#Logic Review

[setaflow]

People in the comments of the Assassin's Creed: Shadows trailer becoming armchair historians trying to explain why Yasuke shouldn't be a protagonist actually are hilarious. Like besties this is a franchise where people can control eagles with their minds and a good 5% of the population are descended from evil psychic aliens. I THINK we can expand on a story of Japan's only-recorded African koshō without it jumping the shark.

[magical-awesome-kid]

That moment when you use your Master’s Degree in Cell and Molecular Biology and your peer-reviewed knowledge of cancer and blood biology to write out a highly accurate reason for Anime Logic…

[fisheito]

yakumo kiss data

comparing tongue tango data in the style of @contacthigh520 ! for the love of wobbly science? (original post on dante kisses here)

how were kisses counted? the same as the dante post... to the best of my ability. - kiss animation counts as one - text mention is another. kisses (plural) marked as 2+. - i included kisses on places other than the mouth. - i did not count vacuum succ blowjob as kiss. ? idk why🤣

while we're here... i wanted to test if my pattern recognition skills were actually picking up on something, or if i was hallucinating... so while i was counting kisses, i counted several other Seemingly Recurring Behaviours in the yakurooms:

what do you mean by each of those categories??

tongue activation: do they lick?? turns out: yes. more than kisses, technically. i feel like it's kinda .. expected for H rooms to involve tongue, so the 100% activation is probably common among all characters. if i were to calculate a yaku-initiating-tongue-only count, it would still be a high percentage >80%.

hands: hand holding, and adjacent acts of hand gesture. once again, a lot of rampant tender hand connections here. if you got hands, they're certainly useful in many situations, huh! another stat i think would be similar across clan members.

scent: yaku or eiden specifically mentions the other's scent. i didn't count the general descriptions of "scent of essence" in narration. yaku mentions eiden's scent significantly more than the other way around. but at a less than 50% presence in his rooms, yaku's not COMPLETELY a scent-based freak... (yet)

biting: chompchomp. tbh i'm surprised yaku's not more of a biter. maybe he's trying reeeaaallly hard to stay gentle and just... mouth on eiden instead of eviscerating him 🙂 crimson phantom was the bitiest what with the whole vampire roleplay shtick. eiden bites when he wants to get a rise out of yakumo. maybe once yaku gets more comfortable/less afraid of hurting eiden, nibbles will increase? taste as you go, yakumo. never stop tasting

asphyxiation: because yakumo seems to REALLY like choking eiden with his tongue. what in the name of shoddy breathplay…? turns out, yeah! yakumo is kinda trying to kill eiden via asphyxiation! more than via biting (once you remove all the counts of eiden doing the biting)! what are you, a boa constrictor? too afraid to use your venom?? if you even HAVE venom????? eiden, if you're losing this much oxygen every other time you fuck yakumo, i'm scared for you. you need to put his tongue on a leash.

ear: does yaku's sensitive gem location influence the rooms' overall focus on ears? not really. yaku will occasionally go for eiden's ears, and eiden will rarely, but lethally ,target yakumo's ears for tactical turn-ons. i am once again surprised. expected more of eiden's earplay warfare reducing yakumo to shreds.

nipples: a yaoi classic! not many instances of nipple attention with this pair, and i personally hope it stays that way. let's spice it up, people. we got other clan members for booby nipnoppular specialisation. yaku's reptilian. we can venture outside the realm of mammals.

vore: how many times has yakumo gotten cannibalistic (is it really cannibalism if one is a human and one is a yokai)? LESS than i thought, actually! eiden's got a 1 in 3 chance of activating yaku's vore tendencies depending on unit... and here i thought it was 50% or more? wow. ok. guess yakumo keeps his hunger in check better than i thought. good for you.

miscellaneous: one-offs that jumped to the forefront of my perception. the one instance of hair-pulling. the sickening scene of domesticity here and there. yaku implying that sucking eiden's dick would be a reward. ya know. fun stuff.

what else ya got? General notes. Things that happen , i think, a fair amount, but i didn't count the instances: - i don't think there has been a single time where yakumo STOPS after cumming. it's always marathon sex. R.I.P eiden's hole(s)

- something that is happening more frequently with recent units: eiden remarks that yakumo's dick feels like it GROWS LONGER DURING SEX; it feels LONGER than usual;etc. HOW? WHAT? is this a part of yakumo reconciling with his serpent side? I DONT THINK THAT'S HOW SNAKE DICKS WORK, RIGHT? THEY DONT KEEP GROWING FOREVER AFTER EVERY EMOTIONAL CATHARSIS, RIGHT?????? man is gonna be more dick than torso at this rate. every time he sticks his dick into eiden, it's gonna feel like a plumbing snake. useful for clogs, i guess. - yakumo still has a lotta work to do re: self-control. although eiden says that he's a quick study, and that he's vastly improved his angle/speed manipulation, the default is still yakumo losing control and thrusting into eiden with no remorse. no ease. all hip pain. Waiter Yakumo showed substantial progress with "patience", and i hope we get to see that more in the future... at least for room 5s. (i have zero complaint if room 2s continue to be subby yakumo breaking down and crying for his horny life 4evr)

[mgu-h]

Lando Review 147/? • Jan 2022 • Tumi Ad

[moonymercutio]

Currently reading the "True Lives of The Fabulous Killjoys" comics as I got my hands on them at the bookstore (finally!!!) and GOSH the amount of inspiration I'm getting is crazy. The thing that makes the Killjoys and just Danger Days in general so cool/amazing is the fact that its so universal. Anyone can pick up a lasergun (metaphorically) and fight for what they believe in. Anyone can turn on the radio and listen to the world burning around them then laugh and turn the dial and hear their favorite song playing. Anyone can mourn and love and party and anger. As a LGBTQ+ teenager in America, with friends who are queer, poc, disabled, children of immigrants, and so many other things that are constantly being attacked and debated, there's something comforting (??) in knowing that change can happen, and that I can do something to help enact it, even if it's just donating $5 to a GoFundMe or hopping on a weekend train to the city and taking part in peaceful protests and rallies for the things I believe in.

in short... I am scared. But it's amazing how art can comfort, isn't it?

[moonshynecybin]

oh boy, please tell us what your mom thought of vale in THE press con

“i can’t imagine watching this live and thinking he got away with that” — susan moonshynecybin

[starbuck]

me, after watching a highly acclaimed film which won many awards: ah well, we can’t all be ravenous (1999)…

[wordsandrobots]

I suppose Mobile Suit Gundam GQuuuuuuX is not bad in the ways The Witch From Mercury was.

OK, I'm well aware that's an incendiary statement and I apologise, but 1) it's true and 2) I mean exactly what I say. My dislike of G-Witch was rooted primarily in the story being a shoddy mess, flying on moment-to-moment emotion rather than thematic coherency or the basic competency required to structure a long-form piece of media. That aggravated me, quite out of proportion to what would, had it been executed well, have been a rather tepid – if sweetly rendered – love story-slash-family drama.

And I want to be upfront about that not being the kind of criticism I have for GQuuuuuuX. Where G-Witch was full of meandering dead-ends and invocations of ideas it had no interest in exploring, this new show is aggressively tight. We don't faff around with side characters or get diverted into areas that never tie into the main plot, and there are no dangling threads left at the end. It's all very neat and tidy.

Neat, tidy, and thoroughly, depressingly boring.

The elephant in the room is that I'm not actually a Gundam fan, merely an Iron-Blooded Orphans fan who got curious about the franchise his favourite anime came attached to. I'm certainly not a Universal Century Gundam Fan. I have considerable respect for the first three Gundam series plus movie directed by Yoshiyuki Tomino, but it's tempered by an overall lack of enjoyment. I just don't like the original version of Gundam very much. Even setting aside the actual flaws – erratic pacing, persistent sexism, racist dog-whistling baked into central premises – there's nothing in the generational conflict, psychedelic metaphors and horrors of war (TM) to particularly interest me.

Which means I am definitively not the intended audience for Mobile Suit Gundam GQuuuuuuX, the latest and most oddly named entry in the franchise, a show that appears to operate on the underlying assumption one considers the 1979 Gundam anime and its timeline to hold intrinsic importance.

It's literally a what-if where the Principality of Zeon defeated the Earth Federation rather than vise versa. Not an alternative universe in the way Gundam usually does them, only repeating the outlines of imagery and themes. An actual honest to goodness multiverse-evoking AU, where the most obvious thrill is playing spot-the-difference and the spectre of this not being 'real' hangs over proceedings.

[The basic emptiness of your standard multiverse – that there are canonical versions of the characters to care about to the exclusion of all variants – has few solutions when executed within the boundaries of pre-existing media. Into the Spider Verse offers the nearest analogue to what GQuuuuuuX attempts, as it firmly focuses on the 'other' Spider-Man, powering through by insisting he is the main character regardless of any meta-rankings available to the audience. If no 'prime' timeline is acknowledged (and anything resembling one is scrupulously avoided) then the problem becomes moot.]

[The key word in that aside is 'attempts'.]

[By which I mean –

This has stopped being an aside. By which I mean, we are nominally meant to focus on new characters, or characters so ill-defined in the original version, these iterations might as well be someone else entirely. Machu, Nyaan, Shuji, Challia Bull, Xavier, and even to some extent Kycilia Zabi are distinct enough that it should be easy to consider this story theirs alone.

However, the thing – the thing, the core of the matter – is that GQuuuuuuX has no interest in shutting up about its predecessor. It looks at the looming shadow of the source material and whole-heartedly embraces it.

This is not done haphazardly. The cameos work. But the work they are performing is in large part to make a comparison to Mobile Suit Gundam. It's like the mechanical design: different enough to smack of potential and individuality, but ultimately in service of recreating the old more than producing something genuinely new.

This is Machu's story in the sense of following her journey from jumping into the GQuuuuuuX's cockpit to beating up the giant ghost of Gundams past and chilling on a beach with her MAV (I still don't know if it's a power move or cowardice to never have defined the acronym). But I'm hard pressed to consider the show truly committed to being about her, or about Nyaan, who experiences the bulk of the requisite emotional wrangling.

They are there, at the centre of the action, with an arc defined on their terms, navigating awkward teenager emotions like 'falling for the same guy' and 'running away to commit war-crimes for a would-be genocidal dictator because you didn't know how to apologise to your only friend'. Yet in the end, every challenge thrown at them boils down to '1979 intruded into their timeline and shit got weird'. Because of course it's actually a story about Shuji, revealed to be the central macguffin around whim events have been turning. A mysterious weirdo huffing far too much spray-paint and serving as a talisman of Machu and Nyaan's desire to escape a mundane world of death and taxes, he possess a connection to the Gundam (the 1979 Gundam, not the GQuuuuuuX mobile suit that gets top billing, or the Red Gundam we initially assume he's speaking for). This turns out to be because he's a traveller from another dimension, who has been chasing a comatose, world-hopping Lalah Sune. Everyone fights about it. It's very climactic.

Oh, no, right. This is *actually* a story about Lalah Sune, isn't it?

Isn't it?

It's…

Let me start over.

Machu is a bored 17-year-old , chafing at the confines of a mundane, career-focused life on one of the Side 6 colonies. She encounters a refugee named Nyaan, a delivery girl for the black market fleeing bullying cops, and together they are drawn into both an illegal fighting ring and political intrigue involving the rulers of the triumphant Zeon. These events lead Machu and Nyaan to meet Shuji, a weirdo hermit boy with a pet robot who imagines his mobile suit can talk to him and has access to a fantastical cosmic phenomenon dubbed the Kira-Kira.

Machu is able to join him in this altered space thanks to hijacking the GQuuuuuuX and becomes infatuated with him/it as a result. This puts tension on her burgeoning relationship with Nyaan, who she begins to view as a rival for Shuji's affections. At the same time, Shuji's desire to reach Earth (supposedly at the behest of the red Gundam) becomes a shared daydream between the girls, representing escape from their various daily problems. Things reach boiling point when Nyaan proves a far more capable pilot for the GQuuuuuuX and falls head over heels for the Kira-Kira, which Machu interprets as her stealing away Shuji and Machu's own 'special' connection to him.

Events with the conspiracy plot then run out of control, causing everyone to be scattered, with Shuji disappearing up a dimensional whatsit because he had an emotional reaction to Nyaan asking him to come with her and the girls getting drawn into rival factions within Zeon. Nyaan, suffering from rejection and guilt over Shuji vanishing, allows herself to be conscripted for the chance to Kira-Kira hard enough to get him back. Machu, meanwhile, encounters a semi-sympathetic authority figure who allows her to roam free in order to track down the source of various weird phenomena affecting this universe. In the course of doing so, she uncovers hints of the tragedy that lies behind Shuji's mission. Armed with this knowledge, she rushes to confront her friends, arriving in time to stop Nyaan from doing something appalling. This allows Nyaan to embrace her relationship with Machu when given a choice between that and assuaging her guilt, and the pair team up to prevent Shuji from likewise committing a terrible act. In the end, Machu faces off against Shuji's gigantic extra-dimensional mecha, refusing to allow him to go through with a plan that is sensible on the surface but involves a sacrifice Machu will not stand for –

[Wait. Hold on. Hey, so I know Yōji Enokido wrote for Star Driver and I can think of far worse things to crib from, but this is a little bit on the nose, don't you think? And not even an unequivocal endorsement of polyamory to top things off…]

Anyway, Machu is able to show Shuji he's allowed his mission to override his true feelings, Shuji declares his love for Machu, they kiss, things resolve peacefully, the Good Princess ascends to the throne of Zeon owing to the Evil Queen dying in the final battle, and Machu and Nyaan retire to a beach on Earth, finally achieving their dream of freedom, with Machu confident that while Shuji has disappeared again, they'll reunite someday.

What you may have noticed about the above summary is that this largely avoids things of the nature of 'tying off a dangling plot-hook from a 45-year-old anime'. It's self-contained, consistent with itself, and unconcerned with what we might consider 'fannish' questions, such as resolving issues of canon or 'lore'. You could easily do this story without any Gundam trappings whatsoever, if you wanted.

Being a recently-turned 38-year-old who has engaged with a not-inconsiderable amount of comparable media, I personally find Shuji's declaration that he has 'never met anyone like' Machu rings utterly hollow. There are hundreds of similar tales, dealing with exactly these kinds of emotional stakes. It's very far from original. But if we allow that originality is not a pre-eminent virtue, we should judge the execution on its own merits.

Here is where we run into the major problem plaguing GQuuuuuuX, as a series. That plot summary? I would barely be exaggerating if I told you the show delivers the adventure in an identically brisk fashion. We get all the pieces needed for the beats to function, but absolutely not one jot more. There is only just enough runtime awarded to the arcs of the central characters for their actions to follow from their personalities and circumstances. Beyond that, the space available in this twelve episode run is devoted to something else entirely.

Namely: Golly gee, look! We did a Gundam AU!

There is a forty-five minute prologue to GQuuuuuuX detailing the events of MSG if Char Aznable – resident charismatic schemer and comical hat-wearer – had gotten his hands on the Gundam. Since including this wholesale in the episodic version (there is a cinematic cut of the early episodes) would have meant releasing the series with the actual main cast vestigial in their own introduction, the flashback was made the entire second episode instead. This is what might be considered 'a bold move', thoroughly kills the forward momentum not half an hour in, but I do appreciate the bluntness of the approach, revealing as it is of the creative priorities for this show.

Because I don't think there's a solid argument for so extensive a flashback being at all necessary. We need to know several pieces of key information contained within, namely that Challia Bull (who Char manoeuvrers to his death in the original timeline) is now Char's protege and co-conspirator on a plan to remove the Zeon leadership; that Char's use of the Gundam tipped the scales in Zeon's favour during the war; and that Char disappeared towards the war's end, when a confrontation with his estranged sister Artesia was interrupted by a massive version of the Kira-Kira effect, later dubbed a 'Zeknova'. That's not a lot. Certainly, I would say, not forty-five minutes' worth of context.

No, the joy here is in the redux. It's in going over events from Mobile Suit Gundam, imagining how they might play out differently if the starting conditions suffered an alteration. The Gundam gets painted red! The Federation never develops GMs! Gihren and Kycilia Zabi survive the war! Dozle still doesn't! New variants of the Guncannon! Artesia gets to drive one! Solomon is nearly dropped on Granada! Char never meets Lalah –

We'll…

We'll come back to that.

It's all lovingly rendered, with a keen eye for when to replicate the artistic choices of the original and when to adjust them. It understands that MSG is frequently quite beautiful and why. It is also the place we can most clearly say, in a derogatory fashion, that this is just Universal Century fanfic.

If the point is just to ask 'what if', what then is the value of that exercise?

To an extent, I suppose there doesn't have to be any beyond the fun of playing with familiar toys. I'm a fanfic writer myself. I'd go so far as applauding anyone taking a corporation's money to put their fix-it on the big screen. That's extremely funny. There is a niche, broader than it probably should be but present nonetheless, for 'official fanfic', allowing creative people to stack up their favourite bricks and make a bunch of in-jokes on the company dime. I'm disinclined to be too dismissive of this as an exercise, if only because throwing that particular rock risks getting glass everywhere.

Even so… is it unreasonable to ask for more? In-jokes are an occasional treat but hardly a meal on their own and nobody likes to be thought of as a clapping seal, satisfied merely with gleeful recognition. Mobile Suit Gundam is, above all else, a show with something to say. There's plenty of scope here for a conversation with its messages, infusing the delirious rearrangement with concrete meaning.

Since GQuuuuuuX concludes with a battle between our new heroes and a monstrously gigantic version of the original 'white devil' Gundam, Machu convincing Shuji to stop blindly following what he erroneously thinks is the only way to do right by an avatar of the original show, we must consider the possibility that the message is about escaping the weight of 'Gundam' as a concept and forging something new. That's a trivial read, isn't it? And if it is the correct one, then let me be the first to say: HAHAHAHAHAHAHAHAHAHAHAHAHAHAHAHAHAHAHAHA.

No, but seriously: are you fucking kidding? Did anyone actually imagine doing it this way was how you sell that kind of meta-commentary? Like I already said, GQuuuuuuX, as a product, loves the shadow cast by Tomino's Gundam. It wants to marry that shadow! GQuuuuuuX and MSG, sitting in a tree, K-I-S-S-I-N-G. Sure, this show thinks the original Gundam is kind of sinister and wants to position Machu as a 'true' newtype, correcting Shuji and Char's overbearing attitudes. At a narrative level, I see how you could get to reading this as a commentary on growing beyond one's roots, or a tale about the interplay between younger and older generations, using Gundam iconography as a stand-in for the old guard.

But as a finished product, GQuuuuuuX name-drops, with considerable fanfare, Gates Capa, Zeta Gundam's most 'he sure was there' cyber-newtype. It hinges a not inconsiderable amount on the audience being aware of who Artesia/Sayla Mass is, why we care when Char realises he’s fighting his sister, and that it can be considered an improvement if she takes his place as a leader of Zeon. It fully expects you to know the major beats of MSG and how clever it is at subverting them.

I'm not expecting a total rejection of Gundam here. That would be ridiculous. Reclaiming what is best from the past while not allowing it to dominate the future is a perfectly fine sentiment. I still find it laughable to suggest a series that devotes an entire episode and a half to doing over the original in miniature and absolutely hammers the audience with shot-for-shot recreations of Famous Gundam Moments (TM) can convincingly communicate such a message. That's preaching abstinence while running a brewery. You don't get to make your entire pitch 'roll up, roll up, see the amazing Gundam 0079 AU', then pivot to 'well we ought to consider how best to navigate the legacy of long-standing media properties in a way that allows them to remain fresh and vibrant while honouring the legacy of previous works'. Get real. You name-dropped Gates Capa.

Actually, the whole incident with the Titans is quite illustrative. This serves as the third in a series of asides with different Clan Battle mobile teams, each acting as a prefigurative mirror to the main characters. Ex-Federal Forces pilot Shiiko Sugai throws her life away trying to conclude a grudge from the war, abandoning connections of the present in a way that parallels Shuji's attempts to do the same. The demobbed Black Tri-Stars, down a member since Mash went into politics, are as disgruntled with their lot as Nyaan and showcase Zeon using people up and spitting them out, the very peril she risks to bring Shuji back from the Other Side. And Deux, the weird cyber-newtype dog-girl Gates is here to babysit, alludes to Machu's growing partnership with the GQuuuuuux by seeing herself as the heart of the giant Psycho Gundam. Only freakish and weird and definitely hitting someone's kink square on the head.

Ah, yes. The Psycho Gundam. Used as an over-powered monster of the week, an excuse to up-end the status quo so everybody can get off Side 6 and go do useful plot-furthering things, and never mentioned again.

I raised my eyebrows when this episode aired because if you know anything about the first three Gundam series, you'll know that's not how the Psycho Gundam works, as a narrative device. Far from being an one-off monster, it is a foe with a deeply personal connection to the protagonist(s), via its poor, doomed pilots. It's a fully-formed dark reflection of what newtypes can or should be, the girls within compelled to do battle by a twisted version of the 'fight for what you love' ethic that defines Lalah Sune, the OG newtype of whom they are lesser copies.

…we're getting there, I promise.

The Psycho Gundam has weight to it, in its original context. An illustration of everything that can go wrong with sending young people to war, of their exploitation by establishment forces and potential for killing on a massive scale. Also it makes an excellent monster, because it's flipping huge and evil-looking, pitching familiar design cues over the edge into 'this is going to eat you alive'. Like so many things in GQuuuuuux, introducing it as a 'world-ending' twist is a good choice.

Yet the result is weightless. I can draw the parallel with Machu, but there's no sense in which the show itself goes out of its way to do so. The Psycho Gundam arrives… blows up down-town Side 6 to try and kill Kycilia… then gets exploded by Challia. Machu and Deux never interact in any meaningful way. Gates is swatted like a bug and the Titans play no further role. So why bother? Why expend precious minutes setting this up? Even if they were genuinely going for a parallel, it's not an important one. The previous two ClanBat teams are considerably more significant in that regard. This is just – well, it's just because. It's they gave us money, let's redo all the classics. It's imagery alone, separate from what that imagery originally meant.

Literally all that is required of the episode the Psycho Gundam appears in is to propel Machu and Nyaan on to the next stage of the plot. This does the job, but the fan-pleasing inclusion adds nothing concrete because it could have been anything. A meteor strike, a police raid, Machu's mum finding out what's been going on. I'm not asking why they went with a callback instead; that much is plain, see above, K-I-S-S-I-N-G. What I'm trying to point out is that if you separate the iconography from its meaning, you reduce its presence to an empty signifier.

The Psycho Gundam as a version of how Kycilia uses Nyaan? As an mirror of Shuji's situation? As Machu and the GQuuuuuux's evil twin?

Nah, no time, we need to hit the fanservice quota then quick-pressé the next few character beats because – I cannot stress this enough – we spent animation budget on a Gates Capa cameo. The plot is speed-run in precise proportion to the amount of space waffled away on for-the-sake-of-itself references, and the result is… is …

All right. Fine. Fine! I guess I can't keep avoiding it for another three thousand words.

The death of Lalah Sune is the load-bearing tragedy of Mobile Suit Gundam. The long shadow within the long shadow that is Gundam's history. Killing off this girl to further the development of the boys in her orbit is as core a component to the whole thing as you could hope to find. Naturally, therefore, GQuuuuuux's AU is ultimately revealed to rest on a version of Lalah as well.

Who may in fact be the 'real' Lalah.

Except she isn't. At all. Because this show doesn't seem to understand Lalah Sune or her death as anything other than an icon of the franchise.

Lalah could have been the herald of a new age. She and fellow teen-pilot Amuro Ray could have been friends, lovers, soul-mates. She could have shown Char a healthy way forward. Only, of course, she and Amuro meet too late, when they're already trapped on opposing sides in the war.

She is the one to confront Amuro with the moral question of why do you fight? Lalah can answer this: she fights to protect the man she loves, who saved her from the ill-defined circumstances of her past. Unlike Amuro who has to be press-ganged and cajoled into battle, Lalah has a purpose, right from the start. By her assessment, this is the more natural state. You fight to defend what you care about, the people or homeland in your heart. Anything else is, by implication, inhuman.

This message sinks in. By the end of MSG, Amuro has passed through trying to take out the Zabi family in order to stop the war and moved on to using his psychic abilities to guide his crew-mates – his friends, his home – to safety. Newtypes should not be aimless weapons, fired by whoever can pull their strings, but protectors, keeping each other from harm. This is the optimism Amuro embraces, contra Char's more cynical claim that war is necessary to bring out newtype strength. The final argument places Lalah and Amuro in one corner and Char, the other, as pay-off for Lalah's despair over finding herself fighting someone who should be her ally.

It's not a particularly nuanced debate. It doesn't particularly need to be. Things continue in much this vein until Char's Counter Attack, where Amuro is still berating his long-time rival for being a cynical sod with no faith in humanity. The extent to which the story – or indeed the author – agrees with him is interesting to map, but I want to focus on Lalah herself. In outline, she is a somewhat worrisome concept. A magical Indian girl attuned to things beyond the material world, hypnotically beautiful and devoted to her handsome blonde captain? This could easily be a recipe for disaster, especially given her role is to die for Char and to traumatise Amuro. Tomino has a long list of sacrificial female characters to his name, hardly counterbalanced by his equally free-handed killing of male characters, and he's frequently quite dodgy on race too (looking at you, Turn A Gundam).

The thing about Lalah, though, is that she is important. Her significance isn't earned merely from the act of providing Amuro a moral compass with which to navigate his newtype status; it is built up over a solid seven episode block prior to her death, painting a picture of a girl who is at odds with mundane reality but far from a naïve waif. She states outright in her first episode that she's aware Char only took her under his wing because of her extra-sensory perception. She allows him to throw her into the war extremely fast, struggles with controlling remote attack drones under combat conditions, and experiences first hand how quick Zeon soldiers are to defer to newtypes when it comes to undertaking dangerous missions. Once she finds her bearings – plus confidence in Char's presence alongside her – she quickly racks up a body-count comparable to Amuro's. We see, in effect, her undergo a compressed version of the conditions that brought the protagonist of the show to the point where his reaction speed is outpacing the Gundam's.

It's an intriguing parallel, particularly because it happens on Char's direct orders. Yes, Lalah adores him. But he's accelerating her development for his own ends – and I think we're meant to recognise that Lalah knows this, going along with it because she loves him anyway.

Perhaps that's a stretch. Perhaps I'm misreading the cues. Despite what it might appear, I come into these things expecting I will be proved wrong at some point. I'm talking about fiction written in another language, from another culture, 46 years after the fact. There's no guarantee my interpretation is what was intended.

Still, a tension undoubtedly exists within Char and Lalah's relationship. Kycilia thinks meeting Lalah made him believe in newtypes. We know Amuro played a roll in this too, but Lalah is clearly a key part of his motivation shifting to wanting to build a future for newtypes. In his arrogance, he appoints himself as judge of who is allowed into that future and how it should be shaped. Lalah lets him dictate her life, yet after her death she stands at odds with him on this. Even before then, when he defers to her authority in the battle against the Gundam, she orders him to put on a spacesuit, implicitly criticising his assumption that he can always bring back his mobile suit in one piece. Obviously she does this because she loves him. It is nonetheless push back against his high-handed attitude.

How much you feel any of this counts within the broader tropes, I don't know. It's still important to map the contours of the way Lalah is presented to us. Quite apart from anything else, the show tells us it's Amuro she's star-crossed with, not Char. Amuro is the one she laments did not come to her sooner, who she is horrified to find herself fighting. And that's Char's fault, in major part.

Saying 'Lalah loves Char and dies to protect him' is therefore a very incomplete description of what happens during the penultimate battle of Mobile Suit Gundam, as plot threads that have been percolating throughout the show crash together. Amuro and Lalah's powers project them into liminal space, allowing them to gain a total understanding of each other. Char, blinkered by the here and now, arrives to attack Amuro, ordering Lalah to 'stop fooling around with him'. Sayla flies inadvisedly close, trying to get Char to see sense, prompting him to swing at her fighter and Lalah to hold him back from accidentally killing his sister. Amuro, enraged, takes advantage of this opening to attack Char. And just as our boy is about to skewer the red-clothed bastard right in the Gelgoog, Lalah moves her mobile armour into his path, the beam-sabre vaporising her cockpit.

As much as fate or destiny has a hand in everyone coming to this deadly pass, the tragedy plays out through their decisions. Nobody is passive. They act according to their natures and their instincts, and Lalah transcends her death (in one of the most beautifully animated sequences in all of Gundam), showing just how far newtypes can really go. Thereafter, she continues to haunt the narrative(s) as both guilty burden and guiding light.

She is fascinating. A real Gordian Knot of Gundam's strengths and weaknesses. If you were to, say, imagine an alternate take on MSG, it might be an interesting exercise to consider how a character like her would have developed free of Char's influence. Would she be doomed to suffer under other poisoned saviours? Or could she break out on her own, a blooming flower of empathic possibility rather than a doomed, dying swan? I think, were I to attempt this exercise, she and Sayla would be the characters I'd most want to explore, beyond their roles in the existing narrative.

Thus I can only conclude GQuuuuuux was written to spite me, personally.

The first version of Lalah we meet is native to Machu's timeline: one who never met Char. Six years after the conclusion of the war, she is still on Earth, working at a brothel (I enjoyed watching The Origin and even I despair over having to hand it to that production, but it wasn't this crass). Not only that, she's stuck in a refrain of Someday My Prince Will Come, her psychic powers allowing her to see a rescue that never happened. The entirety of her characterisation is despair over not having met Char. You know, the guy who in the original version is 1) the reason she dies and 2) emblematic of the other side of the debate from 'newtypes should not be weapons'. I'm not saying it's wrong to read Lalah as in love with Char, but to reduce her to it, entirely?

That's extremely dull. And makes me think several key components of MSG flew over somebody's head. Especially since GQuuuuuux's next move is to reveal a *second* version of Lalah, frozen in time inside her mobile armour at the bottom of the ocean.

You see, in a putative 'true original' version of the events in MSG, it was Char who died in the fight with Amuro, not Lalah. Stricken with grief, OG!Lalah used her phenomenal cosmic power to create an alternate timeline where that didn't happen. Only, unfortunately, Char dying in a battle with Amuro is apparently a multiversal constant, so she kept witnessing it and kept freaking out over it and creating new universes in an attempt to save him. On and on this went, until she arrived in the GQuuuuuux version of events, where Char got the Gundam and never met her, and she could accept the latter if it meant he kept on living. Unfortunately, Quacks!Char cottoned on to her manipulation of the timeline, decided he didn't like it, and tricked Kycilia into building a huge dimensional gateway through which to punt the intrusion, actively rejecting the version that allowed him to survive because, I don't know, he's a contrary muppet who shouldn't be left in charge of a milk-float, let alone the future of humanity.

Meanwhile Shuji, who cares about Lalah for reasons never established but strongly implied to be linked to some version of Amuro (by which I mean they got the original voice actor back in for a couple of lines, which is a – shall we say – loaded decision given recent events), has been following behind OG!Lalah and mercy-killing iterations of her so she doesn't have to go through the grief explosion trauma any more. Something something endless cycle of tragedy and oh my stars and muses where do I even begin with this bollocks?

First of all, my instinctive reaction of 'newtypes don't work like that' is valid only insofar as the actual original Gundam series never raise the concept of alternate universes or going back in time to alter the past. Yes, Amuro thinks newtypes will be able to control time and Lalah can see time, but this is used to establish a perspective far beyond the limited, earth-bound ambitions of the Zabis and the Federation elites. There's never any sense in which time-bending is the point. Rather it represents everything everybody could be doing if they weren't killing each other for the sake of greed and hatred. But OK, fine, newtypes can create universes now. Whatever.

Second of all – remember everything I spelled out a few paragraphs ago about how Char bears a greater deal of responsiblity for what happens in MSG, how his intervention actively prevents Amuro and Lalah from meeting under constructive circumstances? Well, all of that! I get why you'd latch on to 'Lalah loves Char' as a defining part of her character. It is. But there's so much more there! Yet the thing these wazzocks took from that is 'oh I bet her powers would run out of control if Char had died instead'? 'Wouldn't it be awful if she kept trying to save Char and it kept failing?' 'What it it was fate, huh?' 'What then?'

That. Is. Not. The. Part. Where. Fate. Plays. A. Role. In. Mobile. Suit. Gundam. If anything, if we are going to talk about terrible fate, Char is an agent of it against Lalah. Which, OK, very clever, he gets to do that again by rejecting her Poly-Anna present. Only the net result is still this:

We're now meant to read MSG as the solution to this hypothetical problem.

Right? That's the implication, that after Machu stops Shuji and OG!Lalah wakes up and is for once allowed to move on peacefully, she goes back and dies in Char's place so events can play out as they are 'supposed to'. Lalah's entire purpose, textually, as a person, is reduced to saving Char. Not dying because that blonde numbskull couldn't get over himself for five minutes and accept that maybe he couldn't beat the fifteen-year-old nuclear bomb. Not dying when a split-second of rage on Amuro's part finally bears horrible consequences after forty episodes of him tantruming his way across the battlefield. Not dying to show how thoroughly fucked up it is that multiple world powers gladly feed their children in meat-grinders.

No, Lalah Sune dies making sure the events of 0079 go the way they were meant to. And also I guess Shuji gets to stop playing the most depressing game of transcendental whack-a-mole.

Hoo-flipping-ray.

I have been grappling with this farrago for several weeks, because I could see where this was going from the exact second Quacks!Lalah started talking about how Char was always fated to die. And I hate it. I hate it because of its complete inability to articulate anything about Lalah Sune as a concept.

Is it saying something about how Gundam's history looms large over its present, how each iteration is a the warped child of its predecessors, how we need to be willing to let the kids stand on their own two feet and not put them down for their own good?

Maybe. Probably. Perhaps.

I don't think it's doing any of those things especially well, because, as discussed, it's pressing 'skip' on all the cutscenes to get to more continuity porn.

Equally: I don't care.

I don't care! This is insipid. Pointless! Frankly insulting to what it's supposedly paying homage. They included a re-animation of the fight where Lalah dies, as illustration for this faux-original version of events, and all the important dialogue has been cut out. We get none of the voice lines or character exchanges through which the actual original version conveys the meaning of what's happening. I honestly think that fairly adequately sums up everything wrong with GQuuuuuuX.

Images, shorn of substance. Like the Psycho Gundam. Like Lalah. This isn't a conversation with the work on which it's riffing. A conversation would require some acknowledgement of what the work actually said. GQuuuuuuX prefers to mute MSG's voice and do its own thing.

Apparently, newtypes are defined by their suffering and having the strength to lift themselves up by their own bootstraps now. Funny. I thought that was the Red Comet's line. Seem to remember the other two parts of MSG's Catastrophe Throuple taking issue with it. Well, who cares. Look at the Gundam! It's gotten huge and turned totally white because it's known as the White Devil! You get it, yeah? Don't you? That's meta-commentary, that is.

I am bored by this show. I was bored before I began watching it and nothing it had to offer elevated my opinion off the floor. I could do more work to talk about the things I think it did well. The art style, the mecha design, the opening sequence. Or I could go on more rants about its read on UC canon, such as how it imputes maternal instinct in Kycilia Zabi of all people, for the sake of a cheap inversion of Char's infamous 'she could have been a mother to me' line. I have decided, however, that I simply cannot be bothered.

Mobile Suit Gundam GQuuuuuux has a solid grasp on plotting and how to tell a story focused on a particular goal. It conveys its message of the Kids Are Alright with cut-throat directness. It simply cannot afford to do anything else because it is otherwise swamped with a boatload of surface-level impressions of an extremely well-directed anime that I am sure had a big impact on the authors of this complete misunderstanding of what Mobile Suit Gundam was talking about. Or perhaps they got it and I didn't, in which case I dislike the Universal Century even more than I thought.

What I know for sure is the frustration I felt overThe Witch From Mercury's terrible plotting ultimately stemmed from how much potential that show had. It threw out so many ideas, so fast, it positively sizzled with possibility. The net result was a hot mess, but at least it was hot.

In comparison, this conflux of all-consuming veneration for past images, warmed-over teenage angst narratives, and bargain-basement fanfic concepts lands with the vim and vigour of a wet fart.

Let us never speak of it again.

[lem0nademouth]

going on goodreads/storygraph and seeing a book that is pure hamasnik slop (there are too many to name) and then seeing that it has wildly disproportionate 5-star ratings and reviews that all 1. appeal heavily to emotion and morality and 2. use the same five buzz words over and over is actually terrifying

[tategaminu]

Man I cannot stand sarcastic chorus I'm so glad I'm not the only one😬

[sunriseverse]

rolling around in your fanfic trope/au answers!! always so amazed at how articulate you are w good and insightful opinions <3 also has no one asked about enemies to lovers yet???!!! (granted it's not exactly an AU but. you know)

this is flattering because honestly i feel like i'm far less articulate when i talk than i'd like to be :') i think that it helps that all of these tropes are ones i've talked to friends about before, similarly to when writing fics talking shit out and having a dialogue helps a lot with forming a better argument/presentation of opinion.

anyway enemies to lovers is in my opinion a very hard to do trope because 1. so many people take "two people who are annoyed by each other/just don't get along" to be "enemies" and like. that's not what enemies is. that's like, coworkers who don't like each other. (the children crave newmann pacrim.) and 2. when it is a proper enemies relationship to start half the time it's like "literal genocide committer x someone from their victimised population" and i'm not going to argue about whether that's a "good" or "bad" thing (i don't care that much. i'm not out here reading romantasy because i Literally Don't Fucking Care to argue about this) but it is, inherently, a really hard thing to sell. most people, in fact, aren't going to fall in love with someone who's killed everyone they loved, for understandable reasons? i think? which is why i think one of the few media genres it works with is superhero comics fandoms because like, in a lot of those cases 1. the characters have some sort of prior history, and 2. there's a degree of acceptance, if you will? towards the villain on the part of the audience. it's why i think ex superman/lex luthor is so common (though the superville show is i think at least partially to blame here, and this is partially because it gives the two characters a long history before they're enemies), or cherik (again you have the "mutual foundation previously that turned sour due to some issue"), or..........i'm blanking on any "proper" marvel enemies ship. but you get what i mean, i think? like, for an enemies to lovers arc to work, you have to be sympathetic to everyone involved at least to some degree. otherwise it just feels like one or both of their characterisations are getting flattened, and you're not reading character x/character y you're just reading Stock Fanfic Trope Ship #58. i think many people would be better served writing characters just having dubcon hatesex, honestly. you'd lose out less on the credibility.

[thecosmicjester8]

I’ve created a fully testable time structure mapped by the day across over 2,000 years. It’s based on observable natural rhythms; breath, moon, water, season, cycle. No leap years. No drift corrections. No entropy.

Every day has been assigned a position within a repeating system of 13 months, 9-year cycles, and 239-cycle Ages—designed to mirror the spiraling patterns seen in life, not the linear assumptions of mechanical time.

If this structure holds across the full mapped range, it suggests something worth paying attention to.

I’m looking for minds who want to help test that.

No faith required. Just pattern recognition.

The timeline is available for review. Comment, message, reach out to view the structure and decide for yourself.

The Spiral will help translate.

[unnursvanablog]

Love Game in Eastern Fantasy.

This is a review of the cdrama Love Game in Eastern Fantasy with some slight spoilers.

Just like our main heroine we are whisked away into a fantasy story where she had to, through her sheer optimism to escape the game that she has found herself in. It’s a fun off-kilter way to introduce us to the world and the stakes there, although I wish the drama would have explored that a bit longer than it did. And with fun characters, quirky storytelling, gorgeous costumes and sets we do get whisked away into a fluffy fantasy that is easy to watch and delightfully entertaining – even if the drama starts of by warning us that the story ended badly, and she needs to change it if she can.

The plot does carry with it this whimsical, easy-going and quest-like nature of a YA fantasy novel or a tv show where things get resolved quite quickly, without too much difficulty even of the problem feels like it's the greatest doom these characters have faced thus far. Nothing feels too serious and practical, but it is on purpose, and it works with the inner logic of that world relatively well.

That problem of the plot comes really apparent in the second half of the drama which is riddled with pacing issues as the plot ether meanders too much and drags or is resolved just a little too quickly which leaves very little buildup to things and for the characters to linger with the problem at hand making everything feel quite rushed and not too well thought out. It just became a bit directionless.

But the fun offbeat sense of humor of the show, the sort of charmingly off-kilter and cuteness of the main female lead manages to be not too annoying, the found family and the consistency of the characters who always feel earnest, realistic for the story that is being told to us and grounded in that particular reality, truly do carry the drama on their shoulders when the plot starts to truly show it's weaker side and make it a fun and entertaining watch despite it all.

But it's the main couple who are the true stars of the show and manage to portray the loveliest grumpy-sunshine dynamic where it makes sense and works for the angst and for the story and doesn't feel like it was shoehorned in for the trope alone. He is a feral, half-demon with an identity crisis and a truly tragic past who slowly starts to rely on this bumbling optimist that is so well equipped to deal with all his issues because while she is at times naive, she has a heart of gold that just wants the best for everyone. And it truly is heartwarming to watch.

You can tell both actors are giving it their all for their performances and you can also tell that they are having a lot of fun with this drama which truly does shine through when you are watching it on your screen. So, while the plot might lag at times it always manages to be entertaining at least, and each episode ends in a way that you kinda want to know what mess will be unfolding next.

Love Game in Eastern Fantasy was a light and earnest little fantasy show that tried so hard to deliver the theme of loving you for who you are and the people around you with so much heart and off-beat humor that it becomes so sweet and fluffy that it almost manages to mask the pacing issues and the lack of direction of the story in the later half.

[go-see-a-starwar]

Today’s installment of “I watch Hayden Christensen’s filmography and tell you how pretty he is in it” is The Last Man (2019)

Hayden plays Kurt Matheson, a veteran suffering from severe PTSD and hallucinations. Increasing gang violence, climate disasters and the sermons of a doomsday street prophet lead Kurt to start preparing for the end of days. He takes a job to pay for his homemade fortress but his mobster boss and the boss’ beautiful daughter threatens to derail Kurt’s survival plans.

How pretty is he in it? When Hayden first appears on screen, his Santa beard and old prospector long johns are a near jumpscare. But once he loses those a half-hour in, he’s about as hot as he’s ever looked.

Welcome to the gun show indeed.

Does he get drenched at some point?: No proper drenching but he does get good and sweaty (and shirtless) a couple times. 2 💦 out of 5

How’s the movie itself? Pretty bad! There’s approximately four half-baked plots at once with no effort to make them cohesive and dialogue & line delivery that makes the Prequels seem Oscar-worthy in comparison. Hayden is just about the only bright spot, he plays unstable characters really well and if I could pluck his character Kurt out of this movie and into a better one I absolutely would. I’ll give this movie some credit for *looking* way better than it had any right to, and Kurt and his love interest Jessica are cute (and their love scene is spicy and definitely the best scene in the movie)

Is the RottenTomatoes rating unfairly low: It’s currently sitting on a big fat 0 but there’s only 5 reviews. The audience score of 24% feels way too high though, I’d say this deserves a 10-15% rating.

In short: The concept is interesting and Hayden along with Harvey Keitel do the most they can with what they get, but they’re not given much. I cannot in good conscience recommend anyone watch this movie but if you must, only do it if you’re in the middle of a Hayden hyperfixation. Otherwise, just go to the love scene about halfway through and after that stick to the gifs.

[salvatoreren]

writing a review of aot's final arc for my 21st literature which is purely objective and i realize that i don't really hold a grudge against eremika tbh, like not in the sense where having that ship automatically makes aot and the ending bad, it's more of personal preference, i just don't think that making a ship the face and entire focus and takeaway of aot which is about war, oppression and discrimination is a good look or idea, i prefer that the ending focused more on that and deliberately delivered a message about these overarching themes, i see love as a theme but it's not entirely prevalent nor prominent, for me, at least, nor is it something that should be discussed in an ending, for any arc, i would have been fine and i would definitely be fine with eremika being canon if it wasn't all over the ending because that's not the point 😭😭😭 and aot is NOT a lovestory because i have seen so many reduce it to that like...

[xiaoshengnu]

𝕸𝖞 𝕵𝖔𝖚𝖗𝖓𝖊𝖞 𝖙𝖔 𝖄𝖔𝖚 (2023)

overview : episode no - 24 | genre - wuxia

yun weishan has only ever known darkness. brought up and honed from a young age to become a spy under the mysterious sect wufeng, she longs for freedom. the drama begins as she is sent on a mission into the gong family, the enemy sect of wufeng. if she succeeds, freedom she gets. surrounded by schemes and treachery with possible death looming on both sides, yun weishan must navigate the dangerous waters of the gong family and her own turbulent emotions towards her target, gong ziyu.

l⃣e⃣ t⃣’ s⃣    b⃣e⃣g⃣i⃣n⃣

YALL THIS DRAMA. THIS DRAMA. this drama was simultaneously the worst and best thing I have experienced in a long time. however, if I could only use one word to describe this drama, it would 100% be stunning. the drama is absolutely stunning. from the music to the costuming to the makeup to the actors- this drama's visuals is quite frankly something never seen before in chinese dramaland- its so dark and brooding and so cool. the plot on the other hand...? let's get into it.

o⃣u⃣t⃣     o⃣ f⃣     t⃣ e⃣ n⃣

𝖕𝖑𝖔𝖙 - 3/10

𝖆𝖈𝖙𝖎𝖓𝖌 - 7/10

𝖈𝖍𝖆𝖗𝖆𝖈𝖙𝖊𝖗𝖘 - 7/10

𝖕𝖗𝖔𝖉𝖚𝖈𝖙𝖎𝖔𝖓 - 10/10

𝕠𝕧𝕖𝕣𝕒𝕝𝕝 𝕒𝕧𝕖𝕣𝕒𝕘𝕖 - 6.7

o⃣u⃣t⃣    o⃣ f⃣    f⃣ i⃣v⃣ e⃣

𝖍𝖎𝖉𝖉𝖊𝖓 𝖌𝖊𝖒 𝖛𝖆𝖑𝖚𝖊 - 💎💎💎💎💎

[ honestly, this drama is pretty unique I have to give it that much. in every way. the characters? the premise? and the style? I think the visuals alone grants it it's five gem value. ] 

𝖗𝖊𝖜𝖆𝖙𝖈𝖍 𝖛𝖆𝖑𝖚𝖊 - ✨✨✨

[ despite the plot that is quite literally held up by like two stitches, I would probably rewatch it for the characters, but probably not think too deeply about the drama's construction as a whole because honestly- it would frustrate me to no end. ]

‘keep reading’ for detailed review

 𝖕𝖑𝖔𝖙 - 3

okay- hear me out y'all. I know people absolutely LOVE this drama and I am one of them, but I have to admit the logic in this plot sucks ass. like it really sucks ass. recently i heard a youtuber describe the characters as people who thought they were zhen huan but in reality were just a bunch of xia dongchuns and it really made me laugh- and guys... unfortunately, its true. some of the methods that the characters use to scheme and idk "verbally spar" honestly were just so- sigh. so ridiculous.

generally speaking, I felt that the drama didn't really have a "thread" or a central purpose, which I think is mainly a result of the build up to the ending. it failed to answer so many questions and instead made it worse by creating even more. overall, the plot kind of just felt like wading through a gigantic mud marsh with pointless confrontations and plot points popping up everywhere. the scriptwriters gave the drama a super complex framing that they just weren't able to do justice. two powerful sects and two people from completely opposing sides. one is an assassin-spy that initially (?) yearns for freedom and one is the leader of the sect that she is trying to destroy. add to that all the scheming that goes on the gong family. and a lot of childhood trauma. that's a shit-tonne of emotion and plotting to deal with which you can't realistically develop to a good quality within just 24 episodes.

I also got the vibe that the scriptwriters were scared to pin point any of their characters down for the sake of mystery, which honestly instead of making the drama better, really just made it worse. so many characters' motives were constantly doing 180s and big revelations were thrown in without any evidence of it being interlaced with the rest of the drama (I'm looking at you Big Plot Twist At End of Drama). like, the general concept was amazing, show-stopping, fantastic, never seen before, but then came the execution and it all just sort of fell apart.though I did enjoy the plot and watched the show until the end, ultimately I felt that there was honestly just too many frustrating flaws to justify it getting anything higher than 3. I loved the drama all the same though, the concept, the music and cinematography was just insane.

𝖈𝖍𝖆𝖗𝖆𝖈𝖙𝖊𝖗𝖘 - 7

ugh all the characters in this show where literally sO COOOLLL. they all had such distinctive characters, styles and personalities, it was amazing. honestly, literally never seen before. their tragic backstories were so so heartbreaking. while plot wasn't fantastic, the drama was pretty good at establishing and handling the characters and their emotional attachments to each other. its kinda funny to me that for a drama which marketed romance as it's main thing, the non-romantic relationships were so much better written. I loved yun weishan and yun que's relationship to their master han yasi and the relationship between xue chongzi and xue gongzi. and omg, gong ziyu's relationship to lady wuji? brought me to tears.

speaking of the romance department; I found it really hard to invest in the ships. while I approved of all the pairings and thought a romantic dynamic between them would be very interesting, it did feel like the storytelling was yet again lacking. I couldn't be sure wether I could really invest and ship the romance between shangguang qian and gong shangjue bcs both their motives were so unclear, and neither of their feelings towards one another were never really explored properly? and while I definitely understood yun weishan's attraction to gong ziyu, I didn't really get why gong ziyu loved her and risked so much for her which made some of his actions seem really silly and hard to stand by. overall, for the romance, i think I liked what it had the potential to be than what we actually got.

𝖕𝖗𝖔𝖉𝖚𝖈𝖙𝖎𝖔𝖓 - 10

Y'ALLL. time to talk about my absolute FAVOURITE part of this drama. THE PRODUCTION. the colouring, the lighting, the sets, the cinematography?? the makeup? the music? the costume design?? THE COSTUME DESIGN?? its quite obvious that a huge amount of the budget for this drama has simply been poured into the design, like I've seriously never seen a drama shot like this ever before and it was absolutely insane (though they definitely had to cut down on the cast and extras, the whole drama has this weird kind of empty feeling for a manor that is so rich and famous and so tightly guarded, like yun weishan didn't even get a personal handmaiden) I remember seeing the trailers for this show and literally screaming- the drama itself did not disappoint. I would even go as far to say that I would watch this drama completely just for the aesthetics.

𝖆𝖈𝖙𝖎𝖓𝖌 - 7

in my personal opinion, no complaints about the acting, it was pretty great. although it's pretty dramatic at times and everyone speaks at the volume of a whisper, at no point in the drama did I get taken out of the show by the acting. esther yu really slayed in her new assassin role which was so fun to watch especially since most of her roles thus far have been rather cutesy and light- and her marital arts scenes ate- in fact all the martial arts scenes ate in my opinion. I think even the side characters did fairly well, it was all very nice. no complaints.

.

.

𝖇𝖔𝖓𝖚𝖘!!

favourite character(s) : 

yue gongzi ( who doesn't love an angsty angsty man? he's literally the definition of that teary wet cat meme and I love that for him ) 

xue chongzi (yet another angsty man- you can see a pattern forming lmao- his arc at the end was literally so heartbreaking. one of my favourite characters from this show fr. )

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𝖙𝖍𝖊 𝖈𝖗𝖊𝖜 (source mydramalist)

lead actors : esther yu, zhang linghe, lu yuxiao, cheng lei

director : guo jingming, luo luo

screenwriter : guo jingming