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stillness-in-green · 3 years

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MVA In Memoriam (3/5)

The Comprehensive Account of the Butchering of My Villain Academia

(Introduction and Part One, Episode 108: My Villain Academia) (Part Two, Episode 109: Revival Party)

Part Three, Episode 110: Sad Man's Parade

Chapter 229 – All It Takes Is One Bad Day

• The full first page, of Jin getting mobbed by Puppet!Jins, them tearing his mask off, and flinging it and then him away. Saved them a bit of budget, I suppose, but it’s a shame to lose the drama and the violence of Twice having his mask pulled away, since it’s decent foreshadowing (indeed, possibly intentionally so, on Skeptic’s part) for the violent bewilderment he’ll be subject to shortly.

• Re-Destro’s line, “Not when he’s using his meta-ability to puppeteer, unless you want another nagging lecture.” They didn’t keep the first nagging lecture, so of course they wouldn’t keep this. I’m still annoyed, both on general principle and at the loss of RD’s implication that these nagging lectures are a regular occurrence, especially if one tries to bother Skeptic when he’s using his meta-ability. Has RD himself been on the receiving end of one? Possibly so! But you’d be less likely to think so just from the anime.

• Re-Destro’s line, “This allowed our warriors to momentarily hold back and stay out of danger.” Because why would the audience need to know that Skeptic planned for and Re-Destro cares enough to observe something like that lol?? Obviously the MLA is perfectly content to just throw their peoples’ lives away because, whatever, more where that came from! Dammit, anime, the fandom believes this enough as it is without confirmation bias from your cuts!

• Skeptic’s “fufufu” laugh, because the anime is allergic to the MLA having fun.

• The police officer’s line, “Sure, but in a case like this, you’re still to blame.” The rest of the exchange hints at it, of course, but there’s a horrifying callousness to a police officer just saying straight to the face of a teenaged orphan facing his first offense, “Yes, you were obeying the law perfectly and this guy just ran out in front of you, but it’s going on your criminal record anyway, whatever.” A weight the anime lost, and another that makes me very suspicious of the patterns behind what, precisely, was put on the chopping block.[1]

• Jin’s narration, “That police officer couldn’t have known. Me neither.” Demonstrates that Jin doesn’t really hold his fall against the one policeman. It’s a consistent thread with Jin’s character that, while he’s very jaded, he’s not actually vengeful, nor is he looking to enact systemic change. While he’s very defensive of his friends, people who hurt Jin himself are never in any real danger of him coming to collect his pound of flesh in return; he just rolls with it as part of how the world works, in the way of someone who was never given reason to believe any different. This line is a good example of that.

• From Jin’s old employer’s angry rant, deletes the note that the client that called is angry, and that the client said, “That young punk of yours did this!” It’s nothing that wasn’t obvious from the rest of the conversation, but I do I think cutting it loses a sense that this guy is just unloading all of his frustration and fear on Jin. The length of the screed, the extra details—it clearly communicates that Jin’s boss is so angry and upset he’s not paying any real mind to filtering, but just recounting every point of contention the moment they come into his mind.

• In modern society, when you’re someone without roots… Well, not a lot of people can relate to that.” It isn’t just the police that failed Jin; it’s a whole society that’s distrustful of people who don’t have a place in the fabric, and thus are unwilling to try and bring them into it. Like Tenko, there are a thousand little places where someone could have reached out a hand, but no one ever did. The audience can intuit this, but I feel it’s better to be clear about it—it’s not just the legal system that screwed Jin over; it’s every other person that never tried to help him because they were afraid of his eyes or distrusted a guy who had no connections. When Shigaraki comes, he’s not going to be coming for heroes alone; he’ll be coming for this entire tapestry of indifference and timidity.

• Skeptic’s lines, “Hrm? Fighting back? I was sure he’d either flee or cower in place... We didn’t anticipate such unity between them.” This gets at two things. Firstly, and once again, that the MLA did their research; that they came into this with educated expectations and a definite plan. Secondly, an in-character observation of what the arc has been showing the audience all along: that the League isn’t just a disparate gang of hoodlums anymore; that they’re developing real bonds. Those bonds mark them as unusual—Re-Destro comments on it in 223, as did Overhaul in 147; even Mr. Compress remarks disapprovingly on Twice’s “habit” of getting overly attached to people. It’s striking that, even though the MLA knew from Giran’s records that the League was uncommonly well-bonded, Twice’s devotion still fell outside Skeptic’s parameters.[2]

• Again Skeptic’s line, “Now his legs.” The drones don’t actually get this far (though you can see them gearing up for it on the next page), so it’s a reasonable enough cut, but it does emphasize the ludicrous, over-the-top extremes Skeptic in particular is willing to go to in securing what he wants. If, you know, “Kidnap the doubler so we have a method to make copies of the Grand Commander at our leisure,” wasn’t bonkers enough.

• Twice’s line, “Even against Gigantomachia!” It really highlights just how much mental energy Twice has been dedicating to avoiding injury, that he was able to keep it in mind even fighting a foe as overwhelming, and for as extended a period, as Machia. And like, the anime blitzed over the Machia fight so quickly, and with so little visible wear and tear to the League, that it really could have used all the reminders it could find room for about how intense those six weeks were.

• Twice’s line, “I won’t watch a friend die!” Such an important line that the composer named an entire track for it, not that the anime gave us that track in the moment it was clearly scored for. They added in a new line later in the scene which mostly gets the important sentiments back in, but loses out in being slightly less fitting to his breakthrough. See the Additions portion of the write-up on Chapter 230, following.

Framing Shifts

• The policeman in Jin’s flashback looked up at him in the anime, where in the manga, his eyes stay down on his paperwork the entire time. I realize that anime can’t just still-frame every panel of a manga and call it an adaptation,[3] so characters will do things like move and look around in different directions just in the course of inhabiting a room, Still, in this case, it has the effect of making the officer look more alert and engaged than he was in the manga, and given that this whole chunk of backstory is about Jin slipping through the social safety net, it feels appropriate to me that the officer should be completely checked out.

Additions

• A new shot of Jin(s) in his pre-massacre doppelganger army days. Didn’t tell us anything we don’t already know—it’s little more than a new angle of the gang in the truck—but it was nice to see.

Bonus Note

• They left Re-Destro’s phrase, “My company,” alone when he was talking about the micro-transceivers Skeptic was using. That’s accurate to the manga, but I’d like to remind everyone that, at that point in the anime, viewers whose only reference is the anime itself have no idea that Re-Destro is a businessman. The show skipped the commercial, RD’s intro, the dinner scene where his company comes up, and Giran’s association of RD with Detnerat; it will further go on to skip Shigaraki recognizing him from the commercial. The news report mentioning Detnerat was ten full episodes prior to Episode 110, and was followed up on in not the faintest degree. For heaven’s sake, would it have been so hard to have Hirata Hiroaki say, “My Detnerat’s,” instead of just, “My company’s”?

Chapter 230 – Sad Man’s Parade

• Deleted the MLA members that are attacking Compress as they get pushed off by the Twice wave. Not the first time, and not the last, that the anime didn’t animate the random MLA people on the street. It’s hard to take the threat of their numbers seriously when the anime kept deleting them from what are supposed to be crowd scenes, you know?

• Mr. C thinking worriedly about Dabi as he’s mulling over Geten’s strength and disregard for catching his own people in the collateral damage. It’s just a, “Dabi—!” but it’s yet another tiny cut that shaves away at the manga’s clear depiction of Leagues’ concern for one another—even Mr. Compress, who claims that such things aren’t very villainous.

Framing Shifts

• Changed the random MLA’s exhortation to kill all the Twices to a generic, “Damn—!” I know American censors have often taken issue with the words “Kill” and “Die” in kids’ cartoons, but I was never of the impression that that was the case in Japan. And it’s not like the show made any bones about Curious planning to kill Toga. A rephrase to save a second and a half on dialogue, maybe?

• Had Skeptic give his lines about failure on the way over to the elevator instead of stalking over in silence, and then dumping the whole monologue all at once. The manga’s extended silence over three identically sized panels is much funnier and more characterful. I grow ever more confident in my assessment of Skeptic as the second-most ill-treated MLA character in this adaptation.

• The return of the Doom Choirs for the Twice Parade. I really wish the anime would lay off slathering Doom Choirs all over everything, especially a moment like this: a triumph for Twice, and, true to form for Twice, also crammed to the gills with visual and verbal gags. The Doom Choir is out of keeping with both the victory and the comedy—Mine Woman, later on, served the Parade much better.

Additions

• Gave Twice a new line, “I will protect my comrades!” It was nice to make up for his, “I won’t watch a friend die!” but the latter is more characterful, especially since a more literal translation is, “I won’t kill my friends!” Which is, you know, relevant to the fact that Twice has problems telling himself apart from things that just look like him, and he just had to intervene to stop some of those look-alikes from killing one of said friends. At least it got his use of nakama back in.[4]

• A new little cut of animation as the action went back to Geten and Dabi. I suppose the Dabi fans liked it, and it was nice to see more of Geten’s ice dragon, but I’d have much preferred they could keep the scenes we already have before adding new ones.

Chapter 231 – Path

The scene of Hawks wondering why he hasn’t heard from Dabi and his subsequent flashback to the last time they spoke were relocated to the beginning of Episode 102, the first thing the audience saw after the prior episode ended with Shouto inviting Bakugou and Deku to come intern with him at Endeavor’s. In the manga, of course, it’s not “a few weeks ago in Kyushu,” it’s “meanwhile in Osaka.” Also, the order of the scenes was flipped—the episode led with the flashback, then returned to the modern day. It really makes the timeline needlessly confusing—the viewer has no real context for what we’re seeing and when, especially since the anime neglected to specify how much time passed between the two scenes. You have to assume it was enough time for an outcry to be raised over Jeanist’s disappearance, but the random shot of a bird flying over was not at all helpful there.

Alterations included (as usual, outright removed material is in bold text):

1. Cut Hawks’ thought, “That’s why you keep calling,” and his line, “What’s the job?” I know I should give a breakdown here about Hawks’ mentality and training, but I’m afraid I don’t have it in me to complain about any lines Takami Keigo loses. God knows the anime gives him plenty enough bonus material.

2. Spliced in the flashback scene of Hawks reporting to the Commission from Chapter 243, but subtly changed it to suggest that it took place after the phonecall in which Dabi demanded Hawks kill a non-Endeavor top hero, rather than it taking place right after Hawks and Dabi’s first contact, which is what the manga implies.

3. Deleted several key shots in the Jeanist apartment scene, with the effect of making Hawks way less creepy. We got an anime-original shot of his eyes, narrow and serious, but not either of the shots of his big, off-putting grin and widened eyes as he pulls a feather-blade on Jeanist. We also lost a shot of Jeanist turning to face him, framed between extended primaries of Hawks’ Fierce Wings. It’s not like the anime dropped the fake!Dead Jeanist plot, so I’m not sure why the shift, unless it’s just that they wanted to keep Hawks likable for the merch-buying crowd, not creepy and unsettling. And while I personally never believed that Hawks really killed Jeanist, a lot of people thought it was plausible, no doubt based on how off-kilter he comes across in this scene. It loses a real frisson, to just play it straight.

• Shigaraki decaying a missile in mid-air. So Dabi can get those little animation flourishes but Tomura can’t, huh, anime? I see how it is. I. See. How. It. Is.

• Spinner’s little side comment about all the ice everywhere. A nice demonstration that Geten and Dabi’s fight really is affecting huge swathes of the city; that’s certainly apparent already in a bunch of the wide shots showing exactly that, but it’s helpful to have the more zoomed-in moments, too. Also, I do enjoy those little side quips wherever we get them, and the anime often removes them.

• Thinned out the crowd guarding the route to the tower somewhat (it’s particularly noticeable on the mid-distance rooftops) and, as best I can tell, removed Shigaraki and Spinner from the shot. Why keep all the lines harping on the 110,000 number when a) it’s not even accurate to the MLA’s forces, just the League’s assumptions, and b) the studio doesn’t even have the resources to adequately convey the numbers the manga does portray?

• Somebody in the crowd being defiant about Twice’s multiplication and vigorously declaring that the League are all just sacrifices for the MLA’s Revival Party anyway. The background nobodies? Allowed to express even bog-standard over-confidence? Well I never. How dare those people think their lives count enough for them to get dialogue.

• Spinner’s, “This keeps happening!” Of course he couldn’t have that line in the anime, since the anime cut the other big place Trumpet clearly used his power to rile up his followers. What other times were you even talking about when you said, “Every time he talks,” Anime!Spinner? That scene was the first time we even saw Trumpet since he welcomed you guys to town.

• Twice calling Re-Destro a cult leader. He just called him a damn moron (bakayarou) in the anime; he uses the considerably more specific baka kyouso (Google Translate gives “guru”; jisho gives “founder of a religious sect”). He uses the same term again immediately afterward—Viz’s translation gives, “More like chrome dome cult!”—which the anime also deleted.

So here’s another example of the anime doing everything it could to erase the presence of cults in the HeroAca world. The easy assumption to make is that this was tied to broadcast standards about the depiction of what Japan refers to as “new religious movements,” which—and pardon the brief swerve into real life historical horrors here—have been very unpopular in Japan since Aum Shinrikyo and the sarin gas attacks in 1995. But were these elements removed because the anime didn’t want to represent anything that smacks of new religious movements at all, or because the depiction of both the MLA and particularly the CRC are explicitly villainous and calling religious movements, even made-up ones, evil on TV leads to a lot of angry phone calls?

• Re-Destro’s line, “Unlike my good Miyashita, there’s nothing charming about you.” Of course they’d cut this, having cut the Miyashita scene, but I hate it anyway. As I said earlier, RD’s invocation of Miyashita in front of two people who are going to have not the slightest clue who that is tells me that Re-Destro really does miss and feel bad about killing the guy. Cutting the reminder that RD still feels that sting makes it much too easy to assume that Shigaraki’s right about RD hiding up in his tower, uncaring of the blood shed on his behalf, when if you read Re-Destro with even the slightest of attempts at good faith, it’s clear that those losses weigh very heavily on him.

Incidentally, and not to harp on the art again, but in the manga, Stress is still visibly spread down from RD’s temple to the ridge of his brow over his eye socket. The anime returned it back to its normal resting state, again suggesting that the death toll mounting in the streets below (as well as, possibly, the new stress of confronting a quirk as powerful as Double) left RD completely unmoved. The spread was back in the following shot, so it was probably just an art error, but it would be nice to have had fewer of those, especially when they impact characterization as much as what RD’s Stress blots are doing at any given time.

Framing Shifts

• Had Machia doing this weird cannonball skim just over the ground, when in the manga, he’s still half-buried, spraying earth and stone everywhere. The manga never namedrops Machia’s Mole quirk during the story itself, but it’s important to know for later that Machia can not only tear through obstacles, he can tear through obstacles extremely quickly.

Additions

• Gave Hawks a few new lines about how too many unexpected things happened for their last arrangement, and that Dabi should have given him more warning. Largely seemed to be there to give the anime an excuse to flashback to the High End fight, in case the viewers had completely forgotten about Hawks and Dabi having a clandestine meeting and sniping at each other in the aftermath of that event. An understandable addition, but deeply frustrating in the context of all the lines that got cut.

Chapter 232 – Meta Abilities and Quirks

• Dropped a third instance of Twice calling Re-Destro a cult leader. I don’t know what the S&P restriction is on this, but given that the movie was allowed to create and villainize an entire international terrorist cult, it is really incomprehensible that the MLA doesn’t get to keep their designation as such. Why?? Because the movie involves going out and defeating its cult, but the series is going to engage in a more sympathetic treatment?[5] Because the self-selecting movie crowd is less likely to complain than the TV audience? Did they just not want to draw attention to how much the movie was ripping off the MLA’s whole shtick? What??

• Missed that RD’s swole arm swipe wipes out the puppets Skeptic left behind; they just vanished from the scene entirely after Twice’s arrival. It’s hard to blame the anime for this; the manga also seems to lose track of the fact that they’re right there in between RD and the elevator—they’re nowhere to be seen anywhere between the end of Chapter 231 and the aforementioned arm swipe, where you can see them getting obliterated. Both versions could have stood to be more attentive to this; indeed, the anime could have fixed it, small error though it is.

• A sort of twitchy sparking around Shigaraki’s hand right after he decays the tower. This is foreshadowing that Shigaraki’s big AOE decay attacks are hard on his body, which will become extremely apparent after he unleashes it on the city at large during the climax, and factors into his decision to accept the mysterious power Ujiko offers. The damage Shigaraki sustains there doesn’t come out of nowhere; Horikoshi is, on the whole, extremely good at layering in foreshadowing many chapters before the foreshadowed elements come fully to light. It makes the writing look much messier than it actually is—more convenient, more pat—to delete this stuff.

• Shigaraki recognizing RD from the Detnerat commercials. Well, they ditched the Detnerat commercial, so of course they ditched this. Still, it lost one of the indicators that Shigaraki is, despite not receiving a formal education, actually quite up to speed on current events—even, apparently, when those current events are happening while he’s been fighting Machia in an isolated stretch of mountains for six weeks! I already suffer enough through fanon characterizations of Shigaraki in which he’s a basement-dwelling feral manchild glued to his gaming console whom AFO bans from accessing information about the outside world, anime! I don’t need you dropping the scenes that most clearly demonstrate otherwise!!

• In the anime, Baby!Chikara’s face was unmarked, just a normal infant face—you’d never even know the kid had a meta-ability just to look at him. In the manga, the skin of his face is clearly darker, contrasted against the paleness of his mother’s hand. It’s obvious that he’s not “normal” looking, and thus equally obviously would have attracted negative attention in his era.[6] Also had his mother smiling; her face in the manga is too shadowed and vague to make out an expression, befitting the murky tragedy of her story and the fear she must have been living with.

Framing Shifts

Additions

• A little thing: they had Twice echo, “Cushion?” when Clone!Shigaraki told him to get ready to cushion Giran’s fall. If anything, Re-Destro and his little thought-bubbled question mark is probably the one who should have had this reaction line.

• Added a visual for Clone-araki catching himself on the window. A perfectly reasonable way to fill screen time while a dialogue beat was ongoing.

• Added a panning still over a reaction shot from a bunch of Twice clones when the tower came down. It had a few good faces in it.

---

So, generally, this episode was better. I definitely still had issues with it, but compared to what came before, when they were trying to cram 5+ chapters into the episodes, there were far fewer cuts, and what cuts and tweaks there were, were relatively minor. Definitely nothing that made me want to throw chairs Jerry Springer-style the way 108 and 109 did.

Sadly, I can't say the same for the remaining two episodes. Come back next time for Part Four, Episode 111: Shimura Tenko, Origin.

FOOTNOTES

[1] After witnessing the massacre that was Episode 108, I was convinced they were going to cut the policeman scene entirely, and just go right to Jin getting fired for hitting someone with his bike, letting the audience think it was his fault completely rather than cast aspersions on police and the justness of the law. I was pleased they kept it at all, but less pleased with the steps taken to soften the sharpness of its accusation.

[2] Of course, it’s not like the MLA themselves don’t understand the willingness to give everything for the people who matter. They just label those feelings Devotion To The Cause, and don’t think the League is capable of such resolution.

[3] Netflix’s Way of the House Husband, be told.

[4] Nakama is, of course, a shonen standby, but, to the best of my knowledge (which is admittedly limited; I don’t follow a lot of shounen series), it’s pretty rare to hear the word coming out of a villain’s mouth! Jin calling the League his nakama ties into how the League are both sympathetic villains in the larger story and also the protagonists of the current arc, thereby operating under a lot of protag tropes for the duration—foreshadowed by Spinner’s earlier talk of Shigaraki and his boyish, dream-chasing eyes.

[5] Sometime after the mass arrests, one hopes.

[6] This could well be a coloring error in the manga, but if so, you’d think they’d have corrected it for the volume release. Especially given that, again, the color is in a different shade/screentone than the shadow that covers most of his mother’s face, and her hand stroking Chikara’s chin isn’t shadowed at all.

#my villain academia #bnha #bnha meta #boku no hero academia #my hero academia #my writing #stillness has salt

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hamliet · 4 years

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The Girl Who Gets to Have It All: Buffy Summers

So with @linkspooky‘s encouragement, I have binged Buffy the Vampire Slayer and relived my childhood culture. And, it's a 10/10 for me. Not that it doesn't have flaws, but it's genuinely one of the best stories I've seen, with consistent character arcs, powerful themes, and a beautiful message. It's also like... purportedly about vampires and demons and superpowered chosen ones, but it's actually all about humanity.

Buffy was able to be a teenage girl, allowed to like the things teen girls are scorned for (boys, shopping, etc), to be insecure about the thing teenage girls are insecure about (future careers, dating, school, parents), and to be a superhero with its good and its bad aspects. The story wasn’t afraid to call Buffy on her flaws (sometimes she got in a very ‘I am the righteous chosen one’ mode) and to respect and honor each of her desires (to be a good person, to be loved, and more). The story listened to what she wanted and respected her desires, giving her the challenges needed to overcome her flaws while also never teaching her a lesson about wanting bad boys or romance is silly or any manner of dark warnings stories like to throw at teenage girls.

It respected teenage girls--nerdy girls like Willow, jocks like Buffy, lonely wallflowers with trauma like Dawn, and popular/snobby ones like Cordelia, girls gone wild like Faith. It never once reduced them to the stereotypes that were lurking right there: each character was fully rounded, human, flawed and yet with respected interests and goals. This is so rare for a story that I’m still in awe.

The story as a whole follows Buffy from 15 to 21, of her as she grows from teenager to adult. She acts like a teenager and grows to act like a young adult, wrestling with loneliness and duty. The adults, like Giles, Joyce, and Jenny, are not perfect either, but neither are they “bad parents” or “bad mentors” necessarily. Joyce in particular says something terrible to Buffy, but she tries to do better, and it’s rare to see a parent in YA stories shown with such nuance. Basically, it wrote the long-lasting adult characters as human beings, too.

Speaking of growing up, I appreciated how Buffy’s love interests mirrored this. Angel was someone Buffy loved and admired, wanted to be like, but who was always either extreme good or extreme bad, and combined with Buffy’s own tendencies towards black-white thinking, made for a beautiful relationship to help her grow, but didn’t necessarily form a foundation for a long-term partner. Spike, on the other hand... they both saw each other at their worst and were drawn to each other even then, and were inspired to become better because they couldn’t bear to be a person who treated the other person so wrongly. They pushed each other to become the best them they could be, and believed in each other. Also, Spuffy is an enemies to lovers ship for the ages.

(Also, most of the other ships were well-done or at least can be understood. Riley was very obviously wrong for Buffy which paralleled Harmony and Spike in being 100% wrong for each other. Cordelia and Xander were a fun ship even if we all knew it would never last, and Willow and Oz were beautiful and cute. But Xander and Anya and Willow and Tara? OTPs. As were Giles and Jenny, the librarian and the computer teacher.)

That said, it’s not a perfect series. No story is. All of the characters and ships had problematic aspects to them worthy of critique, and the writing is very 90s in a lot of ways. It’s a product of its time, and in many ways it’s good society has progressed beyond some of the tropes/metaphors used in the show. In other way, though, the show was ahead of its time, and in a good way it wasn’t bound by the fear of purity policing with its takes on redemption (many characters would never fly today).

So, in order of seasons ranked from my very favorite to my “still enjoyed it very much” (no season was actually bad, imo), here’s my review. I’ll also review my top 10 villains in the show, because Buffy does villains very well in terms of the redeemable and irredeemable.

Season 7: Yep, the final season was my favorite.

Overall Opinion: Buffy's finale is literally "f*ck them men, our power is ours" and while it seems cheesy it actually works (also, f*ck in both a literal and figurative sense). The series strongly hit all the themes: love as strength, and redemption. Buffy consistently shows love as her strength--*all* kinds of love. Friendship w Willow/Xander, familial with Joyce/Dawn, romantic with Spike/Angel. These types of love are also never pitted against each other as is so often the case in current-day media. It's beautiful. Also, Spike’s confrontation with Wood was so powerful in terms of exploring forgiveness, redemption, and reconciliation: where they overlap and where they don't, and what it means to move forward.

Unpopular Opinion: I have seen a lot didn’t like the inclusion of Potential Slayers, and while I agree they could have been better incorporated/characterized, it was a great way to show Buffy’s final stage of growing up to be ending her chosen one status and projecting/multiplying her powers over the world.

Biggest Critique: Kennedy was female Riley--the anti-Tara to Riley’s anti-Angel (by ‘anti’ I mean opposite in every way). Kennedy was annoying and immature. Her role, like Riley’s, was less about exploring her as a character and more about her just being stamped as “love interest: lesbian.”

Favorite Episodes: Beneath You, Lies My Parents Told Me, Touched, Chosen

Season 6:

Overall Opinion: I said this on Twitter, but I felt like this was Buffy’s The Last Jedi or Empire Strikes Back moment. It is polarizing and dark, deconstructing the tropes it stands on--but by digging to the core of these tropes, it actually makes what’s good about them shine brighter. Everyone’s enemy was the worst versions of themselves. Giles left Buffy, Willow's struggle to relate to the world led to her trying to destroy it, Buffy hurt everyone through her anger, Xander abandoned Anya at the altar, Spike... yeah. It ages well as an integral part of the story, and the Trio were eerily prophetic.

Unpopular Opinion: Dawn is a great character with a good arc. A traumatized teen acting out and struggling to come to terms with loss and identity? She wasn’t whiny; she was realistic.

Biggest Critique: Willow’s addiction coding (I’ll discuss this below) and Seeing Red as an episode. I see the argument for both of its controversial scenes from a narrative perspective: Willow starts the season not grieving Buffy but instead being determined to fix it with magic and needs to learn to grieve, but. Still. Bury your gays is not a good look. For the Spike scene... he conflates sex/passion and violence (”love is blood, children” is something he said way back in season 3), but like Tara’s death, it had more to do with Spike (as Tara’s death did for Willow) than with Buffy’s arc, and as for the actual execution... they really botched that. Did it like... have to go on that long or go that far? No. Also, the framing was good, but inconsistent with the rest of the series (Xander to Buffy in the hyena episode, Faith to Xander and to Riley, etc.)

Favorite Episodes: Once More With Feeling, Smashed, Grave

Season 3 (tied with Season 5):

Overall Opinion: The opening continuity of Buffy meeting Lily/Anne after saving her life in Season 2 was sweet. The Witchhunt episode had really powerful subtext: stories of deaths that aren’t even true are actually demons that possess the town and convince them to turn against their children in the name of protecting the children. It’s a good commentary on, oh, everything in society. Faith’s character arc was fantastic, and her chemistry with Buffy was off the charts (look, I may be Spuffy all the way, but Fuffy has rights). The finale was satisfying in so many ways, seeing the entire graduating class unite to destroy the Mayor and the school with it, symbolizing Buffy et al’s readiness to move on to college. Oz's relationship with Willow was very sweet and meaningful for a first romance for Willow.

Unpopular Opinion: I actually don’t really have one. Maybe that the miracle in Amends was earned? I think you can make a decent case that Season 3 is the best written of the seasons, but can only truly be thematically appreciated to its full potential in the light of subsequent seasons (which finish Faith’s arc and deconstruct Buffy’s).

Biggest Critique: It forgot Buffy killed the hyena guy in Season 1, making her continual insistence that she can’t kill people very ?????

Favorite Episodes: Lovers Walk, Amends, Graduation Day Part 2

Season 5, which ties with Season 3:

Overall Opinion: The entire season is about family and what it means, from Tara’s to Buffy’s to the Scoobies. I loved Glory aka Enoshima Junko as the Big Bad, I loved Dawn’s interesting meta commentary on retconning (like, the fact that she’s retconned in matters), and most of my ships are still alive. Joyce’s relationship with Spike is one of the most heartwarming aspects, and Spike’s arc’s desire is clearly highlighted: he wants to be seen as a person. The episodes after Joyce’s death are the most honest portrayals of grief I’ve ever seen, and absolutely brutal to watch.

Unpopular Opinion: Buffy’s choice at the end seems a deliberate inversion of her choice at the end of Season 2 (sacrifice a loved one to save the world), but it actually isn’t: much like at the end of Season 2 where Buffy skips town because she’s devastated after killing Angel and doesn’t want to sort out being expelled, her mom knowing she’s the slayer, and her own trauma, Buffy’s sacrifice here was as much about her wanting the easy way out of relationships, family, college, etc. as it was about saving Dawn. Buffy’s death is coded as a suicide, which Season 6 emphasizes as well.

Biggest Critique: Like Season 3, I don’t have a lot to critique here. I wish the suicidal coding had been a little more obvious in Season 5 itself, but also I’m not sure it could have been more obvious; it’s pretty apparent if you pay attention. Maybe also that Buffy and Riley’s relationship failing should have been more squarely blamed on Riley, you know, being insecure and cheating.

Favorite Episodes: Family, Fool for Love, Intervention.

Season 2:

Overall Opinion: Heartbreakingly tragic but exciting and revealing at the same time. It asked the viewer interesting questions about redemption and forgiveness and atonement through Angel being honest about his past, and then decided to show us his past now reenacted, challenging us. And still, we saw them save him in a parallel to saving Willow in Season 6 (but Season 2 was tragic because it wasn’t enough, while Season 6 was not). Jenny’s death was agonizing, and the scene were Angel watches Buffy, Willow, and Joyce get the news through the window was powerful. We didn’t have to hear them to get the grief.

Unpopular Opinion: Jenny’s death isn’t a fridging; it works for her arc too when you consider her history. She worked to save the person whose life she was tasked to ruin, and it cost her her own--yet she still succeeded, because Jenny brought joy and wisdom to the show. Kendra’s death, on the other hand... was because they needed the stakes to be high--but we already knew that before she died. So, her death was useless.

Biggest Critique: The subtext was Not It. It was essentially “do not have sex. Your older boyfriend will lose his soul, kill your friends, you’ll lose your family, your school, your home, and have to kill your true love or else hell will literally swallow earth.”

Favorite Episodes: School Hard, Passion, Becoming Part 2.

Season 1:

Overall Opinion: I really liked it; it’s just lower on this list because the others are just better. It’s a great introduction to the series and to its characters, from Giles to Buffy to Willow to Jenny to Cordelia. It has great subtext a lot of the time (for example, Natalie French as She-Mantis is a literal predatory bug who engages in predatory behavior with students). Additionally, it subverts the typical YA trope of two guys and a girl, in which the girl is usually the least interesting character. Buffy and Willow were both fully fledged characters from the beginning with distinct strengths (even before Willow became a witch, as she wasn’t one in season 1 yet), while Xander was the more ordinary of the group.

Unpopular Opinion/Biggest Critique: Xander’s arc showed its first flaws that unfortunately continued throughout the series: his writing was either very good or very indulgent in ways it never was for other characters. (cough, the hyena episode, cough, in which he gets to skirt responsibility--and acknowledges that he is skirting it--for something the show will later hold others to account for). Xander’s just kind of inconsistent, which weakened his character over all. (Which is why both his love interests--Cordelia and then ultimately Anya--were good for him: they did not indulge him.)

Favorite Episode: Witch, Nightmares.

Season 4:

Overall Opinion: it’s still a good season. It’s a good portrayal of college and the growing pains of branching out, the strains of college growth on relationships (romantic and platonic). It shows us the first hints of Spuffy, giving us some serious Jungian symbolism between Spike and Buffy early on, and does well in establishing Xander/Anya and Willow/Tara as beautiful OTPs. Faith and Buffy’s foiling is fantastic. The Halloween episode was very fun as well. However, it suffers because its Big Bad, Adam, is not all that compelling thematically--yet, he could have been. See, the final battle pulls off the Power of Friendship in a really strong way but notably the season does not end there. Instead, it ends on dreams of each character’s worst fears, continuing what we saw in Nightmares in Season 1. Why? Because it shows us that the characters’ wars aren’t against monsters, but monsters of their own making: their flaws. Adam, as a literal Frankenstein, exemplifies this, but it wasn’t capitalized on as well as it could have been.

Unpopular Opinion: Beer Bad isn’t a bad episode, at the very least because Buffy gets to punch Parker. It’s not one of the series’ best, obviously, but it does give Buffy an arc in that she gets her daydream of Parker begging her to come back, but she has overcome that desire and her desire for revenge. If we wanna talk about bad subtext in Season 4, Season 2′s Not It sex subtext continues in the Where the Wild Things Are episode in this season; it’s a powerful callout of abusive purity-culture churches, until the fact that the shame creates a literal curse undermines the progressive message it’s supposed to send. Also, the Thanksgiving episode (Pangs) is a nightmare of white guilt and Oh God Shut Up White People.

Biggest Critique: Riley is awful. Like Kennedy, he had “love interest:normal” stamped on him and that was it. The thing is, he could have worked as an Angel foil, representative of the normal-life aspect of Buffy to Angel’s vampire/supernatural aspect, but the writers never explore this and seemed to even try to back away from that later on. They threw all the romantic cliches at the wall to see what sticks, from klutzy “I dropped my schoolbooks, that’s how we met” to cliché lines that had me rolling my eyes. Do you know how bad a romance has to be to make me dislike romantic tropes?

Favorite Episodes: Fear Itself, Hush, Restless

Villain rankings:

Dark Willow, the only villain to be truly sympathetic. While the addiction coding was insensitive and, while unsurprising for its time, aged extremely poorly. That said, Willow’s turn to the dark side after Tara’s death worked well for her character and the story: it was believable and paid off what had been building since Season 1's “Nightmares” episode (Willow’s inferiority complex).

Glory managed to be genuinely terrifying, and humorous/enjoyable too. Her minions and their numerous nicknames for Glorificus were hilarious, as was her intense vanity. Her merging with Ben--a human being who genuinely wanted to be kind and good--added complexity and tragedy to her role.

The First. A really good take on Satan. The seventh season as well as the First’s first appearance in season 3′s “Amends” had kind of blatant Christian symbolism, and so the First being essentially Satan works. Their disguising themselves as dead loved ones and the subtle manipulation they used to alienate people was really disturbing and well done.

The Mayor, who was a terrible person but a truly good father. He provided an interesting contrast to the normal ‘bad dad’ bad guy character, in that he provided Faith exactly what the other characters refused to: he saw the best in her and offered her parental support, while the heroes didn’t and wound up pushing her away.

The Trio, who were villains ahead of their time: whiny fanboy reddit dudebros, basically. The stakes seemed so much lower than fighting Glory, a literal god, the previous season. But that’s why they worked so well for Season 6′s human themes, and were especially disturbing because we all know people like them. I also appreciated the surprisingly sensitive takes on Jonathan and Andrew, who got to redeem themselves, but Warren did not, and I don’t think he should have either.

Angelus + Drusilla. I’m ranking them below the Trio because Angelus was just sooooo different from Angel that it was difficult for me to feel the same way for him. He was still Angel, so it wasn’t possible to enjoy his villainy, but he also wasn’t nearly as sympathetic as Dark Willow, had no redeeming qualities like the Mayor, and wasn’t as disturbingly realistic as the Trio. However, the emotional stakes were excellently executed with him as the Big Bad, in that you were never quite sure how to feel and it just plain hurt. Also, Drusilla was a favorite recurring character. She was sympathetic and yet batsh*t enough to be enjoyable as a villain at the same time.

The Master, who was just completely camp and really worked as an introductory villain. He was scary enough to believe he was a threat, and was funny enough to introduce the series’ humor as well. He was, like Glory, an enjoyable Big Bad.

The Gentlemen, the one-off villains of Season 4′s Hush who were genuinely terrifying. It’s not as if they got a lot of explanation or any backstory, but they didn’t need it.

Caleb, the misogynist priest. Fitting with the First’s Christian symbolism, Caleb serving as a spokesperson of all bad religious beliefs felt appropriate. He was also a good foil to Warren--being actually supernaturally powered instead of a wannabe--and to Tara’s family in being full-out evil. I despised him.

Snyder. Okay Snyder is not a Big Bad like Adam is, but let’s face it: Adam is lame compared to the other villains. But Snyder as a principal? He was so irritating and yet really well used in the series to critique overly strict, hypocritical teachers. Like, we all know teachers like him. I loved to hate him, and his ending was so satisfying.

#buffy the vampire slayer #btvs #spuffy #buffy summers #dawn summers #spike #angel #cordelia chase #btvs giles #willow rosenberg #tillow #tara maclay #anya jenkins #xanya #xander harris #jenny calendar #kendra young #faith lehane #hamliet reviews

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wedreamedlove · 4 years

Text

MLQC Men Headcanon Notes

Now that I’ve spent more time with these men (it’s getting close to 2 years!) I wanted to share the general thoughts, themes, motifs, etc. that I keep in mind when I’m writing their character.

This is 1000% headcanon territory, so feel free to take what’s useful and ignore what’s not LOL but I’d also love to see people add in their own “character reference cheat sheet” to this!

(I’m especially curious because, due to being of Asian diaspora, I write best in English but my understanding of the characters come from CN/JP text). Incidentally, if anyone feels ANY of this when reading my fics, then that’s all I could ever ask for LOL.

LI ZEYAN

He is Capricorn² and, while the game doesn’t make explicit mentions to this, I associate the element earth with him because of this. He’s described with attributes like being steady, calm, and always in control. He is the epitome of an immovable boulder and things revolve around him, not the other way around. I like to draw on imagery of unbending steel and/or the stable ground.

Meanwhile, like the goat of his astrological sign, every step he takes to climb to his goal is assured. He doesn’t do anything spontaneous or without thought, so if he does lose control and act without thinking then it has to be a momentuous occasion. Basically, it’s really important to me that if I write a loss of control, then it’s likely to be the centerpiece.

Keeping in mind that his Evol is time control, I also like to try and subtly weave an atmosphere of how everything happens at his pace. Winter being his season only adds onto this because the world stills when it’s covered in snow; everything becomes muted, hushed, and slowed in this season.

The chemistry in his romance arc is how his pace and control gets disturbed, but he adapts quickly and learns to go along with these moments of whimsy. Or more like that’s his character development and how love changes him.

His canon (spirit) animal is the cat and lion. Felines go along very well with the emperor or noble archetypes he has in all his AU cards, because cats are stereotyped as being independent and haughty animals. He’s not big on PDA or excessive skinship, but he’s not disagreeable to them either. Too much stimulation and, like a cat, he’ll probably show exasperation. Ignore him for too long though and he’ll come to share his presence with you.

For me, his love is shown through quiet acts of service that don’t have any attention drawn to them. Him just being in the same room or giving his attention is how he emotes his love.

He’s quite low-key in his normal life so he doesn’t seem like someone who gets confused over commoner things, but there are also moments where he spends an enormous amount of money without blinking. If life can be made easier with money then why not, right?

Keywords: Calm. Steady. Earth. Immovable. Control. Exasperated Affection. Time. Cats. Literal Capricorn. Winter. Mature.

ZHOU QILUO

First thing that comes to mind is the sun and heat. Fire is his element and so I go for stereotypical imagery like flares of passion and burning bright. He switches expressions and moods at the drop of a hat and he’s a mood maker to the extreme, but there’s no hiding the way he shines with his love for his love.

However, because he’s also Helios, it’s really important for me to play around with dualities and explore the other side of this positive imagery. So, just like how the sun can bring warmth and life, it’s also a deadly laser something that can hurt people by blinding them or setting fires. It’s also fun to remember that the moon only has light from the sun’s reflection.

Game-wise, I believe Helios has been described with cold and ice imagery but, because I try to keep that imagery for Li Zeyan, what I like to consider instead is that extremely cold things can “burn” you too. Frostbite can also be called ice burn.

The sky is repeated imagery for Luoluo too, because of his eyes, but I’ll admit I’m still uncertain about how to interpret this for his character. Generally, the sky represents freedom but...? How I approach this is that the sky doesn’t discriminate and protects everyone below it (echoing his quote about how he protects the light in the dark).

On this note about the sky being welcoming, I view Luoluo’s love as one that accepts his love no matter what they’re like and he grows together with them (unlike the two adults, Li Zeyan and Xu Mo).

However, again, it’s super important to remember his duality and just because he’s a playful mood maker doesn’t mean he’s not able to switch into a serious and mature mode. He keeps his innocence and warm heart despite the darkness he’s seen and understands.

His canon animal is the bear which also makes me tilt my head. I can only see this as how bears are seen as both cuddly and cute, but also fierce and protective. He was also given a stag but... no one uses that LOL.

Keywords: Fire. Passion. Playful. Innocent. Little Sun! But Moon. Spring. Sacrifice. Darkness. Sky. Mischievous. Mood Maker.

BAI QI

Every single cell in his body is attuned to his love. You ever lose your phone and then, for the rest of the day, you feel as if you’re missing an important piece of yourself and you have intrusive thoughts wondering where it is? That’s him. You ever see something so cute you experience cute aggression and don’t know what to do with yourself? That’s him. You know those dogs that strain at their leashes on the streets because they want to go and greet you? That’s him.

It’s all about the yearning.

I know, I know, I wrote essays about how he can survive without his love and how he’s someone who carries both love and a greater justice BUT let’s not kid ourselves that he doesn’t revolve around his love like Jupiter around the sun.

Anyway, so the game shoves wind descriptions down our throats. It’s literally another vehicle for him to emote his love and, to be honest, I don’t do much with it other than use it for that. I talked about it extensively in my character essays, but I suppose I play with the irony of how he’s only free because he has a home can return to. [Loneliness SR Wind and Care Call] “Because I have a place for my heart, I can fly anywhere.”

I don’t believe the game emphasizes this any more than it does with the other men, but I try to always have a point of contact between Bai Qi and his love because, again, the yearning and vibrating with All That Love. He’s such a physical character (military archetype) that I also want to emphasize that in writing.

In addition, I’m all about him being the most feral of the men. Heck, his canon animal is the wolf which is great for both its stereotypical and non-stereotypical meanings, such as being a lone wolf and ferocious animal but also a pack animal that can’t survive on its own and needs a pack. Meanwhile, NW717 is described in-game as a monster.

Look, one of his signature descriptions in the game is resting his chin on or against his love’s head and nuzzling them. I’m not baselessly trying to push my kink I swear.

So, like how Bai Qi said in [Light Bath SSR: Tenderness Call] that maybe he only shows his gentleness towards select people (his love and mother), he’ll give the person he loves all the warmth of his being but, oh boy, I see him as being a beast who will remember his true nature upon being chained; the “chain” of love gives him the reassurance he needs to be truly free... in all its meanings.

Keywords: Ginkgo. Summer. Primal. Wind. Love is love is love. 3-Point Contact. Wolf. Yearning. Vitality. Justice. Freedom. Physical. Restraint.

XU MO

First, given how vocal I am about Elex’s changes, this is probably going to be the most drastically different section out of everyone vs. their English version.

Soft. Light. Gentle. Kind. Gossamery. Feathery. Ethereal. Faint. Whenever I write him, do I literally open up a thesaurus to find synonyms for gentle, light, and soft? Yup! LOL.

Fun fact, in CN and JP the word for “smile” and “laugh” is the same character and so sometimes there is ambiguity when translating if there’s no clear markers. The writers definitely had a word in mind when they wrote the scene, but unfortunately we don’t have the ability to check with them at every use and so sometimes it does come to subjective interpretation.

For me, Xu Mo is characterized by a lot of quietness. Game-wise, there are enormous usages of silence and descriptions of emotional fluctuations in his eyes so Significant Silences and Looks are a major thing with him and in my writing for him, which is why I always choose “smile” over “laugh” if there is any ambiguity in the line (I believe Elex leans towards chuckles).

On a similar note, the game also gives him a gigantic serving of descriptions that only ever use the word for “light, slight, faint, soft, gentle” in JP and CN. It gives him a very floaty and dreamy feeling, even if he’s doing something physical. So, it’s important for me to keep a similar atmosphere when writing and make everything feel as if it has to be shared in a whisper.

A bonus here is that it doesn’t require much to turn this ethereal feeling into a melancholic one, so you get that dash of angst that layers over everything. Leave a few things unknown here and there, incomplete actions, eyes that get averted and Boom. Angst.

Shifting gears, but if my imagery of Bai Qi’s love is like a tense, vibrating, and restrained chain of yearning then Xu Mo’s love is like a flood barely being held back by a dam. Knowledge of the quantity and weight behind the dam is terrifying, but it’s safe to be submerged inside it. Much like Luoluo and Helios, Xu Mo also has a dangerous duality in Ares and so I also like to play with this imagery.

So, on this point, I like to preserve an underlying sense of darkness (all-consuming possessiveness, etc.) and envision that he also wishes to stain his love in his colors, like a drop of ink on white paper and how it seeps into every fiber of the paper until the whole thing is saturated with him.

Incidentally, I’m reminded that—whenever possible and natural—I want to exclusively use water imagery with Xu Mo. The game supports this too! He is described with extensive water imagery and so I try to use water metaphors, analogies, and similes.

I try to make sure every sense is present, but I feel like the game emphasizes (especially with the red thread of fate imagery) that Xu Mo and his love are connected at a soul-deep level and so I always keep in mind a mental, emotional, and spiritual aspect.

Lastly, his canon animal is the fox (we ignore the black goat LOL) so contrasting his elegant, scholarly, and gentleman’s air with a black belly, teasing, and mischievous air is also important! Sexual but with, you know, class.

Keywords: Butterflies. Monochrome. Artist. Red Thread. Autumn. Melancholy. Water. Soft. Gentle. Light. Faint. Dreams. Spiritual. Fox.

LING XIAO

I’m getting more comfortable with him, but he’s still shrouded in so much mystery. If every one of the other men treat their loves with gentleness though Ling Xiao is definitely one who isn’t afraid of roughhousing. He’ll act first and then ask for forgiveness afterward, if needed.

But I like to keep in mind that, for all his roughness, he’s still a good kid at heart and when he saw MC’s skirt rising up when he tried to pull her over the fence he immediately stopped. So, a bit of a bully but without any humiliation.

Intelligent, strong, and dangerous but hiding all of that beneath a devil-may-care attitude and someone who does things on a whim. I don’t know what to do much with his canon animal being the shark except to attach it vaguely to this point and think that, as an apex predator of the sea, it does things at its own pace (somehow, it gives me the image that he likes to bite... but, uh, that’s probably just me LOL).

Keywords: Mercurial. Lightning. Sarcasm. Physical.

#love and producer #mlqc #mr love queen's choice #mlqc gavin #mlqc victor #mlqc lucien #mlqc kiro #mlqc bai qi #mlqc li zeyan #mlqc xu mo #mlqc zhou qiluo #love and produc(ing) meta

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slugtranslation-hypmic · 4 years

Note

Here’s a pet tax!! This times he’s nuzzling against my arm!

Btw here’s your excuse to talk more about Dice. Or,,,any of Fling Posse! Have fun!

Oh, you enabler, you. Thank you for this opportunity and for the bunny picture.

A collection of thoughts on Dice and why he may very well be the most important character to Ramuda. Put under a cut for some slight TDD spoilers.

Dice’s Personality Traits

Compared to the other two nosy Nancies that make up Fling Posse, Dice himself is the king of minding his own business. While he does display definite interest in his friend’s lives - see asking Riou about his favorite food in the ARB event “Riou’s Kitchen” or discussing Gentarou’s latest story in FP/M chapter 7 - he tends to avoid discussing topics that make others feel uncomfortable.

This can make Dice appear oblivious, but Dice is much more emotionally observant than most characters give him credit for. Let’s take chapter 14 of FP/M for a great example of this. I’ll link it here, and I encourage you to read through it again paying careful attention to his facial expressions.

Dice begins the chapter deep in thought and adopts a solemn facial expression for the next few pages. Something is clearly preoccupying him.

However, the moment Ramuda appears, Dice begins acting much more animated and begins playing along with Ramuda in an attempt to cheer him up. Note that Dice observed Ramuda acting out of sorts for the entire battle in the previous chapters and hasn’t seen Ramuda awake since (according to chapter 15). He’s likely greatly concerned. It is arguable that his reactions are entirely food motivated...

... except for the fact that he returns to his previously somber state the moment Ramuda is no longer looking at him. Dice also doesn’t immediately accept Gentarou’s suggestion that Ramuda is trying to keep up appearances for their sake.

At the restaurant, Dice begins to play up the cheerful glutton again and attempts to directly cheer up Ramuda by operating under the assumption that Ramuda is disappointed by their loss.

When Ramuda goes to leave, the art emphasizes Gentarou’s concern, but the silhouette of Dice (and the lack of any bulging cheeks or cups carried up to his mouth) in the final panel indicates that he has once again returned to his more serious state. In this scene, Dice recognizes that something has gone terribly wrong.

Each member of Fling Posse is a performer putting on an act, and as noted by Ramuda’s reaction to Gentarou invading his privacy, Ramuda feels most comfortable when each actor plays his part. Dice is aware of this and thus acts the cheerful idiot for Ramuda in these scenes because he recognizes that Ramuda needs that stability.

If I may demonstrate another quick example, take a look at the scene from FP/M chapter 12 and compare how Dice acts without (first image) and with a visibly distressed Ramuda (other images) in the room.

The FP/M mangaka also says (in the afterword of volume 3), “I think [Dice] might have a good poker face and be able to control his facial expressions even when he’s flat out broke. But his posse doesn’t seem to understand that.“ Dice’s poker face is a boon here when he can use it to help the ones he cares about.

For Dice does care very greatly. Dice minds his own business and doesn’t make any overt actions as long as his friends are capable of handling situations on their own. However, the moment he recognizes that they are in over their heads, he takes swift and decisive action (which, in turn, can be harmful to others).

Take this scene in FP/M chapter 10 as a great example. Prior to Gentarou grabbing Hifumi, Dice was firmly a bystander, but he immediately leaps in when the situation escalates. Notice that he removes Hifumi from harm’s way but also serves a shield for Gentarou and focuses his attention on Gentarou’s wellbeing.

He then offers Gentarou physical reassurance with a hand on the shoulder and an out to the situation, which would have allowed Gentarou to move on as if his mask had never slipped if it were not for Hifumi’s next comment. Dice also shuts down Hifumi before it can escalate any further.

Although Hifumi is attempting to justify himself because he doesn’t understand Gentarou’s reaction and doesn’t see what he did wong, Dice recognizes that this statement also denies Gentarou the right to express his feelings on something which is clearly an enormous deal to him.

By labeling Hifumi’s comments as “disrespect” and “hurting people” while simultaneously stressing that this topic is “important”, he allows Gentarou the right to feel upset at Hifumi’s comments. He also continues to use defensive posture in order to keep Gentarou physically safe (which must be an intentional choice on the artist’s part, as Hifumi mirrors this pose a few pages later as he begins to defend Doppo). Even though Dice’s reaction crosses the line when he, in turn, begins to hurt someone else, removing Gentarou from the situation, validating his feelings, and making Hifumi stop is exactly what Gentarou needed but was unable to provide for himself.

Dice is a damn good friend and an exceptional person. If you ever find a friend like Dice, don’t let them get away from you.

Saving Ramuda’s Life

Let’s switch gears for a moment to take a look at what goes on in Ramuda’s mind. As a disposable pawn for the Party of Words, Ramuda has an atypical view of the world. He genuinely enjoys the company of others and can form real bonds, but his primary motivation in life is fully self-centered: keep himself alive. Every order he receives comes with the caveat of, “Failure brings death.” The fear of death is enough to drive him to betray his closest friends in TDD, even Jakurai, who clearly means a lot to him.

^ TDD chapter 13. Ramuda receives an order from Ichijiku to handle the Jakurai side of things in the TDD breakup and reflects on the time that Jakurai saw who his true personality and not only accepted it but welcomed it.

Bear with me if you’ve seen me talk about this before, but Ramuda’s ability to feel emotions is considered a fluke. Ichijiku describes it as a “malfunction” and a “nuisance” for his job. She also describes Ramuda himself as a “failure” and “worthless”, sometimes to Ramuda’s face.

Ramuda internalizes this. Notice’s Ramuda’s reactions to slipping up and having an emotional outburst in TDD chapter 9 and FP/M chapter 8.

The former of these features Ramuda looking frightened (either due to concern of losing his life for revealing more than he should have done or fear that Jakurai will consider him as “worthless” as everyone else does), insulting himself, and self-harming. While the insults and self-harm are as stereotypically cute as the rest of Ramuda’s facade, the core idea remains that he believes showing his true personality is as idiotic and worth of punishment as everyone else believes. The lack of self-worth is ingrained in him.

The slightly more grown-up Ramuda in FP/M does not react as dramatically, but I really want to draw your attention to the question, “Was I spooky?” It’s worded in a deliberately silly manner because of Ramuda’s speech style, but he is asking his supposed friends if the real version of himself is frightening. Tell me, Dice. Does seeing me scare you? Do you want to run away now before it’s too late? It’s an innocent question on the surface level, but considering the about face his last friend turned after learning more about Ramuda’s real life and job, this question demonstrates that Ramuda’s view of himself has hardly changed for the positive since then.

(Also please observe Dice’s reaction. The pause is him getting into character in order to cheer up Ramuda after a clear emotional upset.)

Therefore Ramuda is a person running entirely on self-preservation but with no sense of self-worth. He sees himself largely the same way Chuuouku does and expects everyone else to do the same. This greatly limits his worldview and prevents him from considering possible other options besides, “Do or die”.

If most of the other cast members found themselves in Ramuda’s shoes, they would have the knowledge and ability to consider other options such as running away, asking for help, or fighting back. Yet Ramuda never considers any of these. He does not have the life experiences the other cast members have to consider making any of these options. He has never observed them or had an outside source present them as options to him. Once the order comes down the pipeline from Ichijiku, it is set in stone. He can hate the order - take a look at another illustration from TDD chapter 13 - but he considers its execution inevitable.

This is why the order to hypnotize Jakurai in FP/M chapter 11 hits him so hard. Now “do or die” has become “die or die”, and his only decision comes down to the nature of his death.

Yes, this situation could have been avoided by talking to Jakurai. Jakurai gives him multiple opportunities to speak up before and during the battle, but Ramuda doesn’t have the ability to recognize those as options for help. In Ramuda’s book, people don’t help him. “Help” doesn’t exist.

In fact, the entire TDD situation could have been avoided as well if Ramuda had trusted his friends, spoken up, and explained the situation. Jakurai (not to mention Ichirou and Samatoki after a fashion) would almost certainly have helped, and that seems to be what Jakurai was waiting for. Once he pushed Ramuda too hard by accident and caused an outburst, he stepped back and waited for Ramuda to come forward on his own terms. But that’s utterly foolish, because Ramuda doesn’t operate on his own terms either. Ramuda doesn’t have his own terms. He lives and thinks the way the Party of Words wants him to think, and if the Party of Words does not want him to speak up and ask for help, then he will never, ever be able to.

The beauty is that Dice is not Jakurai. As mentioned above, Dice minds his own business up until the point a friend of his is over their head, and it’s when Ramuda starts to pull out the True Hypnosis Mic in order to kill himself for Chuuouku that Dice finally acts.

As is the case with Gentarou up above, Dice acknowledges that he doesn’t fully understand the situation but offers physical reassurance, advice, and the implicit argument that Ramuda’s real strength is something of value. Dice writes the word “help” into Ramuda’s dictionary with genuine love and affection.

While Ramuda still can’t consider any option other than “do or die”, it is Dice and Gentarou’s intervention that imbues him with enough self-worth to even consider placing his own wants and needs above Chuuouku’s.

It is this that lays the groundwork for The Loneliness, Tears, and Hope of a Puppet and gives Ramuda the basic agency to even consider acting for himself and, contrarily, acting in line with consideration for other people. It’s this that allows him to avoid ruining Jakurai’s life a second time and this that allows him to accept Gentarou and Dice’s promise of friendship. In the drama track itself, once again it is Dice and Gentarou intervening and challenging Ramuda’s preconceived notions in order to save his life.

Gentarou absolutely plays a vital role in this as well, but it is Dice that chooses to make the first move. Had he not said anything, Ramuda would have used the True Hypnosis Mic and died onstage in front of the audience.

It is sometimes the tiniest of actions and the smallest pieces of support that make all the difference. Sometimes all it takes is someone being unafraid to reach out and flip a die over so it lands on a different number.

#not a translation #asks #dice arisugawa

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postmodernmulticoloredcloak · 4 years

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I would love for you to talk more indepth about the montage. To me it feels so off and weird. Almost like a parody? So many scenes in it are "funny" moments that just don't make sense in the context of an emotional overview of the road so far... (Like all the scenes where Dean is eating, Donna with donut dust on her face, Sam getting hit during the game show.) I don't know. Isn't the montage supposed to make me nostalgic, teary-eyed? This one definitely doesn't do it for me!

Here I am! Yes, I absolutely agree. The montage is Weird(TM). It’s kind of a tone rollercoaster. It’s very full of funny/silly moments, with some serious moments smacked in. And it definitely looks like... there’s something about it.

For an easier consultation I will reference the gifs I have made of the montage sequence here.

[Gif 1] It starts pretty much like I’d expect a Supernatural goodbye montage to start. The two brothers meeting for the first time in the pilot, a reminder of their childhood with John, their banter still from the pilot, a couple moments of them driving in the car in the first seasons, Dean saving Lucas in 1x03 which is the first Dean-heavy episode and also an extremely symbolic moment for Dean’s entire journey - just think at how Lucas as a mirror was still relevent during the “drowning” Michael possession arc. Everything feels normal so far. We’re starting from the beginning! Now--

[Gif 2] Interesting and weird choices start here. Them pretending to be high school teachers from After School Special 4x13 - actually a very iconic moment for the fandom, remember that post of Dean in shorts from that episode that you had to reblog when it came on your dash? (Actually I’m not sure if I ever reblogged it lol.) Dean celebrating getting young again from The Curious Case of Dean Winchester 5x07 (and Jensen showing off his agility). The two of them showing their FBI badges to Jesse Turner’s biological mother in 5x06. Dean mowing the lawn of Mary’s house in the Djinn dream and immediately after Jess and Sam kissing also in the Djinn dream, from What Is And What Should Never Be 2x20. Then Dean after killing the witch when he was under the memory loss spell, in Regarding Dean 12x11. Sam happy when they celebrate Christmas in A Very Supernatural Christmas 3x08. Them being “lucky” under the effect of the rabbit’s foot in Bad Day At Black Rock 3x03. Sam also happy in Baby 11x04.

Again the present, then the montage starts again with the water-related ghost from Red Sky At Morning 3x06, a Bela episode, and then Bela herself from her first episode, 3x03 again.

What do these moments have in common? Not all of them, but for many of them I’d say reality being manipulated. The Djinn dream, the rabbit foot, Dean’s aging, the Antichrist... and it’s not over yet. Also, them pretending to be teachers, agents etc - not “real”.

[Gif 3] The tone suddenly gets more serious and relevant to current events: Chuck in The Monster at the End of This Book 4x18 (eh). Death in Two Minutes to Midnight 5x21 (the first appearance of Death, while now we’ve had Billie’s last and a very short-lived new one), and then two major moments from Lazarus Rising - Dean emerging from the grave and finding the handprint on his shoulder. Crowley’s first episode, Abandon All Hope 5x10. Zachariah’s death in Point Of No Return 5x18. Anna from The Song Remains The Same 5x13, where she is the antagonist having been brainwashed successfully by heaven. Michael burning and Sam jumping in the cage with Michael in 5x22, then another moment from 4x01 (the brothers hugging after reuniting). A moment from The French Mistake 6x15 (reality fuckery again!). Sam in Frontierland 6x18.

[Gif 4] Reality fuckery continues with Becky marrying Sam in 7x08. Funnily enough, this is the peak of Becky’s obsessive behavior which she went to therapy for and grew away of - it definitely emphasizes how far Becky has come. Donna’s first appeance in 9x13. That iconic shot of Dean in Bloodlust 2x03 because he’s pretty. Charlie’s first appearance in 7x20 while she dances to Walking On Sunshine (relevant?), Kevin’s first appearance in 7x21 when he becomes a prophet (lots of firsts). Abaddon’s first appearance in As Time Goes By 8x12. Then there’s the first appearance of the bunker, in the next episode, a couple shots in fact. Then more 4x01, Ruby pretending to mistake Dean for the pizza man (eh). Then more present...

This section seems to be mostly “first appearances” - including Ruby’s s4 meatsuit, i.e. Genevieve’s first appearance.

[Gif 5] We suddenly jump to more recent events with Kelly and Jack in heaven in Byzanthium 4x08. Jack’s iconic hello from 4x16 Don’t Go In The Woods. Dean teaching Jack how to drive in 14x07 Unhuman Nature. But then we suddenly go from Jack things to something completely different on the surface: two consecutive moments from Changing Channels 5x08, including the iconic Nutcracker scene, and Sully from Just My Imagination. We are actually back to the previous theme: reality fuckery. Gabriel’s episode was about placing them in “television shows”, Sully, while real, is literally a child’s “imaginary friend”. And then... a moment from the cartoon part of Scoobynatural! It doesn’t get more reality fuckery than that. Oh, wait! Charlie and Dorothy going to Oz in 9x04. That’s a pretty strong contender. Dean being hit in the face by a fairy in 6x09 - also about a realm Dean briefly went to. And, in case we felt like we hadn’t gotten enough 4x01 yet, Pamela’s first appearance (her last, albeit a hallucination, was about the whole “How come you only want what you can't have?” thing).

[Gif 6] We continue again with a mixture of firsts and weird things. Ellen’s first appearance in 2x02, Dean and Cas in 4x18 (we saw Chuck from that episode earlier), Jody’s first appearance in 5x15 Dead Men Don’t Wear Plaid. Rufus in 6x04 Weekend At Bobby’s (not his first but a good episode...), Garth in 9x12 Sharp Teeth (not his first but the first in which he is a werewolf and is married... relevant to recent lamp events??), Missouri in 1x09 (her first appearance).

Then Gabriel from 13x21 Beat The Devil (an episode where he plays a trick on Lucifer) and Rowena from the same scene (in fact a scene where they’re flirting). Then Eileen coming back to life in 15x06 and smiling at Sam. Jo flirting with Dean in 2x02 - her first appearance, again. Funnily enough, she had been introduced as a love interest, but ended up being repurposed as a sisterly figure. Tempted to say it’s relevant in an ironic way. Mary in 14x11 Damaged Goods, when Dean has a goodbye mother-son moment with her. Amara in 11x09 Oh Brother Where Art Thou when she was looking for her brother. Then Lucifer in two different vessels (12x07 Rock Never Dies and 12x21, when Lucifer regains control over the vessel).

Then Metatron doing the find a wife make babies speech to Cas in 8x23! Relevant??? Dun dun dun. Then Ketch for some reason (the first episode where we see his face, 12x08 LOTUS).

[Gif 7] Then Jo/Anael in 13x13, another first appearance. (I cropped these horribly I should have cut them when the present happens lol.)

Sandwiched between two shots from the present, Dean Sam Mary and John having dinner together in 14x13 Lebanon.

Then we start again with Dean riding Larry in 12x11, Dean and Cas dressed as cowboys in 13x06 (mini pattern here...), Asmodeus with the archangel blade in 13x13 (insert meta about Asmodeus in Christian lore here), and the really intriguing “Intermission” shot from the play in 10x05.

[Gif 8] To continue a certain pattern we might be tempted to see, Dean eating piecake from 14x06 Optimism (an episode about a distorted version of romantic love), then Dean eating noodles from 10x13 Halt & Catch Fire (the ghost is a husband that passes on thanks to his wife). Dean after his dentistry session with Garth in 15x10. Meg from 6x10 Caged Heat (the episode with the pizza man porn). Dean and Sam investigating in 4x12 Criss Angel Is a Douchebag (an episode about growing old poorly). Crowley in 10x16 Paint It Black (that episode). Dean playing that game in 14x17 Game Night (the episode Cas calls for God, and when Mary dies - the one playing the game was God...). Sam and Dean getting out of the car in 13x05 when they visit the traumatized kid (peak mourning Dean episode...). Then we go into reality fuckery territory again with 14x15 Peace of Mind, Sam under the psychic’s control and Cas disgruntled about it.

[Gif 9] Mick Davies from 12x16 Ladies Drink Free, when he learnt a lesson about monsters. Dean geeking out about the Hatchet Man - so heavy with mirror significances - in 14x04 Mint Condition. Belphegor - Jack’s dark mirror - in 15x03 The Rupture, the break-up episode. Donna’s first episode again, this time Dean and she eating donuts. Dean, Sam and Mary hugging in 12x22 after the confrontation in Mary’s head. Kaia in 13x09 The Bad Place, when Jack uses her to find the way to where Mary is (Mary pattern?). Claire&co rescuing Jody and Donna in 13x10 Wayward Sisters. Dean in 1944 dresses as a sailor in 11x14 The Vessel. Baby nyooming in 15x11 The Gamblers...

Aaand more Changing Channels, the genital herpes ad. It’s almost like reality fuckery is a theme. Followed by Sam drinking the anti-cold concoction at Garth’s in 15x10 and the two of them outside the monster fighting pit in the same episode. Then Cas, Dean, Sam and Jack on a video call with Ketch in 14x09 The Spear when they talk about the egg to trap Michael.

[Gif 10] We stay in the same episode with the four of them heading to Michael. Then the four of them celebrating Jack’s return to life (after Cas’ deal with the Empty). More present, and then the iconic “we’ve got work to do” [trunk closes] moment from the pilot.

So: some of these moments seem like genuine moments you’ll want to put in a montage, but there’s a weird predominance of characters smiling and looking happy or goofy. It’s kind of... not exactly representative of the show as a whole, you know? There are moments that fit as, you know, iconic steps in the story, but surprisingly few, and many moments you’d expect to be in a “final” montage are blatantly not there. Several moments with, let’s put it like this, suspicious meta connotations. Moments that, well, we don’t know what happens in the finale yet, but smell like they might be relevant to future developments. (Metatron’s speech to newly human Cas anyone?)

What really strikes me is the amount of moments connected to reality being manipulated or distorted in some way. Lots of Changing Channels, fantasy elements of various kinds (the Djinn dream, Scoobynatural, Oz, the imaginary friend Becky’s wedding to Sam, the fairy, ...), them acquiring luck (s3) or losing it (s15), and so on. It’s almost like the sequence is telling us something...

Thoughts?

#anon #my spn thoughts #spn meta #spn 15x19 #spn

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kironimus-blog · 3 years

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WARNING! SPOILER ALERT! LOKI EP4 + AGENT OF ASGARD COMICS!

About (Self)Love and Narration

So, a lot of things happened in Ep. 4 and it got me thinking about the topics of narration and (self) acceptance/love in this show. After a healthy amount of deliberation I‘ll even dare to theorize about how this season will progress. Just hear me out.

First of all I think we have to view the events of the sacred timeline as a literal narration. Loki as a character in this narration has a single (not so glorious, heh XD) purpose. He‘s a mere plot device, the villain, designed to move the plot forward and help build and develop others characters. Mobius, who takes on the role of the observer, says so himself in Ep. 1!

„You weren‘t born to be king Loki. You were born to cause pain, and suffering and death. That‘s how it was, that‘s how it will be. All so that others can achieve their best version of themselves.“-Mobius Ep.1

It‘s important that this comes from Mobius, someone who has not only studied the life of „our“ Loki but has seen the stories of many other Loki variants pan out. And the common denominator seems to be Loki‘s repeated failure which leads to him becoming the villain of the story.

And of course, once "our" Loki quite literally leaves the narration (as he escapes via Tesseract and is brought to the TVA, a place seperate from the normal flow of time) and becomes an observer of his own story (in the time theater, Episode 1), he begrudgingly realizes this as well. As the God of Mischief, he of all people, despises the idea of a single establishment (the TVA) holding so much power over the universe and his own path in life. But at the same time his views on choice and personal freedom at the beginning of Episode 1 aren‘t much different from the TVA‘s… in fact they're eerily similar.

„For nearly every living thing, choice breeds shame, and uncertainty, and regret. Theres a fork in every road, yet the wrong path always taken.“-Loki, Ep.1

He even uses the same exact phrasing when criticizing the TVA‘s motives and later on explaining his own actions:

„It's an illusion. Ist a cruel, elaborate trick conjured by the weak to inspire fear. A desperate attempt at control.“ -Loki, Ep.1

Fast forward to Episode 4, where we find out that the time keepers are nothing but an illusion. Another interesting parallel, don't you think? So now the big question is of course, who‘s the mastermind behind all this? That‘s where my theory comes into play.

I think the ‚big bad' is none other than Loki himself. And I mean not just any of the many variants we know exist, but a future, alternative version of „our“ Loki. The Loki who still holds onto the believes „our“ Loki exhibited in Ep.1. Someone who lost over and over again, which led him to believe that no matter what choice he made, he was destined to fail. So what did he do to break the vicious circle of choosing and failing in an attempt to regain control? Easy, he simply took away the choice and took the narration of the story into his own hands. And this carefully controlled story is the ‚sacred timeline'. He created the TVA and the time keepers as a guise, so he could remove every Loki variant that didn‘t act according to his script. (This may explain the flock of variant Lokis in the post credit scene of Ep 4)

Another reason why I believe this theory to be true are the parallels between this show and the ‚Agent of Asgard‘ Comics by Al Ewing. In fact Al Ewing and Lee Garbett are even mentioned in the Credits! (Caution! Spoilers for AoA incoming!) The storyline of the comic series is that of a future, „evil“ („“ because, as we know „no one bad is ever truly bad") version of Loki, who, frustrated by his lack of control over his own life, tries to manipulate his younger self into becoming this evil version of himself sooner (and isn't that ironic…and a bit hard to grasp as well). In the end Loki has to reinvent himself by letting go of past grudges in order to free himself from his destiny to turn into the villain of the story once more. By actively changing his present self and becoming the god of stories he is able to change his seemingly set path. In the end it is a story about self love and growth and the understanding that nobody has power over your future but your present self.

And I think what we learn in Episode 4 about self acceptance and self love is massively important in order to predict and understand what comes next in the series. At the beginning of the episode we see Sylvie and Loki on Lamentis, sharing a moment of mutual admiration in the face of seemingly certain death. Three things about this scene I find very interesting.

1. The composition of the scene with Loki and Sylvie sitting next to each other in a mirrored position. This emphasizes that while they may be variants, they still are reflections of one another.

2. The fact that this shared moment creates a massive branch in the sacred timeline. Why does this happen? I think it‘s because Loki shows actual love/ acceptance towards himself (even though it may be through his variant). And that‘s not „supposed to happen“, because the key ingredient for „our“ Loki to turn into the „evil narrator Loki", is a whole lot of self-loathing.

3. Loki‘s quote about surviving no matter how bad the loss. Which is an important bit of character development in itself but it’s what he said next („But we don‘t die“) that got me thinking. And I consider this to be one of the most important clues regarding my speculation. Loki has „died“ dozens of times during MCU history but he never stayed dead. Why is that, if he‘s merely a plot device, you ask? Well, I think it‘s because „evil Narrator Loki“, while not allowing „our" Loki to make his own choices, still doesn‘t want to kill himself off. So he simply deus ex machinas his escapes from death time and time again.

Considering all these details from Episode 4 I‘d like to theorize a little bit further about the ending of the show. I think the ‚big bad‘ they will face is future, „evil“ Loki himself. But by then our Loki will have learned to be at ease with himself with the help of the support system he built during the last episodes (Mobius and Sylvie). He no longer needs to keep up the illusion in order to trick himself and others in a desperate struggle for control. Because now he truly values himself enough to have confidence in himself and his choices. Because of this advancement in character his „future“ version will simply cease to exist because the foundation of self-loathing and perceived helplessness are no more. (Yeah it sounds a bit cheesy. I will admit. But it's a nice ending, OK?)

That‘s it. Hope this made any sense at all and if not…oh well 😂

#marvel loki #loki #loki episode 4 #loki spoilers #loki theories #loki tv series #loki tv show #loki tv spoilers #fan theories

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swaps55 · 3 years

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POV Case Study – Have Some Writing Meta

Point of View (POV) is an integral piece of the storytelling puzzle for Opus, my main body of fic, so I thought I’d do a meta post that walks through how I use it as a narrative tool. The intention is not to tell anyone how they should or shouldn’t use POV, but rather to demonstrate one way I used it very deliberately to create narrative tension, weave in characterization, and develop an overarching theme.

Your POV character is an enormous tool in your writing toolbox, whether you are using a single POV or multiple. How you use it depends on a lot of things: what person you’re writing in (first, second, third), the type POV you’re going with (omniscient, meaning the POV narrator can see into everyone’s heads, or limited, meaning you only have access into the head of a specific POV character).

My preferred writing style is 3rd person “in-your-face” limited POV, that puts the reader so solidly in the POV character’s head it’s almost like 1st person in a 3rd person trench coat. That coupled with present tense gives me some extra intensity that I love taking advantage of in emotional or climactic scenes. Again, this isn’t to state a right or a wrong way to use tense or POV – there are lots of great ways to use these tools – but for the purpose of this exercise, this is my chosen loadout.

I made the conscious decision early in Sonata that I did not want to use Sam Shepard’s POV, ever. Every story in his series would be told through the eyes of the people around him. Why? Because one of the key character traits of Sam is that he makes himself whatever someone needs him to be. He sees himself as a tool, so to be a useful tool, he has to have the right shape for the job. This raises the question: who is Sam, when he is free to just be himself? I’m not sure even Sam knows the answer to that question, so to reinforce it through storytelling, I never wanted to reader to see what goes on in his head. Everything you learn about Sam comes through the perceptions of others, and to show the reader how differently he is perceived by others, I write with multiple POVs rather than just Kaidan’s.

Below the cut, I’m going to walk you through a specific example where POV was an essential part of crafting the story I wanted to tell. The chapter in question comes from Fugue, a story I’m writing that explores the aftermath of Alchera. You don’t need to have read Fugue to follow the logic, but if you care to read the chapter, it functions well on its own separate from the rest of the story.

Fugue – This Hole You Left.

This was a very complicated chapter that lived and died by POV choices, and it was extremely difficult to put together. The approach I took was a gamble that (thankfully) worked after much fretting, gnashing of teeth, and help from @pigeontheoneandonly.

This Hole You Left takes place after Sam dies over Alchera. I wanted to paint a ‘kaleidoscope’ of grief, and explore how Sam’s death impacted the people around him in very different ways. Therefore, I needed a plethora of POVs to work with, each one giving me something different. The goals were this:

Find differing POVs that would offer demonstrably different perceptions of Sam and/or illustrate different stages of grief and shock.

Allow each of those POVs to mold to that character’s specific goals and motivations. i.e., I did not want the grief of other characters to be tied to the romantic relationship that had been lost – because that’s not the lens those characters would look through.

Each POV had to move the chronology along in a way that made sense and felt natural.

Kaidan’s POV was off limits. In the absence of Sam’s physical presence, I wanted to treat Kaidan like Sam – the character people could see, but not explore the headspace of. Everything the reader learns about Kaidan in the immediate aftermath of Alchera comes from other people.

That last piece was important. Arguably, Kaidan’s POV was the most valuable one of all, but I was going to have lots of time to explore it in meaningful ways elsewhere. I thought it might be more powerful to express his grief through the eyes of others, and use him as a central theme to weave in and out of the chapter. More about that later.

This constituted one hell of a puzzle to put together, especially when it came to the chronology. For instance, an early mistake I made was putting the most powerful POV (Anderson) too early in the sequence, which diminished what came after it. Moving that POV around meant re-framing other POVs to keep the chronology moving forward (for example, Garrus’ POV initially came after Anderson’s, by moving it before his, I had to change the context so that Anderson’s POV wasn’t a step backwards in time).

Each POV scene was also intended to essentially be its own self-contained short, creating a microcosm of grief, that when put together, would create a much larger and significant whole.

I could write forever about all the trial and error that went into finding the right formula, but it’s probably more valuable to look at where I wound up, and why:

1st POV: Lora Alenko (Kaidan’s mother)

Why: She gave me a window to set the clock in motion and make the loss of the Normandy feel real, because she had the advantage of having no idea anything was wrong. Plus, her perspective felt like a unique one I hadn’t seen in fic when it came to Alchera. I’d set her character up in Sonata, so readers of that fic would be familiar with her and understand what that phone call meant to her in a more meaningful way.

How I used it: I put her in the middle of a mundane, normal, event – lunch with a friend – and then shattered that normalcy with a phone call telling her the ship her son was on had been destroyed. That shift from normal to a state of dread gave me the tension I wanted to use for the rest of the chapter.

Excerpt:

But before she can answer, her omnitool flashes. She frowns and looks down at her arm. It’s a message from Marc. SOS. Call now.

A chill runs down her spine. SOS isn’t something Marc throws around lightly. She’d gotten an SOS from him when he’d found Apollo, the warmblood she’d ridden for years, with a leg stuck through the paddock fence, and the day they’d learned about Vyrnnus.

Kaidan.

“Melia,” she murmurs. “Excuse me, I have to take this.”

2nd POV: Admiral Hackett

Why: Hackett gave me the chance to explore Shepard through the eyes of the Alliance. To them, and to Hackett, he’s a weapon rather than a person. He also gave me a chance to weave in a sense of anger, one of the stages of grief.

How I used it: This POV came about late in the revision process, but I’m thrilled it did, because I was missing that cold, calculated look at Shepard’s importance. Shepard dying fucks up Hackett’s plans and political machinations, and his immediate response is not to mourn someone who died, but to move on to plan B. This also gave me a shot to work in Shepard’s mother. By seeing her in Hackett’s POV, I could reinforce the ongoing theme that Captain Shepard sees her son as a legacy, rather than a person.

Excerpt:

There isn’t a list of people who can replace Shepard. Time to make one. Hackett exhales, gaze falling to the datapad on his desk, Shepard, Sam still displayed at the top of the casualty list.

He picks it up and hurls it at the wall. It cracks, screen flickering to black as it clatters to the floor.

What a goddamned waste.

3rd POV: Joker

Why: Joker was an easy one. I’d set up some rather terrible foreshadowing in Sonata with a scene in which he makes the comment “I’d go down with that ship,” and Sam replies, grinning, “Not while I’m around.” I wanted to spike the ball over the net in Fugue, so parking in Joker’s POV in the immediate aftermath was a no-brainer.

How I used it: Through Joker I could explore guilt and shock, so I went back to that memory from Sonata and used repetition to make Joker feel stuck in that moment. It was also my first chance to weave Kaidan in to reinforce the notion of guilt and lay some neat groundwork for narrative tension that would come to a head later.

Excerpt:

I’d go down with that ship.

Not while I’m around.

He should have abandoned ship. The escape pod was right there. He could have given up the Normandy at any time. All he had to do was step over the bodies of Pressly. Chase. All he had to do was leave them all behind.

Instead he’d stayed, and Shepard had made good on his word.

I’d go down with that ship.

Not while I’m around.

4th POV: Dr. Chakwas

Why: Through her, I could look at the adrenaline and denial that comes with managing trauma. To her, Shepard was a patient. Because she is overwhelmed with patients in the form of the Normandy’s wounded, she cannot stop to think about the one she cannot help: she has a job to do, and she has to do it. There will be time to grieve later.

How I used it: Again, I used Kaidan to emphasize her role as a caretaker. Kaidan, who is in command of the survivors, has a moment of weakness that she cannot afford to have, and he can only afford to have in front of her, because she overrides his authority in a medical emergency. Because we are in her POV, we see her outwardly refuse to crack, when internally she’s hanging by a thread. It made for a nice contrast.

Excerpt:

“There was no transponder signal,” she tells him, saying out loud everything she’s been repeating to herself. “We were in hostile territory, with over twenty injured crew. He was gone, Kaidan.”

His fingers curl, eyes still trained on the window.

She puts a hand to her forehead. Between Virmire, triage on the Citadel and this it’s too much. Before today she’s never felt old. Tears sting the corner of her eyes and she swears under her breath. Not here. Not today. Tears are something for tomorrow. Right now, she has a job to do.

5th POV: Garrus

Why: Garrus was a member of the crew who wasn’t on the ship, which is a completely unique perspective. But the question that took me forever to answer, was, how does he react to Sam’s death? What was Shepard to Garrus? I hadn’t written about them during ME1 yet, he was not part of Sonata, and ME1 Garrus is always a little tricky for me. I knew there was something important to gain from his POV, but I couldn’t figure out what it was to the point of tearing my hair out. Eventually, I settled on Garrus seeing Shepard as a mentor he couldn’t live up to, and made his POV about failure and regret.

How I used it: Shepard was everything Garrus aspired to be, but could never quite achieve. He left the Normandy because Shepard made him feel like he could make a difference, only he didn’t. And then, his friends needed him, and he wasn’t there, and now Shepard is dead. I wove a lot of doubt, regret and self-deprecation into his POV to drive that home.

Excerpt:

Dammit, why hadn’t he stayed on that ship?

He grabs another report from the top of the pile on his desk, which is getting tall enough to sway in the breeze.

This is why. Because Saren had obliterated the Citadel, and Shepard, damn him, had made him believe he could make a difference. He thought he could make it here. Crazy thing, having to fill out a form every time you find a corpse. He’s got three more to add to the list after today.

6th POV: Anderson

Why: Anderson was both a father figure and commanding officer to Sam. Because he’s known him for most of his life, he has a perspective no other POV character has. To him, Sam was more like a son he’d been tasked to protect, and in the end failed to protect him. He and Kaidan are the only people who know Shepard well enough to mourn Sam, and not just Commander Shepard. Anderson would really let me start to explore grief.

How I used it: This was my heavy hitter. Through Anderson’s POV, I could trace Sam the person as he grew into Commander Shepard, and explore the echoes of the kid that still lived in the adult. I was also able to use Kaidan in a really fascinating way. In Opus, Kaidan and Sam served together for four years before the Normandy. Therefore, Anderson is pretty familiar with him, but doesn’t know him the way he does Sam. He keeps looking at Kaidan expecting Sam. In a sense, trying to plug a puzzle piece into the wrong hole. It was a neat way to show Anderson’s grief.

Additionally, this was a great opportunity to demonstrate Kaidan’s sense of loss without being in his head. Anderson does not know there was a relationship between Sam and Kaidan, but the reader does. Thus, I could have my cake and eat it, too: The POV character wasn’t examining the relationship that had been lost between Sam and Kaidan because he didn’t know it existed, but the reader got to.

Excerpt:

He exhales through his nostrils. “The Normandy was attacked by an unknown vessel. Whoever they were, Joker says they came out of nowhere. Shepard got him into the escape pod, but the ship lost gravity. He…well.”

Alenko stares straight ahead, silent. Anderson looks for a tell, but he only knows Shepard’s.

Alenko isn’t Shepard.

7th POV: Tali

Why: Tali presented a similar problem to me that Garrus did. What was Shepard specifically to her, and what did his loss mean to her? As my closing POV, not only did she need to hit a home run, but she also needed to close out the chapter in a way that tied all the other POVs together and examined Shepard’s death through a much wider lens, without feeling like I was pulling the camera back from her POV to get there. That’s a lot to ask. Lucky for me, Tali never lets me down.

The answer I came to also called back to Sonata, in which exploring what home meant to each of the characters was an important theme. So I went back to this idea for Tali, as she and Sam had a very important thing in common that set them apart from everyone else: they were both born in space, and did not have the traditional fixed point of home that everyone around them had. Home was different to them than it was to everyone else.

How I used it: Tali was the only one left who understood how truly unique and special the home she’d found on the Normandy was. Therefore, when the crew starts to fragment and fall apart around her, she is forced to mourn the loss not only of Shepard, who gave her that home, but the home itself. I was able to use that grief to circle back to how much Shepard changed the people around him, and how deeply his loss will be felt in ways people haven’t even realized yet.

That conclusion was the magic final puzzle piece that made the whole thing work, and it was literally the last idea to take shape.

Excerpt:

Aliens don’t carry their ship names with them the way quarians do. Perhaps when you’re born with dirt under your feet you don’t need to. For them, home isn’t a vessel among the stars – it’s a fixed place in the universe, a way back no matter how far from it you venture.

But Shepard had been different. Like the quarians, he had no fixed point. Home was what – or who – he carried with him. He’d understood the power of a ship name, even if he hadn’t used one out loud. People who served with Shepard felt like they belonged, in ways they couldn’t anywhere else, because he said to hell with that fixed point in the galaxy and brought home to anyone who needed it. For Shepard, there wasn’t a way back. Just a way forward.

Shepard changed people.

They’ve lost so much more than a ship.

The primary objective of Opus is to examine the relationship between Sam and Kaidan, but to really understand the magnitude of Sam’s death, it was critical to explore it outside the confines of that relationship. Part of the struggle Sam and Kaidan have is that Sam doesn’t truly belong to himself or to Kaidan – he belongs to everyone else. That means his death doesn’t belong to either him or Kaidan. It’s shared with all the people he touched and shaped.

That’s what made this carousel of POVs a challenge I really wanted to make work. It required an absurd amount of juggling, but the diversity and uniqueness of each made Shepard’s loss feel real and devastating. But not only did each of those POVs tell us something about Sam, they provided some meaningful character development for the POV character. How they react to Sam’s death and what it means to them tells us a lot about that character, which in turn lends the entire story more depth.

If you read this far, I’m pretty sure you deserve a cookie.

I don’t know if any of that is helpful or meaningful other than to show an example of how POVs can be a really awesome tool to tell a story. There can be a lot of depths and layers to why you use a particular character to tell a story through, and those choices can greatly impact the story you end up telling.

#how writing is written #writing meta #POV meta #peak self-indulgence

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hungarianbee · 4 years

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Way of the Witcher: bits of lore

Disclaimer: Post contains spoilers to the Witcher games These things may be canon-typical, but the following trigger warnings apply if you want to check out the cards: gore, monster dismemberment, needles, body horror, insects and spiders

“In a world plagued by horrors and monstrosities humanity desperately needed a new type of weapon to turn back the tide. Created by ingenious Alzur, witchers — professional monster slayers of exceptional strength, speed, and agility were tasked to end the threat once and for all. Organized into different schools they honed their craft and passed their knowledge onto novices in training. Some of them were destined to become the legendary heroes and protectors of humanity. Others — the very thing they were supposed to fight…”

Since the gwent expansion was anounced I followed it with rapt attention; every bit of lore is a gem in my eyes. I decided to write down my thoughts of the cards and lore pieces revealed in a post. Share that knowledge around, amirite?

The post references Gwent cards which were leaked (2020 november-december). The theme is mutation and everything that comes with it; namely sweet-sweet lore of the lesser known witcher schools: the Bears, Cats, Vipers and Griffins.

Tucker in, under the cut there is 4.5k analysis of each card that came out.

We’re starting with a theme, then work our way throught the 4 schools (each contain the following: a leader, a mentor, an adept, a general witcher, a specific job, an item, a school relevant monster, 2 known witchers and a location), then go through a Witcher 1 throwback, Salamandra, and round it with a few new monsters and neutral cards.

While I describe most of the cards concisely and all the known witchers and locations are on my blog, you might want to look the cards in their (small) glory: [DO IT HERE]

Sounds good? Here we go!

Edit: [this source is better]

The theme is mutation - be it monsters created by transmutation, witchers or salamadra

If that is true, there are monster cards that seemingly stand out: the Succubus and the Phooca

If we are to believe that they do connect to the mutation theme, then

(1) we can conclude that Phoocas (a rare, and more dangerous form of Nekkers; they can pull your head off by sheer force, watch out) are a natural mutation of the original species,

(2) but we’re still left with the Succubi (an inherently demonic creature). They might have chosen it because of its appearance: succubi have horns and goat-like legs. (Note: in the graphic novel “House of Glass” the succubus character has wings, but lacks hooves. In that sense, she could be mutated.)

Breaking it down into factions/schools (some of the cards can be paired up; these cards are interpreted together):

School of the Viper: starting with the vipers, because they are my favourite

Viper Witcher Mentor & Viper Witcher Adept: the flavour text says that the Viper mentors are exceptionally cold and ruthless, and that’s underlined by the story the art tells: the mentor busies himself with sharpening a blade, and in the background we can see the adept attempting to kill his best friend goat, as was ordered. The mentor watches this from the corner of his eye. Young Vipers are to kill their pets (which they nurtured for years) before becoming a fully-fledged witcher. The latter could mean that the boy depicted on the card hasn’t even gone through the Trial of Grasses.

Viper Witcher: On the card we see an unknown Viper crouching over a royalty he killed. I feel like this type of card is meant to represent what we think a general Witcher of said school would be like. Apparently Vipers just like to slay the nobility *shrug*. The flavour text informs us, that Vipers call their two swords “fangs”, and that their style consists of fast and furious attack aimed to overwhelm the enemy.

Viper Witcher Alchemist: Every school has a specialty; Vipers are proficient in potion or poison making. The right side of the alchemist’s face seems to have healed burn marks; a blown up concoction might have caused it.

Ivar Evil-Eye: So far there’s little to know about Ivar. He was either the Master of the Viper Keep, or the founder himself (gwent suggests the latter). He’s described as heavily scarred (facial scars suggests burns and slash marks too), and each of them has a terrible story to tell.

Warritt the All-Seeing: Warritt is a (newly introduced) Viper with heavy disfiguration to the upper part of his face: his eyes are sealed shut (possibly by burn marks, though his hair remains intact). The art shows Warritt drawing a modified version of the Supirre sign in the air to help with his loss of sight. As the wiki says: “Supirre is a Sign used for eavesdropping. Drawn on a solid surface, it allows the people near this surface to listen nearby conversations which would be normally inaudible due to the distance or background noise.” It was only used in Sapkowsky’s second volume of the Hussite trilogy (not yet translated to English), which is entirely separate from the Witcher novels.

Kolgrim: Fate laughed at this Viper. As a kid he was swapped by a weeper, saved by a witcher, than rejected by his own mother who believed that the fake child was the real one. Later, as a grown witcher Ivar instructed him to find a lost weapon diagram. On his journey he was accused - ironically - in White Orchard of kidnapping a child. Invoking a Temerian law, Kolgrim was told to cleanse their crypt (as seen on the card) then he can go. The truth is revealed in Witcher 3 - Kolgrim was beheaded by the villagers before he could even step into the crypt. To add insult to injury: the child was eaten by a drowner. The gwent card therefore shows the optimistic outcome: that Kolgrim reached the crypt and passed in battle. And what’s up with a crypt full of wraiths anyway? White Orchard is shady, guys. (Lil’ trivia: Kolgrim’s eyes are yellow-green.)

Vypper: Basically an overgrown snake that likes damp marshes (they even fight the local kikimores for territory). They only relate to the mutation theme by their nature - they resemble the “school’s animal”.

Gorthur Gvaed: The Bloodgate Keep is located in the chasms of the Tir Tochair mountains. It’s built so high were you to look down from the bridge leading into the keep, you would only see fog (one could wonder how the vipers trained in these conditions). The bridge is made so that you’d have to cross the lookout tower - it might have served as a check in spot. The post itself is circled by the stone coils of a snake; the top is open and has a huge lit bonfire in the middle for warmth-keeping and possibly signaling. Unluckily, it didn’t stop the Usurper’s army from destroying the keep.

Coated Weapons: They leaned heavily into the alchemy and assassin side of the school. Vipers coat their blades with an acidic liquid, so they can kill a man with a nick of it.

School of the Cat:

Cat Witcher Mentor & Cat Witcher Adept: On the adept card we can see a young Cat walking the tightrope blindfolded (they start with close to the ground and slowly increase the distance with time); the mentor is looking up at him. Like the Vipers, Cat mentors are nonchalant about risking the kids as seen from the flavour text: “If you fall, it’s over. Your nine lives are up, kid.” Furthermore, the background of the Cat Witcher Adept card shows the not yet destroyed Stygga Citadel. The Cat Witcher Mentor is in the same scene and we can see lots of potatoes and cabbages; cats definitely eat their veggies.

Cat Witcher: The card shows a Cat in the heat of battle mid-jump; his hood is up, blood is flying everywhere. The flavour text emphasizes that cats are known for their mad bloodlust, not stopping killing even after the enemy capitulated.

Cat Witcher Saboteur: A Cat perches next to the window, a smoking bomb in hand, eavesdropping on nobles. A rope is hung from somewhere out of the pic, possibly for a quick exit. Vesemir comments that these are many-a deeds the cats did that taint the reputation of witchers.

Gezras of Leyda: Gezras is a not yet known redheaded Cat witcher. Following the pattern he seems to be the founder of the Cat School. His flavour text shows that even back then (when the mutagens made Cats emotionless) they were inclined to dislike humans: “Take a contract from Aen Seidhe over a dh’oine any day, as you’re far less likely to receive a knife between the ribs in place of coin.”

Brehen: Now this cat embodies the Cat madness. He’s known as the Cat of Iello because he massacred everyone there. He was consequently shunned by all the schools, and he was even convinced that Vesemir put a kill order on his head. He met Geralt later in the 1240s on his way to claim the bounty for the princess. Thinking that Geralt was there to rob him of his chance of the bounty, Brehen took a priestess as hostage (this is what we see on the gwent card). Geralt managed to convince him to put away the blade, and they parted without crossing blades. When meeting with the striga he scoffed into her face that “she won’t be his first royal”. But his luck ran out. The Temerians buried him and fabricated the story of a cowardly witcher stealing their coin. I’m halfway convinced we see Brehen in the netflix series.

Gaetan: This boy broke into the fandom like a bulldozer. After the folks in Honorton cheated him of his pay and tried to kill him, Gaetan flew into rage and killed everyone there except Millie, a girl who reminded him of his sister. That’s the scene we see on the card. And then Geralt robs/kills him.

Saber-Tooth Tiger (Stealth): Another huge animal/monster related to the school. It’s story is this: “The prized possession of royal menagerie, until a commando of Scoia’tael assaulted the exhibition, released the beast, and set it upon its cruel masters. Since that day, it has acquired a selective taste for human flesh.” Another cat turning against humans.

Stygga Castle: An outside view of what we already saw on the Cat Witcher Adept card. It’s located on a cliff, and the sun shines into it just right (so that the Cats can bask in the light). The walls form a circle where they shelter the inner grounds, and a bigger tower emerges in the middle. The Castle could be reached by the thin bridge connecting it to the mainland, or by the cliffs (if one is brave enough).

Making a Bomb: Cats seem to have a specialty in bombs. Guess where Lambert got his interest from *winkwink*

School of the Griffin: lots of pairs in this one

Griffin Witcher Mentor & Griffin Witcher Adept: Compared to the other schools, this pairing is tame - the adept is climbing a tree to retrieve a crossbow bolt. We can see the mentor in the background. On the mentor card the adept waves down with the retrieved crossbow bolt in hand. It shows a kind of comradeship that’s not present in the other 3 schools. The flavour text emphasizes the importance of knowledge. Students are afforded to choose their final Trial: recite the entire Liber Tenebrum (Book of Shadows; one of Keldar’s favourite books) or steal a griffin’s egg. Noone’s chosen the former.

Griffin Witcher: The witcher is shown shooting down a griffin. According to the flavour text they prefer hunting with silver-tipped arrowheads instead of swords.

Archgriffin & Griffin Witcher Ranger: On the Griffin Ranger card we see the witcher crouching over track marks. On the archgriffin card he found the albino (or very old) monster, who’s already killed someone (probably a lumberjack, judging by the axe). According to the flavour text, Griffin Witchers are trained to be professional trackers; nothing can stop them to reach their prey. Even though archgriffins are considered the embodiment of courage, loyalty and fighting spirit, the gwent card corrects the notion that the Griffin Witcher were named after the monster. In truth, they got the name in honour of their founder’s mentor, a knight named Gryphon.

Erland of Larvik: Continuing the trend, Erland is the founder of the Griffin School (one of the two that are confirmed 100%). He’s from the first generation of witcher, mutated by Alzur himself. After the Order began fracturing he had a confrontation with Arnaghan (who’ll be the founder of the bear school). Arnaghad almost killed one of his brothers, slashed Erland across the face then parted ways with the Order and left Morgraig Castle with his own group. Seeing that the the remaining witchers couldn’t go on like that, he grabbed his 13 best friend and left to Kaer Seren, where (after purging it from spectres) he founded the Griffin School which focused on magic, preparedness and flexibility. His teaching emphasized knightly values (mimicking his long-dead mentor, a knight named Gryphon) in hopes that it would make future witchers’ life easier. It didn’t.

Coen & Keldar: The cards are mainly connected by background. Coen is finished killing what appears to be an albino arachas (but it’s definitely an insectoid), while Keldar’s taking notes. We can rightly assume that he’s updating their bestiary, since he’s one of the teachers/mentors who focus on gathering and sharing knowledge. Coen’s flexibility shows in the flavour text: “There is no such thing as a fair fight. Every advantage and every opportunity that arises is used in combat.” Not very knightly, is it?

Kaer Seren: The “Star Keep” Erland and his friends fled to. It was used by the Order’s mages to mutate witchers (that’s why it was haunted by spectres). It’s located at the edge of the Dragon mountains by the sea between Poviss and Kovir. It’s said to possess the great library, which later mages tried to get for themselves. They messed up: by bringing down an avalanche on the Keep, that knowledge was destroyed. The keep was badly damaged and many witchers died.

Target Practice: The Griffin School’s specialty is their precise aim - they “can split an apple in two from a hundred paces”.

School of the Bear:

Bear Witcher Mentor & Bear Witcher Adept: The adept card shows that young witcher are taught to catch fish by hand (just like their school relevant animal). On the mentor card the elder witcher leads a group of younglings in the mountains; possibly out to teach tracking. The cards are connected by flavour text. The young Bear witcher-would-be’s need to complete the Trial of the Mountain, which consists of them climbing Mount Gorgon (also known as the Devil Mountain; it is the highest peak of the Amell range) to retrieve a runestone. The Trial often ends with the kids frozen to death. The Bear Mentor card’s flavour confirms it: “If you’re unsure of the way, just keep a lookout for markers - the frozen corpses of would-be witchers.” This sounds ominous - don’t they collect their fallen?

Bear Witcher: Bears are solitary hunters as seen in the flavour text: “life alone can be tough”. The witcher in the pic just dismembered what looks like a ghoul (with a tail?).

Bear Witcher Quartermaster: This one I like. The Quartermaster is an amputee (missing one of his arms, which was taken by a bear; must have won that fight one-handed), yet they still found a job for him where he can be useful. His flavour text suggest he likes Mahakam mead.

Arnaghad: The founder of the Bear School, he never felt kinship with his fellow witchers. After attacking a witcher named Rhys over a contract, wounding him deeply from shoulder to waist, he returned to Morgraig, attacked Erland then left with his possé to found the Bear School - Haern Caduch - in the Amell Mountains. Later he almost died in a betrayal, which resulted in another schism and the foundation of the Viper School.

Gerd: Gerd’s a legendary witcher who fled to Skellige after allying with a Usurper instead of his daughter, who later issued a warrant for his arrest. He has a busy time in Skellige: first slaying a dragon, befriending the Jarl Torgeir, killing a bunch of sirens, losing so many weapon diagrams you wouldn’t believe, losing half his pay and silver sword on gwent, escaping Nilfgaard and managing to slay a striga, killing some of his pursuers, only to be caught up in the siege of Torgeir’s castle, where he died in the ruins. On the card he’s showing Bear-typical strength: he’s tearing apart a siren with his bear hands.

Junod of Belhaven: Junod had a dubious background, but was thought to be the child of a brave dwarf and a giantess. He’s a huge man, with a big bushy beard and bald head. His sobriquet is false; he took it after Ivo, because he liked the ring of it. He was known as a strict haggler and a bit of a gambler. In 1243 he took a contract in hopes of cash (he wanted to forge the Grandmaster Ursine Armour). The subterranean monster was said to live in the caverns. Junod drew bear signs and wrote a warning on the wall (this is the scene we see on the card). He was however ill-prepared; the beast turned out to be a shaelmaar (a type of relic Gaetan slew once) that killed him in that very cavern.

Dire Bear: Once again related to the school in question, the Dire Bear is stuck with so much weaponry that it looks like a walking armory. Lots of witchers must have tried to slay it, yet it still kicks - just like Bear Witchers, it’s resilient till the very end.

Haern Caduch: Built into the side of the Amell Mountains, it’s the coldest environment of all the schools. As with the other schools, the Bears were forced out of it due to folk riots. It was left in disrepair to be buried under snow and ice (as seen on the card). It’s name could be translated as “Piercing Whiskers”.

Armor Up: As Bear’s are more likely to stand in the way of attack than dodge, they need to wear a heavy armour at all times.

Salamandra:

Roland Bleinheim & Gellert Bleinheim: Witcher 1 characters. They are thought to be brothers, leading the Salamandra organization. As drug lords one heads the fisstech operation in Vizima’s sewers (Roland), the other in the swamps (Gellert). The flavour text pretty much matches: both of them wondering what the other one is doing.

Salamandra Mage: The art itself was already leaked in China around 2 years back, and there were a few theories. One of them was that the man depicted is Zerrikanian, and I think that’s correct. Both the facial tattoo, darker skin, thinly braided hair and fire magic points in that direction. Azar Javed (a known Salamandra fire mage) happens to be a Zerrikanian escapee too.

Salamandra Lackey: A girl with the Salamandra-stapled mask runs from a city guard. The flavour text says the following: “Lackeys are expected to perform their first five jobs for no pay, demonstrating their passion for the gig.” The organization monitors from the beginning that only those remain who are extremely loyal to their cause.

Fallen Rayla: A little background for those who are unfamiliar with her: Rayla of Lyria was a veteran of the Nilgaardian Wars. She harbours anti-nonhuman sentiments after she was captured by Scoia’taels and severely maimed. The Rayla we see on the card is a mutant - in Witcher 1 she was supposedly shot down by Scoia’tael, and Salamandra found her close to death, subjected her to mutation. She was killed by Geralt.

Salamander: The card shows a bright blue spotted salamander. It has two tails and heads (possibly grown together?). The Salamander is a symbol of the organization. Metaphorically speaking it could mean, that Salamandra thought of itself as something untouchable: “best to avoid petting them, as the salamander, when threatened, secretes a deadly toxin”.

Failed Experiment: The card - ironically - thrives when it’s poisoned. The “experiment” only resembles a human in shape. It’s clutching the table ends, as if trying to escape still. It’s fair to assume that they later dissected it: “even failed experiments can serve a purpose”.

Salamandra Abomination: A step further from the failed experiment - we see the results of pushing science’s boundaries. Only the skull is left intact, everything else of the body is covered with insectoid-like growths.

Stolen Mutagens: Gruesome organ harvesting. The witcher heart (?) glows, which is either an artistic decision (probable) or the mages sent magic into the body, and the mutagens light up (like angiographia). Three types of mutagens can be harvested: red (strength), blue (magic) or green (resilience). I headcanon that the amount they inject of the three types can vary - that’s how you get strength inclined witchers like the wolves (red), or big ass mothers like the bears (green).

Salamandra Hideout: There are multiple hideouts in Witcher 1 (outskirt of Visima, crypt in sewers and one in the trade quarters). The one depicted here is the fisstech lab in the sewers. It shows a dimly lit, cobwebbed room. There’s an elevation where a body lays on the table. The elevation’s floor is gridded, so the blood and other fluids can freely flow down into the sewer water, where many bodies are already discarded recklessly.

Neutral:

Alzur & Viy & Koshchey: Alzur was a charismatic mage and spell inventor, who created many horrible monsters, like the koshchey (with the spell: Alzur’s Double Cross) and the Viy (a huge centipede-like insectoid). He was also the one who did the lion’s share of work with the witcher’s mutation.

Cosimo Malaspina: Cosimo was the teacher of Alzur. He was known for his knowledge in hybridization and genetic modification. Him and Alzur were the true creators of the witchers sect. On the gwent card, three man are shown prodding at a mutated body. Cosimo (the old dude) is in the middle, Alzur might be the one on the left and that leaves Idarran on the right. His flavour text paints him as cold and clinical, someone without empathy: “Children keep asking him for gifts. He doesn’t know why, but it really helps with finding subjects for his experiments.”

Idarran of Ulivo & Idr & Wererat: Idarran was one of the contributers of the witcher experiments. He’s an expert in hybridization and genetic modification, whose teacher was Alzur. He was a pale kid who lived in the canals of Vizima and experimented on rats at the age of 5. He found beauty in gruesome creations, like the Wererat (a human-sized rat on roids) and the Idr (a big centipede-like insectoid). He’s disdained by Geralt for his many monsters.

Triangle within a Triangle: It’s a magic spell used to introduce a series of mutations and to greatly increase the mass of a given body. That way they can create huge monstrosities, like the koshchey. Adepts often confuse it with a pentagram which can lead to infernal disasters.

Selective mutation: The card shows a close up of a young man’s eyes - one mutated (catlike) one human. His skin shows his high toxicity level, ashen with prominent veins. He’s held down as alchemists prepare to inject a yellow concoction into the human eye. It’s possible that after the success of witchers the mages tried to recreate the changes in smaller scale, then unmake it in turn, unsuccessfully.

Witcher Student: This is not really a card, but I included it anyway. The card’s ability is - ironically - doomed, and to add insult to injury, its flavour text is the following well-known fact: “Four out of ten boys survive… at most.” It’s also a point for black humour that the gwent commentators added: the Trial of Grasses card boosts this unit significantly.

Berengar: He’s a Wolf School Witcher who blamed his school for denying him a normal life and consequently abandoned them. In Witcher 1 Geralt can decide to kill or spare him. In a letter he admits that he was a coward because he betrayed Kaer Morhen and worked with Salamadra in hope that they can undo his mutation. His card references a questline in Witcher 1, where he tried to reason with the vodyanoi (~lovecraftian fish people) to spare the village’s prize-winning cow, named Strawberry. This is non-canon; in the game Geralt takes over the quest to do this instead.

Leo: Another Witcher 1 character. He was an orphan taken in by Vesemir. He was a kind-hearted but hot-headed man, who had all the training but not the mutations and the experience - he never killed a man. The flavour text of his gwent card kind of mocks his death: “He would have caught the arrow if he only had some heads-up.” He’s burned on a pyre and his cenotaph can be found south of Kaer Morhen.

Geralt: Quen: The last classical sign that wasn’t yet a card. In the art, Geralt is wearing the Manticore armour

Snowdrop: She’s a not yet seen character; impish looking female bard with light blond hair (flowers braided on the side) who plays a medieval version of the fiddle to a rooster. There’s a horseshoe hanging from the hem of his pants. She’s also seen in the gwent: journey #3 launch trailer. She’s narrating that she was saved by Alzur. Alzur told her about his plans of creating witchers to fight the beasts of the Continent, and she admired him so much she spread his story (”let me tell you about the greatest sorceress to ever lived”). Their story will unveil in the next week, I’ll probably update accordingly. It’s also interesting that Alzur says in the gwent intro (regarding witchers): “Bards will toil to do justice to their feats.” As if his own successes and experiences will be mirrored in his creations. Projecting much?

Monsters:

Viy & Idr: both of them are centipede-like insectoids conjured by infamous mages (see: Alzur and Idarran)

Wererat: same can be said about this one. Idarran experimented on Vizima’s sewer rats since the age of 5. This human sized abomination was the end result.

Succubus: We already discussed how the “Succubus” doesn’t fit the theme. Other interesting thing is the surrounding of her - in the background we can see a skull full of some kinda of dark liquid; she’s also holding a goblet. I’m not saying she’s drinking blood, but if she does, it would shed some questions as succubi don’t need to drink blood at all.

Phooca: As nekkers’ rare big brother, phoocas are ogroids that have the strength to rip a man’s head off with their bear hands. According to the wiki, in Celtic folklore they are regarded as shapeshifting fairies.

Koshchey: A witcher 1 boss, koshcheys are spider-like abominations summoned by mages. The woman standing her ground in the picture is Visenna (Geralt’s druid mom). In the story she’s the one to kill the first koshchey ever created.

Spontaneous Evolution: Under the Red Moon the wolf mutated into an amalgamation of eyes and teeth. Malaspina possibly added something to the mix that proved unstable. The card’s name is kind of ironic - this change is not spontaneous (it was induced) but could be related to evolution (it would imply that this form is somehow advantageous to the current environment and helps adaptation). (Note: in my opinion spontaneous generation would be a better term: it’s the thought that living creatures could arise from nonliving matter.)

Hybrid: the card shows a two-headed wolf or dog. Pretty straight-forward.

Chimera: A creature created my Cosimo Malaspina. He combines the genes of a fiend and griffin, then added a trace of insectoid and wyvern. It kind of looks like a furred wyvern with antlers. Interestingly the frightener (an insectoid; a rare result of magical experiment) is also called a chimera.

Dol Dhu Lokke: a new monster lair location. The depending on how you translate “lokke” the Elder can be read as “black valley place” or “alluring black valley”. It’s so dangerous - housing many-a horrors - that even a witcher thinks twice before going near it.

Interesting tidbits

Coen has hair, which is weird because so far he was described in all sources as bald.

There used to be a card that was also called Viper Witcher, which is now referred to as “Kingslayer”

The Bear Witcher’s face was drawn after one of CDPR’s employee.

The Koshchey’s card title has a typo: “Koschchey”.

Easter eggs (mainly in flavour text)

The Spontaneous Evolution card references The Powerpuff Girls intro: “Professor Malaspina accidentally added an extra ingredient to the concoction - compound X.”

The Bear Witcher card might reference a song of Baloo from the Jungle Book (The Bare Necessities): “Life alone on the road can be tough - be sure to bring all the bare necessities.”

#my shit #the witcher #gwent #witcher meta #witcher lore #i worked really hard on this #i hope it shows lol #if y'all have any thoughts i'd be happy to hear about them #cross my heart i don't bite

102 notes · View notes

kpop-zone · 4 years

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A Little Longer pt.3 | Jennie

Warnings: indicated smut, mentioning of blood, a few curse words, alcohol abuse

Wordcount: 4,765

A/N: Sorry guys for the mini hiatus, I just got really caught up writing this and forgot writing anything else. This story is still not finished, but I really wanted to post something, so here’s Part 3 for now. I hope you guys enjoy it as much as I enjoyed writing it :)

Part 1 Part 2

Jennie giggled silently as she stumbled through the hallway to the living room.

“This one looks like a butt.”

She laughed when she looked at one of Jiyong’s paintings. Fascinated, she paused in front of it while taking a few more sips from a bottle that she had stolen from the kitchen. Loud chatter from the living room, however, reminded her again what she was doing here in the first place.

“Oh right, I can’t let the nobs wait.”

Shakily, Jennie continued her way until she reached the entrance of the living room. The guests inside were all engaged in a lively conversation and their happy faces were disgusting her. They were all so pretentious and selfish. After another hefty sip from the bottle, Jennie put it down in the hallway and stumbled into the room. Not everyone noticed her right away but after she accidentally ran into a cabinet in the process of trying to walk straight, all heads turned the same time. Jennie tried her best to play it off, but when she noticed your gaze resting on her, her knees felt even weaker than before. The way to her seat suddenly seemed to be seven miles long; especially because the whole room was spinning. But eventually, she plopped down on her chair, feeling the eyes of the other guests burning holes into her.

“Excuse my interruption, I haven’t eaten anything today and was feeling a little dizzy.”

Jennie uttered tediously, feeling like her tongue was heavy like lead. Sheepishly, she let her gaze wander around the faces in the room. Some were still staring at her skeptically, but soon all of them flashed her a reprieving smile before returning to their conversation.

“Back to what I was saying. I think that actress must be an arrogant diva. Denying a fan an autograph? As if she didn’t owe her whole career to her fans...”

The same man that had made the inappropriate comment about your plus one (Jennie refused to call her your girlfriend) scoffed, and Jennie couldn’t stop herself from rolling her eyes. Usually she was already used to dimwitted remarks like that, but the alcohol had unfortunately lowered her level of tolerance.

“Yeah right, because she belongs to the public, doesn’t she?”

Jennie snarled, feeling her bottled-up emotions threatening to burst. The guy looked like a ghost had just appeared in front of him, apparently not being used to someone talking back.

“No, that’s not what I meant. But celebrities hold a certain responsibility that they can’t just discard.”

He responded self-opinionated, causing Jennie to laugh bitterly. She was tired of people making her feel like they were omniscient and had complete power over her.

“Responsibility? Responsibility for what? To make a wimp like you feel powerful?”

After Jennie’s statement the whole room fell quiet. Her words had been harsh, but they were true, so she didn’t even think about apologizing. With a triumphant smirk she looked into the dumbfounded face of the guy, watching how he struggled with his words.

“Jennie, you must be drunk. We don’t know you like that.”

Hyerim, another one of her so called “friends”, broke the silence in order to safe him from further embarrassment.

But Jennie had had enough of this.

Everyone at this table could go to hell as far as she cared. They were stuck in their own little worlds, too occupied with themselves to try to emphasize with someone else. And she couldn’t stand being in such a toxic environment right now. Therefore, Jennie pushed her chair back with force, causing it to loudly fall over before storming out of the room without any further explanation.

“Such an asshole!!”

She yelled in the hallway after slamming the front door shut before weaving to the elevator.

This whole dinner had been a dead loss and Jennie regretted having talked Jiyong into hosting it. Angrily, she kicked against the elevator door because she had to wait way too long to finally be able to leave this godforsaken place. But even after she had left the building, Jennie couldn’t calm down. The alcohol had failed its purpose to make her numb and had stirred up all her emotions instead. It felt like her whole system was overheating. Her brain was working at full capacity, her heart was slamming against her ribcage and all of her senses were desperately trying to fight against the influence of the alcohol.

Therefore, Jennie had to take several breaks on the way to her car as her stomach needed to get rid of the toxic liquid that was clogging her system. With shaking hands, she eventually reached the car and rummaged around in her handbag until she pulled out her car key to unlock her car. It almost slipped out of her hand, but after fidgeting a while, Jennie finally managed to press the right button. Just when she was about to open the door though, she suddenly got yanked around.

“You’re not driving like that.”

Out of nowhere, you were suddenly standing in front of her, your voice being able to freeze the ocean and your face absolutely unreadable.

“Let go off me!”

With a harsh movement, Jennie ripped herself free from your grasp and huffed in annoyance.

“Give me the key.”

You said calmly while holding out your hand, but Jennie wasn’t even thinking about giving it to you.

“No.”

Childishly, she wrapped her fingers even tighter around it and hid it behind her back.

“Could you please stop behaving like a five-year old?”

Your patience seemed to run out and you rolled your eyes in annoyance.

“Could you please stop meddling in things that are none of your business? Just go back to your perfect girlfriend.”

Jennie bickered back, apparently striking a nerve according to the sour expression on your face.

“Leave her out of this.”

You snarled, but Jennie’s torn open wounds and the alcohol in her system prevented her from knowing her limits.

“Why? Is she even too good for me to take her name into my mouth? I mean, I understand. She’s really beautiful and her clothes weren’t cheap either, so she has to be wealthy. Must really be a little Miss Perfect.”

She could see that you were gritting your teeth in anger, but you kept calm.

“Just give me the keys, Jennie...”

You sounded like you were tired of this charade, but Jennie was in full spate and didn’t want to stop now.

“We shouldn’t do this to Miss Perfect. You should go back to her and tell her what an awful person I am. Isn’t this why she is here? So you can spite me? To make me realize what a failure I am and-“

Jennie didn’t get to finish her sentence before you finally snapped and cut her short.

“Oh cut the self-pity! You know why she is here tonight? Because she was there for me and you weren’t!”

You huffed in frustration before turning around and storming off, leaving Jennie alone in front of her car.

Why couldn’t you have said that Subin was there because she was prettier than her? Jennie even would have accepted if you had called her nicer. No words could have hurt her more than the ones that you had used.

She was there for me and you weren’t.

Of course, Jennie hadn’t been there for you. How could she have? She had chosen her career over you after all. The one time, Jennie could have proven her love for you, she failed to. Tears started streaming down her cheeks and a silent sob escaped her lips. She just wanted to go home now and lock herself in her dark bedroom forever.

With her shoulders slouched, Jennie turned around to get into the car, but once more, she was stopped last minute. Someone yanked the keys out of her hand, causing her to look back in shock.

You again.

“Get in the passenger seat.”

You growled and this time your face wasn’t unreadable. Anger was written all over it and even your voice trembled, carrying the power of your emotions. Immediately, Jennie realized her limits and obediently walked around the car to get in the passenger seat. After fastening her seatbelt, she turned her head to look at you insecurely. She had never seen you like this before. Your eyes seemed to be spitting fire and your knuckles were white from gripping the steering wheel too hard.

Maybe this night hadn’t only taken a toll on her.

Faster than usual, you sped through the nearly empty streets of the sleeping city while Jennie didn’t dare to utter a word. There didn’t seem to be anything left of the weak pushover that she had toyed around with during your last encounter. It seemed like it was true what people said. What didn’t kill you, did make you stronger; at least you could be the living proof of that. After all the games that she had played with you, all the wounds that she had caused you, you were finally standing up to her.

It was the perfect wakeup call. What had she been thinking? She had promised Jiyong that she would accept your decision tonight. No matter whether you would decide to give her a chance or not. And Subin was a very clear sign that you were not willing to mend things with her. But instead of keeping her promise, she had made a scene like the selfish monster she was. In shame, Jennie let her head hang and bore this suffocating silence, knowing that she deserved your anger. It seemed like the ride home lasted all night, but after an excruciating long time, the steady noise of the engine finally ceased, and you parked the car in front of her apartment.

There were a thousand things that Jennie wanted to say, but she didn’t have enough courage to do so. She just wanted to stick to her initial plan and hide in her dark bedroom forever. Therefore, Jennie quickly threw open the car door and bolted out of the car. The front door of the building was close, yet so far for someone that had an undefinable cocktail of diverse liquors in their stomach. Jennie’s legs just didn’t work like they were supposed to, and she could only just feel her knees giving in when her face already moved towards the ground in a rapid pace. Before it was about to collide painfully though, something wrapped around Jennie’s waist and stopped her fall. She felt herself getting straightened up again and she turned around in confusion, only to find herself standing face to face with you. You were merely inches in front of her to the extent that your torsos were touching; yet you weren’t moving away. Your feet were firmly planted on the ground and Jennie felt shivers running down her spine due to the proximity. Automatically, her gaze flickered to your lips, feeling an unbearable desire to close the distance. Only the knowledge that you were seeing someone else right now was holding her back. But why weren’t you pushing her away? Could it be that you wanted this too? Jennie’s face moved closer to yours like your lips were magically drawing her in. You still didn’t push her away; it would be so easy to get the taste that she was craving.

No.

Jennie jumped back as if someone had just scared her. You were taken. She wouldn’t seduce you. Jiyong had told her that you were finally happy, and she couldn’t selfishly temper with your happiness. Not again. Regret filled Jennie, thinking back about the breakup and the incident at Jiyong’s vernissage. She had never even apologized to you.

“Y/N, I’m s-“

She choked out but she didn’t get to finish as you pressed your finger on her lips.

“Sh.”

You shushed her, causing her to look at you with wide eyes.

You almost had a smug look on your face, leaving Jennie completely confused. But you didn’t seem to care about an explanation. Instead, you suddenly grabbed her wrist and pulled her to the entrance of the building. Perplexed, Jennie let you drag her and stumbled behind you without talking back. Together you stepped into the empty elevator, but Jennie wished that someone would be there with you. The tension was making her heart beat five times faster and she gulped thickly when you suddenly stepped in front of her. Like a tiger on the hunt, you silently crept closer, causing her to walk backwards until she reached the wall.

“Why did you get wasted tonight? Can’t you stand to see another woman touching me?”

You asked with a cocky smile on your lips, catching Jennie off guard. She didn’t know what to answer. You were right, but she didn’t want to admit that. Therefore, she tried to shake her head, but her gesture was barely noticeable.

“Did you miss me?”

At last, you had closed the final distance between the two of you and softly pressed your body against hers, causing Jennie to gasp. She could feel your breath on her face, but you didn’t stop moving closer. Your lips were so close that Jennie could almost taste them. But just when they were about to touch, a ringing sound could be heard, indicating that the elevator had reached the right floor. The door opened and you pushed yourself off her with a smirk. Jennie inhaled shakily to recollect herself, but right in that moment, you grabbed her wrist again to drag her behind you. Apparently, her nightmare disguised as a daydream wasn’t over yet. With big steps you crossed the hallway until you were standing in front of her apartment door.

“Unlock.”

You ordered firmly, causing Jennie to flinch.

Immediately, she started rummaging in her bag to search for the keys, but she was too nervous to steady her hands. You had completely thrown her off balance and all the sensory impressions around her were too much for her to take in. In her mind, she still tried to process the scenario in the elevator just now, causing her to lose focus and making it impossible to find the keys. Eventually, you huffed impatiently and yanked the bag out of her hands to get the keys yourself. You merely needed a second before you had found the desired item and cleared the way into her apartment.

Roughly, you pushed Jennie inside before slamming the door shut and pressing her against it. All she could do was to stare at you with wide eyes as you smirked smugly. Slowly, you lifted your hand and tugged a strand of hair behind her ear before letting your finger graze her jawline. Jennie’s eyelids automatically fluttered close due to the sensation and she felt like she was melting under your touch.

“Perfect.”

You whispered, your mouth being so close next to her ear that shivers ran down Jennie’s spine.

When she opened her eyes again, you were staring at her intently and Jennie immediately got lost in your eyes. How she had missed being so close to you. She didn’t know why anyone would ever think that she had power over you when in reality, it was the exact opposite. One word from you and she was quiet; one touch and her heart jumped out of her chest; one look like the one that you were giving her right now and she could feel heat spreading in her core. She just couldn’t bear this tension anymore. She knew that you were having fun right now while teasing her, but she needed to taste your lips at least. Hastily, she leaned forward to grab your hips in order to pull you in, but she grasped at nothing, almost causing her to fall over. You had suddenly taken a step back, causing Jennie to stare at you in confusion.

“Sucks to be left high and dry, doesn’t it?”

You chuckled with an evil smile playing on your lips and Jennie wondered if she had misheard your statement. With her hands still hovering in the air, she stood frozen in place, unable to say a single word, much to your amusement. An ugly laugh caused your chest to tremble and Jennie flinched in shock.

“Oh you are adorable.”

You sighed, although the mockery was not to miss hearing.

“And so, so dumb...”

Slowly, Jennie realized what was going on, but her heart refused to believe it.

“You think, you’re so good, don’t you? You think that just one look will make me fall for you again, right? But you’re wrong. You can’t satisfy me. You never could.”

There was pure disgust in your voice that caused tears to pool in Jennie’s eyes.

“Did you think our little quickie had been enough to make me forget about everything you’ve done? I have always needed more. I wanted your love, Jennie. But a monster like you can’t give me that. I know that now.”

As you kept talking, Jennie felt herself drifting away mentally. She heard your words, she felt them cutting deep into her heart, into her soul, but she couldn’t bring herself to fight back. She didn’t care about the pain anymore. It was what she deserved after all.

“But Subin can give me what I want. She can give me so much more than you. You are nothing but selfish, pathetic and incapable of love. You’ve proven that over and over again. Did you really think, I would ever come back to you?”

You scoffed sardonically, causing Jennie to feel more mortified than ever before. Yes, once again, she had hoped that she could be good enough for you. And once again, she had proven that she wasn’t.

Jennie didn’t know how long you kept mocking her. It felt like hours. Every word dug a little deeper into her chest and in the end, a huge hole was ripped into it, causing a torrent of blood to gush out of her heart. She felt like a ghost and apparently that was truly all that was left of her, because you didn’t bother to let her defend herself. Instead, you turned on your heel as soon as you were done talking and left her standing there in her misery.

Jennie wished that you had just talked a little longer. Maybe your words could have made the hole in her chest consume her completely, instead of leaving behind the zombie that she was right now. Half dead, half alive and the only antidote to her slow death had just walked out of her life.

---

As you bolted through the front door of the apartment building, you gasped for air as if you had been holding your breath since setting foot in this place. What had you done? That couldn’t have been you. You weren’t one to play dirty; much less one to take revenge. But after Jennie had stumbled into your arms and you had seen the regret and desire in her eyes, you knew that she would be an easy victim. For once, you had the upper hand. You could give her a taste of her own medicine.

But it seemed like you had given yourself a hefty sip of it too. There was a bitter aftertaste in your mouth, and you didn’t feel as glorious as you thought you would. You felt like throwing up. You tumbled over in the little front yard of the apartment complex, but nothing left your body. Because it wasn’t your stomach that was rebelling against you. It was your bad conscious. You didn’t know how Jennie could have survived her games with you unscathed. The picture of her petite figure standing in front of you hunched in pain was engraved into your brain now. And even worse, it had carved into your heart too, ripping it into two.

“Damn it!!”

You yelled, ramming your fist against the tree next to you, causing the skin around your knuckles to break open. Blood was dripping to the floor, but you couldn’t care less.

You weren’t supposed to feel this way. You shouldn’t have feelings for Jennie anymore. But why did it hurt so much right now? Why had you almost discarded your plan and kissed her senseless up there? Yes, Jennie had been your drug. But you had been sober for a while now. How long would it take until you finally had her out of your system? Your world shouldn’t revolve around Jennie anymore, it should revolve around...

Subin.

In shock, you ripped your head up, remembering that you had left your girlfriend at a table with a bunch of strangers after giving a highly questionable excuse why you had to chase after Jennie. Subin knew that she was your ex, but you might have left out a few details concerning your relationship. Your girlfriend knew that Jennie had broken your heart, but she didn’t know that it had never mended ever since. And she should never learn. Therefore, you needed to get back to her. Since storming out of Jinyong’s apartment too much time had already passed, and you weren’t sure whether Subin was still waiting for you there. Plus, you didn’t really want to go back again and explain yourself. It would be for the best if you would just go home and simply send Jiyong an apologetic text for being a bad guest. For now, Subin was your priority.

Determined, you walked to the street, only to curse a second later when you realized that you hadn’t come here with your own car. With an annoyed huff, you pulled out your phone to order a car which would cost you precious time that you didn’t have. But there was nothing that you could do. Reluctantly, you waited for the car before ordering the driver to bring you home. Nervously, you sat in the backseat, bouncing your leg and thinking about the consequences of tonight. How would your girlfriend react? You hadn’t only ditched her, you had ditched her for your ex-girlfriend; who you had almost seduced. Frustrated, you grasped your hair. This was a disaster.

“Rough night, hm?”

The driver chuckled from the front seat and you flashed him a tired smile. You weren’t in the mood for jokes right now. You needed an adequate solution. For one, you had to apologize to your girlfriend. A difficult task, but not impossible. For two, you had to get Jennie out of your system. That, on the other hand, was a borderline insane task which needed thorough planning which you weren’t capable of doing tonight. Therefore, you chose to stick to the easier task for now.

You needed to make an overwhelmingly good apology to your girlfriend and you already knew where to begin with that.

“Can we stop by the next convenience store please?”

There was nothing that a sincere apology and some flowers couldn’t fix, so you ordered the driver to make a little stopover. A quick solution which allowed you to find yourself in front of Subin’s apartment 15 minutes later with a bouquet of flowers in your hands and a drafted apology in your head. You looked up at the building from the car, seeing that there was still light in Subin’s windows and you inhaled deeply to calm your nerves.

“You’ve got this buddy!”

The driver gave you an encouraging thumbs up and you thanked him before exiting the car.

Slowly, you walked up to the entry and let yourself in with the key that Subin had given you a while back. For once, you decided to take the stairs instead of the elevator in order to be able to have a little more time to recollect yourself. When you finally reached her apartment door, you felt more or less like you hadn’t made the worst decisions of your life tonight. Your hands had finally stopped trembling and your brain was able to focus on anything else but Jennie again. Therefore, you unlocked the door and silently slipped into the apartment like so many times before.

Inside, everything seemed to be like usual. The TV was running and Subin was sitting on the couch with a cup of tea in her hands. Only when she turned her head to look at you, you gulped thickly. She didn’t seem to be seething in anger, but her gaze wasn’t friendly either.

“Hey, babe.”

You waved awkwardly, but Subin ignored you coldly to pay attention to the TV again. She was definitely mad...

With slouched shoulders, you walked up to her in order to sit down next to her, like a child preparing to be scolded. Regardless of her ignorance, you cleared your throat and started to apologize.

“I’m really sorry, Subin. I know this evening was nothing like it was supposed to be and I really deeply regret how I handled everything. But I can explain.”

Carefully, you glanced up to see how your girlfriend would react. She rolled her eyes in annoyance but turned off the TV in order to pay attention to you.

“This explanation better be good. You left me alone with complete strangers, Y/N.”

If looks could kill, you would be dead by now. But you didn’t let yourself be discouraged.

“It is! You know about my history with Jennie. The thing is that I left a few things out...”

Your statement seemed to have sparked Subin’s interest and she turned her torso in order to be able to look at you better.

“I know that Jennie always seems to be a cold person on TV, but she isn’t. She struggles a lot with her fame, and she has a lot of issues that not a lot of people are aware of. But I am. And I know that she tends to deal with her issues horribly. So when I saw her earlier, I got really worried. I was afraid that she would do something rash, which turned out to be right. She was completely wasted and wanted to drive home. And I couldn’t allow that. So I brought her home.”

Technically, you weren’t lying; at least that was what you told yourself in order to not let your bad conscious drag you down again. Maybe you weren’t necessarily telling the whole truth, but you meant well. You were trying to spare Subin’s heart. She didn’t deserve to get tangled up in this mess. You loved her and that was all that mattered. The rest had to be fixed by you alone.

“Oh I didn’t know that.”

Subin simply said and you saw that her angry demeanor was starting to crumble.

“Of course, you didn’t. You couldn’t have known! And that’s on me. I haven’t told you the whole truth, because I had the feeling that I still had to protect Jennie. But I don’t need to do that. I’m with you and only you. So I need to start behaving accordingly.”

Carefully, you took your girlfriend’s hand, expecting her to pull away, but when she didn’t, you continued.

“I promise that I’ll work on myself in the future. No more erratic decisions and I promise to communicate better. No more secrets.”

You smiled, but you wondered whether Subin was able to see the shadow that laid upon you tonight. You weren’t yourself. You didn’t know who this monster was that looked like you but didn’t act accordingly. But it was shocking to hear those lies rolling off your tongue like they meant nothing. When had you become a perfect liar? You hoped that it wasn’t too late to save yourself though. You just needed a fresh start. You needed to leave everything behind and forget about the past.

Your salvation significantly depended on your girlfriend though, so you looked at her pleadingly.

“Fine, I’ll forgive you. But don’t you dare to ever leave me alone with your weird friends again!”

Subin chuckled and you laughed out loud.

“I promise.”

You whispered as you already closed the distance between the two of you to connect your lips.

Nothing was in the way between you and your fresh start now anymore.

At least that was what you had thought. But like always, it was so much easier to make promises than to keep them. You wanted to be better for Subin; you really did. You were ready to let go of the past, but what you didn’t realize was that it wasn’t ready to let go of you.

And your obliviousness should turn out to be your doom.

#blackpink scenario #blackpink #jennie scenario #jennie #blackpink imagine #jennie imagine #girl group imagine #girl group scenario #girl group #kpop scenario #kpop

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airgetlamhh · 4 years

Text

Thoughts on Lostbelt 3

So, Lostbelt 3.

Just came out, and this time I played it in good time. Hopefully that’ll continue! Spoilers ahead for Lostbelt 3, and also for Qin Shi Huang’s interlude which has yet to come to NA. I’ll mark that section specifically so people can skip over it.

You might remember that I did one of these for Lostbelt 2, and if you haven’t seen that you can find it here. These are freeform and have no real set structure, they’re just one big post for me to gather and explain all my thoughts about the story. I’ll talk about characters, themes, pacing, etc. as they occur to me, and so expect this to be fairly chonky.

Now, once again, I’m going to lay out the thesis statement ahead of time, so people can feel free to skip over or read as they please. I expect this will be somewhat more controversial than my opinion about Gotterdammerung.

Lostbelt 3, the Synchronized Intelligence Nation, is bad.

I had wondered how to start this, but over time my thoughts kept coming back to the pacing. There are sixteen chapters in the Lostbelt, and almost nothing of any consequence whatsoever happens for the first eight. We fight Akuta, she runs, we fight Akuta, she runs, we spent like eight battles fighting the beasts Koyanskaya let loose and they amount to nothing and have no plot relevance whatsoever, we fight Xiang Yu and then he runs, and then we fight Xiang Yu and Lanling and then we’re forced into a truce and then nothing happens until Spartacus leads the people of the Lostbelt to rebellion and Qin drops the meteor and the march to Xiangyang begins.

Nothing happens.

Obviously that’s an exaggeration, there some events. Qin examines the Shadow Border, we meet some of the characters, but that’s all, really. A solid half of the Lostbelt is almost entirely useless faffing about, and then it rams the accelerator so absolutely nothing has any time to land and we speedrun our way through it. To put it in perspective, it’s one chapter shorter than Gotterdammerung, which was already five chapters shorter than Anastasia, and it feels significantly shorter than Gotterdammerung too. I complained in my write-up of that that it felt like things just happened for no reason, but at least things happened. In comparison, half of Lostbelt 3 feels bereft of content, the only important events of which could be condensed into about three chapters tops.

It feels like it’s a mid-year 1 Singularity. We have detours to kill random beasts unrelated to the actual plot, we get interrupted by fights as we try to talk, we faff about for ages and then speedrun our way to the actual climax. By the end of the Lostbelt, I was left with a lingering sense of “Wait, is that it?”

Moving on from the pacing, I think I should probably address the characters next. This is likely to be the largest section, since so much of the issues in the Lostbelt come from the characters and it’s only by talking about the characters that I can really engage with the themes. I’ll start from the least relevant and work my way up, meaning that I’ll be addressing basically the entire conglomerate of characters that aren’t Qin, Yu, Xiang Yu, Spartacus, Liangyu or of course Jing Ke.

Red Hare and Chen Gong, they’re comedy, make no mistake. They’re there to add a bit of humor to scenes and it’s fine, they’re funny. It’s a mistake, in my opinion, to follow such a powerful scene as Spartacus saving the villagers and it inspiring them so much that the Lostbelt reconnects with the Throne of Heroes by having it result in nothing but comic relief, but they’re inoffensive.

Koyanskaya, she’s Koyanskaya. There’s a bit more hinting about her true nature here, but besides that she’s exactly the same. Nothing much happens besides that truly gratuitous torture scene that made me glad FGO’s story isn’t voiced, because it really was just deeply uncomfortable. I think that after two chapters and a prologue full of her being untouchable and smug and constantly ahead of everyone she did need to stumble a bit, but having her get punked by Shuwen and then gruesomely and gratuitously tortured while she screams and begs for help was completely unnecessary.

Han Xin and Li Shuwen, they’re fine. I’m not much of a fan of the whole stuff about Li Shuwen being so powerful as to stand up to four Servants, three of whom are meant to be insane powerhouses in their own right, but we’ll get to that in a bit. Han Xin when he’s allowed to just go apeshit at the end is one of the very few genuine delights about the Lostbelt, I really enjoyed him.

Lanling is a disappointment not because he’s badly written, but because he’s barely written. We start the Lostbelt to a flashback of his death and it sets us up to expect a bunch from him, but all that we really get is that he’s loyal to Yu. His only purpose in the story is to function as a connection for her outside of Xiang Yu, and boy howdy does this whole thing fail, we’ll get to that too. If he’d had more time, I expect he’d be quite good, but as it is he’s barely in the story and his only major character moment outside of Yu is when he tries assassinating Guda and admits he’s not really built for it.

Mordred and Nezha are there respectively to bounce off Spartacus and to reveal that Xiang Yu is based on her body respectively. That’s it. They vanish from the story for a good few chapters and I didn’t notice because Nezha becomes irrelevant as soon as you meet Xiang Yu and Mordred becomes irrelevant as soon as Spartacus died. You could remove both and the story would change not at all, and while I do think that Mordred’s role in giving Spartacus someone to bounce off of was nice and I enjoyed their interactions, introducing a whole character just to bounce off another means that when the other character is gone, the one you’ve introduced is just there. It’s insanely noticeable with Mordred.

Gordolf is a genuine delight. I think my honest favorite scene besides Spartacus’s in the chapter is when he and Guda have to decide who gets the only dose of antidote. Guda flat out telling them what hand they’d throw was perfectly in character but I genuinely adored Gordolf completely throwing the match and faking that it was an accident and that Guda got the antidote fair and square, after having it pointed out that he never once tried to lord it over Guda that he saved their life from the poison. When Guda forces him to drink it, Gordolf’s complete dedication to getting them the antidote and refusing to let Guda die because he’s the director and he is personally responsible for all their safety, that’s good stuff. I love Gordolf very very much, and I think that this Lostbelt really gives him some shining moments that emphasize why he’s so wonderful.

I think that is basically all the minor characters barring the village boy, who I will get to in a bit, but if you’re noticing a trend it’s that they’re mostly fine, inoffensive. Nothing stands out as truly genuinely very bad, but for the most part they’re all wasted potential. They exist to fulfil exactly one role, and then hang around long past their welcome in most cases, with Han Xin, Li Shuwen, and Lanling managing to avoid that, albeit in the first two more due to their overall lack of presence until the very end.

Now, Liangyu. Here’s where things start to break down a bit.

In this Lostbelt, Qin Liangyu is a warrior who distinguished herself enough to be frozen in Mt. Li, where Qin keeps their heroes to be used when necessary. Alongside Han Xin, she’s defrosted to handle the Chaldea threat. Her major point of focus in the chapter is engaging with the “Confucianism” that Chaldea represents. She’s the one who hears the poem first, she’s who reports it to Qin, she’s who steals the Shadow Border and who ends up confronting Chaldea first when they get to Xiangyang. When we finally get to hear her conviction, why she is so willing to fight for her home...

It’s revealed that Qin destroyed her village, her family. They had been inspired, not to rebel, but to simply seek to govern themselves and live as a nation outside of Qin’s domain. Qin’s response was to fire a meteor at their village. When the instigator escaped, he tried to do it again, and that was why Liangyu fights. To avoid the needless death and suffering that is guaranteed by opposing Qin.

No one is horrified by this. No one reacts to her blaming the victims for wanting a better life. No one points out that her loyalty comes entirely from a place of fear and loss, that Qin took away everything she held dear and then threatened to do it again and again and again. She fights because Qin would otherwise wipe out everyone, and this is heralded as splendid loyalty and honest devotion, despite the fact that it’s effectively the same logic as why someone might not resist their abusive partner. That is all Liangyu is meant to do, show us some kind of loyalty and validity to Qin’s path, and they even have Mashu lost for words when she is confronted. All to show us that true loyalty is submission, and that it’s a valid and good reason to fight, to be too scared of the tyrant above you wiping out everything if you don’t. Not something to oppose Qin for, but something to commend them for inspiring.

That reading, despite being a clearly obvious one, isn’t ever once entertained by the story. No one points out Qin’s tyranny as the starting point for Liangyu’s suffering, even though it clearly is. It’s not that it’s refuted, it just never once comes up, because the characters acknowledging it or challenging it would hurt the clumsy point it really wants to make.

As a digression, this Lostbelt is a step back for Mashu. Her climatic character moment in Part 1 is rejecting a world without suffering and having the purest conviction necessary to block Ars Almodel Salomonis, but now she’s shaken and starts thinking that maybe that was a mistake all because it was only a possible future she rejected with Goetia, instead of the actual people in front of her? I can’t see that as anything but a regression, considering it was a point that her conviction was able to overcome the most powerful attack in the series even as it destroyed her body to protect those behind her. It’s done almost entirely to make us question whether or not Qin has a point, and given that the answer to that is a resounding and obvious “no” all it ends up doing is taking a hammer to Mashu’s solidly built up character every time she responds to an obviously flawed argument with “...” to give it unearned validity.

Spartacus next. He is an honest to goodness genuine joy. There are a few bright spots in this Lostbelt and Spartacus is one of them. He is very well written, allowed to think and philosophize about the nature of rebellion and whether it’s needed, and his musings on why he rebelled and whether or not it was justified to rebel against Qin when their people smiled so innocently like he’d always hoped for was unironically fantastic character work. His sacrifice reigniting the will to ask for more inside the people to the point of connecting to the Throne once more is absolutely fantastic, and his interactions with Mordred are great too. I absolutely do not have a single bad thing to say about him, he’s just wonderful.

Jing Ke. She’s a delight. She is a constant denier of everything that Qin suggests, and she functions as a beacon of good sense in the chapter. Where others are falling prey to some nonsense writing that makes them wonder if they’re doing the right thing, Jing is constantly pointing out the horrible, horrible tyranny going on, and constantly reminding people that Qin is in fact, a monster. Her final moments, getting to trick Qin into downloading a virus, arguing against them on philosophical grounds and then mocking them when they’re surprised that she would use that as a chance to kill them, and the argument itself of humanity’s virtues being in its ability to communicate and progress even if they don’t have a certainty of peace ahead of them, all of it was great. I’m sad she died and never got a chance to see Guda again in the Lostbelt, but all in all, she was well written.

Xiang Yu and Yu Meiren. This is where things get really, truly, genuinely disappointing. As concepts, they’re really cool. Xiang Yu as a machine built from the body of a god with the ability to calculate and compute the future giving him an inhuman mindset is a really neat idea, as is Meiren being effectively a True Ancestor. Them finding love as two non-humans who understood each other where no one else did is good in theory.

In practice, Xiang Yu and Yu Meiren’s romance, the emotional core of the chapter, is without question the worst romance written in the Lostbelts thus far, and probably the worst romance in the game. It isn’t until chapter 13 of this 16 chapter game that we get any exploration of it at all beyond Meiren being devoted to Xiang Yu to the point that she completely cripples her own agency as an interesting and individual character to work entirely for Qin when they threaten Xiang Yu’s life, and the exploration we do get is just...explaining how Xiang Yu is a robot and how he lived in Panhuman History. No examination of their mutual feelings, just Meiren describing how her Xiang Yu lived.

This Lostbelt is not a reuniting of lovers long past. This is Meiren finding a man who shared an origin with her lover and devoting herself entirely to him, even though they aren’t the same person at all. This could have been an incredible hook!

Imagine if this Lostbelt looked at Meiren’s two thousand years of stagnation in mourning for Xiang Yu and her sole desire being to be reunited with him and then it gave her her wish. She betrayed her own history for the Lostbelt’s, because it gave her a chance to see her beloved again, but this Xiang Yu is not her Xiang Yu. He doesn’t even answer to the same name, doesn’t recognise her at all. Having thrown away everything that connected her to Panhuman History just to see her beloved again, she is now trapped in a world she doesn’t recognise with a man who isn’t her Xiang Yu, her sole connection being...Gao Changgong, a regular human from Panhuman History. The greatest of ironies, her only meaningful connection being one of the humans she hates, because she sacrificed everything for a man who doesn’t even know her name.

Lostbelt 3 is a story about stagnation and the dangers of easy ignorance, but Meiren’s story doesn’t engage with that central theme whatsoever. Hers is a story entirely about how she merely existed just to exist before she met Xiang Yu and after he died, and her only experience being happy was with him. A few short years in literal millennia of existence are all that she cares about, and indeed she doesn’t change even slightly over all those years. And despite this stagnation leading her to consign her own history to death, the history that her Xiang Yu is from and fought for, the story never once engages with that. She is, in fact, rewarded in the end by becoming a Heroic Spirit and getting reunited with her Xiang Yu.

And really, that’s what gets me. They have a perfect setup to tie into the theme of the Lostbelt, how an uncertain future of progression is sincerely better than a stagnant peace born of ignorance, and they don’t tie their Crypter into it nearly as well as LB1 or even LB2. Kadoc is obsessed with conflict and overcoming Guda to prove his own strength in a reflection of how Lostbelt 1 is a hellscape where might makes right, and Ophelia is stuck doing nothing but following her role without a choice in a reflection of Surtr existing only to fulfill his role, being capable only of destruction and incapable of changing that. In contrast...Meiren doesn’t engage with SIN’s theme of the worthiness of peace at the cost of stagnation at all, really.

I’m talking a lot about what she could be instead of what she is, because what she is is obsessed with Xiang Yu. Her sole concern in every single appearance besides her single moment of independent characterization with Gao on his deathbed is Xiang Yu. She sacrifices her initial independence to obey Qin for Xiang Yu’s sake, she fights for nothing more than Xiang Yu’s sake, she wants nothing more than to be with Xiang Yu forever, even if it’s not her Xiang Yu, even if it’s sacrificing the world her Xiang Yu fought for. She chooses the peace of stagnation and is never once punished or even questioned for it. She tells Lostbelt Xiang Yu about his history in her world, and then he tells her that he understands why her Xiang Yu loves her, and then decides on the spot that he loves her too. That’s it.

Every other existing romance that they play back into in Fate is one that they put effort into selling. I mean, just think about Sigurd and Bryn! Imagine if, instead of all the little touches and bits in the chapter where they go in hard on selling that Sigurd and Bryn are madly in love with each other, they just didn’t have that. Imagine if Kadoc and Anastasia barely interacted except for Kadoc telling Anastasia how her past went. It really feels like Urobuchi looked at Meiren and Xiang Yu’s existing famous romance and decided that he just didn’t need to sell it, even though it literally wasn’t the same people involved.

And to be clear, I understand the intention. Xiang Yu has an alien mindset because of his calculation of the future, and this alien mindset means that he does things that are hard to understand for us. But at the end of the day, Lostbelt Xiang Yu hears a single story about himself in Panhuman History and decides that it makes sense that, given everything he and Meiren experienced there, that they would fall in love. And then he chooses to fall in love too, in the span of a single conversation. That isn’t believable, but more to the point it isn’t satisfying. This isn’t a great reuniting of lovers, it’s Meiren telling a stranger how a hypothetical alternate timeline version of him lived and him deciding he loves her because of that one single story.

And the way this love is represented is...it’s kinda typical Urobuchi. Meiren’s tragedy is undersold and given second billing to talking about how tragic Xiang Yu’s life was and how bad it made her feel and how she wished she could have done something, while LB Xiang Yu ignores her plea to stay and to not fight anymore by declaring that he must fight for the Lostbelt because of his programming, not for her, and then after he’s defeated and Guda beats Qin he declares that he’s actually madly in love with Meiren and will ignore her stated wishes again to fight until he dies, whereupon he promptly talks about dying with regret for leaving Meiren behind and quotes the poem and everyone claps. This great romance begins by Meiren telling Xiang Yu about how sad his life was in her history, is defined solely by Xiang Yu doing anything he wants at any time while Meiren feels sad about it, and ends with Xiang Yu ignoring Meiren’s wishes to sacrifice himself for absolutely nothing and to have it later revealed he knew exactly how she would react to this and did it anyway.

It’s not that I don’t buy the romance, it’s that I can’t buy it. It’s every terrible romance you’ve seen in fiction before where there’s no chemistry to sell it but the author keeps telling you how perfect they are for each other, only in this case the author tells you how perfect Meiren and Panhistory Xiang Yu are for each other and then shrugs and decides that Lostbelt Xiang Yu is basically the same anyway so it works. And it really, really does not.

The Xiang Yu of Panhistory is somewhat interesting from what we hear in the chapter, but Lostbelt Xiang Yu is very bland and Yu Meiren is just a tragically wasted character. Instead of a story of being shaken out of stagnation and learning to grow and move forward, we get a story of stagnation being the good and right choice for her. Instead of a story of trying to make the past happen again instead of acknowledging that they are two different people who cannot simply pretend everything is as it was, we get a story where Lostbelt Xiang Yu decides it makes sense that an alternate universe version of himself would fall in love with Meiren, and then skips all the actual development to decide he’s madly in love with her too. Instead of a story of Meiren realizing that her closest connection for the longest time was a living human and that she can live for more than just the memory of a man long dead, we get Meiren’s character being solely, completely about Xiang Yu from beginning to end, and even later in Chaldea where she exists for nothing more than “haha married couple” jokes.

There is, to be clear, an attempt at relating this to the other theme of the chapter, humanity. Meiren and Xiang Yu are both discriminated against for their inhumanity, and it’s pointed out that they’re so fitting for each other because they, as non-humans, understood each other. I think this could have worked if it was given more emphasis, but as it stands it just kinda...isn’t. It, and they, take a backseat to Qin’s emphasis on this theme, so all this theme does for them is another justification as to why they are totally in love and why Urobuchi doesn’t have to write them actually being in love.

And then Xiang Yu dies, and Meiren goes crazy because her entire world and every facet of her character revolves around one man, and we have to kill her because he ignored her pleas and then died knowing he would die and knowing she would go crazy when he died. This, after spending the entire chapter from the first time we meet her being completely ineffective and failing at every turn, only becoming a threat once she devours her own Servant and even then only for a few minutes before she ceases to be relevant. Thanks, Urobuchi. Love it when you write women.

It’s a genuine disappointment, because you could do so much with Meiren and Lostbelt Xiang Yu bonding as themselves, not as Meiren from 2000 years ago and Xiang Yu from Panhistory, and with Meiren being able to honour her love without letting it chain her down to stagnation like it did in practice. But they don’t do any of that. They tell us that this great romance exists without putting in any of the work, and then expect it to work. And for me? It didn’t, at all. It is again, without a doubt the worst romance in this arc, and probably the worst romance in FGO.

Finally, Qin.

I think Qin is a fantastic villain. They are completely, utterly loathsome in every way, and the early chapters with Spartacus and Jing Ke around really highlight it. Spartacus’s musings about rebellion culminate in a reassurance that it is in fact right and just to rebel against the oppressor that is Qin despite the peace they offer, and Jing Ke consistently and constantly responds to all their justifications by pointing out what absolute drivel they are. It is a sincerely excellent setup for a Lostbelt King that isn’t a tragic case of someone trying to save what they can after a horrible accident, but one who in their arrogance created a hellscape that was pruned solely due to their own tyranny. Qin is the perfect balance of hypocritical and arrogant and cruel while being utterly convinced of their own perfection to make a fantastic villain to break out of the “tragic king after apocalypse” type we’d had for the first two Lostbelts, and has the perfect ingredients to a tie-in back to Goetia and how Goetia earned the title of “King of Humans” in their final moments.

But, unfortunately, the chapter starts softening up on them as it goes on. Where before, we had people calling them out for tyranny and obvious wrongdoing, by the end we have Holmes praising them for shouldering the difficult responsibility of humanity all by themselves and being the one we get on our Lostbelt CE, a spot reserved before for the inhabitants of the Lostbelt that we befriend. Because, ultimately, the Lostbelt doesn’t want to condemn Qin.

What Qin does is monstrous in the extreme, but by the end of the Lostbelt it feels like the game has forgotten that. Instead of pointing out the obvious problem in Liangyu’s loyalty being based on the certainty that Qin would murder everyone if she didn’t do it for them, Mashu and Guda have to just accept that it’s valid. Instead of reminding themselves of Spartacus and Jing Ke’s rejection of Qin as a tyrant, they praise them for taking over the responsibility of humanity. Instead of having the Lostbelt represented by the boy who dared to look up and dream of something more, it’s instead represented by Qin descending to live among humanity in their final days. Even Qin’s final act for Meiren has them claim without irony that they guide their people by the light of reason, when the entire chapter has been about how Qin uses threats of incredible violence to control everyone and how they had to conquer the world by force to enact this horrible regime, and no one points out the shocking hypocrisy in Qin claiming that they guide through reason instead of, you know. Giant meteors.

I didn’t name that boy, because the story doesn’t name that boy. In a story that is ostensibly about the horror of humanity being stripped of everything that makes them an individual and showing us that the spark and drive to be different and to learn and grow and change still exists even after over two thousand years of Qin trying to stamp it out, they don’t name the boy. This isn’t because names don’t exist in Qin’s empire, because explicitly the heroes are all named, and implicitly such a massive divergence would need to be highlighted in some way, so it’s not an intentional dehumanization which would actually fit.

Instead, despite this child being the first citizen who dares to enjoy a poem and who dares to step outside the boundaries of his village, despite him being proof positive that Qin’s tireless attempts at stamping out the human spirit are doomed to failure even after ruling the entire world for hundreds of years, despite him being inspired by Spartacus’s cry of rebellion against the tyranny of the world he was born in...he doesn’t have a name. And that really hurts the Lostbelt, I feel, because it just doesn’t take the time to even name our Lostbelt friend. He is, ultimately, not important. The symbol of the Lostbelt is Qin as the ultimate human, despite the entire point of the Lostbelt being that it’s a rejection of this concept, that Qin’s choice of becoming the one and only human is wrong and that the individuality of Panhistory is superior. Instead of enshrining the boy who dared to be different in the CE, pride of place is given to Qin.

That’s my biggest issue with Qin, really. We are given a perfect setup for Qin as a villain and indeed do reject their whole worldview and ideals and everything as being completely wrong, to the point that Holmes even rejects the idea that they are a human. In the final parts of the chapter, Holmes declares that the defense Qin dedicated themselves to is the domain of a god, and that despite their insistence that they did so as the only human and that they rejected becoming a god, ultimately they were deluding themselves, having simply taken on the role of a god while declaring themselves a human. This is the harshest condemnation that Qin ever gets and the final culmination of theme of humanity and what it really is that’s there throughout the Lostbelt, a complete and total rejection of the idea that one can do what Qin did and still claim to be human.

But instead of engaging with this, the story softens up on Qin by the end because it wants you to roll for them. It’s exactly what happened with Skadi, a solid character and path built up from the beginning and then swerving towards the end to make them more likeable. That Qin is the one on our Lostbelt CE and that it’s all about how Qin did their best to “shoulder the responsibility” for mankind instead of highlighting their tyranny is just kinda emblematic of how the story treats it once Jing Ke is gone, because when she’s not in the party people stop pointing out the obvious tyranny going on, and when she’s dead everyone starts acting like Qin is almost reasonable and that their path was a valid one that wasn’t so wrong, even though theirs was more right. It even completely ignores Koyanskaya pointing out that Qin loves humanity like an owner loves its pets, not as actual individuals, but this love is treated as completely valid thereafter instead of being a huge problem.

Big Big Spoilers For Qin’s Interlude Now, Skip Ahead To The Next Bolded Section If You Don’t Want To See Them

One of the reasons I’m so harsh on them for what could, in context, be seen as relatively minor softening up on Qin compared to the actual defeat we deal them is because of this Interlude. As a brief overview, Qin completely ignores the ending of their Lostbelt, which lasts for three months despite every other Lostbelt lasting a day at most before it vanishes and the implication of the final chapter being that it’s ending soon, returns to Epang Palace despite it having been destroyed and corrupted with a virus and despite having promised to live as a human on the ground with the rest of the world until the end, and then uses the data on the Shadow Border that somehow survived the virus and destruction of the palace to somehow construct a machine that allows them to create Singularities.

They then use this to create a bunch of Singularities related to “what-ifs” where they were a cruel king who ruled over Xiangyang and murdered all their subjects so they can piggyback on the Human Order instead of being destroyed with their Lostbelt and everyone in it, and then keeps the Singularities around as time bombs to destroy Panhistory like Goetia did if they ever feel like Guda might lose. When this is figured out, no one in the know bothers to tell Guda to protect their feelings, and no one intervenes in any way or challenges Qin in any regard besides telling them to believe in Guda.

This interlude turned Qin into the most loathsome character in the game for me. They declared they would put it all on the line challenging Guda and then lost and stepped aside, even helping to destroy the Tree of Fantasy, and even having Da Vinci praise their grace in stepping aside when it was clear that they had lost. But that didn’t happen.

Instead, Qin lied. Qin pulled the trigger on everyone in their entire world and then decided that they didn’t actually want to uphold their end of the bargain, so they abandoned the people they swore to live alongside until the end and constructed a scenario where they have the sole authority to destroy all of human history forever if they feel like it, something made possible only because author fiat dictated that they still had the data and the capacity to use it after the twofold destruction of the Epang Palace and only because author fiat dictated that their Lostbelt lasted for months after the Tree was destroyed when every other Lostbelt disappears after hours. And all this happens because fundamentally, they don’t want Qin to be wrong, and they don’t think Qin was wrong. They pay lip service to the idea, but the end result is that Qin is always meant to have a point, and that despite having people point out their obvious hypocrisy at ther start like Jing Ke, by the end of the Lostbelt and beyond you are meant to take them at face value as a Hard Enby Making Hard Decisions doing their best to save the entire world.

SPOILERS FOR THE INTERLUDE OVER, YOU’RE SAFE NOW

To begin the summary for Qin as a character, I’d like to point out Fate’s relationship with Great Man theory. This theory is, in brief, a suggestion that the course of history is largely influenced by exceptional individuals and leaders that exert their will on the world as a result of their own superb capabilities, such as being more intelligent, charismatic, powerful etc. than all other men around them. This is obviously a theory with a bunch of holes, but what’s interesting is that Fate has always engaged with this idea and has always refuted it conclusively.

In Fate, if you are a single human trying to save the world, you will fail. Kiritsugu’s chasing of the Grail and his ultimate failure because of his own flaws making it physically impossible for him to consider a path to salvation that didn’t involve killing is a rejection of Great Man theory. Shirou understanding that one single person cannot possibly save everyone in the world is a rejection of Great Man theory. Amakusa’s inability to save the world in any way besides erasing free will is a rejection of Great Man theory. Goetia’s decision to erase history and start again to make something better and his ultimate defeat is a massive rejection of Great Man theory. Zelretch, for all his insane power, is literally paralyzed by that selfsame power into not being able to do anything, while someone like Aoko who doesn’t think of anything but what’s right in front of her is actually able to accomplish things because she doesn’t try transcending the limits of what a human is capable of. It is one of the Nasuverse’s most consistent themes, that it is fundamentally wrong and doomed to fail if you ever attempt to impress your will on the entire world in a misguided attempt to save it.

And yet Qin simply doesn’t engage with that. Qin is Great Man theory distilled into a character, and by the end of the Lostbelt and beyond the game gives up on challenging that. They declare themselves as the ultimate human with the sole responsibility to administrate mankind and despite losing, the game respects them and their path and refuses to condemn them the same way that it condemned Ivan for doing all he could to save his people, even if it meant inflicting his own ideas on the entire human race. And that’s a consistent problem with the last two Lostbelts, but it sticks out more for Qin because Qin didn’t face an apocalypse. Qin brought the world to an end with their own two hands, but the game simply cannot keep up the condemnation as much as it should, because it wants you to like them and wants you to roll them and spend money to do so. And that’s where Qin falters for me. They’re a fantastic villain, but the game doesn’t let them be a villain, regardless of how much it clashes not just with FGO’s themes, but with one of the overarching ideas behind a lot of stuff in the Nasuverse as a whole.

I’ve basically talked about the thematics and the characters together in the last section, so this is just me talking about its construction as a story here as a short(er) final roundup.

It’s badly written, really. Like I mentioned earlier, basically nothing happens for about half the chapter and then the latter half puts the pedal to the metal and speedruns its way through everything. Nothing is given the time or dedication it needs besides Spartacus’s sacrifice in the chapter, I feel, and that works to its extreme detriment.

In terms of things that happen, it strained my sense of disbelief as bad or worse than Lostbelt 2 did. I knew it was going to be rough when Mordred, one of the Knights of the Round Table who was easily able to go toe-to-toe with Siegfried and stomp most people she fought in previous appearances, ends up firing her Noble Phantasm at Xiang Yu and doing no damage whatsoever despite being a direct hit, and then Xiang Yu ends up defeating a group of four Servants including powerhouses like Mordred and Spartacus without breaking a sweat and explicitly while holding back.

Now, I know what you’re thinking, that I’m starting to sound like some BLer who cares for nothing besides calculations and VS debates and whatnot, but that’s not what I’m about. I don’t care to argue whether my favorite Servant could beat Goku or not, partially because the answer is an obvious yes because they’re my favorite, but mostly because that’s just not really relevant for a story.

What is relevant, however, is the idea of suspension of disbelief. In telling a story, you don’t need to be realistic, but you need to be consistent. Having internal consistency is a vital part of selling your work to the audience, because if they start thinking that anything can happen at any time because the author wants it to happen, they can get pulled out of the story real quick. If you introduce someone as being Double God and being able to wipe the floor with every single one of the protagonists without breaking a sweat, you have to make sure that when or if they are defeated, their defeat is internally consistent. Either they lose their strength somehow, or the protagonists find some way to power up or change their tactics or do something different to defeat them next time they fight. When you pull a victory or defeat out of your ass without some kind of internal consistency, you had better make sure that you’ve got your themes on point, because if you’ve failed in making something internally consistent and you can’t justify the event happening because it fits perfectly with the themes of the work, then it takes people out real quick.

That’s where this Lostbelt falls down really hard in terms of story construction outside of its characters, because it has neither. Xiang Yu is introduced as an unstoppable murdermachine that we can only hold off temporarily or wait for him to retreat, even when that means devaluing our own Servants’ capabilities and making Mordred who is a Knight of the Round table look like a chump. But then later, Spartacus vaporizes a meteor with nothing but his Noble Phantasm, except Xiang Yu was just straight up too much for him, even though Xiang Yu is pretty much the greatest symbol of Qin’s oppression and its source, the incredible violence that they are willing and able to visit upon anyone at any time if they feel like it. Spartacus loses horribly to one symbol and then annihilates the other and it feels weird.

Later, we’re also introduced to Meiren being a True Ancestor with infinite mana who curses us so badly that we only survive with Koyanskaya’s aid. Even Koyanskaya is urging us to run and there’s explicitly nothing we can do to her. That’s fine! It’s a good setup for a really tough boss! But what it means is that now we have two people set up as completely unbeatable even with all the help we have, including Red Hare and Chen Gong. That’s an awkward setup that really needs a solid resolution, especially when the final battle with them is fighting both, together, while both are completely fresh and Chaldea has just fought their way through Xiangyang, defeating Liangyu, Han Xin and the royal guards, and Li Shuwen.

And the game doesn’t engage with it. We beat them both despite them both individually being able to wipe us out earlier in the chapter, and despite nothing having changed for us. If anything, they should have the advantage of conviction, or at least Xiang Yu should. But we beat them and Nezha gives some nonsense about how Xiang Yu lost because he never had any rivals to fight against, despite him having been used to conquer the world, and despite him having fought alongside the great heroes enshrined in Mt. Li during these conquests. Meiren isn’t even acknowledged, which isn’t much of a surprise, but it is disappointing. Despite her being held up as an insurmountable threat at first, she’s not even considered worth mentioning in favor of talking about Xiang Yu.

That problem continues along with Qin, who comes at us with a Grand class Saint Graph and whom we end up defeating all by ourselves, not as a battle of wills but flat out defeating them, even though we only have Mashu, Red Hare, Nezha, and Mordred who have all been exhausted fighting through all of Xiangyang. People are hyped up as insanely dangerous and then lose not because of the thematics and not because the story has constructed things so that their loss makes sense, but just because the author says it happens. All the battles are handled with in-game battles, which the game grew out of a long, long time ago. The difference between the climactic battles with Ivan and Surtr and the climactic battle with Qin in terms of actual writing is night and day, and the sole saving grace, that it is explicitly characterized as a conflict between the two philosophies and a battle of which one comes out on top, just isn’t enough to overcome the insane hype of being on par with a Grand that Qin gets for absolutely no reason. It devalues Grands and it made the victory against them feel unearned even with the idea that it’s a conflict of philosophies, which I usually eat up. To compare it to the great example of that in Fate, it feels like Shirou VS Archer, except instead of the point being that Archer cannot bring himself to fully deny Shirou’s ideals and is defeated by Shirou reminding him of their beauty even though he wields the power to crush Shirou instantly if he wanted, it’s like Shirou proved his point about ideals by beating Archer up fair and square. It just isn’t nearly as well written.

It isn’t all bad. Like I mentioned, Spartacus, Jing Ke, Gordolf, they were all genuine delights that I loved. The meteor, the assassination, those were both excellent scenes. But overall, the Lostbelt was half nothing happening and then the latter half made up of one or two cool moments with a hell of a lot of bad shit connecting them. Its theme of stagnation is indecisive and muddled because of Qin and Meiren, its theme of humanity has its conclusion ignored and conflicts with the overall idea of Great Men in the Nasuverse, its treatment of its female characters barring Jing is uncomfortable at best, and it tries to sell us a romance without putting in any of the actual legwork to make it believable.

I wish Lostbelt 3 had been better. I can see easy routes to make it better. But more than anything I wish that Meiren had been done better. She’s an immortal True Ancestor who has lived for thousands of years and seen the birth of modern humanity, living through so much of our history, and instead of having a story of learning how to break free of her stagnation she’s just obsessed with a male character who isn’t remotely as focused on her to the extent that every choice and decision she makes in the chapter is focused entirely around him. It’s just...uncomfortable.

For all the hooks she had as a character, Meiren is reduced to an accessory for her man, and I think that’s a crying shame.

#FGO #Fate/Grand Order #Fate Grand Order #cosmos in the lostbelt #Synchronized Intelligence Nation #SIN #lostbelt #FGO spoilers #Lostbelt 3 #Shi Huang Di #Qin Shi Huang #Xiang Yu

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