#[arc] second life for lady death

[snazzi-strawberri-artz]

AUGHH CLASS ASSIGNMENT YIPPEEE!!! Had to make cut out silhouette designs for 3 of our characters!!!

[princesssarisa]

As I've read different people's views on Little Women, I've realized that for different readers, it's a fundamentally different book.

When I see someone describe the "universal" experiences of identifying with Jo, wanting her to marry Laurie, and disliking Amy, I remember all the proof I've seen that these are far from universal. The latter two weren't even my experiences: identifying with Jo, yes, but shipping her with Laurie and disliking Amy, no!

Even people with equal amounts of knowledge of the historical context and of Louisa May Alcott's life seem to come away with vastly different feelings about the story and characters.

I suppose there are a wide variety of reasons for this. First and foremost, which of the four March sisters you personally admire or relate to the most. Then there are other factors like your gender, your age when you first read the book, your relationship (good or bad) with traditional femininity, whether you read Parts I and II as a single novel or as Little Women and Good Wives, your relationships with your own family members, your religion and ethical values...

The list goes on.

That post from @theevilanonblog that I reblogged recently about the different interpretations of Frankenstein makes me want to write out a similar list of ten different views I've read of Little Women. Here it is:

Little Women is about the March sisters learning to be proper virtuous women of their time and place. With Marmee as their role model (a role later shared by Beth as she becomes increasingly angelic in her illness), they learn to conquer their flaws, give up their wild ambitions, and settle down as good wives and mothers. This is especially true for Jo, whose character arc is a slow taming from a rough tomboy to a gentle nurturer. It's a conformist and anti-feminist message, which Alcott probably disliked, but she wrote it to cater to public tastes. (This reading seems mainly to come from critics who dislike the book.)

Little Women is about Jo's struggle to stay true to herself in a world that wants to change her. She struggles with whether to stay a tomboy or become a proper lady, whether or not to marry Laurie despite not loving him romantically, and as an author, whether to write what she wants, write what earns the most money, or give up her writing altogether. In the end, she changes only in ways that make her happy, e.g. by learning to control her temper, and later by embracing romantic love. But in more important ways, she stays true to herself: always remaining slightly rugged, clumsy and "masculine," finding success as a writer, and marrying Friedrich, a man just as plain and "unromantic" as herself, but whom she loves and who respects her as an equal.

Little Women is about learning to "live for others." That phrase is used often and could well be the arc words. Beth is the only March sister to whom a selfless life comes naturally, but the other three master it by the end of the story (as does Laurie). They learn to conquer their moments of pettiness and selfishness, to live in better harmony with each other and with their friends and love interests, and to give up their self-centered dreams of fame and wealth, building lives that focus on service instead.

Little Women is about growing up. The first half is mainly about the March girls' maturing by surviving hard times and learning to be better people, while the second half is about reaching adulthood and bittersweetly parting ways to start new lives. At the beginning, Jo is a girl who doesn't want to grow up: she wants to always be a wild young tomboy with her family (and Laurie) by her side forever. But of course, she can't stop time or womanhood, and is eventually forced to accept the loss of Meg, Amy, and Laurie to marriage and Beth to death. After grieving for a while, she lets go of her old life and willingly builds a new one with Friedrich.

Little Women is about family bonds and the fear of losing them. We meet and become attached to the wonderfully close, cozy March family, which gradually expands through friendships, marriage, and new babies. But throughout the story, the family is in danger of breaking apart, whether due to conflict (Jo and Amy's sibling rivalry, Meg and John's marital problems), or separation by distance (Father going away to war, Amy going to Europe, Jo to New York), or death (the danger of losing Father and Beth in Part I, and the ultimate loss of Beth in Part II). But in the end – unlike in reading #4 above – the family doesn't break apart and never will. Conflicts are resolved, travelers eventually come home, the surviving family members always live near each other and stay as close as ever, and even Beth isn't really gone, because her memory and influence live on.

Little Women is about femininity and each March sister's relationship with it. Meg and Amy happily conform in different ways: Meg to "domestic femininity" as a housewife, Amy to "ornamental femininity" as a society lady. Beth pressures herself to conform to self-effacing domestic femininity, until sadly, it kills her – either because she's too selfless and nurturing when she cares for the fever-infected Hummels, or because she has anorexia, as Lizzie Alcott might have had. But Jo strikes a successful balance in the end, conforming just enough to fit into society, but only on her own terms, and otherwise living a happily unconventional life as a writer and schoolmistress.

Little Women is about Jo's unlearning of internalized misogyny. At the beginning, she's a "Not Like Other Girls" tomboy, who wishes she were male, disdains feminine girls (especially her sister Amy), doesn't care enough when "her boy" Laurie behaves badly toward women, and is afraid to be vulnerable. But gradually, and without losing her strength of character, she learns to embrace the sweeter and more tender aspects of herself, sees that Amy's ladylike manners have practical benefits, and learns to say "no" to Laurie when he turns his childish, unhealthy romantic attentions to her. Then after Beth dies, she realizes how precious Beth's utterly domestic, feminine life was, and embraces a more domestic life herself. Yet by doing so, she becomes a true feminist, as she enters an egalitarian marriage and devotes her life to teaching boys to be good, respectful men.

Little Women is only what US Americans know as the first half. It's just about the March sisters getting by and learning moral lessons over the course of the year their father is away at war. Nobody gets married and nobody dies. Everything else is in Good Wives, which is a sequel with different character arcs and different themes, and which should be published separately, as it originally was and still is outside the US. Trying to tie them together into one narrative never feels quite right.

Little Women is Alcott's idealized version of her own life and family, where no one suffers quite as much as they did in real life, everyone is slightly less flawed, and Jo ends up happily married to a man very much like Alcott's lost love Henry David Thoreau. She wrote the life she wished she had.

Little Women is just a semi-autobiographical slice-of-life that Alcott wrote quickly for money.

Which is the truest to Alcott's intent? I don't know. But while some of these readings I like better than others – and some of them I despise – I'd say they're all understandable and reasonably valid. Some aren't even mutually exclusive, but can be used together... although of course, other readings are mutually exclusive, like whether the story is feminist or anti-feminist, or whether the March family ultimately breaks apart or holds together. And they're all worth using as springboards for discussion.

Alcott wrote more books than she ever realized she did, because Little Women can be many different books to different people.

@littlewomenpodcast, @joandfriedrich, @thatscarletflycatcher, @fictionadventurer, @fandomsarefamily1966

[arkhammaid]

— ˚₊‧⁺˖ THE LIGHTNING ON TRACK | BEFORE FORMULA ONE

fandom. formula one & mcu

about. y/n before her time in formula one

content warnings. written in 3rd person + headcanonish, not edited & proofread!

word count. 0.8k

notes. second 'lore' chapter and the last one before we start with the main arc!! very excited hehe <3

THE CHILDHOOD

born in a private hospital, y/n l/n is the daughter of two times motogp worldchampion l/n. she's not hidden from the world, yet her mother almost takes a whole year to show her in public. two years after her birth, her mother picks up her career again, wishing to add a third world championship to her name.

y/n grew up travelling the world with her mother. attending races while getting homeschooled, she experienced a very exciting life early on. it was stressful, for both mother and child, and yet they wouldn't trade it for anything in the world.

because of this, y/n doesn't have many close friends. instead her phone is filled with hundreds of numbers and active 24/7, especially when she grows older. she knows future world champions of different sports, aspiring supermodels and actors, all because her mother has written history in motorsports.

when y/n celebrated her 6th birthday, her mother, the famous lady l/n finally retired and they settled down in the UK. but that didn't stop them from travelling, now they were jumping from place to place for her own career.

not many are aware, but y/n is a genius. when they meet her, they just think she's an incredibly bright child, and showing her vast knowledge off is not something she has ever done. this is why her mother doesn't worry about her education, she's always greedy to know more.

but she's also greedy to win and win she does. she starts her racing kareer in karting, while still wanting to follow her mother's footsteps into the motorsport world, she wishes to become a formula one driver. it's her biggest dream and she will do anything to achieve it.

THE TEENAGE YEARS

y/n becomes a prominent figure within the next generation celebrities of UK and anyone who's really invested in the racing sport. they call her a generational talent, not knowing that her thoughts never stop racing and always calculate the optimal line around the track for the best result.

her mother ensures she has the best trainers, the best team, anything for her pride and joy. with her connections and wealth, y/n takes the motorsport world by storm and claims one victory after another. it doesn't matter that she's a girl, she is the daughter of a world champion, she is a genius, off and on track, and she will win.

her teenage years are filled with glamor and sweat, she's invited to red carpet events and receives paddock passes on regular basis. she's not so naive to believe that this is about her and her talent, the people who invite her just wish for a chance to be connected with her mother.

y/n is 17, when she joins formula 4 with arden motorsport and wins in her rookie year. but there isn't much time for celebration, because in this year her mother got diagnosed with cancer and died at the end of the year. it leaves her struggling but she's also determined to not let this event end her life. her mother wouldn't have wanted that for her.

because she's still not an adult, she can't inherit her mother's possessions and instead seeks her father out, tony stark. she's taken in his care, and while she still struggles with her loss, a new chapter in her life has been opened.

THE ADULTHOOD

after her win in formula 4, due to her mother's death and no team in formula 3 accepting her as driver, she takes a year off. she spends time with her new family, picks up her education and starts to plan the stark f1 team with her father. it's her dream and wish to become a world champion in formula one, but it's also tony's dream to shake the motorsport world up. so they combine their dreams, while exchanging smirks with each other.

y/n is a bit older, when she joins the grid again and races for prema racing. having now raced for two very strong teams, both of which raise promising stars and drivers for formula one, such as oscar piastri, many people start to keep an eye on her.

this completely changes, when tony reveals his only biological child to the world. y/n l/n becomes y/n l/n-stark, now often referred as simply y/n stark. the attention on her exploded, people fought and still fight for her attention on a daily basis.

but y/n doesn't let that disturb her, even after the rumors pick up. the rumors of stark joining formula one, the rumor of a new team. not even when it's finally revealed that stark racing will be joining the pinacle of motorsport in 2025.

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DO YOU WANT TO JOIN THE SERIES TAGLIST? please leave a comment on this post or send a non anonymous ask!

ARKHAM MAID 2024

[armageddon-generation]

The Bear Season 3 is a bridge season that feels weird on purpose, but also has some big problems: A review/ramble

Season 3 is clearly a bridge season, and suffers from having been written & shot alongside season 4. As a result, unlike the seasons 1 & 2, it doesn’t feel like a distinctive or complete chapter of the restaurant’s life. Just half of one.

This is partly because there’s no ‘end-goal’ like in S2, or clear progression/visible improvement to the restaraunt like in S1. Season 3 is about stagnation. Most of its storylines are left unresolved- the review, Sydney’s job offer, Tiff & Frank’s wedding, Marcus being inspired by his mother’s death, Tina and the dying farmer’s market, Carmy’s conflicts with both Claire and Ritchie. All these threads will roll into Season 4, and Season 3 suffers from that.

PACING, FLASHBACKS AND TONE: FORM REFLECTING FUNCTION

HOWEVER. This being a ‘bridge’, character-focused season isn’t inherently bad. Individual episodes of The Bear still tear when they want to. Episodes 1, 2, & 3 are a very strong setup for the season and establish good momentum. Episodes 6 & 8 are fantastic character pieces, and 8 in particular made me bawl. Even the finale, though bogged down by masturbatory celebrity chef cameos, was a strong episode.

The problem is all the stuff in-between. The actual day-to-day running of the restaurant feels hollow and empty now. There’s a distance between the characters and it feels like they don’t interact as a group anywhere near as much.

Part of this is absolutely deliberate. People joke about S3 'method acting' its way into bad reviews to reflect the restaraunt, but losing steam and the connections between characters is genuinely a formal reflection of the kitchen crew's moods, as the day-to-day grind of running the restaurant wears them down.

The use of flashbacks in 3x1 is excellent, but Season 3 quickly becomes way over-reliant on them (episode 9 especially, oh my god). Again, this feels like a conscious choice to reflect Carmy’s state of inertia/the fact he’s perpetually trapped in the past. It makes sense, but that doesn’t give the show a pass for being boring, and 3x9 was the first time I’ve ever felt genuinely bored by this show.  

FUCK THE FAKS & NEGLECTING POC CHARACTERS

My other problems are much more clearly the fault of the show; I do not give a flying fuck about the Faks. Neil is cute in small doses. The brothers are great as soundboards for other characters; Theo getting Sweeps to talk about his backstory in baseball, the brothers comforting Donna at the end of 3x8 Ice Chips, or the haunting argument finally forcing Carmy to talk about Claire.

But on their own? When they’re just bouncing off each-other? These guys aren't half as funny as the show seems to think they are. And their scenes drag on so long. For example, the B-plot of 3x5 Computer wastes half of an otherwise strong episode with pointless fucking around, propped up by a pointless celebrity cameo. I do not Give. A. Fuck about haunting, Mr. Cena, why the fuck are you here.

The aggravating time-wasting is made worse by The Bear continuing to neglect and underuse its POC characters. This is the second season in a row where I’ve felt Syd only got the bullet-points of an arc. She is the LEADING LADY. Ayo is now the show’s biggest breakout star. USE HER.

I really enjoyed Tina's focus episode, but unlike Forks and Honeydew last season it doesn't move the plot forward, and unlike Fishes the flashbacks don't contextualize Tina''s actions in the present because she's barely doing anything in the present, despite the show setting up her struggles in the kitchen early in the season.

Meanwhile, Ebra got crumbs again and Sweeps got a single scene, which is tragically at least better than he had last year.

Marcus’ arc this year is a fascinating microcosm for the show’s themes, but it barely gets a second to breathe because we have to cram in another five minutes of the Fak brothers arguing about that time Neil got taped into a cardboard box. It’s ridiculous. And then they showcase Nat being all protective of Marcus in an episode he’s barely in, when she barely interacts with him. It feels unearned & disingenuous, using Marcus as a prop for a Hell Yeah gotcha moment.

I liked Josh Harnett though, that casting had purpose, and both Chef Terry and Luca were used excellently.

CAMEOS

The surprise celebrity cameos this year felt distracting and indulgent in a way last year’s didn’t. In Fishes the slew of cameos were a dramatic tool meant to disorient the viewer. This year, John Cena is here to distract you from how pointless this B-plot is, and we've brought in a bunch of famous chefs to tell you direct-to-camera why cooking and the service industry are so important.

The chefs in particular are bizzare after season 1 spent most of its time telling us how evil and toxic the fine dining industry is. But now it's actually just the fault of a few bad apples, and these guys are really rad actually?

CLAIRE

Much has been said about how Claire was an underwritten archetype for Carmy to project onto. Now, I don’t much give a fuck about shipping in this show, but it’s clear Claire & Carmy’s romance didn’t connect with most people. It felt hollow. At the time, I thought this was deliberate, like the tone and flashbacks this season; Claire’s writing reflected Carmy’s perception of her as a saintlike childhood daydream who could deliver him from all the stresses of his life.

But this season, not only does the show refuse to let Claire go, it doubles down on objectifying her as a prop for Carmy’s self-loathing, trapped in his memory.

Again, this might work thematically if I knew Claire as a person, or was at all invested in their romance, but I don't and I’m not. As it stands, the multiple extended flashbacks with Claire feel like futile attempts to plug the holes in Season 2's weakest storyline, and drag their episodes down. If we’re supposed to root for Carmy to find happiness outside the kitchen, this is having the opposite effect, and it’s made worse by it all being left unresolved by the finale.

Either do something with this character or move on, because right now every time Claire appears I clock out emotionally, and that’s not her fault, it’s the way the show treats her.

CARMY THE ASSHOLE

All this contributes to an overriding problem that I again think is deliberate, but risky; Carmy isn’t likeable this season. He causes his conflicts with Ritchie and Syd, to whom he has passed down his generational trauma. Carmy's menu is the biggest thing dragging the Bear into bankruptcy. Carmy has stopped working to resolve his familial trauma like in seasons 1 & 2, just as Nat starts making headway. He functionally doesn’t exist outside the kitchen, entirely preoccupied with the past & a girl the audience doesn’t care about.

Unlike previous seasons, the few times Carmy is called out for his bad behaviour he doesn’t make much effort to listen or improve. Again, I get that this is the point. Carmy is on a low, self-destructive ebb, and hopefully when things start resolving in season 4 he’ll snap out of it. But him dragging the show down with him has consequences.

EPISODE COUNT & FINAL THOUGHTS

A lot of people are saying that S3 only had enough plot for 2-3 episodes, and while I think that’s disingenuous- The Bear has always been a character-focused, vibes-first show- I do think it should've returned to the 8-episode count of season 1. You can consolidate the same amount of ‘plot development’ into fewer episodes while maintaining the deliberate sense of inertia. Cut back on the Faks and flashbacks to give more time to the kitchen crew, and many of the complaints would disappear.

Anyway, all this to say that The Bear season 3 is not Bad like some are saying, but it is a step down from its first two seasons. It feels like it’s got lost in its own head and lost a part of itself along the way, and while a lot of that is deliberate- formally reflecting Carmy’s internal conflict- it exacerbates existing problems (underwritten POC, Claire) and creates several new ones (celeb cameos, overusing flashbacks, unresolved plotlines) previous seasons were able to sidestep.

[starlight-bread-blog]

My Interpetation of The Southern Raiders: Part 3 – Katara

Part 1 Part 2

Hello! Welcome to the final part of my series navigating through the discourse surrounding The Southern Raiders. In the first part I discuss A\ang and in the second part I discussed Zuko. Now that we've understood the people around Katara, I can discuss how they affected her and her choices. So, without further ado, let's begin!

——————

1. Where did this side of Katara come from?

Katara didn’t just become more intense and angry for an episode out of nowhere. It came from years of fury and grief simmering in her.

Kya’s death was a very defining moment for her. As opposed to her brother, whose defining moment was his father leaving him, it molded her as a character. It’s who she sees at the swamp, whereas Sokka just sees Yue. It’s how she connected with Jet, Haru, Hama and even Zuko.

Ever since that dark day, her mother’s death was looming over her, while also being an integral part of her. She lived her life knowing that incredible injustice had been done, and she was furious. At the same time, she wanted to be like her mother, taking care of everyone’s needs. But her anger festered inside of her, and her grief didn’t let go. This anger is what we see in The Southern Raiders.

Additionally, some of the anger she displayed during her arguments with Aang and Sokka can be traced back to Aang’s insensitive behavior I discussed in part 1. Katara is notorious for her maternal emotional labor, especially for Aang. In The Desert she puts herself in danger in order to pull him out of the avatar state, and she always offers her help when needed.

Now she wants to do something that goes against his personal beliefs and that’s how he’s treating her. Still, she doesn’t insult him. “I knew you wouldn’t understand” is what she said. His disapproval is to be expected. Then, her brother, who suffered the same loss, backs him up. And when combined with her anger at Yon Rha, she lashed out.

——————

2. Why did she spare Yon Rha?

Because it was never in her to kill in the first place. That’s not who she is. The anger was in her all along, but murder wasn’t. She was given a choice, and she chose not to. Zuko’s offer sounds bad, but there was never any danger of Katara killing Yon Rah in the first place, she simply wouldn’t do it.The only things that were on the cards were seeing him. The supposed dangers of it weren’t actually going to come to fruition, and in the end, Katara is in a better place after the trip.

But I do think it goes deeper than that. Katara is an idealist, often to the point of naivety. It’s why she trusted Jet over her brother, it’s why she was going to use the spirit water on Zuko back in the crystal catacombs and it’s why she thought blowing up the factory in The Painted Lady was a good idea.

For years the ideal of the perfect revenge on the Fire Nation who took her mother burned inside her. Suddenly she has a chance to execute this ideal, but reality smacks her in the head.

Katara: I always wondered what kind of person could do such a thing, but now that I see you, I think I understand. There's just nothing inside you, nothing at all. You're pathetic and sad and empty.

The man isn’t some scary boogeyman, and she will not kill him.

——————

3. How did her trip affect her?

Katara: [Rises from boardwalk.] But I didn't forgive him. I'll never forgive him. [Smiles at Zuko and walks up to him.] But I am ready to forgive you.

As I previously established, seeing Yon Rha was somewhat a reality check for her. It was her final step in her arc of becoming less naive. With this final ideal gone, she no longer holds this pent up anger at the Fire Nation. Thus, her arc is concluded, and she is ready to accept that the Prince of the Fire Nation can be her friend. (None of this would’ve happened if Zuko hadn’t made the offer. And that’s why ultimately, their trip was a good thing).

——————

In conclusion, Katara's anger stemmed both from years of it building up and a lack of support from her peers. But when it came down to go through with murdering Yon Rha, she couldn't do it. Because even if she forgot it, he is a person. She had a reality check and lets go of black and white notions of the world. Thus, she could forgive Zuko.

[just-prime]

Tales of Squandered Potential

Oh hello again everyone who follows me for my Star Wars ranting!

So! Tales of the Empire. The Hat Man is at it again.

Episodes 1-3 : The Path of Boredom

As expected, all of the Morgan stuff was not my thing. She was boring in Ahsoka, she was boring here. The entirety of the three episodes just hammered home "this lady is angry" in a way that felt overdone because there is no arc. There's no growth, no interest, no nothing. It all just feels like Filoni trying to retroactively make his one dimensional character that gets killed off in the stupidest way possible feel super badass. However because we know that she gets killed in the stupidest way possible, everything falls flat and none of it feels earned. It also doesn't actually answer any of the many many questions that Ahsoka raised about her. She's just there, standing in front of a fire. That's all she does.

Thrawn is there for all of about two seconds, and every moment of it is painful, because here's the thing. WE KNOW WHAT THRAWN WAS UP TO AT THIS TIME!!! We have the book that explains all of Thrawn's many exploits as an admiral. This is only more evidence for the idea that Filoni has never actually picked up any of the canon Thrawn books. Which we kinda already knew, but this is all but confirmation. As I've previously said, and will continue saying, Filoni needs to contextualize Thrawn as a 100% big bad otherwise his Heir to the Empire fanfilm won't actually feel earned, so he is systematically destroying any and all nuance that Thrawn has had to make sure that new viewers only ever see him as an unredeemable evil.

And I know that there are a lot of you out there who are holding out for the possibility that this is all a misdirect by Thrawn! That this is all part of his grand plan to go back and help the Ascendency, and that he's lying to everyone about his intentions. But the sad truth is that Filoni doesn't give a rats ass about anything other than cartoonishly evil Thrawn which means we're never getting Eli, or Karyn, or Hammerly or any of the characters from the six fantastic canon books that Timothy Zahn so lovingly created. That was made very clear with Filoni's prioritization of Admiral Pellaeon, who for those who don't know is actually in the new canon Thrawn books too! He wasn't just left behind in Legends, Zahn brought him back into canon too! But again, being the Legends fanboy that he is, Filoni doesn't care about where Pellaeon should be canonically, so instead he's just shoehorned into the episode for no other reason then Filoni likes him.

Episodes 4-6 : The Barriss Content

Soooooo, why didn't Barriss get a full fucking season to herself??? I get the idea behind the 15 minute episodes, but it really makes it hard to tell any sort of cohesive story. It works far better as a snapshot of a couple of days in someone's life. So unfortunately, while I did enjoy them, Barriss's episodes felt really rushed and I found it really hard to tell when things took place. How long was she at the Inquisitor training center? Was it a day? Was it a month? Really would have been interested in actually seeing the inner workings but it all has to get brushed over in favor of her becoming an Inquisitor. A seemingly intentionally not named Inquisitor which makes me feel like they've run out of early Inquisitor names. Unless there's a trial period before you get a proper number? I don't know it was just one of those things that niggled at me. Another thing that niggled at me (which was also mentioned by the wonderful artist @stealingpotatoes, go give her art some love) is that her design is kinda boring as fuck? Like, you have Birdy-Mc-Skullface right there with such a neat design and yet all Barriss gets is a motorcycle helmet with very slight voice modulation.

But I digress. The fact that Barriss commits herself to the Inquisitorium via a ritualized fight to the death, and then goes "wait, the red light saber wielding, all black wearing, Darth Vader serving inquisitors aren't here to help people?" before immediately bailing is so funny to me. This girl cannot for the life of her commit herself to an organization without becoming disillusioned within 1-3 business days.

I'm not sure how I feel about it all being about Lyn? I was very much rooting for her to totally die in the ice shafts instead of what felt like a very last minute redemption arc?

Though speaking of the last episode...HOLY SHIT OLD BARRISS IS FUCKING HOT. *coughs* Excuse me. Anyway. I would have loved to see more of what happened in between eps 5 and 6. Seeing how she and the jedi kid escaped the planet, and where the two of them did after than in the very hostile Empire would have been a facinating story watch play out. Also, who is this female friend that Barriss is referring to when she sends the child away? Is it Ahsoka??? If it is...WHY WOULD YOU NOT SHOW US THAT REUNION??? Like I get the whole point of this is to set up Barriss to make the jump to live action like every single other Filoni character is curseddestined to do, but also you've had people waiting years to find out what happened to Barriss and it feels like they burned their biggest story possibility on a throwaway reference. Did she find Ahsoka? Did Ahsoka find her? When did they find each other? Was it pre-Rebellion? Was it after Ahsoka was already functioning as Fulcrum? Given that we now know the Fulcrum name originated from Anakin, did Barriss recognize the name and seek this mystery person out? I don't know it just feels again like more wasted potential.

Final Thoughts

Fuck this animation is good now! Can we get a new writer?

Like, even for the shit I was annoyed by, the entire show just looks fabulous. It makes me really really wish that ANYONE other than Filoni could make content in this style. Let the writers of Jedi: Fallen Order and Survivor do a Merrin episode or a baby Cal episode. Or the people doing The Acolyte, let them do Tales of the High Republic! Let anyone other than Filoni have a chance to create within the world of Star Wars animated content.

[linkspooky]

I'm out of touch with the manga, but how come Dabi's fate is so cruel and bad?

Your guess is as good as mine. My speculation is that Hori changed his endgame plans three times. At first Hori planned on killing Endeavor early during the high-end battle.

 "Truthfully, Endeavor was supposed to die during the 6th season, but when I was drawing the High-End battle in Kyushu, I decided to delay that. Maybe because of that impact, there was a little delay after the High-End battle..."

At this point you can tell that Hori didn't think of how keeping Endeavor alive would effect the endgame plot, because Endeavor's arc remains stagnant since the Pro-Hero arc. He basically doesn't do anything, but is kept alive on the promise that he will eventually do something to atone. My guess is Hori simply didn't plan far ahead enough to think the point he wanted Endeavor's arc to end at.

In the original scenario me and class1akids speculated together that since Enji wasn't going to be there, Shoto using Phosphor would actually work to take down Dabi non-lethally and the confrontation would end there.

The second change is because Hori kept Endeavor alive, he needed to make it so Enji and Dabi had a final confrontation, but because he also made the choice to have Enji fight AFO instead, the battle had to be split into two parts with the finale being Enji and Dabi's confrontation.

This second change is what resulted in the horrific burning off of Dabi's skin. If not for this change then likely we would have got an ending where Shoto visits Dabi either in prison or in rehabilitation like Rei, and that's the first step to Dabi's recovery paralleling the end of the Tournament Arc.

The third time is that it's clearly foreshadowed that Toya would eventually be able to sit down at the dinner table, and Shoto would ask him his favorite food. Enji has a dream about his family eating dinner together and wants Toya to be there too, Natsuo once mentions he doesn't know Shoto's favorite food, much much later this prompts Shoto to think about Toya's food and declare he'll make him sit down and eat Udon.

What we got instead was Dabi in an iron coffin on life support, with his family just expressing their condolences and getting to say their goodbyes in the short time Dabi has left.

I have no idea why this change was made. Maybe to pander to a part of the fandom that loved Enji's redemption arc, but despised Dabi because of all of the trouble he caused his family. Either way it's very weird, because it's not just killing each character off. It's subjecting them to these ironic hells like it's the twilight zone. Toga wanted to know if the heroes would save her or they'd kill her like twice, the answer is no and they'd just put her in prison so she kills herself. Shigaraki was afraid that he was born evil and wasn't in control of his life, AFO reveals to him that apparently AFO controlled his entire life from the beginning, and then Deku kills him and he dies having destroyed nothing meaning his life was indeed meaningless. Dabi's greatest fear was that he was a born failure, his life meant nothing, his death was unmourned and his family moved on without him. Well, now Dabi is going to die in a life support machine with no skin that looks like the torture devices from hellraiser, slowly, painfully, only able to be conscious a few minutes a day and his family is just going to move on without him.

This isn't just "the villains have to die to atone for their sins" this is like Hori specifically torturing them for the audience and also insisting they brought their suffering upon themselves for not wanting to atone like Hawks, Endeavor, Lady Nagant and Gentle and therefore are disqualified from being human in the end.

[mrdogface]

So I finished Birds of Prey (1996 - 2009).

Highs:

known unrepentant homophobe Chuck Dixon accidentally wrote a pretty incredible bi sapphic story during his tenure on Birds of Prey, although much of the queering does come from the artists working on the books. We all know the “call me Barbara” moment – apparently, after the audience reaction to that, Dixon started leaving notes for artists like “be careful and make sure the audience doesn’t misinterpret this scene” lol. 

imo, the realization of Helena Bertinelli’s arc happens in the Birds of Prey. She is finally removed from an environment where she needs and is actively craving Batman’s approval, and she ends up thriving, infiltrating the mob and earning the “good work” from Bruce. Personally, I would’ve preferred if her character moved completely away from Bruce’s opinions of her, and it kind of does, but Gail SImone does close that arc off by giving it to her. 

Gail Simone uses the series as a who’s who of women in DC, showcasing a number of minor and often underrated women, from returning classic characters like Ice to giving Zinda Blake / Lady Blackhawk a second chance at comics relevance (Lady Blackhawk’s best story in the Birds of Prey, imo, happens under Tony Bedard, concluding the character’s arc from her 1950s roots). 

Infinity, introduced very late in Bedard’s time on the team, is a severely underrated nonstarter superhero and it is criminal she never went anywhere. Weird ambiguously Australian ghost girl? Hello??

Barbara as a character who learns to accept her disability. A lot of people, including Dixon and Simone, tend to point out that Barbara learns to be a superhero in spite of her disability, but that’s not the interesting part imo. I think the more interesting story here is that they almost accidentally cobbled together a very genuine character arc of Barbara initially being insecure and doubtful that she’ll be perceived as an equal, as romantically desirable, as a real leader in the superhero world, all this stuff, due to the chair. What we end up seeing is her growth into someone who realizes she’s accepted within the bubble of people who are relevant to her, and that the bigotry of people who aren’t can be made irrelevant simply by building one’s life without them. Her disability isn’t written as saccharine inspiration porn (I think it actually veers too far in the other direction at times; at its worst, it’s a point of grimdark melodrama lol) and it isn’t something she “overcomes” in the classic superhero sense of getting a magical wheelchair or psychic powers, and imo in the superhero genre that’s rare and valuable. The execution isn’t perfect but for me it’s very close. 

Lows:

Chuck Dixon makes Barbara and Power Girl do an accidental war crime lmao. dw, both DC editorial and the fanbase ignore this and the less said about it the better.

Dixon really likes James Bond, Indiana Jones (surprising because Indie keeps beating up his friends) and other travel-adventure stories, so throughout his run Black Canary keeps ending up in exotic locations… and judging the people there, before doing some insane “World Policing.” The racism is uhhhhhhh

Simone ties the Birds into the wider DC universe and it does, frustratingly, hit a point where you need to be either really up-to-date with other books or cracking open google to know who a lot of characters even are. This is kind of just how DC works in the mid-2000s, frustratingly. She’s also forced to work with a lot of off-screen deaths, like Ted Kord’s death should be an enormous thing for Barbara, but we have deadlines to keep and we can’t be certain people have been keeping up with Jaime Reyes, so gogogogo

Misfit and Black Alice. They never worked for me. I hate Misfit’s whole archetype of zany comics fan who acquires powers. Making her Jason Todd-adjacent by giving her the sad homeless backstory did not sell me on her and felt like a cheap attempt to make a nonstarter character function. Black Alice’s whole thing devolves into a “stay on your meds, emo kids” PSA. Just very clumsy 30-somethings-writing-teens material. 

the last arc, set in DC Silicon Valley, kind of sucks. The Calculator isn’t an interesting villain to me. The chemistry between characters after Dinah leaves never feels right. 

it all ends with Barbara believing she's lost her edge, writing a signed note, peacing out, and dumping her adopted homeless kid friend on Helena after getting her ass kicked by the Joker. The last page: Ganthet lamenting that she's in a wheelchair, "to be continued in Oracle: The Cure." oy.

[agentrouka-blog]

The resurrection of Jon Snow through sacrifice of an innocent life feels cheap. Especially it give the narrative that Targs(Dany/Jon) can cheat death and need innocent lives to be alive/gain power. After reading your posts it makes sense if Jon is in some kind of coma like Bran.

Thank you!

Obviously, I agree. GRRM would be going against his own very consistent messaging if he gave literally any kind of justification for the concept of human sacrifice. If something or someone's life force was magically sacrificed to resurrect Jon (be it Shireen or Ghost or whoever), outside the unbelievably slim chance of a consenting adult actively volunteering for the purpose (and we already had a similar but much more powerful non-magical scenario with Qorin Halfhand, while we have no un-universe compelling reason for anyone to choose that), GRRM would be forced to render Jon plot-irrelevant for the rest of the series, in order to stay consistent.

That's obviously not happening.

Not to mention, we're already getting the "human sacrifice in the North!" moment with Shireen, and that one is so unquestionably meant to be viewed as horrific. Given the above logic, GRRM literally cannot create a second, somehow positive sacrifice scenario for Jon without undercutting the culmination of Stannis's arc that he has been building toward since he introduced the character.

Coma!Jon it is.

(We don't quite know what is going on with Beric, but we also know he's not quite alive, either. Thoros unexpectedly revived him with a magical "kiss" and no sacrifice in sight, but the man is neither eating nor healing, and he is capable of passing on his life force at will to create Lady Stoneheart. That's a zombie, not a living human. There's no point in zombie!Jon, either. We've seen that story play to its logical depressing conclusion with Beric and we're already going to see a bittersweet twist on it with Catelyn, and there's no room for a credible third. Happy!zombie!Jon is not a credible option. There would be little tension left in his arc.)

[shadowqueenjude]

Coming out with my truth 🙋‍♀️

So I read the Throne of Glass series before I read the ACOTAR series, and you know my favorite character is Lorcan (Chaol is a close second). And when Azriel was first introduced, I thought he seemed similar to Lorcan in many ways:

1. Being preoccupied with the same woman for 500 years

In Lorcan’s case, it was a little different. We don’t know when exactly Maeve took Lorcan in, but he reads as a teenager. Imagine being a poor kid on the streets, having these death powers you’re terrified of. Then this beautiful, rich queen takes you in and tells you you’re worthy and gives you a home and a life and a purpose. It’s only natural to develop an idyllic relationship and even a crush on them, especially when they’re actively manipulating you and abusing you using the blood bond. Unfortunately, poor Lorcan had no idea what the fuck love even was, so he thought it was love. Then he met Elide, his mate, and realized it was not.

In Azriel’s case, it seems like he’s convinced he’s unlovable and therefore he has latched onto Mor because he knows he has no chance with her (as she prefers women) but she’ll also never go away (or so he thinks). There are no stakes in going after someone like that, and so he continues to do it. When he finally stops going after Mor, he latches onto Elain instead, another unavailable woman. Because no matter how much he rants and complains about the cauldron, Elain is still Lucien’s mate and will never be able to give herself fully to him. I must confess I was genuinely shocked that Moriel at some point was endgame, but I am not at all surprised she retconned it because it would’ve been extremely icky.

2. Their mates are exceptionally well loved by everyone who meets them and they both have a cunty “mean girl” bestie who would literally die for them. Elide’s “mean girl” bestie is Manon, of course. Gwyn’s “mean girl” bestie is my bbg Nesta.

3. Both of them have strange shadowy “death powers” that are so rare and unheard of that no one really knows what they’re about.

4. Both of their mates have experienced some kind of SA.

Now, many characters have, but the reason it’s so important for these two characters particularly is how much it has affected them compared to other characters. Elide and Gwyn’s arcs, in many ways, revolve around their experience. Gwyn’s journey from being raped and rescued and brought to Night where she mainly lived in the library, afraid to come out because of what happened to her. Then later learning the mental and physical techniques of the Valkyries to eventually overcome it to an extent (but she still returned to the library at the end of ACOSF which shows she hasn’t fully recovered).

Elide’s SA in the Morath dungeons leading to her having difficulty believing in the goodness of men. In her POV saying that the only way she’d ever feel desire is with someone who she trusted so deeply all the horrors went away. Her finding that in Lorcan. Her journey from being a scared woman with some wits to being the bad bitch who lifted Lorcan’s axe to kill the ilken and came up with the plan to destroy Erawan.

Also a bonus: Azriel and Lorcan are the subbest men SJM has ever written😂

Things that we saw with Elorcan that I think we’ll see with Gwynriel:

In Kingdom of Ash, there is a scene where Elide watches Lorcan torture someone and she does not balk from it. I believe Gwyn will have a similar moment with Azriel.

With Elide, we saw her make the first move on Lorcan. Just like that, I think Gwyn will be pursuing Azriel.

We eventually saw Elide take up a leadership position as Lady of Perranth. I believe we’ll see something similar when Gwyn becomes the High Priestess of Prythian.

That was long. Anyway if you read this far thank you!

[grumpy-aino]

✨Little S2 Musical Analysis✨

You guys remember when Aziraphale forgives Maggie's debt in the first episode in exchange for some records?

Those records are by none other than Russian composer Dmitri Shostakovich and I know LOTS about this man (and why the choice to include him may have something to do with Aziraphale's character arc in s3!)...

Shostakovich's life is usually characterised by his tricky relationship with Stalin. During the 30s, the musical freedom enjoyed by Russian composers came to an end, Stalin clearly preferring more traditional classical music. Although Shostakovich had been criticised for his more adventurous works in the late 20s, his 1936 ballet, Lady Macbeth of Mstsensk got him officially denounced by Stalin's official newspaper (Pravda).

Composers who refused to comply with the standards were denounced as formalists (including Western elements in their art) and risked deportation to a remote area of Russia, imprisonment and even death.

On to the record in question! The Symphony No. 5 was written after this denunciation. It was a success, being to Stalin's liking and praised as a "Soviet artist's practical and creative response to just criticism". Shostakovich was back in Stalin's good books.

Who else do we know to be once denounced and hated by a regime who has just recently got back into their good books?

This might just be a neat reference to Shostakovich's life in comparison to Aziraphale's, but Shostakovich's story doesn't end there: In 1948 he was denounced a second time for his Symphony No. 9, which was promised to be large and triumphant to celebrate the USSR's victory in WWII, but was completely the opposite - playful and cheery, mocking Stalin.

The second denunciation was in a way more serious than the first. Shostakovich (and other composers who were accused of formalism) were made to give quite a public apology. Many of his works were banned and he was expelled from the Leningrad Conservatory.

Although he was put to use again by the government in 1949 at a New York press conference, it had been remarked upon by Nabokov that Shostakovich was "not a free man, but an obedient tool of his government." Even after Stalin's death, Shostakovich still had a strained relationship with the government. They still largely controlled art and in 1960, Shostakovich was devasted when he joined the communist party.

Of course, all of this information could be completely irrelevant and it could just be Aziraphale buying some classical music. especially because the Symphony No. 5 is NOT 21 minutes long like Aziraphale implies (in fact, it's a little over an hour). But so much of this media is intentional and the PARALLELS are insane.

The second denunciation could mean a whole lot for season 3. Aziraphale is probably likely to 'go along' at first with Heaven (Shostakovich wasn't really on board with the heroic nature of his symphonies - the 5th, according to one musicologist, is a love symphony), but might be plotting something. This second denunciation appears like it could be entertaining.

What's more! Shostakovich also had a best friend who died before they could have their post-war reunion (as Shostakovich talked about it his letters). Honestly the whole thing's really tragic and hurts to think about; Shostakovich promised he'd never write another note again after his friend's death, but instead wrote his incredibly painful Piano Trio No. 2.

✨Anyway hoped you liked that✨

tagging @neil-gaiman bc why not?

[tonycries]

bro i read the leaks I WOULD HAVE PREFERRED KENJAKU TBH. that would have been sexy and antagonistic. yuta in gojo's body is just,,, yuta does NOT match gojo's vibes sdhfjkglsfdhg

thematically however it absolutely FITS for yuta to be back in the fight. no way yuta was dead. think about it! he didn't get a imaginary-final-moments scene like nanami, jogo, nobara (hhhh), or gojo.

i also SUPER appreciate that there was gojo characterization. yuta says that gojo was forced to be a monster all by himself, gojo tells yuta that he has to do this/to leave him alone, etc.

the "gojo had to be a monster" thing deserved so much more development. gege probably realized how much harder people would swoon if we got to see gojo being lonely, isolated, having people scared of him (not unlike yuta).

like damn gojo why did you train these students if you didn't want to fight alongside them? you literally said "no one will ever have to be alone"? it could have been a really moving story arc but it feels like we're only seeing pieces of it.

gege will show us yuji befriending junpei, nanami saving baker lady, nobara and her old friend, megumi and the delinquents, but not one (1) second of gojo forming connections with ordinary people, living his life.

and if gojo DOESN'T have a life outside sorcery then we deserved a scene of gojo coming home to an empty sterile apartment, not even turning the lights on, just brushing teeth, throwing off some clothes and falling into bed while he stares at the ceiling and dissociates -

ksjfhghlsdgf SORRY i'm rambling but listen. gojo is alive in our hearts where gege cannot reach him!!

TRUEEE when you put it like that it really does make sense for Yuta to take over, because Gege definitely hadn't used his full potential.

I think it just felt kinda like crammed into one chapter with all the flashbacks and everything. Though I DO appreciate how we get to see Gojo be more of a teacher.

Somehow some stupid little part of me STILL thinks Gojo will be back though?? Chat am I delusional???

I should know better than to trust a man, especially Gege but idk it just doesn't feel COMPLETE. Like fym Gojo was THAT sure he'd win??

Here's some lil predictions:

Both Yuta and Gojo end up dead, Yuji awakens some power and we see him get more MC treatment and defeat Sukuna.

Gojo and Yuta's powers get transferred to Yuji?? Somehow?? Maybe???

Yuta and Yuji fight together but ehhhh.

Oooo how cool would it be if Yuta actually defeats Sukuna but then gets corrupted or goes crazy and then Yuji has to defeat HIM.

I dunno either way I'm just sad that Gojo is a weapon both in life and in death. Let my baby REST.

[givemewallywestorgivemedeath]

Can we acknowledge for a second how insane it is that both Wally and Bart had to have significant character arcs to understand that sometimes people die?

With other heroes it's just a fact of life. People die. People die all the time. That's just the job. There's no escaping that. There was never any room for doubt.

They try as hard as they can to save everyone but they're only human. Sometimes they can't and sometimes people die.

But for Wally and Bart?

Oh man.

Wally was aware of the concept of death. He'd seen corpses, he knew that people died and that it was a commonplace thing.

But someone dying on his watch? Failing to save someone, no matter what the circumstances, was not even an option to Wally. It didn't happen. He was fast enough to make sure it never happened.

His actual literal catch phrase as the Flash was "Nobody dies."

I'm not joking.

He even had a storyline where a lady was thrown out of an airplane and Wally, who obviously can't fly and who would have no way of saving her, jumped out after her because nobody dies. And he did save her. He figured out a new way of using superspeed while plummeting to his death. The moral of that adventure to Wally was that no one should die ever when he's the Flash because he can always save everyone if he tries hard enough.

He then had another adventure where someone was going to die and he couldn't save them and he could not handle that. This man STOPPED. TIME. He stopped time because "if time doesn't move then they can't die" and he intended to never restart time because he was having a full blown panic attack over someone dying on his watch.

Thankfully he was able to calm down and figure out a plan to save them. He had to accept that it might not work and they might die and he had to be okay with that. Because he tried his best and that was all he could do. He did end up saving everyone in the end. No one died.

But I mention this because the man was in his mid 20's the first time he actually had to come to terms with the inevitability of death.

He wasn't being naive or ignorant. He wasn't being arrogant or cocky. The man had legitimately never failed to save someone.

Now Bart, in comparison, had to face death in general a lot sooner than Wally did. Wally was basing his conclusions based on his experience but Bart legitimately had no idea what death was.

He had to learn that people could die by witnessing the people he cares about have close calls. He had to learn that he could die by experiencing his own death.

I'm honestly not entirely convinced Bart has had to accept that he can't save everyone. There are arguments to be made for sure but I don't think he's ever explicitly had that "Oh shit, I can't save them. They will die" moment.

Regardless though, I think this really speaks to their abilities and efficiency in the field. Also their sheer power. It doesn't matter if it's a city of 2 million people and there's a nuke 1 second away from detonating. It doesn't matter if the criminal has a hostage at gun point and has already pulled the trigger. It doesn't matter if a building gets hit during a fight and crumbles into dust. There will be no casualties. There will be no hostages. There will be no friendly fire. They save everyone. No exceptions.

[sokkastyles]

To continue the discussion re: Katara and forgiveness I have a scalding hot take. It's important for me to disclaim that I don't fault Katara for wanting revenge on her mother's killer, nor have I ever believed she was in the wrong for feeling that way. However, sometimes I think Katara is expected to be an eternally forgiving Madonna figure because that was the image of herself she herself projected. From the very start of the show she's been rather self-righteous and never had doubts about her indestructible moral compass. Her line from Spirit Lady about never turning her back on the people who need her just gave me the impression that she has a mighty big savior complex. I know most people are endeared to her for those reasons but due to my own personal tastes it had the opposite effect for me (and I'm worried I'll get some flack for saying all this). I love characters who struggle with doing the Right Thing (tm) SUE ME. And now comes a situation where she finally FINALLY has a major moral quandary. She's manufactured this image of being perpetually virtuous. But now the illusion is shattered when there's discordance between what she wants to do versus what is the right (albeit, subjectively so) thing to do. You know, something every other human on earth has struggled with and that for a while she had distanced herself from. It was refreshing to see this major conflict between her and the people in her life. I just wanted to share my two cents (and friendly reminder I acknowledge that it's a scalding hot take) and I hope my criticism of Katara doesn't evoke too much anger from the ATLA masses *Sweats nervously*

To be honest, I think it's odd to say that Katara has always portrayed herself as perpetually virtuous when she's introduced to us in the very first episode yelling about having to wash Sokka's dirty socks. Right off the bat, we are told that she is a character who does NOT accept the role of the perfect, quiet, subservient, nurturing female. That's what I mean by a Madonna figure. It's a specific term used to describe misogynistic standards placed on women. Standards Katara speaks out against, loudly and openly, in the first few seconds she is introduced.

Katara's strong sense of morals is another matter. Katara has a defined sense of right and wrong and that means she holds herself to high standards, too, but that is a big part of her moral struggle. And that's been a part of her arc since early on, too, when she ran into conflict with the earthbenders or Jet in season one because they didn't live up to her moral standards and because she didn't know what the right thing to do was when the people she expected to be the heroes wouldn't step up in the way she expected, or turned out to actually be the villains. Katara has a certain way she expects the world to be and throughout the show that ideal is constantly fighting with the reality of the world and its expectations.

But all of this also occurs because of the pressure she feels to fit a certain standard, and to say that Katara imposed this on herself is kinda ignorant of the institutional nature of sexism, to be honest. Katara may think it's her job to take care of everyone, but she was eight years old when she began to internalize that, and it didn't happen in a vacuum, it happened due to the expectations that already existed for girls to take on a motherly role plus the trauma of her mother's death.

That's one of the things about sexism. It says that girls and women need to behave a certain way, then treats that prescribed behavior like it's a natural trait instead of a learned one and makes it the subject of mockery. Katara is often treated this way by the narrative, too. And then when she acts in a way that is counter to that prescribed behavior, it's portrayed as weird or out of line, even though that part of Katara has always been present throughout the story, and in fact one of the reasons she was so angry in the Southern Raiders was because the others kept acting like she was somehow not herself instead of recognizing where her hurt was coming from.

Sorry, I find this take to be luke-warm, at best.

[somepsychopomp]

binge watched all of scavengers reign in one sitting! I have many thoughts, though they all feel jumbled up right now. I think the show starts off VERY strong but faces some pretty significant writing challenges as it progresses. Basically my opinion is:

episodes 1-6: an absolute triumph of imagination and environmental storytelling. They have genuinely some of the best ideas for alien life I've ever seen. The human characters are also all interesting, too. Azi and Levi were my favorite plot line but I really relished in how our first glimpse of Kamen is this sad, lonely malnourished man slowly starving to death in a tree... only to be revealed as a violent selfish asshole who genuinely gets what he deserves as the story progresses.

side note- I'm also a huge fan of the weird plant(?) that basically clones living beings and makes The Thing(s). Also Levi is probably the most compelling character in the entire show.

episodes 7-10: I enjoyed episodes 7-10 and maybe 11 so little that i considered giving up on the show in its entirety. To me, this segment dropped the show from like a 8.5/10 to a 4/10 or even lower. They were such an unenjoyable slog to get through imo (no hard feelings on anyone who liked them tho) because of the small crew of new characters we meet. No surprise you're not supposed to like or trust them, but the show just seemed unwilling to commit to them being actually evil or arguably sympathetic characters just trying to survive their own hostile situation, and kinda waffles between the two possibilities.

I guess that's the attempt at a gray area/morally gray characterization but I just fucking hated all of them and they meant nothing to me. Also it really, genuinely feels like the show speed ran Kamen's arc and completely ran out of ideas on where to take his character from here on out. Which is a bummer considering he's the type of character you absolutely love to hate.

And I'm so, so sorry, but I felt nothing when Sam died. TO MY DEFENSE, I can articulate why! Basically, out of all the characters on the show aside from arguably Kamen, Sam gets beaten up the most. He gets his blood sucked during the early storm, then gets wounded by the freaky cloning plant and almost dies from that, and then almost dies from getting buried alive, AND THEN gets implanted with the parasite from that mysterious lady. The best way I can put it is that his character just made me feel fatigued. His situation wasn't the kind where a protagonist suffers injury after injury but gets up anyways via sheer will/desire to complete their goal/what have you (Mizu from Blue Eye Samurai is a good recent example from adult animation who embodies this trope well, for example).

In contrast, Sam just spends too long on the brink of death for the stakes to feel high anymore. He also does nothing to improve his own condition, relying entirely on Ursula, which I think robs him of his agency and depth. In fact, I spent so long prepared to mourn him, kinda expecting him to not survive the planet, that when the time finally came, I already expressed all my emotions and detached myself from his character. I will say that at the very least, I did like his actual death scene and felt it was nicely done and paced.

episodes 11-12: Perfectly fine finale, I had no major problems with it but these episodes just didn't quite hit the highs of the first half of the series. Will say tho, Levi turbo blasting the Hollow was perfect. Love that for them.

Overall, I think I'll have to rewatch the show again when it's not late at night and I have all my wits about me. Maybe I'll change my opinion on it, because I really, REALLY want to like it in its entirety and will absolutely watch a second season if/when it comes out because, despite all its flaws, Scavengers Reign is something genuinely special.

The first half of the series feels like lightning in a bottle and MUST be seen by all sci fi and fantasy fans!! Even though everything is intensely organic and raw, the planet also has this strange biomechanical feel to it, from the shrapnel wind storm to the big triangle-head birds with electric/static feathers to all the animals that look like statues or toys but still live and breathe. It's such a unique take on an alien world and it was beautiful to see.

[themattress]

The 10 Best Sailor Moon Manga Battles

Naoko Takeuchi is a talented writer and artist, but if there's one thing she usually struggles with, it's compelling action sequences. Most battles in the Sailor Moon manga are rushed, with many enemies getting taken down in just one hit. However, there are occasionally exceptions where she turns in something exhilarating, and this post will point them out.

Vs. Kunzite:

Unlike the previous members of the Shitennou who went down with just one blow, Takeuchi made very certain to vividly display that Kunzite was on a whole other level of power. He is able to deflect everything the Sailor Senshi throw at him, and every dark energy blast is treated as lethal, to the point where he nearly does kill Tuxedo Mask. He leaves undefeated, and in the second clash with him, it takes all of the Senshi's power combined to destroy him:

And even then it looks like a Herculean effort: look how Takeuchi draws the panel of Kunzite attempting to hold back the attack with his own energy, then the close-up on his eye. It's like in clashing with the Senshi's blast, Kunzite's super-brainwashing is lifted for a split second, causing him to hesitate and thus allow himself to be destroyed. Had that not happened, he still might have stood a chance at deflecting the attack. That's how powerful this guy was!

Vs. Prince Endymion:

No wonder Queen Metalia wanted to get Endymion under her control! When fighting for the dark side, he's a fucking beast! Not only was he able to face all the Sailor Senshi at once and counter against their moves, but in the end defeating him almost cost Sailor Moon her life.

Vs. Esmeraude:

Esmeraude struck twice, and both times were surprisingly intense. The first one was a death trap utilizing the power of her Boule Brothers servants, which slowly and gradually threatened to crush Usagi, Mamoru, Minako and Chibiusa to death. The second one had her as an active combatant using the Death Hands ability she was granted by Wiseman, capable of striking multiple opponents at once and draining them of their life energy. Both times she came frighteningly close to success, stopped only by Future Endymion's interference.

Vs. Black Lady:

Now granted, this fight may have been more intense than the usual primarily because the heroes were pulling their punches considering who Black Lady really is. With that said, Black Lady still shows truly impressive power derived from the Malefic Black Crystal, and having a mind-controlled Safir and Prince Demande for backup added to the whole challenge factor.

Vs. Death Phantom:

The final battle of the Black Moon arc is split into three segments. First is a battle against the planet Nemesis (or so it seems) floating above Crystal Tokyo, sending wave upon wave of dark power down as Death Phantom taps into the energy of the Malefic Black Crystal towers that Black Lady has created. Prince Demande also jumps in with his final attack at this point.

The second phase actually pulls the heroes inside of the Malefic Black Crystal's darkness, where the soul of Death Phantom appears. This is the shortest stage of the battle, basically just a one-on-one clashing of energy between Death Phantom and Sailor Moon which ends up being a trick so that he can warp her (and Mamoru) to the real planet Nemesis' location.

Finally, there's the showdown against planet Nemesis in space. Death Phantom is pulsating with dark energy that is powerfully depicted, threatening to tear Usagi and Mamoru apart, but Chibiusa comes to the rescue as Sailor Chibi Moon. The two Sailor Moons then blast Nemesis at once, their light energy and Death Phantom's dark energy clashing until his is inevitably extinguished and the whole evil planet explodes. It's a truly spectacular finish.

Vs. Cyprine:

First of all, she's a level 999 witch, so she's definitely no slouch at magic:

But the bigger threat is that she pits the Inner and Outer Senshi against each other:

That's what makes this battle great; it's the climax of a conflict that was building for several chapters now (the Inners vs. the Outers), and it concludes through the unforgettable scene of Sailor Moon creating the Holy Grail and becoming Super Sailor Moon, aka "the Messiah".

Vs. Mistress 9 & Pharaoh 90:

Naoko Takeuchi just went full disaster movie with this one. Tokyo is being threatened with getting torn apart as Pharaoh 90 floods into its streets and begins the process of merging himself with the planet, while up in the air Mistress 9 reveals her true monstrous appearance and fights against the Sailor Senshi with brute force. Even when she's defeated, she then merges with Pharaoh 90 to make him an even more nigh-unstoppable force, and in the end it looks like the only way to defeat him might be to let Sailor Saturn destroy the entire world.

Vs. The Amazoness Quartet:

This is a pretty straight-forward battle. Sailor Chibi Moon and (the now nerfed for reasons too complicated to get into) Sailor Saturn face off against the Amazoness Quartet in the Dead Moon Circus big-top, with the opponents being evenly matched in terms of skill and ability. The power of Sailor Senshi against the power of trickery and the nightmarish Lemures.

But shame on Sailor Moon Eternal for leaving out the best part:

Vs. Queen Nehelenia:

Following a disappointing battle inside of a dark mirror, Queen Nehelenia returns in the realm of Elysian and poses a far more spectacular challenge. She's still behind her mirror, but now it seems impenetrable and she is free to launch as much dark energy at her opponents as she desires. Rather than harm them physically, it attacks them psychologically, which proves effective enough to ultimately allow Nehelenia to claim the Silver Crystal and nearly triumph:

But once Sailor Moon gets a second wind and transforms into Eternal Sailor Moon, she uses the Holy Grail, all of her friends' power, and Mamoru's Golden Crystal to launch an attack combining all of that energy. The mirror shatters and Nehelenia is forced out of it as she starts disintegrating from the attack's power, exposing her true hideous form in the process.

Vs. Sailor Galaxia & Chaos:

Sailor Galaxia attacked Sailor Moon before, and our heroine was rendered powerless and needed Chibi Chibi to bail her out. But now she's finally able to go head to head with her nemesis, the two of them showcasing their full power as they clash. The fight takes them through Shadow Galactica's palace and out to the Galaxy Cauldron, where Chaos gets involved and displays by far the most impressive exertion of dark energy in the series as it threatens to merge with the Cauldron and spread itself across the universe. It's one Hell of a note to end on, and it sticks with you rather seen in the manga or in Sailor Moon Cosmos.