#after a cliffhanger enhances the story

[zukkaoru]

as much as it emotionally destroyed me, i do have to say those last two pages of bsd 109 are like. the perfect cliffhanger. and i'm kind of super glad bsd releases monthly rather than weekly so it can actually hold the weight it was given

[kdinjenzen]

just saw your post about how Golden Sun is on the switch now. would you be cool with telling us more about it?

(i struggle to get into media that is new to me without knowing a bit about it first, and it's usually best when i hear it from someone who loves the media in question)

Golden Sun began as a two-part Game Boy Advance JRPG series starting with 2001's "Golden Sun" and ending the first arc with "Golden Sun: The Lost Age" in 2002. The second arc of the story began with "Golden Sun: Dark Dawn" on the Nintendo DS released in 2010 and is the last title in the series to this date with an unfortunate "The End?" cliffhanger suggesting the closure of the series as a whole would come with a FOURTH game to be released at some point in time. To this day there has been no true word on a fourth title to finally finish the series.

The Golden Sun series of games were developed by Camelot Software whom originally were a Sega Only Developer specifically focusing on the "Shining" series starting with Shining in the Darkness in 1991 and ending with Shining Force III in 1998.

Camelot Software then became a Second-Party Development Studio for Nintendo focusing on the Mario Sports series of titles including both the home console and handheld versions of these games, beginning with Mario Golf in 1999.

Camelot Software was also the creator of the Waluigi character who first appeared in Mario Tennis in 2000. (They also created both the UNSEEN version and now KNOWN versions of Wapeach for Mario Tennis and Power Tennis respectively.)

The game series was created with the intent of allowing Camelot to get back to their roots or more RPG style games and to bolster the Nintendo IP owned roster with diverse gameplay titles. Much of Golden Sun's style can be seen in Camelot's older "Shining" titles with a more evolved and "of the era" style. Golden Sun was originally being conceived as a Nintendo 64 title before it was revealed that the Game Cube would be releasing soon and the N64 would be sunset. Development then moved to the GBA.

Originally Golden Sun and The Lost Age were intended to be ONE GAME, but the cartridge space on the GBA was too small and would need far more memory to whole the full game so the idea to split it in two was devised to create a much more well rounded story, give devs more time to finish the latter half of the game, and get the first title out sooner.

Golden Sun (as a series) is fairly simple and follows more traditional JRPG standards of turn based battles, a party of four characters, elemental magic, leveling up, and various collectable armors and creatures to enhance characters in and out of battle.

Elements are a key point to both gameplay and story as the world is inhabited by a small amount of "Adepts" whom can control these elements based on four types: Wind, Earth, Fire, and Water.

Djinni, small elemental creatures, can be found all over the world that will add new abilities and skills to the party's Psynergy (the game equivalent of magic spells) as well as used as parts of larger summons.

The main plot of the first title follows Isaac and Garet, years after the tragic loss of Isaac's father and their mutual friend Jenna's brother and parents being killed in a storm, as they learn more about their town, the world around them, psynergy, and the history of Mt Aleph's Sol Sanctum (a temple hidden within mountain near their small village) from one of the village's historians Kraden.

After opening up Sol Sanctum they are approached by two people who were part of the cause that ended up taking the lives of Isaac's dad and Jenna's family, a third masked figure, and their presumed fourth partner who are currently hunting for the Elemental Stars in an effort to light all the Elemental Lighthouses and releasing the power of Alchemy and Psynergy (again, the game's magic system) across the world which could be potentially disastrous.

After most of the Elemental Stars are stolen, Jenna and their teacher Kraden are kidnapped, Garet and Isaac meet "The Wise One" (a giant floating rock with an eyeball) who tasks them to stop the opposing party of four before they can attain their goal and quite possibly doom the world.

Along this journey they are eventually joined by Ivan, a young Wind Adept, and Mia an expert healer and Water Adept. Between these two and Isaac, an Earth Adept, and Garet, a Fire Adept, the party is able to round out with the full elemental psynergy roster.

They end the first game with a cliff hanger that directly and immediately starts back up with Golden Sun: The Lost Age.

The Lost Age features 4 new party members, who you do meet some of in the first game (no spoilers), and eventually the two teams of four merge into a team of 8 (two of each elemental type) - the groups combine their powers and the first arc ends.

Dark Dawn, the DS title, takes place 30 years after the end of The Lost Age and primarily follows around the children of the protagonists from the first two games going on an adventure that started far before their birth with something that happened at the end of The Lost Age.

Each game features both in and out of combat use of Psynergy. For combat it's as simple as attack/defend/buff/heal/etc. Outside of combat certain elements of Psynergy are used to solve puzzles in various ways from growing plants, pushing large stones, reading character's minds, blowing away objects with great winds, freezing water to create new platforms, etc.

The game features lots of fun collectables, side-quests, world building events, optional dungeons, and more.

I could go on and on about this series more, but that would involve a TON of spoilers so like... GO PLAY THE GAMES! THEY ARE VERY FUN!

[ofsmokenandgold]

The good, the bad and the (not so) ugly.

So, just watched the finale of Land of Women and man did they leave it on a cliffhanger, poor Kevin.

So we have dead Kevin, Fred (hopefully) off to Argentina, Montse pregnant (Amat looking like someone dropped a building on him) and Amat and Gala got their kiss (or several) and can I just say, damn, that man kisses convincingly.

Anyway, some thoughts.

The good - obviously Gala convinces Edna to buy 100,000 bottles of the wine and thereby gets the Co-op out of the financial hole that it is in.

Julia and Mariona make up and Julia decides to stay in La Muga.

Kate tells her dad to fuck off and also decides to stay.

Fred goes off to South America (presumably the ship sailed before he realized that Gala and Amat had jacked his safe).

And, as I had guessed from last week's "we need to talk" moment between Montse and Amat, Montse is pregnant. I definitely have mixed feelings about taking their story in this direction. What I did like was that Montse was the one who got to lay out the terms of their relationship - they were just having fun, they were careful (obviously not careful enough) and they had talked about their relationship a lot. So she seems to be expecting support from him - "there's a third person involved now" - but not necessarily expecting their relationship to change. I don't think there's any question about whether she's going to keep the baby - they keep showing pictures of Amat with a child that's no longer in his life, so he's going to be enthusiastic about that part, after he gets over the shock. So having a pregnant FWB relationship complicates his life but doesn't necessarily preclude him having a relationship with Gala.

And that's clearly the direction they are headed after that kiss. And yes, this has always been the end game - their chemistry is fantastic and the goal all along has clearly been to get them into a relationship - that's always the goal when you put two attractive people in a show and have them strike sparks off each other for six episodes.

What I have an issue with is the unnecessary element of competition that the show runners introduced into the show.

And I still don't get it. This show was touted as women uplifting each other and yet, the show runners felt the need to introduce a character who is not in the book just so that Gala has someone to compete with for Amat (and win).

Why? I don't get it.

Worse yet, they took a frankly gorgeous actress and created hair, makeup, wardrobe and behavior choices to make her plain, masculine and practical, just to set her against the gorgeous, glamorous Gala.

It feels very, very self-indulgent of Eva Longoria (as one of the show runners) to make her own character shine by deliberately down-playing the attractiveness of another female character that is set up as her rival - all so she can win the man.

And they are walking a very fine line here between enhancing the drama and making Amat an absolute shite for pursuing Gala within days of his marathon sex session with Montse (does anyone else think that Gala might have been exaggerating just a little about her disturbed night - seriously, he's in his 40's - most men that age can't go all night). Hopefully, he was at least going to talk to Montse before going any further with Gala - but that wasn't clear.

I think I'm just going to be perpetually confused as to the intentions of the show runners here. And it's a good reminder that showrunners are not often good at critical analysis and don't necessarily think through the consequences of their decisions . Even when they have a vision for a show, they don't necessarily see how other decisions can undermine that message once you apply a critical perspective.

I still loved the show and I'll watch it over and over again - despite his tendency to think with his dick, Amat is a very, very attractive character.

And the show clearly needs another season - although it's not clear that Apple+ is going to give them one, and even if they do, getting everyone back together in Spain might be a little tricky.

As for anything, else, well that's why we have fanfiction. Watch this space.

ETA: And to bear out Rule 34 - there is now porn of it (well at least a little smut) .

[whovianwatchingstartrek]

A Whovian Watches Star Trek for the First Time: Part 078 - Slave Market Rescue

Star Trek: Enterprise - Season 4 Episode 4 - Borderland

We start this one with a cold open on a Klingon War Ship, which picks up two humans, who then precede to kill everyone aboard.

After the intro, we cut to a Starfleet prison, where Archer is visiting someone, specifically a prisoner who is apparently a genius for genetic modification. This guy and archer have the start of pretty interesting philosophical discussion about how inventions can bring both positives and negatives into the world, and the inventor's responsibility over those consiquences.. It's pretty on the nose way to bring an episode's theme into play, but it is an amazing theme to cover. The episode is about genetic engineering, and uses the example of nuclear science as a comparison example, but I'm also kind of reminded of another example in the Haber Process, a chemical process that can be used to make Fertiliser for crops really cheaply, but was also used to produce poison gas in World War 1.

Apparently, the humans who massacred that Klingon ship were genetically enhanced humans stolen by this prisoner. Archer is tasked with finding them, and bringing them back to earth. The Prisoner, his name Arik Soong, brings fantastic energy as a villain. I love his small innocent jabs at everyone, like telling Malcolm he "hasn't been seeing his share of the publicity". The way he delights getting under everyone's skin is just great, and I love that he seems to have some genuine parental love for the Augments. He is a fascinating villain.

It's lovely seeing Enterprise finally fixed up from the Damage the Xindi put in it. T'Pol has now officially joined Starfleet, and it's kinda cute that he got her a gift for signing up. I love the slight redesign that the bridge has received. The blue really makes it look a lot nicer than just the cold grey over the previous seasons had. A lot less utilitarian, and more homely.

While hunting the Augments, Enterprise is hit and Run by an alien group called The Orion Syndicate, apparently slavers, who transport 9 people off of Enterprise, so Enterprise's current mission is diverted to rescue them.

Luckily, Soong has access to the slave market planet, so he and Archer transport down together for the rescue. Archer's plan is to buy out the prisoners, which works for most of the captives, but T'pol was already sold. The plan to save her involved starting a full blown Riot. However during the process Soong attempts an escape of his own. Archer does successfully bring him back to Enterprise however.

Throughout the episode, we keep cutting back to the augments, and while I'm sure the whole power struggle between Malik and Raakin is plot important, I didn't really care much for them at all, at least until the end. Malik's ruthless takeover and murder of Raakin though was great at setting him up as a villain.

During the escape, some Orions open a firefight with Enterprise, but the Augments show up in their Klingon ship. They fight their way through enterprise, take archer hostage all for rescuing Soong, then make their escape.

This episode was a good set up for the coming story arc. We've got a phenomenal pair of villains, an amazing theme to play with and one hell of a cliffhanger. I'm excited for this arc.

Also, just because of how my day worked out, I ended up watching this one with my Partner, who has never watched an episode of Star Trek before and I'm still taking through Doctor Who. His review is that it "wasn't bad"

[pachekovisk]

AWARD SEASON #1

'Across the Spider-Verse' is one of the best superhero films ever made, maybe even the very best

(Annie Awards nominee, BAFTA longlist, and Oscars shortlist)

★★★★½ - excellent

After the absolutely amazing film that was 'Into the Spider-Verse' (2018), it is fair to say that the sequel had some big shoes to fill. But, at least in my opinion, it had no obligation to fill those shoes, so to speak.

For one, the first film had a storyline that was pretty much set and done at the end. It had room to expand the universe and characters, for sure, but it didn't have to do that. The conflict was pretty much resolved, and even with that (kinda) cliffhanger ending, it could've all just ended there.

What I mean to say is that, considering how incredibly good the first film was, the second one had no obligation to exist, let alone be just as good as the first. It also had no obligation to be better than the first one. It had no obligation to be much better. And it certainly had no obligation to be one of the best superhero films ever made, maybe even, dare I say, the very best of the genre.

So I am very glad to say that 'Spider-Man: Across the Spider-Verse' (2023) not only accomplishes all that, in some ways it surpassed all expectations I could ever have for a picture like this. In that way, it certainly deserves its place among films like 'The Dark Knight' (2008) and 'Avengers: Endgame' (2019), as one of the best superhero films out there.

'Across the Spider-Verse' once again proves that quote by Guillermo Del Toro -- "animation is not a genre, it's a medium" -- to be correct, in so many ways. I feel like a few years ago a lot of people kept repeating this quote without fully understanding it, and I think films like this one really help to show how true it really is.

You could try to make a film like this work in live action, but all that would do is limit everything to the boundaries of physical reality (and the always existing limitations of CGI in live action). The medium of animation allows for so much more creative liberty, exploring so many different genres, styles, and ways to tell a story. And I feel like both the Spider-Verse films use animation to its full potential in this sense. It uses animation to both create stories that could never be fully told in live action, and to enhance the emotional impact of the stories that possibly could.

Speaking of which, the animation in this film is stunning. Every shot better than the last. Just like the first film, the whole animation is based on a comic book æsthetic, that shifts and changes for each universe, each character, even with each emotion the characters are going through. My mouth was agape throughout almost every scene. The action, the pacing, the fluidity of the animation, it all works wonderfully.

One scene in particular, in which Gwen talks to her father in her universe, legitimately made me want to cry. Both because of how beautiful the animation looked, and for the amount of character and humanity this film is able to show through that animation.

And that is what makes this film work completely. The characters.

Every important character, old and new, is so fleshed out, so well developed, and so charismatic that you can't help but be genuinely invested in what they go through and the challenges they have to face. Gwen's storyline, for instance, is so incredibly well done, she's so marvellously developed in this, that I think I love her character even more in this film than I did in the first one. She has a central role in the film that sometimes makes her even more important, and interesting, than Miles.

That is not to say, of course, that Miles doesn't play an important role or that he is not interesting. Far from it. I may have found Gwen's story more interesting at times, but the struggles Miles goes through are, in fact, the heart of the film.

I won't go into spoilers here, but let's just say that his story taps into the Spider-Man mythos in a way I have never seen any other film do. It explores what makes Spider-Man a hero in such a meta way that I think it's just brilliant. This is, in fact, one of the most brilliant films that has ever used the concept of multiverse and parallel realities that I have ever seen. And saying that in a reality where both 'Everything, everywhere, all at once' (2022) and 'Rick and Morty' (2013-) exist is really saying something.

Amazing animation, amazing use of animation, amazing characters, and an absolutely brilliant exploration of the Spider-Man mythos. What more could you want? This was just fantastic.

[moviemunchies]

[Doing another TV show review. This one can be found on Roku.]

Over a decade ago, the Sci-Fi Channel/SyFy was known for two things: terrible original monster movies, and great original television shows that it canceled too soon. Alphas was the first SyFy original series that I watched, so I wasn’t sure what to expect.

I was fairly impressed by it.

Alphas takes place in a world (perhaps the same world as Eureka and Warehouse 13) in which certain individuals, dubbed “alphas”, have enhanced physical or mental abilities–superpowers. Ordinary human psychologist Dr. Lee Rosen (played by David Strathairn) leads a government-funded team of alphas to investigate criminal cases involving alphas, especially regarding a secret activist group called Red Flag. Along the way, the team has to cope with their own problems–after all, each power comes with a physical or mental drawback.

This show came out about a year after the NBC series Heroes, I think? Do you remember Heroes? It was a show that everyone went nuts for even though I don’t know of anyone who has much positive to say about it after the first season (it also got hit by the Writers’ Strike in its run, so maybe not its fault). Alphas got a lot of comparison to Heroes. It had a much lower budget, but I think that it works in the show’s favor? It’s aiming for a more grounded attempt at superhero fiction, after all.

I do not want to call the superpowers in this show “realistic”; some of them are quite ridiculous! But they’re generally smaller in scale and the show works to create explanations that sound somewhat plausible. There’s an alpha who doesn’t turn invisible, as much as walk in people’s blindspots. There’s an alpha who can shapeshift, but he has to study his subject extensively before transformations. 

Leaning into that: a fascinating aspect of the powers in the show was that each one came with a disadvantage. Some of these are physical; on the team, for instance, Bill has enhanced strength that kicks in with his body’s fight-or-flight response. The problem is that his body can’t handle going through that for extended periods of time. Sometimes (and seemingly more often) the side effects are psychological; Nina, whose power is temporarily being able to mind control people, has significant trust issues and a tendency to use her ability for petty tasks like getting out of speeding tickets.

This adds a dimension to the powers–it helps build these characters, so that their powers don’t feel as if they’re just tacked on. The psychological aspects help the characters feel more grounded, as it questions how people would act if they had these powers, and the physical limitations puts boundaries on what the characters are capable of. There’s nothing as gaudy as time travel or throwing bolts of lightning here.

The main conflict of the series is between the government and the group Red Flag. It’s pointed out more than once that alphas have every reason to be antagonistic towards the US government, given its tendency to exploit and imprison alphas whenever they want. Many in Red Flag have sympathetic motivations and backstories, making the heroes wonder at times if they should really be fighting them at all.

If you decide to get invested in this series (which maybe you should, as it’s pretty good), you should be aware that it only lasted two thirteen-episode seasons, and it ends on a cliffhanger. Not one of those, “Oh, what happens next?” cliffhangers, a full-on, “Everything is screwed!” cliffhanger, that makes you think there must have been a really good plan for what happens next. That doesn’t change that the show is good, but you might end up deciding that it wasn’t worth getting worked up over a story that’s clearly unfinished.

But overall, Alphas is good. It’s really good. If you’re into superhero fiction, but won’t mind the lack of costumes or secret identities, this could be a good show to try. Or if you’re just interested in science-fiction series, it’d be worth giving Alphas a try.

[destinyc1020]

World of reels typical stan film bros,i would not trust this. I'm little afraid for spiderman 4. Really it's a chance that film will get new director. Another thing is story,I want street level story,but I'm hearing marvel wants more connected story with mcu. I hate it, marvel in deep shit rn and they just want use spiderman too at least somehow make it relevant,they may fuck up spiderman character too. I hope Tom have some power this time and very protective to spiderman character.

I'm not really afraid for SM4. Idk why people automatically assume that them possibly (note: POSSIBLY) having a new director for SM4 is automatically going to equal = FAIL?

Some new director could possibly bring a different feel/vibe to the films that are for the better! It could enhance the franchise actually! 😃

I think the problem with your Spiderman/MCU argument is that after the cliffhanger in NWH, how can you possibly write a "street level" Spiderman story w/out somehow involving the MCU, since Dr. Strange and his "maneuver" was the reason why nobody remembers Peter in the first place?? 🥴

Or, maybe that's a good thing? Maybe they can just start over new?? But then, will Peter himself remember? It seems he did when he went to go visit MJ at the donut/coffee shop at the end.

So, idk girl..... I would LOVE a stand-alone Spider-Man movie WITHOUT the tie to the MCU, but I'm just not seeing how they can do it at this point. They've basically backed themselves into a corner.

All I want is to just have a Spidey movie where the focus is on PETER (not any MCU "surprise guests"😒🙄), where there is GOOD character development for all of the characters, where the love story feels REAL and genuine and not rushed like in FFH, and where we can get some deeper storylines and not as much magic/robotics/IronMan help, etc.

[ineffably-human]

I loved season 2 as a WHOLE but also I had some problems with the structure of it. like as much as I loved the flashbacks and think they enhanced the themes really well (the zombie one didn't really do anything for me, but that was probably the secondhand embarrassment), they started and stopped the action while there was very little plot going on. I wonder how different the pacing of the season will be if I watch a little every day (or even once a week) instead of all at once frantically hoping I can get some sleep at the end. there's got to be stuff I missed, because my first viewing of season 1 was very different from my third or fifth or whatever it was.

as soon as Aziraphale found out Gabriel was with someone at the pub, I had an idea of what was going on because of how new!Beez's actress was implying there were emotional things going on with her character. and how upset Beelzebub was in general, the few times we saw them. also the fly, though I figured that was Beelzebub spying, and I kept wondering why they didn't seem to know where Gabriel was if they were there even before the miracle.

so I felt like I had a lock on at least some element of what was going on, and no real new information presented itself. and that's fine if it's actually more of a character piece than an actual mystery - I figured that's what we were getting anyway. I just wanted more of the characters that weren't Crowley and Aziraphale. because Crowley and Aziraphale are wonderful, but I wanted everyone around the Ineffables to enhance them that much more.

I wanted more of Gabriel suddenly seeming vulnerable and scared while Crowley tried to wrap his head around that. I wanted more of Muriel coming to enjoy Earth and either ask her own questions, or at least start to find her own place. I definitely wanted more Maggie and Nina. The first episode of them was perfect, then suddenly Maggie's infatuated (we never really find out why) and Nina's grumpy and that's sort of how it stays.

I see how they're a mirror to the Ineffables, but I didn't get a sense of what they could bring to each other. I felt like we learned more about Nina's abusive partner than about who either of them were outside of that. and of course the abusive partner is important too, as a metaphor, but we had the gist of it.

I can only hope they're something to be resolved just like our absolutely heartbreaking cliffhanger. Not necessarily to get a 'happily ever after' but to get more of a sense of Maggie, and how they fare knowing about the supernatural now, and what the future holds for them. (Can they adopt Muriel? I'd read that fic.)

And I think giving all those things time to breathe while shortening the 'mini-sodes' a bit would have enhanced the season as a whole that much more. But as long as this is getting, there's so much more that I liked and loved and am unpacking (because like the first one, this story is layered) and I haven't even started a rewatch yet.

[adamwatchesmovies]

Nemesis 2: Nebula (1995)

You have to wait a little to understand why people call 1992’s Nemesis a Terminator ripoff. The visual resemblances aren’t there in the first scene. The theme of mechanical infiltrators is buried beneath a jumble of needlessly labyrinthine would-be spy work. That’s not the case with Nemesis 2: Nebula. This is unmistakenly a clone of the 1995 sci-fi classic (despite coming XX years after), which makes it much more fun.

73 after the previous film (and featuring none of the characters we saw during that cliffhanger of an ending), humans have lost the Cyborg Wars. Rebel scientists have developed a new strain of DNA and bred a saviour who can free us from our mechanical oppressors. To escape them, Alex (played as an adult by Sue Price) is sent back in time to 1980. 20 years later, a cyborg bounty hunter named Nebula (Chad Stahelski) arrives to kill her before she can win the battle for the future…

Details have been tweaked. Nebula isn’t after Sarah Connor, she’s after John, who is a woman… so basically Sarah Connor. There’s no Kyle Reese because, as a super soldier with enhanced DNA, Alex looks more like Arnold Schwarzenegger than Lynda Hamilton. The film isn’t set in the United States, it’s in East Africa because… it’s much cheaper to shoot there! Like the T-800, Nebula can infiltrate our society without arousing suspicion. Either with its cloaking forcefield, which makes it kinda invisible in a way that’s ripping off Predator or by hiding off-screen and killing everyone it encounters before they can sound the alarm. It’s vague. I suspect they wanted to mask how crappy their monster looked by throwing a bunch of effects on top. It's a little more likely a reason than filmmaker Albert Pyun choosing to rip off not one, but two Schwarzenegger action movies at once.

This is a perfect film to pair up with Terminator. Obviously, the plots are similar but Nemesis 2 perfectly highlights just what makes the 1984 James Cameron movie so good. Sure Price has the physique to be an action star but she’s got exactly zero charisma and just as much screen presence. Her character is so poorly developed and defined, her dialogue is so limited, she might as well be a robot herself. You basically watch her run around, dispatching one fool after another with the insectoid-looking killer in tow, reducing everything in sight to cinders. You get a sense she might’ve had more material on paper but that many of her lines got cut because of her atrocious performance.

The whole thing’s constructed like a robot made of cardboard and bubblegum. The tribe who discovers Alex somehow knows her name. The beginning of the movie is entirely subtitled because obviously no one there would speak English… until Alex is on her own and it’s revealed she’s known the language since birth. That's a headscratcher. Nemesis 2 repeatedly and severely underestimates how much we’ll like or dislike the people we encounter on this adventure. You’re desperate for something to latch onto. You’re having fun at the movie’s expense, cracking jokes at the lousy production and quoting your favorite lines from the Terminator series when we meet Emily (Tina Cote), a woman taken prisoner by some bad guys. Alex rescues Emily (and her dialogue-free friend who serves basically no purpose). Now, you expect the pair to bond. Compared to Sue Price, Tina is a deity of theater. Obviously, she’ll stick around. Maybe she'll even be the “Sarah Connor” to Alex’s “Kyle Reese”. I know I’m not the only one getting strong lesbian vibes from the movie so you REALLY think something will come of their meeting… but no! From the way the film ends, we’re supposed to dislike Emily and think her a villain! It’s one of the many bewildering turns the story takes.

Nemesis 2: Nebula can be fun to watch when paired with the right movie and crowd. It’s an ineptly directed and shoddily assembled film with a thin plot and minimal dialogue. You can easily follow it while basically hurling things at the screen. It’s no classic but if you’re making your way through the series and want to make an event out of it, then I say throw this one in the mix. (On Blu-ray, July 26, 2019)

[pagebypagereviews]

In the labyrinth of contemporary fiction, Laura Dave’s "The Last Thing He Told Me: A Novel" emerges like a beacon, captivating its readers with a narrative that intertwines mystery, love, and resilience. It plunges you headfirst into the enigmatic disappearance of Owen Michaels, leaving his wife Hannah reeling with only a cryptic note: "Protect her." As Hannah ventures into uncovering the unsettling truths about Owen's past, she forges a reluctant alliance with her equally skeptical stepdaughter, Bailey. This masterfully crafted tale not only delves into the complexities of family dynamics and personal identity but also deftly keeps the reader on edge, meticulously unraveling layers of secrecy and trust. "The Last Thing He Told Me" solves the perennial problem of predictability in thrillers, offering a refreshing departure with its nuanced character development and emotional depth. Dave harnesses suspense to its full potential, creating a tapestry rich with questions of loyalty and the lengths one will go to protect their loved ones. As the plot thickens, it challenges readers to reconsider their assumptions, effectively bridging the gap between heart-wrenching domestic drama and gripping suspense. It is not just a story—it is a compelling exploration of how far the ties of love and responsibility can stretch, scrutinizing what it truly means to know someone. This novel is a testament to Laura Dave’s literary prowess, a quintessential read for those who crave an emotionally charged mystery steeped in authenticity. ## Plot The cliffhanger opening of "The Last Thing He Told Me" grips readers right away, as Hannah Hall faces a life-altering crisis. The plot weaves intricate layers of mystery and drama as Hannah discovers a note from her husband, Owen, simply stating, "Protect her." This single sentence propels the narrative forward, anchoring the emotional and suspenseful elements of the story. Through relentless twists and turns, the plot explores themes of trust, betrayal, and identity. Hannah's quest to uncover the truth about Owen's sudden disappearance leads her to confront unsettling secrets and navigate through complex legal and familial intricacies. ## Characters The characters in "The Last Thing He Told Me" are richly developed and multi-dimensional, each playing a critical role in the unfolding mystery. Hannah, the protagonist, is portrayed with both strength and vulnerability, her actions driven by a fierce sense of loyalty and determination. Then there's Bailey, Owen's teenage daughter, whose initial rebellious and untrusting demeanor gradually softens, revealing her as a deeply affected and complex individual. Owen, the enigmatic figure around whom the mysterious events revolve, is crafted with such ambiguity that readers are left questioning his true intentions and motivations long after the book ends. Secondary characters, such as Jules and Grady, add depth to the story by offering different perspectives and contributing to the unraveling of Owen's true identity. ## Writing Style Laura Dave employs a direct and immersive writing style that enhances the reader's connection to the narrative. Her use of the first-person perspective allows for a deep dive into Hannah's thoughts, feelings, and doubts, making her struggle feel personal and immediate. The crisp and concise prose, punctuated by moments of introspective reflection, keeps the pacing tight and the tension high. Dave’s skillful deployment of foreshadowing and red herrings adds layers of complexity to the storyline, making each reveal feel both inevitable and surprising. The dialogue is natural and engaging, offering insights into character dynamics and advancing the plot without feeling forced or expository. ## Setting Set against the backdrop of Sausalito, California, "The Last Thing He Told Me" utilizes its setting not just as a background but as an integral part of the story. The picturesque yet somewhat isolated town mirrors Hannah's own feelings of loneliness and confusion.

The serene yet occasionally foggy bay area creates an atmosphere of suspense and uncertainty that underscores the novel's themes. Furthermore, the settings vary from their cozy houseboat to the bustling and somewhat ominous tech offices where Owen worked, each meticulously described to enhance the narrative tension. Locations like Austin, Texas, further expand the story's geography and lend it a sense of urgency and breadth. ## Unique Aspects "The Last Thing He Told Me" stands out for its intricate melding of a domestic drama with a gripping mystery. The novel excels in portraying a realistic and evolving stepmother-stepdaughter relationship. In an uncommon but refreshing twist, the novel’s primary relationships are female-driven, focusing on Hannah and Bailey's journey toward mutual trust and understanding. The blend of emotional depth and suspense sets this book apart from other thrillers, making it as much a study of human relationships as it is a page-turning mystery. The minimalist yet poignant narrative style combined with well-timed plot revelations ensures that the story remains engaging and resonant. Similar to The Last Thing He Told Me: A Novel Book Review Pros Cons Engaging Plot The narrative is filled with twists and turns that keep the reader hooked. This positively impacts the user experience by making the book hard to put down, providing a sense of adventure and unpredictability. Strong Character Development Main characters are well fleshed out, making it easy for readers to form emotional connections. This deepens the engagement and makes the storyline more compelling. Emotional Depth The story delves into themes of love, trust, and loss, evoking a strong emotional response from readers, enriching their experience. Clear Writing Style The author’s clear and concise writing helps in easy comprehension, allowing readers to focus more on the story than on deciphering complex prose. Paced Well The book’s pacing keeps a balance between action and introspection, maintaining a rhythm that’s satisfying for most readers. Predictable Elements Some parts of the plot might come off as predictable for seasoned readers of the thriller genre. This could reduce the overall suspense and excitement. Less Emphasis on Secondary Characters Secondary characters are not as richly developed, which might make some interactions and scenes feel lacking in depth. Pacing Issues Certain sections of the book may feel rushed or dragging, disrupting the overall flow and possibly making the reader lose interest. Occasional Confusion Some plot points or character motivations are not clearly explained, leading to moments of confusion that can take away from the overall enjoyment. Emotional Overload While emotional depth is a pro, for some readers, the heavy focus on intense emotional themes can be overwhelming and detract from the enjoyment of the plot. Author Reputation When evaluating whether or not to purchase "The Last Thing He Told Me: A Novel," one of the first considerations should be the reputation of the author, Laura Dave. An author with a solid track record is often a good indicator of a quality read. Research Dave's previous works and take note of their reception. Her earlier works, such as "Eight Hundred Grapes" and "The Divorce Party," have garnered critical acclaim and have been recognized for their engaging storytelling and compelling characters. This background provides a sense of reliability and enhances the probability that you will enjoy her latest book. Genre and Themes Understanding the genre and themes of "The Last Thing He Told Me" is crucial for ensuring it aligns with your reading preferences. This novel falls under the category of mystery and thriller, with sub-themes that explore family dynamics, trust, and deception. Consider whether these elements appeal to you and match the type of narrative you usually enjoy. Reading customer reviews and professional critiques can offer additional insights into how effectively the book tackles these themes.

Plot and Pacing Plot and pacing are essential aspects to examine when choosing a book. "The Last Thing He Told Me" features a gripping narrative centered around a woman uncovering secrets after her husband disappears. Assess if the book maintains a balance between a fast-paced storyline and character development. Reviews from readers often highlight whether the plot keeps you hooked and if the pacing is consistent or has noticeable lulls. Those looking for a page-turner will find this aspect particularly important. Character Development Character development greatly influences your connection to the story. Evaluate the depth and complexity of the characters in "The Last Thing He Told Me." The novel primarily revolves around Hannah Hall and her stepdaughter, Bailey. Consider if their character arcs are well-developed and relatable. Look for reviews that discuss the nuances in character interactions and growth, as a well-crafted emotional journey can significantly enhance the reading experience. Writing Style The author's writing style can significantly impact your enjoyment of a book. Laura Dave is known for her straightforward yet evocative writing. Analyze if her style resonates with your personal preferences. Customer reviews and sample chapters can provide a glimpse into her narrative approach. Readers who appreciate clear, immersive prose will likely find her writing style engaging and accessible. Price and Availability Price and availability are practical factors to consider. "The Last Thing He Told Me" is available in various formats including hardcover, paperback, ebook, and audiobook. Compare prices across different retailers and formats to find the best deal. Take advantage of discounts, promotions, and membership benefits that some bookstores or online platforms may offer. Additionally, check the delivery options and timeframes to ensure you receive the book when desired. Reader Reviews and Ratings Reader reviews and ratings are invaluable in making an informed purchase decision. Platforms such as Goodreads, Amazon, and Barnes & Noble provide a wealth of user-generated feedback. Look for common themes in the reviews, such as the level of suspense, emotional impact, and overall satisfaction. A book with consistently high ratings and positive feedback is generally a safe bet, while varied reviews might warrant a deeper investigation into the specific critiques. Book Awards and Recognitions Books that have received awards or recognitions are often indicative of high quality. Check if "The Last Thing He Told Me" has been acknowledged by reputable literary institutions or award bodies. Such accolades can provide an additional layer of credibility and reassurance about the book's merit and appeal. ```html FAQ What is the genre of "The Last Thing He Told Me"? "The Last Thing He Told Me" by Laura Dave is a mystery/thriller novel. It combines elements of suspense, drama, and emotional depth to keep readers engaged from start to finish. Is "The Last Thing He Told Me" part of a series? No, "The Last Thing He Told Me" is a standalone novel. It is not part of a series and can be read independently without needing any prior context. Who would enjoy reading "The Last Thing He Told Me"? This book is ideal for readers who enjoy mystery and thriller genres with strong character development and emotional storytelling. Fans of domestic dramas and family secrets will particularly find it compelling. How would you describe the writing style of Laura Dave in this novel? Laura Dave’s writing style in "The Last Thing He Told Me" is engaging and accessible, with a focus on character development and plot twists. She uses clear and concise language, making the novel a fast-paced and easy read. What are some central themes in "The Last Thing He Told Me"? The novel explores themes such as trust, family, identity, and resilience. It delves into the complexities of human relationships and the impact of secrets on individuals and families. Can you briefly describe the plot of "The Last Thing He Told Me"?

The plot revolves around Hannah Hall, whose husband disappears, leaving her with a cryptic note and a stepdaughter to care for. As Hannah investigates her husband's mysterious disappearance, she uncovers secrets that challenge her understanding of love, loyalty, and family. Does the book have a satisfying ending? Many readers find the ending of "The Last Thing He Told Me" satisfying and thought-provoking. While it ties up major plot points, it also leaves some elements open to interpretation, inviting readers to reflect on the characters' journeys. Is "The Last Thing He Told Me" suitable for book clubs? Yes, "The Last Thing He Told Me" is an excellent choice for book clubs. Its intriguing plot, rich character development, and engaging themes provide ample topics for discussion and analysis. Are there any content warnings for this book? The novel contains elements of suspense and themes of family secrets and betrayal, which might be sensitive for some readers. However, it does not contain extreme graphic content or violence. Has "The Last Thing He Told Me" received any notable awards or recognition? As of the knowledge cutoff date in October 2021, "The Last Thing He Told Me" has been well-received by critics and readers alike, making it to several bestseller lists. It's recommended to check the latest sources for any recent awards or accolades. ``` In conclusion, *The Last Thing He Told Me: A Novel* by Laura Dave is a compelling choice for readers searching for an emotionally charged mystery that seamlessly blends suspense, family dynamics, and heartfelt storytelling. This novel not only captivates with its intricate plot and well-developed characters but also offers profound insights into trust, love, and resilience. It’s a gripping page-turner that keeps you guessing until the very end, making it a valuable addition to any reader’s collection. Whether you’re a fan of thrillers or simply appreciate a beautifully crafted tale, *The Last Thing He Told Me* delivers a powerful reading experience that resonates long after the final page is turned. Other The Last Thing He Told Me: A Novel Book Review buying options

[supergenial]

Xenogears, should you actually play it?

Short answer: Sure. Maybe? Yea, you should. Perhaps.

After avoiding this game for years I decided to finally try it out, so let’s dive into whether it is the masterpiece some people say it is,

Intro and stuff unrelated to the actual game:

Like many (I assume) after playing my first xenoblade game nearly a decade ago my first instinct was to check wikipedia to see what else the director had worked on. Little did I know I would leave wikipedia several minutes later, absolutely furious at square enix, bandai namco and the man Tetsuya Takahashi himself. Clearly a man with tons of passion to tell a story but also clearly bad at office politics, bringing demise to his beloved projects.

Moreover, the game I had just finished back then was Xenoblade X, perhaps my favorite game ever and yet a game that ended on an intriguing cliffhanger. Back then it was easy to predict that even 10 years into the future the game would not get the sequel it wants. And so, learning that the man already had a history of inconclusive storytelling with both Xenogears and Xenosaga you can imagine my frustration at the fact I was yet another victim buying into his hype and letting him get away with it.

I mean it has to be intentional at this point! After nearly 20 years of failing to get sequels for your games you’d think he would have learned the lesson already. And in fact it’s fair to say he did, at least with the original Xenoblade Chronicles. A fully self-contained story that doesn’t need a sequel in any way. And yet! It is now a saga, featuring not only 3 entries but also with fans rabidly discussing whether the next entry in the series will tie into XCX or Xenosaga after yet another cliffhanger ending that could go either way. Old habits die hard I guess, but not everyone can be like the trails series (featuring what, like 15 games now all part of the same storyline? Each game being on average about 60 hours long? This is the stuff Takahashi dreams of, probably).

Anyway, the point is that when I glanced at descriptions of xenogears and xenosaga back then I didn’t really get spoiled on them but I did get the impression that if I played them, I would be terribly disappointed at how rushed the second half of gears was, or terribly disappointed at whatever happens in xenosaga 2 that drives people mad (iirc even Soraya Saga straight up dislikes it). They seem from the outside like failed projects, victims of their time, like a massive could-have-been. I am guessing this feeling of incomplete-ness is what drives people further away from these older games, as if a lack of modern remakes/enhanced-ports wasn’t enough.

However, merely the fact I already feel a slight frustration regarding these games without even having played them is probably enough of a reason to just play them anyway. As I already said: XCX is perhaps my favorite game of all time and a lack of a sequel isn’t going to change that. And so I dive into Xenogears.

The Basic:

The gameplay is divided between human combat, and Gear combat. The main way to deal damage with your characters is through “Deathblows” , a combination of inputs that turn regular attacks into a devastating combo. Deathblows are really cool! The animations are pretty hype. The mechanics towards learning them are a bit tricky and unnecessarily deep, but later in the game there’s an item that lets you simply learn them a lot faster. 

While your human characters do level up, your Gears do not, they only get stronger by buying parts for them, upgrading their engine, armor, weapons and such. Gear combat while slow can also be quite hype, as they also acquire deathblows just as your characters acquire theirs. Gears also often have some other special ability, hell the main girl Elly has funnels and all, like in gundam, it’s cool. Managing your fuel usage is also a major part of Gear combat, for better and worse. As for how well the game plays, well, let's start with the bad stuff

Random Encounters

I think enough has been said about random encounters over the past 30 years of gaming. At this point some people will defend them, others will defend them partially, others will dislike them regardless. If you’re in either of the first two groups you’re probably already aware of the arguments generally used to complain about random encounters, already have your counter-argument, and so on and so on. I for one usually defend them.

An otherwise banger theme that I now hate

Regardless: I did not enjoy them in this game. The screen shattering as it led to a new encounter was ubiquitously met with me hanging my head, or an audible groan, or some other sign of clear disappointment. Hell I think even when I was farming deathblows I still got upset when hitting random encounters, if only as a reflex.

Surely enough, you should be leveling up your deathblows and just leveling up regardless, so no random encounter is ever wasted. But not even having a repel-like item or an ability like estoma sword to keep lower level enemies at bay is in my opinion, just not cool. There is simply no way to keep random encounters from happening, and that’s the main reason I don’t like them in this game.

Even more annoying are random encounters on Gear segments as fighting in your Gears anything that isn’t a boss is for the most part a waste: Not only will your Gear not level up from fighting, but engaging in combat will waste fuel that you could need in the inevitable upcoming boss fight. Granted, they got creative with this: there’s a few enemies here and there who can potentially refuel your gear. There’s also often a refuel bot on most dungeons, though usually not located right before the boss fight. Another reason not to worry so much about fuel:

It’s an easy game

If anything is giving me a hard time is trying to recall any time I’ve struggled with actual combat! Deathblows really are that strong, as long as you have one suited to your level, you’re golden. Obviously there are a handful of tricky enemies but it’s always an enjoyable type of tricky rather than an “oh, well that’s bullshit” type which is what I feel most people expect from older games. If difficulty in gameplay is the main thing keeping you from playing, you really should just give it a go.

The dungeons though, oof. They can be frustrating for sure. Early on some require some minor platforming which can be annoying, and later on they can be buggy which leads to frustration, like that one room on disc 2 in which you have to click an invisible object. Dungeons won’t have maps for the most part, but when they do the map won’t really help you all that much because there’s some other issue that makes the dungeon annoying. Whenever they actually turn off random encounters in a dungeon you just know that whatever you’re gonna have to do to progress is so annoying that doing it while fighting encounters would drive people to insanity.

Some other miscellaneous complaints: Oh dear god, whenever you want to open the menu you have to wait like a full two seconds, it’s straight up torture. Also forget about modern QoL features like a quest list, quest marker or backlog for dialogue (think even xenoblade doesn’t have that last one lol), if you don’t pay attention to the dialogue you will straight up have no idea where to go or what to do. Also you can’t remove items from party members or their Gears not currently in your party, and you can only have 3 of like 9 of them at a time (also mild spoiler but in disc 2 an unspecified character leaves, and they leave WITH their items, which you will never get back unless you reload and remove them prior). Also navigating towards a shop is often just such a drag, having to go through some navigation plus a handful of loading transitions just to get to a store is insane particularly at the Yggdrasil, the main party’s ship that you will spend a lot of time in. Alright, with that all out of the way:

The Good

Sorry to resort to such basic words but it’s kino. Just look at the opening sequence at the beggining of the post. Just look at it! Look at the first time Grahf shows up there, with the red moon on his back, damn, the first time Id shows up, the G Elements combination, like damn, some shots would put current xenos to shame. Square really was the goat in the 90’s, there’s simply no denying it.

Also pleased to announce that the insane degree of modifier-stacking that allows for insane damage outputs in newer xenos is also all there in xenogears, with items like the etherdoubler and the gnsr50 taking damage to another level.

Granted, when the game ends, it ends. There’s no postgame or superbosses. However, if you still want to face a superboss you can face off against Weltal Alpha, a disc-2 scripted loss. Even though the story will show you losing, it actually does have an item drop if you win which means they were indeed counting on some crafty players beating it and it’s definitely way harder than the final boss. Speaking of disc 2

So, how bad is disc 2?

Xenogears Disc 2 is infamous for supposedly being where the quality drops. But is it really as bad as they say?

Honestly, while I do like it, the change in quality is quite noticeable, lol. Suddenly we get lots and lots of narration segments. This would generally be fine by me if not for the omission of (I can recall at least) 4 storylines that would have been pretty cool to see play out.

Usually these stories would’ve been a whole thing: you go to the places, you meet the characters once again, help them with their current struggle, then a boss fight etc. Instead the game just throws text at you like “So after this Rex and Jin were stuck together in an unfamiliar place known as Morythia, and they had to get along for a while, but in the end they were fine” with just a picture in the background showing them together, and just like that a whole segment of the game is skipped over. Like damn bro, at least show me their interactions!

So yea the problem isn’t so much that exploration gets shelved in favor of exposition but rather that it’s actual exposition instead of a more visual novel type of approach where you at least see the characters play out their roles.

Also some REALLY important plot points get glossed over. The world genuinely undergoes major changes in disc 2 but you’re not really allowed to interact with the world at this point. It’s fair to say that in xc1 what makes Alcamoth so memorable is the aftermath, finding High Entia stranded all across the bionis and how they fare in their new life, that’s what REALLY gets you. Imagine if instead they told you that the High Entia are out there, safe but struggling, but you couldn’t see them or help them in any way.

This really puts in perspective some of the earlier stories and makes you wonder whether we really needed that many characters or whether earlier stories were as needed as the later ones. However seeing as every character comes from and helps develop the plot of each major place or faction, it’s hard to say they should be skipped. After all this game needs more content, not less, they probably couldn’t foresee that they would run out of time or were simply banking on the studio just giving them more time once they saw the state the project was in.

An entire storyline reduce to a couple of slides

It is unfortunately the character Emeralda who gets the short end of the stick. Joining extremely late in disc 1, what should have been her disc 2 dungeon where she finally gets along with Elly (they’re very competitive prior to that, but now they're stuck together without the rest of the team) gets skipped so we never actually see them getting along on-screen. You also CAN get Emeralda’s full backstory before going into the final dungeon but it’s so unintuitive it’s insane: it’s in an unmarked overworld map location, inside there is a dungeon that deep into it has a nearly invisible manhole you that can access to get her origin story and final powerup, along with some traces of what the world was like prior to everything that has been seen or referenced so far. It’s so obtusely hidden it’s lunacy, but it’s also a rather pretty scene so it’s definitely the type of easter egg people really valued back then. Just a nice little story that makes you like the character a lot more. I for one enjoyed this little scene more than some other character’s actual full stories integrated into the main plot. So, about the story,

The Story

I’ve seen people saying this is the greatest narrative of all time and whatnot but really, it’s just good. I’m sure as a kid or teen in the 90’s seeing this much care put in a videogame story was mind blowing, after all this was released only a few months after the original Fallout and a few months prior to Half Life, Zelda OoT and Metal Gear Solid. It’s fair to say at the time people simply weren’t used to seeing this level of storytelling in a videogame. Definitely one of the most enjoyable aspects for me, as someone playing in the future, is having to constantly go “oh man they really went ahead and did [x thing] in the 90’s huh”.

But some people online make it out to be like this game is equivalent to reading some XIX century philosophy book and, while the influence is certainly there, I think you’re doing the game a disservice painting it like that. It’s a fun adventure with characters about as enjoyable as those in xenoblade 1, I for one really enjoyed it but to say it’s the goat would be an exaggeration. Speaking of newer xenos,

The Xeno-Blueprint (spoilers?)

I remember some guy on the internet saying they refer to every xeno game as “the same game”, with xenogears being the original one, and xenoblade 3 being “The Same Game VIII”. And hey, I don’t blame them. This game got Mythra destroying Torna, you got the Samaarians, the dna failsafe from xcx combined with the flame clock from xc3, hell THE opening sequence from xcx, you got Alcamoth (lmao), you got Morythia, Agnes and Keves and their fabricated made up war controlled by an outside force, a mysterious character watching movies in an empty theater, ether characters being broken in combat, multiple personality disorders, there’s Poppi and even Poppi QT Pi, the common variety guy who’s not as common as they claim, the mandatory cute mascot character like the nopon... You know when Shulk was slightly away from colony 9 and then the mechon attacked? We got that too. There’s honestly so many parallels to future games that you’ve already spoiled yourself most of this game by having played xenoblades and this game will retroactively spoil any future xeno games, it’s actually hilarious and fun in it’s own right to try and relate everything to stuff that happens in future games

Bottom line:

Featuring over 50 hours of gameplay, Xenogears is honestly a cool game that I can recommend to most people who already enjoy xenoblade, and hey any modern phone can emulate it (that’s why I finally played it lol).

[egopocalypse]

Can I just say that I love the tone the past couple animations have taken?

SAD-ist is known for using movie trailer-like music to weave the Dream SMP's story into a powerful, action-packed display, but that doesn't match the mood of every major event/arc. It can't. A storyline has so many highs and lows that drafting every animation to a blood-pumping beat would not match the mood of several events, especially in Season 2.

Season 1 told a beautiful, tragic story of hope and the loss of idealistic views--mainly through Wilbur, Tommy, and Tubbo. Yet despite c!Wilbur's dwindling hope (enhanced by an enabled mental spiral and betrayal after betrayal), Tommy, Tubbo, and the rest of Pogtopia (barring c!Techno) truly believed that they could get L'Manberg back and restore it to the peaceful, prosperous place it was before c!Schlatt.

Because of that, SAD-IST channeled that hope and courage in the face of adversity in the thrilling music she chose: 

(More under the cut)

War starts off slow, but builds in intensity as the revolution did, culminating in the established themes of loss and the cycle of violence at the end with the Final Control Room, the duel, and finishing off the animation with the White Flags speech.

The Fall starts with an immediate threat--it introduces the conflict, protagonist, and antagonist with declarations of violence and an almost mocking echo of "Boom boom" every few beats--before the music truly kicks in, and by the time it does, there's a steady tension in the percussion that pounds harder and faster as the song continues, signaling the major turning point in the story (c!Wilbur deciding to blow up Manberg and himself along with it) and the subsequent actions that drive that downfall. The ending still holds that determined hope with Niki's line, but Techno's laugh warns of the danger and hints they won't succeed.

Dawn of 16th sets the scene with c!Dream--the villain who's been working in the shadows all along--showing a glimpse of his cards to Eret and hinting at what's to come, then immediately switches to c!Tommy and Tubbo--still hopeful, still determined, still ready to win this fight and restore their home--which begins to build up Season 2's main arc of Clingyduo vs. Dream. The background music builds on that hope, but still holds some hesitance, like it knows something the boys do not (namely, c!Wilbur and Techno's betrayals). There's a lot of set-up, maximizing the tension and anticipation, and when the fighting finally starts, it steamrolls from there--neither the music nor the action lets us go. The only (brief) moment of respite we get is the moment before Wilbur pushes the button, but once it happens, there is no mercy left for anyone involved. The final shot ends with the withers as symbols of destruction--the sign that everything they love about L'Manberg is gone.

While Season 2's animations started with Hog Hunt, it still follows the same format as the others: establish the conflict within the first 15-20 seconds, build the tension by showing both sides and their desperation, sprinkle in hints of the upcoming conflict (c!Dream sowing discord with Punz and trying to slip away with Carl), hit the climax right as the music crescendos (Techno using the totem), then end with a cliffhanger and a promise of the violence to come (especially with the callback to The Fall with Techno's laugh).

And for Hog Hunt, it works! SAD-ist chose to follow the format of her other three animations because the event itself follows the writing behind the first season. But that's because the conflict presented in Hog Hunt feeds on the themes and history from Season 1: the Butcher Army wants c!Techno to pay for the injustice he committed during the Season 1 Finale. It fits more with Season 1's tone and conflict than it does with Season 2.

But the other two animations--Final Waltz and Ozymandias--are different. They break away from the epic movie trailer format because the stories presented in them break from the epic movie trailer format.

Final Waltz is just a condensed version of the Disc War Finale. There isn't anything cut and pasted out of order like in the previous animations. The music is still epic, but it's instrumental (not to mention it's composed for the animation), so it focuses solely on the characters of the screen rather than outside voices. It emphasizes how alone c!Tommy and Tubbo were on that mountain--how they genuinely believed Tubbo would die and Dream would lock Tommy in Pandora's Vault, because there no one was around to help, and they had no idea that anyone would come. The ending quiets down because for Clingyduo, the conflict is over. With c!Dream locked up, there isn't anyone who is actively threatening them (that they know about), and they finally have peace. Final Waltz leaves the audience on a cathartic, joyful note, just as the Disc War Finale did.

But there is no glamor or glory in Ozymandias. Only horror, only the words of a man who shares the bitter end of L'Manberg. There is no build-up of tension or swelling music punctuating the action, only silence broken by a weary tone, the wind, and a bass drum pulsing like a heartbeat. Just as there is no victory in Doomsday, only the fragile remains of hope vaporized by powers too overwhelming to strike against. c!Dream, Techno, and Phil snuffed the smoldering cinders of L'Manberg under their heels, and left a grim, lifeless crater in their wreckage. They tore the spirit of L'Manberg apart into such thin strips that to mend them back together would mean stitching them into something entirely new. And while people have attempted it (c!Quackity with Las Nevadas, c!Tommy with the hotel, c!Tubbo with Snowchester), everyone's shards are so cracked that attempting to fit them back together cuts them and leaves them to bleed even more.

SAD-ist has managed to translate the tone of each of these arcs/events so well in all her animations. It’s truly impressive how much time she's dedicated to capture everything just right, and it shows in all of her work. She is the historian of the Dream SMP.

[canary3d-obsessed]

Restless Rewatch: The Untamed, Episode 26, part two

(Masterpost) (Other Canary Stuff)

Warning! Spoilers for All 50 Episodes!

Content note: This episode has a lot of lightning, but this post does not have lightning flashes--I’m using mostly stills for those parts, or I’ve snipped out the unfriendly frames before giffing.

Qing-Jie

Having successfully ruined Jin Guangshan’s party plan to get the Yin Tiger seal, Wei Wuxian dashes off to tell Wen Qing where her brother is. She hops up to hit the road with him, but then sorta-faints because she’s starving. In a rare moment of tenderness between these two, he catches her and gently sits her down again. 

Normally they’re busy out-toughing each other, both before and after this moment, but right now Wen Qing is openly vulnerable. Wei Wuxian responds to that, predictably, with all of his kindness and with his usual slew of unwise, impossible-to-keep promises.

As she eats the bread he’s brought her--a parallel to an important piece of bread in his early life--he says they have to believe in Wen Ning’s survival. Cut to: Wen Ning, not surviving. 

I mean, yes, yes, he’s only mostly dead, but he’s never going to be fully alive again, so.  

24 Hour Party People

Back at the party, Jin Guangyao, deliberately, I think, goes to offer his pops a drink while his pops is still super furious and looking for someone to take it out on. The servant lady is like, better you than me, pal, and helps JGY get his drink ready. Pops, predictably, knocks the drink onto Jin Guangyao.

(more behind the cut)

Lan Xichen is standing by with a hanky and a face full of worry. Lan Xichen is so Lanny that he thinks JGY needs to go change clothes after getting clear alcohol spilled on him, rather than just letting it evaporate and smelling pleasantly of booze for the rest of the evening like a normal party guest. 

JGY launches into a criticism of Wei Wuxian, which Lan Wangji listens to very carefully, frowning. Lan Xichen, Nie Huasang and Jiang Cheng listen as well, and don’t speak up. 

A Clear Conscience

Then Lan Wangji *literally* steps out of his brother’s shadow, and speaks in defense of Wei Wuxian. This right here is Lan Wangji’s turning point, as far as I’m concerned. Xichen is gazing at JGY, totally on board with JGY’s spin of the situation, and his shadow falls away from Lan Wangji’s face as LWJ steps forward.

Lan Wangji says, isn’t what WWX said true? JGY puts on his customer service smile and says that the truth isn’t something you’re supposed to go around saying out loud. 

I’d like to say this is what’s wrong with cultivator society but this is really a universal human thing; every society has rules about upsetting the social order, and they are very frequently at odds with basic compassion and morality. 

Nie Huaisang and Jiang Cheng stay silent but Lan Xichen goes and throws Wei Wuxian under the bus carriage, saying his character has changed. 

Lan Wangji nods decisively at this, and bows to Lan Xichen, silently asking permission to follow Wei Wuxian. Lan Xichen grants permission, telling Lan Wangji to do his best. Lan Xichen probably thinks he and Lan Wangji are in agreement, in this moment, but that nod of Lan Wangji’s was nothing of the kind.

That nod was Lan Wangji agreeing with himself; he is going to try to bring Wei Wuxian back but he is also going to listen to him.  Meanwhile Lan Xichen is tying himself in knots to appease Jin Guangyao. The divergence between the brothers will just grow, from this point onwards.

Lan Wangji leaves to go follow his boyfriend conscience, while Jiang Cheng continues to silently listen to the commentary of others, and gets so mad he crushes a wine cup.

It Was A Dark and Stormy Night.

Wen Qing and Wei Wuxian arrive at the prison camp, and the first person they encounter is Granny, with a defaced Wen Banner in her hand and Wen Yuan on her back. 

Whenever I read a meta or a fic that talks about how the juniors are so sweet partly because they are “untouched by the war” I want to point to this moment. A-Yuan endures an absolute truckload of war trauma by the time he’s four years old, and while Wei Wuxian and Lan Wangji both deserve a lot of credit for saving him at great risk to themselves, Granny and Uncle Four are the first heroes of A-Yuan’s story. His kind, mellow personality has a lot in common with theirs. 

This is followed by an eternity of Wen Qing running around asking if anyone’s seen her brother. Eventually Wei Wuxian gets tired of this and gathers the guards together, threatening them with Chenqing. 

He doesn’t need to play it; just holding it up has every Jin dude instantly kneeling and scared. 

The guards send him and Wen Qing go to a giant field of corpses, where Wen Qing runs around checking to see if any of them is her brother. Wei Wuxian starts off kind of detached and angry, but eventually snaps out of it, tucks away his flute and starts helping her to search. 

Wen Qing finds Wen Ning, mostly-dead with a lure flag speared into his belly. Wei Wuxian grimly takes in the situation from across the field of corpses. 

When he arrives at Wen Qing’s side he sees this talisman in Wen Ning’s hand. 

This is the talisman that Wei Wuxian made for Wen Ning back in Gusu summer school, before the war. It’s the one that Wen Ning was wearing at his waist when they met up after the massacre of Lotus Pier. It’s supposed to literally protect Wen Ning from having his spiritual consciousness snatched, as well as being a symbol of Wei Wuxian’s sense of responsibility for, and affection for, Wen Ning. 

Wei Wuxian, understandably, loses his shit at this point. Less understandably, he is about to decide that the best way to express his sorrow and rage is to re-animate the corpse of his friend, right in front of the corpse’s sister. Like, seriously, dude. Dude. 

Ghost General

This super-questionable decision leads to one of the most badass sequences in the show, which is unfortunately chock full of lightning flashes, so not everyone can watch it. Wei Wuxian and his flute and swirls of resentful energy come marching out of the darkness of the corpse field, back to the guards. 

The guards have decided to slaughter all of the prisoners and then run away, which would be a good plan except they should really have skipped right to the running away part of things. When Wei Wuxian accuses them of killing the prisoner in the corpse field, they claim that the Wens have a habit of falling off of a hill and dying. Wei Wuxian can relate. 

At this point Wei Wuxian summons up Wen Ning 2.0, ultra badass edition, who comes flying through the air with his odd, straight-armed fighting stance and cool solid-black eyes and rock-and-roll hair. 

Soundtrack: *Four Sticks*

Wen Ning proceeds to whale on the guards and scare the shit out of his relatives.

Then Wen Qing shows up and begs Wei Wuxian to stop. She explains that Wen Ning is only mostly dead. Like, if he was fully dead would she be okay with this? 

Wei Wuxian tries to reel Wen Ning in and realizes that he is not actually in control of Wen Ning. Ok, see, right from the first day of Wen Ning 2.0, WWX is aware that his control is iffy. Why does he think he’s going to be able to control him later? 

Anyway, this is where we learn Wen Ning’s grown-up name is Wen Qionglin. Wei Wuxian yells this name, and Wen Ning looks up like a cat hearing the “food noise,” and then proceeds to get control of himself. 

This is such a nice symbolic moment, that will be replayed later in the temple, when Wen Ning saves Jin Ling from Baxia. 

Wen Ning has a remote-code-execution OS vulnerability throughout the story; his soul is at risk of being stolen, and he is magically controlled by Wei Wuxian, Xue Yang, Su She, and Baxia.  Meanwhile Wen Qing, Wei Wuxian, and random kids on the street mostly treat him as a child, despite his clear adult capabilities. Wen Ning’s journey in The Untamed is at least partly about asserting his full adulthood, and his ability to overcome magical control is directly connected to that journey.  

After getting Wen Ning to chill, Wei Wuxian calls the floating resentful energy back into his own body, which looks about as comfortable as swallowing a burp. 

On the plus side, apparently resentful energy keeps your hair dry even when it’s raining.

Wei Wuxian should take a page from the guards’ book and slaughter all the Jin witnesses to this situation, but he decides to be the better person and let them live. They go running off down the road, where they encounter Lan Wangji and give him the 411, saying that Wei Wuxian resurrected dead people.

Meanwhile Wei Wuxian collects Wen Qing--half-fainted, again, in an echo of the start of their journey--and collects the Dafan Mountain Wen group, who are hiding, wisely. When they see Wen Ning, Uncle Four and some others start to freak out, but Wei Wuxian tells them that fierce corpses are cool, and they all grab horses and mount up.

Where Are You Going?

Lan Wangji is waiting for them, nonconfrontationally indulging in some visual poetry while he waits. 

In a show where every prop is exquisitely, carefully designed to enhance our understanding character, his Gusu-toned umbrella reveals surprising red and yellow threads woven in, right above his eye line as he looks at Wei Wuxian. 

Wei Wuxian speaks first, saying “you came to stop me?” Lan Wangji doesn’t answer, but asks him where he’s going. Then Lan Wangji warns him that he’s about to abandon orthodoxy forever, if he follows through. 

Wei Wuxian challenges this idea of orthodoxy, asking if Lan Wangji remembers the promise they made together, back in Gusu. It’s worth noting that they both appear to think of it as a co-promise, even though Lan Wangji didn’t speak aloud at the time. 

The conversation will continue in the next episode, because what’s better than a rainy romantic cliffhanger?

Soundtrack: Four Sticks by Led Zeppelin

[riathedreamer]

Zero is Null

A discussion of Zero’s love-hate-relationship with RvB and struggling independence; including a hotdog too big for the bun, tragic backstories, a single bow-chicka-bow-wow, and a cookie at the very end.

Welcome to what will be a lot of text. Basically, it will explore why Zero fails as an RvB (with emphasis on RvB) season. I will not be the first one to bring forth some of the points, and I promise to be fair and civil and fun. This isn’t supposed to be a piece of hate – in fact, I’m writing this because I love Red vs. Blue.

Okay, first of all, to increase your fun – take a guess on just how much of Zero is spent on fight scenes. You see, I’ve calculated the exact amount, and I will reveal it later, but for now, take a guess and remember the number. Maybe you are the winner!

Alright, time to share my thoughts. Wait! Since I suffer from anxiety and have this one annoying voice pretending to be all those critical statements my opinion could be met with, let’s give it an actual voice and address the points throughout this review.

“Why would I care about your opinion, Ria?” – I don’t know, you’re the one who clicked Read More.

“Your opinion doesn’t matter!” – Of course, it doesn’t! Geez. Do you think your opinion matters, though? Listen, we’re on Tumblr, the actual equivalent of screaming into the void. And it’s fun, too!

“If you don’t like it, don’t watch!” - *activates Uno Reverse Card* “You can’t talk about something you haven’t watched!”

“You’re just a Hater” – Actually, this is a point I’ll come back to. Like a cliffhanger. Also, at the end of this, there’ll be a cookie. But this will also include me talking about the stuff I like, because, surprise, Zero is not without talent!

“You just don’t like it because the Reds and Blues aren’t in it!” – Actually, that’s a good point, so instead, this review will start with a sole focus on Zero and discuss the problem that lies within that story. Then we can address why the lack of OG cast is understandable and problematic and weird.

But first! Backstory.

When the first 5 second teaser dropped back in spring (you know, when we were young and innocent and the world didn’t feel like an apocalyptic movie yet), I held onto that one image of what I thought (hoped) to be Grif and Simmons in the sunset, hopefully addressing Grif’s hateglue arc, but boy was I wrong because a) that’s not Simmons, that’s Sarge, and b) the image was from a PSA since the Reds are not in Zero.

Actual face-reveal of me below:

Admittedly, when I heard that the Reds and Blues were not going to be the main characters (or even show up), it felt like a gut punch. However, I actually found myself getting excited due to the creators’ hype. I want to praise them for this. It’s been a while since an RvB season was talked so much ABOUT before its release; it had advertisements, it had creators and voice-actors talking about it. Please. More of that in the future. Their passion rubbed off on me, and that deserves recognition. So it pains me that this was clearly a passion-project, and then when I gave it a try, I didn’t want to touch it again for weeks.

Here’s the thing. I cannot whole-heartedly say that Zero is bad. It’s not gonna melt your eyes. It’s not even so-bad-it’s-good. For me, it’s meh. It’s a Saturday-morning-cartoon aimed for a younger audience with a rushed plot and clichéd characters. The problem is that it calls itself RvB, and with that title comes something to live up to – but more importantly, something to continue.

My main issue is that Zero forces its story into existence by ignoring established content rather than adjusting to it. Let’s call this for the hotdog-too-big-for-the-bun syndrome solely for the sake of the bow-chicka-bow-wow that’s coming now. Bow-chicka-bow-wow. Many of the separate issues I will dive into all add to this hotdog-issue, so I will scream “Hotdog!” whenever this is the case so we can all keep track of my argument.

You can continue the story of Red vs. Blue without the Reds and Blues. While that would personally crush my heart, it can be done. There’s a story of Red vs. Blue that can be continued. The world can be expanded, the previous actions of the Reds and Blues can be explored from another angle.

So.

How does Zero do this? It doesn’t.

I just want to make it clear that new elements can definitely be added when it comes to worldbuilding. That’s literally the point of sequels. But Zero’s settings are presented with so little grace and with no connection to previously established worldbuilding. We get Alliance of Defense and GLASS thrown in our face as very big important organizations – yet we’ve never heard of them before. A big central plot point of RvB is the UNSC and Project Freelancers, and those were introduced naturally with the plot. We already have big established intergalactic organizations. What is AOD’s connection with those? We aren’t told. We are just told they exist and expected to accept it, no questions asked. If this was a whole new world and story – fine. But when you need to build on an already established worldbuilding, you need more grace than this. Chorus was a whole new setting, but it was explained, and it was connected to the previous plot. Same with Iris. Same with Desert Gulch. In Zero, it feels lazy. It feels forced. These organizations are just there because the story is built around them (HOTDOG).

This vagueness when it comes to wordbuilding is also reflected in the settings - we have a desert, a training base, a lab, temples, Tucker’s workplace, and we do not know if all those are set place on the same planet. If that is the case, what is this planet’s relationship with Chorus? Is it Earth? And most importantly, what is the deal with the temples? Why are they connected to Tucker’s sword if it isn’t the same planet. Are they made by the same aliens? Are people okay with this? Why haven’t these temples been explored before? Chorus makes sure to establish this, while Zero doesn’t, adding to a growing amount of confusion.

Okay, so no connection with previous worldbuilding. What about characters? I mean, we got Wash and Carolina and Tucker! So we have RvB characters, it gotta be RvB! Technically – yeah. But it feels dirty. These three characters are not here to be characters. They are here to be props to the new cast. They are not given any development. Their presence isn’t even that important, and if this was a whole new show, they could easily have been replaced with an unknown face. Worst of all, they feel miswritten.

Carolina and Wash are working at a new military organization? Leaving the Reds and Blues behind? To help people? First of all, fucking bad idea, Carolina, the last time you left the Reds and Blues alone, they changed the timeline. But most importantly – Carolina and Wash just joined this new super elite military organization? After being mistreated and manipulated by such an organization in the past?

Carolina is there to introduce the characters. That’s it. We are force-fed their personality by having her literally read out loud their personality. There is no gentle introduction to the new cast. We are not allowed to get to know them naturally. Why show when you can tell, huh? That’s Carolina’s role. That’s why she is there. To introduce the cast and explain their story. That’s it. (HOTDOG).

How about Wash? He is there to get beat up and be a damsel in distress so that the new cast has a reason to explore the plot. Oh, and that brain damage that was the consequence of previous seasons – gone now. The guy who literally has trauma from having an AI explode inside his head is fine with having a computer inserted into it instead. Because that’s needed. To explore his brain damage wouldn’t work now when his role is to be a prop to lure the new cast for one episode and then be put onto the bench for the rest of the runtime (HOTDOG).

And Tucker – he is there to die for a second and have his sword taken from him. That’s literally it. And for the few moments he is there, he feels like old super flirty Tucker, which erases the character development he went through in previous seasons. Okay, so Tucker dies, and then not dies, and then he is put on the bench with Wash where they can sit and talk or whatever (‘cause holy shit, the new cast is not allowed to that), because he isn’t important. The sword is. Tucker is just a prop, even more than his sword is (HOTDOG).

Damn. Wash gets beat up. Tucker gets beat up. Dies. Gets his sword taken away. Almost seems like a Red’s wet dream. Sorry not sorry, Blues, you were done dirty.

So there are miswritten old characters. Even worse is the retconning. The plot needs a “normal” Wash, so, bam, magic computer solution. Never mind Wash’s trauma and character traits. Never mind the logic of the new worldbuilding which also includes a character suffering for years to heal an illness. But the brain damage that was such a big consequence that it became the main part of the plot of the last two seasons – gone. I mean, a gunshot to the head can be healed by CPR. That’s canon. But no one gave Wash CPR so it’s a big thing, okay. It was canonically a big thing, and Zero erased that. This is not me saying that a Cerebral Enhancer couldn’t work in the RvB universe. Imagine it being done right. Wash struggling with the choice of getting used to his disability or accepting the possibility of help - at the cost of reliving his trauma. The struggle between what to choose - what should he choose when he wants to help as many as possible, the sacrifices he thinks he has to make, the way it could have been used as a part of his character growth. But in Zero, the enhancer isn’t a part of Wash’s character. It’s there so the story can work without having to deal with the previous plot’s consequence (HOTDOG).

Same with the sword thing. They sorta explain it by having Tucker flatline, but it’s weak. Honestly, I find it sorta offensive. What about Locus’ sword as well? It’s twisting previous lore to make the new plot work (HOTDOG). (Also, are we not gonna talk about the ultimate power being Spencer Porkensenson’s helmet? Have the writers forgotten Spencer Porkensenson? Have we as a community forgotten Spencer Porkensenson?)

If you have Red vs. Blue in your title, you cannot ignore what you inherit from it. You need to respect the worldbuilding, the established characters, and the previous plot. Zero does not do this.

Let’s talk about the Triplets. No, really, let’s do it. I don’t think I’ve ever talked about them before, because season 14 was a mixed bag for me (that I have now learned to appreciate. Thank you, Zero.) because I have heart at the size of the Grinch and can only love a few characters at a time, and that did not include the Triplets. Can’t even remember their names. Well, I can, but I can’t for the love of me remember which state is which, and my tongue is twisted every time I try to say Ohio, Iowa, and Idaho, and I know it’s on purpose. I know it is. And it got me good. That being said, the fandom actually embraced them really, really well! Seriously, I’ve seen more content for the Triplets than for Zero as a whole.

Why talk about the Triplets? (Was Iowa the lesbian? Or was it Ohio? Fuck.) Because like Zero, they introduced new characters with a story of their own. The Reds and Blues didn’t play a role. But here’s what I feel like the Triplets got right. They didn’t change the settings to force their narrative. They used stuff already established (Project Freelancer), added their own story as a continuation of that. They even included old characters in the beginning (Wash and some other Freelancers) but it felt natural and it didn’t feel like it happened at the expense of the old characters. Wash’s writing felt natural, and his presence wasn’t needed to tell these new character’s stories. He wasn’t a prop to them. He was there to establish the setting and to establish the relationship with these new characters, and then he and the other familiar faces (helmets??) left, and we as the viewers were left with these new characters. And the new characters told their own story by themselves. It felt like, hey, here’s something you know – remember Mother of Invention, and remember Wash’ lower rank, but now, try to imagine being even lower rank than him, aren’t you curious about those fates? Now let’s hear their story! It was new, it was something else, but it didn’t wreck what came before it, and it stayed true to the classic vibes of RvB.

As I said before, the hotdog-issue is my biggest problem with Zero. It infuriates me. I will return to this. But there are more issues, even if we try to look past the title-related problems.

If we try to imagine Zero as its own story and universe (as it should be, in my opinion), it still earns the meh review from me.

These isolated issues include awkwardness, the writing, lack of self-awareness, and pacing. First of all, holy shit, this is a tell, don’t show. Nothing is subtle, nothing is allowed to develop. It’s like the show thinks you are six years old with an attention span of a goldfish. You are not just led by the hand – they have literally pulled off your arm by the end of the show. We are force-fed every bit of information, every bit of personality from these new characters.

The voice-acting is a mixed bag for me. Sometimes it’s pretty good, sometimes it’s not. Some of the problems can definitely be blamed on the dialogue that you can only do so much with. It’s not good. I can’t remember any good jokes (the one joke I really appreciate was the cast on armor, and that was freaking visual humor. That was so RvB. Kudos to that. It was fun. More of that, please.), and RvB is known for having memorably good lines. This is a show built on good, clever, funny dialogue. Zero does not deliver. You have to sit through clichéd lines – “You’re not my dad”, “I trusted you”, “Come with me”, “It can’t be!”, “She’s way too powerful”, and “We have to do this together” – performed unironically. I cringed more than I laughed. Worst thing is that Zero could be a good parody. Sometimes, it feels like it is. One-dimensional characters, a villain wanting ‘the ultimate power’, very overpowered characters, bad one-liners, etc. But Zero takes itself seriously, and I was one of the people rooting for Jax to show up at the end and yell “Cut”. That would have been a funny-as-fuck twist. A spin-off parody. If I can’t have “Sarge the Movie”, I would have taken that and loved it. I would have forgiven everything. “We put so much info into finding that power, but we had no idea what it was” is really a line in the finale, and I cannot believe this is real in a show that somehow still tries to present itself as serious. What a plot.

We have to talk about pacing. God, first of all it should be stated that RvB is a mess when it comes to pacing. I honestly get what they were going for. Sometimes, RvB has come across as a bit boring when you get three episodes stretched over three weeks without much going on. I know season 11 did not have the warmest welcome because it was seen as boring until the finale. But when you see season 11 as a whole, as a movie, as a part of a trilogy, it works so well. Zero is more focused on being episodic. They want something to happen all the time so we will stay tuned. The thing that will happen – a fight. Oh god. The fight scenes.

I have done the math. I have run the numbers. I deserve a freaking cookie for this. Are you ready?

If you put all the episodes together, you have a runtime of 106 minutes. HOWEVER, with the introduction of credits in every episode, you gotta account for this. Removing the credits, this gives us 94 minutes of actual runtime. Out of that, 45 minutes are dedicated to fight scenes. That means 48% of the show is fight scenes.

If I wanted that many fight scenes, I’d watch Death Battle. Except the actual RvB Death Battle episode has a runtime of 20 minutes, and out of that, 5 minutes is dedicated to the actual battle. For the people who hate math – that’s 25% of the actual runtime.

RvB Zero has more fight scenes than a show called Death Battle. Take that in.

The pace suffers from this. Where’s the time to explore the characters? Where’s the time for good dialogue? All I can think of is this:

I get that RvB is a show that’s literally making fun of itself by acknowledging all their characters do is stand around and talk. I get that you want characters to do more than that. But for the love of Church, would it kill the new characters to stand around and talk? For just a minute? Stop fighting, I am begging you, stop fighting! Am I a pacifist now? Am I purple? Have I joined Doc’s team? What has Zero done to me?!

The good thing though is that fight scenes are very good. They’re entertaining. However, they seem to deconstruct themselves when we need to get a fight scene in every episode. Usually, the few fight scenes in an RvB season were in some of the most climatic episodes. In Zero, I can hardly keep up with the pace because they won’t stop moving. Fight scenes aren’t plot. They aren’t character development. You need more than just fight scenes. They entertain, but there’s a limit to that.

Noël Wiggins, the co-writer, stated the inspiration was a Saturday-morning cartoon. They nailed that vibe. If that was their goal, hurray, they have accomplished something! Because of the poor plot and constant fight scenes, it feels like you could just switch on the TV and drop in at any moment and let yourself be entertained by the cool and colorful soldiers punching and kicking each other. I will admit that the fight scenes entertained me. But they don’t make it a good season.

If I were the six-year-old with the attention span of a goldfish that the show believes I am, I honestly would enjoy it. The stiff dialogue and the constant tell-don’t-show makes you feel like an audience that’s not supposed to do anything else but admire the flashy fight scenes. I miss the cleverness of RvB. I miss the characters I get to connect with as I see them grow.

I miss the tone of RvB. Because this isn’t RvB to me.

It’s not that RvB hasn’t changed its tone before. Holy shit, I sorta do want to experience the absolute shock the RvB fandom went through when s6 aired and they were given new characters and serious plot. I would have loved to experience that, but I was too busy being ten years old. The Freelancers seasons also introduced a new tone and more fight scenes with very talented fighters compared to the Blood Gulch gang, but a balance was kept by having half of the season still revolving around the Reds and Blues. But Zero – Zero is so much change. And it’s on purpose. At least this has been made very clear from the beginning.

They constantly seem to appeal to new fans, rather than be directed towards older fans of the show. If you want an entirely new audience with a season with a new cast, new worldbuilding, and new tone, I’m confused as to why they don’t just make a new show. The hotdog-problem begs for this solution. This story and environment and characters feel so out of touch with the original RvB, that with a few rewrites and lack of Halo-armor, it could just be a new show. Problem solved.

If not this, then present it as a spin-off. In all ways, it feels like a spin-off (again, see everything marked HOTDOG). But the creators refuse to do this, and I don’t understand why. I could forgive many of these issues, had they officially separated themselves from canon.

Ah, what’s the idiom? You can’t both swallow and blow? (You can hear the Bow-chicka-bow-wow in the distance). Something about eating cake and having it. Forgive me, English isn’t my native language. POINT IS why are you calling yourself RvB while actively fighting against the core essence of RvB? In my humble opinion, you can’t be both. Marketing it as a spin-off would have granted it some defense when changing, well, literally everything, and I just, would someone please properly describe why it isn’t a spin-off? Isn’t this season marked by its association with the plot of RvB rather than a continuation of it? Zero presenting itself as not a spinoff feels like a toddler clinging to the hem of its mother’s dress while forcefully running away from her, ripping the dress in the process.

When they do connect with the original RvB, it leaves a bitter taste in my mouth. When they let Carolina, Wash, and Tucker appear for a moment, it feels like luring viewers in with the RvB title. Look at me. Look at me! I’m not saying this is the case. I say that it gives me the annoying vibes of being lured, rather than letting the characters be a part of the show for their own development, rather than having RvB in the title to continue its story. I should not be getting these vibes at all. But I am.

If you want to use RvB in the title, something from the core of RvB needs to be embraced. Things can be changed. They should. Something new should be brought in. But there’s a limit to how much you can change and replace and twist until it would have been better with an original show. As a season of RvB, it should tell the story of Red vs. Blue.

From my perspective, Zero fails to do so.

It pains me that the old cast has been replaced, but as stated earlier, a season could have worked without them. However, I do not like the take that one should be excited about all the new characters. That it isn’t a big thing that the OG cast got replaced. That we should just deal with it. Just, try to imagine another show suddenly replacing the main characters with characters we’ve never met before. Imagine RWBY suddenly only focusing on a new team of huntresses with the previous main characters reduced to an Easter Egg presence, or Camp Camp suddenly being about a new team of campers, no warning given. Can you imagine the outcry? So maybe let’s agree that a replacement of the main cast is a big thing and should be addressed and it’s valid to be upset about this change.

Could Zero have worked? It’s hard to answer this. How can I accept something as RvB if the season actively pushes away the core of RvB aside for an isolated story that could have been told in any other media? As a spinoff, I could have ignored it. To enjoy Zero, I have to fully separate it from RvB in my mind, and then it’s alright. S’not good. But it’s not bad. It’s entertaining enough. I really ended up liking Raymond and Tiny, and there were a few good jokes, and the fight scenes were admirable (but too much) and I love the creators’ passion. But it’s not RvB. I also wish that the new characters had been attached to previous worldbuilding, for example soldiers on Chorus or agents from Project Freelancer. That way we could build on familiar lore which would have decreased the confusion and added a much needed connection with the previous seasons of RvB.

God, the anxious voice is back (by the way, it sounds like Tutter from “Bear in the Blue House”).

“You’re racist” – I hope not. Literally, I do not want to be. Tell me if I’ve ever crossed some lines, because I swear, that is not my intention, I will apologize and most of all, change and do better. I included this because I’ve seen this take thrown around in the big ugly mess that is the fandom clashes regarding Zero. And racism is problem within RT community (this includes AH and RvB, sorry, I just use RT as an umbrella term for the latter), and I’m not saying it hasn’t been a problem with this season. Writers should never be harassed, and never-fucking-ever because of their skin color, and voice actors shouldn’t be treated like they are responsible for the choices of the show. But I was legit nervous to post this review, and I hope it’s been factual without feeling like personal attacks on the creators because that has never been my intention. I was delighted to hear about the diversity behind this project, and Torrian’s passion legit blew me away because it’s been a while since I’ve seen that for an RvB project. I’d hoped for it to be good, and when I feel disappointed, it’s for the reasons stated in this analysis. That said, Zero is made by a diverse cast and it’s made with love, and both of those things are so, so great, but it does not mean that Zero cannot be criticized. It can, and it should. It’s a product, just like all the other seasons, and fans are allowed to discuss it – both what they loved, and both what they found troublesome. And to repeat previous points, and be respectful, always, fuck racists, and never-fucking-ever harass the staff behind a season, what the fuck is wrong with you if you do this.

“Don’t you get it, it’s different because it’s trying something new!” – Hey, remember the philosophical question: if you replace all the parts of a ship one-by-one, is it still the same ship when you’re done? If it doesn’t include the Reds and Blues, if it ignores previous plot, if the old characters feel miswritten, if it values animation over dialogue, if it values fight scenes over comedy, if it wants to be Fast and Furious instead of Red vs. Blue – is it still Red vs. Blue? Because it doesn’t feel like it to me.

“It's been 17 seasons, it’s time to let the Reds and Blues go so someone else can shine!” – I simply do not understand us having been with the Reds and Blues for 17 seasons should be an argument to let them go, rather than be an argument as to why their absence hurt like hell.

“The Reds and Blues ran out of things to do!” – Did- did they, though? I mean, if we were discussing pretty much any other show, I’d probably agree that they were running out of content. But for the Reds and Blues… I think the PSAs nailed it this year! I’m not kidding, I had more fun watching the Reds and Blues discuss how to do laundry than watching Zero. You could literally give me an hour of the Reds and Blues trying to bake a cake or clear a gutter or simply settling down with an ordinary life, and I would trust them to make it worth the watch.

“The flaws were due to the fact it’s only 8 episodes long!” – Look, I can only judge a product the way it’s presented to me. I cannot come up with excuses for it. If they had 8 episodes to work with, they need to come up with a plot that works with this runtime. Seriously, this excuse cannot work when 48% of the season is spent on fight scenes. They could have used more runtime, sure, but the show needs to be able to pace itself and be planned accordingly.

“The OG cast couldn’t be a part of this year, hence Zero!” – That might be true. But. Would one year without RvB kill it? Is Zero necessary? Again, I just can’t judge excuses for the show. But trouble with the cast has been an issue before. Season 15 solves Geoff’s sabbatical by actually making Grif’s absence a part of the plot. Zero’s lack of Reds and Blues just feels like this excuse to tell a story that needn’t be a part of RvB.

Am I a hater? I guess? I greatly dislike Zero for the critique stated above. I do, however, not harass the creators and no one should ever do that. However, I have to admit that I feel there’s been this weird rejection of any critique of Zero where everything’s been brushed off as haters gonna hate, including the critique stated above. And I think that’s a problem because critique, as hard as it can be to hear (and I know this. I’m an author of original works. Weird flex, I know), is valid and necessary and shouldn’t just be shrugged away. As always, both sides of the fandom should always be respectful, but my own opinion is that addressing the flaws of Zero should not be controversial.

Does this super long rant/critique/whatever mean you cannot enjoy Zero? Gods no! I almost envy you if you enjoy this season, but holy shit, feel free to love it and tell the creators that you love it! Me pointing out the issues I have with the season shouldn’t be stopping you. I loved (and still love) s15 when it came out, and it was majorly rejected by the fandom. There were many, many critical posts, people were going on about how RvB should have ended with s13, and it evolved into the writer receiving death threats (me, once again: never ever harass the creators, assholes). But I didn’t tell people to stop being negative. I actually agreed with many of the flaws that were pointed out, and I enjoyed the season despite this, because that is possible. We, as RvB fans, should agree that RvB, is... I mean, it’s not the greatest, most flawless of shows, but we love it nonetheless. So go ahead and love Zero. This is not a stop sign. This is my opinion that you chose to read.

Wait, I promised you a cookie, didn’t I? Well, you’re not getting one. Why? Because I’m a Red and this is my chance to piss off a Blue. As Caboose wisely said: “Well, at least I don't go around... knocking on people's non-doors... and promising them cookies... and then NOT. GIVING. THEM. COOKIES!”

Blue Team sucks.

End speech.

[perpetual-stories]

Three Tips for Using Plot Devices in Your Writing

hello, hello! today in this post, I will be wrapping up the mini series of common plot devices used in literature.

I have already covered four: Deux Ex Machina, MacGuffin, and The Red Herring and Chekhov’s Gun

I will quickly talk both the other plot devices and then I will give you three tips on how to utilise them in your writings.

Let’s go over the remaining plot devices, shall we?

1. Love Triangle:

is a love story involving three characters

two of the characters are both in love with the third

there are many popular examples: The Hunger Games - Katniss, Peeta, Gale Twilight, Bella, Edward and Jacob (Team Jacob fan here)

2. Quest:

many of the world’s most popular and timeless narratives involve characters on a quest

Indiana Jones is forever on a quest in films like Raiders of the Lost Ark, and the Jedi knights embark on one epic quest after another in the Star Wars series

3. Cliffhanger:

Is one of the most commonly used used plot devices

by not resolving an ending, an author keeps their readers yearning for more and certain to come back

Most comic books end each installment on a cliffhanger—often with the hero dangling over a death trap

Now, let’s go over how to use these plot devises :)

Use plot devices to enhance your core story: a plot device is not a gadget to cover up egregious plot holes or two-dimensional characters. Quality storytelling still requires strong fundamental storytelling, vivid worldbuilding, and relatable characters. Get these elements in place first and then layer on plot devices

Keep your plot devices organic to the narrative: Fiction depends on an audience’s suspension of disbelief, and a clunky plot device can result in loss of the suspension of disbelief. Suddenly, instead of paying attention to the main character and the world of the story, a reader might find themselves analyzing the plot device itself

Learn the difference between plot devices and literary devices: Literary devices are writing tools that include motifs, symbolism, allegory, and chiasmus. They can elevate your actual writing, but they are not inherently connected to story

I’ll once again tag links to my other posts referring to the first four plot devices.

There you have it everyone! Quick post for ya’ll!

Like, comment, and reblog if you found this useful! Feel free to share on Instagram and tag me perpetualstories

Follow me on tumblr and Instagram for more writing and grammar tips and more!

[signor-signor]

Trending 27th - June 2021

What would be the role of Star Force Enforcement Force in S3?

Let’s do some research.

“In WOY S3 we had a team of space cops called Star Force Enforcement Force whose name I repurposed for Earth Force Enforcement Force [in Kid Cosmic].” -Craig McCracken / @crackmccraigen

“…they were going to be called Star Force Enforcement Force and were an entirely different set of characters all together. Only the name was similar.” -Craig McCracken, on the difference between SFEF and EFEF.

“S3 was less about a new villain and more about an old ‘villain.’” -Also Craig McCracken

When asked if SFEF were going to play a big part in WOY S3, he replied, “Yes.”

>>The following has been taken from @suspendersofdisbelief’s responses<<

“Nope.” (in response to “Is the S3 villain someone we have seen before?”)

“The main arc of season 3 was centered around the arrival of a new danger that was even more of a threat than Dominator, meant to challenge Wander in every possible way. Season 2 was all about a bully showing up. Season 3 was about something worse than a bully.”

“I said threat. I never said villain.”

“Three new mains were to be introduced.”

“Season two was a lot about testing Hater; three would have been about testing Wander in a really cool way.”

“The S3 villain knew how to exploit everyone’s strengths.”

I used to think the threat would be a trio of attribute-enhancing beings or a trio of time manipulators, but taking all this information into account, I came to the conclusion that SFEF are indeed the new threat. This makes sense because most criminals and rule-breakers fear cops. Mind you, they’re not to be confused with the cops we saw in The Prisoner and The Boy Wander.

If I had to guess what they’d be doing in WOY’s third season, they would show up looking for Dominator, only to find that her ship has completely disappeared. They would also accuse those living in the galaxy of harboring Dominator because she’s nowhere in sight (she probably discovered the door to the void where she has tons of fun thinking up countless ways to quench her thirst for destruction). Furthermore, as long as they’re in the galaxy waiting for her to reappear, they’d apprehend every villain they can find and insist that everything they do is for the greater good. Unlike Wander, they don’t look for the good in the bad guys - they would be what you might call ‘Anti-Wander.’

This is some high-quality story material, you guys. It’s a bit tricky to figure out where the space ape might fit in, though. Assuming the leader of SFEF was also a space ape and Hater’s previous best friend, I predict the space ape stuck in the present might have an effect on Hater, the leader, or both.

If Wander is the likable do-gooder, Hater is the likable evil-doer, and Dominator is the corrupted evil-doer, then SFEF must be corrupted do-gooders. In other words, they’re probably bad good guys. One might say they make Brad Starlight look less like a simpleton. Let’s not forget that they might be the “dark-er” side that tempts Commander Peepers by talking him into leaving the Hater empire and joining the team. Whatever their sole purpose in the show is supposed to be, SFEF are a team real Wander fans deserve to know more about. Their appearance (maybe similar to that of the Blue Meanies from Yellow Submarine). Their personalities. The voices. The whole kit and caboodle. Speaking of voices, I’m thinking the leader might be voiced by either Rob Paulsen, Billy West, Jim Ward, Patrick Warburton, or anyone who can do a big buffoonish man voice, but I digress.

Now, to commemorate the 5th anniversary of the second season finale, I have a compilation of my creations... a portfolio of my pictures... a stash of my sketches... everything that says, “Do you think I’m a fool? I’ve seen shows get wrapped up in a satisfying way, and I know for a fact that Wander Over Yonder did NOT get wrapped up in a satisfying way because one more season was planned out. There’s a cliffhanger, for cryin’ out loud!” All the stuff I made/did within the past 5 years - it wouldn’t exist if Disney hadn’t canceled the show early. I still have the one big question mark in my trilogy illustration and three big question marks in my First 5 Years illustration reserved for SFEF.

I know what some of you cynical crushers of hopes and dreams are thinking. “Give it up already! Stop living in the past! Everyone has moved on! The show’s never gonna come back!” Phooey! I know Craig and the WOY crew are working on other things, but that space pod cliffhanger with ominous music is one of those things I can never get off my mind no matter what I do. If they wanted to stop after two seasons, they would never have thrown it in there. Besides, being determined to find out more about the plans for S3 doesn’t count as living in the past if it hasn’t been fully revealed to the public.

I don’t want to see any hopeless, pessimistic comments. I get it, we’re all bummed WOY didn’t get a third season, but just because the higher up bosses of bosses of bosses called the shots doesn’t mean we can’t do anything about it! Why do you think @peepsqueak started the campaign? If you want to know more about Star Force Enforcement Force and all that was planned for S3, for the love of Grop, keep sending letters and emails to Disney and keep watching the show on Hulu and Disney+. And yes, we can watch more Kid Cosmic while we’re at it - I’m curious about what’s going to happen now that *SPOILER ALERT* the café is out in space.

Here’s to another 5 years of keeping the campaign going! Sure, we might have to find replacements for voice actors who might not live longer, but believe me when I say all our efforts will amount to something.

Don’t forget to check out my fan fiction!

@disneyanimation

@disneyxd​