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waitmyturtles · 2 years ago

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@twig-tea, I love this reblog, and I so appreciate that you've been consistent in saying -- hey, let's wait until the end to make these final judgements, and I do agree to an extent. No rebuttals, just some color here:

For me about giving TopMew back to fiction -- I 100% agree that the writing is not at all strong enough to make ME, as a singular viewer, compelled to care about their story anymore. I just can't care, and what I think is happening vis à vis the writing is that, through episode 11, I have not been given context as to WHY I should care about either these two characters getting and staying together, and/or where Mew will land in his strength as an individual character. I feel like experts like @lurkingshan and @bengiyo may be able to explain this far better than me, but -- what does it take for me to care about a character? What kind of emotional and/or empathic context do I need from the script? Shan and Ben, does that make sense? I don't know if there's narrative terminology to explain this re: storytelling in a drama. I don't feel like I've been given a reason to WANT TopMew to stay together. That's in particular why I highlighted that bit by Top above, him taking a 50,000-foot-level analysis of what him and Mew could fall into by way of staying together -- that they'd both be sus of each other. And yet -- they ended up together. Does that mean that Mew transcended his jealous tendencies? I don't know -- I just don't know, and I don't know if I don't know because the script hasn't illuminated it enough, and/or if it's related to Book's acting.

For me about giving ForceBook back to Thailand -- I can absolutely see that either Force is giving a dull performance because that's what the character of Top calls for, and Book is bringing an indecisiveness to Mew because that's what's also called for. But if both of them were meant to act as uninspiring characters -- yes, it worked, but I don't find these uninspiring characters inspiring to watch. An actor (Mark) who did a partly wishy-washy character WELL (Nick) -- now that's been compelling to watch.

I see fam in the tags saying that TopMew shouldn't be blamed on ForceBook, and I agree with you, Twig, that it's the writing first that's doing this -- I ABSOLUTELY agree with that. But watching flat performances by ForceBook because TopMew are supposed to be flat.... is just landing flat for me.

(......)

(.....who else coulda done TopMew? Who could make flatly-written characters compelling? I'm scratching my chin.)

Twig, I hear you on Boston's messaging to Nick early in the series, but I do think Boston was clear about his line in the sand about how he felt about sex, and relationships vis à vis sex. And what I emphasize in my writing and analysis is the accountability bit on Nick's part to parse and understand what Boston is saying -- I think Boston was clear, but I can totally understand different interpretations on this.

Interestingly, though, now that we have the benefit of passed time to look back on this -- those mixed messages that you're pointing out, were they Boston's way of beginning to process a "like" for Nick? I dunno. (Can't help but think about my re-rewatching journey through Bad Buddy to catch glimpses of how Pat likely had feelings for Pran before their episode 5 reveal.)

Twig, I love the color that you offer regarding how the characters think about themselves vs. how we see them. I think this is something Only Friends has done smashingly well.

Love dialoguing with you, friend. 😍

THE MORNING AFTER: ONLY FRIENDS, EPISODE 11 -- 1 OUTTA 3 AIN'T BAD

Preamble! I had a HELL of a day yesterday, woof. So if this comes out garbled, y'all will know why. I'll try to keep this short, but... I'm likely lying to myself, let's see.

TW: FORCEBOOK -- I'm going to say a few words about ForceBook below, so if words about ForceBook are not your thing, please move along!

I'm gonna start this post with thoughts on the three main pairs, and then get some last little thoughts out at the end.

a) I have a feeling that I don't need to write THAT much, because the lovelies @lurkingshan (here), @neuroticbookworm (here), and @chicademartinica (here) all covered the top points of this episode nicely: this episode was a BostonNick WIN. On Nick, dear Chica nailed it so hard that I will have to link AND screenshot her m'fucker:

And Boston, BOSTON, MY MAN! MY MAN! MY MAN!

(Nick says the first line below, with Boston saying the second:)

Fuckin' a. There are two reasons why I STANNED BostonNick in this episode.

1) First of all, as you see above, Nick still had to be a tiny bit of a shit. Nick was in Atom's shoes once. Nick remembers the feeling of having feelings for someone who didn't have feelings back for him. So Nick took a little passive aggressive dig at Boston by calling Boston's sex and predilections "terrible."

And Boston shot back at Atom -- and maybe indirectly at Nick -- with his perspective on sex: "[h]ow can you love me after sleeping together just once?"

I've written before (and forgive the foggy mom brain, but I believe @emotionallychargedtowel has also written on this), that the hormonal experience of sex can impact people in incredibly different ways. Some people, like Boston, feel no connection with the person he's slept with after sex; other people, like Nick and Atom, catch feelings. All of it is normal.

What happened in the dialogues that we were privy to earlier in the series vis à vis Nick and Atom was that WE, the audience, heard THEIR perspectives, and the narratives allowed US to contemplate sympathizing for them -- by playing off of a general assumption that an audience would JUDGE people like Boston for having casual sex. Boston's positions on sex (heh) pissed off people like Nick and Atom! So Boston got fuckin' wiretapped and smeared by these dudes.

However: BOSTON REMAINED CONSISTENT, CONSTANT, AND ACCOUNTABLE to his position, AT ALL TIMES, that he wasn't someone who caught feelings after casual sex. I am sure for many sectors of the Only Friends audience, that this may not have been easy to parse, especially considering the very early and popular judgements levied against Boston. (For the record, I never took Boston as a predator, and I established my thoughts early in the series run on this as rhetoric about Boston's "badness" around sex was flying around. I'm a Khai girlie. Boys, girls, and non-binary friends can be playas, too, and deserve to enjoy their sex lives without judgement.)

What I UTTERLY admire about the pace of this series vis à vis BostonNick is that it took its TIME in establishing Boston's AGENCY to be able to LEVY his position on sex SO STRONGLY and CLEARLY, with Nick's support. While much of the series allowed the popular and condemning rhetoric to swirl around Boston, this scene put a fuckin' NAIL in that coffin. I believe this scene said: you can't only listen to one side, the crying, sobbing side of a person who wants another person after a one-night stand. You HAVE to listen to both sides. The hormonal aspect of wanting to be close to your sex partner is valid, but also -- if the other side is talking, you MUST listen to what the other side is SAYING.

Boston was always clear about his position -- and Nick and Atom HAD to take responsibility for their unreasonable demands from Boston after their one-night stands with him; unreasonable, because Boston CLEARLY stated to the both of them that he wasn't a relationship guy, and would not be forced into it. And both of them ignored those statements, and all hell broke loose, TWICE.

2) HOWEVER! Boston realized, after spending more time with Nick than with any other sex partner, and after he lost his friends, that he HAD caught feelings for his fave, his Nick! Remember last week, when I got all mewdy that MONOGAMY might be the dramatic device that the show would use to "redeem" Boston? BLECH.

DAMN, did this episode SPIN THAT AROUND for me. GOD, I LOOOOOOOOOOVED THAT CONVO WITH NICK AND BOSTON ABOUT FIGURING OUT THEIR STATUS!!!!!

Paraphrasing! "I want to spend the next few months loving on you," or whatever Boston says?! FUCK, YES! Nick, all OVER this, setting boundaries, allowing himself TIME and SPACE to figure out what's best for him, with both Dan and Boston! SHIT, MARK PAKIN SHOWED UP! Omg, BostonNick for the win.

My head's spinning, because that was seriously one of the BEST conversations I've seen written in a drama about the consideration of a relationship and a status check. That impressed me as much as Pharm asking Dean for a break in UWMA -- and then Pharm straight up LIVING HIS LIFE, BBQ pork grills and all, without Dean for a few months.

And. Boston was cool with Nick's boundaries and thoughtfulness. Boston knows what he wants, but he's not gonna push Nick into anything. Boston knows time is ticking, but will wait for Nick's answer.

It was so cool to see. My heart was full.

So that pairing, the NeoMark/BostonNick pairing -- SOLID.

b) Moving on! Thanks to @lurkingshan, I got clarity on what the fuq was happening with Sand and Boeing. At first, I thought Boeing was a little SHIT for showing up to Sand and stirring unnecessary drama in his ex's life after getting rejected by Mew. (Mond, though. 🤤)

But, as Shan pointed out to me in my insane day yesterday: Sand has a problem saying no to dudes. (Homey, RELATE.) So like, then they all go back to Ray's place, and Ray KNOWS that Sand has trouble setting boundaries and saying no, because that's what Sand's mom said to Ray, but also, that's the way Sand's been engaging with Ray himself, and Ray will DEF know what will be up if Sand gets closer to Boeing again, and Ray's like, uh, come into my pool so we can nip this in the bud?, but no, we know what Jojo's thinking, so.

I mean, have sex already, you three, chop chop. I see the FirstKhao gworls on my dash not happy about not having a complete episode of SandRay peace, which I get, but also, this continues to reiterate my bleh on Sand, which like -- get a backbone, Sand. You have a literal boyfriend now, and you're still not saying no to dudes? What if Mild strolled in for a foursome? (NO, DON'T TURN THAT DOWN, SAND, DON'T.) But I'm just saying -- maybe listen to a person in your life, like your mom, to set some boundaries, like your roommate. I'm throwing my hands up in the air on this one, but at least we may get our threesome, and, Mond.

c) Okay, last pair! TopMew. For a hot second, I was impressed with Top.

I liked this, ::waves index finger in a circle::, this worked.

But I have decided. I'm done with ForceBook. I just -- please remember the TW, FB girls. I'll get back to TopMew in a second as characters, but this was my first ForceBook show, and it might be my last. Watching them is as exciting to me as breaking down Amazon boxes.

We have seen Mew waffle this whole dang series. (WELCOME BACK, THE ONLY FRIENDS VENGEFUL WAFFLE! HEART YOU, @starryalpacasstuff!)

And there was more Mew waffling, more talking to moms, and Top is just like, I'm gonna peace out, DEUCES, and then, OF COURSE, HE COMES BACK INTO THE KITCHEN, LIKE HE NEVER LEFT THE HOUSE AFTER SAYING HE WOULD (I cackled), and then they're together in bed. And now they'll move in together.

This was a BIT of a storyline ride. But -- and I HAVE TO ADMIT, part of this is my tiredness talking -- I'm just kinda bored of ForceBook at this point. Do I actually get the sense that Top is *excited* about Mew moving in? Do I get the sense that Top and Mew *love* each other? I.... don't! Is it the chemistry between ForceBook? I.... I think so? I think so!

And, so... Mew will try to convince Ray to accept Top in the next episode? I dunno. (Episode 12 previews, we've learned to distrust them.) As much as I want to try to sit here to analyze TopMew at this point, I kinda just wanna throw my hands up in the air and be like, I'll leave these characters to fiction. And I think it's because I was unfortunately spoiled by the FANTASTIC chemistry emanating out of Neo, Papang, Mark, First, and Mond in this episode (MARK! MONNND. PAPANGGGG.).

I have to admit it, and I'm sorry to admit it. ForceBook do nothing for me, acting-wise and chemistry-wise, and I am done struggling with analyzing TopMew. I'll let 'em be.

d) Last thoughts! Bye, Cheum. We haven't had enough of Nonnie in this series, and I wanna see Nonnie as April dump Cheum's ass and break shit in episode 12, the way Nonnie's real-life brother goes and breaks shit on social media. Way to hold no one, including yourself, truthfully accountable, Cheum.

(What in the. I would love a Soonvijarn episode on Jojo's thoughts on Cheum one day.)

Anyway, bye, B.

THAT'S ALMOST IT! Ephemerality? I hope Boston makes a whole bunch of righteous new homies in NYC. This whole series has made me sick and tired of proximate friends, lol. We'd better see Mond suck face with Khao and First. Andddd, bleep, bloop, that's all I got!

HOME BASE NEXT WEEK, FAM!

[EPHEMERALITY SQUAD, second-to-last weekend meta for ya! @slayerkitty (SK... I am so tired, lol), @ranchthoughts, @chickenstrangers, @twig-tea, @neuroticbookworm, @lurkingshan, @distant-screaming, @clara-maybe-ontheroad, @thatgirl4815]

#only friends the series #only friends meta #reblogging for the additions

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absolutebl · 3 years ago

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Why is Thailand obsessed with the husband- wife trope. Like its pretty annoying given that its a gay relationship and they make it seem like a het one. What are some bls (like bad buddy) where there is no implied 'husband-wife'

Husband Wife Language in Thai BL

It's heterosexual skew (the overlay of het relationship dynamics onto queer ones), so the narrative assumes that one party must "be the girl." This is pretty globally common.

Most of us who've been in a relationship that's not visually het have been asked, "So which one of you is the girl?" or "Which one of you is the boy?"

This is the narrative version of that.

It comes from an outsiders assumption about what it means to be gay and/or the fact that these narratives are not scripted (originally written) by those familiar with an actual queer existence (AKA the lack of a queer lens) as it is linguistically coded in the west.

It connects to patriarchal assumption that sex (as term and concept) must involve penetration. That "taking it" is somehow translated as a personality trait, and lots of other stuff. Thailand usually has pretty strong seme/uke dynamic and this trope is often ALSO het dysmorphic.

So the language being used is often translated as wife/husband.

HOWEVER, there are two words for wife in Thai, the one we hear in BL (sounds like mee-ha) and the official one you're taught ภรรยา or phryā. The one in BL seems to be a kind of slang that has a lot more nuance than just wife.

In Peru some of the quechua I encountered made a point of distinguishing between mi esposa, which had to do with the church, household, and social appearances, and mi mujer, which had to do with family, home, and affection. I think there’s something similarly distinct going on with the two words for wife in Thai.

All that said meeha is still feminizing. (Although it behoves me to point out there’s NOTHING innately wrong with the feminine, it’s just socially lowering, othering, and demeaning in patriarchal environments.) And may or may not be slang in the Thai gay community for catcher.

Partly I think captioners just don't know they can use the English word spouse under some circumstances, but also it's clear meeha is somewhat considered cute (by the narrative and the boys in the relationship).

Historically for BL, especially in Thailand, it has heritage. One of the first major BL’s first big moments of GAY GAY GAY was this:

Kong is is using phi for you and meeha for wife.

But that was 2016.

Under queer context and thinking of something like SCOY in 2022 I would have personally preferred they just go with top/bottom/verse language (at least in translation), but in Thai it doesn't seem like they are that blatant, or maybe even have the words for gay sex act roles - so meeha has kind of become a euphemism for bottom.

It's possible among some gay Thai men there is an actual adoption of meeha, much as "gurl!" and "beeatch" have been adopted amongst gay boys in the US. But that doesn't seem to be its application in BL. Use of ja, ha, and kha particles seems more common in this regard.

I'm not defending any of this, just trying to explain.

Repeat offenders include TharnType, SCOY, and ForthBeam in 2 Moons 2.

To answer your question:

Any BL that I file under “no sme/uke dynamic” will not use this trope or language: And yes, Pat & Pran are listed there. Also most of the non-school set Korean stuff, a lot of Taiwanese and quite a bit of Japanese stuff too.

(source)

#thai bl #asked and answered

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tygerbug · 2 years ago

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Dungeons and Dragons: Honor Among Thieves gives a modern comedic sensibility to its fantasy setting, more Community than Lord of the Rings. You can almost hear the players rolling dice to see how their next plan will play out. Scheme might be more accurate. It's partly a heist film. There's lots of action, and few big laughs but many chuckles. It's a smartly made film which goes for a tone which is difficult to nail, and largely succeeds with it.

The film is just grounded enough that it doesn't break the fourth wall to wink at the audience. But it never shakes the feeling that this is all taking place in 2023, rather than in some forgotten ancient age of giants. Or at least a version of 2023 that has wizards instead of smartphones. This appears to be intentional, an extension of how Dungeons & Dragons is a game played by modern-day people improvising around the kitchen table, who are only in character to the extent that they need to be. This could have felt like a CW TV show, but the film aims higher than that.

There's a hint of an idea here, of Chris Pine starring in something like The Princess Bride. But the script doesn't quite live up to that level of depth and subtext. We land closer to something like a Marvel movie, with Pine playing a snarky rogue who shows that he's a little bit bad by being unpleasant and rude about everything. Pine manages to play this likeably, where a lesser movie star would have failed at it. At times, when the script allows him to, he shows what he would have done with a more serious take on the character. I can imagine a Harrison Ford or Chris Pratt version of this, which in this context wouldn't have worked as well. Pine commits to a performance where we believe he's a good person, and he doesn't.

Hugh Grant (as Forge) similarly uses his aging good looks and charm to make it unclear how trustworthy his character is. It's a nervy, lived-in performance where he uses his entire personality to take over any scene in which he appears.

The filmmakers are John Francis Daley and Jonathan Goldstein, who did not direct Spider-Man Homecoming, but did direct Date Night. Daley costarred on the short-lived series Freaks and Geeks, as a kid who played Dungeons and Dragons. They seem like the ideal team to take on this subject matter, and take it almost seriously. You can feel every plot development clicking into place, and foreshadowed multiple times clearly before it happens, as if they're teaching a screenwriting class. You feel the effort, but the cast perform the material in a casual way which softens the blow. The result is solid enough, and those who wouldn't go to the theater for this will likely stumble across it on streaming television later and have a good time.

Michelle Rodriguez plays Holga, a butch female barbarian with an unusual taste in men. (Bradley Cooper is involved.) She spends much of her screentime beating the hell out of anyone who gets in her way, and the rest exuding the vibe of someone you could have a beer with. The female leads of the film seem queer-coded, although the film also assures us, in no uncertain terms, that they're straight. There is Sophia Lillis (a former Nancy Drew) as the plucky young shape-shifting Tiefling Druid Doric, whose character breaks a few actual D&D rules for convenience. Fast-paced effect scenes of her daring shape-shifting escapes feel rote rather than thrilling, but as a human she has an underdog quality which charms. There's also Daisy Head (yes, daughter of Tony) as the villainous witch Sofina, whose role consists of knowing when to be scary at the right times.

Justice Smith, of Detective Pikachu and Jurassic World Fallen Kingdom, affects a British accent to play the inept sorcerer Simon (there sure are a lot of sorcerers named Simon). In his mid-twenties during filming, he radiates awkward teenage energy instead, though with a casual coolness that keeps it from being irritating. Again, it's easy to imagine a much worse version of these characters, but this cast casually sidestep those problems.

Regé-Jean Page, of Bridgerton, also turns up as Xenk. There is a lot of tension between Xenk and Chris Pine's Edgin, as the two compete onscreen as to whom is more handsome and charismatic. Page makes this seem effortless, while Pine spends his time complaining. That's the joke, though it wears a bit thin, and they missed their chance to end the scene with a hug, as opposed to a handshake.

A scene in a graveyard was originally written as a Monty Python cameo, and is as close as this film gets to that kind of wordplay humor. In practice, and in makeup, it feels more like The Frighteners.

The script cares about its characters and wants them to succeed, and it's easy to imagine a more cynical take on the material, which would have fallen apart pretty quickly. The humor of the piece is entirely set in its world and plays by that world's rules. The characters have 2023 attitudes, but it's an alternate 2023 where they grew up in this realm. It's not humor which mocks or pokes at the setting, or stands apart from it. Instead they commit to existing in this world, a world which has established rules. If this is a D&D game, we see only the moments where the players are in character. Visually the film is a nonsense hodgepodge of vaguely fantasy-related design, without a truly consistent visual language, but this also can be forgiven as it suits the tone of the film, and the bright visuals are up to standard otherwise.

The characters from the 80s Dungeons and Dragons cartoon have an extended cameo as background characters, and the film is full of other such odds and ends. The toyline includes a Beholder, which is not in the film but may have been in earlier drafts.

In a move which shows how soulless these corporations are, Forgotten Realms creator Ed Greenwood is not credited at all.

Otherwise this is a solid adventure which captures the essence of Dungeons & Dragons in a clever and charming way.

Rating: Fresh / Recommended

(seen in theaters)

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scripttorture · 4 years ago

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In what instances would ICURE fail to change someone's beliefs? Would access to outside information or (not very good at their jobs) guards discussing events without tact help someone realise something fishy was going on?

Very broad question without clear, satisfying answers Anon.

Basically: there is no guaranteed way to change a person’s mind. There are strategies we know can’t work. But everything that has a chance of success also has a chance of failure. And it isn’t a clear cut thing that I can give you a clean list of factors for.

Humans are difficult creatures to study because they come with a lot of inbuilt confounding factors and individual variation. This makes it very difficult to identify clear reasons why something didn’t work. Because we have to assume that multiple factors are at work and the interaction of those factors may be as important as each factor individually.

Even if you write your villains performing ICURE ‘perfectly’ there is still a chance of failure. And therefore it is realistic for you to decide it fails for this character.

We can’t really study which ‘bits’ of ICURE are most effective. Partly because of that little thing called ethics but partly because setting up a study would be incredibly difficult. It’s hard enough to measure belief. Finding a large enough sample size, controlling for every possible confounding factor or variable and studying people for the years it would take to get any answers… It’s a big ask. It’s probably never going to happen.

So with the caveat that we can’t tell if any of the parts of ICURE are more important let’s talk about how they can break down.

ICURE, for everyone who hasn’t heard me talk about it before, is a set of techniques which can (sometimes) be used to manipulate a person into changing their views. They take months or years to have any real effect and as mentioned they’re not always successful.

The acronym stands for Isolate, Control information, create Uncertainty, Repetition and Emotive responses. And if you’re writing a story where villains are trying to apply this but not doing it well it can break down at literally any one of these points.

I would say based on what I’ve read that different groups focus more heavily on different aspects depending on their setting and strategy. Groups that are straight up kidnapping or imprisoning people often seem to focus more heavily on isolation and controlling information but often fall down on the other three. Whereas the impression I get of cults and some extremist political groups is that they focus more on creating uncertainty and emotive responses, which they can then use to further isolate members from family and friends.

Controlling information is a common place for ICURE to break down nowadays. The rise of the internet and the decreasing size of devices has made it easier for victims to access unauthorised sources even when imprisoned.

But repetition is also a very common place for ICURE to break down because in large groups not every individual is going to follow the same script perfectly. Group members can also undermine ICURE by lashing out, physically or verbally, driving their target away.

Creating uncertainty doesn’t always work. Sometimes victims straight up do not believe what they’re told. Some attempts to create uncertainty around core beliefs lead to a knee-jerk rejection of what’s being said. Sometimes targets know more about a given subject then the person trying to create uncertainty and as a result the attempt is absurdly obvious.

Emotive responses are similarly… charged. Attempting to instil a sense of disgust or rejection of something an individual supports won’t always work. Over a long period of time it can. But I can think of a lot of cases where it has instead taught individuals to lie to the group, hide their beliefs or activities and served to drive them away from the group.

Isolation is either difficult or easy depending on the context of the story. A character who is in a literal prison can easily be isolated from anyone but vetted individuals. A character who has been targetted by a cult, but is still going about normal day to day business, is a lot harder to isolate completely.

Cults and extremist groups tend to rely on uncertainty, repetition and emotive responses because they know that if they can shift a target’s beliefs the target will isolate themselves.

Let me give you an example to illustrate this. Imagine a country where there’s a big, culturally important celebration that involves eating candied orange peel and wearing red. Now imagine a cult within the country that rejects candy as sinful and wearing red as a sign of bad character.

A character targetted by this cult might feel increasingly uncomfortable with this festival. May be at first they go with their friends and family, wear red but don’t eat the candied orange peel. May be the year after they decide not to go, missing a chance to spend time with their friends and family. May be a few years later their rejection of the festival is so deep they try to persuade their friends and family not to go.

This leads to a big argument. They and their friends/family say things in the heat of the moment. Now all sides are upset and communication becomes harder.

These kinds of patterns of behaviour lead to the target isolating themselves from friends and family, as their views become more extreme and drive away people who aren’t members of the cult.

But crucially they can still choose to socialise with people outside of the cult. This will probably be met with social censure from the cult, making it difficult and painful. It is still possible. And outside friendships or activities can help a person to break free or resist ICURE techniques.

All of this basically means you have a lot of options for your story because there are plenty of things you can weave in that would undermine ICURE.

Your character is in prison, so breaking isolation is more difficult. But if the prison is overcrowded or there’s a sudden influx of people being transferred between facilities the character might end up with a… poor choice of cell mate from the guard’s perspective. Some one with beliefs radically opposed to the guards or someone who could support and shore up the character’s old beliefs.

There may also be opportunities for covert communication and bonding within the prison. Perhaps prisoners can gather during breaks and have worked out a cant or code to talk about beliefs the guards are trying to stamp out.

Control of information can break down because isolation has broken down, with prisoners trading information. It can also happen through the prisoner trading for a phone or a similar item allowing them to access forbidden information. Or it can happen through things like guards inadvertently giving out information.

Uncertainty is difficult to create around core beliefs. The impression I get from anecdotal accounts is that pushing too hard at core beliefs too early often causes targets to withdraw from the people attempting ICURE. It can also lead to targets doubling down on their beliefs.

People attempting ICURE can also mess up on creating uncertainty, as described above.

Repetition can break down because guards don’t all do or say the same things consistently. They could contradict each other. Or they might just not repeat the same thing very often.

Emotive responses can break down in much the same way creating uncertainty does. Not everyone responds emotionally to the same things or in the same way. Once again different guards can undermine the desired response. The character might dig in to their original position, they might withdraw from the people attempting ICURE. They might just learn to lie to them.

I think as a writer the best approach to this is to use a mix of internal and external factors effecting multiple parts of ICURE. Just because I think that would create a better story.

The readers can see the internal struggle and resistance in the character. They can also see the guards messing up and how that impacts the character. May be the importance of support from other people, fellow prisoners or cleaning staff or doctors or anyone else that fits with the setting.

Basically including multiple elements will give you a more fleshed out story with more emotional depth and impact. That’s a good narrative reason to include it.

I hope that helps. :)

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#writing advice #tw cults #tw torture #tw coercion #ICURE #ICURE techniques #ICURE failing #prisons #cults #leaving cults #manipulation #coercion

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chalkrevelations · 4 years ago

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SO. Back to the beginning, Episode 1 of Word of Honor. This is likely to be a little bit different experience than the prior posts, when I was watching the eps as they aired, compared to now approaching the show as whole and complete. May be rummaging around for things I missed the first time through, stuff that takes on new meaning set in additional context – we’ll see how it goes.

With that in mind, spoilers for not just this ep but possibly for the entire series. Get out of the car now and come back later, if you haven’t seen all 36.5 eps and want to watch it unspoiled.

First thing to strike me, right up front: You know, I think we tend to lose sight in later parts of the show – when we’re getting Laopo!Zhou Zishu pouting so he doesn’t have to cook dinner - how terrifying ZZS is in his own right (and by “we,” I actually mean the show, too). One of the things the first few episodes gets right, I think, is the sense of eerie inevitability and dread created by both the falling lanterns of Tian Chuang and the blowing paper figures of the Ghost Valley, and how similar they are. I think it’s easy to lose that - when the lanterns and the paper figures are gone and our charming and adorable couple are busy being charming and adorable at each other, in between varying rounds of being wracked by guilt and PTSD – easy to lose that this is there too, part of them – both of them - under the skin. I think it’s particularly easy to lose that for ZZS, when he’s already done a lot of work, off-screen, pre-Episode 1, during the 18 months he was putting in those first six Nails, to come to some kind of equilibrium, and meanwhile we watch Wen Kexing’s entire torturous process play out on-screen. Wen Kexing’s story is one of reaching an equilibrium, but Zhou Zishu’s story is one of maintaining it, which I think may be less showy, but is equally valuable, just as I value the Four Seasons Manor arc, especially, for giving us a vibe of two adults comfortable in an already intimate relationship, as opposed to the veritable sea of will-they-won’t-they tug-of-war coming-together-for-the-first-time-as-emotional-AND-plot climax relationships that we’re usually awash in.

Anyway, straight up we’re introduced to an assassin who, we discover, doesn’t like to get blood on himself. It looks like metaphorical blood is fine, just not actual blood, but then we discover, well, maybe he’s not as OK with metaphorical blood as he schools himself to look. Also that conversation with Li Jingan about her dad having to die because he’s a traitor to the country – I now wonder how much of that particular conversation Zhou Zishu mentally brings to the table in later conversations about his own father being executed for the same reason. Also, wait wait wait. Zhou Zishu tells Jingan that he took Jiuxiao’s body back to Four Seasons Manor and buried him next to their shifu, but I don’t remember seeing another grave there, other than Qin Huaizhang’s and his wife’s. Script inconsistency, or are you supposed to be lying, ZZS? I mean, would you be so downcast at the state of Four Seasons Manor when you arrive with your husband and son for your honeymoon, if you’d actually been there only a couple of years before? It didn’t fall to pieces overnight. Also, HAIRPIN FORESHADOWING ALERT. Our first sign of how important the hairpin is, the way ZZS’s impassive face cracks wide open when he sees the hairpin that Jiuxiao made and realizes he must have given it to Jingan. Clearly important!

Mmm. Here’s a point for the “Prince Jin is a f’kn asshole” list – Prince Jin wants ZZS to deal with Bi Changfeng personally when Bi Changfeng requests to leave Tian Chuang. And OK, ZZS is the leader of Tian Chuang. But you’re never going to convince me Prince Jin wants ZZS to deal with it personally because Prince Jin is actually so very furious that Bi Changfeng made a mistake. You will never convince me this isn’t a … it’s not even a test of loyalty, at this point, because Prince Jin has no reason to think yet that ZZS is anything other than the faithful hunting dog on a leash that he’s been, lo, these many years. Putting ZZS in a position where not only is he losing the last of the direct disciples of Four Seasons Manor, but he’s being asked to (as good as) kill him with his own hands - it’s just cruelty for the proof of your power and influence over someone. Also, given Prince Jin’s later diatribe about how everyone leaves him OMG (have you considered it’s your personality?) (But also Beiyuan! I know who you are now, and yeah, I would have let Wu Xi bride-kidnap me away from this jerk, too), I have to wonder if Prince Jin isn’t trying to make ZZS feel exactly as isolated as he, himself, feels, as part of his overall desire to make sure that ZZS has no one other than Prince Jin so that their positions are parallel – only having each other in the whole world. I also have to wonder if he’s not hoping for precisely the reaction ZZS has to Bi Changfeng – you’d rather be dead than be with me? Because that hurts, you can see it on ZZS’s face (thanks already, Zhang Zhehan), and I rather suspect Prince Jin wants it to hurt. I notice we get an echo of this later in the ep, with Prince Jin saying pretty much the same thing when ZZS asks for the final Nail. GOOD. I hope it hurts you just as much. I wonder if ZZS realizes this while he’s kneeling there in the throne room. It’s probably too late for him to get any satisfaction out of it.

OH, HEY. That’s HAN YING already, one of the two people accompanying ZZS to put down Bi Changfeng, looking super-pained like he knows what this is all costing his beloved. Han Ying, I really hope you got to tap that at least a few times before ZZS made his break for it. Is that one of the reasons Prince Jin seems to have such antipathy for you, or is it really just that he can’t stand the idea of someone whose loyalty to ZZS is greater than their loyalty to Prince Jin, himself? (Seriously, y’all, why is there not much much more Han Ying/ZZS fic?) Meanwhile Duan Pengju, omg, this asshole, is already looking smug and punchable. Really, he’s kind of enjoying the Seven Nails placement a little too much. Showing your hand pretty fast on the petty evil thing, show.

So, one thing I didn’t catch the first time around, is that ZZS isn’t just self-injuring to punish himself when he takes the knife to his chest – he re-opens wounds on all the places where the first six Nails have already been placed, so it will look like the placement is fresh. If you can’t tell he hasn’t just put them in, there’s no reason for anyone else (read: Prince Jin) to suspect he’s bought himself some time before he loses his senses. As far as anyone knows, he’s going to fall over with locked-in syndrome any day now. Which just makes the implications of Prince Jin vowing that he’s only letting him go for now EVEN ICKIER. For all Prince Jin knows, what he’s going to get back is a flesh doll that will just lie there, although I guess on the plus side, ZZS would never leave him again. Thanks, show, I need a shower, now.

ZZS says all the right things to argue his case to Prince Jin – he’s only good as a weapon, he has no skills nor utility for building and governing the country – and I think partly this is because he just knows the right things to say. I mean, you don’t become the Number Two guy in the country, with thousands under you and only one above you, if you can’t play imperial politics. But I also wonder if deep down he doesn’t actually believe it – he was successful at building Tian Chuang, but he couldn’t maintain Four Seasons Manor and even drove it to ruin. So, I’ll just be over here, clutching my chest, over my heart. Fortunately, Zhang Zhehan provides quick distraction from this pain, and I … Y’all. I can’t. I just. I CANNOT. When ZZS drops to his knees and starts stripping in the throne room. Just. Mmmmmrgh. THIS VISUAL. Although, you want to know what one of the hottest parts actually is? That pair of leather bracers hitting the floor on top of his belt, and ZZS isn’t even in the shot at that point. OK, fine, I am willing to read some dirtybadwrong fic with this whole scene premise at its heart, even if it does include Prince Jin. Zhang Zhehan, you are KILLING ME. I might have rewound this part. More than once. You can’t prove anything.

Aaaand then we get that gorgeous, painful shot of ZZS riding out into the snow that I know I’ve talked about before (including the way I get an odd echo of Lan Xichen off of it). There are several places in this ep where the cinematography is to die for, and this is one of them, the bleakness of the landscape and Zhang Zhehan (and his FACE) deep in that shadowing cloak against the stark snow as he rides out into freedom and the unknown. Then cut to somewhere green and forested. Interesting that the show starts with snow and ends with snow. That parallel with the imperial cage says some things about immortality that could stand to be unpacked – but later. Because ZZS is putting his face on – literally – and I am once again in pain, only it’s not the good kind of pain. It’s caused by that dreadful fake facial hair. There are some things that could be unpacked here, as well, about the fact that making ZZS supposedly unattractive involves a clearly fake goatee, a single aesthetically placed scar, and darkening his skin. I’m going to try to step carefully here, because this is kind of out of my lane, but it is … a noticeable thing. That probably ought to be noted.

So, ZZS takes just a moment to turn his (fake) face up to the sun and feel the warmth on it … and then with 10 minutes left, we’re on our way to Ghost Valley, where there’s some chaos and then Hanging Ghost gets got by a Mysterious Stranger To Be Revealed Later, who chokes him out (remember this). The Mysterious Master of Ghost Valley appears dramatically on his High Ledge to Make Some Pronouncements while playing with some walnuts omg (rolling two of them in one hand – remember this), and we see his eyes, which are partially obscured by chunky sidebangs, which are farther forward on his forehead than we’re going to see later, not only hiding some of his face but making it look more angular. The troops get berated, shit rolls downhill, and another dude gets choked (remember this) as Ghost Valley Master’s hair continues to artfully hide most of his face and he worries about his manicure post-kill (remember this). War is declared on Hanging Ghost for stealing the Glazed Armor, and more chaos is set into motion.

All of that takes literally two minutes, and then we cut to three months later, and no one realizes it yet, but the fam is getting together. ZZS is tits out in the gutter - only beginning his career of being a minx who flashes his collarbones an awful lot for someone who has Very Secret Scars He’s Hiding On His Chest - happily drinking himself to death in the sun (we really need to talk about this correlation of snow and immortality vs. sun and happiness …). Meanwhile, slo-mo shot of Wen Kexing looking precious and perfect, with delicate pink lips and dove-grey robes, as he checks out the rough trade in the gutter. Oh, the expectations this show is getting ready to smash. We cut from a shot of pristine precious WKX to ZZS holding up his hand, and we get a shot of the sun through ZZS’s fingers looking an awful lot like some shots of characters halo’d in light that we’ll get back to much much later in the show. Chengling appears out of nowhere to be Best Boy. A-Xiang is purple and smol and ready to brawl, and I already love her. I already love them all! So much! Here are my delicate and precious feelings, show, go ahead and stomp all over them!

#zhou zishu #prince jin #han ying #wen kexing #gu xiang #zhang chengling #word of honor #word of honor episode reax

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collectionoftulips · 3 years ago

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I'm thinking about a Kate Is Anthony's Mistress fic and I got some ideas but I can't figure out how or why Kate would temporarily leave Anthony. Do you have any suggestions?

I'm so honoured you would ask me for advice, so thank you so much for that. Below are obviously my thoughts and keep in mind I'm not an expert at writing and it will include my interpretation of some of the characters (other ways of viewing the same character is just as valid, and anything I say in this post should be caveated with 'in my opinion'), but here goes (and I apologise for this being a bit lengthy but I am apparently a bit of a writing nerd and like talking about writing choices etc?):

The first thing I would say is that I think it would depend on how big of a deal the separation would be. When I write, I try to tie the central conflict(s) into the theme of the story I want to tell. If it's a minor conflict not related to the main thesis of the story, it can still be done that way but it's not as necessary. So for my mistress AU story that I wrote, I ended up going down the miscommunication route for the central reason for their conflict. The issue in that story was never the absence of feelings, but rather the ability (or inability) to express those feelings partly due to the social context that was Regency England (pretty much everything followed a very tightly regimented social script - but also not a historian!), but also due to their own personal insecurities. So when I separated Kate and Anthony in that story, because it was because the miscommunication was in part fuelled by the social norms of the time and because it trigged both of their deepest insecurities in different ways.

Less abstractly in terms of reasons, I think one of the most delightful things I find writing Anthony is that he is a character who so closely guards his feelings but at the same time seems to almost wear his heart on his sleeve, and push comes to shove, is a very hotheaded person. That combined with the fact that he grew up with almost (at least to me) inconceivable wealth and privilege means that he's probably prone to say something silly or do stuff that might not be entirely wise (and I say this with all the affection in the world). He tries his best to suppress his emotions but his natural inclination is to be a very passionate person, so that opens up a lot of opportunities for him to say something ill-advised. Maybe he says something classist, generally assholey, or maybe he freaks out and goes a little bit overboard trying to conceal his feelings for Kate (in terms of overrcorrecting proposing to the sister of the person you're in love with, it's really up there).

The way I see Kate is that she is a character who has really little patience for any of these things, especially if they inadvertently trigger some of her own insecurities or vulnerabilities, as she like Anthony is a very guarded person (but is much better at hiding her vulnerability or how she truly feels). To me, a lot of Kate's issues are stemmed in self-worth (in the books it was expressed through concerns over her looks etc, in the book it was more about not being enough or not having earned her family's affection) and especially with the almost at times comical way in which she would announce she's returning to India, she seems like a character who (when disappointed or otherwise) would try to remove herself from a situation if possible (especially if that situation is caused by an over-privileged temperamental manchild* whom she inexplicably finds herself caring for despite her highly attuned warning bells telling her to run in the other direction).

So, in short, I think there's a lot of options and in general it depends on what kind of story you want to tell. I know the answer above is sort of centred around a miscommunication issue, due to how I wrote my own fic, but it could also be that Anthony does something ill-advised that he has to then atone for, or is put in a situation by circumstances that hurt Kate's feelings. What's so delightful, I think, about this fandom and this pairing in particular is that I find them so psychologically interesting and they are on the surface so incompatible yet also deeply similar that it really is sometimes a miracle that they get together at all 😂

Hope this was helpful and maybe gave you some ideas. If it was or wasn't please let me know, and thank you for your ask and for putting up with my rambling.

(* = again, said with all the affection. Anthony and Simon are as characters really just walking adverts for why therapy should be heavily subsidised and publicly available and offered to everyone, imo)

#kathony #kanthony #anon - i hope you don't mind me adding those tags in because i don't know if people get notified of anonymous asks being answered

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dystopiandilfs · 4 years ago

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I find it interesting how each Feral boy is with DreamSMP lore and how they approach it if they do. This is also some ideas and improvements. This is all my opinion and you don't have to agree or disagree.

Disclaimer this will be me using comparisons as it makes it easier to explain. This isn't me saying one person is better than another. Some might be negative points, some will be positive so no critical tags sorry. Even with me once again expressing my strong negative opinions on Tales. The idea is good the execution is not.

This is based off of multiple things; Character story, Character traits, Lore?, Plot holes, Fan theories, General enjoyment, Viewer impact, Clear goals etc

Dream seems to enjoy it the most as he offers to join everyone's lore as well as helping when he can and also trying to include others into "main" lore He also has managed to create a character with a full storyline without not once streaming from his perspective. He's very good at doing things that may seem small at the time but ends up having a huge impact. He manages to have a full storyline and a complete character but still leaves room for theories and headcanons for people to add on (Dreamon my beloved 💕). Because we don't see his perspective we don't know his intentions or goals so he's made his character detailed but mysterious which is actually quite difficult as he's the main character (Sorry Ranboo but it's true)

When it comes to acting he's very good at staying in character even when things get a bit scuffed obviously there's a few moments of breaking character but they're not him trying to get others to break character with jokes and voices they're genuine fuck ups (Accidentally blowing himself up and breaking character to both clear up confusion about it being canon and to switch from a tense atmosphere to give the audience a break for a bit and breaking character to say his Twitch handle after accidentally breaking TOS so George didn't get banned)

Dream said he's got a storyline from his perspective and it's all prerecorded which I'm excited for as I think it's going to be a bunch of flashbacks which could expand both character backstory but also create more storylines for people to bounce off of. For example if he did a flashback with some of the OG members they could build from that. It could give more of an explanation of why he changed. Essentially Dream's lore could be a bunch of behind the scene clips giving more lore for characters like him discussing the egg or prison with Sam, him and Punz talking more about the deal, him and Techno , him and Puffy, him and Ranboo. Dream is the main character because literally ever other character can do a flashback scene with him and build a whole storyline from it. For example Dreamon Hunters can be bought back in which already was linked to the Egg by Fundy. To sum it up Dream's lore from his perspective can not only made way for multiple new theories and headcanons but also is the easiest way for other characters to have more dimension even with a 20 second clip. And it gives more context to Dream as a character. Disclaimer this isn't me saying people can only be dimensional characters because of Dream I'm saying that Dream is the easiest way for someone to start a storyline that they can then work on if they want.

Quackity can do lore if he puts his mind to it. However it also has to rely on multiple things. Who the lore is with?, How serious is it? And What's the vibe? Basically if Quackity is with people who don't do serious lore or people who crack jokes often then his lore won't have that good quality lore I know it can be. For example Quackity's lore with Sam and Dream couldn't be replicated with most other people on the server. I can't even imagine if Karl and George were trying to do the prison lore. Even in Quackity's big stream you can see this difference Schlatt's bit dragged on and often got derailed because whilst they were both interested in the lore they weren't invested. The bit with BBH was a bit all over the place because they were both talking over each other and you could sort of tell it had little to no script or end goal but this was also partly down to them both being very into lore. They both tried to stick to their pre-existing character traits which clash Vs the Prison which had a clear script even if it was vague. Go to prison, convince Sam to bring weapons, Go torture Dream. Sam, Dream and Quackity are 3 of the most mysterious characters who have no clear plans, you can't predict their moves which is why any lore with them is good because they don't have a character personality that they have to stick to. For example Dream is known to adapt for each person so he could be nice one minute and demon child next.

Once Quackity has broken character he used to completely lose it. The vibe was gone however I was highly impressed with how he and Sam managed to keep the vibe when the prison broke. Previously Quackity would have lost his shit and derailed everything. I do think Quackity's strongest lore point is going with other strong lore members or just being on his own.

George and Sapnap I'm going to sort of link together. They both seen to be a bit meh on lore. I think it genuinely depends on what mood they're in. I also think that they'll both be much more comfortable doing lore that's prefilmed Vs live on stream.

Sapnap is very good at bouncing off of people so I think he'd be really good at lore with most people. I think Sapnap could definitely capitalise on the angst of being the abandoned one who is loyal to death but doesn't have the same in return. Like Dream both Sapnap and George are good at voice manipulation meaning if they want sad angst they can sound upset. Sapnap seems more tempted to do on the spot lore so he can't back out so that's another option. Like Sapnap has multiple headcanons handed to him and I know this bitch can act his little yeehaw soul out. Even if it's short clips talking to people like Punz or Sam who he seems closest to.

George has this strange ability to kickstart ideas for lore and then let's others build from it. (Also his ability for all of his lore to have a LGBTQ subtext like pack it up Dean Winchester) I genuinely don't think it's intentional however I think with a bit of thought he can have a general well rounded character. I know he did that lore the other day and has started to build up a character background however I think he's better with less serious lore people as I don't think he can do serious mood streams like Dream or Ranboo but can potentially hold it long enough for a bit like Techno or Phil. I think George's weakness is he'd rather someone else guide him through lore instead of doing it himself. Man really doesn't like being the main character.

Karl seems to want to do lore but doesn't have the ability to create it. He has all these ideas but can't form a proper story about it. I used to have this issue where I had all these cool bullet point ideas but I could never form a cool idea with them and I think Karl has the same issue. In my opinion if Karl does want to continue with Tales and bullet point ideas I think he needs help formulating a bit more of a story. Once again like Sapnap and George I think he excels in prerecorded lore however it's also either heavily scripted or he's having his hand held through it. Which is fine but that's why a lot of people can't connect Tales to DreamSMP as his streams are the only ones that are heavily scripted and it gives off a different vibe. Karl is also too bubbly to crack down on serious lore which is fine not all lore needs to be serious and angsty however he tries to make it deep. I personally think that Karl should capitalise on this uwu soft boy persona he has. No deep lore. Obviously choosing memory loss time travel involves serious moments but I think he needs to split it more between dark angst and wholesome Karlnapity moments. What I mean is that Karl on DreamSMP and Tales Karl seem like 2 completely different characters that just so happen to share a name. I think the prerecorded bit at the end needs to begin to add his DreamSMP personality a bit more.

TLDR: Dream is strongest lore, Quackity works best with serious lore with people invested or on his own with a bit of direction, Sapnap and George will probably be better off doing prerecorded lore as it seems more comfortable for them, Karl struggles to put his ideas into a storyline and would benefit from doing less heavily scripted pre recorded lore to make his storyline cohesive Vs a bunch of one shots.

To sum it up Dream is Hot and should bring back Dreamons, Quackity needs to work more with serious lore people, Sapnap should Capitalise on his loyalty trait and constant abandonment for maximum angst, George should cry on command more, Karl needs spend more time writing instead of paying for builds.

#dreamsmp #dreamwastaken #dream smp #georgenotfound #mcyt #sapnap #badboyhalo #tubbo #karl jacobs #philza #quackity #punz

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luninosity · 4 years ago

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Okay, so, some Falcon and the Winter Soldier thoughts (will have some spoilers) for episodes two and three. General non-spoilery comment first: I feel like these were both *okay* episodes - neither as good as the first, but I didn’t dislike them, either. I’m still really curious to see how we’re going to wrap this all up in three more episodes; it doesn’t feel like we’re halfway done yet!

Okay, more spoiler-y notes below the Read More, not in any real order, just as I think and type. I’ll probably forget some things, but for now, here’re some thoughts...

--I like ep 3 slightly more than ep 2, mostly because of Zemo!

--I actually really love Zemo here (I liked him in Civil War, too): complex, sardonic, enjoying poking at people, a villain we do feel sympathy for even as he’s still sharp enough to remind us that he is a villain. Daniel Bruhl has always done a fantastic job flipping between calculated cruelty, wry humor - the whole “I am a Baron” moment was great - and pain that for him is still raw, about the loss of his family. (Some things’re awfully cliche - look, the supervillain’s playing chess and reading Machiavelli in his cell? really? - but, y’know...sure. Why not. We expect some cliches in the superhero genre, and this is an inoffensive one.)

--also Zemo dancing. That’s it. That’s everything.

--moving on from that: I’m also really liking how they’re writing John Walker. He does have charm, and there’s a certain amount of sympathy - especially as we see him worrying about filling the Captain America shoes, in ep 2 - but we’re also getting this really subtle sense of wrongness about him. He’s clearly vindictive and angry when things (and people) don’t act according to his mental script for them, and he’s willing to use his name and power to do things like get Bucky released...which in context and given our sympathies for Bucky is a good thing, but...it’s also an indicator of his willingness to do what he wants, because he can. (To be fair, Steve Rogers also often did that! - but Steve earned our trust, both in narrative and character. From his first introduction to WWII leadership experience to all the Avengers stuff, Steve consistently acts to protect people, and he’ll also listen if someone else has a good idea or if someone needs to talk, like with Wanda.) So I’m really liking this slow-fuse character development.

--mixed feelings about Sharon. I love that the show’s acknowledging how much she sacrificed for our main heroes, with no reward. On the other hand, she also clearly knew the consequences that could happen; she said as much at the time. The level of bitterness seems like a lot. But I’m also interested in everything we still don’t know about her - if she’s not the Power Broker herself, she’s obviously Up To Something. So that should be fun.

--hey, look at that X-Men location, with Majipoor! Also a nod to Wolverine’s favorite bar there, I think?

--I love heist and disguise plots!

--I also really like Bucky’s having to revert to the Winter Soldier - Sebastian Stan does it so brilliantly, with so many layers of emotion: not wanting to, loathing it, recognizing the necessity, shutting off all emotion and just coldly doing it, hurting but covering it up...just fantastic, and you know I love some hurt/comfort, and this seems like such a great set-up for emotional hurt

--but! this also seems like...a weird plot hole, kind of? Bucky’s pretty famous at this point, right? I imagine the criminal underworld knows he’s been pardoned and deprogrammed, right? or do they assume Zemo, with his knowledge of Hydra, still has some special control over him?

--along the same “this seems like someone didn’t think this through” path, Sam, you’re a professional, turn off your phone on a mission. Oh my god. Face-palmingly stupid - and I think somewhat lazy writing, as the writers plainly needed a giveaway, and went for the first idea they had. Even if it made a main character look incompetent.

--the Flag Smashers and Karli are...fine. They feel very Generic Marvel Villain - not the big space alien type, but the other type, the “I have a personal loss and motivating pain so I’m a little sympathetic but also Clearly Evil, watch me kill civilians so the audience won’t ever find me TOO sympathetic” type. Meh. Fine. Zemo’s more interesting, but...fine.

--Anthony Mackie is such a fantastic actor - every bit of his reaction to the Isaiah Bradley reveal is so good. The anger, pain, frustration, ferocity...heartbreaking. Actually that whole scene is so good - his emotions at discovering this secret history are palpable, and it’s so painful, because we also understand why Bucky would keep the secret - as someone who knows about pain and trauma and being experimented on, and knowing Isaiah wants to be left alone - we feel really deeply for both characters here, and it’s great.

--I actually liked the abrupt swing from the Isaiah Bradley encounter to the casual everyday racism of the cops on the street - is it subtle, no. But it’s not meant to be: it’s meant to be standing up and shouting about how not that much has really changed, and about how pervasive racism is. I know some reviews were all, “this was just too much!” or “too forced!” but...look, it needs to be shouted sometimes for people to hear.

--Bucky’s notebook being Steve’s, oh, ouch, my feelings. If I had the time and energy to write fic...

--(also, if I had the time and energy to write dark!fic: where’re my fics in which Zemo’s implication about the Winter Soldier “doing anything you want” gets played with? what or who does Bucky have to do to keep the undercover charade going? so many Bad Wrong Kinky power dynamics and explorations of consent and what this would do to Bucky’s head, here, and honestly I’d totally read them all, just saying.)

--Sam and Bucky together...I don’t know. This is one of the elements that I’m not actually a huge fan of, but I think it’s partly a personal genre / sense of humor thing that’s not clicking for me, personally, again. Like...

--I don’t find people shouting aggrievedly at each other to be funny? I’m not sure why it is.

--I mean, I get that they’re doing, like, eighties buddy cop movies, but...it got old really fast then, and it’s not something we needed to bring back. It’s not clever, and it’s...well, shouty and annoying.

--(I say this as someone who genuinely likes the first two Lethal Weapon movies...but the significant difference is, I think, we’re also shown in both those movies that Riggs and Murtaugh care about each other. They don’t want to be partners initially, and they don’t get along initially, and they do argue over tactics**...but they immediately feel responsible for each other and act to protect each other even as they argue, because it’s the right thing to do and we’re shown moments of them awkwardly trying to connect, because they both have that deep sense of...protectiveness...that makes them Good People - like, if they learn something that the other person needs to know, they tell each other. They protect each other’s families / love interests. So by the end of the second movie, with that fabulous character death fake-out, Murtaugh’s initial shock and grief is real and powerful and painful, and so is his genuine relief when the worst isn’t true - and it’s all earned.) (**however, they tend to argue tactics *before* jumping in - “is it 1, 2, 3, go on 3? or 3, then go?” And then once that’s established, they go ahead. That makes a difference as far as...well...competence and teamwork!)

--(Sam and Bucky, as far as I can tell, don’t do the above, and just...maybe shouldn’t be working together?)

--I also don’t find grown men acting like my youngest nephew, when he’s having a temper tantrum, to be funny. Staring contests? Random insults? Sulking in silence? Oh, grow up.

--(Also, yes, writers, we see you with the “couples therapy” and “get closer and make your legs touch” and “landing on top of each other as they hit the ground” moments. I, at least, personally, am very tired of...I don’t know that I’d call it queerbaiting exactly, but this idea that we’re supposed to find these moments funny...because why? Because, ooh, they’re two men getting close to each other, physically or emotionally? Why is this a thing we need to draw attention to? Do you think you’re doing some sort of fan service? Please either make Sam/Bucky happen or stop doing this.)

--both Sam and Bucky are highly competent and professional agents, or they should be. They should know how to work in the field - even with people they may not like - and adapt to shifting strategy, make best use of available assets, include people in the plan, etc. I can’t help but compare this to something like, say, Leverage, which also has a team who mocks each other and makes jokes but clearly absolutely respects each other’s capabilities, has a plan going in and tells everyone what the plan is, and adapts (and trusts each other to adapt) on the fly as necessary, and does it all without random insults about someone’s (PTSD-related) staring and “robot brain”.

--one of the very specific moments that bothers me a lot is the ending of the therapy scene (yay for showing heroes in therapy! but also I’m pretty sure she’s...not a great therapist?). Bucky finally opens up and says something real, about his own self-doubt and wondering whether Steve was wrong about him....and Sam just...brushes it off and goes, “we’re done here,” basically. Not only does that feel wildly out of character for former counselor Sam, it feels cruel. I really deeply dislike that moment the more I think about it. Makes me want to scream.

--Sam insults Bucky way more than the other way around. It’s starting to feel very one-sided (it’d be better if more clearly reciprocal, though it’s still not a dynamic that’s my favorite), and again, feels out of character - maybe this is Anthony Mackie’s sense of humor, but Sam isn’t Mackie, and Bucky isn’t Seb, and it reads as...a weird unbalanced power-trip thing to me. And also out of character for Sam, who can be sarcastic (”If you guys eat that sort of thing,” about breakfast, when Steve and Nat have randomly shown up at his door) but that’s not the same as just throwing unprovoked insults at a person who’s trying to recover from trauma, and a lot of those insults seem to center on things that were done to Bucky, that he had no choice in (the staring, the arm, etc), and that feels....it just feels mean, to me. Make fun of things he’s had a choice in / can do something about, if you have to - hair, clothes, liking “old people’s games” like gin rummy or pinochle, not knowing who Beyonce is, I don’t know, there are so many options that aren’t cruel! Do that instead. Let Bucky have a good comeback for once, too!

--the action scenes are action scenes. Also fine.

--Sam might be right about destroying the shield, and the show may even be (unintentionally?) setting that up as the best outcome, but that’s a problem for the future, Sam; get it back first. Also it’s a problem you caused by giving the shield up - did you really trust the government to leave it unused in a museum? You’re not that naive.

--overall, it’s...a perfectly fine show, so far, I think? Solid, and interesting, but not great. I think some of what doesn’t work for me is because it doesn’t work for me personally, as far as the shouty insult-heavy action “comedy” bits that I’m not enjoying, but I think they’re doing what they aimed for with it, so in that sense, I guess it’s working? There’s a lot of really cool stuff around the edges - John Walker, Isaiah Bradley, that Dora Milaje stinger, the bigger world of a history interwoven with racism and superpowers, the chillingly effective use of Bucky’s past - but I wish I liked the central Sam-Bucky relationship more. Individually they’re wonderful - they’ve both had such powerful scenes dealing with family, trauma, and consequences - but I feel like, in the effort to do the buddy comedy dynamic, the writing has just made me really sure that they actually genuinely don’t like each other? To such an extent that if they show any affection / caring / interest in each other in the last three episodes, it won’t be believable. (I mean Sam and Bucky, not Mackie and Seb. Mackie and Seb’re adorable.)

--I just want to think about Zemo dancing some more.

#the falcon and the winter soldier #tfatws spoilers #spoilers #fatws spoilers #thoughts

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rigelmejo · 4 years ago

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7/23/2021 Reading Progress - Almost 2 Years

I know I posted a little about reading progress a few days ago, but it’s really just exciting to me! And really really motivating!

These past few days, I’ve been reading one of my favorite fanfic writers. I started intensively reading, and now I can get by reading faster (which for me is only 140 characters a minute ToT so still quite slow but hey its something) and just looking an ACTUAL only 4-5 new words per chapter (which is 4000-5000 characters). Just the fact I am ACTUALLY 98% comprehending chinese reading material. And material I actually want to be reading. Goal reading material! Because like?

Even when I was extensively reading before, I was reading stuff that was ‘hard’ to read extensively (enough that I’d need to think and use any clues from context to guess what’s going on for certain key words and phrases I didn’t know but needed, and there were enough of those that I needed to focus a lot). This is really like the first extensive reading I’ve been able to do where I can actually just relax and speed read the extensive reading if I want to. Where it feels more like reading Lord of the Rings fast, or Dracula (some vocab I don’t know or weird phrasings for me but its fine to get through until I get used to it) - or some stuff easier now like reading Good Omens (where its an easy read where I get comfortable fast). Where it feels much more like reading english, just slower (and with less context hints for new words lol - since english I can sound out and guess if I heard it before and already know all the ‘word stem’ hints of meaning). Now, because of there being less ‘context stuff’ i can rely on compared to english, i do plan to keep using a digital dictionary to read sometimes (especially because it is the FASTEST way for me personally to reinforce new hanzi pronunciations).

Like. This past week I’ve been following the Silent Reading audiobook along with the novel, and also just reading the Chinese novel. And also just reading some new stuff by one of my favorite fanfic authors. And I’ve been able to. The fanfic story is a bit easier, so I suppose I can read it with no prior context! (That’s what I looked up about 5 new words for - chairman, deputy were the keywords I needed then most of the rest made sense from context lol). And Silent Reading I read in english but like years ago, so many paragraphs felt new to me but they were fine to read except a few description-dense sections where something economic-related was being said (along with some 4-character phrases I wasn’t sure of). I knew lately I’ve been able to read new Guardian chapters while following along with the audiobook without the english translation, if I don’t want to know every single word but just follow the plot/most of it, so its been really cool seeing this week that I can do it with Silent Reading too!

I’m fairly sure my level of comprehension is like this: the more murder mystery, investigative/detectives, more contemporary, more supernatural, more romantic, more daily life - the more I will comprehend it.

Those seem to be my more ‘comfortable domains’ vocabulary wise. Specifically mystery/supernatural/contemporary (since most anything I watch or read is in usually at least one of these genres partly). When I get into xianxia, the farther it is from the very joking/basic SVSSS xianxia vocab the less I can comprehend. I did read 28 chapters of Tian Ya Ke before so maybe some of that will help with reading wuxia genre, but I’d argue it was months ago and tyk doesn’t really go very deep into using wuxia genre words compared to some novels. So basically my xianxia and wuxia vocab is very basic main-plot words like you’d hear in show scripts, but not necessarily enough to follow the details of novels - I do think I know enough to follow the overall main plot though. Happily, Tian Ya Ke and Qi Ye are on my reading list in the future, so they may both help more with political/court and wuxia genre words so that those genres get more comprehensible for me.

I’m really excited about the tyk and qy reads now, since I planned to read them extensively while glancing at the english translation for help if I didn’t understand. And since I’m starting to be able to extensively read some of priest okay, then doing that with a novel while using the translation so its like a bilingual-resource to reference making things easier, should not be as hard/intensive as it might have been a few months ago.

This is just. For me a very big milestone. I’m at a point where some of my goal reading is something I can extensively read without too much pain, and have enough hanzi-knowledge to guess some new words and phrases from context a decent amount of the time.

Summary: it’ll be 2 years in a month. And I’m officially at a point where some of the goal novels are able to be extensively read, genuinely, and some of the ‘goal other stuff’ is extensively readable now (some fanfics, some easier bl novels, etc). Past me would be really excited. ToT

I plan to: keep reading intensively and extensively (with an emphasis on reading through a lot more characters/words), keep doing L-R Method and listening-only during day (keep working on improving listening). And occasionally shadowing now/repeated listening/practicing speaking. In the long term: I’d like to read my grammar guide and practice writing/speaking from what I learn.

That plan has worked really well the past few months

Related: my japanese reading skill! Because weirdly enough its been seeing improvements too!

So, I already realized me knowing more hanzi definitely helps me ‘guess more japanese words’ from context. Because: 1. its like english-french, while some are false cognates with nothing actually in common I can sometimes figure that out from the fact the scene is ‘wrong’ for the word I would’ve guessed, and I do know the word endings in japanese so that helps guess if its noun/adjective/verb, and I do know around 2000 common japanese words specifically so that also helps me notice what’s not actually similar in meaning. 2. so i’ve got this basic framework to guess stuff from context: 2000 japanese words I do know, some basic grammar recognition, ~2000 hanzi I do know and then however many chinese words I know, rough recognition of some of the katakana words, and then I usually try to read something I have prior context for so I’ve either read/played in english or know the overall plot main points in english. Apparently all of this helps a lot.

Now its not putting me on anything near 98% comprehension lol (except maybe KH2 since I know that story so well I really do figure out a lot but its more like idk 90% and me just very good at telling ‘unknown part’ was ‘probably X’ but not actually able to be sure, so i can follow fully but i’m not able to learn from a certain amount just cause i can’t be sure its not perhaps actually-something-else more nuanced). But whatever comprehension it puts me at, its enough to follow the main plot (better than I could ever do before with japanese lol with anything more than... well anything... i couldn’t follow even simple manga main overall plot unless i had a dictionary at year 2.5... so now the fact i can generally follow main plot of games, and catch a decent amount of details - not a majority but still regularly noticing some details, all without a dictionary, is pretty cool to me).

Lately I’ve been watching some REALLY old Shin Megami Tensei and related game lets plays in japanese, with the player reading aloud (so hopefully I learn some actual word pronounciations my biggest weak point). Because I understand enough right now that I can pick up a lot more just by continuing to watch. Like, playing KH2 I could pick up the ‘reading’ of some new stuff and grammar. But with a voiced lets play, I can also try to pick up those new words and maybe if I’m lucky how the more common ones are pronounced as they’re said again and again. I figure I can probably learn a lot more words this way, and continue getting used to the grammar, for a while before I see less frequent payoff. For now, I’m seeing constant easy payoff from doing it. I’ve got a lot of grammar I’ve read details on but not seen regularly enough to get used to, so that all gets reinforced and learned better. And I’ve got a lot of hanzi I know, and doing this helps me start learning the similar-cognate kanji and words writing/pronunciation, the slightly different ones and their rougher meaning along with writing/pronunciation, to be aware which ones are totally different (tho depending on scene context i may or may not learn these words at least i’ll know they’re not the same).

My point is: now engaging with japanese is a lot more relaxing and enjoyable. (I realize lol a few months ago playing in japanese or watching a lets play was doable but exhausting, so perhaps i am getting more used to it or actually have learned a little lol). In the sense that, now it feels a lot more like ‘reading french when i started learning’ - i feel like i have a LOT more scaffolding to lean on and help me when i’m struggling, whereas i know the first 2.5 years i studied japanese i felt drowning since nothing was familiar - not the grammar, not the words, not the sound, not the lack of word-spaces, etc. Now it feels like there’s a lot more i have ‘some prior experience’ with (from grammar being restudied over and over now lol and i still need much more lol, to onyomi kanji pronunciations now being my favorite lol and kanji my favorite part of reading), so when i’m diving into japanese instead of drowning i have some floaties to grab onto usually (unless i go outside of the domains i’m used to).

By domains i mean - if I try listening-only i still drown (since then i only have grammar and 2000 japanese words i’m still rusty on listening to), if i do listening-watching without subs i have fewer floaties to grab (i have my 2000 learned words but am super rusty on hearing them especially without kanji to see for reference), obviously if its an old or technical text i will drown (im used to modern japanese, and very specifically daily life or supernatural/light-fantasy video game stories). So like... nier, kh2, crisis core, persona games, smt games, are much more in my comfort level of following a plot (again with subs, because without subs it HAS to be something i know the english well for if i’m going to follow much besides simple daily life parts since i’ll need the visual context and prior context to guess what’s going on just in general - not understanding those parts of the japanese).

Long story short, its been super fun for me lately engaging with japanese. Japanese is NOT even in my ‘realistic’ study plan right now lol!

But this month I still: read a chapter of japanese translation of Guardian, played 4 hours KH2, read the opening scenes of the script of FFX (fyi: in Idiom app they made HUGE improvements I can now play the audio line by line and repeat-automatically as much as i want AND the definitions now come from much better dictionaries), watched 40 minutes of SMT game lets plays (both with and without audio - though since my pronunciation info literally doesn't exist for so many words I decided adding audio as often as possible would be better).

My ultimate goal for japanese was to be able to play the games I like in japanese, and follow them before localization changes. I’m not picking up the level of info necessary to be fully satisfied with how much I’m noticing. But I do follow enough now that I’m able to start practicing/studying japanese BY playing the games I want or engaging with them in lets plays/scripts etc. And its very motivating to know I’m far enough into this goal to be studying by doing (at least for now, if it stops paying off as much I’ll likely need to approach it from new angles for a while). But like? I can taste it! I’m starting to do what I want, not as well as I want but I am starting to be able to do those things. And that’s really exciting.

Side notes: I still personally want to continue reading my grammar guides until I've finished them (japanese in 30 hours, tae kim, sakubi), and keep going through clozemaster. Both of these were helping, do help, and ensure I’m building the weaknesses (grammar i just need SO much more help with for japanese, and clozemaster gives me actual word definitions and pronunciation and lets me practice listening skills and grammar in context which are ALL weak points for me). So that’s the overall japanese goal for a long while (yes i might also finish Nukemarine’s memrise decks if i ever feel up for flashcards again lol).

In the LONG long term, i would probably want to move onto my other japanese study books i own while continuing to go through clozemaster - i have two reading-japanese books i think would help a ton especially if i want to speed up reading speed and/or read novels more, a sentence pattern book that for me personally would help with reinforcing and getting comfortable with grammar and common words (particularly for long term active use). I also have a kanji remembering book i probably could go through - although by then idk how many kanji i’ll remember the pronunciations and meanings for by then.

#study plan #july study plan #july progress #july #reading #reading progress

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estelofimladris · 5 years ago

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The Healer: Critical Role

[ warning: here follows a long rambling story of feelings about losing a fandom and finding new love and happiness in an unexpected way ]

Here’s a little personal story about how some fandoms hurt and some heal. It goes from Fillory to Exandria. (It feels really right when I say it that way.)

I wasn’t ready for the healing that I got, but it’s here now. Thank Sarenrae.

Everyone loves that thunderstruck feeling when you fall in love with a fandom. It’s literally like all the tropes about falling in love. You meet and sometimes there’s just a spark.

That was me with The Magicians. I spent a year immersed in a welcoming fandom in a show that made me feel seen and whole. I had friends in the fandom as well as the friends irl who were into the show. I got to dive into it when I really needed a fandom to help carry me a little through a hard time.

It was heaven. Until it wasn’t.

In April of 2019, The Magicians broke my heart. Again, just like all the tropes about love. Just like a bad breakup, there’s things about it that I really enjoyed, but at the end of the day, I can’t go back to the way things were with that fandom. No matter how welcoming the fandom remained, I couldn’t go back because the show had cut me so deeply.

Then through 2019 and into 2020, I drifted through some new loves and lived in my love of some of my oldest fandoms. Lots of Star Wars. New excitement from Good Omens, The Dragon Prince, and The Old Guard. It’s not to say that I don’t love these things, but at least two of my new favs are, for the time being anyway, done. And, though Star Wars (and in the same breath my other love Marvel) are never really done, I like loving them in a bubble because as anyone in those fandoms knows it can be a complicated relationship.

Also in late 2019, my buddy @wittynamehere1443 decided she wanted to try and run a D&D campaign for our family of misfits. I hadn’t played since high school (D&D 3.5) and was super excited to get back into it. I picked up quite a bit while prepping to play from a mix of reading, remembering old things, and watching some tutorials and stuff on ye ol’ YouTube. I had dabbled in tabletop, but never thought I’d go charging back in, but once I started I couldn’t stop.

I immersed myself in as much as I could, but I’m really a visual & kinesthetic learner, so eventually I was going to have to supplement my book-learning with some real-play to really understand. I played as much as I could as I delved deeper, but even as I dove, I realized I wanted to do more. I started to write my own campaign setting and adventures. I suddenly found myself needing to just know how D&D worked without having to always have the books open.

Now, I had been lightly introduced to some real-play before I really understood what it was. A buddy of mine had shown me a clip of Critical Role out of context quite some time ago and I really didn’t understand how so many people I knew and shared a lot of crossover interests with could be so obsessed with watching 8 people play D&D.

My buddy who was now my DM had consumed all of The Adventure Zone and had very lovely things to say about it and I had the lingering curiosity about Critical Role form the many people who had recommended it to me as well as the complete mystery attached to why people loved it so. And me, being a big lover of visuals and being at home because of COVID, dipped my toe into real-play with the first episode of Critical Role back in late June.

I did it completely on my own at first, which is rare given that most things I watch, I watch them with my best friend and roommate, @hawkeyekate.

( Also, as a weird note, I’ve managed to deftly avoid most spoilers about Critical Role up to this point and I’m not completely sure how. I know one big one in Campaign 2, but until yesterday (when I watched the first episode of Campaign 2) I didn’t even know the classes of 1/2 of the Mighty Nein. I didn’t even know Sam played Nott until about three weeks ago. That bubble has come in very handy. )

I immediately began to get out of it what I was originally there for: great real-play with explanations of rules (especially vs. house rules and the whys of everything). Watching the cast fumble through transitioning from Pathfinder to D&D 5e was very helpful to me because I had some similar questions from the figments of memory I had from 3.5 as well as my other random tabletop experience. I was completely inspired and found myself cranking through pages upon pages of my own world and campaigns as well as delving deeper into my characters that I’d been honing already.

I quickly noticed that I was worrying less about the rules when I played and was getting to enjoy my character for who he is. I was starting to craft interesting mechanics and not just story in my adventures I was writing.

Lightning had struck and suddenly I was in love in a way I hadn’t been in a long time.

As I was watching Critical Role, I definitely wasn’t just learning to be a stronger DM and a better player. I found myself able to tell the twins apart. I was invested in the mysteries as they unraveled in Exandria. I hung on Mercer’s every word.

Then without warning, when the party said goodbye to Pike in Vasselheim, I found myself in tears. I don’t know why but I remember being so struck by that moment. I knew it was partly because Ashley was leaving for New York, but the story for Vox Machina hit a soft spot for me. I was no longer just watching 9 people play D&D. I was invested in the story, the characters, and the world.

I was suddenly a Critter.

I think notoriously at this point, when I fall for a fandom, its often connected to a character. I saw in Vax’ildan a lot of things that really sucked me in from the beginning. He is at the same time like many of my favorite characters of my youth and like many of my favorite characters as an adult. I feel like he’s my heartstrings manifest in a lot of ways, complete with many of the flaws in that.

Then what was a slow crawl accelerated. I would occasionally ramble to @hawkeyekate about the adventures of Vox Machina and it would be on when she was around, but she wasn’t exactly watching it with me. Then at some point during “The Trial of the Take”, she was suddenly sitting with me to watch. She was asking me to pause when she had to go do something - and wait for her.

We were watching together.

We were acutely aware of how the twins echoed things in us and that often we are referred to in the same sentence in the same way. I had my Vex’ahlia.

Only a little over a month later, we’ve battled Briarwoods and now we’re hunting Vestiges and gathering allies. It is a rare day that we don’t watch a little Critical Role. I sport my “Gilmore’s Glorious Goods” shirt. I’ve read Vox Machina: Origins and am making plans for two cosplays already.

I’ve also DM’d six sessions of my first adventure-turned-campaign in my own world I’ve built, Perlen. I play tabletop two-to-three days a week with my friends via the internet. I hoard dice.

I’ve fallen in love again and this time it feels safe.

I know good and bad things will come for Vox Machina ahead. I know the same can be said for The Mighty Nein in my future as well, but the Critters in my life have been so welcoming and it’s been so nice to have something new to talk to my friends about. And I trust the cast of Critical Role not to destroy things just because they made them like The Magicians creators did, a trust I didn’t think I would grow back any time soon. I know that some of the pains in Critical Role aren’t just scripted but are actually to chance, which gives me comfort, too. People live and die by the dice in tabletop and I can abide that. It doesn’t mean I won’t cry and ache every time something bad happens to them because I love them all.

So I will go running through Tal’dorei and look forward to Wildemount while I carve out the mountains and seas of my world of Perlen. I’ll cry when they hurt and smile every time Pike and Grog talk. I’ll be healed the way that stories can in ways I didn’t expect, which has now happened much more than once.

I’m here now and I love it.

[ special shout-out to the Critters in my life that have been so welcoming. Especially my super-enabler, @oniumbra. ]

#critical role #thoughts #personal #d&d #posts like this make me miss livejournal #because i'm also fandom old yall #the magicians

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script-a-world · 6 years ago

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Do you have any suggestions for how to treat the setting like a character? I’ve heard that advice a few times, and I have a hunch that that might be what my current project needs in order to maintain a cohesive sense of place, but I’m a little unsure how to do it.

Constablewrites: It’s possible to have a [setting that is an actual character], but I don’t think that’s what the advice is generally about. Rather, it’s about giving your setting some of the qualities that characters have, rather than treating it as static set dressing.

Characters interact. One of my favorite quick-and-dirty tricks for building mood in a story is the weather. Not in the “it was raining” sense--someone enjoying a pleasant spring rain or hunched against freezing wind and sleet. Even a seemingly neutral partly cloudy day can affect a person, especially when there are fluctuations like the sun going behind a cloud or the wind picking up. Beyond weather, other elements of your world can be actively complicating a character’s life, like its traffic patterns or its legal system (even if embodied in a character, this is still tied to setting).

Characters do stuff when they’re not on screen. Settings start to feel small and inorganic when every element of them is tied to something the characters are doing. Even in a tiny town, there are going to be all sorts of things that keep it running that your characters never see or think about. This is why a lot of world building exercises include questions like “Who gets rid of the trash?” and “Where is the food grown?” It’s not that you need to have this stuff on the page, but understanding it as the writer will inform other choices you make (like the level of technology you’d need to fully automate those things, or the social implications of having people do that work).

Characters are shaped by their pasts. If a character is terrified of ostriches or snappish with everyone except small children, there’s probably some sort of story there. Like with your trash pickup, it might not be something that ever needs to get laid out on the page, but understanding that background as an author helps you paint a more rounded, nuanced portrait of that character.

Ultimately, this last one is a lot of the work we do here at script-a-world: it’s not just about “can you have this cool thing in your setting” but “what is it about your setting that allows this cool thing to be possible?” It’s about thinking through the way various systems interconnect, the way that people think and act and want, the unforeseen ripple effects of small changes.

@scriptstructure might be able to weigh in more on specific methods for getting this onto the page, but one thing you can do is pay attention to the things that make you aware of the world around you: sounds, sensations, events, etc. Then look for ways for your characters to do the same thing.

Brainstormed: This is a good question, and not the easiest one to answer. I’d say look at the masters, like Tolkien (of course) and Terry Pratchett, both of whom created very distinct, personality filled worlds with very different tones. Let’s look at them for a minute.

First, their writing styles. Tolkien, in writing Middle-earth, used high flowery fantasy language that’s become a staple of every vaguely medieval story written since. It recalls the eddas and epics of older civilizations like Beowulf or the story of Ragnarok, which Tolkien actually used as inspiration. The way people speak and the way things are described gets the reader into a very firm mindset about how this world is. Pratchett, on the other hand, denotes Discworld with about as much respect as he had for a normal use of the English language, that is, very little! His way with words is almost nonsensical at points, but vivid, and charming, and just a bit left of weird and straight into magical. The comic tone of the series is encapsulated perfectly by the very words used to build the world, and the serious undertones are brought out in starker contrast when they appear. So think about your world’s personality and your own writing style. If your world could speak, would it do so in the way that you do? Would it use your vocabulary? Would it follow proper grammar or throw around run-on sentences and contractions like no tomorrow? Treat your descriptions of the world in the same way you should be treating a character’s manner of speech: ensure it has a deliberate flair that communicates a personality simply in the writing style used.

Second, their breadth, or scope. This one is a little more difficult to pin down, and you need to figure out where your limit is, unless you don’t mind driving yourself into the ground with a bunch of details that won’t ever show up in your story. Middle-earth is probably the biggest example of this, with its multiple complete languages with their own histories and migrations, with dozens of kingdoms living and dying long before The Lord of the Rings takes place, with its genealogies and appendices and timelines and cosmology! Tolkien went whole ham. But the Discworld series, meandering about with no set first or last book, skipping across characters and settings for the fun of it, accomplishes similar scope with none of the structure. The looseness of the worldbuilding is in fact one of the things that contributes to the worldbuilding. You ought to have a general idea of your world’s entirety, I think, but that should only serve to provide context and richness to the more specific setting your story takes place in. If personality is flavor, then a five star chef laboring over a professional meal will give one taste, a homecooked comfort food with simple ingredients will give another, and they are equally tasty, but very different meals.

Third, the tiny details, perhaps what you’d find if you took the second point and held it up to a magnifying glass. Tolkien barely even bothered to tell us what many of his main characters looked like! He does give us some details, like how the hobbits have an informal speaking style, even when talking to royalty, which led many people to believe they were royalty themselves. That ties in to his language worldbuilding, but it also gives us a sense of how this world works, which lends it a personality. Pratchett finagles such descriptions of small habits and quirks, in both characters and world, that I feel as if I’ve been there already. The ridiculousness found throughout his world is presented so normally that the idiosyncrasies in Discworld give it delightful character instead of confusing the reader. If there’s small details about your world that give it a certain personality, find a way to finagle those in! Make a Pinterest board or an aesthetic folder of some sort, to save the bits and bobs that you know you want your readers to visualize, and try to work backwards from there. The little things will sell it.

#pylons #setting #nikkilbook

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nomadicism · 6 years ago

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For someone wanting to get into the voltron franchise, would you suggest watching Golion (and Dairugger) first or DOTU?

Hi Anon! Thank you for the Ask!

This is a hard one! I think it would depend upon whether or not someone (you?) already enjoys anime with subtitles, and if one has a lot of patience and time. There are 124 episodes total for DotU, 72 for Lion Voltron, and 52 for Vehicle Voltron. Both Golion and Dairugger XV have 52 episodes, and good luck finding the final 16 of Dairugger XV in DVD quality with the official subs (more on that at the very end)†.

All together that’s 228 episodes plus the Fleet of Doom TV special. That’s A LOT of watching. Note, that Lion Voltron has 20 more episodes than Golion, this is because completely new episodes were made to create a second season after the show did so well. Alas, they couldn’t compete with all of the other toy-hustling cartoon shows, so the Lion Voltron story ends on an odd note with some un-resolved story, unless you count the Fleet of Doom TV special as the official ending of the story.

So what would I suggest?

Option 1: If you love anime and have patience and time, then I’d recommend watching Golion, then all of Lion Voltron, then Dairugger XV, then Vehicle Voltron, and then Fleet of Doom.

Option 2: If what you really want to focus on is Voltron, then don’t bother with Golion. Watch Lion Voltron and Vehicle Voltron and Fleet of Doom, and then decide if you want to check Golion and Dairugger out.

Option 2 is kind of self-explanatory, so I’ll break down why you might want to go for option 1. Mostly, it’s that I think it would be really interesting—as a first time viewer—to watch them back-to-back so you can see what was changed, and hopefully appreciate the work that went into DotU, especially Lion Voltron. It also brings an extra meta-meta perspective if VLD and Tumblr memes were your first introduction to Voltron.

Example above: The praying Keith meme comes from a scene that was partly cut for Lion Voltron due to religious connotations. In Golion, it’s a serious and—in my biased opinion—a very touching scene for Akira that reveals his spiritual nature. Being in touch with traditional Japanese beliefs, is part of his character (and arguably, an important team leader trait for the genre). It makes a lot of sense in context, but you’d never get that from DotU.

Speaking of work—a lot of work went into making Golion work for an American kid-friendly audience—from what I recall, they didn’t even have proper scripts of the original b/c they weren’t expecting to get Golion, they thought they were getting Mirai Robo Daltanius instead! I love DotU, but it’s campy and some parts don’t age well. I’m not sure what I would think if I were to watch it for the first time today as a teen or in my early 20s. You kind of have to go in expecting to laugh and cringe-cry at the weird stories that your oddball drunkle tells when he stops by once a year (not the whole thing, but there are some moments…)

It’s still a good story, but they don’t construct stories this way for animation anymore, and this was a time when broadcast rules were very strict for children’s TV. So if you’ve not watched a lot of 80s broadcast cartoons, then it’s gonna feel weird at first. Also, things were cut/censored (some obvious to cut, others less so): there’s a crucifixion scene, any-and-all references to religion, any time someone dies the dialog will mention something about robots, “Set your guns to maximum stun!”, “Wow! He sure escaped there fast!”, etc. You could play a very deadly drinking game with the obvious coverups.

Above: Cossack the Terrible is more camp than menace.

It’s worth watching all of Lion Voltron just to get to the made-for-US episodes where they introduce Merla and Cossack. Their dialog gets real weird sometimes, and there’s a bit of “flies right over the kids heads” going on if you know what I mean. Lotor is incredibly hammy. If you are serious about getting into the Voltron franchise and continue into later series—including the DDP comics which I highly recommend—then you’ll want to know where Merla, Cossak, and Stride the Tiger Fighter come from.

Above: Space Goddess appears to the Golion team in their hour of need. This scene is very different in DotU.

For Golion—relevant to Option 2, but also for comparing if you’re going with Option 1—I remember being super excited to track it down on IRC in the late 90s/early 2000s and then being very shocked when I first watched it. I was still new to older mecha anime at that time (was hard to find). I watched Golion with my childhood Voltron nostalgia goggles on, and they got ripped off in the first episode. This is why Option 2 works, b/c if you want to focus on Voltron, then Golion is totally skippable. It’s a different story, you’re not missing anything that will give you that sweet Voltron feeling.

If I were to watch Golion for the first time today, I’d still find it very dark, but also tame compared to some other shows. Two of my favorite things about Golion are, Sincline’s gradual descent into madness, and the way Princess Amue slap-shames some sense into Ryou—he’s a hot mess when they first meet—despite what she had just been through (keeping it vague to avoid spoilers). None of that is in DotU. In some ways, the story is deeper than DotU, while DotU is more fun and endearing.

Now onto Dairugger XV and Vehicle Voltron!

If you’re new to my blog, then you might not have seen my posts giving the elevator pitch for this show. It’s my favorite part of DotU. I’m in that small minority of Voltron fans that prefers Vehicle Voltron to Lion Voltron.

Above: Vehicle Voltron has three team leaders! The XV of Dairugger XV stands for 15, as in 15 pilots.

Dairugger XV and Vehicle Voltron hold up better over time (I’ll admit, that’s subjective). They have a very different feel from Golion and Lion Voltron, even though the writers did their best to tie Lion and Vehicle Voltron together. The story is more intact between the two, with the noticeable changes being the censorship of death, the nature of the relationship between Teles/Hazar and Sirk/Dorma (my Tumblr avatar is Sirk/Dorma), and the ending.

If you were going with Option 2, then I’d still recommend watching Dairugger XV, because it’s probably one of the more unique of the super robot/combining mecha monster-of-the-week shows and there will never be another like it.

Overall, Dairugger is less dark than Golion, but Golion has the funnier humor. This is true of Lion and Vehicle Voltron as well. At least Dairugger/Vehicle Voltron has Hazar’s shower scene, and the infamous scene where Krik puts his hand waaaaay too far down the back of Jeff’s pants for a simple slip of contraband. ;-)

Best way to look at them is that Lion Voltron/Golion is like Star Wars, while Vehicle Voltron/Dairugger is like Star Trek.

I hope that helps, and I hope you enjoy your deeper dive into Voltron!

–––––––––

† Unless there’s been a recent change in streaming availability, it’s difficult to find all of Dairugger XV, especially those last episodes. I’ve only ever seen episodes 37–52 of Dairugger XV as low quality fansubs, and I’ll be damned if I pay $300+ for a used/second-hand final set of official DVDs. I have no qualms about paying for a good quality bootleg of the official release though, so if anyone knows where I can score that, then let me know. I sincerely hope that WEP re-releases them, perhaps they’ll do that if the new release of the DotU DVDs sells well. Check the Voltron store page for the new Lion and Vehicle Voltron DVD sets!

#dairugger xv #vehicle voltron #golion #voltron: defender of the universe #my recommendations #ask me anything #anonymous

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that-shamrock-vibe · 6 years ago

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Movie Review: Dark Phoenix (Spoilers)

Spoiler Warning: I am posting this review the weekend after the movie is released worldwide, so if you haven’t yet seen the movie do not read on until you have or check out my non-spoiler review for a general overview.

Retelling Mistakes:

Alright so this is a Simon Kinberg movie first and an X-Men movie second, by which I mean I don’t think it should be judged as an X-Men movie before being judged as the brainchild of Simon Kinberg who is writer, producer and director of the movie.

Kinberg famously also wrote the script for X-Men: The Last Stand in 2006 which was the first cinematic attempt for him to tell the Dark Phoenix story. I want oit also to be noteworthy that The Last Stand is definitely a poorer movie in terms of story flow by trying to combine the Phoenix story with the Mutant Cure story and also for practically zero character development and an ending that felt as if the original trilogy fizzled.

However, despite Dark Phoenix being a slightly better movie overall than The Last Stand, it is almost as if Kinberg simply rehashed the same script but modified it to fit with the current group of characters who are somewhat different to those from the original trilogy.

Much like Mary Poppins Returns, Dark Phoenix has almost exactly the same scenes just told in a different way.

Starting with Jean in the mansion’s medical lab, just as she was after being found by Wolverine and Storm in X3. The only differences are Jean is there of her own accord after returning from seemingly absorbing a solar flare, Xavier and Logan aren’t examining her instead Hank is and the scene doesn’t end with a steamy romp on the table and instead Jean says she feels great and is dismissed.

Then there’s Jean’s home battle death in the first act. During X3 this is the scene almost immediately after the medical lab scene where Jean returns to her old home in a very fragile state. Xavier, Storm and Wolverine arrive to help Jean while Magneto and his new Brotherhood arrive to acquire her. It results in a couple of separate fights ending in Phoenix destroying Xavier.

In this movie though, Jean returns home and is hit with a bombshell about her past, leading the Phoenix to take over and be the sole combatant against the X-Men who arrive to help her. However, Mystique is the one who dies at the telekinetic hands of Phoenix via impalement rather than disintegration.

The ending scenes of the movie begin with shots of the X-Mansion before going on to Magneto playing chess. Here the shots are of the newly named Jean Grey School which go on to Xavier and Magneto playing chess in France while in X3 the shots of the mansion are of Storm welcoming new students and Magneto is later shown playing chess in the park.

It’s annoying when movies rehash the same scenes from popular movies but X3 is critically hated and mostly mocked by fans as potentially the worst X-Men movie aside from X-Men Origins: Wolverine. Also these scenes did not contribute to the original Dark Phoenix story and even to die-hard X-Men fans who remember these scenes from the animated series, you can’t help but compare to X3.

Characters:

Alright so now my big grumble with the movie is over, I am going to be talking about these characters in order of importance for the movie and in part my favourites the franchise as a whole.

Jean Grey:

Sophie Turner does a brilliant job here and is definitely the star of the movie, it could be argued Jean Grey has become the first X-Men character aside from Wolverine to get her own solo movie as “Dark Phoenix” is centric to her character.

But it is a fact that Sophie Turner did a fantastic job at brilliantly portraying the inner struggle that Jean had in this movie both physically and mentally. My favourite scene from her is probably when she is sat in the rain trying to scrub Mystique’s blood off while questioning her inner demon otherwise known as Phoenix as to why it made her do it. It was a short scene and if yo have seen it in the trailers you’ve pretty much seen it, but something about it in context works really well in the movie.

Also Jean as a child was also rather well portrayed, again we have a scene with Jean as a child opening X3 but while that scene is rather played down and strictly about Jean demonstrating the extent of her powers at that age, this one shows that her powers were in fact instrumental in her childhood trauma as she supposedly was responsible for killing her parents while her powers protected her from the debris.

This was of course proven later to only be partly true as her father somehow survived the accident while her mother didn’t, but then her father effectively disowned her and gave her to Xavier.

Either way Summer Fontana does an okay job at portraying young Jean as an almost three-dimensional child dealing with what she has dealt with and feeling she is broken despite Xavier claiming she isn’t.

I really enjoyed seeing a better, more diverse, use of the Phoenix powers. Not only in the explanation that Jessica Chastain’s Vuk gave to the extent of the Phoenix power which felt very Guardians of the Galaxy Vol. 2 with Ego’s demonstration of his powers, but also in the way that Jean took control of Xavier’s body and made him walk up the stairs.

It wasn’t just simply a case of Phoenix being able to make things disintegrate and float as opposed to how it was in X3. I also really loved the pink energy that Jean had when using the Phoenix powers. I know in the comics this is Jean’s standard colour for using her powers like Scarlet Witch is red and Polaris is green but they never established Jean’s powers using pink energy before and the almost pink fire that accompanied the Phoenix powers made for a rather nice effect.

Jean’s relationship with Scott never felt as forced as I thought it would. It was pretty much the same set up as the Bruce/Natasha relationship in the MCU. I didn’t hate it there and I didn’t hate it here, I simply didn’t focus too much on it.

Although I will agree that in those early scenes at the mansion and that party that the way Jean was acting when with Scott was very Bella Swan from the hair to the almost socially awkward posture and movement.

However, I did love that the first official intimate moment between the two was after Jean was enhanced by the Phoenix which heightened all of her emotions, so you could say it was a three-way relationship at that point.

I did think the added development of her father being alive and Jean discovering that he had effectively disowned her added to her further decline to succumb to the Phoenix power.

Also seeing a fully-powered Jean explored here was fun to watch. From seeing her fly to using her telekinesis to operate a helicopter and even when she was Phoenix and dismantled Magneto’s Helmet, all of it was an impressive display of power.

We all know the timeline is slightly screwed in this universe but we are supposed to believe that in 1975 Jean Grey is 8 years old and with the present day events here being set in 1992 that would make the character 25 years old...there is little to no age difference between Jean here and in Apocalypse maybe aside from hair and fashion and that was set in the 80s.

I thought Jean’s sacrifice at the end was both obvious and poignant. Obvious because Jean is meant to die at the end of the Dark Phoenix story but poignant because it was quite an emotional sacrifice more so than in The Last Stand.

I loved the inferno of pink fire that surrounded Phoenix and later Vuk as Jean kills them both essentially, it made for a more interesting climax than just Jean standing there disintegrating everything.

Overall Sophie Turner was definitely the best thing about the movie, I do think she maybe could have been a little bit more diverse in her acting as mostly she delivered lines on the same monotonic level but other than that I have no complaints...except maybe wanting to see her in the Dark Phoenix costume.

Beast:

I will continue to say this, people do not give Nicholas Hoult enough credit as Hank McCoy/Beast.

Considering how he, McAvoy, Fassbender and J-Law are the only ones left from First Class, I think Hoult has played an under the radar performance but still one of notoriety.

I will say my only negative for this version of the character is I feel the way the fan-favourite character is portrayed is affected in the same way as Mystique has been portrayed in that the actors (Hoult and Lawrence) do not want to be in the blue make-up all the time and want to be able to be themselves for parts of the movie.

Now whereas Mystique can easily shapeshift and that is how they get away with that, to my knowledge once Beast’s mutation accelerated and turned McCoy into Beast, it was not irreversible in the comics but because of Hank’s serum he was able to shift between the two during Days of Future Past and Apocalypse.

Here though there didn’t really seem to be any explanation as to why he was able to shift so easily and rather than it being a case of a serum injection, it seemed to be more Hulk-like. I’m not complaining at seeing Nicholas Hoult in all his glory, but Beast being my favourite X-Man I want him to be treated with the respect he deserves.

In the positives, I really liked seeing a darker side of Beast. But it wasn’t a straightforward Dark Beast as everyone believed it would be and simply Hank deciding that Xavier was not the answer in this situation and that Magneto was. I was fully on Beast’s side in this movie because not only did Jean accidentally murder his lover, but Xavier had such an incompetent attitude to the whole thing for fear of ruining their recent claim to fame that he had set aside the original morals he intended for the X-Men.

It is a testament to Hank’s morals though that after Xavier made his half-arsed apology that Beast decided to protect Jean because that is what Mystique would have done.

I am unsure how I feel about Beast now being the headmaster of the school, now called the Jean Grey School. I am all for the fact that Xavier decided to retire after the complete hash he made of “protecting his students” and I get that Hank is now the longest-serving member of the X-Men...but I do wish we had another movie to see him as a teacher/headteacher for me to decide fully.

I would like to see Beast in the MCU at some point either as Nicholas Hoult or Kelsey Grammar, but overall I just want Beast to return at some point as he is my favourite and I feel he needs more of a chance to shine.

Professor X:

I am thrilled with this movie for showing the darker side of Xavier, the only problem is rather than hinting at his darker side as they did in The Last Stand, they went down a hubris egotistical route before even starting to hint at his darker side which made what he did to Jean seem more like it was feeding into his hubris than actually doing the wrong thing for what he believed to be the right reason.

Also, as I said with Beast, Xavier simply came across as incompetent a lot in this movie and most of it seemed to be because he thought he was above reproach. When he agreed to send the X-Men into space to save those astronauts he was called out on his reason why by Mystique and yet played it off as him keeping the peace between humans and mutants so that they don’t go back to being hated.

When the team try and detain Jean, he is fine letting everyone put their lives at risk to try and stop her but when Beast has a taser ready to shoot, Xavier stops him and the cops in order for Mystique to talk her down which leads to her death...why not just let Beast taser her and then let Mystique talk to her back at the mansion?

Then when Hank and Xavier are having that talk, Xavier simply talks about how Mystique was in First Class rather than taking responsibility or apologising for not letting Beast take the shot, and even tries to turn it around on him for making him feel bad after burying his foster sister...bullshit!

I don’t know why or how the X-Men are suddenly public superheroes because Xavier was the one during First Class who stated that anonymity was their first line of defence and now the President has an X-Phone, it just seems like something the Avengers or Justice League would be but not the X-Men.

Also I loved it when he got talked down by Storm and Nightcrawler, it was simply the last straw that he had lost the respect of his students and team.

Don’t get me wrong, James McAvoy did a great job in the role as always, he like Hoult is one of those actors I will watch a film for regardless, but there was just something that didn’t feel as organic as the Xavier he had built up for the past 8 years.

I know McAvoy was filming Glass around the same time as this and you can tell because of the weight that he put on for the Beast role in that, but while McAvoy got the look of Xavier down with his fashion it was just something about the character’s motives that seemed really off.

Mystique:

This was a straightforward character assassination for a great X-Men villain, particularly with what Rebecca Romijn did with the character in the original trilogy to have it being so desecrated in the 30-45 minutes that she is in here is such a shame.

For one thing, she is never called Mystique once in this movie. Secondly, the make-up has gone from lizard-like to fancy dress. Third, as much as I liked Jennifer Lawrence’s delivery in this movie I detest the fact she died a hero, and that she was eulogised as “doing what she did best, dying trying to protect her friends”...

Mystique is a villain, she has moments of anti-heroism and her soft spots are often shown for her kids, but other than that she is manipulating, cold and calculated. She would definitely not die and be eulogised as “being the spirit of the X-Men”.

Also I say in the comics she has a soft-spot for her children, that’s great but in seven movies they have not established any familial connections between her, Rogue or Nightcrawler...despite many opportunities.

I do have positives though, as I said I did like Jennifer Lawrence’s delivery. I thought her line about how it usually being the women saving the men and changing the team name to X-Women was a good line, even though Mystique, Storm and Jean are really the only female members of the team they’ve shown in the First Class trilogy but they are still the more interesting ones, aside from Quicksilver and Beast.

I also liked it when she suggested to Hank that they leave the X-Men and run away together. I understand why Hank said no but I do agree that if they had done so it would have saved both of them.

Her duration in this movie simply felt like J-Law waiting to be released from her contract, you could tell that from her opening delivery to Nightcrawler as she exasperatingly says “Yes Kurt, we’re going into space” and the scene when the other rocket explodes and Mystique looks like she’s waiting for the inferno to take her.

Overall I am saddened that this is how Mystique ends in the movie universe, but at least there is still some good takeaway from her in the movie.

Magneto:

Could Magneto just pick a side and stick with it?! For one thing Genosha just seemed like a wilderness estate rather than a Mutant safe-haven. But while he was trying to be the peacekeeper here as soon as he hears of Mystique’s death he is right back into being a bad guy, but then a pep talk from Xavier and he is back being a good guy again.

I wouldn’t mind but he berates Xavier by saying “you’re always sorry and there’s always a speech but it never matters”, yet after Xavier gives a speech in the train he is somehow won over.

I really enjoyed the display of his powers in the movie, as always. The fact he and Jean battled to control a helicopter and both actors didn’t oversell it or make it look memeable is a testament to them both.

But I loved it in that street battle when he pulled up that underground train from the subway and managed to use it as a barricade between the building and the outside. Then later he equipped the SWAT agents’ guns in a full-on firing brigade against Vuk...yes it didn’t work but it was awesome.

I’m not too happy with where his story ended in this movie, the fact that he is now being Xavier’s saving grace seems a little bit against type for the character and also the fact he would either abandon Genosha or welcome his ethical enemy to Genosha just doesn’t sit right.

Cyclops:

I still enjoyed this version of Scott Summers than James Marsden’s performance, but I do agree that Cyclops’ visor really prohibits the actor wearing it from getting across much emotion in the scenes.

To be fair, Tye Sheridan does try and succeeds a lot here, but I still didn’t feel bad or empathetic for him most of the way through this movie.

I think his optic blast power is one of the best the X-Men has both visually and from a power stand point, and I loved how the Blackbird has apparently become equipped with a blaster pod for Cyclops’ optic blast. I did want to see more of that but really Cyclops is the only member with that kind of power. Storm can easily carry out her powers regardless and the rest need to be within a certain distance.

Nightcrawler:

I felt myself very confused by Nightcrawler towards the end of this movie. When he tried saving that one SWAT agent whose son was a fan of his but was too late and so got angry, it just seemed very out of character to me.

Yes Nightcrawler has been involved in conflict in the comics but in the original trilogy he was very much the religious pacifist type of character. Going full demon could have been an interesting pathway for the character considering his father is Azazel, but literally slotting it in for five minutes of the final film does seem a bit like a throwaway plot point.

Also, despite it still being Kodi Smit-McPhee, I felt a lot of the freshness he brought to the character in Apocalypse was gone here, maybe because they didn’t show him as much but a lot of the humour from the last movie he had was gone here.

Vuk:

Everyone is simply calling her Jessica Chastain and to be fair it makes no difference what you call her because she’s barely developed as is.

Firstly this massive mystery role of hers is revealed to be the leader of a D’Bari army who seek the Phoenix power that destroyed their homeworld to help them remake Earth into their new homeworld. That’s great, and the D’Bari were in the original Dark Phoenix saga story, but nothing else is done to make Vuk menacing or threatening or even interesting.

I don’t understand the stomach twisting power they seemed to have, because it seemed like the biggest threat these aliens offer is to give their victims the worst stomach cramps imaginable, but the most laughable trait of theirs was literally charging at Jean as the Phoenix during the end of the film...even Vuk did.

I’m not saying they were bad as villains, they certainly filled that role, but they didn’t offer anything new or threatening and they certainly didn’t exceed what Apocalypse did.

Quicksilver:

Quicksilver was shelved in this movie. Not only was he in the movie all together for probably 3 minutes less than Mystique, but also they cut everything about him that made him such a likeable character in the previous two movies.

The humour was barely there, there was no brilliant slow motion speed scene, they still didn’t establish the relationship between him and Magneto despite Apocalypse seemingly teasing it would be explored. I know he got injured during the confrontation between the X-Men and Jean but to not even be mentioned for the rest of the movie except for a 5 second appearance right at the end?

Storm:

I will give Storm credit for being the only character in this movie to be called by their moniker, but Storm is only called by her moniker. Mystique calls Cyclops, Nightcrawler and Quicksilver Scott, Kurt and Peter on mission but also calls Storm Storm. Why not Ororo?

Also her powerset, particularly with Alexandra Shipp, seem very limited. The younger version of Storm only really seems to produce lightning and electrical attacks with the occasional heavy breeze. Here though she seems to also produce ice cubes for parties...because that’s a good use for one of the strongest X-Men?

Future:

I am unsure about the future of the X-Men now, while I cannot wait to see what the MCU does with them, Feige has stated that it won’t happen for a while at least.

I am hoping they start drip-feeding them in soon, say with Storm in Black Panther II and maybe Professor X in Doctor Strange II if they introduce the Illuminati.

I have loved these past 19 years of X-Men movies, yes there have been bumps in the road but it is a great comfort to watch and I don’t ever feel like they’re a guilty pleasure.

Overall I rate this movie a 7/10, it’s not an offensive movie like X-Men Origins or The Last Stand but it isn’t as strong as X2, First Class or Days of Future Past. I would still love to see a faithful Dark Phoenix saga movie maybe over the course of a couple of movies rather than just rammed into the one but I cannot really mark it down too much because it gave me the nostalgia I have whenever I watch an X-Men movie.

So that’s my review of Dark Phoenix, what did you guys think? Post your comments and check out more Marvel Movie Reviews as well as other movie reviews and posts.

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