#both visually and creatively and also in plotlines

[chai-dye]

Whenever they talk about shows that shaped your whole life as a kid and then you go back to watch them as an adult and it's genuinely painful to watch they're talking about rc9gn and the og ben10 /lh

[ohnoitstbskyen]

Oh no. Sir I believe I'm going to need you to explain that Dragon Age 2 opinion, that is a BLAZING hot take

I really don't think it is. Although of course all of this is personal opinion, not some sort of divine proclamation on high about which video games people are allowed to prefer, so take please it in the spirit it is offered.

Origins is a worldbuilding walking tour as much about explaining its own in-universe lore and fantasy history as it is about either its characters or the actual story that is happening in the game. It's a cool world! With some great lore! But also it is built entirely around Generic Fantasy Plot Structure #1 and never particularly seems interested in innovating, or surprising the player. On top of which, a lot of its setting and lore is pretty weakly sketched and doesn't really get developed into something either visually or narratively compelling until it gets built out in later games.

And while Inquisition has some genuinely fantastic characters, everything else about the game suffers very badly from the plague of BioWare Magic™, i.e. the production was an absolute mess up until the last minute when five hundred extremely overworked and underpaid creative geniuses somehow managed to wring a functional experience out of the trainwreck. It was made with fucking Frostbite of all things, jesus christ, it's holding together with spit and duct tape.

Now, Dragon Age 2 shares a bunch of the problems of Origins and Inquisition. It too bears the hallmarks of "our executives couldn't plan a healthy game production cycle if their lives depended on it" with a lot of unfinished content, half-assed sidequests and a truly frustrating over-reliance on a combat system that isn't half as engaging to use as it needed to be.

But Dragon Age 2 also has something neither of its siblings could ever even hope to match: an actual compelling protagonist.

Like, listen, I know people adore their headcanons about their Wardens and Inquisitors, and it has made for some truly amazing fanworks, but Hawke is literally the only actual character out of all of them. Hawke has conflicts, problems, needs and drives that actually inform and push the story forward, they have a family and a history and a reason to give a sh** about the central conflict of the narrative.

In Origins and Inquisition both, your character becomes the main character of the story entirely because of fate and random chance. You are the Chosen One and you are the only one who can Save The World because you're the last of the super special elite fantasy Hero Squad, or because you got some green magic stuck in your hand by being in the wrong place at the wrong time. Because the character is a complete blank slate onto which the player is expected to project themselves, random chance and circumstance are the only tools the plot can use to position them as main characters. There is no character to drive them to it.

In Dragon Age 2, Hawke becomes the champion because they're trying to build a new life for their family in Kirkwall, and end up embroiled in the chaos and politics that befall the city as a natural consequence of living in it and dealing with the conditions of it. Hawke and their family's needs and wants drive their actions, and push them to engage in endeavors that influence the course of history. They have agency (in the conceit of the narrative, at least) over how their life turns out, they make choices that have consequences, rather than being dictated into the position of Main Character by a literal looming apocalypse that permits no other course of action.

And I'm not about to sit here and claim that Dragon Age 2's story is perfect or that every character is a masterpiece or that every plotline is amazing. No, there's plenty of scuff and jank and things that have aged poorly and unresolved plot threads and all the rest of it.

And I am definitely not forgetting the godsdamned DLC where BioWare threw it all overboard by inventing a Special Bloodline Plot where oops it turns out Hawke actually IS a special chosen one specially chosen by a special fate to have a special role in Saving The World because they're special because of fate and destiny and blah blah, I still think that was phenomenally stupid (especially when Corypheus wasn't even Hawke's goddamn main villain to deal with what was any of this supposed to add to their character ffs BioWare)

But even with all its problems, the simple fact that Hawke is a character you can give a shit about independent of your own projection as a player - the fact that Hawke isn't just an empty bland blank slate with no personality, no traits, no wants or needs or drives - that has made Dragon Age 2 infinitely more memorable to me than either Origins and Inquisition. I think about it to this day. I think about Hawke to this day. I care about what happens to the character in a way that I just simply could never bring myself to do with either my Wardens or my Inquisitors.

[scary-pixie]

Thanks, random 1899 dream from a few days ago.

Now I'm thinking about Eyk again.

And going through my 1899 playlists.

And my Steampunk wardrobe.

There's something about Bo and Jantje's shows (both 1899 and Dark included) that gets deep into my brain and just CLAWS at me.

Probably the men.

The sad ones with pretty eyes.

But also the music.

The visuals.

The strange symbolism and twisting plotlines. They remind me of the stories and art I used to create years ago before I became obsessed with making money off creative work and what stupid internet dipshits would think (not to mention all the time wasted on social media).

These shows have succeeded in taking me back to creative places that I've had a really difficult time reaching in the last decade or so.

And the fact that Netflix won't let us see where any of this would have gone still makes me rage.

I kind of want to draw now, but I'm lazy. Maybe when I've finished some of my unrelated work and house shit.

Maybe.

I should draw butts, I think.

[vuulpecula]

2. How do you stay motivated when writing? Do you have any tips? 6. Do you have a process of approach when writing, or do you gravitate towards whatever you or your muse is feeling? Do you mind sharing what your process looks like? 7. Are you a plotter or a pantser (someone who wings it)? Why are you one more so than the other, if applicable? 8. What do you think your best writing quality is? 9. Do you visualize scenarios in your head while writing? 10. Do you prefer character development and relationships, or plotlines / story progression? 13. What is a way in which you handle or acknowledge stress / burnout / writer's block? 14/ What is a song that brings you joy? 17. What are some of your favorite tropes? 20. What is your favorite positive trait or habit you have given a character?

✖ marvelous munday meme

answers below the cut ! apologies in advance, they got kind of long !

2. how do you stay motivated when writing? do you have any tips?

as someone who struggles a lot with imposter syndrome, staying motivated can some times be really difficult. even opening my drafts or the webpage itself can be intimidating, but i find that when i'm really excited about something: a setting, a plot idea, a genre, that gets a lot easier. music also helps a lot! it's sometimes less motivation and more of a focus tool, but every little thing helps. my biggest tip would be to write what you love. if you aren't writing something you love, its going to add another layer of struggle, so i always try to throw something in, even if its small, so that i'm more likely to look at it and find the muse so to speak. For instance, i love writing setting and atmosphere, but i really struggle when it comes to shorter replies or just dialogue, they just don't spark as much joy--but if i can add just one or two lines describing what is happening around the characters, that helps motivate me and suddenly i'm building a world where before i was stuck staring at an un-moving, blinking text cursor.

6. do you have a process of approach when writing, or do you gravitate toward whatever you or your muse is feeling? do you mind sharing what your process looks like?

if we're talking specifically roleplay, i would say i have a loose approach that encompasses both a little bit of structure and a little bit of doing whatever my muse is feeling. if we're talking drafts/answering things, i typically have 3 tabs open--one with the most recent drafts, one with the oldest drafts, and one with the inbox & i try to do 3x3x3 of each, which doesn't always work, but it gives me a little more structure to look at. When it comes to writing itself, i usually try to somewhat match length ( i know that isn't something anyone has to do, i just find it helps me with pacing and keeps me from over-writing? ). and the rest is just whatever flows through me writing as fox. i usually go down or up chronologically, but if something isn't sparking joy or i'm just not feeling it, i still usually give it about 5 minutes of focus and if i still can't think of anything after that 5 minutes, i add it back into the pile. i'm a little bit of a packrat so it's hard for me to get rid of anything lol

7. are you a plotter or a pantser (someone who wings it)?

a little of both ! i really like plotting, especially if that plotting involves putting our muses in terrible situations lol but i'm also completely open to wing it and see where the story develops. that is the great thing about rp, in my opinion, because the person you're writing with could take things in a direction you never imagined and fosters such a creative atmosphere when things really click.

8. do you visualize scenarios in your head while writing?

YES ! i do the same when reading, idk, does not everyone do that? i'm a huge settings person, as i mentioned above, so being able to see the whole world around a muse or the actions, even if i don't necessarily write them, i can see them--if i can't see them, those are the threads that usually i don't enjoy quite as much or that really don't spark creativity for me, which is okay. not every thread has to or needs to be, that can get exhausting too.

10. do you prefer character development and relationships, or plotlines / story progression?

hm, i would say both. especially if they go hand in hand. sometimes with rp it is harder to get to a point where you achieve character development in a single thread, so stretching them out, talking about the before and after with a partner and the plot that fills in in-between is a good way to bridge the gap. either way, i really prefer at least one or the other (ideally both) in threads, but sometimes that can be hard when you've first writing with someone and sometimes it can be hard after too. i try not to push it too much in either direction because i know not everyone writes the same and as a classic people pleaser, i'm more than willing to go with the flow.

13. what is a way in which you handle or acknowledge stress / burnout / writer's block?

so, i heard recently that writer's block is a symptom of imposter syndrome and that you don't get imposter syndrome unless you're actually already doing the thing you think that you can't. that really opened my eyes in the way that i thought about writer's block/imposter syndrome as a whole. like if i wasn't already writing and getting the feedback (no matter if i feel like a fraud or not), imposter syndrome wouldn't even be there...if that makes sense? so for writer's block, i try to remind myself of that. i also approach writer's block with grace, maybe i feel unmotivated or uncreative, but if i can write one word that turns into a sentence that turns into a scene, even if its meaningless in the end, that can help a lot to get over the hump of the block itself. when it comes to stress and burnout, on the other hand, i have a tendency to disappear. both in writing and out of writing. i isolate myself, which isn't always the most helpful, but in that isolation i usually do other things or hobbies that bring me joy that maybe i was avoiding because all my focus was on writing. usually it's reading or watching tv/movies or playing video games and those always bring me back to writing in the end--even if sometimes it is months later. i'm trying to get better about communicating that, but with the isolating, sometimes communication also feels like the hardest thing to do in a day.

14. what is a song that brings you joy?

there are so many ! i tend to listen to a lot of, what people classify as "sad" music, so it took me a moment to find one that is happier and brings me joy for that reason. i got engaged over the holidays so anything recently that reminds me of my love and are more lighthearted have brought me a lot of joy. I Could Drive You Crazy - Sierra Ferrell

17. what are some of your favorite tropes?

disheveled bride with a gun ! ( think fallout ep. 1 or more importantly, Ready or Not ), sunshine/grumpy, action bomb, arrow cam, back-to-back badasses, one bed, any trope that's in the rain, mental decay & madness, tbh any southern gothic tropes--the list could go on forever tbh.

20. what is your favorite positive trait or habit you have given a character?

fox can see the beauty in anything and everything. she chooses not to allow the world to get her down and instead focuses on the good or the growth it offers (somethings that has helped me heal a lot when it comes to personal trauma/issues). there was something i wrote a while ago where she's looking out at a field of dandelions and to a lot of people (at least around where i've grown up), they're just a bunch of weeds, it means someone is going to have to mow the grass soon, but she looked out at them and saw it as a field of wishes not yet wished. there is something in there to be said about kindness, gentleness, and optimism, but i'm not the best at pulling the words of meaning into something cohesive enough to explain it?

thank you for sending these in !

[blacklist-notary]

#85: The Courier

Synopsis: In the midst of her problems at home, Liz is called in to see Reddington about a prolific underworld courier. Acting as a middleman, the courier acts as an impartial broker of deals where he receives an item from one party, hides it, then receives payment from the second party in exchange for the item's location. If the courier feels that he has been compromised, he kills both parties and the item at stake is lost.

The courier is currently brokering a deal between two parties for $20 million. It could be a bioweapon, like a virus, or it could be a weapon of mass destruction - the sky's the limit for the courier. But the FBI taskforce soon discover what the cargo actually is: a 26 year old data analyst who's being sold to an Iranian spy.

The analyst has about twenty hours of air before he suffocates, so the taskforce have to mobilise fast and catch someone - anyone - who can lead them to the captured data analyst. But when the sale is burned by the courier, and the FBI aren't able to squeeze anyone for the information to save the captured analyst, the team is on a race against the clock to save their asset from suffocating.

Thoughts: I love that The Blacklist has two gonzo episodes in a row. The last episode was about a guy who used motel bathtubs to dissolve dead bodies into gunk, and this episode is about a courier with a very unusual talent.

I'm not going to spoil the courier's gimmick, but this episode is absolutely NOT for the squeamish. There are parts of this episode that are absolutely sick. The courier himself is kind of like a more vulnerable Terminator, and he's incredibly resourceful in a way that no other Blacklister has been before - but in saying that, we're only five episodes in, so that metric doesn't mean a whole lot. It's still a very creative episode with a very creative criminal at the centre of things.

After four episodes of Reddington turning Elizabeth Keen's life upside down, this episode feels like a significant bonding moment between them. I said in the Freelancer post (#145) that one way that the plexiglass cube prison is used in the show is to highlight how Reddington and the FBI taskforce don't trust each other yet - it's a physical prison, but it's also a visual metaphor for the team's lack of connection. As the show goes on, this plexiglass prison appears less and less - sure enough, it wasn't in the Stewmaker episode at all, and its absence continues in the Courier.

And this is the first time that I've recognised an episodic character from something else. I already knew James Spader from Boston Legal of course, but the titular Courier from this episode is played by an actor named Robert Knepper - he played a character named T-Bag in the cult TV show Prison Break alongside Wentworth Miller and Dominic Purcell. I only know Prison Break through a former friend of mine, so any connection I might have to Prison Break is pretty sour, but Robert Knepper makes for a very compelling bastard of a character in that TV show and he cuts a very distinct silhouette. He's a great fit for this type of character.

I've mentioned a couple of times that I'm really enjoying the early run of The Blacklist, and that's because this season is where the actual Blacklist component - here's a list of extremely high-level crooks that are so good the FBI doesn't know about them, let's go and fuck 'em up - is at its most prominent. Later seasons lean more into the myth arc, and eventually Reddington's insistence on Elizabeth Keen folds her into that series-spanning C-plot while other interpersonal plotlines begin to fill the B-plot that's currently occupied by Liz's home life with her husband Tom.

As time goes on, the focus shifts more towards that long-running myth arc and away from these episodic villains of the week, and eventually the myth arc is a bit too forcibly obfuscated and the villains of the week are fodder at best who barely matter any more. And one of my favorite things about this show is how strong its episodic component is! It's built into the structure of the show! Every episode focuses on a new bad guy, and their placement on the Blacklist - from the high 200s all the way up to #1 on the list - is broadcast alongside their name. Blacklister #178 is up to some heinous stuff without a doubt, but Blacklister #16? That guy is gonna inflict some scorched earth shit. The ramifications of #16 are gonna be felt for seasons to come. It's basically a form of power-scaling to signal just how important the episode's villain is going to be.

I'm of the opinion that this aspect of the show, the episode-to-episode villain plots, ends up deteriorating past a certain point to help prop up the myth arc. Past a certain point, I miss these episodic villains that fire on all cylinders. The Courier is mostly notable for being another sickening, schlocky gonzo horror-show directly after The Stewmaker, but by the time you hit season seven, these are the characters you REALLY begin to miss. So it's a pleasure and a delight to see this character and this plotline with a set of fresh eyes.

So yeah, overall this is a very entertaining episode of the show. Not for the faint-hearted, but it's very creative and a lot of fun.

[popentertainment-moviereviews]

MOANA 2 (2024)

Featuring the voices of Auliʻi Cravalho, Dwayne Johnson, Temuera Morrison, Nicole Scherzinger, Khaleesi Lambert-Tsuda, Rose Matafeo, David Fane, Hualālai Chung, Rachel House, Awhimai Fraser, Gerald Ramsey, Alan Tudyk, Jasmine Johnson and Tiana Johnson.

Screenplay by Jared Bush and Dana Ledoux Miller.

Directed by David Derrick Jr. and Jason Hand and Dana Ledoux Miller.

Distributed by Walt Disney Pictures. 100 minutes. Rated PG.

The recent surge in Disney sequels both released and planned makes me less and less hopeful to once again see the heart that was once in the company’s movies. The original Moana was an incredible tribute to Polynesian culture, with likeable characters, plot, music, and visuals. I honestly feel that it was one of Disney’s last soulful films. With the very small exception of Encanto, the company has struggled to put mastery and magic into their golden road to make films. When I was invited to see Moana 2, I was not hopeful. Especially considering that I was made aware ahead of time that it was originally intended to be a series on Disney+.

During the movie itself, I expected to see a clear change that would make it obvious that the original plan had changed, however there were moments I could tell were supposed to be the end of an episode. An example of this would be the mission within the “Giant Clam” when there is a moment of tension that is cut off, most likely because the episode was to leave off on a cliffhanger. Unfortunately, this formula left too many plotlines to follow and not enough time to develop the characters. 

Disney is aware of how great the first movie was. I can only assume that is why references to it were placed into the script one too many times. A callback to the original work is often essential for a sequel. However, the sheer number of blatant quotations and references felt unnatural as I watched. I could also not help but feel disconnected from the setting due to the concerning number of modern-day references. After one too many, they just did not land for me as I really tried to see the movie as a continuation of Disney’s take on Polynesian mythology.

The animation of the movie remained aesthetically beautiful. However, I did notice small differences in quality from the sequel compared to the original movie. Considering the film was meant to be a series to stream instead of seen in theaters, this does not surprise me. Regardless, the movie had incredible visual concepts and displayed some breathtaking work throughout.

The cast was a welcome factor as hearing their voices made some dialogue choices more bearable for me. Returning as Moana and Maui were Auli’i Cravalo and Dwayne Johnson, respectively. The characters they play share a unique dynamic on screen that I was happy to see had evolved naturally from the first movie. Overall, their performances were well done. And it was great to hear Alan Tudyk return as Heihei, as Tudyk is always a welcome presence.

The new characters added to the main cast were voiced by Hualalai Chung (Moni), Rose Matafeo (Loto), and David Fane (Kele). Despite my feelings for the characters themselves, the cast still performed great from a voice acting standpoint. One character in particular that I was actually invested in, but was left disappointed as she did not turn out to be an actual villain was Matangi, voiced by Awhimai Fraser. Initially the movie presented her as the first real threat of a character, but unfortunately it turned out to be just a misleading fake-out. With such a great design and voice performance, I had really hoped to see a new real villain in a modern animated Disney movie.

My final thoughts are that Disney needs to put more power into their creative minds. Not every movie needs a sequel, but if they absolutely must make one, raise the whole story higher in a way that respects the original art. As for Moana 2 itself, the coconut managed to be my favorite character, despite his lack of any dialogue. I found his mannerisms and body language the most entertaining of any of the new characters.

Jordan Wagner

Copyright ©2024 PopEntertainment.com. All rights reserved. Posted: November 27, 2024.

[yugiohmdx]

I’m moving my space fantasy posts to http://yxgrok.tumblr.com, which now uses Grok AI instead of ChatGPT.

The Rise of Space Fantasy and AI’s Role in Crafting These Stories

Introduction

Space fantasy has captivated audiences for decades, blending the grandeur of science fiction with the wonder of mythology and magic. It offers a universe where spaceships sail through cosmic storms powered by arcane energy, ancient empires clash with celestial deities, and adventurers wield both laser swords and enchanted relics. From classics like Star Wars to modern epics like Warhammer 40K, space fantasy bridges the gap between futuristic technology and mystical forces.

But as demand for these stories grows, artificial intelligence (AI) is beginning to play a significant role in curating, generating, and even co-writing space fantasy narratives. AI tools can analyze trends, suggest compelling plotlines, and refine world-building, helping authors push the genre’s boundaries. For your first blog post on space fantasy and AI’s impact, this article will explore how these stories are crafted, what makes them unique, and how AI is revolutionizing storytelling.

The Appeal of Space Fantasy

Unlike traditional science fiction, which often emphasizes scientific accuracy and technological speculation, space fantasy prioritizes imagination over realism. It embraces elements like:

• Mythical Archetypes in a Sci-Fi Setting – Heroes, villains, and quests follow legendary structures but exist in futuristic or alien landscapes.

• Blending of Magic and Technology – Advanced civilizations might use magic as a power source, or ancient spells may function like scientific laws.

• Cosmic Scale and Adventure – Epic journeys across galaxies, mysterious planets, and lost civilizations add grandeur to these tales.

• Themes of Destiny and Prophecy – Characters often grapple with fate, chosen-one narratives, and battles that transcend time and space.

This mix of elements makes space fantasy a limitless genre, offering both writers and readers an escape into worlds where the laws of physics bend to storytelling’s needs.

How AI Curates and Enhances Space Fantasy Stories

AI has rapidly evolved in the creative sector, from generating story ideas to refining prose and even assisting with world-building. Here’s how AI is shaping space fantasy:

1. Idea Generation and Plot Structuring

AI-powered tools like ChatGPT, Sudowrite, and Jasper can generate unique plot ideas, character arcs, and twists based on existing storytelling structures. By analyzing thousands of space fantasy books, AI can:

• Suggest innovative story concepts (e.g., “A warlock pilot discovers a lost planet that grants immortality”).

• Outline potential plot points and conflicts.

• Generate diverse character backstories, motivations, and relationships.

For new writers, AI can serve as a brainstorming partner, ensuring they never run out of creative sparks.

2. World-Building Assistance

Building a space fantasy universe from scratch requires complex planning—planetary systems, alien species, ancient histories, and magical rules. AI can assist by:

• Generating planetary descriptions with unique environments and cultures.

• Creating star maps and interstellar political landscapes.

• Suggesting names for characters, civilizations, and mystical artifacts.

AI tools like Artbreeder and Midjourney even help visualize these worlds, providing inspiration for settings and characters.

3. Enhancing Writing and Style

AI-driven grammar and style tools like Grammarly and ProWritingAid refine the writing process. They help:

• Improve sentence flow and readability.

• Suggest more engaging descriptions.

• Ensure consistency in world-building terminology.

For authors writing complex, multi-book space fantasy sagas, AI can track narrative consistency, reminding them of past events, character relationships, and key themes.

4. Automated Story Curation and Publishing

AI is also changing how stories reach audiences. Platforms like Kindle Direct Publishing (KDP) and AI-driven recommendation systems help:

• Analyze market trends to suggest the best time to publish.

• Generate AI-curated book summaries and marketing copy.

• Optimize book metadata to reach the right audience.

Self-publishing authors in the space fantasy genre can now leverage AI to target readers who are already interested in similar works.

The Ethical and Creative Debate

Despite AI’s advancements, many question whether it enhances or diminishes human creativity. Some concerns include:

• Over-Reliance on AI – If writers depend too much on AI, will originality suffer?

• Ethical Use of AI-Generated Content – Should AI-created worlds and characters be credited to human writers, or does AI deserve co-authorship?

• Data Bias in AI Models – AI learns from existing literature, which may reinforce clichés instead of pushing storytelling boundaries.

While AI is a powerful tool, the human imagination remains irreplaceable. Writers must balance AI-generated ideas with personal creativity to ensure their space fantasy stories feel fresh and meaningful.

The Future of AI in Space Fantasy Writing

Looking ahead, AI could play an even larger role in storytelling. Future developments may include:

• AI-Powered Interactive Novels – Readers could influence space fantasy narratives in real-time, with AI adapting the story dynamically.

• Hyper-Personalized Books – AI might generate custom space fantasy books tailored to individual reader preferences.

• AI-Generated Story Worlds for Games and VR – AI-driven world-building could expand into gaming, creating procedurally generated universes for interactive storytelling.

As AI continues evolving, space fantasy could become more immersive, offering infinite possibilities for both writers and readers.

Conclusion

Space fantasy thrives on limitless creativity, blending futuristic technology with mythic storytelling. With AI’s growing role in idea generation, world-building, and writing refinement, the genre is evolving in exciting ways. While AI can enhance storytelling, human imagination remains at the heart of crafting compelling narratives.

For your first blog post, exploring this intersection of space fantasy and AI offers a timely and thought-provoking topic. As technology advances, the question isn’t whether AI will replace writers—it’s how writers can best use AI to elevate their stories while keeping the magic of storytelling alive.

[kaurharleen]

Why the “Bedtime Stories” Film Is the Perfect Blend of Imagination and Family Fun

When it comes to family-friendly entertainment, few genres are as heartwarming and universally loved as bedtime stories. But what if those cozy tales could leap off the page and unfold on screen? That’s exactly the magic behind the “Bedtime Stories film” — a movie that combines whimsical storytelling, light-hearted humor, and meaningful life lessons all in one delightful package.

A Movie That Sparked the Imagination of Millions

Released in 2008, Bedtime Stories is a fantasy-comedy film starring Adam Sandler as Skeeter Bronson, a hotel handyman whose life takes a fantastical turn when the bedtime stories he tells his niece and nephew start to come true. The premise is both charming and clever, appealing to children’s wonder and adults’ nostalgia.

What makes this bedtime stories film truly unique is its ability to blend real-world challenges with magical elements. The film doesn't rely solely on fantasy to move the plot forward. Instead, it uses the children’s imagination as a tool to reshape Skeeter’s world, blurring the lines between make-believe and reality.

Why the Film Resonates with Families

There’s something incredibly comforting about ending the day with a story — a ritual practiced in households around the globe. The Bedtime Stories film captures the essence of this ritual and elevates it to cinematic magic. Here are a few reasons it continues to strike a chord with audiences:

Wholesome Entertainment: With no heavy violence or inappropriate themes, this film is ideal for family movie nights. It’s filled with gentle humor and teaches valuable life lessons without being preachy.

Celebration of Imagination: At its core, this bedtime stories film is a tribute to the boundless creativity of children. Each story segment — from medieval battles to outer-space adventures — showcases how storytelling can transform reality.

Positive Messaging: The film subtly emphasizes the power of kindness, perseverance, and believing in oneself. Skeeter, though initially skeptical and self-absorbed, grows into a character who values family, dreams, and the importance of doing what’s right.

Great Cast and Visuals: Adam Sandler’s charismatic performance, along with appearances by Keri Russell, Russell Brand, and Courteney Cox, adds star power. The film also features vivid visuals and engaging effects that bring each story segment to life.

A Modern Take on Classic Bedtime Tales

While traditional bedtime stories often revolve around fairies, talking animals, or faraway kingdoms, this film offers a modern twist. The children’s stories begin with whimsical setups but reflect real-world concerns — job promotions, fairness, friendships, and confidence. The film cleverly shows how even the wildest stories are rooted in emotions and situations we all relate to.

The bedtime stories film format also allows for multiple mini-plots within one movie, making it dynamic and engaging for viewers of all ages. Whether it’s jousting knights or cowboy duels, there’s something to capture everyone’s attention.

Teaching Through Storytelling

Parents often look for meaningful entertainment that teaches children something beyond the screen. Bedtime Stories delivers just that. Through fantasy-driven plotlines, it conveys that life is unpredictable, but how we react — with hope, humor, and resilience — makes all the difference.

For example, when Skeeter faces failure and frustration, the magical stories offer him new perspectives. In turn, young viewers learn that problems can be solved with imagination, determination, and a little help from family.

Why You Should Watch (or Rewatch) This Bedtime Stories Film

In an age dominated by superhero flicks and fast-paced animations, Bedtime Stories stands out as a gentle, funny, and thoughtful film. It doesn’t need explosions or high drama to entertain. Instead, it invites families to slow down, cuddle up, and enjoy a good story — just like the old days.

If you haven’t seen it yet, add it to your movie list. And if you’ve watched it before, give it another go. You might find new meaning in the tales Skeeter spins and rediscover the joy of storytelling.

Conclusion

Bedtime Stories isn’t just a film — it’s a love letter to storytelling itself. In blending fantasy with life’s simple truths, it offers more than just entertainment. It reminds us that imagination is powerful, stories connect generations, and sometimes, believing in a happy ending can make it real.

[nerdarena2]

New Cast, Old Magic: Inside the Making of the Harry Potter TV Series!!

Two decades after Harry, Ron, and Hermione first lit up our screens, the magic of Harry Potter is being rekindled — this time, as a brand-new TV series reboot. With a completely fresh cast and a promise to delve deeper into the rich tapestry of J.K. Rowling’s wizarding world, this HBO Max production is shaping up to be one of the most anticipated fantasy adaptations of the decade. Whether you grew up reading the books or binge-watched the films every winter, here’s everything you need to know about the return to Hogwarts — and why this TV series might just be the magical reboot we didn’t know we needed.

Why Reboot the Wizarding World? : The original Harry Potter films were iconic — there’s no denying that. But they also had limitations. Seven massive books condensed into eight films meant plenty of plotlines, characters, and magical lore got left on the cutting room floor (Peeves the Poltergeist, anyone?). The new TV series aims to correct that by giving each book its own season, allowing for a more detailed and faithful adaptation.

The New Faces of Hogwarts : Casting has been one of the most buzzed-about aspects of the series. While we don’t yet have the final names, the showrunners have made it clear: they’re building a fresh ensemble from the ground up, with an emphasis on diversity, talent, and staying true to the characters’ emotional journeys.Fans should prepare to see completely new actors step into the legendary roles of Harry, Hermione, Ron, Dumbledore, and Voldemort. It’s a bold move — but it’s also a chance to breathe new life into characters we’ve known for years.

Old Magic Meets New Technology : Expect this series to be visually spellbinding. With HBO’s production power and the latest in VFX, Hogwarts, the Forbidden Forest, Diagon Alley, and the wizarding duels are set to look more magical than ever. The series also promises a darker, moodier tone closer to the books, particularly in later seasons.

Behind the Wand: The Creative Team : The series is backed by Warner Bros. Discovery and will stream on Max, formerly HBO Max. While J.K. Rowling is involved as a producer, showrunners and writers are working to bring new creative voices into the mix. The goal? Balance authenticity with fresh perspective — something that will likely set this series apart from its film predecessors.

What About the OG Cast and Fandom? : While there's no plan for Emma Watson, Daniel Radcliffe, or Rupert Grint to return in their original roles, many fans are holding out hope for cameos or surprise appearances. And the fandom? It's buzzing. From Reddit threads to TikTok fancasts, Potterheads are speculating, debating, and cautiously celebrating the franchise's return to its roots.

More Than Nostalgia: Why It Matters : This isn’t just about reliving nostalgia. The new series is an opportunity to tell the story of Harry Potter for a new generation — with the depth, nuance, and modern-day storytelling it deserves. It’s a chance to explore lesser-known characters, magical world-building, and the themes of identity, courage, and love with even more emotional weight.

Whether you're a Slytherin skeptic or a Gryffindor loyalist, one thing’s for sure — the world of Hogwarts is coming back in a big way. With new actors, old magic, and high hopes, the Harry Potter TV series might just cast a spell powerful enough to enchant both longtime fans and curious newcomers. Keep your wands ready and your eyes on NerdArena for every update, trailer drop, and casting reveal — because this magical reboot is just getting started.

Prime Characters Of Harry Potter Series:

Below are some of the prime action figure of harry potter series. Here’s are some nerdarena action figures for your collection :

Funko Pop! Movie Poster – Harry Potter and the Sorcerer’s Stone: Relive the magic of where it all began! This special edition Funko Pop! set features Harry Potter with the iconic Sorcerer’s Stone movie poster—beautifully encased in a collectible hard case that’s ready to enchant any shelf.

♂️ A nostalgic tribute for true Potterheads

🎬 Includes stylized Pop! Harry and detailed backdrop

✨ Comes in a premium display-ready case. And if you are a true harry potter fan and you wish to purchase these action figure then you can find them at nerd arena action figures.

Funko Pop! Deluxe – Dumbledore with Podium (Prisoner of Azkaban Edition) : Let the wisdom of Hogwarts’ greatest headmaster grace your collection! This deluxe Funko Pop! captures Albus Dumbledore in all his glory, standing behind the majestic podium from Harry Potter and the Prisoner of Azkaban.

Intricately detailed collectible with golden phoenix podium

🏰 A magical centerpiece for any Harry Potter shelf

🎁 Perfect gift for Potterheads and Pop! Collectors. And if you are a true harry potter fan and you wish to purchase these action figure then you can find them at nerd arena action figures.

Funko Pop! 10” Voldemort with Nagini – A Dark Lord Like Never Before : He Who Must Not Be Named is now a towering collectible! This supersized 10-inch Funko Pop! features Voldemort with his loyal serpent Nagini, capturing the chilling aura of the Dark Lord in epic detail.

🐍 Dynamic design with Nagini wrapped around the base

⚡ A must-have villain for every Potter collection

🖤 Perfect for fans of dark magic and iconic battles. And if you are a true harry potter fan and you wish to purchase these action figure then you can find them at nerd arena action figures.

Apart from the above action figures, there are many other action figures you can explore. If you are looking out for such action figures then Nerd Arena is a one-stop solution for such kinds of action figures. 

To Know More: https://nerdarena.in/collections/collectibles/products/funko-harry-potter-harry-potter-and-the-sorcerers-stone-movie-poster-with-case

[yujiehuang110720]

Blog Post 7: Blurring Boundaries: Film and TV Adopting Game-like Narratives, Games Embracing Cinematic Narratives?

In this article,  I will introduce the concept of game-like narratives in films and TV shows and cinematic narratives in games. I will also discuss my views on these two increasingly popular trends through specific examples.

Game-Like Narratives in Films/TV Drama

Henry Jenkins (2006) said that different media forms, both new and old, influence and merge with each other. This process isn’t just about one medium giving another new features but represents a cultural shift. Consumers (the audience) are encouraged to find connections between media content and interact with it, making them part of the experience.

Many films and TV shows now challenge traditional storytelling by adding interactive elements, similar to games. These allow audiences to make choices that affect the plot. One notable example is Netflix’s Black Mirror: Bandersnatch. In this interactive movie, viewers choose what the protagonist does, which changes both the plotline and the ending. This adds more possibilities to the protagonist’s background and development. It also increases audience immersion by letting them think about how to get the best outcome for the protagonist.

Interestingly, Black Mirror: Bandersnatch creates a sense of irony: while the protagonist seems to control his life, it’s actually the audience making decisions. And while the audience feels in control, the endings are in fact determined by Netflix beforehand. After the release of this piece, many people believed that interactive storytelling could be the future of the film and TV industry.

BLACK MIRROR: Bandersnatch Trailer (2018) Netflix

Cinematic Narratives in Games

The concept of cinematic games isn’t entirely new. In earlier gaming eras, many games already had a strong cinematic vibe. They featured lots of cutscenes with movie-like quality and storytelling structures inspired by films. However, it is hard to define what makes a game “cinematic.” For example, to what degree a game uses visual techniques from films or how much interactivity it retains for players. With better technology, games now showcase more creative freedom. High-quality graphics and grand narratives have become something that players greatly enjoy.

Janet Murray (1997) was optimistic about new forms of media inspiring people, similar to how Shakespeare’s plays impacted society in their time (and even now). She emphasized that interactivity in storytelling is crucial and that games are excellent platforms for telling stories. Player interaction increases emotional engagement and curiosity about the plot.

However, not everyone agrees. Some, including me, believe films and games are fundamentally different (as they should be), with limits on how much they can merge with each other. For example, in Bandersnatch, no matter how many choices are given, the number of endings is fixed. A well-crafted ending often defines a film’s depth or levitates the entire storyline, but in interactive movies, maintaining the quality of all endings is difficult. This limitation just makes viewers replay the movie repeatedly, which disrupts the flow of the story.

In addition, interactive films still need to stick to the format of “a movie,” typically lasting around 90 minutes. Unless viewers start over and make new choices, they can’t explore different outcomes. This method interrupts the audience’s ability to enjoy a complete story. A good film should let viewers analyze the story and visuals continuously without interruption.

Conclusion

As a movie lover, I prefer cohesive, well-developed stories and strong character arcs rather than having the format dictate the narrative. Similarly, for games, it’s not just about impressive visuals or vast worlds. Player experience and choices remain vital. Overusing cinematic techniques in games can feel superficial if it doesn’t enhance gameplay.

In conclusion, blending media formats is a creative challenge worth exploring. However, creators should also respect audience expectations for each medium’s storytelling style. From my perspective, balancing these elements is crucial for the future of storytelling.

Sources:

Jenkins, H. (2006). Convergence Culture: Where Old and New Media Collide. JSTOR. NYU Press.

‌Murray, J.H. (1997). Hamlet on the Holodeck: The future of narrative in Cyberspace. Cambridge Mit-Pr.

‌KinoCheck International (2018). BLACK MIRROR: Bandersnatch Trailer (2018) Netflix. YouTube. Available at: https://www.youtube.com/watch?v=7wnRi3Sclm8.  [Accessed 25 Nov. 2024].

[vimondadac]

effect of Animation for teenagers

The impact of انیمیشن برای نوجوانان is significant, shaping their emotions, creativity, perspectives, and even behavior. Animation, through its diverse genres and accessible storytelling, appeals strongly to teenagers, offering both entertainment and valuable lessons. However, like any medium, its effects can be both positive and negative. In this article, we explore the various ways انیمیشن برای نوجوانان  can influence them and discuss ways to ensure they gain the most from this content.

1. Educational and Inspirational Content

Many animations aimed at teenagers are educational or inspirational, focusing on themes such as friendship, courage, resilience, and empathy. Through characters and storylines, animations can offer relatable life lessons that help teenagers understand social dynamics, manage emotions, and build self-confidence. Animated series such as those involving historical figures, science, or art introduce young viewers to complex subjects in a visually engaging way, making learning enjoyable and accessible. These types of انیمیشن برای نوجوانان  can spark curiosity and motivate them to learn more about the world.

2. Boosting Creativity and Imagination

Animation is known for its unique storytelling, often set in imaginative worlds with vibrant characters, innovative graphics, and unusual plots. This exposure can stimulate creativity in teenagers by encouraging them to think outside the box. Some might feel inspired to draw, write stories, or explore creative pursuits after watching imaginative animations. Creativity stimulated by animation can also extend to problem-solving skills and innovative thinking in real-life situations. For young people, engaging with visually rich and fantastical worlds is an opportunity to stretch their imagination and dream beyond ordinary limits.

3. Encouraging Emotional Development

انیمیشن برای نوجوانان  often involves characters who experience relatable challenges such as friendship troubles, school stress, family issues, and self-discovery. Teenagers may connect emotionally with these characters, empathizing with their experiences and learning how to handle similar emotions or situations. Emotional storytelling in animation can thus support teenagers in processing their feelings and developing empathy. Animated content can serve as a safe space for teenagers to explore complex emotions indirectly, which can be beneficial for emotional growth.

4. Potential Negative Effects

While animations have many positive impacts, excessive exposure to certain types of animated content may have negative effects. For instance, animations with aggressive or violent themes may influence younger viewers’ behavior or emotional stability. Overconsumption of animations that lack educational value can also lead to reduced interest in real-life activities, potentially affecting academic performance or social interactions. Therefore, it's crucial for parents and educators to guide teenagers in selecting content wisely, ensuring that they balance their screen time with other productive activities.

5. Developing Critical Thinking

For teenagers, learning to interpret and analyze the media they consume is essential. Discussing plotlines, character motivations, and underlying themes with friends or family members can improve critical thinking skills. By actively engaging with انیمیشن برای نوجوانان  in a thoughtful way, teenagers learn to discern messages, evaluate different perspectives, and develop a more nuanced view of the world. Encouraging discussions about the messages in animated series can help teenagers become mindful media consumers, aware of the impact content can have on their thoughts and emotions.

Conclusionانیمیشن برای نوجوانان  has a powerful impact on young minds, offering both educational benefits and creative inspiration. When chosen wisely, animations can be a fantastic tool for learning, emotional growth, and developing a broader worldview. By fostering creativity, critical thinking, and emotional intelligence, animation can play a constructive role in teenagers' lives. With the right balance and guidance, teenagers can enjoy the benefits of animation while maintaining a healthy perspective on the content they consume

[just-ennyone]

Creative Adaptation in 21st-Century Literature

Our project involves adapting "The Hunger Games" into a comic strip narrative set in a world plagued by zombies. The goal is to explore societal themes within a dystopian framework, examining human nature, power struggles, and the consequences of violence amid chaos and survival. By integrating familiar characters and plotlines into a setting dominated by the undead, we create a unique lens to explore deeper issues and challenge readers to reflect on the darker aspects of human behavior in a time of crisis.

Using "The Hunger Games" as a foundation, we embrace its exploration of power dynamics, oppression, and resilience. These themes provide a solid base for our adaptation while allowing us to add new elements relevant to contemporary audiences. Our adaptation seeks to engage readers and provoke thought about societal issues while offering an engaging narrative.

Our choice of the horror genre, presented through comic strips, aims to resonate with audiences still processing the impacts of the COVID-19 pandemic. The cultural fascination with apocalyptic scenarios, particularly zombie apocalypses, aligns with our exploration of survival, resilience, and societal upheaval. This approach allows us to tap into current anxieties and use the horror genre's inherent tension to draw readers into the story.

While we maintain the essence of "The Hunger Games," we also introduce changes to suit the horror genre and contemporary context. This creative flexibility ensures our adaptation is both familiar and compelling. By incorporating elements of horror, we add tension and urgency, engaging readers in the challenges faced during a zombie apocalypse. Our narrative explores 21st-century literary themes, focusing on survival, resilience, societal collapse, and the human condition in times of crisis.

The comic strip format provides a visually engaging way to tell our story, appealing to a wide range of readers. Through vivid imagery and the exploration of human emotions and relationships, we create a dynamic storytelling experience that feels relevant and accessible. This format also allows us to draw parallels between the fictional world of our adaptation and real-world events, offering a compelling way for students to engage with literature and reflect on contemporary issues.

In conclusion, our adaptation of "The Hunger Games" into a zombie-infested world through comic strips offers a gripping exploration of themes that resonate with today's audiences. By delving into the horror genre, we address themes of survival, resilience, and societal upheaval, tapping into the widespread fascination with apocalyptic scenarios. While maintaining fidelity to the original story, we adapt to contemporary context, inviting readers to contemplate the complexities of the human condition. This project underscores the enduring power of storytelling to engage audiences and provoke meaningful reflection. ❤

[dramasq]

A Closer Look at Dramasq: Navigating the Vibrant World of Asian Dramas

In the ever-evolving landscape of television, the global audience has witnessed a surge in popularity for Asian dramas, thanks to platforms like Dramasq, Gimy TV, ChinaQ, and Dramaq. These channels have become the go-to destinations for viewers seeking captivating stories, compelling characters, and a unique cultural experience. In this article, we'll delve into the enchanting realm of Dramasq and explore the distinct offerings of Gimy TV, ChinaQ, and Dramaq.

Dramasq: A Gateway to Asian Drama Extravaganza

Nestled in the heart of the digital streaming era, Dramasq has emerged as a prominent player in the world of Asian dramas. The platform caters to a diverse audience hungry for immersive storytelling, offering a vast array of dramas from South Korea, China, Japan, Taiwan, and beyond.

One of the standout features of Dramasq is its commitment to providing a user-friendly interface. Navigating the platform is akin to embarking on a journey through a treasure trove of cinematic gems. The homepage greets users with an enticing display of the latest and most popular dramas, ensuring that viewers can quickly find their next binge-worthy series.

What sets Dramasq apart is its keen understanding of cultural nuances. The platform doesn't just offer subtitles; it provides a bridge for viewers to connect with the characters on a deeper level. As viewers become engrossed in the unfolding narratives, they also gain insight into the rich tapestry of Asian cultures.

Dramasq's library spans various genres, from heartwarming romantic comedies to gripping historical epics. Each drama is a testament to the creativity and craftsmanship of Asian storytellers, capturing the imagination of audiences worldwide. Whether it's the iconic South Korean "K-dramas" or the visually stunning Chinese historical dramas, Dramasq brings the best of Asian television to the global stage.

Gimy TV: Bridging Continents Through Dramatic Narratives

As we explore the diverse spectrum of Asian dramas, Gimy TV stands out as a bridge connecting continents through its curated selection of international content. This platform goes beyond the boundaries of a single region, offering viewers a taste of dramas from South Korea, China, Thailand, and more.

Gimy 線上 看 prides itself on its commitment to inclusivity, ensuring that audiences from different corners of the world can access and enjoy the captivating stories it brings to the screen. The platform features subtitles in multiple languages, breaking down language barriers and fostering a global community of drama enthusiasts.

What sets Gimy TV apart is its emphasis on diversity within the Asian drama landscape. While K-dramas remain a cornerstone of its offerings, viewers can also delve into the intricacies of Chinese wuxia dramas, Thai romantic series, and Japanese anime. This eclectic mix allows Gimy TV to cater to a broad and varied audience, celebrating the richness of Asian storytelling in all its forms.

ChinaQ: Unveiling the Majesty of Chinese Dramas

Stepping into the realm of Chinese dramas, ChinaQ emerges as a beacon showcasing the majesty and grandeur of Chinese storytelling. As one of the leading platforms dedicated to Chinese dramas, ChinaQ introduces viewers to the vast and culturally rich world of "Cdramas."

Chinese dramas have gained international acclaim for their visually stunning cinematography, intricate plotlines, and historical epics that transport viewers to different eras. ChinaQ serves as a gateway for global audiences to explore the depth and diversity of Chinese television.

The platform offers a curated selection of both contemporary romantic dramas and historical sagas set against the backdrop of ancient dynasties. Viewers can witness the fusion of tradition and modernity, as Chinese dramas often weave together elements of history, mythology, and romance. ChinaQ's commitment to quality subtitles ensures that viewers can fully immerse themselves in the captivating narratives, making it an essential destination for fans of Chinese television.

Dramaq: Nurturing a Passion for Dramas Worldwide

In the ever-expanding universe of Asian dramas, Dramaq emerges as a platform that goes beyond being a mere streaming service. It fosters a sense of community among drama enthusiasts worldwide, creating a space where fans can connect, discuss, and share their love for their favorite series.

Dramaq stands out for its interactive features, allowing users to engage with fellow viewers through comments, forums, and fan communities. This sense of camaraderie adds a human touch to the digital streaming experience, transforming the act of watching dramas into a shared journey.

Moreover, Dramaq 劇 迷 takes pride in its commitment to supporting emerging talents and lesser-known gems within the Asian drama landscape. The platform often features hidden gems that might not have garnered mainstream attention but hold immense storytelling prowess. This dedication to promoting diverse voices makes Gimy a nurturing ground for both viewers and creators alike.

Conclusion

The rise of platforms like Dramasq, Gimy TV, ChinaQ, and Dramaq reflects the global appetite for diverse, culturally rich, and compelling storytelling. These channels not only bring the best of Asian dramas to a worldwide audience but also serve as cultural ambassadors, fostering a deeper understanding and appreciation for the art of storytelling across borders. As viewers continue to explore the enchanting world of Asian dramas, these platforms will undoubtedly play a pivotal role in shaping the future of television.

[madscientist008]

Anime and Manga 101: What You Need to Know

If you are a fan of Japanese culture, you might have heard of the terms anime and manga. But do you know what they mean and how they differ from each other? In this blog post, we will explore the similarities and differences between these two popular forms of Japanese entertainment.

What is Anime?

Anime is a term that refers to Japanese animation, which can be in the form of movies or TV shows. Anime is characterized by high contrast, bright colors, and thematic elements of science fiction and fantasy. Anime can also feature elaborate plotlines and action scenes, as well as vivid graphics and character expressions.

Anime is derived from the English word animation, which was borrowed by the Japanese as animēshiyon and then shortened to anime. Anime can be influenced by manga, which we will discuss next, but it can also have original stories or be based on other sources.

Some examples of famous anime are Sailor Moon, Howl’s Moving Castle, Naruto, Dragon Ball Z, One Piece, Attack on Titan, and Demon Slayer.

What is Manga?

Manga is a term that refers to Japanese comic books and graphic novels, which are usually published in black and white. Manga is characterized by exaggerated facial features and minimalistic backgrounds. Manga has more room for introspection and conveying complex emotions through detailed artwork.

Manga is derived from the Japanese words man-, meaning aimless, and -ga, meaning pictures. Manga can be serialized in magazines or online platforms, with a single chapter ranging from 15 to 50 pages. Manga can also be collected in volumes or tankōbon, which are usually around 200 pages long.

Some examples of famous manga are Death Note, Fullmetal Alchemist, Bleach, One Punch Man, My Hero Academia, Tokyo Ghoul, and Fruits Basket.

How are Anime and Manga Similar?

Anime and manga share a unique visual style that is influenced by both traditional Japanese art and Western animation. They also share a wide range of genres and age ranges, such as shōnen (for boys), shōjo (for girls), seinen (for young men), josei (for young women), kodomo (for children), mecha (robot), isekai (another world), horror, romance, comedy, sports, etc.

Anime and manga often have crossover appeal, meaning that fans of one medium can enjoy the other as well. Many anime are adapted from existing manga series, such as Naruto or One Piece, while some manga are inspired by anime, such as Cowboy Bebop or Neon Genesis Evangelion.

How are Anime and Manga Different?

Anime and manga have some key differences that make them distinct from each other. Here are some of them:

Anime is an animated medium, while manga is a written medium. You watch anime, while you read manga.

Anime requires more resources and time to produce than manga, such as voice actors, animators, directors, composers, etc. Manga only requires a mangaka (manga artist) and an editor.

Anime tends to be more dynamic, colorful, and reliant on special effects than manga, while manga tends to be more static and minimalist than anime.

Anime typically consists of a series of episodes that follow a seasonal schedule or a movie format that has a fixed length. Manga usually has an ongoing serialization that can last for years or decades.

Anime may deviate from the original manga source material due to censorship, budget constraints, creative decisions, or filler episodes. Manga may have more freedom to explore controversial topics or experimental styles than anime.

Conclusion

Anime and manga are both amazing forms of Japanese entertainment that have captivated millions of fans around the world. They have many similarities but also some differences that make them unique. Whether you prefer anime or manga, or both, you can always find something that suits your taste and interests.

I hope you enjoyed this blog post and learned something new about anime and manga. If you did, please share it with your friends or leave a comment below. Thank you for reading!

[homestuck-and-the-monomyth]

I’ll meet you long post for long post here.

First things first, I have to say that you’re correct that Ruby’s relationship with Kana (and Mem, although that’s less important) is still active as of 121. We do know from the later arc that it is wounded (on Kana’s side) at that moment, but to Ruby at that moment it is still a working friendship and a source of strength. I hadn’t reread 116-120 closely enough before making the ask, you’ve got me there.

That said, I don’t think I’m wrong in saying Ruby is isolating herself through the 80-121 stretch. Her refrain of “everyone is a liar” from 106 and 112 certainly doesn’t scream of somebody who is open to authentic connection. Her truth-presented-as-a-lie suicidal ideation in 115 shows her self-isolation as well; she’s thinking of her dead mother and doctor as her closest relations, even over her living friendships, and wanting to go to the dead. In 121, the lead-in to her final line (also suicidal, I’ll note) is “everyone who gets involved with me will be unhappy, I only bring misfortune.” Her friends may not have abandoned her, BUT she is abandoning them. And that’s without even getting into the Aqua of it all (although I can’t resist noting here that even in 122, she calls him, her closest confidante for literally 17 years, a “complete stranger.” That’s definitely indicative of total self-isolation in my book.)

Zooming out from the simple textual facts a little to look at this through a more thematic lens, it gets even more obvious. BOTH Aqua’s arc and the BH Ruby arc drive home the isolating nature of their revenge quest, that’s essentially the entire theme of the revenge plotline. It’s sprinkled across the whole story, but especially obvious in 95-98, where, within the first 4 chapters of restarting his revenge quest, Aqua leaves both of the women he loves in tears. What Aqua does in the name of his revenge quest, and likewise what Ruby does when she is emulating him, is both self-isolating and spiritually corrosive.

Speaking of spiritual corrosion, this is where we have to get into the idea of narrative punishment for Ruby’s wrongdoings. You seem insistent upon the idea that Ruby must be confronted for her crimes by someone else and externally punished for her sins; this is simply dramatically incorrect. Externally, or more specifically, in the eyes of other characters (besides Aqua), what has Ruby done wrong in the Mainstay Arc? She offered an innovative solution to a problem that benefitted everyone involved and made for good TV. To the people she has “wronged”, she appears as a creative, adaptable, and talented problem-solver who has ultimately improved their lives. In what narrative way would it make sense for them to criticize her? Oshi no Ko’s world rewards risk-taking of that type if it makes a better show, and that’s not limited to Ruby. Aqua habitually threw grenades into productions like LoveNow and Tokyo Blade, and Ai’s reaction to her kids’ dance was very nearly disaster for B-Komachi. Yet in both cases, their popularity exploded. Ruby certainly doesn’t get off any easier for her risk-taking, externally, than is standard for this world.

The important thing to understand is that Ruby’s (and Aqua’s) transgressions are INTERNAL; her sin is the corruption of her motivation - her selfishness. Therefore, dramatically speaking, her punishment must also be internal. Her self-isolation and suicidal ideation are symptoms of the internal corrosion that is the consequence of the general corruption of her morals. Dramatically speaking, the pain she is feeling at the end of 121 is the punishment for her actions collectively, despite the fact that it does not directly follow from them in a cause-and-effect sense. The evidence for this is as simple as the fact that 121-122 is where her black stars disappear: there’s a very obvious visual connection running along everything she does in the black star arc, all leading up to those painful moments in 121 and 122.

(I’ll also note here: if we read Ruby’s feelings in 121 as *solely* a stress response triggered by Ai’s own trauma as portrayed in the film script, it doesn’t make sense that the cure is reconnecting with Gorou/Aqua. However, if we see Ruby’s break in 121 - which is due to the specific reasons you’ve laid out, certainly - as the finale to a much longer arc of increasing self-isolation, it makes sense that reconnecting with the most important person in both of her lives is curative.)

Beyond that, I think your reading of events from 124 and on is outright incorrect in places. Tensions clearly do remain in B-Komachi to be dealt with, even if their working relationship is intact; that’s the entire point of that stretch from 133-137. To the point of what the text actually supports, I don’t think the text actually shows Ruby intentionally stepping on Kana or Mem’s careers by any means; the closest she gets is suggesting that the assistant director’s sister join B-Komachi, which hits Kana in a weak point (and even then, Ruby is ultimately punished for that by the reveal of Ai as her mother - despite the general benefit to her, that was something she didn’t want to happen). Certainly her popularity and tendency to outshine her teammates is something they all have to deal with - but contrary to what you’ve said, that is exactly apples to apples with Ai. The only metaphorical orange here is that we actually give a shit about Ruby’s teammates.

That said, the insistence that Ruby must overcome the exact social, structural, and societal challenges that Ai does a disservice to Ruby’s character - Ruby is her own character, and her challenges are, and ought to be, largely her own, not those of her mother. Ruby has not transgressed against idol culture in the way that created challenges for Ai (I will say, this has the unfortunate effect of not allowing Ruby’s storyline to be as critical of entertainment culture as Ai’s or Aqua’s are). Ruby’s challenges are: first, to overcome the structural challenges of an idol group just starting out (Ai’s challenges were more those of a group’s early-to-mid-stage development); second, to understand and make understandable to others Ai’s feelings; third, to resolve her own desire for vengeance on Ai’s killer; and finally, to be an inspiration and source of happiness to others. This is the key thing to recognize: Ruby’s challenges (beyond the very start of her career) are largely person-vs-self, whereas Ai’s are largely person-vs-society. Ruby’s challenges aren’t necessarily easier or harder than Ai’s; they are just different in nature.

Narratively and dramatically, I’m convinced of all of the above. Past this point is where we’re gonna have to agree to disagree, since I tend to prefer Ruby as a character over Ai and you prefer Ai as a character over Ruby. I could bring up any number of uncharitable interpretations of Ai’s relationships with those around her (the only one I can’t resist is that she did in fact damage Miyako’s career - she relegated a talented manager and promoter to babysitter duty for 4 years!), and provide charitable interpretations of Ruby’s narrative challenges. You could do the opposite just as easily.

Man, I think you gotta re-read from chapter 81 if you really think Ruby faced no consequences for the black hoshigan arc and hasn’t grown at all since. Like, she’s utterly alone (as a consequence of her own actions) and actively suicidal by chapter 121. The “The End” panel in chapter 121 is the genuinely cruel recompense for Ruby’s actions in the preceding 40 chapters; she’s in part isolated herself, in part driven her friends away, to the point where she’s seeking out Marina for a long-shot hope at ANY connection whatsoever. And the word of literal god, basically the authors’ mouthpiece, tells/shows her that it is hopeless, there is no such connection, she is completely alone.

And even after she re-establishes her connection with Gorou/Aqua and reopens herself to her relationships with her other friends and family, there are wounds on those relationships. Mending those wounds is the entire point of her sub-arc with Kana from 133 to 137. Also, notably, that’s where the real growth comes: where she is forced to dig into the depths of both her own and Ai’s psyches, acknowledges the emotions she finds and forces others to acknowledge them as well, and then finds a way to move forward with Kana specifically.

Notably, I think this is the specific area where we know she has surpassed Ai, at this point. Look back at those four pages of the performance in 159: while Ruby is clearly the focus, taking up roughly half of the total space on those pages and the center position in any shared panels, Kana and Mem are clearly each taking center stage as well for some songs, and the affection between the three is visible. In comparison, in how many of the panels in which Ai appeared did we ever see her teammates’ faces? Did we ever see her relinquish the stage? We know her friendships with the old B-komachi had essentially dissolved by the time the twins were born, Aqua tells us as much at the end of the prologue.

Sorry to say that I actually re-read the ch80-123 recently (I was trying to feel out how a hypothetical third season would be paced) and if anything, seeing just how many interesting ideas it sets up and fails to meaningfully iterate on just made me feel that even more strongly. What you've laid out in this ask is a good idea for the structure of BH Ruby's arc but if that was Akasaka's intent then the execution is so insanely botched that it is fundamentally absent from the work itself.

Like… there's no way for me to say this w/o sounding like i'm hitting you with an UM ACKSHULLY 🤓 but the idea that BH Ruby was even passively abandoned by her friends is just not supported by the text. We do see the beginnings of Kana's sense of inferiority towards Ruby take root just prior to Scandal starting up but this is framed as being emergent from Kana's own existing low self esteem (though admittedly triggered by Ruby wanting to add Mimi to B-Komachi). Moreover, it's more or less the same as how her feelings towards Ruby are framed during the Movie Arc, where Kana's jealousy is said to be a response to Ruby being "blessed with natural talent […] special and different from [her]". There is no textual connection drawn between Ruby's clout chasing and her behaviour towards Kana and Mem and Kana's sense of rejection and Kana never treats Ruby poorly as a result. Not only that but when Ruby is seen hanging out with Mem and Kana across those arcs, they're chatting and bantering like always and Kana is even actively supporting and mentoring Ruby in the immediate leadup to Ruby going to try and see Marina in ch121. In the actual text of the story, what leads to Ruby's breakdown is the physical and emotional stress and exhaustion of her massively overpacked schedule - something which is itself Miyako's fault, as explicitly called out by Kaburagi and Ichigo - and her lingering issues with Sarina's abuse and abandonment being quite literally triggered by her engaging and empathizing with material depicting Ai's abuse and abandonment at Ayumi's hands.

Outside of B-Komachi, the most we really get from her school friends that there's any cracks in their friendships is that little internal musing from Minami about Ruby getting tangled up in the "dirty world of adults" but that both comes before Aqua's assertion that BH Ruby is causing strain in her relationships and is clearly spoken out of affection and concern for her. Frill actively reaches out to and supports Ruby during the interpersonal audition way past Aqua's note about cracks and is basically the reason Ruby gets the role of Ai over herself or Akane.

Ruby is by no means abandoned by anyone. She is actively, effusively supported by everyone in her life the entirety of her BH arc. Even the one relationship she does end up fracturing - her and Aqua's - is repaired lickity-split as soon as the past life reveal happens and any tension in B-Komachi is reset to zero as early as 124 with no real nod to of any issues BH Ruby caused. In fact, the issues BH Ruby causes are never so much as acknowledged by the narrative, let alone addressed or worked through. When Kana is, finally, allowed to express any discontent to Ruby during the RBKN conflict, she is not actually permitted to confront her with any of Ruby's actual wrongdoing and is instead just mad that Ruby is more popular. This conveniently shifts the focus away from Ruby's behavior and so rather than having to actually address it, Ruby can simply graciously forgive Kana for being in the wrong and not do any meaningful work on the tension that exists in their relationship. The narrative absolves Ruby of responsibility, sparing her any genuine reckoning or growth.

You brought up B-Komachi as a point of comparison and as a place where Ruby has surpassed Ai but not only do I feel like these are apples and oranges, I also just feel like it's further proof that Ruby is not being allowed to learn and grow because the narrative excessively coddles her. Both Viewpoint B and 45510 explicitly say the issues with the group in a professional capacity are explicitly said to be the result of management excessively favouring Ai and not something she herself did and in Spica, we even literally see her attempt to surrender her center position to one of the other girls all while actively working hard to take steps to put them all in the best possible light even when she does have to be the center. And while there are interpersonal issues in B-Komachi, these are presented as two-sided failures to connect that Ai is actively show trying to resolve - Viewpoint B shows her approaching and reaching out to Kyun when she sees her feeling upset and the entire point of 45510 is Nino's utter revulsion and rejection in the face of Ai's vulnerability.

Not only that but like… Ai's behaviour never damages or endangers anyone's career! Gen 1 B-Komachi was certainly not a good environment for anybody in it, but everyone in it was still part of Japan's biggest and brightest idol group and enjoyed all the fame and money that came with it. Ruby, by contrast, very much did endanger the career of an entire TV show's worth of people and stepped on Kana and Memcho's backs in order to further her solo career. She is never so much as asked to examine this behavior or face any consequences for it and when we do finally see her express any sort of remorse or regret for her behaviour, it's all exclusively focused on how bad it felt for Ruby, personally to do bad things and how sad she, personally is that she decided to be shitty to people and then Aqua just wholly absolves her anyway. She never attempt to make amends with or even express concern for the people who she might have hurt in the process.

Because of this, both the Ai-Nino/Ruby-Kana parallels and the attempts to uplift Ruby as an idol 'surpassing' Ai fall flat. At no point past the Mainstay arc do we ever see Ruby correcting for Ai's mistakes or better handling situations that Ai had flubbed, mostly because she never gets a chance to. Her career as an idol is propelled along by the narrative failing to place any roadblocks in her way and rather than showing us Ruby's strength of character by letting her overcome social, structural and societal issues that troubled her mother, she is simply arbitrarily unaffected by them in any way that manifests in on-panel action taken by her.

This is what I mean when I say Ruby learns nothing—because the narrative, past a certain point, never challenges her or holds her accountable for her behavior in a way that would allow her to. Ruby is portrayed as a passive beneficiary of favorable circumstances, with any challenges she faces being swiftly neutralized by forces outside of her control or influence. This is not only frustrating to experience as a reader but ultimately diminishes the impact of her success as the story has begun presenting it.