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itsclydebitches · 4 years ago

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RWBY Recaps: Volume 8 “Dark”

Welcome back, everyone! Can you believe it's been six weeks already? I can't. Something something the uncomfortable passage of time during a pandemic as emphasized by a web-series.

But we're here to talk about RWBY the fictional story, not RWBY the cultural icon. At least, we will in a moment. First, I'd like to acknowledge that shaky line between the two, growing blurrier with every volume. A sort of good news, bad news situation.

The bad news — to get that out of the way — is that we cannot easily separate RWBY from its authors and those authors have, sadly, been drawing a lot of negative attention as of late. This isn't anything new, not at all, but I think the unexpectedly long hiatus gave a lot of fans (myself included) the chance to think about Rooster Teeth's failings without getting distracted by their biggest and brightest production. There's a laundry list of problems here — everything from the behavior of voice actors to the quality of their merch — but as a sort of summary issue, I'd like to highlight the reviews that continue to pop up on websites like Glassdoor, detailing the toxic, sexist, crunch-obsessed environment that RT employees are forced to work in. A lot of these websites requires a login to read more than a page of reviews, but you can check out a Twitter thread about it here.

Now, I want to be clear: I'm not bringing this up as a way to shame anyone enjoying RWBY. This isn't a simplistic claim of, "The authors are Problematic™ and therefore you can't like the stuff they produce." Nor is this meant to be a catch-all excuse for RWBY's problems. If it were, I'd have dropped these recaps years ago. I'm of the belief that audiences maintain the right to both praise and criticize the work they're given, regardless of the context in which that work was produced. At the end of the day, RT has presented RWBY as a finished product and, more than that, presents it as an excellent product, one worth both our emotional investment and our money (whether in the form of paying for a First account, or encouraging us to buy merch, attend cons, etc.) I'll continue to critique RWBY as needed, but I a) wanted fans to be at least peripherally aware of these issues and b) clarify that my use of "RT" in statements like, "I can't believe RT is screwing up this badly" is meant to be a broad, nebulas acknowledgement that someone in the company is screwing up, either creatively (doesn't have the skill to write a good scene) or morally (hasn't created an environment in which other creators are capable of crafting a good scene). The real, inner workings of such companies are mostly a secret to their audiences and thus it's near impossible for someone like me — random fan writing these for fun as a casual side hobby — to accurately point fingers. Hence, broad "RT." I just wanted to clarify that when I use this it's as a necessary placeholder for whoever is actually responsible, not a damnation of the overworked animator breaking down in a bathroom. Heavy stuff, but I thought it was necessary (or at least worthwhile) to acknowledge this issue as we head into the second half of the volume.

Now for the good news: RWBY has reached 100 episodes! For any who may not know, 100 is a pretty significant number in the TV world because, when talking about prime time programming, it guarantees syndicated reruns. Basically, networks don't want audiences to get burned out with a show — changing the channel when it comes on because ugh, I've seen this already, recently too — and 100 episodes allows for a roughly five month run without any repeats, making it very profitable. RWBY is obviously not a television show and doesn't benefit from any of this (hell, modern television doesn't benefit from this as much as it used to, not in the age of streaming), but the 100 episode threshold is still ingrained in American culture. Beyond just being a nice, rounded number, it is historically a measure of huge success and I can't imagine that RT isn't aware of that. Regardless of what we think of RWBY's current quality, this is one hell of a milestone and should be applauded.

All that being said... RWBY's quality is definitely still lacking lol.

Our 100th episode is titled "Dark" — keeping with the one word titles, then — and I'd like to emphasize that, as a 100th episode, it definitely delivers in terms of plot. There's plenty of action, important character beats, and at least one major reveal, everything we'd expect from a milestone and a Part II premiere. The animation also continues to be noteworthy for its beauty, as I found myself admiring many of the screenshots I took for this recap. There are certainly things to praise. The only problem (one we're all familiar with by now) is that these small successes are situated within a narrative that's otherwise falling apart. It's all good stuff... provided you ignore literally everything else surrounding it.

But let's dive into some examples. We open on Qrow starting, awoken by the thunder outside. Robyn has been watching him and makes a peppy comment about how none of them will be sleeping tonight, followed by a more serious, "Sounds bad out there." Yeah, it does sound bad, especially when they all know — thanks to Ruby's message back in Volume 7 — that this is due to Salem's arrival. I think a lot of the fandom has forgotten that little detail because people often discuss Qrow as if he is entirely ignorant of what is going on outside his cell. Even if we were to assume that he's forgotten all about the pesky Salem issue (the horror of Clover's death overriding everything else, perhaps) he still knows that Tyrian is running loose in a heat-less city with a creepy storm going on and, from his perspective, the Very Evil Ironwood is still running the show. So it's bad, which begs the question of why Qrow (and Robyn, for that matter) hasn't displayed an ounce of legitimate worry for everyone he knows out there. Thus far, their interactions have centered entirely around Qrow's misplaced blame and Robyn's terrible attempts to lighten the mood, despite the fact that a war is raging right beyond that wall. It's another example of RWBY's inability to manage tone properly, to say nothing of balancing the multiple concerns any one character should be trying to juggle. Just as it rankles that Ruby and Yang don't seem to care about what has happened to their uncle, Qrow likewise doesn't seem to care about what might be happening to his nieces. When did we reach a point where these relationships are so broken that someone can be arrested/chucked into a deadly battle and the others just... ignore that?

So Robyn's otherwise innocuous comment immediately reminds me of how badly the narrative has treated these conflicts and, sadly, things don't improve much from here. We are thankfully spared more of Robyn's jokes when Qrow realizes that what he's hearing can't be thunder. A second later, Cinder blasts through the wall — called it! — and Qrow instinctively transforms.

The only downside to this moment is that the whole ceiling falls down on Qrow and the others because APPARENTLY these cells don't have tops on them. Seriously. As far as I can recall we don't see the stone breaking through the forcefield somehow and this looks pretty open to me.

If it is... you're telling me these crazy powerful fighters who practice landing strategies and leap tall buildings in a single bound —

— can't just hop over this mildly high electric fence to get out? Qrow can't just fly away?

We're, like, two minutes in, folks.

We transfer to Nora's perspective as she wakes up, seeing Klein giving her the IV. He tells her not to worry, that "you and your friend are going to be just fine." What friend? Penny? Klein went upstairs prior to Weiss hugging Whitley or Penny crash landing outside. I had thought them bursting through the door with another unconscious friend was the first time he learned what the big bang outside was, but apparently not.

Penny is, obviously, a mess. While I now understand the choice to make her blood such an eye-catching color when that's crucial to the Hound's hunt, I still think it looks strange visually. Like someone has taken a copy of RWBY and painted over it. It doesn't look like it fits the art style. More than that, it implies some rather complicated things about Penny's humanity, especially in a volume focused around her being a "real girl." Real enough for Maiden powers, but with obviously inhuman blood that isn't even referred to as "bleeding." Penny "leaks" instead.

Toss in the fact that she's literally an android who is made up of tech — recall the running gags about her being heavy, or it hurts to fist-bump her, to say nothing of keeping things like multiple blades inside her body — yet Klein says that her "basic anatomy" is the same and he can "stitch up that wound."

I'm sorry, what? Whatever Penny looks like on the inside, it's not going to resemble a human woman's anatomy, and Klein might be able to stitch the outer layer of skin she's got, but that won't do anything to fix whatever metal bits have been broken underneath. Penny isn't a human-robot hybrid, she's a robot with an aura. Penny has knives in her back, rockets in her feet, and a super computer behind her eyes. When our clip introduced that Klein would be the one to help Penny, my initial reaction was, "Seriously? He's a butler and a doctor and an engineer?" But RWBY didn't even try to get away with a Super Klein explanation, they just waved away Penny's very obvious, inhuman anatomy. Yeah, I'm sure "stitching up" an android wound is just like giving Nora her IV. I hope the surgical sutures he used are extra strong!

In an effort to not entirely drag this episode, I do appreciate that Whitley is allowed an "ugh" moment about the non-blood covering his shirt without anyone calling him out on it. That felt like the sort of thing the show would usually try to make a character feel guilty about and I'm glad that, for once, he was just allowed to be frustrated without comment.

Then the power goes out and May calls, which raises questions about what state the CCTS is in and when scrolls are available to our protagonists vs. when they're not. But whatever. She's checking in because she just "saw another bombing run light up the Kingdom" and —

Wait. Bombing? Salem is bombing the city? I know we've seen explosions in the sky, but I'd always just attributed that to evil aesthetic. Why does this dialogue sound like it's from a World War II film and not a fantasy sci-fi show about literal monsters launching a ground attack?

May looks pretty against the sky though. I like her hair color against that purple.

I'm admittedly grasping at positives here because we finally return to her "You have to choose" ultimatum and — surprise! — May has pulled back completely. Ruby says that once they've helped Penny, "We'll...we'll do something!" which is once again her avoiding making a decision. Ruby still refuses to choose, instead falling back on generic, optimistic pep talks. They'll figure out how to stop Salem later. They'll think about the impact of telling the world later. They'll choose who to help later. Ruby keeps pushing these problems into the future where, she hopes, a perfect, magical solution will have appeared for her to latch onto. When that continues to not happen, others pressuring her to actually do something and stop waiting for perfection — Ironwood, Yang, May — she panics and continues stalling for time. Wait an episode and the narrative supports her in this.

Because initially May was forcing Ruby to decide. Now, May enables her desire to keep putting things off. "Don't beat yourself up, kid. At this point, I don't know how much is left to be done." That's the exact opposite of what May believed last episode, that there was still so much work and good to do for the people of Mantle. This is precisely what the show did with Yang and Ren's scenes too, having people call Ruby out... but then return to a message of, 'Don't worry, you're actually doing just fine' before Ruby is forced to actually change.

None of which even touches on May calling her "kid" in this moment. That continues to be a convenient way of absolving Ruby of any responsibility. When she wants to steal airships or Amity Tower, she's an adult everyone should listen to, the leader of this war. When the story wants to absolve her of previously mentioned flaws, she becomes a kid who shouldn't "beat herself up." I said years ago that RWBY couldn't continue to let the group be both children and adults simultaneously, yet here we are.

So that was a thoroughly disappointing scene. Ruby gets her moment to look sad and defeated, listing "the grimm, the crater, Nora, Penny" as problems she doesn't know how to solve. Note that 'Immortal witch attacking the city I've helped trap here' isn't included in that list. Ruby is still ignoring Salem herself and no one in the group is picking up where May left off, challenging her to do more than wring her hands over things others are already trying to take care of: Ironwood is fighting the grimm, May has gone off to help the crater, Klein is patching up Nora and Penny. Ruby, as one flawed individual, should not be expected to come up with a solution to everything, but she does need to stop acting like she can come up with a solution to everything when it matters most (office scene) and rejecting others' solutions when they ask for her help (Ironwood, May).

If it feels like I'm dragging the flawed, traumatized teenager too much, it's not in an effort to ignore those aspects of her identity. Rather, it's because she's also the licensed huntress who wrested control from a world leader and violently demanded she be put in charge of this battle. Ruby, by her own actions, is now responsible for dealing with these problems, or admitting she was wrong and letting others take the lead, without purposefully derailing their plans. She doesn't get to suddenly go, "I don't know," cry a little, and get sympathetic pats.

But of course that's precisely what happens, courtesy of Weiss.

During this whole scene I kept wondering why no one was celebrating Nora waking up, especially when Ruby outright mentions her. Have they just not noticed given all the Penny drama? Because Nora absolutely woke up.

Aaaand went back to sleep, I guess. What was the point of that POV shot? No worries though, she'll wake up again in a minute.

Willow arrives and announces that they can fix the power (and Penny) using the generator at the edge of the property. I'm convinced RT doesn't actually know what a generator is because the characters are acting like it's some super special device that only richy-rich could possibly have. Whitley says that it's the SDC executives who have their "own power supply" and that it's "extremely unfair." Now, don't get me wrong, a good generator powering large portions of your house can run you 30k+, but you can also get one that plugs into your extension cord and powers your fridge for a couple hundred. There's absolutely a class issue here, just not the one Whitley and Weiss seem to be commenting on. They make a generator sound like the sort of device that only a politician-CEO could possible have and it's weird.

Likely, it sounds weird because it's a choppy way of getting Whitley to bring up the wealth disparity so he can then go, 'That's right! We're crazy rich with a company housing tons of ships! We can use those to evacuate Mantle.' Awkwardness aside, I do like that the Schnee wealth is being used for good purposes, but... evacuate where? To the city currently under attack by a giant whale? In a RWBY that wasn't determined to demonize Ironwood, this would have been a great plot point during the office scene instead, with Weiss offering her services to Ironwood, even if the group decides that a continued evacuation still isn't possible.

Instead, we get it here from Whitley. Do I need to point out the obvious? That Whitley is the MVP of this episode? He's done more good in an HOUR than the group has managed in a year. Give this kid some training and make him a huntsmen instead.

We're given a (very pretty!) shot of the shattered moon because it wouldn't be RWBY if we weren't continually reminded that gods once wiped out humanity before destroying part of a celestial body... and absolutely no one talks about that lol.

Blake's coat might not make any sense for her color scheme, but it does make her easy to spot as she and Ruby run across the grounds. Oh my god, they're actually doing something together! It only took eight years. They even get a lovely talk where Blake admits how much she looks up to Ruby, despite her being younger, and once again I'm struck at how much more I would have loved this scene if it had appeared elsewhere in the series. It is, indeed, as sweet and emotional as all the RWBY GIF-ers are claiming... provided you overlook that this is the exact opposite of what Ruby needs to hear right now. She doesn't need to hear that she's more mature and reliable than her elders when she's functioning under a "We don't need adults" mentality. She doesn't need to hear that not knowing what to do is totally fine, not when that led to her turning on Ironwood, despite not knowing how to stop Salem. She doesn't need to hear that "doing something" — doing anything — is a strength, because Ruby keeps avoiding the big problems for smaller ones she's comfortable with, like standing by Penny's bedside instead of deciding between Mantle and Atlas. Blake's speech is heartfelt, but it's a speech that suits a Beacon days Ruby who is having some doubts about her leadership skills, not the girl whose impulsive — and now lack of — actions is having world-wide repercussions. Everyone is babying Ruby to a staggering degree. It's like if we had a med show where the doctor is standing by the bedside of a coding patient, fretting between two treatments. 'Don't worry,' their colleague says, patting their shoulder. 'I've always looked up to you. You'll do something when you're ready' and then they continue to watch the patient, you know, die.

Also: who does Ruby look up to? Everyone talks about how much they depend on and trust Ruby, but who does Ruby look to for guidance? A number of her problems stem from the fact that she has rejected the advice of everyone who has tried to help her improve: Qrow, Ozpin, Ironwood, even Yang. Ruby is presented as the pinnacle of what to strive for in a leader, rather than a leader who has only been doing this for two years and still has a great deal to learn.

Anyway, they get the generator on and the Hound shows up.

I am begging RT to just make RWBY a horror story. All their best scenes the last three years have been horror I am bEGGING —

Anyway, while Ruby waits to be eaten we cut to Willow and Klein, the former of which is reaching for her bottle, pulling back, reaching again, all while her hand shakes. This is good. This is what we should have gotten with Qrow. Which isn't to say that their (or anyone's) addiction should be identical, but rather that this is a far more engaging and complex look at addiction than what our birb got. Willow tells us that she doesn't drink in the dark despite bringing the bottle with her; tries to resist drinking when she's scared and ultimately fails. Qrow just decided to stop drinking after decades of addiction, seemingly for no reason, and that was that. Why is a side character we only met this volume written better than one of the main cast?

Blake manages to call Weiss about the Hound and she asks if Whitley can handle the airships without her. I mean, I assume so given that Weiss is looking at the bookshelves while Whitley does all the work lol. He makes a teasing comment about how he can if she can handle that grimm and she comments that they still need to work on his "attitude."

No they don't. Weiss stuck a weapon in her kid brother's face. Whitley made a joke. Even if Weiss' comment is likewise meant to be read as teasing, it's clear that we've bypassed any meaningful conversation between them. That hug was supposed to be a Fix Everything moment even though, as I've laid out elsewhere, it didn't even come close.

We cut back to Ruby getting thrown through a wall into the backyard and the Hound creepily coming after her. She's freaked out by this clearly abnormal grimm and Blake is weirdly... not? "It's just a grimm. Just focus!" Uh, it's obviously not. Have we reached the traumatized, sleep-deprived point where the group is sinking into full-blown denial? I wouldn't be surprised. They've been awake for like... 40+ hours.

Because the Hound knocks Ruby out with a single hit. Just, bam, she's down. "Focusing" is not the solution here.

Weiss calls to warn the others about the grimm, telling them to stick together. Willow (understandably) starts freaking out and flees the room (classic horror trope!). Klein is left alone when Penny wakes up with red eyes. Oh no!

Don't worry. You know nothing meaningful happens.

She shoves Klein before (somehow?) resisting the hack, her Maiden powers going wild in the process. Just when it looks as if Penny might cause some serious damage, Nora wakes up, takes her hand, and says, I kid you not:

"Hey... no one is going to make you do anything you don't want to do... It's just a part of you. Don't forget about the rest."

Okay. I want to re-emphasize that I love hopeful, uplifting, victory-won-through-the-power-of-love stories. Istg I'm not dead inside, it's just that RWBY does this so badly. I mean, what is this? It has similarities to the character shouting, 'No! Resist!' to their mind-controlled ally, but this is not presented as a desperate, last-ditch effort by Nora. She just speaks like this is the most obvious truth in the world. If you don't want to have your mind taken over... just don't! It's that simple. The problem definitely isn't that Watts has changed her coding and has implemented a command she can't override, it's that Penny has forgotten about the "rest" of her personhood.

And this works. Granted, not for long, but we leave Nora having successfully calmed Penny down and until her eyes unexpectedly go red again scenes later, we're left assuming that this is a permanent solution. That, imo anyway, is taking the Power of Love too far, overriding the basic reality of Penny being hacked. It’s not a personal failing she must overcome, it’s an external attack. I would have rather had Nora react to the scars she saw on her arm, or have a moment with Klein, or get some love from the group. Not a wakes up, falls asleep, wakes up again to save Penny with a Ruby level 'Just ignore reality' pep-talk, then back to sleep again.

So Penny isn't attacking her allies, or mistakenly hurting her allies with wild Maiden powers. Not that the group doesn't have enough to deal with, but still. Weiss arrives to help with the Hound and attempts a new summon, only to fail when two minor grimm burrow up into her glyphs. I really enjoyed that moment, both for the wing visual and the knowledge that Weiss' glyphs can fail if you break them somehow (which makes sense). Also, I just like that she failed in general? Weiss is, as per usual now, about to demonstrate just how OP she is compared to the rest of the team, so it was nice to see her faltering here.

The Hound tries to make off with Ruby and Blake does an excellent job of keeping it tethered. Ruby finally wakes, only to realize that the grimm is actually after Penny since it's staring at her power up through the window, no longer trying to escape. Moments like this remind me that there's someone on RT's writing team that knows what they're doing, at least some of the time. The assumption that the Hound is after Ruby as a SEW, the surprise that it's actually Penny, realizing it holds up because Ruby is covered in Penny's blood and Blake is not... that's all nice, tight plotting. More of that please!

The Hound drops her and Ruby's aura shatters when she hits the ground. I want everyone to remember this moment as an example of how strong the Hound is. The group may be tired, but unlike YJR they've been sitting around in the Schnee manor for a number of hours, regaining strength. We saw the Hound hit Ruby twice — once through the wall and once to knock her out — and then she falls from a not very high distance for a huntress, yet her aura is toast. That's the level of power and skill the Hound possesses. Decimating YJR, knocking Oscar out, same for Ruby, avoiding Blake and Weiss' hits, soon to treat Penny like a ragdoll. Just remember all this for the episode's end.

Blake tells Weiss she'll take care of Ruby, you go help the others. Yay breaking up the duos more! Bad timing though as the new acid-spitting grimm pops out of the ground and Blake is now left alone to face it.

Weiss re-enters the mansion, knowing the Hound is somewhere nearby, but not where. Suddenly, Willow's voice sounds through her scroll with an, "Above you!" which... doesn't keep Weiss from getting hit lol. But it's the thought that counts! Willow has accessed the cameras she's set up throughout the manor, watching the Hound's movements, and I have to say, that is a WAY better use of her separation from Klein than I thought we were getting. I legit thought they'd have Willow run away in a panic, meet the Hound, die, and then Weiss could be sad about losing her mom.

It does say something about RWBY's writing that this was my knee-jerk theory, as well as my surprise when we got something way better.

The Hound runs off, uninterested in Weiss, and she asks Willow to keep tabs on it. It heads for Whitley next (also covered in Penny's blood) and very creepily stalks him in the office with a, "I know you're here." Whitley is seconds away from being Hound chow before one of Weiss' boars pin it against the wall. He runs, then runs BACK to finish deploying the airships, before finally escaping assumed death. Goddamn this boy is pulling his weight.

I assume all these ships are automated then? I hope someone takes a moment to call May. Otherwise it's going to be super weird for the Mantle citizens if a fleet of SDC ships just show up and hover there...

I don't entirely understand how Weiss saved him though. She's nowhere to be seen when Whitley leaves and he runs a fair distance before he and Willow encounter Weiss again. We know her summons don't have to keep right next to her, but are they capable of rudimentary thought, attacking an enemy — and an enemy only — despite Weiss being a couple corridors down and unable to see the current battlefield? I don't know. In another series I'd theorize that this was a deliberate hint, a way to clue us into the fact that Willow, someone who we currently know almost nothing about, had training in the past and summoned the boar herself. Weiss and Winter certainly didn't get that hereditary skill from Jacques. Hell, we might still get that, Weiss reacting with confusion next episode when Whitley thanks her for the boar, but I doubt it. That scene with Ruby and the Hound aside, the show isn't this good at laying groundwork and then following up on it.

Case in point: Weiss says, "I didn't forget you" to Whitley after he gets away from the Hound, the moment trying to harken back to her promise to Willow. Key word is "trying." Because she absolutely forgot him! Weiss threatened and ignored Whitley until he proved his usefulness. I also shouldn't need to point out that, "Don't forget your brother" does not mean, "Don't let your brother die a horrible death by abnormal grimm." Weiss acts like her saving him is a fulfillment of her promise, rather than just the most basic of human decency. And also, you know, her job.

So that part is frustrating. The entire Schnee dynamic is a mess, from Weiss making a joke of her father's arrest, to Willow (presumably) fixing their relationship by putting a hand on her daughter's shoulder. Okay.

Then Weiss cuts off the Hound by summoning a giant wall of ice. My brain, every time this happens:

YOU COULD HAVE FIXED THE HOLE IN MANTLE'S WALL.

Moving on, Blake's fight against the acid... thing has some great choreography, including Blake using her semblance which we haven't seen in AGES.

I really like the fight itself, just not what Blake is shouting the whole time. "I need you, Ruby! We all need you!" This has really gotten ridiculous. Ruby is presented as everyone's sole savior despite failing time and time again. It's not that I don't think Blake as a character should have faith in her leader, it's that I don't think the writers should be crafting a story where everyone puts their unshakable hopes in an untrained, disloyal, impulsive 17 year old. I mean, Ruby is currently unconscious, yet Blake is acting like if she doesn't wake up — she, as an individual, if Ruby Rose does not re-join this fight — then all is lost. If Ruby doesn't save them, no one can. Which is, of course, absurd on numerous levels. Blake doesn't need the passed out, aura-less Ruby right now, she needs the still very healthy Weiss pulling out multiple summons and an ice wall! Use your scroll and call for backup again.

But of course, Ruby wakes up and kills the new, terrifying grimm with a single hit. It's a preview of what's to come with the Hound and it's just as ridiculous here as it will be there.

Speaking of the Hound, am I the only one who thought this was... cute?

I can't possibly be the only one. That head-tilt is exactly what my dogs do and my brain instinctively went, "Aww, puppy!"

Murderous puppy.

The Hound realizes none of the Schnees are who it's looking for and runs off. Penny, meanwhile, has been fully taken over because, well, that's just what's convenient now. She resists long enough keep Amity up, then succumbs, then resists to apologize to Ruby, then succumbs, then resists because Nora asked her to, then succumbs once it's time to knock her out. If RWBY was willing to commit to consequences, Penny would have been taken over and that was that. The characters would need to deal with whatever outcome happens as a result. Instead, the show very carefully avoids any of those pesky consequences by having Penny successfully resisting at key moments, despite no explanation of how she's managing that.

She shoves Klein again (Klein is having a Bad Time) and starts walking down the main steps. When Whitley wants to know where the hell she's going, Penny mechanically responds that she must "Open the vault, then self-destruct." I suppose the change Watts made was the self-destruct order? Ironwood obviously wants the vault open, though not necessarily Penny's death. Think what you will of his moral compass, she's a damn powerful ally — a research project, perhaps — and a Maiden to boot. At the very least, her death may give the powers to someone even worse.

God, please don't let them have brought Penny back and made her a Maiden just to kill her again.

The Hound arrives though and, as said, knocks Penny out. We're back to square one with her, then. Note though that this attack is near instantaneous. She grabs its hands one second, is hanging limply the next. Wow, the Hound sure is a terrifying antagonist!

Not for long.

"That's enough," Ruby says and one-shots it with her eyes.

Now, I want to talk for a moment about the implications of that line. "That's enough." Obviously Ruby is #done with this situation and emotionally unwilling to let the Hound kidnap Penny (congratulations, Nuts and Dolts shippers), but there's a meta reading here as well. Not intentional, but glaring to me nonetheless. Basically, the idea that the Hound has, from a plot perspective, done enough. It has served its singular purpose. It kidnapped Oscar and now it dies. Never-mind how insanely powerful we've established the Hound to be, never-mind how Ruby's eyes also work or don't work according to whether anything of actual import is on the line. From a plot perspective "that's enough" and the Hound can be disposed of instantly. It got Oscar and gave us an episode of filler creepiness. Move along now.

The idea behind Ruby's eyes isn't bad, but the execution absolutely is. RT has undermined a huge portion of the stakes by giving their protagonist an instant kill-shot that always works precisely when she needs it to. Starting with the Apathy, we have yet to get a moment where Ruby's eyes fail to save the day when she really needs them to, no matter how incredible the challenge. The Hound was very intentionally written to be a grimm outside of the group's current power level. It thinks, it talks, they literally can't touch it. This creates the expectation that the group will need to grow stronger — or at least become smarter — in order to surmount this new obstacle, yet Ruby's eyes undermine all of that. The group hasn't grown in years, the show just makes enemies weaker as needed (Ace Ops), or has Ruby pull out her eyes as a trump card. It wouldn't be that bad if we'd at least gotten a good battle out of it, one where the group gets close to defeating the Hound on their own, but needs Ruby's eyes to finish it off. Instead, she literally walks up without any aura, announces to the audience that this antagonist's time is up, and blasts it out a window.

Granted, Ruby's eyes don't completely finish it. The Hound pulls itself to its feet and we see this.

Yup, that's a guy and yup, those are silver eyes.

I would like to issue a formal apology to the "It's secretly Summer!" theorists in the fandom. I mean, I still think it would be ridiculous (and at this point highly improbable) that Ruby's dead mother has actually been a grimm mutant this whole time, just hanging out in Salem's realm while she waits for the plot to start before attacking the world, and then sends some no-name faunus dude after the group instead of their leader's mother for extra, emotional torture... but you all were definitely right about the “It's a person�� part! I... don't know how I feel about this. Admittedly, it seems to be a logical continuation of the other grimm-human hybrids we've seen — namely Cinder and Salem herself — and it finally explains why Salem wants Ruby alive (even though it actually doesn't because WHY did she want more SEWs for Hound grimm when she wasn't even attacking back then? And already has all these other insanely powerful tools??), but at the same time, it feels like it's complicating a story that doesn't need further complications. The group fights monsters and has an immortal enemy. You don't need to add 'Some of those monsters are secretly human' to the mix.

It doesn't hurt that this twist is giving me Attack on Titan vibes, which, ew. A dark time in my fandom life, folks.

The Hound staggers a few steps before Whitley and Willow dump a suit of armor on it. That's all it takes to kill the most dangerous grimm we've ever seen: a single flash of silver eyes and some heavy metal. This also wreaks havoc with the implication that Salem wants SEWs alive because they create such powerful grimm. Obviously not. I mean yeah, normal huntsmen are going to have serious problems, we’ve seen that this volume, but any other SEWs nearby will take a Hound out instantaneously. For a villain with so many other powerful abilities — immortality, magic, endless normal grimm, her nifty soup — Salem would be much better served just killing SEWs straight out. Clearly, creating Hounds isn't worth the effort.

The Hound leaves some bones behind and Ruby collapses to her knees, overcome with the knowledge that this was once a person. Again, uncomfortable Attack on Titan parallels.

We finish our premiere with Cinder clearing away rubble to reveal Watts. Honestly, I like that we ended on this because her rescue is hilarious. She just slings him over her shoulders like a sack of potatoes and blasts off with her magic fire feet. Fantastic.

Note though that with this scene we've seen almost everything from the clip and the trailer. What's to come in the rest of Volume 8? No idea. Outside of Winter leading the charge with the bomb, we got it all here.

Time to update the bingo board!

I'm crossing off "Introducing new grimm that are quickly abandoned." Between the Hound and acid-dude both falling to a single blast/cut from Ruby, we've more than earned this square.

It doesn't look as if we'll get another Watts-Jacques team-up now that he's left, but you never know.

Maria's got me worried. I feel like her Yoda fight against Neo is the one thing she'll be allowed to do this volume, but given that we didn't see anyone except Ruby's group this episode, we don't yet know whether the story is now ignoring her and Pietro, or if they'll re-appear in another episode like YJR.

Qrow is free. Will he get a drink before trying to murder Ironwood? Perhaps.

Still no bingo :(

All in all, the episode was by no means horrible. I think there were lots of horrible parts, but also some legitimately well executed moments, fun action, and scenes that I can easily imagine as squee worthy if you lean back and squint. Everything is comparative and in the growing collection of bad RWBY episodes, this one isn't securing a top slot. Which doesn't mean I think it's good, just... not as bad as it could have been and primarily only bad due to long-running problems, not things this specific episode has done. That's my bar then, so low it has officially entered the underworld.

Still, RWBY is back and a part of me is eager to see where this volume takes us, for better or for worse.

Until next week! 💜

[Ko-Fi]

#rwby #rwby spoilers #rwby volume 8 #mymetas #rwby recaps #rwby dark

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maryjancwatson · 5 years ago

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IC PORTION; BASICS —

CHARACTER NAME/ALIAS: Mary Jane Watson

FACECLAIM: Madelaine Petsch

AFFILIATIONS: At the moment, unaffiliated.

AGE (physical age as well, if different): 24

SPECIES (human, metahuman, alien, etc): Human

IS YOUR CHARACTER’S IDENTITY SECRET OR PUBLIC? N/A

IF SECRET, OR YOUR CHARACTER IS A CIVILIAN, DO THEY HAVE A CIVILIAN OCCUPATION?: Mary Jane very recently snagged a job at the UN in Sokovia as their Goodwill Ambassador. Mary Jane is also working with a local charity, both in relief work and working to raise funds independently due to her following on social media platforms.

IF YOUR CHARACTER LIVES IN THE FORTRESS, WHAT ARE THEIR DUTIES? : Maybe one day she will return to being Tony Stark’s coffee bitch.

DESCRIBE SIX TRAITS (3 positive, 3 negative) YOUR CHARACTER HAS AND HOW THESE AFFECT THEM: + Passionate: Anyone that meets Mary Jane knows that she has passion, as it’s clear within the first five minutes of talking to her. She’s passionate about everything: coffee preferences, movies vs. books debates, and in particular, Broadway shows. It goes deeper than that, though, and that becomes clear in knowing her better. Mary Jane practically bleeds for things that she believes in. She gives 110% into everything she does, and it shows. + Adaptable: Mary Jane grew up in an ever-changing environment, and it turned her into a person that can roll with the punches. She’s able to adapt to situations quickly, and is able to think on her feet. She can stay relatively unphased with change and adapt accordingly. + Charismatic: Mary Jane is a people person. She spent so much of her childhood and adolescence moving around that she had to learn how to socialize quickly, and it made Mary Jane into a social butterfly. She knows how to talk to people, knows how to make small talk and easily does the back-and-forth with just about anyone. - Hot-headed: There is no way around it: Mary Jane Watson has a temper. She goes from 0 to 100 in the blink of an eye, and sometimes struggles coming back down to 0. It’s not easy to light the flame under her and set her alight, and it’s something she’s been working on since childhood. Even on the rare occasions where she does manage to keep a lid of the explosions, her facial expressions give it all away. - Commitment-phobic / flighty: Mary Jane doesn’t like to stick to one thing or one place for long, and sometimes has trouble sticking to things. While she gives 100% in passion, sometimes it’s a solid 60% in commitment. She dropped out of college, almost dropped out of high school a few times before that, and never signs more than a six months lease. Most of her romantic relationships have ended poorly because Mary Jane never knows what Mary Jane wants, and she starts to feel claustrophobic when things get tough. This is more on a personal level. Professionally, she sticks to her guns a little more. - Selfish: Mary Jane is always looking out for Mary Jane. She’s trying to do better, but her bottom instinct is always to do what’s best for herself. She’s scrappy, as one needs to be in the showbiz world, but it impacts her personal relationships as well.

POWERS AND/OR ABILITIES: Mary Jane is very human, and possesses no super-human abilities. However, she’s semi-famous with a solid social media following! (if only that were a super power) MJ is charismatic and highly organized, and has a leadership quality to her. She enjoys organization and administrative-type tasks, and is a go-getter to get shit done.

WEAKNESSES: Again, MJ is definitely human. I would say her strongest weaknesses are her fear of commitment and her tendencies to be selfish, as this only gets in her own way of what she wants. Mary Jane is also a chronic over-thinker, and can think herself into a box at times.

WHAT DREW YOU TO THIS CHARACTER? MJ is a spitfire and my spirit animal. She’s feisty and fiery and I love how she’s always unapologetically herself, even when it shoots her in the foot. She’s not the traditional-type character to bring to Sokovia considering she is very much a civilian, but I think her personality can definitely bring some fun.

IC PORTION; DETAILS —

WHAT BROUGHT YOUR CHARACTER TO SOKOVIA? It’s a little complicated. She applied for a job at the UN in Sokovia to be their Goodwill Ambassador, and somehow someway she’d gotten through the first several rounds of interviews. She had gotten a job with a charity working out of Sokovia for the moment as well, as a back-up just in case they went with someone else. But, surprisingly enough (or so it felt to her), she’d gotten the job. The charity work and the Goodwill Ambassador job went hand in hand, and MJ found that it was more joy-bringing than she’d thought it would be.

DID THEY SIGN THE ACCORDS? WHY OR WHY NOT? This isn’t exactly applicable, considering Mary Jane is most definitely a citizen, however she would certainly not have if she was on the other side.

PROVIDE 3-5 HEADCANONS RELATED TO YOUR CHARACTER: MJ is a chain smoker. She’s tried to quit, though those have only ever been passive attempts at best. She does not do well when she’s off her nicotine. She’s also a fan of the other kind of mary jane, if you catch my vibe. MJ blogs, has a YouTube channel, and practically lives on TikTok. She’s verified on her social media platforms, and has a pretty big following. She still has fans from her Broadway runs and from her short-lived fame on Netflix, and so she does her best to stay relevant and keep them despite her current break from acting. The term ‘social media empire’ comes to mind, even if she feels weird about her claim to fame. MJ lives in high heels and generally dresses nicely. She has a very firm belief that first impressions matter most but all impressions matter. She always wants to look like hell on wheels, even if it’s impractical at times. She usually saves jeans and t-shirts for time at home only, and even then finds herself more comfortable in a dress. Despite having a party girl persona and having dropped out of college, Mary Jane is intelligent. She excelled in history and English courses in high school and in college alike, though her passion was in performing. She’s obsessed with trivia games and trivia-type TV shows. Wheel of Fortune is absolutely her favorite. She’s also super fond of reality TV, the more mind-numbing the better.

POTENTIAL CHARACTER ARCS: Maybe a potential Iron Spider or Spinneret arc? I love civilian!MJ, but I think this would be interesting. This would be a little complicated and would require a lot of thought and plotting, but maybe down the line! IS THERE A THEATRE/DANCE PROGRAM IN SOKOVIA? BECAUSE MJ WOULD BE SO DOWN TO RUN ONE. TEACH LITTLE KIDS BALLET AND SHIT. GIVE HER THAT. Nomad-y things. MJ obviously wouldn’t be affiliated with the rebels from the jump, considering her position in the UN. However, she may gravitate towards at least a sympathizer down the road, considering her connections with Tony.

CHARACTER BIO —

Mary Jane was the second born child to Madeline and Phillip Watson, the first being her older sister Gayle. Her father was a professor, though changed jobs often, resulting in multiple moves throughout Mary Jane’s childhood. Her father wanted to be a writer, not a professor, though his books never succeeded. This led to anger that was often taken out on his family, usually while drunk. Mary Jane was in middle school when her mother decided that enough was enough - her father had been turning on her mother for years, but he’d finally turned on one of the girls. The three left Phillip for good.

Unfortunately, the constant moving didn’t seem to stop. Mary Jane’s mother still moved them around often, usually to be near relatives. Her mother usually worked as a waitress or a bartender, relying on tips for income, which wasn’t always stable. Thankfully, her mother’s family was kind, and would help with the girls as much as they could. Her mother went back to school, deciding that she and her children deserved more. Mary Jane’s favorite relative to stay with was Aunt Anna, who lived in Queens.

The frequent moves caused Mary Jane to have a rather extroverted and fun-loving personality, a way to try to get noticed and make friends quickly. She knew she would never be in one place for long, so she tried to remain care-free. She never allowed herself to get too close, because she knew it would only be so long before she would be moving again. It was easier to have a lot of people she barely knew that were fun to be around than to have a few close friends she would have to say goodbye to.

She was fifteen when her mother got sick, and things went downhill quickly. Mary Jane watched her mother wither away before her eyes, and vowed in that moment to never take life for granted and grab it by the horns. After her mother passed, Mary Jane refused to move back in with her alcoholic father. Part of her blamed him for robbing Mary Jane and her sister of quality years with their mother, and memories of the abuse were still fresh. Instead, she went back to the home where she’d always been the happiest - Mary Jane moved in with her Aunt Anna in Queens.

Her life of the party attitude and fun/over-the-top personality quickly gained her friends in school, though Mary Jane still had trouble letting people in. she knew she wouldn’t be moving again this time, but it was somehow easier for her to have her walls up. People liked her, she liked them, and she told herself that was enough. It wasn’t, really, though it was all she knew how to do. She participated in the drama club and the choirs at school, as well as in community theatre. This was where she made her true friends, where she made real connections that actually meant something. She had Broadway aspirations and spotlights in her eyes, and worked hard to perfect her craft. However, later in high school she found she had to put some productions on the back burner to get a job to help support the household she was living in. She mostly did waitressing jobs, though found a few assistant/secretary type positions to hold down as well after school.

Mary Jane was accepted into NYU’s musical theatre program at Tisch, and starred in many of their productions. However, she learned that in the real world, auditions were hard to secure and she found obtaining roles was even more difficult. She’d been praised so heavily in high school and during her time at Tisch that this was a harsh slap to the face, though she didn’t give up. She worked at Ellen’s Starlight Diner while in school, and was cast in the off-Broadway production of Heathers as an ensemble role and an understudy to Heather Chandler. Shortly after, she was finally cast in a Broadway production. She was cast as an ensemble part in American Idiot, and she’d never been happier.

After securing her first role, Mary Jane’s name slowly made its way around. She dropped out of school after a lot of consideration, deciding to devote her full attention to work. Her second show was Wicked, another ensemble role though she became Elphaba’s understudy after a few months. She left for the Spring Awakening tour, where she was cast as Wendla.

When the tour ended, Mary Jane experienced a huge wave of auditions due to praise she’d gotten from critics. She landed her first TV role, the main character for a show on a Netflix YA murder-mystery series. Unfortunately, as things went in that genre, she found her character killed off at the finale in the first season. She was brought back to film some flashback type scenes for season two, and then her contract was completed. The rise to fame was quick and unforgiving - MJ went from near constant press and finally feeling like she was making it to nothing. She returned to New York and experienced a drought in auditions, which many actors face. While she knew that, it was a hard pill to swallow after success, and she didn’t want to go back to the diner. An opportunity arose (mostly thanks to her sister’s husband, who worked for Stark Industries and brought up her name and vouched for her) and Mary Jane found herself working for Stark Industries. She was the personal assistant to Tony Stark, and MJ found that she and F.R.I.D.A.Y. worked well together and that she didn’t hate administrative work. It wasn’t acting, but it was a job, and Mary Jane was more than competent in the role. She proved to be organized and efficient, and MJ liked it more than a little. However, before long, the events of Sokovia transpired and MJ found herself without a job. To be fair, she’d quit, finding herself unable to work for Simon Trask and deciding that she’d rather find other opportunities elsewhere. She’d snagged a role in an off-Broadway production she wasn’t really feeling, and found herself applying for other positions, surprisingly in charity work and using her time at Stark Industries as a reference. She loved performing, would always be an actress at her core, but she found herself searching for something more meaningful. Her time away from film or stage had made her think more clearly on what she wanted in life, and she couldn’t help but feel like she needed more. She snagged a job for a charity in Sokovia, which Mary Jane only really knew about due to the press that had been drawn in after the events that transpired with the Avengers and with the Sokovia Accords. She found herself in the last round of interviews for a job at the UN in Sokovia as the Goodwill Ambassador (she was the right kind of famous, is what they said), and with the charity job already secured, Mary Jane was booking her ticket.

EXTRAS —

MYERS-BRIGGS: ENFP Sin: Greed & Pride HOGWARTS HOUSE: Slytherin ZODIAC: Scorpio

#srisingintro

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nickburn · 5 years ago

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Things I Enjoyed in 2020 Despite Everything

Seasons Greetings! This year has felt like an eternity for so many reasons, and before it’s over, I’d like to take a look back on the distractions that got me through it. Along the way, I’ll occasionally point out where I was emotionally at the time and whether I got into a particular thing before or after the pandemic hit in mid March. I hope you enjoy this little retrospective of some of my experience during one of the worst years of human history!

Games & Mods

Might & Magic VI: The Mandate of Heaven

When I was making my 2020 resolutions list late last year, one of my goals was to play more old games in my backlog and not buy many new games this year. That goal largely went on hold, because, well, I sought out enjoyment wherever I could find it instead of forcing myself to play one thing or another. But before Covid, I was really enjoying my new playthrough of M&M6. I’d made attempts at it before, but it was really GrayFace’s mod that made the game click for me. Modern features like quick saves and mouselook make the game much more accessible, and I’d recommend it to anyone who wants to try an old-school RPG. It’s a great stepping stone into a mostly-dead genre. I’m hoping to get back to it soon. I just jumped ship to simpler ventures like Doom Eternal after the pandemic hit and haven’t looked back since.

Pathologic 2

I learned about the Pathologic series late last year and have since become a little obsessed with it. Hbomberguy’s lengthy video essay on the original game really intrigued me and lead me to trying the sequel/remake in April via Xbox Game Pass. In a weird way, it was cathartic to be a doctor in an even more dire situation than our current one and still see signs of the townsfolk trying to help each other deal with a supernatural plague and little help from their local government. The game helped me express a lot of what I was feeling at the time, when I was still getting used to working from home and wondering just how long this could go on for. I’ve gone back to it recently, and I’m hoping to finish it someday, if I can find a way to stop dying. Above all, Pathologic 2 teaches you how to make choices in no-win scenarios with little information or resources and still persevere, despite the world going to Hell around you. And that’s maybe the most important thing to practice at the moment.

Overwatch

I’ve continued to look forward to weekly Overwatch nights with my friends every Thursday, and it’s really important to have something like that right now. Even if it’s just a new episode of a show airing, a new video from a favorite YouTuber, or a regular Zoom call with coworkers, it helps so much to have something to anticipate from week to week and month to month. Otherwise, it’s really easy to feel like nothing’s going on besides the entropic deterioration of the universe. Overwatch itself helps with this, because it’s such a positive, bright, and optimistic game, as only Blizzard can create. And it’s improved a ton in the past couple of years, in a lot of ways. If you haven’t played in a while, hop in and check out all the new content with your friends; I think you’ll have a great time. It’s looking more and more like Overwatch 2 is right around the corner, and I’m very much looking forward to it.

I learned how to play Go after watching a documentary released this year about AlphaGo, the computer that beat the Go world champion, and I have a huge appreciation for the game now. I think it’s even more beautiful than chess, though even more insidious to learn. If you haven’t played before, start with a 9x9 board, teach yourself the basics, and try playing with another beginner friend. I guarantee you’ll be amazed at the amount of strategy and imagination that a game ostensibly about placing black and white stones on a grid can inspire. Go’s one of several new hobbies I’ve picked up this year, and those new hobbies have really helped me pass the time in a way that feels productive as well as take my mind off whatever depressing news just got blasted across Twitter.

Doom 64

Doom Eternal was fine, but Doom 64′s where my heart lies. The PC port on Steam is great, allowing everyone to easily play the game with mouse and keyboard. Its levels are tight and colorful, often asking the player to backtrack multiple times through the same areas to unlock new ones and take on whatever new twists await down each darkened corridor. It’s a surprisingly fresh experience. Unlike many modern Doom mods that strive to be sprawling marathons, 64′s levels are short but memorable, and the game is a great entry point to the series for newcomers because of that. Retro FPS’s continue to inspire and entertain me, and Doom 64 is one of my new favorites.

Golf With Your Friends

I’m not usually that into party games, but Golf With Your Friends strikes the right balance between casual tone and skill-based gameplay. The maps are vibrant and devious, the different modes are creative and often hilarious, and the pacing is near-perfect. If you’ve got a squad itching to play something together for a few nights, I guarantee you’ll have a lot of laughs trying to knock an opponent off the course or turning them into an acorn just as they’re about to attempt a nasty jump.

Quake 1 Mods

I probably sound like a broken record by now to a lot of you, but I won’t rest until I get more people into retro FPS’s. The outdated graphics and simple gameplay can be off-putting at first, but it doesn’t take long at all to get hooked after you’ve played the likes of excellent mods like Ancient Aliens for Doom 2 or Arcane Dimensions for Quake 1. And it’s only getting better, with this year marking probably the best year for Quake releases ever. The industry even seems to be taking notice again, with many talented mappers getting picked up for highly-anticipated, professional indie projects like Graven and Prodeus. And while the marketing around the retro FPS renaissance as the second coming of “boomer shooters” should be much maligned, the actual craft involved in making mods and brand new games in the genre has never been stronger. I even contributed four levels to the cause this year, but you’ll have to play them yourself to decide if they’re any good: https://www.quaddicted.com/reviews/?filtered=burnham.

Streets of Rage 4

I had not tried Steam Remote Play before this year, but it works surprisingly well if you have a decent internet connection. Because of Remote Play, I was able to complete Streets of Rage 4 with my friends, and it was very close to the experiences I had as a kid playing brawlers like Turtles in Time on the Super Nintendo. The game is just hard enough to make you sweat during the boss fights but just easy enough that the average group of gamers can complete it in a night or two, which is ideal for adults with not a lot of free time.

Hard Lads

Hard Lads is a pure delight of a game by Robert Yang about the beauty of a viral video from 2015 called “British lads hit each other with chair,” which is even more ridiculous than it sounds. It made me smile and laugh for a good half hour, and I think it’ll do the same for you.

Commander MtG

The Commander format for Magic: the Gathering is one of my favorite things, and in 2020, I dug into it more than any other year. More so even than playing or watching it being played, I created decklists for hours and hours, dreaming up new, creative strategies for winning games or just surprising my imaginary opponents. I sincerely believe this little ritual of finding a new legendary creature to build around and spending a few days crafting a brew for it got me through the majority of this summer. I didn’t have a lot of creative energy this year, but I was able to channel the little I did have into this hobby. Especially during the longer, more frustrating or depressing days at work when I had nothing else to do or just needed a break, I could often dive back into card databases and lose myself in the process of picking exactly the cards that best expressed what I wanted to do for any given deck. And it’s nice to know I can always fall back on that.

Yu-Gi-Oh!

I played a lot of Yu-Gi-Oh! growing up but never had the cards or the skill to be particularly good at it. I just knew I enjoyed the game and the 4Kids show, but I quickly them behind when I got to high school. Fast forward to 2020, and the game and franchise have evolved substantially, not always for the better. But I do find it so intriguing, with a skeptical kind of adoration. It’s not nearly as well-supported as Magic, but what it does have are gigantic anime monsters on tiny cards with enough lines of text to make your head spin. And it’s so interesting to me that a franchise like that can continue to thrive alongside more elegant games like the Pokemon TCG and Hearthstone. And the further I’ve delved into how the game has changed since I stopped playing, the more invested I’ve become, going so far as to start buying cards again and looking into possible decks I might enjoy playing. An unequivocal win for Yu-Gi-Oh! is Speed Duel, which seeks to bring old players back to the game with a watered-down, nostalgia-laden format with fewer mechanics and a much smaller card pool. So if all you want to do is pit a Blue Eyes White Dragon against a Dark Magician, that’s 100% still there for you, but the competitive scene is still alive, well, and astoundingly complicated. And I think that’s kind of beautiful.

Black Mesa

I wasn’t expecting to have the tech to play Half Life: Alyx this year, so Black Mesa seemed like the next best thing. And it really is a love letter to the first game, even if it’s far from perfect. I even prefer the original, but I did very much enjoy my time with this modern reimagining. If you’ve never played a Half Life game before, I think it’s a great place to start.

VR via the Oculus Quest

Around halfway through this year, I started to get really stir crazy and yeah, pretty depressed. It seemed like I’d be stuck in the same boring cycle forever, and I know for a lot of people, it still feels like that. So VR seemed like the perfect escape from this dubious reality where you can’t even take a safe vacation trip anymore. And you know, I think it works really well for that purpose. The Oculus Quest is especially effective, doing away with cords or cables so you have as much freedom as you have free real estate in your home. I don’t have a lot of space in my studio apartment, but I have enough to see the potential of the medium, which is completely worth it. Next gen consoles are neat and all, but I’ve got my heart set on picking up the Quest 2 as soon as possible.

* Beat Saber

I was most looking forward to trying Beat Saber on the Quest, and I was not disappointed. You’d think rhythm games had reached their peak with Rock Band and DDR, but the genre keeps on giving with gems like this. It’s hard to convey if you’ve never tried it, but the game succeeds so well in getting your entire body into the rhythm of whatever song you’re slashing through.

* Half Life: Alyx

Again, I really did not expect to be able to experience this game as intended this year, and I still don’t think I really have. The Oculus Link for the Quest is admittedly a little janky, and my PC barely meets the minimum specs to even run the game. And yet, despite that, Alyx is one of my top three games of 2020 and maybe one of my all-time favorites. Even as I was losing frames and feeling the game struggle to keep up with all the AI Combine soldiers running around, I was still having a blast. For me, it is one of the best reasons to seek out and own VR and a pinnacle of game design in its own right.

Hades

For me, Hades has mostly been similar to every other Supergiant Game that I’ve played: fun and well-polished but ultimately not engaging enough to play for very long. And there’s always this sheen of trying to be too clever with their dialogue, narration, and music that rubs me the wrong way. But Hades is certainly their best game, and I can’t deny the effect it’s had on people, much like Bastion’s reception back in 2011. And I’m really hoping Hades gets more people into roguelikes, as a more accessible and story-driven approach to the genre. Timing-wise, I wish it hadn’t come out around the same time as Spelunky, because I think it did make some people choose one over the other, when the best choice is to play both and realize they’re going for very different experiences. The precise, unforgiving, arcade-like style of Spelunky isn’t fun for everyone, though, and Hades is thankfully there to fill in that gap. I’m really glad I found more time to play it this year at least to succeed on one escape attempt; it’s a fun game to think about in a game design context. And I do think the game has a lot of merit and is doing some clever things with difficulty that the studio likely could not have honed nearly so well without the help of Early Access. The most impressive part of the game to me is not the story or the music or the combat but the massive amount of contextual dialogue they somehow found time to program, write, and record at a consistently high level. All of this is just to say, Hades is obviously one of the best games of the year, and you should play it if you have any interest in it at all.

Spelunky 2

I’ve spoken a lot about this game on Twitter, so I’m not going to rehash much of that here. For me, it’s been a journey of over 1,000 attempts to learn the intricacies and secrets of a deep and demanding game that’s been as frustrating as it’s been rewarding. But it remains a constant source of learning and discovery as well as mastery and pride for me, and I still have hopes of reaching the Cosmic Ocean and getting all the trophies someday. It’s been a joy to watch other Spelunky players too, even as some fair worse than me and others fair far better. And the Daily challenge keeps me coming back, because seeing my name high up on the leaderboard just makes me feel so damn good (or at least I’ll get a good laugh out of a hilarious death). At its heart, Spelunky is a community endeavor, and I think it succeeds at that better than almost any other game this side of Dark Souls. I think it is my Game of the Year or at least tied with Alyx, I really can’t decide. If you don’t think you’d enjoy it, all I’ll say is, the frustration and difficulty are integral to the experience of discovery and surprise, and your brain is better at video games than you think.

Chess

Okay, yes, I watched and enjoyed The Queen’s Gambit, but I think 2020 had already primed people to get into chess this year regardless. Like Yu-Gi-Oh!, chess was a childhood pastime of mine that I really enjoyed and then quickly left behind as I discovered things like music and the internet. If I had to assign a theme to my 2020, it would be rediscovering old hobbies to remind myself how good life actually is. And now I’m more committed to chess than I ever was before. I’m watching international masters and grand masters on YouTube (as well as the incomparable Northernlion), I’m playing regularly on Chess.com, and I’m even paying for lessons and probably my own theory books soon. Like most fighting games, chess is a complicated form of dueling a single opponent with zero randomness, so mistakes are always on you. And modern chess platforms offer extremely good analysis tools, showing you exactly how, when, and why you screwed up so you can do better next time. Like Hearthstone, it’s a quick, addicting, tense, and rewarding way to train your brain and have fun. And it seems more popular now than ever, in part due to a certain Netflix original TV show...

The Queen’s Gambit

I think a lot of people want to be Beth Harmon, even if they know they shouldn’t. It must feel so good to be the best at something and know you’re the best, even while under the influence of certain substances. It’s what makes characters like Dr. Gregory House so fun to watch, though you’d never want to work with the guy. For me, anyway, I always wanted to be a prodigy at something, and what little success I’ve had made The Queen’s Gambit very relatable to me. More so, it’s easy to relate to growing up in a conservative environment with few real friends and fewer outlets of expression, only to realize you’ve finally found your thing, and that no one can take it from you. That’s mostly what I’m going to take from The Queen’s Gambit anyway, more than chess or the Cold War commentary or the problematic relationships Beth has with her cadre of rivals/boyfriends. The show gets a strong recommendation from me for fans of chess as well as lovers of optimistic coming-of-age stories.

March Comes in Like a Lion

Similarly, March Comes in Like a Lion features a protagonist who is scarily close to a version of myself from like eight years ago. My best friend has been urging me to watch this show for years, and I’m still only a few episodes in. But I love how it portrays a young person who’s moved to a big city away from home for the first time, with nothing more than some meager possessions and the hopes of becoming the best in the world at something. And Rei is not confident in himself or outgoing at all, he’s extremely depressed despite pursuing his dreams and trying to distance himself from his somewhat toxic family. It’s a great reminder that the smallest kindnesses can often change our entire perspective on the world, and that even the people that seem the most well-equipped to handle life often still need help. I’ve been very fortunate to have people like that despite mistakes I’ve made, and I hope to be that person for others too.

Umbrella Academy

I’m pretty burnt out on superheroes, but UA put a good enough spin on them that they felt brand new. The show is rough in places, but it’s surprising in some really clever ways. And the comics are some of the wildest stories I’ve ever read, like Hitchhiker’s Guide meets Watchmen.

HunterXHunter

I binged about 100 of the 148 episodes of HxH this year, which I recognize is not a significant number in the wider world of long-running shounen anime, but it’s quite an undertaking for me to finish a show of this length. The series goes places I never expected and made me care so strongly for characters I thought I’d hate at first. It’s the smartest and most endearing show about a band of misfits going on crazy adventures and punching people for the good of the world that you’re likely to find.

Hannibal

This is the rare show that’s simultaneously comforting and nightmare-inducing if watched for extended periods. I can remember nights after binging a few episodes where I couldn’t get many of the disturbing images out of my head. Fair to say, Hannibal is not for the faint of heart, nor is it without some low points. But for those who enjoy gory thrillers or gritty detective dramas, it’s a must-watch.

Yu-Gi-Oh! Original Series, English Sub

You can probably imagine my surprise as I discovered this year that the Japanese version of the Yu-Gi-Oh! anime is not only much better than the 4Kids version we got in the States, but it’s actually a decent show. The plot makes much more sense, it’s more interesting, the stakes are higher, the voices are better, and overall it’s just more enjoyable to watch. I don’t know if I’ll stick with it long enough to finish it this time, but this is definitely the way I’d do it and would recommend to others.

Fargo Season 4

It’s a miracle we even got another season of Fargo this year, let alone on time and of the same high quality as the first two seasons. It has a great setting, cast, and conflict. I love Chris Rock, and it was so cool to see him act so well in such a serious role. There’s a Wizard of Oz homage episode that is nearly flawless. And the post-credits scene at the end of the season is just the cherry on top. If you haven’t checked out Fargo by now, you are really missing out on some of the most interesting stuff happening in TV. I can’t wait to see what Noah Hawley does with the Alien franchise.

Movies

Cats

I had to include this one because it was the last full movie I saw in theaters before the pandemic hit. I technically went to Sonic too, but my friends and I walked out after about 30 minutes. The less said about that movie, the better. Cats, though, is a strange and curious beast (pun intended), adapting an already unruly animal (pun intended) to the big screen and yowling to be recognized (pun intended). But for every awkward or embarrassing scene, there’s one of pure joy and magic, like the extended ballet sequence or Skimbleshanks the Railway Cat. The film knows exactly what it is and leans into it hard, like a familiar yet slightly insane feline begging to be stroked, which I imagine is exactly what fans of the musical wanted.

Children of Men

There’s not much I can say about this film that probably hasn’t been said better elsewhere. I was intrigued to watch it when I learned it was one of my friend’s favorite movies. And I have to say, it’s really profound in a prescient way. Clive Owen gives one of the best performances I’ve ever seen. You should watch it, but only when you feel like taking a severe hit to the feels.

Basic Instinct

Vertigo is probably still my favorite film, so when I learned this year that Paul Verhoeven made a bloody, sex romp homage film to it in the 90s with Michael Douglas starring, I simply had to watch it. And you know, it’s not bad. It’s nowhere near as good as Vertigo, and you can see the ending coming a mile away. But what it does have is the immaculate Sharon Stone, who you cannot take your eyes off for the entire movie. And the movie knows it, making her look as alluring and suggestive as her character is to the detective investigating her. You could do worse than to watch it, just don’t expect any of Hitchcock’s subtlety or looming dread to seep into the final product.

Books

Dune

I finally finished Dune this year, and I can genuinely say it lives up to the hype. It’s not the easiest book to get through, but it’s by no means one of the most difficult either. I’m still bummed that the new film was delayed, but it might give me time to read the rest of the original book series.

The Fifth Season

Another fantastic piece of fiction, I cannot recommend this book enough. N.K. Jemisin is one of the best living authors of our time. If you want an original setting with a brilliant magic system and complex, compelling characters, look no further.

Video Content

Northernlion

I’ve been a fan of NL for years, though I’ve never been that into The Binding of Isaac. He just has a charismatic intelligence to him that sets him apart from most “Let’s Play” YouTubers to me, and he’s very funny to boot. I guess I’d say he seems a lot like me or the person I could picture myself being if I were a professional video content creator. So I was really excited for NL’s series of Spelunky 2 videos, and I still watch them every day, months later. And now he’s teaching me how to get better at chess, being a good 600 ELO higher than myself at the moment. His sarcastic and improv-laden banter have withstood the test of years and gave me some much-needed comfort and laughter in 2020. Somehow, the man even found a way to keep up his prolific output this year while raising his firstborn child. There are those who said it couldn’t be done...

The Command Zone - Game Knights

Josh Lee Kwai and the rest of the crew at The Command Zone continue to put out some of the most well-produced tabletop gameplay videos on the internet. It’s perhaps no surprise, seeing as how Lee Kwai created trailers for such blockbuster films as Scott Pilgrim Vs. The World and Jimmy Wong had a supporting role in the live action remake of Disney’s Mulan. But the crew around the two hosts are just as important and talented, and it’s clear that they all share the same singular vision for the channel’s future. They’ve carefully crafted a team of expert editors, animators, cosplayers, and voice actors to deliver one delightful video after the next at a consistently high level. If you’re into Magic: the Gathering at all, you simply need to watch Game Knights.

Cimoooooooo

I found Alex Cimo’s channel shortly after the algorithm learned I was interested in Yu-Gi-Oh! again, and at first, I was less than impressed with him. But it’s clear to me now that he not only loves what he does, he’s an expert Yu-Gi-Oh! player and analyst. Plus, he’s very good at explaining some of the more complex concepts in the game in a way that newcomers can understand. I’ve watched every new episode of The Progression Series and The History of Yu-Gi-Oh! so far, and they’re the best way I’ve found to learn how the game developed and changed over the last 20 years.

Team APS

This is another great Yu-Gi-Oh! channel, focusing more on skits, gimmick videos, and casual games rather than analytical or theoretical content. Mostly, they seem like a really great group of friends that just have a blast playing Yu-Gi-Oh! together, and their love for the game makes me want to play more too.

Tolarian Community College

Somehow, a community college English professor’s channel went from a quirky little deckbox review platform to the most popular Magic: the Gathering channel on YouTube in only a few years. But it’s easy to see why when Brian clearly loves what he’s doing more than most people ever will. He’s not only a fantastic reviewer and MtG scholar, he’s one of the most outspoken voices for positive change in the community and the game. Is he too hard on the Magic team at Wizards of the Coast? Perhaps, but without his measured and well-reasoned takes on all things Magic, I think we’d be much worse off.

IRL

Cooking

Even I get tired of eating the same things every day, so I’ve taken it upon myself to learn how to make more dishes, mostly out of sheer boredom. And I know I’m not alone in that, but I have to say it’s been a rewarding and fun adventure. It’s really surprising what you can throw together with a decent recipe and a little creativity in a modest kitchen when you decide to break away from the microwave for once.

Chinchillin’

Like many people, I felt that I needed a pet to survive this year, and I’ve always wanted a chinchilla. So I took a risk and bought one from a seller on KSL a few months ago, and my life has definitely changed for the better. No longer simply alone with my thoughts all day, I have a furry little companion to commune and bond with. And it’s more difficult to find time to feel sorry for myself when a basically helpless tiny creature depends on me for almost everything. Not to say it’s been a perfect experience however, people don’t say chins are difficult to care for for nothing. And I have learned more about them than perhaps I ever cared to know before, but that’s only made them more interesting to me as a result. Overall, I would recommend them as pets, just be prepared to give them a lot more time and attention than you would to say, a fish or a hamster. I’ve seen the commitment compared to that of a large dog, and I think that’s fair, though chins seem far more difficult to train and are far less cuddly. Basically, imagine a fluffy, super fast squirrel that can jump half your height, shed its fur at will if grabbed too tightly, that sleeps all day and bathes in dust, and that cannot get wet or too hot or eat 99% of human foods without serious complications. And they get lonely, and they all have their own surprisingly distinct personalities, some shy and mischievous, others bright and social, and everything in between. But I’m glad to be part of my little buddy’s life and hope to make it a long and enjoyable one for him. Part of why I wanted a chinchilla so badly is they typically live between 10-20 years, much longer than the average rodent or even many cats and dogs. And they’re sadly endangered in the wild, poached for their incredibly soft fur, which is why I believe it’s critical that we care for and learn more about them now. And above all, I adore my chinchilla’s antics, even when he continually tries to dig up and eat the paper bedding below his cage when I’ve provided perfectly edible hay and pellets for him in much easier to reach locations.

And that’s all, folks...

If you’ve read this far, know that I really appreciate it and hope you learned something new about yourself, art, or the world. And please do let me know what’s kept you going the most this year too, as I suspect I’ll still be searching for new distractions next year, even after I’m able to get a Covid vaccine injection. As Red Green would say, we’re all in this together, and I’m pullin’ for ya. <3

#2020 #hobbies #art #youtube #reviews #entertainment #games #books #film #tv #netflix

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violethowler · 5 years ago

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A Farewell To The Clone Wars

Yesterday was the end of an era

After 11 years and 104 days

After a theatrical movie, a novel, a comic miniseries, 8 incomplete story reels, and 133 episodes

After 49 hours and 12 minutes of incredible, heartbreaking, beautifully animated television….

Ended, The Clone Wars have.

I watched all of the existing Star Wars movies on DVD when I was a kid, but I was never particularly enamored with them the way that others are. And then in August 2008, I went to the local movie theater with my grandmother to see an animated movie that – while I didn’t know it at the time – would chart the course of my future for years to come.

While a lot of the general Star Wars fandom looks down on the theatrical Clone Wars movie as weak and lackluster, 11-year-old me loved every minute of it. I’ve been obsessed with animation my entire life, and around 2 years before the theatrical release of Star Wars: The Clone Wars, I had just begun to explore the world of animation outside of my childhood Disney bubble, diving headfirst into SpongeBob and Avatar and Codename Kids Next Door. Whenever I saw commercials for an animated movie playing in theaters I would beg my family to take me to see it. It didn’t matter what the movie was actually about, all that mattered was that it was animated and I thought it looked fun.

So, when I saw Star Wars: The Clone Wars in theaters with my sister and my grandmother, I loved it. I enjoyed the movie so much that when I learned there was going to be a TV show following the movie, I was ecstatic. From the moment that the first episodes of Season 1 aired on Cartoon Network a few months later, I was hooked. From the very beginning I refused to miss a single episode. From middle school all the way through high school The Clone Wars became the axis around which almost all of my entertainment consumption revolved.

I started reading more Star Wars books and comics from all over the timeline. The Thrawn trilogy. Darth Bane. Fate of the Jedi. The Old Republic. Lost Tribe of the Sith. I devoured every piece of Star Wars media I could find as this show awakened in me an appetite for all things Star Wars. Whenever my parents asked for gift ideas for my birthday or Christmas, at the top of my list would be the latest season of The Clone Wars on DVD. Every summer I trawled the internet looking for news from Star Wars Celebration or San Diego Comic Con about the next season – trailers, clips, plot details, whatever I could find.

When the show was initially cancelled following the purchase of Lucasfilm by Disney, I was devastated. This show had such a staple of my life that the idea that it wasn’t going to be coming back hurt. As I started looking around at online Star Wars fandom to find someone, anyone, who felt the same way that I did, I discovered #SaveTheCloneWars, and joined the campaign. Through that first year after the plug was pulled, I wrote to Disney asking them to continue the show. I signed fan petitions and made posts on Facebook. It was my first real engagement with the wider online fandom.

Then came The Lost Missions and the Clone Wars Legacy releases – Crystal Crisis, Son of Dathomir, Dark Disciple… Having more Clone Wars stories helped soften the pain of the show’s loss, but the story still felt incomplete. Hearing about future arcs that had been planned for the show only added to the sense of incompleteness, knowing that there were more stories we didn’t get to see. When rumors had begun circulating about an animated Star Wars show set post-Clone Wars, resolving unanswered questions of The Clone Wars was at the top of my wish list for a future Star Wars show.

When Rebels was announced I was cautiously optimistic. I didn’t want to get attached to a new set of characters when the loss of Ahsoka and Rex and my other Clone Wars favorites still felt so raw. After Dave Filoni and the production crew of Rebels posted videos introducing the crew of the Ghost and the core cast of Rebels I reluctantly became more interested, I still was cautious about investing my time in this new show out of fear that it too would be ripped away from me without a proper conclusion just like The Clone Wars was.

So, when the final episode of Rebels’ first season confirmed that the mysterious Fulcrum was none other than Ahsoka Tano I was out of my seat cheering. There were still questions I needed answered about what happened to her after she left the Jedi Order, but the fact that she was there, back on my TV screen once more, was a relief. And when I watched the first trailer for Season 2 a month later, the words “My name is Rex,” made me scream and cry. I was overcome with tears of joy knowing that not only would my favorite Jedi be appearing in Rebels but my favorite Clone Trooper as well.

By the time Rebels’ first season had ended, I was getting ready to graduate from high school and planning where I would go to college in the fall. Taking art electives in high school, particularly a computer art class during the airing of Season 5, made me appreciate just how beautiful the show’s art style was, and when the time came for me to plan where I wanted to go to college, I chose schools that had programs for animation. I had originally wanted to be a game designer because of Kingdom Hearts, but The Clone Wars made me realize that the passion I truly wanted to make a career out of was animation.

I continued to follow Rebels as I went off to college, and by the end of Season 3 – with Maul dead for good, Ahsoka MIA, and Rex and Hondo as the only major Clone Wars characters left on the show – I had gotten attached to the Rebels characters as well. I was just as invested in their fates as I was for those of Clone Wars characters like Rex and Hondo. Season 4 finished airing at the end of my junior year, and the knowledge in the final five episodes that Ahsoka had not only survived her confrontation with Anakin at the end of Season 2 but that she was still alive years after the events of the original trilogy had me crying tears of joy as I went to sleep.

The trailer announcing the return of The Clone Wars had me in tears for hours. Long had I been dreaming of the remaining stories of this show being released in some form. I would have been content with more novels and comics like Son of Dathomir and Dark Disciple, but to have the show return in animated form was a miracle I had given up hope for years ago.

But within the last twelve months, my interest in Star Wars cooled.

I was never the biggest fan of the movies. Revenge of the Sith was my favorite because in the absence of a proper conclusion it functioned as a de facto finale to The Clone Wars. I enjoyed the original trilogy, but they weren’t movies I considered my favorites. I saw The Force Awakens and The Last Jedi in theaters and cried on my first viewing of both films, but on repeat viewings the magic of them faded and I lost interest. While I could understand why other fans liked them, there was a spark that was missing from most of the movies released under Disney that prevented them from really having any staying power for me.

And then The Rise of Skywalker came out and completely shattered any expectations I had that Disney really knew what they were doing with the franchise. Where before I was willing to trust that there actually was a plan because of how precisely Rey and Ben Solo’s arc followed the path of the Heroine’s Journey across The Force Awakens and The Last Jedi, now I realize that what I initially believed to have been a carefully planned narrative arc was most likely JJ Abrams planning to set up a conventional Hero’s Journey which Rian Johnson used to try and tell a Heroine’s Journey instead. And even if there was a plan for Rey and Ben Solo that got screwed around by behind the scenes conflicts, there was clearly no plan as far as Poe and Finn and Rose were concerned.

For months after this, I started questioning and doubting my love of all the canon Star Wars media. How could I enjoy anything in the Original and Prequel trilogy eras knowing that all the hard work of dismantling Palpatine’s empire would be undone in order to rehash the same plotline with new characters and no concern given for whether the audience could follow what was happening or why these events and character decisions mattered if they hadn’t read every comic and novel and played every video game connected to this era.

Since the last trailer for the final season of The Clone Wars went up on YouTube, I vacillated between enthusiastically sticking to the shows I loved regardless of my problems with the film saga, and abandoning the franchise altogether and gifting my Clone Wars and Rebels Blu-Ray sets and associated novels to my college friend who had just gotten into Star Wars.

And then ‘The Phantom Apprentice’ Happened.

Ahsoka and Maul’s two-part duel in the throne room and the rafters of Sundari reminded me of everything I loved about The Clone Wars in the first place. The animation. The art style. The music. The attention to detail on every character and in every detail. The tragedy of what was to come. On my third re-watch of the third-to-last episode of Season 7, that was when I realized that despite my problems with the Sequel Trilogy, despite the many flaws in the writing of the Prequel movies, I could never give up on The Clone Wars, or on Rebels. These two shows have meant too much for me to ever walk away from either of them.

I have cried at least ten times in the last five days watching the final two episodes of The Clone Wars. The final of this incredible series was such a gut punch even though I knew what was coming and who would survive. I had and saw so many ideas about what the last episode would include. Would their be a montage of all the Jedi who survived Order 66 as a mirror of the death montage in Episode III? Would Ahsoka and Rex receive Obi-Wan’s recorded message from Rebels warning surviving Jedi to stay away from the temple?

But in the end, none of those things happened. The focus of the episode remained on Ahsoka and Rex. Their escape from the ship. The tragedy of their inability to save the other clones. And ending with a shot of Vader finding the ship some time later, all these symbols of the Republic buried beneath the winds of time as the empire rises. It was bleak and depressing and when the credits rolled I was holding back tears. But looking back on the entire series and the era of the war, knowing what was coming, there was no other way I could have expected it to end. The audience already knows that this is not the end, but Ahsoka and Rex don’t know that, and so the finale of The Clone Wars reflects this. The pain and despair. The tragedy and confusion over what will happen next. And I wouldn’t have it any other way.

Despite all the movies I’ve watched; the comics and novels I’ve read; the video games I’ve played; very few things in Star Wars canon or Legends have been able to match the magic of The Clone Wars in my heart. I have never truly been a Star Wars fan so much as I have been a Clone Wars and Rebels fan. The novels and comics and movies I enjoy are an extension of my love for the shows, but the shows will always come first. The characters these shows introduced have stuck with me more than any characters from the movies ever has. Clone Wars made me love Anakin and Obi-Wan and Padme and Yoda, but to me, my Star Wars favorites have always been Ahsoka, Maul, Rex, Ventress, Fives, Hera, Zeb, Thrawn, Sabine, and all the rest.

So, I just wanted to say thank you to Dave Filoni, Ashley Eckstein, Matt Lanter, Catherine Taber, James Arnold Taylor, Sam Whitwer, Nika Futterman, Dee Bradley Baker, as well as every single person involved in bringing this show to live for all the hard work and passion you have poured into this series. Your work on this show shaped the person I am today, and I look forward to seeing what you do next.

May the Force Be With You.

#star wars the clone wars #clone wars season 7 #thank you dave filoni #the siege of mandalore #victory and death #farewell to the clone wars #tcw spoilers #clone wars spoilers

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expshared · 5 years ago

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this season was kind of whack, but at least we had Eizouken

Heya Camp is just kind of a lazy reminder that Yuru Camp exists, and will continue to exist in the future. You remember these characters?? OK good, just making sure. That said, did I immediately feel the tension release in my entire body when I heard the OST? Duh. Did I sing “it’s coffee time” to the ending not knowing these were the incorrect lyrics? The entire time.

I don’t know what to do with Isekai Quartet because like, objectively, I should hate it. I do not enjoy like 2.5 of the shows involved, and the addition of Shield Hero was not a welcome one. Turns out it doesn’t matter anyway because it was just Isekai Quartet and also Naofumi is Sometimes Scowling in the Background and that’s about as much of him as I want to see anyway. And yet? I do enjoy this Disney Channel Original Crossover. There’s something inherently fun about watching these characters from disparate shows interact with each other, and no matter what the original stakes were in their respective series, they’re all just doing homework and getting part time jobs and that shit’s funny when a big skeleton man is doing it.

After its first episode, Asteroid in Love was kind of a slog. This is your typical seasonal CGDGT show, and apart from that, I really can’t think of anything to say about it. I didn’t learn anything about the Extremely Niche Topic these girls are doing, and it wasn’t even that gay. Disappointing.

I was really looking forward to Toilet Bound Hanako-kun because I am a big fan of the source material, but I was pretty let down by this adaptation. It seems that they prioritized the art style and the color scheme above everything else, but that essentially just meant the entire project ended up being colored manga panels. I wanted to see them move around! There was not a single moment of animation that justified it being an anime. You might as well have been watching a PowerPoint. I can’t think of anything nice to say. Let’s move on.

Bofuri is my power fantasy. I want to play a video game so cluelessly I break it into tiny pieces and bumble into being the most powerful player in the world’s nicest MMORPG. Maple turns powercreep into powersprint. What Bofuri lacks in character development or plot, it makes up for in outrageous Maple feats. She holds the entire world in the palm of her hand and she doesn’t even know it. She named her OP pet turtle Syrup and then turned into an alien abomination unknown to the world and went on a killing rampage. This anime was Maple Crossing Online. Love you, Maple. Wreck shit, Maple.

If My Favorite Idol Got Into Budokan, I Would Die walks a thin line and what separates it from being a slobbering idol otaku engine preaching how Cool it is to Be an Otaku and an Idol Show Watamote is the fact that Eripiyo is a girl. That’s it. If you took her and replaced her with your average Joe Schmoe-san, this show would be insufferably creepy. Every time I was waiting for it to topple over, Jenga-like, it managed to right itself and straddle the tightrope. It’s not a particularly subtle piece of media, nor does it do what I was hoping it would do and engage in any sort of conversation about the obsessive nature of idol otakudom, but you know what it does a good job of doing? Portraying being an idol as a job. Just some adults putting on underground shows and selling the same CD of like two songs over and over again. I was also hoping it would address what happened to Eripiyo, maybe talk about why at the beginning she’s dressed like an office worker and apparently gives that all up to follow this kinda-shitty idol group, why this fanatic escapism is preferable, or even maybe address how gay it is? Not in the cards, though. Honestly Budokan was, despite itself, pretty enjoyable? There are some great background lesbians. Also can we talk about how consistently good the production values were on this show? Why did this have such great dance sequences? Why did this look better than Love “Has More Money Than God” Live? Actually no I take everything back this show was kind of just Idol Otaku Watamote

Hey, let’s talk about the other idol show airing this season: the completely unhinged 22/7. This show is Whack. This show operates on an entire different plane of reality. I know nothing about the actual band, so I came into this blind and oh my god. Hey guys, the plot of 22/7 is that a Wall tells some girls to form an idol unit. A sentient Wall whose orders absolutely must be followed. Why? Dunno! What happens if you don’t follow its orders? Never elaborated on. (Actually, is this a reference to Pink Floyd? I have no fucking clue.) In any case these eight girls, summoned by a letter from the Wall, are all invited to become an idol group, and then they’re magically an idol group. It’s unclear how they become successful, how they book gigs, who’s keeping the lights on at the agency, how they’re getting paid, who HR is, how their gorilla man agent found this Wall and determined that all its directives Must Be Followed, but shit, man. What follows in 22/7 is a one-member-per-episode serial that quite frankly stumbles far more often than it succeeds. One girl’s grandma died and that’s why she came to Japan. One girl had a traumatizing experience where she got lost in the woods for a week and it broke her family apart and now things just suck forever. These things are equal. One poor girl’s entire episode was about how she didn’t want to put on a bathing suit for a photo shoot and how uncomfortable she felt about it, but in the end she was made to apologize for dragging her feet for so long and takes her photo for a pin up. Yuck. Gross. Bad. The only valid girl is Jun, end of discussion. None of this even holds a candle to the finale-- wherein the girls are directed by the Wall to disband, and, defying an order for the first time, the girls return to their agency and throw shit at the Wall until it breaks down. It’s revealed that the Wall isn’t supernatural-- behind it are tv monitors, photos of the girls as children, records of their activities. A person or people are behind this. Why??? Are they being groomed?? Is the Wall a metaphor for the Industry? I’m so concerned. The girls aren’t, though, because after a little side eyeing, they ascend a staircase and wow! A Stage! Our fans are all here for our reunion tour! And then they’re fine and I guess their idol group is back together or something? Did I mention the stage where they perform? It’s at a zoo. I can’t tell if this is the most scathing condemnation of idol culture I’ve ever watched or just completely oblivious. The characters don’t engage in any sort of thought about what they’re being put through, but they are performing their final song, the lyrics of which are about how life is just too hard to keep on living, at a zoo and I don’t think you can have that sort of thing happen unless you’re trying to make a point. Right??? RIGHT?!? Dance and sing, monkeys.

Smile Down the Runway was another show completely divorced from reality. So you got your main character, Chiyuki, whose thing is that she’s Too Short to Be a Model at her father’s very prestigious modeling agency. Which, like, is valid! Let’s see some variation in the modeling industry. Let’s shake it up. Let’s lead the charge for alternative models with bodies outside of the very narrow requirements of the fashion industry. What’s that, Chiyuki? You have no interest in that? You want to be a Hypermodel? I don’t know what that shit is, I think you made it up. Our other protagonist is Ikuto, the destitute, put upon, bobcut boy with a dying mother and 3 younger siblings who is trying to pursue his dream of becoming a fashion designer. Are you beginning to sense the problem here? There is a fundamental imbalance in the presentation of these characters’ goals and situations. Also? Emotions are at an eleven, always. Characters are always acting as if they’ve just seen someone get murdered in front of their eyes even when it’s like. There’s a messed up seam. They are constantly being mortified, crushed, and having their dreams ripped away. One time, two different assholes offered Ikuto magical mom-fixing blood money when he was struggling to come up with funds to pay off his medical debt at the cost of giving up his spot in the fashion show. Wildin’

Haikyuu didn’t exactly come in like a lion, but I’m sure it’ll be more organic upon rewatching. We were laying the groundwork for much of this season so I’m expecting it to payoff later, but the beginning definitely lagged. Every time Haikyuu hints at a women’s volleyball tournament, I want a volleyball anime with girls. Man, those ten minutes we got with Kiyoko? Those were great.

I don’t have too much to say about Somali and Forest Spirit. Abe’s “Make Children” agenda feels at least a little more like a narrative choice in this anime, and I enjoyed Somali and the Golem’s relationship and their travels were in equal turns harrowing and heartwarming. And I did tear up at the end so you got me there, anime.

In/Spectre has some balls being an anime. It’s existed as a light novel and a manga and those are both superior mediums for it because let’s put all our cards on the table here-- In/Spectre is a show about talking. Five whole entire episodes take place in a car. The finale is winning an argument in an anonymous 4chan chatroom. That said, I have such a fondness for In/Spectre. I think Kotoko rocks. I think a show willing to do nothing but talk at you for two hours is badass. Sitting through this anime is like watching a podcast. I think the show engages in some great dialogue about human nature and how we prefer stories that are theatrical, narratively-driven, and have a logical cause-and-effect, instead of the truth, which is more often than not grim, and disappointing, and illogical. I like that Kotoko’s only function, in-story and out of it, is to bullshit so hard she invents alternate realities. Anyway In/Spectre is good.

There’s no praise I can lavish on Eizouken that hasn’t already been said. It’s powerful, it’s strange, it’s energetic, and it’s packaged with such love. It’s repurposed the CGDCT template into something deeply affecting. It’s an anime for people who love animation. I hope everyone watches Eizouken.

#animoose and mango #chitchat paddywhack #long post /

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shadowofthelamp · 6 years ago

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Can I get a basic run down of each of your au’s? It’s really hard to keep track and I wanna understand what people are talking about

*cracks knuckles* Alright, let’s do this. I’ll probably just link this in my sidebar at this point, because these are getting built up pretty rapidfire and if you aren’t on tumblr as much as I am you’re pretty liable to miss something.

Now with tag links, going chronologically so you can catch up if you want to! Some of them have a lot of posts, though, just as a warning.

-Time AU: The original. Twix is accidentally sent back in time- why is still a bit fuzzy but I think it involves the Voot malfunctioning when a time machine is installed. She runs into Dib when rummaging around in the basement lab in his house for parts, and lets it slip that she’s his daughter from the future. Her skin is just not-green enough to slip past his radar, and a DNA text confirms that she is in fact related to him, but her lips are sealed about who her other parent is.

She needs to break into Zim’s base to get the necessary tools to finish fixing the Voot to go back home, and Dib assumes she wants to expose Zim like she does, so she has to keep on his good side to get what she needs. It’s weird to say the least, seeing her parents fighting and Dib as a kid- especially since Zim looks basically the same.

After she finally fixes the Voot, it starts jumping through alternate dimensions before she finally makes it home, and she meets several alternate versions of herself.

The tag needs to be cleaned up on this one- it was the first au and has scattered posts of the others still in it but it’s going to take a while to edit down to the individual ones, fair warning.

-Tallest AU: Zim is “co-Tallest” with Tak, and Dib is a rebel fighter trying to take down the empire- sort of a bounty hunter on the side too. Twix is created during a fight when Zim tries to rip Dib’s throat out with his teeth, as you do. Zim is yanked out of public view while pregnant- can’t let the Empire know one of the Tallests has a defect that allows him to reproduce naturally. When he comes back, Twix is declared an experiment of his to create an heir with alien DNA to help her be taller, stronger, and more resilient. She’s kind of a spoiled brat in this one, and has absolutely no idea who Dib is.

When she’s about 12, Dib as a bounty hunter was enlisted to kidnap her in an attempt to rile up Zim and get rid of his heir in one fell swoops, having no idea that she’s his daughter. Eventually, that’s discovered, and she slowly learns what life is like for everyone who isn’t her, while Dib learns to be a parent and care for her instead of having to just rely on himself all the time. Things are pretty tense at first, though.

Eventually, after Zim gets her back, she’s injured during a fight and Zim and Dib make a reluctant truce while she heals, eventually becoming sort of ‘rivals with benefits’- Zim won’t kill him if he’s captured, and Dib won’t take headshots. Dib also gets a collar so he can walk around the Massive without somebody sniping his head off, although he’s very grumpy about this.

Eventually, Dib manages to convince Zim that he’s nothing more than a mascot for the empire, there to blow shit up to show their power. (Tak is the real leader, Zim doesn’t really have the power he thinks he does, and Tak was brought in as co-Tallest to do most of the real ruling and give an air of competence, with the Control Brains doing the rest.) This takes ages, and involves Zim being so deep in denial he literally shoots Dib in the leg to get him to shut up, but it needles at him until he accepts it. Needless to say, pisses him off. They run off together, something Tak’s actually pretty happy about because she figures he’ll just die without the protection being a Tallest gives him. Twix comes with them, and start causing problems for the Empire wherever they can.

Dib gets a robot arm at one point, we haven’t 100% decided on how, and they end up having a second kid, a boy named Kit. (Kit Kat. Thank the discord for that one.)

-WLOD AU: Based on the alternate future in Dib’s Wonderful Life of Doom. Dib is the villain in this one- Twix was made when Zim attempted to escape captivity and bit Dib in the process. She’s kind of a nervous, timid wreck, and Zim is incredibly protective of her. She doesn’t see the world outside of the lab until main!Twix stumbles across this world and helps break her and Zim out, bringing them to her reality and asking Membrane to help her ‘cousins’. They end up settled somewhere else. (She ends up good friends with Moth!Twix.)

The running joke with this one is if the other Dibs meet this guy they just beat the crap out of him.

When Twix eventually dies of health complications from being experimented on, Zim pretty much snaps. He goes back to his home dimension and burns down everything even remotely related to Earth and Dib and ends up conquering the Empire, his grief giving him laser focus and allowing him to work past his defects. He goes on pretty much on a multi-decade rampage, twice as ruthless as anyone else and blowing up planets with ease. One day, though, while he’s with the ground troops he sees a scared child who was orphaned by his attacks and sort of snaps back to himself. He ends up adopting them, and several others in an attempt to atone for himself. He trains them up, fully expecting one of them to end up killing him when they find out he was the one that orphaned them, but when they find out about Twix they tend to just leave over killing him.

He ends up dying near her grave of illness/old age.

-Human AU: This one’s gotten revamped. The old one is after the line, to explain the old fanart in that tag. (I… never really liked this one as much as the others because it didn’t feel Zim-like to me and Dib was barely a presence- and he was barely himself too.)

Honestly this one is still a bit of a joke, but Zim’s got a more mad-scientist edge to him, primarily with strange toys, furbies in particular. He makes lots of them and their house is overrun- Twix has no idea it isn’t normal. He enjoys making people squirm with his creations and ends up having a bit of a rivalry with Swap Zim.

______

Old version: Zim and Dib were both sort of academic rivals at school, but ended up paired together for a science pair project and became friends. They’re roommates at college and begin dating, and Twix just comes from a regular old broken condom, oops. Zim was kind of a party animal but cuts back for her sake. His water actually breaks during an important exam but he insists on finishing it, despite Dib’s blood pressure going up about 500%. Zim’s a Bio major, I haven’t really settled on Dib yet. Zim ends up working at Membrane Labs, though.

Zim’s also a big fan of musical theater, and gets roped into subbing in as Billy Flynn on the campus production of Chicago while four months pregnant. Gir is his younger brother and currently in high school.

-Irken AU: This one’s set a bit earlier in the timeline, when Zim was still working at the labs for military research. (See the canceled episode The Trial.) He met Dib there, and at one point they ended up locked in for a whole weekend on accident. At one point they got into a fight, one thing led to another, and Zim ended up pregnant. He only found out when he started getting sick and went to the hospital. The problem? That’s a defect that hasn’t happened in a long time- he’s whisked to the Control Brains, labeled defective in both mind and body, and sent off to Foodcourtia so no one has to deal with him.

When Dib finds out, he steals a ship and goes to rescue him. Zim is completely miserable, exhausted, overworked, and all around pissed this is happening. He lashes out at Dib for doing this to him before completely collapsing since his body hasn’t gotten a chance to rest in too long, and his instincts tell him that Dib is safe because he’s the other parent. Gir is a malfunctioning food service drone that snuck aboard the ship. They have to figure out what’s going on because this kind of thing hasn’t happened in centuries.

Dib was initially only interested in studying Zim because of the rarity of natural-born smeets, but as time goes on they end up getting closer, especially because Zim gets clingy as time goes on. There are two endings to this one- either they keep wandering around space, or they end up on Earth since it’s uncharted and no one will bug them there. Twix comes from an egg and has three siblings (possibly more) in this one!

-Pilot AU: Related to the Time AU- while jumping around, she gets stuck in the pilot universe. She very much doesn’t like it, especially since Dib starts stalking her instead. When he finds out she’s his daughter, he gets even more obsessive about how and why she came back, and she has to escape him to keep going home.

-Adoption AU: This is the angstfest one kicked off by a particular anon- Zim has a miscarriage, but at some point afterwards when Twix is jumping through the multiverse, she runs into them. After realizing what happened, she finds a version of herself that lost both of her parents and brings her to meet the ones that never had her, and they’re all happy.

-Zimvoid AU: Twix lands in the Zimvoid from the few most recent comics. Not a lot of plot to this one, it’s just fun to imagine. The Zims meeting after Twix is born is under PZA Au, and the Dibs meeting is ‘Meet me in the dibpit’ which is the best tag out of all of these lmao

-Species Swap AU: Dib is, similar to in the irken au, there to study local flora and find uses for them. Gaz is the invader, sent here for her catastrophic body count on every other mission she’s had. She finds out Earth has good games and is just ‘eh, whatever’ and basically puts the mission on hold, letting Dib start stalking the one human that truly interests him- Zim. He’s almost irken-like, and clearly incredibly intelligent- and destructive!

I made a whole plot explanation for this one here.

Dib is actually the one to have her in this au. It’s also a running joke and I’m heavily considering making it canon that this Zim is the one that actually succeeds in taking over the world.

-Mothman AU: Dib is an actual mothman, and so is his family. Variation on this one: One has irken Zim, one has human Zim. Other Dibs find this version of Dib hot. Twix is raised in the woods and her only real friends are her parents, Gir, and Tulip. (Keef’s adopted daughter.)

In the irken au, Zim is actually accepted relatively fast by Membrane who thinks he’s just a strange, stunted moth. After having Twix he ends up growing wings and neck fluff because mothmen are actually a very distant cousin of irkens that diverged millions of years ago, and carrying Dib’s kid kickstarted the process. He also dies for like two minutes because giving birth to an egg a third of your size really sucks. (He’s fine, once Dib got him to the recharging chamber he woke back up when his Pak reactivated him, he was just really low on charge after a birth lasting like two days.)

In the human au, he’s not so lucky- Dib has to keep his relationship a secret, and Membrane only finds out when he sees Zim, already pregnant. Dib gets into a big fight with him because humans killed his mom and Membrane is pissed he’d get into a relationship with one. Things do end up working out eventually, once Twix is born Membrane is fascinated by her, but tensions are still pretty high for a while. Earlier in this version, Zim actually found out he was pregnant when he gets accidentally shot by someone who was aiming at Dib and had to go to the hospital and they took a pregnancy test before doing the x-ray. (In all aus where Zim is human, including swap, he’s a trans guy, and this one is set in the 1970′s/80′s. He ran away to live in the woods for a reason.)

-SU AU: Steven Universe AU! This one’s covering most of the plot of Steven Universe up to this point, so it got long. Link here. (For the aesthetic, think more Gravity Falls and late over early SU: Deep woods and dark colors.)

-Capture AU: A sort of flip of the WLOD au. Zim wins and keeps Dib prisoner, although he enjoys riling him up so Dib is much more of a firecracker than WLOD Zim is. Zim gets the itching feeling he’s missing something and uses a blood sample from Dib to get himself pregnant, but he realizes he can’t raise the kid alone without killing her (and plays it off as making Dib help with something he’s made it clear he hates) so he lets Dib out but on a very tight leash. This one is definitely on the darker end.

-Scandal AU: Zim is Tallest, Dib is an irken scientist. They ‘grew up’ together but Zim shot up and forgot about Dib because- well, his memory’s canonically pretty garbage and besides he often misremembers things anyway. Dib is hauled in front of him for causing problems at the labs like letting the specimens free because he hates his coworkers, and they just kept shoving him at successively more important people because he managed to keep slipping away before being fully punished and it ends up getting all the way to the Tallest.

Dib gets pissy at Zim because he’s expecting to get thrown out the airlock or whatever, before realizing just how terrible of an idea that is and that Zim could do something a lot worse. Mostly he’s just mad that Zim left him behind, but Zim, who only has faint inklings of Dib being familiar, decides to keep him around on basically a whim.

Things evolve from there, with Zim doting over his new ‘toy’ who treats him like an equal (which he didn’t realize he wanted, because duh, he’s the Tallest, why would he want to be anything other than shallowly worshipped?) while Dib has to walk the VERY careful tightrope of staying alive by not pissing Zim off while also not rolling over completely and betraying himself. (And that might lose Zim’s interest as well.) Things get even messier when oops, there’s eggs now.

-Treasure Planet AU: What it says on the tin, an au based off the movie Treasure Planet! Plot summary here, AU mostly belongs to @64bit-trash and @yeehawimscared.

-Dibbrane AU: Dib turns out to be a much better clone of his father and doesn’t realize that Zim is an alien. Zim ends up getting attatched to him because he takes him seriously as a fellow scientist and genuinely enjoys his company, and eventually they get married- all without Dib finding out what he really is. Twix ends up more like show-Dib, determined to prove to the world that there’s a world hidden underneath their own, and Zim ends up her ‘alien rival’ in order to train her. She doesn’t realize she’s half-alien… yet. Fuller synopsis here.

-Amnesia AU: Zim was a personal pet project of Tallest Miyuki’s, and treated him as a son, planning to raise him to succeed her, taking down the heightarchy in the process. She ends up assassinated by Red and Purple in an attempt to get enough power to laze around for the rest of their lives, and Zim is blamed for it. A lot of irkens are bitter and jealous for the attention he got, especially for someone so short, so it’s easy enough to do.

While imprisoned, he tore up his Pak in an attempt to get rid of the grief and trauma of seeing his mother dead and ended up more defective, having mostly forgotten who he was before. The timeline ‘syncs up’ with iz show canon. He crashes OID2 and gets sent to Earth, and over the years enters a relationship with Dib and gets pregnant. When that’s discovered, he gets pulled back and his memory is wiped again, and when the baby is born, she’s taken away to see if they can shape her into a soldier.

Zim is used for more tests and Skoodge tries to help him, and ‘Brid’ is shuffled between career tracts before being sent out with the soldiers while still 11- practically a smeet. She meets Dib, who’s been looking for both Zim and his lost child. She promises to take him to Zim, but is going to try and bring him as a new species of alien to her superiors to get brownie points because she’s treated kind of like shit by the other trainees for being such a freak. (She always wears a helmet to cover her nose and hair.)

Eventually their paths cross as they get arrested and thrown into a cell near Zim’s, but Zim doesn’t realize he’s even got a daughter, much less this one, so there’s a while to figure things out.

All this time, Miyuki uploaded herself before her death into a side control brain that only Skoodge knows, and they stumble across her, and she helps fill in the gaps.

Aaaaaand I’ll go back and add more to this post if we get more, if I forgot one feel free to tell me.

#iz #aip #Anonymous #asks

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kriscynical · 6 years ago

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I feel like people are too blinded by nostalgia to give the remakes a chance, as well as basically worshipping Disney. And I say this as a huge Disney fan myself as well as someone who likes some of the originals, but they weren't perfect. Neither are the remakes. And though I may not like all of them, I still appreciate that they're at least trying to improve on some things that would be considered outdated or even offensive by today's standards.

It’s an odd combination, isn’t it? You’d think that if some of these people really worshipped Disney, then they’d be willing to automatically love anything and everything that Disney makes. Instead they’ve turned into the Disneyanna version of old people recalling their own childhoods with rose-tinted glasses and scoffing and anything and everything that’s new. “Well back in MY day…!”

I was raised on Disney and grew up during their 90′s renaissance; The Little Mermaid came out when I was 5 and Tarzan just a couple months before I turned 15. Those movies made me want to be an animator which ultimately led to me to going to art school and being an illustrator, and I love all of them along with their flaws. My family goes to Disney World every year for our vacation. If anybody would be blinded by nostalgia glasses, it would be me! Especially for Aladdin.

I detailed this on twitter but Aladdin is about as close to absolutely sacred as a franchise can get for me. I’ve been obsessed with it since it first came out, then the TV series, then the sequels. I’ve been collecting toys, knicknacks, oddities, jewelry, dolls, and fine art of it for over 25 years and have probably the biggest Aladdin collection in the US. I have the first movie on VHS in four different languages. I have the soundtrack in three, including the very first print that included the lyric “where they cut of your ear if they don’t like your face” in Arabian Nights. I have an embroidered jacket and daily calendar book that were given to the animators and production team who worked on the original. I’m surrounded by this franchise every single day. I met my best friend of 20 years because of Aladdin; she was the owner of The Aladdin Mailing List back in 1999.

If ANYBODY was going to be blinded by nostalgia glasses for Aladdin 2019, it would be me.

But as everybody else online seemed to be hating on every little thing about this movie and absolutely shredding it as each trailer, TV spot, and sneak peak was released, I just found myself getting more and more excited. I wanted to see Disney update Aladdin. I wanted to see them get rid of the offensive lyrics and material that flew over my head when I was 8. I wanted to see them reshape it into something new! Meanwhile everybody else was bitching about there “not being a need/point for this movie or any of the other remakes to exist”.

Since when does entertainment *need* to exist for any other reason than entertaining people?

Really, when did everything get so fucking serious?

Of course the remake isn’t a perfect movie, just like the original wasn’t perfect by any means. But both still have that same heart and charm that made the original so good and loved, and I’m happy to see that heart and charm apparently starting to drown out all the cynicism and hate if the box office numbers so far are any indication at all. Despite its faults, Aladdin 2019 is a good movie!

I went off on a tangent there (pft, when do I not?)but yes, I agree. Some people have such thick nostalgia glasses that the lenses are basically opaque and bar them from ever being able to see or appreciate anything new. It’s like when my little sister was tiny and refused to watch anything she hadn’t already seen, to the point of actually crying when I tried to get her to watch Aladdin! (I ended up telling her “Okay, fine. YOU go play with your toys. *I* am going to watch Aladdin.” and by the end of Arabian Nights she was staring at the screen with her mouth hanging open, transfixed.)

Even for entertainment in general I feel like people are getting overly critical of everything to the point of tearing absolutely everything apart for being ~problematique~ without ever giving themselves permission to just enjoy something for the sake of enjoying it, because holy shit biscuits you can actually enjoy something while acknowledging its faults! Imagine!

Yes, these remakes are primarily being made because they are enormous cash cows for Disney. Basically all movies are made in order to make money, though, so I don’t understand why Disney is magically held to a different standard in that department. They’re a business. They always have been.

The thing is, though, is that these remakes aren’t JUST cash grabs. You can see the love and care and respect for the original that went in to Aladdin 2019! If I can see that with how much of a diehard Aladdin 1992 fan I am, surely other people can, too, if they just give it a chance. If Disney was making these movies solely for a cash grab and nothing more, they wouldn’t put nearly so much effort into them and would rather just coast on the nostalgia factor of the source material and that’s it. You know, the way that most studios do when they make movies for video games *cough* Sonic *cough*. It would certainly be cheaper for them.

People need to lighten up and learn how to let Disney give them some fun for a couple hours at a time. You did it as children, guys, you can do it again. You’re just a grown up child. Walt said that himself.

Let yourself out to play!

#i don't know how to talk without writing a novella i'm sorry ^^;#aladdin #aladdin 2019 #disney #movies #anonymouse #asks #nostalgia train #queuebert

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sophieakatz · 6 years ago

Text

Thursday Thoughts: The Right Medium For The Right Story

I’m a bit obsessed with the topic of adaptation – and by “a bit obsessed” I mean “I wrote my undergrad thesis about it.” Adaptation is a kind of re-telling; you take a story that was told before, and you change some things when you tell it again.

For example, West Side Story is an adaptation of Shakespeare’s Romeo and Juliet. It’s the same basic story, but it’s set in 1950s New York instead of 1300s Verona, and the warring “families” are rival gangs instead of members of the nobility.

But there’s another kind of adaptation here that’s perhaps even more important than the change of setting – the medium. While Romeo and Juliet was originally a stage play, West Side Story was a musical, and later adapted again into a film. Adapting a story across mediums changes the work just as much, if not more, than anything else – or, at least, it ought to.

Minor spoilers for The Hunger Games books and movies as well as Disney’s Aladdin and The Lion King ahead.

[Image: The Hunger Games movie poster]

A Rose By Any Other Name Is Different

As a writer, I firmly believe that you must find the right medium to tell a story in. If you later change the medium, then something about the story is going to need to change as well. As much as a reader might want the film of a book to be completely loyal to the original text, a story originally designed as a novel is not going to work if you simply transfer it page-for-page onto the screen. This is because there are fundamental differences between books, a textual medium, and films, a visual medium.

My favorite example of a book-to-film adaptation that shows a clear understanding of the necessity of change is the Hunger Games franchise. Suzanne Collins’s books are told from a first-person perspective, giving the reader insight into Katniss’s thoughts the whole way through. Because we are hitchhiking along in Katniss’s mind, we get a lot of exposition about the world through her memories, and we know exactly what she thinks and feels about everything that’s going on. Importantly, this includes her confusion about how much of her affection for Peeta is real or just for the Capitol audience.

The Hunger Games film, on the other hand, is shot in a traditional third-person manner. Consequently, in the adaptation process, we lose Katniss’s point of view. We don’t get so many of her memories, aside from a brief dream sequence. We also lose her inner conflict about the performed romance (though the sequel, Catching Fire, plays catch-up on that point).

The filmmakers could have tried to make the film more like the book by adding a voiceover to explain what Katniss is thinking throughout the film, to sidestep the limitation of not actually being inside Katniss’s head anymore. Plenty of films do that. But The Hunger Games does not.

Instead, the film leans into the differences between the two mediums, seizing the opportunity to explore things that the book could not. While we lose Katniss’s inner voice, we gain everything that Katniss could not see. We get scenes of President Snow talking politics with Seneca Crane, making the viewer aware of the greater stakes of Katniss’s behavior in the Games much earlier than Katniss herself is. We also see the riots in District Eleven as they happen, instead of learning about them much later. In the third film, Mockingjay, scenes of Katniss’s work creating promotional videos with the rebellion are paired with the actual acts of rebellion that her words have inspired (I particularly love the “hanging tree” sequence at the hydroelectric dam). The effect is haunting, and it all truly drives home the magnitude of what’s going on.

As a result, the Hunger Games films remain true to the heart of the story without trying to shove a square peg into a round hole. A rose you read about in a novel might smell just as sweet as one seen on film, but only if you acknowledge that you can’t depict the rose in the exact same way in a book as you would in a movie.

[Image: The 2019 Aladdin movie poster]

Anything Is Possible… But Not Always

The current trend of live-action Disney film adaptations provides us with a fascinating case study in the power of adaptation, and of how well the adaptors succeed in transitioning a story from one medium to another. The original animated films (which themselves are mostly adaptations of oral fairy tales – but that’s a whole other blog post) and the new live-action and/or photorealistic CGI films are, of course, both films. But the kind of story you can tell in traditional animation is different than the story you can tell in a more realistic “live action” style.

(Not to mention that the kind of story you can tell in a mainstream media production today is different than the stories told twenty-plus years ago, representation-wise… but again, that’s a whole other blog post.)

Animation is a medium of imagination. That’s why animated fairy tale movies have always done so well. The un-reality of the medium lends itself to depicting the kinds of fantastical transformations typically told of in fairy tales. The viewer can suspend their disbelief and forget about the rules of the real world while watching an animated film. It’s much harder to forget those rules when the people on the screen are human actors.

The live-action Aladdin hits all the same story beats as the animated Aladdin, but it makes several brief but notable changes along the way. There are just some things that the animated film could get away with that the live-action film could not.

For example, the Genie spends a lot more time in a “human” disguise than he does in his natural blue form. If you were on the internet at all when the first images of Will Smith as the Genie were released, then you likely saw the backlash – for a lot of people, it just felt weird. A blue character with cartoony proportions who is constantly shifting into different shapes and sizes works very well in traditional animation, but less well when it’s an otherwise normal-looking human guy who is just… blue. You can smush and stretch the 2-D animated Genie and nobody will bat an eye, but if you tried to do the same to Will Smith – ouch! It conflicts with our idea of what is possible in the real world, and a live-action film is always going to feel more like the real world than a 2-D animated film.

This is likely why Jafar does not transform into a snake in this movie. Jafar-as-snake is arguably one of the best parts of the original Aladdin film – it’s certainly one of the best parts of the Fantasmic show at Disney’s Hollywood Studios. It’s awesome, it’s terrifying, and it does not happen in the live-action adaptation of Aladdin. Jafar does a lot of other magic – mostly levitation, paralysis, and creating a storm – but he does not turn into a giant snake. The world of Agrabah established in this film is many things, but it is not established that this is a world where people can turn into animals. We do see some animals turning into other animals – Abu becomes an elephant, and Iago a monstrously huge bird – but neither of them remain transformed for very long. The audience’s suspension of disbelief will only go so far in a live-action film, and the filmmakers probably guessed, and I think correctly, that Jafar turning into a snake would not have gone over well in this medium.

Another thing that would not have gone over so well in live-action is the scene in the marketplace where a shopkeeper threatens to chop off Jasmine’s arm for stealing an apple. Just picture it – a man grabbing a young woman and threatening her with a sword, and they are both real people with real-people proportions, and it is a real sword instead of a cartoony dinged-up scimitar. In the animated film, the moment is quickly played off as funny, but here it would have been scary, much too scary for the first act of an otherwise cheerful film.

A savvy adapter sees and accepts what won’t work as well in their chosen medium, and so makes the appropriate changes.

[Image: The 2019 The Lion King movie poster]

Rules? What Rules?

Which brings me to the new “live-action” Lion King. Now, if you enjoyed this film, then I’m happy for you, and I neither expect nor want to change your mind.

However, this film does not successfully adapt its story from one medium to another. It keeps almost everything about the story, the music, and the dialogue exactly the same as before – but now, the world and animals are photorealistic. Throughout the film, I kept wanting to close my eyes and just listen to it, because the film that I was hearing and the film that I was seeing just plain did not match up with each other.

When Mufasa dies, Simba’s voice actor is obviously crying – you can hear the tears in his voice. But Simba himself is not crying, because real lions do not cry. The disconnect between what the viewer hears and what the viewer sees reminds us that what we are watching is not real, consequently breaking the suspension of disbelief and robbing the scene of vital emotion.

A musical and a nature documentary are two very different things which we watch for very different reasons. Put bluntly, this new Lion King imposes the rules of a nature documentary onto a musical. In a nature documentary, the animals must look and move a certain way which does not line up with human emotional behavior, and the world must look and behave in a certain way which features muted colors and subtle movements. A musical, on the other hand, is all about heightened human emotion – that’s why characters sing, because their emotions are so big that they can only be expressed in song! Musicals are also about visual spectacle over strict realism (with some exceptions – compare the elaborate stage effects of The Phantom of the Opera or the intensive choreography of Hamilton with the much more subdued The Spitfire Grill).

There are a few moments where the rules of the animal world line up with the rules of the Lion King story, to wonderful effect. For example, when Nala is telling Simba to return to Pride Rock and confront Scar, Simba paces back and forth in a real form of lion body language which reads to a human eye as frustration. The slouched-to-the-side way that lions sit looks a lot like the casual lean of a confident villain, giving Scar a marvelous aura of attitude. Also, the frantic, bouncy, here-and-there movement of a meerkat lines up well with Timon’s jumpy, shifty personality and dialogue, adding humor at key moments.

But for most of the film, there is little to no bridge between the story that they are trying to tell and the medium that they have shoved this story into. The Lion King is not a realistic story. Audiences did not go see The Lion King in theatres in 1996 because they wanted to see a realistic story. They went to see a colorful, fantastical musical about talking animals with human emotions. Photorealistic CGI is simply not the right medium for that kind of story, and the story was not changed nearly enough to fit the new medium.

[Image: Cinderella’s Castle at Walt Disney World]

What Comes Next?

I see nothing wrong with telling a story again. As I said before, I love adaptation. It’s clear that today’s filmmakers, especially the filmmakers at Disney, are eager to try their hand at recreating the stories that they watched and loved when they were younger. There’s nothing inherently wrong with that, but there is a wrong way to do it, and I hope that future adaption films move away from that way.

One of the biggest things that Walt Disney loved about Disneyland was that, unlike the films, he could change things in the theme park if they no longer worked for the audience or if they could now be done better than before. I think he would be intrigued by the current culture of adaptation, and curious why today’s filmmakers aren’t doing more to explore the differences between mediums and the different kinds of stories that you can tell in different mediums.

Adaptation does not have to mean being stuck saying the same thing over and over. It could, and should, lead to us telling more stories, different stories, and better stories, because when it comes to adaptation, change is a good thing.

#disney #adaptation #the hunger games #the lion king #aladdin #hunger games #lion king #filmmaking #thursday thoughts #nonfiction #film analysis #reviews #musicals #animation #live action #storytelling

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secretshinigami · 6 years ago

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Masterlist of Demegawa-chan’s Special Prompts

A compiled list of everyone’s prompts from the exchange – thank you for letting us post them, and we hope you guys enjoy them! Prompts are organized by their submitter, so be sure to give credit if you use one.

niatsuki

Near and Light kissing

Mikami and Light in the rain sharing an umbrella

Misa in a suit

Domestic Mikalight

Matsuda confronting Near on the theory he brings up at the end of the manga

Nate and Light having an obtuse argument, but with romantic undertones

toygowther

Light wearing a crop top, high waisted jeans and fishnets, and a choker.

L having a nice day out in the park eating ice cream with Maki and Near

Musical!Light smiling

Misa in a cute gothic dress doing a finger heart

L and Light wearing Misa Misa merch at one of her concerts.

AU in which Light is actually a woman. The fic would follow how Misa reacts to it and if she would still want to be her girlfriend.

Role swap au. Light as Misa and Misa as Light.

Light and Misa meeting a different way and actually forming a healthy relationship.

spaceblue

L, Naomi & B shenanigans

Naomi, Wedy and Lidner as Charlie's angels (or L's angels?)

Wammy kids as Pokemon trainers

Matt gets the rest of the Wammy kids to play Smash with him

Naomi and L after the end of LABB, after he says his name is Rue Ryuzaki

Drama!L and drama!Raye Penber bickering

hazblogs

your take on A's gender and sexuality, bonus points if they're not a cis man and straight

Mello and sun imagery

Beyond Birthday and his eyes

Near with Hanahaki disease (pick who it's about if you want a specific ship)

Mello and witchcraft, if possible in the canon universe

Naomi interacting with Beyond (au or canon), if possible talking about L or the Wammy kids

L/Light being soulmates, in canon or in an AU

how Matt started smoking (I am comfortable with heavy drug themes)

polyphenols

L learning to garden, paint, cook, do taxes, care for an animal, or pay for a parking ticket for the first time

All the times L has cursed Right In Front Of The Task Force (poor Soichiro)

L alone, dressed for the cold, in a cathedral during midnight hours, gazing at the altar in silent contemplation

Aiber and Wedy at an evening gala on a mission

L and Alessandro Juliani warmly shaking hands

Young Naomi in a darkened room with red string and case clippings everywhere

What chain of events led to Quillsh Wammy deciding to adopt L and care for him?

Matsuda cant swim and he’s knocked into a body of water on a case, one of the task force has to go after him

The conversation that happened between L and Rem before he walked out onto that rooftop

L traveling somewhere exotic for a case, meets celebrity of your choice and becomes unlikely friends, takes down crime circle together

Naomi and L interact side by side as partners during a seperate case

paralllaxes

16 year old Gevanni (normal day or family banter)

Naomi in modern clothing

the SPK in one of those cheesy family pictures.

Naomi thinking about LABB while in Japan

SPK found family stuff / domesticity

Naomi being with the SPK (with or without Raye is the author's choice)

kiranatrix

Light and L in emo/goth clothes or in an emo band

Light in a crown on a throne

Ryuk doing something funny or playing a prank while invisible

L and Light on a road trip

Misa painting Rem’s looooong nails or giving her a makeover

Death Note characters as birds!

Sayu gets a grumpy parrot and Light doesn’t realize it can talk until after he hears it repeat some Kira plan thing, so he has to adopt it to keep it from spilling on him

L and Light talk about something important that happened to them in their childhood

L has to deal with growing amount of Light’s products in their shared shower and tries some out of curiosity with disasterous results

Light accidentally eats the last piece of cake in Kira HQ and L can’t deal at 4am

Lawlight Apocalypse AU of any variety

Beyond breaks out of prison after LABB, where does he go?

47gaslamps

The task force with portentous umbrellas

Halle, symbolically framed between Near and Mello

Naomi kicking Light's butt after he attempts to use force

Matsuda gives Yamamoto a welcome-aboard to the former Task Force /

AU where the drawer IS forced open

Misa has to shield Light from the paparazzi

translightyagami

Light and L in a crowded apartment, obviously lived in, playing piano next to each other

Light sewing something like his father's suit jacket or a shirt Mikami tore

Indulgent ask for my cryptid AU L and Light sitting in a graveyard having a nice time

Light having a smoke before he has to go tell his parents he's moving in with Misa

Light and Sayu having a difficult conversation where they're both saying they're gay without out loud saying it

Near goes to a Lego building event and meets a nice boy who isn't a Wammy kid

almostsane-things

Wammy's kid(s) of your choice sitting on the roof, watching the sky

Beyond Birthday and Candy Guro

DN characters in a rock band, maybe the shinigami are their mascots

Draw a less appreciated character but try something new with your style/medium. (i.e. use different brushes, incorporate a traditional art/craft like painting or cross-stitch, make a collage piece, go abstract, etc)

L in prison

Misa and Sayu becoming friends/ hanging out

The legend of Kira, how has the story of Kira changed over time in universe? Do people believe it was something supernatural, a government conspiracy, a group of vigilantes, or perhaps it's faded to nothing but a cautionary tale for misbehaving kids

A DN character enjoys that thing you really like/ find interesting to learn about, and shares that interest with someone else. (i.e. Matt plays your favorite video game with someone, Linda teaches someone about gardening, etc)

weneedtotalkaboutdeathnote

A hot double date with BBxDemegawa and LxHiguchi

B meeting L (any context is fine).

Naomi and Raye getting coffee together, having a nice time.

L can see ghosts, but he chooses to ignore them. This becomes increasingly had to do when B’s spirit shows up during the Kira investigation.

An Au where L defeated Kira, grew older, and basically disappeared. Older Mello (mid 20sish, now a detective) follows a lead that takes him to the washed up L.

Non serial killer, "Unprivate Detective" Beyond Birthday works on a case with Naomi Misora.

pensulliwen

Misa making Valentine’s Day chocolate, perhaps while daydreaming about a fantastically unlikely result of giving them to Light.

Rem holding Misa as they fly over the city.

Meme redraws featuring Misa, Light, and L. Just go crazy. Any ridiculous meme image, shove these dorks in there instead.

Misa convincing Rem to take her flying, the feelings they both experience in the air together.

Misa and Mogi on a shopping “date” in which the unlikely pair manage to work together surprisingly well.

Light considers eliminating Misa from the equation many times, but there’s always something that stops him. Explore how he views her and the dissonance between how he views her versus how he views himself, as well as the reasoning for keeping her around longer than intended.

izaori

Demegawa in a hot tub but instead of water its money

Mello playing soccer with the other kids (like Matt for example).

Matsuda playing cookie clicker, because he's obsessed.

Young Demegawa when he first got his job, maybe a few months into the job.

Sayu studying for her big exam coming up so she goes to big bro Light for help.

Ryuk discovers sour green apples rather than just the red ones. Maybe Sidoh discovers dark chocolate/white chocolate at the same time.

mikami

High school age Mikami in a high school uniform.

MikaLight out on a date

anything L/Higuchi

A Sakura TV Documentary about the Kiras.

MikaLight office romance, non-Kira AU.

Write me a fic about Demegawa. Can definitely be comedy, but please take the character somewhat seriously.

ghostoftasslehoff

L and Light playing piano together.

L with a kitty

Sayu and ‘Ryuzaki’ meeting, and hitting it off

Matsuda recieving a present or something from a ‘secret admirer’

A day in the life of Matsuda (away from the task force)

L and B’s first meeting (can be shippy or not, whichever my Shinigami prefers)

L tries to engage in punnery with the task force, but only one person engages (preference for Light, but surprise me!)

Sayu’s (or Sachiko’s) thoughts on Light’s new secretive actions as Kira becomes more and more active

tzigi

(All canon-compliant)

L gets first suspicions about a string of heart attacks which may be a new murder case for him

Light’s first day at To-Oh after L’s death

Light’s first day of work at the NPA

Near tries to pick up L’s investigation

Why did Near go back to L’s original font for the “L” logo between chapter 108 and the C-Kira oneshot?

A non-Lawlight rendering of the first evening of Light being chained to L after everyone else has already gone to sleep (preferably in keeping with the One Day one-shot)

Light begging Ryuk for his life

Light’s funeral

catfishmaster

The main characters (plus B) as DND characters

Older Near (like 25-30) with a bunch of cats he keeps for company

Roger bonding with Near after the Kira case.

Beyond Birthday faked his death in 2004 and now lives alone as a poor and pretty miserable theatre actor with a fake name. Oh, and also it's a Kira wins au.

Years after the Kira case has concluded, L takes on Near as an apprentice.

Matt takes Near on a tour of an afterlife-like world they both wound up in. It's more like a dreamscape than anything else but it serves as an afterlife.

#prompt list #death note #deathnote #Demegawa-chan's Sakura TV Special 2019

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bloodkingdomrp · 6 years ago

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♚JASPER.LEE

“ The more complete the absence, the more I am present “

✚ AGE & DOB: Twenty-Nine & May 3rd, 1990 ✚ OCCUPATION: Zhang’s Chief Chemist ✚ AFFILIATION: Faction & Associate

♛THE HISTORY♛

After years of trying for a second child, Jasper Lee’s parents were ecstatic to learn of his existence. The Lee’s firstborn, Riley, was born with brain damage and was unable to grow and learn to properly care for himself as a child should. To them, he was a stain on the family image, while Jasper was a second chance to market themselves as a proper family. One of Jasper’s earliest memories of his parents is one of them coddling him, hiring tutors at a young age and outlining schedules that would ensure his success in life later on while simultaneously filling his brother’s day with mindless, time-consuming activities so he wouldn’t bother Jasper’s growth. Unbeknownst to them, Jasper would sneak away to Riley’s room when the babysitter wasn’t looking and move his wheelchair outside to the family’s lush backyard, where he would bring various bugs and creatures from the pond for his brother to touch and laugh at. Day in and day out, Jasper was surrounded by adults who were more interested in judging his worth by how well he was retaining formulas and verb conjugations rather than spending time with him. With his brother, life fell onto a much simpler path of doing things purely for the enjoyment of the action, rather than how much it was going to benefit someone in the long run.

As Jasper grew older and he was enrolled in private academies and set in with other young children of affluent families, he found himself unable to find companionship with any of the students he was around every day. He only had his brother for so long, someone who could never talk back to Jasper when he went on rambling tangents about plants and animals that lived around them, that having to interact with people that were more on his playing field frustrated Jasper. He had come to learn that he enjoyed being the smartest person in the room and relished in the frustrated faces that fell over classrooms when he consistently out-performed his peers. Other students would turn to ridiculing and bullying him to knock him off the high horse he sat on, but Jasper couldn’t be stopped by mere words alone. His parents had long instilled a belief in him that his academic career was about out-performing everyone else and being the best, so that’s exactly what he did. As long as they were pleased with him, he was left alone to his own devices. And when he was left alone, he got to have time for himself and visit his brother.

When life truly began to change was when Jasper received a high school diploma at the young age of 15. His parents, ecstatic, were dead set on shipping Jasper off to university, even having lined up an apartment for the teen so he’d experience life as a true adult. Despite knowing that he wouldn’t be able to see Riley, who had remained as his one friend for his entire life until that point, Jasper found himself having no choice but to agree to his parent’s demands. Upon entering his first week, he quickly realized that the tactics that he and other students used to spite one another in grade school would not work the same in a setting like college. He was no longer among children who were swarming with hormones and itching for someone to take grudges out on but surrounded by adults that didn’t care what strangers to them thought or did, let alone a child that was far away from his comfort zone.

Jasper was never able to click with anyone in any of his courses and going back to his small apartment while others were busy going out to bars with those their age and hanging out in their dorm halls did nothing but further distance him from forming friend groups. For the first time in his life, Jasper was without the presence of overbearing adults that were forcing him to keep to a strict schedule and focus on studies. Even though the urge to abandon all his studies and gleefully watch all his parent’s hard effort go down the drain was irresistibly strong, Jasper was not an idiot. He could easily foresee the bad outcomes that could occur from such a trainwreck, so he instead decided to continue to give half an effort in his classes. Studying hour after hour as a youth meant that he knew exactly what he needed to do to understand a subject and tended to pick up concepts with rapid succession.

As he mentally strayed further and further from the path of success his parents intended for him, he discovered more of the life his parents shielded from him. Jasper’s apartment was conveniently located just south of Chinatown, close enough that at night Jasper could see the odd visitors who would wonder their way down the streets only to come back hours later, stumbling and listless. Curiosity was what drove Jasper to investigate whatever it was they were doing and an intense feeling of being lost in life that made him eager to experience the types of drugs people had to offer.

He was only sixteen when he did drugs for the first time, but even then Jasper knew it was going to be something he was going to crave over and over again. A problem that was undoubtedly going to follow his footsteps. He didn’t form an addiction to any particular form of drug at first, merely the feeling of detachment that came from being high and weightless to reality. In time, Jasper grew fond of using cocaine and other stimulants to achieve that weightless sensation. By the time he was nearing graduation, Jasper was snorting lines at least twice a day and trying anything else the other addicts brought his way during the night. After years of drug use, the simple concoctions that subpar makers were pushing out onto the streets stopped being of interest to Jasper. He realized that he could create better even in his own drug-induced haze in his own home after pilfering the right materials from the chemistry labs on campus.

Before long, Jasper had a business running from the comfort of his own living room. One that, before the mafia dealers caught wind of his original product, was quite the moneymaker. It crashed just days after Jasper received his chemistry degree when he came home to other members of the mafia holding him at gunpoint. Jasper’s product had become popular enough to disrupt their personal business flow. However, instead of getting rid of him, Jasper was offered the proposition going to work exclusively for the Zhangs creating new drugs and improving their quality in their impressive laboratories. Who was Jasper to say no to them, when it was clear that people of that status weren’t going to take no for an answer?

Jasper fell into the flow of his new life easily, creating and making drugs by night and enjoying his own creations during the day. He became familiar enough with the chemicals that went into everything he made that he could easily trace the maker of drugs on the street with a few lab tests. The money he made from it was enough to put on a facade to his parents, who were under the impression that Jasper worked as a leading chemist in formulating industrial cleaning products. They were satisfied enough by his displays that they tended to leave him alone. Jasper’s relationship with them continued to exist on a purely artificial level. Sometime during his stay at college, he had learned that his parents placed Riley in a ward for adults who could not care for themselves and wiped their hands clean of their eldest son. Jasper took it upon himself to be the one to continue to give Riley care and attention and moved him to a much kinder assisted living home and visit him during the hours when he was sober. Those were, however, few and far between, as Jasper’s body had become accustomed to the numerous chemicals he poured into himself on a daily basis. He easily loses track of time between creating, selling, and taking drugs in the laboratory beneath the unassuming laundromat. Even while sober, he’s learned to let people assume he’s under the influence in order for them to let their guards down and be unassuming of him. Though, after so many years of putting on the act for the mafia members, Jasper isn’t too sure if and when he’s pretending to be high and when he’s actually sober

♜ THE DETAILS♜

(+): Knowledgeable +Resourceful +Observant

(-): Unpredictable -Obsessive -Paranoid

Facelaim: Yang Se Jong

written by Tony | EST

#the mad scientist #closed #faction

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aridara · 7 years ago

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Verifying a list of “hateful feminist quotes”. (From F to M)

Continuing my checking of whether these quotes are actually hateful opinions of feminists (instead of, say, non-hateful opinions, or opinions we can’t know where they came from, or fictional opinions made by fictional characters...) or not.

"I was, in reality, bred by my parents as my father's concubine... What we take for granted as the stability of family life may well depend on the sexual slavery of our children. What's more, this is a cynical arrangement our institutions have colluded to conceal.".

Sylvia Fraser Journalist

Unverifiable. Once again, the only places where this quote is cited is from this same copy-pasted “hateful feminist quotes” list, which I’ve shown (and will keep showing) over and over to be fucking dishonest, to say the least. By this point, NOBODY would give it the benefit of the doubt.

"All men are rapists and that's all they are"

Marilyn French, Authoress; later, advisoress to Al Gore's Presidential Campaign.

Fictional - it comes from "The Women’s Room" (1977). Specifically, Val (one of the fictional characters in the book) says it right after her daughter has been raped.

"All patriarchists exalt the home and family as sacred, demanding it remain inviolate from prying eyes. Men want privacy for their violations of women... All women learn in childhood that women as a sex are men's prey."

Marilyn French, The Women's Room, Summit Books, 1977

True, but not hateful (and not from "The Women's Room"). It's definitely a denunciation of the rigid gender roles that put the man as the family’s head, and the woman as the servant who has to serve the man - even sexually. Notice how she talks about “patriarchists”? Yeah, those are the people who want to enforce those gender roles.

"The media treat male assaults on women like rape, beating, and murder of wives and female lovers, or male incest with children, as individual aberrations...obscuring the fact that all male violence toward women is part of a concerted campaign."

Marilyn French, The Women's Room, Summit Books, 1977

True, but not hateful (and not from "The Women's Room"). She was talking about rape culture, or one aspect of it - specifically: the refusal to see violence against women as a systemic issue. It’s easier to blame social problems on single deranged individuals (which are “not me”) rather than admit that they’re social problems (and thus “also me”); but it doesn’t solve those problems. This is what French was denouncing.

"My feelings about men are the result of my experience. I have little sympathy for them. Like a Jew just released from Dachau, I watch the handsome young Nazi soldier fall writhing to the ground with a bullet in his stomach and I look briefly and walk on. I don't even need to shrug. I simply don't care. What he was, as a person, I mean, what his shames and yearnings were, simply don't matter."

Marilyn French, Author "The Women's Room"

Again: fictional. "The Women's Room" is a fictional book.

“As long as some men use physical force to subjugate females, all men need not. The knowledge that some men do suffices to threaten all women. He can beat or kill the woman he claims to love; he can rape women…he can sexually molest his daughters… THE VAST MAJORITY OF MEN IN THE WORLD DO ONE OR MORE OF THE ABOVE.”

- Marilyn French

True, but not hateful; it has been massively (I suspect deliberately) edited. Here's the full quote, with the parts that anti-feminists chopped away in bold:

"As long as some men use physical force to subjugate females, all men need not. The knowledge that some men do suffices to threaten all women. Beyond that, it is not necessary to beat up a woman to bear her down. A man can simply refuse to hire women in well-paid jobs, extract as much or more work from women than men but pay them less, or treat women disrespectfully at work or at home. He can fail to support a child he has engendered, demand the woman he lives with wait on him like a servant. He can beat or kill the woman he claims to love; he can rape women, whether mate, acquaintance, or stranger; he can rape or sexually molest his daughters, nieces, stepchildren, or the children of a woman he claims to love. THE VAST MAJORITY OF MEN IN THE WORLD DO ONE OR MORE OF THE ABOVE."

So, yeah. Anti-feminists forgot to include job discrimination, general disrespect, and treating your wife like a servant to the list; with their omission, they try to make French appear as if she was saying "most men are rapists, murderers, or beaters of women". Pretty fucking dishonest, to say the least.

"My own informal survey of adult women suggests that very few reach the age of twenty-one without suffering some form of male predation--incest, molestation, rape or attempted rape, beatings, and sometimes torture or imprisonment."

Marilyn French, The War Against Women, Ballantine Books, 1992, p. 195)

Unverifiable and not hateful. Given the massive bullshit that happened with the previous quote, I now suspect that anti-feminists attempted the same trick here - cutting away stuff like job discrimination/general disrespect/being treated like a servant.

"The proportion of men must be reduced to and maintained at approximately 10% of the human race."

Sally Miller Gearhart, in The Future - If There Is One - Is Female.

Huh, look at that: a true and actually hateful quote. Good job. Have a cookie.

"[Men are] freaks of nature... full of queer obsessions about fetishistic activities and fantasy goals."

Germaine Greer, The Whole Woman, Knopf, 1999

Unverifiable. While various sources report the quote to try and attack Greer, I cannot find any part of the quote in the "The Whole Woman" ebook. Maybe there is, and I just cannot see it because it's just a preview, but I'm very doubtful.

"If women are to effect a significant amelioration in their condition it seems obvious that they must refuse to marry."

Germaine Greer, The Female Eunuch, McGraw-Hill, 1971, p. 317)

Unverifiable - same as the above - and probably not hateful, given that this is, once again, about forcing women into heteronormative gender roles and marriages. Maybe the quote really exists in the "The Female Eunuch" ebook; but I can't find it.

"...men bash women because they enjoy it; they torture women as they might torture an animal or pull the wings off flies."

Germaine Greer, The Whole Woman, Knopf, 1999

Unverifiable - see the previous. However, there are a few quotes where Greer points out that some men torture women, and very probably enjoyed doing so.

"The man regards (woman) as a receptacle into which he has emptied his sperm, a kind of human spittoon."

Germaine Greer, The Female Eunuch, McGraw-Hill, 1971)

Once again: unverifiable. But it looks like Greer here is talking about the attitude of many men at the time.

"Probably the only place where a man can feel really secure is in a maximum security prison, except for the imminent threat of release."

Germaine Greer

True, but not hateful. Here's the original quote from 1970 (again, the bolded part is the one that anti-feminists cut out):

"Probably the only place where a man can feel really secure is in a maximum security prison, except for the imminent threat of release. The problem of recidivism ought to have shown young men like John Greenaway just what sort of a notion security is, but there is no indication that he would understand it. Security is when everything is settled, when nothing can happen to you; security is the denial of life. Human beings are better equipped to cope with disaster and hardship than they are with unvarying security, but as long as security is the highest value in a community they can have little opportunity to decide this for themselves."

This isn’t about whether men should be all thrown in prison or not. This is about how putting “security” above everything else means stripping any choice from your life - which would make it so that it couldn’t even be called “life” at all.

In an interview Germaine Greer (radical feminist, writer) was asked the question, "You were once quoted as saying your idea of the ideal man is a woman with a dick. Are you still that way inclined?" Greer first denied that she had said it, and then replied, "I have a great deal of difficulty with the idea of the ideal man. As far as I'm concerned, men are the product of a damaged gene. They pretend to be normal but what they're doing sitting there with benign smiles on their faces is they're manufacturing sperm. They do it all the time. They never stop. I mean, we women are more reasonable. We pop one follicle every 28 days, whereas they are producing 400 million sperm for each ejaculation, most of which don't take place anywhere near an ovum. I don't know that the ecosphere can tolerate it."

Germaine Greer At a Hilton Hotel literary lunch, promoting her book, The Change-Women, Aging and the Menopause, Knopf, 1992 from a news report dated 11/14/91)

Unverifiable. It should say “SUPPOSEDLY from a newsreport THAT NOBODY SEEMS TO BE ABLE TO FIND”. So, yet another unsourced quote.

Oh, and the “My ideal man is a woman with a dick” quote? ALSO unsourced.

"The nuclear family must be destroyed, and people must find better ways of living together…. Whatever its ultimate meaning, the breakup of families now is an objectively revolutionary process…. No woman should have to deny herself any opportunities because of her special responsibilities to her children…."

Linda Gordon in "Functions of the Family," WOMEN: A Journal of Liberation, Fall, 1969

True - this quote is actually a really existing quote. It’s also distinctly non-hateful of men. It’s distinctly angry at the social imposition of marriage and the nuclear family system, though - but remember: the wife was supposed to stay at home and obey her husband in everything, back in 1969.

"And if the professional rapist is to be separated from the average dominant heterosexual (male), it may be mainly a quantitative difference."

Susan Griffin

True, but not hateful. I’ve managed to track the quote. And guess what? It was a talk about how the social expectations of the time (this part was written in 1971) expected the woman to turn down sexual advances even if she desired them, because it was considered “unchaste” for a woman to desire sex; and expected the man to wear down the woman’s “reserves”, without checking whether the woman in question actually wanted the sex, or not. It the same part, Griffin explains how, *with this social system* (that she did NOT create, nor is she advocating for) the difference between “a man who wear down a woman’s reservations” and “a rapist” is simply in how much pressure they use to make the woman have sex with them.

“We live in a culture that condones and celebrates rape. Within a phallocentric, patriarchal state the rape of women by men is a ritual that daily perpetuates and maintains sexist oppression and exploitation. We cannot hope to transform “rape culture” without committing ourselves fully to resisting and eradicating patriarchy.”

–Bell Hooks, “Seduced by Violence No More,” in Stan, Adele ed. Debating Sexual Correctness (New York, 1995)

True, but not hateful. The book is specifically talking about rape culture - aka a culture that, even if it claims that rape is wrong, in practice it fails to adequately deal with rape, instead blaming women for getting raped. This, in turn, allows sexist men to oppress women with next to no consequences.

"When a woman reaches orgasm with a man she is only collaborating with the patriarchal system, eroticizing her own oppression..."

Sheila Jeffreys

Unverifiable. HOORAAY!

“In order to raise children with equality, we must take them away from families and communally raise them”

(Dr. Mary Jo Bane, feminist and assistant professor of education at Wellesley College, and associate director of the school’s Center for Research on Woman).

Unverifiable, and probably not hateful. For starters, the source for this quote is Lew Rockwell, which is an INCREDIBLY far-right-biased source.

For another, the quote sounds like part of an argument in favor of the communal parenting, which is an argument that has been pretty explored. Also, note how she refers to communal parenting - not to women-only parenting.

"I believe that women have a capacity for understanding and compassion which a man structurally does not have. He does not have it not because he cannot have it. He's just incapable of it."

Former US Congresswoman Barbara Jordan

Huh, look at that. This quote (it’s reported in a 1992 issue of Texas Monthly, but the actual quote doesn’t have a date) is actually true, and does sound hateful. Can someone check out the score? Because, at the time of this writing, I checked 42 quotes, only 2 (possibly 3) of which were verified to be true and actually hateful.

"Marriage has existed for the benefit of men and has been a legally sanctioned method of control over women.... Male society has sold us the idea of marriage.... Now we know it is the institution that has failed us and we must work to destroy it.... The end of the institution of marriage is a necessary condition for the liberation of women. Therefore, it is important for us to encourage women to leave their husbands and not to live individually with men."

Nancy Lehmann, Helen Sullinger, Declaration of Feminism, 1971

Unverifiable. Apparently there is a book titled "The document: a declaration of feminism" published in 1971; but there's no way to verify if that quote actually exists. And the link I provided is basically the only source of that book's existance - outside of the edited quote above, which is present only in anti-feminist websites.

There is also the "Declaration of the Rights of Woman and the Female Citizen", written by Olympe de Gouges in 1791. Coincidence? I have no idea. Maybe it is.

"Man-hating is everywhere, but everywhere it is twisted and transformed, disguised, tranquilized, and qualified. It coexists, never peacefully, with the love, desire, respect, and need women also feel for men. Always man-hating is shadowed by its milder, more diplomatic and doubtful twin, ambivalence."

Judith Levine

Maybe true, but there is no context. I can’t make heads or tails of what it actually means. It’s the same case as some of the Dworkin quotes - no indication of the work or the context it was taken from.

"I feel what they feel: man-hating, that volatile admixture of pity, contempt, disgust, envy, alienation, fear, and rage at men. It is hatred not only for the anonymous man who makes sucking noises on the street, not only for the rapist or the judge who acquits him, but for what the Greeks called philo-aphilos, 'hate in love,' for the men women share their lives with--husbands, lovers, friends, fathers, brothers, sons, coworkers."

Judith Levine, My Enemy, My love

Unverifiable. The only sources talking about this quote are anti-feminist ones.

"There are no boundaries between affectionate sex and slavery in (the male) world. Distinctions between pleasure and danger are academic; the dirty-laundrylist of 'sex acts'...includes rape, foot binding, fellatio, intercourse, auto eroticism, incest, anal intercourse, use and production of pornography, cunnilingus, sexual harassment, and murder."

Judith Levine; summarizing comment on the WAS document, (A southern Women's Writing Collective: Women Against Sex.)

The quote itself is unverifiable and not hateful, given that all of those acts have been (1) used by men against women, and (2) justified as “normal” sexuality by those same men.

However, the bit where the anti-feminist author of this list talks about “Women Against Sex” is false: the real title of the document Levine was talking about was "Sex resistance in heterosexual arrangements: Manifesto of the Southern Women’s Writing Collective". Because making up a false title to demonize feminists is acceptable behavior, am I right, anti-feminists? (# sarcasm)

"Men's sexuality is mean and violent, and men so powerful that they can 'reach WITHIN women to fuck/construct us from the inside out.' Satan-like, men possess women, making their wicked fantasies and desires women's own. A woman who has sex with a man, therefore, does so against her will, 'even if she does not feel forced."

Judith Levine

Slightly unverifiable - I can’t find neither a scan, nor the citation for the full Levine quote. What I did find was the book Levine was looking at - My Enemy, My Love (1993), a book that talks about “gender roles, the social definitions of masculinity and femininity, the culture’s assignment of certain exclusive traits to each biological sex, [which] have imprisoned us on either side of a divide”. Also: no mention about whether the women interviewed by Levine were feminists or not, and in particular, no mention of the context for the quote.

"All sex, even consensual sex between a married couple, is an act of violence perpetrated against a woman."

Catherine MacKinnon

False. The quote apparently comes from Playboy, Oct 1986; but it wasn’t written by MacKinnon, nor anyone was able to track the instance where she supposedly originally said/wrote that.

"You grow up with your father holding you down and covering your mouth so another man can make a horrible searing pain between your legs."

Catherine MacKinnon, Feminism Unmodified: Discourses of Life and Law – Sex and Violence: A Perspective, Harvard University Press, 1987

True, but out of context. From what I can understand, this is from yet another discussion about non-con pornography (“Only Words”, 1993); MacKinon wasn't talking about families in general.

What's with anti-feminists taking discussions about problematic and sexist porn and deciding that feminists were talking about everyday life? What, do anti-feminist believe that pornography is an accurate representation of real li-

Nevermind, let's move on...

"Feminism, Socialism, and Communism are one in the same, and Socialist/Communist government is the goal of feminism."

Catherine MacKinnon" Toward a Feminist Theory of the State (First Harvard University Press, 1989), p.10

False. The quote is completely absent from MacKinnon's book, or any of her books. Apparently, this is a slightly modified quote from "The Unhappy Marriage of Marxism and Feminism".

"In a patriarchal society, all heterosexual intercourse is rape because women, as a group, are not strong enough to give meaningful consent."

Catherine MacKinnon

Misattributed. The quote itself comes from "Professing Feminism", which wasn't written by MacKinnon, but by Daphne Patai and Noretta Koertge; they were talking about MacKinnon and Dworkin's opinions - they weren't quoting them. (And no, neither Dworkin nor MacKinnon believed that intercourse is rape.). The misattribution was caused by right-wing columnist Cal Thomas, who wrote an article about "Professing Feminism" and mistakenly attributed that quote to MacKinnon.

“The care of children ..is infinitely better left to the best trained practitioners of both sexes who have chosen it as a vocation…[This] would further undermine family structure while contributing to the freedom of women.”

–Kate Millet, Sexual Politics 178-179

Misattributed. Here, Millet isn't talking about his own beliefs; he's talking about Engels's. Specifically, he's talking about how the idea that "The woman is naturally the one best equipped to raise a child" has the effects of:

Put a limitation on the woman, but not the man. If the woman wants to, say, pursue a career, she's forced to deal with child-raising AND with pursuing the career; the man has to deal only with the latter, because society pressures the woman into doing the former.

It's inefficient, because you just decide that the woman is the one most capable of raising a kid, instead of looking at which person is the most capable.

"We can't destroy the inequities between men and women until we destroy marriage."

Robin Morgan.-From Sisterhood Is Powerful, (ed), 1970, p. 537

True, but not hateful. Again: “marriage” presupposed that the woman stayed at home and obeyed her husband in everything. I fail to see how being against the imposition of this kind of marriage/gender roles is hateful.

"I feel that 'man-hating' is an honourable and viable political act, that the oppressed have a right to class-hatred against the class that is oppressing them."

Robin Morgan.-former president of the National Organization for Women (NOW) and editor of MS magazine

True (1973). I also fail to see what’s wrong with “class-hatred”, aka being justifiably angry with the oppressing class while fighting against its privileges. I mean, I do understand that nobody shouldn’t oppress anyone else even if they were oppressed beforehand, but here we’re talking about expressing justified anger against an oppressive system, and wanting to dismantle it. What, is that illegal now?

"I claim that rape exists any time sexual intercourse occurs when it has not been initiated by the woman, out of her own genuine affection and desire."

Robin Morgan.

True, but not hateful. I fail to see where’s the problem with this quote. It’s basically the concept of “yes means yes” - you don’t have sex with anyone unless they want it. ...Oh, wait, now I see why anti-feminists have a problem with this quote.

"And let's put one lie to rest for all time: the lie that men are oppressed, too, by sexism--the lie that there can be such a thing as 'men's liberation groups.' Oppression is something that one group of people commits against another group, specifically because of a 'threatening' characteristic shared by the latter group--skin, color, sex or age, etc. The oppressors are indeed FUCKED UP by being masters, but those masters are not OPPRESSED. Any master has the alternative of divesting himself of sexism or racism--the oppressed have no alternative--for they have no power but to fight. In the long run, Women's Liberation will of course free men--but in the short run it's going to cost men a lot of privilege, which no one gives up willingly or easily. Sexism is NOT the fault of women--kill your fathers, not your mothers".

Robin Morgan.

True (1970), but not hateful. This shows a big miscommunication problem between MRAs and feminists. See, many feminists define sexism not as “acts of individual discrimination against a gender”, but as “an oppressive social system where one gender is treated as inferior”. By that logic, what MRAs claim is “sexism against men”, feminists call it "discrimination against men", but not "sexism against men", because women did NOT create this system where masculinity is put on a (very narrow) pedestal and femininity is derided. As Morgan put it:

"The oppressors are indeed FUCKED UP by being masters, but those masters are not OPPRESSED. Any master has the alternative of divesting himself of sexism or racism—the oppressed have no alternative—for they have no power but to fight. In the long run, Women’s Liberation will of course free men—but in the short run it’s going to cost men a lot of privilege, which no one gives up willingly or easily."

You can’t compare the situation of an oppressed class (who has to tear down the system biased against it) with that of the privileged class (who actually made the biased system in the first place and could fix it). And what Morgan is saying is correct. Systematic oppression divide society in a privileged group (which has a certain amounts of benefits that the oppressed do not have, and/or is exempt from various disadvantages that instead the oppressed do face) and an oppressed one. Dismantling such a system DOES damage the privileged group, because it takes away their privileges - privileges that they shouldn't have in the first place, and that are based on the oppression of marginalized groups.

“My white skin disgusts me. My passport disgusts me. They are the marks of an insufferable privilege bought at the price of others’ agony.”

-Robin Morgan

Not hateful. From the looks of it, here Morgan is talking about the effects of white colonialism and racism - specifically how they benefit white or white-passing people such as her. For example: being allowed to travel or emigrate wherever you want and be treated as a person, while non-white immigrants are by default believed to be violent criminals, murderers, and rapists.

#debunking antifeminism

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phantom-le6 · 4 years ago

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The inherent flaw of February 14th (AKA Why I’m anti-Valentines)

As my Facebook friends will all attest, this year as in many recent years, my Facebook cover photo is a silhouette of a man with a shotgun, aiming said weapon at a silhouette of Cupid, and bearing the legend ‘Valentines? Bah, Humbug!’ This is because I am very much opposed to Valentine’s Day, and while some may assume this is just sour grapes on my part, that assumption would be entirely wrong. Moreover, it smacks of the kind of egocentric thinking that all too frequently occurs in our society. Just because someone doesn’t think as you do, it’s not always because they are bitter or jealous, and sometimes the proper response is to politely ask why and invite explanation and debate.

So, why do I oppose Valentine’s Day? Well, as a lot of people who’ve known me for any length of time will be aware, when I got into secondary school, I got very heavily interested in girls and the idea of having a girlfriend, and I spent many years afterwards mishandling my pursuit of that goal. Now part of this was due to my being autistic and not having much if any appropriate sources of guidance in this area, which is something I try to address in the factual autism book I’ve been working on for a few years now.

However, there is also the matter of how I was learning about relationships of a romantic nature, and that was primarily through pop culture that didn’t necessarily bear much relation to reality. When you consider how romantic relationships are portrayed in family films, in some animated shows and in popular music, the portrayal is designed primarily to fit a particular creative vision, reflecting something of the reality but not showing that reality in a completely faithful way.

As a result of this lack of context, it can be easy for someone as literal-minded as me to leap to inaccurate conclusions about the nature of romance and how to attract someone. It also doesn’t help that I am not someone to let go of a goal I wish to achieve very easily, often taking a longer period of time and more experiences than others to realise I might be going for something that is simply not for me. Also, what successes I did have initially spurred me on as they were evidence that perhaps romantic relationships were something I could handle.

In sum total, I had only three relationships of a romantic nature during the time I was effectively ‘obsessed’ with having a girlfriend. The first was when I was 13, going out for the better part of the autumn term with a girl of 11, who turned 12 a few weeks before we split up. The second was not long after I’d started full-time employment, lasting just over a year. The third, and final relationship, ran from August 2009 to February 2010, ending just a couple of months before I turned 25. It was after that last relationship ended that I examined my previous relationships in the harshest possible light as I began to realise that I wasn’t enjoying the reality of relationships a lot of time.

A lot of this, I realised, was down to my need for time by myself. Interacting with people is never easy for someone with autism; it takes a lot out of us even when it’s just the easier side of social interaction, like basic conversation with family or friends. If, like me, you’re spending most of your weekday time in school as a kid then full-time employment as an adult, the free time you need to unwind after the high level of interaction you’ve just been through is, inevitably, very limited. Meeting up with friends can still be accomplished within that free time, but romantic relationships are another matter, or at least such is true of traditional monogamous romance.

Within monogamous romance, the level of social skills needed to make the relationship work and the amount of time that has to be put in are extensive, and for any autistic person, it would be extremely difficult to reach that social skills level, never mind put in the kind of time the relationship requires. Not impossible, mind, as I am aware some people on the spectrum have managed long-term relationships and even gotten married, but it’s far from easy. If like me the autistic person also works full-time, then the whole thing can get extremely stressful for us. In my case, I’m also prone to a kind of excessive selflessness, putting others first even in situations where I’m actually in desperate need of some time to be selfish and look after myself. As a result, I realised that getting into romantic relationships wasn’t for me just because it burned me out from a mental health perspective, and as a result I opted to swear off that kind of relationship in future.

However, I also realised that over the course of my girlfriend-obsessed years, I’d made a lot of mistakes that seemed out of proportion to just my difficulties with understanding social norms, and I realised that my autism was only part of the reason. Another root cause was the way society, and the pop culture therein, has a tendency to overemphasise the importance of monogamous romantic relationships. At times, this kind of overemphasis leads many to desperation, forcing them into unwise, even dangerous situations, because of pressure to find and form a relationship of this kind with anyone they can find.

This, then, is why I oppose Valentine’s Day, because it is a focusing point for such societal pressure, and it’s the only day that is dedicated solely to the kind of relationship people are generally pressured into by society. Other occasions, such as New Year’s Eve in America where people are often expected to have someone to kiss the moment the new year starts, do not exclusively focus on the idea of encouraging romantic connections. As such, their part in the process is inadvertent, and often specific to a given nation (we in the UK don’t seem to have the same New Year’s tradition the Americans do).

Now, I know some people will refute what I’ve just said. They’ll say Valentines is about celebrating all forms of love, that anyone can wish a ‘Happy Valentines’ to anyone else they care for, and it doesn’t have to be romantic. To that, I would say ok, how come in sitcoms like Friends and Frasier, no Valentines cards are sent between parents and children, or between siblings? If Valentines was about all forms of love, why did we never see Monica and Ross Gellar swapping Valentine’s Day greetings, or Rachel and Joey doing the same with their respective siblings? Why didn’t Frasier and Niles swap Valentine’s Day cards?

The answer, of course, is that the notions of Valentine’s Day having a broader meaning is simply a modern myth, a flawed effort to expand the day’s appeal to try and be more inclusive, without recognising that this is only part of the problem. The rest of the problem is that Valentines is too heavily rammed down our throats as a society, from too early an age and without proper context. To work better, it needs to be amended, to be changed so that it has an ultimately more positive impact.

First, the occasion needs to be down-played more in society as a whole and in advertising in particular. We all need to understand that the occasion is not for everyone, even if it is improved, and that it’s ok not to be in a romantic relationship with someone when they day rolls around. In essence, we need to remove the pressure from people so they don’t end up with a Mr or Miss Right Now who then turns out to be Mr or Miss Wrong because the relationship was formed out of haste and desperation.

Second, the broadening of the meaning of Valentine’s Day has to be reflected in more than just a few industries; cards, soft toys and such like aimed at non-romantic forms of love are not sufficient to influence a change in society’s impression of the occasion. TV, film and literature need to take a hand in this and change how they depict the occasion in future productions. All too often, people are first introduced to new ideas and concepts through their depiction in modern culture, so if these forms of entertainment don’t back up other industries in broadening what Valentine’s Day can be, there will never be consensus on what the day actually is.

Third, Valentine’s also needs to broaden its scope in other areas. Part of the problem is that it plays to societal defaults and focuses strictly on monogamous romance, but there are other types of adult relationship in the world, most of which are stuck on the fringes and difficult to access or understand as a result. Moreover, Valentine’s was originally a Roman festival of fertility, made ‘family friendly’ when co-opted by Christianity in order to help that religion supplant any pre-Christian religious practices. These two facts mean that Valentine’s Day could also cater to polyamorous relationships and to people in friends-with-benefit relationships, but so far as I know, this isn’t happening yet.

It is my belief that if all of the above were changed, February 14th would be a date worth noting on the calendar. At present, it’s largely the myopic propagation of the myth that monogamous romance is somehow vital to the human experience, but as I’ve learned through my own experience, it is nothing of the kind. It’s a great thing to be able to experience, and to have if and when you’re able to have it for however long you can make it last, but it’s also perfectly ok not to have it.

Some people just aren’t suited for it; some have too much love for just one partner and need polyamory instead. Some people will just prefer a friends-with-benefits relationship type, either for a time or for the rest of their lives, and some people might be ok just being by themselves and just experiencing love for family and friends rather romantic and/or sexual love. The bottom line is that for Valentine’s Day to truly work as a celebration of love, every facet of it, every representation of it, has to include all of these people by default and without pushing any or all of it on people too hard. When it can do that, when that day comes, I’ll be willing to wish people a Happy Valentine’s Day. Until then, I am strictly anti-Valentines.

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silver9mm · 8 years ago

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I was tagged (months ago?) by my best bat-friend @exaggeratedspecificity to name 15 songs that I love, and I was really inspired by her emotional stories behind her choices so I thought I’d put a little effort into mine, too.

But the thing is, when I start thinking back to songs that mean something to me, like super personally...well, sometimes I just don’t want to remember things. I got really sick when I was 11 and now it’s systemic and chronic, and it turned me schizophrenic starting about age 16 and that lasted for another 15 years. Music, literally, kept me alive. It was my best friend, the one thing I could trust. It was how I found validation for the fucked up things I was seeing and the way I felt. It’s how I spoke to the outside world---anyone who knew me then got at least one mix-tape from me, sometimes dozens. I would take lyrics and write stories about my friends with them. I had to go home and get lyrics down on paper instead of going to parties. When I rode the train cross-country, I lugged my 300 disc CD book the whole way, clutched to my chest. I kind of want to be buried with my headphones in but I’m a little worried I’ll wake up from being dead when the battery runs out.

Anyway, in the last few years...basically since I discovered Supernatural, music has taken on a whole new meaning for me. Life in general has changed. It’s better. It’s more fun, more interesting. I’ve found a creative outlet, and especially concerning music, I’m not slathering my experiences, my insanity, my feelings of loss and isolation and paranoia and confusion all over it. I’ve learned how to step outside my little fear-bubble and enjoy music from a whole new angle. So I thought, instead of going through my 130 gigs of music and forcing myself to think about those songs that I love for personal reasons and thus scratching at emotional scars and scabs of my real life, I’d do something more fun for me and pick my 15 favourite songs that exemplify my 15 long Supernatural fics, because since I’ve been writing, my life has improved by leaps and bounds and there’s not a single traumatic memory attached to the experience.

That was really long-winded.

With You by Matt Simons: This is from the soundtrack to Sense Of Life, which is my first published fic. I’m so glad I wasn’t really ‘in the fandom’ when I wrote this, because I never would have had the guts to write it if I’d known how much most shippers don’t like OFC. I would have worried too much about Mary-Sue’ing or whatever whatever. What I wanted to write about was giving the boys something to love, and then taking it away from them, because if they aren’t hurting, what’s the point? So I gave Sam a separated-at-six-months twin sister, and Dean a sick angel, then I gave them reasons to all get naked in a room together, because little did I know, Plot Productive Porn™ would be my go-to writing device. Anyway, looming over the whole fiasco is John Winchester’s A+ parenting, which sets this story up in the first place, and I was so gleefully fulfilled when I randomly heard this song somewhere while writing the fic. I was like, yesperfect.

My job to control you, darling, though I barely know you, hoping you grow tired and start giving in. Spout of holy water pour it on my only daughter maybe there's a shot she'll begin again. So wrong

Lucky With Disease by Elbow: I think this would be Crowley’s favourite band. That said, this is one of my most favourite wincestiel songs and is perfect for Wash It Away---the first fic I wrote, and it shows. A few OOC things, but I just went with what I picked up from the light smattering of gifs that had crossed my dash---I hadn’t even seen a single episode of the show yet. My least favourite fic, but still...it’s not terrible, and I love the dynamic of hurt-angry!Dean and fixer!Sam and Cas falling somewhere in between, willing to do whatever it takes to help. I definitely stuck to the first two characterisations for the rest of my writing.

Fell like a crippled crow Spinning through and breaking branches I'm in a bad way Call my friends, they'll know what to do

Not as handsome as my brother But I've been lucky with disease

And yes, I'm a better friend Than I've ever been a lover And that's not saying much But I'm not saying much today

Make Me Wanna Die by The Pretty Reckless: In some different timeline, all I’m doing is writing Megstiel. But Never The Same is all I’ve managed and it’s typical---crazy!Cas and caretaker!Meg, bees, honey. Okay, honey as lube and bees around quivering nethers, but that ‘oh what the fuck okay fine’ sentiment is there that I always loved so much about Meg.

I had everything Opportunities for eternity And I could belong to the night Then your eyes Your eyes I can see in your eyes Your eyes You make me wanna die I'll never be good enough You make me wanna die

Adolescence by Brown Bird: Rise Above It is my goriest fic to-date, and the sort of weird, sinister nature of this song seems perfect for it. Another wincestiel fic in the same vein of WIA but I think I got the characters down a little better. Dean can’t stand himself and thinks he hates Castiel for caring about him, and Cas, par for the course, makes things worse trying to make it better, but Sam knows just where to dig into the bloody mess to get it all right again.

So long adolescence of the frightened soul You're entering the ritual Lay down your every fear upon the altar child Prepare to play the man's role

Stay strong the sound of screaming's just the sacred rite Of death begetting new life

We are here but for the grace of everything divine It's the providence that we must find

If (don’t ever blame yourself) by Last Days of April: People who can write early-season wincest are my heroes, okay. Dean’s a different animal now, isn’t he? I’m not even remotely suggesting he’s better one way or the other, just that he’s harder for me to grasp in the first couple of seasons. Harder for me to find his voice, and I can’t even say I really ‘got it’ with The Dawn Breaks...because I don’t fucking remember writing this fic at all. I have no idea where it came from, but it’s dark and dirty and Sam is toeing the line of making himself into the same monster that hurt Dean in the first place, but in the end, he pulls it off.

If it is hard to bear I'll hold the weight If there are things you ain't I'll compensate But you should never blame yourself Put the blame on everybody else 'cause they don't see what I see If no one understands I'll understand

Lovers’ Eyes by Mumford and Sons: ngl, the entire soundtrack for Becoming Less Defined is my favourite song. I fucking nailed it with these songs: perfect combo, perfect order, perfect atmosphere, but this song in particular showcases my particular obsessive trope here. I’m so fucking proud of this ’verse, and I’m climbing the walls to get back to it and finish it. I can’t leave omega-tainted!Dean and Wall-crumbled!Sam and sweet, insane omega!Jensen in limbo. I mean, there’s actual Purgatory to get to, after all.

Were we too young, our heads too strong To bear the weight of these lovers’ eyes I feel numb beneath your tongue Beneath the curse of these lovers’ eyes But do not ask the price I pay I must live with my quiet rage Tame the ghosts in my head That run wild and wish me dead

Complicated Shadows by Elvis Costello: It’s hard to get Dean alone sometimes, but this song really conjures up that early-season hero that I was talking about before, and writing Turn In Early was supposed to be just a little jerk-off fic, some imaginative Deancest, but because I’m the worst, it’s all slathered in gentle pain.

Well you know your time has come and you're sorry for what you've done You should've never have been playing with a gun In those complicated shadows Well there's a line that you must toe And it'll soon be time to go But it's darker than you know in those complicated shadows

John’s Star by The National: A reminisce fic, Dean’s B.S., 2001 is a rare moment of self-reflection for Dean, but he’ll only go so far back. I love the idea of Stanford-era!Dean, sidelined, a captive audience, listening to music he probably would never on his own terms, and hearing lyrics that just fucking hit home. There’s nothing explicit about this fic, no overt wincest, but it’s there, especially with songs like this.

I don't ever want you to come home again I don't want to hear your call, your voice in my room I am divine, my arms are stronger than rivers And when you feel that way, you want to feel that way again Forever

Once ruined, baby you stay ruined

Evidence by Faith No More: The sleaze that undercurrents all of Mike Patton’s music is perfect for Dress Me Down, a jealous!Jensen J2/Genevieve blackmail fic, because you can just hear Jensen lying to himself through the music.

If you want to open the hole Just put your head down and go Step beside the piece of the circumstance You got to wash away the taste of evidence Wash it away Evidence, evidence, evidence Got to taste evidence I didn't feel a thing It didn't mean a thing Look in the eye and testify I didn't feel a thing Anything you say, you know you're guilty Hands above your head and you won't even feel me You won't feel me

Sedated by Hozier: I would normally pick Great Expectations by Elbow for this, but the dangerous, powerful carelessness of this song fits Something To Share just as well. Schizophrenic, self-destructive and self-harming!Sam and totally out of his depth!Dean make deals and promises to each other and I just really, really love this fic okay leave me alone I’m fine.

You and I nursing on a poison that never stung Our teeth and lungs are lined with the scum of it Somewhere for this, death and guns We are deaf, we are numb Free and young and we can feel none of it Something isn't right, babe I keep catching little words but the meaning's thin I'm somewhere outside my life, babe I keep scratching but somehow I can't get in So we're slaves to any semblance of touch Lord we should quit but we love it too much

Knock Me Out by Linda Perry: Back to my a/b/o ’verse with Between Two Minds, and we find poor Dean, omega-tainted and feeling like he can’t be loved, finally, finally starting to trust his little brother again.

You knocked me out You bit my lip You held me down and kept me sober Through all this time With no regret I guess that's just the way I liked it Maybe, when I'm free I'll realize all he really wanted To share all the peace Something I never wanted So wait, don't go Seems as though it's getting scary So please, don't you go

Feels Like by Buck 65: A song no one will listen to for a fic that no one reads. Dreamy, plinking piano for a fic that started out as a dream. My favourite artist with my favourite ending I’ve ever written. Give Buck and A Steep Fall a chance.

She found the lost boy, eyes that are crying closes Glad to be unhappy, boy gives her dying roses Ecstatic agony and nights of arousing glories Hungry hearts and hands that tell ten thousand stories Open wounds and the one word that filed under Her endless eyes have known hardship and wild wonder Kisses that cure and moments that cured the kiss Under a spell and maybe there's no words for this

I Drove All Night by Roy Orbison: The Mixtape Thing wasn’t supposed to be a fic, but I had to talk about why the songs were picked for the prompt ‘date night at the MoL Bunker’, and suddenly there was a sweet little wincest fic. Yeah, ‘sweet’. My fans were very surprised too.

What in this world Keeps us from falling apart No matter where I go I hear The beating of our one heart I think about you When the night is cold and dark No one can move me The way that you do Nothing erases this feeling between me and you

Tell Me by Moby ft. Cold Specks: An alternative ending to BLD, But Then Again is the best thing I’ve written so far. J2/wincest/abo and so fucking full of angst and longing and good goddamn is it dirty. I’m so proud of it and myself for pulling it off, and even if I lose two more friends over it (i’m not bitter i’m very bitter), it’s still wonderful in my mind.

Didn't have the heat I gave you memories Come deeper please I got nowhere to stay tonight Won't you make me stay? Keep your clear eyes on the prize And as I'm there Bring me to your knees

Baby Blue by Wolf Parade: Kill The Lights is the one unfinished fic on this list but I’m so close it counts. Fifty-nine songs to choose from. Five playlists. Over 100,000 words, and choosing one song to represent this brutal MCD fic is easy. Since it’s written from Sam’s POV, some of my favourite songs are the ones I imagine from Dean’s, and this is perfect.

You're like a fool on fire To the water so blue I will come undone And I will run to you Sometimes we are an open flower Sometimes we are an open wound Sometimes we are a kind of echo chamber, wherein You're all fire and brimstone And I'm all that, too Burning blue for you

LISTEN

tagging @zmediaoutlet @omgbubblesomg @theboringprincess @chiisana-sukima @hazeldomain @indigoneutrino @dreamsfromthebunker @bruisedmickey and anyone else who wants to do this (and if you’ve already done it, no worries ;)

#ao3 #silver9mm #this is really long #but i really love music #and fic writing #so

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nightmareonfilmstreet · 8 years ago

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Five So-Bad-They're-Good Horror Movies to Cure Your Post-Halloween Depression

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Five So-Bad-They're-Good Horror Movies to Cure Your Post-Halloween Depression

It’s that time of year again, folks. Yes, that irrepressible sadness achieved by horror fans once Halloween comes to a close and all of the spooky fun has been had. Parties attended, candy collected, and now it’s time to go back to your boring, non-spooky existence.

Or is it?

Plenty of websites will give you lists of the best movies out there guaranteed to shock and horrify you. This list will not give you any of those. The following is a list of five horror films that might incite a different reaction in you. This list contains the best of the worst, the most unintentionally hilarious ‘horror’ films ever put to the silver screen. There’s always been something fascinating about movies that set out to scare and end up creating joy in their sheer ineptitude, and for some reason horror seems to be a genre full of these types of movies.

Bear in mind, however, that everyone’s taste is subjective, and what might be considered irredeemably awful to one moviegoer is god-tier cinema to another. None of the movies on this list are meant to offend anybody who likes them, and in fact, I encourage you to seek them out. Sometimes a good, old fashioned spooky laugh can be just what you need to cure the post-Halloween blues.

5. The Wicker Man (2006)

A remake of what was once called “the Citizen Kane of horror films” is already a tough one to get right. No matter how much heart and soul you put into your final product, fans of the original are always going to come at you with their grievances with your remake. Despite this, sometimes you get a remake that not only seems to have been made by people who didn’t care about the original, but seems to have no regard for movies as a concept.

The Wicker Man is based on the 1976 film of the same name, which is most notable for having starred Christopher Lee, who often cited the part as his favorite of all of the roles he’d played. The original is beloved by critics and horror fans everywhere, coming in as number one on quite a few ‘best of’ horror lists. For those who love 70s British horror, its must-see.

It’s intriguing, then, that the remake has somewhat overshadowed the original due to its infamy. It’s hard to pin down exactly what makes this movie so enjoyably terrible. Maybe it’s the fact that Nicolas Cage seems to be constantly shouting; Maybe it’s the weird obsession that the movie seems to have with bees and honey; Maybe it’s the weird matriarchal cult that comes across just a tad bit sexist in hindsight. Whatever the reason, The Wicker Man remains a classic of so-bad-it’s-good horror.

Choice Quote: “How’d it get burned? HOW’D IT GET BURNED?”

4. Manos: The Hands of Fate (1966)

Most who know about this movie know about it due to it’s being spotlighted in 1993 on Mystery Science Theater 3000. However, even without the commentary from the crew of the satellite of love, this movie is still one kicker of a beautifully bad movie.

What do you get when you combine a barely-experienced crew and actors, endless scenes of characters aimlessly driving around, polygamist Satanic cult members, and random insert scenes that have little-to-nothing to do with the plot? Well, you get Manos: The Hands of Fate, a 1966 minimal-budget horror film about a family on a vacation who encounter a cult. That’s really about all there is to it. The editing is poor, the acting is wooden. At one point a random pair of teenagers making out in a car and being caught by a police officer interrupts the plot, as if to say to the audience, “We realize there’s not much else interesting happening here, so here’s some eye candy while you wait for something to actually happen.”

According to Wikipedia, the whole thing started when director, producer, and star Harold P. Warren made a bet with a friend that it would be easy to make a horror movie. From that, we got Manos. Oh, and there are a few random scenes where the wives of the movie’s villain The Master get into catfights, seemingly for no reason other than the director wanted to show some women fighting. Take that as you will.

Choice Quote: “Enough! Enough of this stupid bickering! The child must die! If you persist in this foolishness, your usefulness will come to an end!”

3. Plan 9 From Outer Space (1959)

Ed Wood is an interesting director for many reason. For more information about what an enigma that man was, check out Tim Burton’s 1994 biopic. But Wood’s 1959 science fiction-horror feature Plan 9 From Outer Space was cited by Seinfeld as one of the worst movies ever made, and continues to amuse to this day. In a deceptively simple plot, this early feature of the zombie genre (pre-Night of the Living Dead, even!) follows an alien invasion in which the alien’s main goal seems to be the reanimation of dead bodies. Thus, the deceased rise from their graves to pursue the living, referred to not as zombies, but as ‘ghouls’ by the characters.

One notable feature of the film is the fact that frequent collaborator and friend of Ed Wood, Bela Lugosi, has a part in the film. However, halfway through production, Lugosi tragically died, and in the meanwhile Wood brought in a stand-in to hold Lugosi’s place for the scenes with him that they hadn’t shot yet. This results in Lugosi’s stand-in (Tom Mason, by name) attempting to hide the fact that he was not, in fact, Bela Lugosi, by wearing a rather ridiculous-looking Dracula cape and holding it over half of his face. It’s as silly as it sounds.

In addition, the movie features some truly hilarious special effects, including a shot of a UFO flying over California that’s very obviously a paper plate, and a plot that seems to combine The Day the Earth Stood Still and White Zombie into one hilarious package.

Choice Quote: “And remember my friend, future events such as these will affect you in the future.”

2. Birdemic: Shock and Terror (2010)

Birdemic is inspired by Alfred Hitchcock’s The Birds, but upon an initial viewing, the parallels fall flat when compared to the movie’s many technical faults. The atrocious CGI is overshadowed only by the wooden acting and the flat plot. The film follows a software salesman and his Victoria’s Secret model girlfriend who suddenly find their town under attack by killer birds that, get this… spit acid and explode into flames when they touch the ground.

If this doesn’t sound good enough for you, just look at those birds. No, your eyes aren’t deceiving you. They don’t remotely blend with the background at all. It looks more like they’ve been merely copy-pasted into the frame than animated whatsoever. One has to watch them in motion to truly appreciate how awkward they move. It’s very obvious that they’ve not been rendered properly, and instead of the fluid motion traditionally associated with computer-generated effects, the bird’s wings flap jerkily, and spin around in a strange 360 degree motion. The movie has been compared to good-bad predecessors such as Plan 9 because of it’s strange and awkward tone, and in fact has been called “the best worst film [of] 2010.”

Choice Quote: “And many have died from starvation, due to the difficulty of finding enough food, such as seals.”

1. Troll 2 (1990)

You’ve seen the clip on YouTube. A young man in glasses stares, horrified, while a fly crawls leisurely across his face. “They’re eating her…” he intones, ominously, “and then they’re going to eat me. Oh my GOOOOOOOOD!” But Troll 2 is more than just one viral video of bad acting. Dig a little deeper, and you’ll find yourself what I believe to be the best bad horror movie there is.

There’s a lot to dissect here. First of all, the name Troll 2 is misleading. The movie is not actually related in any way to the 1986 fantasy film Troll. The movie was actually an unrelated Italian film called Goblins, but when it was released in America, the studio thought it better to attach the film to a previously released property. Most of the conflict on the set came from most of the crew being Italian and not having a very firm grasp of the English language, and that includes the screenwriter, whose clunky dialogue is a staple of this film’s notoriety. According to many of the American actors in this movie, they offered many times to try to make the dialogue sound more natural and a little less like it’d just gotten run through Google Translate, but the director, Claudio Fragasso, shot that one down.

This movie contains many things, but nowhere among those things are any trolls. Yes, you heard me correctly. The movie called Troll 2 contains no actual trolls. The creatures seen above are referred to as goblins throughout the whole thing. The town they live in is even called Nilbog. (No prizes to those among you who can tell in two seconds what ‘Nilbog’ spells backwards. Seems these goblins learned their disguise tactics from Son of Dracula.)

And that doesn’t even begin to scratch the surface of this mess of a film, which also contains an erotic corn on the cob-eating scene. Yes, really. It must be seen to be believed.

And that concludes the list! Hopefully those of you out there who like a more low-key Halloween got to enjoy some classics of the horror genre, but as a connoisseur of cult cinema, I felt as though it was necessary to spotlight some more unconventional Halloween favorites. So pop one or more of these into your DVD slot or look them up on Netflix, and be prepared to laugh. You might even forget that it’s November.

#birdemic #classic horror #cult cinema #cult films #ed wood #good bad movies #horror #horror-comedy #horrorfiend #horrorpodcast #manos the hands of fate #new horror #nicolas cage #nofs podcast #plan 9 from outer space #so bad it's good #the wicker man #troll #troll 2

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