#Primarily I felt that it made his powers more interesting since he lacked the full invulnerability and it meant he needed to be more clever

[thefaeriefeatherdark]

Personally a big fan of restoring Kon's "Human with TTK" thing but making him a clone of Lex and Paul Westfield so that he can be 100% evil divorced dad genetically, but instead of having identity crises over whether or not he'll become evil he keeps getting freaked out because he'll have the sudden urge to buy a Tesla or something.

[eliza1911o1]

Chapter 17 Review (more of a play-by-play)

/Mandalorian S3 spoilers ahead/

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I enjoyed the start. For the most part. To me, the initiation scene felt a bit awkward and more roleplay-esque than dramatic swearing into a cult-that-makes-you-wear-a-helmet-for-eternity.

I think this comes down to the cinematography, particularly the really bright coloring and shots they used. Personally, I found the filter used overly lightened and emphasized the colors in a manner that made the props (especially helmets) and environment seem fake. I thought the outfits and props looked kind of cheap in general. Kinda hated the banners. And the helmets. The whole thing just felt equivalent to a promo for really good cosplayers and appeared pretty low budget for one of the most anticipated shows of the year.

A lot of semi-wide and wide angles were used to show how small the group was, which was probably to emphasize the rebuilding of the clan, though it felt more LARP with class friends than anything… I wish they would’ve used more closeups, especially in the scenes between the kid and the armorer, since it seemed a bit stiff. Scenes (especially the introductory scenes with the Mandalorians) feel stiff, mostly likely to editing rather than camerawork, as the aesthetic shots are undermined with clunky switching, lingering frames, and an inconsistent visual tone. The child actor was a bit lacking, especially since his delivery was a pivotal part of the intro, but he has plenty of time to improve and what I think might be hinting at a future flashback of Din’s introduction into the group.

Not a fan of the giant crocodile fight sequence. I found the sequence generally repetitive and flashy, with a lot of random shots being fired and people being knocked back. I don’t know if I expected them to be better prepared since they’re known as legendary fighters, but they shouldn’t have been that weak, right? Really hoping this was used to show how the small group is struggling rather than highlight Din’s intro… though it was a sick intro… either way, shout out to the flying GoPro dude though. Armorer and Din sequence was also vaguely uninteresting, though they’re definitely hinting at some things.

The following hyperdrive scene is one of my favorites in the episode. I’m not an expert on the original animated series or Ezra Bridger, but space whales are cool no matter the circumstances. And, while this is overall just a really pretty and cool sequence, the way grogu snuggled up into Din’s arms while he slept left me in tears. Absolutely adorable. Couldn’t have come up with better myself. Though I still don’t understand how tf Grogu got from his seat to the driver’s seat since there’s no visible whole…

Renovated Nevarro reminded me of the prequels and Naboo, which was interesting since we also saw snippets of Coruscant from the trailers. Don’t really know what to make of that information, but since Darth Maul once held the dark saber, maybe there’s some implications about the series connecting to the prequels and the sith; maybe I’m just making up conspiracy theories

Pimped out Greef Karga is exactly what I needed — what really does it for me are those little droids carrying his cape. Pure comedy right there. His character arc has been pretty interesting, since he’s still primarily in it on wealth and power, but appears to be orbiting around a new set of morals (like when he tells off the pirates in front of the school), though this might be attributed to wanting to get away from his past… either way, he seems to be taking on more of a comedy role.

Also, what was he expecting from Din the workaholic and full-time dad (Grogu. Come again? His name is Grogu). They handled Cara Dune’s exit pretty cleanly, but there’s definitely the want for a new supporting character since hers was originally pretty central. Guess we’ll have to keep our eyes out to see if Cobb Vanth is coming back. In the meantime, pirates are a very fun new introduction and Vane seems like he could be a good recurring character

Din was hot leaning against that tree. I don’t make the facts.

There is a clear emphasis on IG-11 throughout the entire episode, which does feel redundant. I enjoyed Din’s tinkering and was a big fan of the zombie droid moment. It was a unique enough idea for me not to completely hate the revival, though Din’s lack of shooting accuracy felt misplaced and the tone of the scene felt disjointed from the others. But we did get an iconic one-liner from Din that is redefining comedy as we speak though (I wish I could use “now that’s using your head” casually).

Loved the Anzellans making an appearance and got some of the most iconic shots of the episode. Din sitting cross-legged and Grogu trying to steal one of them was peak humor.

And now we’re at my other favorite part of the episode. Din teaching Grogu what it means to be a Mandalorian is not only incredibly soft and cute, but also a great way for us to understand his internal dialogue and learn new background. And also just really cute. This was also by far one of the coolest dog fights we’ve gotten. Admittedly, I am a simp for the N-1 Starfighter, but the maneuvering and usage of the asteroids was way too cool. The music was especially good during the fight and into the pirate’s intro as well. Grogu tucking himself into Din’s belt and being way too excited at the fight was perfect.

Adore the design for Kalevala; they did a great job of adapting it from the animated series. Having it be raining was a great visual choice too, really highlighted the color palette. Personally, I’m not big on Bo-Katan so far, but I’m up for this season making me a fan. Though the ending sequence seems to undermine her importance to the season, we all know she’ll be a big player. Just have to point out Din’s introduction too, using his full name and everything, we love to see it

Overall, I thought this first episode was great, albeit an underwhelming premiere

I’m holding back a lot of my theories, but to sum it up, I think the most prominent challenge of this episode seems to be pacing and clarity.

Either way, though this definitely was not the strongest start (especially when compared to other seasons), the newfound freedom found in the expansive world building supersedes it. And seeing all the characters again too. From what I know of the LA premiere, they showed the first two episodes and although Chapter 17 received a similarly lackluster response, apparently Chapter 18 was amazing so I guess I’ll just suffer and over-analyze until then

[demenior]

Dem’s Big Post About The Spn Fics Part 1/2

aka The Wrap Up to celebrate To Exist Again and To Become a Man now being finished!

(This will be a long post. This is your only warning.)

Admittedly this is a bit of a weird thing to be doing, but I wanted to try it out for 3 reasons: 

I love talking about my own work and 

It functions really well as a self-reflective tool for me to improve on, and 

I can answer some big questions people might have because there was a LOT of worldbuilding in these stories. 

We’ll start off with reflective stuff, and move into the juicier world-building focused stuff later into the post. There will be major spoilers for both fics to come!

To begin with a funny anecdote, Why Did I Write These Stories?

I was beginning to write and work out the story that I wanted to write for Spn (what will now be To Destroy a Man. As I was writing the scene, I realized I had a LOT of ideas and while I was trying to avoid as much exposition as I could, it became quickly apparent that I was needing to create my own au (this scene eventually became chapter 34 of To Become a Man). A short prequel seemed like a good idea, to quickly hash out the ‘prior’ events that I needed to go through so all the readers could be on the same page. While plotting out prequel points, I realized Sam and Dean were going to have drastically different experiences during the same time period, and I was trying to figure out who’s pov would be better for which scenes, and how to keep momentum when they’re going through such radically different types of changes. Ultimately I decided to split their povs, which I also thought would be a fun project! And I naively assumed each pov would take about 2 chapters each, rounding out to maybe 15k total.

I had my ending points: Dean n Cas soul-merged and (basically) married, Cas on the lam from heaven and a complete anomaly, and Sam juiced up full of powers and a weird mix of archangel and antichrist but still 100% human and ready to fight God. 

Now I needed to add weight to these changes, so I wrote 200k of build-up.

Am I proud of these fics?

OF COURSE I AM!!! These are the longest fics I’ve ever written AND finished AND in the fastest freakin turnaround ever (both were finished writing, barring edits, in like 6 months holy shit)

I didn’t write a single scene that I “didn’t” want to write. If I had trouble writing it, as in it was fighting me, I scrapped it. Most obviously was the scene in Dean’s pov where he and Sam were intended to meet some other hunters and Dean declines working with them because he’s nervous about being outed as queer. It was meant to be a good scene! I wanted to introduce some new characters! But it just wasn’t working so I said ‘thank you, next!’. 

But it means this story was an absolute joy to write. Because for a while all I was doing was ‘if I wanted to write one scene into supernatural, what would I write?’ and then just DID that!! It’s why there’s a lot of ‘Salmondean do dumb shit or have really dumb heartfelt conversations’ scenes.

Would I change anything?

If I’d been less eager to start sharing, I might have planned out the story beats a little tighter so there were less ‘soft’ chapters and a draw/pull for people to come back and keep reading. I felt Dean’s story specifically lagged at points and could have used some tighter editing (there was a noticeable lull in directed movement between Dean n Cas getting together, until Sam corrupts Amy).

I also probably would have held Sam’s story until I’d finished Dean’s so I could make the two line up better! Probably could have inserted more scenes into Sam’s fic that way, and made sure things were a little more consistent. In an ideal world one concept I had was to release 1 chapter from each pov every week that would correspond to the same time frame so we’d be getting real-time SalmonDean pov narrative. Unfortunately that didn’t work!

The biggest takeaway overall is for me to focus more on what moves the plot, and to make my scenes do more than 1 thing so I can cut down on wordcount and increase my efficiency. 

Of course every writer will find things they want to fix in anything they’ve ever written, so these are minor “mistakes” at best. I’m so dang proud of these fics. 

Onto more interesting things!

How Did I Put These Fics Together (because it’s different than anything I’ve ever done before)

Normally when I write a story, I plan out the beats I need to hit, see where I need to insert any kind of foreshadowing/buildup, and then write from A to B to C and so on and so forth. Hence, this is why I can normally post things as I complete chapters, because it’s all a linear progression. 

For these two stories, rather than linear plot/a normal story structure, I just sat and free-wrote any and every scene that came to mind and then pieced them into a kinda-linear form like putting a quilt together. You’ll note that this is why there’s not a lot of internal callback or a feeling of sense of time flowing within the fic (save for points where I went back and specifically edited it in). How long does the story take place over? Hard to say! Your author has the barest grasp on linear time even on a good day (how many times did I say ‘see you on [wrong day]’ at the end of chapters lmaaoooo)

This also meant EXTENSIVE editing on the back end once I decided in what order I wanted my ‘quilt pieces’ to be. Hard to say if this is a bonus or a negative!

But I did want to try and capture the vibe of the lives they lead, as a bit of a ‘slice of life’-style story, when the slice of life is the profound weirdness of the Winchester roaming life, and how things are status quo- until everyone almost dies oh shit!! And then they have to keep living because no therapy we die/undie like Winchesters. Do I think I captured this effectively? Hmm. Good question. 

Dem where the FUCK did the inspiration for a lot of the magic and creature weirdness even come from?

Honestly? Music, primarily. And completely mishearing lyrics!

Nightwish ‘Ever Dream’: the line is ‘my song can but borrow you grace’ and because my brain is scrambled eggs on a good day, I heard ‘grace’ ‘song’ and ‘borrow’ in that order and have had, for YEARS, the mental image of Cas borrowing Dean’s soul to power himself up for battle.

From there I’ve always been enamored with the ‘wavelength of celestial intent’ descriptor that Cas drops in s6 for “what he is”. 

I also really like ocean metaphors mostly because I’ve been obsessed with the ocean and things in it since I was like… 5??? So really this was me just rolling with what I know lmao. I love using (somewhat) accurate scientific metaphors for very intangible things!

I was also finishing my degree in biology/ecology while writing these fics and I think it shows

Stars ‘The Night Starts Here’ gives us the series title and the fic titles. Except for ‘To Exist Again’. TEA was almost titled ‘The Upwards Fall’ because I wanted all 3 of the Main Stories to have titles from this song, but I couldn’t make anything else work in tandem with the series name ‘The Love It Takes’ while also working for Sam’s personal story. So Sam, as always, is the rebel <3

Stars ‘Up In Our Bedroom, After The War’ is basically the vibes of the whole story. TFW has been, literally, to hell and back!!! There’s a bit of melancholy and sadness, a lingering dark, but the chance of a bright new tomorrow and a soft start.

Let’s Talk About Themes in The Story! What were you looking to accomplish? 

My earliest notes for TFW are, as follows:

Dean’s journey of self-discovery (who am I when I’m not trying to be Dad?)

Dean wants to settle down! He wants a big family! He wants to be domestic!

Basically: Dean doesn’t want to have a short life of hunting. He wants to live!

Dean’s journey of realizing he’s bi, and him accepting that

Dean’s relationship to Sam is both older brother/parent 

And continuing Dean balancing these roles while also letting Sam be an adult 

Dean’s Big Issues/Fears about never being good enough for people to want to stay with him (these are effectively highlighted in that Cas thinks he’s not useful enough to be wanted)

Sub Plot:

Castiel’s autonomy

Cas’ fall from grace, to trying to restore Heaven, to wrecking it further

He’s majorly depressed by the end of s7 (before purgatory)

Wants to stay in Purgatory but doesn’t tell Dean

Remains depressed after leaving, but resolved to keep living on because he’s clearly meant for something

After the seraphim reveal: does he have free will?! How does he grapple with this? How does he live in a way he can be proud of?

And lastly

Sam gets his powers back CAUSE THATS HOT

where tf did they go????

he got them from Lucifer?????

sleeper agent??????

Sam is The Chosen One

Accepts that he is More Than Human and to celebrate all parts of him

Lucifer and Sam friends?? Work together????

Sam needs autonomy in his choices/his life

If you compare these to the overall arc of TFW within the two stories, I think I got a lot of them! But you’ll also note a lot of these things aren’t concrete goals that are easily measurable (ex: Dean wants to learn to bake pie. In chapter 1 he starts a fire in the kitchen. By the end of the story he finally makes A Good Pie.) part of the lack of concrete milestones was why I felt it was important to tell Dean (and Cas’) story by going back to the point they meet, in s4! Dean’s gradual change towards his feelings for Cas, his relationship to Sam (heavily influenced by the s7 events of this fic) and then his own relationship with himself were such slow burns that I felt it would be a disservice to try and cram a change like that into a timeline like “1 year”.

I felt like these subtle changes and adjustments actually felt a lot truer to life-- people often change in very small, gradual ways over time, even without realizing it and often times not consistently! If only we could all gain skills like the sims, where we can easily level up and remain at that high level of performance! 

So the Guy Who Ate Satan, A Celestial Nuke that Developed Sentience, and Dean walk into a bar…

Sam’s story in Spn The Show has always been a ‘chosen one’ kind of narrative. Sam is living with one foot in the realm of the monsters, and I wanted to bring that back full force! It really makes sense for him that he should only continue to grow in power, might, and magic!! As the story progresses.

Cas also got a power up! I do desperately love in the show that he was kind of a grunt/nothing angel, and so even when he defected to TFW he was a huge help for them, but in the scale of things he was an annoying fly to most other angels. It really worked for the underdog story of s4/5. In this I wanted to give him a power up, and originally it was actually going to be close contact with Sam that eventually changed Cas into something unknown (you can still see traces of this in ch34 of TBAM, where Death remarks ‘Castiel could be [Sam’s] first creation’. But for a combo of reasons: how Sam’s magic needed to have intent, the entire concept of free will and consent, and how much I wanted Dean and Cas to have their effect on each other, I decided to go with the route that Cas has actually always been something angel-adjacent rather than becoming something new. TFW/Supernatural has always been about free will and making your own story, so I amplified that with Cas.

Dean has always been A Normal Guy, which is part of the appeal of him and Sam (2 normal dudes!) taking on the Very Not Normal. As explained above, Sam’s story is ‘normal guy finds out he’s the chosen one’ and so, in a story about very large concepts and huge monsters and acts of magic, I felt it was very important to keep Dean as normal as possible. To the point it became a running gag to me, personally, in that ‘no matter what cool shit happens around him, Dean has to stay as Just A Guy’. And it’s a very humanizing role that allows the story to have the scale it does!

What were the most important themes in your story?

Sam’s Autonomy

I wasn’t even going to include the plot about Lucifer’s death in this story— that was going to come up in a later story, actually! And rather than Sam having ate Lucifer, the original idea was that they’d become a SamandLucifer entity (this harkens back to a concept I wanted to write when Swan Song first aired). 

That storyline would have involved a lot of mental ‘Sam and Lucifer discuss what it means to live, which one of them is more worthy of life and if they do deserve to destroy the world for the pain they’ve been forced to go through, just to create the dichotomy of good and evil for everyone else’ discussions. There would be a lot of talk about how Sam hates and fears Lucifer for the pain Lucifer put on Sam, how Lucifer hates Sam because he and Sam are the same but Sam’s brother loves him anyways, etc. 

Ultimately that was scrapped because Sam’s entire story in the show is always about how the world and everyone around him manipulates him and that he never actually gets to make choices about his own life or body that aren’t influenced or part of someone elses’ design. And that always bothered me that Sam was never allowed to be himself without having to be ashamed of it, and I wanted to make sure that Sam’s triumph of being proud of himself/proudly choosing to exist (again) was evident in his story

In the end I needed Sam to have this visceral win over his tormentor. As the story shows, in this case Lucifer was abused and put into a position where he was incapable of empathy and could only express himself in violence. Sam even understands this! But it doesn’t change the fact that Lucifer tortured Sam in unimaginable ways for thousands of years. 

With that in mind I didn’t like the idea of Lucifer and Sam having “co-ownership” of their new identity, so I made the choice that Sam had to be the survivor. This tied in well with Sam’s new crusade to restore free will to the universe, because he’s breaking the narrative of his own story!

While Castiel wasn’t a pov character, his own autonomy and free will was equally as important. You’ll note that many, many paragraphs and conversations revolved around that theme and that in the end Cas followed himself (and love!) which ensured his freedom of self <3

The Brothers are WEIRD PEOPLE!!!! And Codependent to a Worrying Degree, but It’s Also How They Survive

It’s very hard to show “unusual” relationships when you’re writing from the pov of the two people who don’t think there’s anything weird about their relationship. Sure, they say ‘yeah it’s probably weird that we still share a bed’ but that’s kinda more in line with ‘I had a nightmare and I want to be close to the person who makes me feel safe’. Hashtag normalize co-sleeping when you need it!!!

From there I did try to point out how the boys have a weird perception of lifestyle in the little things they did. 

From thrifting everything from clothes to appliances to books (thrifting is a valid lifestyle! It’s incredibly handy when you’re on a budget.) 

To never actually having condiments or knowing how to use a dishwasher cause they’ve lived in a car, a motel room, or squatted in old houses their whole life.

I tried to have them wear each others’ clothes or casually swap things as much as possible. They live out of each others’ pockets!

Also the brothers are just weird people!! It’s hard to show from their pov, cause they don’t know how far off from normal they are, but like…

Everything about Sam and Amelia was NOT right like holy shit those two were wilding in their grief. They are very lucky things worked out for them and that they got to be hashtag Weird Girls together

Dean explicitly, in the story, gets horny after killing stuff!! Violence has done a number on his psyche and he’s gotten some wires crossed that maybe shouldn’t have been, or maybe could be worked out in a safe space but… uh… how likely do we think Dean is gonna go find a safe space to deal with any of his shit???

LOVE!!! Love is truly what this whole story is all about

If you’ve read the stories, you know how much emphasis I put on love. Love is the strongest force in the Spn Universe! It’s what averted the apocalypse and saved the world (Swan Song), it’s what created free will (Cas’ entire arc!) I love love!!!!

I went out of my way to not put any definitions on platonic love vs romantic love because I think love is love is love and how you express that is the difference. Neither is more powerful than the other because LOVE is powerful!! Sam and Cas are the most important people in Dean’s life and he loves them equally! He shows this by giving Cas kisses and stealing Sam’s socks.

It’s a personal pet peeve of mine when I have to hear explanations like ‘I love you, like a brother’ or ‘I love you, but like, as a friend because I’m a lesbian and you’re a man’ etc etc in media. If you have to continuously define how your characters love each other, then I don’t think you’re doing a good job of portraying their relationship. So you’ll see that I never put those parameters in any conversation. Dean DOES muse that he loves Cas differently than he loves Sam or Bobby, specifically because there is a romantic and sexual tone that his feelings for Cas takes, but not because he loves Cas more or less than he loves Sam or Bobby.

Which means, if you haven’t realized it yet, the Series + Fic Titles are meant to be a complete sentence because the power of love IS the thesis of this series:

The Love It Takes To Exist Again (Sam’s journey!)

The Love It Takes To Become a Man (Dean’s journey!)

The Love It Takes To Destroy a Man (TBA)

And now for fun stuff. Behind the scenes!!

What’s Something People Probably Don’t Know?

The demonic fungal/hydrothermal vent growth on Sam’s arm was thrown in literally as I was posting the chapter because I had just finished a 48 hour cram session of writing a report on tube worms for an ecology class (I was chanting my tube worm song as I wrote it) and it ended up being a HUGE hit with both readers and myself. But it was so last minute I had trouble fitting it in more throughout the rest of Sam’s story!

Cas’ orders? That may or may not have bound him to Dean and removed his free will? Were written into Sam’s story and I went ‘oh SHIT that’s compelling’ and then left them there as a ‘guess I’ll figure that out when I get to Dean’s story lol’

Originally Dean and Cas were supposed to get together after having their souls bonded, and have been in a UST limbo the entire time before that. Mostly because I think the entire concept of ‘we just got married of the soul I guess we should try dating?’ is very funny. CLEARLY the two of them were way more eager to fall in love than I anticipated (thank you Cas for your honesty) but you can still see shades of this original idea here and there (especially in ch35 of TBAM)

I never intended Dean and Benny to connect so well!! Benny was going to reunite with Andrea, she was going to live, and they were going to go off into the world and leave the story. And, uh, here we are. I’m still debating if I need to adjust the relationship tag or not haha. Polyamory is fun, especially when I was planning for Sam to be the polyamorous brother...

Speaking of, I can’t believe I forgot about Sam and his sexuality! If I rewrote TEA I would have had Sam contemplate more on his lack of sexual appetite due to trauma, up until he meets Benny and he gets to rediscover how he wants to be a sexual person

Many of Sam and Dean’s absolutely stupid sibling conversations were lifted near-verbatim from conversations I’ve had with my siblings

And lastly...

Dem where’s Kevin????????????? Where is our sweet baby boy????????

He’s SAFE!! He’s in the Hunter pipeline somewhere cause Sam handed him off to Bobby’s people. He and his mom are safe and at some point they probably got rib sigils like SalmonDean did against angels, but for demons. I didn’t have room in this story for him!!! But my baby boy is SAFE and I want to get him back to university because it’s WHAT HE DESERVES!!!!

To that point: god there were/are SO many characters that I just didn’t include in the story so far because I didn’t feel comfortable including them without stalling the story for them. To that point: pretty much everyone who is alive/dead in s8 is that way in this story, except Bobby who gets to live.

[Check Out Part 2 for reader questions!]

[fefipranon]

Let’s talk about depression

In my latest book ‘The Power of Death’ I talk about this topic in depth. I will post the links to it at the end of this post if you are interested in reading it. If there is one part of the book that resumes the message that I wanted to transmit, it’s Mikasa’s (The main character) press conference at the end of the last chapter. 

It’s okay if you don’t read the whole book, but at least, read the following extract from the book (some stuff removed to avoid spoilers): 

Standing behind the podium Mikasa started the conference by saying, 

"Paradis island doesn't have studies about the topic we are about to discuss, but other countries do. In the United States, in 2019, a total of 47,511 Americans died by suicide and an estimated 1.38 million attempted it. [2] What about other countries? you may ask, well, overall, suicide was in the top 10 leading causes of death across Eastern Europe, Central Europe, high-income countries within the Asia Pacific, and Australasia. Within regions and countries, though, suicide rates soared among people with lower social and economic status. [3] This data comes from research made by the Institute for Health Metrics and Evaluation in Washington, Seattle. [4] This goes without mentioning that for every suicide, it is estimated that there are seven to ten people intimately affected."[8]

Mikasa stopped to take a sip of water and looked back at the audience to continue her speech, 

"Untreated depression can, and possibly will lead to suicide, death. In biology, homeostasis is the state of steady internal, physical, and chemical conditions maintained by living systems. [5] Depression does have an impact on this. Research shows that the hippocampus is smaller in some depressed people. For example, in one fMRI study published in The Journal of Neuroscience, investigators studied 24 women who had a history of depression. On average, the hippocampus was 9% to 13% smaller in depressed women compared with those who were not depressed. The more bouts of depression a woman had, the smaller the hippocampus. [6] The hippocampus is not the only area of the brain affected by depression, the Amygdala, and Thalamus are also affected.[6] Depression is, and should be treated as, an illness that, if left untreated, can be lethal. Just remember the statistics I gave you about suicide at the beginning of my speech. With that data as the base of my argument, it is safe for me to say that depression is one of the top life-threatening illnesses having, in some countries, the top mortality rate overall."

A woman from the public raised her hand and when allowed to talk she said, 

"How can you call an illness to something that can be 'cured' by just talking to a so-called doctor about your issues?" 

Mikasa gave the woman a serious look and said, "Therapy, is not just talking. Psychotherapy stands over years of research and development going as back as the 19th century. There is extensive evidence of its effectiveness. Also, most cases of depression treatments include medication." 

Then a man shouted, "So now doctors will give our kids a bunch of pills just because the child is feeling a little sad?!"

"Several tests are usually performed before a psychiatrist gives a diagnosis of depression. Tests like: physical exams, lab tests, psychiatric evaluation, and the country's manual of mental health like for example the DSM-5 which is the Diagnostic and Statistical Manual of Mental Disorders from the American Psychiatric Association, is applied. After that, the psychiatrist might do more testing to see if medication is an option. Because they are physicians, psychiatrists can order or perform a full range of medical laboratory and psychological tests which, combined with discussions with patients, help provide a picture of a patient's physical and mental state. Their education and clinical training equip them to understand the complex relationship between emotional and other medical illnesses and the relationships with genetics and family history, to evaluate medical and psychological data, to make a diagnosis, and to work with patients to develop treatment plans.[7] In other words, for a doctor to prescribe medication to your child, it has to first do an extensive evaluation on the kid before even start to consider medication in the first place. If in the end, medication is needed, then it would mean that your kid is not only 'feeling a little sad', it means that there is a deeper problem that needs to be addressed and the physician will have a lot of evidence to back up his claim.", Mikasa said. 

She stopped talking and pinched the bridge of her nose out of frustration, then she looked seriously at the same man she was addressing before, and said, "Would you rather lose your child to suicide or seek valid, scientific-based help to save the kid's life?"

The man was frozen in place. He was not expecting to be put in the spotlight this way. Mikasa noticed the teenage kid who was seated next to him with his head bowed to the floor. Before he could answer Mikasa said, 

"Do you even know how depression feels like? To have your own mind to conspire against you? To illogically feel worthless, alone, like nobody can understand you, or at least, nobody that hasn't been through the same darkness as you. Do you know how it feels when people tell you worthless crap like, 'get over it', or 'just stop being sad' like being sad is just an option you chose because apparently, you like to torture yourself? Have you ever contemplated to end your life out of desperation to get an out, a break, from your own mind?"

By this point, the kid was looking straight at Mikasa with tears pouring down his eyes. Mikasa knew she was getting through him. She grabbed the microphone and started to walk while resuming her speech, 

"To feel like you are constantly drowning. To feel like an ungrateful ass because logically, you should be happy because you have everything. But you aren't... Thinking that there must be something really wrong with you for you to feel this way without an apparent reason. To feel lost, alone with this feeling that is eating you inside slowly until it gets to the point where you desperately want to rip your soul out of your body. When it gets so bad that causing physical pain to your body is an option since, at least, for a brief moment, your mind focuses on the physical pain which is better for you because the emotional pain is so much greater than a little cut on your forearm."

The man realized that she was no longer addressing him but the person seated next to him, his own son. Mikasa stood right in front of his son and looked at him in the eyes. She lowered the microphone and while brushing her fingers through the kid's scars on his forearm she said to him, 

"You are not alone."

Then, she showed him her own scars and the kid stood up pulling her in for a hug while repeatedly saying, "Thank you"

Reporters were recording the whole encounter. It was real. Depression was real, and it was being recorded. The father of the kid sat back down while looking at his son in shock. Trying to find the words to say he just pulled him in for a hug while saying, 

"I'm sorry. I didn't know."

"You never really asked.", the boy replied. 

"I'm sorry. I will do better. You deserve better.", his dad replied with a broken voice. 

Mikasa lifted the microphone again to talk and said, "Depression is a silent killer. It could be your child, partner, parent... it could be closer to you than what you think. So before you speak about the topic remember that. Your words could be hurting one of your own for your lack of empathy."

She walked towards the podium again to start answering reporter's questions,

 "What would you say to someone who is going through this?"

Mikasa lowered her head lost in thought and said, "You don't need to have a traumatic event in your life to have depression. Depression is not just sadness and is not only caused by personality type or environmental factors. Genetics and biochemistry are also a big part of it, and those two have nothing to do with how much crap you've been dealt in life. What I am trying to say it's that, it's okay to not be okay, you don't need a reason to, and you don't need to feel worse about it for not having a reason. Being sad is not a right you earn after a certain amount of societally accepted shit has happened to you. Just seek help, see the situation logically, and not let people bring you down. If possible, educate others on the topic. Be the change you want to see in the world."

She paused, thinking of her own struggles with depression, and the stability and peace she finally felt once the pills started to work on her. Sure, dark thoughts still lingered at the back of her head, but, it was no longer unbearable, now, it was manageable. With time and therapy, she had managed to live with it, minimizing their negative effect on her. With this in mind, she said,

"Do not get frustrated if anti-depressants don't work at first, sometimes it takes a couple of tries with different types of medications to get the one that works for you. Researchers are exploring possible links between the sluggish production of new neurons in the hippocampus and low moods. An interesting fact about antidepressants supports this theory. These medications immediately boost the concentration of chemical messengers in the brain (neurotransmitters). Yet people typically don't begin to feel better for several weeks or longer. Experts have long wondered why, if depression were primarily the result of low levels of neurotransmitters, people don't feel better as soon as levels of neurotransmitters increase. The answer may be that mood only improves as nerves grow and form new connections, a process that takes weeks." [6]

She paused and looked at the crowd. Then, she said, 

"In the meantime, stay alive, even if it feels against your will. Do not give a permanent solution to a temporary problem, because trust me, it DOES get better."

Stay Alive

Feel free to share this to raise awareness. This book has all the things I wish someone had told me in my darkest moments, and I hope, it can help someone out there who is going through the same painful path in life. Remember, it's not your fault, you are not alone.

Resources used in this part: 

[1]  Oswego City School District Regents Exam Prep Center. Archived from on 25 October 2012. Retrieved 12 November 2012. URL: homeostasis

[2] American Foundation for Suicide Prevention: suicide-statistics

[3] global-suicide-rates-study

[4] Global, regional, and national burden of suicide mortality 1990 to 2016: a systematic analysis for the Global Burden of Disease Study 2016: content

[5]  Gordon., Betts, J. Anatomy and physiology. DeSaix, Peter., Johnson, Eddie., Johnson, Jody E., Korol, Oksana., Kruse, Dean H., Poe, Brandon. Houston, Texas. p. 9. ISBN 9781947172043. OCLC 1001472383.

[6] What causes depression? Harvard Medical School: what-causes-depression

[7] What Is Psychiatry? from the American Psychiatric Association. URL: what-is-psychiatry

[8] Lukas, Christopher; Henry M. Seiden (1997) [1987]. Silent Grief: Living in the Wake of Suicide. Northvale, New Jersey: Jaron Aronson. p. 5. ISBN 0-7657-0056-5.

Book Summary: 

Mikasa is a woman suffering from clinical depression. There is one thing that she is sure of: she wants to die. But when she received some unexpected news that makes her death wish a reality, she starts to wonder if that was really what she wanted. She starts a journey to discover the truth about her biological parents that gave her up for adoption when she was a baby. This journey will guide her to cross paths with someone as broken as her, someone that hates her to death for what her biological family did to him. Will she have the courage to, for once, fight to live? or will she let him drag her to hell with him?

The book is tagged as an ‘Attack on Titan’ Alternate universe fanfic but honestly you don’t need to know anything about the anime to read it. The story has nothing to do with it so feel free to read if you haven’t seen it. 

You can find the story in the following links: 

Archive of our own:

https://archiveofourown.org/works/30452145/chapters/75087657

Wattpad:

https://www.wattpad.com/story/264598251-the-power-of-death

[ultraclops]

Day 3: Be True To Yourself

Aka me literally just infodumping about my Ocs because I love them ♡

Brought to you by Colorvision! Yep, I decided to get off my lazy butt and color traditionally today :)

First off, Tiara Depurrnaire (She/Her)! A Sweetypie cat who's partially related to the Snugglemagne family and, in my timeskip AU, Adorabat's future girlfriend. Like Adorabat, she lost her leg to a monster while wandering the King's dungeons. She aspires to be just as brave as Adorabat but lacks the gall, being content to watch and learn from the sidelines. As they both get older Tiara realizes that she is a lesbian, and develops a mutual crush on Adorabat that turns into a relationship. As she ages, Tiara' aspirations to become a hero fade, and she settles for becoming a ballet teacher. She learns to be brave in her own way and unconditionally supports her monster-slaying adventuring partner, no matter how their paths diverge.

T H E Y (Also I need to post my full adult Adorabat design sometime)

Next up is Sherbet (They/Them), a Sweetypie rabbit who makes ice cream for a living! I don't really have a backstory for them but I believe they realized they were nonbinary in their younger years (around early middle school age) and have fully embraced their identity! They don't let anything get them down and are eager to cheer up the citizens of Pure Heart Valley, one ice cream cone at a time. They're also good acquaintances with Badgerclops and Adorabat, for obvious reasons. Their eyes function similarly to Badgerclops', as they only open when they feel strong emotions.

Next (and honestly one of my favorites) is Moa Nola (Xe/Xem), an agender Oriental Shorthair cat who, surprisingly, isn't related to the Mao clan. Xe originally started off as a joke character based on the misspelling of Mao Mao's name in "I'm Mao Mao", but I eventually grew attached to xem and gave xem a full-fledged backstory. Xe comes from a family of fishermen, but after xyr father was killed in a monster attack, xe decided that xe wanted to become a legendary monster hunter. Xe created xyr cloak after xyr first successful monster fight. After being mistaken for the son of Shin Mao too many times, xe used it to xyr advantage and began going under Mao Mao's title for a while. However, after being stopped by Mao Mao himself, xe dropped the act and began looking for a new sense of purpose. Ironically, xe starts collecting antique ventriloquist dummies similar to Mr. Din Danalin.

Following up on the "based on a misspelling" theme is Rhapsody (She/They), a femme-aligned nonbinary Sweetypie vampire bat inspired by Adorabat's name being mistranslated as "doorbat" in YouTube autocaptions. She is Adorabat maternal cousin, as their mother is Sonara's sister. Rhapsody was heavily impacted by Sonara's death, but rather than becoming tough like Adorabat or overprotective like Eugene, she became more reserved out of fear that they could be next. In other words, she became a doorbat (haha funny). With the arrival of Mao Mao and Badgerclops, plus the defeat of the monster that killed their aunt, Rhapsody begins to come out of her shell and indulges in their biggest passion - music. Like Adorabat she learns to use their voice as a weapon, but hers is more of a siren's song than a sonic screech. In my timeskip AU, they leave Pure Heart Valley to become a popstar, writing songs inspired by her childhood memories and their home. It's obscured by the flag but the marking on her chest is a bleeding heart, emphasizing her passionate drive.

(Rhapsody's kid and adult forms [kinda old])

+ OCs of mine I didn't feel like making alternate drawings for:

Buzz-Buzz (Zhe/Ze/Zhey), a demigender Sweetypie bumblebee bat who protects the bees of Pure Heart Valley! Despite zer small stature, zhe is actually an adult, just naturally small. Zhe also grows herbs on the side and volunteers at the Pure Heart Valley hospital. Primarily because zhe has a crush on the head doctor there... (I did not make zer to selfship with Cuddlestein. Nope. Not at all.)

My Badgermao "fankid", Sai (They/He/It)! I say "fankid" in air quotes because they're from an AU where Badgerclops' spare arm became corrupt and gained a conscience. Their robot arm is actually their body - the rest of their body is a projection of light, similar to the gems from Steven Universe! They have masculine programming (as their AI was made using Badgerclops's DNA a la Cortana from Halo), but identify as agender and use they/he/it pronouns. Originally they began as a blank slate with no personality aside from the programmed personality Badgerclops gave them, but they eventually grow their own personality and moral compass as they analyze the Sheriff's Department's work. Just like Badgerclops, they have a passion for building robots and weapons, and can even modify themselves to fit the situation! Most of their creations are usually for fun, though.

Anf the last one I have a reference for but not the least, Karma Vesper (She/They)! This one is actually my self-insert, lol. She is a biro-ace demigirl Javanese Cream-Point Cat! Her necklace was a gift from her family, and her hood was a gift from her mentor. After her village was ambushed by criminals, she became a wandering hero, and accidentally stumbled upon Pure Heart Valley while following a report of increased monster activity. At some point during her adventures alone she realized that she was biro-ace, since she felt no sexual attraction but still felt romantic attraction. Around the time she came to Pure Heart Valley she realized that she never really felt, like, 100% a GIRL girl (if that makes sense) and began identifying as a demigirl. (Yes this is my hidden self-actualization story :>) She enjoys researching gemstones and ancient artifacts, and the Ruby Pure Heart immediately caught her attention once she laid eyes on it. While she is still a wandering hero, she has a temporary residence in Pure Heart Valley, where she stays to research the Heart's powers as well as assist the townspeople. Her and the Sheriff's Department didn't start out on the best terms since Mao was worried she was trying to replace them, but they tolerate each other now.

+ the OCs I don't have references for:

I did have a reference for these guys but idk where it is rn ;-;. Anywway, my most recent OCs and also some of my favorite OCs are Bernard and Pierre, a black bear and polar bear respectively (both use He/Him)! They are both gay and in a healthy relationship & live in a cabin in the forest together. They are just. Two old gay granddads and I love them. Anyway! They both met after an accident which caused Bernard to blow out his left knee and Pierre to lose his left hand; they had been best friends since, and boyfriends later on! Bernard is a baker while Pierre is a wood carver, although they indulge in each other's interests as well. For the most part they just stay in their cabin in the forest, but they leave to buy groceries and sell their products.

And the final OC I'm gonna talk about is Storm Mao (They/Them)! They're from an AU where Mao was born in a litter of five, like his sisters. Ever since Storm were young, they felt like weren't "normal" compared to their siblings. They didn't feel like a girl or a boy. After Mao came out as a trans boy, they began questioning themselves further. Eventually they decided to ask Contacts Sister for help, as she was among the smartest of the Mao children. Contacts explained to Storm that there are people who don't identify as a boy or a girl, and Storm realized they weren't alone. Since then, they started identifying as nonbinary and began using they/them pronouns, and their family supported their decision. Aside from them and Mao, their litter siblings are also LGBTQ+ - Mamoru (He/Him) is AroAce, Bernadette (She/Her) is bi and Zhijun (He/Him) is gay. I'd talk about the AU more in a separate post, if anyone wants me too^ ^;;

If I remember any other LGBTQ+ OCs I have, I'll reblog with them ✌

[g0dspeeed]

Unconditional Positive Regard, 3

Adam begins to process what occurred at Torch during that first meeting. 

=================================================

Processing

Though his body was primarily made up of metal and cyber components, it didn’t mean that Adam was unable to experience pleasure.

One such pleasure that he enjoyed above most was standing below the hot spray of his shower after a long day of merc work. Streams of water ran down his face, chest, stomach, and groin in soothing rivers, the water reddening as it cascaded down his large frame. RealSkin still covered those areas, despite how modified the rest of him became. It was a sort of preference or blessing that Adam have some pleasurable sensation left as Arasaka continued to make annual adjustments to their living investment. Adam allowed his eyes to close, a deep groan ghosting past his lips as he finally relaxed.

The day was eventful. Between catching a bounty that had evaded Adam for weeks, the end results being a half-dozen destroyed food stalls and vehicles in Little China, to tuning up his Wolvers after getting some much-needed upgrades, Adam accomplished most of the things that he set out to do that day. It was tempting to check his HUD for upcoming gigs or missed messages. Tempting, but he resisted. Being in his line of work for so many decades taught Adam to set some firm boundaries between work and play, or in this case, a moment of respite beneath his showerhead.

It was during these quiet moments where he allowed himself to think, to reflect. In this case, to address that which he avoided processing since the morning of his meeting with Torch. Or more specifically, that woman with the golden eyes who openly challenged him upon their first meeting.

The first few hours following his conflict at Torch were some of the strangest for Adam. It was as if he felt unsettled in his own body, like he was wearing some ill-fitting suit. The strangeness came from his mood, that despite having a door being closed in his face, there was an absence of the typical rage that the merc would be feeling had he been dismissed from anyone else. There wasn’t this insatiable need to develop a counter-attack, to make the group’s existence a living hell for denying him. Instead, Adam found himself feeling put-off. Annoyed, but accepting the outcome. The woman provided him choices, accepted his choice, and followed through with what she said. Not much to argue with there. Adam knew it. Still, he questioned his own personhood, and was thankful that no one from Arasaka or any of the other operatives he worked with witnessed how he calmly walked away from the double doors and rode the elevator back to the rooftop for pickup in total silence.

Asking one of Arasaka’s elite hired guns to surrender his weapons and turn off his cyberware was a ridiculous request. Borderline stupid. They, whoever they were, were clearly ignorant of who Adam was to even ask. Adam marveled at their audacity, at the way the woman smiled at him after politely telling him to fuck off. Thankfully, he was able to distract himself from thinking about her face for the rest of the day, at how her golden eyes burned him with their gaze alone.

Distracted until now.

His body twitched.

Adam’s eyes opened at the involuntary sensation, at how he reacted to remembering the fullness of her lips, at the curves of her hips as she stood so near to him in the lobby.

The scent of her perfume.

The smile.

A deep exhale.

He scoffed and turned the water to its coldest setting.

Absolutely not.

He didn’t even know the bitch’s name.

The very next day Adam set out to remedy that problem.

“Again,” he demanded over the com link to one of Arasaka’s Netrunners.

The Runner complied immediately. The pair was reviewing the footage recorded from Adam’s optics, going frame by frame and gathering intel about those he encountered in the lobby that day.

The frame centered first on the man who had greeted him on the roof, a Dr. Thiago Estrada.

“War veteran,” stated the Runner. “Served a tour as a medic for NUSA, 2021 to 2023. Integrated into Trauma Team until 2065. Been with Torch ever since.”

The grunt that Adam offered in response was indicative of his interest. Initial scans at their meeting on the rooftop told him that much already or at the very least that the man was a veteran. The fact that the doctor was with Trauma Team for so long, while interesting, was not Adam’s primary focus in meeting with the Netrunner.

Adding to his already teeming confusion about what occurred at Torch was the fact that the woman, the one who dared to challenge his authority after watching her peer practically get strangled by Adam, wasn’t scanned at all. The thought never crossed his mind while he was there. Not once. In reviewing the optic footage, that issue could be resolved no problem, but the fact that Adam was too distracted to even gather intel on such an important target to his reason being there?

How could he, Adam Smasher, have made such a giant oversight?

Frankly, he was embarrassed. Embarrassed that she had stunned him so much by her words and lack of fear, and it was that humiliation at having to ask someone for help in correcting his mistake that made his drive for answers that much more strained.

Almost teasingly, the Netrunner had forwarded the footage to when she confronted him at the double doors. Even through a screen, Adam could feel the power in her golden stare.

“Who is she?” he growled, eyes remaining on her face.

The seconds it took before he got a reply were infuriating. The response even more so.

“The information is blocked, sir.”

“Run it again.”

“Yes, sir.”

Silence once more. Adam found it difficult to stand still.

“Well?” he snapped.

“I-I’m sorry, sir, but I’m being denied access to any information regarding this person.”

“By who?”

“Um, our own network, sir.”

Confusion furrowed his brow, but Adam didn’t relent.

“Use my clearance code. Now.”

“Yes, sir.”

Despite his hope, the Netrunner confirmed that access was still denied. Even after Adam demanded the Runner run checks on all the women that stood terrified behind his target, their files presented no further indication as to who the hell she was. In his pursuit for more knowledge, Adam was left with even more questions.

Why the hell was Arasaka denying him access on a target that they themselves set up for Adam to meet with?

Who the fuck was she that made her so goddamn important?

To question the corp on their decision would reveal that he had yet to reschedule a new meeting with Torch, if they hadn’t learned about how the first meeting went already. Part of him worried that Torch would report what happened to Arasaka, but Adam had yet to receive any reprimanding call or email from them. Not that he had any evidence other than her calm demeanor and fairness, but for some reason Adam doubted the woman would do that. She did put the next step in his control, after all.

“S-Sir? Do you need anything else?”

The Netrunner’s concerned voice brought Adam back to the present moment.

He ended the call and turned his focus to the white building that stood before him, its glistening emblem still sitting proudly on the top corner of its rooftop.

Time to reschedule, he thought bitterly as he approached the building’s main entrance.

[mediaeval-muse]

Book Review

The Night Circus. By Erin Morgenstern. New York: Doubleday, 2011.

Rating: 4/5 stars

Genre: fantasy

Part of a Series? No

Summary:  The circus arrives without warning. No announcements precede it. It is simply there, when yesterday it was not. Within the black-and-white striped canvas tents is an utterly unique experience full of breathtaking amazements. It is called Le Cirque des Rêves, and it is only open at night. But behind the scenes, a fierce competition is underway—a duel between two young magicians, Celia and Marco, who have been trained since childhood expressly for this purpose by their mercurial instructors. Unbeknownst to them, this is a game in which only one can be left standing, and the circus is but the stage for a remarkable battle of imagination and will. Despite themselves, however, Celia and Marco tumble headfirst into love—a deep, magical love that makes the lights flicker and the room grow warm whenever they so much as brush hands. True love or not, the game must play out, and the fates of everyone involved, from the cast of extraordinary circus performers to the patrons, hang in the balance, suspended as precariously as the daring acrobats overhead.

***Full review under the cut.***

Overview: If a book is fairly popular, it’s more likely than not that I’ll end up reading it years after the hype dies down, and this is precisely what happened with The Night Circus. I’ve had a copy on my shelves for years, but I decided to finally pick it up after making my way through a string of non-fiction books. I really enjoyed the atmosphere Morgenstern creates, especially the dreamlike quality that her prose evokes. But while most of the fairy tale elements worked for me, I do wish she had dome more by way of characterization for the two main protagonists and plot. Even so, this book was memorable, and so it earns a 4 star rating from me.

Writing: Morgenstern’s prose has a dreamlike quality to it. The entire novel is written in the present tense, which I usually dislike, but in this case, it felt appropriate; present tense, for me, tends to keep the story at arm’s length, but for something like The Night Circus, that uncanny distance actually enhances the feeling that the circus is not quite real or that it has secrets that we, the readers, are not privy to. In other words, the present tense lends an air of mystery that worked in this story *because* so much of the circus revolved around dazzling, mystifying and tricking patrons into thinking magic isn’t real.

That being said, I do think the periodic interruptions in which Morgenstern describes the experience of the reader going to the circus felt jarring. Every so often, Morgenstern has a section narrated in second person, with phrases like “you make your way to the tent” attempting to immerse the reader in the atmosphere. While these sections were wonderfully written and evoked the senses in pleasing ways, I ultimately felt that they distracted rather than complimented the story.

However, I really did adore Mogenstern’s creativity and imagination. I loved the attractions she envisioned for the circus, as well as its black and white color scheme. Instead of feeling gothic or threatening, the circus felt rather elegant and inviting while still maintaining and air of mystery. In this way, I think Morgenstern struck a nice balance between alluring and unsettling, one that doesn’t drive people away but ignites their curiosity.

Plot: From the summary of the book, it seems as though the majority of the plot will revolve around a “fierce competition” between star-crossed lovers, and while that narrative was present, it often faded into the background for me. The “competition” never seemed to pose a threat or create suspense - there was not really a strong back-and-forth pattern of one-upmanship that challenged the characters to push themselves and their abilities. Instead, the details of the challenge are rather foggy, so even the competitors don’t know the rules or the consequences, and they don’t seem to feel constrained or imprisoned by the competition in any way. I think this could have worked better for me if the whole challenge started competitive but then became forgotten in favor of the two romantic leads outdoing themselves for the sake of making one another happy, and while there was some of that, it didn’t feel like it was much of a guiding thread throughout the book.

I did think that the plot about Bailey and the red headed twins was better constructed, even if some readers found it uninteresting. Even though it was simple (Bailey wanted to get back to the circus and find the girl he had met years ago), Bailey clearly had goals and conflicts that influenced his decisions, from feeling constrained by his family’s expectations to the uncertainty of his future, and I think his arc complemented the main plot nicely - Bailey felt trapped by everyday life, and the circus served as an escape, whereas the circus is a kind of gilded cage for Celia and Marco.

That being said, I do think Morgenstern’s attempt to make the “moral” of her book about the power of stories and storytelling rather ham-fisted. Morgenstern clearly has a love of storytelling herself, and the whole book is an exercise in the power of storytelling, but I don’t think stories had a strong enough presence in the narrative itself to make the whole point of The Night Circus about those topics. Instead, I think the secondary theme of “the future is unwritten” to be much more compelling, and I think the conclusion of the novel should have ended on that note rather than Widget agreeing to tell a story.

Characters: While this book follows a number of characters, the summary primarily focuses on Celia and Marco, two “magicians” of sorts who are thrust into a competition by their mentors in order to prove whose method of doing magic is superior. Celia is more intuitive, performing magic through her “natural abilities,” while Marco is more studious, using things like signs and anchors to guide his magic. Aside from these defining qualities, I didn’t find either of them very memorable. Celia supposedly had the tendency to lose control of her emotions (and magic), but we never really saw that manifest in ways that were threatening to the competition or the people around her. Marco is also somewhat of a blank slate; he’s organized and works hard, but that’s about all I can say about him. I didn’t quite see what qualities attracted the two to each other, much less why they fell in love other than they admired one another’s magic.

Their mentors were a bit more interesting in that the had contrasting personalities. Celia’s mentor (her father), is overbearing and egotistic, whereas Marco’s mentor is reserved. I liked the mystery that surrounded Marco’s mentor and the way his emotions never seemed to get the better of him until certain points. Celia’s father, on the other hand, was a bit annoying and cruel.

I did enjoy reading about the other protagonists, Bailey and the red headed twins (Poppet and Widget). I thought that Bailey had enough external pressure to make his goals and desires feel real. Poppet and Widget also complimented each other nicely; though they are twins, they felt like separate people rather than a duplication of one another, and I liked how they were inquisitive, playful, and caring.

Supporting characters were also incredibly compelling and memorable. Chandresh, the proprietor of the circus, is eccentric, and I loved reading about his house of curiosities and his lavish midnight dinners. Tsukiko, the contortionist, has an appealing attitude that is simultaneously warm and matter-of-fact. Isobel seems like she would serve the role of the jealous lover, but I liked that she was warm and found a home with the circus. Herr Thiessen, the clock maker, encourages others to see the circus with wonder without becoming dangerously obsessed. Other members of the “circus board,” such as Mme. Padva, the Burgess sisters, and Mr. Barris, were also interesting to watch as they left their thumbprints on the circus.

Other: This book didn’t have a lot of worldbuilding (if that’s the appropriate word for it) in that none of the magic systems are fully explained, nor are we told who or what the mentors really are, but I don’t think these things were needed. The lack of full clarity enhanced the sense of mystery about the circus, and in some ways, this book was more “magical realism” than full fantasy.

I do think, however, that the ending to Celia and Marco’s story was rather unfulfilling, in part because it relied on the performance of a kind of magic that I didn’t quite understand. I think it would have been fine if the two had simply disappeared together and their “souls” (or something) still hung around the circus, so readers get the impression that they’re together, but the details aren’t quite clear. The matter of controlling the circus also seemed convoluted, and I’m not convinced that the magic required to do this was seeded into the story ahead of time, so it felt somewhat random. As a result, the ending seems to require us to understand how separate types of magic work, but the details of these systems throughout the book are vague, so the sudden specificity at the end feels strange.

Overall, though, this book was memorable and enchanting, which made up for the shortfalls. I still enjoyed it immensely, and I think Morgenstern is a phenomenal storyteller.

[xb-squaredx]

Pokémon Sword and Shield: A Franchise Turning Point

The Pokémon franchise has been around for over 20 years, and in that time it has proven to be more than a passing fad and has carved out a massive multi-media empire. Outside of some rare spinoffs like the Pokémon Stadium games or the likes of Colosseum or Pokken Tournament, the series has stayed primarily on handheld consoles. For years fans dreamed of what a true, mainline Pokémon game could be like on a home console. During E3 2017 when Game Freak announced that such a title was in development for Switch, people got excited. The resulted games, Let’s Go Pikachu and Eevee were not quite the main leap people expected, instead being a strange hybrid of Pokémon GO and remakes of Pokémon Yellow. However, the announcement that a true new generation of Pokémon would hit the Switch in 2019 reignited that hype. While at first excitement was high, over time a dark cloud hung over the titles, Pokémon Sword and Shield. Controversies erupted over the announcement that not every little critter would be featured or transferable to the game, and as time went on any new announcement was met with pushback. Everything from visuals to new features was criticized all the way up to launch day. Now that Sword and Shield are in players’ hands, at the end of the day…how did it all turn out?

A WHOLE NEW WORLD

This time around, trainers embark across the Galar region, basically the Pokémon equivalent to the UK. I do like Galar as a setting; it has a ton of character, with probably the most interesting aspect to it that Pokémon battles are treated as a major spectator sport. If you want to join in the Gym Challenge, you need a sponsor, and your Gym battles take place in massive stadiums filled to the brim with roaring fans. It’s an interesting deviation from past games, even if the basic formula is about the same. The characters within Galar also have a fair amount of charm from your main rivals to the Gym Leaders, to the undefeated Champion. A lot of people give Hop, your main rival, a lot of flak, but I found he had a lot of hidden depth to him and he has a satisfying arc as the story goes on. As he loses to you again and again, he doubts himself and subsequent battles have him throwing in random Pokémon and strangely his signature partner, the adorable Wooloo, is absent. Once he gets his act together, however, he forms a pretty balanced team, and Wooloo’s back front-and-center. It was a neat moment of character growth shown off through gameplay. As far as Champions go, Leon has a lot more presence throughout the game than a lot of past Champions. His flair, his awful fashion sense, his inability to follow directions…it all made him a bit more endearing. Most of the Gym Leaders are pretty much just there as stepping stones, but they all are fairly memorable either for designs or flashes of personality. It helps that everyone gives you neato trading cards too!

Galar’s main claim-to-fame is the Wild Area, a huge collection of different biomes located smack in the middle of the map. It has far and away the largest collection of Pokémon within, with different monsters appearing depending on the weather or time of day. It’s a place you’ll be returning to time and time again, and it made a big impact. It’s the only area in the game with a controllable camera, for one, and rather than follow a linear balance curve, the Pokémon you encounter in the Wild Area are often far too strong to handle. You’re even forbidden from catching Pokémon if you lack a certain number of Gym Badges, so the place is full of Pokémon you can only really admire from afar until you’re “worthy” of getting them.

Take the Wild Area away though, and Galar feels pretty small. With only ten Routes in the game, Galar is among the smaller regions. Most Routes are very straightforward, not many branching paths or hidden goodies, and there isn’t any neat new areas opened up after beating the game either. The Wild Area, from a franchise standpoint at least, is pretty impressive, but looking at the game on the whole it feels a little lacking. That’s not to say Sword and Shield don’t bring in new mechanics to mess around with, but whether they make up for what’s been taken away is going to vary with people.

GO BIG OR GO HOME

Since the games went 3D, each region tends to have its own core “gimmick” to differentiate it with older titles. X and Y had Mega Evolution, Sun and Moon had Z-Moves and for Sword and Shield we have Dynamax. Something in the air in Galar can allow Pokémon to grow to colossal size for a short time, granting them extremely powerful Max Moves for its duration. While Dynamaxing seems cool at first, the spectacle kinda wears off after your first few uses of it (not to mention the animation lasts forever), and upon further inspection it’s not as great of an upgrade as you’d think. For one, a Dynamaxed Pokémon only gets a health increase, and all other stats stay the same. Abilities and their elemental types stay the same too, so it’s not a game-changer like Mega Evolution was and it really has more in common with Z-Moves. The Max Moves can be nice, as they’re usually a good deal more powerful when it comes to raw damage, and can come with nice side-effects, but it’s kinda inconsistent. The stronger Fighting-type moves actually become weaker as Max Moves, for one. On top of the base Dynamax ability, some Pokémon can use “Gigantamaxing” instead. This changes their look overall and grants them a unique G-Max Move, though considering how hard they can be to acquire I’m not sure it’s all that satisfying. It doesn’t help that rather than having a certain species of Pokémon capable of Gigantamaxing, it comes down to unique Pokémon themselves that have the trait and it can’t be passed down through breeding either. Overall, Dynamaxing has its uses but I highly doubt it’ll become a staple of the series and will likely be replaced with something else for the Generation 9 games, and I can’t say I’ll miss the mechanic much.

One big addition to the series is Max Raid Battles, found in dens littered all over the Wild Area. Teaming up with up to three other players, locally or online (or team up with awful CPUs if alone), your goal is to take out a permanently Dynamaxed Pokémon. You get a limited amount of turns and if you suffer more than four knockouts, the Raid will end in failure. Victory, however, enables you to get rare and powerful Pokémon, some even coming with really great stats and difficult-to-obtain Abilities, and it’s practically the only way to get Gigantamax Pokémon. The difficulty of the Raids increases as you progress through the game, however, and the Five Star Raids can be brutal. The rewards are great though, getting a lot of extra loot. Bonus moves to teach Pokémon, EXP candies that eliminate a lot of grinding, and more, even if the capture attempt fails. The one real issue with Raids is that some Pokémon can be pretty stingy with appearing in Raids, and you’ll have to use somewhat rare items, Wishing Pieces, to kick some Raids off. There are also the occasional connection issues, but I have more to say on that later.

Outside of these new features, there are the standard quality-of-life changes that each game has, though some can be harder to notice and appreciate than others. You can send Pokémon in storage out on Jobs, to get some neat rewards and some EXP for them, though I find them to be a bit underwhelming. Being able to swap Pokémon on the fly now is a godsend, and together with the EXP Share built into the game, it allowed me the freedom to switch up the monsters in my party and get newcomers up to speed quickly. Most games I barely bother with more than the maximum six, but the sheer variety of Pokémon in Galar let me feel more comfortable with constantly swapping around. On that same note, no National Dex aside, there’s a LOT of choices in Galar. Route 1 alone has over ten Pokémon you can catch right at the start, as opposed to the common mammal, common bug and common bird. It was nice to see some under-represented Pokémon make the cut, but I won’t argue with anyone bummed that their favorites aren’t allowed in. It is a regrettable decision overall, even if it might have been unavoidable here.

Now, you’ll notice I didn’t mention the story much at all because…there isn’t much of one. Pokémon as a franchise isn’t known for its storytelling, despite the Black and White and Sun and Moon games existing and having very well-done stories. Overall, Sword and Shield seems to focus more on characters than an overarching plot and that isn’t too bad overall, but it makes the eventual climax more than a little disappointing. Team Yell, our villainous organization this time around, are just a bunch of hardcore fans for another rival of yours, a girl named Marnie. The conclusion to their story felt very flat, and the eventual main problem involving the Legendary Pokémon is tacked onto the end of the game with little build-up. It doesn’t help that the main villain’s motivation doesn’t make sense. He wants to avert an energy crisis that’s 1000 years from actually happening, and for some reason he refuses to let you get your shot at fighting the Champion because apparently putting things off for one day is unacceptable. It’s just very sloppy. And honestly, “sloppy” can describe a lot of this game, sadly.

WHY Y-COMM WHY

No game is without flaws, and Sword and Shield are far from the first Pokémon games to have their fair share of issues, but it’s hard to shake the feeling that these games in particular are a victim of compromise. Game Freak doesn’t have the luxury of delaying games and polishing them up to a fine sheen, not when the multimedia empire has merch and anime to launch at the same time. I’m also certain that working on this game alongside the Let’s Go games AND Little Town Hero did them no favors. So there are areas in the game that lack polish. The story’s abrupt conclusion, the visuals in general, and Galar itself feeling a tad empty; these are all compromises that had to be made to get this game to ship on the date decided well in advance. I can sympathize with the developers here, and really they’re in an un-enviable position. But at the same time, I’ve been playing Pokémon games for over twenty years, and I kind of expect better, you know? Far too many times I have to shake my head and question why something is designed the way it is, or why it feels at times like the games are going backwards in quality. Problems that were solved several games ago rear their ugly heads again, and for this being a brand new generation and the “proper” debut on a powerful home console, I can’t help but feel that this is just a 3DS game that’s been blown up onto my TV.

NPC character models and the Pokémon themselves look fine, as does the sleek UI, but environments look kinda rough. The Wild Area itself, I say with no exaggeration, looks like it was ripped out of a GameCube game. Those trees are a meme, but at the same time, they also look that bad. Some of the main towns are pretty grandiose, be it the giant castle theme of Hammerlocke, or the steampunk designs of Motostoke, while others feel incredibly barren. It’s kind of intentional with Spikemuth, but I was more than a little disappointed with how small towns feel. While it’s great that HMs have been officially retired (starting from Sun and Moon), Galar itself feels like it has little to offer those that want to explore. You don’t get access to a way to cross water until near the endgame, but there are only a small handful of areas you’d need to backtrack to with that ability. There’s not even a Victory Road in this game, or a rough equivalent.

Sword and Shield, from a competitive standpoint, seems to be trying to make strides in breaking down barriers and allowing more casual fans to dip their toes into competitive play, which I really appreciate, but I think there’s still room for improvement. While on the one hand, it’s never been easier to tweak and customize your Pokémon to your heart’s desire, the game is still not as transparent on certain subjects. You can view a Pokémon’s Effort Values, extra points you can place towards stats, on their stat screen, but only if you hit the X button on that screen, and there’s no indication that’s a thing you can even do. I was more than fifty hours into the game before a friend even told me that! There have been some pretty major strides to reduce the time commitment however, so I have to give the game credit there. As far as game balance goes, having less Pokémon to choose from does inspire creativity, though from what I hear, a fair few Pokémon are a bit of a problem, but that’s no different than any other game. Honestly, even attempting to balance a game with so many moving parts and possible strategies is pretty admirable. I’m not deep into the meta of competitive Pokémon though, so I feel there’s not much I can add to the conversation. If there’s one thing I can’t defend however, it’s this game’s connectivity features.

Starting from the DS era, Pokémon has had online features, but Sword and Shield marks the first time that the Global Trade Station, or GTS, has not been available. This means it’s impossible to put up a posting for a desired Pokémon, or fulfill other’s requests. This wouldn’t be so bad if the way to trade with friends wasn’t such a chore. Rather than being able to freely select a friend and initiate a trade or battle with them, players must enter four-digit codes and HOPE the game pairs them up. This is in every way a downgrade from the past several games. X and Y released over SIX years ago and solved this very issue with the Player Search System. Y-Comm, as it stands, is an awful replacement and there’s not one thing about it that other systems didn’t do better.

If you connect online, the game will have “stamps” appear that show you what friends are doing, alongside broadcasting trade or battle requests from random people, but often those requests are out of date, and trying to join in will result in error messages, the requests fulfilled long ago. Trying to join friends in Raid Battles is an exercise in trial and error, and if online in the Wild Area, other players constantly appear within it and as a result the game begins to chug along. What could have been a neat way to interact with other players across the world results in the game becoming worse to play, so I mostly left it off. Connecting with others has always been a franchise selling point, way back to the days of the Game Boy Link Cables. To see this game drop the ball so severely is worrying. I care about this far more than the graphical issues, far more than the National Dex, and it makes me hesitant to try out the next titles if they can’t solve these issues and KEEP them solved.

AN UNCERTAIN FUTURE

Pokémon Sword and Shield are not bad games; they’re in fact filled with charm and fun. I’ve logged over 80 hours into the game over the past few weeks and the hours flew by. There’s a lot of work that’s clearly been put into the game. The Pokémon designs and concepts this time around are really creative, for one. There’s the Applin line, dragons that hide in apples, and the abominations that are this game’s fossils; carelessly stitched together pieces of incompatible fossils resulting in a freak of nature. I love them. My heart goes out to Game Freak, because it’s clear people worked hard here, but this simply can’t be the game they wanted to make. I think Sword and Shield are turning points for the series, but it’s unclear if that’s a good thing or not.

For all the backlash and negativity surrounding these games, they’re still the fastest-selling Switch games ever. Many fans are pretty satisfied with the game as-is, and the real bitter pill disgruntled fans need to swallow is that…these games have no real reason to improve in quality. Think about it; sales aren’t down, and there’s not a true rival to these games anymore, so why would the hire-ups at Nintendo and The Pokémon Company give these games more time and resources? On top of this, remember that these games are only one part of the massive whole that is the Pokémon brand. Pokémon GO makes a frankly disgusting amount of money, the anime has been going strong for two decades, merch is in no short supply, and now we can likely add major Hollywood films to the list as well. If Game Freak was any other developer, behind any other franchise, they’d likely be able to delay the games to polish them up and add in content that would otherwise be cut, but they can’t do that when they MUST launch simultaneously with the anime, the card games, the merchandise, etc.

The series has been around for so long now as well, while many fans have likely moved on from the franchise, new ones are lining up to take their place. On top of that, there are Pokémon diehards that will likely always support the series. Pokémon is a constant for them; it’s almost like comfort food in game form. They’re not WRONG for feeling that way, and I’m kinda in that same boat. I knew going in that these games were going to be somewhat disappointing, but I still bought the thing! For all the rage directed at these games, many people still gave them their money, and I think the message has been read loud and clear: Pokémon can get away with cutting Pokémon, so it’s unlikely Game Freak will change course any time soon.

Now, of course, that’s one way to look at things. A negative way to be sure. It’s also possible that Game Freak can learn from issues they had with developing these games and push past them. As they get used to console development, to HD development, and get a better idea of what fans want, the next games might actually surpass all expectations. Pokémon as a franchise has always had feature creep to deal with, and Sword and Shield is clearly where it all boiled over. So maybe if they don’t have to worry about accommodating nearly 1000 critters in every single game, they can make larger strives towards higher quality. I don’t want to count them out, but at the same time, I won’t hold my breath either. I’ll always be open to what path this franchise takes, even if they stumble a bit to get there.

In the end, Sword and Shield feel more than a little rough, but there’s some real bright spots glimmering in what might be the franchise’s Darkest Day. The Pokémon themselves are still fun to use and capture, the characters and world of the games are still wholesome fun, and I’ll reiterate that pumping over 80 hours into this game didn’t feel like a chore and I was largely engaged for the entirety of that time. Here’s to hoping that brighter days lie ahead, and a few years from now we can look back at the Dexit controversy and laugh.

-B

[scripttorture]

Torture in Fiction: Black Butler, Season 1, Episode 20

My first impression of this anime was that uh- the writer has some odd ideas about Victorian England. It makes the show a little bit strange for me; there are so many things about the way the period is portrayed that are just… wrong. For me that made the episodes I watched very jarring and distracted from the carefully constructed undercurrent of menace that runs through most episodes.

I didn’t dislike it. But I love history. I know my history. And watching this felt a little like watching an updated period propaganda piece that wasn’t written by a Brit. It’s bizarre.

But I’m not here to talk about how other cultures are depicted in Japanese media. I’m rating the depiction and use of torture, not the anime itself. I’m trying to take into account realism (regardless of fantasy or sci fi elements), presence of any apologist arguments, stereotypes and the narrative treatment of victims and torturers.

The central idea in Black Butler is that the Earl of Phantonhime, a 12-13 year old boy called Ciel, has a contract with a demon, Sebastian, who acts as his butler. Sebastian has agreed to serve Ciel in any way he desires in exchange (eventually) for Ciel’s soul.

Ciel has used this power to fight crime in the Victorian underworld and try to protect the interests of the Queen as well as get revenge on the people who murdered his family.

I haven’t watched the whole series, so I might well miss some points as we go into this. The episode I’m focusing on is 20, which is close to the end of the first season. I’m aware that part of Ciel’s backstory is child abuse, but I couldn’t find a clear indication of which episodes actually covered this. So I choose to stick to the episode that inarguably depicts torture.

Ciel is being framed for drug smuggling. The officer arresting him states that a Lord can’t be tortured but no such rules apply to butlers. Ciel orders Sebastian to show no resistance but to reveal his power only when Ciel calls for him.

Ciel is taken to- what I presume is meant to be a police station it’s never made clear. Sebastian is taken to the Tower of London and a set up that looks like it predates the Tower. The camera pans over instruments from Anglo-Saxon times and the Tudor period.

The torturer (who also looks like he pre-dates the Tower) seems excited to have someone to hurt. He comments on Sebastian’s beauty and talks about cutting out Sebastian’s eyes as he judges these to be Sebastian’s best feature. He then decides to ‘save the best til last’ and approaches Sebastian with a set of metal pincers instead.

Up to this point the torture appears to be aimed at forcing a confession from Sebastian that will incriminate Ciel.

Some time later an angel (and recurring adversary for Ciel and Sebastian) comes into the cell. She comments on how humiliating this must be for Sebastian, dwelling on the fact he’s allowed himself to be injured in the course of fulfilling his contract. She then wonders how long it has been since Sebastian consumed a human soul and how long he’s waited to consume Ciel’s. She says he must be ‘starving’ and offers him all the souls he can eat if he surrenders Ciel’s to her.

Sebastian refuses and the angel whips him. She doesn’t question him or ask for a confession but spouts some very Spanish Inquisition-like guff about repentance and cleansing souls by fire.

In the mean time a police officer takes pity on Ciel. He thinks Ciel is being framed and seems to see Ciel as an innocent child in need of protection. He allows Ciel to escape.

Ciel finds one of the men responsible for framing him, breaks into the man’s carriage and holds a gun to his head. He demands to know the truth. The man he threatens tells him everything.

I was honestly unsure how to rate this because, while there are some elements of torture apologia here, the most unrealistic element throughout is historical: the portrayal of torture in these episodes does not match the era or the culture. I’m inclined to rate that as a ‘bad’ point, it’s unrealistic, but at the same time it’s nowhere near as serious as excusing or condoning torture.

Fiction shouldn’t have to be entirely historically accurate.

At the same time the way the author chose to use torture in this plot and the way in which she chose to divert from history don’t sit well with me. I’ve changed the review format slightly in order to accommodate some discussion of why that is.

In the end I decided to give it 2/10

Elements that are not Historically Accurate

The Tower of London was not used as a prison during the Victorian era. By this time most of the institutions the Tower had housed had been moved elsewhere and the building was in a state of disrepair. As far as I can tell for most of the Victorian period the Tower was being rebuilt.

Use of burning tortures, pincers and threats to remove eyes would all have been illegal for a few hundred years by this point. They were typical of Anglo-Saxon tortures but this pre-dates the Tower and regular use of the Tower as a prison. I’m unsure if any of these tortures were routinely carried out in the Tower but they certainly weren’t common practice anywhere in Britain during this era.

The visual choices for the depiction of the torture chamber and the torturer are- well to me they’re utterly ridiculous and out of the place. It’s a Tudor structure and stereotype, beside Anglo-Saxon instruments, menacing a Victorian butler.

The religious bent that the scenario takes when the angel starts torturing Sebastian is really not typical of torture in Britain at any period. The idea of torture cleansing souls and torture primarily motivated by religion owes more to the Spanish Inquisition then the Tower. Religious minorities were tortured and persecuted in Britain but as far as I can tell from the sources I have this was much more about prejudice and politics then religion. It wasn’t about ‘repenting’ and full confessions to save souls. Both of these ideas were rooted in Catholic Christianity and by the Victorian times Britain had been Protestant for a considerable period.

The ideas that Lords were, at any period of British history, exempt from torture is ludicrous. The titled gentry were tortured, both as punishment and to extract confessions. Sometimes they were tortured just because the current monarch didn’t like them that much. So far as I can tell the only punishment titled gentry were exempt from was hanging, drawing and quartering: the gentry were beheaded instead.

Underlying this there seems to be a fundamental misunderstanding of the way the British class system functions. It stands out because the scenario is so focused on the divide between classes: the entire plot relies on toying with the unequal relationship between master and servant.

The Good

The artwork highlights a lot of Sebastian’s injuries, avoiding any suggestion that torture is harmless.

Sebastian doesn’t give either of his torturers what they want. He doesn’t incriminate Ciel, he doesn’t confess and he doesn’t repent.

The Bad

Ciel getting accurate, useful information from an enemy at gunpoint isn’t possible and it’s an idea that’s rooted in torture apologia. It suggests that if you make someone afraid or cause them pain they’ll be forced to tell the truth. That isn’t how the human brain works.

Torture doesn’t have a lasting impact on this story. It’s here to keep Sebastian away from Ciel for a narratively convenient period of time. It could be replaced with a huge range of things without having any impact on the plot.

The choice of older historical tortures in this context doesn’t sit well with me because it’s choosing to show scarring tortures instead of the clean ‘non-scarring’ tortures typical of the time. To me this suggests that the author only considers scarring tortures to be ‘proper’ tortures and believes the audience will feel the same.

Sebastian is unmoved by torture and doesn’t give in to his torturers’ demands. But the story leaves it ambiguous as to whether this is because torture doesn’t work or because as a demon Sebastian is immune. It’s very easy to watch this and walk away with the impression that Sebastian is the exception, not the rule.

Even without a clear idea what happened to Ciel he doesn’t really show any of the symptoms I’d expect from a survivor. Let alone a child survivor. There’s also no indication he’s been through any kind of recovery process and improved.

Miscellaneous

While I don’t think the story suggests torture is harmless Sebastian doesn’t really show pain. Usually I would put this down as a bad point because it downplays the damage torture does. But in this case it seems to be linked heavily to the fact Sebastian isn’t human, it’s linked to his supernatural abilities. And as a result I’m not sure how to categorise it because it’s not clear if is showing victims are unaffected by torture or that Sebastian as a demon isn’t.

Overall

While I don’t think this is a bad series, on balance I do think this is a bad use of torture.

There is some apologia here although unusually it isn’t the main focus and much of it is down to interpretation rather than what the narrative states or shows.

But the choice of anachronistic tortures isn’t neutral here. It’s feeding into a large popular misconception that the only abuses that ‘really’ cause pain also leave physical scars.

Most tortures now leave no obvious physical marks and this misconception puts survivors in a position where they’re asked to ‘prove’ they suffered enough to count.

On top of that the use of torture here seems unnecessary. The only function it’s serving is keeping Sebastian out of the main plot for a while. There’s no lasting impact on the plot or the characters and the result is that torture here is rather toothless.

Combined with the narrative use of threats to extract accurate information and Ciel’s lack of symptoms the result is a repeated suggestion that abuse doesn’t have a lasting impact and only scarring abuse ‘counts’.

That suggestion probably isn’t intentional but it comes from ignorance of the subject the author is trying to depict. It also comes from using abuse as a narrative short cut rather than trying to engage with the topic.

In the end I think the problem with Black Butler’s use of torture comes down to this: the author could easily have replaced it with something else. And when that’s the case the writer does both torture and the narrative a disservice.

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[katrou1894-blog]

Frozen 2 Movie Review (No Spoilers Until Partly Through)

*All rights to this photo belong to Walt Disney Studios Hi Everyone!

Welcome back to Katie’s Messy Little Blog! I want to do something different (again) for this blog post. A movie review!

I, like many others, flocked to the movie theater the weekend before Thanksgiving to see the greatly anticipated Frozen II. (Sorry it took me so long to get this review out btw. The end of November and beginning of December has been super busy! 😅 )

[FYI the first half of this blog will be spoiler-free, so it is safe to read the first half of my blog if you haven’t seen the movie yet and you don’t want spoilers. It will be super obvious when we hit the spoiler part of the blog 😉]

I’m going to start by sharing, I LOVED this movie! I think it is one of the best films that Disney has produced this decade! (Not quite the best because I actually think that spot belongs to Coco, but this would be a close second!) Although Frozen II is a sequel, it really didn’t feel like one to me. Frozen II, of course, has the same cast of characters (with a couple of great additions like Lieutenant Mattias and Bruni), but this film also had almost an entirely different feel to it than its predecessor. Everything from the high fantasy elements of the film to the (at least in my opinion) much more mature soundtrack felt very different, but “good different.”

Frozen II also did an excellent job of tying the two films together. There are quite a few specific call back to the first film, both serious and humorous, which makes the jump from the first to the second film much smoother than it might have been without these specific references. Plus the storyline of Frozen II really is just a continuation of the first film, full of plausible and likely next steps for each of the characters.

Other then plotline, I also really loved some deeper Nordic cultural references and influences that Frozen II includes, the absolutely gorgeous animation (seriously one of the visually prettiest movies I have ever seen!) and the incredible, heartfelt and meaningful music. I could go on about all of these topics for a bit, but I strongly encourage you to go out and see the film and see what I mean for yourself!

SPOILER WARNING!!!!

(If you read past this section and you haven’t seen the film yet it is your own fault that you got Frozen II spoilers 😉 You have been warned.) For those of you who have seen Frozen II or to those of you who don’t care about reading about spoilers, welcome to the spoiler section of this blog! I am going to start my spoiler section by sharing my only real complaint about the film.

Frozen II leaves some VERY IMPORTANT sections of the film unclear. They chose to vaguely tell/hint at major reveals, leaving (I believe) many moviegoers somewhat confused until they later explain what happened in the film. There are two key moments, in particular, in which this happens.

The first being when Elsa awakens the spirits of the forest. This supposedly occurs at the very end of Elsa’s song, “Into the Unknown,” when she reaches out to the phantom voice that has been calling to her and she conjures the weird floating, ice-diamond, element symbols throughout Arendelle. Although this scene was showcased in promotional materials for the film, I was still very confused by this moment until Elsa tells Anna a few minutes later (after the entire population of Arendelle is evacuated to the nearby cliffs) that she had summoned the spirits of the forest (okay…). Admittedly, upon the second viewing of this film (Yes, I have seen it twice already. Judge all you want, I am content with my life choices. 😂) this series of events made much more sense because through the course of “Into the Unknown” Elsa actually dances/interacts with each of the elemental spirits which (at best) hints at Elsa potentially awakening the spirits. (I guess…) I think this really didn’t make sense the first time around because the film hadn’t yet explained what the water horse, hopping flame, the rock giants and the gust of wind were (it had only implied). So (I believe) between the overall vagueness of the scene and the lack of prior explanation of what the spirits are that’s why at least I was (perhaps many others were too) scratching my head at this point.

The other key moment that was unclear was when Elsa discovers that she is the fifth spirit. This occurs during Elsa’s other show stopper tune, “Show Yourself.” I really just don’t think this scene is very clear because one moment Elsa is in the large ice room surrounded by images of her memories, then she is singing with one of her mother’s images. (Who turns out to be the voice calling her?? Also unclear about this, however, the actress who voices Queen Iduna for Frozen II, Evan Rachel Wood, is credited for singing this song so I guess so??) Then suddenly the elemental shape appears (which not so discreetly is in the shape of a snowflake (We all see what you did there Disney)), Elsa steps into the center of this shape, and then she gets, yet another, dramatic makeover while she is singing an epic song. Don’t get me wrong, this is a stunning sequence and a super cool moment, but other then the makeover, a giddy face by Elsa, and a glowing snowflake, but there is no direct explanation on what is happening in this scene until about 20 minutes later when Elsa explains it to Anna. When I first saw this scene I guessed that they were trying to imply that Elsa is the fifth spirit, but it just wasn’t clear.

Now, in defense of this scene, I really am not sure how they could have made it more clear other than maybe Elsa saying to herself, “Of course, it was me all along!” However, I understand why the filmmakers may not have wanted to do this since it would seem quite narcissistic if Elsa had stated this, especially at this exact moment. Nonetheless, this scene did lose some of its power because of the lack of clarity.

I will also say that the overall spirit plotline/origin story is very vague and it leaves me with quite a few questions, specifically about the spirits. I am willing to, for the most part, overlook most of this vagueness because I did overall enjoy the film that much and I think that Disney is really striving for a different kind of storyline with this film because of the spirits and high fantasy elements. [However, if Disney actually answers my questions about the spirits (especially more on why Elsa is a spirit) I would not be opposed to a Frozen III. Assuming, of course, that they stay true to their commitment to high-quality storytelling. Seriously Disney, please don’t just make Frozen III for the money. If you do it well then you can both make great art and make a ton of money.]

Okay, now that I have shared my only real frustration with Frozen II, I want to get back to sharing about the film’s strengths.

The character development in this film is truly amazing! The majority of the film’s focus was, of course, on Elsa and Anna, but there was some really great character development for the beloved side characters in the Frozen gang. Both Olaf and Kristoff really grew in this film and took some maybe slightly unexpected, but interesting and crucial roles within the film.

Olaf in this film is “growing up” and “maturing” which leads him to ask a bunch of questions, to research, and to essentially become a walking and talking fun fact machine. Olaf represents children that have endless questions about the world and how everything works. I love that this is the direction that the filmmakers chose to progress Olaf’s character. Plus they use Olaf’s curiosity of life as an important vessel of key information that the film needs to explain in order for other parts of the film to make sense. This primarily being the concept that “water has memory” which Olaf shares with the group and keeps insisting on throughout the film. (And which he turns out to be right about, at least according to the film.)

[Also I really love Olaf’s silly line, “Samantha?” Towards the beginning of his song “When I Am Older.” It has been reported that Josh Gad, the actor who voices Olaf, did, in fact, improvise this line and the filmmakers loved it so much that it stayed in the film. However, I am burning with the question of Who is Samantha??? For now, I choose to believe that it must be the name of the promised, but not delivered upon, girlfriend of Olaf which was suggested during early discussions of the film who clearly was cut from the end result. ‍💁 ] Kristoff also has some truly incredible character development himself! Kristoff has always had an interesting role within the world of Frozen. He starts off as the brutish, but lovably dorky companion of Anna in her original search for her sister, then through the course of their journey he turns into the true love interest for Anna (leaving Hans already not looking super great before he reveals he is evil). Essentially, this is his entire arch for the first film. Naturally, Frozen II deals with Kristoff’s next character steps. It was absolutely no surprise to me that Kristoff spends the majority of the new film attempting to propose to Anna, however, what is so revolutionary about Kristoff in this film is both his open expression of emotion (since society has for generations and generations told men the bull crap that it “it isn’t manly to have emotions”), the fact that he doesn’t actually journey with Anna through the entirety of her journey and that Kristoff is also extremely supportive of Anna and he really doesn’t try to “save her.”

Kristoff has this amazing love ballad, “Lost in the Woods“ about halfway through the film. I love this scene for two reasons. Firstly, because this is a scene where Kristoff is free to express his emotions and frustrations. Secondly, because this scene is ridiculously funny! Kristoff sings in the woods with the help of his reindeer friends (especially Sven). This song pokes fun at pretty much every boy band ever and every weird and overly dramatic music video ever. Plus, I love the subtle hint at Queen’s famous “Bohemian Rhapsody” music video where Kristoff and his reindeer friend’s heads are highlighted on a black background.

I also love the fact that Kristoff very much has his own journey in this film. He is left behind by Anna, Elsa, and Olaf for the majority of the primary adventure of the film. Now, to be fair, the group (or at least Anna) didn’t want to leave Kristoff behind and the only reason why he was left behind was his own fault because of his weird proposal scheme with a bunch of reindeer. Yet, Kristoff’s alone time allows for his dramatic, but powerful emotional expression. This separation from the rest of the group also allows for Kristoff’s key positioning towards the end of the film in which he is able to help Anna in her mission to destroy the damn.

Kristoff’s unique positioning in the film not only allows him to help Anna destroy things, but it also allows for a subtle, but powerful moment in film history. It is not very often that a female lead is “allowed” by a male lead to go off and just be able to do what she needs to do without the male questioning her. Kristoff in this epic battle sequence does not question Anna at all. He allows her to take control of the situation and supports her in her efforts. This is HUGE! Now, don’t get me wrong, there are other films that have allowed for this before, but not many.

Kristoff also gets huge kudos for delivering (at least in my opinion) the best line in the film. After Anna apologizes for leaving him behind on their journey, Kristoff states, “My love is not fragile.” I love that Disney chose, in this moment of potential conflict, to show the strength of love and a solid relationship, rather than show a potentially distracting fight. I hope this moment will sink into young children’s heads and hopefully help them understand what a healthy and strong relationship could look like.

Anna also has a powerful and interesting journey in this film. Anna is incredibly protective of Elsa throughout the majority of the film. It is clear that Anna is struggling with a massive amount of change that she is facing in the film and she desperately wants to cling to her strong bonds (which she finally got at the end of the first film). Anna is this sort of overprotective, semi-controlling mess throughout the majority of the movie and it isn’t until she loses a couple of these dear bonds that she starts to face and accept her new reality of change. This leads me into possibly my favorite part of the movie, Anna’s song “The Next Right Thing.” This song is directly after Anna loses both Elsa and Olaf, two of the people (I guess I and counting a snowman as a person in this…) that she is most close to. I LOVE the fact that Disney actually dared to create a song about grief and the realities of loss. This is such a powerful and honest song about grief and the grief process. Anna mourns and struggles to find motivation to go on, yet still keeps stepping forward (both metaphorically and physically). This song acknowledges so many of the thoughts and struggles of losing loved ones, but also the active choice to keep pressing on, to do “the next right thing.” This scene is so full of meaning! Everything from the fact that Anna is trying to find her way through a cold wet cave through the course of this scene (stumbling towards the light at the end of the tunnel), to the fact that her costume changes slightly at this point, she loses her purple cape which she wears through the majority of the film and is now left in her black dress (a morning dress perhaps?), to the deeply meaningful lyrics. This is, by far, one of the most powerful scenes in the film and I so deeply value that Disney included this scene about such a difficult topic in such a high profile film. This scene (at least for me) made an already good movie, into a great one. A movie full of meaning and one that genuinely reflects life in many ways. Another favorite aspect of Frozen II that I really love is that each of the major characters in this film goes on their own paths of discovery. I have already discussed most of them. Olaf deals with “growing up” and how to process the world around him. Kristoff struggles with his emotions and feelings of rejection (although he is not actually being rejected, but sometimes we can feel like that even when it is not true). Anna struggles through her co-dependent nature and loss of control. Actually, looking at all of these major themes in the film really makes it quite clear to me that Frozen II is not only an enjoyable film but is also a very mature one.

Now, I’m sure most of you have noticed by now that I haven’t yet discussed Elsa’s journey in this film. I have saved this one for last primarily because Elsa’s journey is, of course, the primary journey of the film, but also because this is the journey that resonated the most with me personally. Elsa experiences this call, one that in the film is literal, but in real life can be a concept that might deeply resonates with some people as this kind of internal call. At the heart of Elsa’s call is the call for deeper meaning and a greater purpose in life. A call “Into the Unknown” of our lives. A craving to go out there and do what we are meant to do. I love that a children’s film brings up this “call.” I know (although I don’t have voices in my head) I personally have experienced a similar kind of craving to go out and do what I am “meant to do.” I believe that this very much can and does exists, although maybe not everyone has it or listens to it. I love that Disney also chose to include this kind of call in a children’s film. Perhaps this will help people to better understand this concept and help to motivate those who hear it, to pursue it. (Such as a young writer working on pursuing her dreams 😉 )

Before I conclude this blog post, I would love to just bring up a few short notable mentions of various other things that I really loved about Frozen II.

1. First off, I deeply appreciate that Disney did NOT take the “long thought to be dead parents are suddenly alive” approach in this film. This is done just a little too often in children’s film and I don’t like it (although some do it better than others, How to Train Your Dragon 2 for example I believe did an excellent job with bringing the long lost mom back, but I digress...). If Disney had taken this approach then it would have totally ruined the blow of the parent’s death in the first film. Plus it would have personally really pissed me off. Primarily because why would parents (especially ones that really needed to be there for their children (particularly a child with special needs) and their kingdom) just not come back? Or at least fight and work their butts off in order to get back to their loved ones? It just wouldn’t have made sense and I am really glad that Disney did not take this root. If anything they confirmed that Anna and Elsa’s parents did, in fact, die at sea. This is tragic, yes, but necessary. (I’m also a firm believer in the concept that the mentor has to die in order for the protagonist to grow to the point they need to be. Frankly, Anna and Elsa’s parents had to die in order for both of them to grow.)

2. I also love the fact that Anna and Elsa don’t actually stay together at the end of the film. They both have larger responsibilities/calling that they have to tend to. Although they, of course, love each other, sometimes physically staying in the same place as your loved ones hold you back from what you are capable of. The end of the film also shows a good example of how to stay connected even when you don’t live together anymore.

3. Okay, this one isn’t directly connected to the film actually because it is about one of the songs that got cut from the final product. So if you listen to the full Frozen II Deluxe Edition of the album (Available on Spotify if you are wondering) then you will come across the song “I Seek the Truth.” I have found this song quite delightful and I highly encourage people to go check it out! This song has intriguing lyrics and gorgeous music. It doesn’t quite have the powerhouse quality that “Into the Unknown” and “Show Yourself” have (which I am guessing is the main reason why this song was cut), but it does have a clever tune, plus it is very enjoyable and meaningful (at least in my opinion).

Overall I LOVED Frozen II and I am super excited for it to join the Disney library. The film is both highly enjoyable and deeply meaningful. Kudos to Disney for yet another masterpiece!

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[thesportssoundoff]

Joey’s Yankees Trade Deadline

Joey

July 22nd, 2019

In 2016, the Yankees used the trade deadline to try and play two different games at once. Realizing that the magic had run out and four to five years of delaying the inevitable was over; the Yanks traded Aroldis Chapman, Carlos Beltran and Andrew Miller to kick off what could've been a lengthy rebuild. Those three trades on their own restocked the farm system with premier top level talent with some lottery tickets thrown in that have paid dividends to this day. At the same time, a move here and a move provided them with some proven MLB players who allowed the team to flirt with being contenders down the stretch. It was a balancing act between rebuilding and placating your audience, one that ultimately paid off across the board. Watch this:

Aroldis Chapman turned into Gleyber Torres, Adam Warren and Billy McKinnie (more on him later).

Andrew Miller turned into Clint Frazier, Justus Sheffield (who has since turned into James Paxton) and some spare parts.

Carlos Beltran turned into Dillon Tate (more about him later), Erik Swanson (another player who turned into James Paxton) and Nick Green

In 2017, the Yankees were in the midst of a "restocking" of the shelves. The rebuild took less than a season and the team rode a trio of young stars (Aaron Judge, Didi Gregorious and Gary Sanchez) with a loaded farm system to back them up. They gambled on their window and made moves to try and take what was a fun potential playoff team into a full blown world series contender. The Yankees sent a bundle of high upside low floor prospects to Chicago in exchange for Todd Frazier, Tommy Kahnle and David Robertson. They made a filler move for Jaime Garcia to give them some support on the back end of the rotation. Finally they made the decision to give Oakland a balance of high upside guys and some players who could fill spots on a major league roster in exchange for the top available pitcher on the market in Sonny Gray. The team ultimately made the ALCS.

By 2018,  the Yankees story of being the fun rebuild into potential contenders was done and the Evil Empire was back. They spent their off-season swooping on key names and players. They got UNDER the luxury while adding the NL MVP in Giancarlo Stanton. By this time last year, the team had seen the likes of Gleyber Torres, Miguel Andujar, Luis Severino and Aaron Hicks all break through pretty much at once. Despite this, the Yankees felt like an empty World Series contender as Gary Sanchez collapsed, the 1B situation had eroded and as always, pitching was a premium. Despite spending most of the 2018 offseason preaching their desire for pitching, the Yankees never secured the "big" starter. They gambled on Sonny Gray rebooting and it never happened. They gambled on Tanaka being more consistent and he was a mystery. Guys like Domingo German and Johnny Loiasiga were inconsistent as pitchers tend to be. Making matters even more complicated, the Yankees had an impending roster crunch. They were full up on 40 man spots with a near limitless number of players in need of spots. As such the Yankees were active deadline players. They went out and got Lance Lynn, betting on peripherals (the same Lance Lynn who could be a key contributor to another team), in hopes he'd turn into something. Remember Billy McKinnie? Well the Yankees packaged him together with Brandon Drury to grab J.A. Happ. Happ wasn't the sexiest name on the FA market but the Yankees knew him from Toronto, respected the numbers and got him for pretty much a song. Dillon Tate? He went to Baltimore for Zach Britton. They also traded the likes of Adam Warren, Chasen Shreve and Giovanni Gallegos to create some space on the 40 man. One of the guys they got back? A "he hits the ball hard" 1B named Luke Voit. Voit went on to carry the offense when the likes of Judge and Stanton were sidelined or limited with injuries. Despite all the moves, the Yankees never quite hit their peak and the team was bounced out by the eventual world champions.

The 2019 Yankees enter the trade deadline in an interesting spot. This team is going to the playoffs and will almost certainly be the presumptive favorites in the AL. Their top opposition are the Houston Astros who like them are loaded up in the farm system with a need for pitching. Both teams stack up amazingly well against one another and the winner of that is almost certainly going to face the Dodgers. The Yankees path to a championship has never been clearer and this team is already making moves for October like trading for pinch runner extraordinaire Terrence Gore just so he can hang out in their minor leagues and show up around October. They saw a chance to make a move and got the AL home run leader Edwin Encarnacion just for further oomph in an oomphy line up. So what's the plan for July 31st? Well....

What Do They Need?

-Starting pitching

All teams need pitching but for a team with World Series aspirations? The Yankees REALLY need pitching. In a five game set, the Yankees will be able to roll out Masahiro Tanaka, CC Sabathia and James Paxton. That's more than good but it could be better. The Yankees rotation are volatile, even when you simply play the "all rotations are volatile" card. Tanaka has an elbow that could go at any time, CC Sabathia has one DL stint a half and James Paxton has never been all too durable himself. Behind those two guys you have J.A. Happ who is one of those aging arms trying to recalibrate his game in the juiced ball era and Domingo German who is likely to be on an innings limit. Despite the critiques of fans and baseball folks alike, the Yankees have found success with an opener (Chad Green starts, Nestor Cortes goes 3-4 innings) and can always rely on that. Can you do that in October? The Yankees' entire deadline is based around having a player who can start game 2 or 3 in the World Series behind Tanaka and potentially Paxton.

What Do They Want?

-Some relief help

The Yankees apparently want relief help which seems odd enough until you consider that their rotation may be five and fly come October. Tommy Kahnle, Adam Ottavino, Zach Britton and Aroldis Chapman make for four arms who can give you multiple innings but they could use upgrades elsewhere. Chad Green, David Hale, Nestor Cortes and Stephen Tarpley have all given the team some additional oomph out of the bullpen but this team could really use an additional arm in the pen. In a perfect world, the team has Dellin Betances back by September or Domingo German is in the bullpen for the second half of the year but no scenario goes 100% according to plan. They could also use a lefty primarily to buddy around with Britton out of the pen.

-Controllable years

The Yankees will eventually have to pay some folks they'd rather not lose out on (Didi, Betances) plus the likes of Aaron Judge, Gary Sanchez and company will need to be paid. What's more, the likes of CC Sabathia and Masahiro Tanaka potentially do not have long term futures for the Yankees. The Yankees want fiscally responsible controllable arms with years of control to be manipulated. Doesn't mean they won't go and chase down a rental but the rental approach last year ultimately cost them in the long run.

-High K rate/soft contact

This is very much a "No shit" comment but the Yankees prioritize guys who can miss bats OR initiate soft ground ball contact. The linedrive rate is a big deal for the Yankees because they ask pitchers to throw their offspeed stuff at extraordinary amount compares to the rest of the major leagues.  As such any pitcher giving up hard contact and throwing a lot of fastballs in NYS is probably not going to fare well and they'd rather avoid that mess entirely.

What Do They Have?

The Yankees have traded away plenty of assets, especially guys who were in theory "ready now" pieces. The likes of Billy McKinney, Dillon Tate, Justus Sheffield and company were sent away. Guys like Chasen Shreve, Adam Warren, Caleb Smith, Giovanni Gallegos and Garrett Cooper who were on the 40 man with no future on the roster were moved out for space and intentional signing bonus money. Most of the Yankees system depth exists on the lower levels, way down in the proverbial food chain which normally doesn't doesn't entice a GM to make moves. The BEST piece for the Yankees is outfielder Clint Frazier and that piece comes with plenty of questions. Clint Frazier is a fantastic power bat with "legendary bat speed" as Brian Cashman called it. He can hit for power AND average even if he K's a bit more than you'd like which is also why the Yankees are not going to give him away. Conversely, Frazier's defense is abysmal and it hasn't gotten better in the three years he's been on the Yankees. That's not including the questions about his make up, personality and injury history. The Yankees have a potential spot open for Clint Frazier next year but I get the feeling that he's not going to be here one way or another by the start of the 2020 season. Frazier's stock on the Yankees will forever feel like a balance between raw talent and limited patience. Beyond that the Yankees have oft injured slumping OF Estevan Florial and undersized flame throwing Deivi Garcia who has been a rapidly ascending arm who is limited by his build.

What the Yankees do have is an abundance of complimentary pieces. They're loaded with the sort of guys who ultimately find ways to contribute to teams when given opportunities and bolster trades around big pieces. For instance, a guy like Stephen Tarpley can appeal to a team as a potential LOOGY 7th inning guy if given a more consistent role. Teams collect guys like Luis Cessa (hard throwing guys who seem to lack a defined role on a team) all the time. Mike Tauchmann is a really solid 4th outfielder who plays tremendous defense, hits lefties well despite being a lefty and seems like the sort of guy teams are always looking for because . Flexy infleidler types like Tyler Wade and Thairo Estrada might be able to flourish in a more patient role and in the case of Estrada, there's high level upside for a guy who mashed pretty hard during his brief stint in the bigs. Even guys like Mike Ford, Chance Adams, Nestor Cortes and Ryan McBroom might find ways to become consistent contributors on other teams where they're not blocked by elite players. None of these guys can headline a package for a key piece but they can help amplify a deal and give teams a more instant reward while waiting for the "name" players of a trade to pan out. All a team has to do is look at how the likes of Miami and Toronto are getting some returns on talent the Yankees have given out.

The Best Case Scenario Is....

Easy enough for the Yankees, the best case scenario involves a starting pitcher arriving on their doorstep before the weekend ends. The Yankees tend to get help before the deadline crunch and with their lineup pretty much set across the board, their sole focus is on arms. A perfect scenario involves somebody like a Matthew Boyd or a Luis Castillo for a relatively modest price (can the Yankees convince a team that gambling on the upside of Florial plus some proven pieces can be a worthwhile starter point?) to give them not just an ace but a cost controlled ace under team control for a few years. The back up to the best case scenario pretty much revolves around two guys; Marcus Stroman and Robbie Ray. Both are guys a tier below the likes of Boyd, Minor and Castillo on paper with a more measured upside. Stroman in particular feels like a guy who the Yankees would more than love; still kinda young, a workhorse who is mentally tough, the sort of guy who would thrive in the spotlight who seems like he wants the opportunity to dos so. After getting their starter, the Yanks grab a lefty arm for the pen and do so without giving up Clint Frazier or Deivi Garcia.

The Worst Case Scenario Is...

There are two worst case scenarios and both feel uncomfortably realistic. The Yankees overpay out the wazoo for a guy like Trevor Bauer, Noah Syndergaard or Mike Minor; gambling big on their window being now and running the risk of overpaying for pitchers with a high level of bust potential. The Yankees go all in and give up a bunch to get one of the premier names who don't exactly fit what the long term profile of the Yankees is. The other worst case scenario is that there's NOBODY of consequence available and the Yankees are forced to accept the declining returns of a Madison Bumgarner. MadBum is an October baseball legend but he's aging with so-so peripherals who embodies the sort of rental the Yankees should aim to avoid. You're also going to wind up paying a sentimentality tax to San Francisco which when combined with the famed Yankee tax creates a ridiculous price point for this team. I also would imagine that the Yankees would cringe heavily and perish the thought of Zack Wheeler, Tanner Roark or Mike Leake as fallback options should every other key option be off the market.

One thing to remember....

The Boston Red Sox won the World Series last year with their starters averaging JUST over 5 innings a start. It's not a replica for success you want to copy but worst case scenario, there's no reason the Yankees couldn't go Tanaka-Sabathia-Paxton and some combination of Happ or German. It's not an ideal starting formula but it's also far from impossible. The Yankees could even bet on Luis Severino and German to piggyback off one another as long men in a postseason series. This is where having an insanely deep pen (with maybe a few bodies on the way) makes the Yankees different than just about any other team in this conversation except for the Rays.

[cyb-by-lang]

Shell Game (11/?)

Kei and Hayate spend a day strolling around Mustafu and meet a friend.

“What’re we gonna do today?” Hayate asked on Sunday morning. After omurice and tea, the day was theirs. And perhaps feeling generous after the sleepover, he even did the dishes.

“I thought about visiting the beach,” Kei said, holding up her shinobi sandals. “What do you think?”

“Sure!”

Dagobah Beach Municipal Park had apparently been completely trashed before Kei moved into town. Whether due to ocean currents or people being jerks, the accumulated wreckage and waste electrical appliances of an entire civilization ended up on one poor stretch of beach. But over the course of ten months, somebody or something had stealthily removed all the trash and cleared the beach from one end to the other.

It was also within walking distance, since Hayate had gotten fairly burned out on trains the day before.

…Wait a fucking second.

Hm?

Dagobah. Uh, that’s…a planet. In Star Wars.

I do not understand the reference.

It goes…um… “Go to the Dagobah system.” Something, something, Yoda. It could be a star system, I guess?

Isobu sighed deeply, which was impressive for someone without lungs. Kei.

Yeah?

Please go to the beach. I need to see a real one again.

Kei and Hayate made it to the park pretty damned fast after Kei explained that.

In mid-spring, the ocean was still cold as all get out. Isobu wanted to head in and have Kei lie down in the surf, but she sharply vetoed that plan upon putting a toe in to test the temperature.

Meanwhile, Hayate darted down the beach with no difficulty, kicking up plumes of sand as he went. Though it probably wasn’t obvious to onlookers, Kei could feel the little pulses of chakra being emitted as her brother prevented himself from sinking too far. He wanted to goof off, not work out.

“Hey, if you want shaved ice, only one of us has money!” Kei called after him, but that was really an afterthought. Kei was still barefoot and walking in the surf, instead of living up to Isobu’s wish of swimming in the ocean at nine in the morning.

Besides, Hayate was already happily running loose at the water’s edge, arcs of spray following him as he went. The sand, apparently, wasn’t his first love after that whole Chūnin Exam incident in Suna.

It took a little longer before, belatedly, Kei realized Hayate had never seen the ocean before. With Konoha as deeply inland as it was, only shinobi tended to get out often enough or range widely enough to see all kinds of cool climates and piss off the indigenous wildlife. Hayate was still a typical curious kid in some significant ways. Kei had been to plenty of strange places, both on missions and when she counted her previous lifetime, though this gravel-free sand was still novel.

How spoiled she’d become. Not just by her opportunities here, but by what knowledge she carried in her soul.

Isobu gave a deep sigh of contentment, though Kei hadn’t rushed into the sea. He seemed to be okay with the results of today’s morning adventure.

“You can see forever like this!” Hayate declared to the sea and the encroaching gulls.

Kei called back, “Try skipping rocks! My record’s five skips!”

Hayate flashed her a breathless smile, then promptly ignored her idea to try and snatch the miniature fish lurking in the surf. To be fair, this world had more interesting things going for it than Kei.

Hayate did eventually get bored, but it took a few minutes. He also managed to feed the seagulls his tiny haul of fish fry, which made him a troop leader in their eyes for the next few minutes. Perhaps it was youth, hidden viciousness, or just pure silliness that kept him interacting with the seagulls long past the “Mine!” stage.

But once they discovered he did not, in fact, have any more food, they all abandoned him in favor of a man eating takoyaki.

“I feel like I’ve accomplished something,” Hayate said, while the poor guy was being chased to the other end of the beach.

Kei didn’t have it in her to criticize much. Instead, she said, “So, after all that training with your team, how’s your taijutsu?”

Most bladed implements bigger than kitchen knives were highly regulated in Japan, so Kei hadn’t actually been able to spar with her full complement of melee skills. On the other hand, Hayate hadn’t specifically stated that he was training with, say, Gai on weekdays. Iruka and Yūgao were perfectly nice kids, but neither was a melee powerhouse just yet. Hell, Kei had been teaching Yūgao how to use her katana before this mission cropped up, so it was hard to tell if Hayate was getting rusty.

Rust. For a kenjutsu specialist. Isobu snorted. Hah.

A pun for all occasions.

Hayate blanched. “Um…”

A not-so-nice smile stretched across Kei’s face before she managed to hide it. “Lucky for you, I think public fighting is illegal. But you’re gonna catch hell later.”

Hayate seemed to consider this, but Kei felt the spark in his chakra in the split second before he threw a punch.

Kei instantly caught his wrist and judo-flipped him into the surf for being a brat.

Now, Mustafu—how the hell had she missed that little chestnut for two months—was in the same city as UA. It was also the same city as Kei’s apartment, primarily by design, but the point was that running into classmates was not the statistical impossibility it might’ve been if she lived, say, in Hosu. Sure, the greater Tokyo area was a big place, and she didn’t really know if anybody preferred hanging around their super-special high school.

“Is that how you’re training for the Sports Festival?”

Then again, Shinsō had already randomly come across her once. For a kid who didn’t look like he slept much, he was up early on a weekend.

“Hey, Shinsō-san.” Kei waved up at him, because it appeared her purple-haired classmate was actually a cyclist on his days off. Nobody with sense would take even a folding bike into the sand, though she could see Gai making a training exercise out of it. Thus, Shinsō had propped his bike up on a railing and was leaning next to it.

Put him a bit out of splashing range, though. That wouldn’t be a problem for long, because Hayate had caught onto Kei’s lack of attention.

In fact, both of the Gekkō siblings promptly trooped up to Shinsō, though Kei used the access stairs and Hayate hurled himself up and over the railing in a single leap like some kind of saltwater-encrusted kangaroo. Either because of watching Kei during PE or just being too used to a world full of Quirks, Shinsō didn’t react.

“Since when are there two of you, Gekkō-san?” Shinsō pointed past Kei to Hayate, who was sizing up the newcomer.

“Since I was three. This is my kid brother, Hayate.” Kei stepped neatly to the side, allowing Hayate to sidle forward.

Hayate, who was about tall enough to reach Shinsō’s collarbone, sized him up like he expected to have to get into a fistfight. While Shinsō probably outweighed Hayate by a fair amount, Kei’s adorable baby brother was also the next in line to mastery of their mother’s kenjutsu style and had been participating in their family training since he could walk. Now a genin, he could probably take on most of the local toughs before Quirks got involved.

Then everyone blinked and the trance was broken.

Hayate dropped a fist into his open palm, as though something had just occurred to him. “Oh, wait, is this the guy with the mind control power? You didn’t say what he looked like.”

“I didn’t?” Kei tried to think back, but they’d discussed so many things over the previous (extremely tiring) day that she couldn’t remember. “Well, this is Shinsō-san. He’s in my class and… You’re at the top of the class, right?”

“You can’t remember the name of our class rep and you can remember that?” Shinsō shook his head. “You’re hopeless.”

“If he’s at the top of the class,” Hayate said after a second, looking between the other two, “where are you?”

“Well…” Kei began, belatedly realizing that this was probably a poor conversational topic.

“Dead last,” Shinsō said, throwing her under the bus as though on reflex. It was a well-developed instinct for people who hung around Kei for any length of time.

“Shut up,” Kei grumbled.

Hayate very pointedly reached up and pinched his own ear. “Okay, not dreaming.” He took a deep breath, then jabbed a finger into Kei’s chest. “But seriously, what the hell? You were at the top of your class back when you were like eight, and Obito keeps saying you slept through everything and you transferred in late. Again, what the hell?”

Called on the carpet by her very own little brother. And with a witness! Kei jerked her head away, feeling her ears heat up under her hair. “It’s different, okay?”

“I really don’t think it is!”

“She makes up for it,” Shinsō volunteered, after Hayate had started to build up steam.

He demanded crossly, “How?”

“Scaring our classmates to death.” Kei’s glare was redirected to Shinsō instead of her brother. Smirking, Shinsō went on, “It started with the scar, then they saw her Quirk, and then she’s been ignoring them all ever since.”

Hayate smacked his hand directly to his forehead. “You are my favorite sister—”

“Only sister,” Kei muttered.

“—but you’re supposed to be nice to people at least a bit, and I know you’re smart enough to do well in school anywhere. Just put your back into it!” Hayate finished. Then, perhaps realizing that he was still half-soaked, he started scrubbing his hands through his rapidly-tangling brown hair as though it would remove any of the salt or sand.

Kei and Shinsō both leaned back a little from the sudden spray.

“Anyway,” Hayate said before Kei or Shinsō could think of anything to say. “Mind control. How does it work?”

“…Why?” Shinsō asked, notably more hesitant now.

Kei hid her initial reaction, which was the urge to quell Hayate immediately. Though she often pretended not to know what people were feeling or disregarded it, and being unable to read any chakra from the locals made that problem slightly more genuine, she did have compassion. Shinsō didn’t need an interrogation from Hayate.

But her brother was already on a roll.

“Inoichi-sensei can do something like that,” Hayate said. “He just went like this—” here, Hayate made the hand seal for the Mind-Body Disturbance technique, “—and this guy punched himself in the face. It was really cool!”

Shinsō looked at Kei over Hayate’s shoulder as though to confirm that Hayate wasn’t bullshitting him, and Kei said with a shrug, “His sensei’s whole family can do something similar.”

“And that’s…cool.” Shinsō raised an eyebrow. “Not creepy, or villainous, or dangerous.”

“Of course it’s dangerous.” Hayate shook his head. Counting off with his fingers, he went on, “So is setting fires, being a walking thunderstorm, or almost drowning people. Any type of power is dangerous if you’re an asshole about it. And Inoichi-sensei even gave us this huge talk about that like…last month? There was a lot about ethics.”

Ironic, since shinobi education tended to go light on those. Then again, Hayate’s batch of genin were growing up in a more peaceful era. Maybe that meant something.

“If you’re trying to get Hayate to admit he thinks you might randomly go evil,” Kei said in a mild tone, “even jokingly, it’s not gonna work. Mind control Quirks are really common where we come from. You can do a lot of good with good intentions and strong morals.”

Madara notwithstanding, the Uchiha were a respected noble clan. And, while not as rich or as popularly known, the Yamanaka clan sat proudly among the Konoha elite when they felt like putting on airs.

“Besides, I don’t know you,” Hayate said, “but you don’t feel like a bad person.”

Kei dropped a hand onto her brother’s shoulder and asked in a complete conversational left turn, ”Are you hungry?”

“Uh, sort of?” Hayate kept his eyes on Shinsō, however. “Do you think they have taiyaki?”

“Maybe.” Kei had not exactly made a habit of scouting beaches for snack stands.

“I’ll look!” Hayate said, and ran off.

Kei and Shinsō watched him go. Sooner or later, Hayate would remember that he didn’t have any local money.

“So,” Kei said after a few seconds. “Sorry if that was a lot to dump on you all at once.”

“It’s…It’s different, I guess.” Shinsō grabbed the handlebars of his bike and looked around for a second. “I’m going to park this, but I could…stick around. See what you’re doing for training.”

“All we’re doing right now is getting a mid-morning snack,” Kei said, and the pair of them followed vaguely in Hayate’s wake.

It turned out that, much like parking spaces for cars that had timers and pay meters, Japan also had such spaces for bikes. Kei poked at the strange devices while Shinsō locked his bike in one of the empty slots, paying the fee with a few coins.

“Are you looking forward to the Sports Festival, Shinsō-san?” Kei asked, while she idly pinged for Hayate’s chakra signature. Though she’d seen his reaction to the announcement, and perhaps the aftermath of everyone declaring war on 1-A for whatever reason, she still wanted to hear his answer.

As her brother’s lightning signature lit up further down the street, Kei heard Shinsō respond, “Isn’t it obvious?” When she glanced at him, he went on, “If I win, it’s a chance for me to get into the Hero course. I can’t afford not to win.”

Kei blinked slowly. That was a bit more intense than she’d been expecting.

“What?” Shinsō seemed almost offended that she didn’t have an immediate response.

“Good luck?” Kei tried. “Some of the kids you’re gonna be up against are pretty tough, aren’t they?” Kei was fairly certain Blondie McSplode would be totally okay with blowing up anybody near him, Shinsō included. Hell, his own classmates most definitely included.

“It doesn’t matter,” Shinsō said dismissively. “I know you don’t care about this kind of thing, but…people have been telling me my whole life that I can’t become a hero with a villainous Quirk.” Yes, Kei had rather figured that. But she kept silent so Shinsō could continue with, “But that’s my dream. I’m going to prove them all wrong.”

What, exactly, was she supposed to say to that? “Okay. I mean, you’ve probably got a strategy and I’m sure it works for your Quirk, but do you have a backup plan?”

Shinsō clearly didn’t want to listen to suggestions, but managed to grumble “I’m all ears.”

Kei was game enough for it. “Learn to fight?”

“The Sports Festival is in two weeks,” Shinsō said flatly.

“It takes just a few hours to learn basic self-defense.” She crossed her arms. “If your Quirk doesn’t cut it, that’s all you’ll have left. Do you even know how to throw a punch?”

“Of course I do.”

They continued half-seriously arguing this way for a while, following Hayate’s constant window-shopping more than anything. Apparently, in the months since the beach had been cleaned up, more businesses had cropped up to take advantage of the view than Kei had thought. Most of them didn’t have customers this early, but it was actually better that way. It meant no one really had to hear Kei and Shinsō’s ongoing debate regarding his fighting skills.

Hayate interrupted a round of Kei gesturing empty-handed while trying to explain the principles of punching someone in the face or the throat with, “Hey, what’s the law on Quirks again?”

“I know I’m not supposed to use mine in public,” Kei said, which Hayate accepted without elaboration.

She’d given him a very bare-bones explanation of Quirks and Quirk legislation, but it boiled down to about the same reason non-shinobi weren’t supposed to use chakra-based techniques outside of clan holdings. Hayate understood that, and then spent two hours over one summer weekend cheerfully tossing ideas back and forth with Obito and Kei about what his Quirk could be.

Hayate’s decision, in the end, was based on his chakra sensor ability. Besides being the only person in Konoha who could use their mother’s samurai-trained technique, Hayate didn’t expect to be able to carry a sword here or even to fight. The ability to sense other people’s emotions and intent was good enough for wandering the streets, and it covered neatly for shinobi hyperawareness.

“You can use them for self-defense,” Shinsō put in, when Kei was going to let the subject drop. “Technically, you can defend yourself or others, but just enough to run away.”

“Given the number of heroes running around, that can’t be that bad.” Hayate folded his arms behind his head, content to join them while they walked. “And everyone has cell phones, so contacting somebody would be easy.”

“You’d think,” Shinsō said. “There was a kid…last spring.” Shinsō rubbed the back of his neck, though the expression that crossed his face wasn’t particularly kind. “He got captured by a villain and nobody could get him loose until All Might showed up. Three heroes, and between the kid’s explosion Quirk and the villain possessing him, none of them could do anything besides try to keep people away and put out fires.”  

Kei couldn't help but notice that Hayate’s presence seemed to calm both of them down. Or rather, Kei stopped dominating the conversation and Shinsō had a chance to educate a twelve-year-old. Maybe he liked non-judgmental kids?

“Was that kid the blond jerk from 1-A?” Kei asked, unable to think of anyone else who could create explosions on demand.

“The very same,” Shinsō confirmed. Okay, that was definitely a bitter sort of smirk. “Guess that fancy Quirk didn’t do anything for him.”

Lots of bitterness.

“We might both have to face him in the Sports Festival,” Kei said, while they turned toward a shopping district instead of the beach. “Your strategy’s set, right?”

Shinsō nodded. “Shouldn’t be too hard to piss him off.”

“I don’t think I’m gonna be able to see that while it happens,” Hayate grumbled. To Kei, he said, “You haven’t done an exhibition match since you were eleven. How bad do you really think it’s gonna get?”

Good of Hayate not to mention the Chūnin Exams by name. The death toll was rather higher than would be accepted in a peacetime society. Sure, nobody tended to die in the finals, but the Second Exam was the obstacle course round and fairly unrestrained. Certainly people tried to kill each other, with varying levels of success.

“I’ll be fine,” Kei said.

“I know that,” Hayate griped, as Kei affectionately ruffled his hair. “But are you aiming for the top? Do you have a strategy?”

“Dazzle everyone with my skill,” Kei suggested sarcastically. When Shinsō and Hayate both gave her skeptical looks—disturbingly alike, actually—Kei huffed and said, “Depending on what the events are, I might be able to just use my athletic ability to get past them. But up against people like the explosion kid…yeah, that’d be about when I should bust out my Quirk.”

Kei needed to figure out what mechanism allowed Blondie McSplode to act like a walking minefield. If his Quirk was anything like the half-magic fūinjutsu explosions she favored, countering him would be harder. If he relied on a chemical balance, though…

Shinsō shook his head slowly as they passed a bank. “Are you sure you should be talking about this with me? We’re going to be rivals in the Sports Festival.”

“Whatever.” Kei flapped a hand dismissively. “If we both get that far, then I’ll worry about it.”

“She said the same thing before her last exhibition match,” Hayate said to Shinsō, in a stage whisper. “And then she and one of her friends beat the crap out of each other.”

“It was Gai,” Kei defended herself. “If I wasn’t prepared to use everything I had, I’d lose.”

“Shots below the belt are illegal everywhere else,” Hayate muttered, while Shinsō paled.

“Hey, we both knew there weren’t any rules,” Kei argued.

“What the hell kind of dojo did you two join?” Shinsō demanded incredulously. When both of the Gekkō siblings looked askance at him, he clarified, “Who was your teacher?”

Kei and Hayate exchanged looks. Then, in unison, “Mom.”

Shinsō’s purple gaze flicked rapidly back and forth between them, and then he pinched the bridge of his nose with a sigh. “That explains so much.”

At least Shinsō knew now that Kei came by her weirdness honestly. Couldn’t be anything else if Hayate was also affected.

It was at this point that the bank next to them started to rumble.

Hayate’s first instinct was to pause and look at the potential problem, his eyes narrowed and entire body tensed for a fight. So was Shinsō’s, but he was a bit closer to the street in comparison and didn’t have any combat training to fall back on.

Kei grabbed both boys by the backs of their jackets and flung them clear before the front doors shattered.

[lj-writes]

How Finn and Rey saved each other again in The Last Jedi

Or: How TLJ is RotS averted far more than RotJ subverted

At the end of The Force Awakens we watched Finn and Rey both stand up to Kylo Ren for each other, effectively saving each other and themselves from the Master of the Knights of Ren. When Rey was knocked out Finn took up the lightsaber; when Finn was injured, Rey woke up to his screams and snatched the lightsaber from Ren to defend Finn and herself.

This dynamic takes place again in the climax of The Last Jedi, except Finn and Rey were not in the same scene like they were during the dueling sequence in TFA. in TLJ, though kept apart until their heartwarming reunion hug, they saved each other through the choices they made and what each meant to the other.

The A-plot of TLJ has been called a subversion of Return of the Jedi, for good reason. Rey attempts to bring Kylo Ren back to the light in scenes that are some very direct callbacks to Luke and Vader in RotJ, except Kylo Ren, unlike Vader, refuses Rey’s plea and rises to the position of Big Bad instead.

TLJ is only primarily a subversion of RotJ if you focus on Rey and Ren, however. If you broaden the focus to Rey, Finn, and Ren and the dynamics between them, it is the tragic ending of Revenge of the Sith averted.

In fact, seeing TLJ as RotS averted subverts the very idea that Kylo Ren was ever Anakin to Rey’s Luke: Rather he is Palpatine, and Finn and Rey parallel Padmé and Anakin respectively, except they each avoided destruction and enslavement. Rey, in no small part due to Ren’s manipulation, saw him as a tortured soul who could be redeemed. In fact he was a master manipulator who was drawing her in for his own gain.

Rey’s lack of genre savviness, based on a mistaken character reading, almost led to her meeting Anakin’s fate as the subservient apprentice to an abusive master. Instead, she was able to avoid it because of the love between her and Finn. In turn, Finn and the Resistance avoided destruction in part because Rey did not turn on Finn as Kylo wanted and as Anakin turned on Padmé.

The similarities between Finn/Padmé and Rey/Anakin, and also their story together, have been commented on enough times, recently in posts like @jewishcomeradebot’s (link with my addition). What I have not seen discussed is the similarities of their dynamics to Kylo Ren/Palpatine, the man who manipulated a powerful younger Force user under the guise of friendship only to use them to grasp l power, and tried to take his rival out of the picture for good.

Put simply, Finn is Ren’s opponent and rival, much as Padmé was Palpatine’s opponent and rival. They share a common background and know each other, have opposing convictions and goals, and work against each other. Rey on the other hand, is someone Ren wants to turn and make his apprentice, much as Anakin was targeted and groomed by Palpatine. The tragedy in RotS was that Palpatine achieved his goal of defeating Padmé and making Anakin his apprentice. The happy ending in TLJ is that Finn and Rey escaped that fate.

How did Finn and Rey avoid the tragedy that was Padmé and Anakin’s story? On Rey’s side, it was because she knew Kylo Ren was full of bantha poo-doo (and also was poo-doo himself) when he told her she was nothing except to him. She had incontrovertible proof that this wasn’t true, no matter how he might twist the knife in the wound of her abandonment, no matter how alone and desperate she felt by his design.

She knew because Finn had come back for her to Starkiller Base. He had returned to the very heart of the nightmares that he was ready to flee to the ends of the galaxy to run from, and he very nearly paid the ultimate price for it--for her. She knew that Han had thought of her as a daughter and that Leia and the Resistance loved her. The love she had been filled up with since she left Jakku, with Finn and his sacrifice for her at the center of it all, anchored her and prevented her from being swept onto the shoals of Kylo Ren’s deceit.

On Finn’s side, he avoided total defeat and death in large part due to Rose’s and later Luke’s intervention, but even their help would have meant little in the long run if Rey had turned against him and the Resistance as Anakin had turned against Padmé and all she stood for. Where Anakin and later Kylo himself had committed mass murders at their masters’ behest, Rey refused to stand by and let her friends be slaughtered and joined forces with them. Where Palpatine had triumphed by turning Anakin against Padmé, Rey was steadfast in her loyalty to Finn, and Kylo failed to tear their bond apart. Their love proved stronger than his violence in TFA and his wiles in TLJ.

The culmination of TLJ, then, repeats that of TFA with Finn and Rey saving each other through the strength of their love. The duels in TFA were just between Finn, Rey, and Kylo with a personal, even claustrophobic feel. Only Finn’s life and Rey’s freedom were in suspense since the destruction of Starkiller Base was already imminent. In TLJ the stakes are even larger, with more people involved and the future of the Resistance--and by extension, the galaxy--in the balance.

Incidentally, seeing TLJ as RotS averted and Ren as a so-far unsuccessful Palpatine means there is no need for Ren to have an understandable motivation. As @jewishcomeradebot has pointed out (link), Vader’s motivation for falling to the Dark Side is completely opaque in the OT. Luke, the actual protagonist, had no reason to know or care about Vader’s reasons. I would like to add that the PT explored Anakin’s internal life, but that was because Anakin was the protagonist of that series. Kylo Ren is not a protagonist, he has been and remains the main antagonist. The motivation behind his fall is irrelevant to Finn and Rey. It may be that there is no reason other than his belief that he is superior to others and is entitled to power, much like Palpatine.

Where does Finn and Rey’s story go from here? With the pretension of TLJ being the new RotJ dispensed with and the tragedy of RotS avoided for the moment, SW is on entirely new ground. The ends of both preceding trilogies were teased but subverted or averted. There is no precedent to guide us now.

One constant in the ST, however, is the strength of the bond between Finn and Rey. Both the ST movies so far ended with that bond both reaffirmed and acting as a powerful force (maybe even Force) for good in the lives of our protagonists and the ongoing war. To carry this motif forward Finn and Rey’s love could be tested even more, with still larger stakes--the outcome of the entire war.

On Rey’s side, one interesting dilemma would be whether she can accept the risk of losing Finn in order to honor his conviction. This was a test that Anakin had failed in regard to Padmé, to both their destruction. Rather than stand with Padmé Anakin turned against everything she believed in, and the desire to control her to avoid losing her overwhelmed his love for her. We know that Rey, like Anakin, wanted nothing more than a sense of belonging and attachment and she found that with Finn. Now that Finn, like Padmé before him, found a cause bigger than the two of them, can Rey honor that cause even if it might mean she cannot be with the only person who came back for her? What is love? is it holding on to the beloved no matter what? Or does it lie in accepting change if it may come, and accepting the beloved’s free will even if it means parting with them?

On Finn’s side, his story has been about freedom and the ever-expanding awareness that he cannot be free by himself. From the first he needed another person, Poe, to escape the First Order. After losing Poe he sought freedom for himself as he continued running, unexpectedly picking up a comrade that he became more and more attached to. This attachment grew to the extent that it overrode his original goal--he found that his individual freedom meant little if Rey was suffering. Then, in late TFA and TLJ, the Resistance and a larger awareness of the galaxy were enfolded in his circle. In the next movie the galaxy itself, including possibly the Stormtroopers in forced servitude, is likely to be included in his fight.

With his circle of moral obligation expanding so much, can Finn remember to think about himself and his closest relationships? This was something actively discouraged in him in the First Order as selfish and inconsequential, and after his arc in TLJ his earlier conditioning may lead to his falling into the same habit of self-effacement, though for an opposing cause. Is it selfish to think of his beloved when the universe is at stake? Can he bring himself to think he deserves to love and to be loved? Does true freedom exclude considerations of love, or is freedom only complete with love? Rose gave one answer at the end of TLJ, that freedom can only be won through love, and certainly Rey avoiding servitude through love is a case for that assertion as well. This conclusion is likely to be tested, though, as the fight intensifies and the demands of the war grow harsher.

Where Rey’s continuing story seems to be about the nature of love with implications for freedom, Finn’s appears to be about the nature of freedom with implications for love. Resolving this continuing arc will hopefully lead to a satisfactory conclusion of the sequel trilogy and the story of Finn and Rey.

(For @finnreyfridays )

[douxreviews]

Star Trek: Discovery - ‘Point of Light’ Review

Burnham: "Show me a teenage girl who's never cried. You can't. I should know, I'm a xenoanthropologist."

By nature I love brevity: After last week's primarily standalone 'New Eden,' 'Point of Light' jumps right back into the season's arcs, developing some stories and beginning others. Most of it works, but a few slight issues remain. All in all, a strong episode.

The Klingons last season were very divisive. Though some appreciated the differences because they helped the Klingons feel alien again, others hated the very different general look of a race that has been a Star Trek staple since TOS. Specifically, a few things bothered fans. The Klingons' lack of hair was one; likewise the differently designed ships (especially one that was called the D7 but looked nothing like the TOS design) were hard to get over. The sequences that took place entirely in Klingon with subtitles got very tedious after a little while, as well; it's much easier to follow when you're able to understand what they're saying.

The Klingon portions of 'Point of Light' felt like an extremely overt attempt at correcting these issues. From the very beginning with the D7 to the deliberate switch from Klingon to English in the final scene, the whole thing appeared to be designed for the purpose of showing fans that the show would be doing something different. And each change, such as the hair on the Klingons' heads, was pointed out deliberately to the audience through lines like 'So the Klingons are growing their hair again post-war?' While I appreciate the modifications, and the explanations mostly make sense, it was at times a little too on-the-nose. I like that they're going out of their way to fix the problems of Season One, but every time they point to their solutions and say, 'See? We know you didn't like it and it's all better now!' it somehow feels both cheap and heavy-handed at the same time.

As far as the other half of the episode goes, three of this season's primary storylines progressed, some of them substantially. The first story that got some progress here is that of the red bursts and the Red Angel. The only thing that we really learned here is that Spock really has been seeing the Red Angel since childhood, and that it helped him save Michael. At first glance, this seems like more of the same, but when you think about it it's actually quite revealing. The fact that Spock saw visions of the Angel that were clear enough for him to get a message is interesting enough, but the fact that that message resulted in Burnham's life being saved is remarkable. This means two things. First, it reinforces that the Angel is not some vague presence, but that it actually intervenes actively in people's lives. Secondly, and I think more importantly, this is the second time that an appearance of the Angel has coincided with the rescue of Michael Burnham. The first was in the pilot, when Pike saved her, and here it was Spock saving her. It says to me that the Angel has a specific interest in Burnham and her life, which may be very interesting to watch considering Burnham's reservations about believing in a sort of higher power.

The appearance of Amanda also led to revelations about the Spock storyline. We learned that his condition has developed to the extent that Starfleet is keeping it classified at the highest level. It's telling that Pike tries to follow the rules, but is all too happy to break them when the need arises. This simply further cements him as a classic starship Captain, perhaps even too classic. One thing you could never say about Lorca is that we've seen Captains like him before. He was new and different; Pike is not. While this may not necessarily be a bad thing for the show at this point, I hope Pike is given distinguishing traits that will give his character more depth. The other tidbit of information we learned was that Burnham hurt Spock intentionally and for his safety. One can very easily see a young Spock, curious about humanity and unsatisfied by the intentionally reserved side of his mother, following Burnham around and wanting to be involved in her life. It would be appropriately devastating to have a childhood idol such as that hurt you deeply and intentionally. I only hope the final reveal of what Burnham did to him measure up to what they've built. The other thing is that the Federation believes Spock murdered three of his doctors. Burnham and Amanda aren't certain, which is pretty scary.

The last storyline that gets developed, and this one much more than the others combined, is Tilly's Seeing Dead People plot. Over the course of this single episode, we learn that May's appearance is connected to the green spore that landed on Tilly's shoulder at the end of last season, discover that May is a parasite who needs Tilly for something and calls Stamets the Captain, and pull the parasite off of Tilly in a bit of a cliffhanger ending. While it does feel a tiny bit rushed, I'm glad they aren't dragging this out. There are a limited number of episodes this season, and if they have to drag out a storyline to fill some time, they definitely don't have enough story to write for it. The other thing is that the way it would be dragged out would be more scenes where Tilly looks crazy to everyone around her when she talks to someone they can't see. Scenes like this are very hard to watch, and they get progressively more annoying the more of them there are. Moving on right to fighting the parasite means that we have less of these scenes to sit through. I have to applaud Bahia Watson for her great performance here; after playing 'unsettling, but not aggressively so' last episode, Watson suddenly turns the creep factor up to eleven in a way that both shocks me with its suddenness and at the same time feels like a natural and not-at-all rushed progression of the character. It will be interesting to see what I can only assume to be the finale of this storyline next episode.

All in all, I liked this episode a great deal. Several of the reveals surprised me (L'Rell and TyVoq's baby; the new information about the Red Angel), and I liked the way that Mirror Georgiou is being used to bring TyVoq back into the story. Though some of the Klingon bits made me roll my eyes at their blatant 'we're fixing what you didn't like' tone, on the whole this was a good episode. It's a bit hard to judge the developments of the ongoing stories until they come to full fruition, but 'Point of Light' seems like a good arc progression.

Strange New Worlds: Q'o'nos doesn't count as a new planet, so we didn't go anywhere new this time.

New Life and New Civilizations: We learned this week that May is a new type of life form that we haven't seen before.

Pensees:

-I really liked Burnham and Tilly's relationship in this one. It really felt like a strong, healthy friendship, and the way Burnham solved the problem made sense.

-One of my friends is really turned off by the invasions of Spock's privacy this season. First Burnham entered his quarters, and now they're breaking into his medical files.

-Another director's credit for Olatunde Osunsamni. She did a fine job with this one.

-They're calling Lt. Owosekun 'Owo' now. Was that an intentional cultural reference? I bet it was.

-The reveal of Amanda worked well. If I hadn't known she'd be in the episode, I would have been surprised.

-I like the idea of using the D7 as a way to unite the Klingon houses. If we go with the Season One idea that the houses have been split and in disarray, which explains the vastly different ships we saw that season, the one standardized design works well.

-Kolsha, Kol's father, was played by Kenneth Mitchell. He played his own character's father, which works, I guess.

-Spock's been taking EQ tests. It's good to see EQ being used as an accepted practice in the future, even if it is a fictional future.

-I liked the use of the split-screen effect when Burnham and Tyler were talking. It helped sell their emotional distance.

-It appears Tilly is prone to both giving up and making rash decisions when she's stressed or embarrassed. That's a good trait to give a character.

-Why the heck does Georgiou need the holographic face disguiser AND the Black Manta mask?

-Severed heads, especially severed baby heads, even if they are fake, is darker than Star Trek's been before.

-The new Section 31 starship looks kinda neat. I like the multi-level bridge.

-Tyler sent the baby to Boreth, which is the only connection to this episode's title. The legend believed by the monks of Boreth relates Kahless' promise that he will return 'on one of those points of light,' referring to the stars.

-So, uh... I know why Tyler isn't shocked by Georgiou, but wasn't she, well, dinner last time L'Rell saw her? Just sayin'.

-I don't think Javid Iqbal Shazad Latif quite got the memo about the less stilted, more natural dialogue this season.

Quotes:

Burnham: "You didn't betray your friend, Captain. You followed protocol." Pike: "That's easier to say than to believe."

L'Rell, to TyVoq: "You should not care what everyone sees when they look at you."

Georgiou: "The freaks are more fun."

4.5 out of 6 unnecessary Black Manta masks.

CoramDeo is climbing a mountain. Why is he climbing a mountain?

[adjameson]

Dear Cedric Phillips and GerryT,

Having listened with great interest to the “Change Worth Fighting For” episode of the Cedric Phillips Podcast, I felt compelled to reply. On that episode, you wondered why professional Magic players have seen their fortunes decline so precipitously over the past ten years, and what they can now do to improve their situation. I believe I can help explain this reversal of fortune, and offer some relevant advice. What follows is a little on the long side, and perhaps a little depressing, but I hope you will nonetheless find it edifying. If you like, it would be my pleasure to discuss these matters further.

About me, briefly: I’ve played Magic on and off since the release of Fallen Empires, and am a regular consumer of Magic content. Among other things, I’ve watched every Pro Tour since PT Los Angeles (October 2005); I’ve watched countless LSV draft videos and Twitch streams; I’ve listened to hundreds of episodes of Limited Resources, Mark Rosewater’s Drive to Work podcast, and various other Magic podcasts; and I’ve read just about every column that Mark Rosewater has ever written. At the same time, I’m also an English Ph.D. and author whose research interests include the economics of fantasy artworks—for instance, my most recent book, I Find Your Lack of Faith Disturbing: Star Wars and the Triumph of Geek Culture, tells the story of how geek culture went from being an underground phenomenon to a mainstream demographic. Given that, I tend to view Magic from a financial perspective—by which I don’t mean living the dream of playing on the Pro Tour, or making a fortune by speculating on Magic cards, but rather trying to understand why Wizards of the Coast makes the economic decisions that it does.

I am hardly a Wizards insider. But I believe that my research into Magic’s financial history, coupled with my broader knowledge of fantasy franchises, enables me to understand why Wizards has chosen over the past decade to disinvest in its Pros, even if that decision appears baffling and counterintuitive to those players. For years now I’ve watched Pros complain about their situation, wondering why, if Magic is doing so great, then why are the Pros suffering? Shouldn’t their fortunes rise and fall with Wizards’? As you yourselves put it on your podcast, “the stars sell the cards,” by which logic if Wizards wants to succeed, then it needs to build stars. Just like how the NBA promotes LeBron James, and not simply “hoops,” Wizards should promote, say, Reid Duke, and not simply “Siege Rhino.” By that same logic, if Wizards doesn’t build stars, then it won’t sell cards, and everyone’s fortune will decline.

I sympathize with your argument. I love watching professional Magic, and once attended a Pro Tour as press just so I could blog about it. But at the same time, I think that your logic is mistaken, and I suspect that your arguments will fail to impress Wizards. Because while it appears to you that Wizards is behaving irrationally, or foolishly, the fact remains that the company long ago settled on a business plan that involves investing less in its Pro players, not more. This is because Wizards has already tried the strategy that you cite—promoting Magic by championing in its Pros—only to find that it didn’t work out that all that well. Indeed, it proved nearly catastrophic. And because of that, as well as for other reasons, Wizards has spent the past ten years rebranding Magic as something other than a competitive tournament game.

Let’s review the relevant history. In 1996, Skaff Elias, Magic’s first Brand Manager, created the Pro Tour in order to promote Magic, and for the next twelve years, Wizards invested heavily in competitive Magic. Wizards ditched Magic’s original whimsical fantasy flavor (not to mention nearly all of the game’s female artists)…

…refocusing the game around dueling mage-punk badasses.

In September 2005, Magic’s creative lead, Matt Cavotta, described the game’s flavor as follows:

Magic is a head-to-head battle of wits in which two spellcasting warriors fight to the death with magic and armies of bad-ass creatures. Every card illustration should work in that context: active, aggressive, cool, wicked, “edgy.” The word “magepunk” works for us. Remember, your audience is BOYS 14 and up.

There were even two blocks centered around pit fighting.

In the Pro Player Era, Magic became a game about winning and dominating, as Wizards targeted competitive young men, selling them dreams of fame and glory, as well as the chance to “play the game, see the world.” The greatest dream was winning the Pro Tour, which Wizards presented not only as the pinnacle of Magic, but as a recruitment pipeline, using it to hire players like Randy Buehler and Aaron Forsythe. Small wonder then that, during this time, Wizards catered heavily to the Pros by creating Magic Online, the Magic Invitational, the Pro Players Club, and the Pro Tour Hall of Fame, and by making the Pro Tour Player Cards, which went inside actual packs.

Wizards also made Magic the way Pros tend to like it: grindy and combo-heavy, chock full of abstract mechanics and cards that skilled players could abuse to gain incremental advantage. For a dozen years, the Pros were Magic’s foremost ambassadors, and the stars did in fact sell the cards.

The problem is that they didn’t sell that many. By catering so heavily to Pros and Pro-wannabes, Wizards steadily alienated its casual players and much of its female fan base. (Scroll, for instance, through these photos, taken at Worlds 2008.) At first, Wizards didn’t know it was losing these customers. On an early episode of his Drive to Work podcast, Mark Rosewater explains that Wizards began calling those disappearing players “the Invisibles,” a shorthand for “people who play who don’t participate in organized play.” Take a moment to let that terminology sink in: during the Pro Player Era, Wizards was so invested in Magic as a competitive game that it didn’t even know that non-competitive players existed, and as such apparently had no good means of tracking their preferences or spending habits. But by 2008, Wizards could no longer deny that its business strategy wasn’t working. Magic was in financial crisis, with sales declining despite the fact that tournament attendance was good and the Pros loved perplexingly complex blocks like Ravnica, Time Spiral, Lorwyn, Shadowmoor, and Alara.

The Pro Player Era came to a rather abrupt end in 2008. That year, Hasbro got a new CEO, Brian Goldner, who appointed a new CEO to Wizards, a man named Greg Leeds. Leeds’ first order of business upon arrival was to clean house, and get Magic back on stable financial footing. Leeds fired several employees (including Randy Buehler), and stripped Wizards back to its core products: Magic and D&D. All other Wizards products—boondoggles like Hecatomb, DreamBlade, and Gleemax—went by the wayside.

Leeds could see that Wizards was spending too much on enfranchised, competitive gamers even as it failed to attract and acquire new players. Part of the problem was that Magic had grown too abstract, too daunting, too mind-meltingly complex for newcomers to grasp. Under Leeds’ direction, Wizards took steps to reverse course. The company partnered with Stainless Games to create the new-player-friendly video game Duels of the Planeswalkers, which launched in June 2009 and proved an immediate success. Wizards also fundamentally changed how Magic was played. Prior to 2008, Magic was primarily a game about mana, in which strategy revolved around players concealing what they were capable of doing on any given turn, which is why control and combo strategies dominated. After 2008, Magic became a game about creature combat, as Wizards nerfed the control and combo strategies that Pros adored, but that infuriated casual players. Wizards also simplified the game’s rules and implemented “New World Order” in an effort to curtail “complexity creep.” Ever since then, Mark Rosewater has cited “complexity” as the greatest threat to Magic’s survival, and Wizards has continued making changes to simplify the game, most recently scaling back the number of new mechanics in each set, and eliminating the block structure. (See Mark Rosewater’s “State of Design” columns for 2016 and 2017.)

The Pros at the time grumbled about the way that Magic was changing, but by and large they accepted what Wizards was doing, reasoning that if and when the game’s fortunes improved, their fortunes would as well—what you, GerryT, called the “trickle-down” theory of Magic. The Pros also accepted that, for the time being at least, sacrifices were needed, so they sucked it up when Wizards reduced its spending on them. The Magic Invitational and the Pro Tour Player Cards disappeared, even as payouts and player perks decreased, as did the number of Pro Tours. The remaining PTs were closed and scaled back, and synced to the latest set releases, no longer taking their names from the cities hosting them. It may not have been obvious at the time, but Wizards was abandoning the concept of “play the game, see the world,” and so it was that in February 2012, Pros attended Pro Tour Dark Ascension, and not the third Pro Tour Honolulu (!). It would seem that, in order to justify its continued existence, the Pro Tour needed to come across less like a vacation for a select few, and more like an ad for the latest set.

But the changes to Magic didn’t stop there. Here it will help to understand how Brian Goldner became CEO of Hasbro, and how he thinks about Magic—how he thinks about all of the company’s top brands. Goldner joined Hasbro in 2000 after working for Haim Saban, the man behind the Power Rangers franchise, and he rose to power by applying Saban’s brand strategy to the Transformers line of toys, transforming it, so to speak, into a massive movie-centric franchise that’s still going strong. (Bumblebee is due out in theaters soon.) Since becoming CEO, Goldner has taken the same approach to a number of Hasbro brands, making movies out of G.I. Joe, Ouija, Battleship, and My Little Pony, and attempting to make films out of Monopoly and Magic. In this way, Goldner has spent the past ten years moving Hasbro away from being a company that acquires licenses to make toys for other brands (such as Star Wars), and more toward becoming an entertainment company that promotes its own brands through movies, TV shows, and other media. (The company recently tried to purchase DreamWorks Animation.)

The way Goldner sees it, consumers aren’t looking to buy toys or Magic cards or physical products per se, but rather emotionally resonant experiences. By this logic, Transformers fans (for example) are looking for all kinds of opportunities to express their love of Transformers, from buying toys and watching movies to putting Autobot emblems on their cars and getting Decepticon tattoos. Or even doing random things like buying bags of shortbread cookies adorned with illustrations of Optimus Prime and Bumblebee.

The trick is to give fans limitless opportunities to express their identity as fans, and thereby experience the joy their fandom brings them. In that way, they bond emotionally with the brand, coming to regard it as an essential part of their life.

Goldner transmitted this philosophy to Wizards via Greg Leeds, which is why, post-2008, Wizards became obsessed with creating emotionally resonant experiences for its players. Aaron Forsythe designed Magic 2010 in order to recapture the resonant flavor of Alpha, and Mark Rosewater designed Innistrad in order to make players feel (pleasurably) afraid. Rosewater even reconceived of his job as designing not Magic cards, but emotional experiences for players. As he put it on a 2013 episode of Drive to Work:

The last couple years […] I’ve been making sure that when I make a design, that I have an emotion that I am getting out of you. That I, the game player, am going, ‘What experience am I trying to create?’ And I want to make sure that I’m making gameplay that has that emotional response.

Goldner also encouraged Wizards to create intellectual property for Magic—characters and plot lines that could be exploited across other media. Wizards responded by rebranding Magic around the Planeswalkers, a growing cast of recurring characters that can be represented not only in card form …

… but as Funko Pop figures …

… and as pieces in a board game …

… as well as characters in movies and TV shows and theme parks and Broadway musicals and—well, anything Wizards wants, really, including media and products yet to be invented. (Here, other franchises, like Harry Potter, the MCU, Star Wars, and Avatar, have been leading the way for a while, and Wizards is scrambling to catch up.) This ambition is what led Brian Goldner to claim during Hasbro’s Fourth Quarter 2014 Earnings Conference Call that Magic is “a storytelling brand first and foremost,” specifying that “engagement with characters is critical,” and it’s why Wizards announced soon thereafter that it would be doubling down on promoting the game’s story, using the Magic website and “story spotlight” cards to ensure that players can easily follow what’s happening with Jace, Liliana, Nicol Bolas, and all the rest.

As you and I know, these changes proved wildly successful: between 2009 and 2015, Magic acquired new players at a rapid clip, topping out at a reported 20 million. But as you and I also know, even though Magic financially recovered, the Magic Pros did not. Instead, in 2018, the Pro players’ condition is more precarious than ever, despite the fact that Magic is at or near the height of its popularity. Which is to say that Magic’s recent success has not, in fact, benefited the Pros. Rather, it has come at their expense.

The reason for this is relatively simple, although it might be difficult to see if one is too close to the game, and especially if one is too close to professional play. While Magic has grown tremendously over the past decade, the vast majority of the people playing today aren’t Pros, or even wannabe Pros. Instead, the past ten years have seen the “Invisibles”—casual, non-competitive players—take over. And while it’s true, as you said in your podcast, that people connect with other people, I fear you’re kidding yourselves if you think that most current Magic players are looking to connect with Magic Pros. Casual players and competitive gamers want fundamentally different things from Magic. Competitive Magic players want to test themselves, to participate in the highest levels of competition, where they strategically outplay the best opponents in the world. Like Kamahl, Pit Fighter, they came not to play, but to win, wanting the same thing Bob Maher wanted: “Greatness, at any cost.”

Casual players don’t want that, not at all. So while the Pro Tour remains, for professional players, the pinnacle of Magic, it’s a total bore for casual players (assuming they even know it exists). For one thing, as everyone knows, it makes a decidedly poor spectator sport: there’s tons of down time, and when players finally do sit down to battle, viewers can barely make out what’s happening, let alone read which cards are in play.

Beyond that, the game play itself is frequently anticlimactic, with a large percentage of games being won or lost due to mana issues. (Witness LSV losing the very last game of PT Guilds of Ravnica after mulling to four.)

It’s easy to forget, after learning something, what it was like not to know it, and competitive Magic players often forget how much knowledge is required in order to watch and enjoy the Pro Tour. Not only does one need to know all of the relevant cards and decks in a given format, but one has to understand top-level strategies, as well as issues like priority, triggers, and so on. Casual players don’t understand these things, and they don’t want to understand them. In March 2017, the Limited Resources podcast spent ninety minutes providing a detailed overview of Magic Online and “all of the phases and steps of Magic.” Casual players don’t want to listen to podcasts like that; nor do they want to learn how to set stops on Magic Online, or how to even start playing Magic Online.

Nor do they want to memorize draft pick orders, or feel like they have to know every combat trick in the format in order to play. They don’t want to have to do tons of homework just to play Magic. As such, these players (happily) lack the knowledge and proclivity required to appreciate the things that Pros obsess over, like in-depth analyses of strategy, or three-hour-long video series discussing the Top 100 Magic Cards of All Time, or even longer set reviews that scrutinize every card in a new set with an eye toward limited play. They don’t want to be Pros.

You can see this in the fact that casual players prefer playing different formats than the Pros do, to the point where the two groups are practically playing different games. Whereas Pros want to do Rochester drafts (with Beta packs!) and brew Standard decks and play Legacy and Vintage and Vintage cube, casual players gravitate toward formats like Commander. Pros famously dislike that multiplayer format due to the outsize role that politics play in determining who wins and who loses. But casual players are less invested in whether they win or lose, being more concerned with playing a fun, social game with people like themselves—people who express themselves not through crushing their opponents, but through the Guild identities, Commanders, Planeswalkers, and tribes. These players couldn’t care less about solving the metagame; since they lack the luxury of being sponsored by card shops, they can’t easily swap between decks, or afford to do dozens of drafts. Instead of playing with the best cards in the format, they play with the cards they happen to own, and if they do invest in a deck, it’s usually one that suits their personality, and that they can go on to play year in and year out, tinkering with over time.

Because these players are numerous, Wizards has spent the past decade shifting resources away from the Pro players and toward the larger, more casual demographic, rebranding Magic not as a cut-throat competitive game, but more as a fun play experience—hence the onslaught of casual-friendly products such as Archenemy, Conspiracy, Commander decks, Unstable, the full-art promos for Ultimate Masters, and Magic Arena. The Magic brand no longer revolves around winning games of Magic; indeed, it no longer necessarily involves playing games of Magic. Since 2010, Magic Prereleases have routinely featured events like unlocking the Helvault (Scars of Mirrodin), picking a side in the Mirran-Phyrexian war (Mirrodin Besieged), choosing a clan (Khans of Tarkir), and puzzling one’s way out of the “Stitcher’s Lab” escape room (Shadows over Innistrad)—i.e., ways of getting players to engage with the Magic brand beyond building decks and playing matches. Rather than being cute side events, these types of activities are increasingly the central attraction. Two months ago, Wizards announced its intention to rebrand Grands Prix as “MagicFest,” or “weekends about so much more than just the main event,” including “side events, artist booths, cosplay, panels, [and] spellslinging.” (Pro Tours will be held at MagicFests.) Today’s Magic players are looking for more than just tournaments, which means that tournaments alone aren’t enough to sell and promote the Magic brand. (Wizards can no longer justify paying for standalone GPs and PTs.)

The shoe is now clearly on the other foot. Gradually, steadily, over the past ten years, the Pro players have traded places with the Invisibles, receding from view. At the Magic Subreddit, the top posts concern topics like Magic story, Magic art, card alters, and cosplay; rarely do they involve Magic tournaments. One week after your podcast came out, the “Grand Prix Montreal, Grand Prix Mexico City, and SCG Open Columbus Discussion Megathread!” pinned to the top of the Magic Subreddit received a whopping fifty-three up-votes, and forty-four comments. As it happened, more people were interested in the fact that the artwork for Expropriate features True-Name Nemesis. Small wonder then that the Mothership’s front page routinely ignores GPs and other organized play events, preferring to use that real estate to promote Guilds of Ravnica, Commander 2018, and Magic Arena.

Speaking of which: surely it won’t be long before Wizards moves the Pro Tour to Magic Arena, or replaces the Pro Tour outright with Arena-based tournaments. Already the company is paying celebrity gamers like Day9 and Trump to stream Arena—entertaining personalities who may not be the most skilled Magic players, but who are capable of drawing thousands of eyeballs.

Of course, it’s true that casual players admire certain Magic Pros, such as LSV. But casual players don’t like Luis Scott-Vargas just because he’s one of the greatest players of all time; they like him, and subscribe to the Divination, because LSV is funny and charismatic and loves to durdle and tease Paul Cheon. That’s why they tune in to his Twitch channel even when he does things like sign tokens for GP Las Vegas, choosing to vicariously hang out with him. LSV doesn’t make his casual fans feel stupid; he makes them feel smarter, and as though they’re winning and losing alongside him. In this regard, he’s unlike most Magic Pros, who typically come across to casual players as cold, unfeeling jerks who make Magic unfun by quickly defeating them, then berating them for making bad plays with bad cards and bad decks (or for picking foil Tarmogoyfs in draft).

That is why, in 2018, Pro players are no longer the public face of Magic, having been supplanted by the Planeswalkers. If 1996–2008 was the Pro Player Era, then 2008–present has been the Planeswalker Era. More Magic players today fantasize about being Kiora or Chandra than they do being Magic Pros, which is why Wizards has taken pains to diversify that lineup of characters. The casual player base has always been more diverse than the overwhelmingly male Pro scene, and it’s presumably growing more diverse by the day. (Note how many women and female characters Wizards has chosen to depict on the current Magic homepage.)

And the Planeswalkers offer benefits beyond that. Wizards doesn’t have to pay those characters anything, or fly them anywhere, or put up with them complaining about Magic, or doing things like sitting out Worlds in protest. (Sorry, GerryT.)

Mind you, none of this is to say that Wizards no longer cares about the Pros. I imagine the company is delighted to have such a dedicated group of players that spends all of its time promoting Magic for free by making Magic videos and podcasts—not to mention purchasing Magic cards. And no doubt Pros and Pro-wannabes are still responsible for a significant portion of the game’s revenue. But those players no longer appear to be Magic’s primary audience. As such, Wizards has spent the past decade adjusting its spending on those players to a more appropriate level, valuing them for what they’re really worth, as opposed to what Wizards thought they were worth c. 2006.

Since I don’t want to end this letter on too pessimistic a note, I’ll offer a few hopeful words of advice. Please keep in mind that I am not a Magic Pro. But if I were, I would try to take more of my well-being into my own hands. Fifteen years ago, when Wizards was ignoring the “Invisibles,” some of those players created Elder Dragon Highlander, which went on to become Commander, now the most popular Magic format (and which is still maintained by its own independent rules committee). Today, if the Pros feel slighted by Wizards, then they should make the version of Magic they want to exist—their own tournament scene, their own formats, their own banned and restricted lists, their own Hall of Fame—rather than relying on Wizards to maintain institutions it created in a totally different era, when the company’s priorities were different from what they are now. The Pros should also unionize, or enter into some other collective partnership, and make their stand together, collectively working to attract sponsors and streaming deals. More than anything else, the Pros should recognize that their fortunes won’t necessarily rise or fall with Wizards’, or with Magic’s. But the Pros will certainly rise and fall with each other.

Best wishes, Adam

An open letter to Cedric Phillips, Gerry Thompson, and the Pro Magic community at large Dear Cedric Phillips and GerryT, Having listened with great interest to the “Change Worth Fighting For…

[postedbygaslight]

You’ll Be the One to Turn - Part 12: The Pilot

And here he is, everyone’s favorite “best pilot in the Resistance,” Mr. Poe Dameron:

“But, sir! If the load lifters’ binary language circuits aren’t reset to the default dialect, they’ll continue to deliver their loads to the wrong entrances! It would present a serious supply chain interruption and Princess Leia will—“

“Hey! That’s a great idea! You should take this to Leia.”

“But, General, the princess is no longer—“

“Threepio, if you don’t stop talking to me about the damn load lifters, I’m going to kill myself.”

“Well, I never! I’m only ever trying to be of help, the nerve of some people,” Threepio trailed off as he clattered off down the corridor.

Poe Dameron didn’t watch the droid leave; it was easy enough to know what Threepio was chattering about as he disappeared down the hall: a litany of self-pity, imagined slights, and decades of grievances. Why droids were programmed with such irritating idiosyncrasies, Poe would never understand. But maybe that was the point. Maybe droids needed to be more human to keep from making mistakes.

Poe returned his attention to the reports he had been scanning when Threepio came banging his way into the command center, yammering about obscure machine languages. He reviewed them one by one, each telling a similar story: encouraging signs of unrest against the First Order, but little enthusiasm for organized rebellion.

Each of the documents took far longer to digest and approve than he cared for. Being in command was all he’d ever wanted, having grown up on Yavin IV in the company of Alliance war heroes. But the reality of leading was less attractive than its billing. Most days, Poe wished he could just pass off command to someone else so he could go back to piloting an X-Wing full time. Though, he thought, if he was still just a pilot, he’d probably be chafing under command decisions he didn’t agree with, and the cycle would continue.

His job, as it was, had taken unexpected turns over the previous months. Leia had passed command to him much sooner than he would have expected. And the fight he’d expected to be leading was nothing like he’d envisioned. The First Order was no longer as constant a presence in the core systems as they’d been even a month before, and their troop deployments were more scattershot than was typical. It made Poe nervous. The conflict should be escalating. Instead, it seemed like the First Order was in the midst of a controlled retreat.

But it wasn’t like the Resistance was ready for a showdown. The fleet was nowhere near fighting form, constituted primarily of decommissioned Imperial ships, half-junked freighters, two dozen X-Wings of somewhat dubious flight readiness, and ancillary vessels that lacked a cruiser to support. Worse than that, the First Order had been broadcasting to the galaxy that the Battle of Crait had been a total victory, and that the Resistance had been wiped out.

It was a development neither Poe nor Leia had anticipated. Like the Empire, the First Order didn’t typically suffer any kind of defiance, regardless of its size. But since Crait, Poe felt like he was leading a movement in search of a cause. They took every precaution to makes sure they weren’t discovered— Vedic III was chosen precisely because it would be hard to find— but Poe couldn’t shake the feeling that their enemies weren’t even looking for them. And that troubled him more than relentless pursuit.

As he looked around the command center, Poe considered that the First Order might have a point: it was almost like they didn’t exist. What had been a small, but capable fleet had been utterly destroyed after Crait. A private army of two thousand, well funded, with connections in the New Republic, the Resistance had been a serious threat to First Order operations. But, more than that, it had been something Snoke couldn’t afford to ignore because of one very important distinction: it was led by the sister of Luke Skywalker. The last of the Jedi.

Now Luke was dead. And instead of two thousand, the Resistance barely numbered two hundred. And whatever support was coming, it was coming because of the story of Luke facing down the First Order alone, giving his life for the cause, and, crucially, leaving behind an heir to his powers and teachings. And the girl who was meant to be the symbol of their fight might have died in the training yard yesterday. It was a problem he couldn’t afford to ignore any longer.

“Lieutenant,” Poe called across the room, “has anyone seen Rey?”

Lieutenant Connix looked up from her terminal as though she’d been startled awake.

“Uhm,” she started, glancing around, “I think I heard someone say she was going to see Leia.”

“How long ago was that?”

“I don’t know, sir.”

Poe squinted and pinched the bridge of his nose. He glanced back at the last report he’d read, and an idea suddenly flashed through his mind.

“Hey, Connix, come here a second.”

The young officer, who still kept her hair in tight buns on either side of her head, stood up from her terminal and crossed to where Poe was sitting.

“Yes, General?”

“Cut it with the ‘General’ stuff. It’s me. Poe,” he said with a smile, motioning for her to sit.

“Sorry,” she stuttered, sitting in the chair next to him. “I’ll try to remember, sir— uh, I mean, Poe.”

“We intercepted a coded message on the First Order’s emergency channel. Normally, I wouldn’t be too interested, but this one was picked up immediately by high command.”

Connix crinkled her nose. “That is odd.”

Poe leaned forward, his elbows on his knees.

“Yeah. It is. I don’t like it. The First Order codex. Didn’t we keep a record of when D.J. hacked it?”

“Sir, that codex changes hourly. Er, uh, Poe. I meant Poe.”

“But we could use the record as a road map to hack it again.”

“That’s,” Connix began, nervously fidgeting with her hands, “not really how it works. Or, maybe it does, but not the way you’re thinking.”

“So you can’t do it.”

“I didn’t say— I could maybe—“

“Kaydel,” he said, getting her attention.

“What did you call me?”

“Your name. Kaydel.”

Connix stopped fidgeting.

“I know you can do this. I believe in you.”

“A-all right. General. I mean, sir. I mean— damn it.”

Poe gave her a warm smile, and then turned back to his terminal. He was about to power down and head out to the tarmac when he saw Rey through the windows of the command center, passing down the hall from Leia’s room.

“Rey!” he yelled.

She stopped, and looked at him through the window. Poe got up and crossed to the door, leaning around into the hall.

“Hey, I was looking for you. Can we talk for a minute?”

“Sure.”

Rey turned back down the hall, and into the command center. Poe motioned her into he adjoining office, and he followed behind, closing the door.

“What is it, Poe?”

“First off, how are you feeling?”

Rey sighed and crossed her arms.

“I’m fine.”

“Whoa. Sorry.”

“No,” Rey said, letting her hands drop to her sides. “I’m sorry. I shouldn’t— thank you for the concern. I’m fine.”

“Okay. Good.”

“You needed something?”

“I just want to get an idea of what’s going on here.”

“Meaning?”

Poe put his hands on his hips and leaned in slightly, trying not to seem overly agitated. He wasn’t sure it was working. And he knew Rey could sense his anxiety, which wasn’t making matters better.

“We’ve been on this moon for over a month. And you’ve been, what? Running supply missions? Reconnaissance?”

“They’re missions that need done. I do them. What’s this about?”

“‘What’s this about?’” he repeated back, letting out a frustrated laugh. “I don’t need you to run supply missions. I have people to do that.”

Rey crossed her arms again, and her eyes narrowed.

“Is there something you want to say to me? Because if there is, I’d rather just have it out.”

“Fine. We’ve been hanging on by our fingertips out here. People don’t even think we exist. We’ve gotten traction mostly because the story about Luke facing down Kylo and the First Order has caught on. But for that to keep up, we need the Jedi Order. And that’s supposed to be you.”

“It’s not just something I can snap my fingers and make happen,” Rey said, her voice rising. “What am I supposed to do? A traveling show where I tell fortunes and make things float?”

“Maybe. I don’t know. I’m not supposed to be the one that knows these things. You are.”

“It’s not like Luke left a manual for me with step-by-step instructions.”

“That’s not what I hear.”

“Oh, and what do you hear?”

“That you have some Jedi scripture or something. Some texts. Books with information we could use.”

“I suppose you’d like to try reading them, then. Do you think they’re in standard Aurebesh? They’re in some language that’s probably been dead for five thousand years. Not even Threepio could read them.”

Poe had to laugh. C3PO had just been in here complaining about not being able to talk to load lifters because of their accents, and imagining him trying to read sacred religious texts was more than just comedy. It was farce.

“What I’m hearing is an explanation without a plan,” Poe said, trying his best to keep his frustration from boiling over into real anger. He felt less in control than he was accustomed to, and he couldn’t shake the feeling that she was doing something to make him more uneasy. “Are you with us? Because I get the feeling that you’re just here because you have nowhere else to go.”

Rey’s expression hardened, but there was real hurt in her eyes. She took a few calming breaths, and responded.

“All right. This is the part where you say you’re under a lot of stress, and you didn’t mean that, and you take that back.”

“No, I don’t think so. You’re the last Jedi. As in the only one. And yesterday, you keeled over like you were a green recruit. What do we do if something happens to you? Huh?”

“Poe. I fainted. It was stupid to train in the heat like that for so long. I grew up in the desert. I ought to know better.”

“That’s not what worries me. What worries me is that you’ve been acting like you’re an engineer. Or a freighter pilot. You’ve been training against droids that don’t have safety protocols—“

“They’re too easy to beat otherwise.”

“That’s my point! Why are you fighting droids at all? You should be out there, we should be out there, taking the fight to the First Order! You should be leading. Instead, you’re out in the training yard fighting droids that wouldn’t have hesitated to kill you when you passed out.”

“Well, it’s a good thing I’d beaten them all by then.”

“And what about next time?”

“Who says there’s going to be a next time?”

“I don’t want to have to worry that there will be!”

A silence fell between them, as though some kind of gauntlet had been dropped, and they were both waiting for the other to pick it up.

“Maybe you ought to stop pinning all your hopes on me,” Rey said with a calm resolve. But Poe could see her composure was slipping, and he wasn’t sure what to make of that. “I’m doing what I can. I’m trying to figure out what I’m supposed to do. I’m trying to keep myself from losing my mind while I try to understand what the Force wants from me. I’ve got unreadable books and a broken lightsaber and no one to help me.”

Her mention of the broken lightsaber reminded him that she still hadn’t been debriefed about what happened on the Supremacy. Poe’s uneasiness sharpened, and he couldn’t help but feel that she was reading his thoughts right then and there. Rey took a half step toward him, and gestured down toward the corridor.

“If you need someone to inspire your cause, you’ve got her. She’s right down the hall, and she’s twice the woman I’ll ever be.”

“Rey, Leia’s dying.”

“What?”

“Dying. She doesn’t have much time.”

They’d known for weeks. Leia might have known longer. But it didn’t change the fact that the tumors were inoperable. And it didn’t change the fact that radiation sickness was slowly sapping her of her strength. It was anyone’s guess which would overwhelm her first, but both diagnoses carried the same promise: death, and soon.

“When she got blown out of the bridge on the Raddus, she should have died. She didn’t. We were very lucky. But she was in deep space for over two minutes. That kind of radiation doesn’t come without consequences. Leia might be one of a kind, but she’s still only human.”

Poe could see that Rey wasn’t prepared for that news. Good, he thought. Maybe this would spur her to action. And even if it didn’t, at least Poe wasn’t carrying this secret alone anymore. Not that it could be a secret much longer.

“Rey,” he continued, trying to bridge a span between urgency and inspiration, “we don’t have the luxury of waiting. I can’t put together an army to fight the First Order if we don’t have a cause worth fighting for.”

“If you don’t have a cause worth fighting for without me standing in front of you with a lightsaber,” Rey said slowly, and it looked like she was struggling to keep from letting the depth of her emotions show, “then the problem’s with you, not me. I’m not going to rush out and recruit students, or padawans, or whatever, if I don’t have a clue what I’m doing. You’re a pilot. Imagine starting a flight academy when you know how to fly, but not how to land.”

“Listen to me. I’m sorry if I seem harsh. But I have people who count on me. And they look to you as the light that’ll lead us into battle. And you could have died yesterday. Where would that leave us?”

“What do you want? Tell me. What should I do?”

He took a step toward her, his face becoming hard and serious.

“Start doing things because you can do them. Not because someone told you how.”

And that was that. Rey’s expression went cold and blank, her eyes glassed with angry tears.

“Are we done?”

“Yeah,” Poe said, motioning for the door. “I guess we are.”

***

Poe returned to the command center after Rey left, but not before spending some time thinking through exactly what to do about the Jedi girl in his camp. She was an invaluable asset, to be sure. And if she could get with the program, she could be the one thing that would turn the tide.

But she also painted them with a very bright target. Eventually, he was sure, the First Order would come for her. And when that happened, he didn’t know if they’d be able to protect her. More than that, he wondered if it was worth it at all.

He sighed and rubbed his temples, drifting over to where Connix was seated.

“Any luck?”

“Not with the codex, but I did find this.”

Poe leaned over her shoulder and looked at the screen.

“What the hell?”

“I know.”

“Keep this between us for now.”

“Yes, sir. I mean, Poe.”

Poe didn’t respond. What were those structures? And the orbital station? What was the First Order doing on Naboo?