#I have more than a couple gripes with season one

[missmitchieg]

I'm sorry, I'm still stuck on this moment that has been burned into my brain as possibly the most obvious "HE'S MINE AND YOU CAN'T HAVE HIM" moments I have ever seen in my life.

Like, as much as I know Marina was (understandably) far too concerned with finding a husband to protect her and the baby.... Girl, this was the most obvious "get your own man and stay away from mine" I've ever seen and you could've given her the "your love is an unrequited fantasy" speech that made a large portion of the fandom hate you (not including me! I don't hate her at all! I actually think she deserved better than the cards she was dealt.) much sooner.

[comradekarin]

In your rhaenys post, What do you mean that the male characters around them are smarter than them (alicent and rhaenyra)?

TW. long post……….

what i mean is that in the writers’ pursuit of portraying their female characters as “peacelovers that don’t wish for destruction and bloodshed”, they are also making them appear extremely naive, much to the detriment of their respective factions. lucerys has been murdered by aemond while acting as an envoy. visenya was born pre-maturely after rhaenyra heard the news of viserys’ death and the greens’ usurpation. jaehaerys was killed as a placeholder for aemond due to the rat catchers inability to find the latter. viserys is presumed to have been killed by the greens to even steal the throne from rhaenyra. do we see rhaenyra truly reckoning with all of these events? no. alicent lost her grandson and clearly still does have gripes over aemond losing his eye as a child (i have a personal headcanon that alicent edged the possibility of aemond getting revenge further down the line). alicent is also responsible for spreading those illegitimacy claims about rhaenyra’s three children, and consequently endangering her and her kids’ lives. she is also—albeit indirectly—involved in harwin and lyonel’s death. despite the fact that their families are at war and are killing each other, these women remain firm in keeping peace. yet their stances aren’t cemented because of their losses, but because of the writers’ consistent efforts to erase what has happened to them now and in their past.

rhaenyra goes to kings landing to sue for peace. that in of itself is extremely foolish. she doesn’t tell her council where she’s going, nor does she seem to have a plan if things go sideways. and in her absence, jacaerys and baela are essentially thrown to the wolves mitigating the black council’s frustrations with, again, no info on where rhaenyra even is. rhaenyra goes to KL, speaks to alicent, and by bad writing extreme luck is able to leave unharmed. alicent literally doesn’t tell anyone that nyra infiltrated, OR that she let her go. they come off as silly to the audience, not wise. jacaerys seems to be the only person with common sense, to make matters even worse. there’s even times where you’re thinking that rhaenyra should have listened to daemon.

these women are not allowed to express how they feel about the events happening around them. not only are the writers destroying the complexity of their feelings, but they’re also falsely equating alicent and rhaneyra even though narratively it doesn’t make sense to put them on the same pedestal. rhaenys spoke to alicent herself, who wanted her help to rob rhaneyra of her throne, thus endangering the lives of baela and rhaena due to them being betrothed to jace and luke. yet, a couple of episodes later, we have rhaenys implying that rhaenyra is to blame for jaehaerys’ death and sees the “violence” in the men around alicent, thus urging nyra to go to KL. baela is only being used as a rhaenyra’s cheerleader so far this season, never really having her own thoughts and opinions on this war outside of her support for nyra (which isn’t inherently wrong, her support I mean). and don’t even get me started on helaena’s lack of reaction to her son’s death. i think daemon cried more over that little boy than her. rhaena doesn’t even have enough scenes for me to make an assumption, which is bad in of itself.

lastly, in going this “peaceful women, evil men” route, we also get a lot of contradictions with the writing of these characters. especially so with alicent. no longer is alicent this protective, cunning and bitter woman we saw in season one. now? it’s almost as if the writers are trying to absolve her of the things she did in season one, thus erasing what makes her the character her fans love. whether it’s trying to push the rhaenyra x alicent ship, bad writing, or both, overall, i just think it’s really silly and just soft misogyny to even have this line of thinking when writing women. the writers only have like six anyway, and it’s like they haven’t done any of them justice.

[campbell-rose]

Helluva Rewrite: Moxxie

A big thing with Moxxie was just me wanting him to not look like a butler. I don’t know what it is with Viv and men in suits, but I'm not a fan. To keep his vest from blending into his pants, I untucked a bit of his undershirt. I want each member of IMP to stand out visually from one another (because all imps literally look related to some degree lol) so I gave Moxxie green in his color palette to contrast the orangish red tone I gave his skin. I also think green eyes will help him stand out very nicely from the group. Instead of striped I put gold rings on his tail and gave him a couple rings on his fingers because greed and gold. Since Viv loves bowties, I let Mox keep his but made it droopy because I think it’s cuter. Originally, I was going to keep his coattails, but I feel like with the shape of his legs it just muddies his silhouette. 

With Moxxie there isn’t much about his character I have to gripe about or want to change. He’s a skilled gunman with knowledge of the subject and history of guns. Cool, now for that, I’m working in his greed traits and decided that he outright hoards guns (since viv wants to claim imps hoard things). Moxxie has a vast collection and is always keeping them nice and spiffy. 

Now one thing I don’t like about Moxxie is his insecurity. Moreso the fact that it’s constantly being played up, like in Unhappy Campers where he’s like a crotchety old woman going through menopause because his wife is more popular than him. At that point it’s just stupid for the sake of drama. Since I made Millie the insecure one, I’m going to play up Moxxie’s straight man status. 

Moxxie is going to be the level headed cool sniper type I suppose. He’s not going to be as expression as Millie, the blue oni to her red in a sense. I think the comedy of that could be when something does make him lose his composure (I think I'll draw up a redone scene as an example) like Millie’s parents outright disliking him or Striker singing about how he sucks and should go fuck himself. I like the idea that because of his childhood as the son of an abusive mob boss father he’s learned to shove bad feelings down rather than express them outright. This doesn’t mean I want him to be a stone faced rock. No, I mostly just want him to express surface level exasperation and frustration with Blitzø’s antics (like his big “WHAT?” when Blitz mentions he hired Strikker) 

So an example of this could be Striker’s song. After he tells Moxxie to go fuck himself, a close shot of Moxxie’s face shows it twitching. He adjusts his glasses, stands up, and excuses himself. (Millie recognizes that this is bad because she knows him and follows) But she loses him in Striker’s fangirl crowd. Moxxie will be visibly upset as he climbs the stairs before hearing Millie calling for him and regaining his composure – until he notices the glow coming from Striker’s room that catches his attention. 

So I don’t want this Moxxie to be a straight-faced ass, just a more composed character. 

Back to his insecurity real quick! Mozzie is a trained assassin but his is not physically strong enough to fight hand to hand. This is a weak spot for him because his father constantly shat all over him growing up and would literally smack him around and Moxxie was (in his own mind) too physically weak to stop it from happening. 

As to how he met Blitzo... well in this I don’t want the bs jail in hell bit because there has been no justifiable ass pulls by Viv or the team. Idk I'm having trouble. Maybe they met through Millie? Like Moxxie meets Millie doing something and is like ‘holy shit I love this chick fuck you dad I'm out.’ 

Idk that’s what I'm going with I'll fix it later this took way too long to do and i'll still gotta do Blitzo and Stolas and maybe the other characters and then maybe rework season one idk i'll focus on just doing Blitzo and reworking my Loona again

[daydreamer-in-reverie]

I think one of my biggest gripes about S3 of Bridgerton is that I am utterly unconvinced that Colin and Penelope started as friends.

Now hear me out. I believe that Eloise and Penelope are friends. I believe that they grew up together, having lived across each other. I believe that Eloise loved Pen so much, Penelope was always welcomed to the Bridgerton home. I believe that by virtue of Eloise loving Pen and having her as a best friend, the Bridgerton family loved Pen as an extension.

But I’m unconvinced that Colin ever saw Pen or loved her as more than his sister’s best friend.

They tried so hard to convince us that it was Colin and Penelope who met first and that theirs is a stronger bond than what Eloise and Pen have by virtue of this but I just remain skeptical. In S1 and S2, we never really see them interact without the intervention of a ball or a social gathering. Eloise and Penelope actively seek the other person out while it was only Pen who looked for Colin and never the other way around. Colin only ever stumbled upon Penelope. He never scanned the room the find her, never tried to pull her away from Eloise so they could have their own conversation. I always felt like Penelope was such an afterthought to Colin while Penelope always made space for Colin in his life. Even while Colin was writing letters to Pen, and it was only Pen who consistently read and replied to his missives, it felt so one-sided. Penelope was eager to know of Colin’s adventures but Colin never asks Penelope about her own life and hobbies.

In all honesty, I think this could have easily been remedied by a good flashback. In Bridgerton S1, S2 and even in Queen Charlotte, flashbacks were the mediums used to fill in the gaps of the story. To inform the readers of a character’s history, and why the choose to do the things they do.

In a single episode, we saw how horribly Simon was mistreated by his father. In a single episode, we saw how deeply Edmund’s death wrecked Anthony’s boyhood and broke his mother’s heart. These flashbacks told us why Simon refused to procreate or why Anthony didn’t want to marry for love. We saw how deeply these core memories hooked themselves into these characters psyches, forcing them to become the people we know today. Without these integral flashbacks, we’re left with words said in passing to convince us of the story they’re trying to sell.

And don’t tell me flashbacks in the Bridgerton-verse are unimportant. Flashbacks have always been Julia Quinn’s method of choice when trying to inform readers of a character’s decisions. In Book 1 and 2, we got the same flashbacks as S1 and S2. In Benedict’s book, we got Sophie’s flashbacks. How her father treated her and how much her life changed after he died. In Book 4, which is Polin’s book, we still got flashbacks on Pen and Colin’s relationship and how much their friendship actually meant to the other. Book 5 showed us Philip’s backstory while 6 showed Michael’s and Francesca’s and John’s friendship, and 7 showed Garett’s and 8 showed Lucy.. While these flashbacks maybe used to showcase the love-interest’s past, they were still utilized by Julia Quinn to give us insights on the characterizations that make up their respective relationships.

I feel like this season, while having its moments, wasn’t what I was hoping it would be. There were so many changes that I feel the original plot of the story got lost. Polin didn’t feel like the main couple, just a couple with a story to be told. There were so many plots told in such extended ways that the main event was sidelined. The Mondriches, Benedict (who by the way is my favorite character), Francesca were all put on spotlight more than Polin was. In the books Francesca barely gets a passing mention of her marriage until her actual book (an act I believe to be intentional on Quinn’s part. It fits that the black sheep of the family who prefers the quiet didn’t have all of the fanfare that came with marrying an earl) yet her time at the marriage mart was put as a spotlight. In fact, when Francesca and John marry, it doesn’t happen with the series and happens much in the same way as Prudence’s marriage is (by this I mean it happens off screen). Don’t even get me started on her character assassination and deviation from the books (I can write a whole essay on this without even mentioning Michael/Michaela). All of these plot points, were put as main focuses when they shouldn’t have been. A waste of Polin’s amazing love story, if you ask me.

[torpedopickle]

I finally watched Transformers Earthspark Season 2 today. I have a lot of thoughts and I wrote some paragraphs for every episode. As you can see I wrote a LOT, enjoy my way too long cartoon analysis:

Episode 1: the cracks are showing but it hasn't crumbled yet

The animation feels less alive than in season 1 even if strong storyboarding still carries some scenes, as I know several of the season 1 storyboarders did work on this episode. It has a couple good sequences, a couple incredibly stilted ones. The overreliance on slowmo feels weird, and the animation struggles to properly convey things, like how we're supposed to take Hashtag's injury very seriously, but it just looked like she got bumped lightly.

the Decepticons are butchered and watered down into "evil because they're Decepticons". Chaos Terrans is an interesting concept and the way they're executing Aftermath would provide a foundation for exploring topics such as delinquent youth, but knowing how the series will go on to treat them in later episodes, I'm not hopeful.

the Maltos feel like they're sleepwalking. They have a lot of screentime but for some reason they don't feel present at all, it's like I'm watching their shadows move around on screen without the things that made them feel alive shining through.

If I didn't know beforehand what this season would eventually stagnate into, I could see myself being fooled into thinking the gripes I have with this episode are just growing pains, however i'm not so hopeful.

Episode 2: Improved in some ways but not in others. The episode premise is decent, and the narrower focus compared to episode 1 does help make the focus characters feel a bit more like themselves again. Unfortunately i just don't think the premise was utilized well at all. Introducing quintessons to the conflict is kind of a big development, but it doesn't flesh them out well IMO. They treat them like wild animals with no characterization for a majority of it, and then hint at some deeper conflicts at the very 3nd before promptly disposingof them. So ultimately it feels unsatisfying (although we do get some expositon in episode 9, but it doesn't add up to much).

And once again i must comment on the character acting on the humans especially being severely lacking.

Robbie and Mo having helmets for like half their screentime definitely feels like a cut corner not to animate their faces

Episode 3 review: some well animated sequences this time around, i'd seen the storyboards for them on twitter and they're really well done, but then there's some others that really werent as decent, so big ups and down in animation quality. Most of the episode did feel like a slight return to formula for Earthspark tho, with how it felt like it was actually making a point about something for once, which so far has been rare in season 2, although the conclusion wasn't the most satisfying with the whole "you can't have everything" message but then hashtag kinda gets most of what she wanted anyway.

Episode 4 is like.... baffling.

Like the fact that they swapped to a wholly different and much cheaper animation studio was so far just somewhat shining through, but now it's impossible to unsee. The animation here feels BEYOND stilted, in every way. Like not even the 2D FX animation looked convincing this time. That clip of Robbie dropping a cake is the weirdest animated thing i've ever seen. It's like it gets sucked out of his hands by a magnet.

The Faire Maestro is a type of character I feel like would have been handled really well in Transformers Animated but was just kinda nothing here, super ugly design too and very odd voice direction. Lots of just bizarre and mindboggling things in this episode, like them seeing faire maestro having an emberstone shard, and then deciding to steal it right in front of his face for absolutely no reason even though they think he's a normal guy and not a villain. And tiny inconsistencies like Mo knowing his name even though he never said it. Bizarre episode all around, Weird Al cameo is cute but then he's gone.

Episode 5 review: Finally Jawbreaker gets to be in it. Except now he feels like a baby. Just a big stomping juvenile baby.

And speaking of big stomping babies, Aftermath is one too. He feels like he's supposed to be a representation of troubled/delinquent youth who don't get along with their peers and who don't have positive role models or a support network, but he really comes off as being just... chaotic, no real sense of interiority to him other than "I'm mean and I enjoy being mean and I can't help it". He's entertaining on a surface level vibes basis, but it doesn't feel like any attempts are being made at making a point. He's barely been in the show so pretty much anything that could make his character interesting is completely missing. Like there's no development of how the decepticons are raising him other than the basic assumption of "bad role models", and the decepticons barely get to be characters this season either. Aftermath feels like an Afterthought, as Chaos Terrans have basically been less than a footnote, and the series has attempted to do no form of storytelling with them beyond surface level observations that honestly feel insulting to the other characters like how the decepticons are just evil now, and the autobots/terrans have lost all nuanced expressions of empathy and solidarity in favor of just "they're generally friendly"

oh and also the evil mushrooms are boring.

Episode 6 review: Man this episode just *feels* wrong, like viscerally.

The show's handling of the chaos terrans just keeps getting worse. There's absolutely NOTHING about spitfire that compels any form of empathy. Like there's not even a mote of her being a troubled and misguided youth, she's just straight up ontologically cruel, like nothing about the conflict in this episode regards a failure to understand, communicate, or empathise with each other, it's just a straight up rejection of those things on both sides. For this chaos terran delinquent analogy thing to work you NEED there to be a sense of humanity or waywardness to them. You NEED to be able to conceive of them as being capable of more than just anger. This just feels meanspirited, especially the way the Maltos have no desire for Spitfire to be better. They just wholeheartedly accept that she's ontologically evil, and honestly, the way she's presented in this episode you'd think they were right, but they're not SUPPOSED to be right.

It sucks too cuz chaos terrans are a great idea

season 1's terrans were all representations of good natured minority kids, particularly third culture kids, who despite their best intentions and kindness end up having to fight for acceptance.

The chaos terrans are a natural progression of that, with depicting kids who end up on the fringe of society because they're inherently different from others and have a harder time being understood, and who don't have a support network to set them straight.

So it starts out in a place where they'd easily be able to build on it, but it's squandered imo. And for several reasons:

1. the Decepticons are 1 dimensional bad guys this season so they fail to capitalize on any potential storytelling they could have done with how their generational resentment might be passed down to the younger generation. They also fail to build any sort of relationship between the Chaos Terrans and the decepticons, so any obligation to stay or debt of gratitude that they might feel is just not there. You get no sense of why they'd want to be decepticons other than wanting to be enabled and encouraged for cruel behavior. They could have given breakdown an actual father son dynamic with aftermath but instead undercut it and play it for laughs.

2. Because the malto's solidarity have been completely watered down into just being "good guys", and never really get to articulate any sort of deeper point in their attempt to appeal to the chaos terrans, so you don't get a sense of how they might help them if they were allowed.

and 3. because the chaos terrans themselves don't really feel like they have much of an inner struggle, interiority, or conflict, it doesn't really feel like there's much of a foothold for

Anyone to latch onto to get through to them. Which makes them feel unredeemable.

so to reiterate and summarize these 3 points; 1. there's no sense of how the chaos terrans are being given negative reinforcement, 2. there's no sense of how the Maltos might help undo this, and 3. there's no sense of how the chaos terrans might want to be helped or not helped.

I understand that like part of the point is that they don't understand the chaos terrans, which supposedly makes them feel more alienated and further pushed towards anger, but there's no nuance or attempt at solidarity to the way these misunderstandings occur. Like there's no hint of Twitch and the Maltos trying their best to reach out to spitfire in meaningful ways. There's no sense of there being some fundamental difference in perspective or circumstance that make them able to understand eachother's point of view, it's just straight up "i tried to be nice but you were mean so now i won't be nice anymore" and it never goes beyond that. It's insulting how easily the Maltos give up on them.

Episode 7: serving as a direct followup to the last, it continues a lot of the same flaws. It squanders any chance of giving Spitfire some depth, like they could have spun her obsessive competitiveness into a deep-seated need for approval or validation or something, but no, she's as one dimensional as her behavior would suggest. Her behavior just becomes more and more destructive to a cartoonish degree where it no longer becomes possible to feel empathy for her.

the whole freaky friday misunderstanding thing too also feels super forced, which isn't helped by the animation failing to convey a lot of ideas.

Comparing this season to season 1 so far, man it just really sucks at juggling the characters. We've had practically 0 focus or development for any of the autobots and decepticons, and the maltos for that matter, despite their overwhelming screentime.

This is likely a casting budget thing. Which is why bumblebee has been demoted from main cast member to a guy who maybe says 2 lines every 3 episodes.

The quality of season 1's writing would go up and down quite drastically between episodes, but so far season 2 has consistently been on par with some of season 1's worse entries. It's juvenile and it has next to nothing to say about anything. Barely even any basic surface level messages, just mostly meaningless antics with next to no focus on exploring characters.

Episode 8 review: it's fine. No notes. It's a competent comedy episode. Fun premise with the whole "thing getting continuously stolen by different people" trope. Basing an episode around optimus's trailer is funny. Animation isn't stellar. Overall it's just an ok episode. I have nothing to say about it other than it's well executed even if it's not very ambitious.

Episode 9/10: okay! End of the season. The finale's mixed for me. In a different universe, this would have been an OK finale for the most part, but the fact that the season has tarnished every single character and plotline from season 1 and made no successful attempt at building anything new of value makes it lack any impact it could have had.

Interesting angle to flip the quintesson creator race narrative that transformers fans are used to. Although they too were an afterthought for this season. Aftermath and Spitfire getting killed really was the rotten cherry on top of their miserable cake. First they're treated like dirt by the story and handled as poorly as they could possibly be, squandering the excellent potential they had, but then they just kill them. Just so starscream's heelturn is even more evil. It honestly feels sad to me that they even bothered to acknowledge the fact that starscream was redeemble in season 1. Just makes it feel even more annoying that they conciously gave up trying to make him nuanced. Some of the animation was good. The shots of terratronus rising were very well composited and communicated the scale extremely well. As for the actual climax, it felt pretty lacking.

Overall a dissapointing season. A shadow of what earthspark was. Most of the characters are completely sidelined (likely for lack of a casting budget), and the few who aren't don't get a single story that feels reminiscent of that immensely strong sense of confident identity that season 1 had.

Hasbro cannot help themselves can they

[shinneth]

My souring sentiments on Sailor Moon's manga

It'll be a surprise to no one who knows me even remotely that Sailor Moon was my everything back in my childhood. From the age of 9, I was utterly obsessed with it.

That was just a couple of years shy of 30 years ago.

Since then, I've often revisited the series. I watched the entirety of the Viz dub of the classic anime; all 200 episodes.

And I loved it all the same, if not more so than before. Because now I have context for why exactly the anime was the way it was, including its gradual diversion from the manga source material. And I respect the hell out of the staff who poured their life into this work, while concurrently running with the manga and doing whatever it could to not completely outpace it in the narrative.

Are there a lot of fillers in the OG anime? Yes. Too many? Well, not so from a functional standpoint (this show had to run weekly for 5 years), but there are definitely some fillers you could skip and miss nothing in doing so.

But a story like Sailor Moon honestly needed some breathing room in order to properly flesh out the cast.

Pretty Guardian Sailor Moon, the live-action reimagining of the show, was phenomenal back then (despite looking low-budget even by 2003 standards), and having re-watched the whole series recently, I can safely say PGSM more than holds up and deserves way more love and respect than it gets. It's THE perfect example of reimagining the story of Sailor Moon while still respecting its roots and maintaining the soul of the franchise.

Which is exactly why I couldn't stand Sailor Moon Crystal. We knew from the off that it was supposed to be completely faithful to the manga, but one look through @crystalvsmanga will show you Crystal took shitloads of "creative liberties", and the amount of changes I could dare to call "good"? I could count them on one hand.

The animation is low-hanging fruit, because everyone and their dog knows how godawful it was for the first two story arcs. But more than that, I actually loathed the general art design. Yukie Sakou's style DID NOT closely resemble Naoko Takeuchi's. People kept saying it, but I couldn't really see it. The eyes especially are a far cry from Takeuchi's style. And Sakou's style did NOT facilitate the OTT cartoony expressions that were definitely present in Takeuchi's manga; everyone looked so goddamn soulless, like overly-expensive porcelain dolls.

My biggest gripe with Crystal was the story, of course. While a great deal came from just being from the manga (which I'll get to in a bit), the changes they made went a long way to actively make the manga's story worse. My main takeaway from Crystal S1-2 is that it took itself waaaaay too seriously.

That being said, I did like Crystal's third season a lot better BECAUSE Chiaki Kon had way more competence and held a lot more respect for Sailor Moon. Like, my god, for once it felt like there was a soul in this show! It can actually take the piss every now and then!

Some silly things kinda broke my immersion (such as the Senshi just being able to fuckin' fly and Chibi-Moon in particular was literally sky-stepping), but most of that can be blamed on the source material it was adapting. While I was fine with Crystal3, I definitely didn't feel it was anywhere near as good as Sailor Moon S. Outside of Hotaru/Sailor Saturn having more of a presence, there wasn't really much in Crystal's take on Infinity that I liked better than S.

But most of that comes down to the fact that I liked S more than manga's Infinity arc to begin with.

Which is a good segue to talk about the manga proper.

I have not yet watched Eternal or Cosmos. the movies that adapted the last two manga arcs, but it'd be redundant since I know ahead of time what they're going to be about, and so far I haven't heard about any of them deviating from the source material, so it'd be moot to talk about them even if I had watched.

When I first got my hands on the manga, which was when I was around 12-13 and thus got the crappy MiXxZine translations, I was fine enough with it. Thought it was too fast-paced and didn't care for 99% of the villains being one-and-done jobbers, but I was also reading it with my impressions of the 90's anime characters still intact. I was reading the manga like an extension of the anime, rather than the other way around.

It wasn't until many years later when I grew older, when the manga was properly translated, when I acquired the wisdom my teenaged-ass self lacked, and learned to look at the manga as a completely separate entity that I started to see the cracks in the manga's narrative.

Further rereads have left me in something of a mindfuck, as I experienced the manga the proper way. And I realized:

The more I read the manga, the more I disliked it.

The manga is lauded for having an infinitely better depiction of Mamoru, as well as his ~Miracle Romance~ with Usagi.

Objectively, the manga definitely spends lots more time giving UsaMamo attention as a couple than any other aspect of the story...

I'd say they're also more developed as individuals in the manga too, but usually the beats, uh...

... let's say they usually ring hollow, when these two (and sometimes their daughter) are the only ones who consistently get shit done across the series. Hell, on the rare occasion that the Inner Senshi weren't rendered into street pizza, Neo Queen Serenity basically told them to fuck off and let her daughter, past self, and past hubby take on motherfucking DEATH PHANTOM/NEMESIS BY THEMSELVES.

It's likely because my first exposure to Sailor Moon was via the 90s anime, which had more of a focus on friendship and comradery between Usagi and her friends than it did her romance with Mamoru. I mean, romance was DEFINITELY a prominent thing even in that iteration of the story, but that wasn't where my interest lied. I was, am currently, and always will be more interested in Usagi's galpals than I'll ever be interested in her love life.

And, well, I'm sure this qualifies as a hot take, but...

This one moment with Usagi and Mamoru in the elevator (hell, their interaction across this entire episode was great) resonated with me far more than any ultra-romantic declarations of eternal devotion that Usagi and Mamoru kept regurgitating at each other in the manga.

Granted, the manga had a FEW moments early on where their dynamic was more playful, but they were pretty much confined to the early chapters and this element of their chemistry pretty much died not long after this.

Some say 90s anime Mamoru was far too mean-spirited in his teasing of Usagi. And I mean, sure, he was kind of a douche at times, but he usually got some karmic blowback from it (I remember one time he made Usagi cry without even really meaning to, and she cried so loud in public that randos nearby were giving Mamoru the evil-eye or a scolding). But honestly, after R, Mamoru kinda became a bland, generic love interest, just as he almost always was in the manga. The only difference was that anime Mamoru was never granted powers that were literally equal to Usagi's. The manga gave him a GOLDEN FUCKING CRYSTAL.

There was that infamous break-up arc in R that, yes, was shitty in concept and execution. But if I had anything positive to say about it, it at least shook up the status quo. It didn't make him immediately fall into the bland, generic love interest he would soon become. And it gave us some of the most emotionally-charged Usagi moments in the entire anime.

Conversely, in the manga, we had THIS shit for our UsaMamo "drama":

(the former incident with Usagi literally accusing her boyfriend of falling in love with a kid, by the way, happened while MOST OF HER FRIENDS WERE KIDNAPPED BY THE ENEMY AND COULD'VE BEEN DEAD FOR ALL SHE KNEW AND YET SHE FUCKING HAD TIME FOR THIS STUPID SHIT)

Everything seemed to revolve around Usagi and Mamoru (sometimes Chibiusa too). It lowkey came off that way at times even in the 90s anime, but in the manga or Crystal? You'd be hard-pressed to find the girls engaging in their stated hobbies at most points in time, because they're usually all together and talking about their prince and princess.

Hell, even Haruka - Sailor Uranus herself - seemed much more interested in Usagi than she ever did in Michiru, her actual girlfriend.

So... am I just missing something? I've seen people say that as they grow older, they prefer the manga/Crystal to the 90s anime. But I've never seen anyone other than myself express the opposite sentiment.

But it's true - unless I completely leave my brain at the door, I have a hard time enjoying the manga for what it is. The characters I'm most interested in or attached to quickly get swept aside for the characters I have the least interest in. No more does that ring true than the Stars arc of the manga, where Naoko Takeuchi basically speedruns killing off literally the entire cast until Sailor Moon's the only one left standing. Most characters don't even get to go out in a blaze of glory or anything - it's got nothing on the finale of the 90s anime's first season in that regard. If you're lucky, you'll get a single panel where your entire existence is ripped to shreds - but sometimes you'll be killed literally off-screen!!

There's a number of questionable manga-exclusive aspects that rubbed me the wrong way as well, such as poor Sailor Pluto being assigned as a child to guard the Door of Time in complete and total solitude. While I appreciate more Silver Millennium lore that the manga provided (the anime hardly mentioned it past the first arc), it was more than a little uncomfortable knowing the OG Queen Serenity conscripted the Inner Senshi as small children to become Princess Serenity's guardians. Really casts Queen Serenity and her Moon Kingdom in a much darker light - like maybe Queen Beryl and Queen Nehelenia had a point in trying to take them down (though the manga I believe retcons all past villains as incarnations of Chaos, so that arguably removes all prior villains' agency?). Lots of little things that I didn't think twice about, but now that I look at them again, I'm wondering WTF Naoko Takeuchi was thinking.

Though I don't want to be too hard on her. Poor girl was working under stress far longer than she'd planned to (she'd intended on ending the story either by the Dark Kingdom or Black Moon arc), so it's no surprise there's a lot of clunk and clutter in the narrative.

I often wondered if Naoko Takeuchi really wanted to make Sailor Moon with a Super Sentai-esque setup in the first place. After all, her first big hit was Sailor V, which was exclusively Minako and Artemis fighting evil with Minako having her own masked love interest she ended up being at odds with and he eventually died. With a scant few secondary characters here and there.

It led to me thinking about what Sailor Moon would be like if Naoko kept the cast to a more Sailor V-like size. That, perhaps, the Sailor Moon she really wanted to make would be quite a different beast from how we know it to be today.

So this lengthy diatribe about my personal conflicts with my waning fondness for the manga versus my strengthened love for the OG anime and live-action show was actually a preamble to a bizarre AU I wrote an outline for over a year ago but never posted in public. I had considered posting it to Sailor Moon's Reddit back then, but I (probably wisely) held off, as my musing went way off the rails.

But I figured now's a good time as any to share it here, at least. Though it'll need to be its own post since I wrote so goddamn much in this post alone, wow.

On that note, I'll end with this: The only iteration of UsaMamo that I unironically enjoyed and rooted for is...

[trillscienceofficer]

deep shpace nine... if that's too vague then maybe s7 specifically?

[For the reverse unpopular opinion ask game, where I talk about an aspect I like of any topic]

I think Deep Space Nine is still the best Trek show out of all of them, even the new ones! I realize I complain a lot re: how it approaches its women (especially its women of color—obviously I have my gripes about the Daxes and Winn but the people who really got the short end of the stick are Keiko, Kasidy and Sarah Sisko), but it's still the show who tried to really push the envelope and try to fully explore its premise /and/ also tried to adress issues of race and colonialism in a... not completely naive (ie, racist) point of view. There are exceptions to this too (there always are in Trek) but I totally understand why this show is so popular now.

For season 7 specifically, while some episodes are certainly... there, I've always defended it probably more than most people, and perhaps even more than it actually deserves. I think as far as final Trek seasons go, it's again one of the best, and again tried to push the show as far as it could go. It's Ezri's season as well, and of course that influences my perspective quite a bit. I think she was a great addition to the cast (add obligatory caveat about Jadzia's death being stupid and unnecessary etcetera) and allowed the show to get a little deeper into what a Trill joining actually entails. With Jadzia the transition between Curzon and her was mostly theoretical and off screen; in season 7 we see all the characters struggle (even if momentarily) with what it means to have in front of you a different host of your old friend, who can never come back as she used to be. And the show gave some space to Ezri to develop too, which wasn't a given for a character coming in so late into the fold.

I think the whole season is also worth it for the whole Cardassian resistance arc. It's got so many great moment for Kira and Damar and Garak, I kinda wish the whole season had focused on it more rather than only in the back half. Then there are great standalone episodes like The Siege of AR-558 and It's Only A Paper Moon, which coupled with the final episodes on the war really manage to send the strongest, most affecting anti-war message out of most Star Trek. I love that the writing stubbornly refuses any easy trumphalism, that's something I wish modern Trek took inspiration from more often. Sometimes I find it would be best to shy away from moralizing and/or uplifting messages or whatever and be more willing to really sit with questions that have no immediate answers, like 'what is the price we will pay for all this death and destruction?'. DS9 was never afraid to leave the audience picking up the pieces, and I think that for the Dominion War plot at least season 7 managed to do the same fairly consistently.

[z-eusie]

i finished blood of zeus and i'm going to try and formulate some of my thoughts on it here. i'll preface this by saying i really enjoyed the first season (it had some flaws, and there were parts i didn't like, but overall the story was interesting and i liked most of the portrayals). spoiler warning for season 2 ahead!

i had quite a few gripes with the show this season. it very much so felt like a set-up season (which is fine), but it also made the show feel very slow. one of my biggest complaints was actually about heron as the protagonist - i didn't mind him in season 1, but in this season, he felt so flat, boring, and irritating that i genuinely tuned out most of his scenes. his role in the story made sense in the first season, but now, everything feels much bigger than him and he has no reason to be involved in all of the godly drama. get him out of there lol. he has no understanding of the politics of olympus and is mortal, but he can shoot lightning and zeus liked him so he deserves to be a contender in who gets to lead them? HUH? (an oversimplification, i’m aware)

my second complaint was ares. i've seen a lot of people reiterate my feelings, that it was frustrating to see him portrayed so negatively, that his storyline with persephone was bad and that his antagonism was infuriating. which i also agree with. i think my biggest issue here is not that he was an antagonist, but that his motivations for antagonism were weak at best. ares sided with hera in season 1. he should NOT be able to parade himself around olympus the way he did this season - hera had to go into hiding and even poseidon was removed from the overall plot because of their deeds. but there seems to be no repercussions for ares, which is flaw number 1. flaw number 2 is that his reason for hating heron and being a general jerk is that he isn’t a bastard and deserves more renown than any of the others. i think it would have been FAR more interesting to make ares’ storyline centered not on his sense of superiority, but actually his jealousy (kind of the way wrath of the titans did it. in that film, he was jealous of perseus and the love zeus had for him). ares being jealous that, despite being zeus’ ‘heir’ in this context, and one of his few legitimate children, he didn’t have his father’s love, and he loathes heron for it. you don’t really get that sense from him in this show, and i think it would have been far more compelling for his anger to have come from envy instead of pride. the persephone stuff i just can’t even touch on because why.

my third complaint is actually about demeter and persephone - demeter in particular. her being the villain is so frustrating, but i can’t exactly be surprised. i knew the moment that this show portrayed hades and persephone as a loving couple with a romantic origin that demeter was going to be villainized. but the way they did it is ridiculous. she’s not a grieving mother - she’s pure evil. the storyline with the cordyceps was fucked (and also… really insignificant, somehow). but i think the part that aggravates me the most is that it completely ignores why demeter froze the earth the first time. she did not do it to be spiteful, or out of anger. she didn’t do it to punish anyone. she was a grieving mother, a mother who had lost her daughter and no one in the world seemed able to help her, and her grief manifested in dying crops. in this show, she’s just vindictive, cruel, and genuinely terrifying, and i cannot stand that she is once again being villainized in one of the FEW greek myths that actually centers a woman’s emotions and does not belittle them.

fourth - i love hades and persephone, but their little scheme was so wishy washy. hades as an antagonist felt half-baked, and the fact that no one on olympus actually saw this coming is a miracle because everything hades did felt really dumb and obvious. i feel like there were a hundred different ways the two of them could have gotten what they wanted. i also loathe the idea that zeus cheated his way onto the throne - i’m glad the show didn’t actually blame him for it, that hera took the fall, but i think that the fates work a little more powerfully than that - and that cheating wouldn’t be possible in this circumstance. zeus did earn the throne and he deserved it, and i will die on that hill. (my other complaint is hades and persephone’s design. blond persephone is the bane of my existence lol and hades looking like an older ares was… sigh).

a few other things i didn’t like: the way the story of typhon unfolded. at first i thought they were implying that typhon was just. plain old defeated by all the gods together, and i was frustrated, but they sort of fixed it by stating zeus was the only one who stayed to fight him. however, the lack of focus on zeus in this story means that they’re ignoring the personal stake zeus had in needing the eleusinian stone under his control. it was also weird that they implied then that there was no king of the gods until AFTER typhon, which is… a long time, actually.

the gorgo plotline also felt kind of unnecessary. seraphim’s arc could have easily been about his mothers instead and we could have felt the same level of sympathy but alas.

there were some things i really did like though! and those are as follows:

athena and hestia. zeus trusting the two of them with the very stone that gives him his power was beautiful, and i love how hard the two ladies fought to keep it safe. hestia wrecking the keres was incredible (and also hilarious to me. anyone who read my fic ‘mnemosyne’s curse’ will know that hestia scorched the keres in that story.. and then did in blood of zeus which was amazing haha). the inclusion of hestia in the story was nice. and i really loved the way the show portrayed athena’s intelligence - not just in combat or in solving problems, but she was quite emotionally intelligent as well which was a nice touch.

i liked hera’s attempts at reconciliation. i think they could have been more detailed, but her defending zeus at his trial broke my heart and i loved the way she handled the conflict. poseidon as well - his willingness to admit that zeus should have been king, and him backing out of most of the conflict for the throne was a very interesting touch i didn’t anticipate but really enjoyed.

zeus in tartarus. i mean, i didn’t actually like it because it broke my heart but him repenting and still ending up in tartarus was painful and i cried a lot i’m not gonna lie.

zeus kid solidarity - watching them work together and fight was incredible, and i adore all of their character designs so much.

melinoe and zagreus. if you know me you know i’m a fiend for the underworld family and seeing them was so cute. i just wish melinoe’s design was spookier, but alas, all of the gods seem to be very ‘pretty’ so i get why they didn’t.

every scene with zeus. his leadership shining through, his quiet acceptance of his fate, his humbleness. y’all can say what you want about him, but he proved in this season why he deserved to be king, and his absence clearly drove everyone else to some horrible acts as well - meaning what they condemned him for is not something only he is guilty of (what gaia said at the end). i will defend that man to my dying breath, and it pains me to see him this way but it’s also so good.

i am very excited to see typhon as the villain next season. i’m hoping this means they will set zeus free to help them defeat the foe only he was brave enough to stand up against uwu

[doe-writes-stuff]

Rick finds reader camping in the woods and, over time, convinces her to join Alexandria. Happy, lovey (optional smutty) ending please!

A/N - Thank you very much for the request! ^_^ Your comments and reblogs always touch my heart <3 I'm glad you're enjoying my stuff.

WARNINGS: Canon-typical violence, blood, injury, strong language. Reader has trust issues. Set during the time-jump between seasons 8 and 9. This will likely have a second part with smut to come >.>

The first time you meet him, he scares you.

You hadn't anticipated meeting anyone out here in the wilderness, let alone someone who didn't intend to kill you. But there he was, stumbling out from the thicket of trees you'd camped within, gun held loosely in his hand, seeming just as startled as you that he'd found someone out here. The pure shock of it had left you both silent, staring

There were so few of you left, and often the people you did have the misfortune of encountering were something less than human nowadays. It was better--safer--to assume he was no different. But rather than lift the weapon to shoot you then and there, he held up his hands in a placating gesture, backing away when you'd stood to prepare yourself for a fight.

"Hey, hey...'m not gonna hurt you. Let's not do anythin' we can't take back, now." He reassured, one palm facing you and the other slowly lowering his gun back into his holster to show he meant the words. Your eyes are riveted on the weapon, your hand grasping the hilt of your knife with a white-knuckle grip.

There's little it could do for you at range against his gun, but still, holding onto it made you feel better.

"My name is Rick Grimes." He watches you carefully, his hand still stretched out to try calming you. "And I ain't lookin' for violence. Just out scavengin'."

You say nothing at the introduction, not trusting anything he had to say. You shift uneasily on your feet, eyes flicking away to the surrounding tree line to look for anyone else hidden from your view. Surely a man like this wasn't alone-

"It's just me out here." He seems to understand what's on your mind, settling into a more relaxed standing position in an effort to get you to do the same. "Just us."

Still, you say nothing. Whatever his true motivation for being out here, you know better than to believe what people tell you at face value. It was a big factor as to why you'd lived this long.

"Can I ask your name?" Perhaps discouraged that you still hadn't responded to his words, his head tilts in a reassuring way, and he takes a step forward, hesitantly.

"Got nothing to say." You gripe, throat tight with anxiety. You match his step back, taking care not to stumble over the log you'd been sitting on mere moments before he'd arrived. "Just wanna be left alone. Best be on your way."

"Maybe we can help each other-"

"Leave."

It's so obvious that he wants to say more, wants to try convincing you he was harmless, but the hair on the back of your neck is standing straight up and you can't bring yourself to care. Your hand takes a better grip of your knife meaningfully, and Rick seems to get the message, once more holding his hands up and slowly backing away the direction he'd come from.

"I'll leave you be, then."

You stay standing, waiting, for at least 20 minutes after he disappears and the sound of his footsteps fade away in the sounds of the forest. You can't trust that he won't turn around and try killing you when your guard was most lowered.

Eventually, your hackles lower. And with a somber glance around at the cozy little campsite you'd occupied for the past couple months, you sigh. You supposed it was time to move on.

The second time you meet, you nearly kill him.

The little cabin in the woods you'd discovered after packing up camp had clearly seen better days, but over the course of the few weeks you'd been staying there, it felt a little more like a home. Some reinforcing wood planks to keep the door from caving in case the infected got wind of you, and a bit of cleaning to get the worst of the bloodstains off from the floor saw the inside looking downright cosy.

It wasn't exactly your apartment from back in the day, but hey, one couldn't be picky.

The sound of shuffling feet outside has you glancing up from your book and sighing, annoyed that an infected or two had wandered their way close to your shelter. It was strange that they so frequently seemed to wander by this deep into the woods. You hadn't seen that pattern at your old campsite, but here it was almost routine.

You dog-ear the page you were on and set it on the side table, next to the burning candle providing you with the light. Grabbing your improvised spear leaning in the corner of the main living space, you rise and peer out the window to out into the darkening evening.

You freeze, pulling yourself out of the window's sight. A stuttered breath escapes you.

Two men. Not infected. Shit.

Backing away and crouching down below the sill of the window, you scramble as quietly as you can towards where you kept your small bag of weapons on the nearby counter. One hand reaches up into it, ears perked up for any sign that the men had reached your doorstep, and blindly closes around the handle of your 9mm pistol.

Thank fuck you always kept it loaded.

You catch snippets of the two talking outside, the distance and the walls in between you making the words indistinguishable, but their closeness had your heart pounding a little faster in your chest. Your eyes scan the room, looking for a hiding spot or a vantage point that would protect you from possible harm. And suddenly the cabin doesn't seem all that great anymore, seeing nothing to aid you and nowhere to hide.

With a snarl, you curse your own shitty luck. This might get ugly.

Drawing the knife from your hip into your other hand, you crouch to the right of the front doorway, back to the wall. At least it should shield you when they initially entered your little home. Maybe it would buy you a little time, but you didn't hold out hope you could hide from them completely. Not with two of them...

Heavy boots on the steps to your cabin alert you to their impending entrance. With a moment to close your eyes and focus, you adjust the gun's grip in your hand, opening them again when you hear mumbling and hesitation from the two intruders. Their voices are low, gruff.

A spike shoots through your heart when the door bursts open, swinging towards you on its squeaking hinges. Just as planned, it shields you from their initial entrance. They step inside, systematically checking the room. You get ready on your toes, prepared to spring out at a moment's notice.

You get your chance as the door begins to close, the man doing so with their back to you, talking to their companion in a hushed tone. And while the crossbow-wielding companion widens his eyes as he spots you, the other that you'd set your sights on is too late to react as you gun is held to his temple and the knife rests upon his neck. He tenses with a curse under his breath, and smartly doesn't try to resist.

"Hey!" Your captive's companion shouts, eyes hard. "Let 'im go."

"Hell if I'm gonna just let you bastards walk in and take what you want." You say with as much steadiness as you can manage in your voice. "Y'all're trespassing in my home. I got every right to defend myself."

He practically growls back. "Ain't gonna be anyone's if you don't get those outta his face."

The crossbowman shifts on his feet, trying to figure out what to do, given his friends is currently in such a precarious spot between your weapons. It surely doesn't help your own nerves seeing him so antsy. You find yourself pressing the knife just a little bit more against your hostage's skin, not enough to actually cut, but at least so he doesn't get any stupid ideas while you have control.

"Tell your friend to put the crossbow down." You mutter into the man's ear, ignoring the feeling that you somehow...recognized him. You hadn't gotten a great look at his face before holding him captive, but something about him felt...familiar.

"Daryl, easy." The man in front of you says, one hand coming up to try placating the other. "Put it down. We'll talk."

One of the crossbow bolts is leveled straight at you, but you're careful to keep most of your body hidden behind the man you were currently holding hostage. If he was smart, he wouldn't try taking his chances with shooting the small portion of you that was visible. Besides, even if he got a shot off, there was no telling if you'd accidentally pull the trigger or slice his neck on the way down. And that doubt was exactly what you needed.

You can see him--Daryl, supposedly-- glancing between you and his friend, but eventually the crossbow is lowered to a more non-threatening state. Wasn't all that happy about it, either. He still hadn't put it onto his back, ready to bring it up and shoot you at a moment's notice, but at least you weren't staring down the business end of an arrow.

"Say your piece." Daryl spits.

"All I want is to be left alone." You demand, keeping the knife to your captive's neck, but pointing the gun at Daryl. You flick it quickly towards the open door behind you. "Leave, and I'll send your friend a few minutes after when I'm satisfied you're not nearby."

Clearly unhappy with that demand, Daryl takes a step forward, but your gun returns to his companion's head for emphasis. "Don't have to like it, but if you don't want him hurt, then do as I ask."

"Like hell I'll-"

"Do what she says."

Daryl's jaw sets. "Rick, I ain't leavin' you with-"

"Like she said, it's her home."

Before you can fully mask it, your brows twitch upwards in recognition. That name...

"Askin' me to trust her..." Chewing on his bottle lip with worry, Daryl looks back to you with a glare. "What's to say you won't kill him the moment I walk out that door?"

"All you got is my word that I won't." You admit, knowing that promises meant so little nowadays. Your answer doesn't inspire any reassurance in the bowman, who scoffs and shakes his head. "I just want you away from me, and I'd prefer not to kill anyone to do it. But I will if you make me."

Rick nods as much as your knife allows him to towards the open door. "Go on. I'll catch up with you."

It takes several seconds, and no doubt some unspoken conversation between Rick and Daryl, but eventually the crossbowman takes one step and then another towards the door. You shift and lead Rick so that your back is never to Daryl as he goes, the gun and knife staying right where they are just in case he tries anything stupid.

You watch, adrenaline quickening your breath, as Daryl does as he's told and steps down onto the grass, finally disappearing into the trees beyond after some minutes. And even still, it takes another minute before you're completely comfortable that he's left.

Now, to deal with your hostage...

You release the knife and push him away from you harshly, gun leveled squarely on his head. Rick recovers, turning to see that while he was no longer in your hostile grip, he wasn't fully in the clear either.

"Told you once already Rick." You say, immediately recognizing the man and his scruffy facial hair. From the scrunch of his eyes and furrowed brow, clearly he'd also been wondering why you sounded so familiar too. "I just wanna be left alone."

"Didn't know it was you." He says, reaching up to rub at his neck, checking for cuts. But there was nothing. "Far as I knew, you were still campin' somewhere in the woods. If I'da known, wouldn't have come out here."

"Well..." You give a sigh, feeling a sudden sensation of fatigue. All this had thoroughly exhausted you. "Doesn't matter now. What's done is done."

He looks at you silently, appearing very relaxed for still having the gun aimed at him. Perhaps he didn't believe you'd really shoot. And unfortunately for you, it was growing more and more likely you wouldn't.

With a glance towards the door--there was no sign of Daryl, still--you gesture to it with your knife. "Go on. Don't come back. I'll be gone by the time you might come looking anyway."

Rick gives one last look, before slowly walking to the open door. But, he stops just as he gets to the threshold, turning back to you again with a thoughtful expression.

"You don't have to be alone." His voice is soft, gentle, and yet still holds onto that confidence and certainty you'd heard when you'd first met. "Daryl and I...we come from a community. Dozens of people. Good people."

You only stare, making it clear what your answer was with the hardness of your expression. Even still, it doesn't stop him from trying one more time.

"It ain't safe out here on your own anymore. People have always needed each other, even before, but that's more true now than it ever was. Can't you see that?"

At the very least, you spare him a few moments of thought, before you gesture towards the door with your gun without a word. Rick looks down, accepting that he hadn't convinced you. Then, you see a little amused smile lift the corners of his mouth, head shaking slightly.

"I still don't even know your name."

You match his smile, though it lacks the amusement.

"It's better that way."

Hmm, well, they say the third time's the charm.

Out of breath, heart beating the drums of adrenaline and survival instinct through you, your eyes whipped around the forest for any sign of your pursuers. The rain wasn't making it easy at all, pouring down through the canopy of leaves above and making everything much too noisy to hear if anyone was closing in.

You'd lost a lot of blood, and you'd no doubt lose a lot more unless you managed to get a decent bandage on your wound. The first had already fallen off, sopping wet from the rain and doing nothing whatsoever to staunch the blood from seeping out of your side. Whatever caliber round the person with the rifle was using was terrifying, and you doubted another shot would miss its mark quite like the first did.

Fatigue was dangerously close to descending on your muscles and limbs, and already you could feel the impending weakness from not enough blood pumping through your veins. You didn't have much time. But your only option was to run.

Blindly. Frantically. No destination in mind, and no one to help you. Was this how you died? Were all those years making ends meet, killing and scavenging and surviving just to bleed out like this? Like a wounded animal in the middle of nowhere? It all felt so unbelievably unfair.

Teeth grit against both the searing pain of your wound and the tired muscles in your legs, you rise from against the tree with a gasp and limp as fast as you were able through the dark grey forest.

Paranoia had you hearing the crunch of leaves behind you every few feet, but no matter how many times you'd whip your head around to face the incoming threat, there was no one there. The rain deafened everything else, and it was then that you realized you needed to have a better sense of the direction you were running. All of this wouldn't be helped by running face-first into the jaws of a hungry infected.

Wiping the rain from your eyes as best you can, squinting into the gloom, you make your way in one set direction. The forest all looked the same, no matter where you swept your gaze. For all you knew, you could be running in circles-

The distant bang somewhere behind you wasn't what caused your body to jolt painfully in place, but the splintering of the tree trunk from the bullet's impact right beside you certainly did. With a yelp of surprise and fear, you take off with renewed vigor, pushing past your already screaming lungs and shaking limbs.

You would not die out here. You swore it.

Now making a zig-zagging path through the forest, hopeful that the unpredictable path would discourage further shots from your would-be killer, you keep going. Your own sense of dread rises the more you feel yourself becoming dizzy. Whether it was from pushing yourself too hard, running for too long, or simply the loss of blood, you can't be sure.

And suddenly you're breaking through the trees and onto an empty road. And while you're surprised by the unexpected change of scenery, you don't have time to properly stop and process it.

That's why, seeing something that looked manmade at the end of the road up ahead--too far to make out properly, but clearly a construction of some kind--you immediately make your way towards it. The thought that someone might be inside didn't even cross your mind. Perhaps it would give you the shelter or place to hide that you needed. That was the plan, anyway.

Black dots edge at your vision, and you slow, chest heaving with the need for oxygen. Which, in turn, only further worsens your body's need for blood to distribute it.

No, no, no no no!

You'd reached your limit, and barely 100 meters from the walls you'd been running towards, you collapse in a heap in the rain. The impact upon the pavement doesn't register until moments later, and by then you swear you're hearing things because...over the sound of the pounding rain, you swear you hear voices.

Stay with me.

Don't close your eyes.

Self-preservation tells you that something is nearby, and a figure takes up the small window of vision you still have left, but everything is much too blurry to make out. The disorientation of being on the brink of passing out is terrifying.

This is the end, you think, cursing everything and everyone you can think of in your last moments, quickly losing the ability to even care as blood loss seeps you of strength. How completely unfair.

Consciousness eludes you, and everything goes black.

No matter how many days you heard it, some part of you believed you'd never get used to the sound; the laughter of children. Sing-songy voices as they played chalk games and tag in some nearby yard. When was the last time you'd heard such...such joy?

You'd cried when you realized you could no longer remember. The doctor attending to you--Siddiq as you'd learned his name to be later on--was quite concerned upon seeing you with red, watery eyes when he'd returned. It had taken quite a lot to convince him you were fine. It had taken all afternoon to truly accept the fact that you weren't dreaming and this was indeed real life. Without even having to explain your feelings, he'd seemed to just know, and understand.

There was little else to do but sleep and think when stuck in an infirmary bed for days on end. It had only taken you until that first afternoon to inspect your room with suspicion. The decorative trinkets and knick-knacks almost felt offensive. You'd nearly just died, and they'd stuck your ass in a room that looked right at home in one of those interior design magazines from way back when.

Rick had visited you that first evening. Came to check on you and see if you were recovering ok. Past the basic small talk, and the most superficial of answers to deeper questions, the conversation had been brief. And then he'd left, promising to come back another time when you were feeling more up to talking.

After that, there'd been more hours of staring up at a ceiling. More bouts of short naps that, admittedly, were very much needed. You hadn't slept as long or so comfortably in...hell, you couldn't recall. Unable to lift yourself from the bed, there was little else to do but wait, bide your time and recover.

And it unfortunately wouldn't be quick.

For the most part, you were left alone. From what you had surmised, they'd stuck you in a room separate to the rest of the infirmary, perhaps for safety. You didn't mind the distance. It gave you plenty of time to listen, to observe, to get an idea of what Rick had talked about in that cabins all those weeks ago. His words had meant so little back then, but now...?

Rick and his people truly had it lucky. All this...normality. People forgetting about the world out there, if even for a moment. Such luxury you'd never been able to afford. Slipping up for even a moment could very literally be a death sentence--hell, it nearly had been, even when you'd stayed vigilant--but these people...they didn't live every waking moment wondering if the next would be their last. They didn't sleep with a knife in their hands, ready to strike against anything that felt out of place. They didn't need walls around their hearts and minds because they'd built them from metal to protects their homes and their families. Large sheets, tall and sturdy.

These people...they laughed, they loved, they danced and sang. They ate dinners together around a table as a family. They gossiped with their neighbors, worried about if you were comfortable or if you needed another pillow behind your head. They cared, damnit. They felt safe.

They lived, so fully and freely.

Could you say the same for yourself?

If asked, you didn't think you'd be able to describe the feelings being in a place like this was invoking. Some mix between disbelief and...hope, perhaps. Something once thought unattainable, or lost forever, was right here in front of your eyes. And suddenly you thought you understood the difference between living and just surviving. Or, at the very least, began to grasp at the concept.

Your wound was still tender. It would be for another week still. But after several days of bed rest you could finally stand and walk around without much difficulty now. You wouldn't be running marathons anytime soon, but it was better than being confined. Although, Siddiq kept you from leaving the infirmary and getting some fresh air, which indicated that someone had put you on some sort of house arrest.

Made sense. You weren't much more than a stranger to any of these people. No one would let someone like that run amuck in their home.

You heard the footsteps leading up to your door before it actually opened. Turning away from the window you'd been looking out of, Rick enters almost cautiously. You meet his gaze, searching for any hint of deception, or bad intentions, but find none. He was comfortable in his surroundings.

He even felt safe enough to offer you a smile.

"Good to see you on your feet." He says evenly, leaning one elbow against a shelf on the opposite end of the room. His thumb slots into his jean pockets with the other. "Siddiq wasn't sure if you'd pull through that first night."

"Yeah, well..." You shrug, not sure what else to say, arms crossing over your chest. "Tougher than I look, I guess."

"That you are."

There's a lull, neither of you really sure what to say. Your gaze returned out the window of your infirmary room, tracking a group of children running after one another playing some sort of game. You couldn't tell exactly what the objective was, watching from afar.

After several moments of watching them, your lip twitches upwards a little. "This all...still feels a bit like a dream. Like I'll wake up at any second and be hit with reality."

You hear him huff an amused breath, steps coming closer. And while you once might have tensed and put more distance between the two of you, it seems illogical that he'd drag you into his home to save your life just to take it now. The reassurance that Rick didn't mean you harm meant you didn't flinch when he came up beside you to peer out the window as well.

"Felt that way for us, too, when we first came." He says with an understanding nod. "Feelin' like the floor's 'bout to give way from underneath you, somethin' like that?"

You nod, then something he'd said makes your brow raise. "You weren't here from the start?"

"My people came later. Much later, actually. We spent weeks on the road just...survivin.' Searchin' for somethin' we didn't know was there or not. And this,'" he gestures out the window, "is what we find at the end of it all. All I could tell myself is 'there must be somethin'. There had to be somethin'...wrong about it. Nothin's that easy. Not anymore."

"And was there? Something wrong?" You can't help but ask, unable to help but get invested in his little story.

"Nothing a harsh wake-up call couldn't fix. They weren't prepared for it, what's out there. Didn't realize how bad it could actually be." Another gesture, this time to the wall you could see in between the gaps of two houses further down. "But they're still here, and that's gotta say something about this place."

You look to him with a side eye. "That they're lucky?"

"That they're capable." Rick's head shakes, meeting your gaze. "See, that's what I missed the first time. I didn't see what they could make themselves to be. It may look like the old world, might have a few fancy amenities, but they've been through more than you think to still be here. And we did it together. For one another."

It's silent as you take in what he'd told you, eyes flicking back to the kids outside. "Tryin' to convince me to stay?" You ask, the humor evident in your tone.

Rick chuckles, that same smile gracing his expression. It still amazed you how at ease he could be in a stranger's presence. "Is it workin'?"

"Not sure yet." You say honestly, a lot of things on your mind.

"I'll take 'not sure' over 'hell no.'" Rick surmises with an accepting nod, not pushing it any further than that. "Siddiq expects you to need awhile longer to recover, so...gives you plenty of time to think on it."

"Maybe..." A thought suddenly comes to mind, and your own smile comes out. "I doubt your friend would appreciate me stayin'."

"Who, Daryl?" Rick's hand dismisses it with a wave. "He'll come around. We were the ones breakin' into your home, after all. Can't blame how you went about defendin' it."

You only shake your head, not truly believing him. Daryl, as you recall, had been ready to skewer you with one of his crossbow bolts. You weren't altogether convinced he still wouldn't the next time you met face to face.

"I'll let you rest." Rick says, pushing away from the window and laying his hand on your shoulder briefly, before turning to leave. "And if you do come to a decision, let me know."

Chewing on your bottom lip in thought, you nod, and he takes his leave of your room, the door closing shut behind him. Your stare remains on the wood for several minutes after, before eventually returning to the window. The children had disappeared from sight, perhaps off to get something to eat. It felt around lunch time anyway.

You had a lot to think about...

[biblioflyer]

Something that I did not know but seems obvious in retrospect is that the Paramount+ era of Trek when it comes to the writing staff started from square one. No one listed on IMDB has a writing credit for a prior Star Trek series or film. Nor for that matter any adjacent IP. Not Stargate, not Galactica, not Farscape, not even Clone Wars or Rebels. There’s a handful of people who wrote for supernatural dramas and a couple of people who wrote for military dramas but that’s the closest to Star Trek you get.

So for those who gripe about the lack of professionalism among the Discovery crew and are nostalgic for mystery of the week proceduralist competency porn, you have my sympathies because if personnel are policy, Discovery and Picard were always going to be shows with significant amounts of conflict and heightened emotions rather than respectful, stoic grinding away at the problem.

It also confirms a suspicion I’ve had that I put out that we have always been seeing a work in progress. A franchise that is relearning how to be itself and what that even means today. I think it’s clear that the original approach was that Star Trek was a setting and you could simply tell radically different stories within it and it would work. But I think what has been relearned is that Star Trek is also an attitude and a particular approach to telling stories where taking 10 or more episodes to overcome the forces of cynicism and moral decay just doesn’t read as very Trek. Somber is a valid mood for a cliffhanger but idealism and optimism, perhaps taken to ridiculous heights, are an indispensable element not to be too trivially tossed overboard or saved for the season finale.

I’m sympathetic to the writers of Discovery in having to try to reinvent the wheel with only very few old hands in the director’s chair to fuse the new and the old. I haven’t always appreciated their work but I recognize the effort. It’s hard to figure out what is sacred and what can be questioned. I remember when it was Berman and Braga’s heads the fandom wanted on pikes for being derivative, boring, and excessively cautious yet also taking time to cater to the lowest common denominator with cheap sexual thrills. Also people hated the NX class as much or more than they ever did Discovery or the reimagined Constitution.

Still, I’m shocked that there isn’t one person with a writer’s credit on Discovery who worked on one of the other space operas. Stargate had eleventy zillion episodes across three shows.

[steeloptic]

finally watched the ghosts us season 3 finale and my main takeaway is. i've never seen such a forced gay relationship in a show my life and im genuinely upset at that ending and the way it was all handled. in this essay i wi

(spoilers under the cut!!)

first of all i already ranted about this so jpeg if you're reading this hi im still pissed

second of all. why can't we have a gay relationship that doesn't involve breakups or tragedy or anything along those lines in literally any show. how come in this show all the straight couples resolve their problems whenever they arise and continue on happily, meanwhile the token gay couple is just constantly facing problems that aren't handled well. the whole Issac Leaving Nigel At The Altar, Coming To His Friends After Talking It Out With Him, Then Witnessing The Straight Couple That Was Also Having Problems Magically Sort Everything Out In Less Than 20 Seconds thing really rubbed me the wrong way. i know damn well that if it were, say, Flower and Thor, at worst someone would've started doubting everything at the altar but they would've gone off, worked it out together, then decided the wedding was back on.

there's also the problems of Nigel being in maybe a couple of scenes every episode if you're lucky, despite literally being Engaged to one of the main cast for an entire season. despite literally Sleeping In The Same Bed as him. you'd think that would encourage the writers to have him show up more often... (i swear we saw even Nancy more than him this season. i daresay probably throughout the whole show!!)

plus like i said before, the whole relationship just feels like an excuse to go 'guys look we have queer rep!! look we have gay characters isn't that so cool!!' and i also just. dont like how their whole relationship is written throughout the whole show.

i dont really have a point or meaningful conclusion for this rant so tl;dr: as a queer person im mad at how Ghosts US handles gay characters. end of transmission

p.s not trying to go after any of the creators, i just have a lot of gripes with this show 🫡

[piltoversfinest-caitvi]

Christian Linke and Alex Yee Q&A

From here  (will update if there’s more)

With special addition from Amanda’s

Below the cut are the questions and answers they provided

Q: Anything in regards to an art book for this show? Would love nothing more than to secure a copy of one.

Christian: There is one in the works! I remember talking to some folks at Fortiche and Riot about it a few months ago. I'm not sure where they are in the process, but it's coming for sure.

Q: Hi! Do you think Caitlyn and Vi shippers will be happy with the upcoming season?

Alex: There's that part they might like, and that part they're probably gonna hate.

Amanda (A reply to Alex’s post): I take full responsibility for both. And stand by that they make the show better!

Q: How did you all go about capturing such minute and captivating micro-expressions? Also, Caitlyn and Vi have been really fun for my wife and I to watch together as a lesbian couple. We really hope we get to see their relationship grow in new and interesting ways. I'm curious about how their roles as "Piltover's Finest" will differ from how they do in LoL. Will caitlyn still be a sheriff, or more of a private eye working independently from the Enforcers?

Also, what is the likelihood we will see them as official "girlfriends" next season? Will it mainly be implied or outright stated? I realize if you can't share much, but I (and my wife) are dying to know.

Lastly, will we get to see the entire tattoo on Vi's back at any point?

Christian:

I appreciate you speaking to the smaller details of the character moments. Generally speaking, people in animation will advise against those silent beats where subtle expressions mean as much as any word could, but that's the sort of drama we really craved in the animation space. We simply have awesome animators :) And a wildly talented animation director Bart Manoury, who defined that entire look for Arcane.

For Vi's tattoo -- we have the complete design, I'm not quite sure why we haven't shared it with everyone. Let me inquire about that.

Regarding Vi and Caitlyn, I wish I could say more at this point, but a lot of the answers I'd give you would spoil the experience on screen. I'm confident in the direction we're taking it, and I very much wanna hear from you once Season 2 is out.

Q:  what we should expect for Viktor in season 2?

Christian: Everything

Q: Will there be anymore merch drops for Arcane? O: I would love to have posters or even figures/statues/nendoroids of any of the characters!

Christian: Yes. I myself am the sort of person that likes to have dozens of statues, trinkets and figurines on his shelf. The underwhelming amount of merch during Season 1's release is very high on my list of gripes. We're actively working on making sure that we do much better next time around.

Alex: I certainly hope so!

Q: Are there plans to release the scripts for Arcane? I would love to study these.I know you guys don't come from a typical Hollywood background and that's what I love about Arcane, it's so fresh and new. How did you learn how to create a show? How did you write the finale to encapsulate so much emotion and meaning?

Christian: Yes! Quite frankly, we just haven't gotten to consolidating all the different versions yet. Some of it also touches on Season 2 spoiler risks, so I'm afraid we still need to find the time to go through the mountain that is our Season 1 scripts. ;o

In the beginning, we certainly had no idea how to craft a TV series. Personally, I tried to read a lot of books about story crafting and screenwriting. I can't say that I found many of them useful, but at least they all confirmed the general framework of act structures and character drive.

We spent a good amount of time in meetings with other folks who worked in the industry, always looking for that secret sauce that unlocks a TV story structure, and... turns out it doesn't exist. So once you come to that conclusion, it becomes a bit easier to roll up your sleeves and go "alright, let's find our own". At this point, we have our own "metrics" and processes to track plot and character. It's always somewhat messy when you intend to craft a complex story, but that's just part of the work.

Good story (in my mind) is all about hard choices. Many writers talk about being "character driven" without actually writing character driven stories. If you ask your hero whether or not they will help save the world from an alien invasion, the answer always is "yes, duh". Thus, the character doesn't REALLY have a decision to make. The sole question that remains is "HOW are they gonna overcome their obstacle?" -- which is entertaining, but it really doesn't drive the story forward with full autonomy.

I think Alex and I gravitate toward stories that leave characters with costly or even impossible choices.

Amanda (Add onto Christian’s post): I think of this in terms of what a character hopes and fears. You have to know what these are (and make sure the audience knows too) and use them to tug a character towards impossible decisions. I also think you have to be able to relate to these hopes and fears. As Christian mentioned, the fear of dying in an alien invasion isn’t relatable. Neither is the hope of winning a civil war (for most people), but what made Silco’s quest for Zaun’s freedom relatable is that it was rooted in his hope that he could win back his brother Vander’s respect. And without his respect, Silco feared he was the “dirty little thing” his station in life always ascribed to him. Fearing you aren’t good enough, and craving respect from family are deeply relatable emotions. This is what a “character driven story” means to me!!

Q: I've watched this show many many times, introducing it to new people, and always finding another detail or two I didn't during previous watches! While writing the story, what was the most complex story-telling issue you guys ran into?

Christian: We wanted all of our characters to be "real", and thus, make imperfect decisions. The finale of the 3rd episode was scary, because both Vi and Powder really mess up and make terrible decisions. At the same time, we didn't want these choices to alienate them entirely.Characters like Jinx and Silco constantly murder and manipulate. Can an audience still root for them? It's a bit of a dance between their many risky actions and choices.

Amanda (Add onto Christian’s): Again, I think this comes from relatable motivations. Jinx, (and Powder before her), was always desperate to prove herself worthy — worthy of her sister’s faith in her, worthy of Silco’s faith in her. We shouldn’t have to prove ourselves worthy of love, but that is a struggle we all face in so many different ways. A character making terrible decisions is much more forgivable if you too have felt what they’re feeling. I always say I love characters that do the right thing for the wrong reasons, or the wrong thing for the right reasons, everything else is boring!

Q: If you could have made arcane about any other part of runeterra which one has most interest to you?

Christian: Sheesh... there's a lot. ;) We've been working on Arcane for over 7 years now, so naturally, you have ideas for other stories over time.I think the "grimsical" tone that Arcane features works well for Alex and I. That said, I'm really interested in exploring some more quirky stuff as well. The League IP has a lot to offer, it's very diverse in cultural and tonal aspects.

Alex: There are stories I'd love to tell all over Runeterra. One of the joys of working on Arcane was having the opportunity to dive deep into the style, look, and culture of Piltover/Zaun. At Riot we of course have our ideas, but there is still a magic of discovery whenever you invest time conceptualizing one of Runeterra's regions.I've always been a fan of the intrigue/machinations of Noxus, the aesthetics and history of Ionia, the mythos of the Freljord.

Q: In an episode of “Into the Rift”, it’s said that the early drafts of Arcane weren’t good. How much of that draft and the final show are similar or different? Just character arcs and interactions? Major plot points? Or was the entire idea of the show changed?

Christian: A lot (if not all) of the story structure and character arcs were the same.

Crafting the episodes and scenes in a fashion that builds the right tension over time and tracks all the parallel stories wasn't really clicking yet at that time, so Alex and I getting help from the outside and learning more about how to "break an episode" really unlocked the episodes to be stronger.

Alex: The broad strokes of the show never really changed. I'd say the biggest evolutions concerned pacing and development of emotional storytelling. We were more plot-focused before that. We always wanted big emotional beats between characters, we just strengthened their integration to the overall story.

Often, a slight shift in our approach significantly changed the spirit of a scene or beat. We were fortunate to have brainstormed so many moments before we rebooted the story though, it gave us a wealth to draw from when we went into the proper writer's room.

Q: What were some of the small touches in the art and writing of Arcane that didn't mean that much in the big picture, but that you really enjoyed personally?

Christian: Man... also too many to count. ;) The wonderful thing about our collaboration with Fortiche is that artists at the studio are really empowered. An example that Alex likes to bring up and that we all really love is the ash tray in Silco's office. We didn't instruct them to make it look like Jinx painted it in her trademark whimsical style, they did that themselves. They were tasked with designing a simple ash tray and thought, "how can I do more with this than the minimum?" -- and so they did. Now, an ash tray tells a story.

Q: Will season 2 be the final season in the Piltover and Zaun region? Will there be more interactions between Ekko and Jinx in season 2?

Christian: I don't think answering this first question would actually benefit you, so I'm not gonna do it. Oh yes (to the q of Ekko and Jinx).

Q: Will there be another season of bridging the rift or any more behind the scenes content?

Christian: I don't know if it's gonna be another full Bridging The Rift, but I know that we're filming BTS material all around. So in some shape or form, there are gonna be more glimpses behind the curtain for you. :)

Q: If you could choose a single word to describe season 2, what would you pick?

Christian: War

Alex: Rubicon

Amanda: Well I’m more of a sap than these guys, but I say “forgiveness.”

Q: What were some of the biggest influences on Arcane in terms of writing or animation?

Christian: Alex and I were talking a lot about Peaky Blinders while we were working on Season 1.For animation, there really isn't that much I would reference to be frank. When we started Arcane, there wasn't really anything out there that had the look and style we had in mind.

Amanda: Let’s not forget our “Lord of the Rings” dollar jar. Bunch of bills in there from you, Christian!!

Christian: True. Though Arcane development started long before Spiderverse.

Q: When is season 2 coming?

Christian: B-)

Q: How long do you see yourself doing Arcane? Can you see the series becoming a revolving door of stories told from different regions of Runeterra at some point?Have you ever had a great idea for something in the show, that came too late? eg: animation is too far along to change

Christian: We definitely want to explore other regions. At the same time, we've all seen shows and movies that try to cram in too many different perspectives too quickly. I think we gotta earn our way into a larger world view first. So definitely coming in the future, but we have to find the right pace for the story we wanna tell.

Regarding having an idea for something that came too late -- yes, constantly. ;) As someone much wiser than us once said: "Art is never finished, only abandoned".

Q: Does "Our Love" image on the record in the show refer to personifications of Piltover and Zaun? Since the girls are colour coded as respective cities over big red-dot in the sky.

Christian: Indeed!

Q: When making the soundtrack for the show, what did you and/or others have in mind for selecting artists and sounds for what would end up making the cut? Were there any you were considering that didn’t make it?

Christian: It starts with the editors at Fortiche looking for the right moment(s) in every episode that could feature a "music video moment". Usually, the vibe and mood of the story boards paints a target that we then try to cast appropriately.

You tend to have a shortlist of 5-10 artists that you then try to hunt.

During Season 1, it was really hard to find artists, because we were an unproven studio, and a lot of artists weren't interested in animated series. Luckily, the ones who joined us did so because they really believed in the vision, more so than it being an easy win.

Amanda: The storyboard artists make the intention of the scene work. Without them our writing would be boring, flat words. Coming from a live action background, the collaboration in the boards feels like working with a director and the actors all at once — they decide camera angles and blocking which is everything to the emotion and feeling of a scene.

Q: Did you guys overall have a favorite scene or episode from the final product? What was it like/how did it feel to take in all of the positive reactions, to witness the major impact that Arcane left? 

Christian: The finale of Episode 6 is always very powerful to me. Probably that. It was a powerful feeling, because you poured your entire existence into this project for over half a decade, well knowing that the League audience is unmerciful. It was super-scary to imagine that they may not like it. That's a chunk of your life you'd never get back. Thankfully, it worked out. :)

Alex: Definitely one of the hardest questions to answer. Kind of a copout to say the dinner scene (109), but I always marvel at the emotion Fortiche was able to evoke in animation there. Similar feeling for the bridge fight (107), even though I do really love the intergration with music and how much story is told.

I'll throw a nod to the Chuck/Thieram scene with Jinx (106). It is/was a moment of general silliness, both in the writing act and the show that doesn't always feel like it fits with the rest of the tone, but it makes me smile that it survived all the way to the finish.

Q: What's your favorite episode of the show? Did Silco braid Jinx's hair? How long did Jinx's tattoos take? Who's your favorite character?

Christian: Probably 106. Yes, though he most definitely sucked at it, no matter how much he tried. Eventually, he paid someone to invent a machine that can braid Jinx's hair, but Jinx would always tinker with it, to a point where it once nearly strangled her in the process. He once asked Sevika to do it, but Sevika threatened to quit. So Silco had to keep doing it, until Jinx was old enough to learn it. Not sure I understand the question. Heimerdinger.

Q: You mentioned passionate tweets on social media. Does that mean the creators of Arcane see a large part of the fans tweets, fanart, disccusion?

Christian: Yeah, we see a good amount. Though Arcane's fan art on twitter tends to be a bit of a minefield. :X

Alex: We see quite a bit, but I have the feeling it's only the tip of the iceberg. I wish I had the fluency to dip into more of the fan reactions from all the non-English regions where Arcane was released.

Q: Are there people in the production crew you'd like to give a shout out to and why? Who are the unsung heroes of Arcane? What's a small detail or easter egg in the show that no one has discovered yet? What is your favorite plugin/audio effect that you used to produce any song in the Arcane soundtrack? Any teases for S2?

Christian:

I'd say that the story board artists are truly the creative unsung heroes. Our story boarders are FANTASTIC, and the amount of things they have to juggle is insane. And yet, none of their work ends up in the final picture, which always makes me sad.

There's loads. I think someday -- maybe in a few years -- I'll wanna check in on that and see which have just not gotten discovered. :)

Gulfoss. It's pure magic.

Q: Are all the scripts complete for Season 2?

Christian: Yes. Though there's always some amount of tweaks that happen in the process. Seeing story boards & hearing voices for the first time makes you realize that something doesn't quite click, or there's new opportunities you didn't recognize before.

Q: What were some events and actions that you really liked and wanted in the show, but had to rewrite or cut because they didn’t properly push story arc of some characters, or went against how that character should act at that point in their arc? Or what was your proudest achievement with this show that was cut, rewritten, or something that you knew the viewing audience would never know about?

Christian: There was another scene in Episode 107, a flashback between Ekko and Powder that takes place a few months after the end of Episode 103. It was a very touching moment during which Ekko tries to save Powder from Silco, but Powder refuses to go with him. "Powder is dead" .Alas... sometimes, it is your darlings that end up on the chopping block. Animation is expensive, and time is very much so money.

Q: How did y’all decide to include Get Jinxed by Djerv in the show, even though it was created for the LoL version of Jinx back in 2013? Does that song actually exist in the Arcane universe, or was it just part of soundtrack/Jinx’s imagination?

Christian: The song has a lot of meaning for us, because it was the first time Fortiche and I worked together on something. The beginning of the whole relationship.I don't think the song exists in the Arcane universe, no. That was more a selfish little moment for us. :)

Q: One of the things I really liked about Arcane was how there was no fat. There was not a single scene that felt tacked on or unnecessary, but you still managed to flesh out the world. Noxus was a great example. Their inclusion made the world feel bigger but it didn’t slow down the plot for a second.I know it’s a group effort deciding which scenes to cut but I was wondering what you’re criteria is when making those decisions.

Christian: I know that some people said Arcane moves at a pace that's too brisk, but both Alex and I like it when episodes really move the story forward. We all have our favorite TV shows that often enough present us filler episodes. We just didn't want that.

We followed act structures per episode. Every character story line would get their 3 acts, plus "twist" to set up the future conflict.

We did also have a piece of paper in our writer's room that spelled out our criteria for a successful scene:

- How does this scene develop the character?

- How does this scene further the plot?

- How does this scene teach the audience something new about the world?

​You don't always get all 3, but it needs to have at least 2.

Q: Is it possible for Mel Medarda to return in Season 2? :c

Alex: Solidly possible.

Q: Are there gonna be any sex scenes in S2?

Christian: Ew, no! Gross. Maybe.

Alex: Hmm... any characters springing to mind?

Christian: I dunno Alex. Haven't seen anything on social media that makes me believe people even thought about this.

Amanda: They hired me back for season two, which means there will be sex. I’m the reason it’s in season one.

Q: Why did you name the show Arcane?  When you were first developing the show who would you say was the character that changed the most from how you originally developed/ thought of them? Did Jinx and Vander have a close relationship? Does Jinx actually see Vander as someone who betrayed Silco?

Christian: Magic ties a lot of our world together. Every region, every champion has a different relationship with it.

Viktor for sure. I kinda just wanna leave it there. ;P

They weren't as close as Vander and Vi were. Vander was the person that Vi looked up, whereas she was the person Powder looked up to. I don't think that Jinx necessarily blamed Vander for what happened, though she does think (now) that Vander chose wrong.

Q: I want to ask if there's anything you can share about the Firelights! I'd definitely love to know more about them and how they were conceptualised, some more information about the members if possible, perhaps even word on their involvement on next season? 

I think the idea of "Hope for a better Zaun" is one of the core tenets of Ekko, and I'm certainly proud to see that he has a group that is actively working towards that goal. I'm satisfied with where you've taken his storyline and I can definitely say you guys completely understand him!

Christian: Appreciate that! The firelights were inspired by and named after the green insects that you see flying around especially in episode 107. They come out of nowhere, swooping in, zipping through the air, and they look cool. :)

It happens easily that a place like Zaun gets written off because dangerous experiments and shady streets scare people off. In many ways, however, it is the kind of place where a truly revolutionary technology or idea can find purchase. So if you ask me, Zaun really is the place where the true magic can happen, and Ekko totally gets that and wants to enable and amplify that.

Q: Who was the easiest character to write and who was the hardest?

Christian: Hardest I'd say Silco and Jinx. They're both stylized in very different ways. Alex is the specialist for their dialogue on our team.

Alex: They all give you trouble here and there, but I would say on average Heimerdinger and Jayce were easier to write than Silco and Jinx.

Q: Will we ever get to see a younger silco and vander pre betrayal? Also any flashbacks to silco being a dad to powder when he first took her in? 

Christian: You will, in fact.

Amanda (Reply to Christian): Spoiler! In the episode that always makes me cry.

Q: Will we ever learn about why Vander betrayed Silco? What was Silco planning on doing after he gained the Nation of Zaun? Would he have attempted to improve Zaun? Even though Silco is dead, can we expect to see more of him in s2? (ex. Flashbacks and mentions of him from other characters?) What are your opinions on Silco overall? Did you expect to see him as such a fan favorite?

Christian: Silco was a very special character. During the early phase of development, we talked about everyone's chip on their shoulder. Silco's was being "the dirty little thing". Never being enough. Always having topside look down on him. He could never quite past it, and if it would take his life to escape that existence, so be it. He had nothing to lose.

At the end of the season, he realizes far too late what it's like to have something to lose. Just like Vander, radical notions begin to stumble when your loved ones are threatened by your ideology. "It all makes sense now, brother."

I don't think he had a plan after the Nation of Zaun. It was an impossible pipe dream from the beginning, and if you ask me, achieving it would probably have ruined him.

We did not expect Silco to become such a fan favorite. Jason Spisak did such a wonderful job, it's hard to put in words just how transformative his performances have been.

Alex: We've always liked the relationship between Silco and Vander. It's the original rift that informs the generational split between the sisters. I'll just say, it's a story we'd like to tell.

I think Silco always wanted to improve Zaun, though there are always trade-offs to progress. To me, the real question is who would have helped him realize this vision, and what would have mattered to him at that point in time.

Silco is one of those characters you can get addicted to writing, but I don't think we ever expected him to be such a fan favorite. It really blew my mind when some people engaged with him more as a father figure than Vander.

Amanda (Add onto Alex’s post): To me, the story of Arcane at its core is whether or not the sisters will repeat the sins of their fathers. As Vi and Jinx’s story unfolds we hope you’ll recognize the parallels between Vander and Silco’s story and be desperate for them to take a different path, impossible as that path seems to be.

Q: Did you begin writing the story with the idea of having an antagonistic corrupting/nurturing force to serve as the catalyst for who Jinx would become, or was he developed gradually over time as the right piece to fill what the script needed?

Alex: We knew fairly early that we wanted to have, as Christian put it, a non-champion "svengali" to oppose Vander in the first three episodes. The world felt small when every character happened to be a champion, and we liked the idea of the principle villain being someone who needed others to fight for him. It felt so oppositional to League.

However, we didn't initially plan for Silco to have such a presence throughout the latter half of the season, that developed over time. In fact, we were nervous about giving him too much screen time once the story with Vi and Jinx was rolling. I do remember us asking ourselves right up to the end whether or not Silco would have traded Jinx for his vision of Zaun.

Q: What's a piece of advice you'd give to people trying to create interesting/dynamic characters and stories?

Alex: For me, the best moments come from characters when they surprise you. It's easy to feel omnipotent/omniscient when you are a storyteller. You're usually one step ahead. But sometimes, as you brainstorm all the ways a character might handle a situation or argue a point, they say or do something you hadn't considered. In the best instances, it knocks you off-kilter as much as their opponent in the scene/story. I guess this is all to say, strive to make your characters cleverer than you.

Q: Which scene in the show holds a special meaning to you and why? Possibly because you relate to it personally or there's a funny story behind it from during production.

Alex: There are many, but I'll call out Silco's monologue at the beginning of 103 "Ever wonder what it's like to drown?"This used to be the opening to the show. It sort of encapsulates the core of the story. I think after writing this with Christian, and hearing Jason's performance, it was the first time he looked at me and thought "you might actually be able to write." Of course, I quickly disabused him of this fantasy.

Amanda (Add onto Alex’s post): And it’s my fault that this beautiful sequence is no longer the opening of the show. But I love what it adds to the gut punch of episode 103 and I’ll defend that choice until the day I die. (Even if Alex doesn’t exactly agree with me…)

Q: How did you decide the tone for Arcane? It has adult themes and topics but presents them with such maturity despite being seemingly high fantasy. Was the tone decided from the beginning?

Alex: Tone was the original looming question. We decided we needed to see Vi and Jinx in their younger years as sisters in order to feel the loss and yearning as they struggled to reconnect, but this also made the show feel more "kiddy." I remember calling Christian after having an epiphany that our tone could be like that of the edgier anime I appreciated growing up - no idea why this didn't occur sooner, it just hadn't felt as much like League at the time. For me, anime straddled a tonal line unlike anything else at the time - the bridge from childhood to adulthood.

Once that locked into place, it got a lot easier for me to find the story, although you're always wondering if this or that moment pushes too far. The scene where Singed injects Jinx with Shimmer gave us pause for a little while.

Some anime refs: Hellsing, Berserk, Ghost in the Shell, Cowboy Bebop, Samurai Champloo, Gungrave

Q: One question: Who came up with the idea, for Jinx Vs Ekko fight scene, it was a work of art, absolutely surreal experience, so many emotions and exposition in such small amount of time.And also on the topic : how in the world did You managed to fit so, so, so many of such scenes in only nine episodes? I mean, on top of my head, flare scene, Victors run and the climax! So much emotions on screen, i couldn't handle it.

Alex: The credit goes almost entirely to Fortiche and the music team on the bridge fight. 107 felt like a fulcrum-point in their authorship of the series - weaving their music video superpowers with the storytelling.

How we crammed so many scenes in? We wrote scripts that were too long and then battled in editing to save as many darlings as possible. (Slightly joking, but slightly not.)

Thanks for watching!

Q: Now that it's been a year, and you've been able to properly see the praise and criticism of the series, is there anything you wish you did differently? Did you expect it to blow up as much as it did?

Alex: My strategy is more to try to learn and adapt as opposed to rue the missed opportunities. Luckily, I'd say a lot of what we saw in reactions to season 1 aligned well with what we were focused on in season 2, though we did adjust emphasis here and there when we felt like fans had a strong connection with certain beats.

I don't think we ever expected it to have quite the reception it had, though we were always very confident in the quality of our voice actors' performances and the artistic brilliance of Fortiche.

Q: Will we get to know more about the mysterious wizard, who saved Jayce and his mom, in upcoming seasons?

Alex: There will be magic.

Q:  I wanted to ask if you could share a list of the champs you worked on during your time on a League, since not many people may know what you worked on prior to Arcane but I loved the creative AMAs you used to host on the forums lime for Zyra and Varus.

Alex: When I was on League, champions would always have an assigned writer/creative focused principally on their story and thematics, but it takes a village to develop a champion, so it would be disingenuous to take credit for many aspects of what they became. Some of my favorite contributions were on champions to whom I wasn't assigned. Sometimes the heart of a champion was present before they came across our desks. And then players could also imbue champions with characteristics/meaning that superseded our intentions (Blitzcrank springs to mind).

That caveat aside, some of the champs I worked on who are close to my heart despite murdering me on Summoner's Rift: Lee Sin, Graves, Leona, Caitlyn, Varus, Lulu, Thresh, Ahri, Riven, Draven, Viktor, Irelia, Nocturne, Jarvan, Karma, Maokai, Nautilus, Sejuani, Sona, Wukong, Vladimir...

There was also a lot of side content and legendary skins (I recently recalled Christian and I working together on the first PROJECT video.) It's important to note a lot of these characters were significantly deepened in updates and later content. Working at Riot is more about doing your best to carry and pass a baton than being an auteur.

Q: will we ever see vi's abs

Alex: I'll put in a request.

Q: When you where writing it, did you have any moments where everything just connected and you thought “wow! I can’t believe we’re this clever!”? If so, when? 

Alex: I think what would happen more often is that I would see the end result of something I wrote and think "Wow! Thank heavens Fortiche, the voice actors, and all the other teams managed to make me look like something other than a blathering idiot!"

Of course... no one can stop me all the time.

Q: I believe Riot executives have realized the importance of Arcane to the company, does their support make production easier than before? Will season 2 come out quicker because of that?

Alex: Their support is a huge part of why Arcane has the time, trust, and resources to hit the quality we aim for. People who've worked in the industry always tell us how rare and special our situation is. However, I'd say that extra trust is more likely to mean the season would incubate for more time, rather than less.We know you're all waiting though. 

We always try to find the sweet spot between bringing you content and trying to improve/polish it.

Q: In the scene where Finn tries persuading Sevika into betraying Silco, Finn mentioned something about "bigger fish than silco". I feel like this was potential foreshadowing to who will fill the power vacuum Silco left, but I'm not sure. Was Finn referencing someone within the scope of Season 1, or was he talking about someone/something we'll see in the future? (cause it makes me wanna think he was referencing Urgot potentionally)

At the end of the Bridging the Rift, y'all mentioned wanting to expand to other Runeterra regions in animation. Will these new series be anthology to Arcane, or will it be directly/partially carrying on some of Arcane's plotlines?

When and if there are more animated shows outside of Piltover and Zaun, is Fortiche willing to make these projects or can we see different animation studios throwing their hat in the ring? (ie Japanese studio animates Ionia series)

Alex:

Heh, I wondered if this stood out to anyone. There is someone he's referencing, who does capitalize on Silco's death, though I don't know if this will be apparent in season 2. It's one of the things we wanted to connect, but didn't feel was important enough to sacrifice some of the other scenes we wanted.

No specifics to report yet, but we do hope we'll be able to feel a connection between different stories we might tell, even if the camera moves to a very different place.

We love working with Fortiche and (hopefully) vice versa. We also want to explore a range of styles for League content. The question is how to best have the capacity to deliver stories regularly without diluting the quality.

Q: Will there be information about Orianna somewhere in Arcane?

Will there be hints in Arcane Season 2 about Warwick's creation?

Will Janna have any mention in Arcane?

Amanda: Yes! (not sure if a yes to all three or a specific one)

[431989]

more resident alien posting. predictions... spoilers so beware

well. i'm upset that the shows going to have a difficult time having more serious scenes now. and that's probably what it's going to try and set itself up for.

i reaaaally would have loved to see this show do something ACTUALLY different and good. by different i mean in terms of writing and not necessarily drifting from source material. yes i'm still sour over last ep, but i wouldn't be AS sour if everyone on the show didn't treat harry and asta's relationship as "mother and child." and also if the show didn't take such a nose dive into the type of comedy it's putting out.

ALSO? IN A RECENT INTERVIEW? Sheridan going on to state that harry would lose his first """love""" (more like lust. awesome that a show trying to teach human emotion gets those two things mixed up) and then realize there's love everywhere or something? why does this feel like "weird" people are forever left to the role of outcasts. already fucked it up once i guess the guy's trying to fuck it up more. could've just left it at "he'll lose his first love, then he will have to reconcile with his feelings." but he had to drop in that last corny bit.

like. the show's source is already good. i don't understand all these decisions they're making to try and make it seem "unique." and now to get numbers back they're dumbing it way down. WHICH. BY DOING SO. HOW ARE YOU GOING TO HAVE YOUR DRAMA? like how am i supposed to take anything seriously in the show. i *could* in season 1 and parts of season 2, but now it's just whatever. it's too goofed up for me to care. and now people who love the goofy won't give two shits about whatever message you want to drop or plot you want to develop. i dont give a shit about the greys!!! i dont care what theyre doing!!!! who gives a fuck if theyll blow up the earth. none of the characters really care anymore either. oh well!!!

also, predictions kind of. i'm not trying to say this will be the be all end all but it certainly could be a turn the show takes. in one of the issues of the comic (suicide blonde i think), harry is investigating the "suicide" of a woman. by the end of the issue, he catches up with her ex-lover and ex-roommate. they were both ladies. and the girl who died had a drinking problem btw. and was constantly seeing boys. i'm all for gay couples on screen as a gay guy myself but it'll feel so cheap to pair darcy and asta together despite the way theyve been played on screen. maybe its doable. i don't know. but i genuinely could care less considering the overall tone of the show's drifted more towards a sitcom than anything else. i think the small handful of 40+ year old gay wine moms would probably love it, but the vast majority of viewers wont. either they'll hate it and say it's forced diversity (there's already people saying that about the gay couple on screen this past episode) or it'll be another nothing moment to a further nothing story. if anything it'd feel one step removed from tokenization, considering they see harry as a manchild. ableism! show's trying to seem fucking wholesome but they can't be bothered to care about their nd viewers. like "haha look we have a main gay couple!!! what do you *mean* our show has rampant ableist tropes, we have a gay couple!"

i'm just so bummed. the show's cornered itself into a sitcom so meaningful moments aren't a thing anymore. plus the comparison of harry to a child is really getting at me. like he's a grown man as a human, and hes a grown alien thing as an alien. it's such a big slap in the face to any person who cherished the witty and unique story telling of the first season... like.... i don't know.... people who would've been fans of the comic too? i have small gripes about the comic, but at least it takes itself more seriously. but the show runners haaate the people who read the comics. why? i dont know. well maybe i do know. probably seen as too nerdy and weird for their idea of the show's viewerbase. despite the fucking basis of the show being weird and nerdy.

they couldve done the darcy asta thing better if they do go down that road. i'm just saying i wouldn't be surprised. they already scared off everyone who would've cared for something like that, so i don't know how they'll manage to find an audience that cares. everything in s1 was so organic and felt real!!!!! now its just!!! nothing!!!!!!!!!!

im also thinking about the fact that after posting that one resident alien drawing i did, i've had to block tons of people because they're freaks. loud and proud conservatives. man this shit sucks.

[real-total-drama-takes]

the caleb & priya hate all truly just boil down to racism and misogyny, in that order. there is no excuse whatsoever for the hate they receive, you cant even make the argument that their relationship is what annoyed you. there is always a main couple for every season of the series, and having been in this fandom for years (im talking a decade and then some) no other main couple has ever gotten as much backlash and genuine violence as prileb has. and even has characters themselves, they are hated most than majority.

priya is in the same exact position as owen, except she has a different character archetype, and also isnt white. she won one season, and got far in another. what is the issue here? that she is smart, that she is brown, that shes a woman, that shes been conditioned into competing in the first place? none of these cause for the harassment she nor her voice actor get.

caleb is also a much smarter, more rounded version of justin; and a kinder version of alejandro. aka, the reboots pretty boy. both justin & alejandro have one of the largest fanbases to date in the current fandom, and their haters are little to none; at least not very loud ones. the main gripe i see against him is that he 'used priya', but he didnt do that. he didnt know she liked him, and he really did see her and assume their interactions were friendly. but again, he also used his looks to his advantage, which both alejandro and justin have done. what is the issue with him? that hes black? because its starting to seem like it.

theres a real difference in disliking a character, and then just being so violently and aggressively against them for no genuine good reason, especially when their character types have been done before and by much lighter characters and yet those receive an abundance of love, when in my opinion the reboot has handled them in much better ways.

and of course, nobody has to like prileb as a ship either. because a lot of it is miscommunication, and of course that gets old. but considering how many other relationships in the show have acted the same, if not worse, and yet still have a large following, says a lot in itself.

especially when you take rajbow into account, and how it seems like the fandom can only enjoy them when theyre shipped together and not as individual characters (gay points) and yet even then half the fans have to add wayne in too; because lets face it, the fandom has a serious colorist issue. they need a white boy in it to make it even a little palatable for them. and it shows in prileb, because they dont have the gay points to carry them, and neither of them are white.

[variousqueerthings]

doctor who specials thoughts!

spoilers for most everything below:

obvs the plot was banging -- my partner didn't know the meep's a full-on war criminal evil emperor carnivore and I was trying not to giggle every time they called the meep so cuuuuute

the concept of transgender saved London! and donna noble's life! remember to thank a trans person in your life toay for saving people through the power of transgender!

but also specifically Donna's love for her daughter!

also Doctor preferred pronouns as any but specifically also "The Doctor" (definite article), fuckn good and correct

"you have weapons in your wheelchair!?" "of course, we all do" (from memory)

I know this is OG comic already, reallyreally enjoy the big bug beings aren't evil, and use stun guns -- an important way of gauging their character and whether the Doctor trusts them and solves the mystery. also the desiiiign of them!!!!! PRACTICAL CREATURE DESIIIIIIGN BOTH THEM AND THE MEEP!!!!!!!!!!

THE DOCTOR flopping about, RUNNING AROUND, CLIMBING UP THE WALLS, GETTING KNOCKED OUT! having just watched the entire of Eleven with all the "has a speech about how cool I am which makes the Bad Guys just give up for some reason" having this Doctor stalling for time and solving a mystery and then immediately knocked TF OUT!!!!!!!!!!

DoctorDonna BEstiESSSSSSSSSSSSSSSSSSSSSSS!!!! they're so!!!!!!!!!!!!! they're SO!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! next two episodes are gonna kill me!!!!!!!!!!!!!!!!!!!

still got the mystery of why the Doctor came back with this face, teaser about the Meep's "boss" (assuming Toymaker), and of course we know next to nothing about what will happen next week!

ohhhhhhh the new Tardis, she's so FLASH, she's so CLASSIC, she's so HAMSTERWHEEL!!!!!!!!!!!

I don't know why I assumed Wilfred would be dead (well, they definitely counted on us assuming it), but it makes so much sense he wouldn't be when they fucking filmed with Bernard Cribbins!! Wilf will be coming up soon!

my couple of gripes are my feelings about UNIT as "uncomplicatedly good guys." I know there's a lot of different depictions of them throughout who (I've seen Two and Three + nu!who's depictions, and I prefer early seasons making it a more tempestuous relationship, especially with Three being sort of forced to work with them but really challenging their decisions and structures), but I watched the 50th anniversary the other day and that sees Kate Stewart almost blowing up London... once a military organisation, always a military organisation, and I'd like to see some future exploration of that. not that this episode was the episode to do so necessarily, but certainly in the future...

and the "male presenting" moment -- I see where it came from, it was the one misstep in threading trans/gender political and philosophical ideas into the text, had the vibes of "women and non-binary" type gendering, and makes you (me) go "what does male presenting mean? who is male presenting to you? do you mean man? do you mean "read as man"? are you talking about non-passing tans women, non-binary people with beards, trans men? and what does that have to do with your innate self?" it's some basic gender essentialism dressed up in progressive language. I'm going deep into this Moment, but it's also the only Moment, and I feel like it's interesting to hold it to a higher standard than I have previous Who. good intentions, this one is a miss

on the whole it's fucking BACK!!! TRANSGENDERS SAVE THE WORLD AND THE DOCTOR IS A BABY LOSER WHO FEELS SO MANY FEELINGS AND IS NO LONGER AFRAID OF EXPRESSING THEM AND DONNA IS ASKING WHY THEY CAN'T JUST HANG SOMETIMES AND SPILLS COFFEE ON THE CONSOLE AND THE TARDIS IS SO FLAAAAASSHHHHHHH!!!!!!!!!!!!!

[whatstrangeloops]

Finished the first season of Scavenger's Reign and wanted to post some thoughts about it.

First, I want to say that the show is gorgeous and the world and creatures are always stunning and interesting. This show is worth experiencing purely for those things alone.

However, as a story I think it was really lacking or, given the second season teaser at the end, maybe just incomplete. Which is disappointing since I can see the outline of some interesting themes going on but the show doesn't seem interested in delivering any sort of coherent statement about those ideas with the characters.

The unifying concept seems to be of humanity vs nature. Vespa is a wild and unfamiliar new ecology to the stranded survivors. While the creatures on Vespa aren't malicious their survival and the humans' survival is at odds and this forms the fundamental conflict of the show. Then later, I think in one of the last episodes, in Azi's flashback with Mia, Mia delivers a classic "this is the theme" monologue about how no matter where they are people should find ways to rely on other people. Which I interpret as the story being implicitly pro-humanity but also makes other things in the show less interesting maybe because I was hoping the show would go deeper than that.

Like here's how I interpret some of the characters and what happened to them. Sam starts out very pragmatic and is even positioned as opposed to Ursula on trying to understand Vespa (a thread that kind of gets dropped I feel). After he's infected with the parasite, at first he's invigorated but after coming to realize having the parasite allows him access to a deeper connection to Vespa chooses to die with his humanity rather than accept that influence. I think the horror framing of the parasite really muddies trying to think about it though. Kamen abdicates his humanity entirely to Vespa through Hollow (the little alien koala is called Hollow in the episode descriptions) unknowingly becoming a force of destruction but on contact with the "true understanding of Vespa" that Levi has is either rejected by the planet or reaccepts responsibility for his actions. Which one it is is kind of unclear. Finally, in Levi's arc the show seems to say that full harmony with Vespa isn't achievable by biological humans. Levi's strength is that they can be fully colonized by Vespa without any messy biological incompatibilities and they're even rewarded for accepting the planet with reproductive capability but that arc puts the human characters in a kind of bleak contrast and doesn't foretell good outcomes for them.

I guess I was hoping the show would give the characters a way to reflect on the idea of humanity vs nature more deeply. Probably the first couple episodes had me subconsciously ready to compare it to Dune and the teaser at the end of the last episode with the cathedral ship and the priests or whatever they were pushed that comparison into my conscious thinking. (Actually that teaser makes me a little worried if they're going about any of this thematic storytelling stuff being improved in S2, if it happens)

Anyway, some minor gripes: Hollow feels too much like a cheap trope. The rest of the ecology on Vespa felt very alien but still grounded. Hollow is just like a Grey but a koala complete with telepathic and telekinetic powers that no character ever really comments on and the transformation into a horror monster is also ungrounded.

I wish the show had spent a bit more time showing us how the characters discovered some of their knowledge about the ecology. Seeing Sam, Ursula, or Azi use the animals or plants in ingenious ways was cool but as they moved toward the ship and through unfamiliar biomes I started wondering about when they had the opportunity to figure all of this out. I'm thinking about the sequence where Azi, Barry and Kris have to cross that river and Azi pulls out this elaborate multi step process just to make sticky tack for their shoes like she'd been living by that riverside for years even though if you think about it I'm pretty sure that's the first time she'd ever been in that area.