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takaraphoenix · 3 years

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Buffy Season 8: Review

It’s bad. It’s just... really... bad. That’s the TL;DR of this review. There was one (1) good thing about this season and that was the return of Oz. So if you’re looking for something that hypes season 8? This is not it. If you are confused, angry or salty about season 8? Hi, yes, me too.

Starting at the beginning. At first, I was really happy that they introduced more characters of color, with Renee and Satsu. And when Renee was then even “promoted” to Xander’s love interest? Nice. The two were even cute.

But no. That was all just the set-up to fridge her. Which, I am so very tired of that trope. And that is what that was. That wasn’t just a slayer dying during a fight. The entire issue of her death focused on her and Xander, building up to their relationship, setting them up for their first date, having her be prominently featured, just to then kill her off and have Xander avenge her.

What made it feel even worse - worse than just the fridging - was that they really had to fridge one of their very few women of color. And, to top it off, spend the entire issue in which she dies having her subjected to racism. Just great. Really, you managed to make an already shitty trope even worse. That’s impressive.

The racism itself too. Dracula. They just decided to make Dracula totally racist now, huh? and it doesn’t get a pass just because Xander points out in the comic that he doesn’t remember Dracula being this racist. Because he wasn’t. This Dracula just throws around slurs left and right in a way that feels more like the writers just really wanted to use slurs. Because the character? He was suave, charming, heck he charmed the straight men and the lesbians too when he was on the show. He was a smooth talker. This Dracula? He just... He was just racist and rude in general. Why.

Moving on from the racism to the next failure in rep. The gays. At this point in time I am simply convinced that Joss Whedon is entirely unfamiliar with the concept of bisexuality.

I know I’ve already made a separate post complaining about this, but it needs mentioning in the review of the season too. Having Buffy hook up with a lesbian twice, but #NoHomo, just a straight girl in her “experimental phase”. That’s just cringey and also offensive. Just... make her... come out as a bisexual? It’s not like the writing in the show hadn’t already set her up with quite the bi vibes.

Instead, the narrative made it sound like the only options would be to be straight or to now suddenly turn “into” a lesbian. Which is also offensive on itself, because - as this very show had proven on screen - lesbians can come out later in life and genuinely, I adore Willow’s arc. For her narrative, it fit to have her come out as a lesbian, the circumstances and her life fit for that. I absolutely agree that it would have been weird for Buffy to have a sudden coming out as a lesbian at that point in her life and after everything, but referring to it as turning into a dyke was just not great.

And lesbian wasn’t the only option. Though, I’m unsure Whedon knows that, considering that 6/6 canon queer characters are homosexual and 4/4 wlw are lesbians. They just keep introducing more lesbians - which, as a lesbian I am always in favor of more lesbians. However, when you have a very small number (2) of queer characters, it figures you can not cover all the sexualities and it’s even fair that even with two, you still choose to have them both be the same sexuality. But... the more you add? The more questionable it becomes that you limit it to one sexuality only.

This arc would have so beautifully set up for Buffy to come out as bi. But no.

And while we’re on the wlw; one of the things I always loved about Buffy was that the lesbians weren’t just there for the male gaze, they weren’t oversexualized. They desired each other, they even had sex. But... in a normal frame work, to a normal amount, meaning equal to how the straights were handled. I always liked that, because especially in early days, lesbians were usually just there to look really hot and have hot sex that straight men could get off to. Well, consider me very unimpressed with the comics, because... man are lesbians sexualized now. Willow gets a hot constantly naked snake goddess girlfriend whom she can only contact by - and I am not making this up - having an orgasm. So we prelude the trip by her having sex with Kennedy, before waking up all nude in snake goddess’ realm and usually having am makeout session or sex with her too while doing whatever business she has with her. So much nakedness, so much oversexualization. Really... disappointing.

Staying on the romance but turning to the other Summers sister, I truly can’t believe they made Xander/Dawn canon. Like, I can not comprehend they decided to make that a canon ship.

Sure, Dawnie’s had a crush on Xander since the literal beginning of Dawn. And that was... cute, honestly. Fifteen year old girls have crushes on cute older guys who are nice to them. Figures. Adorable. But she kind of... grew out of that over the course of the show? Or so it seemed...

And Xander. One of the things I loved about Xander was that Dawn was always a total no go. She was Buffy’s sister, heck, she was kind of every Scoobie’s little sister. He had always had brotherly advise for her. Heck, in this comic he points out that it’s weird since he’s known her since she was little - and yeah it is. It’s not weird when two people were both little together, but when one was sixteen when the other was eleven and one has babysat the other? That’s weird.

Getting infinitely more disturbing by the fact that she... literally... just turned eighteen. If they had put this into a rather later season, or a bigger time skip, had Dawn been A WomanTM for a few years now and Xander had gotten around to separating the idea of kiddo!Dawnie from the woman she has become, but Dawn is only eighteen, she hasn’t become a woman yet. She just turned legal to bang and thus, a switch was flipped in Xander’s mind, putting her on his radar. And just... no. Why.

And even beyond this decision; Dawn spends the first third of this season being slut-shamed in ridiculous ways. Which is also tiresome. I am the last person to defend cheaters, but there’s a difference between “You cheated and are being held accountable for it” and “You cheated so now you are cursed to be a giant, a centaur and then a porcellain doll for weeks at a time, being publicly humiliated and having control over your body taken away from you”. That was... sure a choice.

Moving on to the actual main problem of this season. The plot.

Starting with the incomprehensibly dumb idea of “hey let’s retreat to Tibet, put a huge target on Oz’s new home and get rid of all of our magic. surely that will not come to bite us in the arse when the bad guys find us”. Naturally, it came back to bite them in their collective asses. This was just... No one objected or pointed out how dumb that plan was? Really? No one? Really?

Anyway, let’s talk villains. And work our way up there. The return of Amy and Warren. Once again, I ask why. I’m still salty about the 180° Amy did from sweet Wiccan to wicked bitch after her stint as a rat, but having her now... hook up with Warren, the second biggest misogynist on this show, who is also skinless. She used a spell to keep him alive but she couldn’t... give the spell a color? Anything? Anything to not make him look flayed? Because this was just unnecessarily gross body-horror.

Not to mention the... lack of reaction? Sure, some spoke grumpily against working with Warren. But... this is Warren. The guy who killed Tara when he was trying to kill Buffy. There really should have been more breather-scenes of the Scoobies talking about this, digesting the fact that the guy was still alive and more so when they worked with him.

But nevermind them, because they’re working for Angel. Because Angel’s the villain behind this season. I mean, he was manipulated into that by Twilight, but manipulated means he still chose to do it.

Now let me preface that I might not ship Angel/Buffy, but that really only factors marginally in here, because this plot would be bullshit even if it were my OTP.

We now retcon the creation of the Slayers as not just being something dirty old men did in a cave, it was now all the greater plan of the universe. Which. Might have worked had Slayers been... naturally occuring. And not created by men, forcing this upon a young woman. Sure, what people do can be seen as the greater plan of the universe too if you will, but that seems like a cop-out that absolves bad people of their bad choices and deeds.

Anyway. The universe created Slayers and vampires and the ““balance”“ between them (which is bullshit anyway because 1 Slayer vs thousands of vampires... not balanced at all), including the now supposedly destined romance between Angel and Buffy.

Both get rewarded with super-powers now so they can super-fuck and thus give birth to a new universe. That universe is called Twilight and manifests as a burning, winged, green lion who can talk (because that sure is how I always headcanoned Angel/Buffy’s children to look like /s) and who, through time-travel shenannigans, has been manipulating Angel into his own creation.

The magic pull between them is so strong that it overrides the “Angel just caused the death of over two-hundred Slayers” so Buffy fucks him.

At which point I just... this season was flat-out character assassination of Angel? He was manipulated by the bad guy. Not controlled, manipulated. He caused the death of hundreds. He threw everything he stood for and believed in out the window for the promise of a paradise where he could be with Buffy, when the real Angel has chosen other things, higher goals, over being with Buffy over and over again, because that’s what they do. That is their whole thing, they choose the good of the world over being together. They have always been a “will they/won’t they?” where the answer is they won’t, because they know they are needed elsewhere, by others. But now Angel just... doesn’t care about all that anymore, or heck about his own son and his friends, ready to abandon everything for this.

And then when Twilight is born and consequently abandoned by Buffy, who still prioritizes her friends, family and the world over being with Angel, Angel actually... needs convincing in the abandoning? Because, again, character assassination. Ultimately, Angel gets controlled by Twilight and used to kill Giles and try to kill Buffy.

But thanks to the Deus Ex Machina of Spike dropping in in the final arc, they know how to stop this. He hasn’t been in this season so far, because - truly in line with this season - he was off being the king of a race of alien bugs, traveling in their space-ship.

To stop this all, they go back to Sunnydale, where of course the “heart of the Earth” is located, the seed that contains all magic, and destroy it, and with it all magic. Also, the Master was apparently always just there to guard that seed. He is now back from the dead!

Let me summarize that once more, just for emphasis: The universe wanted Buffy and Angel to fuck so they can give birth to a new universe that personifies as a green, winged, burning lion but before it can destroy our universe, Spike, now king of an alien bug race, delivers the solution to go back to Sunnydale and destroy the seed of all magic that is being guarded by a resurrected Master.

How do you read that with a straight face? How do you pitch that? This is just so incomprehensibly stupid.

We end the comic with Buffy as a waitress, hated by many, Xander and Dawn now have an apartment and are playing house, Willow broke up with Kennedy because she realized she is in love with the snake goddess she will now never get to see again, Giles is dead, Faith somehow inherited everything from Giles and she is also the designated Angel-sitter now.

#Buffy Season 8 #Buffy Review #Buffy the Vampire Slayer

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lightsandlostbells · 3 years

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wtFOCK season 3, episode 5 reaction

This whole episode I kept doing that Marge Simpson groan. You know, the one that’s like tight-lipped and this low, exasperated mmm from deep in the throat? That was me constantly.

Episode 5

Clip 1 - Jens gives Robbe sex advice

Robbe texts his mom and says to her he can’t visit, lying that it’s because he’s sick. One repeated element that does exist in this season is Robbe listening to music on his headphones, which is him retreating into himself, or using music to cope. The song lyrics reflect that: “I used to feel so alone, now I’m feeling better on my own.”

Since I’ve been trying to think of ways to rewrite this season, they could expand Robbe using music as a coping strategy even further. Music should have been something that Robbe bonds with Sander over. And not just Sander’s recommendation of Bowie, either, which is all they’ve done so far - it seems like Robbe should give recs or insight as well. Talk about how important music is to him with Sander. Make it a serious point in their developing relationship.

Jens skates up and talks to Robbe. Robbe wants to get high, but Jens doesn’t have weed with him at the moment. He asks Robbe if he’s thought about the Brrrothers, because they’re not the same without Robbe. Robbe snaps and turns away from him, then lies and says his bad mood is about Noor. Jens has already heard that they’re fighting.

Jens’ talk to Robbe, knowing that Noor wants to have sex and Robbe doesn’t, is actually pretty sweet. Even though he doesn’t understand the real reason why Robbe doesn’t want to, his talk is thoughtful and not shaming Robbe for being a nervous virgin, it’s considerate of him. Considering the Brrrothers have been obnoxious about sex and girls all season, this was a refreshing change. One question I do have is how Jens knew that Noor wanted sex and Robbe didn’t, but I guess it was implied that this explanation was part of the rumor mill.

Of course, the downside is that Jens’ advice prompts Robbe to text Noor about how he misses her and wants to meet up. Bad, Robbe! I don’t know if Jens’ talk encouraged Robbe to text her because Robbe was like “Yeah, I’m supposed to like Noor, better get back on that,” or because maybe he genuinely told himself, “I just don’t want to have sex with her because I’m nervous, yeah, that must be it,” and decided to just move forward with it.

I do like drama that comes from characters trying to be helpful but unintentionally saying or doing the wrong thing - that’s what happens in the locker room scene with Isak and Even. When Isak says he’s better off without mentally ill people in his life, he’s telling Even this as a way of saying that his mother won’t cause problems for them, he doesn’t care what she’ll think of them dating. So taken on its own, I think this scene is fine.

HOWEVER. The pacing of this season is again, SO SO weird, because this scene would have fit right in around episodes 2-3? Right after Robbe tried and failed to have sex with Noor, you know ... the first time? Or the second, or the third? Like … have it be in line with Isak’s episode 3 sexuality crisis, all the “why does he have to be so gay” stuff. It would’ve worked well to have this talk at like, the beginning of episode 3, and then have Robbe making the “that guy is so gay” comment as an unintentional result of this - by trying to convince himself he is just straight and nervous and distancing himself from being gay. We had three entire scenes of Robbe failing to fuck Noor, so narratively, why did we need to wait this long for Jens to talk to him about it?

Clip 2 - AGAIN?

Robbe invites Noor over to bone. He’s lit about a million candles and is trying to make this a big romantic deal, except lmao, he has on David Bowie’s Life on Mars … Robbe … what u doing…

Actually, I’m not sure if this is diegetic music or not, if Robbe is blasting Bowie from his phone as mood music or if he’s only hearing this song inside his head. I think we’re definitely meant to take away that Robbe is hearing the song since it gets distorted as he slinks down Noor’s body, and that it’s not just there for the audience. In either case, Sander is supposedly the shadow hanging over this sad hetero affair.

Tbh listening to Life on Mars is the best part of this season and I wish I could just like … listen to this song play against a black screen instead of watching poorly written, repetitive clips.

They start to get it on and he takes off her shirt, unhooks her bra, yadda yadda, he doesn’t look happy but he soldiers on and it’s implied they went All The Way. On the one hand, I will rage if they actually had sex. On the other hand, if they don’t, it’s yet another clip where the same shit happens, Robbe tries to bang Noor and fails..

Clip 3 - Robbe’s not turned on by Noor and this is BRAND NEW INFORMATION

… okay, so he didn’t have sex with her AGAIN? He couldn’t get it up?

For fuck’s sake. I mean, on the one hand I’m glad it was actually Robbe’s choice (apparently) to put a stop to the sex instead of like, someone else walking in and interrupting yet again, but on the other hand, I feel like we have done this scene SO MUCH. We KNOW. About the only thing that’s changed I guess is that Robbe kissed a boy and now he’s trying to be straight? If this was only like the second time this scene had happened, it would have been fine.

I just don’t have a coherent idea of Robbe’s arc. This season is going in circles.

Anyway, Robbe couldn’t get it up, Noor is sympathetic, she asks if it’s her, Robbe says she’s amazing, he looks sad and haunted blah blah we’ve already seen this play out.

Why were these separate clips? In the first clip, we have Robbe seemingly determined to have sex with Noor, and then in the second, he can’t get it up. So why not SHOW THE MOMENT OF CHANGE? Are these filmmakers on drugs? This is storytelling 101. Like there’s no reason to split up these clips except to cause a bit of anxiety if you happen to be able to watch the clips at the exact time they’re posted, and from a real-time perspective I get it, but that’s ineffective for the vast majority of people who will have to watch later and then will watch these two clips together at the same time. I mean, the fact that it’s not even 10 minutes in between clips … just SHOW THE WHOLE SCENE. Holy fuck. How are they this incompetent?

The pacing of the scenes themselves is so weird. So many of the clips are oddly short, we don’t NEED them to be split into parts. It makes me really appreciate Julie’s pacing: Skam S3 episodes had 4-6 clips each, and in those clips, we got rich scenes packed with details, often multi-tasking within different story threads. wtFOCK’s pacing is simplistic and choppy and unnecessary.

Clip 4 - Milan gives Robbe a pep talk

Robbe is Googling erectile dysfunction which is honestly kind of funny (but again, probably would have been a better fit for earlier in this season, before Robbe had already kissed a dude ...) Milan comes in wanting advice on two shirts, Robbe is annoyed.

Milan tries to get Robbe to talk to him. It takes some prodding (and I do like how Robbe is swiveling in his chair and not looking at Milan) but Robbe admits there’s a guy who likes him and, after Milan asks, admits that it’s mutual.

Tbh … I don’t find it so hard to believe that Robbe opened up to Milan even though they’re not anywhere as close as Eskild and Isak, because I do think another gay guy is a “safe” person to talk to about this situation and I can see Robbe doing it. What I do NOT get is why, here and now, Robbe is now openly admitting it. Why did we go from Robbe trying to fuck a girl and, before that, calling the boy he kissed a pervert and a homophobic slur, to admitting his attraction for a boy? Why the sudden turnaround? Based on the clips themselves, all we have to go off as a turning point is that he couldn’t fuck Noor, BUT this is nothing new for either Robbe and the audience, AND not being able to fuck a girl does not actually mean that Robbe would be able to fuck a guy, or that he’s into guys, and it especially doesn’t mean that Robbe would accept that he likes a guy. I mean, he’s Googling “erectile dysfunction” not “am I gay?” which tbh seems still more like denial than anything. He’s blaming his lack of arousal on a medical issue, not his sexuality.

This scene would feel more true to me if Robbe was like, downplaying his side of it, or playing it off as only Sander had feelings and it wasn’t requited. That’s more in line with the characterization we have just been given, that Robbe is denying his attraction to Sander.

Another way would be to not split up the sex clip and to show like, Robbe flashing back to his kiss with Sander while he’s making out with Noor, so we get that it’s not just that he’s not into Noor, it’s that he’s very into Sander, and we see him grudgingly admit to himself that yes, he’s attracted to Sander (at the very least.) which would make it believable that he admits it to Milan. Cause and effect, etc.

MIlan is like, are you so nervous to tell me you have a crush on another guy (...????? um, yes, Milan, you have to know it’s hard to come out???) but is pretty supportive and says Robbe’s lucky to have him, Milan would have wanted himself when he was going through this. Robbe is just like, I don’t know what I feel and I want everything to be normal, there’s too much shit going on right now. Milan says Robbe IS normal and he doesn’t want to bottle up who he is, the pressure will get too real and he’ll explode, he’ll hurt people. Robbe seems to take this advice seriously, so hopefully this scene will actually lead to cause + effect.

Again, this scene is fine on its own? There’s just something about the pacing of the season as a whole that feels strange.

I don’t know if this is supposed to be the equivalent of the Pride clip, because Robbe doesn’t say anything offensive and Milan didn’t get upset. Milan’s advice is good about not pushing away who you really are, but there’s nothing specifically confronting internalized homophobia, which Robbe desperately needs seeing as he’s had some extremely homophobic outbursts. I think it’s a shame to lose that part of the scene, because it’s got a very pointed and urgent message. (EDIT from the future: We got the Pride clip later in the episode, so that’s good.)

Clip 5 - Robbe tells Jens he likes someone else

Robbe is sitting on the sidelines listening to music again. Jens comes over and asks how things are, Robbe says he took his advice with Noor and Jens is happy that he’s a matchmaker. Robbe is like no, there’s someone else. He says he thought it would go away, but it didn’t.

For a moment it seems like this might be a sudden coming out scene, but Jens finally asks who it is and Robbe clams up and finds it hard to get out. Jens asks if she goes to their school. Robbe is saved by Moyo wanting to play a game against some guys.

This is some plausible conflict, at the very least, Robbe not being able to tell his friends that he’s into a guy. It would have been way better to focus on this instead of Robbe flinging a slur at Sander. Robbe’s friends seem like the clearest explanation for his internalized homophobia.

Now Jens needs to follow up on this development, or else turn in his Jonas card. Because there’s dropping the subject if he senses Robbe doesn’t want to tell him yet, and then there’s forgetting about the subject because Jens isn’t that engaged with what’s happening with Robbe, and unfortunately the latter vibe has come across far more than the first. Like why does it seem like Jens is always walking away?

Clip 6 - Robbe breaks up with Noor

Old Town Road is playing as Noor meets Robbe in a cafe. One thing I do notice is that there are a fair amount of gay musicians on the soundtrack this season, so that’s cool.

Robbe is stressed because we can tell he’s gonna try to break up with Noor. He doesn’t order anything to eat. Noor is sympathetic about him not getting it up with her, but Robbe says he needs some time for himself, he has so much shit on his mind. Noor says she can help with that, he’s like nah, Noor is crying and reaching for him desperately. He gets up and walks out.

L O L I heard all about how Robbe supposedly handled this better than Isak, and I mean … on the one hand, I certainly agree that he did Noor a solid by officially breaking up with her and not just running away from her in the hallway. But er ... first of all, Robbe went wayyyyyyyyy farther with Noor than Isak EVER did with Emma. Robbe and Noor had an actual relationship for what, a month? Isak and Emma made out twice and flirted a bit. They were not exclusively, seriously dating. So yeah, Noor is owed this breakup.

Second, Robbe still cheated on her with Sander before he broke up with her. The fact that they were naked while they made out in the pool frankly adds an on-screen sexual element to the cheating. And technically Isak making out with Even in the pool was not cheating … for sure it was a dick move to lead on Emma and then ditch her like that, I’m not going to say it was NBD, but like I said, they weren’t exclusively dating. I mean, in all my years of Skam fandom, it’s pretty rare that I’ve heard anyone refer to what Isak did as cheating - it’s usually talked about differently than Even cheating on Sonja. Robbe and Sander BOTH cheated on their girlfriends here.

Third, it’s nice he did this with Noor but lmao, kinda small potatoes considering what Robbe said to Sander.

Fourth, Robbe just gets up and leaves while she’s crying, lol. He let her order soup and then he ditched her! That’s cold as ice! Bro, you need to stick around until she tells you to leave, or you needed to pick a breakup location where both of you can leave ASAP without someone coming by with the meal you ordered.

And to be clear, I don’t think Robbe not handling this perfectly makes him a terrible person or anything. It’s more the comparison to Isak with how Isak is supposedly worse and Robbe is much nicer. Nah.

Sucks for Noor and all, but whyyyy are they making the Emma character so tragic and emphasizing this het relationship so much? We don’t even end the clip on Robbe’s POV. Because how he feels about this breakup doesn’t matter, I guess. Does he feel guilty? Free? Unsure? Conflicted? IDK because we close on her, not him! I’m sorry, but it’s not her season!

I mentioned this in an earlier reaction but I’m just super tired of gay storylines that have this intense focus on how much someone being gay hurts a straight person. I believe I mentioned Love, Victor as a prominent example, because Victor’s relationship with his girlfriend seemingly gets more screen time than the relationship with his actual male love interest. And I get why this storyline is relevant to a coming out arc, of course I do, but it really bugs me when the het relationship seems to overshadow the gay relationship, as it does here. At this point I feel like Robbe/Noor has been given equal plot relevance as Robbe/Sander, if not more, and that should not be the case. It’s not about shipping, it’s about wanting a story about a gay kid’s journey of self-acceptance to focus more on the life-changing love story that is the catalyst for embracing his sexuality, than the fake passion-less relationship that is doomed to failure that is just a momentary stumble in said journey of self-acceptance. There is no need to demonize Noor, but there is actually a middle ground between treating her with respect and empathy and making her the real victim of this story.

This narrative choice also does not exist in a vacuum. It is completely fair to be skeptical of the prioritization of a het relationship over a gay one. It’s fair to wonder why we’ve gotten multiple scenes of Robbe getting hot and heavy with a girl, why Robbe spends a pivotal clip being so sad about Noor that he doesn’t seem to really notice or care that he’s alone with the guy he supposedly likes.

I mean, fuck, Robbe seems more upset about hurting Noor’s feelings by breaking up with her for legitimate reasons than he does about hurting Sander’s feelings by calling him a f*g and accusing him of sexual assault.

Clip 7 - Robbe tries to speak with Sander

Robbe goes to school (not his school, Sander’s) and asks where the art room is. He’s in a way better mood, a spring in his step, but LMAO you better pray that Sander actually wants to talk to you rather than kick your ass or avoid you for all eternity because of what you said to him.

Sander is sketching a nude male model. Robbe seems happy just to see him. He walks away and goes to the bathroom, fixes his hair, stares in the mirror, takes a deep breath. Then he goes up to Sander after the bell rings. Robbe wants to talk, Sander is not having it and walks away. Robbe is sad, angsty music plays.

Uhhhhh, serves you right? No offense but I can’t even feel sad for Robbe in this scenario, because what he did crossed a line. Internalized homophobia is a hell of a drug, but there’s such a difference between Robbe just denying that the kiss meant anything or blaming it on being drunk or whatever, and essentially accusing Sander of sexual assault and calling him a slur. It’s not an ignorant mistake, it’s a malicious one. I feel bad that Robbe ever had such self-hatred that he made those comments in the first place and I certainly don’t hate him or think he should be forever alone, but it is 100% understandable why Sander would not want to speak to him after that.

Also, going up to Sander at his school was not the best move, because he’s basically ambushing him. Sander doesn’t have a choice whether to deal with Robbe in that moment. It would’ve been better if Robbe sent him some kind of apology text or voicemail first and left it up to Sander whether he wanted to meet. I get that’s not as good for televised dramaaaa, but it’s kinder to Sander. (And if Sander doesn’t respond, or if he’s blocked Robbe, well, those are just consequences of Robbe’s actions that he’ll have to live with.) EDIT: Robbe actually did contact Sander first via text, wanting to meet up so he could explain. That does make it somewhat better, although I still think he shouldn’t have approached him at school. If Sander doesn’t want to talk to you? Then give him space. Maybe he’ll be willing to hear you out in time, or maybe he’ll decide he’s better off without you, but Robbe’s the one who did something wrong and it’s not up to Robbe whether Sander forgives him.

Clip 8 - Robbe and Sander make up and kiss

Angsty music keeps playing as Robbe walks home. He sees a mom and her kids playing, more sadness presumably due to his own family troubles.

Sander has followed him and says he has five minutes. Robbe’s like “Why don’t you want to talk?” LMAO IDK ROBBE, WHAT COULD IT BE.

Robbe says he’s sorry and that he loves Sander. LMAO WHAT. Is this a nuance of translation where “I love you” isn’t as strong as it is in English? Are you kidding me?

First of all … he LOVES Sander when they’ve barely interacted? They’ve spoken only a handful of times. Hell, they only met in episode 3, and this is episode 5. It’s been like two weeks since they’ve met, and while I could buy that some ships fell in love in that short of time, this is sure as fuck not one of them.

Second … Robbe goes from shoving Sander and calling him horrible things and trying to fuck Noor, to professing his love for Sander, WITHIN DAYS? And this is the character who’s supposed to have a big coming out arc? What is nuance, what is good writing, what is a coherent idea of this character’s struggles with his sexuality and himself... The talk with Milan might convince Robbe to accept his feelings, but it would make way more sense if Robbe was more tentative about them. He doesn’t need to come out swinging the big epic declarations in order to accept his romantic interest in Sander.

Like this isn’t even based on what I personally think is believable for a romance, this is based on what wtFOCK has told me about this character! They made the choice to make him say more viciously homophobic things. They made the choice to have him go back to Noor and try to have sex with her for the millionth time.

I’m glad that Sander doesn’t buy the confession at first, at least.

Robbe says that he was really fucked up and hat Sander is the first dude. There is a cute moment where he’s like “that kiss (mimes fireworks)” but then things went Chernobyl. Would have been great if we saw exactly what made him go Chernobyl and make him regret the kiss. He says he’s sorry but asks for one more chance.

Sander steps in, leans in for a kiss. “What about Chernobyl?” “Fuck Chernobyl.” They kiss, it’s really sweet, but lol they’re kissing in public??? Robbe is ok with this?? I just have abso-fucking-lutely no idea where this kid’s head is. Like ... how is he so cool with this considering where he was just days ago? Apparently Robbe’s internalized homophobia was so extreme that he was all “get away from me f*g” toward Sander with no clear catalyst, but also not so extreme that it couldn’t be fixed with a pep talk from Milan? Okay!

This scene would have been totally fine if Robbe’s mistake was less cruel and amounted to blocking Sander or telling him to stay away or w/e. It doesn’t feel satisfying for what Robbe actually did say.

Also, sigh, because Sander did forgive Robbe just like that, and I don’t buy it. I mean, if anything, it makes me sad for Sander. I want to tell him that he deserves better. I suppose I can buy this as part of his fear that no one will ever love him, that he’s desperate to be accepted and loved and so is quick to forgive.

It would have made more sense for Robbe to have a longer period of self-reflection, have him come out to his friends, etc. and then reunite with Sander an episode or so later, similar to how Isak and Even reunited at the end of episode 7. Or to have Sander take some time before letting Robbe talk to him, during which Robbe works on his own issues.

Sander gets a call from Britt, which he ignores, saying Britt’s the past, he and Robbe are the future (as the song lyrics talk about the future and the past … they’re going pretty on the nose this season. Fine by me, OG was also on the nose.) Lmao but Robbe has no right to be upset about Britt after he explicitly told Sander to stay away. I mean, it’s dubious of Sander to keep dating her after cheating, but he also thought Robbe was no longer an option sooo don’t be surprised Sander is still with her, dude.

Sander goes to meet Britt, but not before some make outs, some handholding. I think their chemistry is good! It’s just that I don’t really buy the depth of this relationship. It legit makes me sad that these actors are getting served this half-assed material.

Clip 9 - Zoë gets a letter

Robbe goes home and gets a text from Sander, with a sketch of them, saying their kiss was Chernobyl. Well, that’s cute.

Milan is telling Zoë about seeing some straight-looking dude on the bus who melted when Milan looked at him. Robbe is in a good mood and is gonna do the cooking. Milan observes that he’s happy and asks if things went well with his (Robbe looks toward Zoë) “lovely girlfriend”. At least Milan covered for him! (EDIT from the future: Ahahaha, funny considering how casually people out Robbe this season...)

Robbe hands Zoë some mail that turns out to do with Viktor, the apparent Nikolai in this version, about the case going to court. She has to testify. She is upset and walks out of the kitchen.

I complained a bit about Zoë/Senne drama taking up time in Robbe’s season, but to be clear, I have no problem with them following up on this plot point from S2. It’s a hugely important story. But I also think it works best if you integrate it into Robbe’s story, by drawing a parallel to their situations, finding a common theme, etc. And it depends on whether Robbe’s story is otherwise satisfactory, because if the writing is pretty tight, I’m not really bothered by digressions in other characters’ subplots.

Clip 10 - Robbe and Sander get cozy

Oh hey, it’s the big cuddling clip! Robbe and Sander goof off, pillow fight, smoke a joint, make out. Mostly make out. Sander shows Robbe a sketch of him (Robbe) and implies how good it would look on a wall (big).

Robbe’s fave actor is Leonardo DiCaprio, because hasn’t Sander seen Romeo + Juliet? It’s fucking beautiful.

Man, on the one hand, sick Skam reference, and it’s just a simple, cute little nod to OG, not something complicated. I can dig that. But on the other hand, now I’m annoyed at how Isak got all of this beautiful development and watching R+J actually meant something for his character, and Robbe has absolutely nothing like that. Stuff like the fact it’s Robbe who likes R+J instead of Sander, WHICH IS FINE, but like … doesn’t say anything about Robbe’s view on masculinity or w/e, doesn’t do much for his characterization.

Sander takes pics of Robbe. Their chemistry is cute. Once again I despair at gifted actors being given subpar material leading up to this clip.

LMAO at them copying the dialogue from OG, Sander being all life is like a movie. Again, irrationally annoyed because this dialogue MEANT something to Even. Even was a huge film buff and an aspiring director. Sander hasn’t mentioned movies at all, he’s into art and David Bowie and photography. So why not have Sander quote some Bowie lyrics that explain his thoughts on life? Mention what art means to him? Personalize this dialogue so that it’s specific to Sander. Or, if you’re going to borrow this chunk of dialogue, at least establish Sander as a film enthusiast prior to this clip.

Also that Isak brought up the multiverse theory because he was smart and inquisitive, but I have no idea who the fuck Robbe is. Does this make sense with Robbe’s prior characterization? Shrug.

I do like the multiverse reference to Spider-Man because HELL YEAH Into the Spider-Verse!!! Fucking masterpiece! I could be watching that for the 20th time instead of the upcoming gay-bashing hate crime.

I do like Sander’s acting in this scene and his reaction, how the music (“Ocean Eyes”) stops when Sander starts talking about multiverse theory. His dialogue is a little different here than OG, about thinking about what he’s done and wondering why he thinks something, his thoughts never stop, which fits in with bipolar disorder.

Robbe notices he’s a little agitated, Sander says the only way to stop your thoughts is from dying. So I guess we’re putting in the suicidal thoughts in this version?

“Sometimes I forget how young you are.” Are they the same age in this version? Lmao. It’s a joke so it’s not a big deal.

Robbe starts kissing him and asks when Sander fell for him. Sander is like, before you! When Robbe was spraying the graffiti he knew Robbe was the one. Robbe is like … you were there??

I mean. this is cute and all, but doesn’t it kinda take away from later events, if Sander goes back to Britt, then like … knowing Sander has been Pining All Along should create way less doubt in Robbe’s mind? When Even went back to Sonja, there was room for actual doubt in Isak’s mind (and the audience’s) about the sincerity of Even’s feelings. I think people forgot that the “I saw you the first day of school” moment at the end of the season was a surprise. I was in the fandom and I don’t think a lot of people thought Even had fallen for Isak that early. So Robbe now knows that Sander fell for him well before they even talked, doesn’t that remove some of the tension about Sander’s motives? I suppose it depends on how the story goes from here, but if it’s similar to OG, then I think it slightly lessens the ambiguity and tension.

Also, another reason why it would have been good to actually see the graffiti scene play out in episode 1… and to see what Robbe tagged on the wall … come on. COME ONNNN. Let’s see what got Sander’s attention! Did Robbe create something funny or clever or insightful? Wouldn’t that have been a great detail to show their connection? This is basic storytelling, hello?

I guess if I’m being fair, we don’t know exactly what Even saw in Isak that first day of school, either. But then again, we didn’t see the first day of school in a clip, while we definitely saw the graffiti scene. Just a missed opportunity, IMO.

They kiss and Sander gets a text from Britt. According to Sander, he told Britt about him and Robbe, but she doesn’t believe him, which is what I assumed of Sonja too, btw. At least, that’s what I thought at Emma’s party where she initiated the kiss with Even. Sander says Britt is so controlling. Robbe seems uncertain.

Sander says there’s probably another universe where Sander is still with Britt, but he’s glad to be in this universe. I do like this part.

Clip 11 - Milan schools Robbe on Pride

Robbe’s alarm goes off in the morning. He smiles a bit, though, presumably because he’s got Sander in his life. He gets a good morning text from Sander, which is cute and makes him smile more. Goes into the bathroom and Milan is there. Sander texts Robbe that he’s been thinking about him in all universes, Robbe is happy.

Milan is like, when can I meet your boyfriend??? Robbe says soon. Awww, this interaction is pretty sweet. Milan is like, welcome to the club! You know, “our” club meaning dudes who like dudes.

Robbe is like, just because I’m with Sander doesn’t mean I belong to some club, I’m not like you. Milan is like … and how am I? Robbe gives the usual Isak-ish response of dressing up and talking about BJs, Milan gets upset. Robbe says there’s nothing wrong with being gay but when people think of being gay, they think of that and it’s not fair to those who aren’t like that. Robbe’s not going to put on leather pants and dance at pride just because he likes Sander!

Milan gets very upset and goes into the Pride speech. I always appreciate this scene and I’m grateful that it’s one thing the remakes don’t really fuck with, since it’s so important (I think the remakes all recognize that it’s amazing, heh).

Senne wanting to use the bathroom is kind of a jarring thing, they should’ve just let the moment sink in.

Robbe takes a Good Hard Look at himself in the mirror which is on the nose but like, better than nothing. I think there was a mirror earlier in the season? I confess that I’m so hung up on the basic writing fumbles that I might be missing stuff that’s actually supposed to be symbolic.

Anyway, all things considered, I think they did fine with this clip. Robbe coming out to Milan earlier in the episode did help pave the way for this talk since they didn’t have the close relationship as Isak and Eskild. Like, any issues I might have with it are related to the bigger issues in the season, but on its own, I felt like it was decent, and the “welcome to the club” comment is something I can believe Milan would say and something that would make Robbe reply with a boneheaded comment.

Clip 12 - This fucking scene

Robbe and Sander flirt in a bar and get touchy-feely with each other. For some baffling choice, we start with some rap/hip-hop song and then it cuts to “Two Men In Love” by The Irrepressibles … like … you could just start the clip with that song instead of this weird non-transition?

They kiss and then move outside the bar and then kiss and cuddle some more (again … I ask, where did Robbe’s boldness with gay PDA come from ...) Robbe jumps on Sander for a piggyback ride. They kiss passionately in the street.

Ahahahahahahahahah HAHAHAHAHAHAHAHAHAHA HAHAHAHAHAA FUCK YOUUUUUUUUUUUUUUUUUUUUUUU

Some homophobes spot them and call them slurs. Robbe and Sander try to grab their bikes and quickly leave. The bigots manage to grab them and beat the shit out of them. It’s really brutal, like we get POV shots from the ground as the guys kick them. The guys call them f****ts once more before leaving Robbe and Sander crumpled on the ground in the fetal position. The wheels on the bike go round and round.

I mean … where do you even start.

OK, I’ll start here: worst decision made in a Skam S3 remake yet.

“Yeah, Skam season 3 was a masterpiece and all, but you know what I could have used more of? Violent gay-bashing,” said no one ever.

I don’t get triggered by media, not really, but boy am I glad I was spoiled for this. Because I do get fucking angry at media. And I’m angry now, but if I was watching this unspoiled? Man, I would’ve popped a couple of blood vessels. And I feel so, so sorry for people who watched this unprepared and were triggered. Because yeah, it is a remake and not 100% like the original, you can’t predict everything that will happen. But this isn’t something that you expect in S3, because you expect the writers to know enough to leave this shit out. This isn’t made with kind intentions for the audience, it’s made for shock value.

Consider that the WHOLE POINT of this very, very short clip is the hate crime, btw. It’s like two minutes long! They dropped a clip just for a cute kissing montage and then to interrupt it with a brutal beating! Something about that makes it even more repugnant than if it were like … a long involved scene about something else, and this happened. IDK, something about it feels even more tasteless, like this beating is their cinematic setpiece.

The first-person POV of the beating = not necessary. Like of ALL the fucking times in your season to actually give a shit about the importance of POV, lmao. This isn’t a video game. I’m not shooting zombies or getting jumped by bandits.

Remember when Skam faded to black on Noora’s blackout? And cut away from Even walking naked out of the hotel? Yeah, there are plot and POV reasons for those, but they were also ways to respect the audience and not include pointlessly triggering, exploitative material.

There’s just so much to say about this bad choice that I’m at a loss. Why did we need to go here? In particular, why did we need to go here knowing how the rest of the season plays out? Because for me, that’s what clinches this as a terrible decision. This isn’t a shitty scene with a satisfying follow-up. The resolution - or non-resolution, as it turns out - of this plot development is what exposes wtFOCK’s true character.

There is an AMAZING Evak vid set to Two Men In Love and I recommend you watch it to get the bad taste out of your mouth from this scene.

HOW I WOULD REWRITE THIS EPISODE:

Sigh.

This is just textbook bad writing for coming out stories, not to mention packed full of tired cliches.

Closeted gay guy is violently homophobic (Robbe calls his love interest homophobic slurs and accuses him of being a pervert) - I’m sorry but I am so tired of the “dating your bully” trope and this is what it fell into for me. Why should Sander take back Robbe after that? After Sander told Robbe he was afraid no one would ever love him?

Gay-bashing For The Drama, to make sure you know homophobia is bad, really bad.

Overemphasis on the heterosexual love interest (“love interest”) and how it’s hurtful to her, like I get that it’s a delicate topic with not demonizing her, but I always feel like there is SO much interest on straight characters in these stories! It’s not about them!

The hate crime has to go. Really. What is even the POINT of it in this particular story? As if there wasn’t enough angst in S3? Especially if you consider: they wasted a few episodes on repetitive nonsense. Their pacing is fucked up. And now you have to insert this monumentally offensive storyline and its fallout into a season already full of problems? Next.

Okay, I will offer ONE way to incorporate the hate crime, and that is simple: Make the rest of the season about the fallout. Similar to Noora’s season with her assault, dive deep into the trauma, spend a few episodes with Robbe and Sander recovering, telling their friends about it, going to the police about it. Cut back on other drama from S3. Don’t fuck around with Sander going back to Britt, unless you tie it in directly to him being afraid to date a guy after the hate crime. Don’t fuck around with Noor outing Robbe considering he has enough shit on his plate. If you want to bring her back, make her support him through the trauma. Honestly? Don’t fuck around with the hotel incident. Like I truly hate to lose Sander’s mental illness as a vital part of the season, but adding a full-blown manic episode on top of gay-bashing is way too much misery porn. I think you could probably show how the hate crime and resulting trauma affect Sander’s mental state without pushing it into full-blown wandering the streets naked while manic.

Do I particularly like this plot? I mean, no, not compared to the original, and I feel like this is better off as its own thing rather than a S3 adaptation. But at the very least, I can see the attempt to take the hate crime seriously. You cannot just throw in this type of scenario to shake things up and leave it at that. This show is specifically made for teenagers, to take their struggles seriously and to give them positive examples of how to handle problems. If you prioritize the violent act itself because it’s dramatic and shocking, rather than the recovery (because that’s like, boring and uninteresting, amirite), then you’ve shown your ass. You don’t understand the purpose or the appeal of Skam in the first place.

Jumping ahead, I think this is exactly where wtFOCK exposes its true intentions. wtFOCK does not care about helping vulnerable teenagers find solutions to tough problems. wtFOCK does not care about healing or educating. wtFOCK is about shaking the audience so hard that viewers get whiplash. If wtFOCK gave a shit about helping the audience, the rest of the season would focus on Robbe and Sander dealing with the assault, giving them options to report it, showing them ways to cope with the trauma. Things that might help audience members who unfortunately also found themselves victims of hate crimes or homophobic violence. Those are not present in the rest of the season. It’s just a fucking soap opera.

If you MUST have a homophobic incident to go with your dark ‘n’ edgy season, you can still limit it to some assholes yelling homophobic slurs without resorting to violence. That’s bad enough, and it did happen to Isak and Even later in the series. Even if you decide you MUST have a violent angle to this incident for whatever reason, I don’t fucking know why but OK, you don’t need to film it in this super exploitative manner where our heroes are getting viciously beaten on the ground. But there are so many ways to incorporate external homophobia without this shit.

Wouldn’t this dreadful scene make more sense at least if it had happened after the pool kiss? Like they go out a few days later, the hate crime happens, and then THAT’s why Robbe pushes away Sander and calls him names? Because now he’s afraid and he’s internalized what the bigots said? It’s tragic and gross, but at least there’s some character-driven logic in that sequence of events.

Another thing that really doesn’t work is that they’re straying so far from the original script, but at the same time they keep jamming in scenes from the original, except there isn’t the same buildup. Or any buildup, sometimes. This results in an incoherent mess of a season and of a POV character, where Robbe is part-Robbe, part-Isak.

I think all the remakes do this to a degree: there are certain beats they feel they must hit, and they hit them even though they’re off course. You need to commit either to doing a mostly faithful adaptation of the original, or to doing a remake with your own spin on the characters, but you need to be very, very careful not to just haplessly mix ‘n’ match the two. Does a scene from OG make sense within this remake universe? No? Then drop it, rewrite it, do what you need to do, just don’t carelessly recreate it if it doesn’t fit.

The way they’re writing Jens is bizarre because he seems to care enough about Robbe to ask him how he’s doing, but also not care enough to stick around and listen once the next shiny thing comes along. From the beginning they’ve set up the friendship tension with the boy squad as not just Robbe’s fault, but as a failure of his friends to pay attention as well. Like in the first episode Robbe is trying to talk to them and they just ditch him! They really need to make Jens more aware of how he himself has messed up with his friend, and not act like this is all Robbe’s doing.

We don’t need another Noor blue balls scene, thank you, bye. But if we keep this one, then we absolutely needed to see what exactly made Robbe stop in the act of sex with her, such as him flashing back to his kiss with Sander. Or even just letting us see him make the decision, because goddamn, what’s with wtFOCK not letting this young actor actually act out some of the meatiest material?

Overall, give Robbe more baby steps in his personal development, and not unbelievable leaps and changes in his behavior because the plot demands them.

I did try to think of a way to incorporate much of the same material from this week, including a hate crime, in a way that made more sense and was not ridiculously OTT or offensive. It’s hard because I really think you need to go back to the beginning of the season, but here’s what I came up with, borrowing some elements from the last episode as well.

Robbe wakes up the night after kissing Sander. He’s happy and glowing, he sees a cute text from Sander and smiles. Then he goes to the kitchen and Milan is there with a black eye or something, he’s talking to Zoë and Senne, maybe they’re tending to his injuries. Robbe asks what happened. Milan had a date last night and some homophobes started giving them a hard time, Milan wasn’t having it, punches were thrown. Milan is very shaken and upset. So is Robbe, who panics. Is this what he has to look forward to if he’s dating a gay? Will people harass him just for being out with his boyfriend? The implications of what it means to be a gay person in this world hit him really hard. He looks at Sander’s text again and ignores him and possibly blocks him. At some point we will establish that Robbe is also ignoring texts/calls from everyone else, too: Noor, Jens, his mom...

Sander shows up the next day outside Robbe’s place after Robbe has been ignoring him. He tries to talk to Robbe, but Robbe is freaked out and visibly nervous, his eyes darting around - he’s paranoid now about being seen with Sander, due to Milan’s incident. He’s worried about being a target for homophobic violence, understandably so. Sander doesn’t realize that Robbe’s frightened, however, and keeps talking and being nice. Robbe tries to play off the other night as just him being drunk, it was a mistake. When Sander physically gets too close to Robbe, Robbe yells that he’s not gay and runs inside, leaving Sander alone.

Robbe encounters Milan at home alone. Milan is still bruised from the homophobic incident. Milan is unusually subdued. Robbe says he’s sorry for what happened to Milan, it’s terrible. Robbe then sticks his foot in his mouth by saying something well-intentioned but hurtful and ignorant about how maybe Milan shouldn’t be so gay in public or w/e, since that will just attract homophobes, and that not all gay people act like Milan (meaning flamboyant, etc.) Milan gets really, really upset and snaps at Robbe about how gay people have been beaten and killed for just being who they are - basically a version of the Pride speech with a somewhat different context - and that it takes bravery and strength, Robbe doesn’t know what the fuck he’s talking about. So that ends on a bad note for them.

Now trying to get out of the house since he’s fought with Milan, Robbe meets up with Jens, or maybe Jens finds him at the park or whatever. Jens comments on how it’s been a while since they’ve talked. Robbe says he was just worried about what the guys would say since he blew up at them previously. Jens is like, dude, we’re your friends. You have to talk to the people who care about you, you can’t just ghost them and avoid facing your problems. Robbe takes this advice to heart. Jens tells Robbe that he’s ready to listen when Robbe wants to talk. Maybe Robbe sees something that reminds him of Sander, like graffiti on a building, and despite his fears, we can see that he really misses Sander, and that his feelings for Sander are stronger than his fears.

Next he meets up with Noor. She’s really upset that he’s been ignoring her. He apologizes and a version of the breakup scene goes down. When Robbe leaves, we see him walk away with a conflicted expression. Sorry that he’s hurt Noor, but understanding that this was the right call, and relief that he doesn’t have to pretend any more.

Robbe sees Milan again and apologizes for what he said last time. Milan accepts his apology. Robbe admits that he’s been confused lately because he likes a guy and he doesn’t know what that makes him. Milan says something like that’s great Robbe likes a guy and that Robbe doesn’t need to label himself right now, he should just follow his heart. Maybe that liking boys is scary (Milan points to his black eye) and sometimes you need to be careful, but at the end of the day, Milan has to be himself and live his life honestly, and so does Robbe. After Milan leaves, Robbe takes out his phone and texts Sander saying he wants to talk.

Sander meets Robbe somewhere and Robbe apologizes for ignoring him, says he freaked out because that was the first time he kissed a guy, but now he’s made up his mind that he wants to be with Sander. They kiss and make up, yayyyyy.

This is by no means a perfect solution (like the thought of then going into the shit with Britt next episode on top of this makes my head hurt), this is just an attempt to include stuff like homophobic violence, Robbe’s ghosting Sander, scenes with Jens and Noor, etc. in a way that makes a little more linear sense to me and doesn’t feel as haphazard, and isn’t super triggering or exploitative. I think if you have a hate crime happening to Robbe himself, that really needs to be the main focus from here on out, for at least a few episodes; if you have something off-screen happening to another character, you can address the topic of violent homophobia without having it dominate the season or featuring triggering scenes. And hopefully it would still have some emotional impact, because we see how it affects Milan, and some clear consequences for character development, because we see how it affects Robbe, as the situation he may find himself in one day.

If I missed anything, cultural notes, translation nuances, let me know!

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samsoleil · 3 years

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Why Demon Dean wasn’t a fulfilling darkside arc

Darkside arcs can be very compelling narratives! I very much enjoy a darkside arc in my media, and Supernatural generally does them very well. There are four key things that I particularly enjoy about darkside arcs, especially in Supernatural:

The character is “light” at other times, with strong morals and values that prioritise others above themselves.

The character has to (at least initially) fear going darkside and what will happen if they do, because of the above point, and actively tries to prevent it (this builds tension!).

There is an element of coercion, either through the darkside being uncontrollable or the narrative making it so that going darkside is the option with the most reward based on the character's morals.

The character is changed in a way that is incongruent with the way they previously believed, thought, or behaved, either during the arc or in response to it.

When I was watching seasons 9 and 10, I wasn’t as satisfied with Demon Dean as I’d hoped to be. The reason for this is because Dean’s darkside arc across seasons 9 and 10 fails to adequately meet all four of these points, which makes it an unfulfilling arc.

Dean’s darkside arc complies with the first two points. The first road block that it encounters is that Dean’s darkside arc has less inherent tension. The nature of the Mark leads us to view Dean going darkside as an inevitability, which takes away from the actions that the characters make to combat this. Compare Dean’s darkside arc to Sam’s: in Sam’s arc, the tension was created by the potential for him to go darkside, and was sustained by the ongoing question of “Is this what tips you over the edge?”

(Just want to take a moment to acknowledge that having a substance dependence does not make someone inherently dark. People struggling with substance dependence and drug addiction are just as worthy of love, care, and support as anyone else. While their substance use may be negatively impacting their life and relationships, they are not evil and their substance use is not their “darkside arc.”)

Sam’s darkside arc is multifaceted; demon blood, psychic powers, allying with Ruby, his status as an “abomination”, being Lucifer’s vessel. These all contribute to the fears of himself and those around him that he’ll turn evil, which is a direct contrast to his usual behaviour as a compassionate person who seeks to save people. The concern with Sam's darkside arc was whether Sam, who is someone who values the lives of others and wants to save people, would go “dark” to achieve that goal. It’s an ongoing question: what will be the thing that tips Sam over the edge into having that limitless power and what will hold him back when he does? Even Sam fears who he is and what he could become. He’d rather die than go dark.

Dean’s efforts to stop himself from going darkside are still compelling, but the arc lacks the narrative tension of Sam’s (much longer!) darkside arc. However, his arc definitely still complies with the third point, where he doesn’t want to go darkside, but felt that he had to take on the Mark and use it.

“It’s turning me into something that I don’t want to be.”

Of course, Sam’s darkside arc was never entirely followed through (in fact, it could be seen to have been averted as, despite being possessed by Lucifer and going "darkside", he still was able to do good). However, he still learnt from the experience and it shaped his future behaviour. It made him more compassionate towards people others consider inherently evil and reinforced his view that “It’s not what you are, it’s what you do.”

This brings me to the true flaw in Dean’s darkside arc. Dean’s darkside arc fails to meet the fourth point: Dean is not sufficiently changed either by or in response to his arc for it to be a truly compelling darkside arc.

Dean's changes in his darkside arc are that he gets a bit madder and kills more people (also he has sex a lot but that's okay we're not slut shaming here!). Sounds kinda darkside, right? Except all of those things are things that he has done before. They are established parts of his character. His "darkside" arc is actually just "what if he was a little bit worse". That's not really a fulfilling darkside arc because it's congruent with all of the things that he's been doing.

So, how did we get here? Why does this align with Dean’s trajectory and why does this make the arc unfulfilling?

Firstly, Dean's anger has been rewarded by the narrative. Namely because he never faces any consequences for it; he's allowed to yell, be physically violent, and seek revenge without repercussions, which reinforces these behaviours. Dean has gotten gradually more and more angry as the series has gone on, and he is able to freely express this anger without any narrative outcry, even when he does things that we, the audience, perceive as wrong.

Next change is in how he treats others, and Dean just doesn't have the value for other people that allows his behaviour during his "darkside" arc to satisfyingly contrast with his normal behaviour! Dean is already very keen on killing people, even people who don't deserve it. Yes, I am still mad about Amy Pond. The only point where it actually could be argued that his behaviour is “out of character” is how he treats Sam, but we have already seen that Dean is sometimes very cruel to Sam! So that's not really anything new for us.

The last point is that Dean likes sex, that's okay, wish he were less misogynistic but wcyd. This is the only part of the arc that actually gets a satisfying resolution, in that Dean’s perspective on relationships is changed.

Overall, this arc is dissatisfying because there is no true motivation to undo the changes, which are progressions of his pre-arc character. The lack of juxtaposition to who he was before also takes away from the prior fear that he has about the mark and his darkside arc. Despite all the awful things that Dean does under the influence as a mark, he doesn’t acknowledge how they changed him or change his future behaviour in response to them. A key example of this is how he treats Jack the same way he treated Sam and every other person he killed because he believed them to be monsters. His darkside arc is all but ignored by the narrative, and prevents Dean from having the reflection and character development that he needs.

The lack of a satisfying resolution is both a major problem with the arc and the best way to fix it.

At the end of it, Dean is horrified by what he's done.

That's it. That's the solution. That's what it's missing, the genuine reflection, the realisation that actually that isn't who Dean wants to be and that it scares him.

We see that early seasons Dean is sometimes horrified by his own ruthlessness. His behaviour during the darkside arc - his own behaviour, but a little bit worse - could be the catalyst for him to have a realisation about his current trajectory as a person. His uncontrollable and often violent anger, killing without remorse, mistreatment of his brother, and use of sexual intimacy to avoid emotional connections are exaggerated traits from his pre-arc character. The way to make the arc fulfilling is to have Dean return to himself and realise that the person he has become is not the person that he wants to be and start making genuine steps to change that.

Dean’s darkside arc turned him into something that he didn’t want to be. His response to that needed to be making change to become someone he wants to be.

#dean winchester #sam winchester #supernatural #sam and dean #demon dean #darkside arc #spn meta #spn #kael.txt

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freespiritcreations · 3 years

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Irréversible Analysis

Hello, everyone! Lately, I have been watching a lot of movies portraying psychological violence. For the past few weeks, I’ve watched several different movies regarding such genres. Personally, out of all of them, there was one that really stood out to me. This movie is known as Irréversible (2002), which was directed by Gaspar Noé.

Before I go on, let me just warn those who haven't or wish to see the movie. I will be analyzing this film in grave detail. Proceed reading this blog in caution.

Firstly, let me explain the premise of the movie, as well as the director's intent on the film. Irréversible follows a man named Marcus and his friend Pierre seeking revenge, after Alex was raped and beaten into a coma. Vincent Cassel plays Marcus who is the boyfriend of Alex, who is played by Monica Bellucci. Le Tenia is Alex’s rapist and is played by Jo Prestia. Albert Dupontel plays Pierre, who is not only Marcus’s friend, but also Alex’s ex boyfriend.

A unique aspect about this movie is that it is told in a reversed chronicle order. Therefore, all of the events leading up to Marcus and Pierre killing Le Tenia are told backwards. The movie initially starts off with Pierre brutally killing Le Tenia, and it ends with Marcus and Alex getting ready for the party. When pitching the story of Irréversible, Noé intended for the story to be told in reverse. This idea came from capitalizing off of Christorpher Nolan’s film Memento due to its popularity.

Irréversible sparked huge controversy because of it’s violent nature. A lot of movie critics felt that this movie was incredibly grotesque and extremely homophobic. The majority of the film contained scenes that emotionally and physically emphasized the effects of being a victim of rape. For instance, during the 10 minute long rape sequence, the entire scene displayed an violently detailed sexual assaults' within one single shot (42m:56s - 54m:01s).

During which, Le Tenia violently rapes Alex and beats her into a coma. This entire sequence shows exactly everything happening from start to finish. Personally, as a woman, it did make me feel quite uncomfortable watching Alex go through such trauma. This scene captures the brutal reality of being a rape victim, and the camera captures every moment of Alex’s distress. Therefore, watching her go through this did make me feel quite squeamish. It felt as if I could feel Alex’s pain within that very moment. Especially, considering that events such as this actually happen to women in real life.

A scene that I found to be quite captivating yet visually appealing was the fire extinguisher scene (22m:17s - 24m:04s). During this scene, Marcus finds Le Tenia and begins to fight him. However, Le Tenia gets the upper hand and attempts to rape Marcus. Suddenly, Pierre beats Le Tenia with a fire extinguisher to death by crushing his skull with it multiple times.

Most critics find this scene to be incredibly overrated because of how gruesome the scene is. As well as that, many feel like this scene creates a negative impression on the LGBTQ community. This is because this scene takes place in a homosexual bar, and most of the patrons appeared to be incredibly pervasive and overly sexualized. The setting also has an ominous undertone because of the color, lighting, and types of individuals present. Also, Marcus and Pierre would often refer to the patrons as ‘faggots’ which is an offensive term to the LGBTQ community. Furthermore, because this scene is within the first act of the film, it may implicate that Le Tenia was a victim of a hate crime. Until, it is learned that Le Tenia is exactly a sex addict and a violent rapist. This type of narrative may have made some audiences feel like it was painting a bad picture on homosexual males.

On the other hand, I don’t feel that wasn’t the intention when developing Le Tenia’s character arc. When first watching it, my initial thought was who was Le Tenia, and why were those men looking for him. Then, I began to observe Marcus’s behavior and studied his movements and language. I could tell that he was incredibly emotionally disturber and was probably not sober. Marcus also had an irrational thought process and was quick when making rash decisions. However, once Le Tenia is found, I began to realize that he must have done something for Marcus to be incredibly provoked. After watching it, it made me want to learn more about why this happened in order to understand the men’s actions. Despite it being incredibly violent, I do feel that this sequence does capture the attention of an audience because of how aggressively obscure it is.

Another sequence that stood out to me was the party scene (54m:03s - 1h:06m:27s). Although this scene is not very notable nor is it violent, it does highlight the three characters Marcus, Pierre and Alex. During this scene, we get to know more about the characters personalities, before they went through such traumatic yet disturbing events.

Honestly, considering how appalled Marcus was about Alex’s attack, it was a shame to see him flirting with other women behind Alex’s back. With that in mind, I do want to acknowledge the fact that he was in fact drinking that night. Which could imply to why he was acting disorderly throughout the film. This could also explain his flirtatious behavior towards the other women. As far as Pierre, his role in the movie was quite undetermined for a while. Throughout most of the movie, he was more level headed and in control of the situation. He didn’t seem as distraught as Murcus; however, this particular scene does further emphasize the reason for him killing Le Tenia. Once we learn that Pierre was Alex’s ex boyfriend, he begins to show how much he really cares about her and loves her as the story continues. Pierre is devastated that Alex is with Marcus; especially, because he knows that Marcus isn’t good for her. Once I realized more of his feelings towards Alex, it reveals the deeper emotional trigger beneath Marcus killing Le Tenia.

Despite all of the violence presented in this movie, I do feel that it was a stunning representation of how deep connections can prone someone into harming others. The storyline overall was incredibly suspenseful and full of anticipating excitement. Honestly, I don’t feel that this movie’s purpose was to make a negative stereotype out of the LGBTQ community. Instead, I feel that this movie highlights how rape can affect not only an individual, but also the people around that individual. It also reflects on how one man’s decisions can cause their actions to come right back at them. Overall, I feel that this movie deserves a five-star rating.

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guinevere-beck-fanboy · 4 years

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Once Upon A Time Rant

Ok so I’m going to just have a rant about the ABC show that is Once Upon A Time. It had the potiential to be great but it falls very short.. In this post I will explain my issues with this show.

1. Captain Hook aka Killian Jones as a character

Just…. this guy in general. I find him just really unlikeable… I feel like he’s such a bland character and outside of the protagonist Emma Swan there isn’t much to him. In the first two seasons he was much bigger as a character but after awhile I feel like it was just all about Emma for him. And as for their actual relationship itself I just find it so… nauseating. I can’t put my finger on why but I really hated their dynamic.

In season 7 they have a new version of Hook (”Nook” they call him meaning “New Hook”) and ngl he was a bit more tolerable.. But still I had issues with the character. To give credit where it is due though he had a plotline with his daughter Alice that was much more watchable than Captain Swan (the relationship between him and Emma) and actually had other plotlines as well.

2. The toxicity of Killian and Captain Swan

So my next issue is also about Killian. I just really find him to be a really problematic character in addition to a badly written one.

Killian has murdered as far as we know 4 people, attempted to murder 2 people and raped seemingly more than one woman (Emma convinces Killian she is trying to have sex with him by flirting to which Killian comments “if I didn’t know any better I’d say you were trying to get me drunk, which is usually my tactic”, getting someone drunk so you can have sex with them is rape). He’s a sketchy pirate and at one point does severe psychological damage to Belle (who is based on the character of the same name in Beauty and the Beast) by erasing her lifetime of memories. And he homewrecks a marriage and runs away with the wife, thus taking her away from her son. Just overall really scummy.

Now this by itself doesn’t make him a problematic character in my opinion. It makes him a bad guy, but a character being a bad person isn’t automatically a problematic character. Especially considering at the time Killian commits these acts he is portrayed as a villain so naturally all these acts are condemned by the narrative.

Here’s where it gets a bit off though…. They give him a redemption arc. That by itself isn’t the problem nececarily, but the way in which his redemption arc is written I just find to be very weak.

Killian as Captain Hook spends a lot of time in Neverland. In Neverland as we all know one doesn’t age. So because of that Killian is actually hundreds of years old and yet still looks like a young man. Killian’s redemption arc comes during his time being hundreds of years old…. So here’s the thing. If it takes someone a couple of centuries to no longer be a murderous, raping pirate… I mean… Is that really saying much? Most people only get the first about 80 - 100 years of their life and then thats it. Within those years Killian was murdering, raping and pirating people. If Killian’s life needs to be extended way past the natural limit for him to grow up and become a better person then that means had he lived a natural life like the rest of us than he wouldn’t have changed. He would have been the same old bastard till the end. Again if his life had to be that long for him to change, I don’t really think much credit is due.

Even as a redeemed villain Killian still manages to be a problematic character. He falls in love with Emma Swan and they go out with one another. In the sixth season an obstacle in their relationship appears: it turns out the one who murdered Emma’s father’s father was Killian. So Emma’s father, Prince Charming as a child lost his father and grew up fatherless because of Killian. Not only does Emma not get angry about this like at all (she gets angry that he tried to keep it a secret from her but not that he actually did it) but Charming is expected to just forgive him and get it over with. Later on Emma, Hook, Charming and Emma’s mother Snow White are looking for a place to hold Emma and Hook’s upcoming wedding (marrying the person who ruined your father’s childhood… I mean is it just me or is this kind of messed up?) Charming disses every venue much to Snow’s annoyance. She takes Charming aside and asks him what the hell is going on. Charming claims he doesn’t like that they are “rushing into this” and Snow just responds “is this about Hook? if so that ship has sailed, deal with it”… What? He’s not allowed to be mad that his daughter is marrying the guy that MURDERED HIS FATHER?! What the hell is this?!

So Emma and Hook get married live alongside Snow and Charming all happily ever after. This. Is. Insane.

3. Rumplestilstkin

This character much like Killian is extremely toxic. He murders his ex wife in cold blood, sends her to be eternally tormented in the “River of Lost Souls” and enables an entire town to nearly be destroyed and all citizens in it to die. There’s so much more to that list but we’ll stop there for now.

Like Killian Rumple has a redemption arc, AFTER HUNDREDS OF YEARS OF BEING ALIVE. If Rumple had just lived a naturally long life he’d have died as someone who had little to no remorse for these things. If he needs his life to be heavily extended to change into a better man, did he really change into a better man?

4. Rumbelle

Rumplestilstkin takes the role of the Beast from Beauty and the Beast in Once Upon A Time. So naturally Belle is his love interest and he hers. And oh boy, their dynamic is like the nightmare version of Beauty and the Beast.

How do they meet? Rumple kidnaps Belle and makes her his slave. Yup.

She kisses him so he aggressively grabs her, shakes her and throws her in a cell. He then releases her from captivity to avoid being in a relationship with her.

Despite all this, they get together and their relationship (dubbed “Rumbelle” by fans) is portrayed as something positive... Like Rumple and Belle are supposed to be together.

In the second season Rumple tries to prevent Belle from reuniting with her father after years of seperation (not to mention they were seperated in the first place because of Rumple but whatever) by taking down missing posters she put up of him. Belle never finds out about this and Rumple keeps it secret.

Oh in the fourth season Rumple has everyone in the show’s memories erased and placed into a false alternate dimension with new false memories and identities. Including Belle, who at the time had found love with another character named Will Scarlett. He makes Belle in love with him again in this new dimension. This is just... Really unsettling to me, I don’t like it.

5. Swan Queen

Ok this isn’t so much about the show but rather a fanon ship called Swan Queen. A ship between Emma Swan and Regina Mills a major villain in the first three seasons who redeems herself in the fourth. This is one of the most popular ships in the fanbase and I just don’t like it.

Regina seperated Emma from her parents when she was a baby, and she grew up an orphan in foster care living a miserable childhood. She tries to murder her mother multiple times and actually tries to kill Emma herself at one point... All this just makes me really against the idea of this relationship...

6. Captain Swan and Neal

Ok again this one is more about the Once Upon A Time fanbase. There is a character in the show named Baelfire, who changes his name to Neal Cassidy. Neal ends up being a love interest to Emma and admitedly he lets her go to jail for a crime he committed in the end... However he was convinced by August Booth, another character that unless he did so Storybrooke, the town once upon a time is set in, would remain under a horrific curse that kept them all misrable and living with fake identities would never be broken. So I kinda get why he did that. Captain Swan shippers always try to shame Neal for that and act like Killian is the better man for Emma because of it, which I don’t like.

What gets me annoyed more though is that the Captain Swan shippers and Killian fans are always accusing Neal of statutory raping Emma to prop up Killian as the better person.

This annoys me just because of the hypocrisy. Killian literally says he gets women drunk to have sex with them, and yet shame Neal for apparently being a rapist? Neal may have statutory raped Emma idk I’ve not heard the reasons people suggest he is, and if he is then yeah fuck Neal, but still Killian fans can’t really complain on that part.

#anti once upon a time #anti ouat #anti killian #anti killian jones #anti hook #anti captain swan #anti cs #anti rumple #anti rumbelle #anti swan queen

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yeoldontknow · 4 years

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so I watched brief encounter last night because I was curious... I don’t understand what the main character meant by her committing the violence of falling inlove. I don’t think I understand how being in love could be violent- is it because she’s married?

hi anon! ahhhh! im so happy you decided to watch it! and then came to discuss with me pls do you know how delighted that makes me ;^; if youre not used to classic cinema, or even classic melodrama, i can see how the film would be a bit slow or a bit difficult to connect with. so i really appreciate you taking the time to watch and come up with questions for things. when i say this made my day i mean it lmaooo

the quote i believe youre pulling from is this:

I’ve fallen in love. I didn’t think such violent things could happen to ordinary people.

there are several layers to this statement - emotional, moral, political, societal, etc. im happy to break these down contextually so you can have a better understanding of why this statement is painful and, also, why love is an extremely violent experience. going under a cut because...i have this entire masters degree in film and im not using it so im gonna use it here lmao

at its most basic, yes, you are correct. she says love is a violent experience because she is already married. to love, really love, is an act of violence, especially when you are already promised and making a family to another person. there is an element of ruination here that plagues laura, love as a threat to the stability of the home and family. and we can see this when her son is playing in the street and gets into an accident - a completely innocuous event, but one she sees as an omen of her violence against her own family. karma, but at a level that would start a war among her family and community.

in most filmic universes, romantic comedies especially, we are used to the relatively easy expectations that come from learning to love someone - you meet, you flirt, you are both, ideally, free to experience these types of intense emotions, you come together, you separate (due to...any sort of obstacle), you come back together. in this traditional narrative, we are presented with the notion that falling in love happens in a linear fashion and that, once the two characters have ended their arc and achieved their happy ending, there is not much else that occurs. they lived happily ever after, ever after being an indeterminate amount of time in which we are meant to assume they exist within this state, ceaselessly.

in general, there are two types of love stories - tragedies and comedies. where romantic comedies (in the modern sense, and i am stressing modern sense) end with ‘happily ever after,’ the other alternative for lovers is death. you either overcome your initial obstacle, or you perish, in love, where love becomes a death. so where does that leave brief encounter? neither party have been put to death, but the death is of the will, the passion. and, in brief encounter, it is killed by morality. by choice. i will be coming back to this. because passion is an extremely important element of this film, and it carries the narrative from start to finish.

at its core, brief encounter is a melodrama. melodrama has its own sect of film theory, but in this case ill do my best to keep it simple. and its really important to recognize that this film is british - british melodrama are two extremely different experiences and come from two completely different places of expression.

american melodrama, the most broad sense, was a stylistic set of films, usually from the 40s-50s (even some released in the early 60s) which use a lot of the tropes of classic cinematic narrative story telling - but as irony, parody, or pastiche. great examples of these films would be rebel without a cause, mildred pierce, from here to eternity, imitation of life, etc. in all of these films, and again i am paraphrasing because there is so much relating to melodrama as its own theory and practice, there is an onus on emotional expression and sensationalism. the narrative is driven by passionate action, emotional action, and, almost always, the swell of music weve come to recognize in hollywood cinema. music swells with character emotion, thus assisting in informing the audience in how to feel, and so we are ok regardless if these characters are successful in their plight, because we have felt.

british melodrama operates from an entirely different perspective. yes, like their historical theatrical roots, they favor spectacle and avoid realism. and, again, there is a reliance on the music to lead the narrative. however, the focus shifts from the societal body to the familial body; body concrete rather than body politic. culturally, this is a significant change from the usual reserved emotional experience within britain. and that is where brief encounter becomes something extremely important.

brief encounter was released in 1945, in a post-war period when there were significant changes to womens daily and societal lives, and this film really hones in on the causative anxieties that are born from these sudden changes and, yes, sudden notions of emotional liberation from their families - a new found independence. with the context of this film coming off the tails of WWII, in a post-war society in which there is meant to be peace, laura calls the act of falling in love violent which, for an audience member at the time of release, would have immediately associated that element of violence with war time violence. love is a threat. its dangerous. love at this level is repulsive. love is an insurrection - love is a revolution. and it came to her without her permission. she is bereft. she is on the brink of collapse - and ordinary women, the traditional family house wife, is never meant to feel so eager to ruin her family for a sensation that is, inherently, selfish.

so this brings us back to passion. something that comes up quite a lot in brief encounter, most explicitly at the cinema when alec and laura see a trailer for a film called flames of passion (this is a real film btw! and you might be able to watch it - it too is a melodrama. theres also a queer reading within brief encounter, because of the inclusion of flames of passion, but thats for another day). this brings us to the moral question of love as violence. for this, we can turn to hume and his 4 thesis on moral philosophy, the morals that drive humanity. primarily we will look at the following points:

1. reason alone is not enough to motivate the will, but rather is a slave to passion 3. moral distinction is derived from moral sentiment: feelings of approval (praise) and disapproval (shame, blame) through our inter-relations with others, or through the perceptions of others as they perceive us

for hume, the passions are simply emotions, but they are broken down as direct or indirect. desire is a direct emotion and it arises, without thought, from a place of good or evil, pain or pleasure - and it is only after these feelings have arisen that we are able to consider the feeling. by that same token, bodily or carnal appetites, our carnal desires, is another instinct that arises from unknown origin and only is able to be thoughtfully experienced after we have been confronted with it. and that is the most important piece - desire and carnal desire is an instinct. for hume, love, on the other hand, does not directly cause action - because love is not an instinct. love is learned.

in brief encounter, laura is admitting that not only does she thoughtfully love alec - love in a way that would not necessarily cause action, but brings her unparalleled pleasure in comparison to a man who simply helps, but she desires him. desires him enough to take action, to release the shackles of her political body and engage in her carnal body, with an appetite that is almost reductive in theory, aligning her with something base. this pleasure inherently causes her pain, yet still, she craves it - without morality.

and through her perception of those around her - her friends, her acquaintances, her own husband - she distinguishes this moral experience as shameful. but, in that shame, she still does not surrender her carnal body. her apetite is awakened, unable for her to be returned to its normal, thoughtful state. at war, now, with herself and her desires, laura is conflicted and ruined, simply because she learned to love and to desire, a violence an ordinary housewife should never experience.

#the cutest anons!#this was literally so much longer than it really needed to be #but i hope you understand now why that quote is literally so painful #why its one of the most quoted lines in film history #there are still so many layers to this #i didnt even talk about concerto no 2 and the agitation of the score #the violent swell and laura enacts violence against her heart #and her heart enacts violence against her mind #youre right anonie that its violent because shes already married #but the context of the film and the moral propriety of post-war england #makes that line an earthquake :(#Anonymous

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kokkuri3 · 4 years

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Why does Alice character deteriorate through the story? She seems to get progressively dumber as the story continues, which is a shame.

So my immediate response to this is “Jun Mochizuki’s internalized misogyny” and then I thought about it a bit more and my answer is actually still “Jun Mochizuki’s internalized misogyny” but with a bit more nuance than that.

Alice... has a pretty strong character, actually. Generally what makes characters weak is their lack of nuance or role in the plot, but Alice as a character actually has a ton of nuance and is one of the most plot important characters in the series, such that her actions are a direct cataclysm for a ton of major events.

Just the other day I was thinking about the scene where Oz first realizes he is a Chain-- while the scene is from Oz’s perspective, and thus the emotional narration is his own, that scene is also absolutely devastating if you consider it from Alice’s perspective. It’s unclear how much Alice understood about the nature of Oz’s existence (at least at the time of the memory) and how much was simply a child treating a toy like a person because that’s what children do, but that doesn’t change the fact that Oz was... an object, incapable of acting on his own. Alice definitely knew this, at least on some level (she never claims that Oz isn’t a toy, even after Jack “kills” him)... so the fact that she feels the need to ask Oz to protect her, to comfort her when she’s sad, that there is no one else she could possibly turn to for this was enough to make me feel weird for a good while after I realized the scene’s full implications.

There’s way more I could write about Alice’s character, because there is genuinely a lot to her (that Alice’s Most Important Person, in terms of the narrative device central to PH’s themes, be the Intention of Abyss instead of Oz as is commonly assumed is one thing I’ve brought up). Her dialogue is just... overwhelmingly stupid.

The deterioration in quality wrt her dialogue is something I blame on Jun Mochizuki’s internalized misogyny, as I said, but I realized that might sound a bit weird given how PH does actually have a ton of strong female characters. I’ve written a ton about Lacie/Noise/Echo’s respective arcs and narrative roles before, and they’re not the only female characters in PH to have strong writing. The thing is mostly that... Jun Mochizuki has (or had, because this problem is WAY less present in VnC, good on her) a very tough time writing female characters outside of the context of abuse. All of the female characters I just mentioned were abused their entire lives, with Noise and Echo only finding catharsis immediately before their deaths and Lacie not finding catharsis until over a century after her execution (though she definitely found catharsis, and I am staunch on this, and that’s a whole other post).

The thing about Alice is that, while she was certainly mistreated quite a bit as a child, for most of the plot she... is not actively subjected to abuse. She has her conflict with Gil, definitely, but he certainly wasn’t an abuser, she probably didn’t realize the conflict was anything more than petty for him, and the two reconcile pretty easily after Gil takes it upon himself to apologize. Other than that, the only character she stands in major direct conflict with for most of the story is Intention of Abyss, who only has a few appearances overall, and with whom she pretty quickly resolves her conflict once she comes to understand her true feelings for her. There is no pervasive negative force acting against Alice for most of her arc, and because of that, Jun Mochizuki had trouble keeping her characterization strong.

“Strong characterization only in the face of horrific, ongoing outside adversity” is something I assign specifically to female characters mostly because... well, most of the male characters don’t have the same kind of horrific ongoing outside adversity the female characters do, at least to the same degree. Gil is the most obvious example, especially in the sense that he’s a character Jun Mochizuki clearly personally favors because his actual role in the plot is... minimal. Most of his purpose in the plot is fulfilled by the time he’s a small child, and his role in the plot otherwise is mostly... be Oz’s friend, which obviously isn’t something only he could do. The only thing I can think of that is genuinely exclusive to him is that he is Raven’s contractor, and even then, there’s no real reason why he couldn’t have, say, died immediately after escaping Abyss, in which case Nightray still would’ve been without a Chain for the past 100 years.

Gil, for the most part, doesn’t have a character working in direct conflict to him. The closest is Noise, who... actually ends up not saying much about him, even though she canonically disliked him personally. You could argue that Vincent serves this role, but Vincent makes a deliberate effort to stay out of Gil’s way for most of the plot, and while they definitely had a major incongruence in ideals, to say Vincent was working against Gil gravely oversimplifies their relationship, to say the very least. As I said before, his actual plot relevance is pretty minimal. Yet Gil still has incredibly strong characterization-- he’s my favorite male character, for all the shit I give him!-- because Jun Mochizuki is capable of more than convincingly sustaining his arc off of his internal conflict alone. Despite not doing much and having comparatively little external conflict, Gil still comes off as a very strong, nuanced character, because we’re given the chance to see his internal conflict throughout the story.

I don’t know why Jun Mochizuki chose not to give Alice this same internal conflict. Part of me suspects it was at least a little bit because she didn’t want PH to get too down in tone-- keep in mind, at the start of the story, Alice had several angsty perspective bits while Gil was mostly comic relief, before their narrative roles switched. But I don’t think that excuses Jun Mochizuki letting one of her central protagonists have such comparatively weak writing, given that we know she’s an incredibly nuanced and talented character writer. It seems more than anything her reluctance to write female characters who aren’t being actively victimized being what caused Alice to have such frankly stupid dialogue, which really is a shame, because I like Alice, and I do think she has nuance.

#pandora hearts #PH SPOILERS #. SPOILERS FOR PANDORA HEARTS #LIKE. END DETAILS AND SHIT #answers #aniblogging #long post #ph #mochijun #animanga #OP I am you #Basically I do like Alice I think there is a lot to her writing it's just her dialogue is fucking stupid #And Jun Mochizuki's hangups about womanhood is why #Anonymous

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grigori77 · 4 years

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The Works of Ridley Scott - My Top Ten

So I decided I’d drop another series of big post lumps of spam on you guys by rocking my favourite directors’ works by rating my personal favourites of each, and I figured what better place to start than my absolute number one, so here we go - these are my very favourite films of my absolute cinematic IDOL, the master of British auteur filmmakers. Enjoy ...

10. EXODUS: GODS & KINGS

It takes a really ballsy filmmaker to try and make a big budget live action Ten Commandments movie after Cecil B. DeMille’s monstrous Technicolour epic, but guts is something Scott’s never been lacking in, and the result is one of his most striking offerings of recent years, a meaty revisionist take on the Book of Exodus that jettisons most of the mysticism to concentrate on the gritty human struggle at its heart. It’s the story of two warring brothers and the lengths each is willing to go to in order to achieve their opposing ends, and while Scott typically delivers BIG TIME on the spectacle and immersive world-building, where he really shines is as an actor’s director, here rightly focusing on the deeply complex relationship between Christian Bale’s Moses and Joel Edgerton’s Pharaoh Ramesses II. The end result is a lesser known but no less worthy swords-and-sandals epic than his signature entry to the genre.

9. PROMETHEUS

Like many fans of the Xenomorph saga he helped create, I was excited but also understandably wary of his return to the franchise with a proposed “prequel”, and to be honest as an Alien movie this actually is a bit of a mess, trying a little too hard to apply that connective tissue and ultimately failing more than it succeeds (indeed, as a franchise entry, direct sequel Alien: Covenant is a far more successful effort). Personally, I’ve always preferred to simply consider it as a film in its own right, and as a standalone sci-fi horror thriller this is a CRACKING film, insidious, atmospheric, moody and magnificent in equal measure, Scott weaving a sense of dangerous mystery and palpable dread throughout that grips from enigmatic start to devastating finish. Noomi Rapace is an excellent Ripley-substitute, but the true breakaway star of the film is Michael Fassbender as twisted android sociopath David, just as chilling as the horrors he unleashes on his unsuspecting crewmates.

8. THELMA & LOUISE

To be brutally honest, Ridley’s output in the 1990s was largely unimpressive (White Squall left me cold, while 1492: Conquest of Paradise was technically brilliant but discouragingly slow and disjointed, and I think we can all agree cinema would be better off if GI Jane had never happened), but at least he got the decade off to a strong start with this beautiful, lyrical, heartfelt and undeniably powerful tale of unerring friendship triumphing against fearful odds. It may have been directed by a man, but it was written by a woman (Callie Khouri, creator of TV’s Nashville, who rightly won a Best Original Screenplay Oscar for her astounding work) and is unapologetically told from a woman’s point of view, which is finally becoming an accepted thing in blockbuster filmmaking, but back then it was still a new concept, and you have to applaud Scott for being one of its pioneers. It may be most well known these days for giving Brad Pitt his big break, but the film’s focus is VERY MUCH on Geena Davis and Susan Sarandon as the titular friends, forced to go on the run after an innocent night out goes horribly wrong. After becoming one of THE hot ticket date movies of the 90s, it’s still fondly remembered for its heartfelt message, gentle humour and powerful climax.

7. BLACK RAIN

Probably the closest Ridley ever came to capturing his brother Tony Scott’s more popcorn-friendly brand of super-slick, glossy blockbuster fare was this Japan-set fish-out-of-water cop flick, but he couldn’t help adding a real weight and substance to the final product, and the result is one of my very favourite thrillers of the 80s. Michael Douglas was riding high after his Academy Award win for Wall Street, but his performance as hot-headed maverick NYPD detective Nick Conklin has always been my personal favourite, and he shares strong chemistry with a young Andy Garcia as his wise-cracking partner Charlie Vincent, but the film’s understated secret weapon is heavyweight Japanese character actor Ken Takakura as Masahiro, the stoic, by-the-book Osaka police inspector they’re forced to team up with in order to capture rogue Yakuza underboss Sato (a deliciously feral turn from the Yūsaku Matsuda in his very last screen role before his death just months after the film’s release) and bust an international counterfeiting ring. This is definitely Scott’s glossiest film, but there’s hidden depth behind the neon-drenched visuals, the expertly staged set-pieces perfectly countered by a robust story, precision-crafted character work and bucket-loads of emotional heft (especially surrounding the film’s high point, one of the most devastating character deaths in cinematic history). It may not be held in the high regard of many of his more “sophisticated” films, but in my opinion it’s just as worthy of recognition, and I’ll defend it to the death.

6. THE MARTIAN

Scott’s last truly GREAT film (to date, anyway) is also one of his most effortlessly likeable, a breathless, breezy and thoroughly FUN adaptation of the bestselling debut novel of space-exploration geek Andy Weir. Matt Damon must have been born to play Mark Watney, an astronaut in the third manned mission to Mars who is accidentally left for dead on the surface when the crew are forced to evacuate by a catastrophic dust storm; alone and with no means of escape, Watney must use all his scientific smarts to survive long enough for NASA’s desperate rescue mission to reach him. He’s a thoroughly endearing everyman hero we can’t help rooting for, self-deprecating and oozing sass all day long, and in his company the film’s two-and-a-half hours simply RACE by, while one of Scott’s strongest ever supporting casts (which includes Jessica Chastain, Chiwetel Ejiofor, Sean Bean and a glorious scene-stealing cameo from Donald Glover) once again proves that he really is one of the very best actor’s directors around. Thoroughly ingenious, visually stunning and frequently laugh-out-loud hilarious, this is definitely Scott’s most endearing film to date, about as perfect a popcorn flick as you’re gonna find outside the MCU …

5. KINGDOM OF HEAVEN (Director’s Cut)

Certainly the most maligned film in his oeuvre, this has perhaps the most troubled production history of ALL his works, famously mauled in post as 20th Century Fox rushed to get the still unfinished feature ready enough for its summer 2005 release, the clunky theatrical cut understandably met with mixed reviews and somewhat underperforming at the box office. Thank the gods, then, for Scott’s unerring perfectionism – he couldn’t rest with that lacklustre legacy, so he knuckled down and produced what is, in my opinion, the very best of all his director’s cuts, reinstating an unprecedented FIFTY MINUTES of missing material which doesn’t just flesh out character arcs but frequently creates an entirely new, far richer and MUCH more rewarding overall narrative, and the final feature was met with thoroughly well-deserved critical acclaim. Not only is this one of my favourite Ridley Scott films, it’s one of my very favourite historical epics PERIOD, a magnificently rich, sprawling saga of blood, sex, honour and courtly intrigue as we follow blacksmith-turned-knight Balian (Orlando Bloom in one of his very best roles) on his quest for redemption in the Holy Land at the height of the Third Crusade. This is still one of the director’s most expensive films, and EVERY PENNY is right there on the screen, each scene designed to perfection and dripping in astounding period detail, while the sweeping cinematography is some of the very best in his entire catalogue, and the battle sequences so expansively vast they even put Gladiator’s opening to shame. So, far from being his greatest folly, this was ultimately one of Scott’s greatest triumphs, and I can’t recommend it enough.

4. BLACK HAWK DOWN

In my opinion, this is the absolute PEAK of Scott’s cinematic achievements to date as an action director – almost two-and-a-half hours of relentless blood, bullets, smoke and terror that’s as exhilarating as it is exhausting, as emotionally uplifting as it is harrowing, quite simply the DEFINITIVE portrayal of the bonds of brotherhood forged by men under fire. The film tells the story of the Battle of Mogadishu in 1993, 24 blood-soaked hours in which US military forces were trapped behind enemy lines and besieged on all sides by hostile Somali forces after a botched raid saw two Black Hawk helicopters shot down, precipitating a snowballing military catastrophe and a bitter fight for survival. Certainly the film takes many liberties with the historical accuracy (then again that’s pretty much Hollywood’s standard approach regarding true story war movies), but there’s no denying it perfectly captures the desperate chaos the soldiers must have faced on the day, throwing the viewer headfirst into a dusty, noisy hell and refusing to let him out again. The action sequences are some of the finest I have EVER seen committed to film, but the film has just as much heart as guts, tugging our heartstrings and jerking plenty of tears because we really come to care about these boys and what happens to them. Intense, rousing, explosive, provocative – definitely the action highlight of Scott’s oeuvre.

3. ALIEN

It may have some decidedly humble beginnings, but the opening chapter in the other jewel in 20th Century Fox’s sci-fi franchise crown is now considered to be THE greatest science fiction horror film of all time, and rightly so – it’s a textbook example of a flawlessly-executed high-concept “haunted house in space” flick, a master-class in slow-building atmospherics, sustained tension and some truly hair-raising shocks that are as fresh and effective today as they were back in 1979. Not bad for something that started out as a pulpy B-picture script from Dan O’Bannon (co-writer and star of John Carpenter’s cult feature debut and one-time student film Dark Star). The cast is stellar (ahem), dominated OF COURSE by then pretty much unknown young upstart Sigourney Weaver in what REMAINS the greatest role of her decidedly impressive career, but the true star of the film is the creature itself, the late H.R. Giger’s twisted, primal design teased with consummate skill to maximise the stealthy effectiveness of what has become the definitive extraterrestrial nightmare fuel of sci-fi cinema. Ultimately I’m more of an Aliens fan myself, but I don’t deny that this is a MASTERPIECE of the genre, and I f£$%ing LOVE IT.

2. GLADIATOR

It may have been usurped by Kingdom of Heaven as Scott’s most ambitious film, but his first dabble in swords-and-sandals cinema remains the best of his historical epics, and at the time proved to be a MASSIVE shot in the arm for what had long become a flagging, largely forgotten genre, spawning a veritable LEGION of bandwagon-jumping followers. Needless to say, NOBODY does this better than Scott, who brought the opulent excess of ancient Rome and its vast empire to vivid life in all its bloodthirsty, duplicitous detail, from the back-stabbing intrigues of the Senate to the life-and-death drama of the Coliseum. The script is rich and heady stuff (penned as it is by former playwright John Logan), exquisitely performed by a premium-cut cast (particularly impressive was the late Oliver Reed in his very last screen role) and bolstered by some of the most impressive battle scenes ever committed to film, but the true driving force of the film is the ferocious antagonism between the hero and villain, Russell Crowe and Joaquin Phoenix both making the transition from rising-stars to genuine A-listers with major box office clout thanks to their truly electrifying performances. After his relative creative slump in the 90s, Scott’s first offering of the new Millennium proved the start of a major renaissance in his work, and thankfully it’s shown no sign of flagging since …

1. BLADE RUNNER

Not only is this my favourite film by my favourite director, but also what, if I was REALLY PRESSED, I would have to call my very favourite movie EVER. I’m gonna be waxing most lyrical about this in great detail when I drop my big-screen sci-fi Top Ten on here, so I don’t want to talk about it TOO MUCH here … suffice to say this has been a dominant fixture in my favourites since my early adolescence, when I first stumbled across it on TV one Saturday night, and even though it was the theatrical cut with its clunky voice-over and that ridiculous tacked-on happy ending, I was instantly captured by its searing visionary brilliance and dark, brutally nihilistic power, so when Scott finally released his first Director’s Cut I was already DEEPLY in love with this film. Sure, being a Star Wars fan, Harrison Ford will ALWAYS be Han Solo for me (along with Indiana Jones, of course), but my personal favourite role of his career is Rick Deckard, the sleazy, downtrodden and world-weary android-hunting gumshoe stumbling through his most deadly case in the mean streets of rain-lashed cyberpunk megalopolis Los Angeles circa 2019, while Rutger Hauer effortlessly steals the film as his mercurial nemesis, live-fast-die-young Nexus 6 Roy Batty. This is still THE MOST BEAUTIFUL FILM I HAVE EVER SEEN, the visual effects work still standing up perfectly today, the exquisite design work and peerless atmospheric cinematography rightly going on to inform and influence an entire genre of science-fiction both on the big screen and off, and I cannot recommend it enough to anyone who hasn’t already seen it. Deliciously dark, fiendishly intelligent and heart-rending in its stubborn refusal to deliver easy answers or present us with a cathartic HAPPY ending (no matter what the theatrical cut might want you to think), this really is as good as cinema gets.

There you have it, my top movies from the man I personally consider to be the greatest filmmaker around tody, and here’s hoping we’re gonna see a lot more from him yet ... Sir Ridley Scott, knight of the f£$%ing realm ...

#Ridley Scott #sir ridley scott #exodus gods & kings #prometheus #thelma & louise #black rain #the martian #kingdom of heaven #kingdom of heaven director's cut #black hawk down #Alien #gladiator #Blade Runner #greatest director of all time

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raikoren · 4 years

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some onions bout the bnha manga since im reading it in jp nao

the more i read of bnha the more i realise. i kind of fucking hate this series. it’s got all the ingredients of the classic old big 3. brilliant art, a cool character here or there (sometimes), bursts of muddled clunky progression but a cool fight to soothe the pacing and the mostly frustrating boring uninteresting pussy story choices! the sloppy sort of toothless writing only shounen jump editors can give me. it really truly reminds me of how i felt reading bleach .. but it hasnt got the same charm to make me forgive it. the artist is really really talented though absolutely adore some layouts especially when handguy is included and we get some cool reaching illustrations. he and his team are commendable for making such polished work week in week out and its genuinely so fun to read from an art perspective and i really like the fact he leans very heavily into a much looser style that makes everything stretch in a satisfying way as if its designed for animation despite being so complex in its illustration.

its one of those series that is painfully mediocre shounen and you can immediately tell that by the fact that even in this hammy nonserious plot, somehow, the female characters still get completely fucking shafted as excpected. they literally do almost fuck all and the big three characters that get the most development and are considered in-universe ‘main characters’ all happen to be male despite the entire main cast supposedly being the absolute best of the best at the best of this top superhero school.

yaomomo is probably one of the most egregious examples. a character whos top of the class, who got in on recommendations (just like the other deuteragonist) with only three other students making the cut and her big character conflict was that she for some reason, felt inferior to todoroki shouto, whose initial character arc revolves around the fact that ‘he’s not trying his best’. it’s notable that todoroki is never considered to be some freak of nature genius in the same way other characters, he’s impressive but there are stronger. but for some reason, his superiority over yaomomo is pivotal to her character. she doubts her own decision making skills compared to his due to losing so badly at the sports festival against fumikage.

now lets see here: this fucking emotionally constipated idiot who is noted in writing to not using his full potential since he has no motivation to actually win, handicapping his own abilities for most of the time due to crippling personal issues, who ALSO completely jobbed at the festival and gave up at the last match against bakugou and suffered a humiliating defeat because he lacks shame and conviction and who ALSO got in on recommendations? todoroki is an interesting character in his own right, hes strong but his flaws are glaringly evident and interesting. but for some reason he gets elevated to this position of being yaomomo’s ‘wall’.

hes not a team player, yes hes notably perceptive but to position the realtionship between momo and him like this it feels like such a pointless angle to work in cause its so antithetical to yaomomos whole characterisation and contradicts her entire background for .. what? shes got such a strong natural-leader type personality or she is attempting to have one despite the author somehow forgetting. yes she’s nervous and panics sometimes, but i think her entire character arc is intended for her to overcome this as the main crux. there is no doubt that yaomomo is strong. she is excellent as a leader, works extremely well in a team, has a level head and every single time we see her the author always brings it back round to the fact she is an excellent strategist and everyone looks to her to make a tactical decision. almost like her entire character revolves around leadership and self-confidence.

but compared to how shes portrayed against a ‘tactician’ like midoriya for example you would literally never guess that about her unless they didnt spoonfeed it to you that yes, this character is supposed to be smart sorry we keep making her look inept despite her entire character skill and ability being completely and utterly centred around this main concept teehee.

even compared to yoarashi (who i love), who also got in on recommendations, she doesnt get the same level of merit in the fiction. shes never truly made out to be a big deal in the same way the others are which not only fucking blows but makes the story more and more of a grating power up treadmill like a classic shounen jump manga without any of the charm or love. interesting characters like yaomomo who have clear visions are easily pushed aside and their traits sidelined to put more emphasis on other characters.

plus when she does get to make a big decision the narrrative acts like ‘oh was it even the right choice?! did we even make it worse!???’ which would be an interesting introspection for the headstrong characters who jump straight into shit, a reprieve from the individual bullshittery they can pull off without consequence but even though we set this character up specifically to make the right tactical decision in a pinch were not even gonna give her that satisfaction of being a HERO in this situation in this hammy feel-good plot cause thats reserved for the cool main character. its truly fucking unbearable. in the next few panels the main big trio of strong characters are making thoughtless decisions left right and centre with no hesitation or comment from the narrative with no internal struggle but here we are .. at what should be the culmination of a character arc that just .. falls fucking flat. for one of the bigger characters in the supporting cast of the series.... man the writing is just so poor.

you could say that trying to set up some linear character development where ‘girl is strong > gets confidence shaken > confidence comes back’ struggle contrasting against her ojou-sama calm and secretly playful demeanour is meant to be interesting and give her depth but honestly its just played straight in the most truly boring way but its ok! todoroki said keep your chin up queen and shes fine now. hes gonna go save aizawa-sensei with no input, no plan and be a hero because being hero is just about being the main character! everyone else can fuck off. she really needed that validation since she most likely will not have her own achievements, being recognised by this moron is her progression as a character despite her own character arc being infinitely more interesting and nuanced.

i do not expect a lot from a shounen manga sir, i came in with middling expectations and to look at some cool art whilst i awkwardly practice my japanese and yet. here we fucking are. i keep reading this hoping we get some comeuppance or some result but man. i feel like bnha is actually one of the series i wont bother keeping up with at all. the practice was really good! dont get me wrong its a great light read but im honestly surprised at how skewed the actual story is compared to fanworks. i just wanted some easy jp practice but i became weirdly invested in this probably cause i have a huge bias with cool character designs and the anime production was so ambitious.

o yea and one other thing. with tsu, ochako and nejire being introduced as going on the hassaikai raid but then completely sidelined at the first boss, essentially being relegated to being the mob charas that fits the thematic needs of that one random villain character it was sooo fucking lame. it really felt like the midboss had more thematic weight than these three girls first big fight. they were truly only there to fit the ‘lust’ theme they couldve been replaced by anyone else with tits.

in that arc too, midoriya definitely stepped on my toes the most since he took up moments that i thought would be more meaningful and appropriate with the other dot-eye dude that fell compleltey flat with him, got to use possibly the coolest fucking villain as a beatstick meter to show idk he had even more of a god mode i guess sometimes thanks to taking eri into battle instead of ykno relying on the other UA students and also giving them time to shine rather than interspersing flashbacks and shit before every meaningful fight to show ‘hey look how much this character has grown’ in the most cop out sort of storytelling. jirou i think at least gets some life written into her with meeting her parents and the ua school festival arc showing her talents and passion but shes barely utilised too and hagakure is a literal noncharacter her gag is barely even included half the time. mina gets some characterisation but even then its in the form of through another male character, kirishima, and in both instances its like the two are fighting for the spotlight of relavance which is a shame cause theyre both cooooooooooooool aaaaaaaa. every single girl character just feels like an ‘add-on’ or an afterthought, even moreso than the already forgotten secondary cast of which the most interesting dynamics and characters libe (denki and fumikage are cool!).

plus one gripe is that literally 5 separate girl characters have the same “oho they have to take their clothes off for their quirk to work ohooohgoho! so nautghty guess it cant be helped” and that just makes me like. you fucking suck at this bro just be horny with your whole chest making them have a flimsy embarassed half-excuse to be horny is lame. if you wanna make horny characters just fucking do it! enough of this stupid preamble you have to shoehorn in to every character every fucking time. just make it slutty and move on. there’s no need to be so annoyingly coy about it. also UA is the best most prestigious hero course and the girls who are going to become the top pro heroes go to their internship and its a fkn beauty commercial and its like. if they were at least building towards some commentary that female pro heroes are treated less seriously than their male counterparts like with mt.ladys flirting and her immediate paparazzi who takes pics of her ass, or to show that to become popular it means some level of corporate gameplaying and fanservice, it could be something but theres literally zero effort to comment or build on it at all its literally just presented as is and played straight. this is what it means to be a girl hero. that’s all. no comment.

i feel like miruko was a half-hearted attempt to remedy the lack of girl heroes that are actually strong and not bg props but its like it just feels like its been written as they go along with no overarching theme, nothing being built on or anything to say and it just feels so unsatisfying to read. characters that are introduced regularly get used at beatsticks to show how strong they are and get obliterated soon after to serve to show how cool and totally serious this new villain is ykno??? its so fucking tired a really classically shit kind of pointless circling narrative, like nothing truly has any weight to it and everything is meaningless before one for alls almighty relevance and power and whatever the plot needs has suddenly always existed lol dont worry bout it bro it was totally always there heres a star wars reference!

imo outside of the mangas art, the best thing about bnha is the anime adaptation with the exception of season4. the concept of having a long running shounen but giving it ample time, and a higher ambition in terms of production value and having a just absolutely fucking solid staff really make the first three seasons of bnha anime. naturally the voice acting and sound is anime standard gold but the production cant be understated it pulls so much of the slack. the direction and pacing of the first three seasons is honestly really well done, it feels like stuff builds up with ample time and we get much more focus on the background characters even in simple ways like introducing new group shots etc that give them much needed characterisation. one of my fave episodes is s3e3 which gives us a feeling of actual life and interaction as the kids train hard and get to spend an evening together having a bbq and its honestly full of just like group shots, framing in a way that really truly makes it a believable group of good kids trying their best at summer camp and gives almost everyone some much needed screentime.

one thing i noted as well is that the anime really likes to drive home important emotional points for certain characters through some great character acting - like yaoyorozus pivotal fight with fumikage is barely a passing glance in the manga whereas the anime really captures her desperation and panic as she tries her absolute best to react to the situation, not giving up even as shes overpowered only to realise in horror shes already lost. theres so much more weight and time given to this match and tbh its annoying that something that is meant to be so pivotal is barely glossed over in the manga since its so important to her future character motivations. it feels like when these moments and the strength of the supporting characters is lacking, the main story beats become more and more blatantly repetitive. some of the best parts of the arc are the bakugo rescue plan but were always served a fresh bland helping of izuku midoriya being the main character over utilising the strengths of other characters in this pivotal situation. it’s not like theres any fear of giving other characters ‘origin’ chapters and handing over the reigns away from midoriya it just for some reason, the author chooses not to really bother fleshing out characters who dont have immediate plot relavance or not the main three which makes the whole cast weaker.

imo even the anime is suffering from the source materials holes and its own slightly shoddy choices in direction with season 4 for some reason deciding to faithfully adapt the awful pacing of the overhaul arc and faithfully make it as dry as possible and devoting a solid 6 episodes to the frankly lame school festival arc despite it clearly suffering for time in the first half. it also includes my new least favourite trope of cutting the sound design completely to a slow vocal track along with the most eye wateringly boring fight pacing it was literally like. sir i want to skip this. you are going to make me watch this stupid fight with the dude whos character motivations got explained to me three seconds ago? with a new power up for green boy? with no sound design so theres even less weight to this whole fucking fight? and youre not even going to let me listen to you say run? how fucking dare you do this to me. the anime adaptation cannot stand on its own two legs with the source material alone. it needs strong direction to patch up the holes or stellar animation to distract me since without either its truly a weak weak show.

i know i already talked about it but really wish overhaul and his whole arc was handled better since i felt like it had promise. the wild shift in tone as i was reading was actually pretty surprising and the whole premise reminds me of how fucking nutty and exciting the yorknew city arc in hxh was for that series. the possibility of building how the actual underworld functions, which is tantalisingly never truly talked about in a world of cartoony heroes and villains was interesting and i was ready to see what organised crime with fucking superpowers could bring to the table plus all the new characters really looked damn cool. but overhaul himself, despite his fucking amazing intro and his title of no.2 in the underworld after all for one was in like 12 chapters and the arc literally served to introduce a plot device then fuck off with all its characters immediately having no impact at all and not even utilising the introduced concepts of the yakuza, organised crime and drugs in the age of quirks in any fuckin way. the majority of development came from fucking flashbacks literally seconds before a fight and they were scarce with anything interesting. like SIR WHAT A WASTE I HAD FINALLY FOUND MY GRIMMJOW AGAINST THESE UNSEXY LoV LOSERS WITH NO CHARISMA AND YET everyone keeps telling me that it was just a weak arc and the others are better. but having read them i think its just emblematic of the sort of writing style which prioritises having cool ‘moments’ for its beloved main character over a a cool interesting solid story that produces amazing moments and has the insane shounen payoff that you expect.

my closing thoughts are that its at least a solid manga to read whilst eating breakfast a solid 3/10 and probably higher if you like little broccoli boy and for some reason want him to win. which i dont. he has a terminal case of unlikable bland shounen mc syndrome and the worst thing is that he didnt used to be like that, he grew into it. his whole character is such a waste to me, turning him into the chosen special one with the greatest quirk is the most boring path possible for someone who had such a strong desire and conviction to be a hero. that we see building themselves up out of their own merit for most of the series and then suddenly giving him the power of more quirks fucking sucks. having such a ridiculous power and such a devastating payoff kept his fights interesting and i think the fight where eri allowed him to use it at full power with no drawbacks was such a fucking let down. there were better ways for him to grow other than idk more quirks cause hes special. and truly outside of attaining more power to become no.1 he has very little conflict in his character after someone else goes out of the way to instill confidence in him its also very annoying that repeatedly were shown how hard everyone works to get into ua, to become the heroes they want to be but its always dwarfed in comparison to izuku and the whole fucking scene with allmight at the end of the kamino incident being specifically for izuku, instead of a rallying cry that you are next, every one of you must struggle to become the hero that you want to be - to bear the weight of the symbol of peace is not for one persons shoulders alone like its a shame cause the series spends so much time hammering home how these kids are the best of the best, the ones who really truly want it but theyre not really treated with the same regard at all and their struggles and improvement are nowhere near on the monumental level of midoriya.

i feel like the narrative has all the makings of something interesting, but somehow fucking hilariously misses its own point. truly ripping apart the idea of becoming the greatest hero, the ‘symbol of peace’, that becoming a pillar isnt any way for a human to live and glorifying one persons sacrifice for all our sakes isnt right and that the true insiduous evil of hero society is that it makes us truly believe that people are painted in black and white rather than many shades of grey and forces people to take on things they shouldnt, allows certain powerful individuals to enforce their own wills on the world and robs everyday people, the powerless and weak of any agency of how their society works. it acts like heroism is an inherent trait only afforded by the strong and that being anything less than the ultimate hero is a failure even if it means doing awful tings, like throwing away your children giving them mental scars, leaving behind whole families in the name of heroism falling in the line of duty being seen as some great honour, leaving kids to wander the streets since doing necessary but painful things are for better equipped people, right? wash your hands of it and let a hero deal with it. honestly i just want to see a weak supporting characters heroism. that was the charm of early bnha. ive had enough of this blind thoughtless heroism thats presented as the correct one, for the chosen few. i want to see the struggle for it, insatiable longing that you cant help pushing you on, but most of all i want to see the hero you can be in ways that are meaningful but yours alone and taking back the world inch by inch from the common villainy of our society with one person at a time, reaching out to your hand no matter how scarred. to look your dreams in the face and turn your back on them. tearing down the sun, shattering it into a million pieces, but the small shards shine brighter and can be held in mortal hands. but nah izuku is going to be all might super cop 2 dont worry bout it guys. dw he’ll also choose some poor fucking kid to bear this burden after he becomes useless in battle and we can discard him as a person and simply keep him as an icon since the narrative keeps allowing the villains to have valid criticisms against society but always dismiss them since theyre villains you know and youre not meant to actually think about changing society despite your position of power, just enjoy being no.1 whilst your alive and rinse and repeat pog.

i think thats why i can easily see why bakugo and todoroki are so popular through the series as they do take a long time to get through their extremely shitty issues and they are genuinely shitty little teen psychopaths who are horrible fucking bastards. but they grow up and in really tangible gratifying ways. they seem to have as many setbacks as they do wins, constantly fucked over by their own hubris but still finding a way to power through despite it all trying to awkwardly form connections and become better people as well as better heroes and they can not do so on their own. their struggles are treated with gravity and they always acquire some kind of new strength in return but at a pace that doesnt put them miles ahead of their other classmates but definitely feels weighted and substantial to their development. todoroki gritting his teeth but slowly realising that he has a fucking ridiculous opportunity in his hands with endeavours agency and even inviting his friends is monumental in its own way, endeavour texting his son and his son texting back is like. it really does feel like something. its also interesting that as broccoli boy gets stronger he gets subsequently less and less likeable imo like ... sir you are NO shirou emiya. you do not have the range or the sheer trauma to be so dogged and blind in your ideals despite the world you occupy and everyone else around you. i was sold shirou emiya superhero manga with sexy juwabe sunichi teacher and only one of those thigns is true!!!

#damn you ren #yea i just finished now and my head is busting open with thoughts #probably an awful word vomit of opinions but like. i just finished reading it and im like sir why do i do this #i have this awful illness its called being a shounen manga fan

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bat-lings · 5 years

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Opinion on Jason Todd/Bruce Wayne relationship as a father-son?

ALRIGHT the human rambling disaster that I am struck again

Jump to the conclusion if it’s too long!

It’s just really hard discussing anything about Jason without acknowledging the sheer mess that DC’s whims made of him. To take that inconsistency into account let’s consider his relationship with Bruce from three angles:

Before Jason’s death / during his Robin days as portrayed before Starlin;

Before Jason’s death / during his Robin days as portrayed since Starlin and up until Jason’s resurrection, through mentions & flashbacks;

Post-resurrection.

Sadly enough the first era is the only one that bothers to portray a father-son dynamic with enough content to have a real opinion on, but I’ll take what I have. And what we have then is pretty great.

Jason’s Robin days

We’re in the 80’s, and Jason & Bruce’s relationship is the most ridiculously pure thing to have graced our poor souls. It’s soft and good.

They have great interactions, a real proximity, and overall bring a lot into each other’s life. Alfred and Bruce are happy to have another kid at home, and Jason is as much in need of guidance & of a family as any other kid. Jason doubts himself a lot and Bruce does his best to reassure him. He’s also is a teasing little shit and that’s great.

[Batman #377 || Detective Comics #579]

[Detective Comics (1937) #573]

JASON YOU’RE TOO CUTE. Also the tired dad feel is strong in that one lmao. Jay, lad, my son, my life,, what have you done to the newspaper,,,,

Ahem right, less gushing more commenting.

As you can see, Jason and Bruce’s relationship before his death/resurrection is pretty peachy. The slice of life sequences strengthen their father-son bond into the reader’s mind. We’re shown they’re father and son rather than just told so.

At some point Bruce’s custody of Jason is temporarily threatened, and that arc is a vivid telling of how strong their bond is.

[Detective Comics #542 || Batman (1940) #377]

Just. That whole speech. “Only Jason is real.” Definitely one of my favorite papa-bat moments.

And as Robin? Jason is clever, often brings valuable insight during cases, and respects Bruce’s teaching and authority. Bruce makes a good job at addressing Jason’s insecurities and guiding him, both through his training and by honing his moral compass.

(Note that I said honing, ‘cause Jay’s moral sense is very much present well before he meets Bruce. He was cool with stealing to survive but Ma Gunn’s school was too much for him.)

He’s initially nothing like the violent angry kid he’s now known as. Pre-Starlin, the only times Jason acts brashly is when confronted with his father’s killer. When Bruce addresses the matter, it’s not about blaming or judging him. ‘Cause he gets it, but it’s also his job to make sure Jason’s not compromised.

[Detective Comics #580 & 581]

And when Jason promises to keep himself in check, it’s all it takes for Bruce to take him back on the case. That’s how much he trusts him. Read the end of the issue and see how Jason proves himself worthy of that trust.

Not only does Jason understand Bruce as much as Bruce understands him, but he’s very perceptive in general. He tends to be straightforward with what’s on his mind… at least when it comes to calling out Bruce lol

[Detective Comics #579]

(They’re talking about Leslie on the last one btw. She was Bruce’s surrogate mom after his parents’ death and they have a great dynamic. Another pearl straight outta the 80′s!)

They get each other, they trust each other, they respect each other. Honestly Bruce’s relationship with Jason was the most healthy he’s had with any of his kids.

We can kiss all of that goodbye after Starlin has his way with Jason. And since Starlin’s “““characterization””” is the one that crossed the years, of all things, we can consider Jason’s initial portrayal pretty much retconed— and his relationship with Bruce with it. Shame, huh?

Of Flashbacks and Victim-Blaming Robin days, 2.0

From the 90’s to the reboot there is… few material about Jason’s relationship with Bruce. Or about Jason outside of his death/Robin.

Whether Jason is mentioned or appears in a flashback, the goal isn’t to recall a father-son relationship. It’s to drive through the point that Jason was reckless and violent. That new portrayal has its predictable impact on their relationship, and that’s pretty much all there is to say.

[Gotham Knights #43]

Obviously Bruce doesn’t trust Jason, since Jason is now a “reckless angry kid who likes to inflict pain on criminals”. Beatty delivers cool stories, but if you read that arc you’ll see that he lies it very thick when it comes to victim-blaming Jason.

Depending which writer/comic book you’re reading, it’s implied or affirmed that Jason is Bruce’s son. You’ll probably have a line about Bruce’s unending guilt, or Jason’s (*sigh*) recklessness. Mostly Jason’s a cautionary tale addressed to either Tim (who never gave much of a shit about Jason btw) or Cass (Batgirl #7 is a rare instance where it’s done without victim-blaming because Pucket is da bomb).

But there’s legit no material about Jason’s childhood in the Manor, or how him and Bruce acted around one another, what they talked about, Jason’s personality aside of “angry”, how Bruce addressed his son’s self-doubts – oh right modern!Jason is an arrogant brat who claimed the Robin mantle for himself so that’s out.

DC rolled with Starlin’s portrayal, and didn’t bother to construct anything else between Jay & Bruce to replace the parts they chose to erase.

[Batman (1940) #645]

The point is: Jason and Bruce’s father-son relationship before Jason’s death is barely spoken of. We don’t know shit about how Jason was as a kid. Bruce loved him but didn’t trust him since his “mean streak” made him sooo dangerous and unmanageable. That’s it. Jason is the bad Robin first, the dead Robin second, and Bruce’s son last.

Resurrection and onward

Jason and Bruce’s relationship post-resurrection is complicated, for obvious reasons, and has interesting potential. My main problem with it is that it’s seldom addressed after Jason makes his dramatic return in UtH & the arc is closed.

For all that I have a love-hate relationship with Winick’s writing, and for all that I don’t like everything he’s done with Jason, his narrative is mostly coherent (and a good read overall!).

Winick doesn’t talk outward about Jason and Bruce’s bond before Jason’s death, but enough is implied. Jason’s damaged psyche centers around Bruce and what wrongs Jason considers to have suffered from him. He reorganizes his entire identity and actions around Bruce.

It’s not only consistent with Jason’s mental health at this stage, it’s telling of Bruce’s importance for him. The same way Bruce must have been his world after he took him out of the streets, Bruce is still very much his world when Jason is on a vengeance frenzy.

Killing Bruce, taking revenge against Bruce, making a point to Bruce; everything is about Bruce. It’s the whole “the opposite of love is apathy not hate” thing. DC could’ve expanded on that and made it evolve into whatever, but they just, y’know. didn’t.

[Batman (1940) #650]

I like Under the Hood and Lost Days well enough except for the Jason/Talia ugh. Problem is, DC obviously had no idea what to do with Jason after that, so his relationship with Bruce stays at a status quo.

Post-resurrection Jason isn’t so much estranged family than an antagonist who makes some cool appearances here and there— when they’re not so terribly written that they make me cringe.

There are some other interesting things here and there, giving depth to Jason’s estrangement from Bruce & the batfam…

[Green Arrow (2001) #72]

… but those elements are few and far between, and fail to establish a solid construction/development of any kind between Jason and Bruce. UtH!Jason put on some interesting bases but afterwards? Jason as a character is stagnating, and so is his relationship with any member of the batfam.

And then there’s the n52 & Rebirth I guess. It obviously wants to deliver a father-son narrative, but doesn’t do great job at it. Again, aside from a few cute scenes, the “he’s my son but he does baaaad things” eternal dilemma, and Jason’s newfound proximity with the batfam coming out of nowhere (especially with Tim wtf), I didn’t find much content to have a solid opinion on.

(Salty) conclusion

My opinion of Jason & Bruce’s father-son relationship is that it’s hella cute pre-Starlin and that Winick’s version of it makes sense within his Under the Hood & Lost Days narrative (I personally cut out “bad seed Jason” and keep most of the rest).

I think we lost a lot of potential when Starlin’s work became the reference. I think the Red Hood and his baggage with the whole fam could’ve been richer and more interesting if Jason’s initial characterization was kept in mind.

Yes, Jason and Bruce’s initial relationship could’ve used some more tension/conflict in between the sweet moments but… as far as I’m concerned Starlin’s writing wasn’t the way to go.

I think the only way to build a coherent interpretation of Jason & his relationship with the fam is to make a patchwork of canon elements and to fill in the blanks yourself. Thus what I have on Jason & Bruce that takes the Red Hood into account isn’t so much an “opinion” on canon material than a personal construction.

I’m sorry Anon, I bet that’s not what you expected when you sent that ask, but it’s all I have to give :’) Hope the answer is still okay & thanks for the ask!

#jason todd #bruce wayne #batfamily #batdad #batfam #red hood #batman #robin #dc comics #meta #dick grayson #barbara gordon #zae chatters #asks #my stuff

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b0x · 4 years

Text

i hate that post that's like “we would've gotten a better trilogy if they'd just let rian johnson write all three films than playing hot potato with jj” like i get the point it's trying to make but you're forgetting that rj was fighting tooth and nail for the tlj r*ylo narrative since day 1 so you do realise we would've just gotten the same trilogy as we got now.......

further Thoughts on the trilogy as a whole and a few troc spoilers under the cut

also you KNOW that even if jj COULD have had a hand in saving it... there’s no saving a screenplay written by the guy who did the justice league films

No Comment. No Thoughts. Head Empty. everything post tfa was doomed from the start

have you SEEN the screenwriters for tfa? THAT’S why that one was so good, THAT’S why tfa succeeded as an excellent reboot of a long-dormant franchise. kasdan and arndt and jj should've been on for ALL THREE, and if they couldn’t, then a hiatus was the way to fucking go. rian never should have Touched it, never should have even Looked in its direction.

tfa had the essence of sw BECAUSE the essence of sw wrote it! tlj and tros isn’t sw!!!!

they rly just tried to make Anakin..... 2! with kylo... but somehow... even Worse. you can’t make an anakin story Without showing kylo’s motives and morals - oh, except, you Did show his motives and morals, and they were in no way redeeming whatsoever! anakin had a whole ARC of complexity that allows for endless discussion on morality and justifiability that led him to earn his redemption. all kylo had was a blood tie to han and leia, which!!!! if anything!!!!!! made his motives and morals WORSE, knowing that he had the most IDEAL most loving and perfect upbringing and he still chose the dark side. that makes any love received from han or leia or luka or even fucking rey completely insignificant because we ALREADY KNOW what it means to him. all of this shit was so worthless!!!!!!!! fuck!

and i have a lot to say about rian johnson because i Cannot for the life of me believe the guy behind BRICK (2005) was taken on for tlj, WHILE TFA WASN’T EVEN FINISHED YET. i really didn’t think this had to be said but that is just NOT how you make a Trilogy. that is how you make Three Separate Films and guess what! that is exactly what we got! and it honestly saddens me to think that the guy behind the beautiful 6 minute music video ‘oh baby’ by lcd sound system, inspired by some of his greatest work in looper (and even brick!), would then take the absolute worst of his worst and apply that to a star wars franchise that desperately needed his best. and there’s something hilarious about that too, that you have this huge sandbox FULL of belief-suspending ridiculousness and STILL somehow make it fail? make it atrocious? that takes skill. it’s like that one post that was like “you have to ACTUALLY put EFFORT into making something this bad” like it’s no longer silly mistakes or lacklustre energy, this was ACTIVE sabotage.

the fact rian Had the Understanding of the core concepts of star wars right in his hands, but somehow completely missed the entire point of them? if you look at the films he screened to his story group during the development of tlj... this handful of culturally and historically significant war films that just seem like he screened for aesthetic and reference purposes only instead of actually exploring and analysing the importance and criticism of the exonerating war propaganda and racist source materials and using these films to inspire the actual groundwork of some of the root themes of current climates and today’s culture in a sw universe... i bet big bucks on the fact that twelve o clock high was only screened to inspire the air battle on crait (red salt planet) and because of ‘VIII Bomber Command’ because ha ha hee hee tlj is episode VIII and hoo hoo hoo *you’ve been gnomed.mp4*

the general rule is this: when reading ANY report on tlj and tros and something like “the characters came first” is mentioned, just exit out the window, it’s already a botched article/thinkpiece.

i’m also thinking a lot about how arndt translated his first draft for tfa into a script for eight months and said he needed 18 more, which disney and jj said no to, so he left, and IMMEDIATELY after jj kept saying how relieved he was that the release date was delayed and gave him more time that he also needed. like.. you had your lesson then and there. did they learn from it? *disney forcing rian to write tlj at the same time as tfa was still being made* No!

i am ALSO thinking about how they had considered fincher, brad bird, jon favreau, del toro, even getting development suggestions by spielberg.......... and rian johnson is who they called up for tlj.... my head is... empty.

just give the fucking thing to taika waititi he understands the nuances of the socio-political climates of sw’s narratives built around a guise of a fun sci-fi fantasy adventure-drama. he understands. that’s literally the very definition of his style of writing and directing. Makes You Think Why The Mandalorian Is A Hit.... they already gave him 2 mandalorian episodes just give him the whole franchise i cant take it anymore.

AND NOW THEY’RE GIVING RIAN JOHNSON A WHOLE NEW TRILOGY? RIAN? RIAN JOHNSON? THEY’RE GIVING HIM A WHOLE NEW TRILOGY AFTER WHAT HAPPENED... HERE. SURE.. OKAY . ALRIGHT. IT’S HONESTLY MIND-BLOWING. THE THOUGHT PROCESS THAT GOES INTO CONSECUTIVE DECISIONS SUCH AS THIS. like i would LOVE to see footage of the board meeting for this. no sarcasm i am GENUINELY curious to hear what was said to greenlight this. i have GOT to know what post tros board meetings about this will be like.

anyway! op of that post! i will be thinking about you when the new rj trilogy drops!

what’s worse about this whole trilogy is that.. they Had it. they had it in the bag with tfa. they HAD the original idea they HAD the power to make a sw trilogy set to current climates JUST LIKE THE PREVIOUS TRILOGIES DID, cos that’s what sw is all about! what it was ALWAYS about! a space opera reflective of current times and climates. but disney turned it into a Keeping Up With The Skywalkers reality tv show that’s nothing more than a sci-fi fantasy light show and vfx flex to keep the brand alive, and personally, i think that’s ultimately one of the reasons it’s so hated and why it failed (of course rampant misogyny/sexism, racism, homophobia under the guise of geek culture within the sw community and in the production itself is a whole other discussion and is another humongous part of why it’s hated and why it failed)

and it’s why hamill had every right to criticise tlj the way he did with rotj, why boyega and isaac and ridley had Every right to their commentary on their distaste of the second and third instalments. how the only reason they’d rescind what they said was due to their contracts. how their silence was necessary to squeeze every last dollar out of consumers because god forbid a potential boycott due to their own star’s “controversial” (Correct) judgements and disapprovals

they really had it in the bag..

a female protagonist who could be a chosen one regardless of her blood and family ties, a protagonist that reflected the importance and validity of found family, and the idea that Anyone can be a “Skywalker”, a symbol of hope and a fighter for justice and goodness and love in the world, especially in the darkest of times... a young woman being just as powerful, as Chosen, as essential as Luke and Anakin were... a narrative that couldve been commentary on the necessity of women needing to do double the work, make double the effort, to earn the same spot of her counterparts. and with the second and third instalments, especially NOW, with the growth and vocalisation of the MeToo movement, the narrative of strength to speak out against abusers, to fight back and to thrive, a symbol of justice, to teach that men such as kylo who refuse consequence, who actively and soberly choose violence and manipulation for the strengthening of the self, who will ignore and deny all opportunities to better the self, to know their guilt, to make up for their actions, are the ones who are irredeemable. that people like him are not owed any time or understanding or belief in, when that belief perpetuates the violent and oppressive nature they are indefinitely attracted to and make themselves defined by.

a black hero raised by violence and refusing to be defined by it and unlocking the force within as a symbol of that strength within over encompassing goodness, to have a hero that breaks that harmful narrative stereotype that black characters have had for decades and still continue to do so, to have a voice and a hero that fights with love and kindness, that is able to find family and support in a place beyond what he believes he is allowed to have, the significance of a hero being deemed a “traitor”, a term that holds weight in the shame of seeking your own independence and identity, versus the cathartic empowerment of thriving in the independence you make for yourself in the end. a black hero that defeats his oppressors, oppressors that belong to a policing fascist regime, a faction that has always from the very beginning been a depiction of nazis, of authoritarian nationalism.

a canonical gay latino man freedom fighter, being the best in his career as a literal symbol of hope for the resistance, a literal symbol of the climates for lgbt folk in regards to resisting those same fascist nazi regimes, resisting laws against lgbt existence, lgbt employability, lgbt success. a man who grew into a legacy of heroism, surrounded by it, something that could have been powerful poignant commentary on the necessity to sacrifice lives so others like his didn’t have to, the very narrative to fight for a world that the innocents and the ones he loves could have peace in, could have a future in, could Exist in. poe fights in the skies because he knew damn well the effect of believing in someone that is human, like you, instead of a force that is bigger than anything you could ever know or believe in. poe brings humanity and realism to an otherwise fanatical universe of magic and religion and chaos of endless war that means nothing, that is based on nothing. poe is commentary on fighting a fight that you have no choice but to fight, that you are forced to fight from birth just for the very act of Existing. his humanity and realism is a significant grounding necessity for our two protagonist heroes and it is appalling that he’d just be discarded the way he was, shallowly played off as sideline comic relief, much like lgbt narratives and characters are expressed in pretty much ANY media today, so it comes as no surprise.

the three most vital narratives that should have been told in this trilogy but no of course not (disney voice) gimme my Fackin MANEY. it’s the silence of marginalised voices cleverly disguised under hollow face-value representation.

honestly, even rey being blood-related to palpatine as his granddaughter was such a strong and perfect set-up for The Narrative That Could’ve Been TM, but instead they had palpatine make it a whole weird pseudo-marriage thing that was just so. backwards and unbelievably shocking that it was in a 2019 era star wars film.

wow marriage story and the rise of skywalker really is the same movie huh

yes we wanted a grey jedi protagonist hero that gets tempted by the dark side but this was the absolute worst way that could’ve been explored. like if they were just gonna recycle old characters and old storylines and make them worse they could’ve at least looked at darth maul or asajj ventress and the nightsisters

and NO WONDER oscar looked so DEFEATED every time finnpoe was mentioned cos he fought for that shit tooth and nail and they? ? ? they gave him a funny ha ha hee hee hoo hoo straight flirt scene? ? with like his ex or something, where they imply they get back together? COMPLETELY destroying the ENTIRE narrative of his character that was so lovingly built and developed in the Official Canon Comic Series About Him ? ? ? ? ? ? ?

NO WORDS. there are NO WORDS. head EMPTY. no not even empty there's NO HEAD at all i am BEHEADED

finn had NOTHING in this film. Nothing. how are you gonna make him a joint-protag with rey and give him Nothing?

anyone with brain cells knows that what finn truly was trying to tell rey the entire film was that he was force sensitive, i will take this to my grave, and that should’ve built up to this grand reveal where they empower each other and take down palpatine and kylo as one, as the joint-protagonists they were Literally Fucking Written And Built Up To Be. they gave EVERY antagonist to REY. what was the POINT. rey had her significant clash with kylo across two films, hell, even in this one (before the Final one), tros was the penultimate film about her family, her bloodline, so her significant final battle should have been with palpatine a la rotj. the person who DESERVED to clash with and take down kylo once and for all was FINN, even a TODDLER would understand WHY.

but considering everything, i would take the thing finn was trying to tell her the entire film being that he loves her ANY DAY if it meant whatever the fuck we got instead Never Happened.

finn got made general and not only was it a blink-and-you-miss bit but it adds NOTHING, yes it’s something to celebrate and of Course he deserves it, but it holds zero significance to him as a character. like i mentioned earlier, when han was made general, that never defined him. he was still han solo and it took a Dozen other significant scenarios and twists to make him a significant and vital memorable character. han solo isn’t known for “being a general”. he’s known for being han fucking solo, a critical puzzle piece in the taking down of the empire, a scamp-turned-deeply-loyal friend and lover, a man who not only got his own personal storyline concluded to the level it deserved to be (the repercussions of his bounty hunter life, the importance of the falcon, his relationships with lando, luke, and leia, his triumph over his captors even when it was luke and leia who freed him).

side note, this was maybe the one thing that tfa screwed up, the entire point and development of the original trilogy, it sort of felt a bit moot with how they put a “twist” on han, leia and luke’s relationship, especially when it came to kylo. but i think there are some forgivable aspects to it for the sake of the new trio, and that’s why those executive decisions kind of Worked! this is, of course, for another discussion bc this is about the new trilogy.

leia IS known for being a general because part of her entire storyline revolves around it and the significance of it!!! which is why finn being made general just feels so... i don’t know! just completely disrespectful, to both him as a character, and to generals who are defined by this position (such as, hello!!!!! poe!!! poe fucking dameron!!!! a man raised by the resistance!!! a man who’s entire life and prior legacy was entirely dedicated to the resistance!!!! him being made general MEANT something). it’s like rubbing salt in the wound of the fact that finn has been discarded as the protagonist he was meant to be, the story, development and conclusion he never got, just to slap general on him and call it a day and then write about his actual development in a novel that 3/4ths of the ppl who watch the films will never read.

and that's just the core story stuff!!! do NOT get me started on the general lore proposed in this shit. i’m talking about the force ghost nonsense and the convenience of some of the timing choices (rewriting the way death works in sw, claiming that rey “didn’t really die/wasn’t really dead” since she didn’t fade which in itself completely destroys the entire plot they were going for with the resurrection scene, the timing of the fades themselves bullshitted for “dramatic cinematic purposes”), the entire palpatine storyline, the bullshit with snoke and the lack of explanation, all these one-off characters that have the lore capacity of an overwatch character when instead they could have developed the ones that already existed and had the opportunity to be fleshed out and CARED about

the FACT that HUX (hux!!!!!!!!!) had a more interesting storyline in all three films with a total screentime of maybe 10 minutes than these one-offs whose only purpose is to stroke the cock of sw nostalgia seekers and lore aficionados. to make these characters so inaccessible that to fully appreciate them, fans have to dive into hundreds of different novels and comics and games and whatnot. like if you make it so that the Only way someone can experience a character’s full essence is by reading their wiki page then you’ve failed in creating them, in writing them, in including them, in using them, in whatever them. you’ve just failed as a creator.

and the ONLY reason hux got a reaction (a barebones reaction but a reaction nonetheless) out of me was because they essentially just turned him into phasma 2 which is SO telling of the climate of this trilogy.

it’s a recycled trilogy. that’s all it is. it’s a recycled series of films where tfa’s originality was completely entirely scrapped and ignored because rian wanted to write his personal fanfiction more than he wanted to continue the story he was given, and did everything he could to insert that whenever he could, and kennedy, of course, let him, because she realised giving herself indulging content other than fifty shades and radfem articles that she could jerk off to was more important than telling a critical story where its wonder and valuable, influential morals could’ve stayed in this generation’s minds for years to come.

if you want to watch tros just watch the prequel trilogy instead you'll get the same story except actually good.

#cmon THINK #star wars -----

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naruhearts · 5 years

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OKAY SO I've just spent the best part of an hour scrolling through your blog and reading a bunch of your destiel meta and I HAD to message you... I was one of the many people who STRONGLY believed destiel had a chance of being canon after season 8 (more like season gr8 am i right), but throughout the years I slowly lost all hope. However, S14 has made me 110% invested in the show again and YOUR META IS GIVING ME HOPE FOR DESTIEL, which is TERRIFYING. Your writing is wonderful and I'm STRESSED.

Got back from Washington late last night!

Oh my gosh @alovelikecas, your message really made my day and I’m SO glad you enjoy my meta xox (even when most of my meta looks like, to me, sloppy-ass writing, haha! I’ll probably make an end-season meta post after 14x20 — if I have the time — that touches upon SPN’s current and repeating themes since Season New Beginnings S12/Dabb Era, not to mention I have, like, some more unfinished meta in my drafts >.>)

Yeah I mean, I didn’t join Destiel land until Summer 2016, and before that, I was late to the Season 11 party, so I basically had no narrative context for anything, and I’ll copy-paste what I said here:

Looking back, one significant thing I recall? S11 gave me a sense of Destiel’s true narrative validity (as not a ‘fanon’ ship but organically developed in the canon) when I perceived it as a season that was ‘missing something’. Keep in mind I had no idea about Destiel yet while watching S11 at the time.

I was literally asking myself — repeatedly — why Dean/Amara seemed to contain odd narrative holes, considering A. Dean explicitly said that the non-consensual attraction he felt for Amara was NOT love and “it scares him”, B. Amara told Dean that ‘something stops you - keeps you from having it all’, C. Djinn!Amara stated that she can: ‘feel the love [Dean] feels, except it’s cloaked in shame,’ and D. Mildred’s iconic ‘You’re pining for someone’ —> which did not logically correlate with A and C, meaning: since Dean doesn’t freely love Amara and thus isn’t possibly pining for her — with female love interests as currently non-existent (I remember crossing off the dead/gone girls on a piece of paper lol) — who the hell was he pining for, then?

Originally posted by elizabethrobertajones

Obviously, without writing long-ass paragraphs of meta about it again in this post, S11 made sense as soon as I watched it within the Destiel context (especially after I read up on some grandiose pieces of Destiel meta (@charlie-minion was the very first person who inspired me to write meta; I followed her once I joined the fandom Oh my god, here we go, holy crap this subtext – I’m invested in this godforsaken ship because they’re in love with each other and I’m not getting off any time soon. The rest is history.

I’m aware that I do come off as positive (and I’m still Destiel-positive; whatever happens in 14x20 this week may or may not change that), but I hope you don’t mind if I use your lovely ask as an additional opportunity to clarify my meta standpoint: no one’s saying Destiel WILL become text.

The general Destiel meta community (all subfactions: Destiel-positive, -negative, -neutral, and in-between) is not the Most Holy Canon Word, and we aren’t SPN writers, and again, we can’t actually speak to the veracity of Destiel as guaranteed-gonna-go-textual, but we — a diverse pool of critical thinkers from all walks of life: particularly those who have some degree of experience in literary academia/English literature studies (fun fact: I was actually pursuing a Minor’s in English until I changed my mind - my first love’s Health Science/Biology, which I stuck with, but here I am doing lit-crit analysis on the side *wink*) — can speak to the veracity of Destiel as a real, palpable, and ever-substantial long-running romance narrative aka the love story between Dean and Cas IS THERE. I see it. We all see it. We didn’t pluck it out of the random ether one day. It naturally evolved across the show’s overarching narrative like some vast spiderweb, linked together by numerous character arc amalgamations of Dean Winchester and Castiel as separate individuals who were then brought together — who brought themselves together, by the sheer force of free will and choice — and are now inherent parts of the other’s story (and respective character progression).

I say this too many times to count: the entire point of writing meta? Personally, it enables me to appreciate the literary gorgeousness of Dean and Cas’ relationship as, first and foremost, a tentative alliance offset by the very moment Cas raised Dean from perdition (it’s a poetic beginning). Their alliance then inevitably proliferated into a rocky — at times, necessarily turbulent — friendship, then a deep profound bond…one that crossed platonic boundaries since S7/8 and is, ultimately, indelibly rooted in romance. Together, Dean and Cas build up each other’s strengths, complement each other’s flaws, and narratively motivate the other to self-introspect — to become the best version of themselves that they were always meant to be: self-actualized entities who let go of their painful, horrifying, psychologically/emotionally destitute pasts.

These above reasons and more are why I think Destiel belongs right up there on the shelf of Ye Olde Classics, similar to epics by John Milton, Shakespearian tragic dramas, Homeric characteristic cruxes, and the great Odyssey journey: a legendary journey, fraught with circumstance, that finally ended with Odysseus (now an enlightened man) returning to Penelope, the love of his life.

Channeling the scope of Homer’s Odyssey, Destiel is an incredible storytelling feat of obstacles, both internal and external, romance tropes, mirroring, foreshadowing, and visual cadence/emotion, enhancing SPN’s already character-driven main plot in that Dean and Cas try to make it back to one another; like Penelope, their love holds true despite everything. If Destiel were an M/F couple, we all know their love story would be absolutely undeniable to the GA.

I do understand the bitterness S14’s fostered in some viewers, though. I do understand that Dean and Cas seem distant (and yeah, it’s a noticeable difference compared to S12/S13), but I believe the Destiel subtext is still heavy and holds steady.

Right now, at this point, there remains multiple personal issues for the characters to solve, you know? Dean and Cas aren’t talking properly; their love languages stay mistranslated, although we’re persistently shown that they still understand each other on a certain level that no one else can, and the visual narrative keeps framing them as on-the-nose solid counterparts: a domestic-spousal romantic unit independent of Sam.

Originally posted by incatastrophicmind

They want to be there for the other. They need to quash the final remnants of their respective internal loathing (Dean’s self-worthiness, Cas’ self-expendability) before they’re able to give the other 100% of their time, efforts, attention, and love (as flawed and complicated but compellingly beautiful as it can possibly be). During the times Dean and Cas do try to talk shit out, extraneous issues continue to get between them.

As other friends/meta pals discussed with me, S14 is like S10 in that it’s confusing the cast/audiences. And exactly: S8, besides S11/S12/early S13, also belongs in the close-to-canon serious Destiel narrative transition! I can discuss the showrunning/writer problem of SBL (Singer + Bucklemming; @occamshipper hits the nail on the head) that tugs subtext – especially subtext linked to Destiel – back and forth, sometimes in the weirdest nonsensical ways, but I won’t go too far into it here. I agree, however, with the recent idea that Jensen does seem a bit confused as to where he should bring Dean emotionally this season (don’t get me wrong, I do NOT believe Dean is OOC; OOC is a completely different concept vs expected character behaviour). And if Dean’s consistently romance-coded past interactions with Cas are any indication, Jensen would also — in the same vein as all of us — want Dean and Cas to start getting their shit together. Long-running fictional characters like Dean and Cas, conceived over 10 years, are so well-written to the point where you, the author, can predict what they’ll do even if you just plop both of them inside a room and give them no direction, and I personally feel that nowadays Jensen is prevented from achieving Dean’s further internal growth/unsure how to act in the moment because of some dumb SBL scripts saying one thing while his character’s heart says another. Wank aside—

Season 15 should hopefully convey a much more logical subtextual perspective e.g. unbelievably amazingly cohesive Season Destiel 11 that aired after choppy S10. Not all hope is lost!! I also want to clarify that I personally LOVED Season 14 in general. It’s been mostly Emotion-centric constant, with Yockey, Berens, Perez, and Dabb usually making my top-rank SPN writer list.

Currently the narrative’s still allowing pretty significant (imho) wiggle room for the lovers to fracture apart and get back together, where their miscommunication comes to a dramatic head. We just saw Dean and Cas argue over Jack’s well-being in 14x18 and 19. Dean — besides putting Cas at the top of his You’re-Dead-to-Me-Because-You-Lied-but-I-Still-Love-You-Goddammit hitlist (for clear spousal-coded reasons) and taking Cas’ actions to heart (he’s the person he trusted the most who lied to him) — no doubt blamed himself for what happened, and Sam was, like I said, the mouthpiece of truth. TFW were all culpable. They all failed Jack in some way, shape, or form.

I’m not expecting anything for 14x20, but I’m nervous either way! Thanks for sticking with my long answer

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yasuda-yoshiya · 5 years

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Hey there. Sorry to bother you. I read your write up on The House in Fata Morgana and I really love how you go into such detail on the second half, especially with The Maid. I agree with her being wasted potential, especially when Michel’s love is enough to erase centuries of psychological and emotional trauma and amnesia in the span of one minute. My question is, how would you handle the Maid’s arc while keeping the setup the same? This got long, sorry. But I have a lot of thoughts about her.

Aaahhh, it’s absolutely no bother at all; thank you for getting in touch! It’s great to hear from you, and I’m very grateful for the kind words about my incoherent babbling. Giselle/the Maid is honestly one of my absolute favourite fictional characters and it’s really hard to find any real discussion or meta around her within Fata’s tiny English-speaking fandom, so I’m always super excited to hear from other people who feel the same way about her!

Okay, this got really long so I’ll stick it under a cut:

I have actually put a lot of thought into how the Maid’s story could have been handled and resolved better (and even drafted elaborate AU fanfic about it, for that matter), so I’ll try and put some of that into words here. Prior to door 8, I honestly feel like the broad structure of the Maid’s arc as it exists ingame does actually hit most of the major emotional notes that it needs to; it just rushes through each of them so fast and gives them so little narrative weight that they’re not really able to have the impact that they should, especially when door 8 then goes on to completely ignore the whole thing. So for the most part, I’d lean more towards heavily fleshing out the existing content rather than making any real changes to the structure of the plot overall. Door 8 is the point where I feel that her writing completely falls apart and needs to be rebuilt from the ground up.

As for how exactly I’d want to flesh things out, the main thing I’d want to do is to heavily extend door 6 - both the backstory itself and the conflict between Michel and Giselle in the aftermath. As I think I said in that big old write-up, to me the whole door felt more like a quick checklist of events more than a real fleshed out narrative.The way I see it, Giselle’s character arc is fundamentally about her relentlessly trying to hold on to her optimism and the core of her “self” in the face of traumatic experiences - to not let her suffering take away her smile, her energy and positivity and upbeat personality, the things she saw as defining who she was before all of this happened to her. This is portrayed very well throughout door 5, where we see Giselle very consciously deciding multiple times to try and put her suffering behind her and start over from a clean slate with positive expectations - first when she’s sent to the mansion with Michel, then at the village with Amedee, and then again when she reunites with Michel - and it’s also very effectively conveyed that the effort of constantly keeping up that positive attitude and trying to block out the scars of her trauma puts a significant strain on her (one that Michel tries to ease by explicitly accepting her scars as a part of her and telling her that she doesn’t need to hide them from him).

What ends up breaking Giselle and forcing her to detach from herself entirely and become the Maid, then, is the feeling that she’s finally collapsed under that strain and “lost herself” to the point of being unrecognisable as Giselle, of having lost everything she used to define herself by. The fact that even “Michel” doesn’t recognise her any more, the fact that she herself is barely able to keep a hold on her memories of the past and who she used to be, her body becoming cold and lifeless and losing its old warmth and energy, and the weight of the years slowly wearing down her ability to stay positive and keep believing in a happy ending - all of those pressures end up breaking her self-confidence down to the point that she can’t manage to see herself as “Giselle” any more, and the burden of even trying to keep being “Giselle” becomes too much.

In that state of mind, it’s no surprise that the alternate story that Morgana tells her - that the Maid was always just a lonely witch haunting the mansion, an impostor who became fascinated by the real Giselle and Michel, and deluded herself into believing that their story was hers - becomes so much easier to believe in. Of course she’s failing so hard at being “Giselle”, because she never was Giselle to begin with. Accepting this narrative allows her to detach herself from the weight of having to try to be Giselle, and to project those feelings and ideals from a distance on to the White-Haired Girl instead, who is everything the Maid thinks “Giselle” should be. Note the Maid’s fixation throughout the stories on the WHG’s “purity” and her unchanging nature that stays constant across all times - the qualities that she feels she herself has lost. Of course, Giselle is also very much still subconsciously projecting her own lingering feelings for Michel on to the WHG as well, as she assigns WHG the role of her “master” and “the person she waits for” - but in a context that allows her to safely detach herself as a guide, watching over the real Giselle and feeling pity for her suffering. It puts her in a position where she can be the one to reassure someone else that it’s okay for them to give up, to forget about waiting for Michel and find whatever happiness they can for themselves - without having to shoulder the shame of making that decision herself. The things she can’t accept about herself as “Giselle” become acceptable if she takes the outside role of a witch. As Fata repeatedly puts forth, tragedy becomes a lot more bearable if you think of it as “someone else’s”.

Okay, I basically just wrote three paragraphs of meta here and I’m still not much closer to actually answering your question, so it’s about time I looped back to the point. Everything I’ve outlined above is the basic outline of what I feel is intended to come across through the Maid’s arc. Now let’s talk about where I feel that door 6 fails at actually making that arc really hit home as strongly as it could have. I think the essence of the problem, at least to me, is that door 6 does a perfectly good job of laying out a very believable sequence of events that lead Giselle to become the Maid, but it doesn’t really do such a great job at portraying Giselle’s reactions in any real depth. The narration doesn’t really bring to life the feeling of someone fiercely struggling with themselves to stay positive in the same way that door 5 does, and the process of Giselle’s desperate attempts to keep hold of herself being slowly being worn down over the years gets skipped through so quickly that it’s hard to really feel the weight of it from her perspective. Just going more into depth with Giselle’s internal thought processes here, showing more of her individual reactions to the events of the first three doors and things like her frantic attempts to rationalise it as maybe being okay that the WHG doesn’t recognise her, showing the strain it puts on her to have to keep trying to find ways to frame her story in a more hopeful and positive way until she finally just can’t do it any more, would really help make the door feel like more of a complete experience.

Again, though, as I said in my old write-up, I do think a lot of what is there in door 6 is really strong and effective - a lot of the individual scenes do genuinely feel really powerful in their own right - but there’s just not quite enough there to make the whole thing really hold together as a fully realised narrative. (To put it another way, when you have even a weird side character like Yukimasa getting such a slow, thorough and nuanced exploration of his gradual descent into madness, but your main heroine’s central identity conflict and breakdown of her sense of self is rushed through in about half an hour, something has gone terribly wrong.)

The other problem that I have with door 6 - and this might be more of a personal thing - is the point it chooses to end at. The pivotal moment where Giselle actually finally chooses to disown her old identity and accept Morgana’s story as the truth goes by so quickly that you could almost miss it, and then after that the door is pretty much over, short timeskip to the end of Jacopo’s era aside. Considering how much emphasis the earlygame puts on the Maid’s preoccupation with stories, and how important the story of door 4 is to her in particular, I always felt more than a little disappointed by how little time is given to Giselle’s internal reaction to Morgana’s story when she hears it, or to how she processes it and sorts out her feelings about it afterwards; how she uses it as a way to reframe her own story in a way that’s more manageable to her, and how it hurts to let go of it. Even the most basic point of the Maid passing her old identity on to the WHG isn’t actually touched on by the text of door 6 at all. It just really feels like a lot of wasted potential, since the Maid’s relationship with the narrative of door 4 is probably the single most interesting part of the character to me, and I think it could easily have been elaborated on a lot more here in a way that would make the arc as a whole much stronger. (Although now that I think about it, I think I might have pretty much made a lot these points already in my old write-up, so I might just be repeating myself now? Whoops? It’s been a while, sorry!)

So that pretty much covers my feelings on what I would have liked to see from the Maid’s backstory. Now I can move on to talk about how I’d want to handle the resolution, which was probably the main point of your question to begin with! I think the biggest problem with the Maid’s turnaround as it stands is that it feels so easy, with very little real struggle or conflict - as you said, it really does feel like all of Giselle’s issues as the Maid are just flat-out “erased” in a matter of minutes, and she just reverts back to her old self entirely. And that feels incredibly wrong to me, because it seems to basically uncritically validate Giselle’s ideal of herself as someone who can hold on to her cheerful attitude and just block out her suffering entirely as if it never happened - which feels totally at odds with the the rest of her narrative up to that point stressing how much of a burden she placed on herself with that unrealistic expectation and how trying to live up to that impossible ideal ended up tearing her apart completely.

I think it would have worked a lot better to instead put the focus on Giselle’s resolution on challenging that ideal for herself, and letting her realise that she doesn’t have to be that ideal unchanging person she wants “Giselle” to be - that even if she has changed, she’s still Giselle, and still the same person Michel loved (Requiem’s epilogue briefly touches on this idea too). To accept the Maid as something that came from her, that’s a part of her, and that she doesn’t have to be ashamed of or make into an entirely different person to accept. The Maid believed that she’d lost her humanity entirely and become unrecognisable as herself, but when it came down to it, Michel did still recognise her, and still sees the person he loved in her. And some part of Giselle evidently still recognised and reached out to Michel as the person she had really been waiting for, too, even after she’d supposedly rewritten her story entirely to put the WHG in that role. The way her suffering ended up shaping her into someone like the Maid doesn’t make her inhuman; the ways she’s reacted to her suffering by trying to change into someone else are themselves human and relatable, they’re understandable and okay reactions for Giselle to have had in her situation, and the Maid is still someone Michel is perfectly capable of deeply empathising with and feeling love for.

Because in the end, the heart of Michel’s love for Giselle wasn’t ever really dependent on her always staying a bright and cheerful person who never stops smiling and always stays positive and never gives into despair; it was a relationship between two deeply wounded people who connected with each other through their shared experience of suffering. In blocking out and trying to forget the painful aspects of her past, in replacing them with a gently beautiful fairytale of a tragic love between two totally pure and selfless people, Giselle ended up losing what was really important about their relationship - that neither of them had ever been perfect, that they’d both been irreparably hurt by their trauma, but they still loved and understood and accepted each other, scars and all. Her remembering Michel as such a perfectly pure and flawless person is very sweet in its way, but it actually ended up turning her memory of him into someone so perfect that she couldn’t possibly live up to him or keep believing that he’d love someone like her - as is a running theme in Fata, blocking out the pain of their past ended up also blocking out the real significance of the connection they’d managed to make with each other through that pain.

So, approaching the end of door 6 and the Maid’s final resolution through that lens, I think I would put a lot more emphasis on Michel getting through to Giselle by his understanding and acceptance of what she’s been through and how it’s changed her, and by his own simple empathy with her and love for her as a fellow flawed and scarred human being. I think I’d also want to make that process of him getting through to her and coming to understand her a lot more difficult and painful than it came across in canon - I think a lot of things about the Maid’s attitude should have been difficult for him to understand and come to terms with for a while, especially when it comes to her wanting to cling on to her own story and push a false identity on to him instead of confronting the truth, which would hit a particularly bad spot for Michel at first. For example, with those small breakpoint scenes midway through door 5 where Michel and the Maid are reacting to the retelling of their memories, I’d want to have the Maid be a lot more fierce and persistent at first about denying that these really are her true memories, and denying the idea that the Giselle she sees in door 5 could ever possibly have been her - I’d want to see her trying a bit harder to defend the protective narrative she’s built up for herself in the face of Michel’s brutal attacks on it, and Michel maybe initially lashing out in frustration at that, until he slowly comes to recognise the basic emotions behind her actions as essentially sympathetic and familiar from his own experience of severe isolation, recalling how it had made him want to shut his heart off in much the same way.

Michel having to accept his own responsibility in leaving Giselle alone to deal with all this in the first place - for underestimating just how much she needed him - is also something that’s going to be difficult for both of them to deal with, but it’s something that I think they needed to more explicitly acknowledge and work through with each other because it’s important in the sense of Giselle being able to remember that Michel is a flawed and imperfect person too. (The Michel in door 4 explicitly did make the choice to die together with Giselle instead of leaving her alone, again reinforcing Giselle’s inaccurate memory of him as someone pure and perfect.) The Maid’s issues with her repressed resentment for Michel and with her own self-image are obviously very deep-seated to an extent that actually fully “resolving” them in just one conversation with Michel isn’t at all realistic, but I do feel that the process of actually having to talk things through with the real Michel would start to remind her of what their connection actually felt like after all those years of turning it into an abstract archetypal love story, and of how Michel was always someone she loved for being an approachably flawed and awkward person rather than any kind of perfect ideal - and to start to believe that maybe it’s okay for her to be flawed too, that her flaws could still be a part of her humanity and part of “Giselle” rather than something that makes her inhuman. As has always been the case with these two, humanising each other helps them to humanise themselves. Dealing with everything that’s happened is inevitably still going to be a difficult process for both of them, but I think Fata could have believably gotten them to a point where they’re at least starting down the right path without just lazily erasing Giselle’s issues and brushing the whole thing off. It’s a difficult balance to strike, but I do feel that Fata manages that delicate balance in other places and could have done so here, if a bit more care had been put into the writing.

From there, I’d keep the flow of the story as it stands - Michel and Giselle try to leave the mansion, Morgana stops them, and Salvage and Door 7 proceed as before. So the next thing to talk about here is Door 8. As it stands, the portrayal of Michel and Giselle’s relationship in door 8 is basically all about Michel gradually breaking out of his shell with Giselle’s support; as I think I said in that old write-up, I think it would have been much more effective if the focus was instead on the two of them supporting each other to start to break out of their respective periods of isolation and reclaim themselves as human beings who are still capable of living in the world and connecting with other people. Rather than Michel and Giselle’s dynamic just reverting to how it was in door 5, I would have liked door 8 to have them starting to develop a new dynamic to reflect how Giselle has changed, and to present her having to learn how to act like a “real person” again as more of a difficult and gradual process. Giselle really has irreversibly changed in many ways, but she’s also far from actually being unrecognisable, and I think the basic idea of her starting to naturally take on some of her old mannerisms again as she talks to Michel could have been genuinely sweet and touching if it felt a bit morenuanced and earned in its execution - starting to reclaim her identity as a human rather than a witch, as someone who’s still capable of feeling human emotions and having human connections, in the same way that Michel is gradually brought out of his shell by the events of door 8 and starts to be able to believe in himself once again as a person who’s capable of living in the world without being rejected or treated as an outcast. I think my ideal version of door 8 would focus a lot more on Michel and Giselle helping each other through that process.

Well, if I permit myself to indulge in full-on wish fulfillment here, my real ideal scenario would honestly be for Giselle to actually be physically there in door 8 and have her and Michel working together to save Morgana, with both of them getting to interact with the other characters and play an equal part as co-protagonists in the truest sense - but honestly, even without radically revising the structure and just keeping Giselle as a voice in Michel’s head, I think she could still have easily been given much more of her own personal arc within door 8 rather than just serving as an extension of Michel’s. One thing that’s really potentially interesting to me about door 8 is Giselle having to come face-to-face once again with the people from doors 1-3 who she had so strongly detached herself from and treated as supporting characters in the WHG’s story, to be picked apart from a distance as tragically flawed protagonists. I feel like the Maid was pretty clearly projecting a lot of her own feelings on to these people’s stories, using them to explore her own issues in a way that felt safer by framing them as “someone else’s problem” - so how does she feel seeing these people again, now that she’s self-aware enough to realise what she was doing? I think there’s a lot of interesting material to explore there.

With Yukimasa’s story, for example - before, as the Maid, she wouldn’t have been capable of articulating that her complex feelings about Yukimasa’s narrative and her wish for him to find happiness as Bestia were projections of the way she felt about herself and the way she also tried to find comfort in her own dehumanisation through a false narrative, because owning those feelings for herself would have meant acknowledging the fragility of her own coping mechanisms. But now that she’s started to come to terms with who she really is, I could see her having a lot of difficult and insecure reactions to seeing Yukimasa again, and having his story bring back Giselle’s own deep-seated fears that she’s fundamentally “not human” and deluding herself about her humanity in the same way that Bestia was. Of course, Michel would be there to help her talk through those feelings and remind her why that isn’t true - even as the Maid, she was still very recognisably human at heart - but I think that Giselle actually getting to talk those things out with Michel would go a long way toward giving proper narrative weight to her struggles and making it clear that the deep fears and insecurities she felt as the Maid aren’t just going to magically go away, the way they pretty much seemed to in canon. In the same vein, there’s plenty to explore with things like the Maid’s fixation on the theme of childhood innocence being inevitably lost with Mell and Nellie’s story, and her identification with Jacopo as someone who also tried to kill off his old self completely.

I think it would have helped tie the game together a lot better to have Giselle’s own resolution running parallel with that of the three men in this way, that seeing them being able to reach a more positive conclusion would help her to feel a bit less hopeless about her own story as well - as well as to start to see herself as her own person again, whose story doesn’t have to mirror theirs in the first place. In my ideal version of door 8, I kind of see working through their resolutions as a process of letting Giselle free herself from defining herself by these stories and from the story of the mansion’s curse as a whole, to be able to start to see herself and those around her as real people with real agency rather than as actors in a doomed, unavoidable tragedy.

But I also feel like this scenario has all kinds of potential in terms of allowing Giselle to maybe be able to reframe some aspects of “how she’s changed” in a more positive way, and to see some of the Maid’s characteristics as genuine strengths that she can draw on as well - the ability to emotionally detach from a situation and critically evaluate people and their relationships from afar can be legitimately useful in some situations too, you know? So I’d really like to have seen the Maid’s worldweary cynicism and piercing insight into people’s flaws get to be played as a strength at times, as an important complement to Michel’s lack of experience and knowledge about the world and people, rather than just a shameful phase that she has to move on from. (I think I’d definitely have liked that dynamic a lot more than the “Aww, Mell is like our best friend! We can definitelytrust him!” nonsense that canon pulled, which was just ridiculous. The Maid was absolutely brutal about Mell! Who is this person?!)

One part I really liked from the actual door 8 (and wished had been given more weight and expanded on a lot more) was Giselle saying after Mell and Nellie’s resolution that she felt bad for how she’d treated them as the Maid, sneering condescendingly at their flaws - but Michel responds that her story cutting right to the heart of their problems in that way actually helped him to fully understand them as people and how to help them, and that he couldn’t have done it without her. Making that into more of a fleshed-out arc about helping Giselle to reclaim some of the Maid’s attributes as something positive, not something she has to run away from, would have been a really satisfying resolution to me - there are absolutely real problems with dehumanising people and arranging people’s lives into a neat narrative, but there are also times that being able to detach and get that kind of overarching perspective can actually really help, if it’s done in a more balanced and self-aware way. I think going deeper into exploring this would have really done a lot to integrate Giselle and the Maid, and to tie together Fata’s whole themes as a story about people’s relationships with narrative in general.

Also, I would have really liked to see Giselle involved with the WHG’s resolution too! She spent 400 years obsessing over the WHG and defining herself in terms of the WHG’s story, after all, so I think it only seems fair to give her some closure on that and to let her play her own part in putting her to rest. Michel, Giselle and Morgana’s narratives are all connected together by each of their relationships with the WHG and their respective struggles with the pressure of the ideals she represents, so I think it would bring the whole game together nicely for the three of them to get to let go of her together.

So, I think that’s pretty much the outline of what I would have liked to see from Giselle’s arc in Fata! I hope this all made sense since I am kind of half braindead at the moment, ahaha. I would really love to hear your own thoughts about her too, though, so please don’t hesitate to share them if you can! I’d be super interested to hear your take on the character!

#the house in fata morgana

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