#I’m of the opinion that more evil characters should have died

[petpluto]

A tv moment that unfortunately lives rent free in my head is Faith’s “What are you gonna do, B? Kill me? You become me.” line in Enemies. Because, no, Buffy won’t.

Shows in general, and BtVS in particular in this arc, do this whole, “the hero can’t kill the villain - that’s just as bad as what the villain is doing!” And it’s just not. I understand Xander’s line episodes later in Graduation Day Pt 1, when he says, “I don’t want to lose you”, because killing someone, even someone who is hell bent on destroying the world and cannot be held by the normal judicial system, would definitively hurt and possibly change Buffy at a core level. Because killing people - hurting people - has been shown time and again to be something Buffy mourns deeply. But killing Faith in Enemies, killing her in Graduation Day, killing her in season 4’s This Year’s Girl, isn’t the same as Faith killing indiscriminately or for the purpose of ending the world. Faith tried to release Angelus. Faith is down with the Mayor’s plans. Faith is pissed off that after those things, Buffy had the *nerve* to fight back. It’s Buffy’s job to protect humanity from the things normal human systems can’t handle, and evil Slayers fall under that purview. The show makes the argument, through Faith and then a bit through Xander, that this is different, because Faith is different. Because killing Faith puts Buffy on a path to, what, killing more people? But that’s just not true. Faith didn’t continue killing because she accidentally killed Allen Finch and got a taste for it. She keeps killing because she - at this point - is a nihilistic character who doesn’t see or understand the good in the world. She has been failed time and time again, by her family, by the system, by The Watcher’s Council - and her rage and fear and self-loathing brings her down this path. But that’s not Buffy’s path. If Buffy kills Faith here, it hurts Buffy. It might even destroy a real and vulnerable part of her. But she won’t become Faith. She’ll still be a hero - just maybe one who won’t like herself as much. And, hey, we got that in season 6, so.

[artist-issues]

I’m bored and I really enjoy your opinions on Disney, so I thought you might have something interesting to say to get my brain ticking. I came across a post on Frozen and I was like, “Ah, a perfect starting place for dropping you an ask.” I’ve never really been that bothered by Frozen and I don’t know what it is that I’m just not fond about. Maybe it’s that I dislike the characters? Maybe it’s that they didn’t really have any established rules for the way magic worked in that universe and thus had anything they wanted happening? Maybe it’s the twist villain? I don’t know, it’s probably just the characters that they tried to make so cool and girlboss!

Elsa is made out to be this awesome protagonist that is never in the wrong and that grates me. She has flaws, but the film doesn’t act like they’re flaws. She runs away out of fear and shame for not being able to control her powers, but then two seconds later she’s singing “Let It Go” and making giant ice castles and bringing snowmen to life?! And “Let It Go” is super annoying for the fact that Elsa starts off worried and upset (fair enough, she’s just ran away from her home, her kingdom, her sister whom she hasn’t seen in years, she lost control of her powers) but then immediately turns round and is like, “Actually, it’s not my fault and I’m fine as I am and I don’t need any of those responsibilities!” Which would be fine, but she also finishes the film with the same attitude!

Anna, too! Naive and optimistic and perhaps a little too trusting, she never realises that even if Han hadn’t turned out evil, Elsa had every right to be worried over their marriage. She never realises that it’s partly her fault for revealing Elsa’s powers (and she definitely doesn’t apologise). There’s a lot she doesn’t realise, and the only lesson she takes away from it all is that Christoff loves her instead of Han.

Oh my days, I’ve just realised how ridiculously long this has gotten, super sorry! Have a lovely day!

Let’s do this! For fun!

1. They don't need to establish exhaustive rules for how magic works in their world.

Red Riding Hood doesn't explain how the Big Bad Wolf can talk-it just explains that he can. Cinderella doesn't explain how Fairy Godmothers work, or why the spell should only last until midnight—it just explains that she casts one, and it does only last until midnight. Beauty & the Beast does not explain how, after The Beast has died, the "breaking of the curse" could bring him back to life. After Belle confesses her love, he should just go from dead beast to dead human, for all the explanation they give.

Beauty & the Beast also famously refuses to explain (explicitly) why all of the household were cursed, along with the castle and the Prince. But what it does explain is, "there's a curse, it was put in place because of a defect in the Prince's character, and there's a time limit on it's ability to be removed, which can only happen if the defect in his character is overcome."

The whole point of having magic in the story is just as a tool...to create a plot. You don't have to explain everything; you just have to explain what will affect the characters. So, Frozen says, very plainly in the beginning: "you can either be born with magical powers or cursed with them in this world, and trolls are the experts on how magical powers work. The way Elsa's specific magical powers work is, they're beautiful, but powerful, and they're tied to her emotions. Therefore, if her negative emotions control her, her negative emotions control those powers. Also, if you're struck with magical powers in the head, the effects can be removed with memory alteration. If you're struck with magical powers in the heart, the effects can only be removed by an act of True Love.

Also, here's an explanation of what counts as 'True Love." They actually do way more explaining than the average fairy tale. And they set you up really nicely to receive that explanation by having the opening scene be a song that describes Ice Magic as “beautiful/powerful/dangerous/cold/ice has a magic can't be controlled.” Etc.

If you were wondering what limits there are on Elsa's powers, and whether or not she can just make anything out of ice, and how it's possible for her to bring inanimate snow to life

—well, you're focusing on the wrong things for this kind of story.

It's not that important for a fairy tale like this one. In a superhero story, limitations on powers would be important. Because the point of a superhero story is, "how am I going to take selfless responsibility for what I'm able to do?" And if you don't know the boundaries on "what I'm able to do," then you can't communicate that point clearly. That's why we need to know that Superman can see through just about everything, but not lead. That's why you need to know that Elastigirl can't stretch in the cold. You can't know how to take responsibility for your abilities if you don't know what they are and are not.

But Elsa? The point of Elsa having powers is not as a metaphor for her unique skills. That's what it would be in a superhero movie.

Like, in superhero movies, Spidey's ability to stick to walls is supposed to be a reference to like, your ability to...l don't know, draw really well. How is Spidey going to use his ability to stick to walls for the good of others = how are you going to use your ability to draw for the good of others, because it's something special and unique to you, you have something to offer, are you going to use it selflessly, etc.

But for Elsa, that's not what it's about. Her powers are just a metaphor for how what's going on inside of her effects everyone around her, relationally. And it's still relatable. But not in a "skills" way. Just like all of us non-superpowered people: "if you let fear control you, you'll hurt everyone around you. But if you let love cast out fear, you'll love and be loved."

That's what's so good about this movie. When you look at it like that, you realize the powers aren’t the point.

Elsa isolates because she thinks that'll keep her from hurting everyone (fear controls her) but actually, by isolating, she's still hurting everyone-nobody in the kingdom gets to see their beloved ruler, and her sister is hurt, relationally, and feels unloved and shut-out, enough to trust the first scoundrel she meets-etc. See how the powers just make the story interesting, but they're not the point of the story? If Elsa's powers were replaced by "frantic outbursts of human temper" the story could be told in a lot of the same ways. But that's a post for another time.

So I don't think you disliked it because of the powers not being "established." "Whatever they wanted to have happen" did not happen, in the story. They laid out the rules that were relevant—“if fear controls you, it'll lead to great danger/but an act of true love can thaw a frozen heart."—and then they followed those rules in an interesting and consistent way.

2. The "twist" villain worked perfectly for the story.

A good villain is supposed to be the opposite of whatever your story's message is. Frozen's is, "Self-Sacrificial Love Casts Out Fear." Elsa is afraid she'll hurt everyone around her, and afraid that makes her unloveable-so she's a control freak over her circumstances. Anna is also afraid she's unloveable-simply because she's shut out and unknown-so she's always trying to control who she keeps in her life. Hans is both "unknown" and "controlling." He's "unknown" in two ways—1, nobody sees him in the shadows of his brothers in his own kingdom, and 2, nobody in Arendelle "knows" his true nature, especially not Anna. But the difference is, where our heroes don't like being unknown, Hans does, and uses it to his advantage, because he's also "controlling." But unlike our heroes, who learn that "control" is not the way to love, Hans is willing to do anything to stay in control. Which is, always, rooted in fear, too. Hans is just afraid he'll never get a throne. So. You see that he foils the two main characters perfectly.

But the main point of Hans is that he's not self-sacrificial, he's self-serving, which is the opposite of what the story claims "True Love" is.

Why's the "twist" part important? Because he uses the main characters' fears as a weapon to serve himself, and he couldn't have done that, for these two particular characters, by being anything but a liar. Anna is afraid she won't ever be loved, so he pretends to love her to get something for himself. Elsa is afraid she'll hurt everyone, so Hans pretends to be protecting everyone from her. And honestly, that's another core of the movie-love that is self-sacrificial, true love, can't be separated from truth. Anna can't really "truly love" Elsa in a way that HELPS Elsa feel loved if she doesn't know Elsa's flaws. Elsa can't "truly love" Anna if she's refusing to know Anna by always shutting her out. And Hans comes along and doesn't let himself be "truly known." Perfect.

So, the movie says "Self-Sacrificial Love Casts Out Fear" and Hans, the villain, says, "Self-Service Uses Fear As a Weapon."

So I don't think you disliked the "twist" villain. Because it wasn't just an empty "shock-jock, look how edgy we are, to make the Prince the bad guy" move. It was the right move, for this story and these characters.

3. I think your definition of "so cool" and "girlboss" might be different from what l understand those terms to mean, because none of the characters fit those descriptions.

Anna (as we understand her throughout the story) is introduced like this:

And she's constantly dropping stuff and getting into awkward social situations-and she basically makes zero correct decisions, for the entire adventure. Tries to fight wolves like a girlboss-and instead accidentally knocks her guide out of the sleigh and has to be thrown to safety while she ruins his livelihood. Tries to climb a cliff with zero experience-looks ridiculous and falls. Tries to talk her sister into lifting a curse and insists that she knows best because her sister would never hurt her-gets crippled, because her sister absolutely does hurt her, and totally fails. Tries to marry a handsome prince-really bad judgement of character, totally duped, basically would've died without help from the weakest and most mentally-confused character in the movie, Olaf. The only "girlboss" moment you could argue she had was punching Hans in the face at the end of the movie, and I would argue that that one moment, in the face of all her failures and humiliation throughout the movie, and in the face of him as a vile villain? That moment is okay.

Also, the whole way they pace that moment is still in-character for Anna. It's still like she's not doing the "dignified" thing. She delivers her little one liner, "the only frozen heart around here is you," and then turns around to walk away with her nose in the air, like she's

"above it all." Which frames the moment where she turns around and punches him like a joke. It frames that moment like it's a satisfying, but still "not decorous, not dignified," thing to do. It would've been "cool" and poorly received if Anna, the character who's always jumping into doing the emotional, awkward thing, had suddenly become the bigger person and risen above her hurt in that moment.

So instead, she punches him. And whatever. He deserved it, blah blah blah. The point is, even that moment isn’t supposed to be strictly “cool” or “girlboss.” It’s just supposed to be “in-character funny.”

See, usually a "girlboss" character knows exactly what the best thing to do is in a situation, and does it well. Or, she gets knocked down, but consistently gets back up and hits harder. Anna does not do any of those things. She keeps trying when she fails, yeah-but it's not because of an inner strength, it's because of an inner weakness. She keeps pushing because she's desperate, and insecure, not because she's awesome and never-say-die. Eventually, after Elsa strikes her and Hans betrays her, Anna does give up. She tells the snowman "we won't (come back.)" after Elsa strikes her. She tells Olaf she doesn't know what love is. It's not until she learns that lesson that anything she tries to do works—and she gives herself up to do it. And that's finally a moment of strength from her, not weakness. As for "cool"-gimme a break.

There's nothing "cool" about Anna. Anna's not good at anything except, at the very end, self-sacrificially standing in front of a sword and getting one punch in on a villain who's already disarmed, defeated and probably slightly concussed anyway. She's not supposed to be "cool" or "girlboss." She's supposed to be "Desperate to Love and Be Loved." And that's what she is, perfectly. "Desperate" is not a characteristic that fits the definition "girlboss" or "cool."

But maybe you just meant "Elsa is so cool and a girlboss." Okay, well, again, depends on what you mean by that. If you mean "having superpowers are cool" okay, well, are they? Is that what the movie is telling you? Because powers basically ruin all of Elsa's childhood and life until the last 3 minutes of the movie. You could be like "come on, she can make snow and ice monsters, glitter gowns, and an entire palace just by dancing. They totally tried to make her 'cool." That's like saying Simba's ability to eat bugs and belch and fight with Nala is "cool." She does all those things at her "Character in the WRONG" moment, in the story, just like Simba living in the Hakuna Matata jungle. Therefore the movie is not trying to tell you that Elsa is cool, it's trying to tell you that Elsa is wrong, but you can understand why she's wrong. You can understand why she feels triumphant for a moment-and then the movie shows you that triumph is misplaced.

I mean, she's taken out by her own falling chandelier. Every time she's confronted with a problem, she runs away. When she gets into "battles of wits," she says the wrong thing, or the shy, shut-down thing, not a girlboss one-liner that shuts the other person up. Elsa's not cool either. She doesn't have the answers, she doesn't save the day-she gets saved.

Both of these characters are desperate, open wounds-—they're needy and they're in the wrong, each in their own way, for the majority of the movie. They're weak, and they have to learn to find strength in love, for most of their story. There's nothing "girlboss" or "cool" about them.

I think maybe what some people make the mistake of is noticing the Frozen mania, and the fact that the two main characters are girls and one of them has superpowers and they other doesn't get with a Prince, and then they get the impression, from that, that the characters are "cool girlbosses." But like...that's like saying Dory from the first Finding Hemo movie is a girlboss. She's so totally not. She's a wreck. A funny, appealing, sometimes-relatable-human wreck. And a good character, but the hype doesn't change who she is, as a character. And who she is, like Anna and Elsa, is just a good character.

4. Elsa does not finish Let it Go with an "I'm Fine As I Am" attitude, and she doesn't finish the movie that way, either.

She finishes "Let it Go" with an "I'm fine up here, isolated from everyone," attitude. And then the movie very quickly proves her wrong by having Anna show up and reveal to her that no, actually, she is not fine up there, because the person she cares about most can still find her and be hurt by her, and the whole kingdom is still reeling from the problems she ran away from.

At the end of the movie the only thing I can guess you got the impression that she's "fine as she is" from was the fact that she's using her powers again.

But like. Elsa's whole problem was never her powers. She wasn't supposed to learn to stop using them. She was supposed to learn to stop living in fear. Instead, she was supposed to lean on love-love that sacrifices for her, flaws and dangerousness and all-and stop trying to control her image and what everyone knows about her.

Because in trying to control what everyone knows about her, she was controlling whether or not they loved her or treated her like a monster. And even running away and singing Let It Go was still an effort to control everything-by not being around people who could treat her like a monster or be hurt by her. Instead, accepting that she might hurt people because she can't always control everything, and trusting that they'll still love and forgive her, was her character arc.

She lives by faith in sacrificial love by the end, not by fear. That's the arc. She does that perfectly.

It was never, "I'm fine as I am." Because the point was never "there's* something wrong with me." It was, "I don't need to fear a lack of control, because true love covers what I can't control." That's all.

4. Anna does communicate to the audience that she's sorry and willing to understand the reasons behind Elsa's secrets.

The lesson Anna takes away from all of this is not "which guy loves me." It's "what is love?" And you know she's learned that because she demonstrates it. If Anna had died-frozen forever-or been cut down by Hans' sword, you realize that Elsa would never have been able to repay that gesture, right? But Anna still made that choice.

Even though it meant Elsa would never repay her. And the point is — excuse me, I know this is long enough, but I feel like you're missing out on something wonderful here—

Anna could have left Elsa to be killed and ridden off into the sunset with Kristoff.

They make it very clear that that is her goal when she stumbles onto the ice, free from the room Hans trapped her in. Elsa is no longer her motivation. She isn't looking for Elsa. She's not trying to get that love she's looked for, from Elsa, in that moment. She's trying to get it from Kristoff, not just for her emotional need-but for the "breaking of the curse" that's killing her in the moment. That whole scene where she realizes he loves her-truly loves her, because he fits the description Olaf gives-is in there to communicate to the audience that he could save her. He could give her what she needs.

And the reason that's important is that it proves that this is character development: when she chooses not to go to Kristoff, and to go to Elsa instead.

Because it's her, choosing to turn away from the person who could give her something (even if it is "love") and to turn toward the person who can't give her something (Elsa.) Who has repeatedly failed to give her something, for their entire lives.

Anna at the beginning of the movie would've run to Kristoff. That was the whole point of Hans, when it comes to Anna-he represents someone who can fulfill a need in Anna. But when Anna turns away from Kristoff and runs to save Elsa instead, Anna is demonstrating what she's learned —that love isn't about her own needs. It's putting someone else's needs before yours. She stands between Hans and Elsa, with the full expectation that she's not going to get anything out of it, not even a guarantee of E/sa's love in return. And her own needs will NOT get met if she puts Elsa's first.

And that's what she does. Whereas, at the beginning of the film, Anna would not have done that. Because that's not what she thinks love is. She hasn’t realized that yet.

She thinks love means closeness. And that does come with love. But that's not love. Love is, like Olaf says, putting someone else's needs before yours. But the whole movie, Anna is not working to put Elsa's needs before her own. She's working to change Elsa's mind, now that she knows the truth, so that she and Elsa can be "close again." She's climbing that mountain and arguing with Elsa, because she thinks that all that stood in their way before was this secret that's been uncovered. And sure, Anna has always been willing to “be there for” Elsa, but you have to see that Anna wanted that to come with Elsa being there for her, in return.

Which would be nice. But it's not true love. True love is being there for someone even when they refuse to be there for you. Because that's putting their needs before yours.

Thanks for the super long ask! That was fun! I hope you enjoyed reading as much as l enjoyed writing-I think sometimes we judge Frozen by the mania that followed, not the good quality that actually caused the mania, and deserved the mania, though. Anyway 😂

Guards! Take them away! Back to the theater with you! Watch the movie again!

[jedimemery]

Okay guys, hear me out.

I’m sure this scene is still fresh in our minds:

“I tracked down the Trandoshan and pulled some intel out of her.”

Now, hear me out.

I know we’re all still mad at Cid, and rightfully so. She sold them out for some credits at the end of last season, literally right after they’d lost Tech and almost died themselves. It was low, even for her.

But listen.

We don’t know what went down this time. CX-2 tracked her down. He interrogated her and “pulled” information out of her. We don’t know how much it took for her to give them up a second time, to put Phee in potential danger. Maybe it didn’t take much; maybe all he did was threaten her and it was enough for her to talk. But maybe she’d been determined not to talk but was forced to through rather violent measures. Remember in Rebels when Hera told Sabine, “The Empire has ways of making you talk”? Remember when that was demonstrated in morbid detail in Andor?

I’m not saying we should just give her the benefit of the doubt. If you hate Cid, you have every right to. But it kind of bothers me when people say that she’s “beyond redemption.” I think we’ve seen through Crosshair’s growth in the show that nobody is beyond redemption. So in my opinion, it’s probably not the most productive thing in the world to pile on the Cid hate and wish death upon her when we didn’t even see her side of things in that moment with CX-2. We haven’t seen her since last season, and we don’t know if she’s going about her life like a soulless rat or if the guilt is eating her alive, with the final nail in the coffin of her dignity being her forced to give up the Batch again.

Maybe it’s my empathetic nature and my desire to see the good in everyone (hence why Omega is my favorite character), but I’m willing to give Cid a chance to make her case before I write her off completely.

I really feel like one of the best things about Star Wars is the theme of second chances and giving people who are willing room to grow and improve. It’s what we’ve seen in this show so many times, and I really think there’s more to Cid’s story than just greed and betrayal.

(P.S. It’s a canon fact that Trandoshans can grow entire limbs back if they get one severed. We’ve also seen how evil the Empire is and how they will do anything to get what they want. Just some things to think about.)

[amber-laughs]

I’d love to know ur opinion on Jon’s ships (Jon&Ygritte, Jon&Satin, Jon&Sansa, Jon&Daenerys, Jon&val and so on). I personally like Jonerys but I also find a lot of Jon ships a bit ridiculous lmao

i like Jon and Dany in a very abstract way but it’s hard for me to really get behind them because they haven’t interacted yet if that makes sense. they’re obviously gonna have the largest part to play together in coming books where i think they’ll end up being one of my favorite ships of the series tho

Jon/Satin 10/10 i personally prefer to think of it as Jon being so fucking lonely in his command that he can’t help but take advantage of satin’s position. like when Jon said in adwd he craves company not food hmm i’m lonely and horny and here’s this handsome guy devoted enough to change religions for me and (in amber-laugh’s eyes) is attracted to me so yeah let’s give this a go and then feelings of affection develop from there but it starts out as just a means to an end

Jon/Val my personal favorite of canon possible endings i agree with people who say this is more idealized in Jon’s eyes than it should be but i think that’s part of the fun. she represents something to him that he’ll not only never have but may not even want when it comes down to it. i think that fantasy is part of the fun. if she survives and he does end up going beyond the wall in the end than they’re ending up together in my eyes. she brings out a boyish side of him we haven’t seen in a long time and it comes from a different place than what Ygritte brought out in him that seems to sit easier on his soul. also i could’ve sworn the first time i looked them up on tumblr someone was calling them JonValJon as a Les Mis reference but ive never seen it since so can we start that?

Jon/Ygritte loved it for the storyline it brought and the character development we got to see through it. i’m glad she died so they couldn’t end up together because like i said even tho he loved her she obviously never sat right with his spirit and on a personal level her “fuck me or die” stance never sat right with my spirit either. and she kicked ghost out “find somewhere else for ghost to sleep tonight” NOT ON MY WATCH! ghost’s evil stepmother ik he smiled when she got shot. on a serious note tho he seems to love her far more after she died than he ever did when she was alive and i wonder if that’s something we’ll get in to if he falls in love again in the series

i like Jon/Sansa in a non canon fictional sense. some of the AUs are cute and fun. i don’t see any plot where they actually end up together but i do think there’s a lot of familial angst and self esteem issues that could be worked in to their fanon that’s a lot of fun and their fans have some really talented authors that do it well

and you didn’t ask for this but Jon/Alys Karstark is one of my favorites and i really hope we see her again when he travels back to winterfell. Alys resents the Starks for getting her family killed while Jon resents the Karstarks for leaving Robb to die surrounded by enemies but they’ve found childhood comfort together at the edge of the world. she trusts him in a way she clearly couldn’t trust anyone else in westeros and i think she’ll easily follow him when it’s time for him to lead. and them flirting at her wedding to another man? i mean COME ON!

[nobodysdaydreams]

Unpopular opinion, but while I’m not a fan of random or spontaneous musical episodes of media in general (there is usually no reason, they add nothing to the plot of show, they’re awkward, the members of the cast who can’t sing are mysteriously absent from the episode or shameless dubbed, it’s weird when they parody a specific musical and force it to tie into the plot), I would have been strangely fine with a Wolf359 musical episode and think it would have actually fit the show extremely well.

The Dear Listeners’ whole thing from the beginning was about music, so it fits the theme extremely well, it’s not like the musical vibes would “come out of nowhere” and if the Dear Listeners are the ones that cause it happen, it would actually make sense. It’s also plausible in the Wolf359 universe as the Dear Listeners can create time loops, clones, and do a ton of stuff that’s already way more impressive than forcing people to sing, and AI like Eris can trap them in a virtual reality so that’s also a possibility.

Not to mention the entire cast would have ATE UP a multi hour special musical episode. Just imagine:

Lovelace. We heard her sing already in Change of Mind, she would rock this. A song about her old crew perhaps?

Minkowski. The whole plot to her musical and her Broadway dreams. Her talent show performance. All of it. Maybe a song about Dominik or whether she regrets coming here. Her dreams of seeing the stars and how now all she wants is to see home again.

Kepler. He’d turn the Whisky speech into a villain song and what a villain song it would be. Casually and smoothly threatening their lives as he twirls the glass in his hand. He sings a reprise on the way out with old lyrics meaning something new or with entirely new lyrics and the final line of the song is cut off when he’s blasted out of the ship, leaving a haunting silence where his last words should be.

Speaking of villains, Rachel. Her rotating between the characters, condescending each of them as an aside, talking about everything she’s done and will do to get ahead, interrupting David Clarke when he tries to have a solo.

Hera. She’d have a nice heartfelt song about her inner feelings, anger, sadness, heartbreak, etc. that Pryce would do a villainous reprise of that has disturbingly similar emotions related to her own disability, but takes a dark and vengeful turn at the end as opposed to Hera’s more hopeful and resilient attitude about her situation. Also the way Pryce sings hers can lead the audience to thinking it’s Hera singing at first until they realize.

Jacobi and Maxwell. They sing a duet about how they doubt what Goddard is doing sometimes, but it’s allowing them to follow their dreams and discover who they’re meant to be (plus how they found family in each other). After Maxwell dies, or the musical hallucination of her disappears, Jacobi has to sing the reprise alone and the hopeful tempo is replaced by one of sadness, anger, and ultimately acceptance as he wishes Alana goodbye.

Hilbert. He would either resist for such a long time then sing a short sad song about Russia and his sister that he claims means nothing, or he’d refuse to sing and finally be forced to sing in a monotonous unenthusiastic off key bland voice with a heavy accent. Go girl, give us nothing. Another option is this is Blessie’s song sung through Hilbert.

Cutter. Do I even need to restate it, this man dragged a grand piano to space so he could dramatically play it before his evil plans. He would eat up a villain number and enjoy every single second of the performance too. Starts out falsely pleasant and sweet, the ominous vibes slowly come in until they’re in full swing.

Eiffel. He’d also insist this was stupid and try to refuse to sing or would awkwardly or sarcastically sing a weird song, but would eventually break down and sing something quiet and heartfelt about Anne and whether he can even be a hero now after all he’s done.

I hope this post finds the right people. Please someone understand my vision!

[bleue-flora]

Hate to intervene on the discussion about the genuine finale, but Tommy did apologize previously to the nuke going off and he did it before Dream even killed him, Im not sure if it was intended for him to say the apology so early on if at all but it did make me a little confused when the reaction to the apology was dream focusing on tommy dismissing the revival book and then killing him. Its not that out of character or anything, it made sense for Dream to be paranoid and lash out especially considering Tommy accused him of being the same person the whole time within his apology, but it did make me feel bad for tommy, as well as the fact he didn't get a sorry in return but then again had the nuke not dropped and no reset, Dream probably would of apologized for his own actions once he really processed what was going on which is rlly the only issues i had with that final convo

Regardless on my opinion on that part of the stream, you've definietly highlighted why many dislike it and I completely agree. Dream and Tommy had closure, while pretty much no one else in the server really did, not sure if punz even did, many character arcs didn't rlly end, stuff was left ambigious, ranboo had their ending on twitter, we got nothing about dreamxd. killing staged duo off is just a repeat of everything before and it just makes the moral that violence is the answer to trauma and multiple characters in dsmp use violence as revenge and the ending having that would just be like saying that was okay. But the fact it instead took this understanding morally grey approach and ended that destructive cycle gave it a much better moral. Solid essay btw.

[context]

Always feel free to intervene, just know you’ll probably get an essay in response lol. ;D <3

In regards, to Tommy’s apology [clip] I am of the opinion that anything Tommy said before he died was not really genuine because he was stalling for time. He only asks Dream what his point of view is the server because he needed to stall. And even when Dream is explaining his side [clip], instead of really understanding it or even having remorse he mutes and says “Come on, Tubbo.” He’s not really listening, and his apology shortly after isn’t really sincere. He keeps repeating how Dream was always like this, so if he was apologizing it wasn’t because he realizes he actually hurt Dream. He even questions how Dream can be upset about burning down George’s house “it wasn’t even your house.” Language like “you could’ve got over that” tells me he isn’t seeing the point. He does not see how he might be in the wrong nor how much he hurt Dream.

So honestly, I think this apology is really just manipulation, trying to get Dream to stay. And honestly, that makes sense, because if you want someone to stay you’re not going to keep pissing then off, or at least he learned this because that was his first strategy. But that was only making them want to leave or kill him, so he changes tactics, getting Dream to talk [clip] “take as long as you need.” So yea, it doesn’t really count in my mind, just as Dream’s “I’m sorry” in prison doesn’t necessarily count.

If however the nuke hadn’t happened, and Tommy had actually apologized, now beginning to understand Dream more, then perhaps Dream would also. But to be honest that would be pretty out of character for both. Character growth can only go so far in one stream.

And I think Dream doesn’t feel sorry, not really. I think he regrets things getting out of hand and going further than they should have, but I think he’s so hurt by Tommy that he feels justified in his lashing out. And unless, Tommy were to express actual remorse for his actions and see them as wrong vs the “that was just me having fun with my friends” we got, then I don’t think Dream would apologize.

If the nuke hadn’t happened, I don’t necessarily see Tommy changing his behavior, only his view of Dream. I see him still being Tommy and pissing Dream off, just not viewing Dream as this evil devil out to get him. So honestly the reset was probably good because might as well go out on this nice moment when they understand where the audience can be optimistic about what could’ve happened vs seeing what the actual aftermath would have been. Certainly better and different but I don’t think things would change as much as we’d like to think.

Certainly Dream and Tommy had a satisfying wrap up where some other characters did not, but I would say it is pretty fitting that they would have a more dramatic actual resolution considering they have been the center of a lot of conflicts from the very start.

I do think though Punz did complete his character arc, perhaps not as satisfying as we’d like but still. Throughout the whole thing he has been in the background and more secretly Dream’s ally, but finally he was able to stand beside Dream and speak his truth, and be openly his friend, openly defend him and have his back. That was a good ending for him. Instead of being a bystander like in the disc confrontation this time he got to speak up and be heard. He finally got to die alongside Dream, instead of watching Dream die for him. He finally got to be included. It’s not perfect or as well thought out, but it works.

Have another essay I guess lol, glad you liked the other. <3 <3 and yea for sure sending a good message to the audience is super important (again something that Supernatural failed at) and to say let’s talk it out and try and see each others point of views instead of just continuing the cycle of violence is certainly a very important message to highlight. :)

[ragingstillness]

Finally caught up on the bungo stray dogs manga today. Here are my thoughts in no particular order.

Massive spoiler warning through ch 114.5!

Gotta say, I don’t think any of us guessed “functional immortality” for Fyodor’s ability. It does explain why he’s completely crazed and has such little respect for human life. The face peeling is gross but a little funny in how wacky and wild it is. Genuine questions: does Fyodor then gain that person’s body shape? Has he ever been killed by a woman before? Or a child? Does he get to steal Bram’s height now? What happens if he turns into an old person and dies of old age? What happens if he kills himself? When was he born and when did this ability manifest? Does he gain the new person’s ability as well as his own? Also, I have to give Asagiri credit for taking the most literal interpretation of Crime and Punishment ever. The Crime is murder of Fyodor and the Punishment is he becomes you. He takes your space in society. Delightfully literal.

Gogol’s sadness over Dostoyevsky felt really real my poor clown. However, with the reveal of Dostoyevsky’s ability, they are now the perfect couple. Gogol can kill Fyodor, achieving his goal of killing him, then Fyodor can become him, achieving Gogol’s goal of losing himself and Fyodor’s goal of having one less person constantly trying to kill him. Poetic cinema.

Gonna be laughing forever at Mori gluing the fake vampire teeth into Chuuya’s mouth and Chuuya’s inability to get them out. This is especially funny because this genuinely happened to me with my mom one Halloween and while we did get them out I was picking glue out of my teeth for a week.

I hope Bram isn’t gone forever because his relationship with Aya is beyond cute.

Is Aya’s dad that grumpy police detective? It looked like that in her vision.

I’m still not super satisfied with Fukuchi having good intentions. He’s been far too sadistic and blatantly evil for me to change my mind on him now. Little Fukuchi I can defend but I’m not changing my opinion on adult Fukuchi.

Fukuzawa stays the smartest man, taking the sword to the heart then pulling it away with him. Very “can I keep this” when someone gets stabbed meme of him. Also using it still as a blade? Inspired. All hail silver fox dad.

Ranpo is clearly still injured but doesn’t seem as injured as Asagiri teased us with. Aku still appears to be a vampire, we’ll see how that turns out.

Damn, Fukuchi will not die. This man has been bleeding from the neck and heart for several minutes at least and still is talking.

Considering the last ability singularity nearly destroyed all of Yokohama and the world, not looking forward to the results of a three-part singularity.

Fukuchi’s blade allowing him control over a small period of time I could accept but the gift of prophecy? Specific prophecy too? Kind of came out of left field, I don’t like that without knowing more about the sword’s creator.

Let’s be real, One Order should just be destroyed, it’s hella dangerous in anyone’s hands.

I don’t think we got told in advance that Bram’s sword combined person with ability. Maybe I just don’t remember but I don’t think so.

Fyodor’s goals continue to be murky as hell.

Convenient, that Fyodor’s ability also comes with a bit of teleportation, as he got from mid-Europe to Japan right quick.

I still need to know more about the war and I despair of ever receiving that info.

Love that all this is going down between Fyodor, Fukuchi, and Fukuzawa (too many fs) and Atsushi is just there like oh right I have a main character oops. I really hope vampirism wipes Akutagawa’s memories so he just jumps into this situation completely discombobulated, it’d be so funny.

When will sassy grandpa (Mori) return from war?

Hey Natsume what’s up, think maybe this is a good time to intervene?

Where the hell is Kouyou?

[t0ast-ghost]

S2 Episode 8 (I, Mudd) Garfield guess who’s here? Please tell me it’s not Mudd. It’s Mudd.

Commence:

- Why are him and Spock just walking the halls together. If I was the crew I’d be going livid, like get this: there’s these two men who are head of the science and medical staff on the ship and they fucking hate each other, they fight all over the ship constantly and you’ve seen them at odds a gazillion times. One day you’re walking the halls to get to your station and you just see them walking together, talking normally, and one of them is even smiling in a sort of fond way. My jaw would drop honestly

- They’re already fighting.. it took less than 30 seconds

- This guy’s on a mission! I wonder who he could be?

- “Mr. Spock we seem to be taking an unscheduled ride” “Interesting.” Spock does not give a fuck about your dramatics, Kirk

- Spock looks at the guy who stops Kirk and just thinks “fuck, McCoy was right.”

- LMAO the electronics in him look like smt from doctor who

- I love Uhura and Chekov almost bumping into the android

- oh god this guy again (Mudd)

- “Jamie boy.” That- that barely even makes sense

- Kirk what is that stance

- “And you’re all going to be here, uh, quite probably for the rest of your lives. *evil laugh*”Spock and McCoy are unconcerned

- Okay I think McCoy is just lording it over Spock that he was right

- Okay there’s a certain joviality that I appreciate to the back and forth of Mudd explaining and Kirk, McCoy, and Spock all interrupting

- this is the greatest line in all of Star Trek

- Kirk: Well, opinions?

Chekov: I think we’re in a lot of trouble

Kirk: That’s a great help, Mr. Chekov. Bones?

McCoy: Well, I think Mr. Chekov’s right. We are in a lot of trouble

Kirk: Spock? And if you say we’re in a lot of trouble…

Spock: We are.

Kirk then gets the most defeated look on his face

- Scotty coming in hot and cursing out Mudd

- CHEKOV DONT FUCK THE ANDROIDS

- Kirk is like an angry small dog

- “No, lord Mudd.” “Wuuut??” Good line delivery

- “How do you know so much?” “I asked them.” “Oh.” Wait wait wait, this is simple deduction. Deduction? Sherlock. Holmes and Watso? MCCOY AND SPOCK AS HOLMES AND WATSON!!! Oh wait Data and Geordi did that..

- “Now listen, Spock, you may be a wonderful science officer, but believe me you couldn’t sell fake patents to your mother!” “I fail to understand why I should care to induce my mother to purchase falsified patents.” I love this man

- The name is doctor practice. Mal practice.

- uhura no! WAIT UHURA YES IM SO PROUD. I love how happy they all are

- hi hello what the fuck is happening. What are they celebrating. How did Kirk convince McCoy and Scotty to do that?

- The androids flirting with Spock. Kirk and the rest have to dance whereas Spock is just causing drama “I love you. But I hate you.” “But we’re identical.” *blows up*

- They’re gonna paradox Norman

- WJAT

- Them imitating phasers takes the cake. I think if I ever show anyone an example episode it would be this one

- “he’s dead.” Damn no Jim. Second time Scotty’s ‘died’ this season

- This is like watching Shakespeare

- I would not be surprised if this episode was inspired by children playing make believe (honestly really genius and fun writing)

- Oooh they’re paradoxing him

- “I aM nOt prOgrAmMeD to reSpoNd in thAt aRea.” The fucking sass. Kirk has been spending too much time with Spock and Bones

- “Which I find eminently satisfactory, Doctor, for nowhere, am I so desperately needed as among a shipload of illogical humans.” Basically Spock loves them and there’s nowhere he’d rather be

- Kirk hates Mudd so much, it’s almost bitchy at this point

- Uhura’s wave to Mudd is so iconic and amazing

Okay one of my favourite episodes, if not my favourite actually. I loved more of the bridge crew interaction (no sulu☹️) especially getting to see Uhura, like I wanna talk more about her character but there’s so little that I’m just trying to pick up the crumbs.

Masterpost

Episode written by Stephen Kandel

[glassshard]

Whenever I don’t like a major piece of media I really like to analyze why. Ever since the RLM Star Wars Prequels reviews I’ve found this exercise super helpful. I think it’s even more helpful than analyzing why I love a piece of media, since my heart is a lot more shallow than my head, and will happily latch onto media with all kinds of problems simply because a boy was stabbed in a sexy way or the music was good.

But after ten hours of Baldur’s Gate 3 this weekend, I just had to drop it. I don’t like the game. It charmed me at first with its high production values and its excellent exploration, but my ardour cooled quickly as it began to butt up against my personal predilections. At first it did so in totally subjective ways with its unlovable D&D mechanics. I don’t know D&D and the game did not have any interest in teaching me about it. It just kinda throws you into a system that has no place in a video game in my opinion, full of unnecessary tedium and opaque mechanics. But you know what, that’s just me. Plenty of people love it. I could deal with bad gameplay, I like lots of games that play like crap. Let me sing you a song of the Legacy of Kain series.

But then the story failed to grip me. It’s written like fanfiction, with no explanation for any of the races, proper nouns, or concepts because you’re expected to already know them. I love in media res, but c’mon. Ya know what though? Still just my opinion. Open world games are super popular, lots of people love them. Remember how much you enjoyed Dark Souls? Look at that vampire, keep going. Sure he’s walking around during the day and vampirism in this setting just seems to equate to some Spirit Halloween accessories but it’s fine!

But then! But then! Then that vampire killed my character in a cutscene! And I thought that was GREAT. Unexpected! Finally! The game’s getting good! I’m invested! I’ll need to save scum and reload but-

Wait, I don’t need to? That wasn’t a game over? I can... I can rez my character? My character died in a story cutscene and I can have another character rez them with a scroll? And then... then I can go talk to the vampire because he’s still hanging around? But I can’t even tell the other party members about it? This is... this is not right. This feels objectively not right.

You can’t use a game mechanic to rez a story death. That’s not how this works. That’s like if Cloud had pulled out a phoenix down on Aeris or Corvo just started shoving jellied eels down the dead Empress’ throat. That is deflating the very concept of death in the game. There are no stakes now. Why should I care about anything? Why do people even hate vampires in this world if death can be cleaned up with a square of toilet paper available from any shop?

Still, I pushed on, in a stubborn daze. This was a sixty dollar game, I had to keep trying!

The underwear inventory slots felt juvenile but that’s fine, that’s fine. The character designs are extremely Ren Faire, but no big deal. One of the party members is named after a Care Bear but don’t be superficial, Ashley. I can equip armour I’m not proficient in and the game’s not going to tell me why I shouldn’t, but I’m not going to take it personally. The mind control mechanic is making every interaction feel cheap and silly, and all the parasitized party members feel fake and offputting. It seems very contrived that they’re traveling together, and I don’t understand why my character would remain in the company of ANY of them when he himself knows they have his same mind-control powers and can never be trusted and sometimes the illithid powers are framed as course-altering and sometimes they’re not and nothing is consistent except the cartoonish characterization of the “evil” races but it’s fine, it’s fine, keep going

But then I got to a portion where my character was able to ask a dead Mindflayer questions about the plot. And I realised, sharply: I do not care about the answers. I do not care about this world or this cast or any schemes at play. No immersion will be happening; my suspension of disbelief is irrevocably snapped. This is a Saturday morning cartoon with dicks.

And it all really went back to rezzing that story death. While a lot of my gripes about this game are completely subjective and to do with my own tastes, I think it’s objectively bad design to allow a story death resurrection. It deflated everything for me and I couldn’t recover.

So! I did not like Baldur’s Gate 3, and in my mind my character’s story ended when their trusting nature was exploited by a vampire, and they were killed. But the experience did teach me some interesting things about my own tastes, and what I require to become invested in a video game narrative.

[loudrantsensue]

WARNING, long post ahead:

In my own personal opinion, Sonia’s death in Tears of the Kingdom was poorly handled, to not say dumb.

I dunno if it’s because I’m getting old or that I grew up in fucking LATAM of all places, but I don’t buy the way Ganondorf tricked Sonia in TotK.

Let me explain...

In the short scene we see a fake Zelda trying to assasinate queen Sonia, such attempt is stopped by the real Zelda who was in hiding, and the way Sonia reacts makes it clear that she was also aware that the other Zelda was a fake. Then Zelda uses her powers to return the dagger to the puppet and throwing it at her feet. Then the fake Zelda lets out an evil laugh and vanishes. Then Sonia and Zelda just stare at the place where the pupped vanished.

THAT last part is what bugs me.

I can see why the scene works, but very slightly. They were alert and looking straight at the place where the threat disappeared, and the scene passed fast enough for Ganondorf to strike, so it was a decoy.

HOWEVER, what bugs me is Sonia’s reaction after the puppet disappears. (or lack of any action at all, she doesn’t do jack shit)

Sonia was shown previously to be quite perceptive and wise. Then we add to that that she and Rauru were the first king and queen of Hyrule, so at least they could have already passed / be going through complicated times. I can’t think of any independent city or village willing to be annexed to a kingdom at the get go, such example are the Gerudo.

Based on this it is not difficult to image that Sonia would be a wise and experienced leader, and it would be expected from a queen.

So, after the decoy was revealed, it would have been more in character for her to be immediately on guard right after the puppet vanished, taking a look at the surroundings. Turning around to have a good look for any lingering danger should've been her immediate reaction, and is not like she was entirely alone for this to fail. Zelda was there and they could have been back to back, close enough to protect each other in case some shit like, I don’t know, Ganondorf coming out of nowhere and striking happened (herd animals, animals, do this in the wild!)

Someone gave me the excuse that “they thought the danger was over”. You want THAT to work better? Have the puppet pretend being defeated, screaming in frustration instead of letting out an evil laugh that just makes it painfully obvious that danger may still be lurking!

I would have believed the decoy fooling a younger, more naive character, but not Sonia, because as a diplomat and sage she should have known better to not just stand there like a fool after an assasination attempt.

Heck, ranting about it made me though of a better alternative, at least works for me:

Have everything stay the same, but this time after the puppet vanishes Sonia and Zelda BOTH stay on guard, scanning the area. Then Zelda steps away from Sonia (either to search better, say they can leave cuz it appears safe, I dunno, but she steps away). HERE is where you have Ganondorf coming out of the shadows and target Zelda instead (is not far-fetched as Zelda also had a secret stone which was the thing Ganondorf was after), but Sonia acts fast enough and in an attempt to protect Zelda, takes the hit instead. Then she dies, Zelda grieves and the rest stays the same.

Also, don't say it couldn't have happened because Zelda would have "messed with the past," because in canon events she was pretty proactive in that whole ordeal. (Ok, he didn't "mess" with the past exactly but you get the point.)

I really liked this alt scene because it sorta improves the three involved characters (IMO!!!):

Sonia dies doing something noble and not like and idiot fooled by Ganondorf.

Ganondorf appears more cunning, malicious and despicable (he’s already evil just because so why not?).

Zelda is impacted by the event and has a stronger reason why later in the story she’s so proactive in stopping the Demon King in the future. (I mean, her story is quite good already but adding a little more angst doesn’t hurt, right? at least to spice a bit more the story.)

Still, I mean sure sure, the actual canon events sorta work at the end, sure. Hyrule could have been more peaceful than our real world so Sonia didn’t need to be on her toes, or maybe she was just not informed enough about how shitty politics can be. I read somewhere that apparently she was a priestess before marrying Rauru, so sure, perhaps she was still naive and Rauru was the one actually managing most if not all of Hyrule’s external relationships and stuff. Heck, now I’m thinking that perhaps I thought too high of this hoe and the only character with the pants and relevance in the backstory was Rauru, and Sonia was just there to be a plot device, what a shame.

Anyway, I myself would feel disappointed if the previous reasons were true, because I did like this character and it did pissed me off the way her death was handled. Then I was even more pissed off when I came up with my optional turn of events, which to be honest I’ll make my own headcanon cuz screw it, Sonia deserved better.

In conclusion I repeat that this is just my own opinion and take on a game that to be fair I really enjoy, and what it may lack in story it makes up in a really fun gameplay experience. I repeat, I LOVE the game and think is good, even if (imo imo imo) it sacrifices a couple bits in its story department to work as well as it does in general.

[canonmisogynyvictimstournament]

PROPAGANDA

NAOMI MISORA (DEATH NOTE)

1.) I know everyone is gonna submit Misa but honestly she had it worse.

She gets introduced as this competent lady who’s gonna help find Kira but then she just, decides to show some teenager her real ID as a show of trust and whoops that’s Kira.

Also part of her introduction was her fiance going “You don’t need to worry about this tracking down the killer nonsense, you’re gonna be my wife, you should just be worried about raising kids in the future :)” or some shit. And it’s barely addressed, because she just fucking dies.

2.) She was the only woman in the series to show any level of competence. She figured out more about how the death note works from some small context clues than L did in considerably less time. She was apparently so competent that the author decided to kill her off despite initially planning to make her a main character, fearing she would distract from the L and Light rivalry.

3.) the victim of “writer doesn’t understand women and also hates them” disease. Like, seriously, the author of Death Note could only imagine a female FBI agent as the fiancée of another, more senior FBI agent. The main character Light kills her fiancé Raye Penber (in honestly a really tightly written and cool episode) and so she tries to figure out who killed her husband. Unlike Raye who only figured out that Light was Kira as he was dying because Light basically told him, Naomi figures it out a lot sooner so oops guess she’s gotta die because she’s too good at her job.

ORIHIME INOUE (BLEACH) (CW: Child Abuse, Ableism)

1.) Her powers were incredibly versatile but only ever used for healing or defense. She had offensive capabilities too, but as she isn’t an aggressive person, they were barely ever used. Her healing power isn’t so much healing as it is “rejecting” the existence of something. This power could have been so insanely strong, to the point that even one of the show’s major antagonists remarked on how frightening it was, but as I said, it was only ever used for healing, and her personality held her back from using it as an attack. She was kidnapped by said antagonist for an entire arc. I’m not even going to get into the amount of times she was used for fanservice. Fandom opinion on her varies WILDLY.

2.) I realized I hadn’t added enough the first time, but I also don’t know how much I added the first so:

She’s introduced as a character to be saved. Most are, though, even the boys and men in this arc It’s also mentioned in the manga that she had horribly abusive parents, to the point the second her brother turned 18 her grabbed her and ran. This fact is removed in the anime. The evil ghost attacking her turns out to be the degraded ghost of her brother.

She in general, in light hearted moments, spends a lot of time being sexualized. Of the minor characters (as in under 18), she is the one that is sexualized the most. Usually against her will, with people making creepy remarks (despite not wearing very revealing clothes… Which Is true to life. It’s because she has big breasts).

She then gets cool abilities, but she’s the only one of the group not to get a big fight in the Soul Society arc.

She is then the SECOND female character in need of a big rescue arc (while I agree with how it was written for both female characters, intertwined with the other ones’ ingrained following of a horrible system and neglect by her adopted family and for Orihime a desire to prevent any friends from dying, the fact is the third major arc like this has a male character “defect”. So rescued are only for the girlies). During that arc she goes through a lot of psychological horror and pain that I will defend her choices in to the end. She is built up, in that arc, however, as someone whose healing abilities aren’t really healing and instead rejection of reality/rewriting reality. She is also built up as the person who may be able to destroy the Nebulously Powerful artificat that was at the center of this arc and the twist motive of the antagonists in the previous arc. And… Nothing happens. She doesn’t get to do it.

She gets some cool things in the next smaller arc, but also gets psychically fucked with (while all of them do, she doesn’t get to have the power ups or later fights. And her previous arc was her just… Being psychologically tortured).

The end arc is complex because, yes, it was rushed because the creator was injured. But her “cool” moment -while a triumph and circling back to character development - is that she gets to be in a duo-fight briefly with the main character. Not the last fight against this boss. And she never gets to do anything cool with objects or breaking things, both which would fall under her being a pacifist still.

I disagree with a lot of discourse about her being infantalized, because she seems very ADHD-I coded, as someone who has that. That doesn’t mean the author meant her more than just a “weird” girl, especially with how the state of ADHD treatment is in Japan . So we can throw in some ableism. Which gets me to the anime adaptation.

The anime was made by Studio Pierrot, which has a reputation with adapting female characters from manga to anime. Esp cially in shonen anime.They DID infantalize her (ex, changing a daydream comment from about the main guy to pee and poop??), including removing many of her daydreams and context, changing her intro scene, removing more introspective moments (she is very emotionally intelligent in the manga), and removing moments with the main protagonist. The latter is an issue because they added moments with another female character, which implies their attachment to either is solely in favor of romantic scenes with the male lead

[Description ID: Manga page. Panel 1: Ichigo looking to the side. Someone off screen says "I… Ichigo!" Panel 2: Someone standing in front of Orihime between her and some shadows indicating people. There is a sound effect "SHOOM". Panel 3: Orihime smiles. There is a sound effect "SHOOM". Panel 4: A close up shot of Orihime's breasts. There is a sound effect "ZOOM". Panel 5: A character (Ichigo?) with stars for eyes blushes, clasps his hands, and shouts "Heaven!! I'm in heaven!!" followed by a heart. Panel 6: A distant shot of Orihime and the person standing in front of her. There's a mark of action off to their left and the sound effect "FWUP". Panel 7: Two other characters say "He… flew?!" Panel 8: A close up of a shoe as someone lands on something with the sound effect "TUMP"]

[Description ID: Manga page. Panel 1: A shot looking down at Orihime from an angle. She's dressed in a baseball uniform and shouts "Yeah! C'mon, Tatsuki, give it to me!" followed by a heart. Panel 2: A shot of stairs with an arrow pointing to someone labeled "Kon". Kon is Bleach's mascot character. Someone off screen says "Th… …That's!" and Orihime says "Hey!" Panel 3: On the left is a close up of Orihime's breasts with an arrow pointing to them. In the bottom center right is Kon with his paw over his mouth. He thinks "Orihime!!!" There is a sound effect "BOOM" behind Kon. Panel 4: White text on a black background. The text reads "target 1: Orihime Inoue". Panel 5: A distant shot of Kon going down the stairs. He thinks "Yes! I'll play the innocent stuffed animal that just happens to be lying on the ground in front of her. Panel 6: A close up of Kon with his paw in front of his mouth. He thinks "She's got the heart of the Virgin Mary, so… …She's bound to pick me up and hug me and nestle me in the valley of paradise!!"]

(Cleanser that isn't relevant to propaganda that follows up on the previous:

[Description ID: Manga page. Panel 1: The mascot character Kon is blushing and is in front of a large soccer ball. He thinks "And then I'll be umm-ummm-umm…" Panel 2: Kon gets hit by the soccer ball with the sound effect "WAP" Panel 3: On the right is a character after they kicked the ball. They're shouting "Dragon Bazooka!!!" There's a note by the speech bubble that that's the name of the shot. On the left is Kon getting hit by the soccer ball with an arrow pointing to him. There's a sound effect "THWAK". Panel 4: In the foreground is the soccer ball driving Kon forward. In the background is Orihime standing at home base of a baseball field; she's standing with a baseball bat ready to swing. Action lines indicate that Kon and the ball are moving toward her. Panel 5: A close up of a distressed Kon. Panel 6: A close up of a smiling Orihime. Across panels 4 to 6 is a speech bubble of Kon's saying "AAAAAAAAAAAAAAAAH"]

yes she hits him with the bat in the following page)

[Description ID: A character hugs Orihime from behind and grabs breasts while shouting "Morning, Orihime!!!" and while Orihime gasps. Orihime kicks said character in the face.]

[Description ID: A panel of Orihime; someone off-screen says "Her powers violate divine law."]

[Description ID: Manga page. Panel 1: Orihime stands in front of a dark doorway with hands reaching out of them. Panel 2: Close up of an eye. Panel 3: A woman with black pigtails grabs Orihime from behind and covers Orihime's mouth with her hand. There is a sound effect "WHAP".]

[Description ID: Manga page. Panel 1: Woman with black pigtails tells Orihime "You're finished."" Panel 2: Close up of woman's face. She says "I'm going to take back everything you took from me!!" Panel 3: The woman tears off Orihime's sleeve with the sound effect "SRIP".]

(Had some supposed Orihime fans - saying that as a huge Orihime fan myself - claim this wasn't misogynistic as hell because "girls do that in real life")

[Description ID: Manga page. Panel 1: A man with a bucket tells a distressed and blushing Orihime "Oh. Be careful with that dress. It's designed so that when you close the middle, they pop out from either side." Orihime shouts "WAAAAAA!!!" Panel 2: A character shoves their hand upwards through Orihime's cleavage so that it's sticking out from between them. The character says "Okay, it's okay. Don't cry, don't cry." There is a sound effect "SHPA." Orihime has tears in her eyes and is blushing in a distressed way. Panel 3: Orihime shouts "WAAA!!!" off screen. Ichigo has a distressed or shocked face with a blush and says "Y…".]

(How an antagonist in the Hueco Mundo arc restrains her)

And one of those scenes weirdly changed and infantilized from manga to anime (these are both the official releases, not fan translations). They're not the only one but they're the easiest to show:

Manga:

[Description ID: Manga page. Panel 1: POV shot of Ichigo looking down at presumably Orihime. Panel 2: Orihime blushes with closed eyes and says "Oh no, Ichigo!! Close-quarters combat!!" There are two sound effects: "WHOMP" and "ZING" Panel 3: A shot of from behind Orihime stands on her knees and shouting "Ow!!" A man in the foreground asks her "Orihime! Are you all right, Orihime?!!"]

Anime:

[Description ID: Anime screenshot. Orihime is lying on the ground asleep while a man looks down on her. She says "No… Not Poo-san, it's Pee-tan…!"]

3.) In the arc that literally centers around her, she is described as having a power that infringes on the territory of God because she can Reject events from happening (this usually manifests in her "rejecting" people's wounds giving her pretty much The Perfect healing ability). There is a lot of emphasis placed on this and on her personal arc about how she feels pretty weak and useless compared to her friends, so she figures out that there is something that Only She Can Do! Which is, Reject the Macguffin from ever existing. And guess what she never gets the opportunity to do? And instead watches her LI (the main character) fight multiple people on her behalf and literally die in front of her and resurrect himself through sheer force of HIS will, not hers? (Like, OK, granted that sheer force of will was born out of his strong desire to save her, but it still isn't anything SHE did.)

In later arcs, she does get more of an upgrade power-wise but it's nowhere near the scale that was implied earlier on. (this might be more because it's a difficult thing to write around if it's really that OP, but I still side-eye it a bit) And in the final arc, she's given a pretty sexualized outfit that's both given explicit attention and also played for laughs, but in a way that feels very much at HER expense.

[violetgarlends]

tgcf for the ask game! ❤💖💀

Thanks for the ask!

❤: Which character do you think is the most egregiously mischaracterized by the fandom

It’s probably not a good thing that I can think of so many options. Tbh I could name like half the cast here. But I’m going to go with Jian Lan, because if i see her characterized as Feng Xin’s obsessive evil stalker ex one more time I’m going to start throwing things. She could not have made it anymore clear that she doesn’t want him. I don’t know how people miss it unless they were skimming the last couple of chapters. They’re broken up! She’s not even getting in the way of any ships! Just let that poor woman live!

💖: What is your biggest unpopular opinion about the series?

I really, really prefer the flashback segments to the main plot. They feel overall more coherent, better paced, and are also just have a way more interesting storyline to me, personally. The main timeline has so many characters and so many subplots that sometimes it just feels a little bit all over the place, in a way that I do not vibe with. But then again I am so far from the target audience of this series that this should be taken with a grain of salt.

💀: If you had to choose one major character to die, who would you choose?

God i wish more people died in these books. I’d make Yin Yu stay dead for one thing. Sorry king. But out of major characters I’d choose Feng Xin, to no one’s surprise. I write a lot of ghost Feng Xin, but Fx perma-death compells me too. Something about him dying for Xie Lian and, unlike Hua Cheng, not coming back. Truly living up to his second male lead destiny

[lulu2992]

After listening to this song on repeat and/or having it regularly stuck in my head these past few weeks, I’ve finally seen Wish!

I had read many reviews that said the movie was bland because it lacked originality, and while I understand this point of view, in a way... I think it was intentional.

The film was released for Walt Disney Animation Studios’ 100th Anniversary and is full of more or less obvious references to other Disney movies, whether it’s a well-known character name that’s mentioned, someone directly quoting another film, or even just a background, object, gesture, or scene composition that, for some reason, feels familiar. The fact that all those “Easter eggs”, which could have been very annoying but, in my opinion, manage to remain fun (not really in a self-mocking way as Enchanted did, though), exist, combined with the images that appear during the end credits and the scene that follows (yes, there is a post-credits scene), make me say the goal was to make the “Disneyest Disney movie”.

Wish is not lazy, it’s a celebration.

It’s still its own film with its own story, but it’s first and foremost a tribute to Walt Disney Animation Studios, all the movies they’ve released over the years, and the now iconic (some might say overused) concepts of “wishing upon a star” and hoping your “dreams come true”. At one point, there’s also a flip book (with a time chart!), and I see this as a nod to traditional animation, as well as an homage to the original “magic makers”: animators in general.

So yes, it’s unoriginal and maybe not the most memorable Disney film. As you would expect, it opens on a storybook, takes place in a fictional kingdom, features a heroine who has an animal sidekick and a dead parent, and she has to fight against a charismatic villain who uses green magic. I would describe Wish as a quintessential Disney movie, and while it may not be groundbreaking, it’s still cute, pretty, and entertaining. The characters are good and, even when they don’t have a lot of screen time, have distinct personalities. I’m thinking in particular of Asha’s friends who, as I’ve just realized writing this, must be a reference to the Seven Dwarves (even their initials match)... There also are many songs, of course, as they are yet another trademark of Disney movies. Special mention to “This Is The Thanks I Get?!” because I thought it was quite catchy and the most original!

Speaking of King Magnifico, he really is a great character and “classic” Disney villain, and it feels like we hadn’t seen that in a while. That said, [spoilers]…

...I was a bit disappointed they introduced his tragic backstory (without fully explaining what exactly happened, by the way) and then didn’t really do anything with it at the end. Sure, it humanizes him, gives him depth, and explains why he’s unhealthily obsessed with being in control, and I agree that not all villains need or deserve a full redemption arc, but… I don’t know, since they mention the fact his family died and that the fear of loss is what motivates him (at least at the beginning), I expected that to play a bigger role in the story, and especially in its conclusion. I’m not saying he should have been redeemed because I don’t know if it would have worked in that story anyway, but taking into account his past, the fact they mention it several times, and what they (Disney) have been doing with many of their villains lately, I simply thought it was likely to happen. Maybe King Magnifico didn’t necessarily “deserve better” as a person because he does become “evil”, to the point that even Queen Amaya, his wife, eventually turns her back on him despite their seemingly sincere connection, but as a character, I’m inclined to say he did…

Oh well, at least he has the coolest villain song!

Also, knowing my love for charismatic antagonists with a tragic backstory, maybe it’s best for me that they didn’t explore that further and just let him apparently irremediably lose himself. Had they decided to “save” him, even partially, or give the audience more reasons to feel sorry for him, I fear I could really have spiraled out of control :’)

[galactic-pirates]

Hello! For the ask game:

James Watson + 3 and 16

John Druitt + 8 and 24

3) Least favorite canon thing about James Watson?

The fact that he died at the end of season 1? I have headcanons to fix it, and I know that the actor was just a guest star, but I still wish. I think he was only in 5 episodes but he has such importance in my mind, he’s more of a main character than actual main characters to me. That answer feels a bit of a cop-out. I suppose… he was judgy for a minute with Helen in Tempus. I wasn’t fond of that but it didn’t last and a century of time travel would be a lot for anyone to just roll with.

16) What's your least favorite ship for James?

I will check the AO3 tags! Wow ok… yikes. There’s a real variety which I was not expecting. I have been in fandom long enough I should not be surprised and yet I am. There’s James/Will which no, just no. I think the one I have to go with is disliking the most is James/Ashley which… I do try and be ship and let ship but Ashley is Helen’s daughter! and so to me that is like James’ daughter and so I am shuddering. Absolutely not.

8) What's something the fandom does when it comes to John that you despise?

lol well you kinda already know this as I used it as my “unpopular opinion”. The abusive wife-beating misogynistic bastard. That answer feels a bit redundant as you knew that. It’s the only one I really have though.

John is mostly just reduced to the Ripper. I have done that a lot too because it is such a pivotal storyline. It changed everything and then it lasted for well over a century. It is a fascinating arc. So I definitely don’t despise that but he is a character apart from that too. There was a before, and there could be an after.

24) What other character from another fandom of yours that reminds you of them?

Oh! I think I talked about this once before - Rumplestiltskin.

The whole “possessed by an evil demon” which is like an insidious inner voice that twists everything. I’m pretty sure I made a gifset about this once. Oh yeah here it is. The transition is a bit quick. I should fix that but hopefully the sentiment can be seen.

[whomst-art-thou-whomst-whomst]

5 Plot Twists I Want To See In Mysterious Lotus Casebook

1.) first and foremost, I really, really want Di Feisheng and Fang Duobing to become close. Not only would it complete the iron triangle little found family they’re all pretending not to be building, but it would be a great sign of growth in both characters. I don’t need them to be perfectly harmonious—tbh that would be too weird—but I feel like Feisheng is dancing around the edge of being reluctantly amused by and even fond of this impulsive kid who his ex old nemesis worries over so much, and Duobing seems to keep forgetting that Feisheng is The Worst until Feisheng does something that fits into his suspicions. The kid who grew up in an almost suffocatingly sheltered environment, totally unaware of his good fortune, and the kid who grew up in a literal hellscape that taught him all the worst things—I want them to find middle ground. Lianhua could finally catch a break for five minutes or they could bond over annoying him.

2.) I don’t want Duobing to fall in love with the princess and vice versa Right now it feels like they’re setting us up for those tropey shows where they meet and are soooo antagonistic but then they find love slowly through hijinks blahblahblah DULL bc neither of them wanted to marry each other and it feels like a cop-out to have that. I want the princess to get to have her own adventures! Maybe she can hang out with Qiao Wanmian and they can bond over dodging a bullet with fiancés.

3.) I’m of the opinion that something extremely shady is going on at Baichuan Academy AND Tianji Manor, and while it’s good to have an institution that goes between sects, BA needs serious reforms and changes. I want Qiao Wanmian to lead it. Zijin is welcome to fall in line or fuck off.

4.) This is potentially controversial, but I don’t think they should reform Sigu Sect at all. It’s so tied to the various biased memories of a small group, misinformed rumors and legends, a former leader who does not want to lead anymore and his protege who wants to be free, not tied down to leadership or admin. I propose that if anything, a totally new sect be formed—one that takes in the young hopefuls from Sigu, the abandoned Feisheng adherents (because I sincerely doubt they were all baddies, just manipulated), and others who haven’t found a place. This was the best of Xiangyi—his desire to help others and build a good place for them—and it could be a positive way to actually honor the legacy of LXY and co.

5.) I think a really good full circle with the mysterious “Master” behind it all could be either Shan Gudao (bc what the shit was going on 10 years ago???) or the evil guy from Di sect that hurt Feisheng as a child. I’m not totally clear on the Nanyin subplot, but I think there are more moles than we have been led to believe so far.

Feel free to sound off with the plot twists you want to see!!!

[cinnamonest]

Spooky Season Game Recs 🎃

Since it is That Day, I put together a quick recommendation list for games that I thought might be appreciated for fun and for anyone who might want to use it.

Here is a generalized list of games you should play! I'm including some horror-themed, some that just have gratuitous violence, some just have creepy vibes, some that are mild but have Halloween themes, etc. A lot of these are very popular, and likely some of you will have already played/heard of them all, but this is just for anyone who hasn't. Feel free to add to this!

Quick note: unfortunately, I am in the small percentage of people who get severe migraines and nausea from playing first-person perspective games (but not third-person perspective ones). As such, there's a lot of horror games that I can't really play, and there's only one first person game I've played here. I'll include a section for some renowned games that I haven't played, but are well-received.

I’m giving one link, but for some of these it’s available on multiple platforms, I’m just linking steam if available since it’s what most people might have. I played most of these on PS4.

Also warnings for all of these. Some have heavy violence, a few have references to sexual assault, in one you murder a toddler. Etc. Be warned.

Happy Halloween 😊

Console/Professional/3D Games:

Until Dawn

This is one of my favorites, it is a choices-matter game with multiple endings, the endings being determined based on who lives and who dies. It's very suspenseful, they did a great job at crafting the right atmosphere for the game. Although in my opinion (and apparently the popular opinion) several characters were not very likeable. I did really like Josh, though. Best boy.

It's really neat in that your choices don't just effect the ending, but your choices can branch you off into a different path entirely, changing future events themselves, working more like a flowchart than a "Choice one gets ending A, choice two gets ending B" sort of thing.

It is a PS4 exclusive. 

(Link)

Inside

An eerie game with no dialogue and a really creepy atmosphere. I finished it in one Saturday. It's one of those games that's more of an "experience" than a game (kind of like Journey). This was one of those games where I kept seeing it for years and thinking like "huh, I should play that one day," then one day it was on sale on the PS Store so I finally did and I'm very very glad I did.

(Link)

Friday the 13th

Basically you play in locations across the movie franchise. You can play as a victim and try to hide, or as Jason Voorhees and try to hunt down victims. There’s multiplayer and single player. It’s basically a hide and seek with someone trying to kill you.

(Link)

Dark Pictures Anthology: Man of Medan/Little Hope

These are made by the same developers as Until Dawn. They're not sequels, as they have different stories and a new cast of characters (save for the overarching narrator-esque figure, think Igor from the Persona series).

Personally (and according to most reviews/professional critics), I think these fell a bit short of Until Dawn's legacy, but they're still pretty neat. They utilize the same mechanics, just with a new story. Also that intro rendition of O Death is a banger.

There’s also 2 more after these but I haven’t played them.

Unlike it’s predecessor, this one is available on multiple platforms. (Link)

Resident Evil Series

This is a horror game staple and I'm sure most people are familiar with it, but I'd like to note that it's extra appreciated for other people who have motion sickness/migraines, as several games are in third person (7 isn’t I think?)! There's a pretty expansive list to choose from, but (here is a comprehensive ranking list).

Silent Hill Series

Another staple for the horror genre and the origin of the iconic Pyramid Head, unfortunately if you don't have a gaming PC or a PS2 to dust off or pay for PS Now, right now it is unavailable -- however, that is set to change, as just recently a PS5 remake was announced, although unfortunately it looks like it might be PS5 only and not PS4. The first three games are generally regarded as the best, but I would not recommend Downpour, it feels very slow and kind of dull by comparison in my experience. 

(Announcement)

Zero Escape Series

This is iffy to include here, but it has a lot of very dark themes and atmosphere so I think it fits. It's basically "escape rooms: the game," wherein you have to solve a lot of puzzles to progress. This series was an inspiration for Danganronpa, but the critical difference is that while DR has a brightly-colored punkish aesthetic and over-the-top quirky, eccentric, often lighthearted elements/characters to offset the dark depressing nature of a game about murder, Zero Escape doesn't have that, so it's a lot more bleak and heavy.

 (Steam page for ZTD)

The Wolf Among Us

A Telltale game with a really nice art style and memorable characters. It's a murder mystery and a "choices matter" type of game. I'm including it here because it's very gritty and violent at times, and kind of has like film noir vibes. Also if you like older men you'll probably like the main character.

(Link)

Bendy and the Ink Machine

I have no doubt you're all probably already aware of this one, but I tolerated feeling like someone was hammering my head with a marble chisel for this game (I played it in 10-minute intervals and took breaks between but nonetheless) so I'm mentioning it so my suffering is not in vain.

The stylized nature of the graphics gives it a very quirky, unique vibe. It's somewhat exploration-ish with a plot. The main monster is also a really unique choice.

(Link)

RPG Maker Games 

Unless otherwise noted, you can find these (here on VGPerson). The ones on VGPerson and most of the ones on this list in general are free.

Ib

A classic of the genre. You are a little girl at an art museum who falls into one of the paintings and enters another realm. You meet two friends (one is a "friend") who try to help you get back home (or not). 

The Witch's House

Also a classic of the genre. You are a girl looking to reach the top of the witch's mansion for... reasons. There's a really well-executed plot twist. A cat is there. What more can you want.

Yume Nikki

The final entry here of the iconic genre-defining trio. There is no real plot, I don't think there's even any dialogue if I recall correctly. It's largely just a matter of exploring the world around you. It's very trippy and relies on aesthetic, it's not everyone's thing, but I found it pretty calming actually. If you collect all the effects, you reach an ending. 

(Free on steam)

Pocket Mirror

This is one of those games where you play it and then are really surprised to learn it's not more popular than it is. I highly recommend it. It's somewhat Alice in Wonderland-esque, in the sense that you are a young girl traveling through an odd land trying to go home, and meet interesting (and sometimes dangerous) characters along the way. One of the biggest selling points for this is the music, which is (except for a few) original and not borrowed from free use websites. The art and game as a whole is GORGEOUS visually. Developer is Astral Shift.

(Link)

End Roll

You are a 14-year-old boy who also happens to be a murderer. You are being put through a rehabilitation project that will cause you to have vivid dreams, which are very pleasant and welcoming... at first. The dreams are intended to eventually induce remorse in the subject, which, in this boy's case, means he has to relive some of the things he has done.

Corpse Party

Technically, the original was 1996, but pretty much any version you can get now is a remake with improved graphics. That being said, there are several different versions with different graphics.

Synopsis is a group of students become trapped in their school by supernatural means and have to find a way out. Gratuitous death and vengeful ghost hijinks ensues. This one is paid. You can purchase an old PSP copy as well. There's an anime based on the game that is significantly more graphic. There's also a lot of games after the original, but I've only played the original (or at least the remake of the original) so I can only speak for that.

I played (this version) a few years back, but to my knowledge (this version) is the most recent remake.

OFF

This is a personal favorite. You are a man on a mission to purify your (very bizarre) world, and defeat an evil queen. This is one of the best RPGMaker games in my opinion. The music is great, the characters are memorable, and the plot twist is very well-executed. It does a really good job of slowly becoming more and more unnerving to the point that by the time you reach the end, you know something isn't right regarding your understanding of things, but need to progress to find out exactly what. The way it utilizes unreliable narrator/limited perspective is very well-done. Also obligatory Zacharie my beloved.

(Free official download)

Hello Charlotte

This is a series of several games about a girl named Charlotte. Some are paid and some are free. The art style is really neat, and it has that constantly mildly unnerving vibe that I really like. I believe the first one is free and the rest are paid.

(Link)

Omori

Also really well-known already but I wanted to include it, this is more of a tear-jerker than a horror game, but there are some unsettling moments/imagery. The art style is really cute, and the characters are very lovable. It does a great job of setting up an atmosphere/story that leaves you just perfectly in the middle of your understanding, where you sort of know what's going on but makes you desperate to know more and fully understand what's happening.

(Link)

Pre-2000 

Don't expect much from these in terms of graphics/mechanics, but they're fun nonetheless. 

Monster Party

This is a 1989 game. It's Halloween themed (ish?) and really cute. Unless you have an NES on hand, you'll need an NES emulator and ROM to play it. Retroarch is a well-known emulator for all sorts of vintage games.

(Retroarch)

I Have No Mouth and I Must Scream

This is a point-and-click from 1994. Personally I have to include this as it's one of my absolute favorite games/stories of all time. It is based on a renowned short story. Personally its selling point for me is that it has one of my favorite fictional antagonists of all time. The author of the original story voices AM in the game, too! I could ramble on about how much I love this work for literal hours but I'll spare you all that. I recommend reading the original story as well.

Synopsis: A supercomputer hellbent on satisfying his hatred for humanity has destroyed the world, leaving behind five humans who he spends eternity torturing. The five humans, each desperate to die and finally be rid of their tormentor, must go through stages designed to be personal hells for each of them to hope to achieve that.

(Steam page) 

Short Indie Games 

These are basically short interactives meant to be unnerving and unsettling, which they do well. Time consumption ranges from anywhere from two minutes to maybe half an hour.  A lot of them are made by independent creators so it's good to support them! All of these can be found on itch.io’s  horror tag. In general, this whole page is full of good ones, so I’m just listing a few I found particularly neat.

Next Door

A short browser game based on a Junji Ito story. 

(Link)

(Don't) Open Your Eyes

A short Renpy game. It has voice acting, which is like 99% of what makes it so unnerving. Basically, the title is the summary.

(Link)

Please Answer Carefully

I LOVED this one, it's stalker-themed. Basically a short survey from someone who misses you and wants you to forgive them :)

(Link)

Discover My Body + Water Womb World

Body horror based, point and click narrative. Both are made by the same person. The graphics style is really unique. I like this creator's portrayal of the characters, there's a common theme of a sort of religious fervor that blinds them to reason and drives them to insanity. 

(Discover my Body)

(Water Womb World)

Assessment Examination

Very short, the images can be unnerving/uncanny if that bothers you.

(Link)

Honorable mentions: 

First-person gamesI haven't played these; they're pretty well-renowned, though, and while unfortunately I am not able to enjoy them, you very well may, so they are worth checking out if you can! 

Outlast

Layers of Fear

SOMA

Alien: Isolation

Amnesia: the Dark Descent

Blair Witch