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sad-endings-suck · 1 month

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Blue Eye Samurai: regarding Mizu’s “plot armour” or her “ridiculously over-powered” abilities.

“Mizu is way too overpowered, it doesn’t make sense.”

I feel like a lot of people don’t realize just how much the mind over matter mentality plays a roll in Mizu’s “abilities”. Mizu isn’t the best because she’s physically the strongest, or had the best training, or the most experience, or whatever. Mizu is the best because she has single-minded focus and immense tenacity that borders on psychotic due to how intensely dedicated to revenge she has been for almost all of her life. All the years she spent training, all the time she spends taking out enemies, she is being driven by single minded focus and iron willed determination that never wavers. She has been sharpening and honing not just her body, but her mind, for exactly this. She has dedicated her entire life to her quest for vengeance, and in her own words, there is no room in it for anything else.

People also seem to be making a lot of assumptions about what kind of training and how much training Mizu has or has not had. As the audience, we’ve only been shown bits and pieces of Mizu’s past, which includes her experience learning martial arts. Asking shit like “how is she so good with a sword if she’s only self taught?” is like asking “how can she read and write if Master Eiji is blind?”. The answer is that Mizu has obviously learnt these things from more than one source, but documenting her entire education in detail doesn’t exactly serve a purpose to the narrative. We are explicitly shown in one of Mizu’s flashbacks that she’s been practicing with a wooden sparring sword since she was very young. It’s actually her child self that we see in that brief particular flashback. Not her teen/tween self, her child self. She’s also following the movements and instructions of an older man that is clearly a skilled samurai or warrior of some kind based on context (which y’all love to ignore). Besides, who else would want/need a sword from a master sword-maker besides an expert swordsman? How many skilled fighters from all over Japan have come to Master Eiji’s forge hoping for a blade, and wait with nothing better to do but train while their blade is being made? How many of them have divulged information about certain fighting styles (like Shindo-Ryu, which Mizu was familiar with despite never having been to the dojo before). Or practiced around her and with her? We are clearly shown through Mizu’s flashbacks that receiving training from a visiting client has not been unusual for her throughout her apprenticeship with Master Eiji, and her little spar with Blood Soaked Chiaki was no one time event. Yet Mizu is never given the benefit of the doubt by the audience, despite context clues indicating that she should be.

“Taigen has way more training in an actual dojo, so why is Mizu better?”

Whereas Taigen, while he was determined to become more than just a fisherman’s son and was driven to rise through the ranks of the Dojo and become a skilled samurai, did not have that same desire or determination to hone every part of himself to be the most deadly weapon he could possibly be, like Mizu did. Taigen believes in the samurai code of honor and upholds it in his own way (preventing him from learning how to “fight dirty” so to speak) and he also had a life outside of his training (he had a social life, he drank, he partied, he snuck around a lot to see Akemi presumably, etc). In fact, we actually never see Taigen practice, train, learn, hone his skills, or anything (to my recollection) throughout the whole season, until he’s bested by Mizu in combat. I’m assuming Taigen had to work quite hard for several years to become as good as he is, but I get the sense that ever since he has been regarded as a prodigy he has allowed himself to get cocky and maybe a bit too comfortable. He has always been the best and always thought himself to be the best, so he never needed to give 150% effort when he fought. In fact, as he got older and more practiced, and it became more and more apparent how much better he was than everyone else, he probably stopped giving his 110% and allowed himself to get a bit comfortable putting in 100% effort, and then eventually 80% effort (which is part of the reason why I think he’s so pissed he lost to Mizu in their first fight, because he knows he could have done better: been less cocky, been more tactical, more driven, etc).

We also never see Taigen meditate or mentally or physically prepare himself the way we do with Mizu. Mizu will pray before a major upcoming battle, not because she’s religious, but because she’s mentally, emotionally, and spiritually preparing herself. We even see Mizu submerge herself in very cold ocean water (during the winter mind you) as a ritual/practice of sorts that serves to center herself and prepare mentally and physically for what’s ahead when she feels herself getting “too emotional” or too stressed or unfocused or even just slightly off kilter. Mizu sacrifices every part of her life, so that she can be the deadliest version of herself possible. She has no social life. She has no friends, or significant others (Mikio aside). She has no other activities to participate in, because she’s been completely alienated and thus being anything but the best is not an option in her mind because she has no options. She tried married life. She had the best possible life that she could have had as a biracial woman in Edo era Japan. She did as she was told by her “mother”. She showed her true self to Mikio, just as he desired. Yet the blood and vengeance still caught up with her. She has no other options anymore. Pursuing revenge is the only thing she knows how to do, because every other avenue in life has been cut off from her. So she has to be single-mindedly focused on her vengeance, which means being as skilled and as dangerous as she can possibly be. She has no hobbies or jobs or responsibilities beyond sword-making (which allows her to become as familiar with the blade as possible) and training herself. If she has extra time, she uses it to practice, to train, to improve, to simply maintain peak performance. Such as when she was hacking through those trees in episode 2. Afterwards, we see Taigen attempt to replicate her training (by cutting down trees with his sword). Though even then, it was more about curiosity and trying to suss out Mizu so he could gauge her skill level, then it was about actually honing his own abilities (until episode 3 when he practices with Chiaki’s broken blade). Which does count as training in its own way (assessing your enemy), but my point still stands. Taigen does not have the same unwavering focus and force of will that Mizu does (partially because he does not actually want to kill Mizu, as we do see Taigen go cold blooded with focus when he kills Heiji Shindo, but those are whole other discussions).

“Mizu just has ridiculous plot armour, that’s the real reason she survives every encounter.”

I feel like people that think Mizu has ridiculous plot armour are just not at all familiar with the Samurai or Western/Cowboy sub-genres at all, or even action as an overarching genre on its own. I don’t believe I have ever engaged in a single piece of action media in which the protagonist didn’t have “plot armour” in some way. Basically half of all male protagonists from any and all modern western action movies ever, have been way too over-powered and been able to take a ridiculous amount of damage that should have killed them multiple times over. These action heroes (who in western media are almost always cis-het white men) have ridiculous plot armour in the most classic sense. Yet no one complains when it’s a white man. Only when it’s a queer-coded biracial woman of colour. Shocking.

In fact, you could argue that every main character in every fictional story ever told has plot armour to a certain degree, because having an entire narrative revolve around one character is inherently “unrealistic” and therefore the main character has plot armour, yes? No? Yeah, that’s what I thought. Oh, and on the topic of the samurai genre specifically (and many martial arts based action media) there are certain genre specific tropes that are nearly integral to the genre. One of the most prominent being the samurai/ronin/warrior/martial arts master that is “ridiculously over powered”. It’s literally part of the genre. In fact, the western/cowboy genre is quite similar to the classic samurai genre. Now, how many westerns have you watched in which Clint Eastwood or John Wayne shoot 5+ guys with one pistol before any of the guys they shoot even get a shot off? A lot I bet. Is that not the definition of “over-powered” and “unrealistic”? Or is it just a genre trope, or even perhaps, a genre staple? No one thinks Arthur Morgan (Red Dead Redemption 2) is over-powered. No one thinks that Joel (The Last of Us) is over-powered. In fact, when the TLOU show came out, people actually complained that Joel, the fifty-something year old man that has been living in a post apocalyptic wasteland for 20 years, was not badass or strong enough (he kills dozens of humans and super zombies and he’s legally a senior). So, who is the “judge” of what is and is not realistic in action media that borders on sci-fi/fantasy based on how “over-powered” the protagonists “realistically” are?

“It’s just weird that Mizu is so powerful when other characters within the story are not. It makes Mizu such a Mary Sue.”

Okay… so, with all that in mind, let’s circle back to where I started when referring to Mizu as someone driven by unwavering determination, and how that affects her “abilities”. That facet of her personality and motivation is nothing new when it comes to the action genre, especially for protagonists of revenge storylines. Think of Kill Bill or John Wick. Why does John or the Bride keep going and keep winning even when they are constantly getting injured and always fighting. Is it because they are simply that much better than everyone else? Yes and no. No, because they are not superheroes (technically), but also yes. Because their single minded determination and need for revenge drives them to push that much harder than anyone else on their skill level. They are the best, but they win against everyone else that is also “the best” because they want it more. They need it more. Mind over matter. They are willing to endure what others are not through sheer will and pure cold rage. Mizu, Beatrice Kiddo, John Wick, and so many more similar protagonists in action-revenge narratives don’t keep winning and keep getting back up no matter how inured they get because they are just “that much stronger and more talented than everyone else”. Yes, they are extremely skilled and would probably be one of the strongest and most deadly combatants/killers in their respective universes regardless… but their refined skill and raw talent and power are not the only reason they win. Their unwavering force of will, extreme determination, ice cold fury, and single-minded focus on revenge is what drive them to be that much tougher. Their tenacity is their superpower. They want to win more than their opponent does. They need to win, because this is their one and only goal in life as of now. Mizu (Blue Eye Samurai) Beatrice (Kill Bill), John (John Wick), they all share a philosophy in life when it comes to their revenge, which basically boils down to “Either I kill you, or I die trying. There is no middle ground, there is no negotiating, no other choice, no path of least resistance, no other goal or motivation. You will die, because I ain’t fucking dying until you do.”

Mizu doesn’t have plot armour and she’s not over-powered. She is an archetypical protagonist of the action-revenge narrative and the samurai/western genre as well. She arguably even has better reason to be completing the feats that she does than John Wick or The Bride, because the medium of Blue Eye Samurai is animation and not live action, and the genre borders on magical realism far more than Kill Bill or John Wick. Now, how many anime protagonists (probably almost all male) can you think of that are “ridiculously over-powered” especially compared to any live action counterparts, but no one complains about it? Why does no one complain about it (aside from misogyny)? Because the medium of animation inherently has different “rules”, expectations, and set standards for suspension of disbelief, than the medium of live action film or television. For example, is it ridiculous and unrealistic when you’re watching a Looney Tunes cartoon and Bugs Bunny’s legs pinwheel in super-speed for 3 seconds straight before he starts running, or when he runs off a ledge and gravity just lets him hang there for a sec so he can look straight at the camera before he falls? No, it’s not “unrealistic” or emersion breaking, not even a little, but why? Is it because any of those things seem even remotely probable or “realistic”? Of course not! It’s perfectly acceptable because the medium, genre, target audience, atmosphere, art/animation style, narrative choice, storytelling style, and more, have all established that Bugs Bunny defying physics is normal in Looney Tunes, and therefore not a “plot-hole” or “unrealistic”. In fact, if Bugs Bunny or Tom and Jerry didn’t defy physics in ridiculous ways all the time, then it feels far stranger and off-beat than if they did. Same goes for pretty much all action anime. If the characters in those stories were strictly limited to what is 100% humanly possible in real life, most of those animes wouldn’t even have storylines anymore. They’d be turned into completely different content that may be unrecognizable from the original source material. Or wouldn’t even have any material anymore because all the characters would be dead after their first fight scene. So why is Blue Eye Samurai being held to a different standard?

Now, do y’all get it yet?

#long post #mizu #blue eye samurai #👏 genre and👏 medium matter👏#so does author intention >>>#if a story is telling a narrative that you personally don’t like but it is succeeding at what it set out to do that does not make it bad!!!#so sick of white boys on the internet calling any physically capable or martially skilled female character a Mary Sue #and it almost always boils down just to gender #a female character could be ridiculously overpowered but so long as there is a male protagonist that is even more overpowered they don’t ga #but as soon as there is a female protagonist with any kind of proficiency a male character in the story doesn’t have all hell breaks loose #if i hear one more man so much as utter the words ‘Mary Sue’ in my vicinity ever again i will be resorting to Mizu style conflict resolutio #men never learnt what the term ‘Mary Sue’ actually means and if you don’t know what something means then either research it or stfu #it’s such loser behaviour that shows such a pathetic measly capacity for any kind of critical thinking or reasoning much less media analysi #anyway rant over #this was sitting in my drafts #blue eye samurai analysis #mizu blue eye samurai #taigen blue eye samurai #taigen #overpowered #plot armor #media analysis #mizu bes #bes taigen #netflix bes #feminist critique #bes #blue eye samurai meta #reading comprehension #rant

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multifandom-nerds-blog · 7 months

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Thinking about Ducktales again. More theoratical analyzing. More ranting. More precisely about Ducktales humanity. (Less a biological take, more societal and historical)

I don't remember if there were any monkey or ape characters, but nevertheless evolution in the Ducktales world decided that, nope I don't like apes, it's gonna be primarily birds, ducks specifically who turn human

But it's not only birds, there also mammals, both carnivores (I think more of those?) and herbivores, yet again, birds are still the majority.

So whatever it was that caused the evolution, my take is that it's more birds simply cause "birds" were just already far more wide-spread around the globe due to their natural flying abilities pre evolution. And Ducks, cause, Idk, ducks are everywhere.

Anyways, the "animals" were probably evenly hit by evolution in general, but a lot of other species (lions, tigers, subspecies like pandas) in the wild were bound by territory. Ergo, due to more birds existing all over the globe, more humans in the modern age ended up being part of bird species cause they were more wide-spread in the beginning due to pre-evolution times. Also certain areas having more dangers (stone age, bronce age, I'm not sure how the early ages are called) for humans then others being a reason why some species exist more than others. (Again, human lions or tigers might have not been able to build bigger civilizations in early history due to having animal lions or tigers as dangers) (I know lions and tigers do not live in the same are btw, even if it might sound like that)

Now... Birds are basically the top of society in the Ducktales universe. They are more. They are everywhere. They are much more dominant. And I have thoughts about discrimination and the irony of birds that are "prey" being the majority of Ducktales humanity, but I should not only make a separate post for this, but also really sort my words so this doesn't end up sounding to weird.

Going back to the society: It somehow happened that human animals and animal animals live together. And in a way mostly similar to us. Pets exist. Feeding ducks with bred crumbs is a thing (that scene is why I'm writing this post). And people eat cheese, milk, eggs and meat.

Now, I don't know which is weirder. A human dog having another animal dog as a pet (hello Goofy) or a chicken eating chicken soup? (Huey wanted to give Scrooge chicken soup while Gyro was sitting on his computer and he didn't react. I guess cocked/baked duck/geese/turkey is also being eaten) Does it not count as cannibalism if it's not a conscious human, or do chickens just not eat chicken, pigs no ham and so on?

I am very much aware that this is just a disney show, targeted to kids mostly, and that those characters are all animals because they've always been animals. But I'm going between things like Zoomania and Beastars where the whole humanised animals topic is actually being discussed and also used to cover racsim as a topic, to things like Sing and Kung Fu panda where everyone just simply is an animal cause it's animation marketed to kids. Then we have Ducktales. And well, Bigotry, discrimination and racism isn't the topic of this show, obviously. It's about adventures and familiar relationships and drama. WHICH IS GREAT. No question. But then you have Penumbra being weirded out at conscious ducks feeding non-conscious ducks, and the whole 4th wall break episode in season 3 showing us that at least some people were very much aware of the undiscussed implications a show with only animal people has. Even if it's supposed to be a silly kids show.

Feel free to comment under this and reblog, cause I would really wanna know what others people thoughts about this are and maybe discuss it a little bit.

#disney ducktales #ducktales 2017 #ducktales #analyzes #More or less at least #tv shows #tv show analysis #I might also do one of my rantings about the biological aspect of different species becoming human #But that was also probably been done like a hundred times

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takaramagi · 1 year

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this was the best scene thus far i am gonna go ahead and put that out there first

the way the entire world faded out around them to the point they didn't even notice the taxi pulled up until the driver had to say something

but also the way that jaewon seems so comfortable doing this type of thing where he fixes/helps jihyun pull his backpack up and PULLS (not lightly either) jihyun closer to him just to what??? stare into his eyes???

he seems somewhat comfortable initiating this but as soon as things get "too real" he seems to get overwhelmed. when jihyun was helping him draw and moved closer to jaewon he had to back away from the situation and make an excuse to get jihyun to go away for a second. this is one of the only times jihyun has initiated this type of contact himself also, other than maybe ep. 1 where he passes the lighter.

(which we saw how jaewon just stood there stunned for a while lmao) i think it's worth noting that maybe jaewon feels more in control even though it's kinda like he almost can't help himself but initiate this type of thing but also when jihyun kinda shows interest on his part jaewon is like hey woah woah woah..........like you can see the world fading away from him in his eyes when these moments happen or when he looks at jihyun.

it seems like jaewon has this own little world with jihyun like in this moment, he basically completely forgets the world is moving around them and other people exist. it's not like he's the character saying "oh but people will see us." he doesn't even seem to consider that really, because they're not even there? which goes back to how jaewon has these superficial relationships with people around him in his daily life.

then he gets snatched back, like it is a visible difference and moment when he gets pulled back into reality. and that is when he starts to pull himself back and kinda push jihyun away even. i would say most of jaewon's pressures seem internal because of all this, even though his "friends" definitely contribute to it. i don't think most of whatever is going on with him is about his friends or outsiders though because i don't think jaewon is even considering them at all? i don't mean in a selfish way. i talked about this briefly in the tags of the great post by this scholarly poster where jaewon always contradicts himself. because he is not being real with anyone including himself at the times we have seen him because that is his entire character and will be his character arc. pretty much everything i said in the tags was confirmed by these eps where he talks to the surf club president who seems to be his only friend he can be somewhat himself with and his therapist.

i mean that as frustrating as it is to watch jaewon's friends be shitty people......jaewon knows that too. but with jihyun we are seeing him put some type of effort into a relationship whereas the friendships he has... although it may be hard for him to be with jihyun because of whatever internal battles he has, it is probably harder for a character like jaewon to confront that everything else in his life is superficial and he's just been going along with it.

one, to confront that makes it real. if you just let it happen then it's whatever. but to tell someone to stop treating you badly even when you know they won't because the friendship isn't real, it's easier just to leave it as is. but also his character literally says it's his flaw, that he doesn't speak up or show his real self. but he also says that it is exhausting living like that so i suspect he's gonna blow up eventually. honestly when he confronted his friend in the bathroom i was like dang hope he bashes his head in the sink weak hero class style

jaewon even started his relationship with jihyun like this too. everything was oh i'm a senior that will be your friend, call me when you don't even have my number....he's stuck between this performance and persona he has vs real genuine interest in someone. when it gets in that grey area in between his persona (especially when he's around others) and how he really feels and what he really wants these contradictions occur. it's easier to play things off in jest too than admit something is real to you. he probably doesn't even know how to navigate that honestly, when he's been playing this part and just letting things happen to and around him. (he also says that the military was an escape for him since he didn't have to deal with all this). i wonder if his relationship with his ex was a performance as well. just to be "normal" amongst his friends and peers, but who knows.

i am willing to bet the closest we get to jaewon's "real" self is when he is with jihyun and even then it is only glimpses so far. that and when he is truly alone like we saw in the early eps but those moments are few and far between. i am glad he is in therapy lol because that seems like a lot for jihyun but also for jaewon too. i am also willing to bet that this will be a central conflict/plot point when jaewon stops performing and loses pretty much everything he has. and who stays will be who truly cares for him and confronting that is scary as hell. either that or something will happen with the friend or his ex where he will be forced to (probably his relationship with jihyun but at this point everything is fake around him except his relationship with the surf president, but even with her i don't know if he thinks he can be completely honest), and he's gonna react badly and i can't blame him

#the eighth sense #extremely long sorry i don't know why i typed all this so i put it under a read more #just me talking about jaewon #i can already see the pitchforks coming for his head when something happens and it hurts jihyun #i don't want to see jihyun get hurt either but jaewon is my friend and i am sticking beside him #this is less of an analysis and more of me just ranting and rambling so don't expect anything profound or unsaid before #i just like his character and this show and think it is interesting #i havent read this over because i am too lazy so it may not even make any sense sorry #five liveblogs

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ghetsis · 5 months

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Character notes as suggested by Rex:

My goal with Ghetsis has always been to keep him canon in terms of how irremeably and unapologetically evil he is and to expand upon those traits. I love humanized villains, there's just a lot of them in media overall and most of the pokemon villains fall in to the "good motives, bad actions" category. You can see where they're coming from even if their plans are batshit insane.

Ghetsis is unique in that he's purely psychopathic. He's not out to right some worldly flaw. He's not in it to help anything or anyone but himself. He's not sympathetic and he's not supposed to be. He's supposed to be feared and despised. He doesn't appeal to your better nature, he brings out the worst in you.

I also reject this unspoken rule in writing that character growth has to be some moral shift towards goodness. Your character doesn't have to become a better person. They don't have to learn kindness and humility. There doesn't have to be a happy ending for them. To insist otherwise is the same Puritanical forced-morality that's been pushed for centuries. Critics in the 17th century complained that contemporary media was awful because it didn't preach enough positive values. To say a character is poorly written because they don't end up saying sorry or being nice by the end isn't far off.

Trying to make Ghetsis into a better person is like trying to get a crocodile to eat grass. It doesn't suit him and would be an unnatural progression. He's not a monster who learns to be soft, but one who sharpens his teeth and claws to become even more fearsome. His character growth is to move closer to his view of perfection. To become ever more cunning, powerful and dangerous. He gets better by being worse.

As for inspiration, I take a lot from current events. A pathological liar who manipulates people into committing acts of terrorism under a false narrative is extremely relevant to American politics right now. So relevant that I can't help but wonder if it's delaying the production of a Gen 5 remake... My interpretation of Ghetsis and Plasma reflect a lot of what I see in terms of cult mindset, mob mentality, polarization and disinformation. I guess it's a way of processing the world I live in.

Anyway, I don't have much in the ways of little trivia points aside from that I originally just made this blog to provide some backstory for Aiden and that he almost immediately manifested in my nightmares like I'd summoned a demon.

#this feels less like dev notes and more like a character analysis/rant

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matchaflavored · 5 months

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re: your last post, so real man... honestly the least they could do is censor the ship name if they're going to be really vocal about their dislike for it. also seeing someone call treyrid... too mother-son coded to ship? help girl

Oof, yeah. I think people can dislike whatever they want, whatever their personal relationship is with how they interpret and consume media is beyond my control (WITHIN REASON...!!!). Which is also why I'm like sure you can express that dislike... that is human... but at least be considerate about it haha.

A lot of what people dislike about ♣️🌹comes down to personal taste or straight up projection because that is an insane thing to claim lol. 'Coded' lost all its meaning to a lot of people who really mean 'this is what I want their relationship to be'. In general I don't like to box relationships into certain labels (mother-son... really man...) because I feel like it can be pretty restrictive to how you approach nuance like how do you look at Trey and Riddle and go oh their relationship is the epitome of nuclear family dynamics, actually.

#i also dont like using family labels on characters in general especially parent like ones for certain dynamics bc man these are all teens #yeah man trey gets called a parent figure in hearts a lot but those are within his own peers #i think its odd for fans to roll along with it in their analysis especially with RIDDLE since they are close and age and have a relationshi #that has existed for so long that MINISCULE age gap is essentially meaningless anyways #THEY DONT EVEN have a maturity gap they both handle their emotions poorly in different ways #and riddle being more explosive about it doesnt make him less mature than trey #man #ok sorry i dont turn this into an essay but if i dont stop myself now i will #i do block all these people bc i am mature enough to curate my space #but also liiiiiiiiike it is a bit discouraging to see people rag on smth u love #rant over lololol

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zackfairmutual · 11 months

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on episode 4 of harlock and like when kuzko is talking about ppl on earth being stupid and whatevers its like. 'men run from the sound of thunder 'okay point made that ppl on earth are cowardly and weak willed rn 'and wear makeup and high heels' kusko whats your problem with that

#ill have to check the manga to see if that line was there too cause thats just. weird and bad #kinda gotta accept that with a show from the 70s but still eugh #also kinda glad harlock isnt more popular cause i can imagine somebody with less media analysis skills seeing that and being like #'oh this is IRREDEEMABLE all the way through and if you like it youre a BAD PERSON'#like jesus good things can have problems in them just gotta be critical and analyze your fav media #anyways moral of the story im the only one to be trusted with old anime #idk why i just ranted like that im feeling autistic about this space pirate show #woody speaks

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anyroads · 2 years

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OK you know what, if we're gonna talk about Bake Off then fuck it, let's do this.

It used to be this wholesome, lovely show! We used to watch it for the bakers! And the learning! And the light banter and occasional bit of coy innuendo! What happened?

Channel 4 happened. When they bought the show they made a number of changes, most of them Not Good™️. Not just in the sense of them resulting in a lot of 😬 and 🫠 moments, but in the sense of how they changed the show's purpose, atmosphere, and brand.

Look, I know most people are just like, "whatever, it's just a baking show," and yeah, sure. But it's one of the UK's most successful TV exports, and where it once shifted the tone of reality competition to being wholesome and supportive of contestants, it's since moved towards creating tension at the contestants' cost. So aside from the fact that most people watching it signed up to watch a nice show, it has also shifted the goalposts of what that even means. And that, lovelies and gentlefolk, is some bullshit.

I decided to break my rant analysis into four main parts: theme weeks, the hosts, the judges, and the bakers. Let's get to it!

Theme Weeks:

If you watch Bake Off, you know the show's always had a specific theme for each week. The staples that come up in most seasons are:

cake

biscuit

bread

pudding/dessert

pastry

patisserie

Less common but consistent are things like caramel and chocolate week.

Then there are the fun episodes! When GBBO was on the BBC, this started out with things tea week, tarts, pies, tray bakes, basically little tangents still focused on emphasizing specific baking skills. In Series 6 (still on the BBC) they had their first nation-focused theme week with French week -- fairly innocuous given that a lot of patisserie is French, France and England share much more culture than either cares to admit [Norman Flag dot gif], and it was a nice change from watching Paul make the bakers do recipes that involved boiling things while talking about how wonderful boiled doughs are (are they, Paul? Are they?).

The show kept mixing it up with innocuous themes like advanced dough and alternative ingredients weeks, European cakes, Victorian week, batter week, and botanical week. And while it was frustrating to watch Paul Hollywood mispronounce things like the Hungarian Dobos Torta and lecture bakers on babka when he clearly knew nothing about it (or about Jewish baking in general, go off Past Me), the show's general attitude was that the judges had their own opinions, which were separate from the immutable facts around the chemistry of baking (more on this later) and shouldn't affect how bakers are judged.

After the show moved to Channel 4, the number of themed weeks increased and more of them focused on specific countries. In 6 seasons on the BBC, there were only two country-focused theme weeks, and in 5 seasons on Channel 4 there have been five. And while they've also had themes like vegan baking, roaring 20s, the 1980s, spice week, etc. the show has really started to go hard on exoticizing other cultures in outright disrespectful and racist ways. There's been Italian and Danish week, German, Japanese (it wasn't, it was East Asian week), and now Mexican week (which doesn't touch on interspersed Jewish bakes that didn't get a theme week, like versions of bagels and babka set as technical challenges that were borderline hate crimes and mansplained by a guy who has no idea how to make either and once wrote in a cookbook that challah was traditionally eaten during Passover). Each time the hosts played up the theme with racist bits and jokes that can be used as evidence in court if your case is "why should shows with scripted content have a professional writing staff."

Which touches on other issues the show has now...

The Hosts:

When GBBO was on the BBC, the show was hosted by ✨Mel Giedroyc✨ and ✨Sue Perkins✨. They encouraged the bakers! They'd hold stuff for them sometimes! They were interested in them! If a baker had a breakdown, they would start singing copyrighted material to render the footage unusable! When the show moved to Channel 4, they left, though I'm not unconvinced that Channel 4 offered them impossible to accept contracts to force them out so they could rebrand the show. They replaced them with Sandy Toksvig and Noel Fielding. Sandy was a lovely host in the vein of Mel and Sue, and she and Noel had a relatively sweet rapport, but she left a few seasons ago and was replaced by Matt Lucas.

Noel Fielding is mostly known for his quirky brand of comedy, a sort of British Zooey Deschanel who's goth from the neck up, an upperclass British gay divorcee from the neck down, and basically an early 60s Beatle re: trousers. Matt Lucas has almost definitely never watched a single episode of GBBO and his most redeeming quality is his thinly veiled contempt for Paul Hollywood.

The two treat the baking tent as their personal playground. Far from the supportive attitude of Mel and Sue, they tend to get in the bakers' way during the most stressful moments, especially when they try to do hilarious "comedy" bits (I can't not put that in quotes) like Noel's talking wooden spoon thing, or Matt talking over Noel to do time calls. During theme weeks like Japanese and Mexican week, they do culture-specific bits that are both racist ("just Juan joke" and "is Mexico a real place?") and unsurprising, given that both Matt and Noel did blackface on their respective sketch shows and absolutely could and should have known better because it was already the current fucking century.

All this to say, there's now a separation between the bakers and the hosts, as if they're on different shows. The hosts are doing their own thing and the bakers are doing GBBO. The show has gotten meaner to the bakers, and the hosts aren't there to support them anymore, they're just there to be comic relief. Because when you refocus your show on stressing the bakers the fuck out, you need a forced laugh I guess ¯\_(ツ)_/¯.

The Judges:

First of all, a sincere congratulations to Paul Hollywood who managed to squeeze I jUsT cAmE bAcK fRoM mExIcO aNd YeT sTiLL pRoNoUnCe PiCo De GaLLo As 'PiKa De KaLLa' and I aM aN eXpErT oN s'MoReS wHiCh aRe MaDe WiTh DiGeStiVe BiScUiTs AcCoRdiNg tO mE, aN eXpErT oN s'MoReS, just two in a giant pile of astoundingly wrong hot takes, into a short enough time span that they all aired within Liz Truss's term as Prime Minister. A true man of accomplishments.

In the interest of fairness, I need to preface this with a disclaimer that, due to the fact that I've been watching Bake Off for most of its run, I'm biased. Specifically, I can't stand Paul Hollywood's smarmy, classist, egomaniac ass because he's proven time and again he's more interested in looking smart than actually knowing what he's talking about. Since the show moved to Channel 4, they've changed the occasional handshake Paul would give bakers to the HoLlYwOoD hAnDsHaKe™️. It's gone from being an emphasis of someone's skill to a goal, a reward, and one that emphasizes the judges' place above the bakers.

The judges used to function as teachers, imparting their skills and insights to the bakers. When the show was on the BBC, the voiceover leading to a judging would focus on the bakers' work being finished, saying how it will now be evaluated based on their skill and how well they met the brief. The voiceovers now, on Channel 4, focus on the judging (literally saying something along the lines of, "the bakers will now be judged by Prue and Paul"). There is a clear distinction Channel 4's producers have made, to mark that the show is now about whether or not the judges approve, not whether the brief was understood and executed well. On the BBC, it was irrelevant whether the judges liked a particular flavor, as long as the bake was well-made. Now, the bakers are expected to know the judges tastes and cater to them, which is frankly bullshit. A judge doesn't have to like a flavor to know whether or not it was executed well, ie. is it carrying a bake and was it meant to etc.

The judges have been turned into a brand. Cynically, Channel 4 knows that by building them up and focusing the show more on them, they can exploit their image more for profit. In the process, they've become much more biased and their own biases have come out as well. Most recently in the flaming dumpster fire that was Mexican Week, Paul Hollywood tried to intimidate a baker by telling them he had just gotten back from Mexico (which must have been a fruitful learning trip if he couldn't even learn how to pronounce pico de gallo correctly). Where do I even start with this? Here's an amateur baker from England (the show specifically casts middle and lower middle class bakers for the most part??) who likely can't afford trips to Mexico, who lives in a country with incredibly limited access to Mexican cuisine, who is expected not only to understand the cooking and baking traditions of a completely different culture but to do so well enough to play with it and do something creative with it. On top of which, one of the judges is now using his privilege of traveling halfway around the world as some kind of leverage, as if this were a bar that any amateur British baker could clear.

Prue, meanwhile, has openly asserted her biases against cultural flavors and textures, prioritizing her own personal preferences over them, as if they were in any way relevant to the skills and knowledge necessary to execute the tasks she sets to the bakers. She has also been consistently elitist, criticizing bakers for choices they made that were clearly informed by their experiences within income brackets that are too low and foreign for Prue to comprehend. She once had a go at a baker on a Christmas special because his Christmas dinner themed bake didn't have a turkey, even though it was clear from the stories he shared of his own Christmases that his family likely couldn't afford one. "It's not really Christmas dinner without a turkey," Prue said into the camera angrily while sitting on a chair made of live orphans and telling the ghost of Christmas Future to come back when he had another museum gift shop necklace for her to round out her collection.

The show is no longer about which baker has the best skills. It's become about which mortal can appease the gods of Mount Olympus, ie. the judges.

The Bakers:

Remember when the show was about them? Channel 4 doesn't! Because this is a reality competition show, the bakers are chosen both based on their skills, as well as cast-ability. They're cast as characters, distinct from each other, from different areas, age groups, ethnicities. All of them are amateurs. All of them are middle or lower middle class. They've ranged from college students to supermarket cashiers to prison wardens to scientists.

Something I noticed when the show moved to Channel 4 is that the baker who goes home in the first week is always wildly behind the rest in skills. I have no proof of this other than my eyeballs and deductive reasoning skills, but I think that Channel 4 deliberately casts a ringer each season who they think will be an easy send-off in the first week, just to get the audience's feet wet.

Anyway, like I said, this show used to be about the bakers - about them building skills and learning, and having walked into the tent with a self-taught foundation and understanding of the processes and chemical reactions involved in baking. When the show was on the BBC, the end of each round had some (often brief) moments of tension - will they finish in time? Will they get their bakes on the plate before time is up? Did they forget to add sugar to their batter and only remember at the last minute? In the end, they usually managed to finish and we'd all breathe a sigh of relief and think, yeah! You go, Bakers Who I'm Rooting For!

Now, on Channel 4, the end of round drama has been stretched to be so much longer that they've composed extra music for it. The bakers often seem out of their depth, whether because the instructions for the technical challenge are too vague (bake a lemon meringue pie??? As if anyone in the UK under the age of 60 has had one in the last decade???), or because they were expected to bake something that required a more than a basic foundation they weren't told of. Often it seems like they just aren't given enough time, a tactic used by reality competition shows to manipulate contestants into giving the cameras more dramatic content. On top of all this, the hosts get in their way, instead of helping them plate their bakes. As has been pointed out before, when everyone fails the challenge, the real failure lies with whoever set it.

In conclusion:

The show no longer exists to teach the bakers - and the audience - skills or knowledge. It now manipulates contestants for dramatic effect and prioritizes showing conflict over wholesome content. Channel 4 sees the bakers as social media content they can churn out season after season, and don't care about them because in a few months there'll be a new batch to exploit. Meanwhile, the judges are also out of their depth, co-opting recipes from other cultures and butchering them horrendously, while the camera gives them nothing but status as they hold bakers to the expectation that they learn how to make things very much the wrong way. If you saw any of the tweets about Mexican or Japanese week, or read my post on how Paul Hollywood isn't allowed to go near babka ever again, you'll understand.

So what would fix all this? Scrap the current judges and the hosts altogether. Bring back Mel and Sue, and replace the judges with expert bakers who have a love of their craft and want to share it with others. The draw of GBBO used to be its warmth and comfort - if Channel 4 isn't going to start its own version of Master Chef For Bakers, then it needs to stop trying to find a balance of how it can insert that vibe into GBBO. It can't. That's not a thing. Stop trying.

#GBBO #paul hollywood #prue leith #the great british bake off

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aquickstart · 4 months

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i need to talk to you guys about the colors of the Cattons (Felix specifically) and Oliver. the clothes they are wearing are telling the story of Oliver taking over and leaving his mark throughout the whole movie, with Oliver's failures and successes and a final triumph. holy shit. get in. this is long and ends in ancient greek culture trivia. let;s talk please.

disclaimer: am starting from Oliver's arrival at Saltburn. before that the outfits are also very intentional, but it's a lot more complicated and it has been discussed before. the world distorts once we are at Saltburn and the story gets truly gothic there, and every detail—including color!—is enhanced in meaning. also, special thanks to @kivlaro for doing this with me, the thoughts on this specifically and the Saltburn craze on the whole. pics and detailed analysis under the cut!

let's start from the beginning. here is Oliver at the door. simple, blue shirt.

the shirt is sort of its own character. logically it makes sense as Oliver's suitcase is small and he spends the whole summer there, of course he'll rewear stuff a bunch. but it is blue.

in contrast to Felix, in yellow. yellow is one of Felix's colors (he is the sun, which i've talked about here btw, so this makes sense).

same to Pamela, in blue. first time we see her, she is next to Elspeth, wearing the color that is Oliver's, taking the place that he takes right away, in this very scene. the only other time she is physically present on screen is at dinner, in black and white, and black and white are a blank slate. she is stripped of color and gone very fast.

a bit of crucial data for later: Oliver, in blue, and Felix in pink. pink is very important on Felix. this is their first morning together. they are separate and opposite, solid, contained.

where it starts to get good is the morning after the vampire strike.

Venetia is a Felix extension, just as everyone in the house is to Oliver. i will eventually rant about Saltburn as a whole entity and Cattons as aspects of one self, and Oliver as psychosis, but not here. so, yes, Venetia is a pink riot, a euphoria of self-containment because Oliver gave her a piece of something she felt she lacked to feel whole (validation, attention, care), not a piece of blue, of himself. Oliver is expectedly solid blue. Felix is incredibly interesting and something i didn't pay much attention to at first: predominantly blue, incredibly upset at Oliver for ditching him, with a tile of bright red (on the left! close to heart! over-reaching here but like still!), which still tracks. i mean, really, if i had so much foreign color bleed into me and then abandoned, i'd be pissed, too. nice little touch is sir James' beloved hydrangeas, behind Felix, also pink, very pink, always pink; i don't think i've seen them blue in the movie, although the sort exists.

Farleigh. sweet baby Farleigh i love you. I'm not dead-set on my interpretation of this specifically but i think multiple things are happening with Oliver and Farleigh here. like Rent, which is their song, blue is their color of outsiders and the triers to fit in. Farleigh points out the favoritism and preference of Oliver to him and his mother here, so it may also be appropriation of color to draw attention to Farleigh as almost (but never quite) Oliver. it may also be as simple as that Farleigh, as much as he denies and resists, still retains Oliver's influence, which bleeds into him very slowly.

a nice little moment of Felix wearing blue swim shorts with just tiny specks of a pink pattern. Oliver's shorts also have a bit of pink, but less than Felix's. Oliver is pretty good at remaining unaffected and uninfluenced overall.

and we're getting to where it all clicked and started for me. the Quick family house, the failed reconciliation, and the immediate aftermath. oh it's so good.

on the drive there, Oliver is blue, Felix has a pink polo shirt with a solid blue pullover over it. this is the most blue Felix has ever been (this is the most blue he will ever be!), this is trust. however shaky and toxic it is, Felix loves Oliver and accepts him into his world. as a side note, Oliver's parents are also very blue, mom more so than dad. nice!

and then it crashes. immediately after, it's the evening of the same day, but Felix is not wearing the blue pullover anymore. this is very, very important. this is rejection. it's the end for Oliver in Felix's world and with his trust. Felix, again, in solid pink, Oliver in solid blue. Felix successfully rips him out with the roots and everything. ouch.

daddy. sorry. is that highlighter? sweat? fuck. let me- daddy. SORRY

no i actually have a point about this.

the clothes are replaced by the lights, but we roll with it. Oliver basks in the blue-green light, while Felix is on the other side, in pink and purple and red. sure, blue shines through, and Oliver also walks through the slashes of pink, but it is mostly pretty separate, Oliver watching Felix's pink in his own blue from a distance.

the morning after palette is deep. the wine color that is so prominent in these scenes is fascinating to me. if i were to over-reach again i'd say it's the Oliver in Felix's attributes and in his place that requires the robe to be so dark, not usual definite pink, because deep blue has leaked into the color itself, mixed with it, made itself integral to the shade. but it's also just a nice color, and it is pink in its core. the flowers (with sir James in the background) i think are also this specific shade for the same reason. you look at what remains of Felix everywhere here, and it is his color.

and finally oh the lunch scene. the last supper. the judgement day. the who's afraid of virginia woolf madness.

i think we've established what's up with Oliver, but i also think it's important that he is his own color at lunch but in Felix's pink/wine right before and after. lunch is where he attacks, whereas before and after is where he grieves and enjoys. Farleigh is almost completely blue save for a strip of the same deep pink, and he is soon cast out, and Venetia is striped, blue and pink/salmon, affected deeply by Oliver yet still clinging on to the Catton pink with grief, probably, but also love for Felix.

and after all this, Oliver leaves himself.

no, like, actually, literally himself. sure, he'd got a taste of the Cattons and the pink, but he is a monolith, a solid blue when he leaves Saltburn. he has not been affected by the house, he has taken what he wanted but stayed true and whole. what a power move, honestly.

but it's an even bigger deal that 16 years later, Elspeth runs into Oliver wearing all white and a blue scarf. oh, she's not let this go, alright; it was a long time ago, "but not to me," she says. What Oliver has been up to in that time is a great question, without a doubt he's been keeping tabs on the remaining family as much as he could; but Elspeth has never moved on, either. She has held on to Oliver's blue and the pink is not important at all now. Oliver, of course, is invariably, unwaveringly blue. welcome back to his show.

and welcome back to his triumph.

the only color (except for, again, white and black) we see him wear in the flashback about Saltburn inheritance is the all-too familiar deep pink. wine. bright pink mixed with deep blue.

now i will take a liberty and step back, over-reach, over-interpret and go insane. here's a fun bit on ancient greek culture trivia for you.

this is an interesting and complicated historiographical and linguistic debate that i will not even attempt to relay here, but the essence of it is this: for us, the sea is conventionally deep blue. historically, one of the most prominent civilizations considered "deep wine" to be the descriptor for it (not necessarily the color but the property. highly rec to look this up it's so fascinating). what it gives me here is that Oliver has changed color, but not his self. he has integrated, mixed, but persisted, completely winning over, triumphing. long live the king!

in conclusion, i would just like to propose "colors" by halsey as the next cattonquick anthem. thank you for your attention, please let me know your thoughts. yours, yes, you. cheers. god. peace out

#saltburn #cattonquick #quickstart #oliver quick #farleigh start #felix catton #venetia catton #mine #saltburn journaling

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uzis-dopeaf-hat · 18 days

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Analysis of Nuzi in Episode 7

[MAJOR MURDER DRONES SPOILERS]

Okay! I've been wanting to rant about these two for ages so I'm happy to get this out haha. I'll try to make this post a little more comprehensible than the last one (no promises).

I'll try to keep this in chronological order.

So before I move ahead, let me get this out of the way.

N still cares about V, but I don't think he's thought about her in a romantic sense since at most, the end of episode 3. He absolutely sees her as family and deeply cares for her. Hence why he immediately starts freaking out and attacking the rubble blocking the elevator shaft.

He is desperately trying to get his family back.

So desperately that he unintentionally hurts someone else he immensely cares for.

He forgets about Uzi's condition in his blind panic, but upon remembering he becomes almost ridden with guilt. Uzi likely already feels terrible because of the loss of V and not being able to do anything to help N since she physically is unable to at this moment. It seems N understands this and tries to remedy this by telling Uzi "It's okay," and apologizing profusely.

He doesn't want Uzi to put anything else on her shoulders and backtracks so fast here.

And when Uzi tells N she's sorry, for both N's loss of V and her own inability to help N get back up the elevator shaft, she sounds so upset for N. There's nothing she can do for him here, and she knows this.

It's almost amusing how N gives "Tessa" a death glare here. As the series has gone on N has become less and less of a pushover, no doubt because of Uzi. If N had run into Tessa in any episode from 1-3. it would have been easier for Cyn to manipulate him.

But because she waited so long, N has built such a genuinely healthy and stable relationship with Uzi. One where both parties mutually care about each other and treat each other like equals (which should be normal but of course, this isn't the case for N or Uzi).

But something else to be noted here is the regression of both Uzi and N's characters at this moment.

Because while N is definitely making progress on standing his ground, and letting his own opinions be known, he is still faced with a non-choice. Instead of immediately deciding to question his old friend, he tries to compromise.

It's an old behavior met with an old friend vs a new behavior met with a new friend. He is trying to still somewhat appease "Tessa" while making it known that he isn't willing to hurt Uzi. But he never discusses this with Tessa herself aside from this moment, where he does so with Uzi present and out of the loop.

Let's take a look at Uzi's reaction when N tells her they won't hurt her.

She is scared.

Her eyes dart back and forth between the duo in front of her, putting her hand up in defense to try and subconsciously protect herself.

She doesn't understand what is happening, but she isn't stupid. She knows this means something happened- something regarding her, that's been decided on without her knowledge or input.

And with how much we like to joke about how dopey N is, he does seem very emotionally intelligent at times, especially here. He realizes his mistake immediately, his placating expression of trying to reassure Uzi drawing back as he drags his hand back, startled at her negative reaction.

After the solver accidentally activates from Uzi (unsure if Cyn activated it on purpose or if Uzi herself activated it by accident because of her distress- I can see both being factors), N tries to reach out to her. To bring her back to his side, to him.

He holds his palm upwards to her, physically trying to tell her 'I am here, with you, let me help.' And as he steps towards her, she moves away from him.

Uzi's trust in him has been damaged. She is scared and instead of letting N help her, or allowing him to try and explain what's happening, she hunches over and guards herself from him. She isolates herself, their relationship crumbling like the cave around them.

And N? Once Uzi is out of his view? His hand switches from welcoming to pleading. As in, he reaches out to her, trying to get her back even if he doesn't actually do anything to make it so. He is reeling from what he's done to make her feel like she can no longer trust him, to come to him for his aid. His demeanor is now 'Please wait, come back, don't leave me, I am sorry.'

Maybe not exactly those words, but it's obvious that he doesn't want her to leave. So much so that he forgets to even protect himself (or even "Tessa") from the debris falling around them.

When N wakes up, he immediately tries to free himself and desperately calls for Uzi.

And yes, Uzi is his first thought. He doesn't know where she is, or if she's okay, but his first instinct is to find her, because 'is she okay? Where is she, where are you?' is definitely what N is thinking when trying to find her, even though he can't move.

N is distressed, and after not being able to attract Uzi back to him via shouting, he gets ready to saw off his own arm.

He isn't just saying "I deserve this," because he chopped off Uzi's arm in the last episode, although that is part of it. He's saying he deserves this because he drove Uzi off, didn't confide in her, let her know what was happening, and scared her off in the process.

He is also sawing at the arm that he had held Uzi's hand with -- once again, the same hand that he sliced off to try and stop the solver. Interesting parallel there (at least it's another thing they have in common...?). His hand is absolutely crushed. That's not an accident, the team deliberately shows this -- and this is the result of N's actions (or lack thereof).

...sucks that both hands that had held each other are now destroyed (that's not me trying to be philosophical, just me being sad).

Cut here, and N is immediately ready to tell Uzi what he's learned, sprinting to find her. Probably due to the fact that he's discovered that his crush's mother is still alive but...

When told not to inform Uzi of Nori's existence by the woman herself, N upright denies her request; he's learned from his previous mistake and that lying (via omission) is not something he's going to do, especially not with Uzi.

And while certain information may hurt Uzi, he never wants what happened with Uzi to happen again. He doesn't want her to be afraid of him, or unsure of his intentions because N just wants to help and support her in any and every way he can.

He only relents that he won't tell Uzi, as long as Nori does. This is a bit different from the situation with "Tessa" since A) Nori is Uzi's mother, she really should be the one telling Uzi about her maternal status, and B) He is expecting her to actually inform Uzi of this. Not a "maybe, if needed," situation, a "you can wait until you're ready, but you will tell her," situation.

Back with "Tessa," N finally confronts her, giving her one chance and one chance only.

And Tessa, not used to this new version of N, does not heed his warning, and is promptly dealt with.

N is pissed... and it makes sense as to why. "Tessa" is attempting to force N to kill his best friend, the first one to really talk to him after who knows how long of being stuck with V ignoring him and J berating him.

Uzi has her own bite, but it's never in a way meant to harm or insult N. That's just how she is, and she and N have an excellent bond as the series moves forward.

Tessa is jeopardizing this, mocking him, and calling him "cute," and even tries to monologue to him. But N doesn't let her, because she's already made him hurt Uzi enough and he's at his last leg here. He's done.

And he's still shaken from killing Tessa.

He went full disassembly mode, maybe to make it easier, to kill her.

He is actively struggling, breathing heavily, and having to use the blade he beheaded Tessa with to hold himself up.

Despite this, when "Uzi" grabs at the patch, he snaps out of his stupor to address her. Trying to cope with what just happened. He calls her "buddy," which he really only calls her once in episode three when referring to both of them as "dapper buddies."

Just something interesting to point out, since Cyn took control of Uzi immediately after N "got rid of her body "killed" her. He's called Cyn "buddy," before (although, he called the birds trying to kill him buddies as well, so not sure how that pans out).

When he says it here it almost feels like a coping mechanism. Trying to take care of his loved ones in any way he can. Also, note how he still has an 'x' as an optic. Likely due to the stress he's been put through.

Once he somewhat collects himself, he attempts to tell Uzi that all he needs is her, and for them to stay together.

Their short time away from each other did not favor them. N admits to both himself and Uzi that he doesn't like being away from her and that he needs her to be by his side.

And Uzi definitely could've used him when she found the recording of her mother.

It's a bit harder to analyze Uzi's moments since a lot of it is just herself dealing with her own issues. This is still important, but not a lot of it deals with N, aside from the fact that, yes, N being here would've been preferable (unless I missed some stuff in the middle of this episode).

Cyn reveals herself, having taken control of Uzi, and we really see how sinister she can be.

Make no mistake, that is indeed a heart around Uzi, formed with Cyn's... claw... like appendages.

This is also deliberately put here by the team because they do not want us to doubt N's feelings for Uzi (it gets a lot more heavy-handed, too).

But the most important part here is N's reaction to seeing Uzi. When Cyn turns and shows Uzi's face, N visibly falters, expression growing more upset. He doesn't shoot her. Cyn notices this and smiles because she now sees the advantage she has over N.

And boy, does she take advantage.

This is probably my favorite part of this entire combat scene. N tries to essentially threaten Cyn here from further hurting Nori, trying to get her to back off.

Except, Cyn sees this as an opportunity to toy with him.

Maybe I'll one day do an analysis on Cyn, but she takes active pleasure in seeing N's suffering. When he holds his blade to her neck, he actually takes a moment to look at Cyn in the face, waiting for her next move.

And Cyn grabs that blade and slowly starts jabbing it into Uzi's neck. Because this is who N is now seeing: he is seeing Cyn hurt Uzi and he doesn't know what to do.

You see him visibly gasp, as he notices what Cyn's doing, and is still unable to make himself move (unless, of course, N is now actively trying to get the blade away from Uzi, but it doesn't seem like that's what's happening here).

Scratch that, while it's not immediately obvious, there are minuscule movements of the blade after Cyn starts stabbing Uzi - like N is trying to get it away from Uzi's neck while keeping eye contact with Cyn. He may still be seeing Uzi instead of Cyn at this moment (likely struggling between the two).

Something else to point out is that N is shaking even before Cyn grabs the blade. If you look at the tip of the weapon it's easier to tell. Again, chalking it up to not wanting to actually hurt Uzi.

This is a very nice parallel back to episode three. Aside from the hand-chopping part. Lots of limbs have been lost recently.

Ignoring the fact N was just raining fire down on Uzi, which is one of two times (don't quote me on that) he gets properly lethal, he tries hard here to not hurt her- almost like he's trying to get Uzi back in control.

It's hard to see here, but N is actually smiling as he holds Uzi's hand. Probably similar to what he does later - he is trying to remind Uzi of herself. Aside from the eyes, it feels like Uzi is reacting to this, looking surprised, before Nori takes her hand off to stop Cyn from creating more pockets of voids and closing the current ones.

But Cyn isn't done yet.

Once again, she uses N's affections against him to save herself. But in doing so, she allows N to finally crack through to Uzi, even if not by much.

It's comical that this is what helps Uzi gain control again, although what else would we expect? Even so, probably another favorite moment of mine.

Again, if anyone was doubting Nuzi... the team cannot get more obvious than this. Until we get an outright verbal confession... which is yet to be seen, sadly enough.

Unsure if N knew this would help Uzi or if he just wanted to let Nori know about him and Uzi before she died. This may just be him being lovesick for his possessed girlfriend.

Jokes aside, a lot of people took this as N saying they've been dating since episode five. I don't... think that's necessarily the case. I keep seeing the phrase "she fell first, but he fell harder," when discussing Nuzi and honestly? Yeah, he did. But dating since before episode six? That doesn't make sense, since we've been following their relationship since episode one, and it's not like it's irrelevant to the story. It's actually a huge part of Murder Drones, romantic or not, so any developments like the two dating would make more sense to happen in front of the audience and actually be addressed.

I think this is more of him sort of declaring his love for Uzi, in the most N way he can.

Ahh... although the dating part may be a bit irrelevant due to their predicament. They are both somewhat aware of how the other feels but have yet to discuss anything as Uzi states later. Likely due to uh, certain events happening around them.

When N sees Uzi come to, he starts laughing because of how relieved he is. And then promptly screams in horror at Uzi's next actions (I'm sure Nori is fine).

A small thing, but I thought it was an interesting reaction to have after having fought the previously possessed girl.

I think the fact that the two defaulted to freaking out after seeing each other is really sweet, funnily enough.

The way the two immediately start bantering, almost frantically, makes it feel like the two are looking for some sort of familiarity after all that's been happening. Moving instinctively closer to each other. Yes, maybe so they don't have to shout; but more importantly, after everything they've gone through, they want to be near each other.

And when they meet in the middle? They embrace each other, Uzi tightening her own hold and weeping into N's arm. N himself petting and caressing Uzi's head, both to comfort her and reassure himself that she is finally here with him.

...unfortunately, that is not the end of this post, nor the episode (as you've probably guessed).

After Cyn interrupts and attacks the duo, she descends into her pit of hell where she plans on dragging them.

You can see Uzi desperately trying to reach N, trying to get him to respond. That is her only goal in this moment, making sure that he is okay and alive.

I feel as if I am repeating myself... but yes, that heart is also purposeful. It's interesting how the tentacles split after forming, proceeding to drag N and Uzi apart with Uzi grasping at the ground trying to get back to N.

It literally tears them away from each other, and you can see how Uzi is forced to let go only to try and grab ahold of N.

She manages just in time to grab him, while impaling her hand onto some bones sticking up from the fleshy pit to stop both herself and N from falling further.

And we know this isn't a painless process, as drones have been shown to actively show pain. She doesn't care, she is doing all she can to save N, even if it hurts her. You can see how her arm starts ripping apart from her own hand as tentacles begin pulling harder.

But when Uzi sees N wake up, she gives him a smile, with a small, shakey, "Hey."

She knows they're likely about to die. And while N may have clones, Uzi does not. And even so, there's no way Cyn would allow N to remember anything that's happened, Uzi's firewall likely only protecting this N.

And as her final words she begins to thank him. For being her first friend. The first to believe in her. The first to show concern to her. The first to stay with her despite everything.

But when she sees that key?

She finishes thanking her first love and throws him away from their shared doom.

Uzi is genuinely so glad she's met N, and it shows in her expression here. She is saving the one good thing that has happened to her since her mom left her.

She knows N isn't going to be okay with this, that this won't be easy for him, and won't be easy for her, as she's assuming her own death in saving him.

Because of this, she doesn't want N's last memory of her to be herself being scared and unsure. So she tells him to "Die Mad," and flings him out of the chapel to both prevent him from attempting to save her and witnessing her death.

And you can see N was ready to jump in, determined to get her back and to save her. He uses his blades once again as a crutch, flaring his wings out in preparation to fly towards her.

Uzi doesn't let him, and for the last time pushing him away to save him from their once-shared fate.

I think Uzi's message to N will come into play later when they inevitably confront Cyn for the last time. Whether or not Uzi is there with him, he won't be able to forgive Cyn for controlling him and hurting him along with his loved ones.

And... that's the post! ending on a sad note but uh... we are talking about episode seven so there's no avoiding that haaaah.

If I missed something or you want further discussion feel free to send an ask or reply/respond to this post, love talking about shit.

Take a Nuzi dancing gif to go (I'm also sad now so this is really an excuse to put this at the end of my post).

Have a good one!

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lw6-woso · 6 months

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cant be easy (mapi leon)

when mapi had told you that she didn't want to go to the world cup with Spain, broke your heart little bit knowing she wanted to be there so bad but the situation with vilda, she didn't feel comfortable and you understood that.

before the games started we travelled around Europe spending as much time together before you had to go back to work for the remaining of the summer.

every game that had been on you had been at work or asleep, with the long busy summer days at work you couldn't sit beside Mapi and watch her teammate and friends in the world cup.

for the Netherlands vs Spain you were able to make it the last couple of minutes of the game and as you sat down seeing the look on Mapis face, you sighed knowing somewhat is how she felt about not being able to be there.

you placed your hand on her thigh and squeezed it not knowing what to say.

"I'm so happy for them" she said as a small smile on her face.

"i know they have done good this tournament" you said.

"Alexia deserves this especially after the euros" Mapi said and you nodded.

"hey how you feeling about all this" you asked her.

"i don't know I'm happy sad excited proud jealous everything" she said shrugging her shoulder.

"i think that your very proud of the girls that they have made it this far especially at the fact that you watch every minute of the match, there interviews and then showing support to them via messages" you said.

"yeah that's true how do you always know this sort of thing" she asked.

"well one we have been together 6 years i can read you like an open book and an obvious one i study behaviour analysis so you know" you said and she laughed.

"i love you" she said.

"i love you more now come on facetime Alexia i want to here her happy rant" you said tapping her thigh making her laugh.

for the rest of the tournament you notice mapi become more happy watching the games up until there last game unfortunately despite there hard work and resilience throughout the World cup they unfortunately lost 1 nil to England, and even after the lost Mapi was behind them from behind the phone. she may not be there for the girls physically but she was there for them non the less.

#women football #woso community #woso imagine #barca femini #espwnt #engwnt #mapi león #mapi leon imagine #mapi leon x reader #mapi leon

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altades · 8 months

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Vashwood rant

I can't sleep so why not analyze vashwood in the middle of the night

Now, this analysis is mostly of the manga, with maybe small takes from 98 and tristamp

To start let's look at the boys from their respective beginnings

Vash is so cruelly mischaracterized as a child, and it might be a little bit of trismaps fault, even though i do love it, or maybe people are just putting characters into boxes without really thinking about it but Vash is so not soft-shy-nice little baby brother. The whole thing with him being younger is so insane to me, i get why if Nai was born like 10 minutes earlier he would make it his whole personality (very sibling thing to do) but it's just so stupid. No, they have 0 age difference and it doesn't affect their dynamic cuz the are literally twins for the love of god. And, really, when you look at the manga as kids Nai was the emotional one! And he still is!

Nai is plagued by fear and anger and resentment and those emotions are what drive his every decision. Vash, on the other hand, is much more in control of his feelings and doesn't show them as much. That is to say that pre-tesla nai is the one worried about their relationship with humans, about their future, he's the one crying after talking to Conrad (what a sweet child he was) while Vash seemes much less scared.

And when they find out about Tesla Nai is the one who faints - he’s the more reactive one, the emotional one. And that small difference is what sets their paths so differently. Because Vash actually gets a chance to talk to Rem and figure things out.And that talk is so very important because it makes Rem, who already was everything to Vash, even more important.

Now, I want us all to think about how terrified Vash was after seeing Tesla cuz he probably thought his own mother was going to dissect him and his brother. But then she saves him when he tries to end his own life, proving that no she’s not gonna kill him, because she, as every human, has the capability to learn from her mistakes and make better choices. (too bad Nai didn’t get that lesson lol)

And then we get to the big bad things. (it’s genocide) But the important part from that whole ordeal is Rem’s sacrifice. Because, listen, I love stories where humanity is shown to be capable of change and forgiveness is a virtue and love and pussy and all that but oh man can it be so so unrealistic and a little bit insane to watch (su im looking at u (i love su but oh boy that is not how the world works unfortunately)) but Trimax manages to make it work so well. I believe that’s cuz Vash is a very kind and loving man but is also completely out of his mind and has horrendous mommy issues. At least half the reason he doesn’t kill people is because Rem has died to save them, and killing them would make it all be for nothing. If he kills these people or if he lets them die would that mean that Rem died for nothing? Did she sacrifice her life to save these people only for her own son to end their lives? AND you know I’m right cuz he literally says it in the manga but also BECAUSE HE DOES THE SAME FOR WOLFWOOD (also he did kill Nai when he had the chance but we don’t have time to unpack that)

All of that is A LOT and very complicated (i love Vash he’s so well written he’s my perfect little meow meow) now let's talk about Wolfwoooooooooood /twirls hair/

WW is much easier to understand and analyze cuz he is, just a guy,, WW is just a normal person who gets insanely unlucky and gets in THE WORST possible situations (If he ever played DND he would roll straight 1s). That is to say that his story is sort of a way to show how much life in the badlands sucks, but also that there are good things even in the worst places (the orphanage) And WW reacts to situations in the most rational way possible way - he kills to survive. he doesn’t want to but he doesn’t get a say in it. If he could chose he would just live with his family and friend and do whatever. And that, him being so normal in such a violent and bloody world is what makes him suffer all the time. His inner moral compass is screaming at him what a terrible person he is and he promptly ignores it.

That is until that moral compass manifests itself in the form of a tall, blond and handsome stranger that he’s supposed to lead to his death. The stranger who turns out to be the most compassionate and kind man WW’s has ever seen. Who he’s supposed to kill. It’s like finding an oasis in the desert and being forced to burn it to the ground. And WW doesn’t want to do that, and he refuses to believe that the oasis is not a mirage so he tries to get Vash to kill someone, even if it’s WW himself. (It doesn’t work.)

As we all know WW changes his mind because of Vash’s influence. And he dies for it. Because even though Vash’s beliefs are born of human virtues, no man is made to walk his path, for he is not human and any mortal who tries to follow an angel to the skies is doomed to crash. WHAT YOU DON’T EXPECT IS THAT THAT MAN WILL BRING THE ANGEL DOWN WITH HIM

There is this line I wrote for an art i’m planning to make and if you’ve read this far you deserve a lil spoiler - “have you found absolution in bringing an angel to his knees?” and it captures perfectly what i'm thinking. And also Vash spends so much time trying to be closer to people but I think him killing Legato might’ve been the most human thing he’s ever done. Cuz it’s is so beautiful in the way he does it for the memory of the person he loved and yet so ugly in it’s cruelty.

I’ve said this before but most of the time when there is a human/ some immortal powerful creature relationship I don’t think the human is that special but WW HE SO IS. Maybe it’s the way that he’s just as deep in the nuclear bombs with personality business as Vash is, being one of said nuclear bombs, but still remains a normal person with relatively good morals that he can anchor Vash to a sort of normality that he doesn’t get often. Like what other guy would get hunted by all sorts of freaks with you, get in trouble all the time, get shot and etc and etc and then go for a drink with you like it’s a normal wednesday? Wolfwood. Or maybe it's that WW learns of every worst part of Vash, he sees him be on the brink of losing himself, he knows Vash has actually caused the deaths of hundreds of thousands of people and ALMOST did it again after Julai, and still stays with him? He sees Vash become something that is not human at all and still stay? Idk MAYBE IT’S ALL OF THAT but WW is just so important and so down bad but we all know that already so i’m not gonna add to that

Anyways, I got this all out of my system gn

#vashwood #trigun #trigun maximum

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meraki-yao · 8 months

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RWRB Movie Analysis: Who I am and Who you want me to be

“For Christ Sake, Alex! For once! I wish you could see me for who I am and not who you want me to be!”

“Starting today, the world will know me for who I am, and not who you want me to be.”

Okay so let’s take a look at these two lines, shall we?

Henry views his own self as two facets: Prince Henry, and Henry Fox.

Prince Henry belongs to Britain. He is a servant of the crown. He has to prioritize the crown’s image, what the crown wants. The mindless ribbon cuttings, the convention and appearances, the hiding in the closet, it's what's demanded of Prince Henry. Prince Henry cannot pursue a relationship with a man because he has to maintain a “traditional royal image”. Prince Henry cannot be seen walking through Austin holding hands with Alex because “the nation will simply not accept a prince who is homosexual".

Henry Fox, is a romantic and a dreamer. He wants to be a writer and live in Paris. He called his first time with Alex "making love". He wore a white suit to a vacation, wowed at his boyfriend's family lake house even if he lives in a palace and jokes with his boyfriend's father. He plays volleyball and reads while lying in a hammock. He rants about literature, poetries and books. He watches Bake-off with his dog while eating Jaffa Cakes when he can't sleep. He does tequila shots and sings Queen in karaoke. He laughs when Alex splashes water all over him and kisses his shoulder.

The public, see Prince Henry.

Alex, sees both, but knows Henry Fox intimately. When you ask him to talk about Henry, he will think of Henry Fox.

So here's the thing.

Henry, is ultimately, both. He is the Prince of England's Hearts. He is also the boy who has been in love with Alex for years.

But Henry feels like one is more important than the other.

So in the Kensington confrontation, when Henry says “I wish you Could see me for who I am and not who you want me to be!"

"Who I am" refers to Prince Henry.

"Who you want me to be "refers to Henry Fox.

From Henry's perspective, in this scene, he's prioritizing Prince Henry. He thinks that he has to be Prince Henry first and foremost. That's why he's labelling that facet as "who he is", even though he has mentioned before that he doesn't want to be this image of the "perfect prince", that being Prince Henry requires him to hide pieces of himself and it hurts.

What he's saying here, is essentially Alex is not taking "Prince Henry" into considerations regarding their relationship, that he's being idealistic on the degree of freedom Henry has. He's saying that all Alex sees is Henry Fox, his private, true, personal side, that Henry, at that moment, thinks is less important than Prince Henry, which bless him, but is sort of true on Alex's part. Alex is so used to being with Henry Fox that he forgets about Prince Henry, which is why he talked about their future so casually with not much regards on Henry's part.

So this sentence can be rephrased as "I wish you could see all the burden I carry and how impossible it is for me to escape it, rather than just our happy moments together that are not meant to last.”

Now let's look at the Buckingham Confrontation, where the words are flipped: "Starting today, the world will know me for who I am, and not who you want me to be."

This time "Who I am" is Henry Fox, and "Who you want me to be" is Prince Henry, which I would say is the objective allocation of the two names.

This is Henry reclaiming his own identity and image. This is Henry pushing away the traditional, perfect, heterosexual “Prince Henry”, saying “That’s not who I am”, taking that title and merging it with bits of “Henry Fox”: the gay prince in love with FSOTUS, the romantic who writes poetry about his man’s body, the lover who encourages Alex when he loses his confidence.

There are parts of Henry Fox that they don’t show the public, that should be kept between him and his loved ones: the boy whose heart broke when his father died, the boy who struggles with self-worth and depression, the boy who likes grabbing his boyfriend’s hair. Honestly as a public figure, or anyone who interacts with a group of strangers, it’s completely normal to create a public persona that only shows parts of him.

The difference now is that he gets to decide what to show the public. Prince Henry is no longer a straight-up lie, rather than an incomplete version of Henry Fox. This is his identity to claim, and his image to build.

Now, Prince Henry and Henry Fox both belong to him.

Now, Henry George Edward James Hanover-Stuart Fox can write his own history.

#red white and royal blue #rwrb #rwrb movie #alex claremont diaz #henry hanover stuart fox #henry fox mountchristen windsor #firstprince #nicholas galitzine #taylor zakhar perez #rwrb thoughts #rwrb movie analysis #again just my two cents on it #coming from the fact i used to do this #as in compartmentalize my identity #meta #rwrb meta #rwrb analysis #meraki essay

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new-kit-on-the-block · 4 months

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Miraculous - The watered-down significance of akumatization

(This is an analysis, but it's also a sort of rant. So there's a lot of text underneath the cut. Just a fair warning.)

I have a problem with the way that the latter seasons of Miraculous handle akumatization.

There's a pretty basic rule of thumb when it comes to writing the bigger moments of your story:

If something is a big deal, let it be a big deal.

Seasons 4 and 5 don't always do that.

Let's take a look at what I mean.

These are screenshots of the three separate occasions that characters have broken out of akumatization in seasons 4 and 5.

Take note of who these characters are and their importance (or lack thereof) to the overall plot.

On the one hand, you have Alya and Nino, the two main characters' respective best friends. It's only natural in a show like this for these two to be strong enough to break out of akumatization, it makes the main characters look like they definitely chose their friends right.

And then you have Alix's Redditor conspiracy-theorist older brother.

Why is he one of the big three who managed such a significant feat like this?

It's not like he's been shown to be particularly strong-willed. In fact, one could argue that he's even less so than most other characters due to how much further he fell into the rabbit hole of Lila's manipulation than anyone else.

His gullibility and irrationality are the entire reason he gets akumatized in the first place.

And he doesn't ever play a significant role after this, either. The only other time that he even had so much as a speaking role was the other time he got akumatized way back in season 1 for not being allowed to sacrifice someone to the Egyptian gods.

Now, these aren't the first times that people have fought back against Hawkmoth while being akumatized. But they are the first times that they've successfully broken out.

Pixelator questioned Hawkmoth's authority over him, and in response, Hawkmoth did something with his hand that started causing physical pain to Pixelator, reinstating his control over his akuma.

The only other time an akuma victim fought back was Robustus, which was a special case because he rebelled against Hawkmoth by using the specific abilities that were granted to him.

Neither of them even tried to escape akumatization.

Akumatization has always been set up as something powerful. Something that takes the worst parts of you and amplifies them to the point of no longer being capable of rational thought.

We never end up questioning why people don't try to resist akumatization if they know that they might end up hurting people. We already know the answer. It's because they can't.

Even Ms. Bustier, possibly the character who hated akumatization the most at the time, couldn't avoid becoming akumatized despite her best efforts.

So three separate people breaking free from their akumatization should imply that Gabriel's control over his victims is getting weaker, which would be a very big deal.

But nothing is ever done with that. After Alix's brother, nobody ever broke out of akumatization again. The ability to do so is used as nothing more than a plot device in these few episodes.

Another thing is that, if anything, Gabriel's grasp over his victims' emotional state should be even stronger.

His akumas are canonically more powerful than before, to make the lucky charms that Ladybug hands out stop working against him.

If bigger and more powerful akumas don't make his hold on people even stronger than before, then the entire arc of Ladybug realizing that she can create charms to prevent people from being akumatized more than once, and Hawkmoth's counter-arc of nullifying her efforts by simply creating bigger akumas was all just a complete waste of time.

After Guiltrip, I assumed that they were building up to Rose being able to break out of akumatization through her naturally positive nature alone, and then they would have an arc of her teaching others how to do the same.

Suffice to say, neither of those things happened.

Rose's "inner voice" that she's apparently had in her head this entire time doesn't serve any actual purpose other than to make her worthy of the pig miraculous.

To be clear: I don't have any issues with Rose's invisible illness never being mentioned at any point before Guiltrip. That's the entire point of an invisible illness.

My point is that Rose's ability to break free from negative emotion-based mind control is an extremely important ability that was never even so much as hinted at before or even brought up again any time after Guiltrip.

So, once again, it's just an extremely important one-off ability that doesn't matter and doesn't affect the stakes whatsoever.

These seasons keep throwing moments at us that should be very big deals but are never treated as such.

Now let's compare all of this to an actually good akumatization-related scene.

When Chloe successfully rejected akumatization.

When this happened, it was huge, and it felt like it too.

Not just because of how impressive the feat itself was, but also because of where Chloe was in her character arc.

Chloe was under the impression that Ladybug might never let her be Queen Bee again. Full stop.

She had potentially permanently lost a privilege that really mattered to her, Lila was starting to get inside her head, and she was becoming mean to Sabrina again.

By all accounts, Chloe should've been in the stage of her arc where she started to revert back to her old self. The old Chloe would've accepted Hawkmoth's words without a second thought.

If this was the conventional Zuko-style arc that so many writers try and fail to replicate, this would've been the scene where it seems like she may not actually get redeemed, and would fall back on old patterns of hers. Which is an interesting enough arc on its own.

But we instead have a girl who doesn't have any way of truly knowing better, has no good role models, and is close only to people who enable her worst behaviors. And she chooses to be good.

Her worst fears are starting to come true, nobody seems to have any care or respect for her, and a smarter and more experienced grown man is using all of these negative emotions against her to mind control her. And she still chooses to trust the process and work to gain back Ladybug's trust. Exactly like Ladybug told her to.

The one time she was given really good advice, it stuck with her.

This is the moment that flat-out confirms that Chloe can be redeemed, and actively wants to be better.

Not only did she not get akumatized, she almost made it look easy.

But the show still makes it perfectly clear that this wasn't an easy feat by any means.

She was visibly exhausted and scared after the akuma left, breathing heavily like she almost just drowned.

But the important part is that she did it. She didn't get akumatized. And she is shown to be rightfully proud of this fact.

It's also interesting to note that no other character has ever broken out of akumatization, mid-akumatization.

In the seasons to come, several people would be breaking out of akumatization after they had already been akumatized. But Chloe is the first, and only, person to reject akumatization before it even took hold.

That's how you give a moment like this the emotional weight that it deserves, by letting it stand on its own and not bombarding your audience with the same scene played out by several other characters.

Chloe was the only one to do this, and that shows that she could bring something special to the team if she actually got the chance to be a heroine again. It makes us consider the possibility that her stubborn and argumentative nature might actually end up being a silver lining. She can still be herself while saving people. In her own way.

She can be a hero. She can become a better person. And she doesn't have to change a thing about herself.

It would be a really nice message to send.

Which just makes it all the more disappointing when it doesn't amount to anything.

If the point of her character was that she could've been better, but became worse instead, that would've made for an interesting sort of tragedy.

But that's not what it is. I know that's not what the writers intended because if that were the case, then Ladybug would've probably had some lines about how much potential Chloe had, and how well she was doing before she went back to her old self.

We don't get any of that. What we get instead is the show and characters acting like Chloe was always as bad as she is in seasons 4 and 5.

She never actually liked Adrien. She was never kind to her father or Sabrina. She never wanted to get better.

And that's just not true.

Sorry, the main point of this post was to showcase the difference between important moments that were given the appropriate emotional weight, and those that weren't. But I just went off on a bit of a tangent there.

God. Even when this show gets something right, it gets like ten other things wrong.

Anyway, TDLR: If you want a moment to be significant, let it be significant. Let it make big changes that actually matter. Don't be a coward who's too afraid to change the hierarchy of your story in any kind of way that matters.

If you want a moment to have an impact on your audience, give it time to breathe on its own, and don't repeat it for at least a little while after.

And for God's sake, if an ability is a big deal, then don't let some unimportant side character that no one cares about also have that ability. It just makes it seem like it's not.

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kiingfluffybuns · 4 months

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Okay, I just gotta rant a bit about TGED, and probably will get other opinions, and that's great, so please share them!

Also, this is mostly my speculation, I have ONLY read the webtoon, and I haven't been able to find the novel properly translated to read, so have mercy.

SO. I know that og!Lloyd was a bully to Javier and Julien and all that jazz, but it looked to me that he was an alcoholic that desperately needed help.

He lashed out and thew fits to call the attention of his parents, that he was sure as hell they were going to replace him with Javier at any point. (Bc let's be real, the Frontera's affection seems heavily conditional)

Arcos was pretty okay by letting Javier do whatever he wanted, becoming a knight was his choice and he did everything to make that happen.

Then, we have Javier's duties, that was to watch over 'Lloyd', which that also more or less what he did because he wasn't with Lloyd all the time.

The Fronteras were more than okay by letting him leave their alcoholic son alone and drunk somewhere in town. Which was what killed him by falling n breaking his head,,,, that wouldn't have happened if Javier was actually there,,,,

The there's this detail I noticed in the imagery, in most cases it's suggested that Javier is confused as the heir and novel bc he's handsome, but that's not it.

it's bc he gives a novels profile. And the reason is his clothes.

Javier seems to be dressing like the proper heir, and wears the same style as Arcos Frontera, meanwhile Lloyd is left to dress like a commoner. That's why he's confused as Javier's servant, bc he looks like it.

Arcos Frontera didn't want to deal with an alcoholic son, he had enough on his plate by letting his estate become in debt and bc of his spineless attitude.

He was most likely replace Lloyd with Javier, or make Julian the heir. He was ignoring Lloyd, and just paying attention when he caused damage to the town. Because then it would come back to him.

He didn't actually cared if he died in a ditch.

I don't justify og!Lloyd's behavior at all, but I understand what was going with him. He was mad, he was jealous, and he was frustrated, and the only thing that made him feel better was some drinks.

He was so depressed he wanted to be blackout drunk, and that killed him anyway.

I'm honestly very much into how our!Lloyd has put such boundaries with the Fronteras, bc he's a guest in his own home. He wants to lazy around, but he doesn't actually do it at home, he did it once and immediately got an excuse to go out and work.

But anyway, this is such my own analysis on the matter, I find absolutely fascinating the takes this webtoon has taken over the Isekai trope, and how that affects to those around the mc.

#the greatest estate developer #tged #lloyd frontera #arcos frontera #javier asrahan #character analysis #burnstalk

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justanotherblogger · 3 months

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JUST WATCHED EPISODES 7 AND 8 AND UNHOLY SH-

Look at all that Alastor LORE!!!!!

I AM SO EXCITED YOU DONT EVEN KNOW PEOPLE. WE HAVE BEEN FED WELL.

I also want to say that I was so freaking right in my first ramble about Alastor. Almost everything but his human life was freaking given to me in these episodes! I am very happy. Previous Ramble

*Ahem* Now, this is just a small analysis of Alastor scenes from both episodes, and I'll probably post my theories and stuff about it in a seperate post! I am currently frothing at the mouth. Obvious spoilers ahead!

Ok, so the first thing I saw was how Alastor jumped at the opportunity to go up to talk personally with Charlie.

Episode 7 thoughts:

I tried to steer away from sneak peak and spoilers, but I did get bombarded with little gifs of Alastor kicking his feet on Charlie's bed. Ruined the freaking surprise.

Anyways, Alastor obviously seemed to coerce Charlie into feeling rushed to a decision, which was obviously a deal with him.

I didn't expect him not to go for Charlie's soul. I saw so many people theorizing that was why he was at the hotel in the first place, and everything that lead up to Alistor finally making a deal throughout the other episodes, was a favor. A favor that didn't involve harm, no less.

This is still something very big, especially a favor from a princess of hell. I think the favor he needs eventually might be to help him break free of his leash, or to help protect him when he finally does in case things go south afterwards. Or maybe it could be a favor to somehow see how his mother is doing, the first much more dramatic, but I'd be happy with either.

Now there's Alastors demon form during the deal. Unholy cow, there's a lot to unpack. The first thing I noticed was Alastors FULLY STICTED smile. Like, entirely across. This could just be his true demonic from, or someone else did this to him to keep him smiling. From slipping up in his forced persona.

We also see how he can't stop smiling, even when by himself, drained of power, and hurt in his destroyed radio tower after the sngel attack. He rants and seemingly has a breakdown, but keeps smiling.

This could be how, like I said in my previous ramble, he uses his smile as a shield and as a defense for himself, like he stated to Charlie during the deal scene. Or, it's permanently there because it's just what he got stuck with in hell, or someone wanted to keep him smiling.

Speaking of which, the color is what's bothering me. There isn't much green in the pride ring other than Alastor himself. Almost every attack he's thrown has had green in it, with the crazy floating symbols, his explosions, and his void he controls has a bit of green. He can also invert colors. Why is that, when everything about him is red and black, matching the pride ring, his stitches and powers are green, like someone else's power.

There's also stitching all over his clothing, maybe as symbolism to keeping the persona up that the person who has his leash has made for him to play at the hotel.

Moving on to cannibal town, I adore Alastor and Rosie together. They bounce off each other well and just seem like real good friends. Love their dynamic! (Also, WOOOOOH! Canon Ace Alastor! Well, from Rosie. STILL THO! I am so happy, from a fellow asexual)

I was kind of sad when I realized Alastor could speak without his radio in hand when Charlie went singing with it as Alastor advertised the Executioner meat awaiting all the cannibals, with Charlie still holding the microphone. Would've been some entertaining stuff if he couldn't talk without it.

I don't really have much else to say about cannibal town, other than the Alastor comment near the end where it seems he's considering manipulating her to keep her on his side, to keep him on the winning one.

Now, episode 8.

This episode was a lot. In a good way, but still a lot.

Before the exterminators, everyone in the main cast was drinking, relaxing, and saying possible final goodbyes. Not Alastor. He was up on the balcony, watching the scene unfold.

They talk about how they enjoy the main casts company, and Alastor feels a bit sentimental as he admits he could get accustomed. Focus on the could part of that. He seems to imply he can't stay or things can't stay this way for long. Is it because of the reason he's at the hotel?

I do love Nifty and Alastor interactions. I wonder why they're so close compared to everyone else's relationship with Alastor in the main cast. Could they both be under the same leash, leaving some sympathy forbthe other? Or maybe Alastor just likes to see that gremlins shenanigans.

Now to the actual battle, Alstor was freaking peak at the beginning! His shield literally blocked off all angel interactions from the outside to keep the troops away, and it didn't even seem to tire out Alastor in the slightest!

The thing with him controlling those void tentacles to hold angelic weapons to kill the outsiders trying to break through is also just so cool to see because of Alastors ingenuity.

It took a strike from Adam just to break it, and I feel that's an accomplishment. For Adam to do something himself that all the other angels can't I feel is impressive, because he's not the head of the angelic army for no reason. I doubt heaven is that stupid to give a f-boy full control over the troops with no talent or experience to plan or lead them, at least.

Now for the Adam vs Alastor battle.

This had me at the edge of my seat, begging for Alastor not to be the one to be killed off this season.

I knew Alastor wasn't going to win, but he did have a good start. It seemed like he was toying and not taking this seriously, with full confidence in his abilities.

But that was until Adam finally got serious again, and broke his radio staff. His metaphorical (maybe literal based on his reaction) wall of defense.

This had me shook, as I saw my boy get beat in a couple of seconds. The radio staff was probably the source of at least a bit of his power from this person holding his leash, as he was worried enough about it to curse with no static in his voice during mid battle, leaving himself wide open. Or maybe this was just one of the times Alastor slipped up. It could also be the reason why he only used shadows, one of his only not-green abilities.

He still could move and talk, and I doubt he could attack or summon anything after being DIRECTLY HIT, POINT BLANK, WITH AN ANGELIC WEAPON, FROM PROBABLY ONE OF THE STRONGEST ANGELS IN THAT FREAKING EXTERMINATION, WHILE FREAKING SURVIVING AND GETTING BETTER THROUGHOUT JUST A COUPLE OF HOURS AT MOST.

(Also, shut up Vox. I know you freaking have the hate/obsession going on with the guy, but he probably lasted better than you could have, especially since you would've most likely been wire spaghetti after that hit from Adam)

I just realized that when rewatching, as before, I was just focusing on hoping he wouldn't be the one to die. But how did he survive that, and get pretty much better as soon as he got back to the radio tower? Maybe radio waves heal him, or he just has crazy recovery speed.

Now to the long awaited radio tower scene. I was hoping he would've gotten his own song by now, but maybe that shows how he needs someone else's push to be able to push on his own, like both his duets in the previous episodes.

Maybe we'll get an emotional song from him in the future. Crossing my fingers for that and a S2 as soon as possible!

Now the actual scene got me thinking. How Alastor is DEFINITELY under someone's control, as he also explicitly states it was a deal. Most likely for his soul, considering his want for freedom and to be able to do his own thing again.

I did see how Alastor was so desperate in his song snip about how he needs to find a way out of this deal he has made, with some of the most raw expressions we've seen of him to date.

But something did strike me. That on line from his song.

That's a bit of weird wording there Viv. Like, I know this is like an implication for his freedom, but imagine Alastor was a fallen angle or heavenly deity of some kind, like how the Cherubs got banished from heaven in Helluva Boss. Might explain how he didn't immediately die from Adams attack. (As you can see, I'm a bit delusional. But imagine if I was right tho)

But do imagine though, what this might imply for Alastor. How maybe the leash is holding something more than just his freedom, maybe how Alastor might've been even more powerful than he is right now, with the holder keeping some of his original raw power from his grasp, making him rely on their green power to survive and stay at the top.

The green light surrounding him with the line about him pulling the strings might also be how Alastor might want to take his holder's place, how when he's finally free from them he'll finally be able to take over that green with his own power, with his shadow.

I'm still wondering if Alastor is hiding side affects or pain from getting a beat down courtesy of Adam at the end there, as he seemed to take the most damage out of everyone while staying 'alive'.

Anyways, I need to wake up early tomorrow, and writing this in the middle of the night as it struck won't be pleasant for future me, but at least I could get all my thoughts together.

I am still obsessed with this deer man, if you couldn't tell already. I am so tired. If you saw any typos, no, you actually didn't.

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