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cl0wncakez · 2 months

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Say whatever you want about the black and white anime, but the one thing i will always stand by is that IRIS AND CILAN WERE NEVER PART OF THE PROBLEM!!!!

i did a full watch of the bw series a few weeks back, and the main 2 complaints i had about it were ash’s pokemon (he caught too many and most of them didn’t get enough screentime as a result) and team rocket (they were like barely there and didn’t even do the blasting off gag until the last season i think)

but for me the best parts of it were iris and cilan!!! i was kinda expecting them to be annoying cuz of all the hate they got, but i was pleasantly surprised at how enjoyable they were.

first off, i am the number 1 iris defender. all the posts i see that complain about her say the same thing everytime: “all iris does is say that ash is a little kid!”

well, as someone who’s binged the entire unova anime in like a week and a half, i can say that there is so much more to her. but for one, she doesn’t even say that ash is a kid as often as you might think. she mostly says it in the first few episodes when she first met ash. for the rest of the series, she’ll occasionally say it in passing, but it is not her one defining trait. while there are a few instances where i thought that it wasn’t warranted, there are plenty more times where ash was being big dummy and deserved it.

what people seem to forget about iris is that at the start of ash’s unova journey, iris is practically a new trainer. her axew is at most only a few weeks old, and her excadrill, while strong, hasn’t battled for who knows how long after being brutally defeated by drayden’s haxorous, leaving it in a state of shock. so obviously, she isn’t going to be the most experienced trainer out there.

iris grew up in the village of dragons, which as the name suggests, is a village inhabited by various dragon type pokemon. having spent her whole life surrounded by dragon types, iris has made it her dream to become a dragon type master. while at the beginning of her journey, she’s just with her axew, she over time has several encounters with dragon type pokemon, all of which help her better understand how to communicate with dragon types.

in one episode, she helped a druddigon out from a trap set by team rocket, while everyone else assumed it was rampaging out of anger. in another, the gang were helping out at a pokemon daycare, and in it was a deino, who was extremely shy. it’s trainer hadn’t returned for days after they said they would (the trainer ended up getting lost in a cave) and it was beginning to refuse to eat due to its anxiety. and what did iris do? she stayed with the deino the whole night, helping it relax in a place it wasn’t familiar with. it’s episodes like these that show that she’s not a one dimensional character, and like the rest of ash’s companions, she has character development.

but what helped fully flesh out her arc was when she caught her dragonite.

unlike axew, who was by her side from the beginning, she and dragonite did not get along immediately. dragonite was stubborn, wouldn’t listen to iris, and had its own way of battling. in order to become a dragon master, she would first have to understand dragonite. the trust that was built happened really slowly, but she did get there. by understanding a pokemon as troubled as her dragonite, iris would then be able to reach out and soothe her excadrill, making it confident enough to battle again, and help axew evolve after her journey with ash ended. and i think that was a solid way to end her arc until pokemon journeys, where offscreen, she fulfilled her dream as a dragon master and became the champion of unova.

now onto cilan.

cilan doesn’t get hated on nearly as much as iris, he’s more or less just forgotten about. so while i was expecting to hate iris when i first started watching, i had zero expectations on cilan. and tbh, i think he’s my favorite traveling companion?? if not than at least top 3.

cilan is the oldest of three siblings, and he first met ash and iris when ash came to battle at the triplet’s restaurant/gym. usually, the challenger only battles one of them, but ash was the first person to want to challenge all 3 brothers. when it was cilan’s turn to battle, he assumed that he would win due to him having the type advantage (ash choosing to battle with oshawott against cilan’s pansage)

well, ash won. and a few episodes later, cilan asked if he could join ash on his journey. the reason cilan wanted to come along was because he saw a new side to pokemon battling that he wanted to better understand.

something about cilan is that while he is a gym leader, he doubles as a pokemon connoisseur. a connoisseur is someone who makes critical judgements in fine arts or matters of taste. for cilan, he analyzes the bond between trainer and pokemon. and during his battle with ash, he evaluated his and oshawotts bond based on their battle. and he dug INTO ash, almost outright insulting his capabilities as a trainer, due to his assumptions from ash using a water type against a pansage.

but the thing is, cilan was wrong. in the end, oshawott ended up winning with ash’s strategy and support.

he fully expected to win, and was given an entirely new perspective of battling after seeing ash pull through. like cooking, pokemon battles aren’t just about type advantage and throwing moves out. it’s about thinking outside the box and trusting your pokemon, which ash accomplished by having oshawott use its scallchop to deflect a bullet seed attack. wanting to become a better trainer and connoisseur, cilan tagged along to gain a new understanding between trainer and pokemon.

and outside of his arc, cilan is just a genuinely fun character!!! did you know that along with being a pokemon connoisseur, this man is also a fishing, cooking, detective, judge, and film connoisseur??? and he can cook!! (EDIT: people are mentioning that he is also a train connoisseur!!! sorry :( i forgor)

cilan is shown to be more composed with his emotions than the previous traveling partners ash had. he also plays a mediator role whenever ash and iris bicker. and remember, cilan is the oldest sibling of 3 triplets, so he’s likely had to play mediator countless times if his brothers ever argued. ash and iris also seem to have a sibling-like bond, so their clashing was probably similar to what cilan faced before with cress and chili.

as i said, cilan is much more patient and gentleman-like. so the few moments where he genuinely loses his shit leaves a stronger impact.

the most notable example was with skyla, who instead of fulfilling her gym duties, played out battles in her head, and made her own judgements on if she could win a battle or not. this lead to challengers either being pushed away without a chance to battle, or given a gym badge without deserving it.

now cilan, who is a gym leader, sees this as a disgrace. it goes against everything a gym leader is supposed to do. skyla was lazy, arrogant, and wouldn’t do her job, which set him off. while he did lose against skyla, it was a big character moment to try and defend his honor as a gym leader.

overall, cilan is soooooo cool you guys don’t get him the way i do!!! i am the number 1 cilan fan!!!!

i think the reason people complain about iris and cilan more than any other companions ash had is because they were different.

iris had a completely different goal than everyone before her, it was a complete 180. she had zero interest in contests or performing, her dragon master dream was brand new in the anime. additionally, her relationship with ash was more like siblings than best friends, which likely made some viewers think their bickering was annoying.

and cilan. poor guy didn’t even have a chance from the start. not after brock was around for like a billion seasons.

overall, the black and white anime does have its problems, as does every pokemon anime. but leave iris and cilan out of it THEY ARE INNOCENT PARTIES :(

#pokemon #pokemon anime #pokemon journeys #pokemon iris #pokemon cilan #ash ketchum #pokemon black and white #unova region #unova #character analysis #analysis #rambles

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heyclickadee · 4 months

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Okay, to try to explain why the Bad Batch finale is driving me crazy

Imagine if Rebels ended at season three. (Thought experiment time!)

Not that it got cancelled; no one is saying it was cancelled, everyone is saying that this is where they wanted to end that chapter. And the entire season plays out exactly the same as it did in the real world*. Zero Hour, exactly as is, ends up being the series finale.

And the initial reaction is, “Great! They’re alive! They made it out, no one else besides Ahsoka died, we’re so relieved,” except—

What about Lothal? We built up to trying to save Lothal even in the third season—are we really just forgetting about it? What about Ezra becoming a Jedi? The whole sequence with the Bendu was really cool, but what about that foreshadowing line he gave to Thrawn in the end? Where is that supposed to go? Why did we waste a whole episode on space whales? Why didn’t Ezra’s talent for connecting with animals ever go anywhere? What about the side episodes about the Rebel Alliance? The episodes in the season were very good on their own-in fact, a few might be close to the best episodes in the show—but because there’s no payoff and nothing goes anywhere, it all sort of falls apart. Kallus’s redemption arc was fine, but what’s he going to do now, or is he just going to feel bad about what he did? I’m glad they’re all alive and all, but that’s it? Theres no real victory except survival? Why did we spend multiple episodes in the temple on Lothal if that wasn’t going to go anywhere besides getting Ahsoka killed?

Speaking of, Ahsoka really died, and we never dealt with it? Thirty seconds of Ezra crying, everyone looking sad, a sorrowful look from Rex, then we never discuss it, and the only time she comes up is when we’re discussing her job as Fulcrum? It was ambiguous enough to begin with, then we never really got confirmation or any processing on screen at all. We had a whole episode for Ezra to process learning that his parents died, and we never even really met those characters! But nothing for Ahsoka? She’s a fan favorite, and she means so much to a lot of people in the audience. She seemed like she was Dave’s favorite, even! It’s not like her death affected anyone either—all the character motivation was driven either by Kanan’s blindness, the fallout with Maul, or Ezra being tempted by the holocron. It was noble and tragic, sure, but narratively, they just killed her for shock value. If she’s even supposed to be dead! We don’t know for sure!

So you’re thinking through all of that, trying to figure out what the hell happened here and how a show that was otherwise very good only resolved two or three subplots, none of which was the main one, never really dealt with a main character’s death, and never fully 100% resolved anyone’s character arc, all while the showrunners refuse to say that this is the last time we’ll see these characters and insist on using the word “chapter” to refer to the end. So you’ve got a sneaking suspicion that the story isn’t actually over, that there’s something weird going on, but you don’t know for sure, and you can’t just let things lie because it’s not that it’s just a bad ending, it’s that it’s bad in a particularly insane way that would come back around to being incredible if there ended up being any follow through for a series that was somehow 99% set up and no payoff.

Anyway, this is where I’m at with The Bad Batch right now.

* For the purposes of this thought experiment, we can add a except that there’s a little epilogue at the end—not the epilogue we actually got at the end of season four of Rebels, but an epilogue where a fifteen-year-older Ezra has a conversation with Hera (no one else, and no Jacen around, no sign that Jacen even exists) about needing to go do something, and then hopping into a ship that looks a bit like the Phantom and has little mementos from various members of the ghost crew family around. Ezra mentions Zeb, Sabine, and Chopper, so we at least know they’re alive, but he doesn’t mention anyone else, and neither does Hera. Something with Ahsoka’s fulcrum symbol is sitting on Ezra’s dashboard. We learn nothing about what anyone does in the meantime. It’s completely open.

#the bad batch #in which I attempt to explain my point #without feeling insane #this is a good show!#95% of the show is great season three included #it’s just that only two subplots go anywhere #and nothing else pays off #but in such a weird way that you can draw an outline #around the void of non-resolution at the end of the show #it’s SO carved out #I’m just #*biting biting biting biting*#should note that in this thought experiment season four of rebels still ended up happening somewhere

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antianakin · 3 months

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Hello. I've talking with you in DM. I'll like to read your opinion about Qui-Gon's appearance in Mortis Vs at the end of the Kenobi series. Seems people tend to portrait the Mortis scene as a proof that Qui-Gon is the perfect Jedi who discards Obi-Wan without any hesitation and praising Anakin. While they forget when Qui-Gon reappear in the Kenobi series, he was always there for Obi-Wan, even waited for him. But fully ignored because this isn't the vision of the "Perfect Jedi" they know in CW.

It's like both Qui-Gon are different people.

So here's the thing for me with Mortis: it's fucking weird and everything that happens there is implied to be like a shared dream or Force vision of some sort and what happens in there is only QUESTIONABLY real. Time literally doesn't move in the "real world" when they come back (they're speaking to Rex before they crash on Mortis and then speak to him again at the end and he says only about a minute has passed even though they spent DAYS on Mortis). While the Father/Son/Daughter have been brought back a few times since then and have become something a little more well-known and widespread at this point, the original TCW episode sort-of implies that they may not have been entirely real themselves, but that they were just... representations of something the Force wanted these three people to understand for some reason.

So it is MASSIVELY questionable as to whether the Qui-Gon who shows up on Mortis is, in fact, REALLY Qui-Gon himself or if he's just some another image that the Force used to speak to Obi-Wan and Anakin, same as the Father/Son/Daughter. In the same exact scene as the Obi-Wan/Qui-Gon conversation, Ahsoka ALSO has a vision, but she has it of her future adult self. So if we assume Qui-Gon was really there, we must then also assume that adult Ahsoka was also really there, and that brings up a LOT of weird implications about her. Because Qui-Gon is a Force Ghost and we know that Qui-Gon is already dead at this point in the timeline. If we assume adult Ahsoka is using the same trick to show up, it implies that Ahsoka died in early adulthood and that she trained to become a Force Ghost and succeeded and that somehow her Force Ghost is actually traveling BACKWARDS in time in order to appear here. Personally, I think that's pushing things a little and it's a LOT easier to assume that adult Ahsoka is a random vision that present day Ahsoka is having and she isn't ACTUALLY speaking to her adult self time traveling backwards as a ghost. And if we assume this is true, you can make the exact same claim about Qui-Gon.

The final piece of evidence I will use for my headcanon here is that Qui-Gon actually shows up VISIBLY in this scene even though later on, when he speaks to Yoda, he can't appear to Yoda at all and all he can do is speak to him as a disembodied voice. You might argue that Mortis is SPECIAL and that's why Qui-Gon could do this when he can't do it later, but Dagobah is ALSO supposed to be a weird Force planet of sorts, so it seems odd that he can't do it there. He also never shows up visibly when Yoda is visiting the Force Priestesses (aside from in Yoda's vision of a happy Jedi Temple where Qui-Gon is still alive and Dooku never became a Sith). Qui-Gon, at the time of Mortis, IS NOT CAPABLE of showing up visibly. He never got trained in it at all and can't do it later even in other places similarly weird in the Force.

The Kenobi show chose to let Qui-Gon show up visibly anyway obviously, and I'm willing to let that go because the scene means a lot to me and so I can headcanon that Qui-Gon did some post mortem training in how to DO that and simply hadn't mastered it by the time of the Yoda Force Ghost arc in TCW season 6. I will fully admit that Qui-Gon probably SHOULDN'T have visibly shown up in the Kenobi show according to what was established in TCW, though. It makes no real logical sense, but the Force Ghosts have pretty much NEVER made sense and often just get used in whatever way the plot requires of them and however the current creator thinks will be cool/emotional.

So basically, my thoughts on Qui-Gon in the Mortis arc are that this isn't Qui-Gon at all and it's just the Force speaking to Obi-Wan through Qui-Gon's image, giving him a warning or just forcing Obi-Wan to face his fears, etc the way the Force just DOES sometimes. If it doesn't feel accurate to the way Qui-Gon and Obi-Wan's relationship is represented in the films to you, then maybe it's because it's not MEANT to be accurate for a reason.

#star wars #qui-gon jinn #obi-wan kenobi #mortis #the clone wars #tcw #star wars the clone wars #sw tcw

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atopvisenyashill · 1 month

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one thing i remain baffled by is how they decided to portray jace's visit to winterfell. they made cregan's voiceover the opening sequence of the entire season yet gave us next to nothing to explain why he gets so involved later on. it's almost like they treated the north's appearance as fan service. i understand them deciding that the accounts we have are inaccurate or biased, but if none of that was cregan's motivation then what WAS? any ideas where they're going with him???

okay a few things

yes objectively they're just treating the entire northern plot and i would argue the bulk of the riverlands arc as fan service. i think this is bad writing that came about due to the short seasons - they've talked a bunch about how hotd is more "intimate" it's about this One Family but that's just like,,,,, not true! For one thing, there's THREE different families here lmao (Targaryens, Velaryons, Hightowers) but for another even despite some of the annoying fixation on Only Targaryen Kings that F&B has, every section is about that king's COURT not JUST about the Targaryens in it and the dance specifically is about a LOT of different people. but they just prioritized the king's landing/dragonstone story lines over everything else to the detriment of every other story line so now the north and riverlands, which is INTEGRAL to the ending of the dance, is reduced to like, that unnamed prince of dorne cameo equivalent in got s8 instead of being an entire story arc in and of itself.

i think even more specifically, this season likely WAS supposed to be the same amount of eps (10) as last season but then the strike happened. they could see it was about to happen and figured they had eight scripts mostly finished so they prioritized those and are going to tack the last two eps onto the front end of season 3. this is a wildly different show but grey's anatomy did something similar with seasons one and two - they had scripts for 16 episodes of the first season but the network said they're only getting 13 episodes, so they tacked the last three onto the front of season two, so season two was like 27 episodes. the thing about that is that the "finale" of season one is still REALLY good as ending point (that "meredith i'm so sorry" "you must be the woman that's fucking my husband" is just an amazing goddamn ending to a season) so it really worked as the finale ( i honestly didn't realize it wasn't meant to be the finale until a few years later). vs this is so clearly not the finale they were gearing up to and i would bet real money on the first two eps of next season being FULL of action and ep 2 being very obviously the finale we were meant to get, and probably features the winter wolves.

beyond strike/production interference which i do think is the main issue...........the hater's take is that this is a self fulfilling prophecy wherein the main show refused to prioritize the Stark storylines (completely changing and utterly destroying both Sansa and Bran's arcs, forgetting about Rickon for years on end, turning Arya and Jon into standard Action Heroes instead of a conversation on the harm being forced to be The Action Hero takes on a person's psyche, stealing Catelyn's entire arc and giving it to Robb then cutting them both off at the knees anyway) because they thought the Lannisters and Dany were cooler, getting that sweet sweet merch money because the Lannisers and Dany have name brand recognition, then prioritizing them more in the story because that's what the fans want, then justifying it because its what the fans want, but the reason the fans want it is because they cut the Starks to begin with, etc etc. Vicious cycle here until we get the poor Cregan actor doing his best Kit Harington impression and nothing else. They obviously aren't the only people to get that treatment (see DORNE see GREYJOYS) but it's like...this is one of the main three families in this series, reduced to nothing because they're "boring." They're only boring because these bitches cut every single aspect of their story out of the goddamn show! "north story is boring" sorry but if you think the winter wolves are boring and claim you like asoiaf because it's "real and gritty" i think maybe you don't actually like the "real and gritty" parts of the story at all, i think you just want to see a hot person with a shitty blond wig kill people on a dragon. unfortunately, d&d did only want to see that lmao and that's the world we're stuck in now.

#like yeah making cregan the voice over and then doing nothing........ass writing. i hate targnation fr i'm so fucking serious #took all the goddamn fun out of this series for me #sorry for being such a hater in this ask asldkjfskdlj #transdimensional void #asks #hotd critical #for filtering

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balillee · 7 months

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had to turn back to tumblr after a year of not using it to hate on the new atla adaptation

a few things

speedrunning through half of the story with the fire nation family is not a good idea, actually. lu ten was introduced far too early, and with it you delve into iroh's backstory, motivations and true character before you've even fully developed the whole 'silly old spiritual man who prefers tea and hanging out with his nephew over hunting down an 11-year old air nomad'. the lu ten funeral scene was fine as an addition, but it's not something for book 1. learning about lu ten is something we do in book 2 as it compliments the developing relationship between iroh and zuko with the fire nation as a whole. also, iroh seems a lot less cool. the show commits the grievous literary sin of always telling rather than showing, and by continuously telling us 'he's the famed general iroh, dragon of the west' you're not actually accomplishing anything. let him redirect some lightning you fucking cowards.

azula also seemed to exist for no reason. any of the correspondences to azula from zhao could have bypassed her entirely and could have gone straight to ozai or even the fire sages. she exists in season 1 purely to rush through explaining zuko and iroh far too early. the show exists as a guideline. FOLLOW THE GUIDELINE. THE GUIDELINE IS GOOD. EVERYONE KNOWS THE GUIDELINE IS GOOD. also make her fire blue. cowards

aang does not waterbend for the entire season, which means the window of opportunity for him to learn to bend the other elements before the arrival of sozin's comet is even shorter than in the original show. even the original aang, who the netflix adaptation changed because he was 'too childish and always goofing off instead of getting to the point' understood his responsibilities to learn the elements better than this new live action version - part of the reason for the gang to get to the northern water tribe was to find aang a teacher (not just katara), master pakku, because katara was not capable of teaching him at her novice waterbending level but even so they were still seen practicing together on multiple occasions.

this brings me to my next point. WHERE THE FUCK IS JEONG JEONG. aang in the original series understood the urgency of defeating the firelord before sozin's comet after speaking to roku very early on, not as late as depicted in the adaptation. currently, the gang don't even know that they're on a time crunch, and yet still the show refuses to let them take their time by going on side adventures. this leads into the episode where aang meets jeong jeong and tries to learn to firebend before he's even started earthbending at all, because he's still scared that he only has a year to master the elements. he burns katara while trying, which is the reason she learned she had the power to heal with her waterbending, we see how fucking sick jeong jeong is at firebending for the first time during the fight with zhao, and aang swears off learning firebending at all, which is one of his main points of conflict leading all the way into book 3. if we skip that whole episode, we have skipped meeting one of the members of the order of the white lotus. the show could think it's slick by omitting him to just have iroh as the white lotus' firebender, but that's possibly one of the worst changes they've made. the deserter was not a filler episode.

i know a lot of people were talking about this before the show even came out, but sokka is not sokka. in book 1, sokka is three things - funny, overconfident and sexist. in the live adaptation, he is kind of one of those three things. part of why sokka's arc is one of my personal favourites from the original show is the stark change you see from the start to the end of his story - he believes himself a leader but has no real tactical or combative experience despite telling all the fighters and warriors he meets about how impressive he is. and then at the end of the show he is a definitively strong leader, shown by leading the assault on the fire nation armada - his team being two of the show's most competent female characters, who he trusts and respects with his life. by omitting these traits from sokka's character, you remove a big part of why he's even there in the first place - his arc's beginning allows him to become the fearless leader that lead his team to defeating the fire nation army.

i also hate that aang meets monk gyatso in the spirit world. a big part of aang's conflict about running away is that there exists nobody in the world who can tell him that what happened to the air nomads was not his fault, and that there was nothing aang could do to stop it if he was there. the new adaptation decides against the inclusion of one of aang's primary internal conflicts by changing the 'running away from his responsibilities as the avatar because he's a terrified child' to 'getting some air', and then throws in meeting the spirit of monk gyatso to tell him all of these things that aang needs to learn on his own. once again, telling rather than showing.

and finally, my least favourite change - the agni kai. part of the reason why i personally think the agni kai is so significant to zuko's story is the fact that zuko intentionally refuses to fight. in the adaptation, zuko fights back against his father, and his father scars him simply because zuko hesitates. in the original series, zuko bows to his father and pleads for mercy, and refuses to fight at all, and that is when it cuts away to iroh and azula's very differing reactions to the altercation, zuko screaming in the background. the setting also irritates me, because in the original, the agni kai was a public spectacle for hundreds to see in an ominous chamber, while in the new show it looked like just a regular old family gathering in the sun. zuko's adaptation scar i also hate because it doesn't even look like a scar. it looks like a birthmark, or at best, a black eye. if you hadn't seen the original, you would only know that it's a scar because the show tells you that it's a scar. zuko's scar in the animated series is a definite physical deformation of his face, his face looks red and raw, and his eye is smaller likely due to how the tissue healed, and as the show goes on you learn that the severity of his physical scars reflect the severity of his emotional ones. the original show does a brilliant job at showing how, just through the scar and the banishment alone, that despite zuko's beliefs, his father has betrayed him time and time again.

#atla #netflix atla #avatar the last airbender #avatar live action #atla live action

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new-kit-on-the-block · 9 months

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Miraculous - The watered-down significance of akumatization

(This is an analysis, but it's also a sort of rant. So there's a lot of text underneath the cut. Just a fair warning.)

I have a problem with the way that the latter seasons of Miraculous handle akumatization.

There's a pretty basic rule of thumb when it comes to writing the bigger moments of your story:

If something is a big deal, let it be a big deal.

Seasons 4 and 5 don't always do that.

Let's take a look at what I mean.

These are screenshots of the three separate occasions that characters have broken out of akumatization in seasons 4 and 5.

Take note of who these characters are and their importance (or lack thereof) to the overall plot.

On the one hand, you have Alya and Nino, the two main characters' respective best friends. It's only natural in a show like this for these two to be strong enough to break out of akumatization, it makes the main characters look like they definitely chose their friends right.

And then you have Alix's Redditor conspiracy-theorist older brother.

Why is he one of the big three who managed such a significant feat like this?

It's not like he's been shown to be particularly strong-willed. In fact, one could argue that he's even less so than most other characters due to how much further he fell into the rabbit hole of Lila's manipulation than anyone else.

His gullibility and irrationality are the entire reason he gets akumatized in the first place.

And he doesn't ever play a significant role after this, either. The only other time that he even had so much as a speaking role was the other time he got akumatized way back in season 1 for not being allowed to sacrifice someone to the Egyptian gods.

Now, these aren't the first times that people have fought back against Hawkmoth while being akumatized. But they are the first times that they've successfully broken out.

Pixelator questioned Hawkmoth's authority over him, and in response, Hawkmoth did something with his hand that started causing physical pain to Pixelator, reinstating his control over his akuma.

The only other time an akuma victim fought back was Robustus, which was a special case because he rebelled against Hawkmoth by using the specific abilities that were granted to him.

Neither of them even tried to escape akumatization.

Akumatization has always been set up as something powerful. Something that takes the worst parts of you and amplifies them to the point of no longer being capable of rational thought.

We never end up questioning why people don't try to resist akumatization if they know that they might end up hurting people. We already know the answer. It's because they can't.

Even Ms. Bustier, possibly the character who hated akumatization the most at the time, couldn't avoid becoming akumatized despite her best efforts.

So three separate people breaking free from their akumatization should imply that Gabriel's control over his victims is getting weaker, which would be a very big deal.

But nothing is ever done with that. After Alix's brother, nobody ever broke out of akumatization again. The ability to do so is used as nothing more than a plot device in these few episodes.

Another thing is that, if anything, Gabriel's grasp over his victims' emotional state should be even stronger.

His akumas are canonically more powerful than before, to make the lucky charms that Ladybug hands out stop working against him.

If bigger and more powerful akumas don't make his hold on people even stronger than before, then the entire arc of Ladybug realizing that she can create charms to prevent people from being akumatized more than once, and Hawkmoth's counter-arc of nullifying her efforts by simply creating bigger akumas was all just a complete waste of time.

After Guiltrip, I assumed that they were building up to Rose being able to break out of akumatization through her naturally positive nature alone, and then they would have an arc of her teaching others how to do the same.

Suffice to say, neither of those things happened.

Rose's "inner voice" that she's apparently had in her head this entire time doesn't serve any actual purpose other than to make her worthy of the pig miraculous.

To be clear: I don't have any issues with Rose's invisible illness never being mentioned at any point before Guiltrip. That's the entire point of an invisible illness.

My point is that Rose's ability to break free from negative emotion-based mind control is an extremely important ability that was never even so much as hinted at before or even brought up again any time after Guiltrip.

So, once again, it's just an extremely important one-off ability that doesn't matter and doesn't affect the stakes whatsoever.

These seasons keep throwing moments at us that should be very big deals but are never treated as such.

Now let's compare all of this to an actually good akumatization-related scene.

When Chloe successfully rejected akumatization.

When this happened, it was huge, and it felt like it too.

Not just because of how impressive the feat itself was, but also because of where Chloe was in her character arc.

Chloe was under the impression that Ladybug might never let her be Queen Bee again. Full stop.

She had potentially permanently lost a privilege that really mattered to her, Lila was starting to get inside her head, and she was becoming mean to Sabrina again.

By all accounts, Chloe should've been in the stage of her arc where she started to revert back to her old self. The old Chloe would've accepted Hawkmoth's words without a second thought.

If this was the conventional Zuko-style arc that so many writers try and fail to replicate, this would've been the scene where it seems like she may not actually get redeemed, and would fall back on old patterns of hers. Which is an interesting enough arc on its own.

But we instead have a girl who doesn't have any way of truly knowing better, has no good role models, and is close only to people who enable her worst behaviors. And she chooses to be good.

Her worst fears are starting to come true, nobody seems to have any care or respect for her, and a smarter and more experienced grown man is using all of these negative emotions against her to mind control her. And she still chooses to trust the process and work to gain back Ladybug's trust. Exactly like Ladybug told her to.

The one time she was given really good advice, it stuck with her.

This is the moment that flat-out confirms that Chloe can be redeemed, and actively wants to be better.

Not only did she not get akumatized, she almost made it look easy.

But the show still makes it perfectly clear that this wasn't an easy feat by any means.

She was visibly exhausted and scared after the akuma left, breathing heavily like she almost just drowned.

But the important part is that she did it. She didn't get akumatized. And she is shown to be rightfully proud of this fact.

It's also interesting to note that no other character has ever broken out of akumatization, mid-akumatization.

In the seasons to come, several people would be breaking out of akumatization after they had already been akumatized. But Chloe is the first, and only, person to reject akumatization before it even took hold.

That's how you give a moment like this the emotional weight that it deserves, by letting it stand on its own and not bombarding your audience with the same scene played out by several other characters.

Chloe was the only one to do this, and that shows that she could bring something special to the team if she actually got the chance to be a heroine again. It makes us consider the possibility that her stubborn and argumentative nature might actually end up being a silver lining. She can still be herself while saving people. In her own way.

She can be a hero. She can become a better person. And she doesn't have to change a thing about herself.

It would be a really nice message to send.

Which just makes it all the more disappointing when it doesn't amount to anything.

If the point of her character was that she could've been better, but became worse instead, that would've made for an interesting sort of tragedy.

But that's not what it is. I know that's not what the writers intended because if that were the case, then Ladybug would've probably had some lines about how much potential Chloe had, and how well she was doing before she went back to her old self.

We don't get any of that. What we get instead is the show and characters acting like Chloe was always as bad as she is in seasons 4 and 5.

She never actually liked Adrien. She was never kind to her father or Sabrina. She never wanted to get better.

And that's just not true.

Sorry, the main point of this post was to showcase the difference between important moments that were given the appropriate emotional weight, and those that weren't. But I just went off on a bit of a tangent there.

God. Even when this show gets something right, it gets like ten other things wrong.

Anyway, TDLR: If you want a moment to be significant, let it be significant. Let it make big changes that actually matter. Don't be a coward who's too afraid to change the hierarchy of your story in any kind of way that matters.

If you want a moment to have an impact on your audience, give it time to breathe on its own, and don't repeat it for at least a little while after.

And for God's sake, if an ability is a big deal, then don't let some unimportant side character that no one cares about also have that ability. It just makes it seem like it's not.

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lizzyscribbles · 1 month

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Okay, kinda shocked by the positivity on the last post. 😅 So I guess here we go again??

Today’s MHA thought: Katsuki Bakugo (or Bakugo Katsuki, whichever tickles your fancy) and why I think he’s an incredible character despite hating him in the beginning.

Some context: I was a teenager when the anime came out, so the only thing I knew of him was what we were given there. So like, seasons 1-4 my hatred for him was STRONG. It let up a little at the end of 3 with his and Izuku’s fight, and again with the class a/class b fight in 5, but it wasn’t until I put the series down for a few years then came back this as an adult in April and binged the entire series before 7 started airing that I really started to love him as a character.

Now, there’s a few reasons for this, but a lot of it boils down to this: He has NO REASON to be an asshole.

As far as we know, he has good parents, had a mostly-healthy home life, and doesn’t start being actively traumatized till he joins UA. He’s just genuinely a bad person at the start, like he literally tells Izuku to go take a swan dive off a roof AND HE HAS NO EXCUSES. (Side note, not saying being traumatized gives you the excuse to say these things. NO ONE has an excuse to say this no matter what they’ve been through). He had no past trauma to explain that response, no real good reasoning behind it other than he’s just being mean. We learn later it’s because Izuku made him feel inferior and he didn’t know why, which makes perfect sense and we see the evidence of this long before it’s said, but that doesn’t make it any better.

But that’s the beauty of it, for once this asshole-ery wasn’t born of trauma it just kind of…happened. He’s almost like All for One and Endeavor in that neither really had a good reason to be mean, they just got so wrapped up in themselves that they lost sight of everything else. However, that’s why I love Bakugo’s arc because it’s so satisfying to see him slowly come to that realization himself and change even though he really doesn’t have to. (It also begs the question why Endeavor and Bakugo and really any of the villains are seen in such different lights despite having similar stories, which is a theory for another day that I have brewing).

His change wasn’t necessitated by abusive past that held him back like Todoroki or even having to figure out how to manage a new quirk like Izuku, because say what you will he is SMART and he is TALENTED and he was doing great on his own. He could’ve climbed his way to the top without having a good personality, I mean just look at Endeavor. But he saw Izuku, his classmates, his FRIENDS and realized that wasn’t what he wanted.

And it all culminates in the end of season six when the class goes to retrieve him, instead of rushing to Izuku to yell his apology, he sends Iida after him because Iida is built for speed (these two/three episodes are my favorite part in the entire damn series and I’ll probably make a whole post about them eventually). But then, after that, he genuinely apologizes. He recognizes what he did was wrong, and what gets me about the dub of this episode is the way they chose to phrase the line:

“Saying this out loud doesn’t change a thing”.

He KNOWS that apologizing doesn’t make it okay, and he accepts that Izuku may never forgive him, but he does it anyway, and that’s how you know he really meant it. We see his convictions through the whole series, that boy doesn’t say anything he doesn’t mean. But it doesn’t stop there, he goes on to prove it with his actions, starting by calling Izuku by his real name, and his first name at that.

And in all of that, we still don’t lose his personality. He’s still loud, brash, mean, a bit of an asshole, and determined to be the best, but instead of looking down on Izuku, he sees him as an equal...an actual friend, someone to race against so they can both be better. It’s no longer all about him, he’s learned to see the world through a different lens, one we see him create during the entire series. He has truly changed in a way that feels natural and authentic to him as a character, and that’s something you don’t see every day.

And, we can see in the end, he continues to think about others, striving not for the top, but for Izuku’s happiness, and I think that’s beautiful.

I have so much more I could say about this, but I’m gonna stop here because this post is long as hell already, but if anyone is curious about anything don’t be afraid to ask, I’m an open book!😄

#mha manga spoilers #mha thoughts #mha #my hero academia #mha spoilers #bakugo katuski #mha bakugou #bnha bakugo katsuki #great explosion murder god dynamight #ground zero #anybody know how tf he got that name?? I see it everywhere but not in canon anywhere #Lizzy’s MHA Rambles

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lollytea · 8 months

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Unfortunately due to TOH being cut short by Disney a lot of character arcs and more storyline could not be fully fleshed out and finished as Dana had to wrap up everybody’s story in just a few episodes

I'm fully aware that Disney's intervention is responsible for a lot of the plotlines getting suffocated. Which is why I don't think it's fair to go harassing crew members with "why didn't THIS happen??" and all that, because nobody really knows what they endured working on those final episodes and how much they had to cut and rewrite. But from things Dana has said, it was likely a very stressful and exhausting experience. So I don't like to make assumptions about the crew being incompetent. Nobody knows how the season WOULD have turned out if they had been granted full creative freedom and breathing room to develop it to their hearts content.

However, me not directing personal ire towards the crew doesn't mean that I think that the show is immune to criticism. Its flawed. It might not be entirely the crew's fault but that doesn't mean we can't talk about how it's flawed. If anything, I think acknowledging and dissecting its weaknesses is a good learning opportunity for what we should consider when creating our own stories.

Season 3 is a bit of a mess. There's good stuff. There's some less than good stuff. I think ultimately, as a story about Luz, King and Eda, it knocks it out of the park. When they were left with no other option, they decided to prioritize the writing of their three protagonists and I think that was the correct choice.

But I've been thinking about the three specials and how they stand on their own, quality wise, and honestly, there's valid criticism to be said that is completely unrelated to the shortening.

Bear in mind that the crew has known since Follies that the show was getting cut short and they needed to start wrapping up loose ends. So it's not like they started writing Thanks to Them believing it was the first of 20+ more episodes. They knew that they were going to be writing a 40 minute special. So the execution had to be tight, concise and satisfying, right?

Well...it was....weird. Definitely fun. Good for fan service. The main hook was the witch kids navigating the human world in their dorky witchy way. And initially, that was enough. But once the novelty of that wears off and we focus on the plot of the special, what do we have left?

Thanks to Them is very guilty of lore baiting. Dropping in stuff that they know damn well that they're never going to elaborate on, leaving the audience with a feeling of intrigue that is never going to be satiated.

I personally think that is just bad writing. They knew they didn't have a full season 3 and rather than rewrite the means of which the hexsquads finds answers, they still made the choice to drop in what are most likely vague ideas from the initial draft.

I think, if they had no intention of developing it in future specials, there was no point to that scene of Masha telling the Wittebane story. It was just...filler. To stretch out the running time. Which is....kind of precious. Only 40 minutes. If you're obsessive enough about lore, you already knew the story from the Hollow Mind paintings. That scene was for casual viewers. Which is useless, because there's no point in casual viewers learning about Evelyn and Caleb because it never went anywhere.

Also. I personally think that if there was any value to learning the Wittebane lore without making it plot relevant, it would be for the sake of character development. We wanted to know how the kids would react to this knowledge.

Well how did they react?

*Shrug* They seemed a little unnerved but they kinda forgot about it the second they got off the hayride.

So what was the point of all that? What was the point?

Is it because we wanted "Goodbye, Evelyn," to be more of gut punch?

Was it worth it? Was "Goodbye, Evelyn" worth it? We know fucking nothing about Evelyn.

I think the rebus was a stupid and lazy means for the kids to discover Titan's blood. You introduce this mysterious object that was hidden under the floorboards and then you just use it as a plot device.

When the kids uncover the rebus and find the secret code inside, the viewer is not thinking about how it can be used as a means to an end (finding blood) The viewer is thinking "what the fuck is that thing and how did it get there and how did Flapjack know it was there?"

Questions that will not be answered <333

ALL IM SAYING is that I'm sure the crew could have come up with another way for the kids to have a Titan's blood treasure hunt. Maybe they could have dug a little more into the history of Gravesfield and follow leads on weird things happening on this one spot in the graveyard (which turns out to be because there's magical energy there, revealed when Luz realizes she can use glyphs)

I just think that if you're gonna leave the mystery box a mystery, you shouldn't have included it.

And I know. Its subtle storytelling. There's elements of what could have been a far more complex story and they're leaving hints of it here and there.

Well the thing about that is I think the hints are very unsatisfying and weaken the episode's plot significantly.

Also I don't think they should get to just pick and choose what parts of the lore are subtle and what parts are ham-fisted.

YES we are going to be reminded like three times that Flapjack is being secretive and hiding things from Hunter.

NO we are never going to get a payoff for that because he gets shanked and dies first.

BUT!! BUT!! If you squint, its IMPLIED that Flapjack belonged to Evelyn and blah blah blah

You don't get to rub things in the audience face and then choose to be all subtle about it at the last minute. Pick one or the other.

Anyway....I think they could have written Thanks to Them as more of an intriguing and suspenseful horror mystery where they spend forty minutes gathering clues and everything finally clicks together at the very end. That's not what we got.

We got a very weak attempt on the Hexsquad's part to be little detectives, but like a minute of screen time was devoted to them dicking around in a library, a costume shop, and a zoo.

I don't think we can blame the shortening for this.

#very sorry i got distracted and went on a little rant about ttt #this was unrelated to your ask i just tend to go on tangents #i needed to unload it somewhere tho

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thesunoficarus1 · 2 months

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episode 3 being titled "no place like home" either means christopher coming home or au episode. I truly cannot think of another option. but like I feel like that is far too early for them to bring christopher home. these bitches LOVE to torment eddie why would they bail him out of the misery by episode 3?

also episode two not having a title is either very suspicious or very not suspicious depending on the way you look at it. it's either something super important that they literally cannot release without spoilers or they just don't have a name yet. but since the disasters normally go for a 2-3 episode arcs, episode 2 HAS to be important disaster wise. and maybe this is just me being a hater, but I really don't know if they're gonna make the bees the whole disaster. and I feel like "buzzkill" for episode one has to be the bee episode. so here's my thought, the bees are only the catalyst for a bigger disaster or a red herring. and I love to be delusional, so here's my two ideas of how it could go.

both arcs would likely start out the same. episode one is bees. I feel like this one is pretty obvious. end of episode one, we find out there's a bigger disaster. after this, I feel like theres two ways it could go.

1. au episode in ep 3: in episode two, something happens where someone at the 118 is injured. likely at the end of the episode. this arc would likely be similar to buck's lighting strike arc. I'm not entirely sure that they would copy an arc that closely, au episode and all, but I also didnt expect them to pull the shit they did with eddie last season. so nothing is impossible to me. anyways, someone goes unconscious or gets knocked out and it fades to black and episode 3 is an au. that could be an explanation for the 119 truck that was on set a few days ago. I feel like this could be eddie (plus buck/eddie parallels for more buddie moments if they're making them go canon in season 8) but I do think it could be another character. in my mind its more likely that it is eddie since there will likely be a focus on him already since christopher is gone.

2. christopher comes home in ep 3: similarly to option one, episode two has a bigger disaster with someone getting injured. in this situation it would definitely be eddie. christopher finds out and wants to go back home in episode three. now, do I think it would be all sunshine and rainbows if this is the case? absolutely not. I don't really know/think christopher would just forgive eddie just because he got injured. I feel like it could be more likely where he comes home, eddie is eventually fine, and then they both go home and have an "oh shit." moment because all that baggage is still there. and they have to work through that. because christopher was NOT happy with that man when he left. so yes, while he would obviously be concerned if he found out eddie was hurt, I don't think that fact alone would make him be like "yeah this makes everything that happened fine." I just don't really see it.

sorry if either of these seem ooc or too out there but I never said I was a genius.

#im so sorry if this makes zero sense im just brain dumping at this point #i am also not the best at writing so hopefully i wrote it well enough #im so excited for season 8 it will singlehandedly get me through this semester of college #911 speculation #911 spec #911 abc #911 #evan buckley #eddie diaz #christopher diaz #chimney han #hen wilson #athena grant #bobby nash #911 season 8

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inamindfarfaraway · 3 months

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Elena of avalor goes crazy

Esteban’s song something I would never do Is essentially a whole soliloquy in a preschool show

Elena of Avalor goes SO HARD. Sometimes it’s pretty standard Disney Junior fare, but then every now and then, to keep you sharp, it punches you in the jaw with darkness or moral complexity or really profound, emotional storytelling. Esteban’s whole antivillain-antihero ping pong arc is rightfully iconic. But I want to call out Elena herself too. The protagonist of this Disney Junior princess TV show, the one little girls even younger than Disney’s average demographic are meant to look up to and connect with, clearly has PTSD, repeatedly demonstrating symptoms like flashbacks, panic attacks and hypervigilance. Her character growth is so well-done. She has serious flaws and makes meaningful mistakes, and then matures and takes accountability for them. Not all her issues are resolved within a few episodes or even whole seasons. In Season Three she gets a lot worse in some ways due to trauma. But she chooses to do the right thing enough, and receives enough help and support from her loved ones, to remain a good person and become a better one. She’s a genuinely great role model for kids and has so much older people can relate to and appreciate.

Like, Frozen has got a lot of praise for its portrayal of mental illness. And I am so glad that it did what it did, giving symptoms of anxiety and depression sympathetic representation in a mainstream, theatrically released, incredibly popular Disney movie. But Elena does everything Elsa does on Disney freaking JUNIOR and more over more time. Superpowers? Check. Beautiful, evolving relationship with her younger sister? Check. Rules a kingdom? Check. Is mentally ill, uses unhealthy coping mechanisms like emotional repression and learns healthier ones? Check. Sings amazing musical numbers? Check. Never falls in love? Check. None of the main cast have a romantic subplot! The importance is all on family and friendship! It makes this asexual very happy. Nearly kills people? Multiple times! Actually kills someone? Check. Wait, what? Elsa didn’t do that!

Yeah, let’s talk about the murder, shall we? I particularly love how this series handles revenge. Elena really, really wants to kill Shuriki, both to protect her country and to avenge her parents and herself. Her family have a debate about this. Do they argue that killing or acting in hatred and anger is always wrong? That not even the pure evil Shuriki deserves it? That it would be an irrevocable moral stain on her soul to take any life? Nope! They argue that she matters too much as the ruler to run off and attack an extremely powerful, deadly threat and it would be more effective in the bigger picture to let her royal guards do their job. Their disagreement is entirely practical. Nobody suggests that Shuriki should be forgiven or offered a second chance. When Elena later defeats Shuriki in an epic final duel, she does indeed kill her! She incinerates her with a fire spell! The narrative never shames or punishes her for this, only rewards her, and she doesn’t feel any remorse or forget to value life as a result. A Disney Junior princess commits first-degree murder in cold blood and it’s depicted completely positively. She did what she had to do and is happier and safer for it. BUT then in the next season, she really, really wants to kill Esteban because he was directly responsible for Shuriki getting to do everything she did to Avalor and its royal family, even though he initially has no malice toward anyone and just doesn’t want to be imprisoned. Her pursuing him with unnecessary aggression and coldly disowning him when he tries to make amends gradually drives him to seek power and be an actual villain to compensate for his ruined life. She’s disproportionately fixated on catching and hurting him over the greater good and her own wellbeing. This time her thirst for vengeance is negative because it harms herself and others who don’t deserve it. She’s sympathetic and understandable throughout, but not making wise or kind decisions for herself or her loved ones, like not letting Isabel to talk about her feelings on Esteban with her. In the end, she does need to forgive Esteban to save everyone and have peace. But only after he tangibly proves his change of heart by sacrificing himself for her. The NUANCE.

Also, going back to Frozen comparison, I would like to point out that if you’re sick of them, Elena of Avalor has no twist villains. But it does have an array of interesting villains who are fun to watch and can be surprisingly layered and dynamic. Victor and Carla have a natural redemption arc building off their established true love for each other. Ash loses her love for her family to become even more immoral. She essentially kills (petrifies) her husband before their daughter’s eyes. They didn’t need to go that hard, but they did. Shuriki is a sorcerer queen with classic Disney villain confidence and flair, and has the added menace that a) she literally murders Elena’s parents in front of her in her first scene and b) she’s a colonising dictator who we actually see oppressing her conquered people through realistic methods of cultural suppression and police intimidation. They didn’t need to go that hard, but they did!

Thanks for the ask!

#elena of avalor #eoa #elena castillo flores #princess elena #queen elena

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savagewildnerness · 3 months

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Let’s get to know our vampire loving selves, friends. Reblog with your answers, if anyone would like to!

1. Favourite series of Interview with the vampire so far

2. Favourite episode (you can have 2 from each season if you must!) from season 1 & 2 & why

3. Favourite scenes (any series) & why

4. Any scene/moment you don’t like & why

5. Favourite character(s) from the TV show & why

6. Best thing for you about the TV show

7. Favourite piece from the score (or describe the moment of the music in the show)

8. Moment/theme you’re most looking forward to in season three

9. Leave any comments you wish to make about films here

10. For book readers: favourite book from the entire Vampire Chronicles and why

11. If you have a favourite moment, story arc or quote (or a few), share here

12. Favourite book characters and why

13. Feelings about TV show versus books

14. Do you remember how you felt when you first read The Vampire Chronicles? Share any memories/feelings/changes to how you feel now you would like

15. Anything else!

I think 15 is enough questions!

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emblazons · 2 years

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Still thinking about how understanding what happened in the S3-S4 relational narratives requires you suspend the belief that the last two (soon to be 3) seasons of Stranger Things are designed to stand alone.

With S1 and S2, the seasons existed as standalone entities—S2 was a sequel yes, but it wasn't a direct narrative extension of the action that occurred in the season before. You could watch Season 2 with only a bit of context from the first season (one boy got kidnapped and taken by the monster into another dimension, the girl from the lab with the superpowers showed up and they worked together to save said boy, but then she disappeared and was presumed dead) and watch the second season with little issue.

Its not the same with Seasons 3-5. If anything...it helps when analyzing to imagine Seasons 3-5 as one "season" in the same way S1 and S2 exist as single entities; the Duffers have already confirmed its true for Seasons 4-5, but it gets a lot easier to follow arcs and action, particularly for the youngest characters, if you stop trying to find coherence in single-season stories and look at each season as three parts of a whole.

This is true across the board, but it's particularly true in the case of understanding Byler, both as individuals and a pairing (though the full buildup of their romantic arc will take us across all 5 seasons). Understanding why S3 feels like you just got dropped into nonsense with them specifically (after two seasons of Michael "I'm the only one who cares about Will" Wheeler and Will "I am central to the story even when I'm off screen" Byers) is because The Duffers took the risk of introducing a brand new set of conflicts to the youngest characters: namely, ongoing romantic relationships, personal identity crises and sexuality...only without resolving the conflict and action in the 8-9 episodes they usually do, which is why you feel frustrated by it.

Basically: Season Three was the season where we set up the relational problems that need to be fixed—we just have three entire seasons to work through them, which means its gonna look bad at the start and good as we work through the problem (over the course of a few seasons) to get to the solution.

forewarning: ferociously long post ahead (with headers for clarity)

Will’s Arc: A (Queer) Coming of Age

With Will, the problem re-introduced in S3 is that he feels different from his peers, and not just because he's gay; its because 1) he is in love with Mike in a way that is more genuine than we are being presented in the third season (that "sandbox" "puppy love" "break up and makeup" summer fling energy that S3 has) and 2) he is unwilling to step into the lie of "maturity" as its being presented in the story, aka giving up things like hanging out with his friends over focusing on relationships or giving up games (DnD in particular).

(sidebar: I wrote another analysis touching on the above here).

A lot of people I've met who watch the show casually say things like "it just seems like he's not able to grow up like his friends" and even "he's falling behind," but I think that's on the right track while missing the point: the reason Will is written as "refusing to grow up" is because he is the character that represents the rebellion of The Duffer's heart and interests, and both of the things that seem like they would be a bad because they make his character different in the narrative are actually surprisingly positive for his "three season" arc...if you understand what the ongoing themes of Stranger Things are.

With Will, the “problem” in the story exists because he is the one who represents being weird/the outcast/queer and not giving into the social pressure to “let go” of that—he loves another boy, is more emotional than his peers and loves nerdy things like his tabletop board game and refuses to deny that to himself, no matter how brutalizing that is for him and his feelings. In that way, he is the character who “represents” the sentiment of The Duffers themselves—he is a nerd, a child at heart, and he has no problem taking DnD and anything else into “adulthood,” (looking at you “yeah, yeah I really did” during the rain fight) the same way The Duffers have.

That said: as we move into season 4, Will is presented with an evolution of this conflict—he wants to continue to be honest with and about himself, his feelings, and his interests…but it comes in direct conflict with his understanding of his peers & Mike, whom he loves.

We see this conflict show up repeatedly in Will’s actions in S4, especially in regards to the painting, which is the physical representation of both his love of Mike and his embracing of his nerdiness. Will shows up to the airport with his painting in spite of not speaking to Mike because his heart is to be honest and true-to-self regardless of anyone else—you even see this as he takes the painting on the road when they plan on going back to Hawkins, after he makes up with Mike. The problem is though (and this plays into the whole “we want you to feel like you lost” sentiment The Duffers spoke about, as S4 is the “down” before the “up”resolution of the whole narrative) that Will he realizes that his desire to be honest is getting in the way of (his perception of) the happiness of the people he loves, so he decides to betray his character and break the first cardinal rule of The Party…to tell his first lie.

There are plenty of phenomenal analyses on other aspects of Will’s connection to Vecna/the UD and the love triangle dynamic at play across this app so I’ll leave that alone here (I do have many thoughts on why the above makes Henry Creel the perfect villain foil to Will specifically), but: for the sake of understanding Will’s relational narrative arc, it’s critical to understand that our “low” for him is the betrayal of his ongoing S3 character—and that him undermining his self-honesty, nerdiness and love for Mike are the things that The Duffers have set themselves up to resolve in S5.

The resolution for Will is to re-embrace his differences —to realize that lying to yourself and other people about who you are and what you love (both in terms of “nerdy” interests and his queerness) is not who he wants to be, no matter how hard it is to stand up for in the wake of adversity—along with embracing the power of real love, which is also an ongoing theme the Duffers have set up in their relationships beginning in Season 3.

Now…on to Michael.

Mike’s Arc: Finding Yourself & Embracing What Makes You Different

—anyone with a single toe in this fandom knows that Mike Wheeler is one of the most divisive characters in this story when it comes to deciding 1) what his motivations are and 2) what his desires will be, but (and bare with me on this)…I think that’s kind of the point of his story. Mike’s “three season” arc is about him moving through a confusion of identity into someone who can embrace himself while addressing the things he is most insecure about—namely; being seen, being useful, and (very, very likely) the fact that the person who makes him feel most secure, seen, useful and loved is another boy.

There are several context clues that give credence to the fact that the reason Mike feels so wishy-washy / lacking in depth is because his struggle is not knowing how to find his place in the world, though you have to go further back than S3 to find them. Let me explain.

From the literal pitch of the show, there has always been an undercurrent of self-doubt and insecurity in Mike; his desire to escape the weight of feeling insecure has been a driving factor in his actions since before he was even on the screen, and it is impossible to understand what motivates him without first understanding that.

With Mike, his actions across all seasons have been weighed down by his desire to escape his insecurities through action—and as he’s gotten older, what he’s used to escape those insecurities (to be someone like the paladin he plays in DnD) has evolved and shifted, ranging through everything from turning the world (no pun intended) upside down to find Will; being willing to sacrifice his life to save Dustin from bullies; using any weapon he could find to fight a baby demogorgon; and wanting to be a heroic knight who protects the perceived vulnerable girl once he starts dating Eleven.

The point is: Mike’s deepest core need is to assuage his insecurities by doing whatever he can to be a good person—and when he feels like can’t do anything or protect the people he loves…he spirals. That’s been true since the start of his character…and everyone from The Duffers to Finn Wolfhard himself has mentioned it.

Now. With that baseline established, let’s talk Season 3.

Ironically enough, a lot of people feel like Mike’s character has “fallen off” because he, by the sake of all appearances, has achieved all the things he is supposed to want—namely a girlfriend, which (at least in his mind) is the physical embodiment of successfully “addressing” his core fears.

Because Mike has all the external markings of a well-adjusted kid—he comes from a wealthy family, has a solid group of friends (who are also mostly now striving for social normalcy) and even a girlfriend—he seems to have addressed what many people even in real life believe is the end of most arcs & the fulfillment of the fantasy. For Mike, the appearance of his S3 life seems to have assuaged the fears at the root of several of his insecurities, including the desire to be needed, the desire to protect, the desire to be useful, and the desire for acceptance…all because now he’s saved El and has her at his side, and having a girlfriend means he has everything a good, well-adjusted guy is supposed to want.

Or…does it?

With how The Duffers set up the story (with S3 as the introduction of a new conflict for every major character), the answer they’re giving you based on how Mike interacts with other characters is no—having a girlfriend and acting “mature” doesn’t solve anything, especially if the core problem of you having an insecure identity while being dishonest with yourself isn’t addressed…and it’s the arc of Mike learning that “lesson” that we find ourselves dropped into moving into Season 3.

Beginning in S3, the war on Mike’s insecure self-concept comes at him on two fronts: on the one side, El, who started her journey needing Mike because of her background but now has no real need for any of the things he so desperately wants to provide as a means to validate himself, and on the other Will, whose deep familiarity and history with Mike combined with his confidence in his own identity presents Mike with a challenge of self-reflection that he doesn’t exactly feel ready for yet.

(sidebar: my post on how Mike's arc is intrinsically tied to a subversion of the "Born Sexy Yesterday" trope is a helpful expansion on things I talk about here).

We see this in how Mike gets frustrated with Max for giving El the space and language to not need him (undermining his role in her life as someone who she needs to protect/guide her); we see it in how he says cruel things when Will behaves in a way that challenges the actions Mike has taken to be “mature” (how he insults Will for not also wanting a girlfriend / still wanting to play the games that set them apart as nerds/different); and we see it in how Mike still goes out of his way to fix those relationships in the best way he can—because he knows on some level that what he’s doing in several moments isn’t in alignment with who he wants to be, even though they are both presenting him with radical internal challenges.

Ironically enough, Dustin does a great job of summarizing the two sides of Mike's internal conundrum in what he says to Steve about Robin—Mike, somewhat like Steve, is struggling between what is socially acceptable in a partner (or "cool") and what he actually wants and enjoys in one—and as El and Will evolve, so does Mike's internal conflict about how he perceives their places in his world.

Between El’s supernatural abilities and rapidly growing autonomy making him obsolete to her in all the areas that matter to Mike (see: the ability to protect, be useful, and be seen) and Will’s reminding him that at his core he is just as much of a nerd as Will is, Mike finds himself feeling more confused and insecure than ever…and that is the internal conflict we see him end S3 battling.

The evolution of Mike’s narrative arc past the introduction of this internal conflict doesn’t happen until is the Byers/Hopper move to Lenora though…when he is literally left alone to process what that intense summer brought to light for him—which is the note we're left on as we move into the next phase of Mike's evolution in S4.

In S4, the development of Mike figuring out what he wants and needs from his relationships + the kind of person he wants to be becomes a lot more external—we see him going through a series of code switches as he tries to manage the ever changing landscape of his self-perception, where has started journey toward self-acceptance but is still insecure about following through with it.

We see this in the way he has now joined The Hellfire Club and shows sincere signs of accepting his interests and "outcast" status, but still looks forlorn when Lucas says “I’m tired of being bullied / I thought you wanted things to be different too” (Lucas’ struggles with some aspects of performing normalcy the way Mike does S4).

We see it in the way he shows up to Lenora dressed in what he thinks he’s should be wearing rather than as himself / the way he continues performing his relationship with El throughout that first day (and how he says it was Will who "sabotaged" things by being that same kind of radical honest about his feelings we talked about before)...only for the events of the day to spur him into meaningful honesty with both El and Will (to varying degrees of success) mere hours later.

We even see it in the way Mike seemed to have been “turning over a new leaf” once he and El fought, to the point he was okay with them ending the “normalcy” performance of their romance…right up until Argyle’s paranoia while burying Unknown Hero Agent Man struck the fear of god back into him (aka making him worry he was letting El down by not protecting her—aka tapping into one of his core fears).

Basically: Mike is leaning into accepting the things that make him different in little ways, but is still struggling to step into that identity fully—aka he is still using perceived social acceptability as a shield, even though he no longer holds as tightly to being perceived as normal. (Even Finn himself often jokes about Mike “just trying to be normal,” which I think is a good, simple explanation of what’s happening—that said, if we take that reading and combine it with those “narrative goals” I mentioned The Duffers have earlier…Mike trying to be normal is an issue to be resolved, not an identity to be embraced. But…let’s move on).

By the time we get to the infamous van scene, we’ve watched Mike struggle through the two sides of his inner conflict for the entire season now, and felt him very gently succeed at switching into a more honest version of himself (who doesn’t need a girlfriend as a shield / can embrace his “otherness” in the same way Will does) right up until his inherent desires to be needed and useful come rearing up the second El is in danger.

It’s why we see him look pleased (but also marred with conflict) when Will looks confident, happy and radiant talking about “playing dnd and Nintendo for the rest of their lives…” and why him being honest in that scene is actually a huge moment for him, because rather than being vague about what has been plaguing him for two seasons now (trying to be “normal” just because he feels insecure) Mike is finally verbalizing the internal conundrum of his now two seasons of looking critically at his insecurities.

Now—I could spend all day digging into just that bit of narrative alone—the way Mike finally externalizing his insecurities to be processed with Will rather than acting on them and hurting people unintentionally is a giant leap for him, and how when Will says “you’re sacred of losing her” Mike’s nod is an acknowledgement that Will is right…but his face is saying there’s more to that fear than he’s acknowledging—

—but for the sake of this analysis of the narrative arcs, the van scene is most important because it’s when the S4 “it feels like you lost” moment begins for Mike…and that’s because it matches up directly with the “you feel like you lost” moment for Will: him lying about the painting.

When Will lies about the painting—saying that his feelings and the art that (as I said before) represents 1) his love of Mike, 2) his embracing of his nerdiness and 3) that radial self-honestly Mike so admires Will for—it throws a wrench into Mike’s internal revelations because Will is essentially saying that the relationship that Mike was slowly realizing he used to assuage his insecurities (his relationship with Eleven) is actually what lines up best with "who he wants to be," which throws Mike’s slow growth toward Will + honesty about what (and who) he wants to be into a tail spin.

From Will’s lie onward, Mike is thrown into moment after moment of conflicting emotions and dire circumstances as well—and given that Mike's deep terror of losing people comes up strongest when the people he loves are in danger, it’s only downhill for Mike’s growth toward self actualization from here. In that sense, (much Jonathan's S4 omissions of his truths/fears to Nancy leading to Nancy's regression into complacency / social conformity with Steve), its Will's lie that leads us directly into the “you feel like you lost” moment for Mike: him moving back into "conforming" territory and confessing his love to El in the SBP.

The monologue (at least in terms of the narrative arc The Duffers are writing) is Mike’s “losing” moment because it’s when he has enough self-revelation to realize that being with a girl as a shield for his insecurities is no longer what he wants...but the drive he has to be useful, protect and love any way he can (on top of Will’s urging + lie) leave him feeling like his only option is stepping into the person he was at the start of S3.

In this moment, we see Mike say exactly what someone who is "acting normal” about loving his girlfriend and wanting to save her would….even though romantic love with El (and the socially-acceptable romantic relationship he has with her) are not what he really wants, and what we will watch crumble moving into S5.

Essentially: Mike having a moment of dissonance of that magnitude after an entire season of looking toward Will was what set us up to see all those "external markings of normalcy" Mike has held onto and had started grating against for two seasons now fall apart, given what we know about those core messages/themes/child-at-heart values the Duffers hold and keep at the heart of their show.

As of the end of S4, we can already see how this "regression" into his old self is not going to hold—the fact that everything Mike did to save El is rooted 1) in a lie and 2) not in alignment with Mike evolving understanding of his core desires makes sure of that.

We even see the beginnings of this "low" being resolved in Mike's arc in how Mike & El are not speaking (even with the 'resolution' of their surface-level S4 conflict with Mike's love confession) and how Mike is glued to Will's side even before Vecna is mentioned–which is how we've been set up to see the resolution of Mike's arc in S5.

With all this in mind, it becomes a bit clearer that the resolution of Mike's arc is him moving through the confusion of identity we've watched him go through from S3 forward and into someone who can embrace who he is what he truly loves without fear of going against what is expected—aka finding the courage not to conform.

Mike as a character is a lesson in how doing what you think you're supposed to (aka what is "normal") is often at odds with who you are and what makes you the happiest—and the only way to self-actualize is to move past your insecurities and into someone who can be confident embracing what (and who) they really want...even when it means stepping out of line from what you’ve grown up believing would do the self-actualizing for you.

Final Thoughts

Both Mike and Will's relational arcs revolve around an embracing of what makes them different—in terms of their (highly likely) mutual queerness, yes, but also in terms of them making self-actualized peace with being nerdy "children at heart" in much the same way The Duffer Brothers themselves are.

If Will represents a person who struggles because they refuse to deny themselves their identity, Mike represents a person who struggles because they don’t understand their identity, and are walking around just trying to do whatever they can to get along (because they haven’t been presented with the inciting conflict that will move them into self-revelation & growth).

Both of these internal conflicts are narrative arcs that have been built into the coming of age stories of both halves of Byler—and though we are currently sitting at the "low" of both of their arcs as of the end of Season 4, the setup and though-line for them finding themselves (and real, honest love with each other) has been clearly set up for exploration in Season 5.

—if you managed to get through all of this, I commend you. And yes, there are a million other things to be explored between these two, but...I enjoy sorting through the thematic / "moral of the story" through-lines in all my media, so of course I was gonna do it for for Byler!

#byler #mike wheeler #will byers #THIS IS THE LONGEST THING EVER AND I'M STILL NOT 100% SURE ITS COHERENT BUT I'M TIRED OF SITTING ON IT LMAO #I will also probably be editing bits and pieces of it over the course of the next day for coherence so apologies if you find an error lol #but !!! this is the most cohesive way I could think to explain how their arcs work separately and individually #esp with the ' big messages' of the Duffers discussed /included #ANYWAY. HAPPY FRIDAY LOL #mike wheeler core #will byers core #my st commentary #stranger things #the me tag #the come back tag #duffer brothers

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youdontneedhenry · 7 months

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It's been a whirlwind day for fans of this show, and it's clearly been a better day for some more than others. I do want to acknowledge that I see and hear and understand the disappointment fans are experiencing.

I would like to speak to my own feelings, which are ones of excitement and cautious optimism because the parts of the show I enjoy the most are still intact for Season 5. I am really excited to see where this show goes. I'll put the rest below the fold so as to be respectful to the variety of emotions.

I enjoyed the episodes that didn't feature the Duke for a variety of reasons. He often talked down to Eliza, or tried to knock bring her down in a variety of ways, and so he seemed to be fundamentally incompatible for her. By the end of season 3, I started to wonder how they could course correct to make William/Eliza believable and work for me. I just couldn't see it because I didn't like how the core issue with Eliza's ambition. That's not something I could get behind.

My favorite parts of the show were always Eliza working with partners who respected her- partners like Nash and Moses. I really missed Moses in Season 4, and one thing I hope we see more of is the diversity of Victorian London that we got to see in earlier seasons.

Look, I am obviously a hardcore #ScarNash shipper. I have loved the character of Patrick Nash since his introduction in season 2. The romantic possibility was there in season 2, and then by episode 3 of season 3 (Hotel St Marc), the chemistry was rather distracting! I liked how he respected her talents and enjoyed having her take the lead.

By the end of Season 4, it was clear to me that Patrick Nash and Eliza Scarlet made the most sense. They were equals, and he recognized her talent from the beginning. Eliza's character seemed to have more growth through her interactions with Nash while her relationship with William had grown stale. The flashback episode really solidified that for me- they hadn't changed in personality in a decade, why would they ever? I forgot to mention the constant mirroring of WIlliam/Eliza romance with Patrick/Eliza's relationship. Talking about wanting to receive a present in a bow with a box to William and then having Nash give her exactly that in an area she wanted- a boost to her career. The way Nash always wanted her to work for him when William only reluctantly hired her. The way Nash acted in the entire Jewel of the North episode, including being there for Eliza when her office was trashed. And that's not even Season 4 where Eliza flat out says he's the only person who's ever had any faith in her!

I know what the writers have said about platonic relationships. And a Season 5 renewal with no Duke doesn't mean we automatically get ScarNash. But a girl can dream. They writers are SO lucky to have these actors with this amount of chemistry and a relationship that has developed over THREE seasons. There's been a satisfying arc with Patrick and Eliza. Rivals to friends to lovers would be satisfying. We've watched them grow individually and together. It would make sense.

My wishlist for season 5 certainly includes: a female friend for Eliza that isn't Ivy, for Moses to come back (I know this is not happening lol) and for ScarNash to be canon. I think it would be incredible, and I hope others can come around.

As a side note, it's been absolutely delightful to share this news with ScarNash fans and to find NEW people who have quietly shipped ScarNash. I sometimes felt like there were only a few of us, but truly there's so many people that love the idea of them. So while I think it's not at all guaranteed that it'll be canon, I certainly continue to hope this has opened the door to it. We'll wait and see! I'm looking forward to the new season with more excitement than I've had for any piece of media in awhile.

#miss scarlet pbs #miss scarlet and the duke #scarnash #patrick nash #eliza scarlet #that's progress real progress

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comicaurora · 1 year

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If you've finished The Dragon Prince, S5, what's your opinion? Personally I'm still processing everything and there were a few things I was kind of "ehhhhh" about, but those were just one-off moments and overall I'm satisfied, even though it ended up playing out very differently from how I was expecting (for one, I was certain Aaravos would be getting out by the end of the season).

I liked it a lot!

SPOILERS AND STUFF:

Because I liked it a lot, most of my more specific thoughts are about the few things that sort of jarred me a little bit and felt a little rough or strange. But before I get to that I wanna list some of the stuff I loved:

Soren! My sweet boi has finally gotten the acknowledgement the previous seasons denied him. Soren locking eyes with Deadwood and going "yo same issues" was incredible, and after the last season treated his abduction by and confrontation with his abusive father as 90% comedy funtime hijinks in a nightgown, it was really refreshing to see him get a chance to actually shine in a serious, heartwarming context and be narratively rewarded for it.

In fact, that whole sequence with the pirates was incredible. I knew there was no way they were gonna cleanly outrun the bad guys, but I was not expecting how exactly they would catch up.

They did a lot of elegant work this season setting up Claudia as going from being family-motivated to being anger-motivated, and I like that, because at the rate things are going she's gonna run out of family to be motivated by in T-minus one episode, and if she's going to continue being the main boots-on-the-ground antagonist she's going to need some new motivation to swap out for her dad. Showing her actively reveling in having power over creatures that used to frighten her is a clever way to ease into that.

Viren's arc this season of being forced to confront his own coping mechanism, "I had no choice", was damn elegant. He had to realize he did have a choice the whole time, even if it was a choice between two bad options - he took every step along the path of his own free will, and he can choose to stop walking at any time. I'm not anticipating a redemption arc - my guess is Aaravos is going to let him die and just keep his soul imprisoned with him, "your soul is my treasure" and all that - but it was a very cool way to confront the audience and Viren with his humanity, which is easy to lose sight of when he spends all his time being a horrible dick.

The stuff with the Nova Blade screams "sneaky poetic double meaning" and there's absolutely no way it can actually kill Aaravos. The fact that the novablade and the three quasar diamonds they need to let Ruunan out of his coin after four goddamn seasons are all in the same place called the Starscraper that is so most definitely a boss arena makes me absolutely certain that they won't get there until some sort of final battle or immediately-pre-final-battle confrontation, but it's also almost guaranteed that the novablade is not going to cleanly resolve everything because the characters were realistically sus about that poem but quickly dismissed their entirely reasonable concerns. My guess is the novablade has already stabbed Aaravos once and he's the dude from the poem who was somehow both immortal and "no more," which feeds into the other thing they're 100% setting up, which is that Callum is one thousand percent going to be the one who lets him out in an ill-fated attempt to save his loved ones, which would cleanly make Callum three for three. Which segues into my "things that bothered me a little bit" zone-

Every time there's a story where the heroes are like "we're going to make our way through the incredibly circuitous and hard-to-navigate traps and secrets to finally find our way to the closely-guarded and ludicrously dangerous macguffin so we can take it with us and put it somewhere much less guarded" I feel my investment slip just a little, because how can anybody be surprised when the bad guys then get ahold of it with a tenth of the effort it would've taken them to get through the circuitous treasure hunt themselves? Claudia was not on track to figuring out the secret in time, and Aaravos didn't seem to have a way to tell her directly, and once the deadline ran out she'd have almost no reason to want to release Aaravos anymore. I worry this plotline could've solved itself if the heroes hadn't inexplicably concluded that they could guard a magical prison better than a centuries-deep conspiracy of archmages and archdragons.

The Dragon Prince character writing is usually rock-solid and very good at showing slow growth and development, while occasionally being vulnerable to characters seemingly losing their braincells to facilitate plot points that they would reasonably be too smart to let happen. That happened a few times this season, most notably with Zubeia getting very clearly bit by a shadowbeast - something we know everyone riding on her back saw, because Corvus intervened to get it off her and nearly died in the process, and we later see Soren talking to her about it - which means Amaya at minimum, and probably Callum and Rayla as well, should reasonably be expected to have both the information "a wound from a shadowbeast magically festers and turns the infected victim into a shadowbeast" and "zubeia was injured by a shadowbeast." So it's a bit weird that this doesn't come up and they just leave her alone about it, and only Soren - who doesn't know about shadowbeast stuff - even asks her about it.

I have this theory that there was a draft of the season's plot where the main characters had access to a different space of information - for instance, knowing about Zubeia's wound and its implications instead of her inexplicably brushing it off, hiding its true severity and then nearly dying. The most notable instance of this feeling struck me in the same episode, when right after Amaya's incredibly dramatic "go!" moment and the gang are about to fly away, Callum pointedly looks down one last time, then sees her shove Corvus and herself into the book drop, and he says "they made it into the book drop! they'll be totally fine!" and then they fly away. It feels a little jarring because it seemed like the natural flow of the episode would've been to let Amaya and Corvus's sacrifice play out as expected, with Chekov's Book Drop at their backs to save them as soon as the heroes were out of sight. Then Amaya and Corvus could show back up later in a big heroic moment, possibly even keeping the camera off them until Amaya rides to Janai's rescue a few episodes later - a classic "aragorn goes over the cliff jk he's fine" style reveal.

The reason they didn't do this, I think, is because it would've been hard for the kid heroes to be quippy-fun-time jokey-joking mere hours after losing their last living relative to presumed horrible zombie death. And I get that! But I think that was a notable factor in the way some of the episodes were structured around making sure that the heroes mostly got to spend their time being light-hearted and funny, which meant troubling information was artificially kept from them and encouraging information was shoehorned into their eyeline in slightly contrived ways so they could stay safely partitioned away from the actually heavy emotional implications of their situation. That's why I think the pirate episodes hit the audience as hard as they did, because suddenly the story dipped really seriously into the extremely painful and scary side of this otherwise fun and exciting fantasy adventure, and the characters shone in the unusually serious environment.

I kinda feel the same about Viren, but in the opposite direction. He spent the entire season comatose and safely partitioned away from the other characters, and while his highly symbolic coma dreams were extremely cool and revelatory to see, it feels like a squandering of his character potential to keep him from interacting with anyone but Aaravos - which is why I think they're gonna keep his ghost around at minimum. Hell, maybe Claudia will take a page out of his book and store him in a coin for safekeeping. Either way, they've had no problems sticking Viren on the proverbial shelf for seasons at a time and it seems like it's just too convenient for them to stop now. Viren's inner life is very cool, but I want to see him actually interact with the real world, because he's so bad at it.

I don't really know why the sunfire civil war thing is still happening, and my only theory is that Aaravos is still influencing the bald elf guy he possessed to kill the Queen back in season 3, meaning that these guys will be bolstering the ranks of General Problems in season 6 onward. I don't mind that concept, but I kind of feel like the problem they're running into is they killed their actually interesting Dickhead Royal back in season 3, and without Prince Kasef they have to make do with We Have Kasef At Home, aka Karim, who's not good enough at machiavellian scheming to be interesting and not enough of a dickhead to be fun to watch. They didn't even let Amaya take one of his eyes and make him look cooler, so I can only assume he'll be usurped as the primary threat next season and replaced with someone actually threatening, aka Aaravos. It seems plausible that Aaravos is going to sell both the poison and the cure, promising a way to fix Lux Aurea's corruption, but it's just a weirdly disconnected plot thread at present.

The thing with the ocean archmage felt like a very transparent Yoda homage, which started out cute and then went on about three times longer than I wanted it to, and it kind of highlighted the running theme of how every new character in this story is introduced saying "I absolutely cannot let you do this thing you need to do to progress the plot, no way no how." and then after some arguing and quips and ten minutes of wasted time and optional sidequests they're like "you may now proceed with the story." The ocean archdragon had the exact same gimmick in the opening scene, even the pirates were introduced that way. I think part of the reason the pirate episode felt so different and cool is that it broke the episodic formula in almost every way and highlighted some character tropes that the lighthearted tone doesn't normally allow for, which is why people keep describing it as "like a fanfic, but in a good way!" It took the characters we were at this point very familiar with and put them in a Situation, and fans love it when characters get put in Situations.

Kinda feels like the show only remembers Ezran has geopolitical kingly responsibilities when it's most inconvenient for the gang, and while I find his presence in this season refreshing, it is a little weird that he can just run around adventuring and getting kidnapped by pirates without anyone bringing up how the throne and the crown are burdens like they've been banging on about for the previous four seasons. I assume that'll come back into focus later, but it ties into the same thing I've observed where it feels like the characters are very carefully contextualized to only have to consider serious responsibility things in very specific contexts, usually when it will facilitate actively frustrating character arcs and decisions, so they can just loosely quip and react to things the rest of the time.

Anyway I had a dang good time, excited for more! Harrow is one thousand percent in that bird.

#asks #not aurora #media recs

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