#(Its a near exact adaptation of the final scenes)

[izzyizumi]

mE, FALLING Over after finishing DigiAdv 2020 36 U.S. Dub: WOW KoushirO IZUMI IS SO GOOD

[portmantaur]

because I am a Very Normal person who does Extremely Normal and Understandable Things

I finally watched the Amazing Maurice animated movie and had a little cry near the end. it was so clear that at least a few key people on the art team had an intense love for the source material - a reverence, even. I mean, there’s even a reference to Dibbler’s invented toilet dragon as the fountain in the town square, which is such a throwaway line that I can’t actually remember which discworld book it’s from without looking it up (but I -think- it might be a Watch book). The Morpork owls as a recurring motif. Twurp’s Peerage and the bat-embroidery on the chair in almost all of the scenes from which Malicia is narrating. Obviously the bust of Pratchett in the mayor’s office. There were so many visual references to the whole body of work, not just the exact source material, that I can’t even remember them all. I could feel the love coming from the art/design team.

And then the script itself betrayed so much of the original narrative’s purpose that I ended up crying a little (you can’t judge me, remember we already established I am Incredibly Normal and thusly Not Weirdly Emotional About Inconsequential Things). It did not strike me as a movie that would have survived into being made had Pratchett been alive - which is not surprising, he pretty famously rejected scripts, especially regarding Tiffany Aching. But I also remember the animated versions of Wyrd Sisters and Soul Music, and how utterly tickled Pratchett was in interviews regarding them — I especially remember how twinkly and pleased he was with some of the artistic direction taken with Cliff, particularly his voice direction and the sound effects used for his movement. So while Pratchett did have a reputation for rejecting film adaptations of his work, he clearly wasn’t impossible to please. I just, in my bones, in a totally Normal And Not Weirdly Sentimentally-Driven Way, do not believe he would have approved the final version of -this- script.

Primarily because it was a children’s book on purpose, and the book spends a lot of time respecting its intended young audience by posing a lot of questions without bothering to provide definitive answers. And so when there is one theme/moral that feels very deliberate and intentionally blatant within the novel, that feels incredibly important to me. To wit: This book makes a very clear statement about how evil is a creation, an action; evil is something concocted by people and put into the world. It is not an accident, it is not happenstance, and most uncomfortably, it can thusly usually not be entirely undone. In my opinion, Spider/The Rat King could not be a clearer way to communicate this concept.

Yes, Spider is evil, and yes in typical Pratchett fashion he indicates that evil is a bit of an expansive concept that cannot be contained within the simplified notion of “doing bad things,” and he very poignantly wraps this into the concept of creating/exploiting fear. But as a rat king, Spider’s existence is intentional and unnatural. Rat kings are a real, “historical” concept insofar as they have existed as a myth for a very long time. I remember reading about them in my wee years, when rats and rat-keeping became admittedly a special interest of mine. The concept of them in Pratchett’s book mirrors almost exactly their concept in real life: They are a human invention, and the only “evidence” of them has always just been evidence of the extent of human cruelty, largely in service of making a buck. Pickled rat kings were a common sight in early sideshow exhibitions, and you’ll even still find some modern references to or models of them in similar settings today. But they are simply an impossible concept when considering them as “natural” phenomenons — The Amazing Maurice (the book) explains that petty well via Keith’s knowledge of rats and their habits, but even that leaves out the obvious explanation of the fact that rat tails are bony structures that simply do not have the ability to bend into any conceivable knot-shape without being intentionally broken for that purpose. For a book that doesn’t shy away from the carnage and cruelty humans otherwise enact on rats historically, I have to wonder if that was simply the point at which Pratchett himself shared his much-written sentiment of “not wanting to draw you a picture.” Either way, readers of course find out that Spider in particular was created as a “masterpiece” by one of the resident rat-catchers in order to secure entry into the local rat-catching guild. As a result, Spider is both creation and burden to the rat-catchers.

But this entire discussion of rat kings as evidence of cruelty, this whole allusion to evil being a human-made thing, is mostly thrown away in the film. The film takes away both Keith and Malicia’s knowledge of rat kings (the practicality of them and the mythical reputation of them respectively), instead gives both halves of the knowledge to Maurice, and then claims that the rat catchers did not intentionally create the rat king. Rather, while carelessly storing rats they had caught, the two men simply tossed a few rats temporarily into a pot, and upon later lifting the lid to retrieve them, discovered a rat king had been formed — conceding every possible falsehood about rats, their anatomy, and the history of rat kings that Pratchett spent the bulk of a chapter meticulously refuting.

And I, as the Incredibly Normal And Not At All Weird Person we have already established that I am, had a good cry. I was so sad that whoever was in charge of these changes to the script simply did not respect their child audience the way Pratchett himself did. How can you claim to honor or even love his work if your retooling of it is so fearful, so dishonest? The message of “evil is something you put into the world, not something natural to be observed” is such an important concept for children of all ages to be exposed to, and it’s such a narratively satisfying climax to reach after the buildup of sympathy for this rough and tough rat colony who already navigate the casual and perhaps even somewhat “justifiable” cruelty foisted upon them merely for existing in the shapes they have. And while there are a lot of changes in the script that I found disappointing or un-artfully implemented, this particular change felt utterly cowardly. Of course, if as an executive or screenwriter in charge of what gets finalized in a script, your goal is rooted in creating something to mass-produce and sell, then I understand why arming an audience of children with the idea that evil is an action and not a circumstance would frighten you to your boots. But then I have to wonder: Why take this work to adapt? It's not as if it's incredibly well known outside of a somewhat niche and probably slightly older audience. What was there to be gained by taking such a lovingly crafted, respectful narrative aimed at younger people, only to dismantle and subvert the very clear message it contained? By review standards, this film was kind of a flop. So what was the point?

Mostly, again because of how Deeply Normal I am (such that it obviously doesn’t even bear repeating), I felt a lot of sadness for the art team. At least a handful of people in charge of the artistic direction of the film had a deep connection to the Discworld series, and I have to wonder if any of them felt disrespected or otherwise unhappy with the final product they ended up being party to, especially with the love and dedication to visually crafting this story being so apparent on screen. And while I feel personally that there are valid and constructive criticisms to be made about Pratchett’s work, and perhaps more largely about the specific perspective from which he wrote, something that has always struck me about his novels aimed at young readers is the sheer amount of respect he always had for them. This movie carrying a weirdly clear bias of believing that children would only be -seeing- the movie, engaging with it on a strictly visual level, while adults would be the only ones actually -listening-, felt like such an absolute disregard for the love Pratchett clearly had for young readers that it actually made me angry.

There’s not really a larger point to this essay on something as inconsequential as an animated rat movie, but I’ve been thinking a lot about it, and I can’t help but cling to the idea that I’m not the only Really Very Ordinary And Not At All Strange person who had this sort of emotional reaction to this piece of media. Somewhere out there in the wild world of tumblr, someone else might see this and go “yeah…yeah!!!” To which I want to answer, in total commiseration, “yeah :(”

[magnumdays]

Magnum P.I. 4.19 - The Long Sleep review

So yeah.

We be canon now.

(At least spoken feels be canon.)

I am still shook. And I’m pretty sure next week is either going to be the most amazing episode ever or it will kill me. 

Or both. Quite possibly both.

Before we go into the main case and the Miggy... let me just say how adorable this episode was over all and just the big Ohana vibes. 

Cabe and TC just -chef’s kiss on everything.

(Seriously, can TC adopt me?)

Rick and Suzy at the end, her craving pickles (which you know a little cliche but still so funny) and being all “we gonna be good at this” and even the case-guy feeling like maybe his granddad’s would have wanted him to seek more adventure and Kumu being all “a good quiet life is what most people want” and maybe the guy realizing that but also maybe wanting a bit more adventure.  Just all around the wholesome and heartwarming experience I want when I put on a Magnum PI episode. 

(Side note: Saw the newest Fantastical Beast movie. I’m not sure what I think about it at all but I do know it was a mess, even if it did have some sprinkles of the Harry Potter magic just because IDK? Hogwarts? But the reptile horse was super cute and I still find Newt adorable as heck. Also Nifflers are the best.)

Case - memory loss, blood and diamonds and a dead long lost grandfather 

I feel like premises / plot of like a bunch of 80/90s spy/heist movies, but cute and adapted for TV! In a good way.

This guy was clearly in trouble from the second this woman came over to talk to him. Like the warning bells were going off big time. And yes, at the end of the ep. she does try to gut him while he’s still alive and kicking...

The gutting him alive is so weird and crazy to me. Because there is one thing to drug one guy and shoot another to try to steal (back) a diamond her dad helped steal (I guess), another to start rooting around in a guy’s intestines. Like come on, just buy the guy some prune juice and let nature takes its course?? Work smarter - not bloodier! 

But you know, guess there was a time crunch and for the end of the ep we had to have a dramatic near death/rescue scene, so I forgive them! 

So yeah, case was fine, I like the wacky ones and we had our babies working together with no fuss or muss. 

(Which is what I want to see in season 5 especially if we get canon Miggy soon. We can have Miggy and still have Magnum and Higgins investigations! They can still bicker even if they’re dating! Come on, people bicker more when they’re together, even! It’s jut s a good reason for more banter!)

I really was more invested in Magnum and Higgins and Cade/TC/Grandma plot, but the case-guy (was his name Greg? I feel like it was) was weirdly sympathetic and I liked the fact that this was a good case of ‘need a PI not the cops’ and that they didn’t involve HPD until they needed to. Lia was back and I do hope she’s there for the finale also. It be funny if there was the exact flipped Cole scenario with Juliet being ready to ask Magnum out and he’s all “meeting Lia in five, what can I do for you” (but it’s obviously case related but could be fun. Which by I mean, torture. But the fun kind.)

Now onto the Miggy...

You could buy a decent used car for that price!

(So I’m not sure what Magnum deems ‘a decent car’, but yes, agree, strollers are ridiculously expensive.)

Other than the weirdly long intro with the guy/future client at the bar, we starting the episode of strong with Rick and Magnum looking at strollers and being hilarious - quickly taking us to a full on Magnum confession of feelings which gets the “Gad finally, you were like the last to know” thing from Rick! I cannot believe he actually went “we have a texting thread about you guys“ - that is just... well it prove Rick, TC and Kumu are basically us (the viewers)!!! We had some of this from the sneak peek but the full thing was much better.

So that’s Magnum admitting not only to himself but to Rick that he has feelings for Juliet. I was like My God! What is happening? This can’t be happening! Now we’re sure to get the episode ending with Juliet going on her stupid picnic with Cole!

Is that what we get?

NO!

What do you want Juliet?

No. We get Juliet visiting our favorite head-doctor and doing basically the same thing. Just while being more freaked.

So while Magnum’s confession of having feelings for Juliet at the start was very nice, he’s clearly been thinking it over since coming to this realization in the last episode (so possibly a week or two yeah?) He basically just wanted to tell Rick so he’d get a little push to go ask Juliet out. Magnum got himself sort of figured out and wants to act.

Juliet? Our little baby Juliet? Well, she not so sure. 

But her telling Dr. Ogawa “I can't have magnum -of all people- on my mind all the time” and “I can’t risk it” and ‘what if he won’t ask again?what if I closed the door’ etc, that was her genuinely being in that very confused state emotional. Yet, part of her must have known that she too would get that push to face her feelings, as her doc is a total shipper! But she was much more torn and I just enjoyed that scene tremendously. Not even minding the episode ending on the question of what do you want Juliet? because the answer is obvious!

(Also, I will forever love the “...the idea of spending the day with Magnum was more appealing than a picnic with Cole...” bit. Like, well, duh, of course it is. And how Perdie always does this thing when she’s at the Ogawa’s office where she is just awkward like because for Higgy this would be so awkward. Not sure what it is, like her whole body is just screaming don’t want to be here somehow. Actors are cool.)

So you’re saying you just didn’t have any better options?

So the two Miggy scenes we actually get is firstly him asking her out and Cole’s stupid picnic getting in the way. (Though can we just talk about how sweet him just watching her with a longing look and sigh in the wine cellar was? I NEED gifs)

(Also this top - I have on super similar to it from H&M! I imagine hers is more fancy and she def. looks better in it. Still, fun!)

Then in the car with her asking, well, why he asked her to hang out.

Leading to Magnum being all “well TC was doing this with Cade and Rick was baby shopping-” and she purposely misunderstands and goes with the whole “so I was your last option?” because at this point, she’s been thinking about it the whole day. And she is both scared and hoping that he did asked her out. 

And when Higgy is hopeful or scared, she goes for sarcastic.

Then he goes “no, no that’s not what I meant” and she’s happy. Because that means he did ask because he wanted to just spend the day with her.

But she’s also scared. Still, I’m glad she says ‘I’m kidding’ even with that I loved that he’s trying to explain it while going ‘dang that came out wrong what do say?’.

 Also I think if the phone call hadn’t come in... his explanation would have gone something like “No, but them spending time with the people that make them happy, I realized I wanted to spend time with the person who makes me happy too.” Or maybe that’s just some wishful thinking on my part...

What does this mean?

While my Miggy heart is so happy... tad bit nervous at this, because Jay always said we’d get Miggy - but only for the last episode. That the show would be over once they got together. (Then again, Jay isn’t writing the show, so the Magnum Higgins relationship development is not really up to him, now is it?)

Question is, is that what we’re getting next week?

I think it almost have to be. Why else have the both of them sort of come to term, or state their feelings so clearly, in the very same episode? If they did not have something specific planed for next week I’m not sure why they would do that.

So either 4.20 is the series finale and they knew and decided to give Miggy their HEA as it ends (which I don’t think as we keep getting ‘season finale’ on promos and stuff + because rating be real good for a Friday night show) or perhaps they’ve been told season 5 will be their last one and are setting up their final endgame well in advance? 

So maybe season 4 will end with a our long awaited (real) Miggy kiss 

(thought this one still haunts me)

and the early season 5 will be them figuring themselves out and we get something dramatic closer to the end and the god damned proposal (at pillbox? because currently that is all we can think about...or you know, while arguing in the Ferrari or during a shoot out. I’d be good with that too). 

In fact, I feel like we need that engagement/wedding story-line because we got both Juliet’s engagement to Richard which ended with him dead, Magnum’s to Hannah which ended when she betrayed him and then the Magnum and Higgins’ faux wedding! So a real wedding or at least them getting engaged at the end of season 5 that feels like it would take things full circle somehow.

4.20 thoughts

Just watched the promo for 4.20, and I do think they’re teasing us with the whole “Magnum, I need to tell you something” I don’t think it’s feelings related. I mean this balcony is a very random place and I don’t think that’s how either one of them would do it. It also has a very weird and kind of depressing lighting about it, like end of the world vibes big time.

I just think this conversation is going to turn out to be case related or something. But they both look very tense, and expectant but really they can make promos seem like anything and everything is going down. 

Then again, if something serious is about to happen - which, it is the season finale so totally possible - maybe she’d want to say something before he goes undercover or throws himself into danger? Not sure. 

Or she will tell him and he’ll smile all ‘omg I can’t believe she beat me to it’ and she’ll misunderstand his smile or silence and someone will come interrupt that they have to go on the mission and then we get their reunion and he’ll be about what you said before ‘I feel the same way’ and we get a kiss on the beach or whatever and it’s ever so romantic and yes, my Miggy colored glasses are turning Magnum PI into a romantic comedy. But our babies deserve to be happy!

(Or this one where she goes to knock on his door could be feelings. But a call from Gordon will come interrupt her before she can say anything and then we maybe have it through the episode. It could be kind of funny with like they’re both trying to figure out how to admit it to the other one and they both keep getting interrupted!!)

At the same time, for all we know, she could be telling him that her dad just died and she has to leave to go to England for the summer to bury him or something. That would be on par with the past few season... (But please, dear god, let it not be that!!!)

Anyhow, as it’s going to be the last ep. for a good long while, I’m torn between utter excitement, fear and sadness. But with the last few episodes having been so good and the Miggy, I’m mostly excited though! 

[yurimother]

LGBTQ Light Novel Review — I'm in Love with the Villainess

A stunningly profound, entertaining, and queer title that eclipses other isekai and Yuri series

There are few titles the general public seems to be as excited about as Inori and Hanagata's I'm in Love with the Villainess, as it has been sitting at or near the top of Amazon's LGBT Manga list for months and Twitter is consistently abuzz with the latest news on this isekai Yuri series. I was somewhat more skeptical, as I have had relatively poor experiences with isekai and fantasy Yuri. Still, my excitement went through the room, and I eagerly boarded the "hype train" upon the cover reveal for the third volume. Yuri families, where two women raise children together, are one of my greatest desires and something I rarely see portrayed in the genre. However, I still had mostly low expectations for the series going into the first volume. I looked forward to some light meandering comedy and typical boring trope-filled isekai shenanigans. However, I'm in Love with the Villainess more than exceeded my expectations. No, even this statement is far too moderate to describe how utterly stunned and blown away I was by Inori's creation. I'm in Love with the Villainess is completely shattering and easily one of the greatest light novels I have ever read. Thus, I have no choice to award a perfect 10/10 score, my first ever for a light novel.

After waking up in the world of her favorite otome game, Revolution, protagonist Rae is ecstatic to be faced to face with Claire Francois, the game's villainous rival. However, Rae never played Revolution for the thrill of romancing any of the three attractive young princes. She was always in love with Claire. She attends the academy and studies magic in the fantasy world alongside Claire, the princes, and various other supporting characters. Using her skills from the modern world and her encyclopedic knowledge of Revolution, Rae manipulates the situation to be close to Claire, becoming her maid, and garnering status and money along the way. As an inevitable conflict looms closer, Rea begins to enact plans to protect herself and Claire, many of which are not fully understood or explained until the finale fantastically reveals the reasons for her actions. There is a natural and steady pace to the narrative that awards readers’  predictions and attention to detail.

I'm in Love with the Villainess has some excellent supporting characters, all of whom have unique personalities, histories, and abilities, some of which are revealed by Rae's exposition and others naturally throughout the novel. However, the stars of the show are the central couple, Rae and Claire. Claire is an elite aristocrat and extremely bratty. She often sneers at commoners and makes her disdain of Rae very clear from early on. On paper, she sounds like the perfect villain and someone all readers would despise. However, Rae's utter devotion and infatuation with Claire is so sincere that we cannot help but be pulled in and adore Claire and all her tantrums. Rae is a delight herself, continually flirting and poking fun at Claire, which gets her verbally berated, much to her masochistic pleasure. However, she is also exceptionally cunning and intelligent, and some of the light novel's greatest joys are listening to her analyze a situation or watching one of her plans fall into place.

“Ah, I’m… Well, it doesn’t matter. I mean, it’s irrelevant to cuteness—because, Miss Claire, you are cute.” “Huh?!” She pulled away. It was perfect—such a pure reaction. “Miss Claire, you hate me, right?” “Of course!” “That’s fine. Please keep teasing me. I love it.”

The beginning of the book does not immediately clue one into its brilliance. Sure, Claire and Rea get some great one-liners as they bully each other, and the scenarios are authentic and fun, but it is nothing shattering. I was feeling pretty relaxed and having a lot of fun with the characters, their relationship, and the various slice-of-life style scenarios they encountered until one section, I remember the exact page, 81, as it stopped me dead in my tracks. I was flabbergasted and briefly frozen before shooting up out of bed, shouting expletives as I ran to my office to immediately record what I had just experienced. It all begins with the line, "Hey, Rae. Are you what they call gay?" What followed was one of the most thoughtful, condensed, informative, and nuanced discussions of gay and queer identity (both terms used in this scene) I have ever seen in Yuri. Everything from representation in media, the perceptions of and prejudices against gay people, and the role gender plays in romance for bisexual and gay people are analyzed. Its commentary is succinct yet so respectful and forthright that it could have only come from genuine experience, thus selling the book and its characters so much more.

"Queer people were still overwhelmingly closeted in this world, which was rife with prejudice and nurtured little understanding. As I noted, the queer people depicted in the story were either the sex fiends Claire imagined or the free-loving sort Lene had in mind. Diversity and acceptance were a long way off.”

Thus, Inori's writing's beauty exposed itself, and the book opened itself up to a delightful cycle. The narrative masterfully integrates isekai slice-of-life hijinks, like running a cross-dressing café or battling a giant slime with nuanced and challenging moments that dissect complicated topics. The latter mainly consists of a growing rift between the aristocracy and common people, mirroring real-world wealth gap issues, but the novel also touch on matters such as unequal prison sentencing and segregation. Every scene helped further the complexity of the characters and their relationships or else built onto the world of Revolution. Speaking of which, I'm in Love with the Villainess has some of the best worldbuilding ever seen in a light novel.

Initially, brief exposition establishes much of the world, which is adequate if not exciting. I will mark up to a casualty of the light novel's serialized nature, as it must present readers its setting immediately. However, Inori does not stop here. Through the narrative, new elements are established, such as a magic system and the kingdom's politics. Rea notes and describes how the world, while clearly based on medieval Europe, has many modern Japanese attributes, as Japanese game developers created it. Her pointing out the intersection of the two is fascinating. Furthermore, A great deal of time is spent establishing characters and organizations all have their own wants, agendas, and methods, many of which are not even directly involved with the story. Instead, they act as a background and help further contextualize others. For example, the Church publicly appears to lean towards supporting the commoners in their efforts for equality but has its own agenda of superseding the nobility. While they play little role in Rea and Claire’s adventure, they are one of numerous factors contributing to the unrest of the lower class. All these additions are interesting, and it never feels like the story or characters suffer for their inclusion, quite the opposite.

“The Bauer Kingdom had started a step behind other countries when it came to magical research. They dominated the surrounding countries in military strength, and this had made them complacent, leading them to underestimate the value of new magic technology until the best researchers had all been enticed to other countries. Even after the king came up with his magic-focused meritocratic policy, Bauer lagged behind.”

I can only make complaints by scraping the very bottom of the barrel. Hanagata's beautiful art is too infrequent to add much to the light novel, and many scenes crying for illustrations are left to the readers' imagination. However, Inori so wonderful writes the story that one hardly cares and can easily picture every moment with delight. Besides, the manga adaption will nullify this issue. Where I cannot complain at all is the spectacular translation by Jenn Yamazaki and Nibedita Sen, one of Seven Seas best (which is high praise considering the competition). Sure, I was slightly disappointed at first to see the adaptation left off honorifics, but the more I thought about the setting, the more sense it made. I am sure people much smarter than I gave the issue much more consideration, and I am happy with their decisions.

I'm in Love with the Villainess left me reeling with how pleasurable and powerful it was. The story and characters are such a joy, and I cannot wait to see Rea and Claire bully each other again in the next volume. Astounding worldbuilding and powerful, thought-provoking politics surround their antics and the high stakes plot. Every moment of their journey will enthrall readers as they squeal with glee at its hilarious set pieces or are shocked by its commentary of society's most significant challenges. Inori has created one of the most delightful, heartfelt, complex, profound, and genuinely queer light novel series ever. If you only read one thing I recommend this year, let it be I'm in Love with the Villainess.

Ratings: Story — 9 Characters — 10 Art — 5 LGBTQ — 10 Sexual Content — 2 Final — 10

Review copy provided by Seven Seas Entertainment

Purchase I’m in Love with the Villainess in digitally (9/23) and in print (11/10) today: https://amzn.to/32NEyG1

Supports creators by purchasing official releases.

[thehomothings]

Analysis of Kite's conflicting moralities, relationship with death, and the toll reincarnation may take on one's psyche

So, today I decided to compile all the thoughts I have had about Kite's interesting worldview since the first time I saw him into one post, mostly for my own sake, really. If you're familiar with the few posts I've made, you know it's gonna be a mess, but hopefully a comprehensible mess.

A heads up, this is going to be spoiler-heavy, and very much deal with subjects of death and dying as a whole. Also, some of these conclusions are drawn from my own experiences and close brushes with death, I'm not going to go into much detail but it might get personal and definitely dark. I'm not even sure if I can call this a meta-analysis, and I'm obviously no expert, so mayhaps take all of this with a grain of salt.

Been getting into drawing lately, and during the more simple and mindless part of the painstaking process of dotting every single star in this, I let my thoughts wander through the latest part of the fic I'm writing, and I got a better grasp on what exactly made Kite such an elusive character to me.

I'm not quite sure why I got so attached to Kite. Perhaps it was the air of tragedy surrounding him, how despite his sordid past he remained still open and gentle even if outlined by a healthy dose of cynicism.

But sometimes, I think it's the fact that he is so paradoxical. He's brave, yet fears death to such a degree that creates a whole Nen ability around it, is a pacifist yet will not hesitate to spill blood for his own sake or someone else's. Despite the many ultimatums and warnings of 'I will not protect you', he gave his arm and then his life to save Gon and Killua. He approaches each hunt and battle with a clear plan of action in mind, but his Hatsu takes the form of a roulette that gives him random weapons which are never what he wants, but what he seems to need for that exact situation, which he cannot dispel without using. When he draws a weapon, the decision is locked in and his or his opponent's fate is sealed. That's why each time he dubbs his weapon a bad roll. Every time he has to gamble, he sees himself as having run out of luck. When it comes to having to choose between himself and somebody else...well, there had never been a choice. In fact his aversion to using it may feed into its sheer power that we, unfortunately, saw too little of.

Let's go over his very first appearance when he saves Gon from the mother Foxbear.

It's not hard to see the strain searching for Ging has put on him; he's rash, prone to anger and punching a child for daring to get into trouble. In his mind, he's failing at his most important task, has not yet earned the right to call himself a hunter despite being in possession of his very own hunter license.

After killing the mother Foxbear and raging about having done so, he says this interesting line:

So yes, he finds killing for any reason rather irksome as most would do, yet I think something deeper caused him to absolutely lose it in this scene:

He had not been aware of Gon's identity, and despite being an animal lover and a naturalist, he made a choice to save the human instead of allowing nature to run its course. In fact, he says: 'No beast that harms a human must be allowed to live.'

How does one weight one life against another? How is the worth of it determined? The value of life... an impossible choice he's faced with and a choice which he seems to regret to some degree.

The Foxbear cub.

Here, he's speaking from experience, a tangible loss he has felt himself, and a hard and bitter life he does not want to impose on the cub.

His backstory is exclusive to the 2011 anime adaptation but there are hints alluding to it in the manga, for example, the fact that he does not seem to know his birthplace, or:

The choice of words is chilling.

Reading between the lines, one could draw the conclusion that he is an orphan. Something supporting this hypothesis is how he visibly deflates after Gon tells him his parents have (presumably) died.

So we see he is willing to go against his own moral code of not killing as to not doom another living being to the life he led, a lonely, hopeless existence that could barely be called one. He saw it best to put down the cub rather than leave it to die a painful, slow death.

The reason Kite himself isn't as cynical and cold-hearted as one would be after witnessing cruelty in its rawest form is those small crumbs of human kindness which he may have found in Ging.

It was not only a chance at an honorable life being Ging's apprentice gave him, but it also 'saved' him from being broken and twisted into what he hated and worst of all, death.

If we take that one minute of backstory as canon to his character-which I find myself inclined to do- these quirks of his make much more sense. He lived on the run. He lived on the knife's edge between giving up or pushing forwards. He lived as so a wrong move could be the difference between survival and the end.

Between rock and a hard place creates a mentality of black and white, absolute good or extreme evil, this or that. Except in reality, it's much harder than that. Deciding who to save and who to strike down is a heavy burden to bear.

It's almost easy to see how struggling to keep surviving could lend itself to a crippling fear of death and subsequently developing a Nen ability which once more goes against his own moral code in order to give himself a second chance...yet something about it strikes me as unlikely when I look at it this way.

Living life knowing it could end at any moment has the opposite effect, at least for me it did. One comes to accept that it is fleeting and while not eager to let it go, when death eventually and inevitably does come, there is no fighting it.

Especially when there is no hope that tomorrow will be a better day than this one.

Frequent near-death experiences numb one's fear in a way, even if it drives them to take precautions that render it unlikely to happen again and results in c-PTSD, but still, it does. It sparks a certain nihilistic view of 'if it all can end so easily, then what's the point of it all?'

Unless there are things to live for, a sure promise of a better future, and Ging gave Kite that. When he faced the threat of losing his second chance at life:

Really, what else could lead someone to develop the ability of 'the hell I'm going to die like this'?

I think a separate event, an even more brutal near-death experience that almost cost him his life as the hunter he so strived to be set him off to develop the secret roll of Crazy Slots, what I call Roll No.0, Ars moriendi. Unlike other weapons, it cannot come up in random and is directly summoned by him, or better said, summon by his overwhelming will to keep going and hopelessness of fighting a losing battle. I don't believe roll No.3 was the weapon that allowed him to reincarnate. I've named that one Wand of Fortune, a sort of armor instead of an offensive weapon since I find it hard to believe Kite, a Conjurer, would not focus on defences as well, and I will go into both mechanisms of these weapons hopefully in his backstory.

Despite knowing this battle to be a pointless one and being acutely aware of his soon to be demise, he did not immediately draw Ars moriendi, no, he stayed back and fought for the sake of the boys, kept Neferpitou occupied until they could reach safety. We can see evidence of this in the aftermath of the battle that seemed to have gone on until dawn, a torn apart landscape only signaling a fraction of the devastation that was Kite's power unleashed. It still wasn't enough.

In the anime sub I watched, when Gon apologizes to Ging about Kite's death, Ging said a sentence that infuriated me, because it belittled the utter suffering of the NGL trio.

"He would not die in your place." (No screenshot, sorry)

And I remember practically shouting at the screen, screaming 'how could you possibly say that? Of course he did. He absolutely did die in their place. How could you not know your own apprentice? Why-'

It was only last night that it hit me why Ging would say that.

Once upon a time, maybe Kite would not have given his life for anybody under any circumstances, even if he had a way out of it all. He would still need to die to come back to life.

His Thanatophobia could be attributed to the (possibly untreated) PTSD of the near-death experience in his later life, being so certain of dying that finding himself alive afterwards drove him to never want to go through that again. He quieted his fear by creating a sort of a loophole, that even if he lost the battle he would remain. Ging remembered that, but as evidence shows, something changed. Maybe he healed a bit, perhaps growing up dulled his fear to a certain degree, but eventually when it came down to his life or another's, he didn't choose himself.

Now, I can hear you saying 'but he didn't die, so what are you going on about??' And so I reply: Yes, he is alive, but he did die. He experienced that painful, horrible moment of staring death in the eyes and thinking 'This is it, this is the end', went through the actual process of having his soul removed from his body. And that moment stretches into infinity, ten lifetimes condensed into the mere seconds before oblivion.

Dying isn't so hard if one stays dead.

It's not so easy to open one's eyes and find oneself alive again after that, no matter how much that is the heart's desire. It's difficult, nigh-impossible to reconcile with life and walk amongst the living when everything had been so final, when death had been accepted to its fullest.

So Kite awakens, the twin of Meruem and back from the dead, his mind and identity both intact and fractured. In that he is Kite is no mistaking, yet he is not the same gentle pacifist whose first reaction upon sensing a monster's aura was to shield two kids from it at the cost of his arm.

I don't think many of you are familiar with Zoroastrian ideology, but Togashi is known for loving his religious imagery, and it's not only Christianism he derives inspiration from (evidence of which can be seen all over Kite's character and resurrection).

In Zurvanism-a branch of Zoroastrianism- there is talk of the twin spirits: Ahura Mazda -epitome of all that is good- and Ahriman -epitome of all that is evil-, the parent god Zurvin decides that the firstborn may rule in order to bring "heaven, hell, and everything in between."

Upon becoming aware of this fact, Ahriman forcibly tears through the womb to emerge first. Sounding familiar yet?

Zurvan relents to this turn of events only on one condition: Ahriman is given kingship for 9000 years, and then Ahura Mazda may rule for eternity.

Meruem ruled for 40 days, his death leaving the throne vacant for ant Kite, wearing a dead girl's face and seeming to be brewing some nefarious plan. No more is there any sign of that unrelenting pacifism and the sanctity of life he held so high, losing his own may have only served to show him how meaningless the pain and suffering he went through had been, dying only to be reborn as a member of the species that killed him. It may be that he has no desire to rule over the remaining Chimera ants or create an army of his own-

Yet I dread to think what a broken mind possessing limitless power might do to the world.

And that's it. If you made it this far, thank you for reading! If you found it interesting, stay tuned, as I think a lot and I will make it your problem.

[lena-in-a-red-dress]

holy cow that sc old guard au is so good!! 😍 pls continue it if ever you'd be so inclined,,, I like the idea of lena finding family with the old guard and navigating her relationship with kara and the superfriends in canon 😊

Okay, then how about we think about the fact that when Lena and Kara finally exchange secrets, Kara is eloquent and apologetic and hopeful, giving a beautiful speech that ends with "I'm Supergirl."

And Lena's response is "I'm dead."

Cue season finale break.

But then we immediately pick back up with "Except I'm not. I mean, I'm alive by any measure known to science, I've checked. But that doesn't change the fact that the night before I moved to National City I woke up in a warehouse in Metropolis and spat two bullets out of my skull."

Kara just stares at her like whaaaaat is happening.

"And those people, the ones in the lobby the other day, I think they're like me, because I've been having dreams about them ever since it happened and I think they're old. Like older than time old and honestly I've been trying not to think about it because the idea of living that long terrifies me and--"

Lena cuts off when Kara wraps her in a hug, squeezing her tight. After her momentary shock, Lena relaxes, abandoning her train of thought in favor of melting into Kara's embrace.

"It's okay," Kara promises. "We'll figure it out. Together."

Lena gladly accepts the fact that she doesn't have to go through her journey of immortality alone. And it's not just the superfriends she has to lean on, but also her new family of fellow immortals who have gone through the exact same thing she has.

She doesn't have to go into hiding like Nile did. So far, no one but Corben knows her secret, so the risk of being identified and studied by the government is minimal. So the focus of everyone's work becomes keeping it that way.

Andy and the rest of the old guard set themselves up as Lena's new ace security team. Andy is the brains and occasional sniper, but stays out of the direct line of fire. Nicky and Joe are the public facing bodyguards who go with her everywhere, while Nile is the last line of defense, posing as Lena's assistant.

The two groups don't really mesh at first, despite the superfriends' curiosities. The old guard has been too long alone and too long with death to know what to do with the superfriends' youthful exuberance. But eventually their mutual attachment to Lena brings them into each others orbits.

Joe and Nicky adapt first. They come to love game nights, and Nia adores their blatant love for each other. Nile is the closest to them in age, but game nights and giggly girl parties isn't exactly her scene. She and Lena share plenty of scotch though, on the nights when they're alone in the office and have nothing to do but talk.

Andy remains an enigma. To her, the people around them are all children, and she can't truly connect with them the way she does with the old guard. The only member of the superfriends she can connect with is Supergirl. 

There's something about being the last of her world that makes Supergirl relatable, something about being earth's mightiest hero that creates the same invisible wall between her and her closest friends that Andy recognizes.

And Lena. Lena suddenly finds herself in a drastically changing landscape. Her apartment  fills first with bodies and go bags, as the old guard camps in her living room and spare bedroom. Then slowly Nicky's drawings find their way to the walls, and knick knacks come to rest on every available surface. Weapons fill every nook and cranny, a fact Lena grows more accustomed to as Nile starts training her.

She's familiar with guns and can hold her own in hand to hand combat under normal circumstances, but it doesn't flow through her muscles like it does with the old guard. Each of them but Andy teaches them their own specialty, relentlessly, until Lena feels her body change, her muscles coiled and ready to explode into motion using nothing but reflexive memory.

When Lena asks about training with Andy, the others laugh.

"Give it another century," Joe says, smiling warmly, "then ask."

But Lena picks up fighting as quickly as she does everything else. Sparring with Nicky and Joe is the most fun for Lena-- she surprises them with her skill in bladed weapons, courtesy of her near-olympic level proficiency in fencing. But even with them Lena can barely hold a candle at first. She's good, better than good, but Joe and Nicky don't fight to earn points. They fight to kill. They move with their whole bodies, with power and momentum behind every strike.

Lena does all she can to catch up. She loves a challenge, and this is a matter of keeping her life the way it is-- something she'll cling to until it's ripped out of her warm, undying fingers. She wants to keep L-Corp, she wants to keep game nights, and movie nights, and... she wants to keep Kara.

And Kara.... Kara supports Lena through it all, but the truth of Lena's new reality doesn't really sink in until one day she and the old guard don't move fast enough. They're lucky, in the sense there's no one else to see the bullet that rips through Lena's sternum and blasts out of her back, taking chunks of flesh and bone with it.

Kara's heart stops, barely hears the gasping wheeze as Andy puts a knife through the shooters windpipe. All she can see is Lena, unmistakably dead.

But then Lena blinks into a grimace, a curse rising to her pinkening lips.

"Fuck."

Then, "Ow. Motherfucker."

Nile pulls Lena to her feet, putting her gun back in Lena's palm. Lena deftly checks the chamber and nods the okay, and Nile moves on. Only then does Lena see Kara standing stock still, eyes wide and chest locked against a burgeoning panic attack.

"Hey," Lena says softly. She takes Kara's hand in hers, letting Kara feel the warmth of her skin, the pulse of her veins. She even pulls her blouse aside so Kara can see the flesh knitting itself back together. "I'm okay. See?"

There's a word for what Lena is, but Kara's pretty sure it isn't okay. Still, its enough to get Kara's legs to move again. With a nod, she bounces on the balls of her feet then launches into the air, speeding through the remaining gunmen and piling them aside unconscious for the police to deal with later.

"Still gotta get used to that," Andy mutters under her breath, coming to check on Lena. "You good?"

Lena nods again. "You were supposed to stay in the van."

"Fuck off with that garbage." Andy glares at her. "One of my team goes down, I'm going to make sure they get back up."

Lena smiles. It feels different, to be so readily accepted into the guard. Even with the Superfriends, she's had to work to earn their trust, and slowly eased her way into becoming one of the group. With Andy and her people, from the moment they saw each other there's never been any other thought. Lena was theirs, and they were hers.

"Let's get going."

[prettywarriors]

Ok ill bite whats the worst mg series

alright, whats the worst magical girl series in your opinion?

Thanks you two for letting me do some yelling. The obvious guess would likely be one of the recent edgelord shows right? Magical Girl Site or something similar? But nay I say, for while MGS and Day Break Illusion and such and what not generally tell you what to expect right away. Don't like super violence and suffering? Watch something else is the clear message from the get go. One of the bait and switch series then like Madoka or maybe Yuki Yuna? For what faults they may or may not have, at least these series do something and are interesting, even if you're not huge on what goes down in the series. A parody then? They range from affectionate to banned in New Zealand but regardless of quality and their feelings for MGs, it's a parody. It's a joke and shouldn't be taken seriously (plus they're usually short so you can just forget about them forever).

So what makes a series terrible then, I am sure you are asking. IMO? Setting expectations for an interesting and enjoyable series, and then dashing them to hell.

Come with me below the cut, as I talk about Key Princess Story: Kagihime Eternal Alice Rondo!

Spoilers abound so if you care about those for a 15 year old series, click away.

Background: Kagihime was a 4 volume manga that ran from 2004-2006 that was picked up for a 13 episode anime adaptation near the end of its run. The manga is created by a pair (Kaishaku) who you may know for making Magical Nyan Nyan Taruto. Kannazuki no Miko, and Steel Angel Kurumi, and the anime had a script written by the same writer (Mamiko Ikeda) for Tenshi Ni Narumon who also did some script writing for Princess Tutu and Seven of Seven. The anime also had 6 character music videos which are fairly simple but a nice addition to the series for the main girls. Discotek has been publishing the anime in the states in recent years, and the manga was brought over by *squints at book spine* Dr Master Publications.

The Premise: Girls transform and enter weird outside of reality spaces to fight each other with giant keys to take each other’s stories to create a third Alice In Wonderland story.

Well, an off-brand Alice story written by Alternate L. Takion, rather than Lewis Carroll/Charles Dodgson, that while the series uses all the aesthetic hallmarks of the tradition Alice, the little we see of the in universe Alice story is clearly different. Which is fine, at the end of the day, it’s still about someone who loves the Alice stories and wishes there was more, and even makes his own fanfiction version. His? Oh yeah, while the girls do all the fighting, the main character is Aruto, a teen boy who loves Alice, and for reasons we don’t know till late game, can enter the liminal spaces that the ‘Alice Users’ fight in. He chases a girl who looks like the Alice he sees in his story, who is named Arisu, and gets roped into this fanfic battle royale. He is also the older brother of the very needy Kirihara, who also ends up being and Alice User. As does Kirihara’s bff Kisa. To round out the group of enemies-turned-friends-who-will-work-together-to-collect-the-Eternal-Alice-without-having-to-fight-eachother group is a young genius researcher Kirika who wants to know more about Aruto’s connection that allows him to enter the spaces where the girls fight.

Then there’s all the other girls, some of whom still have real importance to the story and some who have a few panels or 2 scenes total. But with a whole bunch of girls to design, the creators reached out to a whole lot of other people to have them create designs! Eventually the battle gets down to the last few girls, there’s a confrontation with the guy running the whole thing, and while the anime and manga vary quite a bit the whole time, in both version Aruto ends up with Kirihara. Oh and Arisu was created by Aruto’s super imagination powers.  

The Promise: Here on is subjective, particularly with what I personally saw as potential from this series. because I need you to understand how much I want to like this series. 

~Alice in Wonderland themed: I know some people aren’t alice fans and that’s fine you do you but as a big alice fan this is great. We have a few alice episodes and themed characters amongst series like CCS and MGRP, and even Alice themes in other series like Tweeny Witches and Alice 19th. But damn it I am down for Alice series.

~Giant Keyyyyyyyys: Yeah yeah Kingdom Hearts but these keys are much more staff like for a lot of the characters which ads and air of elegance rather than the KH ones that for me at least feel well designed for big ol props rather than actual weapons. We also get...

~Weapon variety: It counts as a key if it’s a thorn whip that can be shaped like a key right? How about a giant pocket knife? Crossbows can also be keys. Hush. And we have this variety because

~Guest Artists: For magical girl series where we have a variety of outfits designed by different people, we have Kagihime, Uta~Kata, and uhh I guess Magia Record? But that’s a mobile game with a hella number of characters and with how mobile game works I wouldn’t count it just because it’s less the intent of the series to have variety and more the nature of having lots of girls. (Precure doesn’t count because unless I missed a memo each season’s set is still by one designer). If a series isn’t about a team and therefore doesn’t need cohesion, bringing in other artists is a great way for variety and new looks. 

~The long term goal: Fighting with other people who love the same piece of media you do in hopes of creating new material that will be viewed as official? That’s just fandom nowadays. But it’s a legitimate interesting concept, and opens up so many doors for a message for the series, be it ‘what you create is no less valuable than the canon work’ or ‘it’s hard to let go when something you love doesn’t have more to it but you can still love it for what it is’ or ‘bond with the people who like the thing you like ya idiot instead of fighting about it’. The concept is interesting and there are so many narrative ways you can take this.

~Gays: Between the anime and manga, we have at least 5 wlw. Is it a magical girl series without some gays? (side note- the manga had a short thing where the MC wears a girl’s uniform and is pretty comfortable in it and while there is no way this was the intent, between that and the emphasis on the stories that live in girls and how the fight zones have no men, I’m just saying, Trans girl Aruto.)

~Greater Fairy Tale Premise: We meet a Little Match Girl based MG who is obsessed with Andersen rather than the Alice books, and touch on a Sleeping Beauty character in the manga. The manga at least implies that classic stories and fairy tale authors uh. Live on in a liminal space as immortals with world warping powers within that world and there could be opportunities for other girls in the real world to fight for Little Mermaid 2: Electric Boogaloo.

The Good: Everything has positive points, no matter how bad it is.

~Character Designs: Some of those looks slap. As do most of their weapons. 

~Backgrounds: I have a strong opinion on backgrounds in anime that can be easily boiled down to old watercolor backgrounds good, modern filtered photos as background bad, and as a 2006 series, this might not be Memole nice but they’re quite attractive. 

~Splash Pages: Easily my favorite thing after the designs, each chapter’s title page for the manga just has a character standing in a setting. Which is not everyone’s thing I’m sure but it’s a nice simplistic way to let the characters breathe imo. Even if at least some of the settings were deffo traced. But that’s how backgrounds work to some extent? If I ever get to the Met again, I am tracking down this exact photo, but here is a likely candidate for an example.

~Different Versions: I do not understand the need to make an adaptation that tries to be a 1:1. Kagihime had the same ideas and characters and did some of the same beats but very much had a different finale story and a lot of changes in the middle (like the Alice cops in the manga). Again, not something everyone probably wants I’m sure, but I very appreciate this, especially since the Anime kept good pace with the number of Manga chapters (reading the manga again while watching the anime at 3.8x speed just now was very interesting to see the different interpretations of events in a different medium.)

The ‘Fine’: Yeah.

~Anime Visuals: Look 2006 was still early enough into digipaint that I will give it a total pass on these. The colors are too bright but in a very bland way, the lineart is nothing interesting, and the faces are. Iffy. But it’s not total garbage to look at (probably helped by backgrounds and character designs...) it just came out in an era where not enough people knew how to stylize things to account for the weakness of the tools of the time. (It was 4 years earlier but I feel Kagihime is the polar opposite of Chobits with its painfully bland color palette while still being just. Flat. Sorry for the drive by Chii.) 

~Music?: There sure were songs. Obviously, they are nothing to me.

The Bad: CW for.... somehow all the big things to an extent. 

~Fanservice: Look, I am fine with fanservice, especially for a series that’s, ya know, not targeted at kids, big Mai Hime fan here even if I would recommend skipping the panty thief episode. And honestly the series generally isn’t fanservicey, at least by the modern standards of having the camera choosing under the skirt rather than an over the shoulder shot like I’ve seen plenty in other shows. Even the sexier outfits like the rose whip dominatrix aren’t bad BUT. When the girls fight. One takes her phallic key and drives it into another girls chest between the boobs while the loser cries in pain and then her book comes out and when the victor rips out pages, the loser’s clothes also rip. It is very SuperS Amazon Trio assault metaphor-y. There’s also a bit of fanservice with the sister becauseeeee....

~Incest: If you read the premise up there, first wow good job because I’m sure not re-reading that, you might have noticed I said MC ends up with his sister. As someone who is a big mythology fan and watches plenty of anime, I have a decent tolerance for your obligatory ‘oh we’re siblings but actually cousins so our feelings are okay’ or whatever the fuck Citrus has going on I don’t know that series and I don’t vibe BUT. I have limits and boy did this series go beyond that because multiple episodes are dedicated to the sister being in love with the brother? And the brother returns her feelings but knows that they are wrong so he put everything he likes in his sister into his version of Alice who, of course, physically manifests as Arisu who he creates accidentally with his uh. Magic imagination powers. But again in both versions MC still ends up with his sister. Hey, at least the manga eventually said the boy was adopted when the sister was like, 3, so if nothing else no blood relations? The anime did not ad this. -_-

~Under Utilized Characters: Arisu’s gradual revelation that she has no childhood memories because she isn’t a real person is so interesting and they don’t do nothing with it but also? That’s the kind of thing I personally would love to dig into and Kagihime, while touching on this world shattering revelation, easily loops back to So Anyway She Should Fight For The Man and to hell with developing a life or personality outside of what has been written for her. The rest of the main 5 were 2 note characters which. Could be worse? The most interesting character ends up being the child genius who accidentally murdered her childhood bestie (and/or lover? depending on version) and her coming to terms with that (the friend is alive but the version changes how and why she thinks she’s dead). Then the villain has the motivation of ‘i lost my creativity and now have become an immortal living outside of normal space and am getting girls to fight each other because that’s like a story so I’m still relevant right?’. But shoutout to the anime for then taking death of the author literally. The numerous other girls are canon fodder outside of like. The manga version of the dead gf and the little match girl.

~Battle Royale: This is not a thing I have an issue with generally. Again, but Mai Hime fan, I need to read MGRP 11, BUT by not developing the non-main girls there is no emotional connection which makes them just canon fodder and that’s boring as sin for a royale system. The initial main character fights revolve so much around the MC guy being there that they fall flat, and the 2 or 3 final battles in both versions still feel without any stakes. Also for a royale thing most of the characters don’t actually die, which cool! Neat! Except when they do? Some nobodies and a somebody are murdered (at least in the manga) and the tone never feels like it’s supposed to be upping the stakes, it’s just. Some people are dead now. And do you want to guess which of the main characters died?

~Gays: Oh boy the best friend of the brother-complex sister is in love with her and (in the manga) dies. She does apparently get better for the last chapter but the death itself is only felt by the rest of the cast for a page or two before we go back to feeling sad big brother wants to kiss his mentally generated sister clone rather than his actual sister u_u. Bury your gays is nothing new, but I wonder if it was also intended to be justified because Guess Who Is Creepy and a bit Perverted? Oh look the lesbian keeps the used swimsuit of her beloved and manipulates events to get an indirect kiss and when she sees the sister trying to strange Arisu for a moment she decides to do it for the sister? It’s not good. You want bad gay rep in a magical girl series, well here ya go. We also had a nobody in the first(second?) episode whose story pages reveal her having a kiss with a girl, and then we also have the prodigy again and- in the manga- her. Uh. childhood lover who she thought she killed but the girl has been wiping her mind over and over so prodigy remembers ‘killing’ the friend and not the she’s alive so she can keep? fucking with her? Toxic!

~Sexual Content: But wait you say, you already covered fanservice! Ah but that is sexual content for titilation. This is sexual content for dramatic backstory! The red riding hood character was sexually assaulted, another character was manipulated into sex first as a teen and then more often to ‘get into the publishing industry’, and the same writer forces some aggressive kisses on the MC. None of it is gratuitous which is nice, but also, was it necessary? Not making a new point for this but read riding hood’s dog was also murdered so unnecessary animal death gets tossed on in there. 

~Male Lead: You can have a male, non magical character as the main character surrounded by magical girls. This is not how to do it. If I can make a vicious and hopefully not understood reference, Aruto is basically Tate from the Mai Hime Manga. If you understood that, I am so sorry. If you didn’t, congrats! Don’t read the manga. Or do and send me asks about the iconic final page of the first volume (18+). Anyway, this dude is boring, everything revolves around him, BUT I’ll be generous and say at least this isn’t a harem series? It looks like it out of context but it’s just a triangle with a fun attached scientist and token lesbian.

~Premise: They didn’t make good use of it. The initial goals of ‘take other girls pages from their soul books because if we get enough we unlock a third alice book’ is good! And then we add the twist that that was never going to happen and either if we get all the pages we can grant a wish, or these fights are just happening for the amusement of and asshole. Either way, yeah okay I guess. But at no point do we ever achieve this forbidden wish granting book and the asshole just. Lives. Nothing happens to him. His peers don’t even dunk on him. The only real changes from the beginning and the end of the series are: the siblings are now chill with dating, and the scientist lady won’t turn into a child in magical spaces. Oh. Yeah.

~Why did we make this adult a child sometimes?: I think we know why. Stop trying to get those types of folks to watch your already meh series. I also could have sworn at points in the past looking up images for this series I’ve seen extra art for Yuuri the Thumbelina-y Alice User that seemed like it would fit alongside anything by POP. You know, the Moetan guy. If you don’t know, god I wish that were me. 

Wrap Up: I have definitely forgotten some points and am well within my rights to ad to this whenever I remember more points but uh. Yeah.  

Listen you want an alice themed battle royale with nice outfits? Rozen maiden is right there. Battle Royale magical girl series that’s good with fanservice? Mai Hime. Series with different outfits while being based on a classic story? Pretear.

Hope anyone who read all of this at least got what I was saying, even if they don’t agree with it. And thanks for reading because whoops. 

[infinitelytheheartexpands]

My Personal Opinions on Some French Grand Opéras

Here we go. I’ll be focusing solely on pieces in what’s widely considered the “Golden Age” of grand opéra (from 1828 to about 1870).

1828, Auber: La muette de Portici: never seen or heard so I cannot comment, but I do think it slaps that it helped start both the Belgian Revolution and the genre of grand opéra.

1829, Rossini: Guillaume Tell: I love this one. it’s one of the few grand opéras that has a happy ending and it’s fully deserved. it’s long but it all has a point-- the first act introduces us to the community spirit that drives the rest of the action; even though it’s called Guillaume Tell, it’s not just about Guillaume Tell. it’s about a whole movement coming together, with all these vividly-drawn people of different social statuses, ages, heritages, and livelihoods coming together to do good in the world in the face of oppression. also it’s Rossini so it bops start to finish. the finale is one of opera’s best. I could not have higher praise and admiration for this piece.

1831, Meyerbeer: Robert le diable: another rare case of a grand opéra with a happy ending, but it feels a bit more contrived, something I wrote about when I watched it about a year ago for the first time. it’s quite a clever ending, however, and I love that these lovely characters get a happy ending. Robert is the least interesting principal character both musically and dramatically; the musical highlights of the show are mostly Bertram and Isabelle’s big scenes. the former is also arguably grand opéra’s most exciting ballet sequence, the Act III ballet of the nuns (or as I like to call it, the Zombie Nun Ballet). it’s long but it is incredibly worth it. overall, I really do enjoy this opera although it is very much an uneven piece.

1833, Auber: Gustave III, ou le bal masqué: here’s a thing I wrote about it like 3 months ago and I stand by every word.

1835, Halévy: La juive: It’s damn near impossible to find an even remotely close to complete recording. However, what the recordings have is excellent. The score is marvelous all the way through, although for the most part I tend to prefer the ensembles to the arias (the exception, of course, being Éléazar’s 11 o’clock number). Speaking of Éléazar, he’s an extremely complicated and frankly uncomfortable character, toeing the line between being one of opera’s most complex characters, an even more complicated proto-gender-swapped-Azucena if you will, and being an unfortunate vessel of antisemitic stereotypes. This is made even more complicated because Halévy was an assimilated Jewish composer. On the whole, Rachel is the only wholly sympathetic character in the piece, although all five of the principals are lovingly scored. 

1836, Meyerbeer: Les Huguenots: *holds things in because otherwise I would write an entire essay about this opera and you all know that because I have done that several times* Both a great strength and a great weakness of this piece is its sheer wide-ranging-ness, particularly in terms of mood. Unlike, say, La juive, this opera does not have one overall mood, instead steadily progressing from bright, brilliant comedy to one of the most horrifying endings in opera. Dramatically, this is great for the most part, although the sheer amount of exposition in the first two acts may take getting used to. Just as the drama gets more intense and concentrated as the opera goes on, the music gets more intense- and frankly, more often than not better- as the opera goes on. The window/misunderstood engagement business is something I still struggle to see the exact dramatic purpose of, because I think the question of religious difference would likely be enough to separate Raoul and Valentine at the beginning anyway; to me, it feels like Scribe and Deschamps were struggling to find a way to integrate Nevers into the story, as he is crucial to the opera’s lessons about love and tolerance, so they stuck in a quasi-love-triangle in order to justify his presence earlier on. (Also, for goodness sake, could you at least have given him an onstage death scene?) Anyway, in this way the story can be a bit unwieldy and uneven at first, but stay the course with this one...and even a lot of the first couple of acts are wonderful. The characters are all wonderfully written if rather episodic in many cases, but this opera is ambitious and by the end, it’ll tear your heart to shreds. It’s amazing. Uneven, yes, but amazing nonetheless, and I will defend it to the death.

1840, Donizetti: La favorite: I’m not as familiar with La favorite as with some of the others on this list (I’ve seen two different productions once each and I have a recording of it saved to my Spotify library that I listen to bits and pieces of very occasionally) but I do think it’s an excellent piece overall. LÉONOR DESERVED SO MUCH BETTER. The music is lovely all around; I know Donizetti wrote at least one other grand opéra in full and part of another, both of which I need to check out because in its own way, Donizetti’s style works wonderfully with grand opéra.

1841: Halévy, La reine de Chypre: here is a post I wrote about La reine de Chypre. basically all my thoughts remain the same except I have to add: Halévy as a whole just needs more love. there’s a few other of his operas I have waiting (a recording of Le dilettante d’Avignon that has been sitting in my Spotify for who knows how long and a film of Clari with Bartoli and Osborn I’m also sitting on) but there are so many pieces that sound fascinating but have basically ZILCH in terms of recordings.

1849, Meyerbeer: Le prophète: before I say anything else about this opera, I need to ask a burning question: WHY THE HELL IS THERE ONLY ONE GOOD VIDEO RECORDING OF THIS OPERA?!?! on the one hand, I adore the Osborn/Aldrich/Fomina production; on the other, I would also like other productions, please. anyway, I said one time in the opera Discord that while Les Huguenots will probably always be my favorite Meyerbeer opera for an array of reasons, this one is definitely Meyerbeer, Scribe, and Deschamps’ strongest work. it is both unusually dark and unusually believable for an opera of its time—and the fact that it still holds up so well is disturbing to say the least. this opera thrives on complexity in all forms and yet has probably (and paradoxically) the simplest plot to follow of the four Meyerbeer grand opéras. the score is brilliant start to finish, mixing the best of bel canto, Romanticism, and something altogether darker, stranger, and more original. definitely one of the most underrated operas ever. the aforementioned production is on YouTube with French subtitles; give it a watch here.

1855, Verdi: Les vêpres siciliennes: Vêpres is an opera I love dearly although I have yet to find a production that is completely satisfying. I think it’s because this opera is a lot deeper, a lot more complex, and a lot more troubling, frankly, than people are willing to go. also it should be performed bilingually and I am dead-set on this: the dissonance of an opera about French capture of Italian land being sung entirely in either French or Italian is always a little off at least (and also part of the reason why my brain probably adjusted to hearing this opera in either language better than, say, Don Carlos). but anyway, neither side comes off particularly well here, particularly due to the violence and sexual assault on both sides of the equation: both Montfort and Procida are heavily in the wrong, and while Verdi sympathizes with both for personal reasons (Verdian Dad in the former case, Italian Liberator in the latter), there is a lot of troubling stuff in here. nevertheless, the music bops, the story is intriguing, and I think we can all agree that Henri and Hélène both deserved better, especially considering how close they got to bliss (although I think we can also all agree that the end of Act IV twist to almost-rom-com is pretty abrupt).

1863 (full opera: 1890), Berlioz: Les Troyens: I wrote this review of Troyens after watching it in the Châtelet 2003 production in December 2019 (first time ever watching it) and I still stand by just about every word. Such a fascinating opera, great adaptation of the first few books of the Aeneid, marvelous score (of course, it’s Berlioz!)...but could there be a ballet or two fewer, Berlioz? Or at least shorten them up? And that’s coming from someone who likes ballet. But anyway, in every other respect it’s absolutely marvelous. Some people say it’s the greatest French opera ever, and while I hesitate to say that, it comes pretty damn near close.

1865, Meyerbeer: L’Africaine (Vasco de Gama): Vasco da Gama/L’Africaine is even more troubling—much more troubling—of an opera than Vêpres to me and I wrote a whole thing here as to why. I still stand by most of it, although upon reflection, I feel like the ending that drove me so crazy has virtually the exact same idea behind it as the end of Troyens/Book IV of the Aeneid: empire has consequences and those consequences hurt real people, who, though different and not among those perceived as “heroic”, are worthy of being treated as human, not being collateral damage. (I’ve written at least two essays about this for different classes, both specifically in regards to the Aeneid.) It may be time to revisit this one. The score is lovely, after all, although it didn’t stand out to me as much as others by Meyerbeer.

1867, Verdi: Don Carlos: *holds myself back from writing a 10-page essay* y’all, there is a reason that when someone asks me what my favorite opera is, I always choose this one even though I’m horrible at favorites questions. it’s Verdi, grand opéra, romantic drama (SO MUCH romantic drama and SO MUCH gay), political drama, religious/social struggle, personal struggle, social commentary, spectacle, intimacy, masterful characterization all in one. what more could you want? I first saw/heard this opera in Italian long before I did in French, so my brain is more hardwired to hearing the Italian but both are good. my motto is “Italian or French, I don’t care, but Fontainebleau has to be there.” fuck the four-act version. I mean, I will watch four-act versions but five-act versions are just superior. I’d prefer uncut performances (the first part of the garden, the Lacrimosa, the extended opening and ending), but these aren’t dealbreakers for me. it’s the perfect synthesis of Verdi and grand opéra, much less unwieldy than Vêpres (as much I love that one), both musically and dramatically.

1868, Thomas: Hamlet: Part of me wishes this was more faithful to the actual source play (why??? the??? fuck??? does??? Hamlet??? live??? although there are alternate endings), but part of me also realizes that the play is already four hours long as is and singing it plus ballet would make it WAY too fucking long. This does a pretty respectable job. The music is gorgeous, by turns almost sugary-sweet and thrillingly ominous. The Murder of Gonzago scene is an absolute masterpiece. The Mad Scene is justifiably one of opera’s best (although I’m not sure it was a good idea to have that and a frequently-cut 20-minute ballet with no relation whatsoever to the main plot to make up all of Act IV). There are a lot of bops in this one. The four principals are closely followed and still very well-drawn. Both of the stagings I have seen were excellent. An underrated opera.

1869 (grand opéra version), Gounod: Faust: Another of my absolute favorite operas. Since this existed for a decade before its transformation into the grand opéra we all know and love, I won’t comment much about its actual format and adherence to grand opéra tropes aside from saying the Walpurgisnacht ballet is one of grand opéra’s best and extremely good at giving off Vibes TM. I used to hate how the character of Faust was written and thought he was incredibly boring. Not anymore (although of course, I still hate him as a person. fuck him tbh). This opera has a reputation for being saccharine and old-fashioned and I think that’s a bunch of garbage right there. It’s about the search for eternal youth and the expectations of conforming to social values and people’s struggles with themselves when a) they “fall short” and b) when the world ostracizes them for being “different” and “out of line”. I am also firmly convinced that Marguerite is the real protagonist of Faust (like how I’m convinced that Valentine is the protagonist of Les Huguenots if there even is a singular protagonist in that opera but I digress). The music slaps. People need to stop cutting whole scenes out of this. I’m still undecided on the order of the church and square scenes of Act IV. Marguerite and Siébel just need everything good in this world.

Anyway, those are my two cents! I tried to keep these pretty short, so if y’all want any follow-ups, let me know!

[the-bejeesus]

To Those Who Say “I’m not gonna catch up on One Piece until it’s finished. Why would I watch/read 1000+ episodes/chapters when I don’t even get to know how the story ends?”

      Now for the past few years, when I came across somebody who said this, my rebute would be something like “Well the series is great already. It doesn’t really matter if I don’t know how it ends, because the journey itself is enjoyable.” or “Man if that’s your excuse, who you gonna explain why you read/watch stuff like Berserk, Hunter X Hunter, JoJo’s Bizarre Adventure, and My Hero Academia? Newsflash, they aren’t done yet.” But it came across my mind that I can now apply a completely different approach:

“If you start watching/reading at this pace right now, it will be over by the time you catch up.”

      If you’re a fan of the series, you’ll know that for awhile now Oda has been saying that he plans to end the series in just 5-4 years. Now he’s made lots of claims in the past that turned out to be ridiculous. However, many One Piece researchers have compiled his claims and found out that they only get more accurate as time goes on, with the most ridiculous claims being found to be myths. And with the most recent claims of ending the series in less than 5 years, even his editors who are usually skeptical have started to trust that he can do this. After all, he has officially set there to be only one more saga (which isn’t necessarily one arc, but it’s either going to be 1-2 major arcs or an anthology of 5-6 shorter arcs). And now that we can trust this claim, we can essentially extrapolate how many chapters/episodes are left and what pace we have to binge to catch up at just the right time.

If you plan to read the manga (black and white):

The manga in black in white is a perfectly fine way to enjoy One Piece. It’s what Oda draws, it’s how he intends it to be viewed, and best of all, it will be the first version of publication to finish.

     Out of the 1223 weeks since the first chapter published in July 19, 1997, 1000 chapters have published, meaning on average he publishes 42 chapters per year, or in other words, there are only 10 hiatuses per year (including holidays where WSJ does not publish). Now if I wanted to be more accurate, I’d only look at the chapters published this year, to exclude outliers like how he had no hiatuses for the first 200 chapters, or how he had a 4-week hiatus during the timeskip, but 2020 has been a bit crazy, so we’re not doing that for this or any of the others.

     Going off of this, the final chapter would be chapter 1212 in December 28, 2025 (yes, the 28th would be a Sunday again.) So here’s how you’d calculate the pace in which you need to read One Piece, and really this is how we’ll calculate it for every version)

     Now I know math is boring, but the reason I’m showing this to you is because the amount of weeks until One Piece ends will vary based on when you start this binge. Chances are you aren’t going to start the day you see this post, and there’s an even greater chance you won’t see this post the day it’s posted. For every example I’m going to assume you started binging on December 28, 2020. Now let’s try to use it for this example.

     And there’s your answer, just read 4-5 chapters per week. By the end, One Piece should be nearly over or have very recently ended. To put that into a different perspective, you could purchase and read just two volumes per month and you’ll be at prime pace. Or you could read one chapter every day, but only on weekdays.  If you want to, you can see this calculation in action in graph form.

     While this is a very rudimentary graph, it’s a basic visualization of what we’re calculating here. We’re calculating what speed we need to binge to catch up at exactly the right moment. I say exact, but ultimately no one can predict how many chapters there will be exactly, nor how many hiatuses Oda will go on during it. It will be important, as you’re nearing the end, to find a spoiler-free way to keep up on how close One Piece is to ending. To know whether you ought to speed up or slow down.

If you plan to watch the anime (subtitled):

For years now people have hated on the anime “terrible animation!” “terrible pacing” but at the end of the day, it’s the more popular version. Or the more viewed version I should say. And personally, I think that once you acknowledge its problems and learn how to deal with them, it’s a perfectly fine experience. There’s enough good voice acting and enough good storytelling that you’re easily able to ignore the problems. Plus, the animation has substantially improved since Wano.

      Now for this we’re going to have to change a lot of variables to get this right. We’re going to have to adjust when publication started, and recalculate when One Piece will end by looking at how slowly the anime adapts the manga, and how behind it is. The anime aired on October 20, 1999, and has aired 956 episodes since then. This means on average they air 44.9 episodes per year, meaning there is pretty much only 7 breaks the entire year. With these 956 episodes, they have adapted 955 chapters, making the pace almost exactly one chapter per episode. However this is really inaccurate, considering all the better-paced arcs earlier on in the story. Looking solely at episodes 2012 and onwards, the anime adapts at a pace of 0.65 chapters/episode.

     Knowing that there are roughly 212 chapters left, and Toei adapts at 0.65 chapters per episode, we can assume that there are going to be roughly 324 episodes left. That sounds like too many, but keep in mind that there will be several, several instances where the manga will be on hiatus whereas the anime will keep on airing. Knowing there are approximately 324 episodes left, and that the anime only takes about 7 breaks a year, we can assume that it will take 7 years, or 374.49 weeks before the anime will end. So now we have the information we need to do the math again.

x = 1280/374.49

x = 3.417 episodes/week.

     It may seem like a more relaxed binge, since you get a whole 2 extra years to binge, and you only have to do 3-4 episodes per week, compared to the 4-5 chapters. But keep in mind that these episodes are 24 minutes each. Still not at all bad, but you will be spending more time on it overall.

If you plan to watch One Pace:

One Pace is a fan project that edits the anime so that filler and padding is cut, other edits will be made to make the anime more manga-accurate, such as reorganizing scenes, or adding title cards where absent. Originally only used by a niche number of One Piece fans, One Pace has grown in popularity, and has tried to improve its quality to accommodate more fans, such as making their episodes Dual Audio (meaning you can switch between the dub and original Japanese audio tracks), and including Spanish subtitles.

      You’d think we’d have to adjust for when One Pace began, how slowly One Pace catches up, and the works, but there’s not much to calculate. Fortunately for us, no matter how far behind One Pace is on editing the current arc, they always like to wrap things up just a few weeks within when an arc ended, if not the very same week. So really all we have to calculate is how many One Pace episodes there will be by the end of all this, so that we know how many you’ll need to watch per week.

      Looking solely at what they’ve covered so far, One Pace has taken 573 episodes and condensed it down to 259 episodes. That’s a pace of 2.21 anime episodes/ paced episode. Earlier we calculated that there would be 324 episodes of the anime left, making for 1280 episodes total. This would mean that there would be around 578 One Pace episodes by the end. And One Pace would probably wrap up in, let’s say 376 weeks, because as I said, they’ll probably finish editing the final arc a week or two after the last episode airs.

x = 578/376

x = 1.53 episodes per week

      Now that’s a relaxed pace. 1-2 episodes per week? That’s so slow, I’m not even sure if I’ll remember what I watched last week next time I watch some episodes. The only problem is some of the pre-timeskip still haven’t been edited. They’ll probably be done by the time they finish the final arc, but that’s not gonna work out fast enough. You’ll hit your first roadblock about 7 weeks in when you need to watch the Baratie arc and it’s not done. And don’t even get me started on how many arcs aren’t done in dub or Spanish sub yet. Hopefully you could just switch to the anime or manga when you hit these arcs, readjusting how many episodes/chapters you need to watch/read when you do. But that’s a bit of an excessive amount of math for something that’s supposed to be fun. So yeah, if you’re still convinced you shouldn’t get into One Piece until it’s ended, maybe this is the option for you.

If you plan to read the manga (Colored):

Since 2012, Shueisha has made a colorization of One Piece. It’s not a fan coloring, it’s as official as it gets. Many consider the color schemes portrayed in this version as the most canon, as the majority are pulled straight from whatever colored illustrations of Oda’s they can find. And quite frankly it makes the manga at least 10 times more beautiful. It’s especially great if you have trouble interpreting dense, small black and white panels.

      This one is a doozy. You’d think all I gotta do is calculate how far behind the colored manga usually and just adjust from there, right? Wrong. Because how far behind the colored manga is, or how frequently they release volumes in full color, is one of the most inconsistent things I have ever seen. You wanna see what I’m talking about? This is how they’ve chosen to release each volume since 2012:

Volume 1-12: July 15, 2012

Volume 13-23: September 28, 2012

Volume 24-63: December 4, 2012

Volume 64-65: April 4, 2013

Volume 66-68: December 20, 2013

Volume 69-70: August 25, 2014

Volume 71-72: September 16, 2015

Volume 73-75: October 4, 2016

Volume 76: December 2, 2016

Volume 77: March 3, 2017

Volume 78: July 2, 2017

Volume 79: September 4, 2017

Volume 80: December 4, 2017

Volume 81-82: March 3, 2018

Volume 83: October 4, 2018

Volume 84-86: August 2, 2019

Volume 87-92: September 16, 2020

     How I am supposed to find out how long it will take for Shueisha to colorize the final volume of One Piece is beyond me. I guess the first step would be to look at how far behind the manga each release was on average, but I’m going to ignore all the ones before 2013, because those were clearly just Shueisha catching up really fast cause they just started and didn’t want to be dozens of volumes behind forever. So of the 14 publications between 2013 and now, on average the last chapter of the last volume they colored was 97.78 weeks after that chapter had published in Weekly Shonen Jump. This means that if the final chapter of One Piece is chapter 1212 on December 28, 2025, then you can expect the final colored volume to publish November 14, 2027.

x = 1212/359

x = 3.37 chapters/week

     So if you prefer the manga but don’t want to read 5 chapters every week for 5 years, this might be a better option for ya. But yea, I have no doubt my prediction is at least a little off for this one.

If you plan to watch the anime (dubbed):

Unlike the 4KidsTV and Odex dubs of One Piece, the FUNimation dub is a perfect way to enjoy One Piece. The DVDs come with enjoyable commentary and a marathon mode, great for binging.

       FUNimation’s releases of the dub are inconsistent, although not nearly as erratic as the colored manga release. However, there was recently a 2-year hiatus we only just got out of. Since Episode 1′s dub in May 27, 2008, the dub has gotten as far as Episode 614. But that’s only looking at the DVD releases. If you’re willing to stream on FUNimationnow, the dub is as far as 641, and if you’re willing to digitally purchase it from an e-shop such as the Microsoft store, it goes all the way to Episode 654. With that being said, that would mean that on average, FUNimation dubs 1.004 episodes per week. Although if we go back to before the two-year hiatus so as to exclude it from the average, it’s actually 1.10 episodes per week. Not a huge difference, actually. And then if we look solely after the two-year hiatus, it’s actually 2.25 episodes per week, which is insanely faster. It’s hard to tell what the future of the dub will be. I can’t assume they’ll go this fast forever, so I’m just going to take the average of all 3 and say it’s 1.45 episodes per week. Don’t know if that’s the best mathematical approach, but the number seems about right.

     So knowing that the dub is at Episode 654 and looking at our previous guesstimation that the anime will be 1280 episodes long, we can predict that it will take 431 weeks before the dub catches up and ends. That would be in 2029! Sounds quick at first until you notice it’s 4 years behind!

x = 1280/431

x = 2.96 episodes per week

      Looks like it’s almost exactly 3 episodes per week. Not as much less of a workload as I expected, compared to catching up to the sub. You know, I figured those 4 extra years would make you binge a lot slower.

Final Thoughts:

      There’s a lot of my math that was estimation, approximations, extrapolations. Feel free to correct me or fact check me, especially if you plan on using this. I figured this would be a fun thought excercise. There’s also a lot of smaller variables I simply didn’t want to take into account because of how long this is already. For example, reading the black and white manga. The calculation can vary slightly depending on if you read it the day it’s published (which I assume would have to be a fanscan unless you can read Japanese), reading the weekly publication legally on Viz.com, waiting for the physical volume release. The dub can also vary depending on whether you buy from Microsoft, wait for the FUNimationnow release, wait for the DVDs, or wait for the Collection sets. So feel free to take this into account.

[peremadeleine]

Droopy Sleeves and Tiny Bonnets: Watering Down the Romantic Aesthetic in BBC’s Les Mis

I wasn’t exactly blown away by the costumes in the BBC production of Les Mis, and Cosette’s in particular, cute as Ellie Bamber is, were thoroughly “just okay.” But I didn’t put much more thought into it...

Well, not until Gentleman Jack--set in the exact same time period--blew BBC’s Les Mis out of the water with its costume design. Then more recently, when I started researching the fashion of the early 1830s, all the ways in which poor Cosette’s costumes fell short became glaringly obvious.

Disclaimer: I am not as much of a stickler for historical accuracy in period drama costumes as this little essay is going to make me out as being. I’m not a Frock Flicks kind of gal; I just want to be entertained and look at pretty clothes. So as far as I’m concerned, as long as the basic silhouettes are there and the costumes are nice to look at, I’m there. (I find the wildly inaccurate costumes of The Tudors a lot more visually appealing than the ones in Wolf Hall. And everyone knows Sofia Coppola’s Marie Antoinette was highly stylized, but those costumes are to die for and still embody the rococo aesthetic very well.)

That said, Cosette is a character who’s very invested in fashion, and the general look of the 1830s isn’t unknown to English productions, being the setting of Queen Victoria’s adolescence, Jane Eyre, Wives and Daughters, and many a Dickens adaptation among others.

So where did they go wrong?

Being honest, most of the Les Mis productions from the past two decades or so failed to put Cosette in high-fashion or even noteworthy costumes. Only the 2012 film for all the ways it failed her as a character hit it out of the park. Cosette gowns were damn near perfect--and they were actually pretty to boot! Unfortunately in the actual film you can’t even see the floral gown and you can barely see the blue one...thanks Tom Hooper.

The belts/buckles, the enormous sleeves, the delicate floral prints and embroidery, the lace collars...pat the costume designer on the back! (Her wedding dress was also on-point, but we’ll get to that.)

Claire Danes and Virginie Ledoyen had passable-and-sometimes-good costumes, too. Though Claire Danes’ were generally not very pretty, their overall silhouette was correct. Virginie Ledoyen gets a couple of knock-out, very period-appropriate gowns; the rest sort of fall into the nebulous “well, I guess you tried” category without being unattractive.

But the BBC production just...dropped the ball for reasons unknown.

Now, in the book Cosette overhears some ladies calling her “pretty but badly dressed.” She’s shocked, because she thinks she’s ugly but well-dressed. She then goes on a charming quest to become the best-dressed woman in Paris, and the BBC adaptation even has a scene where she goes to the seamstress. It’s really cute. Too bad that the dresses are...really not.

Here are some fashion plates from 1830-32.  Keep in mind that Cosette lives in Paris, of all places; she would be aware of what was and was not fashionable.

This is the height of Romantic fashion: giant (“gigot”) sleeves and bonnets, full skirts with hems at or just above the ankle, lace accents, silk stockings and slippers, elaborate hairdos. The 2012 costumes, again, capture this quite well. 

And even if the BBC designer had taken liberties and had fun while preserving the overall aesthetic--think what Sandy Powell did in Cinderella, set in roughly the same period--I wouldn’t be making this post. But there’s curiously little 1830s to be found in Cosette’s wardrobe at all.

I guess we should start with the BBC’s Good/Accurate Stuff. This coat Cosette wears is, apart from the deep fur-lined V-neck, almost a carbon copy of the extant coat on the right. And she has a bonnet!

Cosette’s best/most accurate dress is, naturally, the most difficult to see and has the least screentime of all her costumes:

From what I can tell, the sleeves, though delicate and sheer, are very full, as is the skirt, and the whole thing seems both pretty and en vogue...despite the questionable neckline. It’s also detailed--embroidery on the sleeves and with pleats (?) to create visual interest at the shoulders and on the bodice!

Here are a selection of other short-sleeved gowns from the period for comparison (both extant garments and costumes/reconstructions).

Tbh Ellie’s costume should be as stunning as the blue gown (far left) that an extra wore in Cinderella, but...maybe someday, in some Les Mis production, that gorgeous Sandy Powell creation will reappear. *sigh* (Virginie Ledoyen’s best Cosette gown is on the far right, btw.)

Anyway, that’s...that’s about it for the “Good” category.

Next up: her teal/turquoise dress(es). (She also wears a red one that looks exactly like this.)

Someone didn’t tell the costume designer that Cosette was supposed to be a fashionista, I guess. During my research, I did find a couple of dresses that resembled these two...but they would both be several years out of date by the time Cosette was going on her fashion crusade:

Even the yellow dotted dress has more style and “oomph” than what poor Cosette got stuck in--her sleeves look comparatively small, deflated, and underwhelming, all the more so when compared to actual 1830s gigot sleeves.

In the interest of being fair, some extant gowns from the right dates also look somewhat like these two.

But they all look, well...better. They all make me wish Cosette’s gown had bigger sleeves, a more-defined neckline, less wrinkly fabric...anything that would take it up a notch. (Also of note: as plain as some of these dresses look, they would not have been worn alone--accessories like wide belts, shawls, bonnets, etc., would have been part of the outfit when they were actually worn.)

And when it comes down to it, Cosette--who wants, after all, to be wearing the most fashionable gowns, like those in the fashion plates--should be wearing gowns more like...

The detailing, the fabric choices, the tailoring, and (sorry) the size and position of the sleeves makes all the difference here. A little more effort, even just padding for Cosette’s poor limp sleeves and a belt, would be enough to bump her looks from “kind of sad” to “something I believe this character would really wear.”

My personal favorite gown in the production was very pretty, flowing and delicate--and look: I’m willing to accept that Cosette wouldn’t always be wearing a fashion plate while chasing butterflies (something no film Cosette has, tragically, ever done...) That said, it still wasn’t very 1830s.

This purplish gown is the closest extant I could find to something like what Cosette wears here, but once you look at the details of both--fabric, neckline, whatever is happening around waist--all you get is “???” A lovely dress, but one that doesn’t make much sense.

So finally we come to what ought to be the showiest of all Cosette’s costumes: her wedding gown. 

This costume ought to be Stunning for a lot of reasons. The “Fauchelevents” have money! The Pontmercys have money, and they have society friends! Cosette is a fashionista, and she’s head-over-heels in sweet young love! And one an assume that Valjean wants to send off the light of his life, if send her off he must, in style--he’s heartbroken but also knows, from this moment, that he will never have to worry about her safety or well-being again.

With all that in mind, this is what Ellie’s Cosette wears...

Oh. Okay. Is it her freaking wedding day, or is she just going to a church picnic???

At least she IS wearing a bonnet in this scene, but it’s the same color as her hair (?!) and it’s tiny...just like her sad, deflated sleeves. The necklime and waistline both are at least accurate here, but like the sleeves, the skirt isn’t voluminous. Not a single thing about the dress makes a statement...unless it’s a shrug. The impression is, once again, “meh?”

At least a veil (which some women did wear on their wedding bonnets) would emphasize the “wedding day” vibe. How about, if they weren’t going to give it any volume, some detail on the gown...any detail...floral embroidery...a BELT...a contrasting color or fabric (lace, hello?!)...anything??? It’s just so plain and low-key. Just like everything Cosette wears in this miniseries.

Here are some period wedding gowns, two of which Cosette wears in other adaptations. They all have the wow factor this dress lacks.

Big sleeves! Lace! Belts! Veils! Lush fabric! Frills! Different colors/fabrics to create visual interest! Hairstyles that pop instead of blend together! These are the kind of gowns that say “I’m the bride and this is my day.” Not “I’m going to the church picnic.”

I want to reiterate that, after ALL that rambling...my big issues are that a) these dresses are not--by and large--attractive or interesting and b) that they fail to embody Cosette’s love of fashion. The fact that they’re so inaccurate for the time period is secondary. However, paying more attention to the fashions of 1830-32 would, I think, have helped make the costumes prettier and more suited to the character. How you dress a character is also a factor in how their character is perceived and can be a subtle means of character development. No chance of that here. (Post-marriage, Cosette wears such a blase dark blue coat that, sans fur trim, looks identical to her previous one. Yawn.) 

I’m just a fan, yet it still took me only three days of basic research to put this post together. Expecting a costume designer to put in at least a few days of light research is not a huge leap. I’m going to venture a guess and say that this designer did not bother to do that. And it shows.

It’s a shame, because Cosette gets a lot more screentime here--for the first time since the 2000 production--and she deserves so much more than shapeless gowns and barely-styled hair.

And also more than Andrew Davies...but that’s a rant for another time.

[ranma-rewatch]

Episode 13: A Tear in a Girl-Delinquent's Eye? The End of the Martial Arts Rhythmic Gymnastics Challenge!

Welcome back! It’s once again that time for me to watch some more Ranma 1/2, in doing so looking at it with fresh eyes and a different perspective from when I was younger. We’re already up to episode 13, and with it the end of Kodachi Kuno’s introductory arc. I’m guessing this is going to be almost a full episode of fighting, but how good that fighting will be, I don’t recall. But by next paragraph, I’ll have rewatched the episode, and I can talk about it just a bit better. See you then!

That certainly was almost a single fight for the entire episode. Now, unlike the full episode fight against Ryoga, my summary is going to be a lot shorter. There’s a lot fewer moving parts here, and I feel like going blow by bow would be boring.

In general, the idea of the fight is that the combatants lose if they go outside the ring, and they get a foul (though the exact penalty isn’t made clear) if they hit each other directly without using tools or weapons. Besides that, there are no rules. Kodachi and Ranma both have new items thrown to them when they need it, but Kodachi is obviously the one who stretches the rules the most. Most of the fight is her pulling new insane things out of nowhere that Ranma has to work around.

When it comes to actual plot stuff, the first big thing is when Kodachi mouths off again about how much she loves Ranma and can’t wait to date him and stuff. Ranma gets annoyed, and Kodachi interprets this as Ranma loving, well, Ranma too. Kuno jumps into the ring at that (By which I mean Tatewaki Kuno. I know they both have that last name, but when I say ‘Kuno’, assume I just mean him), and demands to know if this is true. Instead of denying it or playing into the idea, Ranma takes a third option and says something that’s technically true, that he and Ranma are one in body and mind, because of destiny.

Of course, the two rich folks immediately interpret that in some serious ways, though exactly what they think that means isn’t spelled out. Do they think Ranma and Ranma bang or something? Anyway, a little after that, Genma shows up looking like a panda in the stands, carrying a kettle of hot water. Whether that’s for him when he decides he’s done being a panda or for Ranma to use after the fight, I don’t know.

The problem is, by this point, Ranma and Kodachi have entered the stage in the fight where they’re using their ribbons to grab stuff from outside the ring and hurl it as each other. Kodachi takes the kettle, and notices immediately how scared Ranma and P-chan are. Oh, yeah, Ryoga is still chained to Ranma, and he does what he can to try and make Ranma lose every so often.

Kodachi uses a pretty clever trick of slicing the kettle in mid-air to soak Ranma and Ryoga, and they change back in mid-air. Luckily for them, Akane saw that coming, and enters back into the gym carrying a fire hose, with water cold enough to turn them back into their cursed forms. It also means Ranma has to swim for dear life to stop from getting knocked out of the ring, but it works.

A bit later on, the show cuts to a group of teenage girls somewhere dark, and we get a nice little break from the fight as they chat amongst themselves. But when it gets back to the fight, Ranma is able to finally knock Kodachi flying, far outside the ring’s boundaries. But all she has to do is whistle, and the ring gets up and moves across the gym so she still lands inside it. Ranma quickly puts together what’s going on, and destroys the floor of the ring, exposing the girls we saw before, who run away.

Now there’s no place to stand except the four corners and the ropes, but Ranma is fine with that, pointing out that he has an advantage in aerial fights. Too bad that he forgot Ryoga is still attached to him, and his rival goes extra far in trying to shake him off. The chain is broken, but Ranma doesn’t have any tools left to fight with. So instead of getting a foul by just getting Kodachi, he kicks the post she’s standing on, sending her sprawling to the ground for a win.

After the match, she tearfully agrees to abandon her ‘present’ love for Ranma Saotome, and everything seems to have worked out great. At least, that is until later, when Ranma and Ryoga are taking a hot bath together. Ranma complains about Ryoga’s attempts to sabotage the fight, which he defends with a reminder that he wants Akane himself. Then he uses cold water to be P-chan just as Akane calls for him, leading to another case of Ranma running into Akane’s room and getting assumed a pervert as he chases Ryoga.

After that, Ranma gets back to back flowers from each Kuno sibling. He sees Tatewaki uncursed, and Kodachi cursed, so each gives the bouquet to deliver to the Ranma that they love. Leaving Ranma holding a bunch of flowers and having to contend with the fact that he now has two Kuno’s to worry about, long-term. Kodachi defends her continued pursuit of Ranma by saying she abandoned her ‘present’ love and developed a new one.

So, what is there to say about that episode? Well, a lot, actually. It didn’t necessarily blow me away, but I do think it was a stronger fight than the last time a whole episode was centered on a battle, since this one doesn't have nearly as many cutaways to unnecessary plot points. There was a short scene of just listening to the announcer describe the fight while we just saw outside the school, which felt a bit chief, but on the other hand I really liked the little bit we got with the gymnasts under the mat. Those minor characters got more definition than they necessarily needed, and it made the coming cheat more fun than the others.

This is also kind of a big first for the series. Namely, it’s the first time Ranma has fought someone who practices a strange, ultra-specific kind of martial art and did so while following all of that school’s rules. Sure, Tatewaki Kuno fights with a wooden sword, but those were all basically street matches, as was Ranma’s fight with Ryoga. But this is an official match, and Ranma obeys all the rules wherein and still wins.

That is something that will be incredibly common from here on out, in manga-adapted stories and anime-original stories. I’ve yet to see it mentioned in-series, and I can’t recall it doing so later on, but it’s generally accepted as canon by fans that this is for a reason. Ranma and Akane’s school, Anything Goes Martial Arts, isn’t called that for no reason. They are supposed to fight other styles, learn from them, and take what’s useful to use themselves. It’s a great way to add more moves to the protagonists’ repertoire, and get them into fights with silly fighters.

This specific fight was...okay. Actually, I feel like I’m a bit of a grump for saying that, it was good. There were some neat moves, lots of back and forth with stuff, it was enjoyable to see. It wasn’t anywhere near what I think this series can do at its best, but it was a good way to end this mini-arc. I do feel like Kodachi, as a character, doesn’t get the same level of badassery even her brother does from the story, and that feels kind of lame. It seems like, in general, Ranma 1/2 saves all the cool stuff for the guys.

To continue what I was talking about with Kodachi last week, I do think it’s really interesting how different she is in each language. It’s a strange case of part-translation and part-acting, but the english version of the character definitely hits different, and not in a good way. It’s actually making me reevaluate her a little, just because the version in the original Japanese is so much better. It feels a lot less like “she’s crazy!” and more “she’s a highly driven and amoral rich girl!”

This was a good episode. I am once again pleasantly surprised by this arc, and it’s raising my hopes that further stories will be better than I recall. As for where to put it in my rankings exactly, I actually think I’ll put it one step above the last single episode of just fighting, and right below that emotional episode about Akane’s feelings for Dr. Tofu. What can I say? I like the feels. That puts the current ranking at:

Episode 7: Enter Ryoga, the Eternal ‘Lost Boy’

Episode 12: A Woman's Love is War! The Martial Arts Rhythmic Gymnastics Challenge!

Episode 9: True Confessions! A Girl's Hair is Her Life!

Episode 2: School is No Place for Horsing Around

Episode 6: Akane's Lost Love... These Things Happen, You Know

Episode 13: A Tear in a Girl-Delinquent's Eye? The End of the Martial Arts Rhythmic Gymnastics Challenge!

Episode 8: School is a Battlefield! Ranma vs. Ryoga

Episode 11: Ranma Meets Love Head-On! Enter the Delinquent Juvenile Gymnast!

Episode 4: Ranma and...Ranma? If It’s Not One Thing, It’s Another

Episode 5: Love Me to the Bone! The Compound Fracture of Akane's Heart

Episode 1: Here’s Ranma

Episode 3: A Sudden Storm of Love

Episode 10: P-P-P-Chan! He's Good For Nothin'

Now, if you’re watching this series on Hulu like I am, you might think the next episode is the first part of the Martial Arts Figure Skating arc. And while, wow, I sure wish it was, that is actually wrong. I don’t know why, but some of the arcs are in the wrong order on Hulu, but I’m watching the series in the actual order. Which means, instead of watching one of my favorite arcs in the series, the next episode is actually “Pelvic Fortune-Telling? Ranma is the No. One Bride in Japan”. My hopes...are not high. See you all...then...I suppose...

[capricornus-rex]

Playing Pretend (7)

Requested by: @calkesttiss​ | Prompt:

Hi! I just watched isi & ossi (rich girl and poor boxer boy AH) on netflix and now i cant stop thinking about cal and fake dating. Do with that what you will

Hey guys! I hope you’re enjoying the fic as it goes along :) I think I got too carried away in making the story outline because this was such an interesting reference (Isi & Ossi), so I guess I had fun writing it that’s why I ended up making so many parts. I hope you don’t mind that! Again, I hope you enjoy the story and it would be great if you support me in my future content (fics), it means a great deal to me 💓

Cal Kestis x Reader

1 | 2 | 3 | 4 | 5 | 6 | Next: Part 8 | Masterlist

7 of ?

When you got home, you were greeted by your parents with faces blanker than a canvas. They were now fully aware that you are definitely spending time with this boy. Your mother is usually the one who had the most to say, whereas your father had nothing much to say—in fact, your parents were perfect opposites of one another.

“Oh, so now you suddenly care that I come home late, that I’m gone for hours because I’m spending most of it with my boyfriend, and that I actually exist?”

“What’s it going to take for you to stop this behavior?”

“Postpone the engagement with Logan that you made without my consent and 40,000 credits,”

“What in the world are you going to do with forty-thousand, [y/n]?!”

“What? A girl’s gotta shop,” you say condescendingly. “Plus, when did five digits ever worry you, Mom? You’re one of the filthy rich, remember? Forty-thousand is barely a dent on your joint account!”

“[y/n], please can we sort this out?” your poor father sighed.

As much as you want to give in for your father, if you give in now then you have broken your deal with Cal by default—you couldn’t allow it, your parents even seem to have overlooked your demand of postponing the engagement.

When your parents were sure that you were out of earshot, Sorhan reassured his wife that he will send out of the bodyguards to keep an eye on her—even though he was against the whole idea. Little did they know that you were hiding behind the walls near the living room, though it didn’t surprise you that they will be sending out spies for you—you knew exactly how to evade them. Even if they did see you, there’s nothing much they can do.

You repeated the exact same words of your non-negotiables to your parents, your words were almost immediately eaten by the air as soon as you released them. You shake your head in utter disappointment and retreated to your bedroom. By rote, you check your holotable for transmissions and messages that you received while you were out—majority of them came from Tazha begging you to call her back once you’re back, which you did.

“Ugh, finally!”

“Really? That’s how you’re gonna start the call, Taz?”

“You’ve been gone all day!”

“Yeah, I was with Cal the whole time,”

“You mean your fake boyfriend?”

You paused from removing your jacket just so you could shoot back a look at Tazha. You picked up something from the way she put that out, though you shouldn’t have a reason to get that word under your skin. You forget that it was the reality of this whole ordeal.

“Got something to tell me, Tazha?”

“Well, duh, tell me how your date go?”

“It wasn’t a date, we just met up and talked,”

Tazha rolled her eyes and sighed, “Gee, how romantic.”

While folding your jacket, a smile had curled up in your lips when the memory of you and Cal back at the abandoned park suddenly flashed in your mind. Not even the slightest smile escape Tazha’s eagle eyes—even through a holotable transmission.

“Hup! I saw that, [y/n],” she perked up, pointing her finger at you. “Come on, you’ve got something to tell!”

“Does it really interest you or nah?”

Tazha debated that she definitely wants to hear about your day and so you narrated everything to her from the very beginning until the end when you two were in the park all day. It wasn’t the moments you retold that interested her, it was more of the way you told it—even your face was telling a lot more of the story than your lips.

“He listens to The HU too!”

“So what are you guys gonna do tomorrow or next?”

You shrug your shoulders but you didn’t worry about it too much.

Wow, this is so unlike her. Tazha thought to herself when she saw you squeal like a toddler, she’s never seen you this excited for anything. Being your best friend since forever, she knows that you were the planner between the two of you—and to see you not panicking over the fact that you’ve got no specific plans for the next time you and Cal meet up kind of surprised her.

The dates continued on. You brought Cal to the farmer’s market where they sell delicacies and drinks found only in Alderaan, one of your favorites being the Starblossom fruit and the beverage Mocoa.

“Be sure to remove the seeds, they’re really bitter when you bite them,”

“I’ve never had these ever, these are really good!”

“Yeah?”

“I think this is gonna top Jogan berries in my list of favorite fruits,”

There are still so many things you want Cal to see and try. The pubs and its drinks, the farmer’s market and what it has to offer, and even the mosh pits. He was surprised that even in a classy planet as Alderaan, there are such things.

“Well, the rich people aren’t the only ones who wanna have fun!” you exclaim.

You still couldn’t wrap your head around the fact that you and Cal are getting along well despite this fake relationship—sometimes he forgets that he was even in one in the first place. He continued to spend time with you, meeting up with you whenever you asked. In the first few days, he did it out of obligation and for the sake of following the agreement; but the more often you two hang out, he slowly warmed up to you some more. He allowed you to drag him around the city and bring him to places that you usually frequent.

Each time you’re with him, the more you wanted the moments to last longer. You didn’t want to come back to your house.

You and Cal get into a mosh pit, the show was about to start, and the crowd was beginning to go wild. Most of the partygoers were young people—just about your age—and they were clad in a complete contrast to the luxurious clothes that the elites wear.

Cal wrapped his arm around your shoulder which startled you, when you tilted your head up to look at him, he had that casual look in his face.

“What are you doing?”

“Figured we ought to look the part,” he smirked.

You scoffed as you smiled back, seeing that there was no harm in it, the two of you approach the bouncer at the gate.

“Hey-hey, look who it is! It’s [y/n]! Where the heck have you been?!”

“Hey Fritz, heard that the band’s here!”

“For sure!” the bouncer takes notice of Cal, he points at him but kept his eyes on you. “Your boy?”

“Yeah, this is Cal.”

“Hoo-whee, and I thought the princess could never score a keeper!”

You brush off the bouncer’s teasing and he finally lets you and Cal in after you hand him a handful of credits. From afar, you found the bodyguard that your father had sent blend in with the crowd but he sticks out like a sore thumb, you ignored him and let him see you enter the mosh pit; he later contacts your father shortly after you and Cal entered.

“You’re a regular here?” Cal closed in on your ear as the bass was blaring through the speakers.

“Yeah well, I come around here more often than the Tipsy Taun-taun! I’m sure you’ll like it here, just wait and see!” you confidently assured him.

Cal stayed close to you while the two of you stayed at the bar, watching the crowd and whoever performer is on stage, and sipping Alderaanian brandy. After the performer that was already on stage when you got there, the emcee walks in and says his spiel for the next one. He vaguely introduces the band until he declares the name.

“The one you’ve all been waiting for: The HU!!!”

The crowd went wild, they roared and whistled, some of them even spun their bandannas in the air as the band members enter. As for Cal, his lips parted open starting from the moment the emcee uttered the band’s name. He looked to you, as if looking for some confirmation, and you answered his expression with a smile combined with a single twitch of your eyebrows.

The song started with a few strokes of their fiddles and then the beat of the drums. The crowd was bobbing and rocking to the rhythm of all the instruments and the unconventional yet impressive vocals—to you, the scene almost looked like a cult meeting.

“You knew they’d be here, didn’t you?”

You beamed a playful smile, “Told ya you’d like it!”

The HU was reaching its chorus, the instrumental was gradually heightening its intensity, and the crowd chanted along to the lyrics—even covering the background voices in certain verses. Eventually, you and Cal joined along as you knew the song as well as everyone else watching the gig. The songs became wilder. Laughter drowned in the roars of the crowd and the acoustics of the instruments, but neither of you didn’t care, the two of you are simply having fun in the heat of the moment.

The next band comes in. It was a drastic shift of mood compared to the last band as the vocalist belted out mellow tones, but the crowd—including the pair of you—adapted quickly; from bobbing your heads to the impactful beating of the drum, you sway left to right with your hands raised up harmonizing with the smooth strumming of the guitar and the neon lights have softened into warmer tones of purple, blue, and orange.

Cal wrapped his arm around you while swaying with the crowd. Much later, he gently cups your chin and angles your head so you face him. Was it on a whim or by impulse? Is there a difference anyway? It didn’t matter to him. Without warning, he brings himself closer to you until the gap in between is gone.

In the middle of the crowd.

Cal’s lips presses against yours.

Everything suddenly seemed to slow down—the movements of the crowd and the band, the beams of light dancing around the place, and the pace of time.

He presses his lips to yours, now your heart is beating ever faster, he softly suckles your lower lip and he slowly pulls away. The two of you exchanged tender gazes at each other, in the next second you gently pull him close by the straps of his armor and return the kiss.

Your trembling hands perched on his broad shoulders. The intensity was flaring, he allowed himself to get carried away. Everything around you felt like it was spinning. You were caught in the moment.

You didn’t even realize that your father and the bodyguard had tracked you down to the mosh pit, but when Sorhan saw you, he almost thought that the girl he was seeing wasn’t his own daughter: lips stretched to an ear-to-ear smile, eyes squinted into tight slits, and a laughter drowned by the blaring sounds of the music and the roaring crowd.

“Sir?”

“Come on. Leave her,” your father resigned and marched out of the bar, the confused bodyguard followed suit.

When the hype in the mosh pit died down, Cal offered to take you home. You walked the streets hand-in-hand, the rush is still fresh in both of you, and he would steal glimpses of you smiling to yourself—in turn, he would smile too as the two of you walk.

His pace got noticeably slower when you arrive to the manor’s porch, you were reluctant yourself, you didn’t want to get near the front door either. Cal squeezes your hand and step forward to the first step of the porch, he remained standing on one step below. You turn to Cal and the bright glint in his eyes that you saw at the mosh pit had dimmed down.

“Hey,” you cooed, giving his hand clutching yours a gentle shake. “I had the most fun tonight.”

“Me too.”

He manages a smile. Cal slowly closes in on you, your head tilts up as your eyes follow him; he softly brushes the wisps of hair to the back of your ear. He was hesitant about something. Your heart was racing again, he gazes at you intently and tenderly. His eyes trail to your mouth, he gently cups your chin with one hand and inches you closer to him.

His lips met your lips again, but this time, his kiss was much tenderer. You suckle his lips back as your felt his hands crawl and caress your neck. He finally wills himself to pull away from you.

“Good night,” he whispers while the tips of your noses brush against each other.

You smile, “Good night.”

His grip on your hand slowly loosens until the last of yours fingers have slid away from his grasp. Your free hand blindly pawed the door and turned the knob. You push the door open while still looking back at Cal; you step in and the last thing you see as you slowly close it is him smiling back at you—but it was a sad smile, you somehow understand why because the feeling’s mutual.

[derpcakes]

So we watched (nay, Experienced) the BBC/Netflix Dracula series

Brought to us by everyone’s favourite team, Steve Moff and Mark Gatiss, promising to be an innovative and exciting new vision of the classic novel

Boy it was definitely something!!!

First I will say: obviously Moff is not my favourite TV writer and my fam and I did go into this with a bias. I’m happy to report, though, that it’s going to be one of these shows that haunts me forever, because if it had just been bad I could have said “bleh” and deleted it from my brain. But because parts of this were genuinely cool, interesting, and fun, and parts of it genuinely had potential, all the bits that were bad stand out as so much worse and the whole thing feels as cursed as a 500 year old undead count. 

Things that were enjoyable and well put-together:

Van Helsing has been gender-swapped into a vampire-hunting nun and her cat-and-mouse game with Dracula is rife with belligerent sexual tension. I was ready to hate this, and ready for like, Sherlock and Irene Adler 2.0, but their dynamic was actually pretty fun to watch! Their power balance is kept even throughout most of the show, and Helsing is never struck down because of ~womanly failings~ or infantilised. She’s consistently really clever and, even if there are some cringey one-liners, I found her and Draccy’s playful quest to murder each other one of the most fun parts of the show. It could’ve been better, but it was enjoyable! (I also like how Helsing isn’t Young and Hot, but is a capable older lady, and her actor and Draccy’s even seem about the same age. Amazing)

The second episode is a spooky murder mystery/horror mini-movie on a ship, with a cast full of interesting characters who all had different things going on and different relationship dynamics that were compelling to watch. There’s even an interracial gay couple! And they’re like, written pretty sympathetically and to be layered and flawed in ways that didn’t feel too stereotypical! And they don’t die first!! Wack! I understand the bar is on the ground, but it’s still worth a mention

Some fun with vampire lore: Draccy absorbs knowledge and traits from people he drinks blood from (which is how he learns languages. Get Duolingo, dude, stop eating people), leading to the intriguing suggestion that myths like “vampires will die in sunlight” and “vampires are afraid of holy symbols” have kinda become real to him even if they don’t literally work, because he’s swallowed so many people to whom these superstitions and beliefs were law. I’m sure this isn’t the first time this has been done, but groundbreaking or no it was kinda neat

Things that were not enjoyable and well put-together:

EVERYTHING ELSE

Episode 1: a weird speedrun of most of the original novel, feat. weaponised nuns and a weird fixation on whether or not Jonathan Harker and Draccy boned. They did not. Dracula pops out of the body of a wolf and he’s Whole Ass Naked. Him and Van Helsing have a power play where she stands just on the threshold of a convent and calls him a little bitch, knowing he can’t come and get her. A knife is licked. 

Episode 2: aforementioned cool ship horror story. Definitely the best ep. It really makes me think about hbomb’s critique that Moff is pretty good at doing standalone stories (and pilots), but when things are tied into a bigger narrative things get zonkers. 

Episode 3: Things Get Zonkers!!

Let me just. Okay. I have the most to say about this one because this is where things really got batshit. And yet, also really boring? How does that figure? Anyway:

Dracula emerges from under the sea and finds that 123 years have passed and he’s now the star of a Modern AU. Upon setting foot on British sand he is immediately accosted by what appears to be an anti-vampire task force. There’s a helicopter. It is later explained how they knew to pounce on him at this exact moment, but holy god it was wild to watch the entire British Secret Service descend on this one wet bastard in a suit

The editing shifts aggressively in the direction of Sherlock. Mark Gattis is there playing an amazingly annoying character. There’s a fuckign.... Underground Secret Society devoted to studying vampires and they put Drac in a Designated Glass Prison for Smug Geniuses (also as seen in Sherlock). Van Helsing is dead but her great-great-grand-niece is played by the same actress and. Okay. Van Helsing, vampire hunting nun, possesses her descendent and rises through the ether to roast Drac one last time, and he’s DELIGHTED TO SEE HER AGAIN. 

And she has cancer, right, so her blood is poisonous when Draccy tries to bite her, but in the end, right, the end of the episode, right, the final shots of the show, he comes to a place where he’s willing to die, and she’s already dying, and so he drinks her blood and they die together on a table while cinematic metaphor vision shows them having sex in the middle of the sun

There was a badly CGI-ed vampire baby. Jonathan Harker falls from a tower and a scene later they flash back to this event by reversing the footage of him falling down, meaning we just see him go VWOOP up through the air, bouncing off the wall on the way. Van Helsing says the words “come boy, suckle” when she’s goading Drac into drinking her blood. The show sits in a weird middle ground where the characters talk about sex a lot (”dID yOu HaVe sExUaL iNterCOURSE with COUNT DRACULA?”) and Drac is clearly meant to be super magnetic and sexy but the characterisation and cinematography is not horny at all. People have these sexy-type dreams of their lover of choice when Drac is drinking their blood but even those are very boring and weirdly chaste, except of course for the final one where, if I  can take the chance to remind you, Van Helsing and Dracula have symbolic Mind Palace sex inside the centre of the solar system

I can’t speak too much on its quality as an adaptation since I actually haven’t read the book, but splitting the story so that some characters (the Harkers, Van Helsing) existed in the time the story is set, and some (Lucy, Dr Seward) exist in The Modern AU felt very strange. Was there any reason to set the third episode in modern times, apart from the fact that I guess they wanted to do their Sherlock thing again? Or, perhaps, because they wanted to do their Jekyll thing again?? Oh my god, that’s what the editing reminds me of - the small clips of Jekyll I’ve seen. The zooming. The slow-mo. The emphasis on The Monster Man’s weird goddamn teeth

(Also, I don’t really feel qualified to dig too deep into it, but I will say there felt something a bit uncomfortable about Lucy being black in this version, while also being written to be very promiscuous and vain. idk. Also, since it happened in an ep of Sherlock as well, “weedy white Nice Boy rescues the Very Cool woman of colour he has a tragically unrequited crush on” is now an official Moffattis trope)

Count Moffatula is an experience. Its pacing is buck wild. The speeding through the original plot and the mish-mashing of elements in the Modern AU section feels like another expression of contempt for the source material on Moff’s part. Someone says “reality is overrated” in a show set in the 1890s. Draccy quotes a Beatles song. He also makes quippy allusions to having eaten various famous figures and basically winks at the camera every time. Granted, this wasn’t as obnoxious as I was maybe expecting, but there are still too many lines of dialogue where you think “oh, the writers high-fived each other after they wrote that one, huh”. The fact that Moff has such vitriol against fan fic writers is more and more grating every day because this is so, so clearly a zany-ass fanfic that he happens to be getting paid for. The costumes are nowhere near as nice as they could have been, and Dracula’s cape looks like his mum made it for him for the school play in which he is playing Dracula. 

This show is So Much. Watch it to share in this fever dream. Or don’t, and save approximately 5 hours of your life. God. 5 hours. Who was I before Count Maffatula. Who am I now. Why was his cape so bloody ugly. Why did they bone in the centre of the sun

[ordinaryschmuck]

What I thought about the MCU (Phase Three Part Two)

And here’s part two! Or, as I like to call it, my reviews of the best movies of the MCU.

Click here for part one.

5th place: Spider-Man: Far From Home (9/10)

This is probably one of the most dividing Spider-Man movies we're ever going to have. Ask someone who claims they're a hardcore Spider-Man fan, and odds are they either really hate this movie or consider it the best one yet. For me, I enjoyed Spider-Man: Far From Home, but I do have some complaints. In some ways, the movie improves upon the original. MJ is a much better love interest than Liz ever will be, the action is top-notch (note to self, do a full scene breakdown on why the fight on Tower Bridge is the best fight scene in a Spider-Man movie), and this movie better understands the struggles of being Spider-Man. There are so many times when it's clear that Peter just wants to take a break and enjoy his vacation, but because he's him, he can't just stand by when people are in danger. Because it's not in his DNA. However, despite some improvements, I still think there are other elements that Spider-Man: Homecoming does better. As that movie has better comedy, a more tightly paced story, and especially a better villain.

Don't get me wrong, I do like Mysterio (it's not a spoiler if he's one of the most popular Spider-Man villains). The writers found a great way of adapting his character into something that fits this universe while also giving a scene that is everything Spider-Man fans would and should expect when they hear, "Mysterio is the villain." The problem is that not only does Vulture have better drive his plans and a more devious personality, but the "big reveal" this movie has with Mysterio is handled very poorly. I still like Far From Home, and I highly recommend it, but I'd be lying if I'd say that there's a reason why other people are less forgiving than me when it comes to this movie.

4th place: Spider-Man: Homecoming (9.5/10)

This is my favorite Spider-Man movie. And because Spider-Man is my favorite superhero, I couldn’t just save how much I love it into one to two paragraphs. So, here’s a more complex review instead.

3rd place: Thor: Ragnarok (9.5/10)

...WHERE! THE F**K! WAS THIS THOR MOVIE?! Seriously, we had boring stories, dull love interests, forgettable villains, and subpar action and comedy in the first two Thor movies. When this entire time we could have gotten an exciting story, a strong female character, two incredible villains, and one of the funniest films in the MCU with the third most epic final fight in the franchise?

...

No. That will not stand.

WHO WAS RESPONSIBLE FOR THIS?! I demand to speak with the person who failed to give us an exciting trilogy whilst having the third movie shows us what we SHOULD HAVE gotten!

Joking aside, I really love this movie. Not only for the reasons I mentioned earlier but also because this film made me like Thor as a character. I didn't care about the guy we got in the first two movies. But the Thor in Thor: Ragnarok? This guy, I like. I would love to hang out with the guy, talk with him, get to know him...maybe even date him--The point is that Thor is ten times more interesting in this movie than he was in others.

Now, does that mean it's perfect? Pretty damn close, if you ask me. Sure, the fun comes to a grinding halt whenever we cut back to Asgard, the most boring planet in the universe. But you still get Cate Blanchett hamming it up as Hella, so what is there to complain about. It's so good that, you know what, I'm gonna do a full review of this movie. And not like a quick thoughts review like I did for Spider-Man: Homecoming. I mean a full-on analytical review, discussing everything this movie does right and wrong. And that will be coming...whenever the hell I have the time for it. Spring semester is coming up, after all.

But it will happen, and it will hopefully make it clear why Thor: Ragnarok is the best Thor movie. Period.

2nd place: Black Panther (9.5/10)

...I will never fully grasp how important this movie is. I'll come close and try as hard as I can, but by the end of the day, Black Panther wasn't made for me. It's made for a group of people that I will never be a part of, people who deal with so many more issues than me, and all I can do I feel empathy for them. And even though I'll never be the target audience for this film, I will always admit how good it is. The action is incredible, the message is more prominent now than it was back in 2018, and Killmonger is one of the best villains in the MCU, one that at times gives Thanos a run for his money. Not just because Killmonger has an understandable motive, or because he has a plan that's worthy of debate, or even because he's a great character in general. My reasoning is because Killmonger represents a perfect mirror for what T'Challa could have been if he let vengeance consume him in Captain America: Civil War. I'm not a fan of when these movies make the villain have the exact same powers as the hero because it's just a lame excuse to give both characters even ground. Here, making the hero and villain the same shows that this is what T'Challa could be if things went a little different, as they both have similar ideals and motivations but have divergent methods that their impulses drive.

There is so much this movie does right, which is why for every complaint (read: nitpick) this movie gets, I can't help but respond with, "Who cares?" Why does Killmonger getaway so effortlessly in a scene that comes immediately after the one that shows how unstoppable T'Challa can be? Who cares. Why does a movie called Black Panther barely focus on its titular character for a good chunk of the story? Who cares. Why is the CGI so butt ugly? Who...Actually, no. That I've got to give it to you. The CGI looks unfinished at times, and it becomes extra noticeable in the final fight between Black Panther and Killmonger. But still, that is nothing compared to the many, MANY, things that make this movie a damn near-masterpiece. And seeing how this might be the last great story we'll get with this character, then I'll take a damn near-masterpiece (Rest in power, Chadwick Boseman. Wherever you might be.)

1st Place: Avengers: Infinity War/Avengers: Endgame (10/10)

Yeah...both of these movies are the best, in my opinion. Avengers: Infinity War and Avengers: Endgame is the perfect conclusion to the Infinity Saga. These movies tie up almost every loose ends in past films with a story that has been ten years in the making. Plus, ignoring that fact alone, these are both fantastic movies that balance tragedy with great comedy and character moments, a score that's music to the ears, and by far the best villain any of these flms had. While Killmonger is pretty damn good, there is no beating Thanos. Not only are his lines/monologues quotable, but he is the first villain who is close to having a point. That doesn't mean his evil plan is right like so many psychopaths claim. You see, he has reasoning that you can fully understand, but it's still a radical idea that is far from the right decision. And in Avengers: Endgame, you really see how much of a mad Titan he really is when he decides to go further with his plan. And that's barely scratching the surface of what makes him an awesome villain.

As for our heroes, both movies focus on a ton of them, each getting proper attention, with only a handful receiving the short end of the stick. This doesn't matter as the final battle has an army of superheroes--Let me repeat that: An army of superheroes going against one guy. And trust me when I say, where the battle of New York is worth watching The Avengers, the battle for the Universe is worth investing time into the MCU. Every minute is satisfying, making it all the easier to forget the valid complaints these movies have. Because despite the imperfections, everything Avengers: Infinity War and Avengers: Endgame does incredibly well makes them both the best films in the MCU. Past, present, and future.

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And that’s all for now. See you soon when I rank each of these movies from worst to best. And don’t worry. I’ll keep it brief.

[vashak]

Fly boy, in the sky

So Eiji is often depicted as a bird throughout the story in both the manga and the anime adaptation. 

He is a tufted titmouse outside Ash’s window in the hospital in episode two, “a canary that forgot how to sing” in Max’s words in episode six and a blue bird in the back cover of the second DVD volume. @iamtrashforash talks about the scenes where Eiji is depicted as a bird in two brilliant metas, here and here. I would like to point out one more scene in addition to these, back in episode one. 

We are introduced to Eiji for the first time near the middle of the episode right after he arrives in New York City with Ibe-san. Then the scene changes and we get a visual of Manhattan from above while the sun sets and rises. Two gunshots ring in the air and a bird flies off of its perch, revealing Ash teaching a lesson to his gang members for going behind his back to do business with Dino.

I don’t know what kind of bird it is (robin?), but it’s really cute just like Eiji. And its cuteness is in stark contrast with the dingy back alleys of New York. Not surprisingly, the bird flies off almost immediately as if it is disturbed by the noise.

I don’t think it’s a coincidence that this bird appears right after we see Eiji for the first time. He arrived in New York, but hasn’t met Ash yet. So I think this scene serves as a premonition for what is to come. Although, unlike this bird, Eiji doesn’t “fly off” from this grisly world that he will soon come to know.

In the manga, the bird symbolism is less obvious but still there. Even in Fly boy, in the sky, which was published before Banana Fish, Ibe-san says watching Eiji pole-vault is like birdwatching. I think what he meant by that is that Eiji is truly in his element when he is up in the air.

“Nothing really,” he had said.

“What are you thinking of when you’re up in the air?”

“I’m not thinking of anything really.”

Despite that, you feel happy, don’t you?

You look so delighted. The expression on your face gets me every time.

I’ve been watching you through my camera from afar, you know.

It’s almost like birdwatching.

What is interesting is that the verb “to jump” and “to fly” are pronounced the same way in Japanese, although they use different characters. So it sounds as if Ash says “I envy you... Being able to fly like that...” in the scene below (and indeed, that’s how the anime subtitles were translated).

After I realised that, the analogy between Eiji pole-vaulting and a bird flying in the sky started to make more sense.

I can think of one last scene depicting Eiji as a bird in the sky and it is the ending scene. Eiji “flies off” to Japan. He can do it. It’s in his nature and nothing stops him. But when Ash wants to “fly” with him, he is fatally wounded and dies. It’s as if attempting to fly is unnatural for him. 

In his final moments, Ash lifts up his face to the sky like he’s looking at Eiji, who is, as I mentioned previously here, flying over New York on board a plane at that exact moment. 

[lovepmd]

My Team HeadCannon from Explorers of the Sky

Ryan Takudo

Species: Shinx

Age: 15 Years old

Gender: Male

When Ryan was a human, he was a 15 year old university student in Nimbasa City University. Since he was a kid, he was inspired to become a Pokemon specialist when he visits to International Pokemon Convention in Hearthome City, Sinnoh. To fulfill his dream, he took the Trainer’s Exam and pass with flying colours. Obtained Tim when travelling to Hoenn with his friends when he stumbled a wild Treecko and decides to catch it. At school, his intelligence was shown as he can solve questions that was meant for higher education level. With his teacher’s approval, he finished his elementary and high school within a short time, 3 years to be exact. He took Zoologist as his major in the university, specialized in quadruped and electric type Pokemon.

One day, when he was alone at home with his and pet Pokemon, he saw something flew past by the window. He then goes out and saw an ultra-rare shiny Celebi, lying on the forest floor injured by the Darkrai. He then tried to help the Celebi but stopped by the pitch black Pokemon and knocked him out cold. After waking up, he had severe headache and being attend by his Grovyle. The Celebi had already attended by the wood gecko earlier thanks to his skills using wild berries as medicine. He realized that everything around him was stiffed, as if it the time has been stopped. Then the Time Travel Pokemon explained that his world was indeed paralyzed and must find a way to undo the situation, but not until he and the rest were running away from all sorts of Ghost-type Pokemon that hunted them down. In desperation, he and his Grovyle jumped into the Dimensional Portal created by the Celebi to redo the time but a mysterious force hit the portal and cause haywire which ultimately separated them. Unable to remember his past life, it’s up to him and his new partner to help him recover his memories and finishing his ultimate role before time runs out

Characteristics

At first, he have some trouble adapting his new body and stumbles a lot while trying to walk, but he manages to walk properly fairly quickly

Quick learner and very observant, possibly may learn a new move by simply observing and practices a lot, which some of his human traits were carried over when transformed into a Pokemon, without him realizing at all.

When in dungeons, he’s a quick thinker, critical in making quick decision when in danger, analytical in scanning the opponent’s movements in order to dodge incoming attacks. Excels in battles but not fairly well navigating through dungeons… sort of… (He’s embarrassed to admit it)

Despite being a quick learner and critical in making tactical decision, he’s quite hasty and sometimes his body work faster than his brain. He felt like being late is not an option. But luckily his partner can calm him down

A bit of geek when something interesting perk him up. Highly curious and tend to act before thinking thoroughly…(his biggest weakness which sometimes cause big troubles to the team)

He tends to smug whenever he was winning at something but almost always failed spectacularly in the process. Later, he utilizes his ‘trash talk’ ability when battling. Kinda like ‘a battle of mind before a battle of fist’ according to him, much to Mia’s disapproval.

  Ability

Ryan can summoned how much voltage does he wanted to use when using electrical attacks, like Magnemites evolution lines. He learn this ability when he first trained with Zarco, a local Electrivire when he asked for his help to master his electrical offensive moves. For example, when he wanted to use the move Spark, he will say “X VOLTS, SPARK!” where “X” is the voltage amount that he wanted to summon.

Example when he executes a move: “10,000 VOLTS, DISCHARGE!!”

Trivia

He has unusual traits as a Shinx. His eyes were blue in color instead of shiny golden color, a trait which carried over from human figure. He also have 5 pointed star shaped tail instead of four. This makes everyone scratching their heads about it, but this enable Ryan to gather 30% more electricity than any normal Shinx were and can glow 25% brighter.

He started to develop a crush on his partner when at the waterfall scene before exploring the Crystal Cave. Towards the end, he realized that he fall in love with her and affirm his love for her at the end of the story.

Mia Heather

Age: 15 years old

Species: Eevee

Gender: Female

Who doesn’t know Mia, a.k.a the “Walking Tome of Knowledge?” Her passion for adventures started when she visited the guild during the Guild’s Exhibition many years ago. Stories and tales which she heard from the guild members further fuels her interest to become an explorer in the future. One day, she found an odd looking stone with a strange engraving on her daily evening stroll at the beach, which she decides to use it as a lucky charm.

From that day, she began to study the rock, read all kinds of reading materials she could find in order to find out what stone it is. This also spark her interest in treasures and folklores. But one thing that she’s geek of is plants and berries. If Pokemon learn botany, she would be the top student in the class. With her exceptional knowledge in plants, she is a crucial asset for the team, especially when ongoing long missions which could take days to complete. She met Ryan one day after her another failed attempt to join the guild and instantly, their friendship sparked. With her new friend on her side, she finally succeeded joining the prestigious guild and her steps to become the greatest explorer became closer.

Characteristics

She always wanted to join the famous Wigglytuff’s Guild for years now, but her timid nature and lack of confidence were her biggest obstacle to overcome, which is why she doesn’t share her plethora of Pokemon and botany knowledge so often to others.

Despite that, she’s the one who never leave any teammates behind and willingly to stay, even in critical situation.

Her battling style is all about speed. She believes that speed will outcome every potential danger. Her running speed is use to its full potential but one thing she’s lacking is raw power. Usually Ryan will help her, but her timid nature sometimes get in her way, especially when she’s about to faint, hence the Run Away ability

She’s a quick adapter, meaning that she’ll fit in most of the tight situation by providing support to other teammates. Her Adaptability ability is not limited in her moveset, but her surroundings as well. Sometimes, she would lead the team, but her shyness overpowered her fairly quickly, especially meeting new Pokemon

Good sense of navigation, have sharp hearing (obviously…), exceptional memory and also second-in charge of the team. She’s also quite a neat freak as she always organized their stuffs in batches, even items in their treasure bag which she claimed for easier access… well for her and not for others actually…

Possessed exceptional knowledge in plants and berries, which allows her to differentiate good and bad berries and make special brews for emergency medicine or juices while undergo a very long missions. Also, she a good survivalist which helped the team a lot.

  Ability

She will receive a special orb which gives her ability to use a specific move pool that is associated within her evolution line. This means that she can use up to eight different type of moves within the evolution line. Her chosen moves were as follows:

Flame Charge (Flareon)

Thundershock (Jolteon)

Water Pulse (Vaporeon)

Psybeam (Espeon)

Feint Attack (Umbreon)

Icy Wind (Glaceon)

Magical Leaf (Leafeon)

Fairy Wind (Sylveon)

To activate it, she’ll have to tap the orb and summon the move she want, but up to three moves per duration. This will last up to 5 minutes before the orb glows dimly. It will be reusable once the orb glows brightly again. Once a move is summoned, it will stored in the orb as ‘memory’ and Mia can remember the moves she had summoned before.

She usually wears the orb at her neck, just like a cat wearing a neck bell. It is hidden underneath her neck fluff.

The orb have a shape like DNA structure inside it and gives out a warm rainbow glow, in which could lit up a small room. Many Pokemon mistaken for a Mega Stone. Even Ryan was surprised at this because he thought that Eeveelutions have mega evolution forms. Mia wishes that it is the true Mega Stone… but she’s grateful on what she’s given.

  Trivia

No one actually knew her origins. Heck even she doesn’t know as well. All she knows is that she lives at the Mimi the Chansey’s Town Clinic and Daycare for a good ten years before she started to live by herself at the Sharpedo Bluff.

Her features were a bit different from normal Eevees. At the end of her paws, there was a patch of white furs, kinda like she wears a socks. Her size were slightly bigger from average Eevee, but a bit smaller from a Shinx (about 40 cm in height).

Willy the Wigglytuff is actually her adoptive father figure. Stories goes by when he found a blanket at the guild’s entrance which containing a small Eevee, along with a note attached to it, stating that she came from a faraway land. Until she was 10, she was send to the Town’s Clinic and Daycare for her to live. Willy assumes her role as a father to take care of her. When she decides to join the guild, he was secretly ecstatic. Everyone in the guild doesn’t know this fact, even Charlie the Chatot.

Ryan have helped her numerous time along the way, which eventually develop a crush to the said Shinx. She actually denies whenever someone said that Ryan is her boyfriend, making her blushes madly and flustered. After took an advice from Saria the Sunflora, she firmly decides to tell him the truth in the near future, much to her amazement due to her shyness but it was too late because Ryan fades from existence. After Ryan reappears and finally confesses to her at the beach, she was overjoyed and accepted his confession. From that day, both of them became couples

Hope you’ll like my small headcannon from my team in Explorers of the Sky!