reflect on her flaws. Her loyalty and her desperate need for parental love and recognition as her own person. Her fighting style that is a delight to read or watch, truly a beast. Her chemistry and relationship with Shishigou, all of it. How it start in that cemetery, how develops over the course of the story, how she manage to open, connect and trust him and ultimately find a real father in him.

If I have to find a “wish this was expanded on” is her written in but not recognised by canon issues with gender/presentation which wasn’t a real issue for me until I read metas here and I’m now quite confused especially on how to write her (him?) in the future, when I’ll hopefully get at it.

The only reason I don’t completely wish for her and her Master to have been made MCs is the love I have for the following two guys and this couple steal too much of a spotlight from other characters.

Still, while theirs is a story more focused on personal growth and healing then deciding the fate of a great number of people or the world, in the end Mordred and Kairi saved each other so it could’ve still meshed neatly with the overall salvation theme. Sadly it was not meant to be but I’m more than content for what we got.

Jeanne: She. Who gets only second place and no caps lock because, a surprisingly good portrayal none withstanding, she could’ve been even better had Higashide done a bit more research (in his favour, I don’t know what kind of books on her are translated in Japanese and if the processes transcripts are among them).

For example I’ll forever maintain that, while the whole “romance” thing has a historical base (funny that, uh?), it required a way better realisation and as it’s written in Apocrypha does her character a disservice. Laeticia too, who was a potentially interesting “device” and could’ve been our outsider perspective, got derailed into more nonsense romance and aww poor Sieg and oh man, who-gives-a-damn: not me.

Also, not enough of a sarcastic spitfire or military prowess (“just waved the flag”, now that’s a funny way to write “half of Charles’ court was impressed by how good she was with every damn weapon”) for my tastes but I guess historical Jeanne is just that irreplaceable or TM chose to emphasise her piety and “sainthood” over other traits in order to avoid an Arturia 2.0.

Not a single mention to her mentors either, in 5 volumes (which is bad, extremely bad, Higashide why) and too much of Gilles de Rais nonsense but unfortunately Type Moon is committed to roll with it. Dunois, La Hire and d’Alencon never, poor me.

That said, Fate!Jeanne is really a good interpretation, firmly rooted in history and I love, love her.

Her faith and lack of hate are spot-on and are treated with respect instead of mocked.

She’s allowed to have a no-nonsense and even ruthless soldier like attitude, a protective streak (which always remind me of that promise she made to a young noblewoman to keep her husband safe and bring him back to her, or how she took care of her young squire. Both survived her) and loth of empathy at the same time.

She’s down to earth but can also be immature and have flaws and be tempted.

This post is already long as it is, so here’s some more reasons I love Apo Jeanne:

Novel Jeanne musing 1

Jeanne meta from the manga 1

Jeanne meta from the manga 2

My eternal greatest disappointment will forever be the lack of a satisfying confrontation with Shirou. You write someone able to shake Jeanne d’Arc convictions, make her doubt her conduct and moral standing when the threat of torture and the Rouen process weren’t able do so... and you don’t follow on it? Unforgivable.

Shirou: This guy. This absolute mess of a human being. I need more and no, GO, “evil alternative self” isn’t what I mean (but yeah, gimme him too). After discovering him in Apocrypha I started digging my university library to hunt down his IRL self story and there is no higher accomplishment for a Fateverse character for me. Fascinating person and fascinating take by TM, double so since I discovered dude’s still being vilified in contemporary Jp stories/entertainment and man do that enrage me.

It’s like someone mixed up a character I love (Kirei), one I loathe (Kiritsugu), shaked it and the result it’s the best possible one I could ask for.

I like the character design (both), the historical and post 3HGW backstory and how it shaped him into a Jeanne opposite (for excellent reasons), the most “Kotomine” traits like the snark and trollish attitude and how they cover all the suffering, despair and hate boiling under the constant smirk. How Higashide avoided the “turned evil” interpretation that’s prevalent in jp entertainment and made him a good person and a hero, if a misguided one and also the trapping of a “void/hollow inside” personality and instead gave him those fragments where you see he’s still a 17yo kid.

He’s not just interesting, he’s funny to read, even with all the angst going on.

The interactions with Shakespeare are great and... his relationship with Semiramis. Man, that’s excellent, excellent stuff. Can’t gush enough about how much I love them together

My only great complaint -for now, until I see a certain late discovery with my own eyes- is that all the narrative build up and comparisons between him and Jeanne (done in-universe and acknowledged within the text mind you, I’m not headcanoning here) went wasted.

How can you write two characters who mirror each other so perfectly, put them as “head” of their factions, in the same role both... and not deliver with a confrontation? The only thing that tried to do so was -ironically- the anime in ep #13, as their confrontation in the novels wasn’t as personal and as good as the anime.

Rank “good, excellent civilisation, never get tired of them”, 9.5/10

Shishigou: best father ever, 100% should legally adopt Mordred. He was/is extremely enjoyable to read about, snarky, smart, his fucked-up magus backstory had long lasting effects but managed not to destroy him, on the outside your tough, broody mercenary making hard decision but actually a good, moral person with a caring nature and, again, a great father.

As already said, his and Mordred narrative is less tied to the different views of salvation theme and more to the “people making their wishes come true” and they’re bit of outliers for the whole duration of the story but I wouldn’t change a thing (except one T_T).

His relationship with Mordred is one of the absolute highlights of Apocrypha for me, in every medium.

Semiramis: shallow reason first: charming, scheming, hot asshole-ish royalty in league with a Kotomine troll, what more could’ve I asked for? That she was an interesting char in her own right, which is what I got.

More in-depth, she’s another character I never have enough of. Begrudging sole responsible adult of red team, I couldn’t help but grin every time she had to deal with AKA team or single members, not to speak of her scenes with Shakespeare, which are both amusing and very good for characterisation.

She may not have that much of screen time compared to other faves but earned her place by making what she had memorable.

Her backstory is simple: abandoned child learns to exploit her society view on women to rise to the top and get everything she wants and fuck everything else. Which not only neatly establish how and why she became what she is but also why this broken kid, which is a sort of her exact opposite, fascinate her so much.

Speaking about our broken resident Kotomine, her chemistry with Shirou is simply great, all of their scenes are a joy to read. They have fun plotting together, they (she, dude’s either too young to notice or just let it go) casually flirts, have a functioning, mostly open relationship from the get-go that works no matter how messed up they really are and get each other’s back until the very end. Most of the more lighthearted stuff is in vol 1-2, then things gets more interesting.

See, as much as she seems to be (and like to present herself as such to enemies) the perfectly devoted Servant and is aiding Shirou… she’s also truly villainous, cold and ruthless as hell and is also very conflicted and switch back and forth on what she wants, not much as out of the War as instead from her Master in particular (don’t think bad… okay, do) for the whole series. Vol3 and 4 are a godsend for her character and you dunno how I wish we had more than a bare bone summary for vol 5 because god damn some things in that summary.

With the many, many stay night or Zero parallels and homages in Apocrypha, she come off as a sort of reverse Zero Gilgamesh and Gilles in being, respectively, the devilish member of the Kotomine - Servant pair and the “personal involvement/interest in the saint figure, sometimes verging on the creep-ish, predatory behaviour" one (Gilles was 100% full on creepy mode, Semiramis keeps her thoughts for herself and is just tempted. I strongly appreciate), “reverse” for being conflicted, but in the end being a better person than both dudes above and respecting and knowing her partner enough to let go of her worst desires/frustrations. There’s some really good stuff in these two’s relationship, let me tell you.

If Mordred-Shishigou take the cake for best platonic relationship in Apo, Semiramis and Shirou single handy destroy every competition for the romantic one.

Rank “You. I like you”, 8-7.5/10

Vlad: here’s someone I’m pretty content with how he’s written (I wouldn’t change a thing), but really wish had had more space just because I enjoyed him a lot. Higashide nailed him and I wanted more of a historical Vlad III who is a hero, a good ruler caring for his country and a ruthless warrior and executioner and none of this aspects negate the others. Plus, it was refreshing to see a Vlad III being so clearly separated from the “vampire” twist that his wish for the Grail was to erase book and legacy from existence.

Achilles: a simil Alexander, I dislike the IRL/myth dude but can’t stay mad with their Fate incarnations. I like his personality, his quirks, his relationships with Chiron and Atalanta. Loved the mocking duel (and the anime committee will hear me scream from the other side of the world if I get robbed of it yeah, I wrote this part before ep17. Fuck you A1).

I don’t even think he needed more screen time, he’s really fine with what’s shown. Not every character need to be a main one and Achilles manage to be a good secondary one, with enough development and characterisation.

Shakespeare: here’s an enjoyable dude I like to hate. Amusing character, his interactions with Semiramis and Shirou are a joy to read or watch, but, fuck this guy. May Moriarty and Saber Gilles have their way with you in Chaldea.

Caules: one of those rare beasts known as “perfectly functioning siblings” of the Nasuverese. Respect his Servant and tries to do her right till the end. A good dude.

Rank “could’ve shined more in a longer and more focused series, but okay” aka those who served their purpose, 7/10

Chiron Atalanta Karna Fran Fiore Darnic

Not really anything to say about each one here. They’re fine as they are.

Could’ve used more Darnic, the 3HGW is a fascinating subject no matter who the Einzbern decide to summon and his actions shaped the whole world of Apo. Personally I’d have cut the Jack business and expanded him as a character/treat, maybe to shed light into CT politics and magus society fuckery (because if there’s something the Yggdmillennia as a whole and each one of them in particular show is how the magi society is an aberration that twist and corrupt everything it touch). But in the end I know it was either Ygg vs CT as promised or Rulers against each other and I’ll gladly take the latter. A longer series could’ve had space for both, who knows.

Rank “nice arc. There are more interesting people but I’ve come to appreciate you”

Gordes: Probably the human character who experience more growth in the series.

Rank “wasted” and “decent what little is there, perhaps, but still bitter after five years”

Avicebron: also know as the poor thing similar to the antagonist in background and wish that could’ve worked with the themes while also being a personal foil to the protagonist in being a golem/artificial life creator and user but the writer couldn’t/wouldn’t bother with him for some reason and he only got to be the “Gilles de Rais summon Chtlulu and heroes have to team up to bring him down” of Apocrypha, with no other purpose than being a Zero “homage”.

To add insult to injury, the Adam threat does literally jack shit on a narrative point because “Servant goes stray and threaten the world, Servants form both factions have to team up to defeat him” already happened, 2 episodes before for the anime, end of vol2 vs beginning of vol3 for the novel version. And Mordred and Shishigou making an alliance with the surviving Black members was already going to be a thing after the Gardens mess. Shame, shame and shame.

Siegfried: tainbocuailnge here has written some good meta about him lately and, yeah, perhaps all of that was intended, and I can kinda appreciate it. The point is that I couldn’t give a single crap over the OC when for him to come into being means sacrificing freaking Siegfried. I may not have read as much or being already attached to the literature/epic character like other cases but… no, just no. Siegfried deserved way better than what he got in Type Moon.

Add more personal bitterness because with such numbers I thought it was finally time for the Heroes to shine and for the Masters to be sidelined and instead we got super special super powered MC. To hell with it.

If anything, Siegfried may be the only character the anime did more good than damage. He’s still there and sometimes get to act as a mentor instead of being a useful power up and then fucking off for the remaining 4 volumes.

Rank “I tried to like you, I wish I could like you, but I cannot stand you no matter what”, 5-4

Astolfo: I’ve tried to like him but to no avail (rest assured, though, that I’ll deck anyone who’ll try use that t*ap or “girl” bullshit).

It has to be that unholy combination of extremely airhead personality and mannerism, all the screen time he gets that could’ve gone to my favourites, that idiotic attempt at a “love triangle” (for the love of God, Higashide) and a voice acting that, I swear, even if I already didn’t like him from the novel the anime would’ve been the nail in the coffin. All these combined make him grates on my nerves like few other Fate characters. Perhaps part of my distaste comes from being unable to shake the feeling that the author himself don’t respect him.

I realise it’s quite… unfair, because on the page he has everything I usually like: he’s brave, he’s kind, he has morals and will maintain them in front of everything, he stand up to assholes, he save and inspire people, you can overpower him as much as you like and he still won’t care and will still fight you.

Astolfo is a good, decently written character and I really wish the franchise would just stop using him as a joke and stop being so gross to him in order to cater to even more gross “fans”.

If I were to put tastes/guts feelings aside, I could praise him for pages. I simply can’t bring myself closing the gaps from appreciating the undeniable qualities to actually like the character.

Rank: fluctuating between “your concept should’ve been handled by a more experienced narrator” and “goddamn, does your very existence piss me off”, pending more on the second as we go on, less than 4

Sieg: on the page kid’s got a good arc. An homunculus, a magus’s tool, trash to be used and disposed off, gains consciousness and, shaped by what he witness and the actions and sacrifices of heroic figures, rise to free his kin from their slavers and then find himself fighting to “save the world”. How he attained freedom and have come to interpret it and his experiences put him in the path of the antagonist and the two and their “ideologies” makes for an interesting double face of the coin, forced salvation vs free offer and answer to actual prayers. Sounds pretty great.

Unfortunately, Higashide aimed too high for his skills or didn’t learn well from Nasu and Shirou Emiya, or both.

Otakus mad because he “got the waifu” aside, Sieg do come across as too damn lucky and overpowered and there is a limit on how much the in-universe reason “damn, the Counter Force had to work hard to give him a chance to stop a Heroic Spirit with hundreds time his experience” can go before the readers start getting annoyed at Heroes dropping dead or getting sidelined just to push him forward.

I’m not a fan of these buzzwords, but the impression he’s a fan fiction OC that force the original and more interesting cast to revolve around/sacrifice for him or hijack their plots is damn strong. Scrap it, it’s not an impression, it’s exactly what happen. In at least 4 or 5 cases.

There were also too many times he bore me to death so not really what you want from your protagonist.

Another thing, more grave than personal preferences: his wish/fight firstly go nowhere, then get resolved too quickly without a fuss and then, once his goal has been effortlessly achieved, he proceeds to tag along and stole duels and confrontations from other characters, on which he had no stakes nor reason to be. What kind of writing is this?! He get the contract with Astolfo, walks in the castle and the Yggd agree on releasing the homunculi. And that’s it. Wow?

Also here’s my 100% personal reason for not having an ounce of interest in Sieg, godly writing skills or not: for once, just once, we could’ve got our first Fate solo female protagonist. An all-around badass but, at the same time, not an Arturia nor Shiki nor Arc nor Aoko clone. Who just happened to be my favourite historical figure ever.

Could’ve kept the same theme of opposing concepts of salvation, brought the Ruler vs Ruler/Saint vs Saint thing in the spotlight, with all their nice baggage of similar lives resulting in opposite views by different regrets and traumas, faith or lack (that instead got all swept under the rug, and man if the self awareness of vol4 isn’t something to behold) and after five years I still feel personally robbed of all of this, especially when it became clear Apocrypha was yet another “male protagonist with the world revolving around him while the female heroine gets to be his support/sidekick. Oh, and as already said, he get the confrontation with whom the narrative builds as her rival”. Because of course he does.

You don’t sideline Jeanne frigging d’Arc and expect me to forgive you for it.

Rank “why are you even here, why are we wasting anything on you”

Jack and Reika: ye god, why. The concept behind this Jack the Ripper? I find Fake ver superior but I’m on board. Then, first, that fucking character design. Sorry BL, reddit, MAL and whatever: putting a child in a thong is a revolting choice of character design and no, there’s no “well, she learned from prostitutes” that count. I appreciate at least the connection made with Atalanta. But the execution. Their “plot” drag and drag on and goes nowhere (hilariously so in the anime. What was the point of Jack killing some random homunculi and disappearing for the whole arc, again?). Their only narrative purpose is doing ???? for roughly three volumes, *do that* to Atalanta and shaking Sieg’s worldview. At least they grant Jeanne some badass solo scenes and to us more insight on her character. Still the equivalent of a anime-only filler, and a bad one.

Pity, really, because a child Jack who 1. is a child and act as one and 2. get heavily influenced by her/their Master and thus could either become a better person or be exploited wasn’t that bad of a twist for a famous figure but the pair was never allowed to be more than “Apo pair of rogue murderers”.

Celenike: just… begone. I cheered when she died in the novel, cheered loudly when she died in the anime and will cheer even more loudly when she will die in the manga.

#Anonymous #answer #fate apocrypha #fate apocrypha spoilers #fate meta #almost 4k words #fate series

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