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narutakijune · 3 years

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About ATLA Relationship Arcs

So, this is me, finally trying to write some meta after lurking in my little tumblr corner for months! Hi!

Although I’ve tried to tag properly, if you are a Kat*anger and just want to enjoy your favourite couple in peace, this might not be the post for you. I am not trying to bash characters but I do have a lot of critical stuff to say about the writing.

Anyway, you have been warned and here is my story about my personal first Atla experience: I watched the show this year for the first time, and after the end of Book 1 I decided to look up spoilers, because after what happened to Yue, I wanted to make sure that Zuko and Iroh would be ok. So I knew what was going to happen: Kat*ang endgame and absolutely no Zutara at all. Still, by the end of Book 3, I was convinced that I had read wrong - that there would be an epilogue with a different ending or at least that Aang would only get together with Katara post-show- in that Korra series or something - because anything else wouldn’t make sense- right?

….

After I got over my shock and surprise, I went online and found out about that decade-long aggressive passionate ship war and how even the showrunners got involved.

And then I really worried that I might have missed a few points. Apparently ”Aang and Katara were the DNA of the show”, according to the creators themselves, and “Zutara could never have happened”.

Another popular anti-ZK argument I found was: Why do you always go on about Katara and Zuko? Just look at Zuko and Aang! They are the hero/ anti-hero and each other’s foils, their relationship is much more meaningful!”

So I tried to find out what it was that I apparently couldn’t see.

(Another disclaimer: I love analysing stories (like many Zutarians apparently) and this will get long and rambly. If you get bored to tears when people start talking about “narrative structure” you will probably not like this.)

Talking about narrative structure, I do believe that, in order to let your story, your characters and their relationships really shine, a good basic structure is important. There should be a recognizable development and individual parts of the story that build upon each other and lead to consequences and change, until there is a completed arc - because it is all about the journey that takes you to a satisfying ending, right? So that’s what I tried to do, with my personal Kat*ang vs. Zutara take, I tried to look at the structure and development of their relationship arcs.

The argument that threw me off track for a while is that compared to Aang and Zuko, Zuko and Katara’s relationship is not supposed to be that relevant for the plot. After all, Zuko is the foil, the anti-hero, the deuteragonist to Aang, who is the hero protagonist.

This is all true of course. But then why is it that in every finale, Zuko’s main opponent (and later ally) is not Aang but Katara? Why is it that their sun/moon, red/blue, fire/water dichotomy is so obviously highlighted?

I think one reason why Zuko and Katara are paired off so frequently in the story - as opposite elements, as opponents and as allies - is that they BOTH are Aang’s deuteragonists. While Zuko also acts as antagonist and Aang’s foil/mirror, Katara takes over the more traditional deuteragonist role of confidant / best friend/ narrator.

Protagonist Aang is what connects them, although they are on opposite sides: Both need Aang because he represents their hope to save their world. Very simply put, Katara protects him, so he can make the world a safer place again, and Zuko wants to capture him, so he can go home and be safe again. That rivalry between them is already established in the first episode, even before they meet each other: Katara, who hopes that the Avatar will return (as she tells everyone in the intro), and Zuko, who seems to be obsessed with finding him for more sinister reasons.

And just to make sure, I am not talking here about the characters’ feelings and emotions! This is just about the abstract roles they have been assigned within the narrative.

When regarding Zutara’s special connection to Aang and their rivalry with each other, it makes absolute sense to stress their “same but different”ness as well, visually and metaphorically: Red and blue, fire and water, sun and moon, arguably Painted Lady/Blue Spirit, and, when you put into account their story arc, also Oma and Shu.

With this basis, which puts them together and sets them apart simultaneously, their relationship already becomes very dynamic and interesting, even before you consider any romantic potential.

And here’s another thing, Zuko and Katara also have their own story arc within the main plot. Although they don’t have many scenes together before Zuko joins the Gaang, when they do meet there is always a new shift in their relationship and in quite a few cases their interactions are important for the main plot as well. If you just look at their “end fights” at each book’s finale, there is an obvious and consequential build-up, like any decent story arc should have:

Book 1 starts with Zuko as the powered-up enemy and Katara as the weak newbie waterbender. Both are battling over Aang. At the end of Book 1, they are finally established as equally powerful fighters but still fundamentally different (You rise with the moon, I rise with the sun!)

In CoD at the end of Book 2 happens the next step: they realize that they are not different at all! But Aang still doesn’t represent the same for them and they end up on opposing sides of the war again.

In the Book 3 finale, when Zuko has completed his own (anti-) hero's journey and Aang represents the same “hope” for both of them, they do not only join forces: Their “same but different”- traits make them such a uniquely suited match that they are even able to save each other’s lives during their fight with Azula (who in turn happens to be Katara and Zuko’s antagonist/mirror/foil).

And in addition to their own story arc they even get an individual recurring theme, which also appears in every book whenever their relationship status changes: The lost mothers, especially Katara’s mother.

In Book 1, Katara’s necklace (the symbol of Kiya) plays not only a major part in two of Zuko’s capture attempts, it is the reason for their very first one-one one encounter in the story.

Their first friendly connection in COD in Book 2 happens because they start talking about their mothers. And in Book 3, their final reconciliation (sealed with a very cathartic hug) happens after their life-changing trip which is, of course, all about Katara’s mother.

Again, I am not even trying to analyse their characters and motivations within the story - there are many metas that have already done that much better, more detailed and with screenshots. This is just dry structure and tropes and themes. But I think people recognize and connect with a well-structured arc, even subconsciously, which is one of the reasons that makes Zutara such a compelling couple. They complete and contrast each other, their relationship dynamic constantly changes, builds up, falls apart, reconnects. Such a setup is the perfect playground for a lot of creative takes on what-ifs and alternative scenarios and of course, shipping them romantically is extremely tempting - think of all the possibilities! It’s no wonder that the Zutara fandom is still so active decades after the end of the show. And it’s also no wonder that the Zutarians are known for “over-analysing everything”. You can only over-analyse if there is anything that gives you enough food to analyse to begin with. Which brings me to

KAT*ANG

I just go right to the top and take the quote from Br*yke themselves:

Kata*ng was in the DNA of the thing from the start…. [Zutara] was just dark and intriguing.

If you read this quote and then start watching the show, I would (grudgingly) agree that:

Aang and Katara understand and complement each other really well. Aang gives her the chance to have fun and go on adventures and in turn, Katara is his fiercest supporter from the very beginning, something that he really needs after he lost all his people AND has to find out that the world thinks the war is sort of his fault. In turn, the journey to the North Pole is as important to Katara as it is to Aang, because it is her dream to learn waterbending properly. That’s what she literally says when Sokka & Co try to banish Aang: (Sokka: Where do you think you’re going? Katara: To find a waterbender. Aang is taking me to the North Pole.) In that way, they are friends who give and take equally and are equally taken care of. They even have the last Airbender/ last Southern Waterbender status that connects them. The few times they have a fight, Aang does something in the end to redeem himself (perform some heroic feat) and Katara sees that she is right to believe in him.

Aang has this very sweet crush on her and it will be very sweet and wholesome when Katara will return his feelings at the end of their adventure after he has hit puberty. On the other side, there is also some heavy shipbaiting with Zuko: I save you from the pirates. The betrothal necklace. June and her excellent shipping taste. But in the end they are enemies, they barely know each other and, come on, it would be too dark and intriguing! There is no real threat against friends to lovers Kat*ang, the soft heart of the story. It’s very straightforward and there are a lot of simple “the hero saves the day” scenes for Aang but that’s fine! It’s not really my kind of ship but that’s not the point, it works for the story they want to tell.

End of Book 1.

In my - probably harsh- opinion, everything you really need to know about the Kat*ang relationship has been told by this point. If you want to be really mean, already by Book 1, episode 3.

That explains maybe why many (not all! but many) pro-KA arguments sound as if their shippers have not watched Book 2 and 3 at all. The Book 1 synopsis also perfectly sums up Bry*ke’s quote above. But then Book 2 and 3 are still there and I don’t know what happened but it seems as if they somehow decided that the Kat*ang story does not need any new and lasting input. Maybe because they were afraid that too much new development and change would stray too far away from their original Kat*ang vision. But there are still 2 more books and more adventures and Kat*ang somehow has to be kept apart until the finale.

So the tension in their potential romance is based largely on the question whether or not Katara will return Aang’s feelings. In general I don’t have a problem with that will-she-won’t she-technique. It works well in books where the love interest is not a POV or in shows/ movies where the love interest is not one of the main characters. But Katara is not only the female lead but also arguably the narrative voice of the whole story! As a result, this kind of writing makes Katara look as if she doesn’t have any agency in their relationship, which is not surprisingly a very popular anti-KA criticism.

Additionally, since her dream - learning waterbending - has been fulfilled by the end of Book 1, the relationship work becomes a bit one-sided. Of course Aang is the hero and his journey is the heart of the story. But in order to highlight their special connection it would have helped to give Katara another personal agenda, which Aang could have supported in some way. She is still the last Southern Waterbender and he the Last Airbender but this is not really explored in the Kat*ang relationship. And her other personal agenda, her mother, is already reserved for the Zutara arc.

Instead, in Book 2 and 3 the Kat*ang story is somehow all over the place. Of course there is new conflict and a few romantic scenes as well. But obstacles are either introduced too late or just dropped when not needed anymore, conflict is not resolved and their flirty, romantic moments never lead anywhere- and if they do, they lead to more conflict that is not resolved (yes, I am looking at you, EIP Kiss!).

Take for example Katara’s very sudden argument that they cannot be together now because there is a war going on. We hear her saying that for the first time in the very last episode (EIP) before the 4-part finale. That is too late to have any impact! That she has these kinds of thoughts was never even alluded to before. Not once.

Or the pattern Aang runs away/ is flaky - Katara is upset - Aang comes back and does his hero thing - Katara is relieved. In regards to their relationship arc, nothing changes here between Book 1 and the finale, only the stakes for Aang’s heroic performances get higher.

Or Katara being the one who is able to calm Aang down when he cannot control the Avatar state (which, in my personal opinion, is neither romantic nor healthy). This is also connected to the problem with the seventh Chakra, that Aang needs to let go of his attachment for her. I will be angry forever with how they wasted this for a possible relationship development! That Aang has to decide to either do his duty or save his forever girl (because let’s be fair, he did try to let go and only ran when he had the vision of Katara in danger) - that’s a fantastic setup!

But no, it doesn’t have any real consequences for Kat*ang at all. Instead there were only half-baked attempts – Aang does lie about his failed practice with Guru Pathik but the ultimate reason why his chakra is blocked is Azula, not his decision to run. Aang does try to let go of Katara for a little bit but then Azula shoots him. Nothing in Book 3 shows any change in his feelings that could have been a result of his instant let-it-go. If anything, he gets weirdly obsessive - which could have been used as a side effect of his blocked chakra but – again, no, nothing happens.

I suspect the whole thing was just introduced to create temporary drama for poor Aang, but it is never explained why Katara holds him back, what aspect of the attachment is blocking him or what would happen if he did let her go. Maybe they tried to make a statement about how love is more important than Avatar rules – which would have been fine but it’s also never properly explored. Instead, as soon as that plot point becomes inconvenient it’s simply dropped like a random rock™.

Compare all that to the Zutara arc, where both characters’ feelings about each other are always very much in the open, and where every interaction causes lasting effects in their relationship. Yes, it is unfair to compare that to Kat*ang, because up to the end of Book 3, Zuko and Katara almost never meet, while Aang and Katara spend almost every episode together – of course they cannot do meaningful things all the time. But on the other side, with Kat*ang, there would have been a great chance to show a subtle, gradual build-up instead.

It also doesn’t help that the Zutara arc seems hellbent on sabotaging every romantic moment Aang is allowed to enjoy:

There is Kat*angs first maybe-kiss in the dark before the background of the Oma and Shu legend. But it does not lead anywhere. Instead, Zuko and Katara almost reenact the legend itself in the Book 2 finale as two real enemies to almost-friends, including a glowy rocks-backdrop and the right costume colours, just so nobody misses the message.

In Footloose The Headband, Aang and Katara have a really sweet dance together, and everybody can see how they almost intuitively know each other's moves. This could be a great hint on how well they will fight together in the finale. But is it plot-relevant? No, because the final tag team is Katara and Zuko! While Aang gets paired off with random rock™.

Then there is Aang’s riding off to battle- kiss in DotBS, which Katara is not even allowed to enjoy, because keeping her feelings vague is apparently more important than character development at this point. It is the only romantic moment that gets mentioned again, but in a way that sinks the former cute and wholesome ship into the deep ocean, and the reason is - Aang is jealous of Zuko!

If all of this was only done for the sake of shipbaiting, then it really went out of control at some point.

In the end, the showrunners still had their reasons to choose Kat*ang, maybe because that corresponded more to their own vision, and there are still enough people out there who agree with them. Which is absolutely fine! In the end, what matters most is how you personally connect to the characters and nobody needs to defend their personal taste. But the typical anti-ZK claim, that all the Zutarians with their crazy analysis and rambling meta essays are reaching and delusional and that they desperately try to construct something that isn’t there, is not only a very lazy argument but simply not true.

And I’d claim that in spite of the canon choice, Zutara is technically the better written relationship. By far.

#zutara #antikataang #anti kataang #anti-kataang #atla critical #atla writing critical #long post #atla meta

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ordinaryschmuck · 3 years

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What I Thought About "Eda's Requiem" from The Owl House

Salutations, random people on the internet who certainly won’t read this! I am an Ordinary Schmuck. I write stories and reviews and draw comics and cartoons.

...

...HOW IS SEASON TWO SO GOOD?! WE'VE HAD SEVEN EPISODES SO FAR, AND EACH ONE OF THEM WAS A HIT!

Take "Eda's Requiem," for example. It's yet another episode where I have NOTHING bad to say about it! That's two weeks in a row where that happened! HOW DOES THIS HAPPEN?!

HOW!

...But anyways, "Eda's Requiem." It's another fantastic episode, and I'm about to dive into explaining how and why. Just keep in mind, it's gonna require spoilers to do so, so be wary of that as you keep reading.

Now, let's review, shall we?

WHAT I LIKED

Eda’s Checklist and Grom Photo: Within the first second, "Eda's Requiem" perfectly sets up Eda's central conflict in the episode. Despite spending years being on her own and looking after herself, she now has two kids that she's constantly caring over. Eda can try all she wants to say that she doesn't care, and I bet she has in the past. But given the hard work she's putting into getting King and Luz what they need and having a grom photo of the three of them together pinned in her mirror, it's pretty clear that those two knuckleheads wormed their way into her heart and are never getting out.

Eda’s Worried About King and Luz Leaving: And thus, that's precisely why something like this bothers her so much. Eda inadvertently adopted two rambunctious rapscallions (Yeah, I know. I'll get to it), so the idea of them not being around her anymore is going to be terrifying. That is a situation most parents, especially mothers, can identify with. It’s called empty nest syndrome and it proves just how much Eda loves Luz and King that she can't stand the thought of her babies leaving the nest. It's yet another well-made, wholesome, found-family moment that this series continues to excel at each week, making me extra excited for more like it to come...while also readying myself for heartbreak when one of them eventually does leave Eda.

Eda and Raine’s Music: Ok, I don't know the exact instruments that were played during this episode, but I also don't care because it was all (for lack of a better term) music to my ears. Every time Eda and Raine played resulted in melodies that are so beautiful and filled with so much emotion and feeling that I'm honestly tempted to listen to them again, multiple times, on repeat. Shows rarely do that for me, as background music doesn't always draw me in as much as lyrical songs do. Usually, it takes something so extraordinarily composed to give me the desire to listen again, and that's the case here. So huge congrats to Brad Breek for doing so. Seriously, the man's been killing it this season.

Eda’s Bard Magic Causing Things to Turn to Ash: This was assuredly a surprise side-effect of the curse. The fact that Eda can sort of do magic at all was its own shock. To then reveal that a specific type can do dangerous things to people and environments is...Well, it definitely brings up its own fair share of questions. Like, how can she do this? Will she do it again, one day? And are there other types of spells that can be negatively affected by Eda's curse? We don't get answers for any of these questions, and odds are, we never will. But that's alright with me. Because if a show makes me consider these many possibilities after a brief amount of time, it is a show that has to be doing something right. Even if I don't get the answers I want, the fact that it caused such a reaction makes me less willing to care.

Raine Whispers: Hey, would you look at that. Another fun, interesting, and compelling character added to the list of this shows' other fun, interesting, and compelling characters...how is this series so good at this!?

Joking aside, Raine's pretty good. I like Raine. They could have been this super serious leader who lost all their fun after years apart from Eda, but I'm glad that they're not. There are moments when Raine takes their job as leader of the BATs seriously, as one would, but I still prefer the fact that they kept a jovial nature despite how grim their situation is. It's an admirable trait to have, and it avoids the trope of making leader characters boring just because they're the ones who have to take things seriously.

Oh, and also, Raine's Disney's first non-binary character who has a stake in the plot. This is a tremendous deal, as you don't usually see that many non-binary characters in children's animation, let alone ones that hold importance to the story. So it's pretty cool for the writers to feature Raine, as it helps several kids feel as though they're finally seen and respected. And the fact that Disney of all companies gave the thumbs up is even more impressive. I hear people say that Dana Terrace should have pitched The Owl House to more progressive networks to avoid pushback, and while I absolutely see your point, I'll have to respectfully disagree. Disney is the largest entertainment industry of all time, so if you want to make LGBTQA+ representation normalized, you gotta stop making splashes and start making waves. Because if the same company that made three racist cats in the span of a few years manages to say that being gay is a-ok, then you know there's something wrong with you. Yes, Disney ended up screwing over the show anyway. But for that one moment, when kids felt pride after seeing a character like Raine, then, in the end, it's kind of worth it.

Also, if you're still having issues with more representation like this popping up in kids' shows, then allow me to redirect you to the complaint department.

...I made that post earlier today for this bit. YOU HAVE BETTER APPRECIATED IT!

Day of Unity is meant to be a Secret: At least, that's what I got when Raine stumbled over their own words. So if it's true, then I wonder why? Why does Belos want to keep the most critical change in the Boiling Isles a secret? Does he want to make it a surprise for his grateful subjects, or does he not want to spread worry and fear amongst the wild witches? It has to be something big if he doesn't want his followers to even say the words "Day of Unity." Whatever reason he has, we most likely won't know until the future. A future that I grow more and more afraid of each week.

Hooty Eating Echo Mouse: My heart sank in that brief moment when I thought that Hooty intensely screwed Luz over in getting back home. But looking back...it is pretty funny.

Just the suddenness of Hooty eating the poor creature that Luz desperately tried to earn its trust is priceless in how shocking it was. And also, Luz's expression.

That was the look of a young girl who immediately shoved her hand down an owl demon's throat the second the scene cut away. The Owl House may not always be a hit in the comedy department, but scenes like this prove that when it's funny, it is hilarious.

Luz and King Entering the Grand Prix: Not much to discuss here. It's just a cute subplot that adds frivolity to the intensity of what's going on through Eda and Raine's story. But I will say that I love how both stories occasionally interconnect with each other through the many moments of Eda being worried about King wanting to leave to find his father and avoiding any conversation about it. It helps both plotlines feel like they belong together, without being something like "Through the Looking Glass Ruins," whereas both stories could have been in their own episode. Which is neat.

How Bard Magic Works: I really love how this season is diving into how the other magic types work. More specifically, the ones that seem a little vague. I mean, stuff like healing, potions, and plants are easy to figure out, but what does it mean when a witch's talents are construction, beast keeping, and bard magic? We've been getting a lot of clearing up lately, with bard magic looking like a witch can control their environments and enemies through the power of music. Which is fair. Music is pretty powerful in the metaphorical sense, and I actually love that it's powerful in the literal sense when in the Boiling Isles.

The BATs: Not much to comment on these three either. The BATs have the potential to have an entertaining dynamic, but they do very little in this episode that I can't say much other than I hope they make a return in the future. But I will make this claim: Amber is my favorite. I'm sorry, but her screaming "You're not our mom!" to then go, "Bye, mommy Eda" is just too precious for me not to love.

I'm a simple man who falls for cute s**t. Leave me alone.

Raeda (RainexEda): Well, EdaxCamila, you were a fun crack ship while it lasted, but I'm afraid that this is now goodbye. The current canon has provided an incredibly adorable and believable relationship that I would be a monster not to support with my whole bi-heart. It's been real.

Ok, back in serious mode: I love these two together. Eda and Raine are grown-ups, and they still act all flustered near each other as if they were still Luz and Amity's age. It's definitive proof that you're never too old to get flustered near a crush, and seeing them interact adds a sense of wholesomeness when seeing them together as well as heartbreak when they're forced apart. Plus, we get confirmation that Eda's LGBTQA+! Whether she's bi, pan, or whatever, now that we know Eda can catch feelings for someone like Raine, it's yet another case that The Owl House is the most important series to the community. Because having the main character be queer is fantastic in its own right. But having the same apply to the motherly mentor figure? That's is an extra bit of normalization that anybody would be willing to appreciate.

Unique Guard Designs: Not many fans are going to appreciate this, primarily compared to everything else this episode does perfectly. For me, I actually like that you see a few Coven Guards looking differently from the others, as it helps make them less like clones and makes it seem like anybody of any body type could be a part of the coven.

Gus Looking Uninterested when Presenting Grand Prix with his Dad: I am positive that you didn't notice this (I didn't even notice it until someone else pointed it out), but there's something to dissect here. It hints that perhaps Gus isn't as interested in his father's field of work as one might think. If he did, he would look a lot less bored and much more excited to be helping Perry Porter present the race. It could just be the race itself, but judging from Gus' expression, it really seems like the kid would prefer to be anywhere but there. And why would he have that reaction to a race that his best friend is competing in? To me, this seems like an inkling of what Gus' relationship with Perry could be, which may not actually get time to shine, what with how little wiggle room the series has now (Thanks Disney). Regardless, it is interesting to notice, and it will certainly have fans thinking for a while.

Bump Being Smug of Luz Being in the Lead: That's it. Principal Bump looking smug as his human student is beating the students of his rivals is yet another moment that proves why Bump is easily the best cartoon principal.

Darius: First of all, this guy is f**king fabulous, and I love him. *Snaps*

Second, he is definitive proof that you do NOT want to f**k around with Coven Leaders. Lilith may have had her intimidating moments, but none of them compare to the guy who can turn himself into an abomination monster where only magic that hasn't existed before can take him down. It's genuinely scary to see Darius lose control, and I fear for the day when Luz inevitably ends up in his crosshairs.

With that said, Darius' still a ton of fun! He may be threatening, but he's just a flamboyant guy that hates the idea of getting his outfit the tiniest bit dirty. And I love that. I love that these Coven Heads have actual personalities instead of being generically evil. I consider it preferable to make villains entertaining rather than blatantly scary as I'll remember the personalities first and the villainous acts last.

Eberwolf: But this one's my favorite. I told you: I'm a simple man who gets easily swayed by cute s**t. And Eber? I mean, just look at her:

She's just a cute widdle rascal! I just want to pinch her cheeks, give her a belly rub, and--

...Eberwolf is not a cute widdle rascal. She is a strong, independent woman, and I will respect her as such from this moment forward...lest I feel her wrath.

That is all. Let's move on.

Eda and Raine Attempting a Final Performance: This was the best scene of the episode. It looked gorgeous, it shows the dedication Eda and Raine have for stopping Belos, and it says so much through so little. Go back and look at how Eda and Raine regard one another when performing Eda's requiem. Through their expressions and a few short words, you know they understand that if they complete the song/spell, they probably won't make it in the end. And yet, they don't care. They both know bad stuff will happen if Belos wins, so Eda and Raine put everything to the side, both their feelings for one another and the people they leave behind if it means putting an end to a tyrant. That level of dedication...Words can't fully describe how powerful that is.

Raine Sacrificing Themselves Instead: But in the end, Raine can't do it. Not when they know the life that Eda has and the people she'll be leaving behind. It's an extra bit of nobleness to the character seeing that Raine refuses to take away a woman from two kids who need her the most. A tad bit selfish, sure, knowing what Belos has planned. But when it comes to love, the romantic, familial, or platonic, the best decisions aren't always the logical ones.

Eda Crying: Luz crying tears me up, but seeing Eda cry is a whole different level of heartbreak. Like Lilith, Eda has her emotions locked up tight, with the closest she came to weeping were those two tears in "Young Blood, Old Souls." In "Eda's Requiem," she cries but almost quickly stops herself. As if she knows that doing so isn't going to save Raine. That is...even worse than seeing Luz break down after losing Eda. The fact that Eda refuses to give herself time to mourn losing someone she loved is tragic because crying is the most natural way of showing grief. Turning that off isn't healthy, and seeing her do it with little resistance is sad to me. It's sad to see a character I love can easily shut off all emotions despite how badly she may want to embrace them. It's one of those moments that, again, by doing so little, it shows so much.

“No one watches Crystal Balls anymore. It’s all about streaming.”: Oof. Even I felt that burn towards cable.

King’s Message: King's message was the pick-me-up I needed after the heart-wrenching sadness this episode put me through a few minutes ago. Seeing King say who he is and listing all the things he loves is nothing short of adorable. On top of that, I adore that Eda willingly recorded the whole thing. She may not want King to leave, but that doesn't mean she'll sabotage the one thing he wants. Especially not after Raine gave up everything so Eda could be with her kids. The opening scene may prove how much Eda cares about a rascal like King, but this heartwarmingly sweet moment reveals just how far she'll go to make him happy.

King’s Dad Reveal: ...ok, I'll be honest, I did not think we'd get that reveal this soon. Dumb of me to say, considering the number of times I've said that these writers don't waste time getting to the s**t, I know. But still, it's pretty cool knowing that King's dad is alive and well, added with the fact that we've got a fair idea of what he looks like. At this point, it's only a matter of time before we see him figure out where the Clawthorne residence is and witness the tear-jerking moments that will follow.

King Changing his Name to King Clawthorne: Not the official adoption I was expecting Eda to make...but DANG IT, is it still diabetes-inducing levels of sweetness!

Personally, I feel like the main reason why Eda breaks down this time is not only because she shouldn't be worried about King leaving her life, but also because Raine's sacrifice wasn't in vain. Her kids really do need Eda because no matter how far apart they'll be, she will always be a part of their life...dang it, I'm going to cry too!

What those Coven patches really do: Well...that was horrifying to see.

...Writers, if you kill off the best non-binary character in animation (it's a short list, I know), we are going to have PROBLEMS!

IN CONCLUSION

"Eda's Requiem" is--surprise surprise--another A+. The emotions hit hard, the representation hits harder, Raine is a fantastic addition to the cast, and it was all surprisingly cute at times. Season Two is currently on a hot streak, constantly winning with every episode that's come out so far. When a bad episode does eventually show up (IT'S GONNA HAPPEN!), I'll be sure to sing my requiem then. For now, I'm just gonna enjoy the ride.

#the owl house #the owl house season 2 #the owl house reviews #eda clawthorne #raine whispers #raeda #king of demons #toh darius #toh eberwolf #what i thought about

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firelxdykatara · 3 years

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Reader anon here with a thought!

Do you like love triangles? I personally don't, there is something about them that is incredibly frustrating lol. Same thing for harems, though there are some that do it tastefully 😌 so I can't be too upset by them.

It honestly depends on the love triangle and the way the author writes all three relationships (and, for any genuine love triangle, there should be three relationships--they don't all need to be romantic, but there needs to be an existing and strong relationship between all three points on the triangle, otherwise I'm almost certain not to be at all invested), how they are presented, and what the narrative purpose of the love triangle is.

Ironically, one of the best examples of a love triangle done well (at least... to a certain point in the story, which I'll explain in a bit) happened in a television show that is fairly notorious for turning to utter shit in the latter four seasons and alienating pretty much the entire fanbase, to the point where most of us dipped well before the end and everyone celebrated news of the show's cancellation.

I'm talking about The Vampire Diaries.

(under a cut because i went on a LOOOONG ramble about tvd and why that love triangle worked initially and then why it failed, and then i talked a bit about another love triangle that was pretty weak and failed almost from the outset in OUAT but was ultimately axed in favor of the stronger relationship and character being given focus, and what all of this means for how i feel about love triangles in general)

While this is still very much a case where I only shipped one side of the triangle, hated the other, and couldn't wait for it to be resolved so that I wouldn't have to deal with the side I disliked any longer (the writing was on the wall as far back as season 1, no matter how in denial a certain portion of the fandom remained right up until the series finale) the development of the triangle itself and how it affected all three characters and their relationships with one another was done very well for most of the first four seasons. Damon and Stefan were brothers, with a bloody and complicated history and relationship, and they both fell in love with this human girl--Stefan almost instantly, because she looked just like Katherine and he found himself... (and here I'm going to be as fair as I possibly can to him, but if you want my full anti stelena rant I have many of them prepped and ready to go) following her, at first to make sure she wasn't Katherine, and then inserting himself into her life to protect her. Damon, on the other hand, took much longer, because he was still in love with (and trying to rescue) Katherine, and so when he did fall in love with Elena, it was because of who she was, not because of some idealized 'Not Katherine' pedestal he placed her on the instant he met her.

(I swear, I swear I'm trying to be fair to Stefan, it's just very hard.)

The thing is, Elena was in love with Stefan almost from the jump. (And one of the reasons I never really shipped stelena is because that kind of insta-love with very little conflict that isn't manufactured by the plot just isn't compelling for me, and I fully jumped ship about halfway through s1 when Damon and Elena took a road trip together. It's a long story, but that remains one of my favorite episodes in the entire show and it marks the beginning of their actual journey together.) Stefan showed up at a time when she desperately needed someone, and to his credit he did help her through her early depressive spiral--in large part because Elena's recent trauma (survivor's guilt due to her parents dying in a car crash from which she was the only survivor) meant that finding out Stefan was immortal and could not die and would not leave her resulted in her getting fiercely attached.

He was safe, he was stable, she could rely on him. But she could not grow with him, because for him, she was essentially a morality pet/the anchor to his humanity, and that meant that he could not accept when she began to grow out of her need for him. The fact that this coincided with her becoming a vampire only made things worse--because she settled into being a vampire much more easily with far less strife than he'd ever managed, and an Elena who enjoyed being a vampire in ways Stefan simply couldn't could no longer function as the idealized reminder of humanity he was desperate to cling to.

Damon, on the other hand, was the one who fell in love with Elena--not Not Katherine. He never put her on a pedestal, he never asked more of her than she could give him--when he realized how deep his feelings for her ran, he made her forget his confession because he knew he did not deserve her and he didn't want her burdened with his feelings when she was still in love with his brother and was always going to be. Elena's growing feelings for Damon coincided with her growth from a depressed and suicidal teenage girl into a young woman who began to realize that it was ok to want things for herself--to be a little selfish, to take what she wanted, to admit what she wanted. And, again, the fact that this coincided with her transformation into a vampire (although her growth within her relationship with Damon began well before that), meant that Damon's reaction to Elena-as-a-vampire was thrown into sharp relief against Stefan's--because he accepted her where his brother couldn't.

Ultimately, this led to Elena fully outgrowing her feelings for Stefan, and accepting, nurturing, and reveling in her feelings for Damon. The triangle was resolved, all three characters had growth separately and in their different relationships, and they could then move on from there along their different paths. Stefan could have had some truly excellent character growth involving moving on and finally living for himself rather than trying so hard to be this perfect brooding tortured vampire because he was the Good Brother, since there was no longer any need for that Good Brother/Bad Brother dichotomy. They'd both grown past it, as characters individually and as brothers together.

Unfortunately, where TVD ultimately failed (and this coincided with the way the show utterly lost the plot in terms of storylines, character arcs and cohesiveness and became an unsalvageable mess) is in refusing to let the love triangle die.

What should have happened is that once the love triangle was resolved--Elena growing as a character and moving on from her immature first love and fully embracing her feelings, as an adult, for her much more adult relationship with Damon--they abandoned the love triangle premise and let all three characters continue to grow outside of it. Damon and Elena should have been allowed to grow together and explore their relationship, Stefan to figure out where he still fit in their lives--as Damon’s brother, and one of Elena’s closest friends who she still loved dearly even though she was no longer in love with him--and then explore relationships of his own outside their family unit as he finally began to fully move on and grow out of his own overly idealized feelings for Elena.

Instead, what wound up happening is that the stelena side of the love triangle kept being teased--probably to keep the avid stelena shipping contingent invested in the story, hoping for ‘another brother swap’ as was lampshaded in one of Nina’s final episodes before she left the show (and, indeed, many of them remained utterly convinced that stelena would be endgame, right up until the series finale)--and rather than growing together, delena fans were constantly hit over the head with how ‘toxic’ Damon and Elena were for each other (even though this ran contrary to everything we’d seen in the show to that point, including having Damon regress repeatedly for, presumably, no reason other than to never let fans forget he was the Bad Brother and always would be, and Elena just couldn’t help but love him anyway), and all three characters and their relationships wound up suffering horribly for it.

That is an example of a love triangle that had a very promising foundation and development, right up through what should have been a resolution, and the reason it is generally looked on so unfavorably in fandom circles is because the show refused to move on from the triangle organically when the story needed it to, because it had already served its purpose.

For an example of a love triangle that, in my mind, simply didn’t work from the very beginning, I’d say my go-to example is from Once Upon a Time--the short-lived love triangle between Emma, Killian, and Neal. I think the first stumbling block there was that there weren’t really three relationships that mattered. Technically, Killian did have a connection to Neal--because they’d met in Neverland, prior to Neal remaining in the Land Without magic--but it functioned more as a backdrop to explain why Killian knew him when they got to Neverland again in the story, and why Neal didn’t trust him. It wasn’t actually developed as anything outside of that brief flashback, and they didn’t have any connection in the present outside of one episode where they essentially fought over Emma and she (rightly) got angry at them for it. There was no real exploration of who they were to each other outside of the fact that both of them had feelings for Emma, so it really was just one woman torn between her feelings for two different men, and with no real stakes attached to her choice.

The other problem with this particular triangle is that one side of it was... conspicuously weak. While Emma’d had a full season and a half worth of interactions and development with Killian--where they went from enemies, to grudging allies, to Killian openly acknowledging that he hadn’t ever believed he would be able to love again until he met Emma--she had... very little to support her potential relationship with Neal outside of their history. History which consisted of then-young-adult Neal knocking up underage Emma (she was 17 at the oldest because she was still in Juvie when Henry was born, and he was already ten years old the day she turned 28; so she was either 16 or very newly 17 when she got pregnant) and ensuring that she got sent to prison for his own crime, at which point he didn’t see her again until she was nearly 30. When he did see her again, he treated her incredibly poorly, up to and including getting angry at her about the fact that she didn’t tell him that Henry was his son--even though he had no right to that information, because Emma was in prison because of him at the time she found out, and she had no clue that he was in any way connected to the Fairy Tale world until she was helping Mr. Gold track down his son and it turned out to be Neal.

A big point is made, throughout the early seasons especially, about Emma’s walls and how much difficulty she has trusting people--and a great deal of that stemmed from Neal’s betrayal. This could have been the foundation for a story of healing and growth and two people coming back together--however, with the way Neal treats Emma in the present and how little closure she actually gets for what he did to her in the past, it comes across more as ‘well, she never did get over her feelings for him, so maybe he still has a shot even though she has no real reason to want to be with him now’.

Killian, on the other hand, never doubted Emma’s abilities and always had the utmost trust in and respect for her (after they became allies), and it was obvious that this is something Emma experienced very little of in her life. It’s notable that the first episode where they really interacted is the one in which Emma’s history with Neal is revealed, and it very deliberately paralleled and contrasted with her interactions with Killian. This already presented him with a leg up on the love triangle once Neal did show up, because Neal was the reason for a lot of the walls Emma had built around her heart, and it wasn’t until meeting Killian that she finally began to let some of them down.

I think that the show recognized this, and it pulled something that is actually a very frustrating pet peeve of mine--rather than write out the story that makes sense and have the main point of the love triangle make a choice and stick to it, the third point of the triad was simply written out. In this case, Neal essentially killed himself via his own stupidity, allowing Emma to angst about losing him without actually having to tell him she wasn’t in love with him and wasn’t going to choose him. (Veronica Mars pulled something very similar with the Logan/Veronica/Duncian triangle in season 2--rather than admit within the narrative that her relationship with Duncan was built on flimsy feelings of infatuation bc of their history, and a ‘stability’ that didn’t really work for who Veronica was at her core, he simply got written out of the story, running away for Plot Reasons and never forcing Veronica to confront the fact that she wasn’t actually in love with him and hadn’t been for quite some time.)

I think that in OUaT, the love triangle could have worked if a relationship between Killian and Neal was not only established in the past but developed in the present--Killian was in love with Neal’s mother centuries earlier, and something I’m actually really upset we never got is the two of them talking about Milah and maybe Neal getting some closure for his mother’s abandonment and someone apologizing to him for what they put Baelfire through as a child--giving stakes to Emma’s choice beyond ‘one of them will be all uwu sad that he wasn’t picked’. It also would have worked much better if we were given any reason for Emma to still have feelings for Neal in the present beyond the history they shared, which caused Emma nothing but pain for the last decade and change. If Neal had treated her more fairly--if he’d treated her like someone he actually cared about and even still loved, rather than blaming her for things that were his own fault and undermining her belief in her own abilities, among other things--then their relationship might have been strong enough to stand on its own opposite Emma’s relationship with Killian. I don’t think it ever would’ve been a relationship that appealed to me, personally, but then I could have at least enjoyed watching the three of them grow together and seeing all of their relationships grow and change.

So, ultimately, TL;DR: I do like love triangles, conceptually, but there are a few requirements they must meet for me to feel anything other than irritated at the inclusion. One: there must be at least three equally important relationships between the three characters. If it’s just one character torn between her (or his, but it’s usually a woman) feelings for two unrelated people, that can be compelling for a short time but ultimately I’m going to be left feeling frustrated by her refusal to just make a damn choice and put me out of my misery. Two: there should be some sort of development in each relationship which makes the presence of the triangle narratively significant. Why is it important for one character to have conflicting romantic feelings for these two other people at the same time? What purpose does it serve either their character arcs or the story as a whole? While I am both a Bangel and a Spuffy shipper, I’ve never considered Angel/Buffy/Spike to be a love triangle--they are very different relationships that she had at very different points in her life, and while her feelings for Angel never really went away (and do cause some angst for Spike near the end of btvs) they are never really competing for her affections in any meaningful sense. If that competition does exist, there needs to be a compelling reason why. And, as a further addendum to this point, I need to at least understand why the main point of the triangle is invested in each relationship, even if I don’t ship it and actively dislike or even outright hate one side of the triangle. (I loathe stelena, but I’ve always understood why Elena was in love with him in the beginning of the show, for example. And before s5/s6, I was really pleased with how the show handled her feelings for him and finally allowed her to grow and move on from them.)

And finally, three: the triangle needs to be resolved at some point--and, when it is, it needs to stay that way. Where TVD ultimately lost me (aside from the ridiculous plot contrivances and rampant character assassination) was the refusal to let the love triangle die a natural death when it is what the story called for, and all three of their characters, their relationships, and the show as a whole suffered massively for it. So, when the primary point of the triangle makes a choice--particularly if she had made one choice in the beginning of the story, but it was clear that she was ultimately moving towards choosing the other side as she grew and her feelings and relationships grew and changed with her--let that be the end of it. Move on to exploring what that choice means for the main pair and the party not chosen, sure--maybe explore their feelings about not being chosen and how that affects their relationships with both of the others afterwards--but don’t constantly tease the possibility of the ‘losing side’ getting back together just to keep shippers invested. It’s only going to hurt your show and make everyone look callous and stupid.

Alternately, a final possibility: make it an ot3 instead. But again, if the other three conditions aren’t met (particularly number two, and its addendum; if I don’t understand why the main point of the triangle is in love with both other points, an ot3 is unlikely to resolve that issue and I’m only going to wind up resenting it), then this won’t work, because it’s just going to wind up a lopsided and stilted mess of a relationship that leaves me wishing the offending point of the triangle had been killed off just so I wouldn’t have to keep hearing about them.

#tvd #delena #anti stelena #ouat #captain swan #anti swanfire #reader anon #oh man i rambled for days lmao im sorry #i hope this answered your question #on love triangles

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drivingsideways · 4 years

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k-drama rec list

Prior to 2020 I’d maybe watched 2 k-dramas in my entire life, but this year I got sucked in, thanks to some great recs, and y’know, *gestures * everything.

I think I’d held off watching kdramas because my impression of them was limited to romances that I didn’t enjoy at all. But this was the year I discovered the equivalent of “gen fic” kdrama- dramas that had wonderful ensemble casts, strong story lines that weren’t entirely romance focused and also a variety in terms of themes and styles. A big plus was that I found so many of these dramas had women leading the writers’ room, and seeing the effect of that in the story telling. (Notable exceptions: a certain “star” writer who should please stop inflicting her badly written, formulaic crap on the world, yes Kim Eun-Sook, I mean you, and whoever wrote that trashfire Flower of Evil)

So here I am with my own rec list! Caveat- these are mostly not the dramas released in 2020, I’m still playing catch up! :)

Under the cut for length

My Mister/ My Ahjussi (2018, Written by Park Hae-Young, Directed by Kim Won-Seok, starring Lee Sun-kyun and Lee Ji-eun aka IU)

This was definitely my absolute favourite of the shows I watched this year across western/ asian media. It’s a story about the thread that binds us all and the ineffability of human connection. It’s also a story that deconstructs ideas of masculinity and honour and shame in a non-western context, but with an extremely compassionate touch. It’s a story that doesn’t shy away from showing the consequences of material and spiritual poverty; and how one can so easily feed into the other. It’s a love story that isn’t a romance, except that it’s a Romance. It’s about finding salvation in one another and in the kindness of strangers. It’s about choosing life, and picking yourself up off the floor to take that one last step and then the next and then the next. The one quibble I have with the series is that it could have been better paced, it does get extremely slow after the half way mark. But god, do they land the ending. Both Lee Sun-kyun and IU turn in absolutely heartbreaking performances, and fair warning, be prepared to go through an entire box of tissues watching this series.

Life (2018, written by Lee Soo-yeon and directed by Hong Jong-chan, starring Lee Dong-wook, Cho Seung-woo, Won Jin-ah, Lee Kyu-hyung, Yoo Jae-myung and Moon So-ri.)

Medical dramas are very much not my thing, and I wouldn’t have taken a chance on it except that @michyeosseo said I should, and she was right! It’s a medical drama in the sense that it’s set in a hospital, but rather than a “case-fic” format, this is actually a sharp commentary on the corporatization of health care, and the business of mixing, well, money and what should be a fundamental human right. Writer Lee Soo-yeon was coming off the global success of Stranger/Secret Forest S1 when this aired, so I understand that expectations were probably sky-high, and people were disappointed when this show didn’t give them the adrenaline rush that they wanted. On the other hand, I thought that this outing was really much more nuanced in terms of the politics and also how the ending doesn’t allow you the luxury of easy-fixes. This show has a great ensemble cast, and while it took me a while to get used to Lee Dong-wook’s woodenness (i ended up calling him mr.cadaver after watching this and was surprised to learn that he’s very popular?), in the end I was quite sold on his version of angry angst-bucket elder-sibling Dr.Ye Jin-woo. His best scenes were with Lee Kyu-hyung who turns in a lovely, achy performance as the paraplegic Dr. Ye Seon-woo who just wants to live a normal life. The love story between the two brothers is actually the emotional backbone of the story, and I think they landed that perfectly.

My one quibble with writer-nim is that she ended up writing in a forgettable and somewhat (for me at least) uncomfortable romance between the characters played by Won Jin-ah and Cho Seung-Woo. I think part of my uncomfortable-feeling was that I got the strong sense that the writer herself didn’t want to write this romance, it was as if she was being made to shoe-horn it in for Studio Reasons, and she basically grit her teeth and did the worst possible job of it. I do wish we could have absolutely had the OT3 of my dreams: Moon So-ri/Cho Seung-woo/Yoo Jae-myung like, c’mon TV gods MAKE IT HAPPEN, just...look at them!!!!

Anyway, that apart, I think this was a very engaging series, and by engaging, I also mean thirst-enabling, see below.

Stranger (aka Secret Forest or Forest of Secrets) S1 & 2 : (2017-, Written by Lee Soo-yeon, directed by

2017′s smash hit aired a much anticipated second season in 2020, and I managed to catch up just in time to watch that live, so that was thrilling :D . Writer Lee Soo-yeon mixes up thriller/office comedy/political commentary in an ambitious series. I think S1 is more “exciting” than S2 in terms of the mystery and pacing, but S2 is far more dense and interesting in terms of political commentary because it takes a long hard look at institutional corruption and in true writer-nim fashion doesn’t prescribe any easy solutions. Anyway, please enjoy public prosecutor Cho Seung-woo and police officer Bae Doona as partners/soulmates kicking ass and taking names in pursuit of Truth, Justice and just a goddamn peaceful meal, along with a stunningly competent ensemble cast. Also yes, Han Yeo Jin is a lesbian, sorry, I don’t make the rules.

Search: WWW (2019, Written by Kwon Do-Eun, directed by Jung Ji-hyun & Kwon Young-il, starring Im Soo-jung, Lee Da-hee, Jeon Hye-jin)

GOD. Where do I start? +1000 for writer Kwon Do-Eun saying “fuck the patriarchy” in the most grandiose way possible, i.e. absolutely refusing to acknowledge that it exists. Yes, this is that power fantasy, and it’s also a fun, slice-of-life tale about three women navigating their way through work, romance, national politics and everything in between. It’s true that I wasn’t entirely sold on the amount of time spent on the romance, and I really wish they’d actually had a textual wlw romance, though the subtext through the entire series is PRACTICALLY TEXT. But still, it maintains that veneer of plausible deniability and I think queer fans who are sick of that kind of treatment in media have a very valid grouse against the show. On the other hand, personally I felt that the queer-platonic vibe of the show is very wonderful and true to real life, and it was only reinforced by the ending. This is a show written by a woman for women (like me), and it shows.

Hyena (2020, Written by Kim Roo-Ri, directed by Jang Tae-yoo & Lee Chang Woo, starring Kim Hye-soo and Ju Ji-hoon )

Those of you who’ve been watching hit zombie epic Kingdom are probably familiar with Ju Ji-hoon’s brand of sexiness already. I had not watched Kingdom and got hit in the face by Mr.Sexy McSexyPants’ turn as a brash, privileged-by-birth, up and coming lawyer who gets completely runover by the smoking hot and incredibly dangerous fellow lawyer/competitor from the other side of the tracks in the person of Kim Hye-Soo. When I say they set the room on fire, I mean it, ok. Every single scene between these two is an actual bonfire of sexual attraction and emotional hand grenades, and they’re both absolutely riveting to watch. “Flower of Evil” wishes they had what this show has- an actual grown up romance as opposed to a thirteen year old twilight fan’s idea of an adult romance.

The “lawyer” shenanigans and the “cases” are hit or miss, and I think the occasional comedy fell flat for me. But that’s not why I mainlined like 6 episodes of this series overnight like a coke addict, and that’s not why you’re going to do it either. It’s so RARE, even in these enlightened days to find a female character like Jung Geum-ja: hard as nails, unapologetic about it, and not punished by the narrative for it. The best part for me is that she feels like a woman’s woman, not a man’s idea of what a Strong Female Character should be. Anyways, when I grow up I want to have what Kim Hye-soo has ok?

Other dramas that I watched this year, quickly rated:

The King: Eternal Monarch (3/10 and those 3 points are only for the combined goodness of second leads who deserved better- Jung Eun Chae, Woo Do Hwan and Kim Kyung Nam. Please head over to my AO3 and read my attempts to fix this garbage fire and rescue their characters from canon)

Flower of Evil (-10/100, dont @ me)

Tale of the Nine Tailed (5/10, I think it succeeds at what it set out to do, which is a light hearted, sweet fantasy-romance-melodrama, plus “second lead” Kim Beom will make you cry as the hot mess of a half human/ half fox spirit ALL TEARS character. I think if you’re into kdrama romances as a genre, this is probably a good bet?)

Signal (7/10, This was the first full kdrama I watched this year and would definitely recommend. It’s a police procedural with time travel shenanigans and has an engaging plot, good pacing, texture and compelling performances. My one disappointment with it was the way they wrote Kim Hye-soo’s character. As literally the only female character to survive in any way, she was given short shrift, and toward the end it really began to grate on me.)

Six Flying Dragons - (7/10, also would recommend if you’re interested in Korean historicals. It definitely already feels a bit dated in terms of styling and production values, and even scripting and acting choices. But it has a good balance of fantasy and history and political commentary. I was not a fan of Yoo In-Ah’s performance in this series, but it’s not anything that would make you want to nope out of the series. It’s GoT , if GoT was thoughtful about politics and characters and not the misogynist, racist trashfire that it became.)

My Country: The New Age - (3.5/10, and that’s 3 points to Jang Hyuk��s fan and 0.5.points to Woo Do Hwan’s heaving bosom. If you like your historical drama/fantasy with very pretty men, very gay subtext -seriously RIP to show makers who thought they could hetero it but didn’t account for Woo Do Hwan’s Tragic Face- lots of blood and tears and very nonsense plot, this is right up your alley. I probably would have enjoyed it more in other circumstances, I think? But this one just annoyed me too much at the time!

I have a couple of more dramas to watch on my list, that’ll probably carry me over into 2021, so see ya on the other side! :D

#k-drama #kdrama rec list #2020: A YEAR #i'm a queue for you

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livlepretre · 3 years

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I was just catching up with your blog, and I saw your klonnie post. It just got me thinking about how literally anyone in the narrative would have been more logical to pair Klaus up with than Caroline. I’ve read all your posts regarding why Klaroline does not make sense. 100% agree. I feel like Caroline is just who they went with because committing to a real Klaus love story would have taken way more time than the show had, and Caroline was the one who had the least commitments elsewhere in the narrative. I mean, there are plenty of plot heavy episodes where Caroline just disappears for no reason, and it’s obvious that the writers just didn’t have anywhere to logically put her. I honestly believed during my first watch through that Klaroline was just Klaus trying to put Tyler in his place. He never interacted with her before the episode where Tyler challenges his authority and refuses to bite Caroline, and then after that episode, he was being ooc and fake charming with her. I just thought Klaus was trying to get her to sleep with him so he could show Tyler that he was the one in charge and could take anything he had. Color me surprised when that was never the case.

Anyway, this all got me thinking about what individual arcs Caroline got, and I can’t really think of one after her becoming a vampire and getting tortured by her dad. After that, the show kind of played “pass the Caroline.” She would get passed around during episodes where she was either tagging along with Stefan, Tyler, or Klaus. Obviously it’s okay for your characters to be in scenes with each other, but the problem is you could take Caroline out of the season 4 sire-bound breaking storyline or the delena ft. sad Stefan storyline and nothing would really change. She is really on par with Jeremy and Matt in which she could just leave for a while and make a reappearance later like nothing happened; however, unlike Jeremy and Matt, she isn’t treated this way in the narrative. Caroline is made out to be more important than she is. I didn’t realize how long this ask would be, but if you could change the story structure of TVD to fix this, how would you do it? Would you have written Caroline to have more individual storylines or would you have decreased her role? Maybe it’s just me and you would keep her the same. Idk. Either way, I’m very interested in your opinion. Especially because Caroline is the more utilized and loved character throughout this fandom and fanfiction, and I don’t know why.

first of all “catching up with your blog” what kajfklajdfklajdf

sorry it’s taken me a few days to reply, I’ve been mulling this over and it’s been kind of a long week so I’ve had to gather the bandwidth to answer

I agree with your analysis about why the show chose Caroline as Klaus’s love interest... I’ve always said that it was just so painfully obvious that they wanted to give Klaus a love interest from amongst the heroines (which: rude, he already had a love interest, it was Stefan) because he was interesting and hot. And I always assumed they picked Caroline because 1) Elena already had too many love interests even though she and Klaus had history and wicked chemistry so this still to me remains the obvious choice 2) Bonnie would have actually had moral problems with Klaus (but would still have been a great choice because then we could explore those morality issues with Klaus) and 3) they wanted to do another “bad boy” romance without actually digging into the fact that Klaus had crossed lines for us as an audience that were SUPER hard to come back from, namely: MURDERING MAIN CAST MEMBER JENNA. (I would argue that this is different for us as an audience than Vicki’s death because Vicki died at the beginning of the show; our emotional investment in Jenna was significantly higher after 2 full seasons with her.) So, Caroline becomes the path of least resistance because Klaus has no serious, personal history with her, and she’s not as prone toward actually making moral judgment calls as Bonnie is-- for example, she’s shown to be significantly more flexible about murder and mayhem than Bonnie is.

I’ve never thought about the fact that it was partially just that the writers didn’t have any great ideas for Caroline’s personal storyline though, and that really brings up 2 huge questions: 1) DID they assign her the Klaus romance because they didn’t know what else to do with her? and 2) did that romance storyline actually deprive her of other (better) storylines?

This got me thinking about Caroline’s storylines in a broader sense, and her place within the narrative structure. I think of TVD as having 3 types of main characters:

A-level characters-- Elena, Stefan, and Damon are the only A-levels, as they appear in every single episode and the plot falls apart without them

B-level characters-- Bonnie, Caroline, and then later Klaus would all fit in here-- characters that are in most episodes, and have their own independent side plots that are ongoing, sometimes for long periods of time -- we know they’re B-level and not A-level because sometimes they disappear for a few episodes-- in other words, they’re not essential every episode like the A-levels

C-level characters-- the rest of the main cast-- Tyler, Matt, Jeremy, Jenna, Katherine, Rebekah, etc-- these characters sometimes have ongoing plotlines (the werewolf plot, the Hunter plot, the serial killer plot, etc) but they’re literally dispensable to the overall plot-- the writers feel comfortable having them come and go as necessary, and we often experience them through the perceptions of the higher-leveled characters--they tend to actually be the object of higher level plots as well-- Damon kills Jeremy to move his plot along with Elena; Matt scheming against Caroline’s vampirism is actually part of Caro’s plot; Katherine is mostly a narrative tool to use with the main 3; Jenna’s death isn’t even about her at the end of the day from a narrative perspective but about Elena, etc.

So when thinking of the basic structure in this sense, that issue you brought up where Caroline doesn’t have enough of her own storylines really comes to light. Part of that I think is that functionally, she has less to offer-- Bonnie is a great counter point, because she often has her own storylines, and she serves a super strong narrative purpose of 1) witch and 2) the moral center on the show-- like, usually the only one who doesn’t forget what’s right and what’s wrong from a basic human perspective. Klaus also has his function as villain, though he gets derailed by the show not killing him off when it was time.

Caroline meanwhile... the show probably took her as far as they could with her being human, and turning her into a vampire in season 2 was incredibly strong and compelling storytelling. It brought Caroline into the main fold of schemers, it gave her agency, and it put all of her problems with her family and friends and self-esteem under a microscope lens. Season 2 is Caroline’s strongest season because it offers her the most development and gives her both a functional role as baby vampire-- working for Katherine, working with the gang, trying to keep the big secret from her mother-- as well as a satisfying emotional arc. The issue is that she just doesn’t have a ton of places to go as a character once the issues with her parents are resolved midway through season 3 and a lot of her self-esteem issues had actually been tackled... The only other storyline I can think of that was HERS was her mother’s death, but I never finished that arc and never got to no humanity!Caroline anyway, so I don’t have much to say on that topic. I will say that the show REALLY drove Caroline’s storyline into the dirt when they turned Elena into a vampire-- having two baby vamps on the show was WAY too many. We’d already gone through this with Care, but also, Elena is an A-level character-- anything she goes through necessarily usurps the power from any similar story the writers could have told about Caroline.

So. The Klauroline romance. (Apparently I’ve been mispelling this ship for a decade but honestly you can’t expect me to stop now.) I think they gave Caroline to Klaus (rather than giving Klaus to Caroline) as a love interest for the reasons stated above, but it really did limit her character; I’ve gone over my problems with it ad nauseam here on this blog. The whole thing just spun Caroline around in circles forever-- I remember dreading that this ship would be canon but the show just kept spinning the Klaus/Caroline/Tyler wheels for two seasons without ever really progressing anything or changing anything, just always always always spinning in place, with Tyler disappearing to make room for the other ship but the writers also not actually committing to anything... It really does get in the way of Caroline’s character development.

So, how to fix?

Well, first off, I think Caroline (and Bonnie, and Klaus, and everyone else) should stay in their lanes as B or C level characters-- the show didn’t have enough stories to give every single one of them main character status, and that’s okay.

But if Caroline is a B-level character, she still needs her own stories and subplots interwoven throughout the show.

The obvious thing that comes to mind is something I’ve said many times-- Fix Klauroline so that it actually makes sense and doesn’t break character-- give them a subplot where they have to work together and learn to rely on each other or see each other differently than how they expect-- literally TVD is amazing with tight, action packed episodes-- it would have taken ONE episode to establish this, and then have the relationship progress as a subplot-- not as Caroline’s main plot-- give her other things to work on with the team and let the Klaus thing develop alongside it.

Other things: the issues with her parents probably could have been extended to be season 3, honestly, with her facing her vampirism more in season 2-- or she could have gone off the deep end earlier, or she could have wound up in trouble with the council, or she could have taken a more active role in trying to kill Klaus other than just “bait” which would have been great because then she would have had to face her feelings about it directly, or she could have been the one to investigate the vampire lab at Whitmore and maybe end up briefly imprisoned or whatever-- I personally think Elena should have only been a vampire for one season, which would have made Elena actually face her moral crisis, but also opened up the space in the show for Caroline to get the young vampire storylines the way that Bonnie gets the witch storylines.

The show gets into this weird habit at some point of forgetting that it’s really about the main three and not supposed to be a HUGE equal ensemble show-- if you look back at the promotional materials, it was originally always the three of the main triangle, but by seasons 5 & 6 there’re these photos with like all dozen cast members... equalizing things didn’t actually help Caroline’s or Bonnie’s or anyone else’s storylines because it stripped down the time we spent with the main story and it meant adding a lot of frustrating swimming in circles for the others (how many times was Bonnie dead? I can’t keep track anymore)

Sorry this is so rambly, I hope it made sense! I have a lot of feelings about Caroline-- I really loved her and the handling of her storylines from season 3 on has never sat well with me.

(As for why Caroline is the fan favorite, I do have a theory: she actually tells us what she’s thinking and feeling, so it’s easier to connect with her. Elena meanwhile rarely ever explicitly states her emotions, instead tending to brood and force us to work through what her silences mean, and Bonnie tends to bottle until she explodes--which is still easier to empathize with than Elena, because at least Bonnie eventually tells us. Meanwhile, Caroline gets upset, or she gets drunk, or she has long conversations where she spills her heart out to Stefan or Elena or Bonnie or anyone... so it’s easy to jump on board with her. That’s my theory at least.)

#anonymous #tvd meta

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tsuki-sennin · 3 years

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Mina-san, bonne lecture~! (Tsuki recaps his feelings about Kamen Rider Saber, a personal essay.)

So, Saber... what a wild ride it's been, huh? Just a quick heads up, this is very long and rambling, and also contains spoilers for everything in Saber. It's fine if you don't wanna read all this, but I just wanted to get my thoughts out there.

TL:DR, Kamen Rider Saber's an undercooked hot mess I absolutely adore, warts and all.

Speaking as objectively as possible, it's a 6/10. Probably closer to a 5 than a 7... it's not great: All the different plot elements are cluttered and weirdly paced; character focus is disjointed and clearly biased toward certain characters, leaving great ones like Kento and Ogami, interesting ones like Kamijo and Hayato, and underdeveloped ones like Sophia and especially the Shindais in the dust; not to mention its balance of comedy and drama is off, and while both are very effective, there's a lot of mood whiplash that can take you out of the story. I also feel like a lot of the easily avoidable character conflict could've been easily resolved, even in universe, by simple conversations. Be careful Fukuda, I think Inoue might sue you if he finds out you've been biting his style and doing it worse.

Rider shows have a very frustrating tendency to drop cool form ideas and not do anything with them, and I don't think it's ever been more the case than with Saber. There's a similar argument to be made with the majority of Heisei Phase 2 after Gaim, but wow. The suits are expensive to make without just straight up recycling everything, I get that, but man, I really wanted to see more Wonder Rider forms. How come Touma got all the fun, eh? Of note are the Blades King of Arthur forms (which look amazing by the way), Espada's Jaaku Dragon forms (one of which I even drew last night), even the non-elemental random Wonder Ride Books all have awesome design elements that go tragically unused. Even if the other Swordsmen just kinda have the ones they do get to use slapped onto them, that's at least something. Touma also just straight up only uses Diago Speedy twice and never again. You have cool props guys, don't waste them like that!

Speaking of waste, Espada, goddamn. Since most of the Wonder Ride Books are Story Type and he needs one very specific Story Book to transform, he doesn't get much of... anything, really! No Wonder Rider forms like Blades, Lamp Do Cerberus being exclusive to Ganbarizing, only getting to use the Ride Gatriker like once, he even spends the second and third arcs as a completely different Rider, then once he comes back he doesn't get a King of Arthur-granted upgrade or even a Necrom Espada form. ...at least, not yet anyway. I'm holding out hope for Espada x Necrom and the eventual Saber V-Cinemas. Extra Rider stans, we will be well respected someday.

The Unreal Engine CGI used for fights in early Chapters was pretty good but wow it feels disconnected and they really drop it quick. I feel like if the animators had more freedom to use as many forms as they want, we'd have gotten a lot more mileage out of the books beyond... decoration basically. I actually really liked the CGI sequences, they felt creative and were fun to follow along with.

The soundtrack is pretty great on its own and conveys what it needs to, but they seriously overplay the orchestral themes. It honestly feels kind of... stock at times. I think my favorite parts of the score are when it winds down, since it feels a lot more natural and lets the cinematographers and actors speak for themselves.

As awesome as I think Falchion's design and the Mumeiken Kyomu are, The Phoenix Swordsman and the Book of Ruin comes up short as its own standalone thing. You'd think 30 or so minutes of non-stop action would be awesome, and it almost is? It's as good as a typical episode of the series with a higher action budget, but it kinda drags on a bit too long; and although I think Emotional Dragon looks cool, it feels a bit tacked on. Coming off of the incredible Zero-One REAL×TIME, it doesn't give you much room to breathe, which Rider films are typically great at handling. I also thought the resolution for the kid's subplot was kinda forced. He does an okay job at acting considering his age and doesn't overstay his welcome, but I really don't see how 20 minutes of violence and action is enough to convince him to be brave enough to go play with the other kids. 5/10, it's closer to a 4 than a 6 and I think that maybe Zero-One should've stood on its own if they really had to push back Kiramager Bee-Bop Dream because of the pandemic.

Alright, with all that said... As imperfect and undercooked Saber was, like Ghost I can consider it a personal favorite, 10/10. Call it a guilty pleasure if you want, but holy hell it's just the show I needed. Takuro Fukuda has a talent for creating fun, wonderful characters and utterly fascinating worldbuilding and concepts. It's a shame he doesn't utilize them fully, but hey!

The action and fight choreography are pretty top notch as usual. Lots of beautiful shot composition and set pieces, and plenty of great angles to help keep up with the extra busy action. I love watching the suit actors perform and they deserve all the respect in the world for their hard work in those hot, sweaty, and heavy costumes. Their visual design is also top notch, with lots of unique and fascinating forms and cool weapons I desperately want to play with despite being broke, all with spectacular finishers and hype jingles with the voice of Akio motherfucking Ohtsuka calling them out. A real feast for the eyes. Not a single bad suit among them, yeah I said it, fight me.

The crossover specials are soooo good too.

-I went over my feelings on the Zenkaiger crossover episodes in a separate post (good luck finding that btw), but to sum it up, they were great character moments for Zox and the Shindai siblings with lots of great screwball comedy and some good old fashioned meta humor.

-The Ghost crossovers are great little side stories all about how Daitenku Temple somehow had the Ghost Ijunroku Wonder Ride Book? I genuinely have no idea why it was there, or how Makoto had the Specter Gekikou Senki, and as far as I remember neither of their origins are explained. Did Luna or Tassel hand them off to them and told them to wait for a sword guy? And why do these generic French Revolution Gamma villains working for Danton get their asses handed to them so easily by Kanon, who literally just became a Rider? I thought that Makoto deciding to adopt all the Kanon clones into his family was both hilarious and adorable though; considering all the crap they went through, I think it was a good ending to this plot. Gimme Espada x Necrom already Toei/Bandai/Fukuda/whoever I need to yell at, give Kento things to do, I beg you.

-I haven't actually seen Super Hero Senki since it's not available for subbing yet, but apparently there's a Journey to the West plot starring the Taros and Ohma Zi-O and I want to see that so badly.

Tokyo Ska Paradise Orchestra? Yoohei Kawakami? A match made in heaven, that's what they are. All of their themes are absolute bangers. All of them. Almighty, Kamen Rider Saber, Sparks, Taju Rokou, all excellent and empowering pieces. Rewrite the Story, Will Save Us, and The Story Never Ends are all amazing inserts done by the cast, and it makes me wish we had even more of them to help break up the monotony of the score.

The characters are what easily make this show such a great watch though. For the most part, they have great personalities and chemistry, consistently fun and interesting scenes, well acted and... sometimes well-written development, and deeply investing personal stakes.

Narrating it all is the delightfully eccentric Tassel/Viktor, portrayed by Romanesque Ishitobi "TOBI" of the Paris-based Les Romanesques. I was utterly confused by his presence at first, wondering why there needed to be a narrator when the story would've been perfectly fine without it. He even got a special spot in the opening despite having no stake in the plot despite seeming to live in Wonderworld, who the hell is this guy? But then I thought "OH MY GOD, HE'S THE MAIN VILLAIN USING TOUMA AS THE HERO IN HIS OWN TWISTED STORY, THE BASTARD". I thought it'd be some subversion of expectations, true form, "That Was His Mistake!" shit. Trust me, it made a lot more sense in my head. I'm very happy that they didn't do that, as I grew to love having male Yuuka Kazami as my narrator, and when he was shown to be actually important by being friends with Yuri my mind was blown. And doubly so when I realized just how deeply necessary to the plot he really is.

Rintaro/Blades is up there as one of my all time favorite secondary Riders, since his curiosity is always consistently funny and adorable, his forms are all gorgeous and impressively designed, his relationships with Mei and Touma are absolutely sweet and compelling to see unfold, and his arcs about becoming willing to call out those he views as family and coming to terms with his feelings of inadequacy and both moving past and using them to strengthen himself are always great lessons to pass on to kids. ...even if they took like 10 goddamn episodes to be conveyed in what could've been 5, but hey, Takaya Yamaguchi does a stand-up job all throughout. Rider veteran Eitoku's refined, almost logical movements with the Suiseiken Nagare absolutely beautiful to see in action, and his final form having the same white and blue color scheme as Zooous's base form is an amazing touch I don't see appreciated enough.

Mei Sudo's also absolutely wonderful, serving as the perfect emotional core of the story, responsible for most of the funniest lines, sweetest character moments, and some of the most deceptively compelling drama. Asuka Kawazu brings the perfect energy for such a dynamic and well rounded character, and absolutely nails her scenes of quiet turmoil. As much as I would've loved her to become a Rider, I don't think she really needed to. She's already done so much to help, and as cool as it would've been to see her pick up a sword and fight alongside them as Espada, Calibur, or Falchion she's already endeared herself to me as one of my favorite supporting characters in the whole franchise.

I can't get enough of my homeboy Kento Fukamiya/Espada. Like Rintaro and everyone else for that matter, he also suffers from Saber's pacing issues; and like his predecessor Valkyrie from Zero-One, he doesn't get a proper upgrade aside from his Wonder Combo, instead becoming an anti-villain using a completely different powerset and shifting the Raimeiken Ikazuchi out of focus for the Ankokuken Kurayami, and I feel there's a serious missed opportunity to see him use Jaaku Dragon with Alangina. However, Ryo Aoki's performance is probably among the most easily praiseworthy in the whole cast, managing to convey both Kento's kind and knightly stoicism as Espada and his emotionally unstable despair as Calibur perfectly, in conjunction with Yuji Nakata's experienced and expressive stuntwork.

Ren Akamichi/Kenzan's a dark horse favorite for sure. I remember back when Saber was first picking up, people hated this breezy mad lad for being such a simple character at first. Overly concerned with strength? Black and white world view? Annoyingly energetic? Agh, real-feeling character flaws, I hate them, get him away from me! But then y'all came crawling back. Eiji Togashi's apparently a bit of a rookie actor, and it really shows with some stilted delivery and the way he sometimes bobs his head when giving his lines, but man he improves dramatically as the series goes on. His inexperience ironically ends up really selling his character development, and his unexpectedly beautiful relationship with Desast is special evidence of that. The Fuusouken Hayate's three modes and Satoshi Fujita putting them to excellent use through his stellar acrobatic movements are also really cool.

Why did Luna have to be a child for so long? Does Wonderworld not age whoever inherits its power? Well since Luna randomly becomes an adult in Super Hero Senki and some of the final episodes, I guess so? Miku Okamoto does a fine job for a kid actor, but she's basically done all the heavy lifting for the whole series and doesn't give Mayuu Yokota enough time to get a feel for her character as an adult. How did she choose Touma to inherit the power anyway? Does she just subconsciously decide to trust him with it upon seeing how kind and passionate about storytelling he is? Well if that's the case, why didn't Kento get at least some of that power too? He's just as important to the merchan- I mean Luna-chan, isn't he? Why did Tassel pick her over someone who isn't a literal child who'd be understandably terrified about basically becoming an embodiment of storytelling?

Sophia also kinda suffers from the same problems. Rina Chinen's voice is very pleasant to listen to, but she doesn't really do much beyond serving as a source of exposition and support. I think her dynamic with Mei's adorable, and given her kindness I can certainly understand the respect Northern Base has for her, but she doesn't really contribute a whole lot. If she could use the Kurayami and become Calibur all this time, then why didn't she take it from Kento and Yuri and do so earlier when Kento decided to go back to being Espada? I know she's not much of a fighter and as the closet thing the Sword of Logos has to a leader after Isaac's death I'd understand not wanting to put her at risk, but considering Storious is destroying the world, and she's very evidently kicking a lot of ass in the first part of the final battle even in the basic Jaaku Dragon form, I think it would've helped a lot, just sayin'. Tassel at least has the excuse of being unable to interact with the real world, but Sophia obviously didn't just be put in charge of Northern Base just because she's a pawn in Isaac's plans right?

Ryou Ogami/Buster is also a victim of the disjointed character focus. I have no problem believing he's an excellent father and fighter thanks to Yuki Ikushima and Jiro Okamoto, respectively, but he feels a bit flat and simple in comparison. His rivalry with Desast is randomly dropped, his wife doesn't even show up until the final episodes, he's kinda sidelined in terms of action a whole lot. I imagine that must've sucked for the Rider Dads out there. He does get to star in his own manga, and that was pretty good, so I guess I can't be too mad.

Tetsuo Daishinji/Slash fares better though. Hiroaki Oka, being a Kamen Rider fanboy himself, manages to make him among the most relatable characters in the series. Not only are his hyperfixation on swordsmithing and anxiety played surprisingly believably, Hirotsugu Mori letting him cut loose is extremely cathartic and hilarious, and you really feel for him when the Onjuuken Suzune becomes the first victim of Calibur!Kento's sword sealing.

Yuri/Saikou's another dark horse favorite, for me at least. "Oh great, Avalon guy's got even more merchandise to sell, I wonder what his Sword of Light is- it's himself. Well... that's different." I admit, I didn't like him at first. He felt like he was there to fill out character dynamics in the absence of both Rintaro and Kento, I thought his gimmick was too silly even if his design and jingles were bangers, I didn't particularly care for his power set. But then XSwordman came around I totally got it. He's an endearing, hard-working man trying his best to catch up on all the cool shit he missed, unafraid of experimentation, ready to throw down at a moment's notice, serving as a wonderful bit of consistent support for our heroes, a truly knightly individual, an absolute Chad. and goddamn does he make me worry. Tomohiro Ichikawa, I salute you good sir.

Even if they fall short compared to the rest of the cast, the Shindai siblings are at least cool enough to not wanna write out entirely. They kinda devolve into comic relief after they become allies, something that villainous Riders from Chase onwards are very prone to doing, and it's especially awkward in their case because I think that they kinda get off scot-free for obeying the obviously sinister and crazy Isaac for so long, as well as driving a wedge between a lot of people and threatening children in Reika's case. I think their sibling dynamic is nice though, even if Fukuda recycled it from Makoto and Kanon and has some... questionable possessive undertones as a result. It's cool how they're basically foils to Touma and Rintaro though. The dispassionate and methodical Reika/Sabela is beautifully played by Angela Mei and her moments of emotional depth are fascinating to watch. Her Rider form is a thing of beauty, and its use of literal the Eneiken Noroshi's smokescreens and Yuki Miyazawa's precise and deadly stinging strikes are a joy to watch. And while Ken Shonozaki's not given the best direction as the undercooked plate of 7-Eleven fried fish that is Ryoga/Durendal, he manages to sell him as an experienced and hardened warrior with an awkward side that's especially evident in the Zenkaiger specials. His goddamn RWBY weapon that is the Jikokuken Kaiji is absolutely sick, I'm a sucker for transforming weapons and its combination of time and water powers is really cool, especially with Yasuhiko Amai's deliberate and forceful acting in the suit.

Daichi Kamijo/the Second Calibur, for as brief as his story was, was a pretty cool starter villain. Hiroyuki Hirayama brings this poor bastard to life in a genuinely touching way. I love how as Calibur he goes full force on his creative use of Wonder Ride Books for attacks, and his debut as Jaou Dragon got my blood pumping. His end is also deeply tragic, and I really felt for him when he realized just how badly he fucked up. Hayato Fukamiya also does wonders for the backstory, and while he also doesn't get much to work with, Mitsuru Karahashi makes his regrets and love for Kento feel genuine.

Legeiel and Zooous are both very intimidating and entertaining villains. On top of being just the right balance of goofy and threatening, Kairu Takano and Koji Saikawa's stage presences are both very strong, and their mixture of camaraderie and in-fighting is extremely believable. Zooous's rivalry with Rintaro feels incredible to see through to the end, and although Legeiel doesn't get quite the same treatment, Elemental Dragon had such a cool debut that it more than makes up for it. Their final fights are also absolute spectacles. I don't think their sympathetic angle works even close to as well as it does with MetsubouJinrai or even the Gamma, but I get it, power corrupts, and you probably feel a lot of sadness and regret for things you've done when you die unless you're a right bastard.

Isaac/Master Logos/Solomon is kinda generic. As wonderful as Keisuke Soma is, he doesn't get much dimension to work with. The result of that is while he nails being as smug and punchable as possible, he feels almost... comically generic. Genta Umemori from Shinkenger was full of personality! He was also basically some guy, but he was fun, he felt connected to the rest of the cast! Meanwhile the only real time we get to see Isaac's depth is when we see him crying over his failures. I almost appreciate him being unapologetically evil though, since I've seen way too many shows where redeemed villains get off scot free for way worse things, and some where they outright demand you to sympathize with them despite them doing nothing to warrant it.

Bahato/Falchion surprises me by not just being a movie villain whose actions affect the main plot, but also being a movie villain who actually gets to appear in series as a recurring threat! ...and it's not a particularly great showing on his part, sadly. Masashi Taniguchi does a wonderful job with what he's given, but his character feels like a retread of Eternal without any of what made Katsumi Daido a compelling and frightening villain. I'd like to believe Yuri when he says that he used to be a good person and a hero to the people, but I can only hear so many anime villain monologues about the pointlessness of life and the beauty of destruction before I can never take them seriously again. ...I think that's his biggest problem, actually. I thought he was an overall uninteresting and generic villain in the movie, and the cartoon nihilist he's shown to be in series is only a small step up. He still feels like filler. If only there were a far better written and much cooler villain who takes on the Mumeiken Kyomu after his de--

Desast is probably one of the finest anti-villains I've ever seen in recent years. On top of an absolutely badass character design and the excellent combination of Kazuya Okada/Danki Sakae's suit work and Koki Uchiyama's stellar voice acting, his story being so thoroughly intertwined with Ren's makes their shared journey and bromance a borderline Shakespearean tragedy. His struggle for identity despite Storious treating him as nothing more than a failed experiment and the Sword of Logos treating him as a mere monster really gripped me, and the way he uses what little time he has left to encourage Ren into blossoming on his own is absolutely beautiful. I think his enmity with Ogami is criminally underexplored in series, considering he killed several of the previous Riders and how Ogami's in desperate need of screentime.

Then there's our main villain, Kamen Rider Storious. Robin Furuya brings an incredible amount of charisma to this character, expertly portrayed as both a sinister, manipulative bastard , and as a lonely, tragic figure that arguably makes him feel even more villainous. Speaking as a struggling writer myself, it's easy to feel stuck in the idea of "fuck it, who cares, maybe everything is predestined", but I can't imagine what it's like to know that as the truth and carry it with you for all that time. All of your grand ideas have roots from your experiences, and you're not the only one who even could have those experiences. It's easy to just fall into despair and give up trying, but would that make you happy? Sure, Storious is sadistic, he may be fulfilling his goals, he may be ungodly powerful... but it's not enough for him, is it? All of his friends are gone, one of them even at his own hand, he probably doesn't have any idea what to do after he destroys all the world's stories, Touma even reached his full power before he did, and his downfall is so predictable that even a blind person could see it. He even seems to welcome it, what's up with that? But then I realized... OH MY GOD, HE'S THE MAIN VILLAIN USING TOUMA AS THE HERO IN HIS OWN TWISTED STORY, THE BASTARD. He's so far gone, he's so desperate to stick it to the Almighty Book, he's willing to twist the archetype of the Hero's Journey so hard, it snaps in two. What I think is interesting is that he's ironically trying to chase the trend of "edgy superhero story" that became super popular in the 21st century. The Boys, Brightburn, Kamen Rider Amazons, The Sentry, No More Heroes, Magical Girl Site, even mainstream comics from DC and Marvel... Surely Storious must've seen the cruelty and tragedy these stories are filled with, but he chooses to go through with trying to force the world into this direction anyway. Did they, along with seeing the ever-popular tragedies of legendary playwrights and bleak satire of the twentieth century fuel his despair?

And yet... there's one who stands in determination against his ideals.

Our hero, Touma Kamiyama, the titular Kamen Rider portrayed by Syuichiro Naito and Kousuke Asai, he speaks to me on a personal level. There're plenty of jokes to be made about his procrastination in early chapters, his godless fashion sense, and him doing the funny run up the slope, that's all fine and dandy, but I rarely feel so connected to a character the way I did Touma. The struggle to create, find companionship, live your life, reach out to others... these're things a lot of people struggle with, and of course you see them depicted a lot in media about creators, but Saber gets to the root of what the greatest thing about storytelling really is. Giving people hope, while using the pain of the past as fuel for the future. Sure, Storious may be right about how every story has been done as far back as human civilization gets, he may even be right about how any spin or creativity humanity has is outright predestined. It should be pointless to even try, right? That's where Touma Kamiyama disagrees. He didn't spend all that time fighting and creating just to give up at the idea of predestination. His novel writing-fueled creativity in his early training, his devotion to his friends that let him surpass Kamijo as Dragonic Knight, his compassion for the Primitive Dragon that let him combine their powers to destroy Legeiel as Elemental Dragon, his resolve that let Xross Saber dethrone Solomon, and his passion for the craft of storytelling that let our heroes channel their wishes into Wonder Almighty... all stemming from the belief imparted onto him by his predecessor that "Hope lies beyond your resolution." And that you decide how your story ends. He may not be the greatest Rider to some, he may be as lame as others think he is, he may not even be my favorite, but I have no issue calling Touma Kamiyama... Kamen Rider Saber, one of the all time greatest carriers of the Kamen Rider name.

The final chapter's definitely not as great as some other Rider finales, but goddamn. Primitive Dragon consciously choosing to save Touma is so sweet and such a great emotional payoff, I loved jamming out to the opening theme while our boys lay the smackdown on Storious. Wonder Almighty's a fitting final bit to close the main series out with, if not exactly a great one. I think the cover is great, and the book's body is a lovely shade of candy apple red, but I really don't like how its pages are just the covers of the other books copy-pasted onto onto the pages, that feels lazy. Maybe if it were a panorama of all the books' characters, I'd like it a lot more as a symbol of how unified the Swordsmen are, but eh, what can you do? On a related note, does this mean all the "last episode extra final forms" of the Reiwa Era are gonna be named after their series's opening? That's a neat idea.

I felt a lot of feelings seeing all those video messages of Rider fans all across Japan talking about their favorite stories, and how their passion and fond memories help reshape the world. Mei's monologue at the ceremony about is also really touching and- IS THAT A HUMAGEAR!? :O

Y-yeah dude, it is! Wow, where have you guys been for the past 48 episodes?! Are you guys doing okay? How come you're like... the only one here? Is the technology of Hiden Intelligence only really that prevalent in that very specific metropolitan part of Japan and they're just not coming around much over here? Is it like Dragon Ball where anthropomorphic animals are just vibin' with humans while the heroes are off kicking ass? Apparently he's played by Hasegawa Keiichi, who wrote this episode and had the award ceremony named after him. ...is Hasegawa Keiichi a HumaGear in this universe then? Did he set up this award ceremony in Touma's honor? If so, why is it named after him? Did reading one of Touma's books lead to his Singularity? I know this is just a cameo, but... god, I have so many questions that probably will never be satisfactorily answered.

Overall, if I had to compare Saber to anything, it'd probably be Sam Reimi's Spider-Man trilogy. It's awkward, stupid, overwrought, undercooked, illogically written, scattershot, cheesy as fuck, and has a tendency to squander its otherwise fine execution; but the sheer passion for storytelling, sense of spectacle, deeply fascinating characters, and belief in the ideals set forth by the cast, crew, and fans are absolutely admirable. Improvements would certainly make it an overall better experience, to be sure, but there's something deeply captivating about how wonky this series is. Seeing everybody get their happy ending after all they've been through felt extremely gratifying though, and I may have to wait another for the epilogue to and then wait for Revice, but... man. I'm hella proud of our awkwardly-emoting, fashion disaster novelist and all of his heavily flawed friends for carrying the Kamen Rider name on to the future. Here's hoping Revice will keep it going.

Alright, that's everything I wanted to talk about. Sorry this was so long and ramble-y, I had a lot to say. I'll probably be liveblogging Revice as episodes of that come out, so... look forward to that, I guess. See ya.

#kamen rider saber #long post #tsuki talks #personal #kamen rider #whew #ok bye have a nice day

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fogsrollingin · 4 years

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SPN 15x19 Inherit the Earth review

I slept restlessly last night, every time I woke up adding more and more thoughts about the episode on my phone. It's 7:15AM and ready to share.

Here’s sort of my wide-frame conclusion:

I think what's nuts is that... I'm really focused on the brothers, right? I think their relationship is the heart of this show. But I never saw them as self-isolating, or codependent. I saw them as always choosing to be together because they liked each other the most, and together they do a great job building out friendships and relationships that support them and vice versa. And that... when all they have is each other, they can and do carry each other, and watching that is always going to be compelling for me. But framing "all they have is each other" as happiness, as a form of freedom, that's a hard no for me. "When all they have is each other"? That's fucking whump. That's pain, grief, desperation, anxiety, nightmares. It's compelling because it's the hurt of the unfair, vicious universe and the comfort of each other.

So... I don't understand how this callback to early seasons just driving doing cases in the Impala together at the end feels like a genuinely happy ending. That was the hell they were going through that made me fall in love with how they saved each other as they kept going...

My full review under the cut.

To start, I admit I felt the loss of Miracle the dog, that was a good gutshot that I didn't see coming. I was staggered by it but giving the writers a thumbs up for it. I also thought introducing Lucifer by pretending to be Cas, I was like holy shit not only has Chuck given them an empty world, he's serving up every trigger and relishing in extinguishing every morsel of hope. That was compelling. And yes I love whump, Whumptober was awesome this year. Anyway, I thought that was quality emotional and psychological torture (I didn't read it as a joke at all).

So the whole plot of the episode and how it played out. First, we're kept in the dark from Sam & Dean's clever heisty-heist machinations and instead we watch this speeding train of sudden deaths and insta-betrayals inside the bunker with no time to breathe or process any of it. That was the worst-paced series of events. And then Michael calls it a battle afterwards. That wasn't a battle. I don't even know what the fuck that was.

Ok but then finally we're at the beach. Bloody boys, Sam holding Dean, both grinning with red in their teeth is a good aesthetic.

But then all of a sudden, all too soon, it's learning hour. Audiences are emotionally in it with Sam and Dean but now we're asked to pull back and listen to this very lengthy exposition dump with flashbacks. I mean... Is this not screenwriting 101? Chuck just beat them to smithereens, there is no time for the exposition dump+flashbacks, fucking finish him!

Also this was a terribly executed heist device. Here's why: heist formulas require you tip your audience off on some but not all of the ways your protags are gonna pull everything off. Think of Ocean's Eleven, where you're given so many explicit scenes and clues as to what elaborate things they're orchestrating and how, and then it's a thrill when it all comes together at the end. That wasn't this. Not even remotely.

For Pete's sake this was just so badly written.

Right before Calvert's monologue as the new God was buckleming's penchant to write (and Jensen's unfortunate predilection to act) Dean as obtuse, steamrolling over everything that has happened to try to get Jack in the car and back to the bunker. Wasn't a fan of that. Sam's call to Dean, the subtle "cool it, listen" tone was nice though.

I liked Jack as the new God. His speech at the end there was well done. I didn't catch if he said "I won't come if you call" to Sam & Dean. The way the rest of the episode felt, it seemed like he did indicate that though.

Okay now to the scene in the bunker. This empty nest was painful. The pangs of utter loneliness struck me harder than anything in that zoom up to them at the polished table with all those initials. Fancy bunker and no one left to share it with anymore, and it feels like a coffin.

No throwaway line that Sam got a hold of Eileen, huh? Reassurance they've discovered they'll be able to get a line through to Jack whenever they want? How are Jodie, Donna and the girls? AU Charlie and her girlfriend?

It was difficult to remember Jack had even brought them back at all because there was no mention, no celebration of them. I understand covid was happening, we couldn't get the montage of supporting cast materializing which is what I suspect they had to cut, but that doesn't mean you totally ignore it happened. In an episode so damn top-heavy with needless exposition, Buckleming opted out of this one? Seriously?

So. Instead we got Dean's cheersing Sam "to everyone we've lost along the way" but who did they actually lose lately that hasn't been restored back to them? Castiel. Just one beloved character. What the... ugh, this fucking episode.

The dialogue, Jensen's acting, was all immensely discordant with what feels like the losses we've sustained even if most of them have been restored... but like I said the feeling of this scene was so desolate. Sam and Dean have certainly lost their Team Free Will though and that's the loss I'm really feeling I think. Jack's in the wind (literally, in every particle), Cas seems gone for good, and SPN framed it like "this is freedom!" replete with a giddy happy Dean instead of what it felt like to me: a nightmare. A nightmare reminiscent of S7 when Gamble stripped them of Bobby, Cas, the Impala.

Sam, for one, and credit to Jared, still seemed upset/traumatized about it. Even when Dean's blithely telling him to buck up, ::side hug, Sam kinda flinchy, trying to feel whatever bizarre elation Dean's got going on:: we get to start writing our own story now!

...which by the way validated angry!rage!Dean about the "rat in a cage" thing, and I'll be honest I'm a little bitter Dean got what he so desperately wanted (more than Cas, more than Sam; feels like this season Dean was just an angerball with his eyes on the prize of 'true freedom' with his brother and the angel in love with him just tearfully following along). So Dean gets this true freedom finally and he's just... Happy? No acknowledgement how he hurt Sam, Jack, and Cas along the way? No struggle with what this cost?

Apparently not, because Buckleming writes Dean as still that simple man whose dream life, now he's truly free, now they've killed God and installed a new one, is STILL JUST DRIVING DOWN A FUCKING HIGHWAY WITH HIS LITTLE BROTHER IN THE PASSENGER SEAT. ARE YOU SERIOUS. KILL GOD SO YOU CAN JUST GO BACK TO DOING WHAT YOU ALWAYS DID ANYWAY???

Because fuck depth and development. And fuck Sam too for that matter. So many opportunities this season for Sam to have a moment of self-reflection and say what his vision of a happy ending is too but nada. We can only hope Sam's dream life has been subsumed into Dean's? I guess?

This is so depressing.

Anyway, going back to happy Dean side-hugging Sammy, towards the end it seems SPN's framing agrees with Dean to be happy, to buck up. Come on, audience! Sam finally manages a grimace of a smile as they get up off the table and walk toward the camera like their next stop is Disneyworld. "Vacation" by the Go Go's should've played during that montage for the perfect discordant, inauthentic, forced happiness they shoved down our throats... with a montage of unremarkable scenes.

Maybe it's like... Last week was for destiel fans, this week was for bronlies, and next week Dabb's going to mix em. I wouldn't be surprised if there's a time jump. I hope it's just like 3-ish years or so though and not like a stupid Harry Potter epilogue.

I think what's nuts is that... I'm really focused on the brothers, right? I think their relationship is the heart of this show. But I never saw them as self-isolating, or codependent. I saw them as always choosing to be together because they liked each other the most, and together they do a great job building out friendships and relationships that support them and vice versa. And that... when all they have is each other, they can and do carry each other, and watching that is always going to be compelling for me. But framing "all they have is each other" as happiness, as a form of freedom, that's a hard no for me. "When all they have is each other," that's fucking whump. That's pain, grief, desperation, anxiety, nightmares. It's compelling because it's the hurt of the unfair, vicious universe and the comfort of each other.

So... I don't understand how this callback to early seasons just driving doing cases in the Impala together feels like a genuinely happy ending. That was the hell they were going through that made me fall in love with how they saved each other as they kept going...

#spn spoilers #spn 15x19 #spn s15e19 #episode review #my episode review #negativity #I love this show but this episode oh boy #did not like #my spn meta

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soopersara · 4 years

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What is your opinion of Mai? (Canon not comics) (if u don't want to answer this then no pressure)

Mai is... difficult to pin down.

First things first: I'm not a big fan of Mai. I don't hate her by any means (the comics would probably change that, but I've only read The Lost Adventures, and we're not talking about the comics here anyway), but I've never been able to connect with her as a character. Which normally isn't that big a deal for me—I don't relate to Toph much at all, but I still love her. But I think the difference is that with most characters, I at least have a starting point for understanding their thought processes and motives. Mai... not so much.

Now I know we got the whole "my parents never let me express emotions" thing from Mai in The Beach, and I've read an excellent meta by @royaltealovingkookiness on how that thread is consistent through all her appearances written by Aaron and Elizabeth Ehasz. And yeah, if I dig into it and isolate those episodes, I can buy that Mai suffered at the hands of repressive parents, and therefore has trouble expressing emotion, and is really an insightful, emotionally intelligent, loving character underneath her mask.

But.

Mai didn't just appear in episodes written by the Ehasz's.

In her other appearances, Mai is downright callous and apathetic. She doesn't stick with Azula out of intimidation or fear, she is a gleeful participant and blatantly disregards orders when they don't suit her. When written by other people, she just... isn't the sympathetic character that her appearances in Ehasz episodes try to paint her as.

Now that's not to say that I'm not willing to toss out certain canon moments as OOC (Zuko hiring Sparky Sparky Boom Man, Sokka kissing Aang's ass in TSR, Katara initiating the kiss in the finale—yes, I would be willing to elaborate on any of those, no, I won't be doing it here), but for me at least, it doesn't count as OOC writing unless it contradicts a strong majority of the existing characterization. In Mai's case, as much as I'd like to toss all the bits that don't align with the compelling character that it seems Aaron and Elizabeth Ehasz were trying to build, I really can't. Because they don't have a strong majority of the characterization. I haven't looked at the actual numbers to see who wrote what percentage of Mai's screentime, but I'm fairly certain that the Ehasz's made up less than half, which wouldn't be the end of the world, except the rest of the writing team clearly had no consensus on what type of character they were trying to write. Is Mai a complex character with depths she keeps hidden for her own safety, or is she exactly what she presents on the surface? Is she driven by fear of Azula or does she just stick around out of boredom? Does she actually care about others' feelings and just not understand how far off she is most of the time, or does she understand people and intentionally act callously? It's honestly really hard to tell based on what's presented in the show because there are moments when you can almost see that she's got more going on beneath the surface and she's really trying to let that through for Zuko and keep it hidden from Azula... and then she ignores direct orders from Azula, makes jokes at the expense of their opponents, complains loudly about both her boredom and having to do things, and brushes off Zuko's very valid (and if I'm supposed to believe that she was mistreated by her parents, very relatable) concerns and fears.

I don't know. I alternate between feeling like Mai is a completely blank slate and feeling like someone took 6 - 1,000 piece jigsaw puzzles, dumped them all together, pulled out a thousand pieces at random, and said, "Behold! A complete puzzle!" There are definitely interesting parts of Mai's character, but the problem I always run into is that those parts don't necessarily fit together and sometimes flat-out contradict one another.

And I'm trying to keep my feelings about Maiko out of this, but honestly, Mai's relationship with Zuko is part of the problem. She is a side character who exists more as a plot device to further Zuko and Azula's storylines than as a character in her own right. And she does what she needs to do as far as pushing the Fire siblings' stories along, but again, there are times when serving lines for Zuko and Azula to bounce off of introduces contradictions into her character that are difficult to reconcile. And that frustrates me to no end because a) allowing other characters to play roles that contradicted Mai's existing characterization would have been SO easy (but heaven forbid Zuko have meaningful interactions with someone aside from his girlfriend), b) I'm not a fan of potentially interesting characters being reduced to devices to drive others forward (especially female characters being reduced to an accessory in a male character's storyline), and c) I'm a fanfic writer, and I want to treat the characters as fairly as possible and give them all realistic motivations, but I don't even know where to begin with Mai. I could just opt for the sympathetic angle all the way through, but there's so much of her harsher, callous side in canon that it's really hard to find the right balance and the right underlying motives to strike that balance. Yeah, yeah, she kind of pisses me off because I'm not sure how to write her, so sue me.

The TL;DR version? I don't really like Mai, but that comes down to inconsistent treatment between writers and my resulting inability to get in her head more than anything concrete about her character. She's a mass of potential who could have been a fascinating ally, a true neutral force, or an outright villain, and as far as I can see, the writing team never came to a solid agreement on how to characterize her.

#atla meta #mai critical #maiko critical #I feel like I'm in a weird place as far as my opinions on Mai go #I don't like her #but I also don't necessarily hate her?#and a lot of popular portrayals lean toward making her an outright friendly person under a thin layer of snark #which doesn't sit quite right for me #but she wasn't A Villain™️ either #when I finally write her #I'm sure I'll make exactly nobody happy

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askaceattorney · 4 years

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Dear askrikkaiandhyotei,

The...entire cast!?

Well, Turnabout Time Traveler happens to be favorite case anyway, so why not?

Our first guest is the crooked head servant, Mr. Dumas Gloomsbury. (Might as well get him out of the way first.)

Of course he isn’t. He’s just a disgruntled servant of the Sprocket family who secretly hates them all for what they’ve done to his reputation, even to the point of being willing to murder someone who would become the newest addition to the family, as well as destroying a prized possession designed by her groom-to-be.

So..........yeah. Very likable guy. Thankfully, he’s only on the scene for a brief moment before the titular “time travel” occurs.

That brings us to our next guest, Ms. Ellen Wyatt, soon to be Mrs. Ellen Sprocket, except for the fact that she’s been accused of murder. Like most defendants, she doesn’t seem like the type to kill someone -- she’s calm, mild-mannered, and well put together. Well...usually.

You didn’t expect 100% normalcy in a new character, did you? Heck, we’re lucky to get 50% in this series. Thankfully, the emotional Ms. Wyatt knows how to pull herself together in an instant.

Quite the enviable skill to have, isn’t it?

This beautiful bride-to-be wants nothing more than to be proven innocent so that she can be married to the one and only Sorin Sprocket of Sprocket Aviation. Instead of seeking help from the Wright Anything Agency on her own, however, she’s brought to them by someone else.

That brings us to an unexpected guest from yesteryear (and an uninvited one):

Before getting to know Ellen, we’re abruptly introduced to a brand new Larry Butz with a brand new look! ...And the same old smell, unfortunately.

He introduces “Elly” as his brand new fiance, much to Phoenix’s surprise (and everyone in the known universe’s), but it turns out to be another one of his usual romantic escapades. What is true is that he helped his beloved Elly escape the room she was confined in, and even shook off the police for her. Some might call this heroic...if they don’t know the Butz. As someone who does know him, Phoenix delivers a line from his former mentor:

On the plus side, Larry’s been doing more than chasing women since we last saw him -- he held onto the name he borrowed from his late mentor and became a picture book author.

Not exactly what I’d expect someone in that field to look like, but progress is progress, I guess.

Moving back to “Elly,” she claims to be as clean and pure as her pure-white dress, as well as something else -- something that’s a bit harder to believe.

Like I said, normalcy doesn’t seem to come naturally to new Ace Attorney characters, but her explanation of how she was almost killed, traveled back in time, and saw history rewritten takes the abnormal cake, especially coming from someone as sound-minded as Ellen. Or is she really as sound-minded as she looks?

We can only hope.

I love how she keeps everything she needs for housekeeping in one place, by the way, almost Mary Poppins-style.

Fast forwarding (no pun intended) through some re-introductions to Maya as our co-council and Edgeworth as the case’s prosecutor (something us long-time Ace Attorney fans can’t help but love), we’re eventually introduced to the master himself, Mr. Sorin Sprocket, who has his own personality quirks...or rather, a severe lack of personality.

Like many genius inventors, he isn’t very social (his preferred method of communication being the paper airplane message), and always seems to be lost in his thoughts until someone pulls him back into reality. Even stranger than that, he doesn’t seem the least bit worried about his fiance’s trial. In Phoenix’s his words, he isn’t the easiest guy to wrap your head around.

On top of that, he has his own thing to say about time travel:

He and Ellen apparently both believe in time travel, but apart from that, they don’t seem to have much in common. In fact, having met the two of them, one might think they’re polar opposites of each other, and...well, they’d be right, but as we learn later on, there’s more to Sorin’s silence than just an obsession with his work.

And speaking of obsession...

Our next guest, while also quite abnormal, is a bit more level-headed than the previous new characters. He’s well-mannered, detail-oriented, shrewd, and takes the utmost care of Sorin. Not to mention he's tech-savvy enough to fix a broken radio in a matter of seconds.

I’m surprised Phoenix and Maya didn’t consider the possibility of him being a machine himself, like they did with Lisa Basil.

He happens to have one of my favorite pun names, by the way. Besides being clever and describing him perfectly, it almost sounds like it could be a real person’s name.

While Mr. Nichody does a good job of being the least interesting character thus far, it turns out that he and his “expensive good luck charm” play one of the most important roles in this case. Not to mention he gives the biggest piece of foreshadowing in the episode:

Funny he should say that when there’s a spirit medium right in front of him, but I guess he doesn’t have time for unimportant details like that.

As the story goes on and the revelations start pouring in, we learn about Sorin’s older sister Selena, who was originally going to be the next president of Sprocket Aviation. This, unfortunately, was not to be...

The sudden loss of his sister provides an explanation for his closed-off attitude and interest in time machines, but the mysteries surrounding that tragic day are only beginning.

We also learn that Mr. Nichody believes Ellen is guilty of her alleged crime, and for that reason, he’s strongly opposed to letting her marry Sorin. Could he be right in doubting her, or is there something else behind is disapproval? Ellen doesn’t seem that bad, after all. Just a little...what’s the term?

There you go.

Then comes one of the bigger twists -- it turns out Sorin and his in-laws were responsible for Ellen’s supposed trip through time, which turned out to be an elaborate scheme to make her believe her near-death experience with Gloomsbury was only a dream. Or so says Nichody, at least.

But once again, this is only the beginning.

Even with the possibility of time travel ruled out, Ellen’s guilt hasn’t been disproved just yet. The only hope Phoenix has is the person she claims she saw attacking Gloombury before losing consciousness. Unfortunately, the only suspect he can come up with so far is her fiance, thus introducing the possibility of him having to take her place in prison.

Considering every case up until now has had some form of happy ending, it’d be quite the unusual turn of events for this happy couple to have to be separated whether we win or lose the case...but is it impossible?

As tragic as that possibility might be, it sets up a scene that happens to be one of my favorite kinds -- one where someone is compelled to give up something, even if it’s his or her own life, purely out of love for someone else.

Her words are touching, but soon after saying them, she’s forced to prove just how steadfast her love is for Sorin, even in a cruel twist of fate -- namely, his pointing the blame for Gloomsbury’s death in her direction.

That face alone is enough to break anyone’s heart, but thankfully, that’s where the plot twists just begin. The first one reveals that Sorin went to rescue his bride-to-be in the most bizarre way possible.

Then it turns out he really didn’t, or so he says. Then it turns out he was attacked by Gloomsbury along with Ellen. Then comes one that turns everything he’s said so far upside-down:

It turns out time travel is possible, but not in the way everyone was hoping, or in a way anyone would want -- due to his anterograde amnesia, Sorin “goes back in time” whenever he goes to sleep. This revelation sheds a lot of light on his personality, his compulsive note-taking, and his feelings toward Ellen. Not to mention, it turns out (sheesh, I keep saying that) he was responsible for the car crash that took his sister’s life. But luckily, that's not all his condition reveals.

Someone decided to take advantage of Sorin’s memory being dependent on what he writes in his notebook in order to paint him as Gloomsbury’s murder. Who might that someone be? Well, for anyone who’s read the works of Sir Arthur Conan Doyle (or enough murder mysteries involving rich families), it should be pretty obvious -- the butler did it!

But what motive could a close friend and servant have for manipulating Sorin’s memories? Well, like many an Ace Attorney culprit, he’s not as level-headed as he appears to be.

The rogue butler in this case turns out to be the once-fiance of Sorin’s sister, as well as the one who operated on her after the car accident occurred...or, rather, who almost did.

After some impromptu x-rays and the testimony that wasn’t there, we finally learn the whole truth about Nichody, Gloomsbury, and the plot to exact their revenge on Sorin and his bride. It turns out Sorin wasn’t the only one stuck in the past.

In a beautiful yet tragic symbolism, Selena’s pocket watch stopped ticking on the same day her heart stopped beating, which, for Nichody, was the day time stopped.

This brings us to our final guest, one who could only be here in spirit -- Ms. Selena Sprocket. In Ellen’s words, Selena would’ve said, “Leave this ill will behind. Your time is yours to live.” To an inconsolable time traveler, these words hold no meaning, but just then...

Whether it’s a coincidence or a message from Selena from beyond (which might actually be believable in the Ace Attorney universe), Pierce is reminded that, sooner or later, time moves on.

And on that note, Ellen and Sorin are finally able to move on from this rough patch in their lives and experience their “First Startup of Love.”

Speaking of the happy couple, the one thing that stuck with me about this episode more than Nichody’s epiphany is how devoted Ellen is to Sorin from beginning to end.

With the knowledge that he might forget everything about her, himself, their wedding, and any other experiences they might share together, her devotion to him is ultimately proven to be the real deal. His willingness to risk his life for her also proves that this devotion goes both ways. In the end, there’s nothing, past, present, or future, that can keep them apart. Why, you ask?

And hey, even Larry found it in himself to move on! How about that?

Thus ends a beautiful story, a beautiful reunion of the original characters, and a beautiful finale(?) to the Ace Attorney series. Sure, there was tragedy along the way, but after an ending like that, I’d like to see each of these characters, new and old, take a bow.

Just...don’t throw them any flowers.

-The Co-Mod

#askrikkaiandhyotei #Mod Post #Co Mod #Character Essay #Dumas Gloomsbury #Ellen Wyatt #Sorin Sprocket #Pierce Nichody #Selena Sprocket #Mod Commentary #Been a while hasn't it?

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sheikah · 4 years

Note

Have you seen Rise of Skywalker yet? Im looking forward to your opinions!

I did! Thanks for your interest haha. I just wanna quickly preface this by saying that I know that SW is very polarizing and that the fandom can be very toxic, people are passionate about their opinions, etc. I don’t want to step on any toes with my opinions. I don’t often post in depth or candidly about SW because I have friends from all parts of the fandom and I’d hate to hurt someone’s feelings. But these are my opinions! (Under a cut :D)

I loved the movie. At first I wasn’t sure, but I saw it a second time with a friend and I loved it. Does it have plot holes, inconsistencies, and issues? Absolutely. It does. It’s far from perfect and I absolutely understand why so many people have such intensely negative reactions to it.

But if I’m being 100% honest I just wasn’t one of those people. Yes, it was rushed. But that made it interesting from start to finish. I almost always step out to use the restroom during a movie in theaters. I think it’s a mental thing–I’m constantly thinking of how I DON’T want to step out to pee, so I always have to haha. But I didn’t even think about it once during this movie! I just had that much fun watching it.

I can acknowledge that it had a lot of weaknesses, though, and I’ll talk about that first. I think most of the issues were a result of the film being the end of a trilogy that was helmed by two different people. It felt confused to me at points because I could see where JJ was trying to stick to what he clearly wanted to explore post-TFA while also trying to pick up where Rian Johnson left off post-TLJ. It’s like they had different visions and JJ was trying to include aspects of both in TROS. In a lot of ways, that didn’t work. I don’t want to go into too many nitpicky details but I can sum up my one big gripe by saying I think Finn was done wrong.

I think this movie had a lot of big character moments for Rey, Ben, and Poe, but I don’t feel like Finn got his due. I also think that from a shipping standpoint he was treated really unfairly. I genuinely felt while watching TFA that JJ was trying to lay the groundwork for canon Finnrey. In TLJ, Johnson went in a different direction with Finnrose and Reylo. So the problem, to me, is that in TROS JJ tried to follow up with Johnson’s Reylo groundwork while still including nuggets of Finnrey. Watching the film, it seems abundantly clear to me that Finn was harboring feelings for Rey that were unrequited. His devotion to her felt one-sided and the almost-love-confession in the sinking sand seemed to confirm that for me. I realize at some fan panel JJ apparently said that what Finn was really going to confess was that he was Force-sensitive, not that he loved Rey. But any viewer watching the movie without that knowledge would not get that from it imo, so the average viewer is left thinking the writing left Finn in unrequited love with Rey. And the writing completely brushed the Finnrose relationship to the side. I’m a Finnrey shipper so I didn’t really love Finnrose to begin with. But since Johnson started it, I honestly don’t know why JJ didn’t just continue it if he was going to continue Reylo. It seems better than spending time establishing Finn’s continued feelings for Rey only to leave him alone, especially since TLJ ended with Finnrose: it should have been easy enough to pick up their relationship and carry it forward. I know unrequited love exists, and exploring it in fiction can be poignant. But in this case it just didn’t track to me, and felt like a slap in the face to Finn’s character and anyone who was shipping Finnrey, Finnrose, or even Finnpoe. There seemed to be no reason to write Finn’s actions toward Rey the way they did if they weren’t going to put them together. Finn wasn’t together with anyone in the end. And in the same vein, shoehorning in a past romance for Poe with Keri Russell’s character just felt like a cheap way to make sure Finnpoe wasn’t going to happen. Idk. But these were the only aspects I really didn’t like.

I loved the many displays of Rey’s incredible power. I loved seeing Rey use the Force to heal, just like we saw Baby Yoda do in that week’s episode of The Mandalorian. I thought the scene where she accidentally used Force lightning was chilling and interesting foreshadowing for Rey Palpatine, even though I don’t really love that she’s a Palpatine. That being said, as a scorned Dany fan, I really enjoyed the message that who you are by blood should not define you. GoT ultimately ended with the message that your family and your family’s legacy are inescapable, grim realities. TROS had a much more hopeful message. This is also an important message to me personally because I have a lot of baggage with my father and his side of the family. It’s something I’ve struggled with. I never want to be like him. That aspect of Rey’s inner conflict was really beautiful to me and I think Daisy portrayed her struggle with darkness very well. I also thought her vision of dark!Rey was terrifying and really well done. The scene of her looking in the mirror at herself under Ahch-To in TLJ was probably my favorite scene of that movie so I liked seeing JJ utilize similar imagery there.

I loved seeing the trio together on a mission. The chemistry between Daisy, John, and Oscar is excellent and the comedy and wholesomeness between them is what made the movie so fun and memorable imo. I would have been happy with an OT3 for their characters, but c’est la vie haha.I loved the fan service. What can I say? I’m a fan: I like to be serviced lol. I know it was cheesy to some people, but Force Ghost!Luke lifting his X-Wing out of the water for Rey made me tear up. It was a nice callback to the moment with Luke and Yoda on Dagobah. Speaking of callbacks, I also loved the final shot with the binary sunset on Tatooine. I’ll admit I don’t really get why Rey has BB-8, or why she’s alone, or why she would choose to live in a place that even Luke wanted desperately to leave… but the visual and musical parallel to ANH got me right in the feels in the best way.

I loved seeing Ian McDiarmid return as Palpatine, who was as delightfully evil as ever. I don’t really understand how or why Palpatine had to come back, and I am not satisfied with the explanation for Snoke. But the Emperor is a classic and an iconic character I love. Having him as the ultimate baddy was satisfying in its own way. I also thought everything abot Exegol and the Sith fortress was terrifying and visually stunning. Even the sound effects of the lightning, and the way that blended with ominous music, was really interesting to me. I loved almost every sequence that took place on Exegol.

Lastly, (and this is the part I have been nervous to post about haha) I liked Ben Solo. I am not a Reylo shipper. That’s not something I talk about really because I have a ton of Reylo friends and I really treasure those people. The last thing I want to do is hurt their feelings or make them feel unwelcome on my blog. But In TFA and TLJ I didn’t really see that many redeeming qualities in Kylo Ren, and I certainly don’t ship him with Rey. I liked the character as a villain from the first moment I heard Adam Driver’s epic voice and saw Kylo Ren freeze Poe’s blaster bolt in stasis using the Force. I thought he was cool and I loved the crazy sound effects and unstable appearance of his unique lightsaber. But I just didn’t really romanticize him at all. I also thought TLJ ended on a pretty definitively negative note for the character. He told his men in no uncertain terms to blow the Falcon out of the sky with Rey in it. And I didn’t think killing Han and trying to kill Luke was something he was going to come back from. I didn’t really want “Bendemption.”

I say all this because I think this is one of the reasons why TROS impressed me so much. When it actually happened, I was happy that Kylo was redeemed as Ben. The scene with Han reminded me that above all, this is Han and Leia’s son. No matter how much of a villain I thought Kylo Ren was, I didn’t want Han and Leia both to die and for their son to die in disgrace without ever having made amends for the things he’d done. I couldn’t love Han and Leia the way I do without hoping for some semblance of peace for their family. And when he took off the Kylo Ren getup and dressed more like a regular guy, when he adopted some of Han’s personality, when he stormed into Palpatine’s lair on Exegol blaster blazing, and most of all when he wielded a Jedi’s lightsaber alongside Rey, I loved it. I really, truly loved it. And for someone who went into the movie theater expecting to hate that aspect of the story, I think that speaks volumes. They won me over. They made me like Ben Solo. I don’t really think it’s a great social message for the real world in 2019 to forgive him despite all he’s done. But if I divorce it from real-world implications and just treat it like Star Wars, I’m actually glad it happened the way it did. Leia deserved to have her death mean something. She gave the last of her strength to reach out to her son. Not to Kylo Ren, but to Ben Solo. She and the audience both deserved to see Ben Solo before the end. And for him to make the ultimate sacrifice for Rey was, to me, the best possible way he could go out. I found it to be a very compelling end. His death made me surprisingly sad, but it was a noble death.

Anyway, like I said above, I know the movie has a lot of issues. I haven’t even addressed a fraction of the things I could say about this movie–both good and bad. But ultimately I boil it down to how a movie makes me feel. This one left a strong emotional impact on me and I was happy to watch it a second time. I laughed, I cried, I reflected on why I’ve loved Star Wars for my entire life. So I have to say I liked it. Sorry for the giant answer haha :P

#answered #i realize i am in the tumblr minority with this opinion lol #please don't hate me guys

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thoughtfulpaperback · 4 years

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SPOILERS!!! Charmed 2x10 Review

Okay, y’all. . . I am seriously ticked off at the writers for a number of reasons which I will address after I go over the things I actually loved about the episode. I thought the episode was entertaining and well-paced. On the entertainment scale, it was an 8 out of 10 for me. But in case no one has figured out from my previous reviews, The way I rate an episode on entertainment is not indicative of how well written I think it is. When I rate entertainment, I think in simple terms of was I bored? Did I feel like I could look away from the screen?, is this relatively fun to watch or is it something that feels like a chore?

So for sure, this was entertaining and I was invested more so than the episode before. So anyways . . . Standard format. Thinks I liked, things I disliked, episode highlights.

THINGS I LIKED

1. Jordan and Maggie’s relationship and Jordan in general.

I am just going to say it. Jordan is the new Harry and his relationship with Maggie is what I had wanted the writers to do with Hacy.

What do I mean? Think about it. Jordan is a supportive friend, who-although doesn’t always react the best or know exactly what is going on-goes out of his way to help Maggie. He is obviously developing feelings though she is mending from a romantic loss and going through big life changes. He isn’t pursuing her, just trying to be there for her, but you can see his feelings grow the more they interact and get to know each other. Though Maggie is hesitant and not ready to be in a relationship, the foundations of her starting to care and appreciate Jordan are being set. Is this not what many of us all the way back in season 1 thought of when we imagined Hacy interactions in the future?

Anyways, I fell in love with Harry’s character based on those sorts of behaviors and of course his own personality, so it stands to reason that Jordan displaying those characteristics and being his own really good person with a magical curse on him is going to make me want this character around for a while, if not forever.

Jordan now knowing about magic and the curse is so exciting to me, and I think he and maggie going on adventures and trying to “balance the scales” to lift his curse or just do good. It is content that I need, and it doesn’t have to even be romantic. I mean outside of his fraternization question. There haven’t been any huge romantic moments or intentions displayed. But that not bad! it actually makes it feel more realistic, that the two are building a friendship and getting closer as they grow and learn. So Just having Jordan fulfill that old Harry role and a bit of OG Charmed Morris role is compelling and interesting to me. I really hope the writers don’t screw this up, and to be clear I am talking about his character in general, not related to a romance with Maggie. Because I am definitely afraid they will try to kill Jordan off or abuse his character the way OG writers did with Morris.

2. The ghost storyline and Maggie kicking butt

The Ghost was great and is what made the whole episode entertaining. I still think ghosts trapped in mirrors is like the most stupid movie/ghost troupe out there because mirrors BREAK!!!! So thank you, writers, for at least showing the very thing that I always bring up when ghost stories include mirrors.

The action sequences were great in my opinion, and though this episode felt like some of the video games I have played in terms of the possession and the way the scenes were staged, I liked it. If I liked the games, then, of course, I would like a show that does simpler (if not outright copies) those things.

3. Mel and Ray’s side plot

Okay, so I want more of this. It doesn’t have to be with Ray. Mel has been the most underused and abused character on the show so far.

Listen, I am not a person who thinks every character needs a love interest or story to be interesting. If Mel is going to be out of the game for a while that’s fine, but give me good reasons why. Don’t just tease things only to take them away. And don’t underuse a character who is supposed to be one of the Main characters.

If they had wanted to focus on character developing Mel and having her heal from everything that happened last season, and/or set her up to investigate this non-magical threat to the magical community then they should have never brought Kat in. They should have had the sisters talk about it and made it clear how Mel was planning on going about things. Then actually give her those scenes which show her struggles and character growth throughout the episodes, not in chunks every two or three. I mean they set up some Mel struggles (insecurities about not having their powers, her being the one who wanted to run the magical community, and her protection of maggie and their dad issues) but they only really showed the struggles in episode three, solve most with a mirror monologue rather than build-up to the mirror monologue. I mean really Mel only gets a couple of highlight moments every couple of episodes and when she is on screen it is actually refreshing. Getting to explore Mel’s character is great! but the writers just set up things only to pull away from them or try to solve them quickly so they don’t have to give us more. Which they should because that is what is actually compelling!

This episode with Mel and Ray was an example. I loved the mirroring of their personalities and physical behaviors. I loved that they gave her a chance to actually learn what happened between her parents.

You guys this has actually bothered me since Maggie's parentage reveal in season 1. They never talked about how Mel might be feeling after finding out her mom was cheating on her dad. I mean even if you did resent your father and thought the world of your mother, that would be a pretty big thing to learn. They show that she is hurt by the fact she didn’t know her mom as well as she thought. Again things they teased us with but never went deeper since those and these writers seem not to know what to do with Mel (which is dumb because again they introduce really great stuff, but do not follow through).

I want more Mel. I think the stuff with her and Ray was well done and interesting. I still think Ray is dumb and a not so great person, but he has earned a bit more sympathy from me given that, while he wasn’t a good dad, he still loves both Mel and Maggie equally even knowing that Maggie isn’t his biological daughter.

MEL IS BAE and I want to see powers in combat, writers if nothing else please give me this.

But side note, I am not upset about the Ladies or Harry using their powers a bit freely because season 1 set up that some the Sarcana wanted to be able to use their powers semi-publicly to dispense justice and it was the elders who were set against any type of exposure. The elders are gone, rules have changed, but I do hope they will eventually address this.

THINGS I DISLIKED

1. Abigael

They are ruining her for me! I actually love Abigael as a villain. She is at her best when she is ambitious and going for it. I mean they just had her lock up her brother, take over as Overlord, and manage to get at least some trust from the Charmed ones, and hinted at some bigger plans, only to have her show up this episode after SELF-HARMING to get the attention of a man!!!!

WHAT THE ACTUAL HELL?!?!? Listen, if they go the route of Abigael is being manipulative and trying to take Harry, but still going to be a badass demon boss. then fine I will buy into this for a bit. But they have made it seem like she is desperate for his affection, and I just can’t. I could never get behind Harry x Abby because of all she has already done and her manipulativeness, but I actually liked that she told Harry she thinks of him as a whole person. Someone needed to say it, but I don’t want her to turn into the “crazy other woman” stereotype. In that, her plans and ambitions get out staged by her obsession with getting the guy. I am not down for a desperate Abigael. I hate this type of troupe, so the writers better not be going there.

2. Hacy

Julian has got to be the big bad or the one funding these collecting of magical beings and artifacts. Because if he is not, there is honestly no reason that Macy shouldn’t be with him. I mean he does seem to move fast, so maybe that could be a reason, but other than that . . . nothing. Unless she is not really interested in him. And if that is the case, this makes Macy seem like a jerk for using Julian like that.

okay so I gotta organize this or else it will get crazy. So my biggest issue with Hacy so far, which was just brought out the most this episode, was that the writers haven’t earned the angst.

There has been very little build-up of Macy and Harry’s feelings. We got smacked with it in like the first four episodes, but at the same time were being introduced to the “distractions” or obstacles. And the truth is the obstacles are stupid.

The first question you should ask yourself if you plan on keeping characters apart if the obstacles are valid and unavoidable.

For example. Harry and Macy not admitting their feelings was totally valid at the start of this season. Macy and Harry both lost love interests in the season before. It has been less than a month since then when the first episode, there should be some confusion and repression over feelings. and Macy is not open at all when it comes to her feelings. All of this is valid and mostly unavoidable.

But the writers messed up. Because they have mostly glossed over everything in season 1. They have not put in the effort to show us what Macy is thinking or feeling. They have done this with Harry (well in some places and poor in others). But they haven’t done anything with Macy so far. Hints then some little moments, but nothing overt. We don’t even know what she was going to say to Harry when she had planned on talking to him before the Abigael kiss.

And that is actually the bigger issue too. They showed that Macy was willing to talk about her feelings, though what exactly they are and what she wanted/wants is unclear. So her not being great at communication is no longer the obstacle especially since Harry does pretty much say he has feelings for her.

"Well he was kissing abigael!" So that would shut down a want to communicate. Completely agree, but he tells her that it was just a moment and granted they should elaborate on that in an actaull conversationsation. But the point it that he is showing his cards, although he definitely could be clearer. So if she wanted to communicate she could versus previously where she actually had a hard time communicating. She communicates but is angry and holding back versus just not having it in her to do it.

Although it was an argument and for sure you aren’t going to be inclined to admit you have feelings during an argument. The writers showed us that Macy had been willing to communicate, so if something has changed (I mean internally as she has moved from being closed off to just being unwilling to communicate) they should show us,because Harry basically is saying “the ball is in your court” and yet she is . . . I don’t know what she is doing.

If she genuinely has feelings for Julian and spending time with him is healing then that is where she should want to be. There hasn’t been enough build-up of hacy (and this is coming from a Hacy fan) to make me believe that enough feelings and good moments exist to beat out a genuine and healthy human connection.

Stop telling women it is only love if it is miserable most of the time. They continually put unnecessary and totally avoidable roadblocks to Hacy and have been putting the two at odds. It's not cute or romantic. at this point it is just frustrating. So the writers need to show them bonding more. They better plan on getting them together by the end of this season and then having that healthy relationship stuff (angst and fluff) next season, because I honestly couldn’t take another season of this. I for sure wouldn’t be able to take a whole relationship like this either. If the writers can’t figure out to write healthy relationships I don’t want them near Hacy.

Honestly, I feel that they are relying on the fact that those of us in the Hacy fandom, have put in most of the work. We’ve done all the imagining, and dissecting into their actions and possible feelings, and put in the fantasy hours of how great a relationship they could be in, but the writers have actually done very little on that front.

Now don’t get me wrong. Mads and Rupert are killing it. I think the reason I am still holding out is that they work really well in scenes together and they are great actors. I mean for the little the writers have given us, Mads and Rupert sell it. I mean the “I’ll just know”. The looks, the smiles (although rare this season), all that we have gotten so far in building that connection, is great even though compared to the angst and drama it feels like small crumbs.

For those who are trying to pick sides or claim Harry is in the wrong, or that Macy is being stubborn and stupid.... yes and no.

One of the biggest plotholes or unknowns has been what Macy does know about Harry’s feelings. At the end of season 1 suggested she found out about Harry’s feelings. But her conversation with Mel episode 8 suggested she had no idea about Harry’s feelings.

Harry hasn’t been overt, yet I think it is obvious from the clues. Jimmy is interested in Macy and is overt in that interest. That’s a bit of a clue that Harry is possibly into her (more likely than not). Harry is obviously jealous of his darklighter and the fact Macy told him she liked him or at least him being different (although she wasn’t aware it wasn’t Harry at the time). Then, of course, Mel tells her.

Now it would be preferable that Harry just come right out and say it. Harry has no right to assume that Macy knows exactly what he feels, although he is right to assume that she knows He does have feelings for her. He is right though to put any relationship conversation on her at this point.

He has stated at the very least that he does have feelings for her with his “you know damn well how I feel about you” comment , even if the depth or exact nature of them has not been stated. Which it needs to be. The ball does need to be in Macy’s court. She obviously--or it just seems that way based on the writing--does not know what she wants or at least right now is unwilling to go for it. Harry being the pursuer would come off belch to me. Especially given that both are in vulnerable places right now.

I am not sure that even if they admit thier feelings, the should or would be in a relationship. In fact I think that would be infinitely more interesting to watch. Not two people using others to deny thier feelings, but two people who decide to revisit thier feelings when they are both in better places. in the mean time they save people, heal, and carry on more healthy interactions until they are ready to be together. That’s the Slow burn I’d want to see. not two people just being angry and hurting each other becuase “welp, jealousy and love make you irrational”. Show us a different way or at least cut down on some of the most toxic portions of all this.

EPISODE HIGHLIGHTS

1. Maggie and Swan fight

2. Jordan having a mini break down over magic and ghost reveal

3. Mel and Ray drinking coffee

4. “I used to protect you”, “Now we protect each other.”

5. Abby telling Harry she wants him and thinks of him as a whole person

but . . .

#Charmed #Charmed spoilers #charmed 2018 #charmed cw #the cw charmed #charmed reboot #charmed 2018 spoilers #harry greenwood #macy vaughn #Hacy #macy x harry #harry x macy #julian shea #abigael caine #maggie x jordan #Maggie Vera #Jordan Chase #mel vera

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pi-creates · 4 years

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what are all of your canon choices for each s4 episode? like did you kill the walker couple? did you bury ms. martin? did you shoot lilly? did you trust aj? i'm very curious!

Here is where I expose that I was in the minority for a lot of the major choices in TFS...

Episode 1:

I didn’t kill the walker couple. I would have due to remembering that moment in S2 where Clem got attacked going through the security window - but then AJ opened his mouth and I was like “oh no, little buddy...”. People come first, and with no evidence that going through the window would be negative, it seemed like an important empathy teaching moment for AJ. (And if there was a walker in that room I would be screaming how? since the building was locked, the room was locked, and those windows were boarded too well for something to get in)

And I put a stopper on the AJ swears. I know it doesn’t really matter, but having heard toddlers with absolutely filthy language IRL... yeah, I don’t like it. Be a kid for a bit longer, AJ.

Learn to share. AJ hasn’t had to do that before so I get why he has problems with it, but I encouraged him to return everything.

I went hunting with the boys. And then went rabbit shooting with Aasim. Because if you read my last response about shipping... yeah, I wanted to romance the archer boy. To be fair, I just generally agree more with Aasim’s long-term survival plan.

I let Abel take the food. And as foolish as some people might think it is, since he kept emphasising he just wanted dinner I was fine with him taking a portion. We were still getting more food than we had before. Plus yeah, I value life more than the prospect of one more theoretical dinner when we had other sources to use.

And at the end of the episode I appealed to Louis - because yeah, I spent more time with him than Violet. It made more sense with my previous choices.

Episode 2:

Bad, AJ. No assassination headshots under this roof. That is a very quick way to lose friends.

I told AJ to give Louis his gun. I wasn’t under the impression that Louis was going to keep it - though with how long it took for him to give it back I did start doubting myself.

Be nice to James... why wouldn’t you at that point? Though I am still suspicious of where he got that apple...

Buried Ms Martin. This was more about Ruby, and she clearly needed the closure. I don’t think it really is necessary to bury walkers, but people’s feelings on the issue take precedence over my own opinions.

DISCO BROCCOLI SHIRT. AJ’s face was so happy, I had to.

Brick trap... definitely not because it was Aasim’s idea. (actually not sarcasm, it is more practical)

Marry Aasim (duh at this point), Flip Ruby, Kill James... one of those things did end up happening, so foreshadowing I guess.

If you love Ruby so much, go to talk to her, guy. Seriously, I would wingman/wingwoman the hell out of this situation if you want it, Aasim. But you have to take the first step if you want to walk that road.

Piano date. Though I didn’t carve the heart initially... a bit too cheesy for my taste. Though there was smooches, so maybe I’m not immune to cheese.

No, AJ. You don’t get to call dibs on killing people. And no swears. Accidental swears are fine - I’m not going to punish it, but I would rather he not put them into his general language.

Save Louis... and I felt like an absolute dick. Like... this decision was awful to make. Violet came to the rescue when Lilly had the gun on Clem, and it sucks that you can’t return the favour. But like... why did you do this to me, game?

Episode 3:

No Abel torture, not with AJ there. And even if he wasn’t, I don’t think I’d go that far. Maybe I would refuse water and stub out the cigarette - but I wouldn’t hurt him. And yeah, Mercy kill. He wanted that.

James asks me not to kill the walkers, so I don’t kill the walkers. He wants me to listen to his opinions on walkers, so I listen. He wants reassurance that his opinions have a semblance of logic to them?.... uhh, this one is more washy. I say there could be something more to walkers because there very well could be. You can’t say there isn’t, so there also isn’t any reason to shoot him down since it’s all speculative anyway.

Told AJ to leave/run if Clem got bit. I might be the weird one here, but I really couldn’t care less if I was dead or a walker - I don’t think it matters from the bitten person’s perspective. It matters from the safe person’s perspective, and if AJ doesn’t want to be responsible for pulling the trigger, then I don’t want him to feel compelled to. That’s his decision, not mine - but I’d rather him lean more to the changeable option than the unchangeable one.

Party mix - purple lights, classical music, and ‘See you on the other side’. Named that bomb after Willy - felt a little odd to name it after Mitch when it’s Willy’s effort. He did it for Mitch though, so I understand both those decisions.

Let AJ get the jump on Dorian. I did think they were threatening to take off Louis’ full hand though, which would be the equivalent of a death sentence. Glad it wasn’t that serious, but oof.

...I did what James wanted. Sorry, James. I do stand by this decision anyway... If Clem had the gun, then I’m not sure what I would have picked.But with AJ behind the trigger - no, he isn’t shooting that gun. He’s like 5, he can’t understand the nuance between that situation and the one with Marlon. It just can’t be instilled into his young brain that the ultimate solution to a problem is to kill someone, especially since in both cases the people are (supposedly) unarmed and begging to be let go.

Episode 4:

Trusted AJ. Every decision I had made in regards to AJ was consistent, and so if he was legitimately listening and going to take the advice I had given him, then I shouldn’t be concerned. Also, retroactively seeing how the scene is different if James is alive - I do think my version of that scene is primed to encourage me to trust AJ. The James scene in the cave feels like you’re being encouraged to distrust AJ’s decision making.

We are building a one story house, it’s painted purple and has a mahogany piano where AJ and Clem take lessons from Louis. God, I loved this dialogue moment. It feels like real conversations you have with people playing the “What if-” game.

Sorry about my previous choices, Tenn... I wasn’t happy about that.

Told AJ to leave me there. I stand even further in that corner now that there’s an axe involved. I’ll admit to crying a little bit here... I can’t help it. If a child starts crying (and I mean emotional crying - not a temper tantrum type of cry) then my empathy kicks into overdrive and I cry with them.

(Though I will point out a plot issue here - AJ has never seem amputation work in my game as a means to stop a person dying from a bite. The only way he could come up with that idea is if Clem told him about Reggie in S2... something that happened 5-6 years previous to that point. I don’t think Clem would actually bring that up since there are more occasions in her past where it hasn’t worked, so I have no idea where AJ got the amputation idea from as a potential solution.)

As for the AJ moment with walker Tenn, I distracted Tenn... no point in wasting a bullet, and I still don’t think it’s necessary to kill ‘known’ walkers as if it somehow frees them.

And of course AJ burps at the table, tells Clem she’s the best, and is determined to get her a new foot. Because no matter what, he’s still a 5 year old.

#twdg #twdg s4 #long post #again #sorry #twdg talk

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eisforeidolon · 5 years

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Episode: Atomic Monsters

I watched this at least a week ago, but just didn't get around to rewriting my notes into a post 'til now. I did actually find this the best episode so far, but lets be real, that's such a low bar to clear at this point it says basically nothing.

The opening sequence is really fun! I found the whole thing genuinely enjoyable, both the action itself and that it included exactly the kind of return cameo I can actually get behind. No retcons or resurrections that make death somehow even cheaper or ruin the original finish to the character's story! Not even to mention that, instead of existing just for the sheer fanservice of it? A sequence like this is actively improved by giving us a familiar face we have investment in to keep it from being all just random unfamiliar cannon fodder getting offed.

Unfortunately, this isn't the rousing endorsement it could be when we know that both expanding to a big action sequence and bringing Benny back for it were actually Jensen's ideas. Not even to mention that the thing which really works best in the episode? It's the dream sequence that's not actually connected to anything else and doesn't have to worry about continuity to work. This is my surprised face.

I enjoyed the exchange between Sam and Dean in the kitchen. The meat man conversation over the bacon was rather silly, but in a fun way. I've seen some people reading things into it (it's insulting Dean doesn't know the slang, Sam is randomly vegetarian now) that I didn't really see there. I did appreciate how Sam was weirdly jumpy and had trouble meeting Dean's eyes after the creepy alternate world dream. I thought it worked really well for both slice-of-life and Sam’s reaction.

In terms of the Winchester's case, well, for the most part it could have been worse. I don't honestly believe even if I hadn't been spoiled that I wouldn't have immediately suspected the parents from their introductory exchange about how Billy playing in the big game was more important than a cheerleader's death. I think it was supposed to be a retroactive subtle clue, but it was more of a clue-by-four. So the “mystery” of tracking down the monster was pretty lost on me. I did like that the one girl having braces was a clue! But I also thought the scene with her rehearsing her speech on a live mic in an empty auditorium was weird and contrived. I straight out cannot forgive that a girl was literally abducted from the school campus and NOBODY checked the security footage near her car fucking IMMEDIATELY well before Sam & Dean. C'mon. Then, of course, a couple random middle-aged suburbanite humans get the drop on Sam and Dean, because Dabbernatural really just loves to make them incompetent so plots happen.

Then the big reveal and blah blah blah, kid accidentally ate his girlfriend. WHAT WERE WE SUPPOSED TO DO??? Um, maybe try not being scumbags? Idiotic scumbags at that, abducting a second girl from their son's own school instead of somebody that wouldn't be missed or even, hey, maybe encouraging him to try harder not to eat people. Don't try to sell me on this pseudo hallmark 'but they just love him so much' bullshit. At least the kid has more self-awareness and conscience than his fuckwad parents.

Then we get to the infuriating character assassination part of the programme. Having Sam and Dean say that they'd do the same thing as the dad for Jack their “son”? Fuck you very much, show. I could maybe, maybe, see Sam or Dean kidnapping and draining the life out of an innocent to save the other at their most desperate worst. Though I think the only time they even really get close to that kind of an actively, knowingly evil choice is with Doc Benton. Not only do I not buy for a second that they would do that for the totally-really-their-actual-child-for-reasons albatross Dabbernatural has shoehorned into their lives? Struggling to do the right thing even when it hurts used to actually mean something – it was always a very important qualifier that while Sam or Dean might make that choice, the other would not let them. So having them both agree this kind of straight up villainy would be a-okay for oh-so-totally-loveable-no-really-woobie-blob Jack ...

Like carelessly assassinating every human in the BMoL headquarters, it fundamentally fails to understand what it is that keeps Sam and Dean from being the monsters. Hint: it's not just that the show centers around them. “We do the ugly thing so that people can live happy” - these moronic hacks seem to be actually trying to parallel Sam and Dean saving innocent victims and the world to human monsters that were going to selfishly help their son eat his way through the entire goddamn cheerleading squad. Am I getting this wrong somehow? Is there some other, less appalling, reading here that I'm missing? This whole scene honestly made me nauseous.

They talkity-talk on for a while longer, but it's really not much better. Sam declaring that God was totally done with them was the writers putting those words in his mouth based on nothing. At it’s very best, it was Sam’s bad habit of convincing himself conclusions he’s come to are true because he wants them to be. So them both just deciding to believe it's true after Chuck has admitted to orchestrating their entire lives … I'm not sure if we should conclude the Winchesters have brain damage or if that's just the writers. Especially when the underlying reason for it is nothing more compelling than , “Watch the Winchesters see-saw on the angst fulcrum completely at random! Yay!” If this was actually well written, there would be some precipitating reason for Sam to suddenly be the one being all fatalistic while Dean is accepting. Instead, the writers just slap some coin-flipped angst angst angst on the page and meander on in a supposedly forward direction.

So then there's the other half of the episode, the Becky storyline. Am I the only one a little disturbed that Becky's first reaction to seeing Chuck was to look scared and try to run away? Like, they're exes and all, sure, but she doesn't know any of the god stuff yet – I think the only thing she even says about their breakup is that Chuck dumped her. Is that reaction supposed to be yet another bit of “new canon” showing how Chuck was just that terrible all along? But then she does let him in, so maybe we're just supposed to take it as Becky still having a tendency towards dramatics? I honestly don't know, but it was weird to me.

I do genuinely love that they had Becky go to therapy and realize just how absolutely fucked up what she'd done was and ultimately sort herself out to become someone who seems to be a well-balanced adult. A well balanced adult that didn't have to give up being a fan for that! Seriously, kudos to the writers for this, because 7.08 is such a loathsome episode that otherwise ruins Becky as a character. Though I do have to nitpick a bit – while I get that they wanted to put SPN merch in Becky's home as a callout to her still being a superfan? In the show's universe, Chuck's books were never that popular, so I'm having some suspension of disbelief issues that there would be Funkos for them. We could pretend they were customs, but she's got at least one Impala, so even that doesn't quite work. I'm not entirely sure who “people only want them sitting around doing laundry anyway” is a dig at, but I'm giving it the side eye.

I also am not entirely sure what to make of Chuck's whole no one needs me I kinda hate me I'm all lost and don't know what to doooooo shtick. Is this a game he's playing? Is he really that wishy-washy? Did some of Dabb's sad internal monologue as showrunner somehow end up in a script by accident?

He goes on like that and laments he's lost the Winchester's trust and had words with them or whatever, and then he zaps Becky and her family away at the end. Like, if he cared enough about Becky to care about her opinion, why does he turn on her, too, just like that? I guess we're supposed to see it as him having found his mojo in her space and vanishing her because taking over her space that's working for him currently is his latest whim. I suppose they're intending to show Chuck as just being that capricious and flighty, but I don't know that it works for me. The way they've been writing him he's acting so randomly and impulsively that it's kind of unbelievable he can even sit still at a keyboard long enough to write another Sam and Dean installment. Again, I definitely find it unbelievable that the Chuck they're giving us now would be capable of playing the long game that he would have had to for him to be actively behind everything. Until he suddenly got impatient and lazy and popped up in the cemetery at the end of the last finale ... for reasons … and is now just … like that … because.

Not to mention that his powers are, big shock, just as arbitrary as everyone else's in the current show. He can't actually see what is happening to Sam and Dean because of the bullet sapping his power or whatever, but we're supposed to be worried about the ominous ending he's writing for them because … he's got those god powers to make it happen, I guess? Uh...

I will grant that the ominous bobbing of Sam and Dean Funkos' heads to Chuck's furious typing was a wonderfully foreboding shot to end on.

#negativity for ts #long post #anti dabb #anti jack kline #writer incompetence #spn season 15 #spn 15x04

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ashleyfanfic · 5 years

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Redemption arcs and Jonerys

So, I’ve had a few comments on my recent Tormund story that got me to thinking and I wanted to share this with you guys. I’ve had a few people ask me “how can you possibly put Jon and Dany together after he tries to kill her?” And I guess my answer for this comes from my shipping past.

Some of you may know by now that I was/am a Dramione shipper (Draco Malfoy/Hermione Granger - Harry Potter) from starting in like 2002/2003 and I wrote the most recent fic for them in 2017. I don’t actively write for that ship anymore but I do still read stuff from my favorite authors. But I’ve digressed.

So, all those years spent in the Dramione fandom I had to find ways to work around the fact that Draco Malfoy is essentially a bad guy and Hermione Granger is the golden girl. So, let’s look at their pasts. Draco was raised in a wealthy Pureblood family who believe that only Purebloods should be allowed to do magic. He’s a bigot. He’s a bully. He’s basically a shitty human being. Then you have Hermione who champions House Elf rights, helps Hagrid with his case for Buckbeak, is the smartest witch in an age and is the exact thing Draco grew up hating: a Muggleborn. But I shipped them because I saw little sparks of there being something more to Draco than meets the eye. We know Draco became a Death Eater, those who sought out Muggleborns and killed them, but there were so many interactions with Hermione that left you going ‘huh, maybe there’s something there’.

To be a Draco/Hermione fan, I had to find LEGITIMATE ways to work with the source material, which I usually did. I was one of those people who thumped my dog earred, comments in the margins books screaming that it was canon and the movies were someone’s interpretation. It was always about a redemption arc for Draco. Hermione would never be with him how he was, so there were things in the stories where he had to grow. That was always the fun part, exploring the growth.

All that being said, I think it’s why I can find a way for Jon and Dany to still be together. A this point, I’m going to put up the hide content thing cause I’m going to get into the spoilers for the last episode.

So, according to the spoilers, Dany is killed by Jon. She just committed mass genocide, and Jon kills her. While I think what Dany did was reprehensible, having Jon kill Dany is an enormous hurdle to climb in terms of suspension of disbelief. Could she ever forgive him for that? Could he ever get over what she did?

I’m approaching it thinking that there is a redemption arc on both sides. When Dany and co attack King’s Landing, she’s had a rough fucking time lately. The man she loves tells her that not only does he have a better claim to the things she’s worked and suffered for her entire life, but he’s pulling away from her because of the relationship (which makes no sense in a feudal system as aunts and nephews being icky is very much a Western thing). She’s losing her lifeline that she developed to cope with the new world she was living in. She lost a dragon to save his life, she opened herself up to him, fell in love with him, and he pushed her away. She might have been able to tolerate all the other heartbreak if she felt like she truly have one person on her side who still loved and believed in her. The man she wanted to cling to when it seemed like the world was crumbling down upon her. She lost her oldest friend in Jorah, who died in her arms after giving his life to protect her, she lost the intimacy she had with Jon, she lost another dragon (her child) and was helpless to stop it, and she lost her closest friend in the world, Missandei. All of those deaths were traumatic for her to witness. She’s seen trauma, but she had never experienced it to such a degree as she had these last few episodes. She lost her husband and child but walked out of the fire with three dragons. I’m not saying they are a substitute for a live, flesh and blood child, but they did bring her comfort and a purpose, as did the people that stuck with her.

I’ll also say that when she had it confirmed that Sansa told Tyrion about Jon, it confirmed that Jon had done the one thing she had begged him not to do. BEGGED. We’ve seen Dany pretty low in this series. She didn’t beg Khal Drogo not to rape her. She didn’t beg Viserys not to sell her. She didn’t beg in the House of the Undying or to the Dothraki. She was not a person who begged anyone for anything. But she begged the man she loved not to tell this secret that would not only ruin her claim but put her life in danger. He told someone she already recognized as her enemy, that he was naive enough to trust. Sansa didn’t tell Tyrion because she thought Daenerys was unjust. She told Tyrion for the very reasons that Daenerys said, she knew he would spread it without her having to tell anyone else. She knows Varys is plotting against her. She knows Tyrion has at least thought about it. The only other person she has to lean on is Grey Worm and he’s seething in rage and hurt just as she is. So, when Dany starts burning innocent people, it’s not Dany anymore. It’s a shell of Dany. The real Dany made points along the way about preserving the innocent and especially children. It’s easy to say, “Oh she snapped” but maybe she really did snap.

Then we have Jon. She still loves him. Know that he sold her out to Sansa, she still loved him and wanted to be with him. He was still her lifeline. So, now, that the rumor is that Jon kills her, is seized by Grey Worm and forced to take the Black, you also set up a redemption arc for Jon. Because while Daenerys did do something horrible, her death didn’t prevent her from doing it. It’s not like Jaime killing the mad king. This is if Jaime had killed him after the fact. We have Jon betraying Daenerys and killing her. Jon not only becomes a Queenslayer/Kinslayer, but he also becomes an Oathbreaker. That’s the biggest disservice done to Jon Snow besides making him virtually ineffective throughout this season. Jon Snow has proven to be an honorable man. He values that more than just about anything and to have him kill a woman he loves, his family, too, just feels like it goes beyond whatever feels right.

I think that’s the part people are taking issue with. How could Dany ever forgive him for trying to kill her? The truth is she probably shouldn’t. How could she trust that he would never do it again? The truth is she probably shouldn’t. But I think if these two found one another in a different time, in different circumstances, where they had both made mistakes, done things they regretted and hated, then it would change things drastically.

But I got back to a redemption arc. So, let’s assume Dany doesn’t die but lives through it, which if we believe what happens, Drogon takes her body and leaves. She could still be alive. She wouldn’t embrace him with open arms. That’s illogical. And no matter how she might have felt about him, there’s no erasing what he did for the “greater good”. And as for Jon, she’s not the woman he fell in love with. It would take them being isolated again. Jon and Dany always connected better diplomatically and otherwise when they were alone, without the counsel of others. I think that’s where you start. You have to make it realistic. You have to acknowledge what they’ve both done to bring them to that point.

Glossing over Dany's madness doesn't make what she did less terrible or make it not happen. Glossing over Jon killing Daenerys doesn’t make it less terrible or make it not happen. The point, for me at least and how I’m coping with this is how do they get beyond that? Can they? Is there a middle ground to be found? Is there a catalyst that brings them together? Is there something more than what meets the eye? It doesn’t have to end just because D&D lost their fucking minds and forgot who these characters are and their journeys. Instead, embrace what happened and write something compelling. Hell, they might not end up together, but there could be something more. Explore it. Roll around in it. Invest in it.

Now, I realize I’ve rambled but my ultimate point is I am a firm believer in redemption arcs. It’s why I grew to love Theon and Jaime(less Jaime now). People are capable of growing and learning from their mistakes, but these are more than just mistakes for Jon and Dany. They are huge milestones in their lives. Conscious choices each of them made that they will have to live with for the rest of their lives. And personally, I’m exploring that in my Tormund fic from his POV.

Anyway, that’s just my two cents.

#jonerys #jon x dany #jon snow x daenerys targaryen #jon x daenerys #8x06 spoilers #redemption arcs

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