#Some even lead up to subplots and threads which is fun

[tryingtothinkofabetterusername]

Sorry to use screencaps for attention, but hey, if you don't like the words, the images are still brilliant and beautiful.

Anyway, it's half a decade since Apokolips War, which was quite divisive, and I understand why. It went hard on the misery and loss angle, then ended on the ultimate downer ending where the heroes win, but they still lost.

*Aside*

Has the antagonist winning in the first part of the narrative, him being defeated in the finale, but even the triumph involved significant loss; the filmmakers wanted to mirror The Flashpoint Paradox, since it had the mutilation and deaths of many until a complete erasure of the universe.

Pardon this self-indulgent tangent, I would have split AW into two movies; first film of the final Apokolips War being the initial preparation and invasion of Apokolips, maybe some other subplots too, then ending with the Paradoom decimation, and part two being most of the movie as it was, if expanded to fill time lost by dividing. Also, solve the last problem with magic instead - Constantine could use a forbidden spell to restore the universe, which would still piss off the Spectre, thus carrying him into the Tomorrowverse (although, I do understand the thematic symmetry with a universe that began with a Flashpoint, ending with one).

*Main subject*

Despite Apokolips War perhaps being too grim and maybe gratuitous with the violence, overall it was generally exceptional, with it closing numerous plot threads of the DC Animated Movie Universe (albeit, some probably warranted further development), however, I'm probably obligated to love it in some ways as it had the culmination of the relationship between Damian Wayne and Raven, which was the most unexpected, yet most enthralling and best developed.

Yet I think there was an issue inherent in Apokolips War, that is it ended the DCAMU when there was still so much potential to explore. I'm pretty good at creating ideas, but not that great at developing them. That said, I had a bunch of possibilities that may or may not have been good to explore. There were more details in the following, but I've cut it back to minimum to be mostly relevant to our power couple, individually or together.

Teen Titans film with Starfire as lead. Invited by Blackfire to Tamaran. Seem to reconnect, but Blackfire was setting her up as trade/hostage/something to villains. Starfire and Blackfire have a final fight that echoes times from their childhood training, then the coup, but this one ends with Starfire reluctantly delivering a killing blow. Donna Troy, Bumblebee, and particularly Raven would be involved as Starfire realises that her Titan team mates were her true sisters - cheesy, but a nice way to further portray their bonds.

Batman film. Primary plot a gang war triggered by Black Mask. Lady Shiva observes in background, but then approaches Robin to request that he take command of the League of Assassins. He refuses, but she countered it was his birthright more than Gotham, yet respected his decision, while noting she will wait and ask again later.

Teen Titans vs. Terror Titans (or new HIVE? Bring in Slade's ex-wife) Maybe one member in the villain group knew Damian when they were both young, and she expressed romantic interest in him to his confusion and Raven's jealousy. I know the jelly love interest thing can be cliche, but I think it'd be fun to explore that side of her, especially if she is eventually reassured by Damian who doesn't realise the issue the entire time.

Teen Titans/Justice League Dark film. I think a way to further justify Raven's contempt for Constantine in AW would be due to this film in which Zatanna takes Raven as an apprentice. Few Titans tag along, including Robin, Starfire, and Beast Boy. Main villain necromancer - or at least serving the main villain. Anyway, dead people from the heroes' pasts are brought to fight and undermine them. Beast Boy would obviously face Terra. Starfire would face Blackfire. Robin would face Talia, Deathstroke, Heretic, and Ra's al Ghul - which the necromancer/villain would taunt him about bringing death where ever he went (which would ultimately be a factor that kept Robin from confessing his feelings to Raven at the end of this film and start of Apokolips War); Raven herself would face Arella and the people of Azarath, aggravating her earlier guilt again. Zatanna would face her father, but she overcomes her insecurity and beats the necromancer, which made the undead thralls regain control of themselves; while some will remain bitter like Deathstroke and Blackfire, some like Talia, Arella, and Terra would absolve their loved one of fault for their deaths and/or soured relationships (I know having Talia slightly redeemed would be odd considering how evil she became, however, I felt like it was a weirdly unaddressed fact that despite her original moral ambiguity, she wasn't such a monster until Bad Blood, which I think was due to the Lazarus Pit, thus it'd be nice to give Damian some more positive closure with his mother; hell, could throw in a cute detail of her expressing approval for Raven as worthy of her son). Perhaps a twist of Deathstroke not actually being dead, rather simply allied with the main villain for another shot at revenge against Damian and Nightwing too later. During battles in the film, Raven's chakra prison holding Trigon would begin to weaken, thus setting up that struggle in Apokolips War, so it doesn't seem so abrupt.

I have a few more, but that's just some basic ideas that I think would have been enjoyable to explore. Maybe someone could be inspired, if not take these ideas and make them into something better.

Raven: I guess neither of our lives are very funny. But I'll tell you something about yourself that not even you may know: you may be insufferable, but in your heart, you are a kind and generous soul.

Raven: Unfortunately, this is my home. I have to watch him. Damian: It's not your home. Home is the place where... when you have to go there, they have to take you in.

Raven: You probably think I'm weak. Damian: Raven, you're one of the strongest people I know.

Damian: When I asked you to join me in leading the League of Assassins, I wasn't doing it because you're a good fighter. I... I had feelings for you. If you didn't, you made the right decision. Raven: It wasn't that at all! I left because my father wants to kill you. After everything, I couldn't risk that.

Damian: Remember, father: justice, not vengeance. Save them. Save her.

Damian: You brought me back. Raven: I had to take the chance.

[comicaurora]

Out of curiosity, how far ahead are you on the comic? I mean, you must have it all planned and written out, but I imagine that you are drawing the future of Aurora even while we're reading it.

So is Arc 2 already illustrated and ready for upload while you're on like Arc 5 or something? I'm by no means undermining your need for a break; I'm shocked that you've been uploading continuously for over 4 years at this point. I'm just interested to know how long it takes a person to make something this great. And also if you change any details in the final edit?

Basically: what's the workflow like?

Also I think you low-key inspired me to pick up painting as a hobby. I'm ready to pour so much money into creating things that I know I'll hate. :)

God, arc 5? That's a very generous assessment of how fast I can draw!

Typically, when the comic is updating regularly, I keep a buffer of 10 to 20 completed pages. Right now, in the interest of taking a break, the buffer is 0 completed pages.

Chapter 1 of Arc 2 is completely storyboarded, meaning it's sketched out, the dialog is all mostly finalized barring last-minute rephrasements, etc. It can be read in its current form, it just looks unpretty. In fact, just for fun, here's a sneak peek!

In the next month I'll go through and finalize as many pages from this chapter as possible - which means locking down the panel borders, fleshing out the backgrounds, lining, shading, coloring, polish, etc. - which will be the process of building up a new buffer for when the comic starts back up again in January. During that time, I'll also be storyboarding Chapter 2 and as much of the following parts as I can manage.

I have the next several chapters and sub-arcs planned out in loose timelines - event A happens at location B leading to consequences C and D, stuff like that. Chapter 2, being the closest, is a little more fleshed-out, with a more detailed bullet-pointed timeline and various character ideas I've had that might or might not make it into the final version.

What exactly the chapter breakdown is going to look like is a little more complicated. Initially I'd planned for Chapter 1 to be low-stakes downtime and Chapter 2 to quickly kick off the high-octane adventure again, but when I started bullet-pointing out the stuff I wanted to do in Chapter 2, I ended up with a big pile of slower-paced character moments I thought were well worth exploring, so the runtimes might stretch a little.

Translating those brainstormed notes into storyboards and dialog is what I would classify as the "writing" part of this process. It happens at an erratic pace largely determined by the whims of whatever muse decides to get me in a headlock that day; sometimes I go weeks with no storyboarding progress, sometimes I hammer out fifteen pages in one day.

It's kinda like weaving, to me. The soon-to-be-arriving parts of the story are the most finalized, the most densely woven. A little ways beyond that, things get looser - some patterns may be locked down, but the actual work that'll hold it together hasn't been done yet. And in the far-flung future arcs, it's just the basic bones of the story and a pile of the threads I've planned to use. I know the shape of it, but in order for it to be fun and engaging for me to make it, I need to give myself room to be creative when I'm putting the whole thing together.

I actually have a file called the "Toolbox" that contains every random character or subplot idea I've had, and sometimes when I'm debating where to go with a chunk of story, I'll crack it open and scan through to see if anything jumps out begging to be used. Lotta fun stuff in there that may or may not ever see the light of day. Dropping stuff in the Toolbox is one of the most fun and freeing parts of the process for me!

[susandsnell]

The Batman/Reevesverse Scarecrow Speculation Post

So, with the hope that the Reevesverse Scarecrow spinoff still goes through (what with WB's currently tenuous position under Zaslav), here are some speculation points I've had for a while with regards to how dear Dr. Crane could fit into the Gotham universe of 2022's The Batman --

The Drops Trade: Probably the most obvious thread wherein to integrate him. As some rumours about the Penguin spinoff TV series have hinted that they'll pick up on this subplot (since we do see Oz is involved in it in the movie), and there is apparently already an epidemic in this universe's Gotham City, lacing a new strain with fear toxin would be an easy way to spread it massively through the city. This could easily tie him in with the mob characters (Oz et al), and would work well with the Se7en-esque mystery/detective story approach they're taking to Batman's character, with the inexplicable terrifying effects of this new strain of Drops leading Bats down a trail that ends with a disgraced former professor of psychology. What works against this is that it's argably too similar to the very rapidly abandoned drug dealer Scarecrow plot in The Dark Knight. But given that as with every Nolanverse Scarecrow plot point, that kind of just happened and went nowhere until Crane Barbied his way into a new job, and the fact that the series hasn't shied away from similarities/nods to TDK trilogy, there's still a solid chance for there to be a unique spin on it here.

Riddler leaks: Since this universe's Edward Nashton is big on exposing corruption and has a strong online presence, maybe he - or one of his following, acting in his name - will kickstart the start-of-darkness plot by prompting his firing from Arkham or Gotham University (if he works at either in this continuity) by leaking Dr. Crane's more unsavoury dealings and/or unethical practices and experimentation. Perhaps the Renewal Fund flowed through Gotham University and Crane siphoned from it to finance his fear toxin research? While I love the "this man fired a gun in his classroom to illustrate a point and got extremely mad that there were consequences" origin to death, I can admit this origin might be either considered either too silly or in poor taste for a grounded universe like the Reevesverse that does have at least some social commentary. Points against this route, however, are whether they intend to do much more with Edward Nashton; Paul Dano is reportedly signed on for more entries to the series, but given he had a whole movie to himself, and a prequel comic run, they might not want to saturate us on him. On the other hand, Matt Reeves has expressed an interest in building a full and robust Rogues Gallery, and the most successful visual adaptations that have done this have understood the value of the Rogues' relationships amongst themselves.

Arkham Doctor: A usual starting point for Crane, but nonetheless, we've established Arkham already in this universe, and with named and known characters staying there. There's also rumours of an Arkham Series that could bridge with the Scarecrow spinoff proper, and while Crane experimenting on the patients is rather typical, we do have some interesting opportunities -- a chance he interacts with Riddler and Joker, who are set up to be there, again laying the groundwork for a new Rogues Gallery (Poison Ivy is also confirmed to have a spinoff in the works, so she might be involved also), but moreover, an access to the records on Martha Wayne, nee Arkham, could bring him into the leverage/Wayne family drama, which would be especially fun if he still doesn't figure out Bruce's identity as Batman, he just resents the Waynes. Then again, even though Scarecrow's class struggle angle goes back to the earliest comic appearances, this ground has already been well-trodden with Edward Nashton and Selina Kyle in the first movie, so it depends on whether they want to take a new tack or expand Gotham's class disparity to be a major theme of the series.

anyway, these are just a handful of ideas - would love to hear other thoughts!

[starlytenight]

Could you perhaps tells us how Popopo would react when he finds out that the few abilities Meta has is not considered 'real' abilities? (If I remember right, I have to re-read your story a bit when I have the time. So much have happened the last few chapters I just need to read it all over again just to make sure I haven't missed anything). And thuse the dark blue knight understands him better than most as Meta himself had prove with skill and hard earn strength that he could be a star warrior.

BSbjdhf I hope it's not too overwhelming, I just like a lot of connected stuff, and it's totally okay to forget a few things here and there. It's a lot and is just a fun trip to go through. I don't expect a 500 page essay or anything, that's for me to do to have fun and see if anyone catches certain details/hints I planted<3

And Meta sees a lot of himself in Popopo! That little fella is just a lot softer than Meta was---he has a lot of insecurities about it but went in a more passive direction than Meta did. That is what worries him the most since the poor boy struggles a lot, but he thankfully keeps getting back up despite it all.

I'll kind of go deeper into that little Puff's stuff below the cut with some small bits of my fic to kinda show stuff off but yeah there's some small details that I sprinkle in about every character, even if they're minor.

But yeah, the inspiration can only go so far since he's realllllyyy hard on himself. Meta is like this too, in a lot of his POV chapters he berates himself over so many things despite doing a lot of amazing things. Meta is really keeping an eye on this one out of the other children since they don't have the same issues.

Even Volcan, who was traumatized, is adjusting pretty well all things considered.

Now for some fun character details/parallels below the cut that will also tie into the no-Ability thing they got going on:

Keeby, being the eldest of the Gold Generation is very much the big brother and tries to encourage Popopo to be nicer to himself. (To mirror Meta for a sec, Falspar was the one who tried to encourage Meta to not be so down either.)

Keeby's even yelled at his Shadow self back in the mirror world for being so mean.

His mirror self really hits how Popopo sees himself; useless, a waste of time and resources and ultimately broken. Someone that's only good to be a shield for Kirby if needed.

But the thing is, out of all the kids, Popopo was the one to realize the Mirror World denizens were just reflecting their worst selves. He showed mercy and sympathy while Artemis was ready to just shatter them all. He didn't want her to hurt the other because he could tell they were already suffering, even if the other insisted on picking at his insecurities.

Sure, there's a bit of envy from how much attention Kirby gets, being a fabled prophetic baby and all, but anyone would. He wants to be special too, but he doesn't see that he can bring something else to the table as well, much like Meta Knight didn't see when he was younger.

They see from the lens of "how useful am I in combat?" but can't see beyond that. It's like someone focusing solely on one singular thing that they feel will dictate their value while ignoring everything else.

Meta was lucky in that he brute-forced his skills in battle and cultivated his ego well enough with his wit and intelligence.

Popopo on the other hand is struggling with battle but is very perceptive and doesn't just charge into things unless he has to. (He's a kid so he's still figuring himself out too.)

Meta Knight's words were genuine here, knowing everyone has a purpose, even if there isn't a fancy prophecy to them. Meta doesn't have one and look at all that he has accomplished---Galacta and Kirby, two extremely powerful and legendary creatures, wouldn't be where they are without him guiding them along.

It's a hard thing to grasp for these two and even to this day Meta still mentally berates himself for not being good enough despite doing everything he possibly can do in situations.

While Meta has been at this longer, it's a very hard and toxic mindset to entirely shake off. He knows that and doesn't want Popopo to feel that way, but is unsure how to get out of it himself.

It's also why you see Dark Meta Knight constantly boasting about being the best while also being extremely critical. (He needs to be the best or else what purpose does he fulfill?)

Meta tries to help Popopo with combat where he can, gave him a sword, and even noticed Joe and Silica's suggestion to help the boy:

He just wants the kiddo to succeed as well, but unlike himself, Popopo just doesn't have the same strength he had as a young baby. They aren't one-to-one the same. If they were, Meta would have a run for his money, haha. Popopo is far too soft and sweet to really have the same bite Meta had as a kid.

But don't worry, there's a happy ending for this little lad.

As a teen/adult he is definitely a lot happier and sure of himself. He's actually a very decent fighter once he stops dragging himself down.

But until then, he's working through his insecurities like all the others around him. His just happen to hit Meta far closer to home.

I mean, heck, even Kirby of all the kids has insecurities about being unable to summon his Warp Star alone or being unable to speak like them. Galacta Knight fears never being good enough to save everyone as he always wanted and is also hard on himself when he can't do everything.

Just goes to show that even "special" sorts also have their issues too.

I've rambled a lot now but yeah, there's some fun fluff to digest about these guys<3

[mystery-moose]

DEATH STRANDING (Feb 27th)

In my quest to write down thoughts about art this year, I recently completed Hideo Kojima’s Death Stranding for the first time! I had started it twice already, but stalled out both times because I got distracted or moved onto other things.

Kojima has always been a problematic fave of mine, but Death Stranding might be my problematic favoritest of his work.

The raw gameplay loop is as perfectly calibrated, engaging, and compelling as it was when I first played it back in 2019. It is, as Tim Rogers put it, the Gran Turismo of walking simulators, though I would probably put it more accurately as “the world’s best hiking and logistics simulator.” Trekking across Icelandic wastelands and haunted volcanic plains and up and down mountains is alternately so meditative and so tense that even after a cumulative hundred hours in my save file I was still doing optional deliveries just because I enjoy traversing the world. It’s so singular and unique in the thing it’s attempting to do, and in particular with the atmosphere it’s trying to cultivate, that I can say honestly that I’ve never played anything like it. And that’s a wild thing to say about a game with a big budget these days!

But that’s what you get with Kojima. Especially with Kojima these days, unfettered by corporate oversight or monetary concerns. He wants to communicate something, and by god he’s going to do that whether you or anyone likes it or not. That’s a big reason he’s gotten the reputation he has today. And we can argue about auteurship and how it’s bullshit in collaborative mediums all day (and that’s a fine argument to have) but it’s not like Kojima didn’t put in the hours -- the dude’s been making games since 1986, and been a project lead since ‘87. We can say he got lucky once, maybe twice, but we gotta say he’s worked for his pedigree at this point.

I mean, the man made an entire game about nothing but fetch quests, and he made it fun! What the fuck, right?

That’s to say nothing about the use of music, which introduced me to some tunes that still live on my phone! Or the stark, utilitarian-but-inventive mechanical design of Yoji Shinkawa. Or its story, rooted in absurdist silliness, Tarkovsky-esque surrealism, and bizarre metaphysics, bluntly hammering its central message home even as it weaves numerous other threads (heh) into its narrative through its use of visual symbolism, textual analysis, and iconography.

Of course the pacing is a nightmare, though -- so much of the story is backloaded in the final few hours of the game, including numerous revelations that would be better served earlier in the story. And his treatment of female characters, while much better here than Metal Gear Solid V, is... well that bar is beneath the floor, frankly. I do like the women of Death Stranding, in particular Fragile (yes that’s her name, every character is named like that) but the way the camera treats Fragile in one scene that would otherwise be really powerful, and the way Mama’s subplot goes and what Kojima’s even trying to gesture towards, and then the whole deal with Bridget and Amelie... it’s all just kind of a mess.

Which is basically the story of the story of Death Stranding, really! It’s a mess! A frequently fascinating, rarely insightful, occasionally quite powerful mess, but a mess all the same. Whether or not you can look past the stuff that doesn’t work to examine the stuff that does, or are equally interested in failures and fuckups as successes, determines whether you’ll enjoy the story here. That’s how Kojima rolls, though, has been since Metal Gear Solid 2, though that game probably remains his high point for thematic fascination, if not dialogue or character writing. (Including women! Seriously, he’s only been good at it like one time!)

I’ll say, too, that if you care little for story and want to run purely on vibes, then Death Stranding might very well be for you! The vibes here are totally unique and absolutely immaculate, particularly in the audio-visual department. There is nothing quite like when one of those Low Roar songs kicks in while you’re descending a mountain toward a new city, or Silent Poets coming in as you march across a blasted plain. And again, it all feels so personal; you are listening to Kojima’s personal mixtape, a set of bands he heard that he loved and which he associated with this game he was making, and getting that kind of truly personal touch from a big-budget experience is almost impossible to find in games.

Everything in Death Stranding, for better or for worse, is the product of one man’s mind, a snapshot of the things that move him, scare him, fascinate him, make him think and feel and wonder. And they’re all things he wants YOU to think about and feel and wonder. Some of them are stupid, for sure! Others are obvious or shallow. But more than anything, they’re all honest. Death Stranding is one of the most earnest, sincere artistic expressions I’ve seen in any big-budget media, and if that interests you at all (or you’re really into traversal mechanics in games) I’d absolutely recommend it.

Or if you like to point and laugh at the man who put a guy named “Die-Hardman” into his story. Rest assured that Kojima is absolutely laughing too.

[nonbinaryhatboxghost]

So, I finished watching Star Trek: Voyager. (spoilers throughout)

I started watching the show a couple of years ago, and I remember being impressed at how solid its pilot was. Star Trek shows (in my experience) have a history of starting out a bit rough before figuring themselves out, and it felt like Voyager had a pretty solid identity figured out right from the get-go.

But while I have loved watching the show as a whole, it felt like it went through multiple identity crises along the way.

It’s frustrating because the show contains the best depiction of the weight of being in the captain’s chair out of any Star Trek story I have ever seen. Janeway herself is just a great character in general, but getting moments like the finale of “Tuvix” or literally any scene in “Year of Hell” go much further in depicting the effect of leadership on our lead character than one would expect in a Trek show.

Over the course of my viewing of Voyager, I noticed that I tended to respond more to darker episodes than others. “Meld”, in which Tuvok mind-melds with a serial killer Betazoid played by the great Brad Dourif, is one example. “Mortal Coil”, in which Neelix experiences a crisis of faith after a death experience, is another favorite. And while I am indeed a sucker for a quality dark Trek story, the main reason that I believe I favored these kinds of episodes was because they felt like they had an impact on the characters.

Most of the blockbuster two-parters over the course of the show didn’t really stick with me, despite some very fun premises. And it’s because, with the exception of “Scorpion”, most of these two-parters tended to resolve in a way that completely undid any semblance of consequence on future episodes.

The most egregious example of this is the ending of “Year of Hell”, a two-parter that began development as a premise for the entirety of Season 4, but was rejected by producer Rick Berman and downgraded to two-parter instead. While I had pacing issues with the episodes due to sensing the abbreviated nature of a lot of the subplots, I overall really liked the story and seeing the crew of Voyager having to endure so much. Not because I wanted to see them suffer, but because I wanted to see stories that conveyed their journey home would have an impact on them. So when “Year of Hell” ends with a timeline reset that completely eradicates all of the events of the two-parter, I felt cheated. Because it is a cheat.

When Voyager did a similar time travel reset for their 100th episode, “Timeless”, in which a future Chakotay and Harry pull some shenanigans to prevent Voyager from crashing into an ice planet, that story successfully had its cake and ate it by having our present-day crew be aware of the future Harry and Chakotay’s actions. The episode ends with a shocked present-day Harry watching a video message from his now-dead future self.

When I finally got around to the series finale, “Endgame”, all I knew to expect was another time travel story. I have no issues with time travel in Star Trek. It’s possibly overused, but I never get tired of it because more often than not, Trek knows how to find the fun in whichever story they use that device in. I enjoyed the first half of “Endgame” and its depiction of our crew’s future lives back on Earth. I liked seeing Admiral Janeway go rogue in order to time travel back to the Voyager crew that we’ve been following throughout most of the show. And as purposely-but-still-strangely jarring as it was to see Admiral Janeway try to prioritize Captain Janeway and the crew over defeating the Borg, I really liked their scenes together as well as Admiral Janeway’s confrontation, defeat, and death with the Borg Queen. (who is suddenly played by Alice Krige again in the finale after being played by Susanna Thompson in previous Voyager episodes. I was happy to see her but a bit confused after the show seemed to indicate that Thompson was meant to be Borg Queen 2.0, only to have our original Queen from First Contact return)

Then the last few minutes happen. The Borg are quickly dispatched, Voyager makes it back to the Alpha Quadrant, and the show ends with them blowing up a Borg Sphere and saying “hello” to the Starfleet ships waiting for them. There is barely any time devoted to the impact of arriving home on the crew because it happens so suddenly. And as much as Mulgrew does to sell “Set a course for home” as the final line... it falls flat.

I suspect that the reasoning for the abrupt ending is that the writers thought depicting the future older versions of the crew on Earth would serve as closure for our cast of characters. But it doesn’t work because the whole premise of the finale centers on Admiral Janeway undoing that future so she can save the lives of Seven of Nine and Chakotay, who are dead in this depicted future.

During one of Admiral and Captain Janeways’ scenes together, they are debating whether to use the Borg space tunnels to get home faster, or if they should destroy the tunnels to keep the Borg from being able to get around space. Then Captain Janeway proposes that there’s a way for them to “have our cake and eat it, too.”

Despite the convenience of this final plot, one that is explicitly identified as such by that line, the finale could still have stuck the landing if we saw or felt the impact of arriving home on the Voyager crew that we have been following for seven seasons. As messy as the show sometimes got, and as underserved as some characters became after the show introduced Seven of Nine (which confuses me because the writers did such a good initial job of utilizing that character to create new dynamics with the cast), this cast had earned and deserved a depiction of their arrival home. And we never got that.

Tom Paris is my least favorite character on the show. It has nothing to do with Robert Duncan McNeill’s performance, it’s just that the character never felt particularly developed beyond his initial characterization for me. His best material, in my opinion, was in “Lineage” when Tom comforts and assures B’Elanna that he will never leave her and that he wants their children to inherit their mother’s Klingon heritage. But one thread throughout the course of the show that seemed so straightforward of a payoff to save for the finale was Tom’s reunion with his father.

Tom talks frequently over the course of the show about his strained relationship with his Admiral dad. Then once Voyager is able to establish contact with the Alpha Quadrant (another development I had mixed feelings on because it diminishes the premise of the show by minimizing the ship’s isolation), we get introduced to Admiral Paris and he becomes a recurring character. We even get a moment where he expresses his love for Tom and how much he misses him. And while we do see Tom’s reaction to this, this huge character moment isn’t a direct interaction between these two characters. So naturally you would assume that their reunion, and likely reconciliation as father and son, would be shown once Voyager returns to Earth in the finale.

But that doesn’t happen.

Even though Admiral Paris is in the finale, that reunion setup is just not payed off in any way.

We also don’t get to see Tuvok reunited with his family.

Or Seven of Nine’s first impressions of Earth or her meeting any of her relatives.

Or any indication of what our former Maquis crewmembers’ reception by Starfleet would be.

Strangely, the only satisfying character sendoff of the show is Neelix, who in an earlier episode leaves to be with a colony of his own people and serve as Starfleet’s Delta Quadrant ambassador. His goodbye to the crew is a beautifully simple scene of him walking to his ship and passing by the entire crew, who are assembled along the hallway to see him off. And we even get a payoff to his friendship with Tuvok when Tuvok briefly taps his toes as a farewell gesture to Neelix.

Neelix started as the show’s most grating character, irritatingly cheerful and toxically possessive of Kes. By the time the show ended, he had become a well-rounded and essential presence. His traumas of losing his faith and family, as well as his insecurities around his role in the crew, were well developed over the course of the show.

In a way, the finale was a perfect example of the show. The premise was solid, and the cast was totally game and performed it to the best of their ability. But when it came down to conveying any impact that this episode, or the series in its entirety, would have on its characters... the finale just sidesteps that and ends abruptly.

Janeway, Seven of Nine, Chakotay, B’Elanna, Tuvok, Harry, Tom, Kes, and The Doctor all deserved better.

[fatalism-and-villainy]

☕️ talk to me about your svsss thoughts?

Oh man, SVSSS. I will say it’s probably my least favourite of the MXTX canon, but it is extremely fun. Honestly, the aspect of it that had the biggest impact on me was all the parodic commentary on webnovel fandom and its forum dramas. Like that first Airplane chapter with the long comment thread on PIDW just had me cackling from the accuracy of it (especially the whole “if you don’t like it then WHY DON’T YOU WRITE YOUR OWN, let’s see if you could do it better” “I don’t need to be able to do it to know it sucks” exchange, like wow, you broke every argument in the comments down to its bare essentials). All the snarky (self-)deprecating commentary in the narration on tropes and genre expectations and the constructed nature of fiction were delightful. (Have I ever mentioned that I have a deep and abiding affection for MXTX as a personality? Because I really do.) 

I also love the fact that so much of it is a commentary on certain fandom attitudes - like Shen Yuan is very much the kind of entitled fan who harasses creators (the fact that Shang Qinghua has nightmares about Shen Yuan yelling at him about his writing is funny, but also uhhh... telling), but there’s also a lot of pushback against simplistic moral impulses on the part of fandom. The subplot about Shen Jiu’s backstory (which Shang Qinghua omitted because readers wanted him to be a straightforward villain) is VERY much a statement about how circumstances influence behaviour (and fandom’s reluctance to contend with that, imo). Same with how Shen Qingqiu’s perception of Luo Binghe is handled - he’s so fixated on the future of Luo Binghe’s character arc (although for understandable self-preservation reasons) that he doesn’t realize how much he’s altered Luo Binghe’s character by treating him better, and that character isn’t deterministic and set in stone. As I’ve mentioned, I love the fact that the effect of his presence on Luo Binghe is very much in the usual MXTX vein of “the presence of absence of attention and care make a drastic difference in someone’s character,” except in this case there’s an added layer of “and sometimes it will cause their gay awakening.”

Also, the whole setup in which this extremely straight hypermasculine genre would be better and deeper if it were gay? MASSIVE POWER MOVE. Especially with the presence of that girl in the aforementioned PIDW forum shyly being like “uhm I wrote some SQQ/LBH slash if anyone wants to read?” This book is truly a vindication for slash fangirls and villain lovers everywhere. 

I also loved both the leads. Shen Qingqiu is delightful as a nerdy, extremely online personality who unwittingly ends up as a curmudgeonly but beloved mentor to a bunch of teenagers. The way the disciples at Qing Jing Peak grow attached to him with him barely being aware of it was one of my favourite parts and I really wish there had been more focus on it! The scene with both Ning Yingying AND Ming Fan crying after he’s come back to life is extremely sweet. Luo Binghe is also very very good... putting on a tough and cool persona when he’s actually a massive emotional mess who’s desperate for affection and validation. (He’s SO eager to please during his disciple days. “Do you like my cooking? Do you? Do you??? Please let me do this for you every day pls pls pls.”) And he gets jerked around so much! You have to feel for him!  

That said, while I do love the two main characters, the central romance doesn’t really land for me. I really do like Luo Binghe’s adolescent crush on Shen Qingqiu, and him having his gay awakening through the first authority figure to ever be nice to him. And I also like the “omg so cool!!” response to Luo Binghe-the-character that Shen Yuan has that could totally be sublimated gay feelings (@coldwind-shiningstars raised the possibility that he had a crush on Luo Binghe while he was reading the book, which I could see). But the way they actually come together in-story.... there’s a lot of Shen Qingqiu capitulating to what Luo Binghe wants and appeasing him (including in the novel’s climax!) without much regard for what he himself wants and is comfortable with, and it’s uncomfy for me. You can convince him that he has worth and that you’re not going to abandon him while also setting boundaries with him, you know? 

And Shen Qingqiu’s internalized homophobia runs so deep that after awhile his freak-out responses stop being funny and just start being sad. Wei Wuxian’s closetedness in MDZS is at least expressed through him taking genuine joy in plausible deniability flirting with Lan Wangji. Shen Qingqiu on the other hand is just grossed out by Luo Binghe’s feelings for him so much of the time. The extras suggest that he is genuinely attracted to and attached to him, but is just suuuuper repressed, but that being the case, I just come away feeling as if he’s not remotely ready for a relationship at all until he’s worked himself out more. And I kind of want Luo Binghe to just try dating other people.... given the amount of women who were swooning over him, there’s got to be a bunch of potential boyfriends in this world for him as well. He could even have more than one at once (like, he was the protagonist of a harem novel! why’s he gotta become monogamous just because he’s gay now? XD)

So yeah, I loved the main characters but didn’t love the love story. And the setting and plot felt pretty empty for me - I had trouble getting attached to any of the characters or potential side pairings. The one exception to this is Shang Qinghua/Mobei-jun, which is delightful for its “scary demon falls for the first person to ever tell him off” feature, but wasn’t integrated into the story well enough for me to feel strong emotions about it - it’s relegated to extras, and that it feels at a thematic remove from the rest of the story. That is to say, obviously Shang Qinghua being gay and not being able to express that in his writing choices is thematically central to the story (which makes the relegated-to-extras backstory for him unfortunate), but the specifics of his relationship to Mobei-jun don’t feel to me to parallel or offer commentary on the central relationship. Though it’s entirely possible that I’ve missed something there and just haven’t read the right meta yet. 

So, overall - it has a lot of individual aspects that I really like, it’s very funny in a lot of places, and I really appreciate what it’s doing thematically and with its meta aspects, but as a whole, it’s not entirely satisfying to me. 

[astoldbygingersnaps]

Harper’s 2020 Fic Wrap-Up

my very good friend and incredibly talented felow writer @sagemoderocklee came up with the idea of doing an end of the year fic wrapup in an attempt to polish the turd known as 2020, and since i actually managed to get some writing done this year i figured, why not jump on the bandwagon? 

a lot of super duper fucking shitty things happened in 2020, but i will always be proud that in this incredibly chaotic, stressful, and challenging year i managed to produce almost 180k of content (and that’s not even counting the writing i started in 2020 but haven’t published yet). so, to celebrate what’s been a pretty big achievement for me, i wanted to go through the various projects i’ve spent the last twelve months working on and give a preview of my plans for 2021.

let’s jump in!

projects i worked on/completed in 2020:

first off, let’s start with the beast to end all beasts, my personal baby, and honestly probably the reason most people follow me -- star trek au:

something bigger than the sky (shiita; 44,163 words; completed): 

i’ve said this before, but the whole idea for star trek au was literally just a joke between me and my-then girlfriend, now-fiancee, and eternal shiita enabler alexa aka @durintrash (by the way, if you follow me for my fics and you DON’T follow alexa for her corresponding art WHAT, exactly, are you doing with your life????) where i sat in a space-themed diner and said ‘haha imagine itachi as a vulcan.’ but then i blinked and suddenly somehow i’d written the prologue and the first chapter of SBTTS in the span of a week. it’s like i was possessed by a fanfic demon.

it sounds super cheesy but i honestly can’t say enough how important this fic has been to me and how much it’s pushed me to be a more productive and more dedicated writer. previously i spent a lot of time Thinking about writing and occasionally i’d put a few words on the page and then i’d go... do... something... else. but star trek au was the first idea i loved enough that it actually pushed me to write and keep writing and not give up even when i was confronted with things like writer’s block and worry over the quality of my writing. so thank you, star trek au, for being the light in a very dark year for me. 

by the end of SBTTS, i felt like i accomplished everything i wanted to do with the story’s beginning installment: i introduced all the characters and set the groundwork for their development; i showed what life on the corvus was like and how starfleet, the federation, and the universe functioned; and, more than anything, i was able to sketch out both the main protagonists -- itachi and shisui -- with all their strengths and flaws, show their relationship to one another, and hint at how that relationship would progress. 

all the stars are closer (shiita; 75,195 words; completed)

considering how slow i used to be at writing, i thought it would be, like, twelve years before i managed to get to the second part in the series. BUT then covid happened and i half-lost, half-quit my job, and like a lot of people this year i ended up with a lot of free time on my hands. and so, like a fucking demon, i finished this part in two and a half months. 

when i originally planned this part out, i really thought it would be a lot shorter and a lot lighter atmosphere-wise than it turned out. instead, this second section of the story ended up being pretty meaty in terms of length and in subject.

that said, overall, i’m really happy with how ATSAC turned out. i loved the way the characters progressed, how the relationships deepened, and how we were able to see this universe grow bigger and more complicated. and i’m very satisifed with how it set the stage for part three, which takes us to...

lovers alone wear sunlight (shiita; 41,518 words; in progress)

there’s... a lot about this part that i just can’t talk about yet, a) because it isn’t finished and b) because it contains some of the biggest plot points in the entire series thus far. if you’ve been keeping up with the stardates thus far (which i encourage you to do!) you know what part three is leading up to: itachi leaving the corvus and the dissolution of shisui and itachi’s growing relationship. 

with that in mind, i’m... more than a little terrified about writing part three, which is why the third chapter has been languishing in my google drive for months now. (and also why i started not one, but TWO new fics to cope with my writer’s block. whoops.) chapter three is where all the parts come together and shit hits the fan, and i can only hope that everyone will be as excited to read it as i am to publish it. 

next up, the two other projects i began this year:

salvation comes only in our dreams (shiita; canon divergence; 16,835 words; in progress)

for a long time, i’ve wanted to write something that’s actually set in the naruto universe and works to correct a lot of the flaws that i see in the series. there are a lot of things that bother me about naruto, but i think one of the things that frustrates me the most is the really messy and in some ways offensive resolution to the uchiha coup plot thread, and i wanted to write a story that dealt with the complicated themes of the series--imperialism, oppression, genocide, child soldiers--but, like, didn’t suck and completely drop the ball. thus, the massacre au was born. 

my main goal was to tell a story that showed a lot of these characters in ways we’ve never seen them before, specifically itachi. i didn’t want to write itachi as just an idealist who suffers and Suffers AND SUFFERS for konoha yet still remains loyal to the village for some unfathomable reason like he is in the series. i wanted to write an itachi that was sharper, more jaded, and more suspicious of the world around him, but overall was still a good person with a kind heart. and for shisui, well... obviously there’s a lot going on there, too. 

this is easily the darkest story i’ve ever written, and as the plot thickens it will certainly get darker with relationship dynamics that are complicated and unhealthy At Best. i hope that as the story goes on it’s a ride people continue to enjoy, as i was super pleasantly surprised at how popular this fic became (compared to my usual stats, at least) 

oceans between us (shiita; alternate universe; 15,039 words; in progress)

it’s good to know that i continue to be the most ridiculously niche version of myself as yes, i wrote a fucking shiita atonement au. 

with each fic i write i try to have a very specific voice that suits the particular piece and distinguishes it from other stories that include the same characters. for example, star trek au chapters tend to be more fun and light-hearted (especially shisui POV chapters) and lean more into the action movie and sci-fi adventure feel of the star trek universe, while the massacre au is written in a way that’s much heavier and guided by itachi’s emotions and experiences. my main goal with this story was to give it the same romantic, operatic, almost hazy quality that the movie has, which reflects the period setting and also the nature of this grand tragic love story. 

i knew from the beginning that there were going to be a lot of things that i cut from the film in my retelling, like the lola subplot and obviously the setting of pre-wwii england. i also knew i wanted to explore some of the aspects of the film that were implied more than outright stated, like the themes of classism and upper-class privileges. and more than anything i wanted to structure this piece around this idea of tension building and building until it finally snaps and there’s just a world of mess and hurt and loss that affects these two characters in two very different ways. 

also, the sex scene. i haven’t written a sex scene for anything in, like, a decade, so that was a lot of pressure. but i’m happy with how it came out and i think it ended up being an aspect of the story that felt like both a natural progression and necessary to show the affection these two people have for one another.

originally i was just going to end the story with shisui going to jail, but when i told alexa this i genuinely thought she was going to kill me. so, that didn’t happen lmao. but the more i tried to imagine what a second chapter would look like, the more i realized she was right, and it would have been a terrible idea to end the fic there. as for whether or not the final chapter will keep That Ending... who can say?

goals i have for 2021:

finishing lovers alone wear sunlight and, if i’m very lucky, beginning the fourth and second to last part of star trek au (yes, as it currently stands this 160k+ word series is only halfway finished. sorry not sorry)

publishing the next chapter of salvation comes only in our dreams (i don’t know when it will drop. i don’t know anything about this fic. please do not @ me) 

completing oceans between us (the second and final chapter is currently sitting at about 4k words and will probably end up at about 15k in total)

completing and publishing a new fic i’ve started at the very end of 2020, which is the shiita jurassic world au nobody but me and alexa knew they wanted. it’s essentially a 90s romcom with dinosaurs and i cannot Wait to share it. (it’s at about 9k right now and will probably end up being around 20k to 23k in total... maybe...)

FINALLY starting my dream project: the shiita olympics au i’ve been planning for years, where itachi is a figure skater and shisui is a hockey player (i’d like to keep this under 150k but at this point trying to keep my stories at a managable word count is a losing battle)

anyway, that’s it! if you managed to get this far in this very self-indulgent and shameless bit of self promotion, congrats! also, a very big thank you to everyone who’s read my fics, left me kudos and comments, and spent their time on my work, because it really does mean the world to me. 

here’s hoping 2021 is a much healthier and happier year for us all! 

[deltaengineering]

What remains of Fall Anime 2020

You might have noticed that I haven’t been keeping up with my season impressions, mostly (but not exclusively) because it’s really boring to come up with new ways to say “it’s isekai, which means it’s garbage for stupids”. So here’s what I ended up finishing, in ascending order of goodinosity.

Hypnosis Mic -Division Rap Battle- Rhyme Anima

Ostentatious rap battles in an insanely stupid universe are very fun. The thing is that this doesn’t want to be a good anime, it wants to sell us on these characters, and the characters are pretty terrible on account of all of them being one-word gimmicks. So, let’s give them three rounds of introductions and have them solve lame, generic crimes for 8 episodes instead of setting up the rivalries that everyone suddenly has later, when the show gets good - because it does start delivering towards the end, and becomes really all I wanted. So I can’t even say I’m disappointed, but the first half of the show is almost entirely worthless. 4/10

Assault Lily Bouquet

I don’t want to be the guy that’s all “I’m mad at this show not catering to what I want”, but I do have to say that Salt Bucket is much better at being a goofy, lighthearted yuri comedy than it is at action (though there are a few choice cuts) and at having an engaging storyline. This is again just an ad for some game or other, so it’s no surprise it has about two dozen characters too many, but it also has quite a lot of superfluous plot - so much so that I suspect it was initially planned to be twice as long. Apart from that, it’s cool and all that some Gainax old hand got to make his own Gunbuster-like, but it’s just not very good at that and all I wanted was Kaede antics and bath scenes, of which 1 per episode is clearly too few. 5/10

The King's Avatar 2

King’s Avatar got a sequel and overall I have to say, I kinda like it more than the first season even though it looks much less ambitious and even the character designs were changed towards the bland. But I honestly don’t care much about the esports aspect of this and much of S2, especially in the back half, is more about schemes and social engineering - as close to an Eve Online anime as we’re ever going to get, I guess. It’s still very chinajank (why the hell does every episode come with a redundant chibi summary of itself, etc), and while I can’t call that “good” it does remind me of a time when I wasn’t filled with useless knowledge of anime tropes and was just enjoying the weirdness. Also, Ye God’s antics is as close to “looking for anime with OP MC” as I’m comfortable with getting. 6/10

Heaven Official's Blessing

Now how about some Chinimation that isn’t very janky? I only became aware of Heaven Official’s Blessing when it suddenly rocketed to the top of the MAL charts, so I gave it a looksie and oh boy. The first few episodes of this show are flat out gorgeous, quite funny and very very gay. So I was ready to agree with MAL for once, except it then launches into an arc that mostly consists of our dudes sitting in a dark pit telling each other stories that aren’t very interesting and seem barely related to the setup. Yeah, the back half of this just isn’t very good at all. And the subs are hot garbage. Still, the beginning is so impressive that I would recommend this show despite the middling rating it’s about to get. 6/10

Ochikobore Fruit Tart

You know the problem that these 5girls4koma stories have, where one of the characters is an annoying pervert, yeah? Well, in Fruit Tart every character is that character, and they’re rather cultured as well. Yes, it’s often of questionable taste and it has a terminal case of 4koma storytelling but dammit if I didn’t enjoy it. It certainly helps that this show’s greatest asset by far is Broko and it seems to be aware of this, because there’s a lot of Broko material. It would have probably have gotten a 6 but the last episode is just so... maximum Fruit Tart. I’m down for some trash if it’s as well made as this, and I do like my kiraralikes spicy, so thumbs up over here. YMM definitely V on this one. 7/10

Majo no Tabitabi

Speaking of things that are hard to recommend despite me liking them a lot, Elaina here challenges the very notion of what a TV show even is supposed to be. I assume most people tune in every week expecting to get something roughly similar. Not so with this one, you could get everything from slice of life antics to Higurashi-style gore, or reasonably deep character study to pervert comedy. I would say that the only unifying thread is the presence of Elaina, who is a very fun character, but there’s an episode she’s not in, so there you go. But I’m a connoisseur of the weird and I also have to say that I enjoyed every episode in its own way. Also, each episode stays remarkably consistent by itself, and in the end it wraps it all up with a sort of neat “life is like a box of chocolates” thematic bow, which isn’t earthshatteringly profound but hey, it’s there. Just don’t go in with expectations, especially not expectations based on the first episode. 7/10

Love Live! Nijigasaki

It’s Love Live. Good old reliable Love Live. Really not much to say about this one, any discussion of what makes this different from previous iterations is going to end up in minutiae only people who already watched this could possibly care about. I do have to say that while the musical numbers are as good as Sunshine’s were towards the end and there’s also a lot more of them, “looking budget deficient outside the CG” is the one thing I didn’t expect from something that’s ostensibly a Sunrise premium product. So boo on that one, apart from that it’s idols (an anagram of solid). 7/10

Garupa Pico Oomori

The chibi SD shorts based off Bang Dream are still better than the main show. Even if S3 was actually quite good, this is just the best thing you can do with 30+ characters that aren’t that deep. Garupa Pico specializes in absurd humor setpieces that at points is better at being Pop Team Epic than Pop Team Epic itself was. Take that, memelords. 7/10

Fire Force S2

Fire Force is just weird, man, and it’s sort of great. I don’t think I’ve ever seen a property of this magnitude show this much of the ol idgaf spirit. How about an episode where the A plot is the most evenhanded exploration of religion i’ve seen in anime, and the B plot is about blowing up a tryhard edgelord by exposing him to panties? How about a subplot where Batman and Thor infiltrate the vatican to kill the pope, only for that to lead into a gay rape backstory, only for that to be resolved by dank weed and dismemberment? It really is quite a thing, as they say. Now, Fire Force certainly delivers hard at points, but it’s also very scattershot, even if S2 is somewhat more consistent than S1. The weakest parts are unsurprisingly still the ones where it’s remembering its fighting shounen template, and that’s not only because I don’t like that, it’s also because it’s particularly and consistently bad at scheduling these huge, simultaneous multifight setpieces it often crescendoes with. But hey, at least these tend to look super cool. In short, Fire Force is a land of contrasts and still the only fighting shounen I give a damn about. 7/10

IDOLiSH7 Second Beat

Did you know that I think Idolshi7 is the best one of all of these huge-ass commercial idol franchises? Yeah, I think it’s better than Love Live, and as of Fall 2020 also the better looking one because Troyca still delivers where Sunrise apparently can’t. I guess still don’t like the music much, thankfully there isn’t a lot of that. It also still specializes in gigantic drama, and to its credit S2 is now much better at either getting to the point or at least making it silly and fun. You show that door who’s boss, Sou. Still fantastic Tsumugis all over the place as well, in fact I think I like all the characters now. Even Banri gets his big moment in this season! Yeah, this stuff is pretty cool. 8/10

Adachi and Shimamura

So here’s the AOTS, and it’s the lovechild of Bloom Into You and Tsuki ga Kirei. While it definitely isn’t as good as either of these two, because it lacks the “about more than just teenagers being hyperbolic about a crush” part from Bloom and the part where it has an actual ending from TgK, it carves out its own niche with its loopy, almost stoned tone that’s full of side weirdos and yuri hyperspace. It’s also uniquely focused, with a tiny core cast and even Shimamura doesn’t really matter all that much. This is all about Adachi, and thankfully Adachi is amazing. Amazingly awkward, that is. It’s very cute. So yeah, this is a bit too lacking in substance to aspire to classic status, but it’s a great time nonetheless. 8/10

[pass-the-bechdel]

The Good Place full series review

How many episodes pass the Bechdel test?

96% (forty-eight of fifty).

What is the average percentage of female characters with names and lines for the full series?

49%

How many episodes have a cast that is at least 40% female?

Forty-four.

How many episodes have a cast that is at least 50% female?

Twenty-eight.

How many episodes have a cast that is less than 20% female?

Zero.

Positive Content Status:

Good - you might even say, strong - in the sense that it’s all there, pretty much all of the big representation bells are ringing, particularly the ones for women and racial diversity. That said, the show is generally content to sit pretty and not push the envelope on inclusivity, so if you’re looking for inspiration in-text instead of just in casting, you might be disappointed. At any rate, it’s a solid feel-good time, and not likely to make you mad (average rating of 3.01).

Which season had the best representation statistics overall?

The numbers stay pretty consistent across the whole series, but if I had to call a winner, it’s season four, which has the highest percentage of female characters and the only above-average positive content rating (though that was awarded somewhat cumulatively, and so doesn’t feel particularly well-earned by that season above the others). 

Which season had the worst representation statistics overall?

It’s such a close call, but season three must be the loser here by virtue of the lowest ratio of female to male characters; it also had one of the series’ two Bechdel fails. Like I said, it’s...a really close call.

Overall Series Quality:

There’s so much about it that is fresh and original and interesting, I wish I could love it more. After a magnificent debut season, the show suffers immensely for a lack of pacing and the absence of coherently-planned plot, and at times the stagnating characterisation and pointless filler caked into the cracks in the storytelling can be frustrating and/or tedious. I’m only as disappointed as I am because the potential for greatness was so strong. That said, even at it’s worst The Good Place is still entertaining, and most of it is better than that. It’s irreverent, it’s fun, it’s surprising, and sometimes it’s even as poignant as it is remarkable. I have my gripes, in droves, but that doesn’t mean this show is not worthy.

MORE INFO (and potential spoilers) under the cut:

Imagine. Imagine a version of this show where the first season is basically the same, and the second season is...somewhat similar to how it is, but with more focus and direction, less time-wasting; a second season where figuring out that some fundamental change to their circumstances is necessary comes early, and instead of faffing about with ethical lessons in the fake neighbourhood again while Michael pretends he can get everyone to the Good Place, we get down to business with going on the run and into the Bad Place to find the judge and petition for help. Imagine this show, but the third season has none of that return to Earth crap, and instead, is the neighbourhood experiment from season four, properly fleshed out. And then season four is all about going to the Good Place and solving the problems there, addressing issues with the concept of utopia and the ineffectual bureaucracy of obsessive niceness (used for comedic effect in the actual show, but c’mon, there’s a whole untapped reservoir about morality there). Each season could have (gasp!) a properly-planned and plotted arc, dealing with a different school of ethical considerations, and I dunno, maybe the characterisation could have trajectory too, and the characters could vitally shape the storytelling, and maybe not get their personalities and experiences erased and rebooted over and over again, nullifying large swathes of the narrative which came before? Ideally, they could be reset zero (0) times, or at least have all their reboot experiences dumped back into them in the first few episodes of season two, so that they could proceed from there as whole people. Rebooting everyone’s personalities is not actually necessary to the plot in any way, and is, actually, incredibly detrimental to storytelling and especially, character development. Imagine this show, but just chilling out and actually telling a coherent story? 

I am all the more annoyed by how things turned out on this show because I know that the four seasons were planned for, rather than being the result of cancellation; the idea that the creators sat down and ‘plotted’ (using that term loosely) to make this mess drives me a little wild. The (attempted) avoidance of the dreaded ‘stagnation’ seems obvious, and it leads to major narrative shortcuts and jumps and instances where the show spends an episode or two on what should have been a half-season’s development, minimum, and yet at other times all momentum grinds to a halt for a bizarre bottle-type episode where the characters just talk about a concept for a while or work on some unimportant romantic subplot. The various ethical concepts that the show heavily incorporated as its bread and butter in the first season start to stick out like sore thumbs in season two, seemingly wedged into one episode or another for no real reason other than just to be there, and the fact that the show lets go of the idea of moral choices in the life mattering at all in the end leaves the backbone of the show in a very strange shape. I said in the season four review that I didn’t expect the show to come up with some One True Answer about how people should live their lives, but that I was baffled by the fact that the show side-stepped that altogether; what I expected them to conclude was something in the line of ‘we recognise that life is complicated, not all situations are created equal, and it can be hard to know how to proceed ethically or even to access ethical options within one’s circumstances. Still, it is important to do your best, not only for yourself but for your community, because the more good you put into the world, the more there will be to go around and come back to you. What matters most is that you are doing your best with what you’ve got’. The fact that the show distracted itself with fixing how the afterlife rewards people within the afterlife means that it suggests no incentive to perform moral actions in life, and frankly...who gives a fuck? The real world is the place we’re all living in, and there’s no point starting a conversation about morality in real life if the conclusion is just ‘guess we’ll straighten out all the fascists and bigots and the other pieces of shit after they die, so don’t worry, everyone gets to Heaven eventually!’

Anyway, if that seems like just a reiteration of what I said in the season four review, well. I’m still baffled by it. The other thing I was going to talk about in the season four review but held for the full series instead was that one big thing that I have railed about all the time since season one, and that’s PACING. For all ye wannabe-writers out there, please understand how important pacing is. Even vital plot or character beats can seem like meaningless filler in a poorly-paced story, because your audience’s mind is hardwired to try and follow narrative cues that are being incomprehensibly muddled. Standard structure can be played with, but if you toss it out in favour of ‘stuff just happens, ok? Except when it doesn’t’, you just end up with a soup of disconnected story ideas, and nothing threading it together. Character interactions and especially developments can help to create the through-line you need to keep the story functioning despite itself, but as variously noted with The Good Place...initial characterisation? Strong, excellent. Development? Not so much, not least because they kept getting deleted and rebooted. Also, time skips kept happening, and that’s a great way to fuck over your narrative coherence even more: remove the recognisable constant we call time! It’ll be fine! As with all things, it is perfectly possible to play around with this stuff, but you have to know what you’re doing and be doing it for a good reason, and that’s not what they had going on here. This was narrative soup, and when you have a soup, the pieces all kinda meld together and lose any individual purpose, meaning, or power they may have had. The result in this case was not bad, but it really could have been so much better, and literally all it needed for that was some attention being paid to the story structure via pacing.

So. The good news is, I think I have pretty well exhausted all of my complaints by now, and that leaves us with the good stuff, of which there was no paltry amount. The show was not a hit by accident (even if I do feel that it’s success had a lot to do with people sticking around after the spectacular first season, and not because it stayed strong throughout), and even if there was a lot of soup going on, what comprised that soup was all really fun and unique, and this made for a wonderful piece of light-hearted television that could be as hilarious as it was insightful. It still had a lot of great takes on things, the commentary was strong (even if it pulled all its punches towards the end), and whether the storytelling was ebbing or flowing, it was always delightful. The show also managed to pull a miraculous finale out of its hat, and that’s a rare thing in television; however the story wobbled over the course, the ending provided enough satisfaction to forgive just about any sins, especially if you don’t happen to have been watching with a deliberately critical eye. Do I wish that Eleanor got to hook up with a chick on-screen some time instead of just making a lot of bi remarks? Yes. Do I consider the show to have queerbaited instead of providing genuine rep? No. Is the underselling of the queer content my most significant representation complaint? Yes, it is, and that's good news considering the world we live in and the dearth of quality representation that the industry has brought us to expect. 

There's an important distinction to be made there, regarding the tokenistic representation that is very common these days in tv trying for brownie points and good publicity, exactly that kind of 'political' inclusivity that conservatives are always bitching about. It should not be surprising that I support that tokenism over the alternative of having no representation at all, but it can still be quite disheartening to feel like your identity or the identities that you value are being referenced as nothing more than an opportunity for some shitty producer to perform wokeness for attention, praise, and the almighty dollar. I bring this up because - even though The Good Place never really worked up much of a boost to its content rating - one thing I felt that it did really, really right was providing representation without it feeling tokenistic at all. Eleanor's bisexuality wasn't as prominent as I might have preferred, and as noted through the course of the show, there were times I feared it was more bait than real rep, but reflecting on it at the end, the way it was included feels organic, it never gets in the way in order to ensure the audience notices and is dutifully impressed. The number of women around and the multicoloured casting plays out even better; I never once felt cynical about the gender balance I was seeing, and I've said it before but I'll say it again: the fact that the show was packed with names from across the world gives me so much life. I'm still a little salty about Chidi's Senegalese origins getting the shaft (and we won't talk about 'Australia'), but the nonchalant diversity of naming goes such a long way to embracing the idea that this is a world for everyone (and an afterlife for everyone, too). And where anything else might fall apart or lose its way, that is an affirming thing. If you want feel-good tv, it’s here. This is the Good Place.

[sometimesrosy]

I haven't been online since before last season of The 100 ended and wanted to know what did you think about Bellarke not happening then and do you still think it will? Do you know anything about the final season?

I think I need to ask what you define as “Bellarke not happening.”

Because if you only think of the infamous kiss/confess/sexing as bellarke  “happening,” then I say have patience, the story is not over yet.

Because the truth is that the story is ABOUT BELLARKE, and it is romantic. And in a romance story of this type, the romance is not consummated until the end of the story.

I resisted that for many years. I did not see why they couldn’t just goddamn kiss. Because there are many romance stories where they do, and in science fiction, you can actually have the romance subplot be consummated at any time. See I had a bias against romance genre, which puts the romance as the priority and make it the most important thing. With the romance genre, they don’t kiss/confess/sex until the end, or maybe it’s marriage that is the consummation, or dating for YA, or maybe it’s a reconciliation after some sort of separation. That’s one of the reasons fake dating/marriage is so fun, because they ACT like an established couple and you put them in all those kiss/confess/sex situations but at HEART they are not there yet. So you push to consummate while they are still developing the LOVE feelings.... and it’s the love feelings and commitment that make the romance. But that’s not this story at all, is it? No. And as it turns out, while The 100 is not a romance and is scifi, the bellarke subplot that has threaded its way through all 7 seasons IS A ROMANCE, and it’s an old fashioned one, like Pride and Prejudice or Odysseus and Penelope. I supposed putting an old fashioned love story in a very modern, pro sex, futuristic, savage show like The 100 is a contradiction. Clarke and Bellamy have sex with all sorts of people and it doesn’t mean a thing so why can’t they even KISS each other?

It turns out that Bellarke can’t kiss until it’s time because the romance is the story, here. And if the romance is the story, then in order to keep having a story, we have to hold off the romance and put obstacles in the way so that our heroes must struggle to reach that goal-- the goal of romance-- in order for us to have development, growth, a fight to get, determination, narrative tension, and true importance to the characters and narrative.

What I think is that the story was more intrinsic to the main plot than I thought it was. They didn’t want to do an established battle couple. They WANT to tell an epic romance in the apocalypse. And like I said in s3 after hakeldama, this story requires Bellarke to be endgame, the head and the heart, it doesn’t work if they’re apart, and together is the only way they can succeed. This follows for the Bellarke relationship as well as for humanity’s redemption and rebirth. Bellarke is a metaphor for larger story. 

Because of that, they are holding it for the end of the story.

We are now getting to the end of the show.

And, as the narrative develops and they begin to tie up narrative threads, we can see that the bellarke relationship is getting DESPERATELY romantic. Bellamy is desperate. Clarke is desperate. For what? For each other.

Damn.

The Bellarke story is now OVERTLY romantic. It started being part of the main story when Bellamy came back with Echo as a girlfriend. I know people didn’t like that storyline, but it isn’t actually a b/e storyline. It is a C/B/E storyline. It’s a love triangle, and Echo is what stands between bellarke and keeps them apart, and it’s what broke Clarke’s heart in s5 leading to her regression into isolation and fury at Bellamy as she left him to die. 

And then with Bellamy saving Clarke as the main drama of season 6, with Bellamy being the only one who can do it, the only one who CARES THAT MUCH, the only one dragging Josephine into the woods while she drags him for loving Clarke and tries to get him to let her murder Clarke, and THEN that death scene, where he won’t let her go (confession) and needs her (confession) and gives her mouth to mouth (kiss of life) and how she wakes up and says “the head and the heart” and then they hug most intimately and sweatily in a close up of emotion and tenderness (clearly it’s not sex but they’ve never actually been that physically close to each other before) and then afterwards, there’s caretaking and intimate discussions of feelings and need and they are (almost) completely together as she wants to risk herself to save the people he left behind and he says no, but they end up going with her plan anyway, and then we have (in contrast) the reunion with Echo who he left at risk, and it’s half hearted at best. He loves her he cares for her he wants her alive, but look at Clarke over there? he does. And then pats Echo’s back. Then we have battle battle battle bros, and while everyone is reuniting after the battle with their loved ones, Bellamy gives Echo another pat on the back, and runs into Clarke’s arms to make sure she’s all right and give her comfort and care like a good hubby does.

Listen. They haven’t kiss/confess/sexed yet, but that resurrection scene gave us all those thing ALMOST in a slantwise way. And that’s not me being foolish, that the creators teasing us with baby steps towards romantic fulfillment.

I know people think it’s a delusion, that those things are “bait” meant to just tease the bellarke fans and then yoink away our beloved bellarke endgame, but I don’t think they’re baiting, although they might be teasing. They are not isolated incidences of romantic hints, they are a steady and continuous progression of romantic development starting in season 1 and ending with, I’m sure, romantic fulfillment, Bellarke endgame in season 7.

How it will end I don’t know? Will they get a happy ever after or will they die together? Or will they (worst) admit their love get their consummation and then have one of them die and leave the other behind (that would be a tragedy,) i don’t know.  But I do know that the story is an epic Bellarke romance and we’re getting to the endgame.

Why didn’t it happen in seasons 1, 2, 3, 4, 5, 6? Because it wasn’t endgame yet. Endgame is for the end. It turns out, just like the show can’t go on with out Clarke or Bellamy, because it’s their story, it also can’t go on without the tension of Bellarke’s romance building, because that is the BACKBONE of the story. 

In a romance story, the romance is never secure until the end. That’s all.

It doesn’t matter how much fandom wants to convince me that it’s not a love story unless they boink, I know that a love story is not based around boinking. That would be porn or smut. Even if many love stories have boinking throughout, that is not the essence of a romance genre story. 

A love story is about HOW THESE IDIOTS FALL IN LOVE AND GET TOGETHER FINALLY.

Which is the definition of the Bellarke story in seven seasons. Therefore, what do I think about Bellarke not hooking up in season 6?

I think, god that was romantic! I can’t wait to see what they do in season 7.

[wits-writing]

Ultraman Z Ep. 8: “The Mystic Power” (TV Review)

(Original Air Date: August 7, 2020, Director: Koichi Sakamoto, Writer: Sotaro Hayashi)

Kaburagi’s experiments to create Monster Medals continues in this week’s Ultraman Z as he gathers the material to push past the limits of the Z-Risers fusion to create the devastating Five King. Meanwhile, his plans to gather those materials lead to one of the weakest story threads in the show so far.

[Full Review Under the Cut]

Celebro, the alien possessing Kaburagi, has been gradually getting more focus over the last few episodes. The momentum around his role in the story this time comes from Juggler following up on his investigation into his operation after finding Kaburagi’s nametag after their encounter last episode. Juggler being the first character we’ve seen call Celebro by his name suggests that he’s connected to why Juggler’s on this Earth to begin with. We also get more of how Celebro’s been operating to obtain the materials he needs for his experiments to create Monster Medals. We see he’s contracted two shapeshifting Alien Pitt sisters to obtain rare specimens for him this episode. Brainwashing them to gather more sample when he needs more. That he refers to the use of these materials as “an experiment” shows a detachment from the damage he’s causing. What matters is seeing how he can use the power of the tech behind the Z Riser and the medals to his own use. Juggler’s investigation confirms a bit of this when he finds a notebook Celebro’s been keeping on Kaburagi’s desk, containing the details of Ultra Medal creation written in an alien language.

Last time I discussed the use of sunset as a lighting choice during the Ultraman fight. The fights in this episode go forward into battles set at night (or just darken the sky when Tri-King appears early on.) While the magic hour lighting of last time provided darker shadows cast across the Ultras, the fight set against the night sky emphasize contrast. All three of Ultraman Z’s forms have their bright colors pop against the dark navy of the sky during the fight against Tri/Five-King. This is itself in contrast with the first fight in the episode, when Sevenger and Windom are fighting Tri-King. The cloud coverage Tri-King brings creates a muted palette emphasizing the dire situation of the two robots being overwhelmed by the fusion monster.

The time between these two fights gets split between Juggler’s previously mentioned investigation into Celebro and the part of this episode that I’m the most mixed on, Yoko and Yuka’s subplot. I spent a decent part of my discussion of the previous episode on how I felt the two characters weren’t given much to do with prominent guest characters showing up. The way this episode uses the time they’re given makes me feel like I jinxed something by bringing it up, since they spend a portion of this episode captured by the Alien Pitt sisters. The sequence of events that get them caught is a series of misunderstanding caused by Yuka finding Haruki’s lost Z-Riser in the aftermath of the first Tri-King. One of the sisters sees this and takes them both under the assumption one of them must be Zett’s human form. Her decision to take them both coming down to her impatience to figure out which one it might be is a genuinely funny touch.  

While Yoko and Yuka getting stuck with the role of capture victims is eyeroll inducing, there are a few things I enjoyed about their roles this episode. The opening sparring match at STORAGE headquarters between Yoko and Haruki makes a fun low stakes character moment between them while emphasizing Yoko’s fighting skills. Rima Matsuda as Yoko is especially impressive in this scene and the later fights since it’s clear she’s doing quite a few of these gymnastic moves on her own. The scene also works as a reminder of how much she outmatches both Haruki and Yuka in fighting skills. A trait used to humorous effect when Yuka pouts about being challenged by Yoko during the training exercise when they both know she’ll lose. Yuka’s fun as usual whenever she gets to express her passion for all things alien or monster related. That’s best displayed when Yoko and Yuka get broken free by Haruki and get to fight their captors. Yoko takes part in a more direct fight with one of the sisters. Meanwhile, the other spends most of that time running from Yuka as she asks to study her up close. These aspects don’t balance out what doesn’t work in their story, but they’re still nice to see. Though one thing I hope doesn’t get forgotten about in this subplot in the two of them seeing the Pitt sisters delivering more alien samples to the possessed Kaburagi. Since they barely remark upon “this guy is wearing the uniform of the guys that clean up after our monster fights” in this episode.

The main attraction for this episode is the debut of the latest of Ultraman Z’s fusion forms, Gamma Future. When the fight against Five-King takes a turn for the worse, Juggler decides to finally give the Ultra Medals he’s had since the end of episode one to Haruki and Zett (him being their source remains unknown.) This form is primarily based on the first three Ultras from the Heisei era of the franchise, Tiga, Dyna, and Gaia. Zett’s description of the three ties into the “mystical” theme of Gamma Future as a form. While the other two sets have been described by the rookie Ultra as “masters” and “brothers”, he only describes these three as being from other dimensions and that he’s only heard of them from Zero. It gives the sense that the three are mythic even among other Ultras.

Gamma Future’s look is set apart from Alpha Edge and Beta Smash primarily by its golden breastplate, a design choice taken directly from Tiga. There’s also a sense of grace and precision to how Zett moves in this form, emphasizing how it’s less physical than the other two. The attacks of this form are shown in three forms; energy tendrils, the summoning of the three Heisei Ultras to blast Five-King, and finally shrinking down so Zett can go inside Five King and blast him to pieces from within. It’s easily the most unique of the form debuts so far if nothing else.

“The Mystic Powers” leaves me with the most mixed feelings of any Ultraman Z episode so far thanks to how it misuses Yoko and Yuka. Though the advancement of the Celebro plot, presentation of the monster fights, and debut of Gamma Future are still enough to keep it from being even close to a bad episode. It’s still a well-constructed show and I hope it doesn’t repeat these mistakes to often in the future.

If you like what you’ve read here, please like/reblog or share elsewhere online, follow me on Twitter (@WC_WIT), and consider throwing some support my way at either Ko-Fi.com or Patreon.com at the extension “/witswriting”

[nellie-elizabeth]

Brooklyn Nine-Nine: Manhunter/Captain Kim (7x01/02)

This really should be split into two different reviews, but I am lazy so here we are. Let's dive in!

Cons:

The first episode this week featured a subplot where Amy thought she might be pregnant. I know it's just a one-off thing in terms of episode composition, but it bothered me that in the premiere of the season, Rosa and Amy's plot thread was them standing around and talking about pregnancy. They didn't really have much else to do, which was a bummer and a slightly weak opening for these two characters.

Terry had the least to do of any character, in both of these episodes. In the first, he's paranoid that other people are talking about him, and in the second, he's talking up his daughters to someone involved in a good school he wants to get them into, and then avoiding a caterer who he thinks is trying to poison him for putting him in prison years ago. Even this slightly more exciting plot thread didn't really provide much for him to do. This is just the start of the season; I'm sure he'll have plenty in the coming weeks... but I thought I'd point it out!

The first episode, "Manhunter," started with the news that there was an attempted assassination, but despite the supposedly high stakes, the whole thing devolves into a story about Holt and Jake finding a new balance after Holt's demotion. That's a lovely story to tell, but it kind of sucked the urgency out of the whole "assassination" thing.

Pros:

I absolutely loved the guest character Debbie, Holt's partner now that he's a beat cop for a year. She was so funny - I loved that she was totally content and indeed relieved to be given pointless tasks, and relegated to "cone duty." Her whole story kept unfolding as the episode went on, in absurd and funny moments. After spending time with this bubbly and slightly incompetent woman, who's obsessed with a pedometer app, she suddenly declares that the reason she became a cop was to find her twin sister's killer... and later randomly lets everyone know that it's her birthday. She was hilarious and kind of relatable too. I'll admit there have been times at work when I too would be okay with being given unimportant tasks instead of anything too urgent!

I also really liked the Jake and Holt dynamic in this first episode, as Jake of course respects and loves Holt, but at the same time, doesn't want him stealing his thunder on this case. It's awkward to suddenly be the "boss" of your former Captain, and I think they play with that tension very well. Especially the conclusion, wherein Holt is right about the case for the most part, but Jake and the others still have to come in and save the day. Holt then apologizes for disrespecting Jake's authority, while Jake acknowledges that it's going to be a little strange to get used to their new situation. That was a good balance, wherein both men were able to communicate openly!

Despite wishing Rosa and Amy had maybe a little bit more to do, I did enjoy the beginning of the "Jake and Amy start a family" story-line. A pregnancy scare leads Amy and Jake to contemplate whether it might be time to start trying for real, and they decide that it is. I liked this because it shows real growth for both characters. Amy, the meticulous planner, is willing to let her schedule fall by the wayside and start letting things happen as they may. And Jake, who has been afraid of being a father, doesn't have a relapse or freak out at the thought of Amy becoming pregnant. I love this adorable couple and want the best for them!

The second episode I found to be stronger than the first. A new captain has shown up, and Jake and Holt are both suspicious of Captain Kim. They think she must be working to bring them down from the inside. While the rest of the precinct is taken in by Kim's kindness and the effort she takes to get to know them, Holt and Jake refuse to be swayed. They hunt for clues at a party Kim throws at her house, and end up releasing her pet dog from a locked room, which causes chaos. Turns out, Kim did actually have good intentions. She wanted to be a captain at the Nine-Nine because Holt is her hero, overcoming so much to become captain. In the end, though, she realizes she'll always feel like an interloper, and decides to leave. Because of Jake and Holt's meddling, they've lost a great captain who was planning on stepping gracefully away at the end of the year to let Holt come back!

I was really glad there wasn't some twist with Kim, that she really was a good person who just wanted to get to know them and work with them. Of course, that wouldn't bring very much drama moving forward, so now we're going to have to see what comes next for the precinct!

While the first episode had Holt and Jake at odds, the second episode had them teaming up to investigate Kim, each having their own reasons for suspecting her. I love the two of them as scene partners; they work so well playing opposite each other, and also being allies. They rile each other up in the best ways. I think my favorite Holt moment was when he's seeking motivation for being drunk and destructive at the party, and lists a few possibilities - a fight with Kevin, something happening to Cheddar, and then lands on a scenario wherein he's been demoted and he feels rejected and abandoned by his chosen family... he and Jake agree that this last scenario seems like a good idea!

My favorite comedic exchange actually goes to Jake and Amy though, right towards the end. As Jake recounts his step-daddy issues, he recalls that the two separate men who dated and cheated on his mother had been limo drivers. The following exchange takes place:

Jake: "*gasp*! The problem is with limo drivers!"

Amy: "Babe, it's not."

Jake: "It's not?"

Amy: "No."

Jake: "Okay thanks, I love you."

It's just such a casual, familiar little routine. Jake gets a wild idea, Amy calmly rejects Jake's premise, and Jake, who trusts Amy's gut more than his own, thanks her for keeping him in check. Their dynamic is the best!

Boyle had funny subplots in both episodes. In the first, he decides to be Jake's sidekick on the case. While Jake is the "Manhunter," Boyle is the "Boyhunter." This obviously leads to hilarity, as he continually says things that sound oh so wrong. I just find it so charming how Boyle is okay with being the sidekick, and how he actually thrives in that role. He's the best.

The second episode hangs a lampshade on Boyle's "sidekick" status, however, having him gain confidence by wearing Rosa's leather jacket. He becomes a new "cooler" version of himself - Chuck Boyle. He has confidence with the ladies, struts around, and ends up calling Jake out on an unintentionally inappropriate comment, instead of the other way around. It's a fun switcharoo, and the resolution is lovely too. Boyle sacrifices his jacket to an insecure husband worried that his wife is going to leave him, and instantly his power is stripped from him, and he reverts to normal Charles. It's all silliness, but I really enjoyed it all the same. Boyle steps in to some more confident shoes, as it were, but he's not unhappy with the person he really is at the end of the day. (He does probably regret missing out on the chance to meet Sutton Foster, though... that made me laugh!)

There's more I could talk about here, but the first two episodes were pretty strong as they were! Some characters had less to do than others, especially Rosa and Terry. But I'm sure there will be chances further down the line for them to shine as well!

8/10

[strawbrymilkshake]

i just watched the first six episodes of the mp100 netflix show for no good reason other than that i apparently hate myself, so to not put my pain to waste here’s a half-review half-rant thing

i guess ill start with the good and make my way to the shit i hated about this show, but as you can probably guess there’s hardly any good

tome was fun, i guess. she’s got that same chaotic™ energy and had some of the only lines i genuinely laughed at, but also she’s the only member of the telepathy club for some reason? and they merged her character with mezato’s, so i guess she’s got more to do. but judging by the sfx i doubt they had the budget for even one (1) more actor, so ig i can forgive them for that. overall probably the only adaptation that both wasn’t painful to watch and actually warranted the changes they made

teru (from the little i saw of him) was also pretty good. the fight had some....changes, but on his own i thought he was fine, pretty harmless adaptation overall. i stopped watching once i realised that they weren’t gonna go all in and give him the cactus hair so points deducted for that

and the last thing i liked about this show: ritsu! they got a young actor who was good and i didn’t have many issues with him. there was one interaction he had with tome that i liked when she introduced herself and he said ‘oh! tome’s my grandma’s name!’ and tome was like ‘...yeah you and mob are definitely brothers.’ the reason why he’s lower than tome and teru is because. for whatever fucking reason. he is in every. goddamn. scene. like even when it doesn’t make any sense. when mob joins the body improvement club? he’s there. when mob is taking down the lol cult? he’s there. the teru fight? he’s there. i lost count of how many times i was asking myself ‘why the fuck is ritsu here?’ he was inescapable. his presence in those scenes didn’t even add anything to the story. also he’s friends with tsubomi for some reason....i guess to give him more things that mob can be envious of?

speaking of tsubomi.....god. not to be like ‘they didn’t understand the source material!!1!!11!1!!!’ but like. please. it hurt. i get that they were probably trying to lean into the ‘guy gets the girl/high school romance’ type show more but uhh....way to horribly misunderstand the source material, guys. the problem with her is that she is in it so much that it almost entirely defeats the point of her character & what she’s supposed to mean to mob. they interact like every other scene! she’s a pretty close friend to ritsu, so that means they interact even more! she’s their next door neighbour ffs! i only watched the first six episodes and i think i still saw more of her than her entire screen time in the anime put together

and apart from her being so close to mob that it completely destroys the point of him idolising her, it also meant that the writers had to come up with a full personality for her and an actual dynamic for her and mob. and hoo boy they really went and decided that the two of them would have the most awkward, unappealing dynamic ever, huh. like there’s this running gag where she always messes up the words to common phrases, and mob has to correct her, and it’s painful every time. which, i guess (????) makes sense for what their relationship is in the manga & anime, where they’re not close anymore and mob doesn’t even know what she’s like/what he likes about her, but in this show, they were trying to push them together to lean into the romance tropes, so their uncomfortable dynamic doesn’t make sense anyway??

the stageplay got it fuckin RIGHT when they went and cast NO ONE for tsubomi. like. the legend jumped out. they got mob pining for a silhouette. chef’s kiss

holy shit this got long fast. ok the rest is under the cut

i guess im just going character by character now so: dimple. weird guy. the cgi was awful, but you knew that already. but he was just....so weird. and by that i mean he was awkwardly,, never there? when teru exorcises him it’s supposed have at least some impact, but in this show he had like three (3) scenes before it (rather than a couple episodes leading up to it) (and also they cut a shit ton out of the middle of the lol cult arc for...whatever reason) so when he gets exorcised here it’s like...oh no.....that guy...........did mob even speak to him more than once.....

speaking of the pacing of this show: it’s horrendous!! good lord i hate it!! the pacing is shit awful, and it feels like they’re just throwing in ‘’’’’’’’interesting’’’’’’’’ scenes that should take place later in the story bc they know that the audience isn’t going to want to stay around for the atrocious writing! case in point: we see the flashback of mob and reigen meeting in the second episode. the second fucking episode. the reason why it’s delayed so much in the anime (and even more in the manga) has a lot to do with the unfolding of reigen’s character depth and they just?? throw it in so early?? it feels like they’re just going ‘oh by the way, he’s good, or whatever. yeah, he’s totally complex and interesting. just trust us, okay, keep watching the show’ and the pacing of that completely throws off reigen’s character arc

i can’t really remember which episode(s) this was in but they also have this weird subplot with reigen going to the bar alone (yknow..like....s2 scenes...) and lowkey being friends with the bartender guy?? i gotta be honest i wasn’t paying much attention during these scenes but suffice it to say: god i hated reigen. like sure, he’s a sleazy character, but they just made him disgusting. netflix reigen does not drink his respect women juice, and that’s all i wanna say about that

also why is he like 40 years old

anyways back to the pacing, apart from throwing in scenes from wayyy later in the plot, this show also tried to have like four or five plot threads going at once. the place that this hurt the most was probably the teru fight, where the anime spends like two episodes entirely on it and nothing else, but in this show it keeps cutting to the start of the big clean up arc (probably just so they could keep showing ritsu) and reigen’s weird subplot 

and there’s other stuff like that, where they kept cutting to the awakening lab & the scars doing psychic stuff or whatever, i guess trying to entice the audience like ‘we swear there’s plot stuff!! it’s not just slice of life!! there’s evil™ people!!’ and i guess they were gonna pull the ol’ switcheroo™ where the audience thinks the awakening lab and the scars are working together but oh no!! only the scars are evil!! the awakening lab was actually on our side!! but i can’t be bothered to watch that far

also in the teru fight, they got most of the message across (don’t use your psychic powers against other people....mob and teru are the same...) but because they kept cutting away from it they lost the dramatic impact of all of it. the choreography and sfx weren’t as bad as they could have been i guess, but they definitely showed the budget. it also didn’t take place in a school (which...fine, whatever) but it led to something i actually did like: teru attacked mob with glass shards instead of knives, and although i do like the knife metaphor + imagery, you could also argue something about the destructive nature of his power use coming back to hurt him in the shards of glass, and also something about reflections or...something. i just thought it was neat, although i don’t know why they changed the setting from the school in the first place

also in the teru fight: it was raining and ???% stopped the rain katara-style mid air, and even though the cgi still wasn’t all that good, i thought that was a rad concept. but then he just made a tornado instead of ripping buildings apart and you get the idea not a lot of it was good

back to things i hate because i don’t have a good segue!! the writing!! bad!!

i see the writers of this show engaged in the age old storytelling practice of ‘tell, don’t show’

when reigen tells mob to be a good person: “ok, i won’t show off my powers or use them against other people. i’ll become a good person”

when mob loses control of his powers and hurts ritsu as a kid: “these powers are awful and cause nothing but trouble. i’m not going to be using them again”

god i wish i was exaggerating

and, going back to the lol cult, for whatever fucking reason they decided to have that latter line of dialogue to be the full explanation of mob’s complex. like i get that there’s a time for exposition and a time for subtly, but take some cues from the original author and maybe fucking explain the main plot device of the show and not the protagonist’s sad vague backstory rather than the other way around. want to confuse and alienate your audience? good fucking job!! you’ve done it!!

and just because this was my favourite episode in the anime and im fucking bitter!! they cut out so much of dimple’s monologue and just had mob get to 100% pretty much after all dimple says is ‘get a clue.’ like. he puts the mask on, it doesn’t work, ‘get a clue,’ 100%. yeah im totally gonna care when this character comes back to try and manipulate mob later.

also....mob...........

i havent talked about him that much here, have i?

okay specifically w the lol cult first, the whole thing where they put the mask on and he’s not smiling is completely devoid of any impact because!! he’s full on emoting throughout the rest of the show!! like he’ll look worried, embarrassed, he’ll cringe or smile or whatever, and the most it looks like is that he’s just slightly uninterested, but otherwise has a pretty good grip on his emotions. unlike the anime + stageplay where it’s clear that he’s (seemingly) completely unemotional. the reason why i bring up the stageplay is bc, while i know that setsuo ito is 10ish years older than the guy that plays mob in the netflix show, i kinda wish that they just....cast him anyway.....bc they clearly didn’t have any hangups on casting adults for all the other middle schoolers, and ito did such a good job in the stageplay. he’s the only guy who is mob to me lmao (kyle mccarley is on thin ice but he can stay)

i mean mob just straight up showing emotions through the show could have been down to the directing as well. also i’m pretty sure a majority of it is bc he’s constantly around tsubomi, so. stupid decisions lead to stupid outcomes!

and that’s basically it for my weird review/rant on this show. the writing’s bad, the pacing’s bad, they didn’t care at all about the source material, i’m not entirely sure if they cared about the audience either, there was maybe two (2) changes i liked, if that, and everyone should go watch the stageplay. there were probably way more points that i wanted to bring up but i think my brain is already repressing the memory of it for my own safety

if i ever try to watch the rest of this show, shoot me

[rebelsofshield]

Panels Far, Far Away: A Week in Star Wars Comics 11/13-11/27/19

It’s certainly unfair for Lucasfilm to pick my first semester of grad school to start supplying us with more Star Wars content than at any other point in recorded history. Jerk move on their part. Anyways, as a result, here are three (!) weeks worth of Star Wars comics review in which: Marvel’s ongoing ends its seventy five issue run, Doctor Aphra gets her groove back, and Chewbacca knocks some heads. Hopefully I can be quicker about this in the future!

11/13/19

Star Wars #74 written by Greg Pak and art by Phil Noto

In its seventh chapter, “Rebels and Rogues” hurtles towards conclusion. The result may just be the strongest installment of an arc that has been chockfull of great ideas, but often struggled on just how to tell its sometimes overly scattered story. With the different teams now in open communication with one another and each fighting for their lives in desperate situations, writer Greg Pak’s take on the galaxy far, far away has never felt more a live and energetic.

We hop between narratives with surprising ease and elegance and the flow of the story is easy to follow, high energy, and positively fun. Han, Leia, and Dar Champion are flying for their lives in a defenseless ship against an Imperial star destroyer, Luke and Warba are in route to the planet’s rebels but with an Imperial patrol of Stormtroopers riding velociraptors right on their tale, and Threepio and Chewbacca are right in the center of a growing conflict between the rock people of K43 and Darth Vader himself.

Threepio’s arc here still remains the most fascinating stuff in “Rebels and Rogues.” For the first time in a long time, old goldenrod feels like he has an emotional story all his own and it culminates in a moment of self-sacrifice that capitalizes off all the themes of sentience and personhood that this surprisingly delightful subplot has been playing with since day one.

The promised Chewbacca/Darth Vader showdown on the cover doesn’t occur until the comics final pages but it sets up what should be a killer finale. Noto draws a suitably visceral encounter and no other panel in this creative team’s legacy will likely spark as much joy as Chewie spiking a boulder off of the Sith Lord’s ebony helmet.

Score: A-

Star Wars Jedi: Fallen Order: Dark Temple #4 written by Matthew Rosenberg and art by Paolo Villanelli

At the time of this writing, I’ve actually finished playing Star Wars Jedi: Fallen Order. The first single player Star Wars game in over a decade provides a very fun and rewarding experience that is populated with some truly outstanding characters. The game also shows that its tie-in comic, Dark Temple is surprisingly more consequential than one might have originally thought. Sure, Cere and Eno Cordova were known characters in the game from the start, but Dark Temple sees the two encountering numerous elements from Fallen Order for the first time.

Even outside the comic’s surprising consequence to the game it draws from, Dark Temple continues to be a very entertaining prequel era narrative. Even four issues in, writer Matthew Rosenberg is still providing us with new information and twists that upend our understanding of what exactly is going on. Cere and Cordova may have gotten involved in something bigger than they originally anticipated and there is more on the line than freedom for Fylar. Rosenberg has weaved a complex web and just what exactly lies within the titular temple is just as much a mystery now as when it started.

It also helps that this comic is arguably the best looking Star Wars comic on the stands now. Paolo Villanelli has always excelled at drawing dynamic and well choreographed action sequences and he truly shines here as the violent conflict between Flyar and the DAA corporation explodes into full blown war. Villanelli is great at creating a sense of motion and scale and these moments of larger conflict are filled to the brim with well designed characters and explosive energy. Colorist Arif Prianto makes the comic feel like it comes ablaze too with multicolored embers peppering each panel.

Between the surprisingly complex story and the killer art, Dark Temple has quickly evolved into one of the stronger tie-in comics that Star Wars has released in recent memory and a significant improvement on both creator’s previous works in the franchise. Its final issue may not stick the landing, but this is a comic that is well worth considering picking up.

Score: B+

Star Wars Target Vader #5 written by Robbie Thompson and art by Cris Bolson, Robert Di Salvo, and Marco Failla

So turns out the Hidden Hand isn’t the rebellion? I’m very lost at this point. The mysterious crime organization that has been at the center of Target Vader from its start has always been its biggest head scratcher. A last panel reveal at the end of the comic’s first issue heavily hinted that the Hidden Hand was actually just an organization used by the Alliance to work in the criminal underworld. Over the past few issues, we have been given to doubt this reading, until now, where this theory is thrown out the door. Turns out the Hidden Hand may have older and more mysterious origins, but now we are just as lost as ever.

It speaks to the overall aimlessness of Target Vader. Despite the violent thrills of last issue, this miniseries has still been a mostly confused and overly long affair. Beilert Valance is still a mostly dull protagonist and his quest to neutralize Vader feels even more muddled than ever before. Writer Robbie Thompson does some work to try to remedy this situation by giving us an issue that is split between retelling Valance’s past and maiming by the Imperial military and the present where he is now caught between the grip of the Empire and the Rebel Alliance. It creates an interesting scenario for our central anti-hero, but ultimately fails to reveal much enlightening about Valance as a person. We may know why he is a grumpy, angry loaner by this point, but it doesn’t make his relatively one-note behavior any more interesting.

It also doesn’t really help that we have three guest artists on board instead of Stefano Landini. Marco Failla’s pencils may do a good enough job of approximating Landini’s style, but as a whole the result is a bit jarring as the comic never establishes a clear visual consistency. Combined with the fact that we already lost Marc Laming after issue one, this just adds to the weirdly confused reading experience that Target Vader has maintained to this point.

We have seen this comic work. Last issue’s installment was a brutally realized explosion of violent chaos, but we only have one issue now to really bring it all together, and I’m worried that Target Vader may not be up to the task of making this long, strange voyage worth it.

Score: C+

 11/20/19

Star Wars #75 written by Greg Pak and art by Phil Noto

All roads lead to K43. In its eighth and final chapter, “Rebels and Rogues” sees all our team members converge on the rocky moon for one climactic stand against Darth Vader and the Empire. In this extra sized finale, Greg Pak and Phil Noto try their best to pull the disparate threads of this arc together while also delivering a satisfying finale. The result proves fun, very strange, and ultimately forgettable. It ends with a summation of this run as a whole: filled with smart art and ideas, but lacking in standout storytelling beats to leave a lasting impression.

Some of the disappointment comes from the fact that much of this issue comes down to our various cast members beating up on Darth Vader. We open with the final blows of Chewbacca and Vader’s brawl which Noto clearly enjoyed bringing to life, but much of the rest of the issue resorts to the extended ensemble blasting away at him in various set pieces. It plays out like a miniature version of 2016’s Vader Down, but lacking in the edge and thrills of that original crossover.

There’s also some strange choices made with the rock people of K43 that don’t entirely gel with what came before. Part of what made these characters so refreshing throughout this story arc has been how Pak used their existence to challenge our characters’ concepts of sentience and to allow C-3PO to bond with another group of non organic life that is similarly overlooked. This fun play continues, but the conflict of it all is handwaved away in a manner that feels unusually flippant. Given the amount of effort put into finding a way around murdering this race, Pak introduces a last minute plot detail that makes it all feel unnecessary and that’s before the giant planet sized stone giant appears.

Yes, this comic gets very weird and it’s certainly fun, but it feels more than a little scattered and chaotic in a comic that already feels all over the place.

With that, we bid goodbye to this short but enjoyable era of Marvel’s Star Wars ongoing. While Empire Ascendant will presumably be the final issue of the main series, with it being rebooted for a new post Empire Strikes Back ongoing headed by Charles Soule and Jesus Saiz sometime in January, there is a sense of finality to this creative team’s last chapter aboard. Pak and Noto prove a fun bunch and had a great sense of playfulness and scope to this ongoing during its final days even if the execution wasn’t always immaculate. I’m glad to hear that Pak will be staying around to write the next volume of Darth Vader. He has some big shoes to fill, but if the heights of this comic are any indication, he is capable of the same spectacle and intrigue as past creators.

Score: B

11/27/19

Star Wars Adventures #28 written by John Barber and Michael Moreci and art by Derek Charm and Tony Fleecs

Chewbacca’s adventures with his porg sidekick, Terbus, are pretty much perfect fodder for an all-ages Star Wars comic. Given how strong Adventures’ visual storytelling has been since day one, having two protagonists who speak through grunts, squawks, and body language is right up this teams’ alley. Yes, it’s cutesy and yes it is a bit simple, but there is undeniable charm in the way Derek Charm draws us through the liberation of Kashyyyk. It may not be as visually inventive as last issue, but the way that Chewbacca hops through the forest and takes on First Order baddies is still illustrated with the same energy and personality.

There is a bit of tonal whiplash here though. While it’s hard not to be won over by Porg salutes and Wookiees knocking heads, there are moments where the enslavement of the Wookiee population is presented as an all too real possibility. The lighter, more playful execution of this issue may do a lot to make this subject matter more palatable for younger readers, but one wonders if this should have been the direction that the story went with at all.

Michael Moreci’s droid adventure is more tonally cohesive and certainly also a fun time, but it lacks the standout visuals and heart of the Chewbacca section. Last issue succeeded by pairing the under appreciated droids with another outcast that also was invisible to the First Order, but the events here are less concerned with character and theme and more so with the fun action of their plan. All the same, it’s still a decent read and sure to delight younger readers.

Score: B

 Star Wars Doctor Aphra #39 written by Simon Spurrier and art by Caspar Wijngaard

With just one issue left before the end of their tenure, Simon Spurrier and Caspar Wijngaard are pulling out all the stops for the end of Doctor Aphra. After the misstep that was “Unspeakable Rebel Superweapon,” it has been nice to see Spurrier get back in the swing of things with “A Rogue’s End” as each issue improves upon the last. Wijngaard and colorist Lee Loughridge feel more in sync here than ever before and Spurrier twists the knife as Aphra digs herself further and further into a disaster of her own making.

While she was first introduced in Kieron Gillen’s run on the title, Magna Tolvan and her relationship with Aphra have been staples of Spurrier’s run since he first stepped into the title. Here as we hurtle towards the big finish, it seems only fitting that the tortured and complex romance between these two very different souls take center stage. “A Rogue’s End” isn’t afraid to really dig into what it is about these two broken and confused women that drives their attraction to one another and just how deadly and ill advised their love, if it can be called that, is. It’s antagonistic, violent, but ultimately brimming with the sort of affection and tension that makes a good Star Wars romance sing. There is one image in particular here that is beautifully realized by Wijngaard and Loughridge and may rival the two’s first kiss for the iconography of this pairing.

It’s not all two woman coming to terms with one another under extreme circumstances, Aphra is still full speed ahead on her own mission survival. We hurtle towards a series of decisions at the issue’s end that may just cross the line into Aphra’s biggest moral slippage to date. Spurrier seems poised to deliver final judgement on what kind of person our dear rogue archaeologist may be, but knowing her and this series, the final thematic resting point is anyone’s guess. It’s a good thing that Spurrier makes the whole thing so damn fun to read and Wijngaard creates such beautiful imagery.

Score: A-

[truthbeetoldmedia]

The 100 6x13 "The Blood of Sanctum" Review

Well, The 100 fans, how are we feeling? Tonight we watched the last season finale The 100 is ever going to give us (the next will be a SERIES finale) and I must say, this is perhaps the first time a finale from this show has left me unsatisfied. Let’s delve into why that is:

Closing Season 6 was always going to be a bit of a challenge. We entered this season with perhaps one strong “A” plot and a minor subplot. We walked out with approximately five more plot lines and none of them are ones I’d consider minor. It’s astonishing to me that The 100 managed to craft a finale that not only didn’t close a single one of it’s existing plot lines adequately but also opened up, quite literally, an entirely new can of worms (anyone remember when worms where a thing on this show?). Let’s run through the list shall we: 

Worm Number One: Have You Seen This Boy?

We start the season with the mystery of the Primes, and although we now know exactly what they are and the vast majority of them have been floated, we are left with Russell the Eighth and Priya’s mind drive, clutched securely in the grasp of a now brainwashed Jordan. If it wasn’t obvious enough that Jordan is “under the influence” so to speak, we watch the camera focus on his adjuster while he chats with Bellamy in the finale, proclaiming that he is fine even as he spouts out pieces of information that would make me question that if I were in Bellamy’s shoes. The Prime plot, which could have ended this season, will now make its way into Season 7, where the cult that we were introduced to in this final episode will have a more active role in disrupting the peace. I wouldn’t be surprised if a large part of Jordan’s role next season is finding a new host for Priya and I can’t bring it in me to be upset about that. 

In a season where Jordan Jasper Green was one of the most anticipated new additions to the cast he was sorely under-utilized. We listened to various characters recite Monty’s charge to do better all season, but they all failed Monty and Harper where it mattered the most: their son. Shannon Kook is an expert at bringing a Harper-esque zest for life mixed with Monty’s desire to live better and it was a promising combination and one that was lost after episode 5 of this season. While I understand the appeal of first love, especially when you’ve never met anyone who wasn’t related to you or one of your parent’s friends, it is frustrating to me that so much of Jordan’s why is trapped in Priya nee Delilah. It would have been far more interesting to see Jordan take up the mantle Monty and Harper left behind and become the new moral compass of the group, even barring that, I would have been more interested in watching this man-child explore a world that was bigger than the space of the Eligius ship. Opportunity was squandered there and we’ll never get a return on the investment we made. 

Worm Number Two: Prime Schmimes

Along with Jordan holding on to Priya’s mind drive comes the need for another host and I have an idea of where he might find one. As I’ve mentioned in my YouTube videos and Twitter threads, they don’t make people Nightbloods for no reason. You need look no further than the Griffin ladies to see that: Clarke, Madi and Abby were all made Nightbloods (born or created) to further storylines and Echo (Ash) will be no different. Although she was spared the privilege of hosting Simone, she is currently the only available Nightblood we know of. Russell is also aware of her status and in the finale he quite clearly states that he wants revenge. He may not be able to bring his family back, but all it takes is one mole in the works to help him achieve that, and he has at least two (Jordan and the adjuster — not to mention the possibility of all of the Children of Gabriel who were brainwashed as well). It would also be revenge for Ryker at the very least — his mother’s mind hosted in the body of the woman who murdered him. While Echo does have the neural mesh (she entered the City of Light as well) and has not been exposed to an EMP, we learned in this episode that Russell was careful to examine Abby before he put Simone’s drive in her — to ensure that there was no failsafe. It’s entirely possible that they can shock Echo with an EMP and implant Priya’s drive and further move Russell’s revenge plot along. After all it was love that drove Gabriel to create immortality, what will love drive Jordan to do?

Worm Number Three: Skynet? Is That You?

Some foreign line of code has managed to find a home in the Eligius ship’s hard drive. While trying to save Madi (and we’ll discuss that in a bit), they essentially crash the Flame, allowing them to remove it without the need for the passcode. While this is happening, Madi and the Dark Commander are fighting a bitter battle for control of her body. I believe that — if one isn’t paying enough attention — it’s easy to say that the reason the Dark Commander disappeared from Madi’s body is because they removed the Flame, but I’m going to hazard a guess that he — like any other virus — realized his removal was imminent and adapted to the situation, leaving Madi’s brain and uploading himself into the Eligius computers. 

What does that mean for Season 7 and how will we see him return? Yana Grebenyuk (@yanawrites on Twitter — make sure to watch this space for her finale write up!) postulates that we might actually see him in two places next season! As a rub to Diyoza, who laughed at Gaia teaching Madi how to control the Flame (anyone remember what Gaia says during this scene: “A mind can’t be in two places at once”) Yana speculated that she might actually be trapped with him in the, wait for it, past! We know that the anomaly deals with time and space and we know that when Octavia went in she was gone for some time. Now it seems we have an estimate on how long. Hope is at least 20 years old when she stumbles into the tent and she and Octavia clearly know each other well. As Hope embraces Octavia, stabbing her — much as Clarke did with Finn — she tells her “He still has her” when Octavia asks about Diyoza. Hope’s appearance is very much Grounder-chic and it would also tie into why we learned about Indra seeing the Dark Commander once when she was young. 

Further, with his consciousness now uploaded onto the Eligius ship there’s no limit to what the Dark Commander might be able to get up to now. Maybe this is the true beginning of Terminator’s Skynet. With all of that being said: it is rather disappointing that, even with the close of “Book One” a part of the series’ final struggle will still boil down to the Grounders. It’s been 131 years, two nuclear apocalypses, a new planet and a new cult system (the Primes) and we still can’t seem to shake them. It feels like the show should have been called “Grounders” instead of “The 100” for the amount of focus given to them and it’s disheartening. At least for me. 

Worm Number Four: The Little Whipping Girl

Clarke, my poor girl. Bradbury may be Bellamy’s middle name, but hers is definitely suffering. This season we’ve watched Clarke be isolated both physically and emotionally from the people she’d once called friends. We watch her put herself out there and have a bit of fun, only to wind up almost kidnapped and taken to the Children of Gabriel. We watch her die, fight viciously inside of her own mind to survive, almost die again, be revived by Bellamy and then realize that while she was dealing with that struggle, her child was losing her own mental battle, and then we watch her lose her mother.  

No one person should have to be strong enough to deal with all of that loss and yet Clarke manages it effortlessly every season. We know (thanks to Executive Producer Jason Rothenberg’s Hypable interview with Selina Wilken) that Clarke will be dealing with the grief of losing her mother as Season 7 begins. While I am grateful that she is being given the opportunity to do so, because grief is something that is so often rushed through on this show, I am also concerned about how this will affect Clarke’s issues with isolation. For six seasons now, Clarke has consistently been on the outside of the group looking in, due in large part to her status as lead, forcing her to be the character we follow around to each new location and each new group. Although Jason notes that Clarke will be perhaps even more protective of her family with her recent loss, I don’t necessarily know if the show has the chops to make that work. 

It doesn’t help that her best friend (script confirmed) Bellamy now has his own issues to deal with, which leads me directly into...Worm Number Five.

Worm Number Five: We Call That….Regression?

Many of you reading this initially found me via Tumblr or Twitter or YouTube, all places where a huge part of my online persona is my love for and defense of one Bellamy Blake. He has been my favorite character from the moment he appeared on the screen in the pilot episode and I have been in his corner ever since. We’ve watched him, over the course of six seasons,  mature, moving past the unhealthy relationship he’s had with Octavia since her birth resulted in both siblings carrying a weight they were too young for, growing into a man who left behind the self loathing and resentment of the past and stepped into the self love. If you’d’ve asked me yesterday what my favorite arc on The 100 is, I would have replied without hesitation “Bellamy’s character arc!”

I’m no longer sure I can do that. After the events of last season, which culminated in Octavia putting Bellamy in the pit alongside Gaia and Indra and forcing them to fight to their possible deaths, burning the farm Monty cultivated and then forcing her people into battle out of necessity, it seemed as if Bellamy was finally ready to separate from the lifelong co-dependent relationship he shared with Octavia. The Season 6 finale has appeared to effectively erase that growth in one fell swoop. Just a few episodes ago we listened as Bellamy told Octavia she was still his sister, but she could no longer be his responsibility and this episode we watched as Octavia was stabbed and misted right out of Bellamy’s arms and into the anomaly. The season ends with Bellamy calling Octavia’s name as the anomaly recedes once more. 

In post-finale interviews (again see Selina’s Hypable link above) Jason is clear that finding Octavia is a huge part of Bellamy’s drive in Season 7 (going so far as to compare it to Bellamy’s desire to save Clarke in Season 6), and while I can admire, respect and even understand a brother’s desire to find a lost sibling, it’s a huge walkback (literally almost 360 degrees) on Bellamy’s arc since Season 1. What is the point of watching a show, seeing its characters evolve and grow and change and mature if, in the final season, we watch them revert back to who they were in the pilot episode? Will Clarke always be a girl who’s lost a parent abandoned on a new world? Will Bellamy always be nothing more than his sister’s keeper? Will Octavia always be hidden away somewhere? People aren’t watching television shows to see characters wind up where they began. We watch for the hope that our current situations (whatever those may be) won’t last forever. That growth can be permanent, that who we are now doesn’t have to define who we become, but as we head into Season 7, I’m not entirely convinced The 100 is aware of that. 

Worm Number Six: Madi’s Mad as a Hatter...or is She?

Madi’s plot is perhaps the only one that was wrapped up (even as the Dark Commander clearly continues his nefarious deeds elsewhere) but it was done so haphazardly I was left unsatisfied. We have watched Madi deal with the Dark Commander in her head all season, we’ve watched as she’s slowly folded under his control and we watched her break when it’s revealed that Clarke is dead. It does make sense that learning Clarke is alive would bring her back. What doesn’t make sense is how swiftly that’s dealt with. It took the Dark Commander days or weeks (I’m unsure of Season 6’s timeline right now) to successfully set up a home in Madi’s brain and simply seeing Clarke threaten suicide (and also — what a message to send to...lots of people...I understand that Clarke went through a lot this season, but even with the loss of your mother, even with the potential loss of your daughter, you can still fight) was enough to snap his hold on Madi almost immediately. 

It’s not realistic. I can understand the need to bring Madi back into the picture, but I think it might have played a bit better if the struggle was more prolonged, perhaps even something they needed to put her back into cryo until next season to discover. Unfortunately the choice was made, and a plot line that bit significantly into others ended with extreme prejudice in about two seconds flat. 

Worm Number Seven: Make it Make Sense

(The above image is NOT edited.) The constant will they, won’t they of Bellamy and Clarke’s relationship needs to end now. Even as Jason tells fans that we (as a collective unit) all misunderstood what Bellamy’s drive was in saving Clarke (again see the Hypable interview linked above), he tells EW that "There were a few seasons in the middle of the run where we didn't know, we legitimately were on the bubble and were always trying to engineer something that could possibly be a series ender and a season ender, you know? I have for a while known thematically and like you say, in a general way, what I want the ending to be. I knew what I wanted it to feel like, I knew what I wanted it to say."  

When you look back on the middle season finales (which for a seven season run would be Seasons 3-5) Jason has been crafting a very clear endgame, and that endgame is Bellamy and Clarke, together, facing their next adventure. 

Season 3 ends with Bellamy and Clarke, in the  Polis throne room, standing in front of Lexa's throne. They are united (literally touching), watching their people recover from the effects of ALIE, some wounded (like Jaha), others embracing the people they love (Kabby, Briller, Memori). Clarke delivers the news about the reactors melting down, that they haven't won just yet, and then Octavia kills Pike and walks away. Season 3 ends with Bellamy and Clarke — together — preparing to face their next challenge. 

The Season 4 finale is a bit more ambiguous, because Bellamy and Clarke are physically separated but the notes are still there. We come into Clarke making a radio call and she is speaking to Bellamy specifically. She says "I still have hope" — that call back to the "You still have hope?/We still breathing" moment that sent the Bellarke fandom into ecstatic spirals of joy and — as a ship bursts through the atmosphere — Clarke stands, her breathing quickens, she smiles and she says "Never mind, I see you" and "I See You" (Confirmed by Tree Adams to be written for and about Bellarke), plays in the background.

Even as we watch Clarke's joy turn into apprehension when she realizes that's NOT Becca's rocket and instead says prisoner transport — if the series had ended here, in this moment — it's possible that it could have been Bellamy (and the others) walking off of the Eligius ship and in fact, that was the most common theory during the hiatus: that Bellamy and the others had joined up with the Eligius crew to combat the fuel issue, which wasn't far off. The series would have ended on the assumption that it was Bellamy walking off of that ship, reunited with Clarke and together again, facing the challenge of repopulating a barren Earth (after they dug out the bunker of course) and because we didn't have any updates on the Space Squad until Season 5 premiered, we also would have been left without the knowledge that Bellamy and Ash (aka Echo) were a thing. 

Season 5 ends with Bellamy pulling Clarke into his side, both crying, both leaning on each other (with Jordan in the background) united and about to take on this journey (the discovery of a new planet) — together — again. And yes, I know a lot of people were upset about this ending because Bellamy and Ash/Echo were still a "couple", but again, I want to point you back to Jason saying that he was writing these as series finales and he knew what he wanted those finales to feel like and what he wanted them to say.

The theme of the Season 3-5 finales has always been "Bellamy and Clarke, together, facing the next adventure." and the feeling has always been that Bellamy and Clarke and their relationship to one another are the center of the story, that if the story ends here, Bellamy and Clarke are together. I'd even go so far as to say that the theme of Season 4 and Season 5's finales specifically has been about hope and renewal. The opportunity to do and be better in a "new" place. 

And that’s fine and dandy. What’s not fine is when this relationship is deliberately given romantic beats, framing and lines in an effort to draw or retain an audience with no payoff. Again, people are not watching television for the never before seen plot twists. People watch television for the characters. They stay for the characters. Friends is one of the most successful shows of all time on the strength of the relationships it showcased as an example, and the same can be said for many other great shows. It’s when showrunners forget that, believing that the story they are so desperate to tell is more important than the audience who have given them the ability to tell that story, that everyone suffers. One need look no further than the recent endings of Game of Thrones and Veronica Mars for evidence of that. 

Make the story clear. Make it plain. Your audience deserves that. 

In conclusion, The 100 season finales work better when they are written as series finales. Given the knowledge that he would have one more season to close out the show the way he wants to, Rothenberg leaned too far into the chaos of Episode 12 (“Adjustment Protocol”) and left audiences with a bitter, unfinished taste in their mouths. With only 16 episodes left to satisfactorily wrap up all of the arcs he opened or left open this season, I’m not convinced we won’t be seeing a repeat of Game of Thrones. 

April’s episode rating: 🐝.5

P.S. A Good Worm: 

If you’re like me and you need something to look forward to as we enter the long hiatus before the final season of The 100, think about making your way to Conageddon! Located in Boston, Massachusetts, and this year held on April 3rd-5th,  it is The 100’s only American convention and as someone who’s been before (and will be back) it’s a weekend packed with fun and friends. Tickets haven’t gone on sale just yet, but make sure you watch this space for more information, including cast information and ticket pricing!