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ladyherenya · 4 years

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My favourite thing this year has been the Korean drama Crash Landing on You (2019-20).

It has something of a ridiculous title (I’ve ended up calling it Crash Landing or sometimes just Crash). But, to be fair, North and South was already taken.

“I can go to Africa and even Antarctica but not here. It’s a shame that you live here.” “It’s a shame that you live there.” -- episode three

To my great amusement, every month or so, Netflix has sent me an email that’s said: “Don’t forget to finish Crash Landing on You” or “Remember this? Watch it again: Crash Landing on You” or “Rewatch your favourite moments - Watch it again: Crash Landing on You…”

And I’m like: NETFLIX! Seriously, WHAT do you THINK I’M DOING?

I have now watched Crash Landing on You five times.

There are several reasons for this:

I successfully dragged other family members down this particular rabbit hole, and in a pandemic season, when things have been unpredictable (or cancelled), rewatching Crash Landing has been an appealing and comfortably-familiar distraction, as well as the source of many, many long, analytical fandom-y conversations, which has been fun.

I needed to watch it more than once to straighten out all the pieces of the story in my head. With 16 episodes, each over an hour long, it’s one of the longest stories I’ve ever watched. I’ve seen other TV series with more episodes, but nearly all have been much more episodic, rather than telling one continuous story.

I kept noticing details that I’d previously missed because I’d been focused on the subtitles or that I hadn’t properly understood some cultural nuance. And some things are ambiguous in translation -- in a good way, a fodder-for-discussion way.

I have ALWAYS rewatched (or reread) my favourite stories. And Crash Landing fits right in with those. Someone in my family described it as: “Like Lord of the Rings on steroids!” However, I think it actually has far more in common -- visually and thematically, and also in terms of my willingness to discuss the characters as if they were real people -- with my favourite historical dramas.

In terms of story, Crash Landing is easy enough to summarise: A South Korean businesswoman is paragliding when a freak storm blows her across the border; she’s discovered by a North Korean captain, who hides her and helps her get home.

But I’m going to need more words to explain why I fell in love with it.

It is fascinating and, first time round, tense and unpredictable. It’s funny and very meta -- very aware of the tropes it’s playing with and of parallels and contrasts within the story. It’s visually and aesthetically pleasing, and the soundtrack grew on me.

There are a number of coincidences and a few ridiculous fight scenes, but the emotions are intensely real and so are the consequences. It has camaraderie and found-family and thoughtfully-complicated family relationships. There are characters I love, and characters who surprised me, and so much time given to character development! It’s romantic. There’s a fake engagement (a favourite trope of mine) and while I’m not a fan of love triangles, I liked how this quadrangle-tangle is handled. And the obstacles to the romance are satisfyingly realistic; characters have sensible reasons for the choices they make.

I love how the story uses flashbacks, particularly the post-credit scenes.

The final episode isn’t perfect, but given that a perfectly happy ending would, realistically, require the reunification of north and south, I thought it came very close.

Let me elaborate.

Cut for sheer verbosity, rather than spoilers. (I’m not allowing myself to list spoiler-ish examples or dive into analysing my favourite scenes, because then I wouldn’t just be here all night, I’d be here all week).

⬦ Fascinating, tense, unpredictable: I knew almost nothing about life in North Korea, so that was fascinating and made the story harder to predict, as I couldn’t anticipate what options the characters had or what obstacles might arise. And that isn’t the only reason I found it tense -- at different times, different characters are greatly at risk if discovered; there are occasions when characters are in danger of physical violence or are injured; and they have a couple of dilemmas to which there are just not easy solutions (See also: Obstacles for romance).

While I’m on the subject of the setting, although I cannot judge how accurate this portrayal of the north was, it’s portrayal of people as people was incredibly convincing. It’s a society where people have differences in personality and in circumstances. There are orphans begging in the market, people who can afford to stay in fancy hotels -- and a lot of people somewhere in between. In the military village, people have varying attitudes, tastes in clothes, privileges, standards of living, etc. Their lifestyle differs from that in Pyongyang, and also in other parts of the country. Amongst the military, some men are compassionate, some are corrupt and some are not obviously one or the other.

Moreover, it’s clear that corruption and villainy isn’t just in the north. In the south, as in the north, we see a range of humanity -- selfishness, good friends, complicated families, happy marriages, criminal behaviour, and so on.

I’ve read an article or two suggesting that the least realistic aspect is Ri Jeong Hyeok being such a sympathetic and honourable officer. I think it’s interesting that he clearly isn’t a typical captain -- he wanted a different career, he’s spent time studying overseas (in a democratic country), and, perhaps most importantly, his father’s position gives him protection from pressures many others face. He has the privilege of being able to afford to act with integrity, and of encouraging such behaviour in the men he leads.

⬦ Humour and meta: I’ve included these two together, because so much of the story’s self-awareness and intertextuality is humorous. I am very amused by so many things -- the village women’s interactions, Se-ri’s wit and banter, Jeong Hyeok’s facial expressions, the duckling's reactions, the way Ju Meok keeps comparing things to South Korean dramas:

Ju Meok: “I haven’t seen any drama characters that don’t fall in love in that situation. That’s how they all fall in love.”

(Because my knowledge of Korean drama is limited, there are a few cameos and references which I suspect would be amusing if one was in the know. The exception is the taxi driver singing, who was funny even without recognising the actor.)

I love the commentary that comes from all the moments when other characters witness the unfolding romance. Others’ reactions are often memorably hilarious -- some of my favouritest scenes fall into this category. (The customs officer! Jeong Hyeok’s dad!) They introduce humour and self-awareness into these moments, allowing the story to acknowledge “Yeah, we know these two are being ridiculous/sappy/emotional”. These moments reveal people’s attitudes towards displays of affection, particularly in the north, and their different attitudes towards Se-ri and Jeong Hyeok’s relationship.

And as their relationship changes, Se-ri and Jeong Hyeok’s awareness of being watched and commented upon changes, too.

Which leads me to…

⬦ Contrasts and parallels: So many scenes which echo/parallel earlier scenes. Most obviously, this allows the story to compare and contrast the north and south, but it also shows changes in time, differences between characters, and differences in relationships too. Sometimes all at once!

It means some plot developments weren’t totally unexpected -- it was Oh, of COURSE, we’re going to now see that character in this situation! or OBVIOUSLY we now have to see what this is like in the south!

But I thought it was really effective storytelling and I so much enjoyed spotting and analysing these moments.

⬦ Yoon Se-ri and Ri Jeong Hyeok: These two are the heart of the story and there are so many things I love about them. Like how, even though Se-ri is dependent upon Jeong Hyeok to hide and help her -- even though they’re initially hesitant about a romantic relationship -- they quickly become very protective of each other. Often to the point of willingly risking their own safety. Often to the point of exasperating the other. It’s great.

That’s not the only thing they discover they have in common. They share some interests. They’re both highly intelligent, driven, successful leaders (he’s a captain, she’s a CEO) who are very private, lonely people carrying around grief about their family and their past. Neither of them likes to reveal their emotions -- he tries to conceal his by suppressing his facial expressions and avoiding answering questions, while Se-ri hides behind play-acting.

I like watching Se-ri trying to get to know Jeong Hyeok. She isn’t deterred by his silences (unlike someone else) and she keeps the conversation going even when he doesn’t respond. She watches him closely, and says or does things to provoke a reaction. Poke, poke, poke.

And the time they spend together is really revealing. They share meals, they share a house. They see how the other responds under pressure, but also in various social and domestic situations. They see each other in a range of moods: calm, happy, grumpy, scared, tired, upset, unwell. Crash Landing takes advantage of spending sixteen episodes with these characters. Going through so many different experiences together, they learn a lot about each other -- about each other’s values, tastes and temperament -- and this means the audience gets a deeper, more nuanced understanding of who they are, too.

Se-ri and Jeong Hyeok are also well-matched in how they show they appreciate each other -- she delights in giving presents, and he is quick to notice things Se-ri might need or like.

And it’s very satisfying when they open up, or when they cry in front of each other, because you know that they don’t do this lightly or easily.

⬦ Obstacles for romance, love triangle quadrangle-tangle: I appreciate that the obstacles in this story are not contrived or fueled by needless misunderstandings. Se-ri and Jeong Hyeok have really solid, sensible reasons to be hesitant to first recognise, then admit to, and then act upon, a romantic attraction. Even once they realise that getting Se-ri home is going to take longer than they’d hoped and she’s pretending to be Jeong Hyeok’s fiancée, romance between them is still a road that leads nowhere. She isn’t safe staying in the north and he would endanger his family if he defected to the south, and they both accept that. And they’re reticent about sharing vulnerable feelings, and Jeong Hyeok is actually engaged to someone else.

But once they really open up to each other, the narrative conflict revolves around their circumstances, rather than doubts or misunderstandings they have about each other. Because the situations they face are dangerous and difficult, with no obvious or straightforward path to a happy ending, there’s quite enough tension to drive the story forward. They still have a couple of misunderstandings, but I like how they handle those, and I like that they don’t have more of them.

As for the love triangle, it doesn’t have the angst of someone torn between, or even attracted to, two people. Jeong Hyeok’s engagement has been arranged. Having feelings for someone else doesn’t change the foundation of that engagement, nor the pressure to please his family. He doesn’t love or know his fiancée -- not well enough to risk revealing Se-ri’s true identity to her. He’s honest with Se-ri and he makes an effort with Dan.

(I have a theory that, if he had been in love before, he might be quicker to recognise how some of his behaviour towards Se-ri fosters intimacy and sends her messages he doesn’t intend, but this is all new for him.)

He tries not to mislead or hurt Dan, but she’s hurt nonetheless, and I like that Crash Landing doesn’t gloss over that. It explores why she’s hurt, why she’s so reluctant to let him go and why their relationship never really worked. (Neither of them are good at communicating with each other, and I think she takes some of the things he does for her for granted, rather than recognising them as overtures and as opportunities to get to know him better.)

Dan is not just a romantic rival, nor a narrative complication, but a person whose concerns and desire are taken seriously, and who is given space to grow.

Which leads me to...

⬦ Surprising characters, thoughtfully-complicated family relationships: As mentioned, Crash Landing takes advantage of the amount of character development 16 episodes allows, and not just for its lead couple. I was surprised by how much my opinion of certain characters changed, as I came to understand them better.

The character I was most surprised by was Gu Seung-jun.

Each time I’ve watched this, I’ve liked Dan more. I have a lot of sympathy for her now. I also like her mother, even though she’s embarrassingly over the top, because she cares fiercely about her daughter and about advocating for her.

Se-ri’s dysfunctional family are more nuanced than I expected, too. In particular, I love the attention the story gives to Se-ri’s relationship with her step-mother. I was expecting Se-ri’s father to play a larger role, perhaps because he’s nominally the one with the power and influence, and at first Se-ri’s mother seems so passive. But it was really interesting to understand where she’s coming from, why her relationship with Se-ri is broken and sad. The steps the two of them take towards rebuilding their relationship are believable.

(On a related thought, I appreciate a lot of the choices this makes in addressing these women’s mental health struggles. One or two moments arguably could have been handled better, but on the whole it’s realistically optimistic, with enough detail so that we understand the seriousness -- the impact it’s had on these women’s lives.)

⬦ Camaraderie, found family and the ducklings: Se-ri doesn’t spend as much time with the village women as she does with Jeong Hyeok and his soldiers, and when she does, she’s play-acting, in order to keep her identity a secret. But I like how they nevertheless support her, and how meeting her sparks change their dynamic with each other. They grow closer and become much better at supporting each other. It’s really heartwarming.

We gave many of the characters codenames, so we could discuss them when we were still learning their names. (I was surprised by how long it took me to learn some of the characters’ names. Because so many were unfamiliar to me, they were harder to remember; I wasn’t always sure, from just reading the subtitles, how all of them were pronounced, and sometimes it was hard to separate the sound of the names from surrounding sentences, especially when, due to honorifics and titles and so on, subtitles don’t always match exactly what is being said.) Jeong Hyeok’s men are “the ducklings”, inspired by something I saw on Tumblr: Gwang Beom is “Handsome Duckling”, Ju Meok is “Drama Duckling” and Chi Su is just the sergeant.) I love how they function as a found-family, especially in contrast to Se-ri’s real family. They’re funny, loyal and caring, and in spite of their different personalities, work well together as a team. I enjoyed seeing the different relationships they have with each other, with Jeong Hyeok and Se-ri, and how some of those relationships change. And they’re so protective they are of Eun Dong!

Man Bok has an interesting arc -- I could have mentioned him under Surprising characters. I really like how he fits into this story, how he’s connected to the mystery Jeong Hyeok is investigating, how he becomes involved with the rest of the characters and has these moments when he plays a significant role. Or gets to be funny. I like the contrast and parallels too -- he’s in a different place in his life to the ducklings, and he gets opportunities to revisit past choices he regrets.

And I’m trying not to write essays about all the characters, and it’s ahhh, I have too many thoughts and feelings about them all!

⬦ Satisfyingly realistic: I like how -- one or two ridiculous fight scenes and an unrealistic paragliding scene aside -- things which happen have believable consequences. Particularly emotionally. We see men cry! A lot! And it always feels like a genuine expression of emotion, not gratuitous or overwrought. (Well, okay, there’s a very minor character who’s a bit over the top but he’s very minor.)

When one of the characters is gravely ill, she looks it, I found it oddly satisfying that she doesn’t have to be pretty all the time.

And I wasn’t sure if this belonged here or under “Visual details” but I love the attention given to Se-ri’s clothes. She cares a lot about fashion and in the north her clothing choices indicate that she cares a lot about her appearance, while making do with a limited wardrobe and still dressing for warmth. (I’m happy to handwave that she seems to have more clothes than would realistically fit in those shopping bags.) I appreciated the practical streak, and, as winter wore on here, became envious of one of her outfits.

I don’t personally like the style of Se-ri chooses for work, but it’s different it is from what she wore in the north and from what she wears at home -- her power-dressing is like a uniform or a statement of persona she projects in her working life, and not necessarily a reflection of her personal tastes.

⬦ Visual details: I love so many of the visuals. Gorgeous scenery, interesting settings and clever framing for significant scenes. The sky, a place without borders, often becomes a focus and there’s a thematically-relevant flight motif -- paragliders, birds and kites.

I did not start noticing the product placement until a rewatch, when I stopped to think about how often they went to Subway. The first time, it just seemed like a commentary on south-versus-north, and then I was just baffled-yet-amused by it all. (That sort of thing does not make me want to eat fried chicken...)

⬦ Soundtrack: The first time round, I liked the instrumental score and the presence of piano music actually in the story. As I kept rewatching, the rest of the soundtrack slowly but steadily grew on me, and I found myself liking the songs more and more.

Now I not only recognise them by name, I can recall most of them well enough to hum them and know which scenes they’re associated with. Which is a lot harder when the lyrics are in a language I don’t speak and so I can’t use them as a prompt for memory.

⬦ Flashbacks: Instead of “previously-on” segments, Crash Landing employs lots of flashbacks whenever it wants to remind the audience of something.

Sometimes, instead of just repeating part of an earlier scene, it takes the opportunity to show the same moment from different angles or from a different character’s perspective, or to juxtapose it with a different scene or to introduce new information. This was really effective. And when flashbacks were a simple repeat, I was usually happy to revisit important moments in the story (and sometimes, having a different person translating the subtitles meant there was a slightly different perspective on the dialogue).

Then there are the post-credit flashbacks, quite a few of which take places years earlier. I love how they’re puzzle pieces about the characters’ pasts and the connections between them.

⬦ The end: The first time round, after watching the penultimate episode I was so engrossed in the story and so invested in the characters that I had trouble sleeping and I went around the next day with this tight, anxious feeling, unable to get the story out of my head.

The final episode is an emotional rollercoaster. SO. MANY. FEELINGS. There’s one particular scene which packs a powerful punch -- it’s exceptionally emotional and beautifully filmed. I love it, but I’m glad we get the aftermath too.

It isn’t a perfect ending, but as I said, I don’t think there was a perfect ending was possible, not one that was both realistic and satisfying. But this comes very close. In the very final scenes, not everything is resolved or explained, and I like how that ambiguity is open to interpretation -- I like that there are some gaps for the viewer to fill in for oneself, however one prefers to imagine the characters’ lives going forward.

I know I could easily write another four thousand words about this story -- there are aspects I haven’t really discussed but this seems like a good place to stop. For now. I really like this story. I expect I’ll watch it all again soon.

#Herenya recommends things #Crash Landing on You #thoughts I have them #Yet another CLOY rewatch

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hypexion · 4 years

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A Pile of Fanwalkers (Part 2)

Part two of me posting a bunch of “OCs“, since actually working out a better way to organise and present is this information is clearly too much effort. Despite the fact I’m putting what could be charitably described as an amount of work into these posts.

The basic format for each planeswalker will be a Name/Colour Identity/Pre-Ignition Typeline/Homeplane blob of information, a quickish description of them and some “fun“ facts, and then some hits and misses for extra flavour. Also, I’m going to split this into three posts - “Heroic“, “Okay“ and “Villians“, for I believe I have the moral authority to judge my creations.

Also some of these are going to be from fanplanes, which will go undescribed beyond whatever tidbits come out the character flavour. Others will just have a ?, representing a lack of knowledge and/or sufficent worldbuilding. With that out of the way, let’s go!

Okay

Not everyone is actively Heroic, and that’s okay. Generally, this lot might not want to help you out, but they’re unlikely to ruin your day just for the sake of it. Of course, some might offer to help if their skills are a match for the situation, or if they stand to benefit. And some of them might be a little rude, but they generally won’t murder you.

Ferroxi - BGU, Faerie Artificer, ? - While other fae are luring you around in circles, trapping you in an eternal sleep, or stealing your name, Ferroxi is probably rummaging through your recycling looking for useful stuff. Born on a plane piled with interplanar scrap, she learned at a young age the value in taking things apart and occationally putting them back together again. Ferroxi sees the wastefulness of other planes as her gain, and is always on the look out for anything that can be fixed up, melted down or repurposed. This doesn’t stop at the physical, either. With a bit of work, she’s managed to keep a few Infinite Consortium cells spinning, as a way to provided access to resources she’d otherwise have trouble obtaining. Ultimately, Ferroxi brings her finds back to her clan, where she is considered a peerless salvager, able to seemingly conjure resources from nothing.

Ferroxi has hair she self-describes as “rust coloured“ and brown skin. Being a Faerie, she’s just over a foot tall. But don’t underestimate her. Just because her weapon of choice looks like a sewing needle, it doesn’t mean it can’t hurt you. Of course, she also has access to all the various fae tricks, so getting into a fight with her is generally going to end her favour. Just let Ferroxi have your old lightbulbs, okay? When she planeswalkers, she disappears into a puff of rust dust. Don’t breath that! (Generally you shouldn’t breath planeswalking auras, but the metal oxides to be especially avoided.)

Hits: Recycling, Izzet technology, Moxen, white and gold bordered cards. Misses: Izzet security, large animals, things that can’t be repaired or reused.

Mazamat - UB, Human Wizard, Akkyria - For Mazamat, death is merely a setback. After each defeat she rises again, a new body forged from mana in her ziggurat. As a mortal scholar, her fame was not enough to enjoy the immortality Akkyria offered it’s most renowned. So through careful research, she discovered an alternative, a way to tie her life force to the leylines that shaped her world. She divised a ritual, and performed it to perfection. And in seeking eternal life, she found something far greater. For Mazamat was born long before The Mending. Her ignition gave her powers beyond bound. Even with a fractional of her strength sequestered as an anchor for her soul, Mazamat was a force to be reckoned with. She mastered lifetimes of magics, slew gods, and accidentally created a few highly dangerous artifacts. Unfortunately, even without meeting Urza, Mazamat was affect by his ruinous influence. The Mending weakened her. Enough that it was now the majority of her strength that anchored her to Akkyria. This made planewalking fatal. But for Mazamat, death is merely a setback. No Lich forgets their Phylactery, and Mazamat did not forget the mechanics of her undeath. While the first sucessful test walk only worked because of the Interplanar Beacon, it provided Mazamat all she needed to write a new ritual, and continue her endless study.

Often, Mazamat isn’t hard to miss. It’s difficult to ignore the walking corpse with glowing purple eyes, even you’d prefer to. She could put more effort into looking presentable, given her wide magical knowledge, but generally considers it optional. When she does wish to tidy up her appearance, she tends to appear as she did in the middle of her mortal life. In this case, she has brown skin and grey-black hair, which she ties back into a bun to get it out of the way. She also dampens the eye-glow effect, although they still take on a purple hue. Mazamat tends to dress in the classical “Robed Wizard“ look, ardorned with various magical symbols. Mazamat’s planeswalking effet is a pulse of pale blue light, occationally leaving behind short-lived inscriptions on nearby surfaces.

Hits: Mastering skills, advising adventurers (who bring the appropriate tribute), a kind of savory cake served with honey and dried fruits. Misses: Dying (it’s still not fun, even if you come back), Nicol Bolas, Urza, whoever started the rumor that flying snakes could be found near her ziggurat, because now she can’t get rid of the things, being stuck on a plane.

Pyrolas - R, Dragon, Ithmorne - Many planeswalkers are subtle. Many are careful. Pyrolas is neither, because Pyrolas is a red dragon. When presented with a problem, they consider fire and fury to be an acceptable solution. As dragons go, Pyrolas is considered implusive and quick to act. This is good for the non-dragons living with their domain, as it means Pyrolas tends to deal with problems such as bandits within a week. Meaning you might actually have a home to go back to. Pyrolas is also less than interested in the ever-shifting politics of the Draconic Confedracy, prefering to get their excitement from visting other planes, or comissioning sweet new artworks. Like many dragons on their homeplane, Pyrolas graciously allows non-dragons to use the singular they when referring to them. This is nice, because in Ithmorne Draconic, pronouns are also honorifics, and using the wrong one can range from “slightly rude“ to “mortal insult“ (it’s also nice because some of them are very hard to pronounce if you aren’t a dragon).

Dragons on Ithmorne tend towards being more slender, and Pyrolas is no exception. However, unlike a certain dragon whose name has been misplaced, they all still look dragony. Pyrolas has red scales, except on the underside of their wings, where they are a more goldish colour. Since they’re a dragon, they don’t carry weapons. Rather, Pyrolas is the weapon, capable of spewing flame, clawing rocks to pieces and able to crush puny humanoids in their grasp. Thankfully, Pyrolas is a kind of “take it easy“ dragon, so you need to try pretty hard to provoke them. When they planeswalk, flames pour from their mouth and engulf them, followed by Pyrolas disappearing. This takes a little while, so they tend to do it while flying out of the way of danger.

Hits: Flying around, treasure, the fine arts, hosting tournements. Misses: Really cold places, dragon slayers, missing out on the chance to claw Bolas in his stupid dumb face, that time they went to Ixalan.

Tanzor - GUR, Shapeshifter, ? - Do you ever wonder how the multiverse fits together? Tanzor does, and they've embarked on the most ambitious planar cartography projection in the multiverse to work it out. Of course, along the way, they’ve picked up a number of other projects. These include subjects such as planar topology, monitoring aether currents, and tracking planes that have been inflicted by Phyrexians (thanks, Karn). Most recently, Tanzor has been investigating the aftershocks from the deaths of Kozilek and Ulamog, and the appearance of temporal anomalies around Tarkir. And with the possibility of more Planar Bridges being constructed, they could soon have a whole new set of issues on their hands. Or claws. Or tentacles. When you’re a changeling, it’s sometimes hard to keep track. When in doubt, check what the person you’re reflexively copying has. (When in a group of three or more people, Tanzor generally exerts concious control over their shapeshifting, as not to freak people out).

Describing Tanzor’s physical appearance is difficult, since as a changeling, it tends to shift around a lot. When changing form, it appears that their underlying changeling colour is dark blue, however. For simplicity, let’s just say they’re friend-shaped. When Tanzor planeswalkers, their form dissippates, and they appear to collapse into a single point.

Hits: Being able to be anything, wings/fins/toxins on demand, high vantage points, advanced eyeball techniques. Misses: Being asked why they can’t shapeshift into a form that isn’t injured, Phyrexians, whoever was the latest one to screw up the multiverse (currently: Bolas, previously: Gatewatch, Ugin/Sarkhan, and others).

Xand - BR, Human Rogue, Ravnica - Xand likes to introduce himself as a cultist of wealth and taste. Which is not entirely inaccurate. He’s a member of the Cult of Rakdos, he’s got money to burn, and he’s very concerned about food. But don’t mistake Xand for some regular glutton, looking to gorge on endless plates of substandard junk. Xand has standards. Out of a dozen recipes, even after days of refinement, only a few will make it to the menu of his bar - which is an unusually “classy“ environment for a Rakdos run business. Sure, you won’t find any Azorius, Selesnya or Ozhov patrons there, and higher ranked guild members tend to avoid the it, but it’s a decent place to grab a meal or a drink. And for the fancier members of Ravnican society, there’s always Café Xand, which features table cloths, a wine list and a krasis of the day. And with the countless flavours of the multiverse available to him, Xand is always looking to expand the menu.

Xand has pale brown skin and shoulder-length black hair. Like any self-respecting Rakdos cultist, he dresses in loud, colourful robes, often patched together from previous robes that didn’t survive whatever manic Rakdos event Xand was last at. He also has a surprisingly well kept set of chef’s clothing, as likes to ensure only the right ingredients get used when he’s cooking. For personal defense (and offense), Xand carries knives. Lots of knives. Too many knives, perhaps, even when you factor in his excuse that “you never know when you might need to cut a cake, or dice some vegetables”. He’s also pretty good at using Rakdos “hype magic” to disorient his foes, since it turns out that feeling a bunch of conflicting emotions at once is really distracting. When he planewalks, Xand disappears in a burst of dark flame, which leaves a pleasant, yet unidentifiable scent.

Hits: Good food, fine wine, various parties, visiting Valor’s Reach. Misses: Canibbalism, bar fights in his bar, Orzhov insurance rates, not being able to get the right spices, people calling him Alexander.

Look at all these nice...ish people. None of them would be into Gatewatching, but they’re also not making things worse. Tanzor might be willing to help out if they’re in the right place, and if you can appeal to her self-interest, Mazamat might teach you something useful. But with the others, their self-interest is probably going to overcome their altruism most of the time. Of course, the multiverse also has some rather more... antagonistic planewalkers, but that’s for next time.

#fanwalker #magic the gathering #fan character february

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