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washipink · 1 year

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The Rain Review Year 4 (2014)

Welcome back to the Rain Review! This time, we’re tackling the comic’s fourth year. It spans Chapter 19: Vincent’s Story all the way through Chapter 23: The Flaherty Siblings.

This one’s the last full year of the comic’s run that I was round for. In Year 5, we’ll get into all new territory. For now, here’s another recap-style post.

Summary

Vincent’s Story is a chapter that I can summarize fairly quickly. Rain’s therapist is actually Aunt Fara’s ex. Fara’s family, particularly her brother-in-law, was not approving at all. Vince ended up disappearing on Fara because he didn’t want her to be troubled with the backlash. In hindsight, he knows this wasn’t the best play because he’s worried Fara big time. Anyway, Jessica and Rain conspire to get them talking again.

Next Chapter!

Aiken is rooming with his twin sister Kellen now. They talk about Rain and it turns out that Aiken is... actually trying to get it. Kellen still doesn’t understand or approve of her sister’s life.

Emily goes to hang out with Rain for a “Quiet Weekend” where they share another cute chat. Ky comes over and Emily gives her a word to put to her gender feels. Also, Emily shares with Ky that she’s pregnant. And pansexual also. Yes, they do make THAT joke, but it was 2014.

Gavin’s date is going really well. Like, he hits it the hell off with Ana.

Also, I usually don’t talk about any of the bonus art or the Rain Delay filler comics in these posts, but I NEED to call attention to the fact that I got Attack On Titan Jumpscared going into the next chapter.

No, no, it’s fine... it was 2014. We didn’t know. Everyone was talking about i- OH COME ON.

It truly was a different time, folks. It was almost 10 years ago...

In news that’s positive to me but probably still negative for everyone else there was also a Danganronpa filler art. Not to derail too hard, but most of these cosplay choices are banger. Except, Gavin is clearly Togami because there just wasn’t another guy that wasn’t annoying. If I believed the fandom perception of that character instead of the actual text of the game, I’d say he should be Mondo.

Anyway, back to the STORY!!!

Brother Arthur tells Chanel and Maria to tone it the hell down before they get caught, but goes out of his way to NOT give them detention for it. This leads directly into the two of them making plans for a Valentine’s Day date in which Chanel treats Maria to dinner.

Maria decides to talk to Rain about Emily. She explains that she eavesdropped on Rain and wanted to know if Emily was pregnant for real. You see, they dated in Freshman year and things ended ROUGH, which is why Maria has such a grudge against Emily.

School ends and Rain and Fara leave for therapy. In this scene, Fara kind of explains Rain’s character development to her. Were I Cinemasins, I’d be like, “Erm, that’s bad writing.”

BUT, I’m not Cinemasins and I acknowledge that Rain is the kind of girl that NEEDS someone to tell her that shit. She won’t give herself any credit without it.

This scene is one of the ones that makes me think about how even as I grow up, I see myself in Rain. She’s So Concerned About Her Friends all the time. She doesn’t give herself enough credit for all the good shit she does. She’s constantly fighting back negative self talk. And yet, she continues on anyway. I love Rain. She’s kind of the prototypical trans woman of the 2010s, but in some ways that makes her easy to relate to.

In the next chapter, Collin tries to patch things up with Fara by actually going through with getting Rain her con tickets. More on that later.

In the mean time, Fara and Vincent meet once again and at least try to patch things up. They’re not dating again, but they do end up on pretty good terms by the end of the night.

I don’t know how involved Vincent will be going forward though. He fills Rain an HRT prescription and says he’ll set her up with one of his co-workers because he’s too personally involved considering his ex-girlfriend is her aunt.

Ky, Gavin and Rudy end up hanging out because they’re all single on Valentine’s Day. Which is fine and dandy until Ky spills The Beans.

We return to Rain after her therapy session. She’s so excited to share the news... but all the friends that know her deal are busy. So she decides it’s time to tell Emily the truth. The emotional height of the entire year follows from this point to the end of Chapter 22. There are 4 different scenes overlapping, but I want to talk about them one at a time.

Emily is... really positive about it. She says she thinks she may have figured it out, but she elected to let Rain come to her when/if she decided to.

There’s a fun thing Samara does with the art in this section is playing with the distance between Rain and Emily. When the conversation starts, it’s clear that they’re in two separate locations on the phone. Emily is in her house, the blue background. Rain is in the therapists’ office, a green background. After Rain tells Emily her secret and Emily accepts her wholeheartedly, the lines start to get a little blurrier. Eventually, They’ve pulled their phones away from their faces and are standing face to face in a panel with a gradient background between their two locations. They get closer as the conversation goes on. so close that it feels like one of them could reach out to hug the other.

This was a really fun way to play with the comic’s... shall we say “lack” of backgrounds?

Now that Rain has gotten everything off her chest, she gets an idea. Remember those tickets I was telling you about? Well, Rain decided she could invite Emily to go to the con with her. But what about the other 2 tickets? THOSE are for Kellen and Aiken.

Meanwhile, at Jessica’s job, a familiar face walks right on in. That’s right, Jessica and Chase are going to go on a DATE. And that’s TERRIBLE for Jessica. Holy shit. Once again, more on this LATER.

The other really important plot line from this chapter to me is the resolution of Chanel and Maria’s date. When the night is winding down, Maria says something I’ve felt personally. She doesn’t want to go home. For once, she’s actually happy because she’s unabashedly spending time with someone she loves. In her house, all she’s got on her side is Rudy. They’re both miserable there.

If you’re a queer person with a shitty family and you’ve EVER been out of the house with your friends, I’m sure you’ve felt this one. The feeling that everything in your life is good... until you go home. Once again, I think this comic’s strong suit is exploring situations that are familiar to experienced queer readers and can be lessons to younger readers. This one hit me in the heart for sure.

Also, Randy and Ky meet again and they decide that they can give each other a shot.That’s cute.

Now, the final twist of Chapter 22: Anastacia! How many trans people are in this comic? One more than you thought before!

The final chapter of the night is “The Flaherty Siblings”.

Rain and Fara go to pick up the con tickets from Collin, who is being a lot more polite than Fara last described him. If you’ll look back, Fara broke up with Collin off screen. We don’t know what exactly he said to her until now, except that it PROBABLY involved Rain. Collin presents Rain with her tickets and Rain decides that Fara should give him another chance. So, in the future, we’ll be seeing a little more of him.

The day before Rain and Emily leave for Kellen’s house, Rain does some introspection. She finally admits to herself what we’ve probably all been thinking: She is in love with Emily. She is in love with Emily but is scared to say anything about it because they’ve got a lot on their plates and also they call each other Sis all the time, so she thinks it’d be weird.

The day finally arrives and Fara drops Rain and Emily off with her other niece. Things do not start well, but there’s an unexpected MVP in this scene. AIKEN is the one to reach out to Rain and tell her to give Kellen a chance.

I’m starting to care for Aiken as a character a lot. He’s Literally Trying. He’s putting more effort into things than my own family ever has. He always calls her by her name and almost always gets her pronouns right. He’s clearly making an attempt and he deserves credit for it.

Kellen, on the other hand, is like, MY MOM tier transphobic. She assumes that Emily is ALSO trans and directly refers to Rain as “Not a real girl” multiple times this weekend.

Emily is Rain’s number 1 shooter this weekend. Like, she does NOT let Kellen miss a goddamn beat.

My favorite Emily clap-back is this one below:

We cut to Jessica, who finds out what Chase’s deal is and is PISSED about it. I’m pretty sure things between them are over as quick as they started. I mean, dude admitted to dating a high schooler on the FIRST DATE.

Meanwhile, Kellen continues to be a fucking problem and bring up stuff that was actually just Rain’s Childhood Dysphoria. Then, Rain goes to sleep that night and has a trauma nightmare about her father. Again, I relate. I’ve been there.

Emily is once again The Best Person for Rain’s sake.

and that brings us to the end of Year 4.

Final Thoughts

Another year, another group of really emotionally fulfilling scenes. Holy shit. It’s crazy to me how consistently quality Rain’s character writing can be. It definitely helps that it draws from real life experience. Everyone in this comic feels like someone I have known or could know.

Rain is nothing if not consistent, honestly. That’s a blessing and a curse. The writing is always just right but the art style never leaves the way it always has been. Samara tries new things in this batch of chapters, though. More shot feature furniture and background details than in previous years and that one scene with the gradient background worked really well!

I look forward to seeing where Rain goes from here. Join me next time for year 5, 2015!

#Rain Webcomic #Rain the Comic #Rain LGBT #Amy's Rain Review #jocelyn samara d

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elysiuminfra · 1 year

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hi anon i love you. thank you for thisi question (i just woke up) you have no idea how excited i am to talk about this. had to make a post since it didnt wanna publish ur ask :( in the ideal world AMPHIMAL (all capitals for silly) is a 14 episode 2D animated tv show (heavily inspired by gennedy tartakovsky's work - particularly with samurai jack and primal, as well as mike mignola's work on hellboy) (AND SERGIO PABLOS!!) (wait edit: AND the old animated batman movies) HOWEVER. i have had many many thoughts about its ACTUAL format as a webcomic. i think it works best in this format cause the internal dialogue is important and you'd lose that in a show (i have many many thoughts about how media format influences tone/overall storytelling) particularly i'd like to execute it as a webcomic set with unconventional format - im very inspired by indie comics such as quinn - a horror webcomic made by moby, tumblr linked here, an artist who's work ive followed for a while and who's work first piqued my interest in breaking "traditional" webcomic format. yugo limbo and mike mignola (there he is again!) are also huge inspirations. (and another webcomic im too embarrassed to say) im in love with the idea of using the website itself as a backdrop for your visuals - it would be a mix of script, prose, intermingling with cinema-like stills as visuals - this is because traditional comics are difficult for me, i THINK in camera angles and shot layouts, not necessarily comic panels. i also plan on having annotations throughout the story, for secrets and descriptions of certain era-specific objects as fun optional facts - although when i actually put it all together on a website, this feature could be toggled. ideally it would be non-intrusive - think the note system from pentiment. the biggest inspirations i draw for AMPHIMAL though is Hellboy full stop in terms of palettes, visuals, and style. i plan on further solidifying and developing the "look" of amphimal as i do more research on victorian cultural and architecture motifs (they don't even know about the henry jekyll architecture associations) and also because i am the world's most unnecessarily detail-oriented person. my current work reflects moreso how i plan on amphimal looking when its published, with stark shadows, black shapes taking forefront, limited and striking palettes with heavy emphasis on color, shape, and object motifs. i am putting an unnecessary and frankly embarrassing amount of thought into literally every single detail (AND striving for semi-historical accuracy) (which is extremely difficult due to the lack of primary sources / bias in papers and the lack of accounts of certain aspects of victorian life, such as lgbt history and london’s underbelly of the era. particularly because many primary accounts are rife with racism, bigotry and inaccuracies - and they don’t paint a complete picture, so much of what i show WILL be speculation and not historically accurate) as for SCRIPT? behind the scenes its pretty rough - i have my charts and notes, but they're all pretty disorganized and i don't think i could share them without 1. spoiling a LOT of stuff (it doesnt differ from the original plot in any way, it just has far, far more depth into the characters - and some stuff i want to keep a secret!) 2. exposing just how deranged my note-taking skills are. amphimal currently exists only in pages and charts and key visuals i've made for myself that i MUST compile in a clean format for personal use (and sharing among those who can take peeks behind the scenes) as for key points oh boy. my favorite chapter and the one i'm most excited to write is utterson's search and first meeting with hyde. second favorite is utterson's scenes involving lanyon's death (he does die in amphimal, that i'm not changing - i thought about it at first but scrapped it) these moments show off utterson's character at key points OUTSIDE of jekyll (an absolute necessity!) - and he is, by far, my favorite protagonist out of all my projects. and i love him your honor ANYWAY ummm i dont really have much else to write other than thank u for sending this question!!! artistic format / experimentation is one of my favorite things to talk about. as for WHEN amphimal is gonna be a thing, it'll be in the future when i'm in a better living situation (and when the full amphimal theory bible is compiled - i'm obsessed with consistency between scenes and background motifs, so this will work as a reference for me once the project gets started however this will and is currently taking a LOT of research) ETA? later. possibly next year if i'm not too busy adjusting to the city im moving to. dont know yet but it'll happen. i'll make amphimal before i die promise because if i dont my spirit will never sleep peacefully

#answers #amphimal #sorry you activated my special interest (MEDIA FORMAT)#as well as victorian architecture. also had to edit cause grammar mistakes that *I* could not let slide

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less-than-hash · 2 years

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This is a very broad question, but you've gone from working on crunchy RPGs (Deadfire) to working on immersive sims at Arkane (Deathloop), so I wonder if you can talk a little bit about the similarities and differences in the approach to writing you have to adopt for the genres?

Sure!

There are a few shifts, and not all of them came with genre. One of the biggest actually came during Deadfire’s development, when we determined that we were going to fully voice the game. In games like Tyranny and the original Pillars, a lot of the dialogue was relatively baroque, often broken up with descriptive text, and usually quite long per node.

This does not work well when everything’s voiced. It’s hard for actors to get their mouths around, and the attention and stamina necessary to go through long lines (and control performance across them) can be difficult to maintain. Meanwhile, as soon as you get into descriptive prose, you’re breaking up what the player’s hearing, separating it from what they’re reading, muddling both. Which is (in part) why you might note that a lot of the Deadfire DLC dialogue tends to be shorter per node than in the base game and use a lot less description.

For me, a major aspect of the shift from Deadfire to "DEATHLOOP” was about tone and style, since the latter aims to be much more modern and widely comic than the Pillars games. It took me a few months to shift gears, to learn to write in the language of “DEATHLOOP”. It was probably the minicom conversations that finally made things click for me, giving me a sense of how far I could push content.

Meanwhile, part of the player fantasy in Deadfire, is creating and embodying your own character, so the goal for the player options is to provide an array of possible responses that allow the player to express their character (AKA roleplay) without shattering the fiction. Colt, on the other hand, is a tightly defined character. There’s a little reactivity in how he responds based on player action, but it’s pretty limited.

There are some significant structural/mechanical differences, however. For instance, we have a lot of crosstalk in “DEATHLOOP”, where characters are speaking at the same time, interrupting and overlapping one another, which is generally not even possible in dialog in the Obsidian RPGs. This requires thinking of scenes a bit more like a screenwriter than an IF writer. Except...

...you have to write most scenes in most immersive sims with the assumption that they can be interrupted at any time. Ideally, the characters then fire a bark appropriate to the interruption (hearing a noise, spotting Colt, or the like). So we spent a lot of time thinking in terms of our systems and how we might create barks that interplay with them in ways that made the world feel more alive. The response of an enemy to seeing the shimmer of an invisible player is different from that of one hearing something explode in the distance.

There’s a little of this in Deadfire, but it’s pretty limited.

In text, we tried to keep the notes in “DEATHLOOP” short(...ish) and provided even shorter summaries that called out the most important info in each document, both because the game doesn’t pause (it’s multiplayer), and because it’s an action game first and foremost. There’s also an... intimacy?... to the perspective of the notes in “DEATHLOOP”. Every note in that game has a reason it exists, a concrete bit of narrative (sometimes shallow or silly, but always present). Fantasy RPGs are a bit more flexible with this; there’s a player assumption that the world is full of books to read that exist primarily to be read by the player. That’s something we wanted to avoid in “DEATHLOOP” (even if it existed to an extent in the Dishonored games).

I’m not going to dig too deeply into the Floaty Words (tm) here, except to say that there’s a little overlap between them and points of interest in Pillars (when you click on a part of the scenery and get a short text description), in that they both exist, at least in part, to deepen and call attention to aspects of the visible game world. Our word count limits on Floaty Words were much tighter than Points of Interest, and the tone much more specific and abstract.

Finally, there’s a fair amount of story that can be told through exploration and the environment in first person that would require text in isometric. We don’t, for instance, have to spend words describing Egor’s bedside bookshelf full of clocks because the player can stick their nose right up against it. We don’t have to describe in text what a pair of Wenjies are doing, because the player is able to watch those characters move around and interact with the environment. That stuff still has to be thought about and implemented, and as a tool it can be both empowering (and immersive) and limiting (every animation costs money). Hope that was informative!

And yes, I’m contractually obligated to style the title “DEATHLOOP” every single time.

(But not really.) <3 <3 <#

#narrative design #narrative #gamedev #Pillars of Eternity #deathloop

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dgcatanisiri · 2 years

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Franchises are a funny thing, mostly because I think I’M interested in them for reasons that the financial backers of the franchises are not.

Like, I keep a list of ideas of possible spinoffs of all sorts of shows that I’d be interested in seeing spun off from the mainline concept. And the thing is, for me, these are about finding new stories in that universe and advancing the ideas, exploring things that weren’t originally.

Meanwhile, the core idea of franchises tends to be “do the same, just new people.” Which... I mean, if you want to kill your golden goose, that’s a pretty effective way to do it there.

For example, one of the things that I say majorly contributed to the franchise fatigue of Star Trek in the late 90s/early 2000s was partially the burnt out writing staff, with Enterprise inheriting the tired writers of Voyager, some of whom were the tired writers of TNG, but also it was a failure to really capitalize on the unique stories they were able to tell - network pressure said that Voyager needed to skew close to the TNG model, which diluted Voyager’s identity, designed to be NOT TNG. Same with Enterprise, a show meant to be about the founding of the elements of the rest of the franchise, and yet for the first two seasons, was stuck as just doing the same as TNG, just “for the first time!” It took first a reactive storyline, meant to be effectively 9/11 in Star Trek terms, and then a new showrunner who was actually COMMITTING to the idea of “this is where it all begins” to get Enterprise to a point where it’s remembered fondly.

Like, say what you will about the modern era of Trek, Discovery, Picard, Lower Decks, Prodigy, and Strange New Worlds all have a unique identity. It’s functionally impossible to take a script for one and plug it in to the others with just a name change and make the transition seamless, while you legit could take most any TNG season seven script and swap it for most any Enterprise season two script with minimal difficulty, and one of the great disappointments for Voyager is that once Seven of Nine joins the crew in season four, any episode from season four, five, six, or seven could be swapped for another in any of those seasons, and nothing would be out of place.

Or, to draw on another franchise, Buffy the Vampire Slayer and Angel, though sharing a universe and even writers, had VERY different tones. Buffy was all about using the supernatural as metaphors for life, starting with school and moving in to adulthood. Angel, though, settled into this idea of questioning even the concept of destiny and fate. Both shows developed their own tones and twists on the mythos.

Hell, even Hercules and Xena had this - Hercules was more or less “the thrilling adventures of the mythical hero!” while Xena, despite the campy tone, had a strong center of the question of redemption, of IF redemption is even possible, and, effectively, even if it’s not, the effort is the important thing. And there’s also Young Hercules, which was about the early days of the hero and how that character became the hero of myth and legend.

So when I think “I want this property as a franchise,” it’s about seeing the other facets of the universe. But the problem when we get to the level that makes the decisions... Well, then you get the Marvel Cinematic Universe or the Star Wars Sequels, where telling the advancement of a story and universe comes second to how much money that can get out of it. And if they’re going to get money, they want it to play to as wide an audience as possible. And that means doing the best possible to regurgitate the same story, just with a slightly different packaging.

Again, you want to kill your golden goose? Caging it and demanding it do exactly the same thing a dozen times will always do that. At least if you let it spread its wings and try to fly, you might get some real gems out of this increasing strained metaphor.

#dg rambles #dg rants

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mewpre · 3 years

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Guess my new favorite genre is fantasy by writers on Tumblr featuring polyam triads ¯\_(ツ)_/¯

Iron Widow by @xiranjayzhao, Hunger Pangs: True Love Bites by @thebibliosphere

#iron widow #xiran jay zhao #hunger pangs #joy demorra #they’re actually pretty different in terms of tone and character development but I wanted to make the joke lol #I haven’t really read novels since college but I tore through these two because they were so good #Iron Widow ends on such a fucking cliffhanger and I’m kind of pissed since it JUST came out so I have a lot of waiting to do #yay post

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fozmeadows · 3 years

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race & culture in fandom

For the past decade, English language fanwriting culture post the days of LiveJournal and Strikethrough has been hugely shaped by a handful of megafandoms that exploded across AO3 and tumblr – I’m talking Supernatural, Teen Wolf, Dr Who, the MCU, Harry Potter, Star Wars, BBC Sherlock – which have all been overwhelmingly white. I don’t mean in terms of the fans themselves, although whiteness also figures prominently in said fandoms: I mean that the source materials themselves feature very few POC, and the ones who are there tended to be done dirty by the creators.

Periodically, this has led POC in fandom to point out, extremely reasonably, that even where non-white characters do get central roles in various media properties, they’re often overlooked by fandom at large, such that the popular focus stays primarily on the white characters. Sometimes this happened (it was argued) because the POC characters were secondary to begin with and as such attracted less fan devotion (although this has never stopped fandoms from picking a random white gremlin from the background cast and elevating them to the status of Fave); at other times, however, there has been a clear trend of sidelining POC leads in favour of white alternatives (as per Finn, Poe and Rose Tico being edged out in Star Wars shipping by Hux, Kylo and Rey). I mention this, not to demonize individuals whose preferred ships happen to involve white characters, but to point out the collective impact these trends can have on POC in fandom spaces: it’s not bad to ship what you ship, but that doesn’t mean there’s no utility in analysing what’s popular and why through a racial lens.

All this being so, it feels increasingly salient that fanwriting culture as exists right now developed under the influence and in the shadow of these white-dominated fandoms – specifically, the taboo against criticizing or critiquing fics for any reason. Certainly, there’s a hell of a lot of value to Don’t Like, Don’t Read as a general policy, especially when it comes to the darker, kinkier side of ficwriting, and whether the context is professional or recreational, offering someone direct, unsolicited feedback on their writing style is a dick move. But on the flipside, the anti-criticism culture in fanwriting has consistently worked against fans of colour who speak out about racist tropes, fan ignorance and hurtful portrayals of living cultures. Voicing anything negative about works created for free is seen as violating a core rule of ficwriting culture – but as that culture has been foundationally shaped by white fandoms, white characters and, overwhelmingly, white ideas about what’s allowed and what isn’t, we ought to consider that all critical contexts are not created equal.

Right now, the rise of C-drama (and K-drama, and J-drama) fandoms is seeing a surge of white creators – myself included – writing fics for fandoms in which no white people exist, and where the cultural context which informs the canon is different to western norms. Which isn’t to say that no popular fandoms focused on POC have existed before now – K-pop RPF and anime fandoms, for example, have been big for a while. But with the success of The Untamed, more western fans are investing in stories whose plots, references, characterization and settings are so fundamentally rooted in real Chinese history and living Chinese culture that it’s not really possible to write around it. And yet, inevitably, too many in fandom are trying to do just that, treating respect for Chinese culture or an attempt to understand it as optional extras – because surely, fandom shouldn’t feel like work. If you’re writing something for free, on your own time, for your own pleasure, why should anyone else get to demand that you research the subject matter first?

Because it matters, is the short answer. Because race and culture are not made-up things like lightsabers and werewolves that you can alter, mock or misunderstand without the risk of hurting or marginalizing actual real people – and because, quite frankly, we already know that fandom is capable of drawing lines in the sand where it chooses. When Brony culture first reared its head (hah), the online fandom for My Little Pony – which, like the other fandoms we’re discussing here, is overwhelmingly female – was initially welcoming. It felt like progress, that so many straight men could identify with such a feminine show; a potential sign that maybe, we were finally leaving the era of mainstream hypermasculine fandom bullshit behind, at least in this one arena. And then, in pretty much the blink of an eye, things got overwhelmingly bad. Artists drawing hardcorn porn didn’t tag their works as adult, leading to those images flooding the public search results for a children’s show. Women were edged out of their own spaces. Bronies got aggressive, posting harsh, ugly criticism of artists whose gijinka interpretations of the Mane Six as humans were deemed insufficiently fuckable.

The resulting fandom conflict was deeply unpleasant, but in the end, the verdict was laid down loud and clear: if you cannot comport yourself like a decent fucking person – if your base mode of engagement within a fandom is to coopt it from the original audience and declare it newly cool only because you’re into it now; if you do not, at the very least, attempt to understand and respect the original context so as to engage appropriately (in this case, by acknowledging that the media you’re consuming was foundational to many women who were there before you and is still consumed by minors, and tagging your goddamn porn) – then the rest of fandom will treat you like a social biohazard, and rightly so.

Here’s the thing, fellow white people: when it comes to C-drama fandoms and other non-white, non-western properties? We are the Bronies.

Not, I hasten to add, in terms of toxic fuckery – though if we don’t get our collective shit together, I’m not taking that darkest timeline off the table. What I mean is that, by virtue of the whiteminding which, both consciously and unconsciously, has shaped current fan culture, particularly in terms of ficwriting conventions, we’re collectively acting as though we’re the primary audience for narratives that weren’t actually made with us in mind, being hostile dicks to Chinese and Chinese diaspora fans when they take the time to point out what we’re getting wrong. We’re bristling because we’ve conceived of ficwriting as a place wherein No Criticism Occurs without questioning how this culture, while valuable in some respects, also serves to uphold, excuse and perpetuate microaggresions and other forms of racism, lashing out or falling back on passive aggression when POC, quite understandably, talk about how they’re sick and tired of our bullshit.

An analogy: one of the most helpful and important tags on AO3 is the one for homophobia, not just because it allows readers to brace for or opt out of reading content they might find distressing, but because it lets the reader know that the writer knows what homophobia is, and is employing it deliberately. When this concept is tagged, I – like many others – often feel more able to read about it than I do when it crops up in untagged works of commercial fiction, film or TV, because I don’t have to worry that the author thinks what they’re depicting is okay. I can say definitively, “yes, the author knows this is messed up, but has elected to tell a messed up story, a fact that will be obvious to anyone who reads this,” instead of worrying that someone will see a fucked up story blind and think “oh, I guess that’s fine.” The contextual framing matters, is the point – which is why it’s so jarring and unpleasant on those rare occasions when I do stumble on a fic whose author has legitimately mistaken homophobic microaggressions for cute banter. This is why, in a ficwriting culture that otherwise aggressively dislikes criticism, the request to tag for a certain thing – while still sometimes fraught – is generally permitted: it helps everyone to have a good time and to curate their fan experience appropriately.

But when white and/or western fans fail to educate ourselves about race, culture and the history of other countries and proceed to deploy that ignorance in our writing, we’re not tagging for racism as a thing we’ve explored deliberately; we’re just being ignorant at best and hateful at worst, which means fans of colour don’t know to avoid or brace for the content of those works until they get hit in the face with microaggresions and/or outright racism. Instead, the burden is placed on them to navigate a minefield not of their creation: which fans can be trusted to write respectfully? Who, if they make an error, will listen and apologise if the error is explained? Who, if lived experience, personal translations or cultural insights are shared, can be counted on to acknowledge those contributions rather than taking sole credit? Too often, fans of colour are being made to feel like guests in their own house, while white fans act like a tone-policing HOA.

Point being: fandom and ficwriting cultures as they currently exist badly need to confront the implicit acceptance of racism and cultural bias that underlies a lot of community rules about engagement and criticism, and that needs to start with white and western fans. We don’t want to be the new Bronies, guys. We need to do better.

#race #racism #c-drama #fandom #fan wank #fandom wank #microaggresions #culture #the untamed #bronies #whiteness #ficwriting #fanwriting #cultural bias #discourse

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shihalyfie · 3 years

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A guide to the 02 kids’ personalities and overall demeanors

I’ve already covered the deeper details of each 02 kid’s character arc and development throughout the series, but I figured I might dedicate a more specific post about the complexities of their outer personalities, and their behavior patterns on a day-to-day basis. 02 is the kind of series that doesn’t really spell out what the characters tend to do or don’t tend to do, or what boundaries they will and won’t cross, which means it can be a bit of a challenging task to track their behavior over fifty episodes and figure out the patterns. Fortunately, these characters are written remarkably consistently over said episodes, so we have a lot to work with!

Disclaimer before we continue: In general, all of my 02-based meta is specifically written for the Japanese version in mind, but this especially applies to this one, because the majority of the nuances of the demeanor and personality traits described below were not retained in the American English dub at all (please see this post for more detail). As a result, please understand that if you’re working from the perspective of having only seen that dub, and the contents of the below post sound completely different, that would be why.

Daisuke and V-mon

Believe it or not, I would say that Daisuke is actually the most difficult to nail the nuances of out of this entire cast. This is probably a really weird thing to hear when the usual fandom mantra is that he’s “flat” or “lacking in development”, but I think the deceptive part is that while he’s simple-minded and himself doesn’t think in complex terms, analyzing his behavior as a whole and how he approaches things actually involves a lot of very delicate balances, and getting that exactly right can be very easy to mess up. Daisuke’s not a rude jerk who looks down on anyone, not in the slightest -- but he’s also not a saint who can do no wrong, either!

I think the easiest analogy (which I’ve brought up several times on this blog already) is that Daisuke is like a puppy, but not just any puppy -- a tiny puppy that barks very loudly at anything it perceives as threatening (regardless of whether it’s actually threatening), makes its feelings very clear with obvious likes and dislikes, and can do some phenomenally stupid things in a bid to please others, but in the end means no malice and only wants you to be happy.

This is to the point where I’m just going to have to bullet-point this, because there’s so much going on at once:

Excessively emotional: One of Daisuke’s earliest profiles refers to him as having “an excessively large range of human emotions”, and really, a lot of the humor surrounding him has to do with the fact he has incredibly dramatic, overblown reactions to nearly everything around him. So if he gets a little annoyed or suspicious of people making fun of him, he tends to get really dramatic about being upset, and when he experiences only a minor setback, he acts like it’s the end of the world, and when he’s emotionally hurt, he sometimes even gets set on the verge of crying (you can especially hear this in Kiuchi Reiko’s delivery). Even Daisuke himself doesn’t tend to get caught up in it for too long and gets over things surprisingly quickly, so you can take it as him just constantly being too wrapped up in the mood -- but when it really is a serious situation, he gets truly emotionally invested in it, too.

Too easy to read: Because Daisuke wears his heart on his sleeve and is dramatic about everything, he’s awful at hiding anything. Any attempt at trickery or trying to disguise his intentions quickly blows up in his face because he’s too simple-minded and too transparent.

Not malicious: Daisuke only ever lashes out or gets angry at others when he thinks others are doing something he disapproves of, or when he thinks he’s being attacked; he’s very warm and kind to everyone otherwise (even in the earliest parts of the series, when he’s at his roughest, you might notice he’s very soft around Chibimon, as if understanding that his partner is now in a very small and delicate form and needs to be treated accordingly). In other words, Daisuke is very quick to get defensive, but he has no malice or reason to be condescending towards anyone otherwise, and he’s perfectly friendly with people even when they’d provoked him earlier (because he doesn’t really hold grudges). He doesn’t attack people without reason; even when he voices dissent against what someone is doing, he very rarely, if ever, insults a person or their character directly. Even when he’s trying to state his opinions (such as when he bids for the others to accept Ken), he never forces them down others’ throats and accepts that they disagree with him, even if he’s clearly not happy with their disagreement.

Easily critical and suspicious: Daisuke is a very bluntly straightforward and honest person, and he seems to get most set off by people who act suspicious; note how his early-series outbursts towards Takeru tend to be when Takeru’s acting evasive, and in Hurricane Touchdown, he catches onto Wallace’s shady behavior even before he starts flirting with Miyako (Daisuke’s own method of trying to seem attractive to others involves just “doing something cool and hoping it’ll impress others”, so he seems to dislike the concept of flirting as a whole). Because of that, he catches easily onto “things looking off”, so he tends to call it out (even if sometimes he’s overdoing it and there isn’t actually anything significant to be upset about).

Supportive and adoring of others: Other than the moments when he gets set off, fundamentally speaking, Daisuke likes other people, is perfectly willing to acknowledge them or heap praise on them when they do something awesome, and generally cares for their well-being. He’s easily defers to others when he understands they’re better than him at something, and he even has a decently realistic scope of his limits (see how he’s perfectly aware he’s likely to lose the soccer game in 02 episode 8, and figures he might as well enjoy the experience). This is even taken to its logical conclusion in the Kizuna drama CD when he “credits” his friends for giving him amazing and insightful advice when all of it was actually pretty ordinary stuff they’d done offhandedly. It also means that, given his penchant for getting emotionally invested in everything, he has a huge emotional stake in making sure his friends are doing okay, and supports them accordingly.

Deferential to seniors/elders: Tying into the above, you may notice that Daisuke takes a properly respectful and soft tone towards his elders and seniors in nearly all occasions, even to the point of occasionally using proper polite-form language around them. All things considered, Daisuke is a pretty well-behaved kid.

Constantly getting strung around: As much as Daisuke looks like he’s aggressive, in actuality, it’s very easy to get him to back down if you argue against him strongly enough, and since he has such a “the heck is that?!” attitude all of the time, you can see him constantly getting strung around and at the mercy of things happening around him. That doesn’t mean he doesn’t have enough will to put his foot down when it becomes a really important subject (especially in the second half of the series), but it’s very often when he’ll be talked down by others around him and shrink with an “oh...okay...” In fact, this is why a lot of his actions aren’t nearly as reckless as they might be otherwise; as much as he’s a bit hot-headed and likes to lead the attack, he also has a sense of self-preservation and intimidation when things look a bit too dangerous, and will only push forward in such a case when there’s something he really believes in at the other side of it.

Lacking in self-awareness and insecure as a result: While Daisuke doesn’t have any signs of persistent self-hatred (on the contrary, there are times he arguably comes off as overconfident), it also seems that he has practically zero awareness of how he himself is doing -- which means that he ends up rolling over like an idiot trying to get others’ approval and trying to impress them, even when it’d be clear to anyone else that he already has that approval. This also likely ties into the fact that he’s perfectly capable of acknowledging others’ accomplishments and skills (see above), so you might even think that the problem isn’t so much that he thinks he’s bad as much as he keeps comparing himself to people he perceives as being that much more awesome. (Perhaps symbolic of this, he apparently has a complex over being shorter than Takeru and Ken, despite the fact that he seems to be of perfectly average height for a kid his age.) It seems that his only bar for how he’s doing is dependent on everyone’s reactions around him, hence why his ridiculous antics are significantly less pronounced when he has proper emotional support and friends to keep him in check. It’s also important to consider that this applies to his apparent crush on Hikari as well; his crush mainly manifests in wanting her approval very badly, and it’s mostly visible in terms of him losing a ton of brain cells in her presence and bending over backwards to please her or impress her. He never actually says in words that he’s interested in her, nor does he ever show signs of intending to seriously ask her out, so it’s something that’s only apparent because of this behavior, and it’s very likely he hasn’t even seriously thought through what would happen if she actually accepted him in return. You can basically see this as an extreme version of the way Daisuke tries to get approval from everyone else, and this trait of his noticeably dies down whenever there’s more important things at hand, or when he seems to be in the midst of getting proper validation from those around him.

Simple-minded and pragmatic: What’s usually referred to as Daisuke being an “idiot” comes from the fact he doesn’t play well with complex thinking, tends to settle for very simple explanations or answers, and more thoughtful types like Ken or Iori will often have to fill that part in for him. However, because Daisuke is so simple-minded, he’s sometimes the most pragmatic person in the group, because he doesn’t overthink things or get principles of theory caught up into everything. So if Ken is clearly not showing any indication of doing bad things anymore and is actively working to help, Daisuke believes he should be allowed to help regardless of what he’d done in the past, and if they’re dealing with the situation of potentially having to kill a living enemy, Daisuke points out that hesitation would have resulted in even more casualties. In essence, in a situation where everyone’s running mental loop-de-loops, Daisuke will usually be the first one to snap them all out of it and go “uh? Guys?” Moreover, this trait of his makes him very good at spotting glaring threads or asking questions about the elephant in the room, because since he works best with things that are right in front of him, he can’t not notice it.

Enjoys the little things: Because Daisuke is so simple-minded, it’s very easy to please him (this is why his chosen career path is something as simple as ramen making). Daisuke likes his friends, and appreciates even simple things around him, so he’s happy with even simple pieces of happiness -- hence, why he’s fine with potentially losing the soccer game in 02 episode 8, because he’s ready to simply just savor the experience of getting to play against a respectable and formidable opponent.

Note that the main reason Daisuke never seems to bring up any of these issues with himself within the series proper is simply that he doesn’t seem to be aware of them -- he’s too simple-minded to understand what’s going on with his own behavior in depth, and hence, this is how he can say he’s not worried about too much by the time of 02′s finale, especially since by that point he has a proper support group that’s already helping him deal with most of his issues anyway.

Daisuke also has the roughest speech pattern out of any of the 02 group (similar to Taichi and Yamato in Adventure); he has a tendency to shorten words a lot and use “rough” variants of words (for example “-nee” instead of “-nai”).

Mischievous, friendly, and playful, V-mon is pointed out even by official sources to be much like his partner (far more so than usual), and it’s likely a byproduct of the fact that Daisuke himself is very honest and straightforward about his emotions and thoughts, and so since he has nothing to hide, V-mon is pretty much exactly like him -- with the major difference being that he’s a little more outwardly friendly and less likely to lash out angrily. So he’s effectively Daisuke without that very thin abrasive exterior, and because both of them are so like-minded and friendly, they get along extremely well (albeit with quite a bit of comfortable bantering on the way there).

Ken and Wormmon

Ken is the more intellectual type that Daisuke isn’t, and even after his stint as the Kaiser, it’s clear that he’s still quite studious and naturally interested in studying things. Looking closely at his style of dress and way of carrying himself (note how he lays down his chopsticks in 02 episode 36) indicates he’s also a rather tidy person in general. Being someone who’s capable of thinking things thoroughly, this makes him able to have a lot of deep insight into both intellectual and emotional issues, but because he takes things too seriously sometimes, he can sometimes come off as a bit overly stickler or insistent (note Daisuke and Ken’s Shopping Carol, where he subjects Daisuke to a long-winded lecture about the history of Christmas, because, really, he’s a nerd), or lead himself down the wrong direction when he’s having a hard time being straightforward (such as when he comes up with some very flimsy theories about why Jogress might be dangerous in 02 episode 28).

In fact, Ken’s disposition could be considered to be the opposite of Daisuke’s in many ways; while Ken is much softer and more conciliatory on the surface, he’s actually much more assertive and strong-willed by default, and it’s made clear that, even after his reformation from the Kaiser persona, he could still be vicious if he wanted to, he just doesn’t enjoy it because he doesn’t like it and it goes against his belief system (note that he even offered to "dirty his own hands" in lieu of the other kids if push came to shove and Archnemon had to be killed in 02 episode 29, even though he clearly wasn't enthusiastic about the idea). In fact, he has a very strong sense of responsibility and believes heavily in making up for what he’s done -- recall that 02 episodes 26 and 49 involved snapping him out of it by reminding him that there were things that needed to be done, and that he himself still had many things he wanted to do that wouldn’t be addressed if he’d stayed fixated on his past. Thus, Ken doesn’t deny nor avoid anything he’d done, and he isn’t even all that prone to self-pity -- it’s just that his tendency to put too much responsibility on himself means that he also takes a while to accept everyone’s support, too, because he doesn’t like the idea of putting burdens on others.

Because Ken is actually one of the more straightforward people in this group and a fairly honest person (at least, as long as he’s not lying to himself), he might hold himself back a little bit in order to not be rude, but he doesn’t do it nearly to the same degree Takeru or Hikari would and is much more willing to speak his mind when he has an opinion he wants to voice or needs to sort out his thoughts on something. Conversely, he’s not nearly as cold as Iori can get when criticizing things (he’ll certainly be firm, but not as incisive). Most post-02 materials also indicate that he’s not above being a tease or even a little mischievous (see Armor Evolution to the Unknown, Diablomon Strikes Back, Daisuke and Ken’s Shopping Carol).

Ken uses a speech pattern that’s slightly more casual than Takeru’s, but not nearly as rough as Daisuke’s. While anime will often have speech patterns substantially change between different personas of a character, other than Park Romi’s delivery of a more condescending tone for the Kaiser and a significantly softer one for Ken, nothing about his speech pattern is substantially different between the two personas (not even the first-person pronoun), indicating that, in the end, they’re really the same person after all, just manifesting the same personality traits in different ways.

Wormmon is affectionate and clingy, unfailingly loyal to Ken, and his biggest advocate during a time when Ken is trying to relearn how to love and accept himself -- meaning that he ends up very important to providing Ken the initial support he needed before Ken allowed other friends into his life. Wormmon isn’t all nothing but clinginess, though -- he has some insight about the weight of his experiences when prompted (02 episode 46), and in fact is more than capable of calling out Ken’s behavior when he’s being unreasonable or throwing himself into denial (see 02 episodes 27, 30, and 49).

Miyako and Hawkmon

Miyako approaches everything she likes with an attitude that makes her come off as constantly having bubbles and hearts around her. When she likes something, she says so. When she doesn’t like something, she says so (and she will go off when she’s on a roll; see 02 episode 14). In fact, part of the reason she so infamously voices her opinion on people being cute is, quite simply, that it’s her honest opinion. (Note that she never actually tries to ask them out or anything -- she just wants to make it very clear that they’re attractive.)

For the most part, she adores the people around her, and, like the others in the 02 group, she’s perfectly respectful towards elders. She also loves poking her nose in others’ business and trying to be as helpful as possible, which is good in that she ends up being a huge help to others, but also not good in that sometimes she overdoes it a bit (when Hikari calls her out for being a “handful” in 02 episode 31, the word she uses is one that literally means "a little too overly involved in others' business").

Miyako is the one who gets everyone up in high spirits by being cheerful, and whose cheer rubs off on everyone else around her (see her cheerfully leading the charge into the Digital World with her “Digital Gate, open! Chosen Children, let’s roll!” catchphrase). This is something the rest of the group catches onto very quickly, asking her to supply the “usual cheer”, and the later episodes of the series especially drive home the fact that her presence and antics bring happiness to those around her.

Miyako has a similar “chaotic, sloppy, and straightforward” demeanor to Daisuke, but there are some key differences. Unlike Daisuke, who’s bluntly honest about his opinions mainly because he doesn’t really hide things in general, Miyako’s opinions will be out of her mouth before she can control it. In other words, she has a nasty case of foot-in-mouth syndrome. In addition, while Daisuke tends to have a very thin skin and lashes out defensively out of instinct, Miyako takes things much more at face value and doesn’t blow a fuse nearly as easily, but because she’s significantly more assertive and aggressive, she’s much more prone to doing what she wants on her own whims instead of backing down to anyone. In fact, Miyako is significantly more emotionally sensitive in the long run, so while Daisuke tends to blow a fuse more easily, he’s also able to shrug it off and move on more quickly, whereas Miyako has a thicker skin, but when she does take emotional pain, she takes it much more deeply and harshly. She also tends to get overwhelmed easily by stress and panic, which makes her one of the more prone to running around in circles and doing frantic things in the midst of it.

One thing you might notice about Miyako is that she’s actually more critical of herself than anyone else in the group is; most of the time they act with mild exasperation at her antics but don’t tend to criticize her directly, whereas Miyako is very aware of her own shortcomings and is constantly either criticizing herself or comparing herself negatively to others (see: 02 episodes 10, 14, 18, and 31 especially). If she slips up and does something that stepped on someone else’s toes, it doesn’t take her long to realize that she’s messed up and want to do better. So while she generally tends to act the most in-your-face and aggressive, she also doesn’t necessarily want to be this way, and suffers from self-confidence issues and a poor opinion of herself.

Miyako uses a feminine speech pattern that’s a bit more casual than Hikari’s (she noticeably is willing to use the word anta for “you”, which has a bit of a connotation of being abrupt and in-your-face, especially with Daisuke). She’s also the most likely to physically manhandle things, both in the affectionate (hugging people) and aggressive (grabbing things and jumping on them in order to attack) senses.

Hawkmon is repeatedly referred to as being like Miyako’s “knight”, since he has absolute loyalty to her (in spite of her ridiculous antics often meaning he gets strung around by her) and is effectively in charge of minding her so she doesn’t get too out of control. While his overly polite and gentlemanly demeanor initially seems like a sharp contrast to Miyako’s aggressive and messy personality, you might also notice that, at their cores, the two aren’t all that different -- both are unfailingly loyal to others, and both also have a penchant for dramatic theatrics and being a bit overly proud of themselves.

Iori and Armadimon

The key thing to know about Iori is that he’s not stoic because he’s not feeling fervent emotions, but rather because he’s constantly holding them back (this is especially apparent if you look carefully at his facial expressions and Urawa Megumi’s delivery, where you can tell his facade is often “slipping” even when his words would indicate otherwise). Since Iori is trying to live by the ideal of being a model citizen, especially under the very formal environment he was raised in, he comes off as mature for his age, but it’s very important to not forget that, underneath all that, he’s still an impressionable nine-year-old child with the wide range of emotions and immaturity of one, and when he does emotionally fall apart, everything tends to burst out (see 02 episodes 16, 44, 47, 50). In addition, Iori is never condescending about the fact he usually acts more mature than the others; the impression is that he’s much more strict with himself than he is with others, and in fact still does look up to his elders in the 02 group even when they’re obviously a lot messier than he is.

The “need to be a model citizen” is something looming over Iori’s head at almost every moment, and it’s the easiest way to understand the way he acts in a nutshell. Iori is focused on the idea of “becoming a proper adult”, which means that he’s adhering to all of these principles because he feels they’re necessary to live a proper and honest life as per the formal manners that his family background trained him into. But like a young child who insists “you have to do this because those are the rules!” all of the time, Iori is over-applying all of this, and even his own grandfather advises him that he really needs to chill (02 episodes 5, 24). In short, he struggles with thinking flexibly and understanding that life isn’t all that clear-cut, because he’s a young child. Since he also tends to bring out these things in relation to “what my father would do/say”, it’s implied that he’s basing all of this off of having only hearsay to work off of in regards to what his father was actually like, to the point of aspiring to an impossible, saintlike version of him he’d created in his head.

Note that Iori’s “rules” have less to do with institutional rules (that would be more of a Jou thing) and more to do with self-imposed personal rules; for instance, he doesn’t mind sneaking into school during a holiday when it’s obviously not hurting anyone (02 episode 6), but he struggles with things like wasting food (02 episode 3) or not formally introducing himself to an elder (02 episode 5). So in other words, his adherence to principles has heavily to do with “the right and proper way to live” more than anything, and what he believes is the right thing to do in a given situation.

Iori’s journey in 02 is largely fueled by the fact that, as an inheritor of sorts of the Crest of Knowledge, he has a sense of “I want to know and understand more” whenever he sees something that makes him curious, but unlike Koushirou’s desire to learn more about the world around him in terms of its technical workings, Iori mainly wants to know more about people. The reason he begins to let go of his inflexible mindset is that he has the humility to understand that he still has a lot more to learn and understand, and when he sees behavior from others that doesn’t make sense, he does his best to learn more about it -- hence how his aggressive probing into learning more about Takeru allows them to reach an understanding and eventual Jogress, and how he’s able to eventually reassess his own view of human morality and emotions.

Iori sticks out in that he almost always uses the formal variant of Japanese in most situations (nobody else in the 02 group does this). However, formal in this situation doesn’t necessarily mean polite; Iori doesn’t believe in flattery and will bluntly state his opinion in said formal tone, and will be very cold towards something he sufficiently disapproves of or doesn’t have any respect for, which can make him even come off as passive-aggressive at times. (Noticeably, while he still asserts his own opinion, he does refrain from criticizing the others in the 02 group too much, presumably because he respects and looks up to them a lot as his elders, regardless of how chaotic they can sometimes get.) In addition, because a lot of his demeanor comes from him restraining himself, when his emotions are sufficiently pushed over the edge, he loses grip on the polite form and starts “lapsing” back into the casual one.

Because Iori was so young during 02, and because the events of its story ended up really upending his view of the world, the huge eight-year gap between 02 and Kizuna makes it difficult to predict certain things about his demeanor at the time of Kizuna (especially since his own voice actor commented on the difficulty of conveying the nuances of Iori’s character, thanks to only being able to work with the limited time frame of a movie that doesn’t put him in the kinds of emotionally drastic situations that push him to his limit). That said, everything we’ve seen of him in the movie itself and the drama CD makes reasonable sense; now that he’s much older, he comes off as having much better restraint on his emotions and coming off as genuinely calm, but he’s still not one for flattery, and you can still see very minor slips in his facade every so often.

Armadimon also initially seems like a sharp contrast to Iori in terms of demeanor, in that he’s much more casual and laid-back, and he’s indeed a huge factor in reminding Iori to chill once in a while -- but, much like Iori, he prods and asks questions about anything he’s curious about. This initially seems to be out of simple-mindedness because, being a Digimon, he doesn’t understand human society that well, but his very basic questions often end up snapping Iori back to reality in realizing that he’s getting hung up on things that don’t actually make practical sense. Urawa also felt that Armadimon fills in some of the void that Iori’s late father left behind, in that he provides Iori with unconditional love and helps guide him.

Takeru and Patamon

Takeru is the kind of person who seems to dislike major disruptions to the status quo, so he doesn’t say anything inflammatory that’ll rock the boat. It’s very difficult to get him to talk about serious topics related to his deeper personal feelings (02 episode 17, 35, Spring 2003), and even when it’s clear he might have more misgivings on the situation, unless it’s an urgent situation where it needs to be brought up, he won’t voice his misgivings too clearly for the sake of not causing trouble (hence why Daisuke is so unsure what to make of him in the early episodes of the series, because Takeru constantly fails to clarify his own position in favor of a “good for you” or “sure, you keep believing that if you want” attitude). This also makes him the most likely to awkwardly change the subject or try to distract with small talk, and it means that, even when he’s saying cheerful, pleasant things, it’s very likely there’s pain or uncertainty under that initial facade. (Note that while his suspicions of Ken during 02 episodes 25 and 27 aren't nearly as vicious as Iori's turn out to be, we learn that he's still willing to quietly accuse Ken of working for his own self-satisfaction in the latter episode, but he never brings this up to anyone but himself.)

Because Takeru isn’t necessarily doing this to be consciously dishonest, it does mean that he also has positive applications of this tendency to take everything in stride and keep the peace, because he ends up keeping the more extreme personalities in the rest of the group in line and acts as an effective mediator. You could say that he has a pretty high amount of tolerance and a capacity for taking everyone’s points of view in mind. However, since it’s also very difficult to tell what he himself is thinking, his use of this as a poor coping mechanism for his personal trauma leads to a tendency for him to suddenly explode in a mess of emotions whenever something gets too personal, leading to sudden conflict, and with others at a loss in terms of how to deal with him (the most extreme example being 02 episode 19, but also present in 13, 11, and 34). This “two-sidedness” is why it ends up having to be the more consciously methodical Iori who steps up to try and understand him better as his Jogress partner.

Fortunately, Takeru shows signs of becoming more straightforward in the aftermath, although you can see that he still has a penchant for mild flattery and “trying to hold back for the sake of not being rude” all the way up to Kizuna (but, again, this can’t be said to necessarily be a bad thing when it means he has a valuable skill as a mediator).

Takeru has a fairly neutral speech pattern that comes off as casual but not too aggressive or assertive (not as absurdly polite as Iori’s, but slightly less assertive than Ken’s).

Patamon initially still seems to be “immature” in the same way he was in Adventure, which initially seems to widen the gap in personality between him and Takeru, but looking closer reveals that the differences aren’t as big as they seem; Patamon seems to have gained a capability for slyness and active trolling behind his playfulness (see 02 episode 7), not entirely like Takeru starting to use his evasiveness in a teasing-like manner. Moreover, Patamon does actually seem to have gained a bit of proper maturity in the meantime; see how he instructs the Baby Digimon on convenience store food in 02 episode 3, and in general seems much more willing to take independent action in ways he didn’t always in Adventure. Noticeably, Takeru’s difficulty with his own convoluted feelings means that he can’t even have a proper heart-to-heart with him about it on the situation (most glaring in 02 episode 34, where it’s implied that Takeru would rather leave Patamon to be happy right now instead of bothering him about it), especially because he’s clearly having difficulty even working it out with himself. However, despite their ostensible differences in mentality, Takeru and Patamon have no difficulty getting along at all in 02, and, other than Takeru pampering Patamon a bit, there isn’t all that strong of an impression of them being so mismatched -- perhaps because, in the end, they really aren’t all that different.

Hikari and Tailmon

Taichi stated in Adventure episode 48 that Hikari has a problem where she's so selfless and thinking of others that she'll never speak up about her own problems. Hikari states in 02 episode 31 that she compulsively cannot speak out about her own feelings even if she wanted to, to the point she’s jealous of Miyako for being able to be more open (even if it means being overkill at times). As a result: if Hikari’s talking about “the right thing to do”, or something for everyone’s sake, or something that’s relevant to other people and what’s best for them, she will be extremely vocal and quick to act, and she’s not above even chipping in with criticisms (see: 02 episodes 19, 32, 44). In fact, she’s fully capable of being playful or toying with others if she really wants to (see how she casually manipulates Daisuke into calling a lunch break for everyone in 02 episode 6).

The moment the issue at hand is about herself, though -- her own feelings or pain, or something that might hurt others’ feelings (hence the presumable reason she dodges Daisuke’s affections rather than proactively doing anything about it), or something that would put a burden on others for her own sake -- she completely clams up and refuses to do or say anything, and when bad things start happening to her, she resigns herself to her own fate and concludes she can’t do anything about it. Hence, why she takes such a defeatist attitude towards the Dark Ocean swallowing her up in 02 episodes 13 and 31, and why it’s such a big deal if she even so much as asks for help. 02 episode 31 indicates that Miyako reaching out to her is an important step in breaking her out of her shell, and the Kizuna drama CD -- which has Hikari assertively declare something she personally wants -- heavily implies further that Miyako was instrumental to this becoming possible.

Hikari is compassionate for others to the very end, expresses pity for BlackWarGreymon as early as 02 episode 31, and catches on quickly to Ken’s feelings on himself in 02 episode 37 (and even back when she’d been more skeptical about him in 02 episode 25, she never seemed to have real personal distaste against him as much as she still wanted to make sure he was trustworthy first). But although she’s one of the most compassionate in the group, she’s also one of the most assertive in the group. This leads to something that initially seems like a paradox: she’s actually more fervent about the need to fight than the more aggressive Miyako is. Miyako is, ultimately, emotionally caught up in everything and briefly falls apart at having killed LadyDevimon in 02 episode 44 (even despite knowing how horrible of a person she’d been), but Hikari is the one who points out that there would have been more victims if they hadn’t. 02 episodes 25 and 43 had made it abundantly clear that Hikari didn’t like it at all, but she states in 02 episode 37 repeatedly that they need to prevent there from being victims -- meaning that she values the importance of protecting all lives, including those who would be hurt in the process, and thus has some of the more resilient guts when it comes to the prospect of fighting to save others. Again, her hesitation only comes into play at its worst when it has to do with herself; working to save others is a no-brainer.

Hikari uses a casual feminine speech pattern that’s less in-your-face than Miyako’s, but she’s still a bit more casual than she was in Adventure, when she used the more polite watashi instead of atashi. Interestingly, Tailmon herself seems to have mirrored this as well, presumably because now that she’s had more time to recover from her miserable life under Vamdemon, she’s able to enjoy her life a bit more freely. This means that, while Tailmon is still the most mature and put-together of the Digimon partners in the 02 group, she sometimes acts a little more casual and playful in a similar way to Hikari, and while she has a certain degree of stuffy personal pride (see how she wasn’t very amused at how frivolously the other Digimon were playing around in 02 episode 3), she’s still open to enjoying herself a little more freely. Hikari, for her part, becomes surprisingly like-minded with her during those times -- see them in 02 episode 12 -- and, as stated earlier, it’s not like Hikari isn’t up for making tough decisions when they’re needed, either.

#digimon #digimon adventure 02 #digimon adventure last evolution kizuna #shihameta

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cant-think-of-anything · 3 years

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I think part of the reason that there’s such a dissonance between what kind of character Matthew is ~supposed~ to have and what kind of poor traits shine through, especially in his treatment of Alastair, is not just because of CC’s poor handling of alcoholism (and, in my opinion, mental health issues and depression) but also because: Our first introduction to these characters happened a long ways before some major changes to TLH.

Namely… Alastair and Cordelia were basically white in CC’s original planning. There’s just no way around that. Their flower cards, where they’re not just whitewashed but purely white, prove that (and they STILL haven’t been updated, by the way.)

Also, Alastair’s hair: in CoG it was dyed blond, and CC wrote it off implicitly as a racism thing when she decided he was Persian (which I guess happened after the short story where we met Alastair and before TLH) , which would have been fine it if it was an arc written better. Except, I don’t think she realized that it would make Matthew’s comments about Alastair inherently and obviously racist, being a white author. And I doubt that it will be dealt with and named or even acknowledged outright in the final TLH installment.

Kind of the same thing with Cordelia. I’m not saying POC can’t have like red hair because obviously POC don’t come in a prepackaged set of five or six traits that are all configured randomly, but something has always rubbed me the wrong way about the way that CC writes the majority of her POC and especially WOC as exotic. I mean, Kamala as a character is to me a special favorite (even though CC did her dirty and didn’t do a good job portraying her character or intersectional identity) but I rolled my eyes so hard when she had lighter brown or “amber” eyes in canon or officially commissioned art. With Cordelia, I know CC once said she uses henna to redden her hair which is great for her, and I guess I have less of a bone to pick with that because it’s semi(?) realistic, but still. Also the fact that so much of her description as a beautiful person comes from her hair. Again that’s cool, and women of color should be loved wholly including being loved for the parts of them that they freely change (such as Cordelia’s hair) but… the proportion of the fixation on her hair as what makes her lovely rubs me the wrong way sometimes. I feel like it’s sometimes an out from CC making the ~scandalous~ decision that a woman of color can be beautiful because of the traits she is born with. Idk it’s just for me I had this long standing repulsion towards my colorings and my facial structure and white girls would tell me I was whiny about it and then I finally began to piece together things like “Eurocentric beauty standards.”

Going on a tangent slightly, but something else that bothered me was when Anna insulted Cordelia after buying her those dresses and everyone kinda treating it as a compliment? And just cause Cordelia, a fictional teenager, didn’t get mad about it doesn’t mean readers of color can’t see the underlying racism behind “Cordelia looks MUCH better in these dresses which are SUITED for her skin tone.”

I think that narrative could have been handled much better: if it was Cordelia picking out her own clothes as an act of maturity and self-realization and ownership, if Cordelia herself said (in a different way lol) “Damn right I can wear lavender ruffles if I want to and crimp my hair but I’m not going to let white fashion prevent me from outshining everyone because dark skinned women INVENTED jewel tones.” And I think some people will argue that Cordelia’s context makes this too self aware of a development but I would say that it would have been a powerful part of her development outside of her relationships, especially considering that she’s supposed to be a main protagonist. Full arcs for the win baby!

But even aside from all that what bothered me about Anna’s dresses was the fact that it was a white woman showing the “truth” or the “right way” or “saving” a woman of color, a trope which I don’t think CC intended but committed nonetheless. I think from a white author POV the thinking was “Anna is such a free bohemian who lives true to herself and she’s going to help Cordelia become that way too,” which irks me because I feel like that just worked against CC in terms of POC rep and also because that same ideology is used in an attempt to make Anna’s treatment of Kamala justified even though Anna as an out person, with racial and economic privilege and the support of an extensive and powerful family network, pressured and tormented Kamala into coming out.

I have a lot of thoughts on that relationship, mainly: it shouldn’t have been dragged out this long because from the beginning, Every Exquisite Thing, it was clear they were looking for different things. And if CC had left it at that and let them go on their separate ways after a week of knowing each other that would have been fine: Kamala can’t do an out and proud relationship and Anna doesn’t want secrecy, so they’ll develop on their own. And then later Kamala’s pursuit of Anna in the actual TLH books was I think meant to be a thing about “the lengths you’ll go for true love” but it felt forced. Honestly… It just feels icky. like this woman of color is just so hung up on this white woman who abuses her repeatedly and can’t handle her own misogyny and internalizations. And I hate that because both had such awesome potential! To me it’s less that I dislike Anna ( I’d need a whole other post to explain that) and more that I dislike CC for wanting so bad to claim sapphic rep but not wanting to put in the effort to portray it effectively- and pretty much all that entails is writing the relationship without acting like it exists in a pseudo-vacuum where the history and realities of interracial relationships and queerphobia don’t exist in the way we obviously recognize and experience.

And characters like Cordelia and Alastair are amazing and have so much potential; I think the true origin of the problems with their portrayal is that they weren’t really intended as POC or even queer representation in the first place. I don’t know if Cassie would have taken a different approach to her characterization had she known Alastair would be a brown gay man when she first introduced him, but I hope it would have at least made her more conscientious of the inherent application of colonialism and racism in her storytelling from that point onward.

I want to finally add that I’m not saying any portrayal of racism is bad. I’m saying that the racism in the story is not part of a conscious framework that critiques racism appropriately. I think CC wrote the beginnings of the narrative, decided she was going to develop the diversity point content, and then either didn’t look back at the older content to analyze it and the other (white characters) through a new lens of race and outsiderness and queer personhood, or she looked at it and didn’t know what to do with it, or looked at it and didn’t care.

Sorry this got so long! Thanks for listening.

- A.

I feel like CC handled everything poorly in regards to characters who had a lot of potential.

The fact that Cordelia and Alastair are both originally white and it's so obvious in the way every bit of racism is handled by the characters. Matthew's comments in CLS are very important and they should've been handled with the same severity that Alastair's words were. CC changing the characters to POC was a big decision and when she did so she should've went back and actually read her own material. I can assure you that it will not be handled in CHOT, my expectations for CC recognizing the importance and gravity in the words she writes regarding racism or any of her "implied racism" bullshit have gone to the ground.

Because while golden eyes are obviously so easy to write when discussing discrimination obviously racism is out of the question /j

THAT'S EXACTLY IT, women of color in these books are so pathetically rare that on the rare occurrence that she does write them they should all be given these features that aren't as common in POC and written as more beautiful because of those features. I read CHOG after I became more appreciative of my ethnic features but if I had read this a year or so ago? Or even if I had read it after just feeling insecure in general? It would've been awful. The implication is that the lighter features in POC are the most beautiful, with Cordelia's red hair being put on a higher pedestal than her dark eyes and Kamala's eyes being focused on more than her hair (because I literally went back and counted the numbers to prove it and it's exactly what happens.)

I'm sure Cordelia's hair is stunning, but it's the way that when she's described (or more accurately being sexualized) it is just her hair and body that is shown, not the color of her skin or the color of her eyes.

God the pastel thing pisses me off so much. It's not even that Anna tells Cordelia that she would look better in darker colors it's that she says it suits her skin tone. Implying that anyone with brown skin should be barred from wearing pastels. And Kamala? In the few times she is described, she's wearing dark colors or champagne gold, never light blue or purple or pink WHICH HONESTLY SUITS HER PERSONALITY. It's also the way that the dresses Anna sent her are described to be more revealing- it's weird. Anna barely knew her when she started dictating everything that Cordelia could put on her body.

“Damn right I can wear lavender ruffles if I want to and crimp my hair but I’m not going to let white fashion prevent me from outshining everyone because dark skinned women INVENTED jewel tones.”

I literally would have loved that. It recognizes that she doesn't need to follow these "rules" on what to wear but still shows her choosing what she wants to wear without making all the darker skinned readers feel like they can't wear a certain color.

I think what some people fail to realize is that these books are also aimed at upper elementary and middle school and a middle schooler with dark skin reading something like that? In a book with characters they love? It's going to be so harmful

Someone else mentioned that CC said Kamanna's relationship was complicated because Kamala didn't defend Anna: Defend her FROM WHAT? Literally what is there to threaten Anna?

These books are filled with tokenism and then praised for it. The idea of Kamala X Anna has so much potential but they're portrayed in such a toxic way. Throughout the last through books Kamala puts herself through so much guilt and regret and turmoil just for Anna to literally use her, blame her, and cast her aside. And it's so fucking annoying because it pushes this idea that this woman of color who was terrified and in an extremely vulnerable position is in the wrong for choosing her safety and presents them as guilty and shameful for doing such a thing.

I would disagree, the portrayal of racism is bad, because it is used at random points in the story and never brought up again, if you interduce racism take it seriously it's not the kind of thing you're meant to half-ass in a book thousands of people will read

I agree on everything else though, so much of these books are incredibly harmful and they are presented to a young audience so it's overall just a gross situation

Thank you for the ask though! I loved answering this, if you ever have anything else you're more than welcome to come back <3

#kamala joshi #alastair carstairs #cordelia carstairs #tw racism #tw sexualization of minors #tw sexualization #anti anna lightwood #anon #asks #tw swearing #long post #tlh #anti cc #the last hours #let me know if i missed a tag #also let me know if i got anything wrong

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thepapergirlandthespiegelman · 3 years

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Castlevania Season 4: I’m not mad, just disappointed

Season 4 is poorly written fanfiction, which is...better than a lot of things could be, I guess.

Spoilers below the cut.

Content warning: trauma, sexual assault, psychological manipulation

The Gods Have Had a Change of Heart

Or, “Season 3 Blocked and Ignored”

Season 3 felt like the fabric of the universe had been twisted just to inflict additional pain. Season 4 overcompensates in the other direction; trauma evaporates, and good things happen for no other reason than to make our favorite characters happy.

The Season 3 finale left two characters in particular totally devastated: Alucard and Hector. Alucard is violently betrayed in a horrifying sexual assault by the first two people he’s spoken to since Trevor and Sypha left. He ends up killing them in self-defense and puts their bodies on stakes outside the castle, alluding to his father’s habit of doing so and potentially hinting at a turn toward evil. Hector is seduced by Lenore and then enslaved using a magic ring.

Yet at the start of Season 4, it’s as if these things never happened. Alucard is troubled, but not totally devastated, certainly not evil. Taka and Sumi are referenced in exactly one conversation with new character, Greta, in which she says the rather tactless throwaway line, “I had a boyfriend and girlfriend at the same time once. But they never tried to kill me.” Hector is nominally imprisoned, but immediately seems highly agentic, perhaps even more so than before. He studies, lays traps, and makes secret plans with other people. Furthermore, his relationship with Lenore is completely transformed. From falling to his knees in abject horror and despair at being enslaved, he suddenly switches to light banter, in what is apparently a basically okay, mutually enjoyed romantic/sexual relationship. Manipulative, selfish Lenore is now a sympathetic character struggling to reconcile her own role and feelings with Carmilla’s plans.

The events of season 3 happened, remaining canon in the most basic, literal sense. But the emotional weight attached to them has disappeared into thin air.

Not gonna lie, I did breathe a sigh of relief when I saw that Alucard and Hector were okay. I’m soft-hearted! I don’t like seeing characters I like suffer! I mean, conflict is important, and I can deal with (or even enjoy in a certain sense) seeing characters suffer if it makes sense and serves a narrative purpose. But as far as I can tell, the season 3 finale was nothing more than lurid, meaningless violence. I probably wouldn’t have continued watching the show if it devolved into nothing more than finding novel ways to torture the characters.

Still, it doesn’t feel quite right to pretend like nothing happened either. Or, really, not that nothing happened, but that those things didn’t matter, didn’t hurt, didn’t leave lasting scars. That’s...almost kind of worse.

But, I thought, I can sort of forgive this sudden shift in the stars, given that there may have been some sort of change in creative direction relating to Ellis’ decreased involvement with the show.* Plus, season 3 was insanity. It’s not like it was full of great writing choices, so if we quietly ignore some of them, maybe that’s for the best.

*I only later learned that Netflix actually chose to continue with Ellis’ season 4 scripts. It is not lost on me that maybe Ellis doesn’t know how to write about the lasting effects of traumatic sexual experiences or how power dynamics can make a sexual relationship problematic because he doesn’t understand that those things exist.

Characters Being Nobody and Nothing Happening

Pretty Pictures, Not Much Else

Unfortunately, the disconnect between seasons 3 and 4 isn’t the only problem with this season. Although I felt that season 4 was a bit less boring than season 3 (I particularly enjoyed some of the earlier episodes of season 4), it suffers from the same basic problems of Characters Being Nobody and Nothing Happening.

None of the characters experience any significant development, let alone any sort of coherent arc. Sypha has changed slightly, becoming more rough and jaded. I did really like the scene where she talks about becoming the kind of person who says “shit.” I think it really speaks to how entering into a relationship with someone means taking on aspects of their lifestyle, and how that can change you in ways that you can’t predict and therefore can’t exactly “agree” to. Sometimes those changes are good, sometimes they’re bad, sometimes they’re neutral, and sometimes it’s difficult to know. But you have to accept that you’re sacrificing some aspects of the person that you could have been if you chose to live completely independently, or with someone else.

Trevor really hasn’t changed since season 1 when he first decided to take up the mantle of hero again. Likewise with Alucard. Hector and Lenore change, as previously noted, but that change is sudden, jarring, and occurs completely off screen in between seasons 3 and 4. Carmilla dies as exactly as she lived: bitter, angry, and violent. Saint Germain just kind of...gets fucked over in a nonsensical subplot, which is its own whole can of worms.

We also get several new characters in season 4, none of whom have developed personalities or motives, nor do they develop any of those things over the course of the season: Greta, Zamfir, Varney, Ratko.

And nobody. Does. Anything.

Trevor and Sypha spend the entire season trying to explore and aid Targoviste, which comes to absolutely nothing. They’re unable to help anyone, Zamfir dies, and they end up just jumping through a magic portal to the actually relevant subplot in the finale. Carmilla literally does little more than draw maps until she’s ultimately killed. Hector plays a minor role in Saint Germain’s extraction of Dracula from Hell; otherwise, he and Lenore basically just exchange banter. Saint Germain does sort of do some stuff? But it’s often unclear how he’s made his connections, who the people who are helping him are, or what exactly he’s doing in terms of his magic beyond “whatever it takes to get back to his lover.”

Sure, there are fight scenes, but they feel meaningless. There’s no context, no stakes. There’s also a LOT of dialogue, and it is. Not well written. Exposition is embarrassingly clumsy at times, and the philosophical musings are cliche at best, muddled and confusing at worst. There’s just not all that much going on.

That is, except for Isaac. But more on him in a second.

What Kind of Show Is This?

When the plot line adapted from Castlevania III: Dracula's Curse ended with season 2, the show struggled to establish a new identity.

Despite nominally dealing with themes like whether humanity is inherently good or evil and how to cope with wrongdoing and loss, seasons 1 and 2 ultimately boiled down to a pretty generic action-adventure/fantasy plot with found family/power of friendship elements. Main characters Trevor, Sypha, and Alucard don’t really wrestle with big philosophical questions or suffer any major defeats. They know that they have to take down Dracula for the good of the world, and they work together as a team to do it, with a little character development relating to their various backstories sprinkled in.

Then season 3 happened, and things got weird. The trio is broken up for what feels like a pretty trivial reason—Alucard has to protect the castle and Belmont hold, I guess? And the result of that decision is that the dynamics for the three main characters are completely unbalanced.

Ellis openly admits that he basically went feral with the writing of season 3, and it shows. The messaging in seasons 1 and 2 was cliche, but consistent. The message of season 3? Anyone’s guess.

Season 4 reversed the darkening of tone from season 3, but shares its inability to pick a story and tell it.

Isaac is the Main Character

Always has been.

While I can’t say that his character or arc are perfect, I can say that he actually has a character and an arc. He starts off motivated by his fierce loyalty to Dracula, then has to struggle to find his purpose once Dracula is gone. He goes from subservient to agentic. He goes from fully endorsing the genocide of humanity and not caring about his own life to seeing some worth in humans and genuinely wanting to live. He has an interesting moment that deepens our understanding of what night creatures are, while also serving as an exploration of the meaning of one’s fundamental nature. Most importantly, these changes happen naturally over the course of the show. They never feel forced or out of the blue, and while I feel like even more could have been done with Isaac’s character, there’s a lot to appreciate about what is there.

If there’s any thread holding Castlevania as a single, coherent work together, it’s Isaac. Not only is his character the best executed and the most coherent over the course of the show, his character explores themes that are larger than himself and relevant to the show as a whole, like those mentioned earlier: misanthropy versus a belief in the value of humanity; the ability to go beyond one’s “nature” or initial circumstances; and how to respond to being wronged or losing something important to you. Exploring the individual lives of characters is great, but really good writing usually requires going beyond that to reflect on broader questions and ideas. Isaac is the only character here that serves that larger purpose.

Sorry...I Just Don’t Buy It

The season 4 finale is crazy, although in a different way from season 3′s.

Varney being Death makes no sense on several different levels. I’m not going to spend a lot of time picking that particular plot twist apart, but I will talk about why I think it doesn’t work at the largest scale, and how I think season 4 might have been done better.

Last minute twists with zero foreshadowing are rarely a good idea, and this is no exception. Why introduce this “Death” entity at the last minute to be the most important battle of the season? The finale of the entire show, even? Besides the lack of logic or emotional buildup, this robs the show of the opportunity to make use of the antagonists that it already has. Since Dracula died, Carmilla has been the obvious choice for a new big bad. Why hasn’t she done more?

Season 4 feels crowded with characters and plot lines that amount to nothing. Why not bring some of these characters together? If Carmilla is the main antagonist, how come she never meets any of the protagonists (except Hector, who is a pretty minor player in this ecosystem) or even affects them in any way?

Season 4 feels like maybe it was trying to make something out of season 3 and the model that it presented, but it ultimately fails to do so. The writers throw the trio back together at the end anyway, so why not have them rejoin sooner and work together? Maybe Sypha and Trevor’s past experience with Saint Germain could have helped Alucard and Greta piece together what he was plotting sooner, rather than all four of them being completely blindsided by it in the penultimate episode. (Sypha and Trevor know that someone is trying to resurrect Dracula, but they fail to find out any actual detail about the plans, despite their supposed attempts.) Have characters actually do stuff, figure stuff out, advance the plot!

Likewise, maybe Carmilla becomes aware of Saint Germain’s scheming, sees it as a threat, and tries to take him down. Maybe she tries to get involved and somehow use alchemy or the Infinite Corridor to her own benefit. What does it look like when power-hungry Carmilla, who wants to rule the world, finds out there’s an entire multiverse out there? That could easily set her up to be a foil to Saint Germain, causing him to realize that what he’s doing is wrong.

What actually ended up happening in the show feels disjointed and often empty. In particular, most of the events that happen in the last two episodes just don’t really work for me. I didn’t like Trevor suddenly sacrificing himself to this random, new, super powerful enemy, or how the gems and dagger that he found just happened to be the perfect weapon to kill this new enemy, or how he inexplicably returns from the dead.

This kind of thing is what I mean when I say that this season feels like fanfiction. Trevor comes back from the dead for no discernible reason other than that it would really suck if he died. Greta as a character seems to literally only exist to be Alucard’s girlfriend and support him so that he doesn’t have to continue to be alone and potentially turn evil. Alucard’s trauma from Taka and Sumi and Hector’s trauma from Lenore are both conveniently erased. Even Dracula and Lisa are resurrected somehow and get their happy ending. And it’s like, I guess I prefer deus ex machina to the opposite (Does that have a name? When everything is going well but then something terrible happens for no reason other than to make things worse for the characters?), but they’re both bad writing.

God. This isn’t even getting into what happened with the Council of Sisters. And I don’t even really like those characters, but that doesn’t mean I want to see their characters handled poorly.

I’m not sorry that I watched until the end, but I can’t in good faith recommend the show as a whole. If you’ve yet to watch Castlevania, just stop at the end of season 2. While there are some shining moments in seasons 3 and 4 (4 more than 3), it’s just really not worth it.

#review #thoughts #television #animation #adult animation #video game adaptation #fantasy #Netflix #Netflix Original #Castlevania #storytelling #writing #characters #plot #character development #vampires #Isaac (Castlevania)

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ready-to-obeyme · 4 years

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[OM!] All Demon Brothers + Undateables as Babysitters (Part 1)

Scenario: For the sake of the exchange program (probably), the entire cast is now in charge of taking care of kids ranging from infants to pre-K children at a daycare with you. Headcanons on what type of babysitter they would be + whatever cute shenanigans that may occur

Note: Baby fever!! Inspiration is the entirety of Gakuen Babysitter/School Babysitter. It is literally the cutest anime I have ever watched in my life and I highly recommend it if you want a cute feels-good, slice of life!! Some of the kids I may have based off of them, but you don’t need to watch it to understand this! :))

why do i always make my headcanons so long

Part 1 has the 7 Demon Brothers

[Part 2] has all five Undateables

Lucifer

This was probably Diavolo’s idea so he has no choice but to go along with it, much to his dismay

He already thought humans were fragile, and now they were going to take care of the smaller, younger ones?

His face scares 90% of the kids on his first day as a babysitter, which kind of hinders his job because every time he tries to help them clean up or change diapers, the kids start crying

The other 10% who are not intimidated by him claim him to be the Big Bad and play fight with him all the time, and considering his attitude, he’s a pretty perfect villain in their make-belief play so he’s won their hearts IMMEDIATELY

Generally a pretty strict baby-sitter who is listened to without having to repeat himself; his power and authority is unyielding (and also he’s just plain scary even if he doesn’t mean to be, and lowkey he likes the power he has because the kids remind him of Mammon sometimes)

It’s honestly a big debate whether he should just give up and ask for help or power through, but if he’s just babysitting with you, pleads with you to please help him because he’s so lost and why do they scream so loud and not that he would ever admit to it, but he is a tiny bit hurt that he can’t seem to have the kids trust him

Once he’s told that he should smile more and speak more gently, he implements it with mixed results (at first), but it’s a significant improvement from the first few days

During a moment of rest, he’s sighing when a baby crawls up to him and sits in his lap without warning, and he’s a goner

Literally has the hardest time trying to train his face not to look so pleased or happy, but his smile is so soft (and he will not hesitate to kill any of his brothers that see him like that, but for you and the undateables, he’ll just be embarrassed)

Loves infants and how trusting they are of him despite how scary his face may seem sometimes-- the epitome of unconditional love and he’s just… very tender

Probably ends up being the respected babysitter who’s super cool to all the kids but slightly unapproachable (unless you’re a babyyyy) but eventually climbs the ranks in terms of babysitters because he vouches for them if they do need him

Mammon

The kids have decided that he is the biggest kid on the playground and now to assert dominance, they must beat him up

Which is what they do-- or as much as they can with their tiny fists and miniscule strength and the fact that Mammon is a literal demon

You just stare at Mammon as he cries on the ground, whining at how the kids ganged up on him and you’re just like…. They’re literally <4 years old.

Despite that part, Mammon gets along with all the kids really well!!

He talks to them as normal and calls them ‘brats’ but they all know he’s soft for them so they kind of take advantage of that? But only a little bit because they don’t like seeing Mammon cry either

You forget who comfort the other more at this point, the kids or Mammon

Mammon is the best person to call for if the kids want to play around because he’s pretty animated himself and goes along with whatever the kids want to do

You might have to reign them in a little yourself, because you’re not quite sure Mammon really knows what’s actually dangerous for them

“Mammon, please only carry one kid at a time please, you’re scaring me”

“Huh? You know I can carry all four of them on my head--”

“Please”

Suuuper popular with the kids even though he kept complaining about them to anyone who would listen that he had to look over these tiny humans

But the moment any of the kids ask for his help or do something cute, he’s the FIRST one to go and help because ‘you need the GREAT Mammon’s help? Guess you can’t help it after all…” and he just likes the fact that he feels reliable to these kids

He might… actually save money to buy these kids Christmas gifts?? Will maybe cry if they bring little Valentine's Day candies (that their parents probably told them to give but shhh let him dream)

Leviathan

May or may not be hyperventilating as he hypes himself up to go into the daycare and meet the kids

He tried to brush it off to his brothers that they’re just kids and he doesn’t care if they like him or not because it doesn’t matter to him because he’s just an otaku-- but my god he hopes they like him

Little does he know, the fact he lets them play on his game consoles (whether or not they actually know how to play) wins them over immediately and breaks the ice

They find him super interesting to talk to and he ends up a pretty popular babysitter because he talks to them like adults (yes, even to the babies)

Catch him giving a bottle to a baby while talking to them in baby-voice (that he adopts not on purpose) about his favorite TSL season

One of the biggest reasons why the kids love him is because he really listens to them even though their rants and blabbing doesn’t always make sense

When he does talk about his interests (or it slips out, as it does), the kids are genuinely interested in what he has to say and that’s when his mission to convert all of these kids to watching anime and reading manga started

“Reading manga is going to help them develop reading comprehension!!”

Probably brings his entire stash of (kid-friendly) manga-- probably the magical girl anime with Ruri-chan-- and has the kids dig in

It does have some negative repercussions because kids aren’t exactly good at handling precious material, so things do rip and break and Levi had to excuse himself to go outside and mourn his lost

But the fire of his mission burns brighter than the sadness over what he has lost (besides, he would never bring limited edition/1st edition things outside his room so these things are replaceable)

If Halloween rolls around, the kids will exclaim that they want to be [insert character] from TSL or another anime and Levi may shed tears of happiness right there and then

Will make it his side quest to make costumes for ALL the kids-- especially if they can’t afford their own and will encourage them to be whatever they want to be!!!

He’s literally leading an army of newly-created weebs/otakus that look up to him in the daycare and the power he has over these kids is so formidable some of his brothers are actually a little jealous HAHA

Satan

Acts casual about the whole thing and is actually casual about it

He hasn’t necessarily spent much time with kids, but he figures he’d be able to do it-- and he’d be right; considering how natural he is with people in general, I doubt kids would be much different, especially if he talks to them like adults and respects their opinions

Is definitely the type of babysitter some of the kids end up having a little baby crush on, considering how charming and prince-like he can be with his gentle tone of voice

Not that he’s perfect-- some kids are just brats and he does get angry at them but he only needed to snap once before the troublemakers all learned not to mess with him

Despite that, he would most likely be the ones to keep an eye on the troublemakers, because it may be a sign of a troubled home (not always, but… well, he would know best, wouldn’t he?) and he’d want to reach out to them if he can help them in any way

What he loves to do with the kids-- and you can probably guess-- is have Story Time!!

The kids are so excited to circle around him before naptime and listen to him read storybooks, doing voice overs and dramatic/animated readings; the kids are so intently listening and giggling at the funny parts

At first, he attempted to bring all his books over to the daycare, but he had to put some back when you tell him these kids are literally three and probably don’t have the reading comprehension required to read Quantum Physics-- so he provides picture books instead; anything he procured from the human world

Really encourages the kids to try their best to read and, if he has the time of day, tries to teach them basic things like the alphabet, how to spell out each words etc (you may call him…. Sensei)

Adores their imagination too because he knows adults could hardly compare at times and he encourages them to make up their own stories and he’d help them write it down

Uses a lot of tactic like these to encourage their education and their development-- he loves books and the impact they’ve made on him and he wants these kids to be able to experience the same things

Asmodeus

A little hesitant at first because kids can be super cute and great for pictures but… they can also be super gross and kind of mean; and he’s seen both ends of the spectrum so he’s not really sure what to expect

Then one of the kid compliments his hair clip shyly and shows their own similar hairclip and he’s sold because obviously they have the cutest kids in the world

Hair undone? He’s there

You wanna try out painting nails? Oh hun, he’s got you-- free make-overs for EVERYONE-- except maybe the infants, he doesn’t wanna ruin the natural baby smell and softness they have going for them

He wants to encourage ALL the kids to express themselves so he sometimes brings old clothes he doesn’t wear anymore so they have a fashion show/runways

ALWAYS encourages the kid to wear what they want because gender norms who???

If ANY and I mean ANY parent comes up to him and talk about him letting them wear non-gender conforming clothes he WILL go off on them because they are LITERALLY KIDS-- let them express themselves and have fun

Kinda grossed out by snot and diapers tho so you’re gonna have to help him with that; and since the universe knows that he hates getting dirty, he’s probably the brother most likely to get peed on while changing a diaper

You have to force him back into the daycare after that incident because he refuses to come out of the bathroom after changing into clean clothes

But he is so captivating that the kids usually don’t cause trouble when he’s around, and also similarly to Levi, he talks and listens to them blabber while he’s doing their hair so it’s always pretty soothing

Probably ends up in charge of the creativity hour and cooing over everyone’s art project, encouraging them to sprinkle as much glitter as they want, use as many colors as they want-- as long as it makes them happy!

Beelzebub

Considering he’s the sweetest and physically the strongest, he’s actually pretty concerned about hurting them, and asks you to help him adjust to this new role so that the kids will be okay (you know he’ll be fine, but if saying yes to helping him will make him feel better, you say it)

Beel keeps to himself as a babysitter for the first few-- oh idk-- hours before some of the kids figure out how STRONG he is and he’s the best thing since sliced bread

The kids start to literally hang from him, testing how strong he really is, and are all delighted that he can hold all of them in and from his arms; he’s a little worried he’ll drop them, but since the kids are so excited about it, decides to lift them only a little high just to please them

Happily, he eventually gets used to knowing how to deal with them, and it helps that the kids are so polite to him

He’s the ultimate Big Brother figure to them, much to his surprise since he’s used to being the younger brother, and it makes him really soft inside that these kids actually look up to him and rely on him

During free play, he has definitely carried at least six kids on his back when they play horsey and not break a sweat and throws the babies up in the air playfully (and carefully) and let them pretend they were flying

He’s their protector, making sure that they’re playing safely, even though he went a little too ham on the protection, grabbing a kid by the scruff of his collar because he was running and beel was afraid of him falling and scraping his knees

“It’s okay Beel, they can handle it--”

“Are you sure?? But they’re so tiny and fragile--”

Changes diapers pretty handily after the first time; has definitely tried the baby formula and ate the entire bottle by accident before feeding a baby

Makes sure the kids are nice to each other, especially siblings, and that they eat; you tell the kids that if they eat their vegetables they’ll grow as strong as Beel, and that’s the FASTEST you’ve ever seen picky kids eat them in your LIFE

Belphegor

“Alright, nap time, everyone!”

“Belphie, they just arrived;;;”

Honestly just thought this entire thing was a hassle because kids in general take a lot of work and he just doesn’t want to put that sort of effort into something he didn’t sign up for

But since you’re there, he may as well try to be proficient enough to be well-liked enough to not cause a fuss and be able to babysit with you

He’s the type of babysitter who converses with the kids and pretends he doesn’t know something so the kid tries to teach him-- and honestly this give the kid a chance to be confident in their skills and also lets Belphie not do as much work to keep the conversation alive so win-win

As you can probably guess, is definitely in charge of enforcing nap time… by napping with the kids-- gotta learn by example right?

There are probably mats that the kids lie on but whenever Belphie lies in the middle of them, they all end up rolling and curling near his side; when he wakes up he’s always surrounded by a sea of kids and he’s so confused and he can’t move unless you wake up the kids for him

The most efficient babysitter out of all of them because efficiency means less effort and time taken to change a diaper, clean up a spill, or wipe a kid’s nose

Doesn’t understand why the kids keep wanting to interact with him but he’ll always indulge them in the end regardless of his nonchalant attitude

He actually finds a lot of them endearing when they talk about the things they like to do and about their daily life because it’s always interesting to learn about their perspective on things

When it’s creativity hour, the kids like asking him to doodle something on their paper (it can be a small chibi or caricature or just some animal) and it always makes them super happy; you watch him crack a smile as he sees the kids try to copy his drawing right next to it

If any of them are interested in stars, will gently show them the constellations in books and watch as they fascinate over them as he did before

#obey me #obey me headcanons #obey me lucifer #obey me mammon #obey me leviathan #obey me satan #obey me asmodeus #obey me beelzebub #obey me belphegor #School Babysitters #last post for the day #i need to focus on hw HAHAHA #very indulgent hcs

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confusedinfj · 3 years

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tips for developing fe? i find i can be immature in terms of being kind of a know it all, but i've been working on that. in general, i think my fe serves me okay now that i am learning to appreciate people more. i just wish it wasn't so difficult for me to express my feelings in a healthy way rather than repressing them until they burst.

Sorry it's been a while since you sent this! I found this to be quite a difficult question, and I hope this helps.

In general with lower functions, I'd recommend not focusing on them at all. Focus on character, because that's what you're really worried about here. Fe is (very short version) basically just a natural awareness of society/people and a strong desire to be apart of and connect with that community. Fe might naturally navigate society, but it can easily be manipulative in someone with bad character. In good character, it can be constructive and supportive in society. This question shows you have that desire to navigate society and connect with people, even if relational skills don't come easily to you - so you're already developing Fe! 👏

Tips though:

As for being a know it all (which I was as a kid 😂), you ultimately have to analyse WHY you're doing that. Is it because you like sharing interesting information? That would make it a bid for attention. You can learn a better way to try and befriend people, which will vary from group to group and culture to culture. Are you doing it to try and show people you're interesting? Interacting with people in such a self-distracted way doesn't work. You need to focus on the people in front of you instead, because it will usually help you figure out what to talk about instead. People always like to talk about themselves, so asking questions about their interests is a good start. You're only being a know it all if you're telling them things to show off, because you think you're better than them. If that's the case, you'll have to work out why you think that and ideally change it, because it's not a good starting point for friendships. Appreciation is (and you already know that too!)!

Appreciating people is the most important thing you can do, and that is entirely character related. You have to be able to see the beauty in each person's complexity, and want to know more about them. You have to develop empathy, which is totally separate from mbti.

As someone with high Ti, you might not be primed to be interested in every single person, but that's okay. Even high Fe users interested in every single person, it's okay to click with some and not others. The important part is respecting people in their humanity and being kind. If you follow social protocol, people can't even complain about you being rude. After that, if some people don't like you, it's not really a problem. There's no hard and fast rule for people, every single one will be different. It kind of sucks, but even as a high Fe user plenty of people don't like me 😂

As for the repression part of the question:

I've found part of having high Fe is being aware of how many relationships are actually shallow, and how many people aren't truly connecting with those around them. That means a lot of relationships in your life will just be polite, like at work, or school, or at the shops. It means a lot of people actually don't WANT you to express your feelings, because you don't have that kind of relationship. I know that sounds so mean 😂, but I want to make it clear it's honestly possible that people SHOULD be picking up on your feelings long before you feel you're going to burst. There are lots of micro signs that a person is upset, and a lot of people just ignore them. Sometimes they're not even looking for them, because they're not interested in deeper friendship. I've been horrified how many times people just don't notice when other people are distressed. BUT I'm going to answer the question with the assumption that you meant how can you better express feelings in relationships where people definitely do care and aren't just being awful.

Fe finds it pretty hard to express negative emotions, since it's very conscious of upsetting others. This is the one part of your question where developing Fe is what's needed, but alongside the development of assertive character. Well developed Fe can manage conflict, and recognises it's important to share negative feelings in order to have a true relationship. Otherwise the whole thing is fake. So, while expressing your feelings will likely kill a shallow relationship, it will deepen those with people of kindness and empathy.

So the answer is simple: just say it. I mean, don't scream it or anything, but just... try. Even if you have to cry, even if it takes ages for you to find the right words. You can write it down if you like, but I prefer not to have anything like that in writing. The general rule of thumb is, if it upset you, and you can't stop thinking about it after a few days, you should just tell them. Say, as an example, your friends went out to a movie and didn't invite you. If you think you have the kind of relationship where they truly care about you, you can just say - I was pretty upset I wasn't invited, because it seemed like you were trying to exclude me. (A general rule is that you frame the problem around yourself and your feelings rather than 'you went out without me and that was mean because you're a bully!' 😂). Then they have a chance to clarify or be mean 😋

I don't know if you're prone to oversensitivity, or if you think you are, but even then - your true friends should know who you are. In a lot of cases, communication solves the oversensitivity, because it provides an opportunity for people to explain their behaviour. (example: We didn't mean to hurt you, we thought you said you hated this movie and didn't want to see it with us - and you can be like, oops I didn't mean to say that but I guess I kind of did). It's better to risk sounding oversensitive than to attempt mind reading (because you'll likely be wrong and hurt yourself more).

Repression is a way to control emotions, but it almost always ends in a loss of control. The key to avoiding that is to express your feelings fairly close to as they come, as calmly as you can. Communication is, unfortunately, a skill that can only be developed in practice, not in theory. Although, if you have a good handle on the theory it helps, so you could probably write out scenarios before trying it.

If you meant that you're more prone to angry outbursts, the answer is still in early communication. Try not to think of it as a confrontation, and it might help fix the tone. Bringing up negative feelings doesn't have to be a conflict, it's as simple as saying a fact. Especially since someone who really cares about you should be willing to fix the problem with you.

I'd probably need specifics to be more helpful, but some dot pointers are:

If you want people to leave you alone for a bit, just calmly say you need to be alone for a while because you feel tired/stressed/a bit moody.

If you want people to pay attention to you and they aren't, try telling them you want to talk.

If you're too angry to speak to someone, tell them you're taking a moment to calm down. Don't engage until you can calmly articulate things. If that time never comes and you get angry every time you think about it, just try to say it as calmly as you can.

A lot of people recommend writing down negative emotions if you feel you're oversensitive, because it can help you figure out what can be mentioned. Supposedly, any issue that doesn't need to be mentioned will stop bothering you once it's written down.

Be careful not to mention a long term problem while you're mad about it. If it's something you've been holding on to for a long time, not sure if you should mention it, wait till you calm down again and then mention it's been something you've been thinking about for a while. Avoid saving up issues at all, but if you have it might be better to mention as many as you can at once. Otherwise it sounds like you're just keeping a record of wrongs and stringing it out.

Sometimes conflict is necessary, but that doesn't necessarily mean either of you did anything wrong. Try to look at any issue from that perspective if you can, and it will help you get through it all faster.

If you can't express yourself in a relationship it will ultimately be shallow and unfulfilling. It's never selfish to be genuine (that's not being mean on purpose obvs 😂), and good communication will help the other person open up too.

Sorry if I didn't manage to help at all, and sorry this is so long 👍

#Ask #Fe #Fe development #Cognitive functions #Cognitive development #Intp #Entp #Estp #Istp

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algernoninwonderland · 3 years

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So, M. Pigeon 72! I liked it! It was a good episode!

Sure, it didn't have any big reveal or anything like that but it worked really well anyway. Season 4 has a much stronger sense of continuity and it allows for things to be that much less frustrating! And I welcome that!

The good:

More Guardian Stuff! And it's fun and made in a way that the audience can finally understand without having to ask the creators questions on social media afterwards.

Alya! Who really wants the best for her best friend and tries to tone down her shipping tendencies.

Kagami is the immovable object to Marinette's unstoppable force. This was the funniest the show has been in a long while.

Just Kagami in general. She's back. The imitator who had taken her place in Lie is gone. And Kagami is great. If she doesn't become everybody's favourite character after this one, I don't know how.

Bob Roth is really the absolute worst, isn't he? That's great. I like how awful he is.

They didn't make the fact that they're wearing swimsuits creepy! I know it's a low bar but still!

Pigeon CPR. I love M. Ramier and I love Edgar.

Stupid puns. So many stupid puns.

Lots of clever shots, the space of the pool is used smartly to create comedy and tension. When I tell you that this show usually has some strong storyboarding, this is what I mean!

Rena and Ladybug working as an organised team. Alya knows the mannerism of the two heroes so well she imitates them perfectly. It's a great moment.

So the power of creation truly means you can create stuff after all. I like the message of it, believing in yourself makes you more powerful. It introduces a few more issues but I'll talk about them later.

No more M. Pigeon. He's really made into this sympathetic figure and we really feel glad that he's finally free of it all.

The bad:

Only minor annoyances, really, but worth mentioning nevertheless

The in-universe explanation for why people get akumatised and always have the same appearance doesn't work with what the show itself has set up. It's nice that they at least try to give an explanation now but 1. it's a bit late for that and 2. it's actually not right.

As always with DQ, some subpar lighting and rendering throughout the episode.

The umbrella scene looked special in Origins, the lighting was great and the character emoted really well and subtly. They redo it with a few interesting changes, but it looks pretty off, a bit flat, the character animation is weirdly inexpressive when it focuses on characters' faces, that grey light looks ugly and makes everything look dull. That scene failed to awe me the way the original scene had, and that's a shame because it was clearly meant to be an important moment.

The water surface isn't stylised enough for it to look quite “right”. It's not awful but it's a tad disappointing for an episode mostly taking place at a swimming pool.

The lorem ipsum text on Marinette's post. I know it's so that they don't have to do different takes with different texts for other countries but we can still clearly see the text and read it, see that it's a lore ipsum… And it just breaks the immersion.

That new transformation sequence is neat, but the music… What was that? It's a letdown, is what it was.

The power of creation is limitless, then? I mean yes, obviously, creation is unlimited, but that's going to be a very hard concept to properly implement, it could easily be turned into a deus-ex-machina.

There's really no tension about whether Marinette is over Adrien or not. We know. Yes, the point of the episode is that Marinette comes to terms with that as well. But the New-York special already did that, and so it feels a tad repetitive. I know repetition is a stylistic device. It can be used in really efficient ways. I don't feel like it works all that well here?

“They're really made for each other” is the perfect shortcut for having to develop any semblance of relationship between Adrien and Marinette, because we are informed that they are a perfect fit.

“Falling in love” is taken literally in Miraculous. And it gets stale.

Gang of Secret's point was, “don't try to force other people's hand, help is something that the other person must accept, not something you force on them” and this episode's was “don't worry, the Lovesquare will happen” and I can't help but feel like it's a step down? Not a nosedive, mind you, but I feel like it's a little less interesting?

The ugly:

Nothing at all! It's a solid episode overall!

Two episodes in a row have been genuinely good, I hope Miraculous continues to be that way, because I'm sincerely having a good time with this show at the moment!

#ml #miraculous #ml spoilers #ml season 4 spoiler #mr pigeon 72 spoilers #marinette dupain-cheng #kagami tsurugi #adrien agreste #alya cesaire

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mrslackles · 3 years

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what do you think are gg's biggest flaws?

Ooh, Anon! It’s like you’re in my head.

I’m busy making a video (that will probably never see the light of day) about this -- my distance from the show has really helped with some super objective clarity -- so I’ll use my notes from that to help me answer.

I’ll preface this by saying what I was most shocked by after putting down all the points was that Rio isn’t even mentioned until really far down??

Anyway, let's get into it.

These are Good Girls' greatest flaws in my opinion (and relative to season 1 -- while I think it had its flaws too, the list is far smaller and I think that's a separate post)

1. It didn't stick to its guns

What set this show apart from others in the 'Everyday person does crime (poorly)' genre was its comedic lightness, strong friendship element, relatability and emphasis on girl power.

a) By season 2, the lightness was already slowly disappearing to make way for season 3's darkness. (Quite literally; this show said sunlight scenes for WHO.) It also stopped being as fun. Remember how it genuinely used to be fun? I mean let's not forget The Best Scene Ever where Ruby shoots Big Mike by accident and we all laughed our asses off. (Compare and contrast to a similar-in-tone-and-context scene -- or even the whole episode -- like Boomer popping up behind them as Rio's package in season 3.) I think season 3 had some great lines and laughs, but in general, the fun element was completely missing for me.

b) As was the friendship. We already know Annie and Ruby basically became Beth's backup dancers in season 2, but at least then they still seemed to have some type of agency. In season 3, they rarely question Beth's (truly questionable) decisions, don't talk to her about shit like why she's still with her horrible husband and have very few true friendship moments as they did in season 1.

c) Which made it less relatable, but what also contributed was the major plot holes (it's less easy to relate when you're constantly having to remind yourself to suspend your disbelief). And, to be honest, their stupid actions. Just the most common-sense things weren't followed, like not taking your children to a crack den or not putting a hit out on a gang leader. It's frustrating watching a TV show -- where characters are supposed to learn things, have arcs and improve over time -- and feeling like you have more logical sense than all the main characters in every scene. (WHO would think a hitman was going to use a sniper rifle on people in broad daylight on the side of the road???)

d) You don't have to look any further than the title or the stans who shout "THE SHOW IS ABOUT THE GIRLS" -- or, hell, the first 10 seconds of the show where Sara is literally talking about the glass ceiling -- to know that the main characters being women is very important to the show. If not formally feminist, it was at least supposed to be empowering or feel like "girl power" (a term I hate, but we won't get into that now).

And I think it did it pretty well in season 1 -- it actually played on my favourite theme of the show, which is the world's perception of these women being what ultimately allows them to get away with so much. (Rife with opportunities for commentary about white privilege, but also a genius way to upend patriarchal beliefs.) But more and more it seemed like the show was asking you to accept empowerment as simply "these things are being done by women, yay".

And, well.

2. Its marketing

I'll keep this one short because I think we all know how messed up this situation is. Basically they're selling a show (every week!) that they're not making while ignoring all feedback on every social media platform. Which brings us to...

3. The marriage of Death

If I've said it once, I've said it a thousand times -- Beth's character development starts with getting rid of Dean. Her growth is stunted by him on multiple fronts and it's frustrating to viewers since she's constantly put forth as the main character. Not to mention how the audience, separately from Beth, was originally conditioned to see Dean as the scum of the earth (think of scenes like him crashing his car because he was perving on a woman jogging) so keeping them together is really... a choice. To actively root for this marriage (which seems like what the show wants, at least for the protracted moment) means either thinking Dean is a great person (which, as I said, we've only seen the opposite of) or believing he's all Beth deserves. Which leads me to...

4. Beth's (socio)path(y)

Is sociopath a 'good' word? Probably not. Have I seen dozens upon dozens of posts talking about whether Beth is one? Yes. And I see it from a huge variety of people -- from viewers who just binged the show last weekend to those who've been watching for years, the question keeps coming up. And I entirely blame the writing of the show that, by the way, I don't believe is deliberately creating Beth to get this reaction. I think she's written (and, to an extent, acted) in a way that is much too aloof and I'm not convinced it's meant to come off as cold and unfeeling as it does. Everything else leads me to believe that the audience is supposed to root for Beth, but it's just so difficult.

Beth does a lot of messed up shit that requires dialogue to sympathise with her and the inner workings of her mind, but in the later seasons Beth rarely gets to express herself verbally. And every time she does get to speak about her emotions, the dialogue is a pick-your-own-adventure between "She's in so much denial", "This person feels no emotions" and "I'll go find an analysis/fic later to explain this" (scenes like "Nothing" or "I was just bored"). Compare and contrast with some of the great scenes in season 1 where she emotes, like her paralysing shock after they first rob the store or admitting she enjoys crime, or (one of my favourites!) the one in the park where she's mimicking the other mothers beside her.

5. Brio

I said in the beginning that I was shocked Rio doesn't get mentioned until this point and that's because I've always felt like he was an integral part of the show. When people say the show is about the girls, they're truncating -- the show is about the girls getting into crime. That crime is represented by Rio over and over again -- they never bring in another criminal at his level (which is another one of its flaws, but that's also a different post); Rio is it.

And though I stand by Rio's importance, the truth is that Brio isn't as essential to the show, by which I mean that if all of the above were done well, it wouldn't be as sorely missed. In lieu of riveting plot, a fun friendship, character development and empowerment, most viewers have glommed onto Brio like a lifeboat (or ship, heh).

Unfortunately it's also what the show has most stubbornly refused to develop significantly.

It's honestly a toss-up for why I feel Brio is a flaw: is the flaw that they got together? That they never got together well enough? That the writing keeps bringing in these 'chemistry-filled' scenes that are ultimately filled with air?

I don't know. Maybe all of them; maybe just one, depending on the day.

6. Its criticism falls flat without intersectionality

This is a big one because Good Girls is *trying* to do something very clever. As mentioned previously, my favourite theme of the show is how the women's apparent innocence/vulnerability in the eyes of society is their biggest strength. The show plays with this and other interesting themes with varying levels of success, but ultimately they all fall a little flat when they don't feel intersectional.

When Ruby gets sidelined. When Turner, who sees and all but calls out by name Beth's privilege, is portrayed as the villain. When Rio is told he's gonna "pop a cap" in his young child's "ass". When the racist grandma becomes a sympathetic character whom we must later grieve. (And she really didn't have to be racist, now that I think about it? It was just that one line for laughs and that was it.) When, despite the real-world implications, Dean can loudly announce in a store that he's buying a gun to kill someone with and the show just glides past it. When Ruby has to grovel for forgiveness from Beth for trying to protect her husband and family from the system, with no acknowledgement from Beth about how their realities are different. When Rhea gets booted off the show as soon as she's done serving Beth's plot. When Rio gets treated like a prostitute for absolutely no reason. (Oh, and is accused of raping Beth and is literally spoken of as an animal and starts only existing in zero dim lighting as a one-dimensional stereotype... the list goes on.)

7. PR/The actors

I'll risk my life here to sprinkle this in because I do think it's a massive problem. The Manny/Christina of it all is just the tip of the iceberg (although wtf Good Girls? There's nothing you could do to get these two into an interview together??). The main actors do the bare minimum to promote the show and it's weird. I also think it's the height of unprofessionalism to keep characters on the show against the wishes of the majority of the audience just because you enjoy their actors (Boomer confirmed; Dean highly suspected). While, on the flip side of the coin, limiting a character's screentime because you aren't best buddies with them. Having less and less Rio when he's such a fan favourite is dumb; as is not including him in any series marketing material. It feels personal and that isn't how a TV show should be run.

8. The entire hair and wardrobe department needs a stern talking-to

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itsclydebitches · 3 years

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RWBY Recaps: Volume 8 “Worthy”

Happy Saturday, everyone! I mean that seriously for once. Regardless of what I have to say about this episode — and as always, there's a lot — I want it on the record that "Worthy" was leagues ahead of... pretty much everything else we've gotten lately. For all of RWBY's continuing problems, there's a level of effort here that I really do appreciate. Especially for the penultimate episode.

Our title, "Worthy," immediately conjures thoughts of Watts' speech about Cinder needing to be "worthy" of the power she craves and, what do you know, our villains work hard to prove their worth this episode. Hallelujah! We start with the heroes though and do you recall how last week I said that our opening may as well be a summary of the whole series since Volume 6, what with the grimm conveniently avoiding the team's airship and them just looking vaguely sad that the people around them are perishing? Well, same here. Or rather, same problems, different flavor. Oscar opens with the question, "What do we do now?" and no sooner has he asked that then the magic portal appears to give him the answer. Useful!

More seriously though, I've been intensely side-eyeing the group's wish since last week. Not (just) because of the awful decision to turn Penny human, but simply because the story emphasized how "smart" the group was, heavily insisting that their portal plan is a masterpiece of well thought out strategy... and I really don't think it is. There was a lot of confusion last episode about how exactly the group was using the vault, with my own interpretation — that they were funneling everyone to Vacuo's vault — proven wrong today, but one of the problems brought up was how Ambrosius could possibly create portals across a kingdom precisely where the group needs them. Yang asks him,

"Can you make a bunch of doorways in Atlas that open at a single spot in Vacuo?"

To which, simply, Ambrosius says no. He'd need, among other things, "coordinates and specs for each door" and "an explanation for bending space and time."

This is why, prior to the very end of "Creation" where we saw portals appearing everywhere, I thought using both vaults was the solution. Ambrosius knows (or can easily receive) the coordinates for his own vault and the one in Vacuo. As weird, alternate dimensions, they're potentially capable of bending space and time as necessary. If you put the portal in Atlas' vault and open it up in Vacuo's vault, you're golden. The only challenge now is getting everyone in the kingdom to the Winter Maiden's vault.

But then... that didn't happen. Apparently the vault just becomes the in-between place for everyone to pass through and the portals appear all over the kingdom, even though the group didn't provide those "coordinates and specs." What they did was show Ambrosius a schematic of the cities. That's not the same thing as telling him precisely where each portal needs to appear — which is what he asked for. I bring this long-winded explanation up not merely to emphasize "RWBY's wish isn't as smart as the story wants you to believe it is" but because this wreaks havoc on who is getting a portal. How did the group tell Ambrosius precisely where to put a portal for Jaune's group? Why didn't they try to make one appear for Qrow and Robyn? Or Winter? Or Pietro and Maria? They had to have been somewhat specific in terms of saying where these portals appeared because if they just wished for everyone to get one, Jacques and Ironwood would have gotten one too. Basically, the portals do appear for characters whose “Worthy” plot now takes place in this in-between space and the portals do not appear for those whose plot is still taking place in Atlas. That's a mess. To say nothing of how it implies that our heroes just don't give a damn about all their other allies — including an uncle (Ruby, Yang) and a father (Penny) — and that, ultimately, Ambrosius did the very thing he initially said wouldn't work. He put a bunch of doors around Atlas that opened on a single point in Vacuo without making the group meet these requirements first. The rest is just a bunch of mumbo jumbo to distract the viewer from the fact that none of this actually makes sense.

But that's a tangent. To get back on track, Jaune's group decides to "spread the word on foot" since they can't contact anyone via their scrolls anymore. What this translates to is Jaune going to one spot and Nora doing the rest of the work because she can suddenly ride her hammer like a broomstick.

You know what? I'm fine with it. Have we ever seen Nora do this before? Not that I recall. Is it a cute image that feeds my witch-loving brain? Yeeeeeaah.

They're not sure if the portals are safe though and everyone turns to Jaune as the joke test subject. Except everyone else is right behind him when the go through? Even the jokes in this show aren't consistent.

What I do like though is that we get another interesting team split: Oscar, Emerald, and Ren heading to Vacuo while Jaune and Nora help with the evacuation — even though Nora and Jaune aren't actually doing anything together. Still, I can see that (for this volume at least) RT has taken the duo criticisms to heart. It would have been incredibly easy to attach Nora and Ren at the hip again, despite her desire for space, so I'm glad that they're still striving to mix things up a bit.

Nora says that Shade is "armed to the teeth with huntsmen and huntresses." It is? I mean sure, it has its school, but so did Vale. So did Atlas. In fact, we've spent the last two volumes emphasizing that Atlas is really the only armed kingdom remaining. Remember the plan for them to protect the world after knowledge of Salem's existence threw everything into disarray? Well, the people know about Salem now. And Salem herself is attacking. And they're about to slam an entire kingdom into another one. Don't get me wrong, I'm glad Nora ends her observations with the assertation that Vacuo will need as much help as they can get, but that worry feels far, far too late. Where were these concerns when Ruby made her announcement to the world in the first place? The fact that the group never went, "Hey, is it really worth telling people about Salem now when we can no longer provide the protection against the grimm that this announcement will necessitate? Yeah, we need backup, but can they even get here in time? I don't think so. Maybe we should hold off and try to find a way to solve this ourselves. Or, at the very least, just tell them Atlas is facing a massive grimm attack. That won't create quite the same panic as 'Magic immortal lady eager to kill you all' will."

Our heroes only acknowledge these problems when they're already neck deep in them. Forethought is not their strong suit.

For our obligatory humor, the people of Atlas are hiding behind the staircase after the evil portal appeared (weren't there, like, twenty of them in the last episode?) and a brave dude trying to toss a rock through accidentally hits Jaune. He — I kid you not — uses the Atlas huntsmen license gifted to him by Ironwood to gain authority over the group.

Talk about the story being tone deaf.

We segue to a shot of Penny who flies herself through the portal using the Maiden powers, precisely as she would have with her boots. Okay, I try not to pull many "I told you so"s because that's rude, petty, and all around just shit behavior... but boy is it tempting at times. Because RWBY's fandom is so staunchly against criticism that even the most polite pushbacks boil down to an equally rude "Just wait" mentality. Readers of these recaps know we were told to "just wait" for the group to talk to Ozpin. Or "just wait" for them to be punished for their crimes. "Just wait" for the complex forgiveness arc the group is sure to undergo with Emerald. "Just wait" is the go-to response when someone doesn't entirely disagree with our problems with the show, but still believes we're not giving RT enough credit. Most recently, I was told to "just wait" in regards to Penny. We don't actually know that her body is human. We don't actually know that her Maiden powers will still be the same. We don't actually know that this won't be the start of a long journey wherein she has to figure out how to use this new body, both on the battlefield and off. And the issue of RWBY failing to answer any of these questions isn’t valid criticism either because the only point being made here is that we’re not patient and supportive enough. Just wait. RT will prove you wrong.

Well... Penny's body still appears entirely human, her Maiden powers still work just fine, and now they've given her the ability to create all her old weapons out of aura, meaning she fights exactly the same as she did before.

The only thing making Penny human did was force her to fight barefoot. Oh, and erase her journey of accepting herself as an android.

Again, I don't want to be that asshole, especially when so many people want the show to be better — just like I do. By all means, hold out hope with me. But before slamming into someone's inbox to explain why they're being too negative because things are bound to be taken seriously down the road, keep in mind the staggering number of times we've decided to "just wait" and nothing ever came of it. Keep in mind that RWBY should be tackling these questions and expectations from the start. Now here we are, disappointed again. We're not pessimistic because we want to be, we're pessimistic because there's a clearly established pattern at play.

So Penny's change is, at this point, meaningless for her development and, at this point, we've lost the chance to introduce challenges later. If RT does, we're forever going to wonder why Penny didn't express any doubts upon waking up in a human body, or why she didn't face any problems while fighting another Maiden. Like Emerald getting the group to laugh and immediately being trusted with important duties, it's too late to suddenly backtrack and insist that there's still work to be done here. RT missed their chance.

That fight is a few minutes off though. For now, Oscar and the others arrive in Vacuo to discover that there's a sandstorm going on. Who could have ever expected that?

Seriously though, this is just one of the many reasons why our heroes come across as stupid. They deliberately chose to send everyone "outside the city limits of Vacuo," in a desert kingdom, after Ruby got the entire world panicked about Salem, and they somehow didn't think that a) weather might be a problem or b) grimm were going to show up? These characters have been though enough shit that they should be planning for the worst and hoping for the best, not planning for the best and assuming the worst just won't happen to them. Why wouldn't they have everyone appear inside the kingdom if they (against Ambrosius' rules) got to choose where everyone ended up? Why in the world would they rely on communications being up when CCT has been spotty since Volume 3 and Watts just took out Atlas’ entire system? Our characters don't think anything through — despite Ambrosius’ claims otherwise — and it makes for some pretty awful characterization. Because RWBY isn't trying to be a story about teenagers seriously messing up their attempts at heroics, it's trying to be a story about True Heroes... and we're just supposed to ignore the endless number of times the group doesn't think the most basic problems through. So now, Oscar and the other stand there doing nothing for the rest of the episode because a sandstorm in the desert threw a wrench in their plans.

The only reason I didn’t bring this up last week is because I had no idea they had chosen to dump everyone outside of the city. I thought they were going to the vault, or at the very least appearing inside the border. Why wouldn’t you send everyone to the city??

It’s so stupid, but then Cinder arrives and blows a whole bunch of people off the edge of the pathways. HELL YEAH.

I mean, obviously not hell yeah for the poor civilians who just took a tumble, but yay the villain causing some damage. It's small potatoes compared to what we were promised at the end of last volume — Salem decimating a whole kingdom in The Fall of Atlas — but at least it's more than we were getting last week.

So Cinder is having her evil fun when the entire group leaves Penny to go after her. Again, stupid. You're going to leave the girl who (at this point) may not have been in a position to fight with her new body and stands vulnerable with a Relic? Not a single member stays behind to guard her? It would have served Team RWBY right if Neo had shown up and just clocked Penny, taking a second Relic for herself.

Cinder taunts the group with information she shouldn't have: “Your little friend Oscar was right, but the easy part ends here" then mimics them with the question "How’d you know about that?” at their shocked looks. This starts a flashback where we return to Cinder, Neo, and Watts in the alleyway.

Again Cinder is given more development than a supposed hero like Emerald, apologizing to Neo for not upholding her end of their bargain. In fact, Cinder displays more growth here than our entire title characters combined, it's just that her growth turns her into a better villain. She apologizes to Neo, compliments Watts as a means of acknowledging the work he's accomplished — “You tore this kingdom apart with nothing but your intellect. How about we finish what you started?” — and tells the heroes that she did learn something from them: “Sometimes, if you want to win, you simply can’t do it alone.”

I quite like all of this. Again, not that Cinder should be our biggest threat with Salem on the scene, but if you remove that context this is a great moment for her. She's actually learned something, but instead of following in the rather abrupt and, in Hazel's case, nonsensical footsteps of her peers, what she's learned has made her more dangerous, not a sudden, convenient ally. Since Volume 7 RWBY has hammered home the idea that only friends can truly be a good team and now, well, Cinder is kind of making friends. She's apologizing to Neo. She seems glad that Watts is happy. RWBY took the concept of working together and applied it to our villains with devastating effect. Team RWBY has been skating by on the idea that power comes from friendship, so what happens if your enemies become weird friends too?

To be clear, this doesn't erase the staggering number of other problems with Cinder's character, or the villains as a unit, or the volume as a whole... but it is an interesting step in the right direction. Props for that.

Granted, outside of the fight itself, the villains don't really win because they're smart, the heroes are just — again — staggeringly stupid. Cinder promises to get Ruby for Neo if she can ask Jinn a question... which she does!

This moment could have been avoided if our heroes had just put the Lamp in the vault. Or not had Oscar carrying it around. Or used up the wish after they'd already summoned Jinn. Cinder's victory here rests entirely on her own enemies' ineptitude. At least she has the smarts to exploit it. She asks Jinn what the group's plan is and our three villains are shown the revelation outside after saving Penny and the discussions that took place in the dining room. They learn everything they need to inflict maximum chaos.

And it’s great.

Three other details of note:

Cinder spots Emerald with the heroes during Jinn's vision, but doesn't have much of a reaction beyond her expression tightening.

Jinn looks sad when she reveals the group's plan, reinforcing the idea that she's biased towards our heroes. I'd be more on board with that characterization if a) she weren't created by Light whose own Good Guy persona is dubious at best, and b) she wasn't so cruel towards Ozpin. Again, it's just this strange insistence that everyone adore Ruby Rose.

Neo reveals the Relic by pulling it out of Roman's hat. Uh... is that how hats work? They contain objects twice their height? While resting on someone's head? This wasn't one of Neo's illusions, she literally just pulled it out like a real world magician. That's weird. Showy, but weird.

Anyway, the flashback continues as the villains infiltration the Atlas military headquarters. I really enjoyed the music and cinematography here. It's a strangely uplifting tune — rather Cinderella-esque — which doesn't appear to work until you remember that these moments are through Cinder's perspective. Of course this is a Happy Ending for her — even if it's not for the audience. The quick cut between her summoning some fire and the whole room alight, bodies everywhere, was an excellent touch.

The happiness of this moment is then emphasized by Neo skipping as she beats people and Watts admitting that this is "everything I’ve ever wanted." I'm really digging the contrast between this scene's celebratory nature and the knowledge that the story is celebrating the wrong characters. It creates an enjoyably uncomfortable feeling for us and helps flesh out the villains more. From their perspective, life is good.

There's even a shot of that #1 Dad mug. Sometimes, RWBY gets it right.

Watts in particular is enjoying himself. He snags a discarded apple — no fairy tale symbolism there, I'm sure — and casually rubs the blood off it before taking a bite. This guy has style!

Watts watches Jaune try to send out his message to the kingdom and cuts communication at the worst possible moment. But then, we knew that already.

Elsewhere in the facility, Robyn and Qrow are trying to round up the Ace Ops. They all feel Atlas shake, realizing that the group has used the Relic, and Elm is appropriately horrified. "They'll destroy the kingdom!" Robyn says some self-righteous words about how a kingdom is made up of its people, not the land it exists on, which, while ignoring the importance of land to so many cultures, completely ignores that right now the majority of people are still on Atlas, or below it, including them. "They set the house alight!" someone cries. "Who cares about a stupid house," Robyn says, uncaring that the entire family still resides inside and she's starting to inhale smoke.

As Robyn tries to paint herself as a hero, Watts hacks one of the droids and sets it to self-destruct, telling it to run full-tilt at the group. Their weapons don't stop it and at the last second Marrow throws himself in front to take the blast, shattering his aura. Uh... after everything we've seen in this show, a single, small explosion wipes out his aura? I don't care about that so much here, but I absolutely care about it for an upcoming scene. Keep this in mind.

Also, I'm not going to get into the potential problems of trying to execute Marrow, beating up Marrow, and then blowing up Marrow. Others can tackle that leviathan of a subject.

At least he survived? But only RT knows if Robyn and Qrow bothered to put him on their ship.

Because as Atlas begins to fall Harriet, free of Marrow's semblance, races for an airship going off the edge of the open parking garage. Idk what else to call that space. I'm sure there's something appropriately military-esque, but we're going with parking garage for now lol. This is the one — one — moment where I felt like the Ace Ops were actually written like they weren't friends, what with Harriet's willingness to race off and leave them behind. Again though, it's too late and there are, frankly, other aspects to consider. Like the fact that Marrow just betrayed her. I don't think she's in the right mind for trusting the rest of her team, especially when there are only seconds to save herself.

Vine uses his stretchy arms to grab hold of her ship though and heaves himself on board.

Cutting to the jail, Ironwood wakes up and is greeted with a despondent Jacques. As Ironwood realizes that the group has the Staff, Jacques goes, "That's right, you lose! … we both lose." Before there can be any interesting discussion though, Ironwood's cell... goes out???

I suppose the explanation for this is things falling apart as Atlas descends, but man is that another moment of head-scratching convenience. What's even worse is that Winter apparently just left his weapons beside the cell. "Hey, what should we do with Ironwood's giant gun?" "Idk, leave it for him on the off chance us removing the city's power source wreaks havoc with the electrical bars?" I mean seriously. At least Qrow had to go find his weapon in a locker.

For a second Jacques is thrilled, sure that Ironwood will open his cell too... right?

He does open the cell, by blasting the whole thing to smithereens, Jacques included.

You all know I'm horribly disappointed with how they've written Ironwood, but I can't bring myself to dredge up any fury over this murder. It's Jacques. You know, the abuser and slave owner who has never shown a single shred of decency? Can't say I'm sorry to see him gone, especially since one of the Schnee girls were never going to kill him. The only other thing they could have done was have Jacques die an accidental death.

So villain!Ironwood can have another murder, as a treat.

Meme jokes aside, it's interesting that Ironwood's never-seen-before-last-episode gun produces a green blast and fire. It looks incredibly similar to what Penny created as an android and the fire around her Maiden eyes. Unlike Watts' apple though, I don't think this is a parallel RT intentionally included. Not unless we want to dig deep for more “Metal bodies = evil” symbolism, but there’s already plenty more persuasive examples of that.

Returning to Team RWBY, we finally come to the highlight of the episode: Yang falling off the edge.

Okay, I want to praise RWBY for having the guts to kill off a main character... but we all know they haven't killed off a named character. If next episode — or perhaps even next volume — it's revealed that Yang is really dead, I'll happily eat these words. For now though, this is not the consequence that RWBY critics have asked for. This is, in fact, quite a mess.

Let's count up all the ways this scene has failed spectacularly.

No one believes that Yang is actually dead. Not just because she's a title character, not just because Ambrosius never confirmed that the void was deadly or even dangerous — "Don't fall," however ominous, doesn't actually tell us what happens to someone who falls — but also because we have been here before. Three volumes ago. Remember how it looked like Weiss would die only for Jaune to unlock his semblance and save her? Yeah. The audience is both genre and RWBY savey. This cliffhanger feels cheap because absolutely no one is fooled.

Feel familiar?

Worse, Yang falls because of another round of stupidity. Nothing about this moment is convincing.

First, she notices Neo sneaking up on Ruby. What's her reaction? To flare her semblance, charge her in fury, and be horribly injured. Oh wow, where have we seen this before?

This is the exact same series of events from Volume 3. A loved one of Yang's is about to be harmed, she gets mad, charges without thinking, and takes the brunt of the attack herself, resulting in a far more serious injury than likely would have otherwise occurred. Emotionally understandable, but stupid. More importantly, it's the exact thing Tai tried to warn her about. The fandom praised Yang's arc because she got a moment of calm with Mercury, but since then we’ve ignored that development, reverting Yang to the same, impulsive fighter as before. Volume 6 showed us this problem in a non-combat setting and this moment solidifies it. Yang has learned absolutely nothing since Beacon. She's the same protective, reckless fighter she was back then, getting herself grievously injured because she can't think before she acts. What was the point of sending her on that journey if she was never going to improve?

Neo cuts through Yang's aura in a single hit. A single hit. These characters have long, drawn out fights filled with crazy attacks and you're telling me a single slice of Neo's weapon is enough to shatter Yang's aura? Really, aura has been an absurd plot device for a while, but this volume has been particularly bad. Ren's aura breaks so the group is spotted by Salem's grimm, but then is back just a few minutes later so he can see purple petals around Emerald. Jaune's aura is said to be running just as low, but then is totally fine to boost Penny for the next hour until she reaches the vault. Now, Yang has had just as much time to rest as they do, but she’s instantly taken out?

This is a problem not because the loss of aura itself sends her over, but because the hit was apparently so powerful Yang passes out. She's groggy at least, blearily looking at everyone as she falls, but not reacting to them and, importantly, not trying to save herself.

Yang could have reached for Blake's throw. She has a landing strategy. She could have blasted herself up, or towards any of the three paths she falls past. Instead she just... plummets. In a show where our characters are introduced through their ability to survive being launched off a cliff. Neo's attack needs to be miraculously incapacitating to justify — "justify" — Yang doing nothing to get out of this situation, in an episode where, minutes later, Ren's aura will also go out (again) but he's standing up and ready to fight a horde of grimm. But losing her aura through one hit somehow incapacities Yang?

Also, to ward off the expected claims: she didn't hit her head. Yang's back hit the path and her eyes were closed before she ever made contact. Neo's hit just... knocked her out.

That's absurd.

Worse than her not helping herself, no one else on her team helps either. Except Blake. Ruby, who this volume has learned that she is basically able to teleport and negate the mass of carrying someone else, doesn't fly towards her sister. Weiss, who can summon flying grimm and create platforms for someone to land on, just reaches out a hand. They all had time to do something, Blake's action is proof of that, but neither of them did. Why? Because the show wants this to be a bees moment. I say that not as someone who hates the ship, but as someone who loves it. Or at least, I've always loved its potential, but if you need to prove their devotion by erasing the devotion of others... that's incredibly bad writing. And that's what this is. The choice to have Blake the only one capable of acting sends the message that she loves Yang enough to overcome the shock of her falling. That love powers her to act. But Yang is Weiss’ teammates too! Yang is Ruby's sister.

You’re telling me neither of them had the drive to push past shock and save her?

I find it particularly insulting that Weiss comforts Blake rather than crumbling in grief herself. I find it doubly insulting that Blake cries and screams, but Ruby stoically continues her fight with Neo. In trying to show Blake's love for Yang — and hers in turn — the show has unintentionally pulled back on the love everyone else has, even between siblings. This is a far more harmful repetition of Yang's moment in the outpost: she cares more about the imagined disagreement with Blake than she does the actual fight she had with Ruby. Blake shows more emotion for Yang's assumed death than her sister has. You can't prove love by diminishing it elsewhere. The scene 100% needed all three girls doing everything in their power to save Yang, failing, and then continuing the fight while expressing the appropriate emotion for such a massive loss. Ruby can fly towards Yang and be pinned by Cinder. Weiss can start to summon and have an attack disrupts it. Ruby can scream and cry while she fights Neo. Again: that's her sister.

There's nothing about this scene that works for me and honestly? After Yang returns they better kiss. Or there better be an "I love you." Something canonical. There will never be a better, more obvious time for a confession than after Blake thinks she's lost Yang for good and if we don't get one... the ship has well and truly sunk. We're living in a post-Supernatural finale world. You can no longer take your one, implied to be queer main couple, toss one into this fantasy's version of super hell, give them a second chance together... and then leave things dangling. RWBY has to make them canon when Yang returns if they have any hope of maintaining a large portion of their queer fanbase.

As a final note on this scene, I don't like what it implies about both Blake and our lost civilians. Like Yang, (and like Penny last episode) this attack undermines the growth our characters have undergone. Yang learns not to attack out of emotion with her semblance... and then does just that. Penny learns that she's a person with an android body... and then gets a human body to make her perfect. Blake realizes that she isn't willing to kill people in this war anymore... and then goes after Neo with an intensity that implies she's ready to kill her. It's a detail that might have been meaningful if Blake's struggle had existed in more than a single line in a single scene. As it is, it just feels like they've forgotten — or are ignoring — another character beat they introduced.

As for our civilians, will the show bring them back too? Look, I'm pleased Cinder blew them off the edge. I'm glad there were finally consequences for the kingdom-wide attack, even if none of have to come about from our main antagonist. But that impact was erased the second they threw Yang off the edge too. If they bring only her back, Team RWBY look like assholes who only care about their friends, not all the people they were charged with protecting (a recurring theme in this series). If they do bring the civilians back, we've lost that consequence. RWBY never should have tossed a title character into that void especially when, as said, everyone watching knows it's not a real consequence of this fight.

This was a terribly crafted scene, imo. If the only purpose here is to push the bees to confess, we could have gotten that after the whale. Yang was captured by Salem. That's more than enough danger to justify coming clean about feelings and the volume could have easily been reworked to make Blake aware of that danger, forcing her to stew in it until Yang returned, unharmed.

Instead we get this.

Also, I don't even want to get into the implications of having Yang disappear in a cloud of glittering gold dust like Pyrrha did. That's a world building rabbit hole RWBY really doesn't need.

So Yang is gone but obviously not gone. Blake is the only one impacted by this enough to react emotionally. Penny hears her scream and comes running, showing the viewer that absolutely nothing had changed despite getting an entirely new body.

Cinder weirdly throws her voice — has she done that before? — to distract Penny and the fight continues, with Neo going after Ruby and Blake going after Neo. There's a moment where Blake realizes that Weiss is in trouble too, looking between her two teammates, unsure of who to help.

I'm calling it now: Blake will be the third semblance upgrade, splitting herself into multiple fighters capable of functioning independently, rather than just shadow clones to take hits.

It would make as much sense as anything else.

Cinder at least is fighting smart, attacking the civilians rather than Weiss directly, then blowing her glass up in Weiss' face. She then manages to catch herself in the air, but, you know, couldn't do the same for Yang.

At the very least don't have Weiss using these abilities seconds later, c'mon.

We thankfully leave this nonsense for, well... more nonsense. Vine and Harriet get into a fight about what Clover would have wanted, which means nothing to the viewer because we didn't know Clover long enough to develop that sense for ourselves. I'm sorry, but following an order to peacefully bring Qrow in for questioning is not proof that he would have seen things through in the sense of blowing up Mantle, yet that's what we're supposed to believe based on Harriet's assertions and Vine's take that "perhaps Clover was wrong." I really hate that RWBY has taken to bashing the guy before he had the chance to actually do anything. Everyone is criticizing Clover based on lies or assumptions about what he might have done if, you know, he hadn't been murdered. Qrow blames Clover for defending himself, not his own choice to team up with Tyrian. Robyn asserts that Qrow is a better huntsmen than Clover, even though the one scene they had together was Robyn deciding to attack Clover because she didn't like him doing his job. Now Vine is like, "Yeah, Clover might have tried to blow up a kingdom needlessly, but maybe he was wrong and a bad person, you know?" I don't even like Clover that much, but the story has really gone out of its way to criticize him when he's obviously not around to prove, disprove, or otherwise defend himself. That’s messed up.

The one good part about this scene is Harriet losing it, all her firm beliefs crumbling to reveal just an aching grief for losing Clover. Hark, is this humanity for the other Ace Ops I see? Some development and characterization? Vine reaching out sympathetically to comfort her because they've always been a team, no matter what Ruby might say about it?

Oh wait, no. They're interrupted by Robyn screaming as she slams her ship into theirs.

I think Robyn is, officially, my least favorite character in the series. Which isn't to say there aren't objectively worse characters than her — we saw one get blown up this episode — but no one has this particular combination of horrible acts, self-righteous attitude, and an absolute dearth of other positive qualities to distract from that. Robyn has brought nothing to the last two volumes except frustration and I can only hope she goes off to do her own thing when our finale is done.

Qrow goes feral, turning into a bird and changing at the last second to slam through Harriet's window. He taunts her about getting the fight she wanted and we see Watts hacking her ship while they're distracted.

Watts, I'm really loving the evil schemes, but don't you want to, uh... leave? Atlas is falling and you're one of maybe three people left on it. Best get a move on, chop, chop.

Those other two people are Winter and Ironwood, both of whom have come to the vault looking for Team RWBY. Ironwood lands a hit with his new gun, giving a short speech about how though he was always on the lookout for betrayal, he never expected it from her. He tells Winter to stand aside as his final order, to which she replies, “I’ve never wavered in fighting the enemies of this kingdom," preparing to fight.

I've explained the problems with Ironwood's downfall ad nauseam. I don't think that's needed again here. However, there are two final points I'd like to make.

Winter's characterization took a hit along with Ironwood's. Why didn't he think she'd ever betray him? Because they clearly cared for one another. The fact that Winter so quickly and easily gave up on Ironwood is a disservice to both of them. Even in the throes of being an emotionless killer, we still understand Ironwood's devastation at this betrayal: his shock when Winter attacked, his request that she step aside now, the single tear.

There's nothing like that on her end. No denial that the man she faithfully followed would do this. No insistence that the man who helped her escape her abusive upbringing be reasoned with. Nothing. Winter dismisses Ironwood with the same callousness the narrative has.

Which brings me to my second point: this isn't hopeful. I know the Emerald lovers don't want me making comparisons, but the story has already done that for us. You can't give us an all out villain — someone responsible for countless deaths across the series, attacks on kingdoms, lying to our heroes, willingly working for the enemy — and say that it's good to forgive her instantly, but it's not acceptable to even consider forgiving the man who has also killed, also threatened to attack a kingdom, was honest with our heroes, and always fought against the enemy. You can't give us an entire story about hope and forgiveness — Ruby reaching out to Raven, Weiss wanting to rescue Jacques, Oscar putting all his trust in Hazel — while saying that this character isn't worth compromising with. This character needs to be denounced to the whole world so there's no possibility of forgiveness. This character will commit horrific acts and his allies will immediately jump ship, but others? Their horrific acts are forgiven the moment you give them a way out. I'm supposed to believe that Yang, who knew Emerald only as the woman who attacked her school and has helped make their lives a living hell since then, will laugh with her within an hour, but Qrow, after years of being an ally and friend to Ironwood, is suddenly ready to murder him over an arrest he had no context for? That Ruby will try to make peace with every enemy she comes across, but not the guy who was the ally she betrayed? That Winter would extend more compassion to her abusive father than the man who helped her escape that? Ironwood's downfall isn't just horribly written, it messes with RWBY's core themes. Everyone deserves a second chance, is worth crying over, is worth reaching out to no matter how many horrible things they've done... except this guy here.

And when that guy is the PTSD riddled military vet who crumpled in large part because the heroes continually lied to, betrayed, and took extreme action rather than working to find a compromise... that's a really bad take. That shows a lot of bias on the part of RT. They're trying to write a story about the evils of the institution, but think they can reduce that to the evils of a single man driven to the brink. That doesn't send a teachable message to the audience and it certainly doesn't send a hopeful one. All it does is reiterate that if you rip away someone's support network when they're already falling they will, shockingly, fall harder.

Which brings us back to characters like Emerald. Because no, no one has to help Ironwood. When someone is hurting you and committing the crimes he has this volume, no one is required to extend a hand at their own, personal peril. But when the narrative is so heavily pushing forgiveness for other mass-murderers? When child torturers are extended a hand during the torture? That reframes everyone abandoning Ironwood into something unpalatable. Having Ironwood’s allies, friends, and really, family, so quickly toss him aside while other, equally bad people are welcomed in says that everyone struggling like him isn’t worth the effort. From a genre perspective, this isn’t a tragedy because the characters don’t care. No one is striving to bring Ironwood back from the brink. No one is crying over the man they lost. Hazel gets a moment of silence as Emerald kneels, stricken in the aftermath of his death, but one of the heroes since Volume 2 gets nothing but hateful looks from his second.

But we all knew we'd end up here. My current theory? The portal should still be open at the vault. Winter will fight Ironwood, escape through it, and it will close right before he escapes too. He'll fall with Atlas and everyone will act as if it's some beautiful, poetic justice for him to perish with the city.

Here’s hoping I’m very wrong!

Finishing with Oscar's group, Ren's aura breaks after trying to mask everyone coming through the portal. Oscar realizes that Penny should have come through by now and runs back to find her, only to discover that the portal is closed on this side. Why? Because Weiss wished for a "one way trip to Vacuo." Not only is this another example of our heroes being stupid — they come up with this complicated wish that doesn't actually makes sense, but don't bother to be careful with their words like Ruby was when helping Penny? — but it also just... doesn't add up? How does Oscar know what Weiss wished for? How does Ozpin? (His one line in the episode.) They recall this together, the flashback acting like a memory, but neither of them were there. Neither was Ren. Neither was Emerald. They haven't spoken to the Relic group since separating.

It looks like RT still needs to edit their scripts.

As Oscar realizes they're trapped, the emotions of the group summons a huge number of grimm to the area. At this point, my only thought was why none of them had used the time Ren was buying them to try and find Vacuo. I mean, they're not the only fighters with semblances here. They have the Happy Huntresses too and, I would think, the Atlas students (unless the army was abandoned like Pietro and Maria were. Where are Neon and Flynt?) There's no one in this huge crowed with an ability that might make scouting ahead a little safer? No one is even going to try and figure some plan out? Everyone on these teams is too passive. They encounter a problem — where's the city? — and instead of trying to solve it while they can, while they’re in a good position to, they wait around until the situation becomes unimaginably worse and they have to figure something out or risk dying. Now, the people are being carried off by grimm, they know something has gone wrong on the pathways, and Ren is about to enter another fight without his aura. Let's hope he doesn't take a hit like Yang.

Summary of "Worthy"? Excellent villains, terrible heroes. It's better than what we've gotten in a while, but choices like Yang's fall ensures it's still not good. Given the trajectory of the volume, it was inevitable that we would end up here: moments that look significant at first glance, but are (quite likely) no more than window dressing in the long run.

Finally, bingo is rather boring this week. Unsurprising, considering we're almost out of space. I'm keeping our "Army of grimm conveniently doesn't kill any civilians" square checked because the point there was for Salem to kill people, not for the group to lead the refuges into a grimm infested desert. We'll have to see how many people they lose though and whether Atlas "somehow survives." Here, like Robyn, I'm talking about the citizens, not the now clearly doomed hunk of land. At this point, Oscar doesn’t seem to at all care about his near death experience, but I'll hold off on that square until we're truly done, and there's still a near certain possibility that Ironwood will die, with a likely possibility that Qrow grabs a bottle when first given the chance. What RWBY has avoided though is a Jacques-Watts team up 2.0. Considering, you know, Jacques is dead.

Gold star for not doing the expected, iffy thing, RWBY.

That's the square I would have least minded seeing though 😬

Anyway, finale next Saturday, folks! What insanity will the end bring? Only time will tell. But I can't wait to see what state the fandom will be left in for hiatus!

Until then 💜

#rwby #rwby spoilers #rwby volume 8 #mymetas #rwby recaps #rwby worthy

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