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memryse · 3 years

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The magic of 3rd Life, or why such a simple hardcore miniseries works as well as it does

For a series which only lasted for eight sessions, 3rd Life has had a profound impact on the MCYT fandom. While it did go comparatively unnoticed on Twitter (as is consistent with YouTube-based Minecraft content as a whole, admittedly), Tumblr and other platforms have fallen in love with this series, and it’s become a vector for many fans to familiarise themselves with Hermitcraft and Empires SMP as well. But at its core, 3rd Life is a simple vanilla survival series with a gimmick. What about it resonates so much with so many people?

I would argue that its simplicity, its small cast, its vanilla gameplay “with a twist” is certainly part of it. It’s an easy series to consume, with many POVs totalling four hours or less, and it doesn’t require any prior knowledge of any of the members. Its mechanics are easy to understand. As a standalone, it functions perfectly – it’s immersive and can be followed easily by anyone, regardless of any prior knowledge they may or may not have. However, these factors alone don’t quite encompass what makes 3rd Life so special. Its true charm point lies in the format of the series, and how well it utilises improv.

[more below the cut; this is a fairly long post about 3rd/Last Life meta and my love of its improv. I'm mostly talking about 3rd Life here as it's a completed series, but this most definitely does apply to Last Life as well]

3rd Life is an entirely improv-based series. Whilst members may have a brief concept of the direction they’d like to take their series in – how heavily they want to roleplay, for example – the actual content of each session is fully improvised. Each episode is recorded in one three-hour block, and members are not allowed to play on the server outside of the allotted time other than specifically to finish builds. This time constraint prevents any planning from going into each episode, and interactions between players are completely spontaneous. Players simply run around the map looking for others to interact with (which is significantly easier with the limited world border) and chat about various events on the server, form alliances or deals, etc.

By definition, this almost completely negates the possibility of bad writing. Each player’s reaction to any server event is spontaneous, a legitimate reaction; they aren’t trying to play any specific roles or shoehorn in any specific events (with the exception of the Red King/Hand of the King roles, who were still completely improvising). Even the finale – a distinctly heart-wrenching and tragic scene – was improvised without Grian or Scar attempting to tell any specific story. According to Martyn, they weren’t roleplaying, they didn’t have any aims with that scene. It just happened to turn out in the way that it did, and they were legitimately sorry to one another. The server progressed in this natural way, and every person’s perspective tells a completely different story. It’s hard to identify any specific heroes or villains – fans of the Dream SMP can surely relate to this feeling, but I would argue that 3rd Life takes this one step further. 3rd Life is a tragedy from all perspectives, a tragedy which tells one cohesive story in its entirety before stopping as abruptly as it began.

3rd Life hinges entirely on its interactions between its members. Whilst solo content does exist – base building, for example – the majority of each session is spent interacting with others. 3rd Life is carried by its dialogue; nothing else drives the story, and yet many episodes are between 30 minutes and an hour long. It’s that dialogue-heavy. Members of the server have expressed trouble with even editing their videos because there is so much key dialogue that they don’t want to cut. People don’t watch 3rd Life for the actual gameplay, at all – there’s so little of it! They watch it for how each member interacts with the people around them. This is something not found in any other SMP I’ve encountered. SMPs livestreamed on Twitch have plenty of downtime, and people will happily watch streams on that SMP no matter what’s occurring on the server; people often watch them for their interest in specific members. Other currently popular YouTube SMPs, namely Hermitcraft and Empires, are well-balanced between solo content and interactions, and all server content hinges on the members’ various skills like building and redstone. 3rd Life is, to my knowledge, the only SMP which does not rely on building or redstone skills (what’s the point, when they’ll be dead the next week?), it doesn’t rely on the creator doing solo work talking to their chat, it doesn’t rely on planned roleplay. People legitimately just want to hear various members talking to each other. It’s a fascinatingly unique series in this regard. This dialogue-heavy aspect of 3rd Life ties back to my earlier point about 3rd Life feeling like a completely different series from all perspectives; with all of this dialogue being conveyed through proximity chat, so many events are entirely left out of other POVs, or presented in very different lights.

The pure improv format also helps significantly with worldbuilding, whilst also leaving plenty to the imagination. MCYT fandoms always require a significant amount of imagination to become invested in them, let alone make fan content of them, and 3rd Life is no exception to this. As discussed in this post, which was incidentally the inspiration for me to write this one, 3rdLife is full of lines which flesh out the series, which illustrate what happened better than can be shown in Minecraft. These lines are improvised on the spot, and are often complete throwaway lines in the creators’ eyes. In the fans’ eyes, they make 3rd Life feel alive, they provide plenty of material on which to base headcanons. Again, this isn’t necessarily unique to 3rd Life, it’s a common aspect of all Minecraft series, but I think this is where the rather angsty nature of 3rd Life comes into play. A dramatic survival game, entirely unscripted, with all events hinging entirely on your interpretation of them? It’s not hard to see why 3rd Life fans are so creative with character designs and fanfiction – hell, a lot of 3rd Life fics simply narrate canon in their own more dramatic light. Canon-compliant fics are significantly more common for 3rd Life than other fandoms I've encountered, because people hear these simple lines and want to dramatise them, put their own spins on them. I don't feel that this would be possible with any other series, not to the extent that 3rd Life fans do it. Other series' canon is either already dramatic, and so rehashing it can feel repetitive, or so lighthearted that people write AUs/new storylines. 3rd Life strikes a brand-new balance.

The development of its characters is also bolstered by improv. As no events on the server are pre-planned, members have to react completely spontaneously to anything that occurs. They don’t get time to think – only to react as though they genuinely were in that situation. As I said at the start, 3rd Life inherently lacks bad writing, because it’s not written. Ren, for instance, began 3rd Life as a kind and harmless person, with others often walking right over him. His reaction to his death by Grian and Scar’s trap spurs him to become the Red King; he raises an army and goes to war, and ends the series having taken countless lives, becoming hardened by war. He begins Last Life by isolating himself from others, seeming jaded and unwilling to form alliances, ready for another war to break out. Being improvised, it’s impossible to say how much of this was deliberate, or if Ren just started building his base without thinking about continuity from the previous season. This improv is what makes it feel so natural. It isn’t planned beforehand. This is Ren’s natural reaction to starting Last Life. It makes his character feel so much more real than it would if this was all scripted beforehand.

3rd Life is, overall, a testament to the power of improv. It manages to be compelling and dramatic without any acting feeling forced or wooden. Its characters’ arcs feel natural, because they are natural. Placing such a heavy emphasis on dialogue, with the gimmick of the server being a vehicle for interactions to happen rather than the sole appeal of the series, makes it truly feel as though we’re getting a glimpse into the characters’ lives, rather than watching a story which has been written beforehand. We get to watch everything unfold in real time. 3rd Life has a magic to it that, to my knowledge, no other SMP has been able to recreate.

#3rd life smp #last life smp #trafficblr #mae analyses #THIS IS REALLY META BUT I JUST <3 I HAVE SO MUCH LOVE FOR HOW WELL 3RD LIFE DOES WHAT IT DOES #THERE'S A *REASON* IT'S SO COMPELLING #it has this different feel to it #one that i've never encountered before because there is NOTHING like 3rd life out there #ohh i love 3rd life a normal and reasonable amount

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cosmicanomily · 3 years

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Lessons from the Series of Unfortunate Events

I was in third grade when my mom brought me to Books-A-Million. I don’t really remember what books I read early on, but my mom recommended the Series of Unfortunate Events to me. We saw the Bad Beginning which started my fascination with the series. Its the only childhood book that still remains with me today, not Harry Potter, not the Land of Elyon (which I unfortunately never finished), not any required reading, but the Series of Unfortunate Events which I considered heavily underrated.

While I was a bit too young to understand much of the deeper themes in third grade, I believe those lessons still remained within me as time went on. The lessons it taught me were this:

1. Adults will not always believe you.

2. Being nice does not equal good

3. Do not look down on people for their misfortunes

4. Morality is not black and white

5. Be enthusiastic about your interest

Spoilers below

Lesson 1: Adults will not always believe you

Every person will relate to this. From the smallest of problems to major trauma, adults will not always believe you nor listen. In fifth grade I fell down onto the ground but caught myself from falling face first.

Teacher: “Why are you on the ground?”

Me: “I fell”

Teacher: “Stop joking around and get up”

Ain’t that bizarre? I fell on the ground, take a bit longer than usual to get up, and a teacher assumed I’m lying. I will not get into the more personal problems of my life, but I feel like this insignificant story shows that if a teacher does not even believe that a kid fell onto the ground, something so simple and small, then what else is that teacher not paying attention to? If an adult cannot even believe me that I say I fell onto the ground, then will that adult even believe the more major and important events happening to me?

The Baudelaire children were almost always ignored. Their trauma, exposure of Count Olaf, and their feelings were always ignored by their guardians, no matter how much protest

Lesson 2: Being Nice does not equal good

This can be a trap easily fallen into, that we conflate being nice is a good thing, which is not always the case. Being nice, does not equal good.Monty, easily my favorite guardian of the triplets, was not a good guardian to them. He engaged with their interests, utilized their skills to engage with them, spent time with, and was overall nice to them. But he did not listen to their warnings about Count Olaf who was in disguise. Mr.Poe was nice to the children, but he neglected them and never listened to their concerns. Charles, in the Miserable Mill, was nice to the children, but did not stand up for them against Sir who abused them and his workers.

Just because someone is nice to you, does not mean they are a good person. Being good requires effort, putting yourself at risk when it matters, and standing up for those who cannot protect themselves. But that does not mean you should not be nice. Being nice, is still something that should be appreciated, which is how the Baudelaire children acted.

They were all good to all, but only nice to those who deserved it. They treated others with respect who deserved it, like the Quagmires. They were very nice to those workers at the carnival. They listened to the feelings of them and encouraged these strangers. You should always strive to be a good person, being nice to others is appreciated. But being nice does not equal good.

Lesson 3: Do not look-down on people for their misfortunes

No one can control their misfortune (generally speaking). You do not control the circumstances of your birth, you do not control what traumatizes you, you do not control all the moving pieces of the world. For this, you shouldn’t judge people on the misfortunes that they cannot control.

This point really stands out in the Carnivorous Carnival with Hugo and Colette. Hugo was a hunchback and Colette was a contortionist who saw themselves as freaks. They lived in a world where people humiliated them because they were “freaks.” What I love about this book is that the children are pretending to be physically disabled to hide themselves in the Freak Show. Sunny is a wolf-baby while Violet and Klaus pretend to be Siamese twins. They, children who lived a very privileged life, still understood that no one can control the circumstances of how their life began. They never made fun of Hugo or Colette, but instead encouraged them to seek a better life. Hugo could not control being a hunchback, but he could control his skills: namely cooking.

Though this mainly is seen with the children with being orphans. People abuse them and mock them for being orphans, which they had literally no control over. They are bullied for their misfortune for no purpose only to make the abuser/bully to feel better about themselves.

We cannot always control the misfortune about our lives, and for the ones we have no control over, we should never mock someone for it. It serves no purpose only to make the bully feel better and only harms the bullied. Which is important for kids to learn. Kids should learn that you should not bully others for simply being different for simply being different or their misfortune. Instead, it is better to encourage others.

Lesson 4: Morality is not Black and White

“People aren't either wicked or noble. They're like chef's salads, with good things and bad things chopped and mixed together in a vinaigrette of confusion and conflict.” - Hook Handed Man, Grim Grotto

A silly line, but ultimately quite true. Everyone is capable and will commit evil actions. Everyone is capable and will commit good deeds. We will be mean, we will be nice. People are confusing! I love this line because it came from one of Olaf’s henchman, the Hook-Handed man who turned-coat to help his sister. This showed that even “bad” people also will commit noble deeds. Early on in the book, the captain (serving as their guardian) also abandoned the children, committing a wicked action.

The children are guilty of committed “wicked” deeds as well. They tricked the blind man in the Hostile Hospital to steal the keys. Probably others that I don’t remember off the top of my head.

People are chef’s salads. We have good things and bad things chopped and mixed together in a vinaigrette of confusion and conflict. The world is much more complicated as we grow up

Lesson 5: Be enthusiastic about your interest

Be enthusiastic about your interest. Violet’s mechanical interested saved the children numerous times. Klaus’ love of reading saved the children numerous times. Sunny’s love of cooking and sharp teeth saved the children numerous times. Be proud of your interest, invest in them. If you have a skill and/or hobby you just love, be enthusiastic about it. It will help you in life.

Thank you for listening to my rant.

#series of unfortunate events #the series of unfortunate events #a series of unfortunate events #baudelaire #klaus baudelaire #violet baudelaire #sunny baudelaire #count olaf #lemony snicket

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firelxdykatara · 3 years

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kitty i can't wait for your thoughts of Shadow and Bone asdfasfaw

Ok well I just finished and I have so many fucking thoughts. Most good! Some, less so. Part of it may just be my bias because I’ve only read the Six of Crows duology and have little interest in actually reading the original trilogy, because I know how it ends and Leigh clearly hates me personally and doesn’t want me to be happy (/j), so I was already predisposed to be far more invested in the Crows and Darkling/Darklina segments (genuinely, the Mal/Malina scenes/storyline bored me to tears, and while I appreciate that the show went out of its way to change Mal’s character to make him much less of a toxic douchebag [I’ve read enough excerpts and explanations of his actions in the books to really loathe book!Malina], it isn’t enough to make me ship them when Darklina is right there), but I also don’t think it’s a stretch to say that the Crows absolutely stole the show.

It’s actually kind of funny, because I’d assumed they were only being so heavily marketed to hype the show up even more, since while there’s a lot of TGT/SoC fandom overlap they are also two fundamentally different genres and I’d wager there are a lot of people who are massive fans of one but not so enthused with the other, while remaining fairly insignificant to the overall plot. Turns out, they make up fully half of the show’s runtime (much to my delight). Which is part of what I think will help this series stand on its own, both as a book adaptation and simply as a fantasy TV series.

I’ll put more of my story-specific thoughts under a cut, so there’s lots of show spoilers to follow!

I know that a lot of early reviewers were saying that Alina’s motivations and storyline revolved too much around Mal, and that really held true for me. It made sense in the beginning--he was the only constant in her life, she was thrust into something new, terrifying, and completely unfamiliar, and they’d developed an unhealthy codependence as a coping mechanism for their childhoods and the traumas they faced, the lives they lead growing up in a war-torn country. But she started coming into her power, falling for the General--not just his power and charisma, but what she felt when she was with him. The way he helped her summon the sun, the way she felt free in a way she never had before.

Until it all went to shit--but the Darklina make-out scene in episode 5? Fucking iconic. Poetic fucking cinema. The way they were quite literally about to have sex on that wartable (and someone better write fic of that moment, what if they hadn’t gotten interrupted), and the General left, but then he ran back just to kiss her one more time... this is what OTPs are made of ok.

I think what really bothers me overall is that Alina ultimately lacked agency in her one storyline, pretty much the entire way through. She did make a few choices, but they were mostly incidental, and a lot of it was Alina desperately trying to get back to Mal rather than seizing her own power and destiny and running with it. The most prominent example is the end of episode 5--Alina is having happy make-outs and almost bones the General in his own war room, and then he leaves, and Baghra comes in and infodumps to her about how evil he is and how he’s only using her and she needs to escape.

I recognize that a lot of this is probably because that’s essentially what happened in the book and Leigh is an executive producer for the show so she has a lot of shot-calling power. However, I really think that even in the book this plotline would’ve been better-served by having Alina make these discoveries on her own.

For example, imagine that the letters which were used as framing devices for episodes 2 and 3 were vitally important to the plot, rather than being one-offs that are mentioned a few times but not really affecting much of anything. Alina begins to get suspicious when she doesn’t receive word from Mal, and she starts wondering if her letters are even reaching him--so she starts snooping. She finds ashes in the war room hearth, late at night,, and recognizes a fragment of Mal’s signature and larger piece of her own. She now knows that someone--possibly the General, but maybe that creepy priest guy, or someone else in the palace--is keeping her and Mal from contacting one another. So she starts snooping around even more. She asks the General leading questions, trying to figure out what the truth is of his intentions. She still feels this pull--this connection to him, and she hopes she’s wrong, but she’s not willing to just sit around and wait for the other shoe to drop.

The Winter Fete still happens, she still gets the hot make-out session with the General, and then when he’s called away, she snoops through his papers, looking for anything that can tell her the truth. She finds a hidden compartment filled with journals.

She reads about Aleksander’s past (and, incidentally, wasn’t that supposed to be a huge moment in the books, him revealing his true name to her in private? kinda wish it had been kept that way in the show but who knows where they’ll go with it in the future)--that leads to the flashbacks in episode 6. She feels for him, but she also reads further--she gets a firsthand look at his desire for power, something that began as a noble desire to save his people, but was twisted by a lust for vengeance (for his lost love and all the Grisha who were killed) and shot through with greed, the realization that if he found the Sun Summoner he could control the Fold, rather than just destroy it. He could create a new world where Grisha could live without fear--where Grisha could rule.

Alina is terrified. Whoever the General used to be--whatever humanity she saw flickering in his eyes, the way his heart fluttered when they kissed--she can’t trust that it’ll be enough to save her from plans centuries in the making. So she goes to Baghra, the woman who helped her discover her power, learn to channel it--the woman who always seemed to know much more than she ever let on. Baghra gives her side of the story--Alina got it from the General’s perspective first, now Baghra is telling her something framed much differently. She isn’t sure what or who to trust, but she knows that Baghra seems willing to help her escape--but rather than trusting her ‘loyal Grisha’, she makes the choice she made in the show, to choose the other path, and winds up with the Crows.

Idk how Mal and the Stag thing would fit into this (if it isn’t obvious by now, Mal just... doesn’t interest me), but Alina’s story and her character arc would be so much stronger for it. And she’s supposed to be the central character, so her story being weak and her agency so frequently being compromised ultimately hurts the show as a whole.

I know I’ve gone on and on about Alina and the Darkling (look, I’m a slut for enemies-to-lovers, and also lovers-to-enemies-and-back, so Darklina and Helnik are where so much of my investment is rooted--plus Kanej, but that almost goes without saying), but the true standouts of the series were the Crows. Inej, Kaz, and Jesper, and Nina and Matthias in their episodes, stole the show (along with the Darkling, Ben is far and away the best actor in the cast and I love that for him, but Freddy, Amita, and Kit are also amazing, and Danielle&Calahan were fucking phenomenal as Nina and Matthias--I do have to say, though, that the whole cast is really solid and has amazing chemistry).

They worked together so perfectly--Freddy and Amita communicated so much with their eyes alone, especially together, and a whole lot of their relationship dynamic is rooted in how they exist together, which really came through. The show altered the Crows timeline considerably (I’m pretty sure Kaz would’ve been 14 during the original trilogy lol), so Inej is still at the Menagerie, but things like Kaz putting up the Crow Club for Inej’s freedom, the way Kaz needed her but could never bring himself to say it (until the end of the season dklhfgdkjfgh i SCREAMED)--the way Jesper played off the both of them, and it’s so obvious they all love each other even though they’re criminals and thieves and murderers, and Kaz would never admit it (out loud--which actually feeds into my theory that his love language is acts of service; Kaz does things for the people he cares about, he never announces it and he will almost always try to downplay it, but the way you know he cares is if, for example, he puts his entire life, everything he built, up as collateral for your freedom), but they’re a family.

One thing that I was kind of iffy about was Inej’s refusal to kill--but I thought it might be something they were planning to work into her overall character arc, and they did. It was the one line she hadn’t crossed--in the books, I’d imagine that it took a while for Inej to wind up at that point, being willing to kill on top of everything else. So I actually like that they worked that into the Crows plotline, and Inej killing for the first time was to save Kaz’s life.

Just like Kaz’s first selfless act was to save her.

(He’d deny it, of course. He protects his investments. He needed her for the job. But the truth is, he did it for her. And he’d do it again. Even if he’d never admit it.)

Meanwhile, Nina and Matthias’ storyline was pretty much note-for-note according to their backstory as it was revealed in Six of Crows, and I loved every second of it. Their chemistry was perfect, their journey from enemies to begrudging allies to friends to maybe something more (Matthias’ stomach cockblocking them when they were about to kiss had me fucking SCREAMING AT THE TV, and then of course the whole ‘betraying him to save him’ thing happened and I sobbed), and then suddenly right back to enemies.

Because from Matthias’ perspective, he trusted a witch--believed in her, liked her, wanted her--and she turned on him. He has no idea that she wasn’t the one who knocked him out in the first place, and no reason to believe her, because as far as he knows, she just confirmed everything he’d ever been told about Grisha. That they are deceitful and treacherous, would turn on you as soon as look at you, that they are dangerous and not to be trusted. It wasn’t revealed in-show but I imagine Matthias’ backstory is largely the same, which means that his entire family was slaughtered by Grisha when he was a young boy, and then he was turned into a brainwashed child soldier by the witch hunters and never knew anything else.

They are perfectly primed for their SoC arc next season and I, for one, am so stoked to see the rest of their journey. And if I slip Netflix a couple twenties, maybe they’ll let Helnik have a happy ending please please please.

Anyway, yeah! I have a lot of thoughts but things are still percolating in my head so I’ll probably float around the tags for a bit and let things settle. This is just a preliminary overview of my thoughts in the immediate aftermath of bingeing the entire show in one night kldfjghdkjfhgkjgf

EDIT TO ADD: I CAN’T BELIEVE I FORGOT ABOUT THE TRUE STAR OF THE SHOW, M I L O

MILO BEST BOY. MILO THE MVP. MILO DESERVES ALL THAT IS GOOD IN THE WORLD AND I HOPE HE LIVES A HAPPY AND HEALTHY AND FULL LITTLE GOAT LIFE.

#shadow and bone #kanej #helnik #darklina #sab spoilers #alina starkov #the darkling #inej ghafa #kaz brekker #jesper fahey #malina salt #asked #cobraonthecob

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silverducks · 3 years

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Game of Thrones - Jaime Lannister

A rambling character study of Jaime Lannister from Game of Thrones.

Introduction

Ok, so nearly a month since I finished watching Game of Thrones, and I’m still not over how it ended. Like some things I can reconcile myself too, some things just annoy me when I overthink what happened and some things - ok one thing in particular - is just not letting me go.

And that is the way the show ended for Jaime Lannister.

I know I’m like 2 years too late on the GoT bandwagon and no one cares anymore. But I’m writing all these posts because I still care, having recently experienced what you all went through 2 years ago. And I know what I’ll be posting will have all been posted countless times before and discussed in the fandom years ago. But I kinda need to still get my own thoughts written down and outta my head.

Before I go on though, I just want to add in here that I do still love this show and, even right to the very end, think the acting, crew, music, sets/scenery, costumes, basically everything was pretty much amazing. That is except the writing, which, went downhill after series 4. Before then it was pretty much amazing too (not always perfect (is anything?), but so darn good!)

Now, turns out when I came to write down my thoughts on Jaime’s ending, I had even more than I realised. Basically it’s turned into me writing one massive analysis of Jaime’s character based on the show. So I’ve split it into separate posts, with this first one more of an intro, a summary of my thoughts and overall opinion on Jaime and a bit of context on my own experience with Game of Thrones.

Now, spoilers for Game of Thrones ending

I’ve read/watched a lot on the internet since I saw those episodes (series 8, episode 4 and 5 in case you weren’t sure) and I know a lot of people don’t like how they ended Jaime’s story in the show either. But I’ve also read a lot of comments where people did like it, or at least thought it made sense. The reasons they give make no sense to me, but it’s made me think and overthink and analyse way too much about how they did end his story.

So, in order to try and get them out of my head, I’m putting them down here. It’s a long, pretty rambling read, split up into a few parts because it got so long. Across the posts I’m going to go through my own understanding and perception of Jaime’s character and his arc and why I think they completely ruined it in episodes 8.04 and 8.05. I’ll then focus on some of the main reasons I’ve seen why people think it did make sense, and why (even though I maintain everyone is entitled to their own opinion) I completely disagree. Jaime’s character arc was annihilated in the show even more than Kings Landing. And that is more than a bit frustrating.

Now, just a bit of background to add some context to my thoughts; I basically only got around to watching the show a few months ago (I’ve not read the books yet). I basically binged watched the entire show and am now just a little bit reeling from it all! LOL! Also, as I did binge watch it, it meant I didn’t spend time between episodes/series really analysing/theorising etc. I had a few ideas and thoughts, but not to the depth it would have been had I needed to wait impatiently for each new episode. This means I think my viewpoint is of the show as an overall whole, rather than each separate series, because it kinda all rolled into one. This may, or may not, have affected my opinion and so this analysis of Jaime Lannister and my disappointment in his ending. It also means, having only watched the show once, I’ve probably forgotten or missed bits. However, since I finished the show, I’ve watched a lot of YouTube videos and read a lot of stuff on the net about it, including in comparison to the books. (And I maybe rewatched some of my favourite scenes just a few times…) And now I am analysing and theorising and thinking about this show way too much! LOL!

So I guess my viewpoint isn’t one of ignorance, but it might not be quite the same as someone who’s been invested in the show from the start.

Like most viewers, I pretty much thought Jaime = evil villain for most of the earlier series. He had the odd moment, but it wasn’t until he did that speech with Catelyn about the conflict of all those oaths he’d taken that I even started to take note of his character. And then series 3 happens, where he has his road trip with Brienne, loses his hand, saves her from a bear and basically starts his wonderful path of character development. And basically manages to go from a guy I pretty much do not like at all at the start, to one of my all time favourite characters ever.

Also, I’m definitely a Brienne/Jaime shipper and did wish them to have a happy ending. However, I pretty much never thought the show would actually even go there, let alone make it happy. In fact, I actually did my best to NOT ship them for such a long time because, being Game of Thrones, I knew it was very unlikely to end well. But, then yeah, their intense staring contests kept on happening and darn it, the way that Jaime’s voice breaks when he says Lady Brienne and him giving her a priceless sword, and what the sword represents and…

Ok, well, yeah, I could gush about them all day, but anyway, I ended up not being able to fight the ship any more after series 6 and THAT tent scene. But, even then, I still didn’t think the show would make it canon, like it would just leave it all open ended/make up your own mind kinda thing.

And then we get to series 8. Like we have a whole episode (that is actually named for their very storyline) with Jaime just staring at Brienne, being all dorky around Brienne and then, if that wasn’t enough, he even KNIGHTS Brienne! I mean, this is epic for this ship! And I would have been ok (not happy, but satisfied) as a Brienne and Jaime shipper if that had been it.

But then no, then he barely leaves her side in the fight against the dead in the next episode – they fight side by side with their two halves of one whole swords, each risking their own life for the other multiple times. And then in the next episode (where I don’t think there’s barely any scene where they’re NOT right next to each other) the show DID make it canon. Like it actually did go there, they slept together (in an adorably awkward scene I love). Heck, Jaime then even chooses to stay in the North and be with Brienne, even though he hates the North. Like this was just epicness of all proportions and I got so excited and all those shippy feels I was trying to hold back just came rushing out and then... and then...

THEN that scene happens. He leaves her. Like WTH…

Anyway, more on that in another post. I guess what I’m trying to say is that as much as I ship them, my issues with Jaime’s ending is less about his relationship with Brienne, and more just his complete 180 on character development. Jaime’s arc has been heavily influenced by Brienne, but it is still amazing in its own right. As I didn’t expect Brienne/Jaime to ever happen (so when it did and then got taken away in the very same episode, it’s incredibly frustrating and gives even less credence to what does happen), it’s not why I’m so annoyed and disappointed with what happened to Jaime.

I’m annoyed because they took all this amazing character growth over 7 series and then screwed it all over in less than two episodes. No, that’s not enough. It was a complete and utter character assassination that completely undermines and destroys 7 series worth of investment and development, completely nullifying everything Jaime went through as a character.

So, yeah, I’m a bit annoyed, but that’s because it makes no sense and it’s bugging me enough to write this whole series of posts. Because I can’t let it go. And having read people justify, even like it online, it’s made my inner analysis thought train go into override. And I’m sorry if these posts are like I’m preaching to the choir, or writing such obvious stuff and repeating myself, I’m just trying to get it all out my head as coherently as I can. Hopefully allowing me to move on a bit.

#Urgh #I need to sit in a corner and try to cheer myself up again before I can write anymore #Maybe watching some Brienne and Jaime fan videos will help cheer me up #And also simultaneously depress me even more.

#Game of Thrones #Jaime Lannister #Brienne x Jaime

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grigori77 · 3 years

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Movies of 2021 - My Pre-Summer Favourites (Part 2)

The Top Ten:

10. ZACK SNYDER’S JUSTICE LEAGUE – one of the undisputable highlights of the Winter-Spring period has to be the long-awaited, much vaunted redressing of a balance that’s been a particular thorn in the side of DC cinematic fans for over three years now – the completion and restoration of the true, unadulterated original director’s cut of the painfully abortive DCEU team-up movie that was absolutely butchered when Joss Whedon took over from original director Zack Snyder and then heavily rewrote and largely reshot the whole thing. It was a somewhat painful experience to view in cinemas back in 2017 – sure, there were bits that worked, but most of it didn’t and it wasn’t like the underrated Batman Vs Superman: Dawn of Justice, which improves immensely on subsequent viewings (especially in the three hour-long director’s cut). No, Whedon’s film was a MESS. Needless to say fans were up in arms, and once word got out that the finished film was not at all what Snyder originally intended, a vocal, forceful online campaign began to restore what quickly became known as the Snyder Cut. Thank the gods that Warner Bros listened to them, ultimately taking advantage of the intriguing alternative possibilities provided by their streaming service HBO Max to allow Snyder to present his fully reinstated creation in its entirety. The only remaining question, of course, is simply … is it actually any good? Well it’s certainly much more like BVS:DOG than Whedon’s film ever was, and there’s no denying that, much like the rest of Snyder’s oeuvre, this is a proper marmite movie – there are gonna people who hate it no matter what, but the faithful, the fans, or simply those who are willing to open their minds are going to find much to enjoy here. The damage has been thoroughly patched, most of the elements that didn’t work in the theatrical release having been swapped out or reworked so that now they pay off BEAUTIFULLY. This time the quest of Bruce Wayne/Batman (Ben Affleck) and Diana Prince/Wonder Woman (Gal Gadot) to bring the first iteration of the Justice League together – half-Atlantean superhuman Arthur Curry/the Aquaman (Jason Momoa), lightning-powered speedster Barry Allan/the Flash (Fantastic Beasts’ Ezra Miller) and cybernetically-rebuilt genius Victor Stone/Cyborg (relative newcomer Ray Fisher) – not only feels organic, but NECESSARY, as does their desperate scheme to use one of the three alien Mother Boxes (no longer just shiny McGuffins but now genuinely well-realised technological forces that threaten cataclysm as much as they provide opportunity for miracles) to bring Clark Kent/Superman (Henry Cavill) back from the dead, especially given the far more compelling threat of this version’s collection of villains. Ciaran Hinds’ mocapped monstrosity Steppenwolf is a far more palpable and interesting big bad this time round, given a more intricate backstory that also ties in a far greater ultimate mega-villain that would have become the DCEU’s Thanos had Snyder had his way to begin with – Darkseid (Ray Porter), tyrannical ruler of Apokolips and one of the most powerful and hated beings in the Universe, who could have ushered the DCEU’s now aborted New Gods storyline to the big screen. The newer members of the League receive far more screen-time and vastly improved backstory too, Miller’s Flash getting a far more pro-active role in the storyline AND the action which also thankfully cuts away a lot of the clumsiness the character had in the Whedon version without sacrificing any of the nerdy sass that nonetheless made him such a joy, while the connective tissue that ties Momoa’s Aquaman into his own subsequent standalone movie feels much stronger here, and his connection with his fellow League members feels less perfunctory too, but it’s Fisher’s Cyborg who TRULY reaps the benefits here, regaining a whole new key subplot and storyline that ties into a genuinely powerful tragic origin story, as well as a far more complicated and ultimately rewarding relationship with his scientist father, Silas Stone (the great Joe Morton). It’s also really nice to see Superman handled with the kind of skill we’d expect from the same director who did such a great job (fight me if you disagree) of bringing the character to life in two previous big screen instalments, as well as erasing the memory of that godawful digital moustache removal … similarly, it’s nice to see the new and returning supporting cast get more to do this time, from Morton and the ever-excellent J.K. Simmonds as fan favourite Gotham PD Commissioner Jim Gordon to Connie Nielsen as Diana’s mother, Queen Hippolyta of Themyscira and another unapologetic scene-stealing turn from Jeremy Irons as Batman’s faithful butler Alfred Pennyworth. Sure, it’s not a perfect movie – the unusual visual ratio takes some getting used to, while there’s A LOT of story to unpack here, and at a gargantuan FOUR HOURS there are times when the pacing somewhat lags, not to mention an overabundance of drawn-out endings (including a flash-forward to a potential apocalyptic future that, while evocative, smacks somewhat of overeager fan-service) that would put Lord of the Rings’ The Return of the King to shame, but original writer Chris Terrio’s reconstituted script is rich enough that there’s plenty to reward the more committed viewer, and the storytelling and character development is a powerful thing, while the action sequences are robust and thrilling (even if Snyder does keep falling back on his over-reliance on slow motion that seems to alienate some viewers), and the new score from Tom Holkenborg (who co-composed on BVS:DOJ) feels a far more natural successor than Danny Elfman’s theatrical compositions. The end result is no more likely to win fresh converts than Man of Steel or Batman Vs Superman, but it certainly stands up far better to a critical eye this time round, and feels like a far more natural progression for the saga too. Ultimately it’s more of an interesting tangential adventure given that Warner Bros seem to be stubbornly sticking to their original plans for the ongoing DCEU, but I can’t help hoping that they might have a change of heart in the future given just how much better the final product is than any of us had any right to expect …

9. SYNCHRONIC – writer-director duo Justin Benson and Aaron Moorhead are something of a creative phenomenon in the science-fiction and fantasy indie cinema scene, crafting films that ensnare the senses and engage the brain like few others. Subtly insidious conspiracy horror debut Resolution is a sneaky little chiller, while deeply original body horror Spring (the film that first got me into them) is weird, unsettling and surprisingly touching, but it was breakthrough sleeper hit The Endless, a nightmarish time-looping cosmic horror that thoroughly screws with your head, that really put them on the map. Needless to say it’s led them to greater opportunities heading into the future, and this is their first film to really reap the benefits, particularly by snaring a couple of genuine stars for its lead roles. Steve (Anthony Mackie) and Dennis (Jamie Dornan) are paramedics working the night shift in New Orleans, which puts them on the frontlines when a new drug hits the streets, a dangerous concoction known as Synchronic that causes its users to experience weird localised fractures in time that frequently lead to some pretty outlandish deaths in adults, while teenage users often disappear entirely. As the situation worsens, the pair’s professional and personal relationships become increasingly strained, compounded by the fact that Steve is concealing his recent diagnosis of terminal cancer, before things come to a head when Dennis’ teenage daughter Brianna (Into the Badlands’ Ally Ioannides) vanishes under suspicious circumstances, and it becomes clear to Steve that she’s become unstuck in time … this is as mind-bendingly off-the-wall and spectacularly inventive as we’ve come to expect from Benson and Moorhead, another fantastically original slice of weirdness that benefits enormously from their exquisitely obsessive attention to detail and characteristically unsettling atmosphere of building dread, while their character development is second to none, benefitting their top-notch cast no end. Mackie is typically excellent, bringing compelling vulnerability to the role that makes it easy to root for him as he gets further out of his depth in this twisted temporal labyrinth, while Dornan invests Dennis with a painfully human fallibility, and Ioannides does a lot with very little real screen time in her key role as ill-fated Brianna. The time-bending sequences are suitably disorienting and disturbing, utilising pleasingly subtle use of visual effects to further mess with your head, and the overall mechanics of the drug and its effects are fiendishly crafted, while the directors tighten the screw of slowburn tension throughout, building to a suitably offbeat ending that’s as devastating as anything we’ve seen from them so far. Altogether this is another winning slice of genre-busting weirdness from a filmmaking duo who deserve continued success in the future, and I for one will be watching eagerly.

8. WITHOUT REMORSE – I’m a big fan of Tom Clancy, to me he was one of the ultimate escapist thriller writers, and whenever a new adaptation of one of his novels comes along I’m always front of the line to check it out. The Hunt For Red October is one of my favourite screen thrillers OF ALL TIME, while my very favourite Clancy adaptation EVER, the Jack Ryan TV series, is, in my opinion, one of the very best Original shows that Amazon have ever done. But up until now my VERY FAVOURITE Clancy creation, John Clark, has always remained in the background or simply absent entirely, putting in an appearance as a supporting character in only two of the movies, tantalising me with his presence but never more than a teaser. Well that’s all over now – after languishing in development hell since the mid-90s, the long-awaited adaptation of my favourite Clancy novel, the origin story of the top CIA black ops operative, has finally arrived, as well as a direct spin-off from distributor Amazon’s own Jack Ryan series. Michael B. Jordan plays John Kelly (basically Clark before he gained his more famous cover identity), a lethally efficient, highly decorated Navy SEAL whose life is turned upside down when a highly classified operation experiences deadly blowback as half of his team is assassinated in retaliation, while Kelly barely survives an attack in which his heavily pregnant wife is killed. With the higher-ups unwilling the muddy the waters while scrambling to control the damage, Kelly, driven by rage and grief, takes matters into his own hands, embarking on a violent personal crusade against the Russian operatives responsible, but as he digs deeper with the help of his former commanding officer, Lt. Commander Karen Greer (Queen & Slim’s Jodie Turner-Smith), and mid-level CIA hotshot Robert Ritter (Jamie Bell), it becomes clear that there’s a far more insidious conspiracy at work here … in the past the Clancy adaptations we’ve seen tend to be pretty tightly reined-in affairs, going for a PG-13 polish that maintains the intellectual fireworks but still tries to keep the violence clean and relatively family-friendly, but this was never going to be the case here – Clark has always been Jack Ryan’s dark shadow, Clancy’s righteous man without the moral restraint, and a PG-13 take never would have worked, so going for an unfettered R-rating is the right choice. Jordan’s Kelly/Clark is a blood-soaked force of nature, a feral dog let off the leash, bringing a brutal ferocity to the action that does the literary source proud, tempered by a wounded vulnerability that helps us to sympathise with the broken but still very human man behind the killer; Turner-Smith, meanwhile, regularly matches him in the physical stakes, jumping into the action with enthusiasm and looking damn fine doing it, but she also brings tight control and an air of pragmatic military professionalism that makes it easy to believe in her not only as an accomplished leader of fighting men but also as the daughter of Admiral Jim Greer, while Bell is arrogant and abrasive but ultimately still a good man as Ritter; Guy Pearce, meanwhile, brings his usual gravitas and quietly measured charisma to proceedings as US Secretary of Defence Thomas Clay, and Lauren London makes a suitably strong impression during her brief screen time to make her absence keenly felt as Kelly’s wife Pam. The action is intense, explosive and spectacularly executed, culminating in a particularly impressive drawn-out battle through a Russian apartment complex, while the labyrinthine plot is intricately crafted and unfolds with taut precision, but then the screenplay was co-written by Taylor Sheridan, who here reteams with Sicario 2 director Stefano Sollida, who’s also already proven to be a seasoned hand at this kind of thing, and the result is a tense, knuckle-whitening suspense thriller that pays magnificent tribute to the most compelling creation of one of the best authors in the genre. Amazon have signed up for more with already greenlit sequel Rainbow Six, and with this directly tied in with the Jack Ryan TV series too I can’t help holding out hope we just might get to see Jordan’s Clark backing John Krasinski’s Ryan up in the future …

7. RAYA & THE LAST DRAGON – with UK cinemas still closed I’ve had to live with seeing ALL the big stuff on my frustratingly small screen at home, but at least there’s been plenty of choice with so many of the big studios electing to either sell some of their languishing big projects to online vendors or simply release on their own streaming services. Thank the gods, then, for the House of Mouse following Warner Bros’ example and releasing their big stuff on Disney+ at the same time in those theatres that have reopened – this was one movie I was PARTICULARLY looking forward to, and if I’d had to wait and hope for the scheduled UK reopening to occur in mid-May I might have gone a little crazy watching everyone else lose it over something I still hadn’t seen. That said, it WOULD HAVE been worth the wait – coming across sort-of a bit like Disney’s long overdue response to Dreamworks’ AWESOME Kung Fu Panda franchise, this is a spellbinding adventure in a beautifully thought-out fantasy world heavily inspired by Southeast Asia and its rich, diverse cultures, bursting with red hot martial arts action and exotic Eastern mysticism and brought to life by a uniformly strong voice cast dominated by actors of Asian descent. It’s got a cracking premise, too – 500 years ago, the land of Kumandra was torn apart when a terrible supernatural force known as the Druun very nearly wiped out all life, only stopped by the sacrifice of the last dragons, who poured all their power and lifeforce into a mystical gem. But when the gem is broken and the pieces divided between the warring nations of Fang, Heart, Spine, Tail and Talon, the Druun return, prompting Raya (Star Wars’ Kelly Marie Tran), the fugitive princess of Heart, to embark on a quest to reunite the gem pieces and revive the legendary dragon Sisu in a desperate bid to vanquish the Druun once and for all. Moana director Don Hall teams up with Blindspotting helmer Carlos Lopez Estrada (making his debut in the big chair for Disney after helping develop Frozen), bringing to life a thoroughly inspired screenplay co-written by Crazy Rich Asians’ Adele Kim which is full to bursting with magnificent world-building, beautifully crafted characters and thrilling action, as well as the Disney prerequisites of playful humour and tons of heart and soul. Tran makes Raya an feisty and engaging heroine, tough, stubborn and a seriously kickass fighter, but with true warmth and compassion too, while Gemma Chan is icy cool but deep down ultimately kind of sweet as her bitter rival, Fang princess Namaari, and there’s strong support from Benedict Wong and Good Boys’ Izaac Wang as hard-but-soft Spine warrior Tong and youthful but charismatic Tail shrimp-boat captain Boun, two of the warm-hearted found family that Raya gathers on her travels. The true scene-stealer, however, is the always entertaining Awkwafina, bringing Sisu to life in wholly unexpected but thoroughly charming and utterly adorable fashion, a goofy, sassy and sweet-natured bundle of fun who grabs all the best laughs but also unswervingly champions the film’s core messages of peace, unity and acceptance in all things, something which Raya needs a lot of convincing to take to heart. Visually stunning, endlessly inventive, consistently thrilling and frequently laugh-out-loud funny, this is another solid gold winner once again proving that Disney can do this kind of stuff in their sleep, but it’s always most interesting when they really make the effort to create something truly special, and that’s just what they’ve done here. As far as I’m concerned, this is one of the studio’s finest animated features in a good long while, and thoroughly deserving of your praise and attention …

6. THE MITCHELLS VS THE MACHINES – so what piece of animation, you might be asking, could POSSIBLY have won over Raya as my animated feature of the year so far? After all, it would have to be something TRULY special … but then, remember Spider-Man: Into the Spider-Verse? Back in 2018, that blew me away SO MUCH that it very nearly became my top animated feature of THE PAST DECADE (only JUST losing out, ultimately, to Dreamworks’ unstoppable How to Train Your Dragon trilogy). When I heard its creators, the irrepressible double act of Phil Lord and Christopher Miller (The Lego Movie, Cloudy With a Chance of Meatballs), were going to be following that up with this anarchic screwball comedy adventure, I was VERY EXCITED INDEED, a fervour which was barely blunted when its release was, inevitably, indefinitely delayed thanks to the global pandemic, so when it finally released at the tail end of the Winter-Spring season I POUNCED. Thankfully my faith was thoroughly rewarded – this is an absolute riot from start to finish, a genuine cinematic gem I look forward to going back to for repeated viewings in the near future, just to soak up the awesomeness – it’s hilarious to a precision-crafted degree, brilliantly thought-out and SPECTACULARLY well-written by acclaimed Gravity Falls writer-director Mike Rianda (who also helms here), injecting the whole film with a gleefully unpredictable, irrepressibly irreverent streak of pure chaotic genius that makes it a affectionately endearing and utterly irresistible joyride from bonkers start to adorable finish. The central premise is pretty much as simple as the title suggests, the utterly dysfunctional family in question – father Rick (Danny McBride), born outdoorsman and utter technophobe, mother Linda (Maya Rudolph), much put-upon but unflappable even in the face of Armageddon, daughter Katie (Broad City co-creator Abbi Jacobson), tech-obsessed and growing increasingly estranged from her dad, and son Aaron (Rianda himself), a thoroughly ODD dinosaur nerd – become the world’s only hope after naïve tech mogul Mark Bowman (Eric Andre), founder of PAL Labs, inadvertently sets off a robot uprising. Cue a wild ride comedy of errors of EPIC proportions … this is just about the most fun I’ve had with a movie so far this year, an absolute riot throughout, but there’s far more to it than just a pile of big belly laughs, with the Mitchells all proving to be a lovable bunch of misfits who inspire just as much deep, heartfelt affection as they learn from their mistakes and finally overcome their differences, becoming a better, more loving family in the process, McBride and Jacobson particularly shining as they make our hearts swell and put a big lump in our throat even while they make us titter and guffaw, while the film has a fantastic larger than (virtual) life villain in PAL (Olivia Colman), the virtual assistant turned megalomaniacal machine intelligence spearheading this technological revolution. Much like its Spider-Man-shaped predecessor, this is also an absolutely STUNNING film, visually arresting and spectacularly inventive and bursting with neat ideas and some truly beautiful stylistic flair, frequently becoming a genuine work of cinematic art that’s as much a feast for the eyes as it is the intellect and, of course, the soul. Altogether then, this is definitely the year’s most downright GORGEOUS film so far, as well as UNDENIABLY its most FUN. Lord and Miller really have done it again.

5. P.G. PSYCHO GOREMAN – the year’s current undeniable top guilty pleasure has to be this fantastic weird, thoroughly over-the-top and completely OUT THERE black comedy cosmic horror that doesn’t so much riff on the works of HP Lovecraft as throw them in a blender, douse them with maple syrup and cayenne pepper and then hurl the sloppy results to the four winds. On paper it sounds like a family-friendly cutesy comedy take on Call of Cthulu et al, but trust me, this sure ain’t one for the kids – the latest indie horror offering from Steven Kostanski, co-creator of the likes of Manborg, Father’s Day and The Void, this is one of the weirdest movies I’ve seen in years, but it’s also one of the most gleefully funny, playing itself entirely for yucks (frequently LITERALLY). Mimi (Nita Josee-Hanna) and Luke (Owen Myre) are a two small-town Canadian kids who dig a big hole of their backyard, accidentally releasing the Arch-Duke of Nightmares (Matthew Ninaber and the voice of Steven Vlahos), an ancient, god-tier alien killing machine who’s been imprisoned for aeons in order to protect the universe from his brutal crusade of death and destruction. To their parents’ dismay, Mimi decides to keep him, renaming him Psycho Goreman (or “P.G.” for short) and attempting to curb his superpowered murderous impulses so she can have a new playmate. But the monster’s original captors, the Templars of the Planetary Alliance, have learned of his escape, sending their most powerful warrior, Pandora (Kristen McCulloch), to destroy him once and for all. Yup, this movie is just as loony tunes as it sounds – Kostanski injects the film with copious amounts of his own outlandish, OTT splatterpunk extremity, bringing us a riotous cavalcade of bizarrely twisted creatures and mutations (brought to life through some deliciously disgusting prosthetic effects work) and a series of wonderfully off-kilter (not to mention frequently off-COLOUR) darkly comic skits and escapades, while the sense of humour is pretty bonkers but also generously littered with nuggets of genuine sharply observed genius. The cast, although made up almost entirely of unknowns, is thoroughly game, and the kids particularly impress, especially Josee-Hanna, who plays Mimi like a flamboyant, mercurial miniature psychopath whose zinger-delivery is clipped, precise and downright hilarious throughout. There are messages of love conquering all and the power of family, both born and made, buried somewhere in there too, but ultimately this is just 90 minutes of wonderful weirdness that’s sure to melt your brain but still leave you with a big dumb green when it’s all over. Which is all we really want from a movie like this, right?

4. SPACE SWEEPERS – all throughout the pandemic and the interminable lockdowns, Netflix have been a consistent blessing to those of us who’ve been craving the kind of big budget blockbusters we have (largely) been unable to get at the cinema. Some of my top movies of 2020 were Netflix Originals, and they’ve continued the trend into 2021, having dropped some choice cuts on us over the past four months, with some REALLY impressive offerings still to come as we head into the summer season (roll on, Zack Snyder’s Army of the Dead!). In the meantime, my current Netflix favourite of the year so far is this phenomenal milestone of Korean cinema, lauded as the country’s first space blockbuster, which certainly went big instead of going home. Writer-director Jo Sung-hee (A Werewolf Boy, Phantom Detective) delivers big budget thrills and spills with a bombastic science-fiction adventure cast in the classic Star Wars mould, where action, emotion and fun characters count for more than an admittedly simplistic but still admirably archetypical and evocative plot – it’s 2092, and the Earth has become a toxic wasteland ruined by overpopulation and pollution, leading the wealthy to move into palatial orbital habitats in preparation for the impending colonisation of Mars, while the poor and downtrodden are packed into rotting ghetto satellites facing an uncertain future left behind to fend for themselves, and the UTS Corporation jealously guard the borders between rich and poor, presided over by seemingly benevolent but ultimately cruel sociopathic genius CEO James Sullivan (Richard Armitage). Eking out a living in-between are the space sweepers, freelance spaceship crews who risk life and limb by cleaning up dangerous space debris to prevent it from damaging satellites and orbital structures. The film focuses on the crew of sweeper vessel Victory, a ragtag quartet clearly inspired by the “heroes” of Cowboy Bebop – Captain Jang (The Handmaiden’s Kim Tae-ri), a hard-drinking ex-pirate with a mean streak and a dark past, ace pilot Kim Tae-ho (The Battleship Island’s Song Joong-ki), a former child-soldier with a particularly tragic backstory, mechanic Tiger Park (The Outlaws’ Jin Seon-Kyu), a gangster from Earth living in exile in orbit, and Bubs (a genuinely flawless mocapped performance from A Taxi Driver’s Yoo Hae-jin), a surplus military robot slumming it as a harpooner so she can earn enough for gender confirmation. They’re a fascinating bunch, a mercenary band who never think past their next paycheque, but there’s enough good in them that when redemption comes knocking – in the form of Kang Kot-nim (newcomer Park Ye-rin), a revolutionary prototype android in the form of a little girl who may hold the key to bio-technological ecological salvation – they find themselves answering the call in spite of their misgivings. The four leads are exceptional (as is their young charge), while Armitage makes for a cracking villain, delivering subtle, restrained menace by the bucketload every time he’s onscreen, and there’s excellent support from a fascinating multinational cast who perform in a refreshingly broad variety of languages. Jo delivers spectacularly on the action front, wrangling a blistering series of adrenaline-fuelled and explosive set-pieces that rival anything George Lucas or JJ Abrams have sprung on us this century, while the visual effects are nothing short of astounding, bringing this colourful, eclectic and dangerous universe to vibrant, terrifying life; indeed, the world-building here is exceptional, creating an environment you’ll feel sorely tempted to live in despite the pitfalls. Best of all, though, there’s tons of heart and soul, the fantastic found family dynamic at the story’s heart winning us over at every turn. Ultimately, while you might come for the thrills and spectacle, you’ll stay for these wonderful, adorable characters and their compelling tale. An undeniable triumph.

3. JUDAS & THE BLACK MESSIAH – I’m a little fascinated by the Black Panther Party, I find them to be one of the most intriguing elements of Black History in America, but outside of documentaries I’ve never really seen a feature film that’s truly done the movement justice, at least until now. It’s become a major talking point of the Awards Season, and it’s easy to see why – director Shaka King is a protégé of Spike Lee, and together with up-and-coming co-screenwriter Wil Berson he’s captured the fire and fervour of the Party and their firebrand struggle for racial liberation through force of arms, as well as a compelling portrait of one of their most important figures, Fred Hampton, the Chairman of the Illinois Chapter of the BPP and a powerful political activist who could have become the next Martin Luther King or Malcolm X. Get Out’s Daniel Kaluuya is magnificent in the role, effortlessly holding your attention in every scene with his laconic ease and deceptively friendly manner, barely hinting at the zealous fire blazing beneath the surface, but the film’s true focus is the man who brought him down, William O’Neal, a fellow Panther and FBI informant placed in the Chapter to infiltrate the movement and find a way for the US Government to bring down what they believed to be one of the country’s greatest internal threats. Lakeith Stanfield (Sorry to Bother You, Knives Out) delivers a suitably complex performance as O’Neal, perfectly embodying a very clever but also very desperate man walking a constant tightrope to maintain his cover in some decidedly wary company, but there’s never any real sense that he’s playing the villain, Stanfield largely garnering sympathy from the viewer as we’re shamelessly made to root for him, especially once he starts falling for the very ideals he’s trying to subvert – it’s a true star-making performance, and he even holds his own playing opposite Kaluuya himself. The rest of the cast are equally impressive, Dominique Fishback (Project Power, The Deuce) particularly holding our attention as Hampton’s fiancée and fellow Panther Akua Njeri, as does Jesse Plemmons as O’Neal’s idealistic but sympathetic FBI handler Roy Mitchell, while Martin Sheen is the film’s nominal villain in a chillingly potent turn as J. Edgar Hoover. This is an intense and thrilling film, powered by a tense atmosphere of pregnant urgency and righteous fury, but while there are a few grittily realistic set pieces, the majority of the fireworks on display are performance based, the cast giving their all and King wrestling a potent and emotionally resonant, inescapably timely history lesson that informs without ever slipping into preachy exposition, leaving an unshakable impression long after the credits have rolled. This doesn’t just earn all the award-winning kudos it gained, it deserved A LOT MORE recognition that it got, and if this were a purely critical rundown list I’d have to put it in the top spot. As it is I’m monumentally enamoured of this film, and I can’t sing its praises enough …

2. RUN, HIDE, FIGHT – the biggest surprise hit for me so far this year was this wicked little indie suspense thriller from writer-director Kyle Rankin (Night of the Living Deb), which snuck in under the radar but is garnering an impressive reputation as a future cult sleeper hit. Critics have been less kind, but the subject matter is a pretty thorny issue, and if handled the wrong way it could have been in very poor taste indeed. Thankfully Rankin has crafted a corker here, initially taking time to set the scene and welcome the players before throwing us headfirst into an unbelievably tense but also unsettlingly believable situation – a small town American high school becomes the setting for a fraught siege when a quartet of disturbed students take several of their classmates hostage at gunpoint, creating a social media storm in the process as they encourage the capture of the crisis on phone cameras. While the local police gather outside, the shooters discover another threat from within the school throwing spanners in the works – Zoe Hull (Alexa & Katie’s Isabel May), a seemingly nondescript girl who happens to be the daughter of former marine scout sniper Todd (Thomas Jane). She’s wound pretty tight after the harrowing death of her mother to cancer, fuelled by grief and conditioned by her father’s training, so she’s determined to get her friends and classmates out of this nightmare, no matter what. Okay, so the premise reads like Die Hard in a school, but this is a very different beast, played for gritty realism and shot with unshowy cinema-verité simplicity, Rankin cranking up the tension beautifully but refusing to play to his audience any more than strictly necessary, drip-feeding the thrills to maximum effect but delivering some harrowing action nonetheless. The cast are top-notch too, Jane delivering a typically subtle, nuanced turn while Treat Williams is likeably stoic as world-weary but dependable local Sherriff Tarsey, Rhada Mitchell intrigues as the matter-of-fact phantom of Zoe’s mum, Jennifer, that she’s concocted to help her through her mourning, Olly Sholotan is sweetly geeky as her best friend Lewis, and Eli Brown raises genuine goosebumps as an all-too-real teen psychopath in the role of terrorist ringleader Tristan Voy. The real beating heart and driving force of the film, though, is May, intense, barely restrained and all but vibrating with wounded fury, perfectly believable as the diminutive high school John McClane who defies expectations to become a genuine force to be reckoned with, as far as I’m concerned one of this year’s TOP female protagonists. Altogether this is a cracking little thriller, a precision-crafted little action gem that nonetheless raises some troubling questions and treats its subject matter with utmost care and respect, a film that’s destined for major cult classic status, and I can’t recommend it enough.

1. NOBODY – do you love the John Wick movies but you just wish they took themselves a bit less seriously? Well fear not, because Derek Kolstad has delivered fantastically on that score, the JW screenwriter mashing his original idea up with the basic premise of the Taken movies (former government spook/assassin turned unassuming family man is forced out of retirement and shit gets seriously trashed as a result) and injecting a big dollop of gallows humour. This time he’s teamed up with Ilya Naishuller, the stone-cold lunatic who directed the deliriously insane but also thoroughly brilliant Hardcore Henry, and the results are absolutely unbeatable, a pitch perfect jet black action comedy bursting with neat ideas, wonderfully offbeat characters and ingenious plot twists. Better Call Saul’s Bob Odenkirk is perfect casting as Hutch Mansell, the aforementioned ex-“Auditor”, a CIA hitman who grew weary of the lifestyle and quit to find some semblance of normality with his wife Becca (Connie Nielsen), with whom he’s had two kids. Ultimately, he seems to have “overcompensated”, and his life has stagnated, Hutch following a autopiloted day-to-day routine that’s left him increasingly unfulfilled … then fate intervenes and a series of impulsive choices see him falling back on his old ways while defending a young woman from drunken thugs on a late night bus ride. Problem is, said lowlifes work for the Russian Mob, specifically Yulian Kuznetsov (Leviathan’s Aleksei Serebryakov), a Bratva boss charged with guarding the Obshak, who must exact brutal vengeance in order to save face. Cue much bloody violence and entertaining chaos … Kolstad can do this sort of thing in his sleep, but his writing married with Naishuller’s singularly BONKERS vision means that the anarchy is dialled right up to eleven, while the gleefully dark sense of humour shot through makes the occasional surreality and bitingly satirical observation on offer all the more exquisite. Odenkirk is a low-key joy throughout, initially emasculated and pathetic but becoming more comfortable in his skin as he reconnects with his old self, while Serebryakov hams things up spectacularly, chewing the scenery with aplomb; Nielsen, meanwhile, brings her characteristic restrained classiness to proceedings, Christopher Lloyd and the RZA are clearly having the time of their lives as, respectively, Hutch’s retired FBI agent father David and fellow ex-spook half-brother Harry, and there’s a wonderfully game cameo from the incomparable Colin Salmon as Hutch’s former handler, the Barber. Altogether then, this is the perfect marriage of two fantastic worlds – an action-packed thrill ride as explosively impressive as John Wick, but also a wickedly subversive laugh riot every bit as blissfully inventive as Hardcore Henry, and undeniably THE BEST MOVIE I’ve seen so far this year. Sure, there’s some pretty heavyweight stuff set to (FINALLY) come out later this year, but this really will take some beating …

#movies 2021 #zack snyder's justice league #synchronic #synchronic movie #without remorse #raya and the last dragon #the mitchells vs the machines #pg psycho goreman #psycho goreman #space sweepers #judas and the black messiah #run hide fight #nobody #nobody movie

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ilooklikeaburntchickenugget · 4 years

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Only Mine Pt. 4

A/N: So this is basically a series at this point but I’m kind of in love with this idea I’ve created of a pop star reader and MCR Gerard? I don’t know it’s interesting. Also, if you haven’t figured this out yet, the reader is based heavily off of Taylor Swift. Not looks or anything but her career. But instead of country star turned pop star (now turned folk artist), it’s rock band lead singer turned pop star. So yeah. Pairing: F!Pop Star reader x Gerard Way Word count: 1,983 Warnings: Mention of eating disorder, I think that’s all.

Most interviews did not excite you in any way, shape, or form. The idea of sitting down and answering consistent questions, some bland, some too personal, and even some misogynistic was exhausting. But when you were offered a complete 25 minute feature on you and your life from 60 Minutes, you gladly accepted the offer.

Sitting down in your large, open living room now filled with lights and camera crew as well as the reporter, you introduced yourself and the interview began. Initially the questions were primarily about your upbringing, how you started in music, all the usual stuff. But as the interview continued, the questions got more and more complex, and more and more personal.

“Your album, My Midnight Boy, blew up, you won award after award, went on a world tour,” The interviewer began her question, her soft nature making you more comfortable, “You’ve mentioned before that there have been both positive and negative effects to the response of the album. You’ve talked about the positive, but what about the negative?” She asked with a slight smile, as if tying to both apologize and make you more comfortable with the question. You took a deep breath and a light laugh.

“Yeah, I mean, I will be eternally grateful for the opportunity that album has given me, and will continue to give me,” You began, “But the amount of fame and spotlight it gave me also comes in a negative sense. There’s been a lot of rumors that have started, and tabloids that seem to consistently try and build a narrative of my life that just isn’t true.” You continued, “And it gets more difficult when they begin targeting people in your life, besides yourself. You try to build a shield around those people, but they’re inevitably going to see what’s happening and the lies being thrown around about you and them.” “Who are you talking about, in specific?” She asked next.

“Well,” You took a deep breath, “It’s primarily my husband. Which is extremely ironic considering this entire album is abut him. There’s this tendency some people get when they see my personal life to attack it using my work as their weapon. So there’s been this rumor around for years, since the album was released, about Gerard getting married to me to use me for my money and fame, which is completely and utterly not true.”

“Why do you say that?”

“Because he would have left me during my worse and darkest days if he didn’t love me for who I am.” She hummed and nodded.

“And what were those days?” “Um,” You took a deep swallow, “I went through an extremely rough eating disorder a few years back. And I didn’t really know, or understand how bad it was until there were people who chose to intervene. And he was one of those people.”

“Speaking of your husband, you and him have been open about your relationship when compared to many other public figures in your same positions, which has led to many people to comment on it. What do you have to say to that?” She continued the topic of Gerard, sensing the uncomfortability of the last question and answer.

“That his and my relationship is not up for discussion,” You began, “We’ve been together for over five years now, we’ve gotten what feels like an endless stream of bad press and rumors, even from the beginning with a five year age gap, and now, somehow, our relationship exploded into somehow being infested by the world.”

“Is that why you and he are so private now?” “It was a mixture of that, and for our careers as well. Both him and I are constantly touring, or making music for our own projects, and we don’t get many intimate moments together. So when we do get those close moments, where it’s just him and I, we like to spend them with just each other, the two of us.”

“You and he have been an interesting couple, but fans seem to love you together,” She began, “There’s been common discussion about the two of you being so different. Gerard looks like this rebellious bad boy, and you’re an innocent good girl. Does that fit into your everyday life?” You lightly smiled knowing she was right, you and Gerard were opposite.

“Kind of, but not really,” You began with a laugh, “We’re similar in a thousand different ways as well. I think there’s a very common misconception among everyone in the music industry, that the image created by your work and by your stage persona is you in real life. And to an extent that’s accurate, but it’s also not. I don’t wear crop tops and short skirts, or sparkly body suits and dresses like I do on stage everyday in my normal life. So while both of us are different in many ways, such as our art and how we dress, our personalities are extremely similar. We’re both nerds about comics, we both love to read, we love to do a lot. So our careers are drastically different, but us as people, we’re very similar.”

“You’ve mentioned before that you’ve wanted to be a mom, start a family quite frequently.” You smiled and nodded, “Would you and Gerard still do that? Even after all the fame?” “I think so, yeah.” You began, “We’ve discussed the idea of having a family, of being parents a lot, and both of us are on the same page. We want to have kids, we want to have a family and raise one of our own. But we need the right time and ability to do so. We will both refuse to take a child into our world of chaos without knowing a way to remove them from that chaos, completely. And having them not be involved or in the public eye at all.” You explained.

“And I think in the future that’s going to require both of us to take breaks from our public personas, and our public lives, and focus solely on our private life for at least two to three years. At least to a point where we feel comfortable enough to say, ‘Okay, we’ve retracted our child from any chance of being targeted by anyone in the world who we don’t want them to see. Now let’s re-emerge ourselves, but only to the extent that we can be sure that our child will have two supporting parents, both of whom can properly care for them.’” She hummed with a light smile again, nodding.

“Now, there have been numerous ideas surrounding your previous project, Suggestions From Thursday, which was the band you started in and your only other project aside from your solo career.” You nervously nodded as the interviewer continued asking her question, “When you decided to release your first solo project, the band broke up. Is there any bad blood between the four of you?” “Um,” You nervously played with your fingers trying to create a fast and satisfactory answer that you wouldn’t regret later, “I would hope not. I haven’t really talked to the guys since the split happened. But I would hope there’s a mutual respect between everyone in the situation for both us as people and our history together.”

The interview wrapped up relatively quickly, the reporter was actually very nice and respectful. Her smooth and pleasant tone of voice, plus easy going vibe made you feel very open to talk, and pressured in no way. You knew the intention of 60 Minutes interviews was not to insult the person, but to explain and elaborate on who they really are, which you were more than happy to do.

Once the interview concluded and the camera crew had finished cleaning up your living room, you said goodbye, closing the door and taking a sigh of relief. While you enjoyed the interview and liked how no questions were asked as if to imply an answer, they were still exhausting. You went upstairs, running yourself a bath despite the fact it was 4 pm. And pouring yourself a glass of wine with that.

You were in the tub for a good hour before the water got too cold, getting out to change into an oversize sweatshirt and short pajama shorts. Gerard would be home in only a few hours and would be the only one to see you, so it was’t like it mattered what you wear.

You walked down stairs beginning to cook dinner, a good way to calm yourself down. You began reflecting on the interview, now partially freaking out over whether anything you said could or would be used against you. Yes, 60 Minutes was always pretty unbiased and tried their best to promote everyone who wasn’t actually bad, which you thought you were, but still. The PTSD from previous bad articles about you was slowly building up.

You were chopping some vegetables when you heard Gerard come in, kicking off his tennis shoes and walking into the large, modern kitchen where you were. He kissed your shoulder, giving you a hug from behind. “Hey babe.” You lightly smiled feeling his warmth.

“Hey,” He responded, still hugging you, “How did the interview go.” “Good,” You sighed, “Difficult, and personal, but good.”

“Personal?” He asked next, grabbing some water from your fridge, “What did they ask about?” “Typical things. How I grew up and got here, which grew into you and I, which went into even more personal stuff.” He rose an eyebrow at you taking a sip from his glass, as you sighed in defeat. “Well some of it was about my ED, but they asked me about kids too.” You mentioned.

“Oh?” He inquired again, “And how did you respond?” “With the truth,” You looked over at him from where you were previously invested in your cooking activities, “That you and I want a family one day, but only when we feel it best fit.”

“We could start right now.” He smirked and you scoffed.

“C’mon Gee, for real?” You whined. He sighed in defeat, walking over and giving you a hug.

“Fine, fine, I was just trying to cheer you up.” “I know.” You whispered, your head comfortably in the crook of his neck. “Maybe we should get a dog first.” You said.

“A dog?” He asked and lightly laughed, “We could.”

“Like as a test subject, to see how we would be as parents.” He lightly laughed, kissing the top of your head.

“Mkay babe, you go with that.” He let go of you, looking over at the food you has just started. AKA the chopped vegetables. “Let’s get takeout, sweetheart. You’ve had a long day.” “But-” You tried to protest “No buts.” He insisted. “I need you to not worry and do nothing right now. Other than sit down with me, and watch something.”

The two of you were placed on your huge couch, which could have easily fit eight people, your legs draped over Gerard’s as his arm tightly wrapped around your back, head on his shoulder. He had pulled a blanket over the two of you as you indulged in burgers messily, catching up on a show.

All day you had been heavily reflecting on a lot of what the interview was about. What hit so close was the idea that Gerard was going to corrupt you in a way, a common rumor that had been passed around tabloids and gossip sites dozens of times. You had never truly addressed the rumors, not even in the interview today. But as you mindlessly observed the scenes scanning the TV screen, you got an idea. A brilliant idea at that.

Swinging your legs onto the floor, you got up with haste, beginning to march out of the room. “Where’re you going?” Gerard asked, a confused look on his face.

“To write an album.”

#gerard way fanfiction #gerard way x reader #gerard way #gee way #mcr gerard #my chemical gerard #my chemical romance #My Chem #my chemical gee #my chemical romance x reader

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krisrix · 4 years

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Venite adoremus

FIC PREVIEW

In a wild series of overestimations and underestimations, I find myself without a finished chapter 1 of my @carryonthroughtheages fic to present to you all tonight... I’m so sorry!! I’ll try to get it up soon. In the meantime, please accept this small preview of what’s to come:

December 1726

Bleeding bloody hell.

I do my best to stave off the vulgar words ready to tumble free as I openly gawk at the man standing before me, both of us poised to advance upon the same residence. The croaks of my befuddlement at his presence leak out like dying crickets as I struggle to find a single appropriate thing to say.

“What are you doing here?” is what I blurt. While it’s a good deal better than greeting him with profanity, this is not an auspicious start for the evening.

Basilton arches one of his cruel eyebrows at me, and the back of my neck grows hot despite the winter chill. One might imagine that after seven years of having the misfortune of his acquaintance, I might be inured to the gesture. Heaven knows I’m as familiar with the catalog of his expressions of distaste as I am with the constellations which dot the night sky.

“Good evening, Mr Llewellyn,” he says with polite enunciation, and I know it to be spiteful; he rarely has the decency to call me anything other than my middle name, ‘Snow’.

Shame burns high in my cheeks as my namesake leisurely collects around us. I clear my throat and try to greet him anew: “Good evening, Your Grace.” I tip my head, disturbing the snow gathering on my hat. “I’m, ah, surprised to see you here.”

“Yes, I inferred that much.”

Duke Tyrannus Basilton Grimm-Pitch is an infuriating specimen of a man, and it’s rare I ever mind saying so. As a matter of course, Basilton and I have spent a not-insignificant portion of our lives reminding anyone who will listen exactly how much we detest one another. Penny has all but barred me from mentioning Basilton in my letters. Back when he and I were only squabbling boys at Eton, our rivalry still in its infancy, Penny wrote:

‘As to the matters of the Marquess,’—for that was his title at the time—‘I should hope you take only the appropriate amount of offence when I profess to you that, regardless of all my deep sisterly affections for you, I cannot possibly bear to read another correspondence so heavily burdened with details about him. Save for in the circumstances of utmost importance, of which I can predict no such circumstances at all, I implore you to keep your mentions of him to no more than one-tenth the sum of words gracing the rest of your letter. Ideally, should you care enough for me to do the favour, you will also confine these words to a postscript. If you cannot comply, I am afraid you will leave me no choice but to burn all of your letters, for I can no longer bear the headaches they cause me.’

I begged Penny not to make me do such maths in my letter writing, which she was all too pleased to remind me of a mere year later when I became irretrievably invested in mapping the movements of the heavenly bodies. Given that this chosen course of study then only brought me further into Basilton’s very own path, for he too sought out such knowledge, my letters were well-calculated from then on. I had no disillusions that my dear childhood friend Penelope Bunce wouldn’t be good on her word.

In turn, I have become very skilled in slipping references to him in my letters in ways Penny might not berate me for. Then, I pour my unfiltered thoughts out into a diary before bed so that I have a private account of Basilton’s many misgivings. It’s important I keep a record—know thy enemy, and all that.

Faced with him right now, numerous possible complaints tumble about in my mind, but this is neither the time nor the place for such musings. Which brings me back to my initial query: “What brings you to London, Duke?” I ask with what little formality I can muster. Last I saw him, we were parting ways at Oxford when Michaelmas term came to a close. I assumed he’d be travelling to his estate for the holidays, and that I would be bestowed the Christmas miracle of not having to be reminded of him for a magnificent four weeks.

Basilton’s gaze slides away from me, which feels like both an insult and a relief. “Have you been drinking already? Surely even an addled mind could deduce why someone might be approaching another’s front gate.” Basilton gestures grandly with his walking cane, deploying a small tap to the iron structure as punctuation. “Open this for me, won’t you?”

“B-but—” I sputter. “You— This is the Teague residence!”

“How fortunate for me, seeing as I am a guest of their gathering this evening,” Basilton replies tersely, tapping the gate again.

“You were invited?” I grip the gate, though it is more for support than to submit to his demands. The sounds of music and laughter drifting out from the house sounded so pleasant when I initially turned onto the street, but now it hangs in the air like a mockery.

Basilton pulls in a long, slow breath through his nose; I tense in preparation for the imminent scathing words. “While I’ve never had good reason to think you a very smart man, Snow, I did at least expect you to maintain a certain level of basic mental capacity. Has this past term so thoroughly shaken you that your brains have dribbled out your ears?”

I suppose it was a rather foolish question. It’s not as if he’s the smell-feast between us, slipping into parties uninvited in search of food and connections, two types of nourishment we are all so enslaved to. And while I greatly enjoy using my mouth for the former, the arse kissing is where my abilities cease. It’s common knowledge by all those who know me that my command of my tongue is not ideal. I inherited not even half the persuasive oratory skills of my father.

My tongue feels fat and traitorous in my mouth as I continue my attempts to wrangle it. “I-I’m having a hard time fathoming what connection you could possibly have with Mr Teague’s household.”

“The same as you, surely.”

“Trixie?” My loudness causes Basilton to flinch. It’s a reaction I don’t elicit from him often, but one I like very much. Emboldened, I wedge myself between him and the gate. “You’re lying!”

All pretence of niceties has been stripped from him now. Baz’s face twists up into the wicked sneer I’ve come to know well over the years. “Why in God’s name would I be lying, you dundering blockhead?” he roars, drowning out the sounds of the party. The party which is happening without me. A party I was very much looking forward to!

“Because she is my friend, and you don’t know her!” I yell back.

Baz scoffs. “Perhaps you don’t know her all that well, then.”

Damn him!

Trixie Teague has been an acquaintance of mine since I was a young boy. She, Penelope, and I were neighbours up in Lancashire. Penny and I were always thick as two thieves, and while Trixie didn’t join us often, she was welcome. (On my behalf, at least. Penny’s, not as much.) We didn’t keep in touch once I came south for my studies, so it was a very pleasant surprise to have spotted her in London by chance one day. Her family relocated here two years ago, and I’ve enjoyed having her familiar face around whenever I’m in the city. She knows me. From before all of it—the posh schools, the politician father, the powdered wigs …

Zounds, I’m not even wearing a wig! This was supposed to be a relaxed, joyous evening of drinking and laughter to ring in the Christmas season! Before I have to attend all those important parties riddled with posturing and courting and intricate table settings.

And now, here is the villainous Duke to show me up and make a fool of me.

Like he always does!

#COTTA2020 #carryonthroughtheages #simon snow #baz pitch #snowbaz #simon snow series #my writing #wip

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wehavethoughts · 3 years

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The Life-Changing Magic of Tidying Up Review!

The Life-Changing Magic of Tidying Up: the Japanese art of decluttering and organizing By Marie Kondo Translated by Cathy Hirano Ten Speed Press, 2014

The question of what you want to own is actually the question of how you want to live your life.

Here we go: let’s dive into the KonMari method and talk about the book that sparks joy! The tiny hardcover has no images, only text, and does stray from the “design” lean of the media I’ve reviewed thus far. However, it certainly is found in the Home section of many libraries, and ultimately does respond to one of my main queries with the DesignMod page, that is: how do we relate to the material objects around us, and how do they relate to us? The space of a home is certainly connected to your heart space and mental space.

Overall, this book gets 5 of 6 joyful geese. Without pictures, I got a little cerebral while reading, taking notes and asking questions like I do when I’m researching for a paper/article. This isn’t what threw me off, however. While Marie Kondo is ridiculously charming and her acknowledgement of the precious relationship between people and our things is truly key (*chef’s kiss), I can’t help but get frustrated at how she talks about throwing things ‘away’. More on this after the positives.

Many people around the world are familiar with the name Marie Kondo. The first things that come to mind are often a) neat folding techniques, and b) the question, “does it spark joy?”. There are many nuggets of wisdom across these pages. Here are some of my faves:

Do not even think about putting your things away until you have finished the process of discarding.

...we should be choosing what we want to keep, not what we want to get rid of.

...always think in terms of category, not place.

To quietly work away at disposing of your own excess is actually the best way of dealing with a family that doesn’t tidy.

The key is to store things standing up rather than laid flat.

The point in deciding specific places to keep things is to designate a spot for every thing.

Clutter is caused by a failure to return things to where they belong. Therefore, storage should reduce the effort needed to put things away, not the effort needed to get them out.

...arrange your storage so that you can tell at a glance where everything is…

As someone who grew up in the USA, I appreciate the KonMari method’s attention to reducing excess. Kondo also discusses the benefit of individually honing decision making skills as well as the ability to articulate your preferences. Her process asks that you hold each of your possessions one by one, an incredibly intimate opportunity to listen to why you are holding onto it. Being able to do this is definitely a skill; I’m sure you know someone who “loves” practically anything, or perhaps someone who is rarely satisfied. Asking if an item sparks joy is a good alternative to more proscriptive decluttering solutions, which necessitate that you keep a fixed number of items, or that you buy specific items. The KonMari method instead is very subjective, which I think is fab.

The book includes biographical anecdotes from Kondo in addition to a detailed explanation of the very specific process that is the KonMari method. She doesn’t shy from bragging about her business’s success, which leads me to my first critique. It must be understood that the KonMari method is heavily branded. She is a true phenomenon, starting from working with clients in Japan to a series on Netflix, a collection with The Container Store, and beyond. The website includes items like storage bins that one should purchase for a tidy home, even though her content suggests using old shoeboxes. This is something that she has worked very hard to develop. I think this book is a good resource for people wanting to learn about Kondo’s story as well as the particulars of her approach to tidying. However, I can��t help but notice capitalist vibes in how much is being sold.

My main critique lies in the discussion of waste, or lack thereof. It is positive that the method focuses on deciding what to keep in contrast to what to get rid of. The process is definitely more joyful that way. However, a huge part of the excess we possess is the excess we discard. We can consume so much because it’s so commonplace to throw things away, whether it’s because they are broken or because we now like something else. I’ve learned a lot about the institutionalized systems profiting off of waste production from the Slow Factory Foundation. Simply “recycling” or even “donating” items does not assume much responsibility, especially because many items designated for ‘charity’ end up in landfills, burned, or shipped to poorer countries to deal with.

Maybe you’ve heard the term fast fashion, which refers to business models in which inexpensive clothing is produced rapidly by mass-market retailers to keep up with trends. These systems exist in the Global North and usurp communities in the Global South by ways of landfills, under-paid labor, and general pollution. In many ways, the production behind any home item has become fast. Ask yourself, “how many items do I own that I can name the person who made it?” It’s a tough question for the average American. I’m Italian, and the situation there is similar, although home spaces in Italy are much much smaller.

I’m curious about the perspective on waste in Japan. Kondo developed her method when working with Japanese clients, primarily middle-aged, professional women. My point with this criticism is simply a worry regarding people living in the Global North who are less invested in minimizing waste, that they will take this book and discard things without acknowledging that there is no “away” when you throw something out. Kondo briefly touches upon how discerning what sparks joy should also be considered before buying anything after the big tidy. Nonetheless, I wish there were more consideration of class and economic status, that for many people with limited resources, they don’t have the luxury of getting rid of things they simply don’t like.

Once you learn to choose your belongings properly, you will be left only with the amount that fits perfectly in the space you currently own.

Overall, the book is very helpful and easy to read. Kondo’s approach is clear but also subjective, an excellent recipe for a deep transformation to restore balance and harmony in the home.

With loving curiosity,

DesignMod

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professorlthings · 4 years

Text

How Supernatural Gripped Me Tight and Raised Me from Perdition

Happiness in Just Being:

How Supernatural Gripped Me Tight and Raised Me from Perdition

I am a broke college student. What little money I have is often spent on books I don’t technically need, much to the chagrin of my mother, who I have clearly not learned how to budget from. Furthermore, with Supernatural conventions on the 2021 calendar, saving money has really become something I strive to do. Nonetheless, sometimes my budgeting fails.

Trudging through Barnes & Noble one evening, looking for two YA books I’d recently added to my reading list, I walked into a Supernatural display. Now, as mentioned above, I’m a college student with limited funds to my name, but my investment in the Winchester brothers and their angelic ally Castiel had peaked this semester, and I was immediately drawn to one of the books, a volume entitled Family Don’t End With Blood, which had a drawing of the Winchesters standing against their 1967 Impala.

After a brief, agonized contemplation, I bought the book, along with several other pieces of Supernaturalparaphernalia, completely depleting my bank account – this is not hyperbole. Though I haven’t even begun to scratch the surface of all the essays people have written in this book about how Supernatural changed their lives, I am conscious of one indisputable truth: it changed mine, too. So, in the spirit of inspiration by the book, here is the story of how Supernatural gripped me tight and raised me from perdition.

I almost died this semester.

No, no. That’s too passive. I almost killed myself this semester. It’s unfair to say “I almost died” as though it wasn’t something completely in my control. Well, both under my control and ridiculously out of my control.

I got low this semester. It’s been a taxing year for everyone, I grant, and I was no exception. I’d fallen into such a bad place that I had taken to cutting myself with the red kitchen knife my mom had given me when I graduated high school. Cutting became a routine, something I would fall back upon. But I eventually stopped. And as I think back to the last evening I ever cut myself, I wonder what stayed my hand, what made me put that knife down.

It wasn’t my friends. Some of use weren’t even talking at this point.

It wasn’t my family. We were in a bad place, too.

It was something about me. Some resolution to keep living, despite every bad thing that had happened to me in the last 12 months.

Two months later, I shrug out of my trench coat, making sure to keep my open button-down on over my grey waffle undershirt, the cold already biting through my heavily layered clothing. My clothing is at this point 75% inspired by the Winchester brothers, from my red, purple, and green striped button-down to my now just broken-in Doc Martens; the other 25% belongs to Castiel, who inspired me to buy this trench coat. And it so happened that America’s Thrift Store had just what I was looking for – for $16.99.

I survey the now almost empty campus of the University of Alabama, oddly empty for the middle of dead week; it seems that most of the students have seen fit to go home, unlike me and my ragtag group of friends, most of whom decided to stay through until the end of finals week. I catch a glimpse of two people walking their dog across the Quad, and they probably notice me as well, sitting on the steps of Gorgas Library, a haunt usually occupied by many students at this time of year.

But, then again, it hasn’t exactly been a normal year, by any standards.

When Quarantine hit and I suddenly found myself back home at my parents’ place, I did what half of the population must have decided to do – I began watching a new TV series. With Doctor Who, Sherlock, and Good Omens already under my belt, the obvious place to go next was Supernatural. I had shockingly written it off as a show of little interest, because it was American, not British. Nonetheless, I didn’t think anything particular about this particular choice; it more just seemed like a natural next step. My younger sister and I began with “Pilot” and stopped somewhere in the middle of season 3, when my sister lost interest in the show. But my journey with Supernatural didn’t end there.

As an English major, I’d been thinking about what I’m going to write my senior thesis on, and I eventually decided to write it on free will in the works of John Milton. And in exploring Miltonic free will in modern media for my directed readings class with my thesis director, Dr. Ainsworth, I found that Supernatural spoke volumes for the research I wanted to conduct for this class. Thus, without hesitation, Dr. Ainsworth and I added Supernatural, seasons 4 and 5, to our syllabus for the course.

I won’t lie, though, this semester got away from me.

I had a fight with one of my best friends and we didn’t talk for weeks.

I was sent to the North Harbor psychiatric facility for the second time this year.

Needless to say, with all of this stacking up on me, school became a less than a priority. My grades started slipping in all my classes, especially in Italian, where, for the first time in three years, my grade dropped from the usual A+ all the way down to a C.

I forgot all about Supernatural, BSing relevant facts about it and free will during my meetings with Dr Ainsworth, barely having a hold on my Milton project at all.

My grades were tanking, and my mental health was slipping out of my control. For the first time in my life, I really didn’t know what to do. I resorted to cutting on the regular, always in the same place, the outside of my wrist. At first, I’d just barely draw blood, but one time – the last time – I cut it so deeply that it wouldn’t stop bleeding. My sweatpants were covered in blood, as was my bathroom floor. That’s when I realized I needed to stop.

It was a resolution. A resolution that I would never cut myself again. I hate making promises, and try to avoid them at all costs, but when I make promises, I keep them. And this is what I promised myself. And it was hard. It was so hard!

Nonetheless, life began looking up.

Lightning struck.

Sometime in the weeks that I was back at my parents’ place in New Mexico, healing, I realized I wanted my essay for Dr. Ainsworth to be a good essay; I wanted it to be lit journal-worthy, hopefully.

That meant I needed to watch seasons 4 and 5 of Supernatural. Which meant I needed to finish season 3 first.

I made a half-hearted attempt to start season 3 back up where we’d left off, but I watched one episode and lost interest, my overtaxed mind refusing to focus on the Winchesters. Besides, Castiel was the relevant character for my essay, not the Winchesters, and he didn’t show up until season 4.

Okay, I thought, I’ll give up the chronological watching and just start season 4. I did. And from then on, I kept watching. At first I watched every episode, but with deadlines for my paper coming up quicker than I was prepared for, I began just watching episodes that Castiel appeared in.

I didn’t stop once I’d finished the relevant seasons, either. The Winchester brothers and Castiel quickly became an integral part of my life – and that’s where this story truly begins.

Once lightning strikes in my soul, it usually means we’re in for the long haul, which in this case means 15 seasons worth of the long haul, culminating in my senior thesis next fall, a project linking John Milton’s Paradise Lost and Paradise Regained with Supernatural. I found the link – love is what gives us free will, and all of the media I was engaging with supported this idea.

Don’t even get me started on how Castiel in season 15 ties into this thesis, but oh my goodness, he does.

In Supernatural, I found more than examples of how the power of love gives individuals free will. I found things relatable to me that I never would have previously been able to relate to, had it not been for this profoundly hellish year.

I found Sam Winchester.

Sam Winchester is not perfect. Sam Winchester has so many faults. Sam Winchester is so profoundly relatable that I count him responsible for saving my life.

How did Sam Winchester inspire me and how does he continue to inspire me? I couldn’t count the ways. But I think the most important thing about Sam was that he taught me I was okay. Broken as I was, Sam taught me that I was not beyond saving – that there was hope that I could still get my life back on track.

One of the key aspects of season 4 is Sam’s addiction to drinking demon blood. I saw myself in Sam; his addiction to demon blood mirrored my addiction to self-harm. On that night I realized I needed to stop, I made a deal with myself that I was never going to pick up a knife again. And I haven’t. Now, whenever I start to feel that I’d be better off dead, or when I tempted to pick up a knife again, I think of Sam Winchester. If for no other reason, I can do it for Sam. As Sam taught me, you can overcome addiction and get your life back on track – even when the addiction makes you feel so good and you suffer withdrawal without it. If Sam Winchester can avoid demon blood, I can avoid cutting myself. And I have. For nearly two months.

Sam continues to encourage me to not lose faith. For instance, when Sam didn’t tell Dean the whole truth about what he was doing, that caused his brother to lose trust in him. Sam didn’t tell Dean that he was drinking demon blood, teaming up with a demon, or any number of other things. Dean flat out tells Sam that he can’t trust him anymore, that their relationship will never be what it once was. And that resounds with my soul in ways so hurtful I wish it didn’t. My oldest sister said she doesn’t trust me anymore, after things I’ve said and not said this year. I see myself in the same situation with her as Sam is with Dean. And it hurts; but at least I have Sam to relate to.

But perhaps most importantly, Sam Winchester tries to do right by the people around him. Sam tries to focus on others rather than himself, and he tries to help whenever he can. I wish I was more like Sam Winchester, and I am eternally grateful to Jared Padalecki for his portrayal of Sam that inspired me to continue on.

Castiel, too, makes me strive for better. And when I say that Castiel’s final speech in 15.18 is the reason I’m as happy as I am, I mean it.

Castiel makes a simple statement: “Happiness isn’t in the having; it’s in just being.”

Preach, Castiel.

Though people may have gripes about season 15 of Supernatural, one thing that kept right until the end was solid character development. Nobody did anything outrageously out of character, and for that I am truly grateful. As could be expected, Supernatural ended in heartache, but also a profound sense of peace – the idea that if you pursue the greater good, as motivated by those you love, you will have a fulfilling life.

I think I finally understand.

Years of depression and anxiety cannot stack up to these few words:

“Happiness isn’t in the having; it’s in just being.”

I’ve finally found my happiness, and I have Supernatural to thank for that.

This essay would be incomplete, however, without a shout-out to Dean Winchester as well. Although I see less of myself in Dean, I admire many traits he possesses. He cares about his family, almost to a fault, and he cares about his friends. While he doesn’t express feelings on the regular, he does in the important moments, and that’s what matters.

Dean Winchester is perhaps a role model I could take, saving people, caring about his family and friends, and living life to the fullest.

Furthermore, Dean is arguably a bisexual icon. I really appreciate both the subtle and blatant ways in which Dean Winchester’s sexuality is portrayed on screen. Though I know not everyone believes that Dean is queer, as a queer person, I find the idea of Dean being a canonically bisexual character in mainstream television exceptionally powerful. So it’s canon to me.

Watching Dean’s death scene in 15.20 nearly broke me. Although a good friend and I tried to get drunk to watch the season 15 finale, alcohol was not enough to prepare me for the emotions I felt watching that one last episode. When Dean died, it genuinely felt like I’d lost a good friend. I cried a lot. Both in the moment and in the days that followed.

But missing things reminds me to be grateful for the fact that these things exist in the first place. Yes, Supernatural may have ended, but we were lucky to have it with us for fifteen years.

Because, after all, “Happiness isn’t in the having; it’s in just being.”

Supernatural taught me that love of friends and family can truly save the world, and that in a world where you can be anything and love anyone, it’s best to be yourself. So here I am.

With this essay drawing to a close and the cold air beginning to freeze my fingers as I type, I have one last thing to say:

I don’t seek acceptance or love or approval from anyone other than myself – I am no one’s but mine – and I now have a new life mantra. Say it with me.

“Happiness isn’t in the having; it’s in just being.”

The fact that an ex-blood junkie, a fallen angel, and a college dropout with six bucks to his name saved my life speaks volumes both to how Supernatural affected me, as well as how bad things had to get to get me to that point. I can look back on this year, everything I did right and everything I did wrong, and one thought rings truer than all the others: Supernatural changed the course of this year – and my life.

Thank you to Lynn Zubernis, Jared Padalecki, Misha Collins, Jensen Ackles, and Eric Kripke (among many, many others) for helping me to discover this amazing experience!

#supernatural #spn #spn 15x18 #spn 15x20 #jared padalecki #jensen ackles #misha collins #dean winchester #sam winchester #castiel #cas #saving people hunting things #dean #sam #how supernatural gripped me tight and raised me from perdition

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secretgamergirl · 4 years

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How not to Write a Campaign

I have been playing RPGs for a very long time. Back in the day, I avoided any and all pre-written adventures of any sort because my limited experience with them was... just frankly terrible. Weird inconsistencies in tone, unfair encounter setups, too many assumptions about PCs’ motives and actions, etc. Then much later I discovered a group of writers who actually got it, wrote things perfectly in line with how my friends like a game to go, and we’ve been all in on those for a decade and change. But I just finished running a ROUGH one, and I want something good to come of it.

I don’t want to make this a specific review, because... I’m in the industry, I know the people who wrote this campaign, I can guess at some of the problems involved, and I don’t want to hurt anyone’s feelings or reputation, so let me just refer to the offending prewritten campaign here as the Amnesia Campaign. It’s for a big fantasy RPG, it riffs of a particular author’s work, you can probably guess what it is from that, but, I’m trying.

The first problem I need to bring up with the Amnesia Campaign is that it just commits the cardinal sin of long term RPG campaign writing- The mustache-twirling villain who always manages to escape from the PCs at the last minute. I cannot convey just how important it is that you never, ever do this. The worst sort of example is when you plan around the PCs actually confronting your villain multiple times, and failing to kill them, which is a terrible idea because there really is no way to ever stack the deck and account for every contingency to make an unwinnable fight, or even one where escape is always possible, and especially if you’re publishing adventures, some number of groups will kill the villain too early, either shorting things out or forcing a handwave to keep an ineffectual villain in play and pretend they’re still a threat.

The Amnesia Campaign doesn’t quite go there. Having an actual chance to go toe to toe with the villain is reserved for the very end, but it does use another variant, where no matter what happens, the PCs arrive just after the villain they’re chasing has left. Now... there’s a way you can make that work. If you have a villain who cannot be reached in practical fashion, and can launch attacks anywhere within a huge region, you can build a whole campaign out of characters reacting to the aftermath of evil actions they could not be expected to even learn about until the villain has left the scene. Here, meanwhile, we have a villain with a big elaborate plot that requires traveling all over the world gathering things, based on research he does at the very start which the PCs can, and indeed are expected to do, quickly pick up on these research notes, and basically know everything the villain plans to do from nearly the start of a very long campaign. And... frankly, the villain has no real edge to keep him believably one step ahead. He is a mildly wealthy man hiring goons, mundane forms of transportation, and having to negotiate and fight his way through to various sub-objectives needed for his plan, and it is at least strongly implied that he doesn’t have a lot of lead time. When presented with a scenario about someone needing to be chased down and stopped, PCs can pretty reliably be counted on to constantly be rushing forward, coming up with clever ways to accomplish what they need to in less time, and cut down if not completely nullify their travel time. But, like with battles the villain somehow keeps escaping from, I am forced to continuously state to my players in running this that no, somehow even after avoiding this whole side quest by reading the mind of the person with important information, and directly teleporting to where the villain left for by riverboat, he somehow beat them there, and once again, just left. It’s frustrating, and implausible. We end up with a villain who seems overwhelmingly outmatched, but keeps succeeding because... well, he has plot armor so we’re railroading this.

Admittedly, having a good villain when writing a full campaign in advance can be tricky. The safe and tested formula is generally to start off with minions of your main villain, starting with some who don’t even know who they’re ultimately working for, gradually build up to who’s calling the shots and to what end, have a big side trip to prepare for the final confrontation not directly involving the villains, than cap it with a big showdown. If the PCs know who the main villain is from the very start and where to find them, it becomes hard to rationalize anything between. Sometimes you can pull it off if they’re leading an army or ruling a country, but even then, you want to work up a food chain to them.

A similar problem, which crops up a bit towards the end of the Amnesia Campaign, is making too many assumptions about how the PCs react, and who they befriend. In RPG writing, you need to make as few assumptions as possible about the specifics of what the PCs will do in any situation. You can count on the real broad strokes. The party will investigate the situation described in the adventure, they’ll explore the area, find the villains, fight them, win, learn something to keep the larger plot growing, but that’s it. You can’t assume they’re going to team up with this NPC, enter this room from that direction, or otherwise reenact what you’d imagine you’d do in their place, or what happened in your test play of your adventure. This is particularly important when you include a little sidequest unconnected to their primary goal, or you’re presenting an open-ended investigation.

Ideally, you just have a sensible location, have some villains in it with clear goals and personalities laid out, and you scatter around some things to enable various clever tricks if players think to try them, without mandating any of them. Mention where windows are, and chandeliers, and holes just too small for the average human to fit through, but don’t, as part of the Amnesia Campaign does, invest heavily in the assumption that the PCs will start investigating a sewer system when investigating how a cult gets around a city and go sparse on other possible clues. Also don’t waste adventure background note space on thousands of years of history at the expense of what the actual current problem in the area is and who or what is behind it.

The next problem is one that, were I the average consumer just buying this book would bother me a hell of a lot more than it does as someone who knows how the sausage gets made. Put mildly... you do not want to play a rogue in the Amnesia Campaign. Nor do you want to play a swashbuckler, a critical-hit focused character of any stripe, really any class out of the... roughly 25% of all classes who rely on knowledge of where to make a hit count the most to do the full amount of damage with their attacks, because practically everything is immune.

Now, again. I partly understand how this happens. We have several different authors writing different chapters of the campaign, simultaneously, in pretty unforgiving crunchy conditions, with just a rough outline to go off. Nobody really has a chance to confirm notes and say “hey, did your chapter totally invalidate one of the foundational character archetypes, because I was thinking of doing that and having two of those back to back would be a bit much.” And while the publisher of the Amnesia Campaign does throw out little booklets of tips for players on what sort of character concepts will/won’t work, they’re not written last, so this sort of tip is missing there too. On the other hand, it’s a huge problem within nearly any given chapter just on its own. If you’re making the call on what all monsters to include in a multi-level stretch of a campaign, you should generally avoid choosing nothing but monsters immune to one of the most common bread and butter class features. And honestly, given how the subject matter naturally lends to the deployment of a particular monster type, erring on the side of assuming everyone else is heavily deploying them wouldn’t be a bad assumption for any author to make.

This though, unlike the rest of my gripes, is ultimately a high level problem that needs a high level solution. When you’re publishing a whole campaign, and you’re doing it in a game where several foundational character concepts kinda live or die based on things like whether things are properly harmed by particular flavors of damage, or whether a decent percentage of enemies fall under a certain classification, that really shouldn’t be a double-blind. Coordinating to get all authors to use a decent spread, or include outline notes like “it’d make sense for about half the enemies in this chapter to be fire elemental themed in various ways, but keep a good variety otherwise,” and/or trying to get a rough handle on emergent themes to adjust for/warn about in player-facing pitch material. Even the best-written campaigns are prone to rude awakenings or hilarious reductions in challenge as turns out, say, going all in on cold damage does indeed pay off for the one with Fire in the title.

Meanwhile, on the other side of that coin, more or less, huge swaths of the Amnesia Campaign really just completely break down by failing to account for some basic standard issue capabilities of a typical party. Particularly the fact that past a certain point, you need to account for the fact that the PCs are almost certainly capable of flight. It’s a thing that happens. If you are really keen on writing adventures where local warlords are chilling out on the open-air rooftop patios of their otherwise heavily fortified fortresses, or melee-oriented monsters plan an ambush in a canyon in a vast wasteland, or a dangerous leapfrog between a series of elevated platforms over something dangerous, you want to make those low-level adventures, or else a typical party, possibly even accidentally, will just completely circumvent the whole thing. There is a whole lot of that in the back of the Amnesia Campaign. My group... literally skipped giant swaths. Heck, there was a whole side quest in the last book where the PCs are rewarded with the location of a giant obelisk which I had to cut because... it was in the middle of a big open outdoor space, and they flew over the city on the way in. They definitely had a view over those hedges.

This sort of dovetails into the next issue, consistently escalating threats. The whole fantasy RPG gimmick is that at level 1, you’re a helpless peasant barely capable of doing anything remarkable, and by level 20 you’re literally punching gods in the face and have more money in your pocket than everyone else in your home country combined (with the obvious exception of the other people in your party). Now, mechanically, balancing around that is a very easy math problem. Characters of level X are meant to deal with threats of level Y, either pull a Y level monster out of the book, or slap levels on something lower to bring it to that point, or spread that out over more enemies, then they drop Z amount of fancy loot. Easiest thing in the world. But you also need things to fit together thematically. You can absolutely throw fighter levels onto the local chicken-stealing goblins to make them mechanically as threatening as a demigod bursting through from another plane of reality, but when a group of characters is at a level where they can be expected to handle the former, it’s just plain weird for them to end up dealing with the latter. Like, yes, these particular goblins have 200 HP instead of the usual 4, so the local town guard can’t handle them, but that should never be true of chicken-stealing goblins. You don’t get that tough stealing chickens, and once you’ve gotten that tough, you should have your sights set a good deal higher than that. At least be stealing rocs or something.

The 4th chapter of the Amnesia Campaign is a particularly blatant example of not getting this, featuring a large number of “please be aware the party can fly at this level” moments mentioned above, and also just demanding the PCs deal with problems that really are beneath them at that point. Seeking out local guides, impressing petty local warlords, getting challenged by giants they must impress to rest safely when crossing a huge desert. These are... not appropriate speed bumps at a point in the narrative where the party is traveling to a location where they are going to literally fight a god, weakened or otherwise. The whole setup would be wonderful as the first chapter of a campaign, but that far in, it just doesn’t work. Particularly when the actual opening of the Amnesia Campaign sets the tension very high right off the bat, with extradimensional threats, shapeshifters, an evil cult, things that typically come later as things start to escalate.

This isn’t to say you can’t mix things up a little. Dealing with threats well below a party’s capabilities can be really nice as a chance to just sort of flex, and get some perspective on how much more capable they’ve grown over time, but you have to do it in a low-tension point of the narrative, and a little self-awareness about it doesn’t hurt.

Finally, while I really kinda hate modern wealth-by-level assumptions, they are baked into the design of the game, so if you’re running with it, you really need to make sure you’re really giving the players something they can use. The Amnesia Campaign really leans heavy on treasure being weird oddities that may be of value to a collector... while also being set, generally, in places so totally removed from civilization that shopping trips aren’t really practical. Much less those needing the party to really find the right sort of buyer.

Really, you want to give out entirely practical loot (really hard to do without knowing the party makeup, but variety can work), big piles of cash/sellables along with sufficiently large cities along the way for viable shopping, or raw materials suitable for crafting plus ample time to really do something with them.

Anyway, hopefully this has come across more as practical constructive advice for anyone writing a campaign, either as a printed product or just for your home game, not just me tearing into the Amnesia Campaign at length.

#rpg #game design #gm advice

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carlatsukinamistolemyhamsandwich · 4 years

Note

9, 12, 14, 25, 28, 30, 31, 34, 37, 40, 41, 42 and 50 for the Diabolik Lovers Ask Game please! By the way, I love your blog SO MUCH. ♡♡♡

From this ask game.

Thank you for the ask anon, I’m really glad you like my blog :)

This got kind of long so I’ve put my answers below the cut.

9. Do you hate anyone in DL?

Hate is a very strong word, but if you saw my recent post on Shuu’s CL route then you’ll know that I am not the biggest Karlheinz fan. Richter and Cordelia are also fairly awful but I can’t help but feel some sort of pity for Richter as it seems he had a pretty miserable life and while some of the things Cordelia did are just horrible, my negative feelings towards her have somewhat lessened since we got a bit more of a glimpse at her backstory in DF. Menae must have died before Cordelia could really remember her, and we have to remember that she was heavily manipulated by Karl. Like yes, Cordelia is dreadful, but I still think Karl is the big bad of the series. He does so so many awful things and no matter which game you look at, I can’t help but feel that his reasoning is always pretty bleh (even if that probably is just due to not great writing).

Also after that Subaru LE ending Seiji Komori can eat dirt.

12. What do you think of the fandom?

Hmm... While I know some people hold negative views of the DL fandom at large, I don’t think any fandom is entirely unproblematic. My personal experience has generally been pretty good but I will admit I have seen some fairly terrible behavior in the 3 and a half years I’ve been seriously into DL. Then again I also haven’t been this deep in any other fandom and, sadly, I think that is just the nature of the internet.

Still, there are some amazing and very talented people in this fandom, and I feel extraordinarily lucky to have been able to interact with them, so I prefer to focus on that over anything else.

14. Sub or dub?

Sub all the way. When I first started watching anime, I initially just watched dubs, but after I started learning Japanese, I switched to subs to try and pick up some more vocab and now I can’t go back. Also I really like a lot of the Japanese voice actors in DL ^^

25. What do you think of DL haters?

I generally hold the attitude of “live and let live”. If someone doesn’t like DL because of the triggering content (and the way it deals with it) or the sometimes questionable plot then fair enough, it’s not like I think the series is without its problems. The only time I will have any issue at all is if they actively attack fans of the show. If someone is just minding their own business and not hurting anyone then under no circumstances is it okay to blindly attack them over a work of fiction. So yeah, you do you as long as you’re not being a twit about it.

28. Would you ever show your parents DL why/why not?

For anyone who remembers some of the random stuff I post, you’ll know that my mother is indeed aware of Shin’s existence (and Carla’s) which perhaps would have been difficult to avoid given that he’s plastered all over my bedroom wall and I talk about him A LOT (I am just as bad irl folks), but I’ve never gone into the details of the series with her as I feel like she’d be fairly disturbed at some of the content (and it’s for this reason that I would never show her the anime).

You will understand then, why I was slightly horrified when she told me she’d read the wiki because she wanted to know more about the characters I loved so much (like bless her, but also O.o). Apparently Carla is “a baddie” but she thinks Shin is okay.

My parents are also aware of the existence of this blog but, fortunately for me, have no interest in reading it.

30. What do you think of Yui?

I like Yui (I mean what is there to dislike?), she’s a lovely character and has a really good impact on the boys. I’m not as invested in her as perhaps some of the fandom but that’s because I am unapologetically here for the dumpster fire that is the boys.

I prefer writing reader inserts over Yui x diaboy fanfics, simply because it’s fun to see the boys in a slightly different relationship dynamic to that we get in the games (like if you look at my most recent Shin drabble, Yui would never tease Shin like that but I would so reader insert it is).

31. What is your favourite Dialover song and why?

What do you mean I have to pick just one??? Gahhh I love love love Kessen no Dies irae, because it features the Tsukinami bros and it’s just my sort of music but I think my favorite might actually be I.M.I.T.A.T.I.O.N.G.A.M.E. I’m not the biggest Kino fan but Maeno’s singing voice is phenomenal and it also brings back happy memories of when I finished Shin’s LE route for the first time.

34. Tell us your top three routes! Why are they your favourites?

Hooo boy, this is a tricky one because we all know my bias at this point ^^;; I’ve limited myself to one Shin route because otherwise this list would just be me waxing on about Shin and goodness knows I do that enough already.

1) Shin’s Lost Eden Route

While I like his DF route, I love that Shin’s LE route pays a bit more attention to his feelings towards Yui than his complicated relationship with Carla. I love that it really stretches him as a character and we get to see him relying on Yui, like I don’t know who came up with that plot but BLESS. I think the pacing is very good and the bad endings are just so tragic (and I love really angsty bad endings). And some of the scenario chapters from this route just make me melt.

I also love this route for personal reasons. I’d only just fallen into Shinhell when LE was released and I remember seeing the CGs for his route but there was no information on the plot in the English speaking side of the fandom and it was driving me nuts because I just wanted to know that he was okay. It was at this same time that I had a bit of spare money so I... bought a PSVita and a copy of Lost Eden so I could find out what happened (I was planning on getting a Vita anyway just maybe not THAT soon). I’d only been learning Japanese for 6 months (I am nothing if not horribly ambitious) but I didn’t let that stop me and played through the route. And I loved it (even if I struggled a little with the language) and I was so happy to find out what happened to him. So yeah, I just have warm memories of it.

2) Carla’s Dark Fate Route

While I like Carla’s LE route, I think the pacing and plot of his DF is just a bit better. I love that it gives us the best glimpse at the backstory of the founders (I will take any and all Krone and Giesbach tidbits I can) and I think the progression of Carla and Yui’s relationship is really well handled (even if he is dreadful towards her at times). Also I like Carla, I think of all of the diaboys, he’s one of the ones I’m most similar to so I find it easy to empathize with him.

3) Subaru’s Dark Fate Route

It’s been a while since I played this route but I remember having a really good time when I did. The Vampire Ending is incredibly sweet, as are some of the scenario chapters and I thought the plot was fairly well structured. Plus Carla and Shin are in it so bonus points there.

37. If you could change one thing in your favourite Diaboy what would it be?

I never want to answer questions like this because I love Shin as he is, I don’t want to change him.

I mean I would like for him to see more value in who he is than just his bloodline and get it into his skull that he is not inferior to Carla but only as gradual changes based on environment (or just idk talking to Carla but goodness only knows that won’t happen unless Carla’s on his deathbed again).

40. Your thoughts on Karlheinz?

See above. But yeah, not a fan, would not be sad if he became the victim of a bizarre fishing accident and never again appeared in the DL franchise but I think that’s a bit too much to hope for. Sorry Karl fans but I can’t get over the stuff he’s done (and also I have had enough of “and it was Karl’s fault all along” coming up in the games).

41. Would you buy the games if they were released in English?

I’m a little torn on this one because I love supporting Rejet and otome game localisations but I own all of the games aside from VC already so there wouldn’t really be any point. I think if I had a LOT of money to spare then I would, but as my finances stand at the moment then it’s a no.

42. If you got to design the 14th Diaboy what would he be like?

Oh this is a difficult one, ideally I’d like to see someone who was a member of one of the other demon races but I don’t think you can really have a diaboy without the blood-sucking, so I guess I’d make them half vampire half adler (as I think they’re the race we know the least about). As for personality... It’s tricky because I feel like the diaboys already cover a pretty wide spectrum. I’d probably make him a cocky jerk because I love cocky jerks and I’d make him fairly witty too but more logic than feelings orientated. I’d have him kidnap Yui because he wants to use her as a pawn against the diaboys in some nefarious plot (that I’m not going to think too much about because this post is not meant to be an OC planning session) and not because he has any interest in her or plans for her himself. I guess he’d sort of be a cross between Kino and Carla?

I’d give him a vendetta against Karlheinz too because I can :D

I had to cut this short because I started coming up with a backstory an everything but I think that’s too much ^^;;

50. Do you think Richter should have a route of his own?

Honestly? No. It’s not that I wouldn’t be interested to see the story of Richter with someone who is not Cordelia (even if he is not my favorite dude from the franchise) but more that I can’t see Rejet dropping Yui as a heroine and RichterxYui? No thank you. After all the stuff he’s done in the games and his obsession with Cordelia? I just don’t feel comfortable with that pairing, sorry.

#reply #ask game #I'm always super happy/surprised when people say they like my blog #because I feel like it's kind of chaotic but if you guys like it then I must be doing something right #character hate #?#I feel like I've been relatively polite but just to be safe #I have half tried to proofread this but it's so long #bless you if you made it to the end

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carelessgraces · 3 years

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okay so the point i was going for yesterday:

this series thrives on its difficult choices and origins was hands-down the best developed to handle questions of grey morality and impossible options. it didn’t always play out perfectly with the mechanics of it being a video game, so you know you’ve gotta be okay at the end of it, but: choosing whether or not to leave a possessed connor behind in an absolutely ravaged redcliffe, for the two-plus weeks it would take to get to the circle and come back with mages? it’s “save a child” versus “save an entire town.” bhelen is genuinely terrifying in that he has all the makings of a complete tyrant — actually literally officially executing his political opponents, repeatedly, and shutting down the only avenue for effective discussion and disagreement — but he’s also exactly what orzammar needs in terms of both social and economic progress. the brecilian forest was a little easier for me — “kill the dalish” isn’t a good option, ever, and when it comes down to kill zathrian and lift the curse vs. kill the werewolves, the former is clearly the choice you’re meant to make? to limit damage in the future, and continued damage now. the mage tower is the hardest, i think, to call effectively morally grey, because there really isn’t anything to suggest that the tower HAS to be annulled? because there’s no indication that if it’s not, the people outside the tower are in serious danger. and by the time you’ve finished everything, you know who is and isn’t possessed, you’ve literally seen it, so annulling the tower at that stage is just kinda evil.

choosing anora or alistair is another really difficult one because anora proves time and again that she’s either not as competent as she says she is, or she has no moral backbone of which to speak ( because it all comes down to the tevinter presence in the alienage: if she isn’t aware that an agreement to sell elves into slavery has been signed by her father, who does not have an official title besides the one he’s given himself and certainly not one that would be recognized by most foreign powers, that means that she’s not paying a lick of attention to the sudden influx of money in the treasury, to pay for a civil war of her father’s making, or to the actual literal slave trade happening literally under her nose. if she knows and does nothing about it — which seems a lot more likely given that she a.) erects a statue in loghain’s honor after the blight if she rules alone, enslaved elves be damned and b.) has violent clashes with the alienage due to food shortages only if she rules alone, all of which indicate a measure of indifference at best toward the most vulnerable people in ferelden, but i’ll yell about that on my da multi rather than here — she’s willing to bide her time and allow elves, including elven children, to be shipped off to tevinter and enslaved, or she only cares when she can use it politically. but anora is also better trained than alistair, anora has more experience than alistair, and what the country needs is some measure of stability. however, ethically, she really has no place in power over anyone. choosing alistair is potentially disastrous because despite the fact that he’s a really, really, really good man, he has no political training, no experience, and will likely be manipulated by eamon, who we really should be able to let die.

and the anora / alistair choice is probably the one most similar to the templar / mage choice in inquisition. on the one hand you have a force that will fit in neatly with the structure in place, that will most likely get the most done the quickest, and that will provide some measure of consistency for the people and in gaining allies across the board. this force has proven itself cruel, either through the active choice of cruelty or indifference to the point of cruelty, and offers the most effective results but only if you’re willing to really, really do the ethically fucked up thing. on the other hand, you have a group of refugees fleeing centuries of violent oppression, whose organization is better suited for a university than for a war, who genuinely terrify most civilians, and who would need to be heavily trained. they are, hands down, the ethically correct choice — protecting the oppressed rather than siding with their oppressors, bringing about real change and progress — but logistically and politically speaking it’s kind of a crapshoot. and i think, i think, that if this had been built up in much the way that anora vs alistair was built up — one is a good moral choice, one is a good political choice, you can’t have both at the start but you can hope they’re influenced in the right way — it would have been a lot more effective? and on the fan side: i have a lot more trouble getting people invested in a pro-templar inquisitor than a pro-mage inquisitor, which is fair because i agree that allying with the mages is the right thing to do, and i don’t blame anyone at all for their discomfort with a pro-templar inquisitor. but i think that it’s because this got pitched to us as a moral dilemma when it wasn’t one, and the way that this was made into a “moral dilemma” was by rewriting a lot of 2.

because pushing “anders was a terrorist” is... lazy at best? and i’m sorry for being pedantic but this is a major pet peeve: anders does not engage in a campaign of terror. he engages first in peaceful protest, then in physical defense of people, and the explosion at the chantry is both a last resort and is actively timed to avoid collateral damage. terrorism, by definition, requires the terrorist to engage in that kind of act with the explicit intent of terrorizing civilians to force a state or institution to grant the terrorist’s demands. anders set off the explosion at a time when there were few people in the chantry — not during a service of any kind, not when people were paying attention to the chantry, but when their attention was elsewhere. he made a point of limiting casualties, and the act was done exclusively to prevent a slaughter, after nearly a decade of trying literally everything else. ( on the flip side, in inquisition we literally have sebastian inform the inquisition that he intends to invade kirkwall — not because he thinks hawke and anders can be found there, but because he wants to terrorize the civilians until hawke and anders surrender. so we do have an example of how this can be used in warfare, in-game, with the same players, and they’re two vastly different approaches. ) so to make the “anders was a terrorist” line make more sense they insisted on massive numbers of casualties from the explosion, they undermined hawke’s support of anders by default, and they made the explosion at kirkwall out to be the spark for the mage rebellion, when we know from the books that this wasn’t the case at all. so it’s a lot of retconning to try and make the mage-templar choice in 2 a morally difficult one, when we know it isn’t, and when the game doesn’t allow it to be. because love or hate anders, senselessly slaughtering a tower full of mages after a decade-plus of rampant abuses, which are horrifying and canonically confirmed by templars every chance the game has, it really doesn’t stand up to any sort of scrutiny. the only real moral dilemma in “the last straw” is whether or not to execute anders ( tho i’ve never been able to do it, it is set up to be a difficult choice, and it’s much more effective ).

anyway i’m not sure how to sum this up tidily but the gist of it is that i think the mage-templar choice in inquisition is best understood as a parallel for the anora-alistair choice in origins, rather than the mage-templar choice in 2?

#(my da yelling tag really should be separate)#i. fuck the divine. ( ani yells about dragon age )#(there we go)

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shadowsong26fic · 4 years

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Coming Attractions!

First Monday of the month, which means Coming Attractions Post!

(Especially since I skipped last month, whoops…)

Before we get into it, as I always do in these things, plug for my Discord server--it’s pretty quiet, but basically a slightly more interactive version of this tumblr. Sometimes I talk a little more about origfic or other stuff than I do here, too.

Also, this is not my only hobby! As some of you may know, one of my others is lacework, and I now have a sideblog for that. I have pictures of my completed projects up there, and will probably have more stuff as I start…well…making more stuff.

Anyway. On to the actual writing stuff aka why most of you are here (also a few requests for feedback/Opinions behind the cut).

So, I didn’t get much done over the month until, like…the last few days. In part because work got super bonkers for reasons I’m still Cranky at but that is a vent for my personal blog, lol.

Precipice:

I have threeish scenes left, which I’m probably going to do as one more chapter (unless they end up Super Long, then I might split it into two). That’ll close out Arc Seven, and the first big chunk of this fic. As I’ve said before, I’ll split off into a sequel fic (working title Protectors) at that point, along with doing a sort of…interquel, working title Preludes, that mostly deals with integrating Rebels content. Also probably Maul.

Right now, I’m tentatively planning six installments to Preludes? Mostly because six feels like a nice number to work with, lol. These will be one-shots that aren’t super interconnected, all taking place during the six-year timeskip. These are the ones I’m thinking about doing as of right now (subject to change, and I welcome suggestions!):

one involving Kallus on Coruscant, shortly before he gets reassigned to Lothal;

one involving Hera and whoever her contact is in this AU (since Ahsoka’s doing something different from the Fulcrum stuff);

one where Kanan and Ezra connect with Obi-Wan et al. (probably through Hondo);

one with Luke, probably similar to that one episode where Leia turns up in Rebels canon;

I really do need to figure out what the heck is going on with Maul, don’t I.

…something else????

The only ones I’m 100% sure about including are the one with Kallus and the one where the various Jedi link up because those are necessary and/or plot-relevant, though I’m still working out specifics (especially on the Jedi one). I may also include something with Thrawn, since I’m doing something different with him than canon did. Like I said, I welcome thoughts/suggestions/etc.

Protectors will then pick up six years after the end of Arc Seven, with Arc Eight. And, as a treat, the working titles for Arcs Eight and Nine are Escalation and Watershed. In theory, I’m planning to post Preludes alongside arcs eight and nine, but we’ll see.

…anyway, uh, what I forgot to mention earlier is that my plan is to wrap up arc seven/the first fic in this series this month. Hopefully I will actually pull that off XD. And then we move on to the other stuff.

Other SW Fic Projects:

Big Bang is coming up again! I think signups will be next month? I’m considering three different plotlines as of right now, though that’s assuming I don’t come up with something new and exciting and/or another ObiAniDala plotline, which is what I seem to do every year…which one I end up doing probably depends at least partly on how S2 of the Mandalorian goes, since two of the three ideas heavily feature Bo-Katan. Of course, one of those lacks a plot and the other is pretty episodic/involves a lot of blank space I still need to fill in…

Anyway, we’ll see how that goes after the show airs and I get more event information, especially since it’s going to be structured differently/teaming up writers and betas much earlier in the process, which will be nice and possibly help chronically-undecided me actually pick something so I’m not scrambling to finish at the last minute but given that it’s me I probably will be anyway XD

As for other SW projects…I still owe a few meme fills from, like, April…but otherwise, extant projects are mostly back-burnered for now.

AtLA Projects:

Aka, the reason why SW projects other than Precipice and SWBB (and any one-shots/prompt fills that occur to me) are back-burnered, lol.

I am working on an AU outline, set to come out this month. There’s a couple of fulltext fics I’m playing with. I haven’t gotten any actual text written down yet, but I know where I’m going with them, at least to start.

The AU outline will be a canon-divergent thing set during the Ba Sing Se arc, and will be hopefully out Soon.

Fulltext fic #1 is…basically, the premise is, Lu Ten had a lover during the Siege, the soundtrack to this fic involves a lot of West Side Story, he left her with someone to remember him by, and then there’s some mindbending and complicated politics after his death. I think I talked a little more about this in a previous post? Anyway, one of the things I’m considering is whether to just tell this story linearly, or to start several years later, and go into the whole star-crossed lovers backstory as she regains her memories of what actually happened. The advantage to the first option is that it’s easier to work with shifting POV, which I prefer; and also involves more canon characters more quickly. The advantage to the second is that I think it would work really well for this particular storyline? Assuming I could get people invested in her and/or Ba Sing Se Politics/Worldbuilding that fast …y’know, when I think about it like that, maybe linear is the best option, lol…

Fulltext fic #2 is an Avatar Zuko AU, where he figures it out at age thirteen, and at that point decides he has roughly three and a half years until the comet, aka three and a half years to figure out how to make all this work (not to mention at least starting to learn air, water, and earth), and hopefully by then he’ll know what he should be doing with it? Whether it’s to resurface and Prove His Worth by defending the Fire Nation during the leadup to the comet, or something else (though Something Else doesn’t quite occur to him until he starts doing the other stuff). This will heavily feature at least one of my old OCs, and probably a few others (and likely one or two new ones), especially during the first two years. I’ve got things more or less worked out up until Aang resurfaces and Zuko’s plans have to shift/he has to cut his earthbending year short (much to Toph’s annoyance). Because once Aang is awake, everyone thinks he’s the Avatar (he’s not; there’s another explanation for how he iceberg’d for a century), and that fact just escalates All Of The Things.

((I’ve mentioned before that I am Pathologically Incapable of not creating a bunch of OCs and AtLA is a particularly strong example of that, so...yeah, that’ll be a Thing in pretty much anything I write in this fandom))

…anyway, this should be fun, once I actually get actual text down XD

Original Fic:

I did write one thing last month! Which was nice. Hopefully, I’ll get a bit done this month, too. For those of you who don’t know, most of my original stuff is posted on rainbowfic, which is a great community and if you guys do original stuff you post online, you should come join.

I’ve also started poking at a couple of new concepts, because that is how my brain do. Including one Arthuriana story despite the fact that I’m not super into Arthuriana but then my brain was like “what if Mordred was a girl?” and welp. Here I am.

NaNo:

I’m proooooooobably going to do a similar setup to what I had the past couple years--set myself a wordcount goal, but not bind myself to any single project. Depending on how things go this month, either with Precipice!verse or SWBB or my AtLA stuff, or if that Mordred thing catches on, I might try to prioritize one or more things (like, have my goal be 20k on X project, and 30k on other stuff), but I’ll decide that closer to the date.

…I think that’s everything! What are you guys up to lately? Does anyone have NaNo plans? Any thoughts on stuff I mentioned on my docket, so to speak? What’s on your mind?

#miscellania #coming attractions #feedback greatly appreciated #shadowsong26fic #shadowsong writes star wars #shadowsong writes atla #shadowsong writes original fic

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animatedminds · 4 years

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Scoob! Review

Apologies: I watched the movie two weeks ago, but forgot to write this because I was so busy doing the Dragonball FighterZ thing. But, with that out of the way...

An interesting ride. As a longtime Scooby Doo fan, it was pretty much a given that I would watch this installment by the Warner Animation Group as soon as possible, and I had a pretty good time - albeit with some issue. It’s a fun Scooby adventure, mostly focusing on Scooby and Shaggy, as they go on a new kind of adventure. It’s full of fun references, super charmingly animated action scenes, and lots of humor that actually nails the characters’ goofball antics without diminishing them as the butt of the joke - which is something the previous theatrical series was hit or miss about - which which is also hampered by the fact that it doesn’t really give itself enough time or space to really make any of those things shine.

Spoilers, but only a couple.

The first thing we ever heard about this movie years ago was that it was conceived as a dramatic retool of Scooby Doo into a out-and-out spy series, in order to set up a Hanna Barbera cinematic universe a la the MCU (which, given that they already had a shared universe they could adapt in Future Quest, hit a little hard), giving the impression that Scooby was going to be a pastiche of James Bond. It’s very obvious from the finished product that this concept was since heavily changed, but you still see it in the film. The gang is still the same-old gang - a bunch of kooky teen mystery solvers - but plotwise it’s very much “what if instead of solving a mystery, the gang just fought a supervillain?” Which, let’s be clear, is not unheard of for the franchise: see Scooby Doo and the Cyber Chase for another story that’s mostly just “fight a cool bad guy, with a tacked on mystery,” or the other Shaggy and Scooby-centric stuff like Ghoul School or Reluctant Werewolf for other movies that just plain eschew their usual setting entirely - this is a lot like those. It’s centered around the two characters’ relationship, like pretty much every theatrical Scooby release it seems, as this new challenge almost breaks their union, and the group as usual does very well in that kind of action. Faced with an army of dimwitted robots that can go from silly to terrifying multiple times in the same scene, Scoob and Shag’s typical mix of silly bumbling with surprisingly - and destructively - clever antics make for some great scenes, my favorite being a madcap chase through an amusement park that ends with them getting away on a ferris wheel that’s been knocked of its hinges.

This is very much a movie that wants to be a Hanna Barbera crossover, but is trying hard to restrain itself. As a kid Shaggy was a fan of the Impossibles (who, iirc, were once intended to get a movie as part of this universe) with models and posters that the camera never completely focuses on, you see Laff-a-Lympics on an arcade machine, references to classic Scooby writers and actors as location names (I laughed at Messick Mountain, and the Takamoto Bowl outright went over my head at first), even little things like Scooby bowling like Fred Flintstone or the blink and you’ll miss it appearance of Yankee Doodle Pigeon - and yes, Captain Caveman shows up, fully voiced by Tracy Morgan and kicking butt for a very short scene, with one of his show’s supporting characters (Dee Dee Skyes) as a prominent in this movie’s plot. There’s even musical references in addition to visible ones: at one point, the movie even orchestrates one of the classic bits of Scooby Doo background music. I was hoping for a reference to the classic Scooby Doo / Blue Falcon theme, but alas that was one nod we didn’t get.

However, this approach does work especially well with Blue Falcon - who was originally built up through Scooby Doo, sharing a timeslot, advertisement and technically a theme song, and in time has more or less become to Scooby Doo what Donkey Kong is to Mario: technically a supporting character, but able to do his own stuff every once in a while. There have been several Blue Falcon Scooby Doo crossovers in the last few years (though in terms of sheer number of references this movie’s got nothing on Mask of the Blue Falcon), and they’ve all been very fun as each show, movie or comic reinterpreted the character to fit their specific world - and this movie’s novice Blue Falcon who is kind of an egoistical loser, but turns out to have a lot to learn even from Scooby and Shaggy’s brand of cowardly bravery, grows on you even if he has kind of a rough initial landing.

Unfortunately, this is also a movie that very much wants that rigid hour and a half timeslot, and has absolutely no interest in a going a second longer - and that’s where it’s problems come in. I’ve said before that animated films have become more and more written with expediency in mind: plot points are rushed, denouements are minimized, side or even main characters might not get much utilization, and sometimes things come of as just kind of happening to the protagonists without much set-up. Even the best or the best animation companies fall into these traps at times, and this movie is a good example of what it looks like if you fall into that too much. Take the Scooby gang - Velma, Daphne, and Fred. They’re not really fleshed out that much in this movie, even if they were tweaked a bit with their new VAs - but that’s not necessarily a problem in itself, given the heavy focus on Scooby and Shaggy. What’s more noticeable is where this intersects the plot: for example - one of the better examples of what I’m talking about - the scene that kicks off the whole story. Fred, Velma and Daphne want to expand Mystery Inc, and call Simon Cowell to invest in them. Cowell decides Scooby and Shaggy are incompetent because reasons, and the two storm off. This is later framed as the gang abandoning the duo, that’s not really what happens. Once Cowell hits the scene, beyond one or two lines the rest of the gang essentially ceases to exist, and barely reacts to anything: there’s no moments with them where they seem to buy into what Cowell is saying, there’s nothing beforehand that implies that they’re dissatisfied with Scooby and Shaggy, there’s isn’t even really a status quo for what their dynamic is like. We cut straight from them meeting as kids to them having a supposed fight as adults - this is something that wouldn’t have taken a lot of time, but would have strengthened pretty much everything, from Scooby and Shaggy’s reaction to the trio’s guilt later, but is skipped over entirely. The others get very little beyond being summed up as “the muscle” (Fred), “the face” (Daphne) and “the brains” (Velma), and it feels less like expediency and more like we missed a scene somewhere.

Granted, this particular thing also runs a unique problem that the Scooby gang face. As characters who just turned fifty and who are well entrenched in pop culture, adaptations often assume you know who they already - and this movie definitely assumes you can do its work for it and establish a baseline for the Scooby gang on your own... and on that front, I suppose it does better than the previous film series, which based a lot of its humor on fandom in-jokes they poorly assumed everyone agreed with. But... there’s a degree to which every film needs to establish a baseline for that it itself to trying to do, and I think skipping this hurt the film more than it should have. And it’s hardly the only point where the need for speed cuts out the flow of the film. Scooby and Shaggy get abducted by Blue Falcon, whose assistant then promptly exposits on everything the audience doesn’t know yet about the plot so that they can just skip straight to more action - basically setting up a question and then answering it immediately without set-up. This essentially robs Dick Dastardy - definitely the best thing about the movie - of a strong introduction, in favor of, again, expediency, and it’s kind of baffling given that there’s later scenes where the rest follows the mystery and so repeats that exposition anyway. I mentioned that Blue Falcon himself got a rough initial landing, and that’s because his intro scene is just a lot of new element popping in with exposition, interspersed with pop culture references - and that exposition just stops the whole thing cold for a while. We hit again the “expects you to know” angle with Falcon himself, who is a legacy character of the original Falcon - who we never see, which raises the question of why they bothered to make him a legacy and not just a novice hero in the first place. I’ve always been a strong believer that you can introduce elements without needless explanation unless who introduce concepts that suggest explanation: Scoob and Shag being a fan of the original Blue Falcon, Dynomutt constantly reminiscing about him, and there being a full Falcon organization around which the movie pivots, along with lots of reference, suggest the need for at least a little more than we got - even if it’s just a thirty clip of the way Blue Falcon worked before Brian (the new Falcon) came along - but the movie just wants to rush past it. The entire quest on which the plot is centered it halfway through when we first encounter it, and doesn’t get any explanation at all until halfway through the movie. And then there’s little things like Captain Caveman cameo, which just leave you wanting more.

This happens again and again, with plot points, characters, all sorts - things introduced halfway and then brushed past as though they’re not. People don’t expect much from animated movies, and stuff like this is one of the reasons why - this movie feels sometimes like it was written for tv, which is ironic given how it ended up being released. But the movies that were themselves DTV or released to TV, like Shaggy’s Showdown or Legend of the Phantasaur, the aforementioned Mask of the Blue Falcon or - my perosnal favorite - Moon Monster Madness, even tend to not have these problems themselves, because they’re more measured and precise about what they want to introduce and why. It’s great to be childish, as long you do childish well.

But now that the criticism portion of the review is done, I will say that this doesn’t hamper the movie’s desire to be fun and easy to follow, it just makes it not as much so as it clearly could have been. If you wanted more Falcon, or more Scooby and Shaggy, more Mystery Inc shenangians, more Dastardly, more adventure, more of a certain gag or humor, more of really any of the movie’s best points, you weren’t getting them that much because the movie was trying to do all of them all at once. But one the movie starts getting traction, about halfway through, that starts to fade as everything coalesces. All the characters meet, we finally know what the heck is going on, and it’s just a straight shot to the end with lots of what this movie does best: cool visuals, silly characters doing silly things, and brave characters doing brave things. Much as I wish there was more to the Captain Caveman segment, it’s one of the most visually hilarious parts of the movie, with the stark contrast of these hi-tech, modern character colliding with these explicitly more cartoony prehistoric designs and antics, and its just wonderful. Everything about Dick Dastardly’s story is great - though I was wishing for a Penelope Pitstop reference - and he even gets a heartwarming conclusion to the whole thing.

I don’t know where the series is going after this - whether they do indeed intend to make more Hanna Barbera movies in this vein. The credits teased Johnny Quest, Frankenstein Jr, Grape Ape (who according to concept art was supposed to be in this one), Atom Ant, and even a bit of Wacky Races, and it’s clear they have the love for classic Hanna Barbera to make it happen. I just hope that if they do, they go with a series who can expand this in a more concise way, with a little better character introduction. I’ve still got my fingers crossed for Future Quest.

The film is still very recommended by me. I loved it, I watched it twice, and it a heck of a lot of fun even with its hang-ups. If you haven’t seen it, there are worse ways for a parent, a kid, or just a big ol’ child at heart to spend an afternoon.

#scooby doo #scoob #movie review #animation review #shaggy #daphne blake #velma dinkley #fred jones #hanna barbera #warner animation group #blue falcon #dynomutt #dick dastardly #animated film #review #animated minds

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