#but for characters dynamics and development and originality credit where its due

[llycaons]

I still find it really fun that the mdzs finale is just all the major living characters and some dead ones locked in a room overnight yelling at each other, and the tgcf finale is like three action-packed fights scenes in a row, each more absurd in scale than the last until a mile-high statue powered by the force of gay love had to fight a literal city using the transformed bodies of five different gods. good times

[genericpuff]

What’s your current thoughts on what we’ve seen of Eleanor’s Deathbed?

IDK, there isn't enough of it so far to even make any sort of judgment, and whatever judgments I do have to make are largely rooted in Rachel's past work because... well, because we've seen this project at least twice before in the past already.

Like so far the only strong opinion I can make about it is "same shit different day". It's kind of like a fusion of Lore Olympus and The Doctor Foxglove Show, because evidently she's only been able to write and draw the same character dynamic and romance plotline for the past decade. All we've seen is the art and it's honestly fine, I think at the very least it's a great sign that the corporate Webtoons burnout is finally starting to lift and she's creating art that doesn't look like that anymore. I can at least acknowledge that as a refreshing improvement.

That said, it's still a far cry away from the stuff she used to create back in the day (in the Foxglove era) and above all else, the art at this point doesn't really matter to me, it's her writing that's always been her weakest skill and evidently one that hasn't improved at all over the years, both on account of her apparent refusal to learn but also what seems to be an incredibly limited perspective that's influenced the severely problematic undertones of her work and its messaging.

The reason these issues were so apparent in LO was because it was the first time she ever had to complete a story (and also the fact that she and WT's alike marketed LO as something it wasn't - a "feminist retelling" that was trying to "help people"). It's why LO was so enjoyable for many of us in the beginning, just for it to fall apart by the end of S2 which made us even more aware of the cracks that were always there from the very first episode, we just didn't notice them or were more forgiving of them because the story was still "setting up" and Rachel clearly "had something planned". That feeling of betrayal and frustration that's shared among everyone within the antiLO community largely started with the creeping and eventually explosive realization that Rachel did not in fact have anything planned to resolve all the questions and loose ends she had created, she was writing by the seat of her pants the whole time and she had finally flat on her face... but with the added arrogance of blaming the "haters" for pulling the seat out from under her.

Credit where credit's due, she's always been pretty good at coming up with fascinating premises and concepts, both of which are present in her pre-LO stories like The Doctor Foxglove Show and Woman King. But they never lasted long enough for us to see how they would have played out from start to finish, and so all we have to judge them by are their foundations, not the completed house.

We were able to judge LO by those metrics, though, and the way it turned out in the end proved that having a good idea doesn't automatically make for good writing.

Maybe Eleanor's Deathbed will improve upon those problems, but considering most of what I've seen so far of the 'writing' through her mini comics, eh, just looks like it's gonna be more of the same "uwu cinnamon bun girl who's casually racist / classist" x "creepy death man who's competitively racist / classist" shtick. And at the end of the day, when so many of her writing issues are rooted in - as mentioned above - her limited perspective of real world problems and over-inflated ego, I have zero reason to believe that ED isn't just gonna be LO with a new coat of paint, with all the same amateur writing, poorly developed characters, self-indulgent soapboxing, poorly disguised trauma dumping, and problematic messaging disguised as "feminism".

When I said a while back that I wasn't interested in following Rachel's work post-LO, I meant it. At the end of the day, what made me fall in love with LO originally was LO, not Rachel herself. My interest in her work died with LO, only extending to the stuff she did before as a sort of morbid fascination with where it might have all gone wrong. And I think the simplest - and most disappointing - conclusion I've ever come to is, "Rachel has always been like this, the downfall of LO just made us look."

The characters, art style, etc. of ED so far are just not compelling to me in the way LO once was, they're not even compelling to me in the way that Foxglove was in hindsight once I knew of its existence (because at least looking back at those pieces, all I could do is wonder how the beauty of those pieces was lost).

If I do ever read ED in the future - assuming it ever even materializes beyond her social media doodles - I want it to be because I'm genuinely interested in her future work, not because I entitle myself to haunting her like a ghost. I'm already surely haunting her enough as it is by not letting her live down LO, but at least I actually liked LO at one point (and still kinda do, if you count my love-hate relationship with it LMAO). I'm not at all interested in Eleanor's Deathbed on account of what I've already experienced of Rachel's work through LO (and through our deep-diving of her pre-LO career) and because, like I said, what I've seen so far is just not really all that compelling. So I just really don't have any reason to invest my time or care into it.

She, like anyone else, has the right to try and move forward from the tire fire that was LO, even if that tire fire is still worth pointing out and discussing in many ways. Maybe Eleanor's Deathbed will succeed upon LO in ways that it failed. Maybe it won't. I'm not compelled to follow along and find out. I'd rather just cut my losses.

Plus if I really want this woman to fade into obscurity the way I think she deserves, well, the only thing I can reliably do to manifest that reality is to not pay her future work any attention whatsoever LMAO Such an individual effort doesn't mean she'll just suddenly disappear, she's clearly got a support network now through Inklore and Webtoons to keep force-feeding her relevance down people's throats, but hey, we all have our own gardens, and I don't have to keep planting her in mine. The carnation that was LO still thrives on, and I care for it through Rekindled and the odd analysis post / rant about LO whenever I happen to think of something new worth discussing. But whatever Eleanor's Deathbed is or will become, it's just not something I want in my garden.

[juicybiohazard]

Yes, finished my first playthrough of separate ways. The game is RE4 remake so I can't say anything about the gameplay that anyone doesn't already know, so... I'll talk about what I really care about here, the story, you see... Ada Wong and Albert Wesker happen to be my favorite characters in this series, I like the AWs yes. Naturally that means that I noticed how different both are from their original portrayals, listen there is a reason why in my mind the one true canon/continuity is the OG games and not the remakes, because its in those older games when I first experienced the RE world and ended up loving these people as they are, so how I could like these new versions of them when they are so different? they may as well be new characters. The appearance is the only thing they share, they are similar to the OGs on a superficial level but thats where similarities end, and of the two I think Wesker is the one that changed the most and not for the better, from little things like his voice not being so distinctive anymore and sounding generic af to his personality being a cardboard cutout of a cartoon villain, some might say, wasn't Wesker always like that? I mean you can choose to describe him as a cartoon villain but any older version of Wesker wouldn't admit to be willing to murder billions and reveal his plan to some random mercenary he doesn't know... he knows better. Even RE5 Wesker wouldn't do that, ever wondered what happened to the scientists that helped developed Uroboros? You get the general idea from multiple files, it looks like they all got killed and essentially they never even knew what they were doing and what was its true purpose

It goes beyond dialogue, even his mood is different, in the old games he is cool and collected in any situation in this game he is easily irritated by ANYTHING 😂 its kind funny how Ada seems to just exist and Albert huffs at her presence, seriously I could go on forever citing each and every single difference between the old Wesker we know and this new take on the character, but I'd rather end this post today

Like I said before in my little RE4 review, my only real dislikes of this game are the changes to Wesker and Ada, and subsequently Krauser. I loved the dynamic of these three in the old game and its completely gone now. They are no longer deeply connected like before, it's all superficial now, they just happen to be in the same place at the same time due to circumstances of fate, not because they know each other. You know what, that sucks, I don't like that one bit because it feels like taking things away just for the sake of making something different. Ada used to be a true grey character, remember Separate Ways was developed for the ps2 version of the game after it launched on GameCube so the times you saw Ada in the OG game where few, far between and the game gives you no reason to believe she isn't genuinely on Wesker's side. Maybe the devs always wanted her to end up betraying him but whatever the case I'd very much prefer if she wasn't just another good guy, we have enough of those and too many haven't returned for a long time (a lot of people still want Billy and Sheva to return). The amount of heroes in this series is astronomical, do we really need another one? why can't Ada at least be in-between? let her believe that ends justify the means at least, let her believe that some good can come out of eugenics, let her believe that the world needs an enema to erradicate true evil. I don't know I'm rambling here, but I hope this made a bit of sense, I always liked the idea of Ada and Wesker going way back and him being the reason she is alive today, meaning she feels she owes him and genuinely cares about him (I admit this might have never been on the table from the devs perspective so this is just how I wish things were for them) but it is what it is, story aside, the game is fun and this DLC is worth every peny

One last thing...

The post credits scene will live rent free in my head for the coming months, it seems more obvious than ever that RE5 remake is in the works, or it will be after RE9 is out. What a crazy time to be resi fan, it looks like capcom isn't going to stop giving us content. Can't complain about that one

[tokensbossh]

Marvel's plan to 'end' Kang's MCU story leaked by insider

Recent developments within the Marvel Cinematic Universe (MCU) suggest significant shifts in upcoming storylines and character arcs. Notably, Marvel Studios appears to be concluding Kang the Conqueror's narrative, transitioning focus to a new central antagonist.

Transition from Kang to Doctor Doom

Marvel's plan to 'end' Kang's MCU story leaked by insider (2) Initially positioned as the primary villain of the Multiverse Saga, Kang's trajectory has been altered due to unforeseen circumstances. Actor Jonathan Majors, who portrayed Kang, was found guilty of misdemeanor assault, prompting Marvel to reconsider the character's prominence. Insiders indicate that Marvel now has a plan to wrap up Kang's arc, potentially involving his defeat by a more formidable adversary. This narrative shift paves the way for Robert Downey Jr.'s portrayal of Doctor Doom, set to become the MCU's central villain in forthcoming phases. Comic Book Movie Upcoming Films and Narrative Directions The restructured storyline is expected to unfold in several upcoming MCU films: - "Avengers: Doomsday" (2026): Originally titled "Avengers: The Kang Dynasty," this film has been rebranded to reflect the new antagonist. The plot is anticipated to showcase Doctor Doom's rise to power, potentially involving the elimination of Kang variants to establish his dominance. Polygon - "Avengers: Secret Wars" (2027): Serving as a culmination of the Multiverse Saga, this installment is expected to delve deeper into multiverse complexities, with Doctor Doom playing a pivotal role. The narrative may explore the "Battleworld" concept, where various realities collide under Doom's influence. EW.com Implications for the MCU This strategic pivot signifies Marvel's adaptability in response to both off-screen events and audience reception. By introducing Doctor Doom as the new central villain, the MCU aims to rejuvenate its narrative landscape, offering fresh dynamics and conflicts for its heroes. Fans can anticipate a series of interconnected stories that build towards an epic confrontation, redefining alliances and rivalries within the Marvel universe.

Marvel's plan to 'end' Kang's MCU story leaked by insider (1) In summary, the MCU is undergoing a transformative phase, transitioning from Kang the Conqueror's storyline to a focus on Doctor Doom. This evolution promises to deliver compelling narratives and character developments, maintaining the franchise's tradition of dynamic and engaging storytelling. Marvel's Strategic Shift: From Kang to Doctor Doom People Jonathan Majors Is 'Heartbroken' Over Losing Marvel Villain Role to Robert Downey Jr. After His Guilty Conviction 206 gün önce EW.com"Captain America: Brave New World" post-credits scene explained8 gün öncePolygonEvery Marvel movie and TV release set for 2025 and beyondevvelsi gün Kaynaklar

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[asphodelical]

The Great Anime Rewatch of 2024 - Part IX

Blood+

First watched: Circa 2007 Rewatched: December 2024

Original rating: 7 New rating: 4

English dub, which wasn’t very good. Even if I had rewatched this in Japanese, it wouldn't have been able to save it. The localization was quite bad and very literally translated. I remembered most of the key plot points of Blood+, but not many of the members of the large cast. It makes perfect sense since this is very much a plot driven show. I don’t find Saya a compelling heroine—on paper, her arc works. But her actual personality is so bland. 

Other brief complaints: The story takes us around the world and all the locations are little more than set pieces, Kai’s incestuous feelings for Saya, repetitive story beats. 

I think the thing I give Blood+ the most credit for is that there is a sense of loss. Saya loses loved ones along the way, and not everything ends completely happy. The best part about the anime overall is the music. (Having Mark Mancina and Hans Zimmer being involved with the music production is wild.) So credit where it’s due, but it doesn’t make up for all my un-enjoyment along the way. 

Blood+ has mostly stayed with me in the form of Haji’s Bach cello suite album, which I still listen to on a regular basis. That will not change.

__________________________________

Yuyu Hakusho

First watched: Circa 2007 Rewatched: December 2024

Original rating: 10 New rating: 10

It’s only been a few years since I rewatched this. Having this here is more of a formality, considering I know this story inside and out. What’s remarkable about Yuyu Hakusho is watching Togashi rapidly improve as a storyteller in a single narrative. The story doesn’t find its true stride until the Toguro brothers enter. The Saint Beast arc is so boring (the fights have no emotional weight) and creatively dank. But dammit, Yuyu Hakusho gets so many things right. The English localization and voice actors add so much flair and personality. Almost all of the fights and conflicts are resolved quickly and don’t drag too much. Each arc transitions seamlessly from one to another. The character dynamics between the main cast and sense of humor are unmatched. The Dark Tournament arc is still the single greatest tournament arc in animanga history. Yusuke is an incredible protagonist with realistic character development. Man, this show is great. 

__________________________________

Planetes

First watched: November 2013 Rewatched: December 2024

Original rating: 6 New rating: 4

English dub, which wasn’t bad. (Wendee Lee was the standout performer here.) This was another case where I remembered absolutely nothing.

The show’s sense of humor is hit and miss. The unemployed ninja group was painful, and reminded me of Mouretsu Pirates in a bad way. Yet the episode where Fee is just trying to smoke a cigarette and keeps failing because of bombs was easily the best one. 

Aside from that, I was just so bored. I don’t mind characters who are emotionally immature—it creates potential for great character development. But I at least have to like them, or give a shit about them. Tanabe in particular is infuriating. She’s a self-righteous preacher who always butts into other people’s business because she thinks she knows what’s right for everyone. Her moral compass is the only correct one. She gets called out on it, but it happens multiple times throughout the story and the story always treats her as being in the right. It’s basically the equivalent of a DnD player robbing all of the other players of their moments to shine. 

On paper, I like Planetes. But its execution leaves me feeling as empty as the vast darkness of space. I threw in the towel at episode sixteen. 

__________________________________

91 Days

First watched: July 2016—original airdate Rewatched: December 2024

Original rating: 7 New rating: 5

English dub, which was quite good. (Angelo’s VA left a lot to be desired. Considering he’s the POV character, that’s quite bad.) This is one of the few instances that I intentionally chose the dub because, you know, it’s the Italian mafia. Aside from that, I remembered nothing. I wasn’t even planning on rewatching this. 

91 Days is a character driven drama that’s committed to its tone. It’s unfortunate that I don’t find the characters very interesting or compelling. The only one I was sympathetic towards was Corteo. Everyone’s motivations are par for the course. The lunatic blood knight character with the stupid hair killed my immersion. There were a few too many characters and the show couldn’t juggle them all. If the cast was scaled back, we could’ve delved deeper into the ones that really mattered and their relationships. Then some of the dramatic moments would’ve had more impact. I was getting bored just a few episodes in. 

While it’s always nice to see an anime that tells a story so outside usual fare, it’s sad that it didn’t hold up for me. I still respect 91 Days, though. It tried, it fucking tried, to do something different. I wish more studios took risks with anime original material like this, so kudos to Shuka for even making it. Also, the music was fine, but opening song is so bad, oh my god.

__________________________________

Chrono Crusade

First watched: circa 2007? Maybe? Rewatched: December 2024

Original rating: 5 New rating: 5

Watching this really felt like stepping back in time. Christianity-exorcist inspired action shows is a weirdly specific trend, but anime had a good number of them in the late 90s-early 00s: Chrono Crusade, Kamikaze Kaitou Jeanne, Trinity Blood, and the only one left from that era, D. Gray-Man. The other biggest ‘time capsule’ thing is how the anime diverges from the source material. 

I don’t think Chrono Crusade is anything special, and my old rating for it was spot on. The sense of humor is bad, it’s got a lot of ill placed fanservice, the women’s clothes are woefully inaccurate to the time period, and holy shit, Aion’s ending was so anticlimactic it hurt. But I think that it does get some things right. The messed up sibling relationship quadrangle between Rosette, Joshua, Satella and Fiore was easily the most compelling part and created some good drama. And not in an incestuous way either!! I like how some of the religious characters legitimately began to question their faith. The poeticism of how Azamaria seems to lose everyone close to her came full circle. Not everything ends up perfect and happy. That shit works. 

What Chrono Crusade lacks in narrative and originality, it makes up for in emotional arcs. There’s absolutely something to be said for that. But I don’t like it enough to revisit the manga, and this will be the last time I touch the anime, too. 

__________________________________

Serial Experiments Lain

First watched: March 2012 Rewatched: December 2024

Original rating: 6 New rating: N/A

English dub, which was way better than I thought it was going to be. (The weakest performer is Alice’s/Arisu’s voice actress.) When I first watched Lain, I think I was too young to fully grasp its intentions, and remembered nothing about it. 

I’m about to sound like an oldfag, but they really don’t make them like this anymore. The visuals are striking. The harsh white light against dark shadows that have colour and texture take up so much space, it creates a stark, claustrophobic atmosphere and can be hard on the eyes. When there’s no eerie droning music playing, the repetitive sound effects like chalk on a chalkboard or typing on a keyboard are rhythmic and sound like a creepy ASMR video. 

For a while though, it was hard to tell where Lain was going and exactly what its intentions were. I was starting to feel bored. Then episode eight happened. It worked for me in a way that none of the other episodes did, mainly in the way of social anxiety horror. Ironically, episode nine was my least favourite. Coincidentally, I recently read House of Leaves for the first time, and I think it and Lain are similar in many ways. 

Lain isn't an anime you’re supposed to enjoy. It wants to make you uncomfortable, and it wants to make you think. But I didn’t really like it much. If I want a story that addresses humanity’s relationship with technology, I’d go find something else. But there’s no denying its influence, and for that I respect it. No rating.

__________________________________

Shiki

First watched: June 2011 Rewatched: December 2024

Original rating: 8 New rating: 8

English dub, which was so much better than I thought it was going to be. The vast majority of the names were pronounced correctly! I remembered a few things—who becomes a vampire, the ridiculous hairstyles, everything descending into chaos and madness in a small rural town. After the letdown of Blood+, how did Shiki’s brand of horror and vampires fare the second time?

It succeeded with flying colours. Out of nearly all of the anime I rewatched this year, Shiki was one of the very few where I was actively looking forward to what was going to happen next. I was incredibly invested and was screaming at my computer almost every episode. What sets Shiki apart from other vampire stories is the way it humanizes the vampires and makes a case for both sides. Though I have to say, the different and extreme reactions from the villagers is a little too similar to the pandemic reactions. 

Shiki has many layers of horror, and they each prey upon a different type of fear: The fear of hurting those you love. The fear of becoming something you hate. The fear of the very comforts of your home becoming unsafe. The fear of your world collapsing around you. The fear of watchings someone you care about change into something else.  The fear of those around you unable and unwilling to do anything in the face of an epidemic. 

The weird hairstyles don’t kill the vibe for me because it’s that good. The music is really great and does an incredible job at contributing to the atmosphere. I would absolutely listen to it. 

Shiki was just as worthwhile as the first time. What a thrill. 

[website-098]

Unveiling the Art of Web Development: Crafting Digital Experiences

In an era where digital landscapes define our interactions, web development has risen beyond its technical roots to become a canvas for creative expression. As the online realm takes center stage for businesses and individuals alike, mastering the craft of web development has become pivotal. This article delves into the intricate world of web development, shedding light on the importance of authenticity while avoiding the shadows of plagiarism.

Embarking on a Creative Odyssey

Web development is more than lines of code; it's a symphony of design, functionality, and user engagement. It's the process of translating ideas into interactive digital experiences that resonate with users. Developers are the architects of this virtual realm, constructing websites that seamlessly marry aesthetics with utility.

Exploring the Pillars of Web Development

Front-End Poetry: Front-end development opens the door to user interfaces and interactions. Using HTML, CSS, and JavaScript, front-end developers craft the visual and interactive elements that define a website's character. HTML structures content, CSS adds flair, and JavaScript infuses vitality through interactivity.

Back-End Engineering: Behind the scenes, back-end developers weave the intricate threads of server-side operations. Managing databases, configuring servers, and ensuring smooth data flow are their expertise. Languages like Python, Ruby, PHP, and Node.js, coupled with frameworks like Django and Laravel, empower these architects of the unseen.

Full-Stack Mastery: Full-stack developers embrace versatility, mastering both front-end and back-end realms. Their comprehensive skill set empowers them to orchestrate entire digital landscapes, blending design aesthetics with functional prowess.

Responsive Choreography: In the age of diverse devices, responsive design takes center stage. This choreography ensures websites gracefully adapt to varying screen sizes, offering a seamless user experience across platforms.

Crafting User Journeys: UX/UI designers are the storytellers, shaping the narrative of digital interactions. UX designers map out intuitive journeys, while UI designers infuse visuals with personality, creating captivating user experiences.

Empowerment Through Tools: Proficiency with development tools and version control systems is akin to wielding a painter's brush. Code editors, IDEs, and Git repositories empower developers to collaborate, iterate, and shape their digital creations.

Nurturing Originality and Integrity

In the realm of web development, originality fuels innovation, while plagiarism stifles growth. Here's how to nurture authenticity:

Conceptual Mastery: Grasping core concepts equips you to craft solutions from scratch, avoiding the trap of replicating existing code.

Learning with Insight: Studying open-source projects provides insights, but the goal is to understand the underlying principles, not mimic solutions verbatim.

The Art of Practice: Regular practice sharpens coding skills and sparks inventive thinking. Experimenting with different approaches expands your creative toolkit.

Drawing from Diversity: Seek inspiration from diverse sources, from art and nature to literature and technology trends. Infuse your work with your personal touch.

Ethical Responsibility: When integrating external resources, give credit where it's due and document usage transparently. Upholding ethical standards showcases your respect for fellow developers and their contributions.

Conclusion

Web development is a dynamic voyage where innovation meets creativity. As you navigate the front-end and back-end landscapes, refine UX/UI finesse, and champion originality, you'll create digital experiences that leave an indelible mark. Embrace your creative journey, uphold the spirit of authenticity, and embark on the web development frontier with passion and dedication. Your digital masterpieces await, shaping the digital realm one code at a time.

[bigskydreaming]

Hi! I was reading a fanfic and it brought up Roy and Dick's fight, which I see a lot of in fics but never what they fought about and consequently why they don't talk. I thought it was a vague excuse/reason why Roy was Jason's friend not Dick's anymore but this fic brought up when Dick was batman so I was wondering if there was actually a fight between them? Btw I really enjoy your metas! They're v thought out and well articulated. Also it's v easy to separate what's your opinion and what's fact which is. Very helpful for me

Yeah this is one hundred percent a fanon thing that's kept deliberately vague to justify why Roy in his friendship with Jason seems to have no positive thoughts or concerns about Dick whatsoever. Now granted, Dick and Roy are not nearly as close in the New 52 as they were pre-Reboot. The lack of their friendship there is definitely one of the things I disliked most about the Reboot - and I actually don't care if Jason and Roy are friends tbh, its the total erasure of his history with Dick as if he can't be friends with both, that like, bugs most.

But so like, yeah, Roy and Dick aren't super close when they interact on the Titans in the New 52, but there's literally nothing in any of their interactions that explains the complete absence of him from Roy's life or a reason that Roy would like, hate him the way he tends to in a lot of Jason-centric fics.

When you factor in pre-Reboot stuff though, it starts to get a LOT more.....uh wyd? And this is why I have trouble buying that people just write Roy and Jason the way they do because its the only thing they know from recent comics. Like one, most fans talk about how they don't even read the source comics, so there's no reason their knowledge of the characters or events would be limited to just recent comics if they're going off wiki summaries and scans anyway. And second, most fans AREN'T limited in their knowledge to just recent comics.

Like, the second people start writing Roy and Jason and Kori but with their pre-52 characterizations and references to events from THAT timeline, it all gets very messy, the way they're like, completely antagonistic towards Dick a lot of the time. Because Roy and Dick were always solid. Yes, they fought. A lot. But they always, ALWAYS made up afterwards. They had conflict about Roy's drug addiction - it didn't stop Dick from being there to support him through rehab, or Dick being the first person Roy called to help him get Lian after he learned of her existence. Dick literally held Lian before Roy ever did? He's the one who first put her in Roy's arms for the first time.

(Which is the prime grudge I and most Dick Grayson fans have about Roy and Jason fics which make Jason like, the absolute apple of Lian's eye. If you want to expand Lian's circle of loved and trusted ones to include Jason as Roy's friend and thus her uncle, like go for it! But there's zero reason that should require invalidating and erasing the fact that Dick was this little girl's adored godfather and uncle for pretty much her entire life. And the way Dick is just shoved offstage from Lian's life entirely, to slot Jason into his place as though they're completely interchangeable, its like....THAT'S the kind of thing that gets people irey about how Jason 'steals' Dick's dynamics and character relationships.

Because there's nothing saying they both can't be major players in Roy and Lian's lives! But just that they're not interchangeable! You need to develop the specific role Jason plays there WITHOUT just overwriting everything Dick actually did in relation to the two of them pre-Flashpoint, which is what you're drawing from the second you write Lian, unless you're specifically going with the few appearances we've had of her within literally just the last year.

But I mean, when people just search and replace Dick Grayson in all Roy and Lian's pre-Reboot stories and act like Jason was the one doing all of that instead.....why wouldn't fans of the source material be annoyed by a character getting credit for interactions and things done for Lian and Roy that Jason literally NEVER DID, while at the EXACT SAME TIME, conjuring some mysterious, unnamed 'Falling Out' that Roy and Dick had, that was clearly all Dick's fault, and resulted from him being basically excised entirely from Roy and Lian's lives?

Same with Kori, for the record, and like despite being Dick's ex, she and Dick have NEVER been like, estranged? She and Dick have often been close even after their breakup. None of it makes any sense, and the fact that a lot of fans don't even try to make it make sense or justify it, and expect other fans to just be fine with settling for an inexplicable reversal of Dick's every actual dynamic with these characters while setting up Jason to occupy the exact same role Dick played in these other characters' lives, like.....lol. Its fun.)

Anyway, back to your question, like, there are fights you can go with pre-Reboot as the source of various conflicts between Dick and Roy - but again, I maintain its just as crucial that they're always written as getting past them. They have a very tempestuous relationship because they are the two people MOST likely to call each other on their shit, two of the two people WITH the most shit in common due to the parallels in their childhoods and the roles they've occupied in the Titans and the superhero community in general, and the two people most resistant to being called out on their shit by each other, lol. Mostly in that case because like, they do recognize that they have a lot in common and understand each other very well, so the second the other is calling them out for something, they're usually like "ugh, if HE'S saying this, its probably true and I am just not prepared yet to be wrong about this. I need more time being unjustifiably rawr about things." Its like that thing where they both look at each other doing something that feels familiar or calls back to their own reasons for doing something and they're like ugh I'm in this picture and I don't like it.

So they clash. A lot. But always with the implicit bedrock of like, there's nothing either of them can do or say to the other that will push the other away for good.

They fought over Roy replacing Dick as leader of the Titans when Dick's wedding fell apart, even though Roy actually didn't want to do it and was kinda pushed into it by the government, but again, Dick like, got over it and realized it was for the best and forgave Roy for it that very same issue. And on and on. It always went like that. So there's plenty of stuff that can be used or pointed at as a source of conflict between the two, but the part I'll always call unbelievable is the idea that they never make up after one of these fights. Why now? What fight, specifically, is so bad between them that despite everything else they've gone through AND gotten past, they can't get past this one? Y'know?

So yeah, that's my take on this. There is no definitive falling out between Dick and Roy as many fics like to point to in order to shove him offscreen and make room for Jason in Roy and Lian's lives, and personally, I just don't find it necessary and I actually think it makes Roy look REALLY bad. Because when you're not specifically detailing all the things that Dick has actually DONE for Roy, the lengths to which he's been there for his friend, and like, specifically invalidating each and every one of them as something that never happened in a particular fic, then literally anyone who reads that fic and has their own awareness of Dick and Roy's friendship is kiiiiiinda likely to be reading that and thinking wow what an ungrateful asshole, when Roy's just written as bitching about Dick with Jason and sandbagging him without any real explanation as to WHY, beyond just 'oh they had a fight years ago.'

(And coming up with some random awful thing that Dick did to justify Roy hating him now isn't like, a superior alternative, lmao, because again, its still just trashing one character for the sake of getting him out of the way of two other characters' friendship and people are going to think what they think about that).

Anyway, my now standard stock disclaimer that like, there doesn't actually need to be a canon fight obviously, for people to just write things this way and handwave that Dick and Roy had an epic falling out years ago and now they just hate one another or whatever, or just Roy hates him or vice versa. Obviously people are free to do what they want. They don't need a reason other than "I want to write it this way so Jason and Roy are friends and Jason doesn't have to 'share' him with Dick or have his friendship be overshadowed by their greater history together." That just happens to be a reason that no Dick Grayson fan is ever really going to be happy about, lol, for what should be perfectly obvious reasons, so it honestly shouldn't be surprising to people that fans of the source material often gripe about it.

Because yeah fanfic is a tremendous opportunity to transform the source material into something better, but if what's better for some fans actively takes away what was working perfectly well for other fans the original way, they're going to say that. Especially in a fandom where so many new fans take their view of the characters and their dynamics from fics rather than the source material - when fandom has that much of an influence on what new fans perceive to be 'canon,' fans are perfectly within their right to emphasize what is ACTUALLY canon and what isn't, so that new fans at least have the opportunity to determine for themselves what take they want to go with, instead of just accepting at face value that the nature of say, Dick and Roy's relationship is just that Roy hates Dick because of some mumble mumble ancient history vague mumble details not found mumble mumble fight.

[monkey-network]

Good Stuff: Monsters at Work

Monsters Inc was a good film. Monsters University wasn't a good film. Monsters at Work is where things actually blur because it's surprising that they made a whole show surrounding something you'd think would be one and done. Never say never, I guess. So by all means, did this work or did it need work?

See what I did there? It's about the title... of the show. Heh.

To start, I gotta appreciate the effort that went into this being a good looking CG show, a first for Pixar. It's not entirely made from their house, but ICON really made you feel like you never stopped watching Monsters Inc. Not as cinematic, and you'll definitely notice some lip sync errors, but credit where it's due that it looks amazing.

Speaking of which, the characters...

The new cast is a slow burn to enjoy on their own. The old cast from the movie feel like they never left and they're great, but you're honestly with Tylor where the MIFT crew can be hit or miss unless you're okay with the charm of their dynamic. It has the good casualness of the original film. One thing I feel should've had more this season is Tylor doing more work to show that he is an effective member of the MIFT and it'll truly suck when he becomes a Joker. I dunno, didn't feel like he felt like a developing member of the group when we hardly see him do much actual mechanic work outside episodes 3 and 8.

Episodes 6 and 8 were kinda everything I'd want in a good episode of Monsters at Work where it's a nice blend of action, dysfunctional yet breezy comedy, and that heartwarming charm by its end that gets me to like the characters a bit more. It all somewhat reminded me of a certain show. "The Office?" God no, Veggietales.

Got the known duo with the supporting rogue gallery but you know, it's factory working instead of Christian stories

For what this is, it feels like we got the most of both the previous films, both their ups and downs. Even if things felt rushed, I enjoyed Tylor's journey of working his way up, getting along with his new workmates and Duncan, and just proving his worth to a place he wants to fit in. Kinda captures what Monsters U wanted to convey and what Monsters Inc. understood with the idea of change. I'm unsure of the complexities that they tease (like other scare companies existing, rules surrounding having children around), but this was a series that felt worthy of seeing unfold week by week. It's not the bombastic outing I was kinda hoping, but it's a enjoyably breezy sequel for Monsters Inc. fans.

7 Out of 10. A Fascinating Return to the New Fun Factory

[mrdrhenwardhykle]

So, I had this thought process

I've been thinking a lot about that Adam Sandler movie "Pixels", and I think I just wrote a summarized alternate plot for it in my head and I need to write it down.

Okay;

Let's start by brainstorming on writing better and more relatable protagonists. For many, this movie is very hard to watch because it almost feels like a bunch of middle-aged guy's writing in nice-guy self inserts of themselves to feel better about whatever mid-life crisis they're having. And maybe this wouldn't be too bad if their characters were just a bit more than "middle aged creep who lives in his mom's basement is secretly a romantic warrior when put in the right scenario".

At least for me, it's very hard to relate to that kind of protagonist; given how that character is usually the most developed out of all the characters in this type movie. I often find that it's hard to relate to nerdy nice guy characters who often get away with the lack of likeable qualities just because "life should have treated them better". It comes off more as a pity-party more than anything, and their unmotivated dynamic with the "out of their league" love interest, who always comes off as nothing more than a trophy and\or act as an excuse to get the climax rolling in the last 20 minutes after getting captured by the big bad.

So then, how would I write an 80's nostalgia themed adventure movie? What, say, would you think would be a practical way to write the main cast in a way that audiences new and old can relate? Easy; If your intention is to give your entire audience a wave of nostalgia, but to still keep it relatable, then why not make your main cast kids? (credit to Black Nerd Comedy for that idea) I would probably suggest between the age of 12 and 16, and maybe with the occasional big brother\sister type characters and some of their friends . Kids often have a ton of freedom, a large imagination, basic priorities, and a lot less worries than adults. Just about anyone should be able to relate to that, since everybody either was or is a kid at some point of time. And I'm not saying that you can't write for\relate to older protagonists, but you don't want to alienate your audience, especially when making something that might catch the eye of a younger crowd.

Not to mention that ever since the 80's, kids have always been a major player by the impact of technology. For some reason though, the plot of Pixels doesn't really have to do with technology. There's guns and contraptions that are specifically made to destroy the pixels, but it doesn't really go much father than that with the tech. The plot more focuses on going on the "alien invasion" route (which I would think would be more 60's sci-fi based than 80's, which was more experimental in cosmic horror with its alien media)(not including Space Invaders. Shush. That does not count). Honestly, I think 80's nostalgia can be replaced with just about anything when it comes to a "shape-shifting aliens who mimic earthly cultures" plot. It's very basic, yet it doesn't really fit in with the theme of arcade games. It just comes off as a poor excuse for pandering to 80's kids, instead of using that element to bring up interesting concepts and world-exploring in this universe.

So I have two solutions for this, either;

A. Do not do a time jump, and keep the story in the 80's. Make it an alternate universe where different forms of consoles and computers are being developed. Maybe the adult characters are very unfamiliar with these changes, but allowing for the kid characters to have more of an advantage because that stuff would be more relevant to them. Because this was before a time where kids often thought about becoming programmers, it will also work as a disadvantage to the kids because they won't have an excuse to suddenly know how the opposing side works.

Or B. It takes place in a modern era, with Virtual reality, game consoles, and laptops, but it doesn't overly modernize itself with teens on phones, saying outdated things like "lemmie just take a selfie" saying "hashtag" out loud, or any junk like that (Because guess what? Teens and kids don't usually act like that). Maybe make the environment time neutral by making it a mix between the 2010's, 2000's, 1990's, and 1980's. I don't really think it's relevant enough to work in a present setting.

And lastly, let's talk about the big bad of the movie.

Really in Pixels, it's more of a self-struggle either projected upon others, or manifested into it's own being for the protagonist to succeed. There's not really a lot of leg space for anyone else to develop other than the main character (and perhaps something happens occasionally to the comedic reliefs\mascot characters). I imagine maybe this version doesn't have just one central character\plot, kind of like Stranger Things. However, unlike Stranger Things, I would also like a compelling and intriguing villain. Sadly, Pixels doesn't really have that; i has Donkey Kong, but he's nothing more than an alien catering to the protagonist's inner struggles (and nostalgia). There's nothing really more to DK other than that, so there's not a lot of difference between him and any of his previous minions.

And there's nothing really compelling about DK; because at least in canon, he's just a scared circus animal. There's not a lot of reasoning behind his actions other than to just invade. It's basic alien stuff like I said before, it can basically be replaced with some other theme than arcade games.

So what would be a compelling antagonist? Foils to the main group of characters (such as an older school bully, or maybe twisted programmers), create conflict, but if we're keeping the theme of attack of the machines and videogame characters, there has to be a bigger bad than that.

Oh! If only there was an already established villain-coded, tech-based, 80's icon with the ability to control almost all technology!

....

Trust me, I'm onto something!

Max Headroom was always presented as an egotistical talking head. He had multiple shows in the 1980's, as well as guest starred on multiple shows. Perhaps Max survives off of his viewers, and constantly strives to expand his audience. Max does not tend to care about other's well beings, and just wishes to use them as a way to gain publicity for his shows. Max also has a tendency to step over whoever he needs to to gain popularity, including his own film crew.

Max also has multiple canon abilities such as:

Being able to transfer to any screen (including arcade games)

See and interact with the people watching him

Control more than one screen

Interact with himself from one screen to another (multitask)

Turn on and off lights (and likely other outlets as well)

Manipulate the visuals of the screen that he's controlling

All of these abilities can be expanded and explored enough to set him up as a powerful and unpredictable villain.

I've also came up with a couple motives as well;

A. If this is in a modern era, Max could be suffering from a long hiatus since he hasn't been that active since the 80's; causing Max to seek as much attention to thrive off of as possible. To do this, Max hijacks as many outlets as possible to air his show. He might also use this as a way to repel audiences away from all other media; making it easier to turn to him for entertainment.

B. This takes place in an alternate universe where Max Headroom became more popular than it originally was. He starts taking over half of ads and television shows on air, getting more power hungry with each channel he takes. However, in his media take-over, ratings take a slight drop due to uninterested children who have turned to other outlets like toys, videogames, and arcades. This inspires Max to take a full takeover over everything electrical, causing a full invasion of all things electrical.

(I also forgot to mention that Max very likely hates children, and has canonly protested the execution of all of them)

Bam! And there you have it. A slightly more efficient plot for Pixels.

This was rotting in my head for a while and I wanted to let it out. Sorry for the ramble.

[stillness-in-green]

The MLA(/PLF) Headcanon Post (1/2)

In response to this nice ask about whether I have any headcanon or thoughts about the current members of the MLA/PLF, I spent two weeks blithering 16.5K words of exactly that into a Word file, because when it comes to underappreciated characters I love, I do not understand restraint.  This post and its follow-up will cover all ranked ex-MLA members of the PLF, as well as Original Flavor Destro and Curious, since I wasn't going to leave them out of a project like this even if they aren't "current."

The ask only mentioned having previously read The Lore Post, the last exercise in ridiculousness that I wrote at the tail end of MLA Week, so I wrote this to summarize everything that doesn't appear there—which is to say that a lot of the material in these two posts will look familiar to anyone who's read my fanfic about the MLA cast.  There’s still plenty of new material to go around too, though!

So, I don't have much in the vein of askblog-style headcanons where I can randomly tell you stray trivia about a character’s favorite foods or their love languages or what have you; that stuff either comes up when I'm writing fanfic or it doesn't.  That said, below, please find a mix of thoughts I keep in mind when writing characters, facts that have only turned up in my fanfic/notes so far and not the Lore Post meta, and a selection of lightning round headcanon provided by cross-referencing a random number generator with some old questionnaires I keep around for OCs and tabletop characters.

In this post: Destro, Re-Destro and his advisors, and Geten.

Destro— 

General Thoughts The whole "revolutionary leader" thing came very naturally to him. He was committed, charismatic, very willing to risk his life and safety for the cause, and he cared about his people. All that said, he absolutely had a pompous, prideful streak, especially where it came to his justification for terrorism.  You only have to read his own words to see that.  Still, he was in large part reacting to the world he lived in, one of greater violence and danger than the current day. 

I like to think that—because he was genuine in wanting freedom for all—he would not approve of what became of his Army.  He'd be able to see how they got there, and he would probably have made much the same choices if he'd been there with them, but while he would have agreed that his role should be remembered—that's just Due Credit—he would never have wanted to become the nigh-on religious figure his followers turned him into. Continuing to fight the good fight for his ideals is one thing, but secret salutes and isolated villages and being raised from infancy to know your life has only as much worth as it can contribute to Liberation…  Well, it's just not what he would have wanted for his people, much less his descendants. 

Family Situation Chikara was only around 7 when his mother was killed, the event that would shape the rest of his life.  He wasn't hiding in the closet from the mob, either; he was kicking and punching and biting, his motivation to save her overflowing—but he was still only 7, and eventually overwhelmed.  His own life might well have ended there with hers, but for a group of neighborhood vigilante types (at least one of whom probably went on to a career as a hero, after legalization).

He went most of his adolescence without getting involved with anything more sinister than student newspapers, founding a secret meta-rights "club," and attending the odd larger protest, but when the government started talking about passing laws restricting the use of meta-abilities, he started getting very radical very quickly, and when some absolute snake started to use his martyred mother's words to bang the drum for banning quirk use outside the home outright, he went off the deep end.

Lightning Round (Randomly Selected Headcanons)

Favorite book genre?  Memoirs and biographies—he wouldn't have written his own if he didn't appreciate their value.  The intimacy of the personal juxtaposed against the broad scope of history appeals to both his regard for individuality and his revolutionary mindset.

Most prized possession?  Thoughts on material possessions in general?   He doesn’t generally prize material possessions—in fact, he’s something of a skinflint.  His most prized possession is an old pair of gloves that belonged to his mother, which he'd been wearing at the time of her murder.  He didn't come from money to begin with, but his mother’s story made enough of a splash that his financial situation was improved by well-meaning sorts sending along donations and contributions and the like, as well as government officials knowing they needed to be sure that he wound up somewhere at least semi-reasonable lest they court further outrage by mishandling the son of a martyred woman.  The money all went towards school and living expenses, though, leaving him quite experienced at balancing a budget, which would come in handy for that whole ‘leading a violent uprising against the state’ thing later on.

Academic Background: Got all the way through college!  Was involved in student groups as far back as middle school, and only got moreso the further in school he got.  Majored in Human Development; he was intending to go into the public health and policy sphere before the appropriation of his mother's language pissed him off so much he got into terrorism instead.

THE MODERN MLA

Re-Destro—

General Thoughts A huge amount of the way I write him is influenced by one single thing—his characterization as described in the second data book.  His personality is summed up there as "sokoshirenai yami"—bottomless darkness, or, as a friend translated it for me, "unfathomable gloominess."  That really, really stuck with me, because on the one hand, it's so opposed to virtually all of what we see of him on the page, where he's being cheerful or scornful or sycophantic; the closest he ever gets are his brief tears for Miyashita, Curious, and his other followers.

On the other hand, it makes so much sense that the man we see—the man who talks about the heavy burdens of his legacy, who was handed that legacy when he couldn't possibly have been any older than 6 or so, who willingly straps on a self-designed torture device to wring out more power, who all but worships the ground Shigaraki walks on even though Shigaraki is the reason Re-Destro no longer has legs to walk that same ground with—should be "unfathomably gloomy."  Of course he's gloomy!  He was never allowed to be his own person!  He has never in his life known true freedom, only existed as a vessel to bring that freedom to others!  And he can't really even talk to his closest friends about it, because his closest friends are still his followers, and he wouldn't want to weigh them down!

With that context, it makes all the sense in the world that he'd be so devoted to the man who relieved him of that burden.

Family Situation He loved his mother Yukie a great deal, despite knowing from early on that he was carrying the weight of the title because she believed she couldn’t.  (Perhaps growing up hearing about the martyrdom of Destro’s mother left him wanting to ensure the happiness of his own, for her happiness was very rare.)  He was 10 when she was killed in a Villain attack; she’d been on a daytrip over to a neighboring city to visit some of her erstwhile school friends.  The requisite mourning period was 49 days, and as the only surviving family member, quite a lot fell to him even before considerations of his role as Re-Destro.  it was perceived as better—for both the Army’s morale and for his own stability—for him to be involved with as much of the work of transition as possible, but obviously he couldn’t do it completely alone, nor should he.  Thus, for two months after Yukie’s death, the previous generation's Sanctum[i] stayed with him in his family home. Afterward, he moved in with Anchor (one of his grandfather's advisors), where he would spend the rest of his young adulthood until moving away for college.

Claustrophobia The name of that literal-iron-maiden deathtrap he brings to bear against Shigaraki is no coincidence: Rikiya developed claustrophobia over the course of a stint of abusive training when he was thirteen. He generally has a pretty good handle on disguising it, thanks to a combination of people being unwilling to ask him questions they don’t actually want the answers to and the fact that he had to learn how to operate through it in order to complete the training at all. He has never told anyone, largely because he’s never been able to recognize that it was abuse, and so his abuser remains a figure of some influence.

Education He was largely taught by private tutors, in his home and in theirs, rather than attending school, but I think he probably wasn't completely home-schooled.  Particularly once he'd decided that he did want to attend university—and not just some little local technical program, but a major school in a proper city—he probably attended classes a few times a week at his local high school just to get a feel for being around other people his own age. He'd been friends with Koku for several years by that point, otherwise he probably would have been pretty hopeless, but he was still a pretty odd duck by the time he got to university.

This, incidentally, is why he never pushed Geten too hard about school—his own experience of it was so weird and piecemeal that he mostly thinks of school as relevant only for the education it provides, and less so the crash course in social dynamics.  Since Geten doesn't care about getting an education (nor, indeed, about learning how not to be a rude little troll), and has a strong enough quirk that he'll never lack for a position in the Army even without a formal education, Rikiya is perfectly happy to let Geten have his way and just be minimally learnèd.

Stress His powers operate by infusing his body with the characteristic black matter of his manifested stress; he can increase his size with this (his so-called Liberated Form isn't just armored up; he becomes physically taller and bulkier), as well as throw handfuls of the materialized power.  A side effect of this is that his stress can also infuse itself into his bodily fluids. The stress matter is a highly dense particulate, so if Rikiya is not in proper control of himself, his proverbial blood, sweat and tears can be literally heavy with the weight of his power.

The Value of Life He cares very much about the lives of his followers, but those genuine feelings are filtered through both the mental compartmentalization required by an emotion-based quirk, and an upbringing that taught him to care about his underlings in the same way one would rare goods.  Valuable goods, certainly, goods worth being proud of, goods to be maintained with care, but still, ultimately, things that can be sold or traded or bartered off as necessary to further one's goals.  Even his own life, while "objectively" the most valuable of them all, isn't an exception to that policy—the Great Cause is more important than any individual life, up to and including his own.

On a Personal Note He’s something of an obvious weirdo to outsiders—his enthusiasm comes off as strident, his smiles overly polished—but despite that, he's bizarrely hard to dislike once they start spending real time with him.  He's not anywhere near as prideful about himself as he is the legacy of the MLA, for a start; he's actually pretty self-deprecating when he's not performing the whole Heir of Destro's Great Bloodline routine at people.  He's also happy to go along with other people sharing their hobbies (because he doesn't have any of his own).  The more you get to know him, the more obvious it becomes that he's a total basket case, but “total basket case” is still an improvement over “self-absorbed 1%-er CEO” that people like Spinner come in expecting.

What Are Boundaries? He has very little understanding of how to enforce boundaries around his private life, or, indeed, of why such boundaries might ever be necessary.  Oh, he can do the double life thing, keep the CEO of Detnerat separate from the Grand Commander of the Metahuman Liberation Army, but when it comes to the MLA itself, he's so groomed to devote himself to the cause that he doesn't really distinguish between the responsibilities of Re-Destro and the needs of Yotsubashi Rikiya.  Rather than being the egomaniac you might expect of a man with the absolute power over others he has, he instead struggles to assert himself as his own person at all.

Issues with boundaries are not uncommon with the MLA—they're all raised to see themselves as warriors to advance the cause before they are, like, “human beings”—but Rikiya’s are particularly exacerbated because he was raised by adults who were getting pretty paranoid about his bloodline's tendency to die young, and thus were always checking in on how he was doing, dictating his schedule, weighing in on his plans, and so on.  He just wasn’t raised with reasonable expectations for privacy.  Even as an adult, he'll give his apartment door code to pretty much anyone in the MLA who has even a semi-plausible reason to want it—certainly quite a few of the elders know it!  And it isn’t only the elders, either; Rikiya's phone and several of his accessories carry tracking chips courtesy of Skeptic, which Rikiya knows about and doesn't think is at all untoward.

While his experience dating Koku definitely taught him some hard lessons about how much he could allow himself to ask of people who would obey him without question (they broke up over Rikiya’s realization that Koku would never deny him anything, thanks to a cracked rib Koku didn’t see fit to tell Rikiya about until Rikiya hugged him a little too hard), he never learned how to value his own autonomy in turn.  Oh, he's the Grand Commander, and everyone around him has been raised to venerate his bloodline, so most of them would never even think about trying to take advantage of him as such, but it's absolutely the case that people who are bold or familiar enough to try can basically run right over him with minimal efforts made at obscuring the fact.  His life is full of people who do and have done exactly that, some to a net positive effect, and some—well.  See again the entry about his claustrophobia.

The abjectly terrible state of his sense of self-worth is also the reason the Claustro exists.  While he was relatively capable of trying to work around his phobia when he was younger, the older he got, the more it started to feel like leaving doors cracked behind him or only working in offices with big spacious floor plans and oversized windows was, in some way, Letting Down The Cause by allowing his fear to control him, rather than embracing it so he could properly stockpile it for later use.  A dinnertime chat with Curious about turning one’s trauma into a weapon for the good of others catalyzed this, leading to the development of the “burden-enhancing steel pressure mechanism,” Claustro. 

(It also means the clone of him made by Twice to handle Detnerat after Deika is bizarrely okay with its circumstances, which I will almost certainly write more about one of these days, but I’m still kind of reeling from that reveal, so more on that another time.)

Lightning Round

Religion?   He doesn't identify as being of a religious faith, but he was brought up in the same peaceful marriage of Shinto and Buddhism that the majority of Japanese people are, and like many, he adheres to a number of traditional practices more out of habit than devout faith.  There are two celebrations that demand significant emotional investment from him.  First comes the New Year's celebrations, important because the MLA prides itself on looking to a brighter, freer future, and it's a period when he can let himself think that maybe he'll be just that little bit closer to Liberation by the end of the year than he was at the start.  Second is Obon, a summer festival for honoring one's departed ancestors. Since his authority and his life's work derive entirely from his bloodline, he's obligated to care about this one, though in practice, he tends to shy away from thinking much about Destro (who he has very twisted-up feelings about indeed) in favor of less emotionally fraught waters.

What did he dream of being or doing as a child? Did that dream come true?   He never really had a significant period where he thought about being e.g. an astronaut or a doctor or a hero; in fact, it came as something of a surprise to him the first time Koku asked him what he was planning to do when he grew up.  He always just had the nebulous expectation of, "Be the Grand Commander," and the elders were happy to leave it at that until he brought it up on his own.[ii]  

How does he behave around children? He likes kids!  He’s wistful about the freedom enjoyed by happy children while also being sympathetic to ones that seem overly burdened.  He’s not the most natural person in the world with them, but most of them can tell that the awkwardness comes from a well-intentioned place, and will treat him as a funny-looking man who’ll let them bother him at length without getting mean.  It turns out he’s actually pretty good with them, then, if only by virtue of being easily bullied.  (This, notably, goes for non-MLA-affiliated children.  Everything’s much more formal within the cult, though it didn’t Geten long to suss out the “easily-bullied” part, either.)

Trumpet—

General Thoughts The largest factor in how I write Koku is, of course, the headcanon that he and Rikiya are ex-lovers, and neither of them is 100% over it even all these years later.  Beyond that, though, Koku is the most temperate of the group, the one with the most easy charisma (MLA members are more swayed by Re-Destro, but Koku does better with outsiders who aren't predisposed to hanging on Rikiya's every word).  He strives to come off as The Sensible One, and given the extremes the rest of the inner circle are capable of, it's not hard for him to maintain that title.  He's as messed up as any of them, though, second only to Rikiya in levels of childhood grooming.  He thinks of himself as a practical man, but he is deeply indoctrinated, the boundaries of his expectations very much defined by his upbringing, so he never really sees it coming when he gets clobbered by something from out of left field.

Family Situation: Koku has the largest family of the identified members.  Aside from his grandfather (called Old Man Hanabata, the founder of the Hearts & Minds Party, and passed away by the canon era), Koku has cousins, nieces, nephews and more, courtesy of his uncle, his older sister and her husband, and other extended family.

He’s also the member most accustomed to wealth, power and influence.  He's from a rural area, certainly, but being in a family of hereditary politicians (and with that family not suffering a string of untimely deaths and disappearances like Rikiya's did), he was raised from the start with ready access to money and nice things.  Still, for all his family's sway in a major branch of the MLA's operations, they're not First Families, and thus don't have any elders in their ranks, making them still somewhat subordinate to said elders when it comes to orders about the Great Cause.  (He’s working on it.)

Meeting Re-Destro Koku and Rikiya met at 12 and 10 respectively, when Koku tagged along with Old Man Hanabata for a meeting RD was likewise accompanying Anchor for.  It had been the better part of a year since Rikiya's mother passed away, but he was still strikingly melancholy for a boy that age, which—along with all the weight given to the importance of the meeting—left quite an impression on Koku.  Koku thus became Rikiya's first real friend in his own age group, a friendship heartily encouraged by everyone around them.  Koku was well-behaved, intelligent, a little older but not too much so, and set to become influential without a danger of becoming too influential; he was seen as a good choice for a friend.[iii]

The Break-Up Painful as it was at the time, there was a silver lining to his and RD's post-college break-up: it got Koku out of the elders' pocket.  He’s been groomed for one thing or another all his life, but after he became friends with Rikiya, he was always getting leaned on to report back to the First Families about how Re-Destro was doing, and to try to influence him towards actions the First Families approved of.  In a very real sense, Koku was part of the apparatus keeping Rikiya from any real freedom.  Their break-up and subsequent estrangement meant that the elders had far less to breathe down Koku's neck about, and by the time they reconciled, Trumpet had gotten his feet under him, as had Re-Destro, and they were both better able to fend off such background meddling.

This doesn't mean Trumpet's not still carrying a torch, however.  He thought he was handling his long-banked feelings pretty well—being Professional, being the advisor Re-Destro needed and as much a friend as Rikiya would allow—right up until Rikiya scared the life out of him by nearly dying in Deika.  He's all but glued himself to Rikiya since, as much as he can get away with given their respective responsibilities.

As an Advisor Other than leading the HMP, he does some work with internal politics and reputation. It's not, strictly speaking, his actual job as advisor—Re-Destro or the elders would probably be sought for more formal or critical mediations—but he and the people who report directly to him do enough travelling around to see constituents that they're often in a position to field those tensions before they get big enough to require attention from higher up.  Koku's happy to do so, in fact—not because he just loves handling petty arguments about resources, but because the HMP is a faction of the MLA in and of itself, and mediating is a boost to that faction's standing and autonomy.  (Also, it's that much less on Rikiya's ever-overburdened plate.)

Lightning Round

What would he do if he needed to make dinner but the kitchen was busy?Ahahahahaha, “make dinner but the kitchen was busy,” please.  Any time there could feasibly be someone else occupying a kitchen he has any business being in himself, it would be a housekeeper, and s/he would be making food for him/his family.  It’s not as though Trumpet has never cooked—he did live alone for some years after school—but outside of a scant few years in university, there’s never really been a time that kitchen use overlap would have been a problem for him. 

Favorite indulgence and feelings surrounding indulging. Probably gourmet cuisine, especially imported stuff. He’s had tailored clothes all his life; they’re just part of the job.  Expensive alcohol also doesn’t wow him; it wouldn’t be strange to find some sake maker whose family has been doing it for sixteen generations in the village he grew up in.  It’s a lot harder to cultivate a true gourmand’s palate out in the sticks, though, no matter how rich your family is.  Living in actual civilization affords a great deal more variety—and anyway, nice dinners are one of the few things he can reliably tempt Rikiya into accepting.  As to his feelings about indulging in general, he’s broadly For It.  He works very hard, he seldom gets real time off, and it doesn’t help the Great Cause for him to deny himself nice things, unlike some people.  (He’s maybe a bit bitter.)

Does he like to be the center of attention all of the time? Not especially.  Oh, he’s very good at it, certainly, and he doesn’t dislike it, but being the center of attention is practically always going to be tied up in The Great Work, so he desperately needs to get out of the spotlight from time to time, if only to be able to turn off the persona.

Curious—

General Thoughts There are two main factors in how I write Chitose: her practicality and her rapaciousness.  I write her as having an appreciation for good moral character in other people, especially when it makes a good story, but not considering herself particularly bound by conventional morality: her moral compass is Liberation, and she follows it unswervingly.  I also write her as predatory, lusty about a lot of things, often to the point of overstepping.  It doesn't hurt anyone that she likes hearty foods and strong alcohol, but she also doesn't have much regard for peoples' boundaries, and even less so when she thinks they have something to offer the Great Cause.

While that trait isn't without its benefits, it can get pretty ugly, too, as we see in how she treats, and talks to, Toga.  Even with Rikiya, the only person she thinks of as 'above' her in any meaningful sense, she's not at all above manipulation.  She's respectful of him, but knows him too well to always take him at his word.  He plainly can't always see what's best for him, but what's best for him is best for Liberation, and therefore, as a Liberation warrior, it's her responsibility to sometimes make decisions for him.  He'll appreciate it in the long run—he always does.  (Skeptic and Geten have similar views—Rikiya makes it easy.)

Family Situation She probably has the best actual relationship with her family of the group—her mothers are removed enough from the heart of MLA politics that her relationship with Rikiya doesn't color her family life the way Koku's does his, and she's much more sociable than Skeptic or Geten.  She doesn't get home much—just the major holidays, work permitting—but she's in frequent enough communication for a grown woman, and chats with her younger sister more often than that.

Meeting Re-Destro She met Rikiya properly when they were 21 and 27 respectively.  They were living in the same city at the time (him running Detnerat, her in university), so of course she'd seen him at the odd MLA event he turned up at, but when she landed an internship in her junior year, she cheekily turned up one day in her reporter capacity to interview him as “a local rising star of industry.”  It was the first chance they'd had to talk one-on-one, and would not be the last, as she frankly elbowed her way into his life and gradually sussed out that here was a man with Problems.  He and Koku were still in a distant patch at the time; she is largely responsible for getting them back on friendly terms as a way of showing her Pure Intentions.

The fact that her Pure Intentions both land her a square position as one of RD's advisors herself and get Rikiya to a better place emotionally is calculated, but not, therefore, untrue.  Ironically, while she was concerned about looking like a gold-digger, the MLA elders were probably thrilled and relieved to hear rumors that Rikiya was getting romantically involved again.  And with a lovely young MLA woman!  They wouldn't even need to worry about surrogacy arrangements!  (Not having grown up around the Yotsubashis, Chitose is unaware of exactly how pointed an interest the elders take in the matter of securing that bloodline.)

Feelings Today She loves Rikiya dearly, and prizes his regard more highly than anything in her life, but has not devoted much thought to the idea of being in love with him. She's married to her work, as they say, but she's also keenly aware that Rikiya would, for a great many reasons, be a lot of work to be in love with.  She's decided it's generally better for his mental well-being, and therefore also better for the Great Cause (she’s much more capable of reading that relationship reciprocally than Rikiya is), to make sure he's eating at least one good meal a week and getting some proper socialization in outside of MLA meet-and-greets.

As an Advisor She handles external politics and reputation--it's her job to prime Japan culturally for the Liberation agenda in ways more wide-reaching than Trumpet (he's head of a political party, and that's not nothing, but that party is still a small minority on the floor of the Diet).  She pulls attention to stories that benefit the MLA, and diverts attention from stories that don't.  This is far broader than just publishing Destro's memoir; it also means poking holes in the broader Hero Society narrative.  She does this by providing as broad a platform possible for stories about the tragedies of excessive regulation, the evils of quirk-related bias, the abuses of power heroes are capable of, and so on.

Lightning Round

Does she remember names or faces easier? She’s quite good with both, actually, but I’d give names the advantage because she works primarily with written rather than visual mediums.  (Also, BNHA names being the ridiculous puns that they are, you can probably tell more about a person in HeroAca Land by analyzing their name than their face anyway.) 

Is she more concerned with defending her honor, or protecting her status? Her status, absolutely.  Impugning her honor hurts no one but her; she can laugh that off because honor is a silly social construct anyway.  Threatening her status is a much more dangerous prospect—her status is long-cultivated to enable the advancement of Liberation ideology; it lets her keep an eye on Re-Destro, who needs as many people looking out for him as he can get; it’s what she’s worked for all her life. Curious will fuck you up if you threaten her status.

In what situation was she the most afraid she’d ever been? The time she got in trouble for nearly exploding some dude’s face off for stealing her purse.  She was 17, had spent very little time in non-Liberated territory before, and was not raised to wait on heroes to solve her problems.  She wasn’t afraid of the thief or the hero, really, but she was completely terrified that she might have just blown over half a century of secrecy by not performing Helpless Civilian well enough. The terror was pretty convincing to the police interviewing her about it, anyway.  On the whole, it was a very valuable learning experience!  

Skeptic—

General Thoughts Tomoyasu is a character I haven't written extensively yet, but what I think is most interesting about him so far is the contrast of his hyper-modern methods with the bone-deep zealotry for the cause.  See, Rikiya, Koku and Chitose all grew up in the sticks; Rikiya and Koku had money from a young age, but it was old money, tied up in trusts.  (Geten didn't have any of those, but Geten's a different story for other reasons.)  Tomoyasu grew up in a major city from the start; he was a technological prodigy from practically as soon as he could hold a tablet.  He has very little respect for the old ways of doing things when he knows there are newer, better ways of advancing the Cause. However, none of that makes him more likely to break from the MLA's ranks—if anything, his idiosyncratic approach just causes him to approach Liberation in really weird ways, ways no one else would ever come up with.

Pressganging Bubaigawara Jin based on a plan to clone Re-Destro?  Who else would that ever even occur to, much less such that it became the basis for an elaborate psychological assault?  But that's Skeptic in a nutshell—respect the old for what it did at the time, but don't think that means you have to use the same methods they did forever as you pick up the torch to carry it forward.

Family Situation He has an amicable but not intimate relationship with his family.  His parents are very proud of what he's done for the cause and how he won the confidence of Re-Destro, but they don't make much claim to understand how his mind works.  In turn, he recognizes the value of their support over the years—he certainly made a lot of waves with his unabashed venom for the MLA leadership's hidebound traditionalism, and his parents' staunch backing meant a lot for him being able to take the stands he did—but is not very emotionally close with them.  Might find himself with an older brother, if I ever occasion to write about his family situation in more depth.

Education He graduated a four-year university program for getting his computer science degree in two very intense years, during which he did virtually nothing for the Great Cause, his intention being to better position himself for maximum ability to advance Liberation afterward.  See above re: battles his parents fought for him while he was busy modernizing.

Meeting Re-Destro He met Re-Destro via Curious.  He was 22, just a year out of university and already climbing the chain of command at a young telecommunications company.  Rikiya was 33, working on the Claustro, and needed proprietary comms built to a higher standard of security than Detnerat was focused on.  Curious, who was always better positioned to be keeping up with the local personalities, introduced them.

Tomoyasu attempted to keep a civil tongue in his head the first few times he and RD met, but he'd been running on bile and energy drinks for years by that point and was hard-pressed to stop just because he was meeting his Grand Commander.  If anything, finding out that Rikiya was okay with his direction and his mouth eventually helped him chill the fuck out, marginally.

On that note, Skeptic is absolutely the advisor most willing to backtalk Rikiya right to his face.  (Rikiya loves him for it.)  Oh, he'll still accede to Rikiya's wishes, and Re-Destro's orders are his highest priority, but that doesn't mean he feels obligated to be diffident about it.  Like Curious, he has a highly developed sense of, "It's fine if it's for the greater good," which will and has led to him taking things into his own hands when he thinks he knows best (which is always).  He's not going to explicitly disobey orders, but he will creatively interpret them if he feels strongly about them, and he will try to "anticipate" orders before anyone has time to give him specific ones, the better to tailor his efforts towards proving his methods and goals correct rather than being stuck with orders he hates.

On Names I’ve definitely evolved some in my approach on this since I started writing the MLA cast, but at current, Skeptic and Geten are the only ones I consistently write as using and thinking mainly in terms of code names rather than given names.  Trumpet is too familiar with the public/private divide, and has too much intimate history with Rikya-the-person, to default to Re-Destro; Curious is too trained to look for The Human Heart of the Story.  Re-Destro himself, ever since breaking up with Koku, has always tried to use code names for people (himself excluded, because he has enormous self-confidence issues about measuring himself up to the original Destro), but can slip into given names when he’s vulnerable.  To Skeptic and Geten, though, the code name is the real name, for all intents and purposes.  The cover identity is a fake; the whole point of the code name is that you’re proving yourself worthy of taking up your proper place in the Army.  Of course the name you win for yourself is the name that counts.

Lightning Round

Given a blank piece of paper, a pencil, and nothing to do, what would happen? You’d pretty much have to lock him in a room with nothing but paper and pencil in it for that to be his first resort rather than whatever item of personal electronics he’d otherwise have on his person.  But assuming some actual plausible scenario—couldn’t bring his electronics into a government building, let’s say—he would find trying to do something productive on paper and pencil rather beneath him, and he’s an inveterate fidgeter.  I mostly see him folding that ludicrously tall frame of his into a chair and setting to using the pencil to poke about three hundred holes in the sheet of paper, meticulous and orderly, while muttering complaints to himself the whole time until something annoys him a bit too much and he jabs the whole pencil through the page. 

Who does he see as his best friend?  His worst enemy? I headcanon him having a very reasonable, functional, productive relationship with his No. 1 advisor, Red, and being reasonable, functional, and productive probably goes a lot farther on making you Skeptic’s “friend” than any amount of emotional intimacy.  But “best friend” is not really the kind of language Skeptic uses for his relationships; if you were to ask him who his best friend is, he’d probably tell you, “Iced coffee.”  As to his worst enemy, that’s just whoever is annoying him most on any given day, from difficult clients, to people annoying Re-Destro, stodgy elders, that hero grinning like a tool, that couple walking too slow in front of him on the sidewalk, etc. And Skeptic is pretty proactive about dealing with enemies, as much as he can be.

Has he ever been bitten by an animal? How was he affected (or unaffected)? lol he is a city boy and always has been.  He probably tried to pet a stray cat once out of curiosity, and because it seemed like the sort of thing people did, and then has never forgiven Animals In General when it bit him and then ran off. 

Geten—

General Thoughts Another one I haven’t written a great deal about yet, particularly in the present day, though I’m looking for that to change soonish.  One thing I’d like to explore is Geten when he’s not seething with rage and shame because he failed to bring Re-Destro a victory in Deika. The fandom tends to write Geten as an always-angry attack dog barely contained beneath a chilly veneer, and that’s fair—ever since we got the face reveal, ever since the MLA’s defeat at Shigaraki’s hands, Geten has been an always-angry attack dog barely contained beneath a chilly veneer.

But if you look at Geten from before we knew what was under the hood, you find a different story.  “Chilly and angry all the time” is not at all how he acted when he was fighting Dabi!  At that point, he was talkative, even chatty.  He engaged in a lot of snide smack-talk; he was obviously confident in himself and he spoke very proudly of the MLA as a collective.

He was still quiet at the dinner he attended with Rikiya and his advisors, yes, so I don’t think Geten’s done some kind of full 180 on characterization.  I do, however, think that Geten has a sense of humor in there, has a sense of camaraderie with the MLA rooted in more than just his relationship with Re-Destro, even if Re-Destro is obviously his most important person.  I don’t know if we’ll ever see that in the manga proper, given everything that’s happened, but it’s worth remembering in terms of what Geten is like when he’s solely among allies.

Family Situation Orphaned at a young age, and a problem child from then on.  He passed through a series of foster parents and state facilities before eventually crossing paths with the leader of the local MLA branch in Kesseru, Beacon (more on him next time).  This encounter would lead to him being sent to a group home with a reputation for being good with such difficult cases, giving them Structure and Companionship and Meaningful Work.  (Spoilers: It’s Liberation.)

Despite evening out considerably after a significant meeting with Re-Destro when he was 7[iv], Geten never got particularly close to his adopted family/the other kids at the group home.  He's very favored by the Grand Commander, for one thing, and he has the strongest quirk in the home for another—and since he learned the quirk supremacist stuff from them, that’s a pretty significant part of the dynamic!  Both of these factors mean there's some distance between him and the rest. Still, he's not on bad terms with them—indeed, his foster parents are quite proud of him—and he would probably tear out someone's throat with his teeth for threatening them, if only as a matter of pride.  

There are 4-6 other kids there at any given time; for the bulk of his young adulthood, there were two older than him, the others younger.  He doesn't have much time for Big Brother Pastimes, but is not completely immune to them, either, particularly where the youngest kids are concerned.  His tolerance for Little Brother Antics, however, is nonexistent—if the older kids think they can ruffle his hair and treat him like a kid, they can square the fuck up; he is Number One around here and don’t forget it.

Education Geten never went to school, but he's not completely uneducated.  He had some tutoring in the group home, some more from Re-Destro personally, and has a pile of books he keeps at his bedside, mostly strategic in nature.  He finds them vexing at times, but is slowly reading through them anyway because Re-Destro asked him to.  He’s been a bit more diligent about it since he was made a regiment leader, because lord knows Dabi isn't contributing much.

On Re-Destro Re-Destro became fond of Geten for the same reason he became fond of Skeptic and Curious—Geten was willing to push back.  He really did make some attempts early on to keep Geten at a proper distance, mindful of anything that would look too much like favoritism.  And Geten knew, in the hard-headed way of a child, that Re-Destro was being a grown-up about things, trying to be mature, trying to be impartial.  Geten just didn’t care about any of those things.  Every time, he would listen very seriously to the things Rikiya told him, nod attentively, repeat back what he’d been told, and then go on about doing his own thing anyway.  And his own thing was, typically, to keep coming back.

Of course, if there’s anything we can tell about Re-Destro from the way he treats Shigaraki, it’s that Re-Destro loves people who take the choice away from him.

Eventually, of course, Geten grew up (mostly; I peg him at 19 now), joined the MLA officially, and had to settle into the structure of the Army.  It began to lead to trouble for Re-Destro, when Geten blatantly disobeyed him; it stopped being cute.  Still, the sense that he Knows What’s Best lingers, so Geten works himself very, very hard to be everything Re-Destro needs him to be and more, so that maybe Re-Destro’s burden will be just that little bit lighter.

On Quirk Supremacy (and Re-Destro, still) Here’s the thing about Geten and the whole, “A life without a strong meta-ability has no value,” line, and this continues to drive me mad because of how people getting it wrong influences the bad takes on the MLA in this fandom: Geten is not a reliable witness.  He is not one of the leaders of the MLA, nor does he speak for its rank and file. Even if you assume the absolute worst about his implications there, far worse than is justified by the text, Geten’s very name, Apocrypha, means that he cannot be presumed to be aligned with MLA orthodoxy.

The only one of the people close to Re-Destro who wasn't born and raised MLA, he still manages to come off, in some ways, as the most zealous of the lot of them.  But really, it’s very noticeable that Geten—unlike Re-Destro himself, and unlike even Re-Destro’s close cohort—never talks about the original Destro, never even mentions him.  When he thinks about his leader, he only ever thinks about Rikiya.  Geten doesn’t follow Re-Destro because of his bloodline, because of the tenets; he follows Re-Destro because of personal loyalty.[v]

So how best to do that?  Well, think about it: Geten is not terribly intelligent, nor wealthy, nor well-connected. He and Trumpet are the ones most influenced by the quirk supremacist line of thought, Trumpet because his relatively weak quirk comes off as exponentially stronger the more he can surround himself in people it works on, and Geten because his strong quirk lets him mentally justify Re-Destro's investment in him despite his other insufficiencies.

Compare this with Re-Destro, who only ever talks about quirks in terms of freedom. Even more prominently, look at Skeptic and Curious, who are not at all defined by their quirks and how strong or weak said quirks may be.  Indeed, those two devote scarcely a thought to the matter because they contribute to the cause in much more important ways and seem to be perfectly comfortable with where that leaves them.

Geten may not be very smart or influential, but he’s very capable of looking at what strengths he does have and focusing hard on those.  That, I think, is what really lead to his embracing quirk supremacy, even in the face of evidence that he doesn’t have the whole picture: the search for a way to measure himself up to the movers and shakers Rikiya is otherwise surrounded with, and not come up drastically wanting.  

“Apocrypha” Geten has been Geten for a long time, since long before the MLA types usually take up their code names. He’s also an outlier in the MLA for having a name in Japanese instead of in English—the only one who does!  My headcanon, unless and until we get some other members with Japanese code names, is that he got the name directly from Re-Destro—possibly even in the conversation that lead to him imprinting so hard on the man when he was 7—and insisted on keeping it before any other code name that was suggested to him in later years.

But yes, he does have a normal Japanese name on file at the group home, which he’s obligated to answer to on the rare occasions that someone from Child Services is checking in or he and Re-Destro are out in public.  I don’t plan to bother coming up with it unless I need to, as I expect we’ll get it in a character profile one of these days.

His Quirk While a lot of people like the vibe of Geten and Dabi being somewhat equivalently vulnerable to their own quirks, and I agree it makes for good fanart, in truth, Geten is only as vulnerable to his ice as Endeavor is his flames.  Which is to say, he isn't immune, but he's certainly more resistant to it than the average person would be!  There’s already plenty of good material to contrast Dabi and Geten without pretending their quirks are more mirrored than is actually the case.

Lightning Round

How does he treat people in service jobs? He doesn’t, because he’s never in a position to interact with people in service jobs.  There have been times he’s gone out with Re-Destro, but in those cases he’s mostly let Re-Destro handle the human interaction.

What does he dislike in other people? Laziness; the lack of a higher purpose of some kind.  (It’s possible he’d thaw out on his disdain for Dabi considerably if he knew more about Dabi’s plans to undermine the whole of the Hero System than Dabi is inclined to tell him.)

Is he always there for a friend in need? Sure, as long as by “friend” you mean “fellow Liberation warrior” and by “need” you mean “in need of an icicle punched through one of someone else’s desperately fleshy body parts.”

Footnotes

[i]  Sanctum II's tastes being what they are, this probably means Rikiya is the MLA member most likely to be able to perform traditional Japanese tea ceremony.

[ii]  And there were elders who would have been happy to leave it at that permanently, I'm sure.  There are always going to be those regents who have trouble relinquishing power back to the boy prince when he grows up and becomes king, you know?

[iii]  And, when it eventually got out that they were dating, a relatively solid match, give or take the surrogacy arrangements that would eventually need to be made.

[iv]  I’m hoping canon gives us some details on this eventually, so I’m not planning to iron out more headcanon on the matter unless I absolutely have to.

[v]  This, incidentally, is a large part of why Rikiya does keep him around—it’s soothing to have someone around who never brings up his ancestor.  Anyway, after Geten evolved his quirk, people stopped complaining so much, even though RD never did get around to, like, giving Geten any formal responsibilities.  Geten, who knows very well that Re-Destro’s real advisors have real jobs, mostly took this as reason to be all the stronger, in hopes that he’d eventually be given one.

[oumakokichi]

fave dr ships and why?? :0

Hmm, that’s a pretty fun question! There are so many fun character interactions in each game that there’s a lot of ships I really like, so I’ll try to briefly just touch on some of my favorites in each game!

There aren’t really any spoilers in my reply, but I’m going to include a read-more anyway because even trying to keep it brief, there were a lot of ships to cover, so it still got pretty long.

In dr1, I honestly really love naegiri. Naegi gets a lot of flack for “not being interesting enough” or “not bringing anything to the table,” but I think he worked really well as the protagonist for the first installment of the series, and I absolutely think he and Kirigiri have a lot of great chemistry. Kirigiri and Naegi’s relationship is all about finding a balance between doubt and belief, and both of them really help each other grow as people. I think their dynamic is at its best in the first game, since Kirigiri gets so much time to shine and really feels more like the deuteragonist of the series than anyone else. Plus watching Naegi try to learn how to read her stoic façade when she’s really quite emotional under the  surface is so much fun.

I’m also a huge fan of aoisakura. I love everything about their interaction, and chapter 4 of dr1 is still one of the best in the whole series in my opinion. Both of them care so much about each other even from early on, and Aoi’s anger at how the others treat Sakura or talk about her like she’s hardly even a person comes across as so legitimate. It’s such a great and largely underrated ship, so I always love to see it.

I also have to say that I like kirizono quite a lot! They don’t have much in the way of interaction in canon, considering how early Maizono dies, but it’s one of those ships where I’m much more interested in the overall potential. Kirigiri seems to have a very good grasp of what Maizono was actually like as a person and what she might have been thinking in her final moments. While she uncovers the truth of the events of chapter 1, she doesn’t see Maizono as irredeemable for tricking Naegi, but merely as someone who was scared and who ultimately couldn’t go through with her own plan. She knew that Maizono was trying to help Naegi in her own way by leaving him a dying message, and I would have loved to see a detective-and-assistant duo with Kirigiri and Maizono in some alternate universe.

Other ships from dr1 that I enjoy even if I’m not super invested in them from an analysis standpoint are celesgiri (how could I not ship the original liar and detective), naekusaba (DR IF really sold me on this one), ishimondo (all around a solid, great ship), and naegami (honestly I just think the idea of Kirigiri and Togami both dating Naegi but barely tolerating each other as friends is really funny).

Sdr2 is probably the game where I wound up the least invested in shipping, but there are still a few that I like!

Hinanami isn’t quite as appealing to me as naegiri, mostly due to Nanami being used twice for Hinata’s character development, but they have some really cute moments that I do enjoy a lot, and I really love any interaction between the two of them as gamer friends. Nanami is so much more mischievous than most people give her credit for; I still can’t help remembering when I replayed sdr2 a year or two ago and got to the part with her threatening to poke Hinata’s eyes out during an investigation, and I nearly lost my shit because I didn’t remember it at all from previous playthroughs.

I’m not quite as invested in komahina as I thought I would be when I first got into DR, but I definitely don’t mind it either! I think Komaeda’s feelings for Hinata are pretty textual and undeniable; lines like “I’m in love with the hope that’s sleeping inside you” are impossible, in my opinion, to handwave as “just a friend thing,” and Megumi Ogata has all but stated outright that her character song for Komaeda is specifically about Hinata.

Of course, I definitely think Komaeda would need to work on a lot of his internalized ideas about talent and self-worth, and that he and Hinata would have to start as friends first before carrying their relationship into anything romantic, but if their really cute interation in ndrv3’s talent development plan is anything to go off of, I think Hinata definitely does want to help Komaeda value himself more and wants to be friends with him.

As for other ships that I enjoy more casually, I like twobuki (if that’s even what people are still calling Twogami/Impostor and Ibuki as a ship), sondam (all of Sonia’s nerding out about Gundam’s chuunibyou interests is honestly super adorable), nanamiki (I feel like Nanami and Mikan could honestly have a cute dynamic if Mikan weren’t under Junko’s influence), and… I actually have no idea for this ship name, but Impostor/Hinata is really sweet. This is more related to dr3, but one of the few things I did come out feeling positively about was Impostor/Mitarai, despite everything else about how the story turned out.

Finally, there’s ndrv3! There’s quite a lot of ships I really love here, so it’s actually a little hard to narrow it down.

I hardly think I need to mention saiouma at this point, since it’s the ship I talk about the most on this blog, but it’s still my favorite ship from pretty much anything ever. I love their dynamic so much: the way they both embody the themes of “truth” and “lies” within the game respectively, the way they constantly want to know more about each other while being afraid to open up or trust each other completely, and the fact that they so perfectly manage to capture the chase of the “phantom thief vs. detective” trope to the point that it was even lampshaded in Ouma’s love hotel... all of these things just make it so much fun.

It’s another ship where I just love thinking about the potential, whether in an AU where Ouma might have lived or else where the killing game never took place at all. I honestly really love ships that deal with a lot of slow-burn and both characters thinking their affections are unrequited when it turns out they’re actually both just idiots with a bad case of pining. I also really love the fact that, in my opinion, it’s a ship where Saihara would have to really take the initiative in the end—otherwise, Ouma is just going to keep trying to run away every time he drops an “I love you,” or “you’re my favorite.”

I also really, really love himiten. It’s a ship that gets a lot more flack than it deserves, in my opinion, and it’s sad to see that it’s a little underappreciated these days. There are flaws and problems within the ship, of course, but these are things that are actually addressed within the game itself. Himiko’s apathy and disregard towards Tenko’s feelings is called out pretty bluntly in the later parts of chapter 3, and she winds up mourning Tenko’s death and taking her last advice to heart more than anyone else.

Meanwhile, while Tenko certainly meant well and always had Himiko’s best interests at heart, it’s true that she came across as somewhat condescending sometimes (albeit unintentionally) by treating Himiko like a cute animal instead of a person.  I think that she understood Himiko’s feelings a lot better by chapter 3, which is why she prioritized trying to let Himiko talk to Angie one more time despite her own misgivings about Angie. Tenko grew a lot more as a character than a lot of people give her credit for, and I would have loved to see any post-game scenario where Himiko and Tenko could’ve finally started a relationship on equal footing outside of the game.

I actually have two entire ships for Miu that I am equally fond of. Both kiiruma and irumatsu are really great in my opinion, in totally different ways. The sheer chaotic potential of kiiruma gets overlooked a lot of times, I think, but both of them are complete disasters. They have so much fun together and it really shows, both in canon and in the talent development plan as well. Kiibo is so wonderful and I love him so much, because you’d think he’d be the voice of reason as a “cold, logical robot”—but honestly, he’s just as messed-up and over the top as Miu. I mean, he did photograph her poop on what turned out to be a live audience national broadcast and he didn’t see anything wrong with this.

Kiibo is one of the few characters who vocally talks about missing Miu after her death in chapter 4, and he repeatedly tells her how much he appreciates her maintenance work on him both in canon and in one of their talent development scenes. In one such scene, he even mentions wanting to continue their ongoing relationship after they graduate, which I think is surprisingly sweet and adorable for the two of them. Honestly, Miu is about as wild as a DR character ever gets, and I love the idea of her and Kiibo just having fun with each other.

Meanwhile, Kaede and Miu’s dynamic is a lot more back-and-forth. Kaede spends a good part of her FTEs absolutely frustrated and fed up with Miu, but also decidedly worried for her well-being and wondering how she might get her to be more of a team player. She’s not afraid to put her foot down when Miu crosses the line, but she’s also one of the few people who’s ever been willing to stand by Miu and encourage her or actually be her friend in spite of how awful Miu is at interacting with others.

Even in the talent development plan, Kaede’s often seen together with Miu a lot, which I think is super cute and confirms that even at Hope’s Peak, she’d still be trying to make sure Miu had a friend around. And she was able to tell that, despite what a disaster Miu’s idea with the Christmas lights was, it was Miu’s own way of trying to add to the festivities and do something nice for other people. All in all, it’s one of my favorite wlw DR ships, and I really love when fanworks capture just how shy or flustered Miu got around Kaede sometimes.

Of course, I like momoharu a lot as well! It’s one of the ships that has grown on me quite a bit in my absence, mostly just because despite all of Momota’s flaws, he really does want Maki to love herself first and foremost. Maki’s own feelings for Momota are so important to her character growth and really represent her feeling as though she’s finally made a choice for the first time in her life, and it’s really heartwarming to see. Also, any ship where the girl could lift a guy up with one arm without breaking a sweat is a pretty good ship in my opinion.

As for other ndrv3 ships that I enjoy a lot, there’s saihoshi (Hoshi is extremely underrated as a character, and I adore how sweet his FTEs and salmon mode with Saihara were; it’s also another ship where I feel Saihara would have to really take the initiative to make Hoshi fully open up, which I like), amamatsu (Kaede and Amami had a lot of really funny, great interaction in chapter 1 and some fun banter in their FTEs, so I would’ve loved to see more of it), and harumatsu/kaemaki (again, they have a lot of potential and it would have been extremely interesting to see them interact more).

I also like saiibo, not so much in the way that most people ship it (their love hotel is cute, don’t get me wrong!), but mostly because Kiibo’s FTEs are the funniest set of FTEs in the whole game in my opinion, and the twist where they were both looking down on each other without the other one knowing just made my jaw drop before I started laughing my ass off. They’re almost as much of a disaster together as Kiibo and Miu are, and I think the humor in their dynamic sometimes gets overlooked.

There are even more ships that I like, and I could keep going on and on, but I should probably leave things off here. Character interactions are so much fun in DR, both because of the genuine growth and character development from a lot of the cast, but also because so many of them are so whacky and borderline cartoonish that it’s just really fun imagining further interactions between them. Thank you for the fun ask, anon!

[self-loving-vampire]

Ultima VII Part Two: Serpent Isle (1993)

Summary

Serpent Isle is a direct sequel to the Black Gate. The arrival of the Guardian has been prevented and his cult has been outlawed and disbanded, but his most loyal follower has escaped to a place called the Serpent Isle to enact their backup plan.

But the Serpent Isle is not just an island, it is another world that you find yourself in after sailing your ship between the Serpent Pillars (yes, you get isekai’d while already living in another world).

This strange land is populated by people who fled from your lord long ago, and it seems to be suffering from an apocalyptic event that you soon experience for yourself, as a magical storm teleports your companions away and replaces most of the potent items you arrived with with random junk.

So your goals are clear: Recover your items, find the Guardian’s followers, and try to prevent the world’s destruction.

In many ways, Serpent Isle can feel like a more linear and limited game than the Black Gate (for one, you can’t own and freely sail a ship), but there are actually many things that I think it actually does better.

I played it using Exult and the SI Fixes mod.

Freedom

While Serpent Isle is not fully linear, it is definitely not nearly as open as the Black Gate was.

Where the Black Gate lets you travel nearly anywhere in the world almost immediately, even enabling several forms of transportation for this purpose, Serpent Isle initially allows only one section of the island to be explored with the rest opening up as one progresses through the game.

To its credit, the way in which these areas are locked off are sometimes reasonable and do not feel arbitrary. For instance, Moonshade is an island and nearly every ship in the land have been wrecked by the same magical storms that affected your party at the start of the game, so reaching it is not as simple as just buying a boat and going there.

There are other cases, however, where the restrictions do feel nonsensical. Such as the way the Bull Tower pikemen demand obscene amounts of money for the captain’s release but will happily accept a single much less valuable gold bar instead (since acquiring those is tied to a plot point). Then there’s all the stuff with the Hound of Doskar...

On the positive side, you can deal with various parts of the game in whatever order you desire within these limitations. This includes resolving the central quests in each of the land’s three cities in your own preferred order.

However, the game is still lacking in alternate solutions for quests in general. There are some decisions to be made, but they are rather minor in the grand scheme of things.

Character Creation/Customization

This aspect of the games is just as barebones as the Black Gate. You can only select your name, gender, and portrait. Your starting stats are pre-set and there are no further decisions to be made there.

However, Serpent Isle does have a marginal benefit over the Black Gate in that how you spend your training points matters a lot more, since you can’t just automatically max out your stats by completing the expansion.

Even then, there is not much to the character creation here at all.

Story/Setting

I think this is one of the game’s stronger points. The Black Gate may have had a larger world with more total settlements, but Serpent Isle’s three cities of Monitor, Fawn, and Moonshade are each significantly larger than the average Black Gate town and, most importantly, this world feels more dynamic.

Due to the way many of the game’s quests and events work, Serpent Isle manages to feel more alive than its predecessor. I will not spoil the details, but you often feel like something is always happening and like new developments are organically finding you rather than you having to actively search for them.

As has become typical of the Ultima series, the setting this time around is also centered around virtues, but in this case it goes beyond the Eight Virtues you mastered in the last trilogy.

Serpent Isle’s three cities are inhabited by the descendants of people who fled the reign of Lord British and who resent his edict of the eight virtues. The knights of Monitor considered Valor to be the highest virtue, the sailors of Fawn wanted to elevate Beauty as a virtue, and the mages of Moonshade did not feel that their profession should be associated with the virtue of Honesty.

But in addition to all that, much of the game revolves around learning about and mastering the ancient Ophidian virtue system, which functions differently from what you are used to. 

The Ophidian virtues are divided into Order (Ethicality, Discipline, Logic) and Chaos (Tolerance, Enthusiasm, Emotion). The forces composing both sides must be in balance to achieve a new set of principles (Harmony arising from Ethicality + Tolerance, Dedication from Discipline + Enthusiasm, and Rationality from Logic + Emotion).

The incoming apocalypse you face in the game is the result of a cosmic imbalance in these forces. The ancient Ophidians polarized into Order and Chaos factions that warred each other, with Order winning the war and destroying the Chaos Serpent, which causes the universe to begin unravelling.

While this game does have an antagonist, resolving this imbalance remains the most significant part of the game in terms of story.

The game also has multiple big scripted scenes that did not quite exist in the Black Gate, and the world as a whole changes dramatically partway through as a result of a certain event.

Immersion

As previously mentioned, things like the quest design and more dynamic world can help make this game more immersive than Black Gate in some ways. I am reasonably certain that some of the NPC schedules are a bit more complex this time around as well.

There are also a few new things, such as a frozen wasteland up north that you need warm clothes to traverse without freezing.

Apart from that, all the features mentioned in the Black Gate are still present here, such as weather, day/night cycles, and more.

But really I think one of the most significant differences is actually just the fact that you are significantly less overpowered than in the Black Gate and have less allies. I feel like that changes the feel of the game a lot on its own in ways that have to be experienced to be fully understood.

Gameplay

Combat is, as in Black Gate, automatic and uninteresting, though it is slightly more difficult now overall.

The rest of the gameplay is largely the same as in the Black Gate as well, though dialogue has been slightly expanded with more complex trees.

Really the main difference comes down to the differences in the world and available items rather than any mechanical changes.

Some of the most significant items are a ring (obtained from the Silver Seed expansion) that provides infinite magical reagents and a magical goblet that provides endless nourishment. These things are not nearly as broken as what the Forge of Virtue provides in the Black Gate, but are still nice conveniences.

While this game has less towns than its predecessor, it does have larger and more interesting dungeons overall. The one issue with them is that some of the puzzles in them are not very interesting (often amounting to just placing items on pedestals and such).

This is also where I should talk about one of the game’s major flaws: It is the first one where the influence of Electronic Arts began to manifest. It is nothing too major at this point (just wait until we get to Ultima 8 and especially Ultima 9) but it does mean there are some questlines that were left unfinished due to EA rushing things.

It’s not just questlines either. The towns were supposed to be larger and with more content, the player was meant to eventually gain a ship they could freely sail like in the Black Gate, and a major plot element had to be changed. The Silver Seed expansion in particular feels incomplete and inconsequential in terms of story, and is largely centered around four dungeons to explore for unique loot (both the dungeons and the loot are reasonably good at least).

I also dislike just how many plot-critical items are in the game. I would like to use my backpack space for other things.

The game also offers a decent amount of locations to explore, including many optional curiosities unrelated to the main quest.

Aesthetics

While the engine and graphics are largely the same as in the Black Gate, there have been graphical upgrades, most notably in the form of significantly more detailed and lifelike portraits for NPCs.

But I would say that the biggest aesthetic changes here have more to do with the game’s design and atmosphere. 

Serpent Isle is a far more unfriendly place than Britannia, and you will be accosted by assassins and deceivers during your quest. It makes for a more grim adventure.

The whole game has a much darker tone than any in the series since Ultima 5, I think. The world is completely falling apart due to the imbalance, with storms obliterating Fawn’s fleet, goblins making significant gains in their war against Monitor, and plagues are starting to break out. You do get the sense as you explore the world that this is a land experiencing its final days.

And things only get worse from here too.

I also like how unique several of the locations are. The city of Monitor is not just a walled city, it is populated by knights who organize into three different commands that rule the city. Meanwhile the city of Fawn is completely unlike any other in the series, being built entirely over the sea.

It is good stuff, and I wish they had had the time to expand and develop these locations as they had originally planned.

Accessibility

Exactly as good in this regard as the Black Gate, I think. Even the increased difficulty (which is still not enough to make this a “hard” game by any means) does not really matter since at the start of the game you get a magical hourglass that can be used to resurrect any fallen party members and the local monks will take care of your own mortality as well.

If there’s frustrations to be had here, they may come more from some of the less intuitive puzzles than anything and plot points than anything. The core gameplay is still extremely simple.

While the game can theoretically be played on its own, I strongly recommend playing at least the Black Gate first to learn a little about the events that led to this whole expedition. The two games really are part of the same package.

Conclusion

Between the Black Gate and Serpent Isle, I always got the impression that the Black Gate was the more popular of the two. I can understand why, as Serpent Isle was a bit rushed and lacks the open exploration that has defined the previous games in the series.

Despite this, I remember loving it about as much as the Black Gate largely because of the atmosphere and how the game feels. It is a particularly easy recommendation for those who enjoyed the previous game, as the engine and mechanics remain largely the same.

I also recommend this game for anyone who may be interested in following the story or looking for an immersive experience, but who doesn’t want to bother too much with stuff like combat or numbers. Even just watching the NPCs go about their day can be fun in this game.

[yurimother]

LGBTQ Manga Review - April Fools' Suicide

As much as I LOVE covering and reviewing the latest and greatest releases from the “big” names in Yuri, such as they are in what is still a niche genre, it is nice every once in a while to take a look at an up-and-comer. Unfortunately, the vast majority of English releases are from works that have already obtained some modicum of success in Japan and are well known. However, thanks to the power of the internet, I occasionally get the privilege of reviewing something a bit more obscure, such as Sumire’s April Fools’ Suicide. This original doujinshi began as a short comic on Twitter, then morphed into the author’s graduation project, and finally was completed as the volume I am reviewing today.

April Fools’ Suicide begins as the protagonist Miyata stands on a rooftop, prepared to jump to her death. Immediately, this sets off a barrage of red flags. While topics such as suicide and mental illness should not by any means be avoided in manga, far from it, they are essential to discuss in media, I am always wary of their presence. There is a right way and a very wrong way to depict suicide or suicidal thoughts. April Fools’ Suicide falls somewhere in between these two categories. April Fools’ Suicide does not work to link the suicide with any mental illness or demonstrate how help is available to those suffering. I will admit, I am probably more aware of these pitfalls than most, given that I work with a crisis line and train people in suicide prevention.

However, credit where credit is due, there are some aspects of the manga and its depiction of suicide I really like and appreciate. For one, Miyata does not die by suicide. Another girl, Tanaka, appears on the roof and declares that she has fallen in love with Miyata. This savior or lifeline character arc is incredible, although it is, of course, compounded with the sudden ridiculous declaration of love from a complete stranger, but such is Yuri. Additionally, as the manga progresses, Miyata’s life improves. The harassment and bullying she was experiencing stops, thanks to Tanaka, and she eventually makes friends and is able to stand on her own two feet. Major props to Sumire for showing how life can go on and be better.

Okay, enough about suicide, although if that topic makes you exceptionally uncomfortable, you probably want to avoid this manga regardless of the contents of this review. The plot continues as Miyata is shocked to discover that Tanaka is a new transfer student to her school. The two become friends, but Miyata eventually pushes Tanaka away. There are some shocking revelations, which I may add are appropriately foreshadowed and fit with the work’s overall tone, a bunch of wholly unrealistic decisions, and voila the girls are together. Yes, it is a standard girl-meets-girl, Yuri storyline. Although the drama, in this case, is not blown out of proportion as it usually is in this genre, although the heavy contents are not necessarily a plus.

April Fools’ Suicide’s plot is nothing too special, although the presentation is tight and focused. The pacing also feels hugely rushed, with no real-time for a relationship or bond to develop, which is more of a byproduct of being a one-shot doujin than anything else. It is not impossible in this medium, but it is extraordinarily difficult to do right. The characters are not as rushed nor as tepid, however. As previously mentioned, Miyata grows significantly in confidence and contentedness over the course of the volume, although her initial personality is not very defined at all beyond suicidal and lonely. Tanaka is a much more interesting character. She presents a playful and brave face but has a reputation for getting into fights, a status which she uses to her advantage. However, her vulnerabilities and struggles are highlighted in a beautiful, if disturbing, way.

Much like the core plot, the art of April Fools’ Suicide, is competent but unimpressive. It is nothing astounding in it, but neither is there any content that truly offends my eyes, aside from one misaligned double-page spread. Sumire has a few good pieces of art, a landscape shot of the city, a dramatic closeup during an emotional moment. She also uses the standard artwork effectively, with dynamic direction and smart choices compensating for the mediocre aspects. However, the cute moe character designs greatly detract and distract from the intense material the manga attempts to portray. Perhaps the great Moto Momono could pull off this combination, but here is unfortunately awkward. Additionally, on the note of presentation, while Macaron Press did an excellent job translating this manga, the typography is a severe flaw. The mixed-case font used throughout most of the manga makes it hard to read, as character heights are all over the place.

While I have pointed out some of April Fools’ Suicide shortcomings, it should be noted that this is not a bad manga. In fact, I was perhaps harder on this manga than I would typically be with a doujinshi because its presentation is so slick, aside from the glaring lettering problems. The story handles a complicated and risky story competently, though not gracefully, and the quality is consistent. Ultimately, April Fools’ Suicide is a true Yuri manga through and through, taking in all the drama, lack of realism, and metanarratives the genre has to offer. I had a pleasant time and with it and found it heartfelt and think you might too. The first part of the manga is available to read for free on Pixiv, so you have nothing to lose by checking it out.

Oh, one last thing, the bonus chapter/epilogue is so sweet, pure, and adorable. I am not saying buy it just for that, but I am not dissuading it.

Ratings: Story – 5 Characters – 5 Art – 6 LGBTQ – 4 Sexual Content – 1 Final – 5

Purchase April Fools' Suicide digitally in English and Japanese on booth and read part one on Pixiv

Review copy provided by Macaron Press

[jadelotusflower]

June 2021 Roundup

It's been a month of highs and lows. Every year my city holds a cabaret festival, and I've seen some truly amazing acts over the years - including Lea Salonga, Kristin Chenoweth, and Indina Menzel. This year's Artistic Director was the great Alan Cumming, and although due to covid he didn't quite get to curate the program he wanted to, the opening night Gala was still a highlight, as was Alan's DJ set at the pop-up Club Cumming afterwards, where there was much singing at the top of my lungs and dancing to pop anthems and theatre tunes. At one point Alan, dressed in a onesie and perched on the shoulders of a man wearing only sparkly short shorts, was carried around the dance floor while Circle of Life blared. Reader, I was delighted.

I was also able to see his solo show Alan Cumming Is Not Acting His Age, which was hilarious and damn, he can sing!

As for the low, I was meant to fly to Sydney for the weekend to see Hamilton, a trip I have been looking forward to for almost a year, but had to be cancelled because of a covid outbreak and border closures. The tickets have been rescheduled, but I'm still kind of bummed about it (while completely appreciating the need for covid safety, especially when our vaccine rollout has been completely botched by our incompetent, corrupt federal government)

Anyway.

Reading

The Hundred and One Dalmations (Dodie Smith) - With all the bewilderment over Disney's Cruella, I decided to revisit the original novel which I first read as a kid. It's funny, I had very vivid memories of this book, or rather thought I did, particularly the scene where Roger and Anita have dinner at Cruella's house that fixed in my young mind as utterly disturbing with all this devil imagery and the implication Cruella was literally some kind of demon, which must have been either a) my overactive imagination or b) an illustration, because it's not as clear as I thought it was. The strangeness is there (food with too much pepper, Cruella's inability to keep warm, the walls painted blood red) but not the explicit demon imagery I had remembered. There is a part later in the book recounting the history of Hell Hall and the rumors of Cruella's ancestor streaking out of the place conjuring blue lightening, but clearly child me was reading far more into the book than was on the page.

But I still wish they'd gone with this version of Cruella's backstory, because to me an aristocratic, ink-drinking, heat-obsessed, possibly-demon spawn, high camp villain is more interesting and rings far more true than plucky punk against the establishment.

Smith clearly had Facts About Dalmations to share, and she does really craft a wonderful animal-based story that the Disney animated film is largely faithful to. Key differences include: Roger's occupation (he doesn't have to pay tax because he wiped out government debt somehow?!?), Pongo's mate and the puppy's mother is called Missis, Perdita is another dalmation who acts as a kind of doggie wet nurse, Roger and Anita both have Nannies who come to live with them (Nanny Butler and Nanny Cook), Cruella is married to a furrier (who changed his last name to de Vil). Also odd, on her first description Cruella is described as having "dark skin" but later in the novel her "white face" is mentioned, so I'm chalking it up to 50's descriptors not having the same meanings they do today.

The Duke and I (Julia Quinn) - After being just whelmed by the tv series, I wasn't really planning on reading the books, but I saw this on the top picks shelf at the library and damn, the top picks shelf is irresistible. This is very much Daphne's book (and I had known each in the series dealt with the different sibling) so many of the characters and much of the plot of the show is absent, as are some of the more baffling elements of the show like the Diamond of the First Water nonsense, which I always thought was a strange character choice in that it stacks the deck for Daphne when her character arc is better served as somewhat of an underdog (in her third season, the kind of girl who is liked but not adored), and the Prince subplot which was always far too OTT even for soapy regency romance.

It's a breezy, fun read (that scene excepted), even if the misunderstandings are contrived and I'm never going to take "I'll never have kids because I hate my dad" as a credible romantic obstacle deserving of so much angst.

Faeries (Brian Froud and Alan Lee) - A lovingly detailed and illustrated compendium of Faerie and its inhabitants, drawing from a range of European (but primarily Celtic) folklore and mythology. Froud was a conceptual designer on The Dark Crystal and Labyrinth, and the link is clear in the art as well as the focus on faeries as mysterious but oftimes sinister beings, where human encounters with them rarely end well. Lee has illustrated several publications of Tolkien's novels, and was a lead concept artists for Peter Jackson's Lord of the Rings and Hobbit trilogies, and there is a touch of Middle Earth here as well, or rather the common inspiration of the old world. A useful resource for my novel!

Watching

The Handmaid's Tale (season 4, episodes 4-8) SPOILERS - So when I last wrote about this show in the Roundup, I was complaining it wasn't going anywhere. Well, I'm happy to be wrong because they finally changed things up with June finally escaping to Canada. That part of the plot following the survivors and their trauma has always been far more compelling than Gilead, and so it was a welcome development even if I side-eye some of the choices (none of these characters is seeing an actual licensed therapist why?).

This show has always been difficult to watch given the subject matter, and that has not changed after the shift in power dynamics. I will give the show credit for showing a broad range of trauma responses, from Moira wanting to move on and not let it consume her, to June, a ball of rage and revenge on a downward spiral, to Emily, trying to follow Moira's path but being drawn to June's, to Luke, trying his best but utterly unequipped to deal with what is happening.

But it is very hard to watch June go down this path - raping her husband (I concede the show perhaps didn't intend for it to be rape, but that's what is on screen and framing it as just "taking away Luke's agency" doesn't change that), wishing death on Serena's unborn child, and orchestrating Fred's brutal murder by particulation, then holding her own daughter still covered in his blood and it getting smeared on Nicole's face (an unsubtle metaphor in a series full of unsubtle metaphors).

There are interesting questions being asked of the viewer, and the show (perhaps rightly) not giving any answers. I can certainly appreciate the catharsis of Fred getting what he deserves even if I personally find the manner of it horrifying, but where is the line between justice and revenge, is revenge the only option when justice is denied, when does a trauma release become cyclical violence/abuse - the show is, for now, letting the viewer decide.

Soul (dir. Pete Docter and Kemp Powers) - In a world full of remakes/reboots/sequels, Pixar is perhaps the lone segment under the Disney umbrella committed to original content. However, there does seem to be a Pixar formula at work directed to precision tugging the heart strings, and some of the film feels like well-trod ground. On the other hand, it's hard to criticise the risk of centering a kids film around the existential crisis of a middle aged man, even with the requisite cutesy elements (and of course, the uncomfortable pattern of yet another film where the black lead character spends a great deal of the runtime in non-human form - herein, an amorphous blob or a cat). But the animation is stunning, it successfully did tug my heart strings, and the design of the Great Before and the Jerrys is original and fun.

RuPaul's Drag Race Down Under - Drag Race is somewhat of a guilty pleasure for me, since I generally don't watch reality shows, and this is something I really enjoy even if I'm not invested in the fandom (which like many fandoms can be very yikes). This year it was time for the Australian/New Zealand (Aotearoa) queens to show their stuff, although it's been met with mixed reactions. Covid restrictions didn't allow for guest judges, relegating them to mere cameos via video calls, and its clear that Ru and Michelle really don't quite get all the cultural nuances - Aussie judge Rhys Nicholson was however always delightful. But it wouldn't be Australia without a racism scandal, with the great disappointment of the two queens of colour eliminated first, and one queen having done blackface in the recent past yet making it all the way to the top four.

In the end, the only viable and deserving winner was last Kiwi standing Kita Mean, and it was pure joy to see her get crowned. I do hope they fix the bugs and indeed do another season to better showcase AU/NZ talent.

Writing

A far more productive month - to try and get out of my writing funk I had a goal to try and write every day, even if it was only 100 words. While I didn't quite achieve a consecutive month, I did get a pretty good average, at least got something posted and two others nearly there.

The Lady of the Lake - 2441 words, Chapter 4 posted.

Against the Dying of the Light - 2745 words

Turn Your Face to the Sun - 1752 words.

Here I Go Again - 1144 words

Total words this month: 8082

Total words this year: 35,551

[midethefangirl]

How NRS could have done MK 11

So, a few weeks ago, I decided to catch up on all the Mortal Kombat series I missed as the last MK game I played was MK 4 and I had no knowledge of the storyline.

MK 11, however, pissed me off as there were some unnecessary deaths and retcons in the story mode. Here, I am just giving suggestions as to how NRS could have done their stories. Before I proceed, I would like to state that my ideas are not perfect and these are just my opinions.

(This is from a discussion I had with @gon2ba1e )

1. Fujin was not given enough screen time in MK X, which is unfortunate because he would have contributed a lot in helping Raiden after Shinnok’s second invasion.

I also wonder how he would have reacted to seeing Raiden taking on a dark persona. From my deductions from the MK X, Fujin is like that younger brother who tries to warn their older sibling from doing something stupid but their sibling doesn’t listen.

He would have tried to stop Raiden from attacking the Netherrealm, even to the point of asking Ashrah to use her Kriss to cleanse the revenants’ souls (NRS could have made use of the opportunity to bring back a character from the 3D era). But Raiden, as usual, refuses to take that advice (partly out of the fact that he has dismissed the revenants as lost causes and partly due to the fact that Ashrah is a demoness)

2. Cetrion: I love the fact that NRS introduced four new characters: Geras, Cetrion, Kronika and Kollector; but we do not know much about these characters.

For example, we do not know much about Cetrion except that she is an elder god, is Shinnok’s sister and also a mommy’s girl. This makes her a flat character in the story. NRS should have given us a backstory about her relationship with her brother, Shinnok and how it was affected when he became a fallen elder god.

3. Kitana killing Shao Kahn: I have no problem with Kitana becoming Kahn or even killing Shao Kahn but IMO, I feel like it was too sudden. NRS could have given her a story arc as to how she was able to defeat him but in a ‘girl power’ moment, NRS left out an important moment of character development.

4. Dark Raiden: I wish he was not killed off in the time merger. I was hoping to see him as the anti-hero who would do everything in his power and protect his realm. I would also have loved to see him meet Kung Loa, Lui Kang and his Past self. What would have been his reaction in meeting these past versions of his protégés along with the past version of himself?

Would he be overprotective over them, wanting to prevent the fate that befell them in the current timeline from occurring again? Would he advise his past self, wanting to prevent himself from putting on the dark persona? How would his past self react to seeing him? These are questions that NRS left unanswered when they killed off Dark Raiden.

5. Hanzo/Scorpion: it is obvious to the fans that Ed Boon has a boner for Scorpion which could be the reason why he killed off Hanzo Hasashi. His death was unnecessary and if indeed, it was necessary, it would not be at the hands of a character he has never interacted with.

If anything, Noob Saibot could have been the one to kill Hanzo as the wraith had many reasons to do so.

6. Jade/Kotal: to me, this ship was unnecessary for two reasons. One, Jade never mentioned having a lover in MK 9 and Kotal never mentioned having one either in the MK X comics and story mode. It is like the writers pulled the pairing out of their butts because they had nothing else to write.

7. Takeda, Jacqui, Cassie and Kung Jin: I love the fact that these new characters were introduced to us in MK X and I was hoping to see more of them but NRS decided to kick them to the curb, just like that.

I would have loved to the the romantic dynamic between Takeda and Jacqui, how it would have been affected during the temporal crisis and the friendship between the four friends. I would also have loved to see Kenshi in the story mode but they had to kill him off in the Krypt 🙄😒 (fortunately the Krypt is not canon).

8. Last but not the least, fix this damn shit: Kabal and Sindel’s retcons. I was confused when I saw Kabal still in the Black Dragon at first but later concluded that he must have been brought out of the time he was still working with them until I read his MK 11 bio which claimed that he was initially a police who left his job to become a Black Dragon. Don’t even get me started on his arcade ending where he and Sareena get together.

He gets together with FREAKING SAREENA! Sareena who has an emotional (and likely romantic) attachment with Bi-Han. Kabal has never even interacted with her for once!

As for Sindel, you can read my thoughts on this in the link below.

Credit for screenshot goes to its original owner

[dweemeister]

New Orleans (1947)

The city of New Orleans is synonymous with a rich cultural tapestry shaped over centuries. Located on the banks of the Mississippi River, its economic and political influence waned with the spread of railroads and highways. Today, its influences are indigenous American, African, French, Spanish, Creole, Honduran, Vietnamese, and much more. But the city remains an inimitable cultural force. One of the city’s most significant contributions to the world is jazz – a musical genre that, even in the mid-twentieth century, attracted racially-coded disdain.

I must admit that I am instantly suspicious of any film that takes a city’s name as its title. Being not in a sniping mood as I write this sentence, I will not single any certain film out – for now. But to reduce a film title to a city’s name is to heighten expectations that the filmmaker will capture the so-called “soul” of a city (a nearly impossible task). Or perhaps they shall depict a man-made or natural disaster that takes place in that city (how often does a city’s name become shorthand for a mass shooting?). Enter Arthur Lubin’s New Orleans: a quasi-musical that does not have the courage to let the musical numbers guide it. The film stars Louis Armstrong (essentially playing himself) and Billie Holiday (not playing herself in her only credited role in a feature film), in addition to other jazz stalwarts at the time: Woody Herman, drummer Zutty Singleton, clarinetist Barney Bigard, trombonist Kid Ory, guitarist Bud Scott. New Orleans makes the mistake of not having Armstrong and Holiday be the main stars. Instead, the film has a half-baked, predictable romance. For a film title with such enormous implications, New Orleans’ concentration makes no sweeping statements about the eponymous city. Instead, it turns its gaze to jazz’s reputation among high-society white Americans.

It is 1917. The Storyville district of New Orleans is a den of prostitution, drinking, gambling, and – worst of all – jazz. Storyville’s residents are mostly black, but some of its welcome patrons are white. Nick Duquesne (Mexican actor Arturo de Córdova) runs a gambling joint frequented by Mrs. Rutledge Smith (Irene Rich) and classical music conductor/pianist Henry Ferber (Richard Hagerman). Irene avoids the jazz there (one of the regulars is Louis Armstrong and the aforementioned players), but her daughter, Miralee (Dorothy Patrick) – an operatic soprano who has arrived in New Orleans to make her professional classical music debut – is entranced by this radical music. Miralee is also entranced with Nick, against her mother’s wishes. Miralee is staying with her relative when she meets their maid, Endie (Billie Holiday), who surreptitiously plays the piano and sings jazz music when she gets the chance. As you might imagine, Endie’s employers disapprove. The film comes to a head as the U.S. military forcibly shuts down Storyville (evicting hundreds of black residents overnight), Nick leaves New Orleans, and Miralee must contend with her emotions just before she makes her classical music professional debut.

Billie Holiday’s fans might be troubled by the fact she is a maid here, given that she intentionally avoided physically demanding occupations in real life. Her reaction to this casting is unclear, as different reputable sources offer contradictory claims: that she abhorred being cast as a maid (Meg Greene’s Billie Holiday: A Biography), or that she relished the opportunity to be in a motion picture regardless of the role (an interview with music journalist Leonard Feather). So as tough as it may be to see her in a subservient role, Holiday appears to be enjoying herself – especially during the musical numbers she is a part of. She is clearly, other than Louis Armstrong, the most musically accomplished member of the cast. But when her character disappears from the film in the final third, New Orleans heaves due to the hackneyed romance between Nick and Miralee. To toss the one actor making this film worth watching for no sensible reason is a disastrous choice by screenwriters Elliot Paul (1941’s A Woman’s Face, 1945’s Rhapsody in Blue) and Dick Irving Hyland (1947’s Kilroy Was Here).

Even in a film independently released through United Artists (the one major Hollywood studio of Old Hollywood with the least executive interference), she and Armstrong cannot be the central stars. Considering Holiday’s musical talents, one wonders why she never starred in another film. Despite some digging, I could not find the answer. But if any black woman musician could have films centered around her, it would be Holiday. Her contemporaries, Lena Horne and Ethel Waters, could never overcome the terrible beliefs that audiences would not pay to see a film with a black actress in the lead role. But did Holiday – noting how Louis Armstrong also appeared in films – want to make more films? That may be an answer for someone else to uncover.

More than any film of its time that I can recall, New Orleans is overflowing with a disobedient musical energy. When considering musical genres innovated by African-Americans, there is an underground aspect to their initial spread that, at first, appears exclusive. Jazz, R&B, and hip hop have all gone through these motions: a tumultuous, secretive birth; a rebellious adolescence where critics decry the moral fabric of such music; and finally mainstreaming. Jazz in New Orleans lies somewhere within that adolescence. Its troubled reputation is the result of a mixture of musical and racial tensions. New Orleans’ affluent white community, on its surface, disdains jazz and prefers the import that is Western classical music – opinions they express vocally (as an amateur classically-trained musician who learned more about jazz later in life, I can’t stand the gatekeeping behavior exemplified in this film). So any time that jazz music is played in an unorthodox setting – the parlor of the Smith household, an orchestra hall – it feels defiant, dangerous.* These musical-racial dynamics persist in America to this day. To even see a film acknowledge that conflict, however ineloquently, is credit to the screenwriters and director Arthur Lubin understanding aspects about musical popular culture of this time.

But what is New Orleans and New Orleans without music? First sung by Holliday and reprised (one might even say appropriated in the negative sense) multiple times is, “(Do You Know What It Means to Miss) New Orleans”, with music by Louis Alter and lyrics by Edgar De Lange. Louis Armstrong is on his signature trumpet, a phalanx of great jazz instrumentalists play on the flanks, and Billie Holiday’s voice captures the timbre necessary in any song about longing.

Do you know what it means to miss New Orleans And miss it each night and day? I know I’m not wrong, the feeling’s getting stronger The longer I stay away.

It is a song representative of this film’s failed ambitions as an embodiment of New Orleans’ spirit. But it is also a brilliant showcase for some of the great jazz figures working at this time – including instrumental performances by Woody Herman and his orchestra and a virtuosic performance of “Honky Tonk Train Blues” by pianist Meade “Lux” Lewis. Nevertheless, New Orleans’ most soulful performances always revolve around Armstrong and Holiday singing Alter and De Lange’s original compositions. Other soundtrack highlights include “The Blues are Brewin’” and “Farewell to Storyville”. The former exemplifies Holiday’s timeless appeal, her singing voice’s unornamented pathos that elevates the simplest of lyrics. The latter is the most context-dependent song in the soundtrack and occurs as the U.S. military orders the closure of the speakeasies and gambling joints of Storyville – a swinging elegy without defeatism. New Orleans is at its most enjoyable during these musical numbers, and the film just feels lost whenever Armstrong and Holiday are not present or when any of the supposed leads open their mouths to speak.

That Lubin and the film’s producers do not trust the soundtrack to carry New Orleans indicates an ironic misgiving towards jazz music itself. United Artists’ refusal to reward Armstrong and Holiday star billing over de Córdova and Patrick is probably rooted to then-contemporary reality that movie theaters in the American South refused to show films with black leads. In addition, jazz music – like in this film – was not yet completely in the mainstream. If it appeared in a Hollywood film (and elements of jazz often appeared in mid-century American musicals), it almost always would be presented and popularized by a white performer. This development is not exclusive to jazz, let alone artistic medium. The filmmakers, in New Orleans’ final third, muddle their message through such appropriation. “Cultural appropriation” at its most basic definition is a neutral concept, but the developments in the film’s closing scenes – intentional or otherwise – extend this appropriation by presenting a white person’s presentation of jazz as more acceptable to a general audience than a black person’s.

For New Orleans, it remains obscure in terms of Hollywood musicals, African-American cinema, and within the esteemed United Artists filmography. In the present day, it serves best as an exhibition for some of the most acclaimed jazz musicians and performers working in the 1940s. To those fans of the numerous black jazz performers appearing in the film, New Orleans is a bittersweet reminder of what may have been.

My rating: 6.5/10

^ Based on my personal imdb rating. Half-points are always rounded down. My interpretation of that ratings system can be found in the “Ratings system” page on my blog (as of July 1, 2020, tumblr is not permitting certain posts with links to appear on tag pages, so I cannot provide the URL).

For more of my reviews tagged “My Movie Odyssey”, check out the tag of the same name on my blog.

* In one scene in an orchestral concert hall, jazz is played as an encore to a classical music concert. It says volumes that the audience is beside themselves and that all of the members of the orchestra (and Richard Hagerman, playing their conductor) are transfixed.