#basically. failing to tell the story it promised to tell in a satisfying and meaningful way

[llycaons]

that worst finale poll is feeding me so well. I love reading about trainwrecks in shows I've never watched and going 'wow, really dodged a bullet there!' it's like the inverse of how bad it feels to see spoilers for shows you like.

[soul-dwelling]

I think ironically by trying to make the story "deep and mature" when killing of Mifune in the manga Ohkubo showed himself as very juvenile by not knowing how to deal with the whole Anglea situation and basically kicking the can till the finall chapter, having blackstar say some pretentious line of "You can have my life/heart" or something

This could be another case where the anime was more engaging. 

Mifune’s role in the manga seems to be to get Black Star to stick to the “Path of the Warrior” and defy the Star Clan. After all, it’s Mifune who leaves that scar across Black Star’s Star Clan tattoo. But despite reading the manga, despite reading the Soul Eater Wiki, I still don’t quite get it. Maybe I’m failing to read this within the context of Japan. 

The manga sets all of this up in terms of Black Star needing to learn from Masamune’s failure, and to see that he better feel regret for each other warrior he kills in battle. Is this to show how he is no longer as bloodthirsty as mere assassins like White Star and the rest of the Star Clan? But then Black Star works for Lord Death, who has his students assassinate on his behalf, and--...I’m lost. 

To make the story more meaningful and seemingly a more mature form of storytelling, I think the story wants to show Black Star is taking the work seriously. But as I tried to allude to above, he is still working for Lord Death to assassinate people, so is he really taking that work more seriously? 

Soul Eater treated the idea of death as largely a joke: Lord Death tells people to assassinate his enemies; we get people like Jack the Ripper just slaughtered; we present Al Capone in such a pathetic state when he is left for dead. That’s not to ignore how shocked Liz looks when the Ghost Girl is taken by Ragnarok, but up to then, the Ghost Girl was treating death as a joke, Liz’s fear of her as a joke, even her own outrage that she didn’t get to live long enough to be an attractive woman. 

Then Mifune dies in the manga. And we get his death treated with such solmenity, and the immediate aftermath with Soul and Tsubaki and Kim and others worried what is going to happen to Angela without Mifune…only to drop this until the conclusion of the manga. 

Again, maybe I’m missing something, reading through translation, with what Black Star promises to Angela in the manga’s finale. It would mean something more if we had Angela around longer. It’s why fan creators tend to do better with the unanswered questions of this series, as they explore character relationships that were not given more attention in canon. If you tied this together in a more engaging way, perhaps related to how you need a witch’s soul to make a Demon Weapon, you would have Black Star’s offer of his own soul as an ironic trade, that instead of a meister taking a witch’s soul, it’s a witch taking a meister’s soul. But that’s not what we get: Black Star saying he promised Mifune he would let Angela kill him if he leaves the Path of the Warrior…when, again, I don’t notice that significant change in Black Star’s philosophy, so much as his demeanor changes a bit, maybe just that he now doesn’t have to brag because he already shown how powerful he is. 

Meanwhile, the anime has Black Star reject this binary thinking, that he has to follow the Path of the Warrior or the Path of the Kishin--and, like his anime theme song says, he doesn’t lose himself, he finds his own path. This is not very satisfying either, as it seems too simple and direct. But at least it’s a happy ending: Mifune doesn’t die needlessly, we give payoff to Tsubaki’s earlier statement that obviously just teaching at the DWMA would be safer for both him and Angela.

[stellocchia]

Today I’m departing from my normal analysis content to bring you all an Overly Long Analysis of Foolish’s lore!

Why? Because I love him dearly and that was literally the best thing that came out of the Red Banquet... 

Am I late to this? Yes, but, you know... better late then never, am I right?

As always from here on out I will be talking about the character in the rp unless stated otherwise

Sadly, Foolish does not have a vod channel, so the only link I can provide here is the twitch link: Death? - Dream SMP (LORE)

The stream starts with Foolish’s death scene at the Red Banquet. To be more exact, during Puffy’s and Ant’s discussion. 

Now, it’s important to give a bit of context to all of this: 

The Red Banquet was a trap organized by the Eggpire to kill anyone who ever opposed it (and Hbomb... which is fair). After a bunch of uno reverse scenes it looks like the Eggpire is winning and, at first, they call up Eret to be executed. Foolish opposes this by trying to summon lightning once again to destory the Egg, but this fails and Foolish is put on the chopping block instead. Puffy loudly opposes this as Foolish is her son (aopted or just son-figure? I’m not sure) and her and Ant get into a discussion about this where Ant blames her for everything that happened because she left the Eggpire, while she debates that, no, their actions are their own responsability and she was trying to do her best all the while Foolish tries to reassure Puffy that, indeed, it isn’t her fault. The debate then gets cut short by Ant executing Foolish.

Screen cuts to black and we hear the distorted voice of the Egg before Foolish comes back inside the green light of his beacon in his pyramid.

Now, I think that one of the most interesting things about this stream was the great weight given to the death, despite it being Foolish’s first one, but also the idea of Foolish, who is a God of life, formerly God of death, coming to the realization that even he is not immune to death and coming to the slow realization that he is now scared. In fact, he is terrified of dying, but that’s not all. He is also scared of the Egg and scared of going back to what he once was. Of course I’ll be talking more in depth about it, but this are the general themes of the stream: coming to terms with mortality, coming to terms with fears and confronting his past.

His first reactions to being back are confusion and then denial:

“Wha...? No... was that...? Is- did I...? Did I d...?” and right after “No. No no no no no. I’m immortal. No no no no no" 

Also, cool description of death: “It felt different, it was- I- I felt something, I was- I was somewhere, but it was- it was nowhere it was... it was dark but it wasn’t just nothing”

After his moment of disorientation is over Foolish remembers about the Baqnuet and immediately starts wondering what happened there and wether the other partecipants were still alive. His musings though get interrupted by the Egg who starts talking once again to him, this time though the Egg’s voice is not distorted, which could indicate the link between them getting stronger after part of Foolish’s life force went to feed the Egg.

“Where are you? I know that voice!” “I am in your mind” “No. No no no...” “I am in your soul” “No! no no no no. This is- this is just tricks, games. This is... something new” “It is not a dream” “Is this- is this the Egg?”

So, at first Foolish is still in denial, he recognizes the voice as he’s spoken with the Egg in the past, but he doesn’t admit that that’s who he is talking with until the Egg points out that everything that Foolish is experiencing is real. Which is interesting because, up until that moment, he was also fully in denial about his death and only start questioning that afterwards.

“Call me what you want, I have many names as you know but you’ve forgotten” “What do you mean? What do you mean? No no no no, I never heard of you before, wasn’t that long ago that I first met you. You’re something new, something that I’ve never met before”

Now, before jumping the gun and saying that Foolish is yet another member of the amnesiac gang, we have to remember that Foolish has: 1) lived a really long life and probably seen lots of things, forgetting something is normal and 2) Foolish seems to do an active effort to repress anything having to do with his past as a Totem of Death. The second one is what I want to focus on because the Egg seems to have known Foolish back when he was still covering that role, as it’ll be mentioned later. It is also possible that when Foolish and the Egg first met the Egg wasn’t in this form (after all we know that it does have another form) and Foolish simply fails to realize that the 2 are the same thing.

“I’m an ancient one, even more ancient then you”

We did have some idea of this with both “The Masquerade” and “The Village That Went Mad” from tftsmp alluding to it (the second one mostly through Ponk’s lore), but now we’ve had the confirmation that the Egg is indeed something that has existed for a long time (how powerful that makes it is debatable considering how the story has framed it thus far). 

“I’m not afraid of you! Even after all that I’m still... not afraid”

Denial seems to be Foolish’s first response to anything new he experiences. I’m sure someone smarter then me could draw some interesting parallels to Tubbo here, but that’s not me!

“Afraid... you are truly Foolish if you thought you were stronger then me... you should be afraid” “Maybe... maybe I had it wrong. Maybe I thought I was stronger... but I’m still here!”

The confident facade is starting to crumble, although he has yet to accept the fact that he has in fact died or that he may be truly afraid, some doubts are starting to creep in.

“Foolish, when we met you said you feared nothing, but now I can sense your fear Foolish” “No no” “You fear death itself” “No!” “Don’t you~?” 

The taunting continues and more of the facade keeps crumbling. It seems for once that the Egg is in fact capable of manipulation (which I started to doubt as it failed to corrupt most people it came in contact with). The Egg seems to know what are Foolish’s weak points at the very least.

“I know who you are, even though you have forgotten something of what you are”

After this premise Foolish challenges the Egg to tell him something only he would know. So first of all the Egg brings up Foolish’s secret room and ‘what he keeps in there’ and, at first, Foolish’s ponts out that the Egg could be lying, but then realizes that it is, in fact, in his head and starts to find a way to get rid of it. Later the Egg picks this up again revealing that it knows about the deal with Ranboo to try and stop Foolish from getting rid of it.

“You still think like you’re gonna get me to join your side? It’s not gonna happen!”

And here we get Foolish’s refusal and the actual motive for why the Egg is even talking to him in the first place. The Egg tries to convince him to join it by harping on that Foolish how he is now is “weak” and tries to convince him to go back to how he was before, when he was a Totem of Death. But, as I said, Foolish actively despises his past and he doesn’t bend to the promises of power because, as a matter of fact, he tried that already and it didn’t work for him. Foolish has no interest in power (he still desperately searches for control though) which is actually quite unique for a Dsmp character...

“I’ve tried ‘power’ in the past and it doesn’t work! It doesn’t work! You can’t just use overwhelming force, it works for... short-term at best” (...) “I can’t control the actions of the world through overwhelming power, it doesn’t work. It just doesn’t”

(Wish the dumbasses from Doomsday would learn this...)

Either way Foolish explains that strenght, power and violence didn’t work for him in the past because they simply can’t work. Not long term at least. All the while building provides him with a sense of control over his own creations satisfying both his desire for control and his desire to create.

“Deep down you miss the power you once held. Go back to being a Totem of Death and together we can rule and create peace. Peace is what you want, right Foolish?” “Yes but it doesn’t work that way! It doesn’t work that way! It’ll never work that way...”

After a few moments of hesitation their conversation draws to a close with Foolish bathing himself in the water from Church Prime, with a honestly iconinc line: “You know, and I mean this in the most polite way possible, go to Hell”. This is also when the facade he’s had to somewhat keep up until now completely crumbles. Suddenly he realizes that he is too late to help anyone and doesn’t even know if anyone is still alive at all. He also starts confronting the fact that he died and the implication of this being that he is mortal. He also confronts the fact that he is scared. 

“Did I really die?” “Why am I afraid of it?” “How can I live such a long life and be afraid of it to end?” “I don’t see beauty in mortality” “I can’t die, can I?” “Even if I could die, why am I so afraid?” “The answers... I just want answers!”

He doesn’t find answers to his panic induced questions but, then again, he is not supposed to. Death doesn’t have a meaning, it’s just a function of life, nothing lasts forever. The same goes with fear. Even if in this case it is far from 

inexplicable for him to be afraid of the Egg or of dying (as one was the direct cause of the other in his case), fear is still an emotion. Emotions aren’t rational by definition. Basically what I’m saying is that there aren’t always answers to be had. Sometimes questions are meant to remain as such and that’s what makes them meaningful.

“Every time I thought I knew the Egg, every time I though I understood, I never had it right? Was I arrogant about it the whole time?”

He also seems to have developed a level of paranoia about the Egg, wondering how much it knew, how many people knew about his stuff, if he is safe anywhere or if the Egg was right about him and what he wanted. He also starts questioning his own perception of reality and wondering if the Banquet itself was just an illusion created by the Egg.

It’s also interesting that Foolish remains of the opinion that no-one in the Eggpire is at fault. No matter what happens to him he still sees the Egg as a sort of infection and all those under it’s control as victims just as much as anyone else the Egg harms. 

(Also the sun is used once more as a simbol of hope, though Foolish describes it as “cruel” because it disappears)

The stream ends with Foolish promising to himself that he’ll figure things out. Though, as I said before, sometimes the point of a question is to not have an answer.

[sammy24682468]

Lesson 6 from arrogance to destruction

"Memory Text: “And He changes the times and the seasons; He removes kings and raises up kings; He gives wisdom to the wise and knowledge to those who have understanding” (Daniel 2:21, NKJV),

"In Daniel 5, the Word of God gives us a powerful example of human hubris that ends in a stunning and dramatic way. Though one could say that it takes Nebuchadnezzar a long time to learn his lesson, at least he learned it. His grandson, Belshazzar, does not. In using the temple vessels in a palace orgy, Belshazzar desecrates them. Such an act of desecration is tantamount not only to a challenge of God but an attack on God Himself. Thus, Belshazzar fills up the cup of his iniquities, acting in ways similar to the little horn (see Daniel 8), which attacked the foundations of God’s sanctuary. By removing dominion from Belshazzar, God prefigures what He will accomplish against the enemies of His people in the very last days. The events narrated in Daniel 5 took place in 539 b.c., on the night Babylon fell before the Medo-Persian army. Here occurs the transition from gold to silver, predicted in Daniel 2. Once more it becomes evident that God rules in the affairs of the world."

Belshazzar's feast:

"Read Daniel 5:1-4 along with Daniel 1:1, 2. What is Belshazzar doing that is so bad? How does it reveal his true character? Compare his actions with Revelation 17:4-6. What parallels can you find?"

"The king commands that the sacred utensils of the Jerusalem temple be used as drinking vessels. Nebuchadnezzar seizes the vessels from the Jerusalem temple, but he places them in the house of his god, which shows that at least he respects their sacred status. But Belshazzar turns the sacred vessels into drinking utensils in a most profane way."

"While drinking from the sacred vessels, Belshazzar’s lords “praised the gods of gold and silver, bronze and iron, wood and stone” (Dan. 5:4, NKJV). It is worth noticing that six materials are mentioned. The Babylonians used the sexagesimal system (a system based on the number 60) in contrast to the decimal system used today (based on the number 10). Thus, the six categories of gods represent the totality of the Babylonian deities and, therefore, the fullness of the Babylonian religious system. Interestingly enough, the order of the materials follows the order of the components of the dream statue of Nebuchadnezzar, except that wood replaces the clay. As in the dream, stone appears last; although here it designates the material composition of idols, stone also evokes God’s judgment upon worldly empires (see Dan. 2:44, 45), which Babylon symbolizes."

"This feast serves as an apt representation of end-time Babylon as seen in the book of Revelation. Like Belshazzar, the woman in endtime Babylon holds a golden cup and offers polluted drink to the nations. In other words, by means of false doctrines and a distorted worship system, modern Babylon lures the world into evil (Rev. 17:4-6), oblivious to the judgment that will soon fall upon her. One day judgment will come."

An uninvited guest:

"Read Daniel 5:5-8. What happens, and why does the king respond as he does? In what ways does this account parallel Daniel 2, and why is that parallel important? (See Ps. 96:5 and Col. 1:15-17.)"

"As Nebuchadnezzar does in previous crises (Dan. 2:2, 4:7), Belshazzar calls the astrologers, the Chaldeans, and the soothsayers to clarify the mysterious writing. And to make sure that they give their best, the king promises them extravagant honors: (1) purple clothing, a color worn by royalty in ancient times (Esther 8:15); (2) a chain of gold, which was a sign of high social status (Gen. 41:42); and (3) the position of third ruler in the kingdom. This last reward reflects accurately the historical circumstances of Babylon at that time. Because Belshazzar was second ruler as co-regent with his father, Nabonidus, he offers the position of third ruler. But despite the tempting rewards, the sages once again fail to provide an explanation."

"On top of all his sins, then, the king attempts to find wisdom in the wrong place. The Babylonian experts cannot uncover the meaning of the message. It is written in their own language, Aramaic, as we shall see tomorrow, but they cannot make sense of the words. This might remind us of what the Lord speaks through Isaiah: “For the wisdom of their wise men shall perish, and the understanding of their prudent men shall be hidden” (Isa. 29:14, NKJV). After quoting this verse the apostle Paul states: “Where is the wise? Where is the scribe? Where is the disputer of this age? Has not God made foolish the wisdom of this world? For since, in the wisdom of God, the world through wisdom did not know God, it pleased God through the foolishness of the message preached to save those who believe” (1 Cor. 1:20, 21, NKJV)."

"Some truths are too important to be left for humans to try to figure out for themselves. That’s why God, instead, reveals these truths to us."

Enter the Queen:

"Read Daniel 5:9-12. What does the queen say about Daniel that the king should have known already? What does it say about him that he seems ignorant even of Daniel’s existence?"

"As the banquet hall is thrown into confusion because of the mysterious message on the wall, the queen comes and provides direction to the befuddled king. She reminds the king about Daniel, whose ability to interpret dreams and solve mysteries has been demonstrated during the time of Nebuchadnezzar. If Belshazzar were as smart as his predecessor, he would have known where to turn to find the meaning of this mysterious writing. The intervention of the queen proves necessary for the king, who at this point seems utterly at a loss as to what to do next. Her words sound like a rebuke to Belshazzar for having overlooked the only person in the kingdom who can interpret the mysterious writing. And she also gives the king an oral résumé of Daniel: the prophet has the Spirit of the Holy God, light and understanding and divine wisdom, excellent spirit, knowledge; he is capable of understanding, interpreting dreams, solving riddles, and explaining enigmas; he was chief of the magicians, astrologers, Chaldeans, and soothsayers in Nebuchadnezzar’s time (Dan. 5:11, 12)."

"At this point, we again wonder why Belshazzar had ignored Daniel. The text does not offer a direct answer to this question, but we presume that at this time Daniel, after serving the king at least until the third year of his reign (Dan. 8:1, 27), is no longer in active service. One factor could be Daniel’s age. He is probably around 80 years old, and the king may have wanted to replace the old leadership with a younger generation. The king also may have decided to ignore Daniel because he did not want to commit himself to Daniel’s God. But whatever the reason or combination of reasons, it remains striking that someone with such a portfolio as Daniel’s could be forgotten so soon."

"Read Romans 1:16-32. In what ways do we see the principle expressed in these texts manifested, not just in this story but also in the world today?"

Weighed and found wanting:

"Read Daniel 5:13-28. What is the reason Daniel gives for the soon-to-come demise of this king?"

"Forced by the circumstances, the king resorts to consulting Daniel, but he seems to do so with reluctance. This may tell more about the attitude of the king toward the God of Daniel than toward Daniel himself."

"In turn, Daniel’s response to the king’s offer of reward says a lot about Daniel’s priorities and character. It also is likely that Daniel, knowing the meaning of the mysterious words, realizes just how worthless the reward really is."

"Daniel then indicts the king on three counts.First, Belshazzar totally has ignored the experience of Nebuchadnez-zar. Otherwise he would have repented and humbled himself like his predecessor."

"Second, Belshazzar has used the temple vessels in order to drink wine and to praise his idols. Here Daniel mentions the six kinds of materials used to make idols in the same order noted previously."

"Third, the king has neglected to glorify God, the One “who holds your breath in His hand and owns all your ways” (Dan. 5:23, NKJV)."

"Having addressed the failures of the king, Daniel proceeds to the interpretation. Now we learn that the divine graffiti consists of three Aramaic verbs (with the first repeated). Their basic meaning should have been known to the king and his sages—MENE: “counted”; TEKEL: “weighed”; and PERES: “divided.”"

"With the Medo-Persian army at the gates of Babylon, the king and the sages must have suspected some ominous meaning in that writing, but the sages do not dare to say something unpleasant to the king. Only Daniel proves capable of decoding the actual message into a meaningful statement in order to convey its full meaning to Belshazzar: “MENE: God has numbered your kingdom, and finished it; TEKEL: You have been weighed in the balances, and found wanting; PERES: Your kingdom has been divided, and given to the Medes and Persians” (Dan. 5:26-28, NKJV; emphasis supplied)."

The Fall of Babylon:

"Read Daniel 5:29-31 along with Revelation 14:8, 16:19, and 18:2."

"What can we learn about the fall of Belshazzar’s Babylon that points to the fall of end-time Babylon?"

"Whatever his faults, Belshazzar is a man of his word. So, despite the bad news, he is satisfied with the interpretation given by Daniel, which is why he bestows upon the prophet the promised gifts. It appears that by admitting the truth of Daniel’s message, the king implicitly recognizes the reality of Daniel’s God. Interestingly, Daniel now accepts the gifts he has refused before, probably because such gifts can no longer influence his interpretation. Besides, at that point such gifts are meaningless since the empire is about to fall. Thus, probably as a matter of courtesy, the prophet accepts the rewards, knowing all the while that he will be the third ruler of the kingdom for only a few hours."

"Exactly as announced by the prophet, Babylon falls. And it does so quickly; while the king and his courtiers drink, the city falls without a battle. According to the historian Herodotus, the Persians dug a canal to divert the Euphrates River and marched into the city on the riverbed. That same night Belshazzar is slain. His father, King Nabonidus, has left the city already, surrendering himself later to the new rulers. Thus, the greatest empire humanity has ever known to this point comes to an end. Babylon, the head of gold, is no more."

"“Belshazzar had been given many opportunities for knowing and doing the will of God. He had seen his grandfather Nebuchadnezzar banished from the society of men. He had seen the intellect in which the proud monarch gloried taken away by the One who gave it. He had seen the king driven from his kingdom, and made the companion of the beasts of the field. But Belshazzar’s love of amusement and self-glorification effaced the lessons he should never have forgotten; and he committed sins similar to those that brought signal judgments on Nebuchadnezzar. He wasted the opportunities graciously granted him, neglecting to use the opportunities within his reach for becoming acquainted with truth.”—Ellen G. White, Bible Echo, April 25, 1898."

Further thoughts:

"Large feasts were common in the courts of the ancient world. Kings loved to throw parties with extravagance and luxury to show their greatness and confidence. Although we do not know all of the details of this particular feast, we know that it took place when the Medo-Persian army was poised to attack Babylon. But humanly speaking, there was no reason for concern. Babylon had fortified walls, a food supply for many years, and plenty of water, because the Euphrates River flowed through the heart of the city. So, King Belshazzar sees no problem in having a party while the enemy surrounds the city. And he orders a momentous celebration, which soon degenerates into an orgy. What a powerful testimony to the hubris of humanity, especially in contrast to the power of the Lord. Through Daniel, God tells the king that despite the opportunities he has had to learn truth, “the God who holds your breath in His hand and owns all your ways, you have not glorified” (Dan. 5:23, NKJV)."

"“The history of nations speaks to us today. To every nation and to every individual God has assigned a place in His great plan. Today men and nations are being tested by the plummet in the hand of Him who makes no mistake. All are by their own choice deciding their destiny, and God is overruling all for the accomplishment of His purposes.” —Ellen G. White, Prophets and Kings, p. 536."

[yamineftis]

I’m sorry op but as much as I wish I could agree with you, that just ain’t it.

Din had promised to help Bo Katan reclaim Mandalore if she helped him save Grogu. They wouldn’t have gone their separate ways, because he made a promise and we know Din NEVER breaks his promises.

Would that have been cool? well yeah cuz it could have explored Bo Katan failing yet again despite having the saber, and maybe allowing Mandalorians to realize that sword shouldn’t be the thing holding them all together.

But instead the writers did a brilliant thing (at the time) in my opinion. First they made Bo Katan KEEP the dark saber information from Din. She didn’t tell him the importance of the blade. At the time I thought that was such an intriguing move cuz it showed me Bo Katan, while way more mature than her cw/rebels self, still had a bit of a power grab want, and didn’t want to SHARE the burden of leading Mandalore. So then, what happens? Din gets the fucking sword from Gideon lol because OF COURSE he would, he has no idea what it is and his only goal is to save Grogu. And the writing even implies it was Gideon’s plan all along! which again...brilliant!!!... At the time.

So now Bo and Din couldn't really be allies, he had the thing she wanted!. omg New development!!!.

Why would they do that if it didn’t mean any conflict between factions? Why did they write that if it wasn’t meant to progress Din and Bo Katan’s characters to realize more things about themselves? to ask of Din WHY the blade is heavy, to ask Bo WHY she had to put up with Mandalorians who care more about a sword than a planet?. Heck even include the armorer, who in BoBF seems to have some beef with Bo because she’s basically the reason the planet was obliterated. And no, sorry despite what others may say or what the season has tried to do, she is still guilty despite her good intentions, much like how Satine was guilty of not having the foresight to see Death Watch coming (and my point with this is that character should face consequences for their actions! not that they can’t be redeemed!).

The delicious conflict was there! But what did we get this season? a series of the most RANDOM events to give Bo Katan the saber back. They couldn’t even think of a way to disarm Din to lose the saber, he had to be fucking trapped by a random grievous spider kajshdskajsdska, the way they couldn’t make a coherent story through Din is beyond me.

Like, I was on the camp of making him Mand’alor because imo the best leaders are the ones who don’t seek power (and we’ve seen countless times through the series how he CAN make enemy factions work together for a mutual goal) but I was absolutely ok if Din didn’t keep the sword, so long there was some kind of arc for him to surrender his claim in some way. But no, nada, we got literally nothing for him, NOTHING. He redeemed himself in episode two and had to TRIP into the waters for Bo Katan to see the Mythosaur, and that only happened to make the armorer think she’s a chosen one kajshdkajhdka when she called her a cautionary tale before??? I’m sorry but there’s just CERO interest in conflict in this season and it’s so sad because conflict is good! conflict makes character feel like humans and thus it’s way more satisfying when they put their differences aside to fight a common enemy! Especially one as awesome as Moff Gideon, who basically wants to appropiate their culture for his own gains.

What did we learn about Din in this season? what meaningful progression with Grogu did he have? so far, only him making Grogu fight Ragnar, and it wasn’t even to progress his story, but to make us care about Ragnar being kidnapped so Bo Katan could show her “leadership” skills (seriously, the mandalorians were so incompetent in that episode, Din could have easily being the one to take the N-1 and have Bo’s role, cuz she was still kind of an outsider by then? but no, the “we have no ships” only applies to serve Bo and make her look good). All while the armorer made new armor for Grogu!...Armor that Din didn’t even get to react to!.

So, sorry but a lot of us are upset because Din is a great character and he simply has no arc in his own series. The marketing promised us something VERY different to what we got.

I haven’t finished. People keep saying that Din winning the Darksaber was a waste of time and bad writing because it served no purpose or character development and if he was just going to give it up to Bo Katan anyway they should’ve just had her win it in the first place.

They’re missing the point. The reason he won it was to expand our understanding of his character and some of you completely missed it. Instead of seeing the purpose of it, which showed us that Din doesn’t seek power or to rule, you interpreted the complete opposite and thought that was his destiny.

And if Bo Katan won the Darksaber immediately instead, she and Din would’ve immediately went their separate ways and the Mandalorians might never have come together but through Din winning it, it brought Din and Bo Katan together, two Mandalorian’s with polar opposite views on the ways of the Mandalorians and them coming together and Din handing her the Darksaber represents all Mandalorians uniting.

And the character development is them both accepting and respecting each others ways and the intention is showing their motives and what they desire.

[riikkamhaynes-blog]

👏Book review👏 or analysis... whatever

Koston enkeli (the angel of revenge) by Juha Ruusuvuori (published 2014)

The table of content

Introduction (synopsis)

No spoiler review (the writing, dialogue, the pacing + ending, the characters)

Spoilery overview of the plot

The bullshit

Things I liked

What can the writers learn from this?

My rating

Recommendations

Introduction

I found this book in my local bookstore. It was on sale for five euros. It would’ve been around 30 on normal occasions. The cover was cool, the name was intriguing and the price was fair. This book promised to be a psychological thriller about gender roles and the downfall of relationships. Keep that in mind...

My thoughts on it?

Synopsis

The book has two main protagonists; Mia and Harry. They are an old married couple. Mia hears a rumor that Harry could have cheated on her with another younger woman. The prologue shows a murder taking place. Neither the victim nor the culprit is named and their identities are completely ambiguous.

It’s essentially a psychological whodunnit story.

The book is written in Finnish and, as far as I know, hasn’t been translated into English. It’s not a big loss if you ask me.

Non-spoiler review

The chapters were written in a bizarre style. There were no spelled out chapter breaks. There was nothing where you would see “chapter 1, chapter 2, etc”. It may not sound like a lot but it does make a difference when you’re reading. Did I like it?

Look, this format is actually quite common in some nonfiction books but this is the first fiction I’ve read that utilizes it.

Since it is a mystery, I don’t mind an ambiguous narrative and a different format, in fact, if done right, it would enhance the story. I just didn’t like it in this book.

Now, I’m not saying that this failed entirely. The format did help the ambiguity of the story, even if the way it did that was by confusing the f*ck out of me. It almost merged the two POV characters into one. It might have worked.

I do question the need for this formatting choice. I personally didn’t care for it. My main problem is that I don’t feel like this book really benefited from it. I do not think it would’ve made a difference if the book was formatted normally. It was just a big meh for me.

The writing

I have no problems with the actual writing. I found it to be quite wonderful and vivid (even though the book didn’t really describe the setting). The sentence structure was okay (in a way that the length varied). The lack of adverbs was delightful. 

What I’m trying to say is that the writing was simply

The Dialogue

It was written in a way that turned it into blocks of unintelligible garbage.

For some unknown reason to man, this author decided not to include ANY dialogue tags. It was just as confusing as it sounds. I found this to be incredibly hard to follow. I don’t that style added anything to the narrative.

More than that, I feel like this style took away from the entertainment value. I love dialogue. It brings the characters alive... but not when it’s written just as another paragraph.

The dialogue was written as the characters telling the reader what was said.

Example:

I told Harry that I was down to fuck if he did the dishes. He told me that he would see to it as soon as we left the funeral.

(That never happened in the story, don’t worry.)

I think that type of dialogue is okay when used when it needs to be used (like in small talk and greetings). It, however, does take away from the showing aspect of the story. We all know that you should show, not tell and this type of dialogue tells. It breaks the immersion when used with conversations that would be better when shown.

There is another problem with this writing choice.

Dialogue helps to break up the normally bland look of the page. Let me show you what I mean by examining these two pages (u don’t gotta read them):

Isn’t that just beautiful? Doesn’t it make you ooze with anticipation to read it?

Then check this out:

The latter one looks way more appetizing. The chances are that you even tried to read specific parts in it. This is because most humans don’t digest big chunks of information easily. I’m not saying that you NEED to have dialogue on every page, in fact, you shouldn’t have it in just to fill space.

That being said, an entire book made out of bricks of plain text with nothing to break it up is going to drive not just the characters to homicide, but the reader as well.

(Both of the examples I gave were of fictional texts so the argument that one is meant to be factual will not hold. Even with textbooks that are meant to convey information, the text shouldn’t be a brick wall because it hinders the amount of information the reader is going to actually pick up. The page is often broken up in textbooks with diagrams and pictures.)

You can also break up the text by doing certain parts in different styles, eg bold and italic. I use this a lot to highlight certain words and sentences so that the reading experience is more interesting.

Conclusion:

Avoid big blocks of bland text because the human subconscious doesn’t find them visually interesting and can often be put away by it.

On a side note; if you plan to have a no-dialogue book, at least break it up in the writing formatting. I would be careful with a no-dialogue book since it’s hard to pull it off. It would put a lot more focus on your writing ability and all of your weak points in writing would pop up like a line of motherfucking erections.

(Not everyone is affected by the bricks as much as others are. I would be wary of it but you definitely shouldn’t freak out if you have it in certain parts of your manuscript. Just make sure that the whole book is not made out of it.)

The pacing

The book was an easy read partly due to the fast pacing. The start was fast and the snippets to the murder helped to keep the reader interested. I didn’t notice any inconsistencies until the very end of the book.

Ah, the ending. The most important and meaningful part of a book... I am disappointed.

We all know what the three-act structure is. It is universally the most popular guideline for the pacing, tension-building and story structure. In essence, tension should rise as the story nears the end. There is a big climax and then everything is tied together, the reader left satisfied.

That’s how it went here, riiigghhhht?

It felt flat.

The author clearly tried to set the tension up, but it failed because we were given too much information and the events leading up to it were unrealistic.

The ending felt flat party because we knew what to expect. And although we didn’t know for sure whodunnit, we knew pretty much what else would have to happen before the end. To me, it felt like the author didn’t put that much effort into making the ending surprising.

He made it clear who was going to die and the only “surprise” was the killer (but it feels like I’m picking at straws when I call that a surprise). It was quite clear that he thought he was being smart by writing it the way he did, but I’m not buying it.

For me, it felt like the pacing was the highest at the start and the middle and that the ending was like a depressing mudslide.

It also felt like there was no structure in the story. I couldn’t pick up when each act was ending. It was confusing.

The characters

One is a cheating whore, the other one is a paranoid cunt.

The paranoia I can understand but it became unhealthy real quick and the cheater turned out to be a huge prick out of the blue (this person was portrayed as a reasonable person prior to the reveal so it didn’t make sense).

I did actually like seeing these two people descend into complete madness. I can give that to the book. Their psychological journey was fun to watch even if there were big parts of the book that let me down.

I enjoyed both viewpoints and it was a very entertaining read. I didn’t personally like either of the POV characters but I can forgive that because they kept me interested.

This book only had two side characters. Their personalities were consistent and reasonable. I could easily believe that they were real people.

The only character I didn’t believe could be a real person was the cheater as their personality kept on swinging and changing depending on the situation. They suddenly changed their morals without explanation. It was super inconsistent and could’ve been fixed by establishing their motives more clearly.

One of this book’s strong suits is the way the author wrote the characters. There was one big inconsistency, but everyone was written in a way that kept the reader interested.

Spoilers from here on out

Spoiler overlook of the plot

An unnamed person gets shot in an unknown location (a bible quote is cited by the killer)

Mia and Harry are having a family vacation. Mia finds out that Harry was seen speaking to another woman in a smoke break. 

Mia goes on a big manhunt to expose Harry and basically starts stalking him. 

They do a bunch of anniversary shit, have sex a couple of times, Mia is a possessive cunt, the story plays around with the whodunnit question (and whether Harry actually cheated or not).

Mia gets more and more paranoid because Harry smelled like perfume after he left a huge party (and other small things)... because that makes sense.

Harry is a cheating cunt, wow, who woulda thought...

Mia hires a private detective to catch Harry

Mia has a hissy fit and punches a mirror because she is salty of her fading looks and that her husband is going after a younger hot black chick

She is frustrated because nothing turns up from the detective instead of being happy

She fucks with the detective

Harry breaks up with Melissa (we find out that they were together for over a year...)

Mia and Harry come clean about their misadventures

Harry throws a hissy fit because Mia slept with another guy... once... when he slept with another bitch for over a year... classy.

They somehow live in peace for six weeks bc there is a time skip (because their life totally would be uneventful after a situation like that... and we as the reader don’t need to see that shit)

They try to live their life and everyone is jealous and angry

A person is seen going to a hotel and shooting Melissa

There is this weird time skip where we see Harry in a psychiatric hospital for the criminally insane and Mia goes out the see him... 

The end...

The bullshit

1. At first, I thought the author did the mystery well in a sense that we never knew for sure who it was, but then he kept on giving. He never stopped. He set up everything so clearly against Mia that we knew it was not going be her. We could tell that the killer would be the only character not presented as a suspect (Harry).

That is a classic strategy in mystery but it was overdone in this one.

It got to the point where everything was spelled out as a possible solution and I stopped caring. There was no tension because we knew too much. Please take notes because this happens all too often.

Give enough information so that the reader has questions. Don’t tell the answers to all possible outcomes and only leave the reader with “which one is it gonna be” because it will be boring. If we know what will happen with each option, we will not care about which one it’s going to be (since we basically know the ending in that instance).

Am I making sense? I hope so.

To be fair, the reader never knew for sure who the killer was and that did keep some “tension” in the story. I remember being like “ok, I know basically everything but I wanna keep going bc I wanna see which option the author picked.” It’s not a grand reaction to a mystery, but it’s something. It could’ve been worse.

2. The setting of the story is barely described. I get the point. It’s a psychological mystery. The story is about the journey of this couple. I do however think it’s necessary to at least let us know if it takes place in 2010 or 1960... To know the general time period would help us to relate to the characters more. Mia’s position and social standing would be way worse if it was the 60s whereas, in the modern day, she would be doing just fine.

Timelines are important in psychological stories because they tell a significant amount about how the character would interact with the world they live in.

3. Their relationship fell apart super fast. They have been together for over 20 years and a simple rumor from a shaky source was enough to break it up.

I call bullshit.

4. The book promised to talk about gender equality stuff but it never did. There were no scenes where Mia was treated badly or Harry being treated better. The story takes place in the modern day (I assume) Finland. If you’re gonna say that you will speak about sexism, at least pick a setting where it’s more common and a bigger problem.

A note from my reading diary:

Now that I think about it, maybe the gender role thing isn’t a troll. Mia is shown cooking and it’s made clear it’s unusual and that she is a bad cook. She is possessive, which is usually portrayed as a masculine trait. Then Harry is quite calm and collected, interested in reading and such, which is normally seen as feminine.

That was the only gender role thing I found from the book. I don’t need a book to speak about feminism but when it claims to touch the subject, I damn well expect it to do so.

I also feel like having a female character have masculine traits and vice versa isn’t enough material to claim that your book talks about gender roles. It’s not a big deal. If I have one gay character in my book, it doesn’t make it an LGBT themed book since it’s barely talked about in the context of the story.

My point is that I don’t feel this book has enough substance in it to claim it’s talking about gender equality. To me, it seems to talk about the psychology of murder more.

(I feel like I need to mention that this book was published in late 2014.  If I remember correctly that was around the time when the whole feminazi thing started becoming increasingly mainstream and talking about it would give you a shit ton of exposure. Maybe to mention gender roles as being a big part of the story was just a good marketing strategy. I don’t mean to offend the author, this is just a theory based on my experience of the book.)

5. We as a reader never got to really know the characters past. It might not be such a big deal to some people who are there for just the ride, but for me it really was disappointing. I feel like knowing their pasts would help to add some mystery because then the reader has to come up with how the past could affect their psyche today and thus add more to the psychological mystery of the story.

For a psychological story not to speak about the childhood of its characters is extremely weird and disappointing.

I feel like the book would’ve benefitted from letting the reader know.

6. This book introduced this big question of “did they do the cheating” and it was presented as the big thing only for it to be explained within like the first 60 pages. Umm. I feel cheated. pun intended.

I don’t think you should give the reader this huge mystery only to reveal it even before the middle. I totally took me off guard and I almost stopped reading because that was the thing I felt the book was presented as the most meaningful thing (ie, all the characters went on an on about the possibility and the wrongness of it).

The book is on thin ice. It needs to give me another big question that will make me want to read because right now I have the plot all figured out. Don’t pretend to be a mystery novel just to answer all the questions BEFORE YOU GET TO THE FUCKING MIDDLE PART.

~My reading diary

7. Mia is insanely paranoid and obsessive it has never before surfaced in their +20 year relationship? Bullshit. My reading diary really did summarize it the best.

Another thing I don’t really get is Mia’s obsessive and possessive behavior, more so how it hasn’t come up before. It’s made clear that they are older and have been together for a long time. How is this the first time she has gotten this suspicious? How have they not fallen out before? You need to keep in mind that so far, she has no actual evidence of him cheating? She only knows that Harry once spoke to a pretty girl on a smoke break. SO WHAT. Then he has come home and smelled like a woman's perfume, AFTER A PARTY. I don’t think that’s enough to accuse someone of cheating. You can only imagine how freaked out Mia would be when Harry is over at a woman friends house. If she gets obsessed with so little evidence, how have they stayed together for over 20 years??? I call that a plot hole. No rational man would let that slide. 

8. I didn’t like how this book made Mia the stereotypical older woman who is insecure about her fading beauty. WE NEED CONFIDENT OLDER WOMEN IN FICTION. PLEASE.

9. The fucking mirror smashing scene. I will let my diary speak for itself.

Mia undresses in front of a mirror. Her mind warps and she sees her body transforming into that of Melissa’s. She calls Mel a bitch and a whore. Classy. She seems to feel insecure about aging. Why can’t there be a story about older people feeling confident?? She’s not even old. She said that she’s 37. NOT OLD.  She also described Melissa as having a “cruel smirk”. Please don’t make Melissa a cold-hearted bitch. PLEASE. 

Oh, and Mia also punched the mirror. As you do. In fiction. WHY DOES EVERY ANGSTY BOOK HAVE MIRROR SMASHING IN IT?????? why. She didn’t even clean it up. She just went in and took a bath. And now she has a fever. Nice.

Harry is confused about how it happened. He thinks that Mia slipped but it’s obvious she hit the mirror. If her knuckles are bleeding and a mirror has been smashed, it would be obvious that she hit it. Am I slow or something?

omg. Mia is possessed by a demon. Harry was sulking about how “he is supposed to love Mia, why is everything like this all of a sudden” when he hears screaming from Mia’s room. She sits up, apparently still sleeping and says: “leave it to the wrath of God, for it is written, Vengeance is mine, I will repay, says the Lord”. OMG. She is insane. Citing the bible whenever she can is really creepy. How is Harry not scared for his life??? I WOULD BE HORRIFIED. Then Mia just falls asleep again.

10. A private detective was hired to catch a cheater. I have no words. It’s ridiculous.

11. Mia constantly slut shames this Melissa. I do not appreciate it. I can forgive it because Mia obviously is insane but it’s still annoying.

12. Mia sees cheating as an act of revenge. I can see where it’s coming from but I don’t believe a 40-year-old woman would think that. It’s something I can see angsty highschoolers doing...

13. Harry brought Melissa into a student cafe to break up with her. Where is the logic behind that? Then he has the audacity to freak out when people find out about his inappropriate relationship with a student...

14. The 180 Harry made. He started off as this rational dude. Then it just fell apart. We found out that he had been cheating on Mia for over a year. The Harry at the start of the story wouldn’t do that, then he gets pissed when Mia cheated once, SHE CHEATED ONCE AND HE IS HAVING A HISSY FIT. Bullshit.

His character didn’t regain any of his original traits. I think it’s bad writing. You want the characters to keep at least some of their original personality. 

Check out this video which explains it further:

https://www.youtube.com/watch?v=Z9SK0Jhk7Pw

15. The six week time skip near the end makes no sense, serves no purpose and completely deflates the last bit of tension.

There is no way they could’ve been at peace for that long with nothing notable happening. Bullshit.

17. The tension deflated like a fucking limp cock around the middle and it never got up.  I feel like the author tried too hard to lure me in within the first 60 pages, and from there on the tension and my interest in the story plummeted. 

18. Conclusion. Harry was the killer. 

I hate it. There are so many things wrong with this...

The killer at the start cited a specific bible quote. Harry was in no way religious and NEVER cited the quote whereas it was almost like Mia’s motto. INCONSISTENT.

The killer at the start was highly religious (we could tell by their thought process bc it’s a 1st person). The only scene I remember Harry being religious is a throwaway sentence of him skimming the bible.

Harry was sane and his thought process wasn’t plagued by murderous thoughts, whereas Mia was going on and on about how she would murder for her loved ones and on some occasions, she even fantasized about murdering Melissa.

Mia had a bigger motivation to murder. She was cheated on for over a year, she has a grudge on Melissa (because she is more beautiful, younger and because Harry wants her more than he wants Mia), she is incredibly insecure, constantly feels like people are out to break her seemingly perfect marriage. Speaking of which, she holds her long-lasting marriage as a badge of honor and would do anything (kill) to keep it going. She is a control freak (as shown with her interactions with Harry) and she is extremely deranged near the time of the murder. 

Why would Harry kill Melissa? He wanted to make things okay with Mia, he is mad because Mia cheated on him once, that’s it...

Harry was extremely anti killing before the murder whereas Mia was all for it. It would take a lot to persuade him to do it and we know that his motivations are minimal. 

Harry being the killer (and it being written like this) breaks Mia’s character. Because he was the killer, Mia is simply a paranoid bitch who has wet dreams of murder. 

I’ve already mentioned that we got like no hints and clues that Harry would do it, whereas everything was set up against Mia. The conclusion was obvious. 

Things I liked

the start was good. I really liked the small snippets to the murder. It did keep me invested. This book started off strong. I was immediately invested in the story. I wanted to see who will kill who and if Harry actually cheated. Then the story went downhill.

The psychological journey of MIA, fuck Harry. He was a mess

Mia descending into madness

Mia being crazy for murder

Mia growing a backbone as the story went on

I want Mia to top me

What can writers learn from this?

when writing a mystery, don't make the characters do things that don't match their personality just because you need to confuse the reader. it’s bad storytelling and will break the reader's immersion.

Make sure that the characters arcs are finished and they have a proper conclusion.

you need to make sure that all of the clues you drop tie together. if they don't, the reader will feel like they were cheated on.

My rating

2/5 on Goodreads. 

Recomendation

I would only really recomend this if you wanted to study storytelling and what works and what doesn’t. I don’t think it’s a lifechanging book that you have to read. 

[capblacksails]

Counting the days without her (aka the Silver/Madi moments we were robbed of at the end of 4.10)

ORIGIN:

"You may think what you want of me. I will draw comfort in the knowledge that you're alive to think it. And I will wait. A day... a month... a year... forever... in the hopes that you will understand why I did what I did."

"Get out."

/

DAY 4:

He tries to give her the space she needs, and has stayed clear away from her hut since she sent him out. But the camp just isn't big enough to prevent they meet it seems, as their paths cross, no matter his attempt at avoiding it. The look in her eyes is nothing but expected, but it slices through him all the same. But the worst, still, is to see her pain, even through the fire. And so he slips a note under her door late that night, telling her that he will from now on stay at the cliffs overday, and that she shouldn't worry about seeing him again by accident. It is her home after all.

/

DAY 31:

It feels as if his life is suspended, on hold. The days are long, and the nights even longer. Everything is repetitive; but nothing becomes a blur. Every minute is marked by her absence, and only adds to the weight of missing her. And it would be so easy, to catch at least a glimpse of her. But she is so close; and yet so unattainable. So John holds his word, and stays away.

John sometimes wonders what James would think, if he could see him now. Would he be satisfied at his suffering? Would he relish on it, viciously whispering "I told you so"? John though can't help but believe that James would only be sorry for him, if anything...

/

DAY 57:

John often wonders about James, and Thomas, and how they are doing. He truly hopes they manage to be happy, somehow, despite the confinement.

At the time, John had only seen the bright sides of it: he wanted Madi safe, and James as safe as he could be, given the situation; Nassau wanted Flint absolutely and undeniably gone; and James, well, James wanted Thomas.

But now that his panick recesses as time goes by, and that he is able to think rationnally again, John sees what he had failed to see then. He sees the hole in the plan, and his pure luck that James didn't have to fall in it. Because John had never even considered what Thomas might want... James's love for Thomas had felt just so grand, so sublime, that John had always taken Thomas's love for James as a given. It had never occured to John, before, that Thomas, in fact, might have chosen - at any point in those devastingly stretching and devastingly empty years - to move on. But John knows the pain now, and the longing. And only now does he truly realizes how LONG all those years apart must have been. More than anything, in retrospect, John is just so damn *relieved*, that Thomas had taken James into his arms with so much obvious certainty, that day. Because what would have happened with James, if Thomas hadn't, is simply too horrific to contemplate...

And John makes his own choice; each passing day full of her absence anew. Except it's not really a choice, because letting go of his hurt and yearning would mean losing the last part of her he still can have, and it is just... impossible.

/

DAY 86:

The kids have come around, again. They want stories, and he obliges them. It feels nice to see them smile, to hear them laugh, to feel them hanging on his every words. It had started with one story to console a (not badly) wounded kid, on day 37. The next time he had come, he had brought along his best friend. The time after it, his little sister. And right before leaving, he had told John that he had seen Madi that morning in the mainstreet, and had described her attire and the way she had tied her hair. John had been obviously touched by the gesture. By now it is a gathering of eight, about once a week. And they never leave without giving him some news about her. John knows he hangs on their words too...

/

DAY 102:

"John Silver."

Madi. Is. Here.

Madi. Came.

There is something meaningful, always, in the way she speaks his full name; something that no one else achieves - because he likes it when she says it; something that feels quintessentially hers... And he feels like crying, right now, just from having heard her voice. He needs a moment before getting up and turning towards her. There is no immediate danger, but this moment is going to shape is whole future, and in a way, it is the most frightening moment of his life - and there have been plenty. She came, finally. But he doesn't know yet why she came, and cannot afford to be too hopeful. She might have come just as well to finally tell him to leave her island: he gets food and shelter, while doing nothing but sit here all day after all...

He turns towards her and his breath catches in his throat. The sight of her is both a joy and a knife, and he is paralized.

She looks serious, and doesn't come any closer. John feels the blade slicing through his guts, but is drawn to her just the same. He makes the necessary steps faster than he should, he realizes, if those are the last moments he has with her. But he can't help it.

"Madi."

His voice sounds foreign in his own ears; strained from unuse, and trembling from nerves.

She's apparently surprised at his tan - shades darker than usual - and there is a sad but undeniable fondness in her voice as she can't refrain from chastising him: "Of all the places on this island, you had to choose the one without shadows to pass your days?"

It clenches at his heart, and he can only exhale: "Well, it's the best place to spot incoming ships."

She seems surprised for a second; but it passes quickly, and he thinks she understood, again, that she is is priority - in everything he does. And if it means surveying for any English or Spanish war ship approaching, then he does it.

She lowers her eyes an instant, as if hesitating... Then her eyes find his again.

"Do you have any regrets, about the choices you made on that day?"

And John knows this is a test he will not pass. Because it would be easy to elude, to tell regrets were pointless as they changed nothing anyway; as James used to. Or it would be easy to lie, to tell her what she must want to hear; as he had used to. But he has never lied to her, and he doesn't think he ever could. Besides, she expects an answer, and only the truth will do, if anything is to get mended between them, in time.

"Regrets... I know I feel guilty, both towards you and towards him; and even towards a man I do not even know... I didn't see any other way, at the time. But now, I can't help but wonder if I shouldn't have trusted him enough to stay away. He fell apart, Madi. And he trusted him to be fixed. The more I think about it, the less I see how he would have been able to risk anything past that point, to endanger him once more... Flint did disappear, that day. Maybe... Maybe it would have been enough... And I've always felt guilty, Madi; for the hurt I knew I would cause you, for the hurt I have caused you, and even before that, simply for not being the man you hoped me to be." John knows he's no hero, no fighter able to share her ideals. He is but a cripple with survival instincts and basic yet unattainable hopes, fool enough to have wished he might ever be enough for her, and aware enough that he will now never be. He has held his chance at a future with her in his own hands, and he has crushed it. There is no coming back from what he has done... "But I will never regret letting that chest in the ground, Madi. I still wouldn't trade for it any of the pain I am suffering since I did. To me, it is worth it." He cannot look at her anymore; he doesn't want to see the hurt burn again in her eyes.

Madi keeps silent for awhile, but he still cannot look at her.

"Then it is true you are learning."

John was prepared for anything, but surely not for that. Because it sounds hopeful, and his breath escape him in surprise, and he can't help but suddenly look at her again and - she gives him a smile, a sad one, but it is there, and he can't breathe.

"You may come back to the camp, if you wish to. The kitcheners always appreciated your help." John knows his mouth fell open, and he just still. can't. breathe. She bites her lip nervously before pursuing. "I make no promise. But I've missed you."

This admission is what finally breaks him, and he feels tears building up. "And I've missed you."

She extends her hand towards him, and he lurches forward to take it.

They are silent all the way back. But their hands stay linked.

.

Waiting is painful. Forgetting is painful. But not knowing which to do is the worst kind of suffering.

— Paulo Coelho

.

AN : This belongs to a much longer fic covering 20 years and tying Black Sails to Treasure Island the only way I see true. But it works on its own too, and is so full of hope that I like to have it here without any of the gutwrenching pain I can’t avoid in the full fic (the epos in progress is HERE, if you’re interested in the whole version)

[thebastardofgloucester]

all the posts collating reactions to The Empire Strikes Back or writing mock Rotten Tomatoes reviews to imply that the criticisms of this film aren’t worth paying attention to are just…so missing the point

exactly two works that said what ‘Star Wars’ was existed at the time of Empire’s release in 1980: Star Wars (not yet renamed ‘A New Hope’) and Alan Dean Foster’s 'Splinter of the Mind’s Eye’ (a sequel written in case Star Wars was a flop that could be filmed on a shoestring budget and without Harrison Ford. It’s Wild and puts the lie to the idea that Lucas had any idea where the Skywalker story was going; highly recommend)

in the year of our Lord 2017, The Last Jedi was released as the third film in a revival of a six film, single creative vision franchise, with the added baggage of over two decades of novels, comics, video games, and other media (the only thing ever fully expelled from canon was the infamous holiday special, which, honestly, had greater creative merit than some of the stuff that got to stay)

what’s the point? Expectations. No, not people who didn’t want anything to change and are Mad About It or whatever facile narrative the authors of those blog posts and reviews are using to explain why this film is probably more divisive than the goddamn prequels. The problem is that not only does The Last Jedi clash with decades of fandom, it is even at loggerheads with its sister films in this particular revival. and it doesn’t get the same benefit of the doubt that ESB got because that’s not how franchises and fandoms actually work. you don’t get to ignore everything that came before to tell your own story. they have to work together. 

Sure, not everybody read the EU (and trust me some of them are better off for it). But almost everybody saw The Force Awakens, most of them saw Rogue One, and a fair number of them, old and young fans alike, eagerly consumed the New EU content that offered glimpses into how the events of The Force Awakens came about and what mysteries were set up in what was effectively a reboot rather than a sequel. Generally, you know, regardless of how much you hate 'puzzleboxes,’ it is reasonable to expect that what one film sets up will have a payoff in the next, particularly when the first film takes such care to be sensitive to what the fans want (as JJ and Kasden did with TFA) - because while this is a money faucet for Disney, sure, there’s no point in bringing this franchise back without those fans (and of course, their kids) - and what they got from Rian and the Lucasfilm story team was…a confirmation that they had been wasting their time. It’s all well and good to pull the rug out from under the audience (as this film does incessantly) but it’s cynical bullshit to basically bait them with promo material and the preceding canon and then to deliver on basically nothing and expect everyone to just be okay with it. This film effectively penalizes the people who cared the most and spent the most time engaging with The Force Awakens and rewards people who may not have really been here for what Lucas was selling to begin with. As one review put it, it ‘does not care what you think about Star Wars’.

But when you set expectations as deliberately as Kennedy and the Lucasfilm Story Group did in JJ and Kasden’s TFA, it’s not great writing to blow them to pieces mid-narrative. It’s just lazy. the idea that Rey has no connection to the Skywalker line? a good idea, potentially, but clumsily executed, as it is played out less as an important revelation and more an excuse to not actually give any kind of answer to how Rey came to be Ben’s equal on the Light (or why she even is ‘Light’ honestly; I love Angry Rey but there’s seemingly no danger in her temptation) or where she got a skill set rivaled in this franchise only by literal Space Jesus Anakin Skywalker. Snoke is a one-noted villain; having him be betrayed by Kylo in the midst of his own villain arc? a very good idea. it belongs as the climax of the film, not the end of act 2 so there is no time for anything to breathe, just more never-ending crises and hardship.

Like, spare me the 'force visions are unreliable’ (Rey’s was unlike anything we had seen before, it wasn’t Anakin’s nightmare or Luke on Dagobah) bs; the film didn’t say that what Rey saw was wrong for x reason, it just pretended that it never happened and Rey didn’t say anything about it); spare me ‘our heroes have to fail and sometimes all the plans don’t work out’ we know that, we live in the real world of 2017 but while making your clever point you have wasted the presence of three extremely talented actors of color, and let down the audiences waiting for a chance to see people who look like them be the heroes for once. instead it turns out they didn’t actually matter all that much, but maybe next film! 

It’s not clever. It’s not visionary. It’s cheap, it’s cowardly, and it isn’t actually that original because the film leaves us exactly where we expected. Poe is the leader and Leia’s heir to command, Finn is a newly-committed Rebel brimming with unrealized potential, Rey is a Jedi character (amorphously defined) who we know exactly as much about as we started, Luke is gone, even if he went out in pretty spectacular fashion, Carrie’s death means that Leia will be leaving us soon, and Kyle Ben has become the big bad. That’s the only real development - Snoke’s death and Ben’s rejection of his redemption - and it’s buried under Rey, our erstwhile heroine, being a vehicle for the villain’s character development. The only character this film particularly cares about is a white fascist who gets every chance to be redeemed and rejects them while the film expects us to keep caring. 

So, yeah. People are mad. Not because of the same ‘the series is changed forever now’ shit that the haters of ESB were on about. Because the real changes? Ben being the real villain, the smallfolk of the galaxy being the source of light and conduits of the Force? I don’t see anyone complaining all that hard about them. 

the complaints are about the damage done to beloved characters for…not all that much of a payoff. the misuse and marginalization of the characters of color. the disdain with which the script treats the nostalgia of the Force Awakens. the unrelenting pace of the film that just grinds the Resistance (and the audience) down and just tells them to trust us, even as more and more and more is taken away. Rey’s parentage isn’t the only thing cast aside - promises of developments in Finn’s story - his identity, his potential to cause a revolt in the First Order, even his force sensitivity (you want a force user from nothing? how about a child soldier from a nameless family who as we are continually reminded used to be on sanitation crew) - are broken. Rey has her dream of family taken away…and replaced with…well the film doesn’t really bother to say because she’s a plot device for most of act 3. We don’t get to see her reject Ren and leave him. Because this isn’t her story; it’s his. Kylo is unconscious, so the scene is over. Tell me how that is a satisfying arc for our erstwhile protagonist? Poe’s character is completely uprooted from what we’ve seen before to make him an obnoxious hotheaded menace whose emotions threaten the survival of the Resistance if two old white women aren’t able to keep him in check. Rose says a lot and gets to do almost nothing. Luke…Luke is torn down to justify the fall of Ben Solo, never given the chance to establish a meaningful bond with his erstwhile successor, and is only given the chance to atone by acting as a diversion to give the others time to escape. he dies alone, a failure, even if he is at peace with how things turned out.

last year we were shown a movie in the wake of one of the more traumatic political events in the life of the people on this website where a diverse and sympathetic cast fight hard and are entirely wiped out. But their deaths come in a spectacular and charged finale that carries the desperation and grief and pathos through into the beginning of the story we know and love. it all feels worth something. Rogue One has its flaws as a film but it comes together in a way that The Last Jedi does not. In the end, what Jyn and Cassian and the others do is just enough to get the plans away, to start the sequence of events that will lead to the Empire’s destruction.

Here?

there’s just not enough left. not enough of the Resistance, not enough story, not enough hope. 

to have that hope repeatedly stripped away and cynically exploited through a narrative that drags the characters from crisis to crisis without bothering to justify itself or its role in the story (while retreading the highlights of Episodes V and VI without the emotional depth to back them up), and in so doing wears down the audience as much as the characters is not why I have devoted so much of my life and emotional energy to this series about space wizards and their galaxy-destroying family squabbles and eventual chance for redemption. for all his many, many faults, George Lucas understood that.

you can’t just talk about hope. sooner or later you have to see it. You have to feel that what you are suffering will be worth it. The text needs to tell you as much. it’s clumsy and cliched and it is necessary. In the Empire Strikes Back, after Han is captured and Luke is beaten, the turning point is Lando. Lando changes the course of the movie, rescuing Leia and Chewie, who rescue Luke. They live to fight another day, and at the end they are wounded but among friends. 

the moment in The Last Jedi where that could have happened was when Leia’s signal went out. How terrific would it have been if after being betrayed by a scoundrel the original scoundrel with a heart of gold, Lando Calrissian, arrives at the head of a fleet made up of all the alien races so inexplicably missing from the sequel trilogy so far, fending off the First Order long enough for the Resistance to escape with most of the survivors on Crait?

But Rian had to have one last twist of the knife. so nobody came. only Luke, and only as a distraction to buy time that ultimately cost him his life and reduced his legacy to giving everything to atone for his past sins. there is no Lando moment. there is no turning point, no moment where a larger victory is hinted at. and no, a single stable boy far, far away from the war is not the same thing. It makes an interesting point about the force and the metanarrative of Star Wars. It is not what this film needed after everything it put its characters and audience through.

and so at the end I’m not hopeful. I’m just tired. So, very tired. And I miss what made me fall in love with this series about space wizards and the Skywalker family in the first place

[sammy24682468]

Lesson 6 from arrogance to destruction

"Memory Text: “And He changes the times and the seasons; He removes kings and raises up kings; He gives wisdom to the wise and knowledge to those who have understanding” (Daniel 2:21, NKJV),

"In Daniel 5, the Word of God gives us a powerful example of human hubris that ends in a stunning and dramatic way. Though one could say that it takes Nebuchadnezzar a long time to learn his lesson, at least he learned it. His grandson, Belshazzar, does not. In using the temple vessels in a palace orgy, Belshazzar desecrates them. Such an act of desecration is tantamount not only to a challenge of God but an attack on God Himself. Thus, Belshazzar fills up the cup of his iniquities, acting in ways similar to the little horn (see Daniel 8), which attacked the foundations of God’s sanctuary. By removing dominion from Belshazzar, God prefigures what He will accomplish against the enemies of His people in the very last days. The events narrated in Daniel 5 took place in 539 b.c., on the night Babylon fell before the Medo-Persian army. Here occurs the transition from gold to silver, predicted in Daniel 2. Once more it becomes evident that God rules in the affairs of the world."

Belshazzar's feast:

"Read Daniel 5:1-4 along with Daniel 1:1, 2. What is Belshazzar doing that is so bad? How does it reveal his true character? Compare his actions with Revelation 17:4-6. What parallels can you find?"

"The king commands that the sacred utensils of the Jerusalem temple be used as drinking vessels. Nebuchadnezzar seizes the vessels from the Jerusalem temple, but he places them in the house of his god, which shows that at least he respects their sacred status. But Belshazzar turns the sacred vessels into drinking utensils in a most profane way."

"While drinking from the sacred vessels, Belshazzar’s lords “praised the gods of gold and silver, bronze and iron, wood and stone” (Dan. 5:4, NKJV). It is worth noticing that six materials are mentioned. The Babylonians used the sexagesimal system (a system based on the number 60) in contrast to the decimal system used today (based on the number 10). Thus, the six categories of gods represent the totality of the Babylonian deities and, therefore, the fullness of the Babylonian religious system. Interestingly enough, the order of the materials follows the order of the components of the dream statue of Nebuchadnezzar, except that wood replaces the clay. As in the dream, stone appears last; although here it designates the material composition of idols, stone also evokes God’s judgment upon worldly empires (see Dan. 2:44, 45), which Babylon symbolizes."

"This feast serves as an apt representation of end-time Babylon as seen in the book of Revelation. Like Belshazzar, the woman in endtime Babylon holds a golden cup and offers polluted drink to the nations. In other words, by means of false doctrines and a distorted worship system, modern Babylon lures the world into evil (Rev. 17:4-6), oblivious to the judgment that will soon fall upon her. One day judgment will come."

An uninvited guest:

"Read Daniel 5:5-8. What happens, and why does the king respond as he does? In what ways does this account parallel Daniel 2, and why is that parallel important? (See Ps. 96:5 and Col. 1:15-17.)"

"As Nebuchadnezzar does in previous crises (Dan. 2:2, 4:7), Belshazzar calls the astrologers, the Chaldeans, and the soothsayers to clarify the mysterious writing. And to make sure that they give their best, the king promises them extravagant honors: (1) purple clothing, a color worn by royalty in ancient times (Esther 8:15); (2) a chain of gold, which was a sign of high social status (Gen. 41:42); and (3) the position of third ruler in the kingdom. This last reward reflects accurately the historical circumstances of Babylon at that time. Because Belshazzar was second ruler as co-regent with his father, Nabonidus, he offers the position of third ruler. But despite the tempting rewards, the sages once again fail to provide an explanation."

"On top of all his sins, then, the king attempts to find wisdom in the wrong place. The Babylonian experts cannot uncover the meaning of the message. It is written in their own language, Aramaic, as we shall see tomorrow, but they cannot make sense of the words. This might remind us of what the Lord speaks through Isaiah: “For the wisdom of their wise men shall perish, and the understanding of their prudent men shall be hidden” (Isa. 29:14, NKJV). After quoting this verse the apostle Paul states: “Where is the wise? Where is the scribe? Where is the disputer of this age? Has not God made foolish the wisdom of this world? For since, in the wisdom of God, the world through wisdom did not know God, it pleased God through the foolishness of the message preached to save those who believe” (1 Cor. 1:20, 21, NKJV)."

"Some truths are too important to be left for humans to try to figure out for themselves. That’s why God, instead, reveals these truths to us."

Enter the Queen:

"Read Daniel 5:9-12. What does the queen say about Daniel that the king should have known already? What does it say about him that he seems ignorant even of Daniel’s existence?"

"As the banquet hall is thrown into confusion because of the mysterious message on the wall, the queen comes and provides direction to the befuddled king. She reminds the king about Daniel, whose ability to interpret dreams and solve mysteries has been demonstrated during the time of Nebuchadnezzar. If Belshazzar were as smart as his predecessor, he would have known where to turn to find the meaning of this mysterious writing. The intervention of the queen proves necessary for the king, who at this point seems utterly at a loss as to what to do next. Her words sound like a rebuke to Belshazzar for having overlooked the only person in the kingdom who can interpret the mysterious writing. And she also gives the king an oral résumé of Daniel: the prophet has the Spirit of the Holy God, light and understanding and divine wisdom, excellent spirit, knowledge; he is capable of understanding, interpreting dreams, solving riddles, and explaining enigmas; he was chief of the magicians, astrologers, Chaldeans, and soothsayers in Nebuchadnezzar’s time (Dan. 5:11, 12)."

"At this point, we again wonder why Belshazzar had ignored Daniel. The text does not offer a direct answer to this question, but we presume that at this time Daniel, after serving the king at least until the third year of his reign (Dan. 8:1, 27), is no longer in active service. One factor could be Daniel’s age. He is probably around 80 years old, and the king may have wanted to replace the old leadership with a younger generation. The king also may have decided to ignore Daniel because he did not want to commit himself to Daniel’s God. But whatever the reason or combination of reasons, it remains striking that someone with such a portfolio as Daniel’s could be forgotten so soon."

"Read Romans 1:16-32. In what ways do we see the principle expressed in these texts manifested, not just in this story but also in the world today?"

Weighed and found wanting:

"Read Daniel 5:13-28. What is the reason Daniel gives for the soon-to-come demise of this king?"

"Forced by the circumstances, the king resorts to consulting Daniel, but he seems to do so with reluctance. This may tell more about the attitude of the king toward the God of Daniel than toward Daniel himself."

"In turn, Daniel’s response to the king’s offer of reward says a lot about Daniel’s priorities and character. It also is likely that Daniel, knowing the meaning of the mysterious words, realizes just how worthless the reward really is."

"Daniel then indicts the king on three counts.First, Belshazzar totally has ignored the experience of Nebuchadnez-zar. Otherwise he would have repented and humbled himself like his predecessor."

"Second, Belshazzar has used the temple vessels in order to drink wine and to praise his idols. Here Daniel mentions the six kinds of materials used to make idols in the same order noted previously."

"Third, the king has neglected to glorify God, the One “who holds your breath in His hand and owns all your ways” (Dan. 5:23, NKJV)."

"Having addressed the failures of the king, Daniel proceeds to the interpretation. Now we learn that the divine graffiti consists of three Aramaic verbs (with the first repeated). Their basic meaning should have been known to the king and his sages—MENE: “counted”; TEKEL: “weighed”; and PERES: “divided.”"

"With the Medo-Persian army at the gates of Babylon, the king and the sages must have suspected some ominous meaning in that writing, but the sages do not dare to say something unpleasant to the king. Only Daniel proves capable of decoding the actual message into a meaningful statement in order to convey its full meaning to Belshazzar: “MENE: God has numbered your kingdom, and finished it; TEKEL: You have been weighed in the balances, and found wanting; PERES: Your kingdom has been divided, and given to the Medes and Persians” (Dan. 5:26-28, NKJV; emphasis supplied)."

The Fall of Babylon:

"Read Daniel 5:29-31 along with Revelation 14:8, 16:19, and 18:2."

"What can we learn about the fall of Belshazzar’s Babylon that points to the fall of end-time Babylon?"

"Whatever his faults, Belshazzar is a man of his word. So, despite the bad news, he is satisfied with the interpretation given by Daniel, which is why he bestows upon the prophet the promised gifts. It appears that by admitting the truth of Daniel’s message, the king implicitly recognizes the reality of Daniel’s God. Interestingly, Daniel now accepts the gifts he has refused before, probably because such gifts can no longer influence his interpretation. Besides, at that point such gifts are meaningless since the empire is about to fall. Thus, probably as a matter of courtesy, the prophet accepts the rewards, knowing all the while that he will be the third ruler of the kingdom for only a few hours."

"Exactly as announced by the prophet, Babylon falls. And it does so quickly; while the king and his courtiers drink, the city falls without a battle. According to the historian Herodotus, the Persians dug a canal to divert the Euphrates River and marched into the city on the riverbed. That same night Belshazzar is slain. His father, King Nabonidus, has left the city already, surrendering himself later to the new rulers. Thus, the greatest empire humanity has ever known to this point comes to an end. Babylon, the head of gold, is no more."

"“Belshazzar had been given many opportunities for knowing and doing the will of God. He had seen his grandfather Nebuchadnezzar banished from the society of men. He had seen the intellect in which the proud monarch gloried taken away by the One who gave it. He had seen the king driven from his kingdom, and made the companion of the beasts of the field. But Belshazzar’s love of amusement and self-glorification effaced the lessons he should never have forgotten; and he committed sins similar to those that brought signal judgments on Nebuchadnezzar. He wasted the opportunities graciously granted him, neglecting to use the opportunities within his reach for becoming acquainted with truth.”—Ellen G. White, Bible Echo, April 25, 1898."

Further thoughts:

"Large feasts were common in the courts of the ancient world. Kings loved to throw parties with extravagance and luxury to show their greatness and confidence. Although we do not know all of the details of this particular feast, we know that it took place when the Medo-Persian army was poised to attack Babylon. But humanly speaking, there was no reason for concern. Babylon had fortified walls, a food supply for many years, and plenty of water, because the Euphrates River flowed through the heart of the city. So, King Belshazzar sees no problem in having a party while the enemy surrounds the city. And he orders a momentous celebration, which soon degenerates into an orgy. What a powerful testimony to the hubris of humanity, especially in contrast to the power of the Lord. Through Daniel, God tells the king that despite the opportunities he has had to learn truth, “the God who holds your breath in His hand and owns all your ways, you have not glorified” (Dan. 5:23, NKJV)."

"“The history of nations speaks to us today. To every nation and to every individual God has assigned a place in His great plan. Today men and nations are being tested by the plummet in the hand of Him who makes no mistake. All are by their own choice deciding their destiny, and God is overruling all for the accomplishment of His purposes.” —Ellen G. White, Prophets and Kings, p. 536."