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marvelyningreen · 3 years

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Aftershocks - Night 2

Night 1 | Night 2 | Night 3 | (deleted scene)

[Summary: Peter Maximoff is an unflappable sorta guy. He’d never let anything get to him before, and this recent misadventure will be no different. ...Right?

Warnings: mild language, alcohol use, references to injury & false imprisonment, general trauma-related angst

Notes: Peter Maximoff x reader, of the established relationship variety. A ‘what if Fietro really was Peter?’ scenario. Same continuity/reader character from Linger and Late-bloomer. ]

On the second night, Kurt and Jubilee organize a party. It’s sort of a ‘welcome back’ for Peter, and a ‘welcome in general’ for Wanda and the twins.

It’s awfully sweet of them. And you’re impressed that they’ve managed to order in enough food for everyone on such short notice.

Peter had been busy for most of the day. He’d volunteered to help the professor and continue playing tour guide for Wanda and the kids. You’d offered to help, too, but Peter insisted that you should take it easy. He’s probably right, much as you’d hated to admit it. There’s no way you could’ve kept up with him and two energetic kids.

And that’s how you ended up spending the most of the morning in the lab with Hank.

In true Hank fashion, he had tons of questions, and you did your best to answer them. There are still quite a few things you don’t fully understand yourself.

The revelation that other realities exist is wild to begin with. A world where mutants don’t exist but magic does sounds like a work of fiction. And then there’s the fact that Wanda’s from someplace called ‘Sokovia?’ As far as you and Hank could figure, that country has never existed in your world.

Hank’s scientific curiosity was focused on trying to wrap his head around how Wanda’s powers worked, and how they could’ve caused Captain Rambeau to spontaneously develop powers of her own. You weren’t able to be much help there, but once Hank gets himself hypothesizing, he could talk for hours with no input from anyone else.

Eventually, you brought up your concerns about Peter and his odd lapses in memory. Hank’s brows furrowed pensively as he listened.

“Well, I can tell you there’s nothing physically wrong with Peter,” he said. “I could ask him to let me examine him again, but if the issue isn’t a physical one, that might just make things worse. If you’re really worried about him, my advice is to talk to Charles.”

You sighed. “And he’s busy showing Wanda around.”

Which was exactly where Peter would be, so no chance to talk to the professor without him noticing. Hank stood up, patting your shoulder.

“Listen, I know I’m not great company when I’m focused on work,” he said, “But you’re welcome to stay here while you wait.”

“Thanks,” you said. “I think I’ll take you up on that.”

You’d actually spent a lot of time down in the lab since your reality warping abilities had fully manifested. Hank was fascinated by getting to witness them in person, and the fact that you’d used them to save his life probably had something to do with it.

You leaned back in your chair, stretching out your injured leg a little. It didn’t take Hank long to get so immersed in his work that he started thinking aloud to himself, trying to work out some complicated chemical reaction.

Your thoughts drifted back to Peter. He’d seemed distracted that morning, almost distant. You tried to think what caused it – if something had happened, or even if there was something you’d said…? But you couldn’t think of anything.

Maybe it’d had something to do with his dream. But no, he said he didn’t remember it. Maybe – and you were grasping at straws by this point – he was embarrassed that you’d seen it? That could be. Peter was a pretty open guy, and you hadn’t thought that machismo was one of his faults, but it’s a possibility.

Oh. Oh, damn it all – you’d done it again. You weren’t sure when your eyes had closed, or when you’d leaned your head back against the chair. Hank was still talking to himself-

Only no, he wasn’t. There was a second voice answering him now. Upon lifting your head, you noticed that Hank’s jacket was folded under it as a makeshift pillow. You blinked in the brightness of the lab, looking around to see where the conversation was coming from.

Hank and the professor broke off as they noticed you stirring. Hank smiled apologetically.

“I didn’t want to wake you,” he explained. “You looked so tired. I figured you could use the rest.”

“Apparently I did. Sorry about that,” you said, sitting up straight in the chair again. “What time is it?”

“Just after noon,” said the professor. “We decided to break for lunch, so Peter’s showing them the kitchens. Now, Hank tells me that something’s troubling you.”

“It’s Peter, sir,” you said. You went over everything once more – the diminishing memories of Westview, the nightmare. “Maybe I’m making a big deal out of nothing, but… I don’t know. What if something that witch did is still affecting him?”

The professor had listened carefully while you spoke. You thought that he looked a little concerned, but you might’ve imagined it, because when you finished, he smiled.

“Thank you for coming to me with this,” he said, “But I have a feeling you’re not going to like my answer.”

You grimaced. “You’re going to tell me to wait and see, aren’t you.”

You’re well aware that this was the sort of thing the professor said when he was being evasive. He laughed.

“You’re a quick learner,” he said. “I will tell you that I truly believe Peter will be fine. If anything changes or worsens, don’t hesitate to bring it to my attention. But until that time, I’m leaving him in your care. I know I can rely on you.”

You gaze drifted to the floor, and you frowned slightly. Of course the professor could count on you to look after Peter. But how on earth were you supposed to help if you don’t know what’s going on?

If Peter had been physically hurt, that’s something you could fix. You were out of your depth here. Useless. Just like old times.

“None of that, if you please,” said the professor, in response to your thoughts. “Do you think I’d be leaving this in your hands if I didn’t think you were up to the task? Now, I’ve already told Peter that, as of today, he’s taking some mandatory time off, and the same goes for you. No missions for a while. You’re to get some rest and look after yourself. Understood?”

That surprised you. But before you could attempt to get anything more out of the professor, the door opened to admit Peter and the other Maximoffs. Peter’s face brightened as he caught sight of you.

“I figured you’d be down here,” he said. “And I also figured you probably didn’t eat lunch yet. Was I right? Yeah, I thought so. Which is why I brought lunch to you.”

“You know the rules,” Hank interrupted. “No food in the lab, Peter.”

Peter grinned, rolling his eyes, as he helped you to your feet.

“Alright, alright – we’re going,” he said.

Saying that you looked like you could use some daylight, Peter led you out of the lab to find somewhere to eat your lunch. He seemed cheerful and normal enough, and not, y’know, like he was avoiding you or something. You started to wonder if maybe you really were imagining things.

It was easy enough not to bring up the inconclusive conversation you’d had with the professor. The twins were bursting to tell somebody that there was going to be a party, and that it was gonna be their first party ever.

So far, it seems to be going well. The twins are already making friends among the younger students. Wanda still seems a little reserved – understandably – but the professor sticks close to her to make introductions and keep her company.

You’d like a chance to talk to her yourself, but maybe now isn’t the time. A party can be something of an overwhelming environment, especially now that you’ve been informed that you’re actually one of the guests of honor.

You probably should’ve seen this coming. You’re the one who took on a solo rescue mission, after all. Kurt sheepishly admits that they purposefully hadn’t told you that part because they figured you wouldn’t come if you knew. He is correct.

But Peter’s in his element as the life of the party – and he’s tipsy almost instantly. It’s one of the quirks of his mutant metabolism; alcohol hits him fast. Fortunately, drunk Peter is just an amped-up version of his usual cheerful and chaotic personality. You’re not much of a partier, yourself, so you’re content to enjoy his antics from the sidelines.

Which is what you’re doing when Jubilee sidles up to you.

“Okay, you have to tell me everything,” she says. “I mean, getting to go to another reality? What was it like?”

You laugh. “You’ve gotta be the fifth person to ask me that. Peter was there longer than I was.”

“But Peter doesn’t remember any of it,” she says, “And it’d be rude to ask Wanda a bunch of questions when we’ve only just met, so that leaves you. Now, spill.”

You satisfy Jubilee’s curiosity as best you can, but something she said strikes you as strange. Peter doesn’t remember anything about Westview? That doesn’t seem right.

When Captain Rambeau broke that mind control necklace, Peter didn’t seem confused or anything, just… Well, if you had to describe it, you’d say he looked horrified. And after he made sure that you were okay, the first thing he’d said was that the twins might still be in danger and that you all had to help them.

Then again, he’d let Wanda do all the explaining to the professor and Mr. Lehnsherr. And you’d gotten the rundown from that astrophysicist, Dr. Lewis, after she finished grumbling about being the exposition fairy, whatever that meant.

And Peter lives for being the center of attention. Overlooked and underappreciated for much of his life, a party like this is exactly the sort of validation he craves. If there was a chance for him to tell his story to a rapt audience, he’d jump at it.

So… maybe Peter really doesn’t remember anything. Maybe the whole thing is like a dream for him. The further away from it that he gets, the less clear the memory is.

When the party starts to wind down, the same can’t be said for Peter. Just as you’re trying to work out how on earth you’re going to corral him, Logan catches your eye.

“Don’t worry. I’ll get him,” he says.

You grin. “I thought you said that he’s my problem now.”

“He is. But that knee’s not gonna help you carry his ass upstairs.” Logan drains the last of his drink and calls across the room. “Alright, kid! Time to pack it in!”

Peter waves, takes an unsteady step towards you, and manages to run smack into Logan a split second later. Logan shoots you an exasperated look.

“What’d I tell you?” he says.

Logan manages to keep Peter upright as you head upstairs, but keeping him quiet is another thing entirely. Peter spends the entire walk explaining to Logan – in fumbling but earnest detail – all the ways in which you are the most amazing person he has ever met.

When Logan gets a word in edgewise, it’s to inform you that Peter’s been doing this all evening to anybody who would listen, and even to the people who wouldn’t. You’re honestly not sure if you feel more flattered or mortified.

At long last, you reach Peter’s door, and Logan props him up against the doorframe.

“Alright, he’s officially your problem again,” he says. “Goodnight.”

“G’night, old-timer!” Peter calls, waving off your attempts to shush him. “It’s fine. Don’t worry about it. I’ll be as quiet as a mouse.”

He opens the door and nearly tumbles back into the room. He catches himself, clearing his throat as he straightens up.

“I meant to do that,” he says.

You shake your head, trying to bit back a grin. Once the door is closed behind you, you steer Peter towards the bed and sit him down. He takes hold of your hands.

“Listen. Listen. I have to tell you something.” He struggles to turn his bleary expression serious. “I love you, so much. You just… I love you, okay?”

Is it wrong that you find this slurred profession of love incredibly heartwarming? You smile at Peter, leaning down to kiss him.

“I know,” you say softly. “I love you, too. But you gotta get some sleep now, okay?”

Peter nods, frowning slightly for some reason.

“I know, I know,” he says.

He flops back onto the bed, mumbling something that might be lyrics to a song. And by the time you get his shoes off, he’s conked out completely.

After setting Peter’s shoes aside, you sit down on the sofa again. You know he’s fine. Sure, he’s drunk, but he’s not that drunk. But what if he needs something? Or what if he has another nightmare?

You know you shouldn’t dwell on everything, but once you start thinking about it, you find you can’t stop. You wonder what it was like for Peter, being dragged from this reality into another, having his personality forcibly rewritten.

If your experience had been unpleasant, how much worse must it have been for him?

The second you’d stepped into Westview, you were nearly overwhelmed. Some unknown power seemed to be forcing a name – not your own – onto you like a shackle around your neck. A thousand memories of a life you hadn’t lived flooded your mind. More alarming still, Peter was present in many of them. You had no idea if what you were seeing was the past, or the future, or something else entirely.

And underneath it all was a crushing, all-encompassing feeling of utter despair. It threatened to swallow you whole, and it seemed pointless to fight it.

And then – a calm, familiar presence in your mind. You remembered turning back, seeing the professor’s face as he watched you enter the portal. Suddenly, the onslaught lifted, and you were simply yourself again.

Also, you’d apparently collapsed at some point, because you were laying on the pavement with a tall blond stranger leaning over you.

He was the only person who seemed at all concerned that you’d just fainted in the middle of the street. He said his name was Vision. You introduced yourself as Ace. It was close enough to your codename that you’d remember it, and the professor had cautioned you against saying too much about where you’d come from.

But Vision seemed to recognize that there was something different about you, that you’d come from outside Westview. He was worried about his children, and his wife, and the rest of the citizens. You explained that you didn’t know what had happened to the town, and that you’d come looking for a missing friend.

You’d just agreed to try to help each other when reality seemed to bend around you, and suddenly you were sitting in a diner finishing a cup of coffee, and Vision was nowhere in sight.

The next time you saw him, the spell was ending, and he disappeared. You wish you could’ve gotten the chance to get to know him better. He seemed like a good man.

You try to put that from your mind. It’s just gonna make you sad again if you think about it for too long.

Instead, you glance over at Peter. He seems to be sleeping soundly, which is good.

But memories of Westview aren’t done with you yet.

You’ve had nightmares before about people you know acting in ways that were frighteningly unlike them. And even knowing it was all just a dream, you always felt a little uneasy the next time you’d see them. It’s the same way you feel watching Peter now.

That’s not fair; you know it isn’t. And maybe out of context, it’d sound strange to get worked up about it. But to have the person you love – the person who loves you – treat you with indifference, and get cruel enjoyment out of your pain?

That’s the stuff of nightmares.

Enough of that. You give your head a shake, like that’ll clear your thoughts somehow. It wasn’t Peter. It was the witch that was controlling him, forcing him to do all those things. You know this. It’s just lucky he hadn’t been forced to really hurt anyone.

It’s over, and Peter doesn’t remember what it was like, and that’s probably for the best.

Still, as you watch him sleep, you find yourself so badly wanting to hold him that it almost makes your chest ache. Peter hasn’t just been distant emotionally since Westview.

Since you’d started dating, Peter was a source of constant casual physical affection. Whenever you were together, he’d always have his arm around you, or be holding your hand, or sit close enough that his leg was pressed against yours. You hadn’t realized how much you’d gotten used to it – grown to expect it, even – until it’s suddenly absent.

Having be so withdrawn from you now, well… It hurts, if you’re being honest, especially since you don’t know why, and you don’t know how to help.

But there’s nothing you can do about it at this moment. And, since Peter doesn’t look to be having any more nightmares, it’s probably time for you to go. You ease yourself onto your feet, just now noticing how stiff your knee has gotten after standing around all evening at the party.

You limp as quietly as you can towards the door – and proceed to trip over Peter’s shoes.

You yelp in pain as your knee twists and you go crashing to the floor. You grit your teeth, trying not to swear.

And suddenly the lights are on in the room, and Peter’s kneeling beside you.

“What happened?” he asks. “Are you okay?”

That’s right. As fast as Peter gets drunk, he sobers up just as quickly. He looks present and alert at the moment, if a little worried.

“I tripped over the damn shoes,” you answer. “I’m fine, I think. I just-”

You break off, wincing, as you try to straighten out your leg. Damn it. Is it possible to double-sprain something? Because that’s what it feels like.

“Hang on,” says Peter. “Let me help.”

He doesn’t take your hands and help you stand up, like you’re expecting. Instead, he loops your arm around his shoulders and scoops you up bridal-style. The fact that he doesn’t use his superspeed almost disorients you more than if he had.

At a normal pace, he walks back and sets you down not on the sofa, but on his bed. He blurs for just a second, but that’s only to stack up his pillows to give you something to lean against.

As you gingerly straighten out your leg, Peter reaches out – to try to help, you suppose – then lets his hands fall in his lap.

“Thanks,” you say.

Peter frowns worriedly. “Can’t you do the…?”

He makes a gesture like he’s laying on hands or something, which confuses you for a second before you catch his meaning.

“Oh, I can’t do the healing stuff on myself,” you say. “Or at least I don’t know how yet. I gotta heal the old-fashioned way.”

You give him a wry smile. It could be worse, after all. You could’ve actually broken something. Peter doesn’t seem very reassured.

“I should get Hank,” he says.

“No, don’t!” you say as quickly as you can. “It’s not that bad. I’ll go to him in the morning, if I need to.”

No sense in dragging the poor man out of bed if it’s not an emergency. Unconvinced, Peter bites his lip.

“If you’re sure,” he says reluctantly, “But… Don’t move, okay? I’m gonna get you some ice.”

He’s gone. And then he’s back, holding a couple icepacks and a towel. You reach down to take the knee-brace off, but Peter swats your hands away. Why on earth-?

“Would you stop that?” he says, perching on the edge of the bed. “I’m trying to nurse you back to health here.”

You laugh in spite of yourself. “Always the romantic.”

“Yeah, well, that’s why you like me.”

He’s not wrong. Peter flashes you a grin, and it’s so cheerful and unguarded and normal that it’s startling. This boy is gonna give you whiplash yet; you’re sure of it.

But then he looks down again to focus on the task at hand. He’s extraordinarily gentle as he undoes the brace and settles the icepacks on and around your knee. You want to turn his face towards you and kiss him, but you don’t. He must have some reason for keeping his distance.

As he’s finishing up, he finally speaks.

“I’m… I’m kinda afraid to ask, honestly, but how did you get hurt? It wasn’t- I mean,” Peter exhales forcefully, and hesitates before asking: “Was it me?”

His big, dark eyes meet yours, and the distress in his face nearly breaks your heart.

“What? No! Of course it wasn’t you,” you say.

Peter seems to relax a little, but still has that troubled look in his eyes. He really doesn’t remember, does he? You did get into a scuffle with him while he was still under mind control, and he had ended up knocking you down, but it hadn’t hurt you any more than tripping on the sidewalk would’ve. Also… this doesn’t seem like the right time to mention that part of the story. You hurry to explain.

“It was that witch – Agnes, or Agatha, or whatever her name is,” you say. “She couldn’t send me back, and she couldn’t get in my head, so she dumped me in the Westview Hospital psych ward.”

Peter’s jaw drops. “She what?”

“I mean, it wasn’t like a horror story hospital or anything,” you clarify. “It was actually a pretty nice place, aside from the fact that they wouldn’t let me leave because they thought I was dissociating and suffering from delusions. Which is exactly what what’s-her-name was counting on.”

Peter nods slowly, evidently more confused and no less concerned. “Okay… that explains where you were, but it doesn’t explain how you got hurt.”

“Oh, right. When I wasn’t able to talk my way out, I had to use my powers to get a window open. Only…” you wince at the memory. “My powers didn’t fully work in Westview, and the window was on the second floor. So when I jumped out of it, gravity did exactly what it’s supposed to do.”

Peter presses a hand to his mouth. Okay, this explanation is clearly making things worse.

“And then – okay, this isn’t funny, but it’s kinda funny. It was suddenly Halloween, so the streets were all covered in people and I had to hide, so I crawled into somebody’s hedges. Problem is, they spotted me and came over to see what was going on. So I told them,” you snort involuntarily just remembering it, “I told them that I was dressed up as a zombie, but it’s okay, I’m hiding in their hedge because I’m a method actor. And somehow, they bought it.”

You end your rambling with an awkward laugh, but it dies almost immediately. The anecdote didn’t mollify Peter even a little bit. Maybe you should’ve mentioned the part where you had to steal clothes off a scarecrow? … No, that probably wouldn’t have helped either.

Brows furrowed, eyes still troubled, he stares down at his hands. “You could’ve gone back. Why didn’t you go back?”

“Peter, I went to Westview to bring you home,” you say. “I wasn’t going to leave you behind.”

Although, now that he mentions it, going back for reinforcements probably would’ve been the smart thing to do. It honestly never occurred to you at the time. You were so focused on rescuing Peter that you couldn’t think of anything else.

For someone who allegedly doesn’t remember anything, Peter looks awfully distressed.

“Peter…?” you say, softly, “Are you alright?”

Before he can answer, you shiver violently, startling yourself as much as Peter, and completely breaking the moment.

“Sorry,” you say. “It’s the icepacks. I should probably get going soon, since I’m already cold.”

Peter blinks, and suddenly the shadow seems to lift from his mood. He’s bright and brisk again, taking the icepacks off of your knee.

“Don’t be ridiculous,” he says. “You’re not gonna go limping around in the cold in the middle of the night. You’ll end up getting sick on top of everything. You can stay here. No, don’t get up. I’ll crash on the couch this time.”

He’s really taking this ‘nurse you back to health’ thing seriously, isn’t he? Even if he’s just playing at it, it’s still kinda sweet. You can’t help but smile a little.

“How very Jane Austen of you,” you say.

Peter snorts. “That’s gotta be the nerdiest compliment anyone’s ever given me. Thank you.”

“You’re welcome.”

As he finishes setting aside the icepacks, he turns back to face you.

“Now,” he says, “Is there anything else you need?”

Half-smiling, he looks at you with those big dark eyes, and you can’t help yourself. You lean forward, wrapping your arms around him and pulling him into a crushing embrace. You know it might make you look clingy, but you don’t care.

You’re fully prepared to pull away just as fast, but Peter’s arms fold around you almost instantly. He nestles his cheek against your head, gently stroking your hair.

“It’s okay,” he murmurs. “It’s okay.”

When you finally do pull back, Peter smiles down at you, tilting his head slightly.

“I’m not going anywhere, alright?” he says. “I promise.”

He kisses your forehead, and helps you arrange the pillows and settle in for the night. After extracting a promise that you’ll wake him up if you need something, he retreats to the couch.

The familiar scent of Peter’s cologne lingers reassuringly on his pillows. He’s not going anywhere, you tell yourself. The person who took him is in no position to cause him any more harm.

So why does it feel like part of him is still gone?

#peter maximoff x reader #peter maximoff #peter maximoff fanfiction #x men fanfiction #wandavision fanfic #(I mean... it’s both and neither)#fun fact! i started writing out a whole other flashback sequence #about meeting Monica and helping free Peter #but it went on too dang long so I cut it #maybe I’ll finish it up and post it as a deleted scene

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robotlesbianjavert · 3 years

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MVA is a Matryoshka Doll of Character Development & Framing: Yes This is About How the Anime Failed. Whatever.

Breaking it down, the My Villain Academia arc serves two (2) main purposes in the overall narrative.

→ Put the League of Villains back in a position where they can be a credible threat to the heroes after losing All for One and their potential partnership with Overhaul falling through. Obviously accomplished by upgrading Shigaraki / Twice / Toga, giving Shigaraki the Meta Liberation Army, Ujiko’s assistance, Gigantomachia’s loyalty, etc.

Of course the anime undercuts all of this by letting the heroes know what the League is planning before the League can take advantage of their new position (ergo narratively giving heroes the advantage, as seen in the manga’s war arc) before we even get to see HOW they got all these cool new toys. So why bother. That’s a different sin that the anime has committed, we can put this on the backburner.

→ Pseudo-reboot the direction of the story so that villains are characters on equal standing with the heroes, rather than being obstacles to beat up. This involves a lot more factors, but it’s all rooted in how the arc and characters are framed, and how the characters are developed.

I talked a bit about my concern about the sympathetic framing of the League in MVA way back when we first learned about the anime arcs being shuffle here (my triumph of objectivity). The gist of it is that the arc switch undermines the way the League are portrayed as underdogs—broke, aimless, and relatively weak compared to the heroes and the army coming for their heads—and I was right! Worse, they didn’t just undermine that underdog framing, they straight up didn’t bother. There is zero context for the League’s situation post-Overhaul, pre-Gigantomachia. No explanation for how they have to rob other villain groups to get by, that their equipment is breaking down, that they have no solid end goal or means to achieve anything of note. Just a challenge from Ujiko and Gigantomachia that loses a lot of pressure without understanding the sorry situation the League is in.

Tellingly, they don’t even let the League kill the fantasy racists. Who doesn’t want to see the fantasy racists get murdered! Outside of the existence of the CRC being an interesting bit of worldbuilding that confirmed the existence of heteromorphic discrimination, which is likely to continue playing a role in the manga, it’s an easy way to let the villains be villains while allowing the readers to go with the flow into this villain-focused arc, without having to be outraged by their actions.

From the get go, we’ve lost the framing that made MVA an arc worth paying attention to when it was first released, which indicates a) that the anime doesn’t care about the actual purpose of this arc outside of setting up a flashy hero vs. villain fight for season six and b) that we shouldn’t expect much from the rest of the anime arc. Even if they get the technical aspects of it right, we’ve already lost the weight of the narrative.

MVA is also obviously known as being the big push to develop the villains as characters. We’ve gotten some character development for them before (Twice and Toga’s adventures with Overhaul, Shigaraki’s consistent growth from “brat” to a capable villain and leader in his own right), but MVA is the first arc solely dedicated to their stories and humanization. However, there are “tiers” of character development and focus here, nested within each other, that are tied into the arc’s narrative structure.

Getting them out of the way: Dabi and Compress didn’t get to do much, though we do get to see their relationships with the League in action, plus stuff like Dabi’s quirk limits which come up later. Otherwise, their actual storylines only come into fruition or start with the PLF Raid arc (which in itself is dependent on MVA but that’s another argument).

More memorable and meaty is the development for Toga and Twice. We learn more about their backstories, we get to see them push themselves to the breaking point for the sake of survival, Toga gets to evolve her quirk while Twice finally uses his to its full potential. We also get to understand their personal philosophies, relationships with society, how they view the world around them, and their loyalty to Shigaraki and the League. And with the manga’s underdog framing and the life-threatening situations they were thrust into (plus at the time they didn’t have guaranteed plot armour the way the students and heroes did), the audience wants to root for them, even if they’re the bad guys!

Toga and Twice’s development are undeniable highlights of the arc, contribute strongly to the story as a whole, and justifiably receive a lot of attention. However, they are also primarily moments nested within the arc, tying into their personal ongoing storylines (Twice’s starting with the Overhaul arc and ending tragically with the PLF Raid; Toga’s storyline carries on into the PLF Raid with the loss of Twice and her confrontation with Uraraka). But they aren’t the primary storylines of the arc.

A primary storyline of MVA is in Shigaraki being able to identify the direction he wants to take the League in and make that a reality, as well as answering the questions of his past. MVA starts with the League’s aimlessness and with him revealing how little he remembers of his origins; the arc climaxes with him regaining his memories and having the confidence and strength to earn the Ujiko, Gigantomachia, and Redestro’s loyalty and resources, giving him the means to finally enact his dreams of destroying hero society. Toga and Twice’s development is encased within Shigaraki’s storyline, and that storyline provides a concisive beginning and endpoint structure of My Villain Academia—

Except Shigaraki’s narrative structure is encompassed by a layer even beyond that: Spinner’s story. When the arc begins, before Shigaraki can discuss his dream of a destroyed horizon, Spinner is the one challenging him about the League’s lack of direction and purpose. When the arc ends and Shigaraki stands victorious, Spinner is the witness who now understands that the destroyed horizon can be their reality. Spinner is the one watching Shigaraki throughout the arc, Spinner’s gaze is emphasized at the beginning and end of Shigaraki’s MVA storyline, and Spinner is the one who undergoes the most radical change from frustrated Stain flunky to Shigaraki’s devoted follower.

To paraphrase from @stillness-in-green, My Villain Academia is “about what Shigaraki coming into his own looks like to the people watching him”. To Re-Destro, to Ujiko and Machia, and most importantly to Spinner.

It’s been frustrating enough over the past two years to see people who have read the manga discard Spinner’s role in the arc just because he isn’t a basic easy pretty boy didn’t get an elaborate flashback sequence the same way that Toga, Twice, and Shigaraki did. Seeing the anime not even bother emphasizes that lack of comprehension. But why does it specifically matter that the anime screwed over the Spinner & Shigaraki premise of MVA?

Aside from the anime’s decisions taking all the weight out of the story: In the current manga, Spinner is the only one left at Shigaraki’s side who is specifically loyal to and cares for him.

Barring executive meddling, Horikoshi changing his mind on plot points that he set up, and straight up bad writing (which can all very well happen): You don’t go through the effort of developing a character like Spinner, explicitly in conjunction with your main villain, as the framing perspective of an arc that is so vital to your story, without having a plan for that character. With the way Spinner is positioned right now, there’s a lot that can be done with him! And if that potential does get utilized, then the anime lost out their chance to give that potential its due.

Between the immediate loss of set up and context, tossing the pseudo-protagonist framing of the League, and gutting the emotional core of Spinner’s developing regard for Shigaraki, the anime adaptation has already lost. The rest of the episodes could be perfectly competent, but without the actual base of the arc it all falls flat. Hell, they could stick Spinner’s confrontation with Shigaraki in as a flashback in his fight against Trumpet and it won’t matter; that just nests Spinner’s story within Shigaraki’s the same way Toga and Twice’s is, when it should be the other way around.

Of course there are other reasons why MVA anime arc is set up to fail without reany spect for the source material (I know that the MLA got screwed over in the PLF Raid arc but that’s no reason to not even TRY with introducing them into the show properly just LET Rikiya be his fun, threatening, and engaging self!), but the fact of the matter is that I’m not going to get my Spinaraki AMVs and I want to fucking die about it.

#a lot of this has been said but people are still JUST off the mark of why exactly losing spinner's scenes is Bad #bnha #bnha bloggin #bnha spoilers ?#spinner #shuichi iguchi #mva wank

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itsthenovelteafactor · 3 years

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Fall of the House of Hargreeves

So I mentioned a while back in my Superhero Gothic meta that there were a number of parallels between the season one finale of The Umbrella Academy and the Edgar Allen Poe short story The Fall of the House of Usher and that I could probably write a whole meta on that if anyone was interested. Shout out and love to the anon who requested that I do that!

It’s been a minute since I’ve done one of these long form metas, but I am very excited to get back to writing about two of my favorite things: gothic literature and chaotic superheroes.

Part I: The Fall of the House of Usher

The Fall of the House of Usher (which I’ll call House of Usher for convenience for the rest of this meta) is a short story by Edgar Allen Poe first published in 1939. It is considered a classic gothic short story, and deals with themes of family, madness, inheritance, and isolation.

Since it’s in the public domain, I’ll go ahead and link a pdf to the story here. If you aren’t interested in reading, though, or just want a refresher, the story follows an unnamed narrator going to visit his ill friend, a man named Roderick Usher in his isolated (and very spooky) family estate. Upon arrival, he discovers that Roderick’s sister, Madeline Usher, is also ill, and has a tendency to fall into dreamlike trances.

Over the course of the visit, Roderick confesses to the narrator that not only does he believe the house is alive, but that it is connected to the fate of the family which, at this point, only includes Roderick and Madeline. He later comes and tells the narrator that Madeline has died, and enlists his help in order to bury her in the family tomb beneath the house. They do so, but for the next couple of days Roderick is suspiciously...on edge.

Then, one dark and stormy night, Roderick shows up in the narrator’s room incredibly worked up, and throws open the window, and starts low-key (read: high-key) having a breakdown. The narrator is unsure as to why until he hears ripping and tearing sounds coming from somewhere in the house. These ripping and tearing sounds are revealed to be Madeline whom Roderick and the narrator buried alive whose appearance scares Roderick to death, right before she collapses, also dead from the strain of tearing through the foundations of the house.

The narrator decides this would probably be a good time to leave and is very much right about that because as soon as he leaves, the house (which was already in pretty bad shape) splits in two and collapses into the lake surrounding it. The end.

Part II: Umbrella Academy as Gothic

So, there are probably a couple similarities between House of Usher and The Umbrella Academy season one that stand out right off the bat, but I’d like to start by taking a step back to talk about thematic parallels between the two works. If you’d like to read a very long winded explanation of why I consider The Umbrella Academy to be a modern gothic tale, I have a really long meta about it.

If not, here’s a quick overview:

Gothic does not have a clearly defined set of requirements as a genre, but its purpose is to explore the contradictions and the failing edifices of convention in a way that is dramatic and often fantastic.

Gothic fiction plays with reality, but usually in a way that is representative of the characters and story.

It often situates itself during times of great change, as there is something haunting about the irreversible passage of time, particularly for those that struggle to acknowledge it and hide behind conventions that have grown increasingly irrelevant.

Poe is considered one of the classic authors of gothic fiction (though the genre significantly predates him), and is decidedly one of the best well-known examples of it.

The Umbrella Academy is a family drama about former child superheroes dealing with their trauma while trying to prevent an apocalypse that their every move seems to set further in motion. It explores the messy and complicated relationships between siblings who have been abused and pit against each other for years. And yeah, it’s fun with great music and talking gorillas and dance sequences, but the premise is kind of hard for me to read as anything other than gothic.

Part III: Parallels

Like House of Usher, the first season of Umbrella Academy takes place in a massive, largely empty mansion where siblings gather with disastrous consequences. Both works explore a family that is past their prime and disconnected from the present. They also both explore the psychological toll of isolation, the consequences of tyrannical family rules, and why it is a really bad idea to lock your unstable sister in a basement and just leave her there.

Let’s start with some thematics parallels. Everyone in House of Usher is extremely isolated, and the absence of anything resembling the modern world amongst the house full of relics is part of the horror. All of the siblings in Umbrella Academy are defined by their isolation as well, physically (Luther, Five, and Ben), socially (Vanya, Diego, Klaus, and Allison), and emotionally (legit all of them). It is this isolation that drives the conflict of the story, feeding into every characters’ choices.

In both House of Usher and Umbrella Academy, the main characters are trapped in this isolated state as a direct result of their familial legacy. In House of Usher, the titular house is a character itself, a manifestations of the obligations Madeline and Roderick hold as members of an aristocratic family that is so far divorced from wealth and status that it keeps them from ever fully moving on and rejoining the real world. In Umbrella Academy, the characters are similarly trapped by their familial legacy, this time in the form of the specter of their abusive father, and the roles he created for them. Like the Usher siblings, the Hargreeves have no way of maintaining the roles their family left out for them – they were never given the tools to function in the real world and it cripples them – but are trapped in them regardless.

Part IV: The Woman* in White

*As of the time I am writing this, nothing has been said regarding Vanya’s gender identity being written to match Elliot Page’s. I am using she/her pronouns for Vanya, as that is what has been used for the character thus far.

Aside from thematic parallels, however, the most direct connection between the short story and series, and in fact the reason I was inspired to write this meta in the first place is the way both of the stories end: with a sister trapped beneath the house clawing her way out to face her brother(s and sister) and creating a disruption of the family legacy so great that the entire estate crumbles.

Madeline Usher is described at this point as wearing a white dress, strained with the injuries she sustained from physically breaking herself out of the basement tomb her brother buried her alive in. Vanya, of course, becomes at this moment the White Violin, and though she has not yet had the epic violin-music-so-powerful-it-changes-the-color-of-her-clothes scene, the principal still stands.

As characters, there are also a couple of noteworthy parallels between Vanya and Madeline. The narrator at one point describes “the illness of the lady Madeline had lone been beyond the help of her doctors. She seemed to care about nothing” (Poe, 27). The reader never knows what illness precisely is the cause of Madeline’s apparent madness, but we see the effects. It dulls her emotional responses to situations and leaves her withdrawn and powerless. Similarly, we learn over the course of the first season of The Umbrella Academy that the medication Reginald Hargreeves prescribed Vanya for her anxiety is actually a power suppressor for her abilities that has much the same effect – because they are strengthened by extreme emotion, the drugs numb Vanya’s emotional responses and deprive her of the ability to access her powers.

Additionally, the final scene of the story story shows Madeline escaping her tomb during a great storm and going to face her brother who put her there, the storm itself being a metaphor for her anguish that tears the house apart. Vanya’s connection to the destruction of the house is a bit more literal, but it is similarly a manifestation of her anguish and trauma. She sees flashbacks of her siblings being distant and rude to her in their childhoods and the anger she feels rips the foundation apart.

It is not entirely clear in the short story why Roderick buries Madeline alive – there are a lot of theories: he genuinely believed she was dead, he wanted her out of the picture, he himself was succumbing to the madness of the house, etc – but the guilt he feels for doing so manifests as him hearing her scraping her way out for several days preceding her escape. The justification for Vanya’s imprisonment is more clear in text, but the series of flashbacks make it clear that it is not just the imprisonment that has driven her over the edge. It it guilt for her sister, anger at her abusive upbringing that is much more easily directed at her siblings than her father, the newfound emotions experienced by being off her medication for the first time since childhood, Leonard’s manipulations, etc.

In both cases, amidst a spiral of emotions and experiences folding in on themselves, Vanya and Madeline experience a single, cold moment of clarity that drives them to escape, and it is that moment of clarity that breaks the shadow of the family legacy. They observe the situation as it stands and realize that it is completely unacceptable, and it is the realization that leads everything to crumble. Because gothic literature is focused on the complexities of maintaining that which is out of date, the realization that things must change can break the spell.

Part V: Conclusions

As per usual, I have no great theories on why this is or what it means. One of the reasons I love gothic literature is that it is rife with meaning that can be more easily felt than deciphered. I welcome any and all interpretations, theories, (politely worded) disagreements, and comments.

Thanks for taking the time to read; I have a lot of fun doing these. Enjoy spooky season, y’all. 💛

#The Umbrella Academy meta #TUA meta #The Umbrella Academy #TUA #The Fall of the House of Usher #House of Usher #Edgar Allen Poe #back here with the long metas on gothic literature and superhero tv #Vanya Hargreeves #Madeline Usher #happy spooky season y'all

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preemshots · 4 years

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johnny + the nomads lore

alright, i know this is a screenshots blog but i'm going to go ahead and start dropping some juicy lore tidbits as i dig them up. part of what i'm doing outside of just photo diarying is shard hunting, and BOY is there a lot the game likes to hide in those little shards for idiots like me who like to read so we can write unnecessarily accurate fanfiction!

full disclosure, i know jack shit about the TTRPG/cyberpunk 2020 rulebook except what i read in the wikis.

so here’s my lore roundup so far of everything i know about johnny joining the nomads

we know johnny likes to narrate v’s quest objectives. here’s the first mention where he says it himself:

during the voodoo boys quest "transmission" there's a shard in the maglev tunnels beside the ice bath, presumably from brigitte's research into johnny in the first place:

okay, so the timeline is this: johnny joins the nomads after trying and failing to rescue alt. johnny hides out in the badlands for some years. then he and rogue come back to night city and nuke arasaka tower help alt escape the arasaka subnet by uploading liberator to their network once and for all.

this ultimately makes sense. in alt’s flashback, we meet santiago, who is a nomad/connected to nomads, joins rogue and johnny when they're trying to get alt back, and eventually becomes the leader of the aldecaldos.

part of santiago’s TTRPG lore is that he, johnny, and rogue have to lay low in the badlands with nomads after they storm arasaka headquarters (i am aware the game takes many liberties with the original lore so who knows the full accuracy of anything from the original rulebooks)

ENDING spoilers: in the rogue+johnny storming AHQ ending, it's revealed that rogue has a son while they're prepping for the job. if you eavesdrop on her calling him while you're at the afterlife, you hear her tell her son to (paraphrasing here) "pull over and look at the stars", which immediately made my brain go to: nomad, badlands, santiago = dad? maybe. (santiago also canonically has a son according to the TTRPG lore)

this immediately reminded me of another interesting shard that i believe you can find in multiple locations around night city: “"what REALLY happened in arasaka tower?“

i love this dang shard. at first i thought it was just a cute conspiracy with some juicy gossip (and i love how 99% of the shards that mention johnny in this game are reminding us that he's not a real rebel, he's a poser) but it brings some interesting shit together

one: it tells us where johnny got his hands on the nukes! he and the nomads jumped a militech convoy and jacked some bombs!

which is never directly explained, even as saburo arasaka is interrogating him shortly before using soulkiller. very nice of johnny to protect his homies like that.

...or maybe he didn’t. saburo emphasizes that the dead don’t lie like the living do, and we don’t know what exactly arasaka did to johnny’s construct in mikoshi.

it also explains why the obvious media narrative is that militech nuked arasaka, a nice neat political bow to the end of the fourth corpo wars, which is an entire section of the TTRPG lore that makes my eyes cross when i read it.

it also makes the star/nomads ending extremely interesting, because i originally believed it was the ending where V’s journey deviates the most from rewalking johnny’s path... which also has weird implications if the johnny’s nomad era is being kept from v.

(this also leads into my belief that the star ending/the devil ending are narratively two sides of the same coin, but that’s a WHOLE ANOTHER POST for another day.)

TWO, just straight up the fact that they turned the raid where they actually obtained the nukes into an action flick BD that pretty much ANYONE could watch. who the hell was doing that??

well, who else other than the guy who johnny (optionally) punched the shit out of for filming alt's death: thompson, media guy, and according to rogue, “bad luck”. because you know, recording your crimes is straight up evidence that can be used against you.

during the alt flashback we meet thompson, and just after that in cyberspace before meeting alt, johnny tells v that he has no idea what happened to him and that they never worked together again.

oh, johnny, you lying bastard man

this is blatantly untrue, and if V even had two braincells and better memory than a goldfish they'd know this--in the first flashback sequence where johnny and rogue nuke arasaka tower, thompson is on the comms as they ride the AV towards AHQ, questioning their plans and use of violence.

which leaves me with some questions, like where the fuck is thompson, why does johnny keep lying about this, why doesn't johnny say almost anything about how you interact with the aldecaldo clan nonstop throughout the game when he himself may have been a member of the family for some time?? is he continuing to protect the nomad clan that saved his ass? we know that a lot of his flashbacks are unreliable at best, that johnny changes shit up as desired when presenting V with his memories.

in 2077, you can also find that there’s a remake of “badlands raid” in the shard “new release braindances” that is pretty much everywhere. that shard doesn’t add much, but does mention something along the lines of “many people don’t know the ending of the original” which probably means johnny punched thompson out for filming again, or something.

my running theories: rogue ditched santiago and the aldecaldos with johnny and thompson to nuke arasaka tower, and when johnny died she was stuck looking for (heavily implied by johnny here:) corpo sellout ways to survive.

adam smasher obviously has something to do with this since johnny/rogue's vendetta against the guy isn't entirely clear beyond the smokescreen of "he killed johnny and he sucks". i have done 0 research into this though i'm tired of typing okay

i obviously cannot be certain i have found everything related to this in the game as i’m not even done with this playthrough where i’m trying to pay attention, but i hope this is fun for someone else to dig into.

enjoy, fellow silverhand freaks

EDIT: additional findings

ALRIGHT I HAVE DONE MORE DIGGING AND I AM BACK WITH MORE NOMAD/JOHNNY FINDINGS. these ones are kind of a bummer but VERY interesting.

there’s a shard called “excerpts from a history of the nomads by bb pires” that goes into detail about how nomads came to be

there’s an interesting quote in it: It's hard to imagine a group less inclined to wandering than farmers, but in fact they were the ones who sparked the age of nomads. Natural catastrophes, crops ravaged by bioplagues, armed conflicts and martial law allowing corporations to speculate and privatize land - all this forced them into a life on the road.

when you ask johnny why he wants to take down arasaka, he begins by referencing this himself!!

it’s a little awkward to imagine a nomad V doesn’t also know what he’s referencing, but hey, V is the fool because we are as players and that’s only one life path... so sure.

johnny also has unique dialogue during this scene about a nomad origin V, telling them that he’s been trying to understand how V thinks, and came to the conclusion that “their family was a crutch” and essentially made them stupid because they always had a safety net (lmao johnny calling v privileged basically)

BUT this also may reference why johnny would find it confusing as hell that V doesn’t immediately share the views he does when nomads, in terms of values, seem to be more aligned with johnny than V is. but once again V is the fool for a reason and this is all my own speculation so YOU KNOW.

MORE IMPORTANTLY, at the end of chippin’ in, when you ask johnny what he meant by letting down his friends... santiago is named directly

i thought this was interesting since the only glimpse of their relationship that we get is seeing johnny meeting santiago via the alt flashback for the first time.

so now it’s obvious that while johnny and rogue were with the nomads their friendship developed, and johnny went on to disappoint santiago in some way by being his normal dickhead self

but HOW? how did he disappoint santiago? is santiago even still alive?? did smasher kill santiago and is this why rogue mentions during chippin’ in that she wants smasher to “settle a score” moreso than avenge johnny??

the only additional hints i have are from this shard, which you can find at the aldecaldos camp: “nomads at ground zero”

i’m just gonna transcribe here and bold for emphasis:

It was no secret that Night Corp offered generous pay and, in some cases, free cyberware and biomonitor upgrades to anyone willing to help clean up the crater of radioactive rubble at AHQ ground zero. Some firsthand accounts recall the incessant ticking of Geiger counters, like the loud buzz of cicadas in summer. In retrospect, we can only guess how many "crater cleaners" lost their lives to radiation sickness shortly thereafter. Both the city government and Night Corp have claimed casualties were kept to a minimum, while providing no official statistics to substantiate the claim. That being said, they have never been under pressure to release such figures. After all, most rescue, engineering, and rubble cleanup teams were not local Night Citizens, but nomads. Surprised you didn't know? Don't be. It is a fact many history courses tend to overlook. The city employed hundreds of nomad mercenaries, primarily from clans in Aldecaldo nation. These nomads were hungry for gainful work and the city needed experts who were not only experienced but brave enough to knowingly put their lives on the line - all so Arasaka could one day erect another tower in its place. But history is not without its sense of irony. These nomads, who so deliberately live outside our so-called "system," came to its very rescue. Not for the first time. And not for the last.

a main theme we find in this game is the idea that the system of corps and exploitation cannot be stopped by grandiose rebellious gestures--no amount of samurai songs, assassinating mayors, or even planting nukes in towers will change things. yet johnny, his friends and mercs at atlantis in the 2020s, including rogue, chose to rebel any way they could, thinking it better than not. johnny criticizes her lack of rebellious spirit CONSTANTLY in 2077.

but ultimately, johnny, trapped in mikoshi, didn’t get to see the outcome of what detonating the AHQ nukes did to night city’s fragile ecosystem. rogue, however, did--and likely watched their former allies, the aldecaldos, be forced to take dangerous work at AHQ’s ground zero (from lack of other opportunities as detailed in this shard), then die from radiation sickness throughout the following decades, all as a result of what she and johnny did to try and fight the system. and she also watched all the former mercenaries of atlantis be hunted down by arasaka.

so rogue sees firsthand what the cost of rebellion is and johnny doesn’t. and nomads, considered the most free of any of the factions we encounter in the game, are the cost.

#lore post #johnny silverhand #cyberpunk 2077 #cyberpunk2077 #cp2077 #cyberpunk lore

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canary3d-obsessed · 4 years

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Restless Rewatch: The Untamed Episode 14 first part

(RR The Untamed Masterpost) (Canary’s Pinboard - more Masterposts)

Warning: Spoilers for All 50 Episodes!

Murder Turtle, Continued

Lan Wangji wakes up after a good night's sleep leaning against a rock wall, to find that his leg is no longer splinted, and his perfectly clean and unbloody headband has been put back on his head while he was sleeping.

Leaving aside the "not waking up" part of things, how, exactly, did Wei Wuxian get his headband on without mussing his hair? Did he bring a crochet hook?

Wei Wuxian gives him a sitrep and then they cozy up and have an extended conversation about the nature and history of the Tortoise of Slaughter. Wei Wuxian is interested in everything Lan Wangji has to say, and Lan Wangji talks a lot more than usual; they are completely on the same wavelength here and are enjoying swapping obscure knowledge.

Lan Wangji: My lacerated leg and I are actually super aware that it has big teeth, but thanks for the reminder.

In the course of the conversation, Wei Wuxian mentions his plan to 1. sneak into the tortoise's shell and 2. drive it out of its shell so they can attack it.

OP did a little tortoise research and learned that the only species of turtle that can leave its shell is the Koopa Troopa.

Good news for Wei Wuxian: If you jump on its shell in the right spot, you can rack up a pile of extra lives.

Does that make the Tortoise of Slaughter a giant Koopa Troopa? Perhaps...the king of the Koopa Troopas?

I'm gonna say yes.

(More after the cut)

Let’s Go Killing

Wei Wuxian is exhilarated by the idea of fighting a giant dangerous monster with Lan Wangji. Some day Wei Wuxian will found the Nike clan, because his motto is definitely "Just do it."

It's sweet how, in his romantic notions about chivalry and Lan Wangji, he's completely elided the original reason they were (sort of) told to venture together.

Wei Wuxian: I'm still on the "find the Yin Iron" quest; I'm just skipping the "suppress it" part.

Wei Wuxian weighs up their chances against Bowser and tells Lan Wangji that even if they die, it will be badass to be killed by a famous monster, so they won't have to feel embarrassed.

This is the exact moment that Lan Wangji's feelings for Wei Wuxian go from "smitten" to "gagging for it."

Lan Wangji: as soon as we get out of here I'm going to borrow a whole lot of books from Nie Huaisang

The boys come up with a plan that involves a rather long montage of collecting archery equipment and deconstructing it. This potentially-dull montage is fun to watch because they are both very, very good looking.

Artists who want to draw Wang Yibo as an elven archer, this is your episode.

Now we suddenly have, with zero explanation, telepathy. Ok, sure. It seems to work kind of like a phone conversation, in which they say specific things to each other, rather than like Cherry Magic telepathy where you can hear everything the other person is thinking. Or at least, neither of them is embarrassed, so I assume they are maintaining some mental privacy.

Club Ruohan

Same, Wen Chao, same

At some point there is a boring sequence at Club Ruohan. Wen Ruohan doesn't know where Xue Yang is, but really wants his hunk of Yin Iron. Wen Chao thinks that WRH's 3 pieces of Yin Iron should be able to beat Xue Yang's 1 piece, but apparently he is dumb and that is not how math works. O...kay? OP does not understand this either but whatever, Wen Ruohan is boring, moving on. This scene is really just here to make us think about Yin Iron before Wei Wuxian jumps into Bowser's shell.

Bigger On The Inside

So then Wei Wuxian climbs into Bowser's shell, which is, to quote The 12th Doctor, bigger on the inside.

Bowser’s shell is the approximate size of my entire house. It is also bathed in a hellish pure red photo filter, which OP has done her best to remove for these gifs, because it gives me eye strain and it obscures Xiao Zhan's hotness.

Camera Operator: What did I do?

Wei Wuxian wanders around inside, finding random corpses encased in slime cocoons. Tortoise, spider, xenomorph, whatever. There are also random curtain things hanging all over, and then at one point Wei Wuxian stares into the face of a corpse, and then does a jump scare response at the camera operator even though nothing particular happened.

I imagine the corpse was supposed to open its eyes and say "killl meeee" but it got censored. He also makes about 8 other faces at the camera operator, so we get that the inside of this TARDIS-like tortoise shell (must...resist...temptation...to...say...TORDIS) is yucky.

Lan Wangji waits outside listening to Wei Wuxian telepathically complain about the smell. He is anxiously clenching a bundle of string and an arrow, and wishing he could clench Wei Wuxian Bichen instead.

Serendipitous Yin Iron

Wei Wuxian backs his way through the TORDIS until his butt bumps into a sword that is steaming with resentful energy. That's right: Wei Wuxian is about to pull a piece of Yin Iron almost literally out of his ass.

He grabs it and is overwhelmed by its screaming resentful energy and has to let it go again.

So this is what a vibrator with 4 batteries feels like

When Bowser comes looking for him, however, he quickly decides to go for it, grabbing the sword and singing "I've Got the Power (Gonna Make You Sweat)"

Wei Wuxian plunges the sword into Bowser's lower jaw, and Bowser pulls his entire head out of his shell with Wei Wuxian attached, while leaving the rest of his body and all rational laws of physics inside the shell.

Gamera Versus the Cultivators

What follows is one of the more ridiculous action sequences in the history of the world, and I say that as someone who likes Mothra movies.

Wei Wuxian hovers in a perfect horizontal plank while “hanging from” the sword, which is held well below the level of his torso. While Bowser spins him around. For much of the time, Bowser keeps his head still and just waves his neck around.

Lan Wangji and the camera operator do everything they possibly can to make "guy pulls on string" look interesting.

Everybody tries really, really hard and the actors are great at pretending something is there when it isn't, but this whole sequence is just horribly conceived.

What works well, though, is the Yin energy and Wei Wuxian's wrangling of it. He starts off being frightened and overwhelmed, and looking like it's too much for him; I dont' know if they made his face puffy on purpose or if that's just what happens when you spend days hanging from the ceiling fighting an imaginary monster. But he looks slack and unwell as he grapples with the iron sword.

Which makes this moment, when he gets control of it, deliciously creepy. He uses the power of the Yin Iron to stick a bunch of pokey things into Bowser's neck.

Lan Wangji has seen him struggling and now sees him...not struggling. Which scares the piss out of him, and he moves to finish the fight as quickly as possible, slicing up his hand and breaking the string. Combined with the pokey things, this does the trick and Bowser dies while Wei Wuxian faints and falls into the water.

Do the Whumpty Whump

Lan Wangji rescues him and wakes him up, and Wei Wuxian clutches the Yin Iron sword and tells Lan Wangji that he was knocked out by the screaming of disembodied voices.

This certainly sounds like a strange and dangerous phenomenon, so Lan Wangji carefully asks him to explain everything.

Ha ha ha j/k. Lan Wangji asks him exactly nothing about the strange sword or the black smoke or his weird evil smile or his new power over pointy objects. Lan Wangji appears to have a Star Trek: TNG level of unconcern about strange phenomena happening directly under his nose. But in fact he has noticed what's up, which is why he will be instantly distressed when he sees Wei Wuxian's flute moves at the Wen Corporate Headquarters.

Wei Wuxian has a fever (stay positive test negative) and comments on Lan Wangji's being so nice to him.

Wei Wuxian: I could never have imagined Lan Er Gongzi acting this concerned about me. Lan Wangji: what else have you never imagined me doing, while we're on the subject?

Lan Wangji transfers a stream of spiritual energy to him. Lan Wangji has so much spiritual power he can be a battery for Wei Wuxian without breaking a sweat or, like, noticing whether Wei Wuxian has a golden core or not, for that matter.

Wei Wuxian basks in the nice feeling of gigajoules for a while but then decides he's bored. So then he pouts, whines, and cajoles Lan Wangji in exactly, EXACTLY the way he whines at Jiang Yanli. I think this, while annoying of him, is a leap forward in his relationship with Lan Wangji.

He's letting his guard down and not just allowing Lan Wangji to take care of him; he's demanding to be cared for on multiple vectors, when he asks the guy who's already busy healing him to sing to him as well.

Lan Wangji obliges, singing him the song he composed about their love cultivation journey, while Wei Wuxian (or possibly Lan Wangji) (or possibly both) has a flashback to assorted sexy interactions that they've had so far.

Wei Wuxian memorizes the song perfectly on one hearing, before passing out.

Writing Prompt: Baldur’s Gate III / Untamed Crossover AU featuring elf archer Lan Wangji

I DARE YOU

Soundtrack: 1. Everybody Dance Now by C+C Music Factory 2. Paradise by the Dashboard Light by Meatloaf

Wei Wuxian fainting tally (cumulative): 3

#fytheuntamed #the untamed #wangxian #the untamed gifs #the untamed meta #the untamed spoilers #restless rewatch the untamed #my gifs #canary3d-original #asian whump

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kaizokuou-ni-naru · 4 years

Text

The Voyage So Far: Wano (Part Two)

east blue (1 | 2) || alabasta (1 | 2) || skypiea || water 7 || enies lobby || thriller bark || paramount war (1 | 2) || fishman island || punk hazard || dressrosa (1 | 2) || whole cake island || wano (1 | 2)

okay so the wano flashback is possibly my favorite in the whole series for a whole bunch of different reasons, and oden as a character is a big part of why. honestly, i think he’s great. he’s wildly entertaining and ridiculously likable, just like a folk hero should be.

i care about oden and the akazaya nine a lot. they have one of my favorite found family dynamics in the whole series, up there with the strawhats themselves- a bunch of thugs and castoffs who wound up gathering around this one wildly charismatic moron and deciding to be stronger and better for him.

i think they really feel like a family, in these little moments we get of them just interacting and messing around, and it only makes later events- oden’s death, the twenty-year separation, kanjurou’s betrayal- hurt all the worse.

on god it is the funniest thing on earth to me that this is how oden and izou wound up on whitebeard’s ship.

the roger pirates!! i really really like the roger pirates!! i love that there’s this entire predecessor crew who are both absolutely fucking fascinating from a lore perspective and who are just all individually really good characters with really fun relationships. the dynamics we get to see just in this brief part of the flashback are absolutely delightful. i think the fact that i would read a whole series just about the roger pirates is a testament to oda’s character writing.

there’s a specific sort of tragedy to the roger pirates, and i think it really hits home in their last few pages in this flashback. by all appearances, they were a crew just as close-knit as the strawhats are. they cared about each other a lot- that ship was their home.

and then their captain died, and they just- fell apart.

awhile back, in my sabaody post, i talked about how we get to know roger first as a story and then as a character by getting to meet characters who knew him personally. to the rest of the world, roger is a story, a name to curse or a height to aspire to. but for shanks and rayleigh and crocus and buggy and all the rest of the roger pirates, he was their captain.

the whole wano flashback, possibly more than any of the others in the series, really feels to me like a story being told, a folk tale being passed down, which makes sense, since it’s canonically framed as oden’s diary entries. and i think that framing device just adds so much to the atmosphere of this entire section of story, the feeling of myth and legend to it.

i honestly really like how oden’s death is handled. i have trouble articulating it, but it’s so much, so over the top, so heavily set up and foreshadowed- a legendary death for a legendary man, if that makes sense.

toki’s prophecy is one of my favorite motifs in this whole arc. wano is all about a country that’s been trapped and dying for years and years, holding out desperate hope for salvation. toki is the one who gave them that hope. she doesn’t try to tell them that everything will be okay, she says it will be dark and the darkness will be long, but the dawn will come, and even though she gave her life to do that, she did it smiling.

without toki, the wano arc never would have happened, because there would be no future to fight for.

this panel is the header on my favorite op discord server and sometimes i just scroll up and stare at it. it’s so good.

this entire sequence, starting from luffy law and kidd’s entrance, is probably my favorite in wano arc. it’s the turning of the sides, the daybreak after the darkest hour- these three show up, and then jinbe, and denjirou reveals his true colors and it’s revealed all the rest of the samurai left before orochi blew the bridges, and it turns out they haven’t lost a single step to kanjurou’s treachery. it just feels so good to read, after the prior hopelessness of the akazaya and the tragedy of the flashback.

i really like how the akazaya nine are absolutely ready to roast each other at any and all times. that’s how you know they’re best friends.

i think i mentioned it back in fishman island, but one of my favorite things is the strawhats just being absolutely cheerfully, chaotically destructive. every time we get to see them wreck havoc while nonchalantly bickering with each other it puts a huge smile on my face.

i think ulti and page one are very very funny and i like their dynamic a lot, it’s a laugh riot. i also like that oda lets luffy seriously fight a woman here!! i’m serious, we don’t see enough no-holds-barred fights between men and women (conventionally attractive women, specifically) in this series, so i’m pleasantly surprised when it does happen.

i do appreciate wano’s ability to continuously raise the “holy shit!” quotient without it ever really feeling like a twist just for the sake of the audience. like, i don’t know that anybody saw kaidou killing orochi coming, but at the same time, it feels like it does make sense, given what we know about kaidou, for him to do this.

my heart goes out to momo, honestly. he’s only eight, and in that time he’s lost his home and family and his whole world when he was thrown twenty years into the future, and he has the weight of his whole country resting on his shoulders. he’s borne up admirably under that stress, starting from zou and building up to this point.

i LOVE kin’emon’s speech to kaidou about luffy SO much. kin’emon’s come a long way from being a mostly comedy relief character in punk hazard to here, where he’s shouting down an emperor. i really like this progression- kin’emon doesn’t change, exactly, but the side of his character that is revealed in wano is very likable and admirable. it goes back to something i’ve mentioned before, about how one piece’s characters are very rarely one-dimensional.

kaidou’s dragon form is extremely cool, and so are most of the panels where it appears- it’s extremely striking, especially in panels like this, where he’s silhouetted against the moon.

i love... the ripple effects of luffy just being himself that spread throughout the world of one piece, and i think this is one of the best examples. luffy befriended coby all the way back in chapter two, mostly by accident, and now, nine hundred and some chapters later, that’s what leads to drake joining the strawhats’ side. because drake is friends with coby who says luffy is trustworthy, so when drake is stuck with nobody else to turn to, he turns to luffy.

moments like this really reinforce just how much the world and story of one piece is built on relationships between people, and i really like that. i like that instead of necessarily being built around abstract ideals or morals, characters’ actions are, more often than not, motivated by either specific personal goals or by their relationships with other characters. it feels much more true to life.

i like the loss of kiku’s arm, because it showcases exactly how serious the fight is on both sides. it both shows that kaidou is fighting to maim and kill and do whatever it takes to win, and that the akazaya are fully prepared to take whatever he throws at them. kiku gets back up smiling after losing her arm. neither side in this fight is even close to backing down, now or ever.

i genuinely can’t believe how long it took me to talk about yamato, so let me just say: i love him so much. part of this, i’m sure, is my personal bias towards any and all kickass queer characters, but part of it is just- he’s so cool. he’s ten feet tall and carries a club about as big as he is and tanks explosions like they’re nothing while also bickering with luffy and falling out of ceilings and generally being like... stupidly lovable.

i just like yamato a lot.

a thousand chapters in, and every strawhat but robin has had a moment where they declare luffy is going to be the king of the pirates, but honestly, i think nami’s might be my favorite yet. nami has always been a person who acts at a distance, not one inclined to direct confrontation and putting herself in danger-

and yet, when it comes down to it, when faced with a choice between death and disavowing her captain’s dream, even when assured by usopp that she would be fully justified in lying for her life, nami chooses luffy. even in the most dire of circumstances, all of the strawhats know luffy is going to be the king of the pirates, and none of them would ever deny it.

i kind of alluded to this back in my dressrosa post, but i really like the development of law’s new dream being discovering the meaning of the will of d. it just feels like a very good and natural progression for his character, given he’s the only holder of the will of d who we’ve been shown is consciously aware of it and what it might mean. and in general, i like seeing him having something else to work towards after doflamingo’s defeat.

i’ll end this by just saying i am so desperately curious to know what is in that book, and what yamato knows about the will of d, about the dawn of the world, about laugh tale.

guess we’ll find out, huh?

thanks for reading through to the end!! i had a lot of fun putting these posts together, and writing them up was a really cool way to be able to compile my thoughts headed into chapter 1000 and beyond. i can’t wait to see where oda takes us next.

#the voyage so far #arc: wano kuni #one piece #long post #opmeta #not japanese

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frederickthegreat · 4 years

Text

my thoughts on TUA season 2

(spoilers, obviously)

- opened with Klaus and Ben, my kings. Klaus’s hair looks so weird straightened while short

- AWESOME opening soundtrack

- seeing all their powers so controlled makes me wonder how they leveled up to that skill in the alternate timeline. like the only time we saw Klaus use the powers of other ghosts in the correct timeline was when two of them caught him falling out of the sky. however Diego did end up controlling bullets and Allison used her voice to technically kill one of the Swedes

- the homeless man screaming Allison’s name alongside Luther... funny shit

- big teddy bear Hazel

- Elliot was fucking awesome i think he was a great addition as a side character. rip tho :(

- honestly i don’t understand why Diego would WANT to save JFK. like it’s not that big of a deal. does he not understand what messing with the timeline can do??

- Lila... impeccable

- Sissy and Vanya... impeccable <3

- yeah and fuck u Carl

- ugh, Klaus’s beard. disgusting <3

- Ben and Klaus definitely act like they should be, given that they’ve been stuck with each other for over a decade. i’ve seen some people calling Klaus an asshole for not telling his siblings about Ben, which is completely understandable (cause he was an asshole), but I’m guessing it was because he was afraid? that sharing Ben with his siblings would mean that he would lose him to them, or his siblings would find him selfish, or they would ask something of him that he couldn’t give. if that makes sense

- that ghost bitch comment was funny tho

- to the guy who called Klaus pretty boy at the bar: sir you don’t know what you’re getting into

- Raymond!! he’s such a sweetheart, i really liked him in the show. i’m really happy that Allison has found a bit of normalcy (as normal as the 1960s Civil Rights movement could be). it shows how passionate she is about what she believes in: even though she knows the movement is far from over, even back in 2019, she’s not gonna abandon it

- Allison staring at the moon every night: either thinking about Luther or how the moon blows them all up. maybe both

- of course Luther would be working for Jack Ruby

- awesome cinematography during the mental asylum escape

- yeah it makes sense that the Handler would still be alive. she was a cool villain. although it would’ve been awesome to see how evil a fish could be

- Diego’s plan was pretty stupid. that’s my boy

- honestly they revealed how Klaus started a cult really well by having one of his followers find him at jail. Klaus, ever the musical aficionado, of course writes his scripture based off of pop songs

- Raymond and Klaus meeting!! that was cool to see how their paths connected

- Lila painting Elliot’s toenails green. ugh i love that crazy bitch

- i LOVE how they incorporated the umbrella man!! tbh i’ve always believed he was the one behind the assassination. Lee Harvey Oswald was framed

- honestly a bit understandable that Luther was planning on killing Vanya? cause he had no idea who she is now, but them reuniting was actually really sweet. he’s grown up so much

- the Swedes and their cats.

- the Umbrella company building with the nuclear family mannequins... creepy, awesome shit

- baby pogo baby pogo baby pogo baby pogo

- shanked diego shanked diego shanked diego shanked diego

- did anyone else get vibes from Klaus’s episode opening that he was an escort to the old woman? like how he was being shown off at her arm or something and getting out of jail from a call from the governor. idk maybe the lady was just very taken with him, as anyone would be

- Elliot, our helpful king

- Allison and Klaus’s reunion was so sweet!! i’m so glad they got to interact so much more in this season

- Ben getting Raymond out through a haunting... hilarious

- sweet intimate moment between Lila and Diego

- Ray meeting Luther was hilarious, but i do feel for the poor guy. i mean i’m not in love with my adoptive sister but still

- the sit-in was really well done and beautiful while terrible. the ‘riot’ that ensued was very appropriate for today’s setting

- D-Dave

- honestly i was scared that Klaus was gonna be overly attracted to him or whatever, which would be weird cause he’s years younger than Klaus, but honestly, at the core he just wanted to save Dave’s life. even if it means never meeting him in a different timeline. he truly loved Dave. and that ptsd flashback was done so well

- i knew Lila wasn’t trustworthy but i didn’t REALLY expect that!

- Vanya and Luther talking with each other, Luther admitting the apocalypse wasn’t all her fault. beautiful

- the Majestic 12 reminds me of the conspiracy theory that only a few families control basically everything in the world. the Majestic 12 may be based off of that, idk

- idk about everyone else but Klaus’s scorpion and the frog story made total sense to me! frogs ARE bitches

- the diner scene.... ugh. it really shows that the two of them did fall in love and they did stupid in love things, like talking about their family, about why Dave wanted to join, favorite colors, favorite foods, etc. however that’s seen later on when Dave visits the compound

- yes it’s very disheartening when Klaus is attacked, but honestly i think it had to happen, just like the riot had to happen. the 60s weren’t a fun time for lgbt people and poc. it was only going to be a matter of time before the show HAD to acknowledge the consequences of Klaus’s ‘flamboyancy’ in 1963 Texas. it doesn’t make it right or easy to see, but it’s realistic.

- it also makes sense that Klaus fell off the wagon after experiencing something like that. yes we all would’ve liked him to stay sober, but sobriety and recovery aren’t linear.

- Allison is so happy with Ray can we please drop this pseudo-incest plotline let’s MOVE ON

- Texas Grace ! who is not actually Grace rip (i think? i was a bit confused lol)

- the scene with Harlan running off was really upsetting but we got to see those weird light particles that we saw in the first season

- Pogo Pogo Pogo Pogo

- Klaus being a dick to Ben again, as brothers do. i do feel bad for Ben though it must be sooo frustrating. that scene with him and Allison was really sweet and funny tho

- i just have to say that Luther and Diego are so fucking funny this season it’s awesome. like there are a LOT of good lines overall by everyone but they’re hilarious. “At least he didn’t shank my ass” “no bro, he shanked your heart”“Dads part of a sinister CABAL that’s plotting on killing the president.” “a caBAL?”“You two still a thing? *leans in* do we need to talk?” “No, she’s married.” “Woah dude... that’s rough.” and countless others

- the sibling reunion!!

- Klaus really does get left out of everything tbh

- Ben :(

- sisters and Klaus!! that was so awesome to see. and Klaus’s hairpins, Vanya saying she’s gonna tell Sissy she loves her, their dance sequence, Klaus calling Allison out on that incest. beautiful

- the fucking Swedish cover of Hello was PERFECT i mean i was sad for the Swedes but it was hilarious. there were a couple beautiful shots of the boat on fire though

- god it must’ve been so traumatizing for Allison to be thrust into such a hostile place with no voice and no way to contact her family

- idk about you guys but long live Team Zero

- calling Ben that he was becoming their father was a bit uncalled for

- the fact that Klaus didn’t help Dave’s chances, and in fact escalated Dave’s own timeline.. his trembling hands... robert sheehan is an amazing actor

- the Black president bit lmaoo loved it

- the way Reginald spoke to Diego.. i’m gonna throw hands with an old man

- Klaus LITERALLY looked like he was having a seizure and they all just... played it off??

- poor, poor Carl. nah fuck him lol

- that bloody opening scene was awesome! and thank god Five got to say fuck. the fact that it was about a candy bar makes too much sense

- Robert Sheehan acting as Ben: amazing showstopping spectacular he’s so talented

- the whole multiple Fives and Luther bit was honestly really funny, and i immensely respect smaller Five over bigger Five.

- yes Klaus, you survived a family of seven. you got this

- not sad about Carl dying one bit!

- Ben... that was such a beautiful scene. not just the content of the scene, but the cinematography. Ben fading away... Vanya hugging him... ugh. the main takeaway i had from that scene is that at the core of it all, Ben and Klaus love each other immensely. they have a weird, dysfunctional, fucked up relationship, where Klaus is an asshole and Ben definitely shouldn’t of possessed him without his consent, but they’re still brothers, and Ben forgives him.

- oof Ben’s funeral was hard. also was it just me or did Klaus’s kid actor sound weird? like it sounded like Robert was dubbing his lines

- all the siblings back together again!!!! Klaus going with Vanya to save Harlan!! Vanya telling him Ben forgives him and that it wasn’t Klaus’s fault Ben got stuck with him!! everyone in the car!!! be still my beating heart

- yeah didn’t see Lila having powers coming tbh. i really feel bad for her she’s had such a rough and traumatic life, especially with the Handler as her only parental figure

- the Swede brother and Five putting down their weapons: “enough.” the Swede wanted revenge for his brothers - an eye for an eye, but there was a mutual understanding between the two of them: they would do anything for their family. if the Swede hurts one of the Hargreeves, Five would never stop coming after him. i thought it was very beautiful

- mmm Reggie’s foreshadowing coming into play. proud of u Five

- the ending was so beautiful. everyone got closure in some type of way. except now Klaus is alone with nothing but his dog tags :(

- EMO BEN HAHAHA WTFFF?? is Lila in the sparrow academy? why was Ben’s portrait over the mantle piece? did Five disappear?? is the sparrow academy just older versions of the siblings who stuck around?? so many questions

FINAL THOUGHTS

- Ellen Page’s acting consistently blows me away. she is amazing

- beautiful cinematography, funny writing, pretty good acting. i didn’t like the soundtrack as much as i did the first season’s, but some of it wasn’t bad.

- i’m glad ben got peace, but i’m also glad justin min isn’t gone for good. his social media presence is too vital for us

- i swear to god if they keep treating klaus as a joke and don’t let him get any actual development like everyone else had (he barely got closure with Dave, he reconciled with Ben through a second party) next season, i’m gonna riot. PLEASE i want to learn more about his powers now that Ben is gone. what happened to seeing tons of ghosts when he’s sober??

- Luther and Diego were probably my favorite duo of the season, I’m so happy that they’ve reconciled and are bonding more.

- just seeing Vanya grow and be happy was amazing

all in all, really wonderful season. i probably liked it better than the first one. now it’s time to consume fanfiction and maybe finish my own (check out “god doesn’t want him and neither does the devil” on ao3!)

#the umbrella academy #tua spoilers #tua season 2 spoilers #the umbrella academy season 2 spoilers #the umbrella academy season 2 #tua season 2 #klaus hargreeves #luther hargreeves #vanya hargreeves #five hargreeves #ben hargreeves #allison hargreeves #raymond chestnut #dave katz #diego hargreeves #reginald hargreeves

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fuckyeahisawthat · 4 years

Note

Have you been asked yet to rank Trust eps? Cos I'm asking! But your the criteria for ranking I leave to you to decide.

Ahahahaha I’ll have you know I put way too much thought into this. :-D

Ok so first of all, there is no such thing as a bad episode of Trust. The whole thing is really tightly written, every character and plot thread has a purpose, and even the episodes that I haven’t watched over and over again are important to the overall story. And a lot of the impact of the show comes from things that are cumulative over multiple episodes.

That being said, I do have favorites. Since the definitive ranking of Primo’s outfits has already been taken care of, here is my ranking from least to most favorite based on some nebulous criteria of artistic/narrative effectiveness and emotional impact, my judgement of which is obviously highly subjective and also correct.

Under the cut because this got ummm unbelievably, ridiculously long.

10. The House of Getty (episode 1)

Sorry Danny Boyle and Simon Beaufoy, the pilot is my least favorite episode. Still think it was the wrong choice to open with a flashy (and, I can tell, expensive) sequence showcasing the death of a character we literally never see again. And, look, I’m an impatient viewer. If I don’t get someone to root for/emotionally identify with/otherwise catch my interest early on in a narrative, I’ll tune out. And Old Paul is not only unlikeable--far from a mortal sin in dramatic storytelling--he’s boring. I don’t care about any of his rich people problems, and I’m not the kind of viewer who can be kept engaged just by hating someone and watching them be terrible.

Some of the secondary characters in the Getty household do have interesting plotlines, but we don’t get to learn very much about them in the first episode. And I do think things get interesting once Little Paul shows up (although I maintain that the whole episode is more interesting if we understand what the stakes are for Paul getting the money), but if I had started watching this show with no context I wouldn’t have made it past Old Paul’s pre-coital erotica listening routine.

If this had been anything other than the first episode I might not have ranked it last, but extra penalty points for leading with your least interesting characters.

9. Lone Star (episode 2)

This episode is, I think, saddled by the fact that it has to do a lot of heavy lifting in terms of exposition and setup. It mostly works because Chace is an entertaining narrator, and once we get to Italy with Gail I think things zip along at a pretty good pace. Opens with an attempted rape to show how Bad the Bad Guys are, which is...not my favorite trope.

Once again, I think a lot of the information in this episode would have worked better if episode 3 had been episode 1. (We’d already know who Berto was when Chace meets him; we’d already know about the box of guns in the apartment; we’d know when certain characters are lying.) This whole show runs on the suspense of the audience being the only party who knows what’s going on with all the characters at once; I think trading mystery for suspense here was the wrong move. I also can’t help thinking there was pressure to front-load the well-known American actors in the beginning of the show at the expense of the strongest narrative choices.

Imo the best thing about this episode is the sort of...multiple competing images of Paul that emerge. His mom sees him as an innocent victim who couldn’t possibly have planned any of this. Chace sees him as a spoiled rich kid trying to swindle his granddad. Neither one of them has the complete truth.

Next we get into some episodes that are certainly not bad, but their greatness is more on the level of some bangin’ individual scenes than a whole package.

8. John, Chapter 11 (episode 6)

Again, this isn’t a bad episode. The main reason I put it near the end of the list is that the first time through I got sort of impatient during the first half. We, the audience, by virtue of our extra-textual knowledge, know that Paul can’t be dead, and we spend about half the episode before we know what really happened to him, which felt a bit too long to me.

This episode does have some fantastic individual scenes including: Leo talking Primo down in the farmhouse, Leo and Paul’s conversation about Angelo’s death, Gail being an absolute badass, and the meeting between Salvatore and Old Paul. A lot of these scenes are essential on a thematic level, but I don’t think the episode as a whole is the most streamlined.

7. Consequences (episode 10)

I debated for a while where to put this episode because the overall feeling of 57 Chekov’s guns going off in the space of one episode is SO satisfying, and the resolutions of some of the individual plotlines are delicious. Ultimately I would have liked more space for Paul and Gail and less Old Paul being grumpy about his substitute child museum’s mediocrity (although the scene with the bad reviews is hilarious). Once again I feel like the show creators felt they had to pull the focus back to Old Paul to wrap things up and I just. don’t care.

That being said. The resolution of Primo’s storyline? SO SATISFYING. And tbh I don’t dislike the scenes that exist with Paul and Gail; even the happy scenes have this poignant tone to them. I think they were trying to deal with the fact that his irl story is just...incredibly fucking tragic, and you can see a bit of the strain showing.

6. Kodachrome (episode 7)

I know episode 7 is not one of your personal favorites, but it’s the one where I think jumping between multiple plotlines/sets of characters is used to the most satisfying dramatic effect. It has this sense of dramatic irony that feels like some Shakespearean family tragedy. The whole episode, we are hoping that Paul Jr. will finally do the thing we want him to do, which is stand up to his father. And he does it--but at the absolute worst, most selfish and destructive moment possible.

Paul Jr. may be the literal worst, but I do have compassion for him in the flashbacks, mostly because it seems painfully apparent that no matter what he does, he will never be able to please his father. But he doesn’t seem to realize this, and he keeps trying, even as it’s destroying him and his relationship with his family. Credit to Michael Esper for his performance for making me feel a smidgen of compassion for this bastard.

I think the other thing this episode shows is how both of Paul’s parents keep putting him, a child, into roles and circumstances that he shouldn’t really be in. He’s wandering around through what seem like very much adult environments with his dad and Talitha in Morocco. In the Trust version of events he’s there when Talitha ODs and is the one trying to revive her while his dad is having a breakdown in the corner. Gail seems like the more responsible parent but there’s something about her bringing Paul as her “date” on a night out, and the understanding that this is a thing that happens regularly...to me the disturbing part is not so much bringing a young kid to a party with adults but the unspoken expectation that Little Paul will fill the void of companionship that his father has left empty. (Gettys expecting Little Paul to step in to cover for the failings of his father is a repeated theme, and it even plays into the ear thing. His family has failed to pay the ransom, so this is now a problem he has to solve himself.) Combine this all with Leonardo going, um, excuse me but what the actual fuck is wrong with your family? and I think it makes a very effective episode. And the last couple minutes had me yelling NOOOOOOOO GODDAMMIT because you can see what’s going to happen and you’re just watching it unfolding like a car wreck. Also has one of my hands-down favorite scenes, of Paul and Primo in the car waiting for the ransom.

5. White Car in a Snowstorm (episode 9)

The ~ D R A M A !!! ~ This episode is an opera. I mean this whole show is dramatique but episode 9 really leans into the vivid imagery--that snowy highway in the mountains above the sea, the all-white ransom exchange, Paul clinging to the pole at the shuttered Getty gas station, some Very Serious Mobsters throwing the ransom money around like idiots in a moment where you’re encouraged to be happy along with them.

This is also one of my favorite episodes for Primo and for Primo and Paul’s weird sometimes-alliance. Primo walking away from Salvatore to go tell Paul “they always pay in the end”? Primo and Paul teaming up to argue with Salvatore about why Paul shouldn’t die? Primo being all threateny to the doctor treating Paul because somewhere deep down he is worried (that’s my take and you’ll never convince me otherwise)? Primo dressing up to fake-scab on a postal strike in order to find a misplaced severed ear? All gold.

Fun fact: the letter Gail writes to President Nixon did happen in real life, but as far as I can tell the phone call did not. The real details of who convinced Old Paul to finally pay (some) of the ransom are considerably less cinematic. They’re the same amount of sexist though!

Ok now we are getting to the top tier...

4. That’s All Folks! (episode 4)

This is definitely the episode that took me from “ok this is fun” to “oh holy shit I’m invested now.” It’s the episode where we get introduced to most of the Calabrian characters and their world. It’s also the episode where we start to realize that Primo is not just a fun antagonist but is really a parallel protagonist to Little Paul, with his own set of relationships and motivations that we start to see from his POV. (I’d argue that, with the exception of his very first scene, we’ve mostly seen Primo through other characters’ gaze up until episode 4, and this is the point where we start watching him as like, the character whose pursuit of a goal we’re following over the course of the scene.)

This episode ranks high for capturing so much of the weird mix of tones that makes Trust work. It can be very funny. (I never fail to fuckin lose it when Fifty is on the phone with Gail the first time and when he’s talking to the thoroughly unimpressed newspaper switchboard operator.) It has this weird unexpected intimacy between characters you wouldn’t think would connect with each other. (Primo and Paul, Paul and Angelo; in retrospect the arc of the relationship between Primo and Leo gets started in that scene in Salvatore’s kitchen.) And it has one of the show’s absolute best record-scratch tone shifts when Primo gets the ransom offer. I remember saying “oh FUCK” out loud the first time I watched the end of that episode, when Primo comes back to the house, visibly drunk and clearly furious. We’ve seen him be violent plenty before now in the show, but always in a controlled, calculated way. This is the first time we see his potential for out-of-control rage-fueled violence and he’s terrifying!

3. La Dolce Vita (episode 3)

I stand by my claim that this episode (with a few minor continuity adjustments) should have been the pilot. Can you imagine a title card that’s like “Rome 1973” and then away we go with Paul snorting coke and taking racy photos and jumping on cops and fucking his girlfriend in what is definitely not proper museum etiquette, and then the smash cut to Primo intimidating and robbing and murdering people? And that’s the opening of the whole show? And you’re like how are these characters connected and then they meet each other and it’s the fucking sunflower field scene??

Anyway aside from the fact that I think knowing the information in this episode would have made episodes 1 and 2 more interesting...it’s just a great fucking episode. It’s kinetic and propulsive and funny and tense and violent and features Primo’s sniper skills and his ass in those cornflower blue trousers. I rest my case.

2. Silenzio (episode 5)

I’ll be honest, I went back and forth on the top two a bunch. Silenzio is definitely my personal favorite episode, and I’d argue that it’s the best written, in terms of what it accomplishes narratively, which is to keep you emotionally invested in both Paul and Angelo trying to escape with their lives, and Primo and Leonardo hunting them down. That’s so fucking hard!! And yes some of it is great acting but it starts from the foundation of the writing. It’s just such a perfect little self-contained horror movie, and it has this profound sense of fatalism to it, because you know from the beginning (if only by virtue of only being halfway through the series) that Paul is not going to escape, and you sort of know that there is only one way this will end for Angelo. And yet they escape by the skin of their teeth so! many! times!

It’s also the episode where you see how much power the ‘Ndrangheta has over people’s lives in this community: Salvatore is like God, calling his servants to him with the church bells. Combine that with the visuals of two characters running for their lives mostly on foot through this unforgiving landscape, and you really get the sense of this environment as a harsh place where most people have a very constrained set of choices, and the claustrophobia of that. You get the sense in this episode that everyone is trapped in these expectations of violence and duty and honor. Angelo did what anyone with compassion would do, and saved Paul from what seemed like certain death, and he’s doomed for it. At the same time Primo is doing exactly what anyone would expect him to do in response to a subordinate who disobeyed him. In some ways the end of the episode feels inevitable, unsurprising, and yet they do SUCH a good job of winding up the tension until the literal last seconds of the episode, and then releasing it with a big dramatic bang. It’s so good!!

1. In the Name of the Father (episode 8)

Ok I’ll be honest the ONLY reason In the Name of the Father edged out Silenzio for the top spot is that it is really clear they pulled out all the stops in terms of making this episode feel extra heightened in a show where everything is already heightened. Like, the cinematography is different? They still use handheld a lot but I swear there are more still shots and more extreme, editorial camera angles like that shot of Francesco looking upward in church where the camera is looking down from above him. I can’t tell if they actually tweaked the color grading or if the bright white and blood red just stand out against the Calabrian color palette which is mostly earth tones, browns and greens and blues.

There are just. So many layers to this episode. The imagery! The literal sacrificial lamb at the beginning, Francesco being guided by Leonardo through an act of violence against an animal, something that I’m sure they don’t even see as violence but just part of farm life, part of survival and in this case part of a celebration, but something that fathers teach their sons how to do as part of becoming a man in this world. Paul as the metaphorical sacrificial lamb later, drawing parallels to Jesus (the lamb of God), Isaac (a father sacrificing his son), any number of martyred saints, pick your Catholic imagery. The blood of the lamb on the tree stump and Paul’s blood on the stone. The communion wafer (the body and blood of Christ) and Francesco at the end with Paul’s blood and a literal piece of his body held in his hands the same way.

And then there is like, the suspense of watching everyone marking time through the steps of this community ritual that’s supposed to be a joyful, communal celebration, while we know that there is a secret ticking away under the surface. The slow unfolding of the lie told to one person spreading to everyone in the village, and then the knowledge that Salvatore knows spreading to all the people who’ll be in trouble for that. The relationship arcs between the main Calabrian characters...not resolving, but sliding into place for the final act. Primo finally being done with Salvatore. Primo and Leo’s alliance being cemented and Leo physically stepping between Primo and Salvatore, to protect Primo. (No one ever protects Primo!! Still not over it!!!!) The confirmation celebration as a mirror of the Getty party in episode 1, the parallels drawn between the 3 Pauls and Salvatore-Primo-Francesco and how Primo reacts to being passed over as heir vs. how Paul Jr. reacts. Little Paul having two whole minutes of screen time and managing to break your heart with them. Regina! Just...Regina’s whole everything. The music going all-instrumental for an episode and having this haunting, dreamlike but still tense quality to it. And the fact that we never cut away from Calabria to another plotline gives the whole episode this hypnotic, all-encompassing quality. It’s just. SO GOOD!!!!

#fadagaski #asks answered #trust fx #long post #so so long omg #i can't believe how long i spent writing this but HERE IT IS #trust alternate watch order

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eviclair · 4 years

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I don’t know if I’ve ever heard of your actual thoughts(tm) on khr, so what’s your constructive review on the series as a whole? Like some positives and negatives w/ the writing, characters, etc. If u don’t feel like answering, feel free to ignore this LOL.

tl;dr because this is 800 words of nonsense. i think you should know i would not know a constructive review if it bit me in the ass.

my guy i have not done a full read of khr in maybe two years and i know that does not sound like a long time but i have the long-term memory of a fruit fly. please bear with me. luckily for both of us i liveblogged the last time i read so i at least have my own sparknotes jdflaksjddaf

first off! khr is a satire manga!!! i cannot stress this enough, i can and will fight you to the death about this!!! “oh but it gets serious later” it grows a PLOT, thats not the same thing. khr is stupid as hell and that is both on purpose and my favorite thing about it.

i fucking love shonen man!!! its all about FIGHTING and LOVING YOUR FRIENDS and HAVING EMOTIONS and. bro im a water sign. my mars is in gemini, there is nothing i can do about this, god made me and said “get that bitch some found family and also some incredible violence” and we all just have to live with that.

khr is so much all of those things that i did not realize they were being made fun of until very long after the fact so my current opinions are very much not the ones i started with jaldkhjdfhd but man. once i clued in i both loved it so much more and became 100% incapable of interacting with fandom in any meaningful way L M A O

i just. the main conceit is that theyve weaponized the deus ex machina eleventh-hour shonen power up. the “my dead family came back to life to kill me” trope is used three separate times. the big bad student body president is a delinquent. theres an entire subset of above magic god powers thatre just

the tyl bazooka was just ripping on the Timeskip Arc until the Timeskip Arc actually happened?? like fuuta’s special thing is that he can communicate with the Meta Planet to divine Character Rankings, i dont know what to tell you!!! the truth is out there!!!

like DO YOU EVEN REMEMBER that time tsuna experienced a villain’s flashback sequence FOR HIM because i fucking do, i think about it every day,

so in the sense of “please critique the writing”, i cant do that because im pretty sure 98% of all the tropey bullshit is by design. do i wish people like the kokuyo gang got more characterization outside of being ride-or-die villain sidekicks?? of course i do but thats my own damn fault for seeing cool side characters and losing all higher brain function. on the other hand, hibari being the person he is and having absolutely no backstory or motivation beyond “get out of my school” is really fucking funny and keeps me warm at night, so. win some, lose some.

(the 2% of the writing that isnt tropey bullshit that i CAN critique is whatever is happening with kyoko. Bad Female Cast is definitely a shonen trope but its a shitty one and i want it to die. within maybe four minutes of kyoko being introduced she tries to body a man and then thats just never spoken about again?? wheres that energy queen?!!! let kyoko say fuck!!!!)

((this applies to haru too in the sense that all she really does is make moon eyes at tsuna but the way in which she does so is honestly so fucking funny and unhinged that it comes back around to being great. like yeah yep yes ma’am thats 100% bonafide Girl Who Throws Skittles In A Puddle And Calls It Potion right there please may i have another))

If khr took itself even 4% more seriously it could be really deep and compelling and i think that frustrates a lot of people, but i think i like it better this way?? half the fun for me is reading in between the lines!! the subtext, however unintentional it may be!!

examples: yamamoto is one of my favorites just because theres SO FUCKING MUCH to unpack about him!! canon gives us a lot of information about him just by virtue of the fact that he’s a Main Character, but paradoxically he himself is never really the focus. he just Does Shit and you have to figure out why on your own and i LOVE DOING THAT.

i dont love mukuro because he’s a fleshed out and nuanced villain, i love him because he says shit like “i went to hell six times” and never expounds upon that or “i can definitely trust the information i got from this magic monocle called Demon Spade’s Super Evil Murder Eye or whatever the fuck” and then expresses surprise when daemon spade is an asshole. he goes and willfully fucks up the only job anyones ever given him (impersonate 80 year old leonardo lippi) because he Just Has to shapeshift into a young hot dude and hand deliver byakuran, the boss of the Flower Family, the Family that names all its members after Flowers, a bouquet that means “i am in disguise ;) cant catch me bitch ;)”

like WHAT THE FUCK!!

i dont know man. i just like puzzles and khr is a gift that keeps giving.

(sidenote that should’ve maybe just been the subject of the post but re:i cant shut the fuck up about anything ever, i love tsuna so much. so much. his personality!! his relationships!!! his growth!!! his growth!!!!! his growth!!!!!!! khr has its claws in me because i see tsuna do something cool or brave or even deeply stupid actually and my whole heart goes AAAAAAAAA bc thats him!!! thats my son!!!!! my baby boy whom ive raised since birth!!!!!! suit me up and call me a reborn kinnie, fuck!!!!!!!!!)

#asks #also the hibari-alaude-fon sameface being explained after the fact as 'they are all secretly related'#is the funniest shit #you cant change my mind #unrelated but my khr liveblog spanned like a whole fucking year and its peak comedy #what happened. to my energy.#evi.txt

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365days365movies · 4 years

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January 17, 2021: Atomic Blonde (Epilogue)

I genuinely really enjoyed this film! And then...about 2 minutes after it ended...I started to think. And I continued to think. I wrote those two posts, and then took a little bit more time to think.

And then...I came to my final realization.

John Wick REALLY screwed this movie. Because the perception of this movie for most, myself included, was that of a new John Wick, with a female protagonist. A lot of people referred to it as “Jane Wick.” But it’s definitely not John Wick. It’s trying to be a spy movie, especially like James Bond films.

But the problem is...it isn’t either. To be a spy movie, it tries a little too hard with a pretty standard plot. And then, it intercuts that with John Wick-caliber fight sequences, detracting from the spy movie aesthetic. And then, because you do have those fight scenes, but still need to fit in the spy stuff, it creates a distinct disparity in tone and pace throughout the movie.

In other words...let’s get to the Recap. I have some more thoughts. And don’t worry! Many of them are positive. Just...not all of them.

Recap

Cast and Acting

Let’s start, of course, with Charlize Theron. Outside of the action sequences, Theron goes well as Broughton, portraying the tough character traits we see in spy characters like her and James Bond. And with the character she’s given, Theron does wonderfully. James McAvoy, on the other hand, seems like he’s having a HELL of a lot of fun with his role. He’s an underrated actor, honestly, and it’s very cool to see him play this sort-of anarchist punk spy. Sofia Boutella also deserves a shout-out for Delphine, playing her character’s naivete well, as well as remaining likeable. Also, Bill Skarsgård deserves a shout-out! I liked Merkel a lot, even despite his shorter screentime. Goodman, Jones, Marsan all do fine in their roles. The USSR characters...eh. They aren’t really given much spotlight...which is weird, given the fact that this is a Cold War drama, but OK. Basically, we’re going with an 9/10. Great; not the best I’ve ever seen all around, but still great!

Plot and Writing

Yeah...here’s the thing. I might like this movie, but the plot’s kind of a massive mess. Writing’s fine, but the plot is both extremely cliche spy movie, while also being extremely muddled in terms of story. Remember what I said up there about this film trying to be both a spy movie and John Wick, and that not working really well? Yeah, basically that. It attempts to balance the two concepts, but also corrupts what makes those concepts work in the first place. The Bourne Identity is arguably a better version of that combination. It’s too bad, because elements of the plot really take away from the rest of the movie.

And then...there’s the tacked on ending. Because, yeah, the whole American spy thing? Wasn’t in the original graphic novel. What I genuinely think they should’ve done was end it RIGHT at the interview’s terminus. Or, at least, right as she greets Bremovych as Satchel, as is done in the original novel. And, just to be clear, I thought this BEFORE reading the book. That ending feels...pander-y, for lack of a better term. I realize that we always want our protagonists to be heroic, but how great would it have been if Lorraine actually was kind of a villain? I dunno, I think not adding that extra twist at the end makes the movie stronger and more provocative, in a good way. Sorry, Kurt Johnstad, I know you did a good job on a technical standpoint, but...5/10 here.

Directing and Action

David Leitch, Jonathan Sela, and Sam Hargrave, the director, cinematographer, and stunt coordinator/fight choreographer, respectively. Full points for the action sequences, because MAN, those were some good action sequences! Rough and gritty, but extremely well-choreographed and shot at the same time, the action deserves the praise that it’s gotten. How about the cinematography? Stylistic, and very bold colors make this film very memorable. But...they don’t have much clear tie-in to the theming, and I think there’s some missed opportunity there. And the direction overall is great, even if I don’t think it’s perfect. It is Leitch’s first film as solo director, after all. 8/10!

Production and Art Design

Changed the title of this section! Turns out that I’ve been conflating the two concepts, so let’s include them both from now on, shall we? But OK, what did I think of it? Costume design was iconic...in the case for Charlize Theron, at least. James McAvoy a little bit, too, but it’s clear that Cindy Evans focused more upon Charlize than anyone else in the film, really. Which, for a spy, isn’t the best of ideas. Still, that combined with Zsuzsa Kismarty-Lechner’s art direction for the sets and set pieces (almost all of which are splashed with graffiti, in a very 1980′s flair) do bring you back to the time period in which the film is set. This, of course, is also due to the work of David Scheunmann, the production designer who’s actually from Berlin, and whose experiences were vital into making this film look as good as it does. If you’re not sold on the set design, check out the differences, obvious and subtle, between West and East Germany in the film. While some of it is clear, some of it carries some surprisingly subtle messaging (Stalker and Tetris, for example). So, even if Charlize got most of the costume attention, a lot of credit should be given to this movie. 8/10 for this one!

Music and Editing

Maybe the most well-known aspect of this movie, outside of the dramatic lighting, is the ‘80s soundtrack. Some love it, some criticize it quite a bit for overwhelming the film. And honestly...I think they’re both right? Here’s the thing, the music is great, and some of it is used in unexpectedly creative ways that critics didn’t seem to pick up on. Biggest and best example of this is Nena’s 99 Luftballons. That song if you didn’t know, is inspired by the separation between East and West Berlin. It’s literally a song about the cost of political strife, leading to war between countries over something as trivial as a red balloon. And when do they play it during the movie? When Bremovych is waging interrogating young East Berliners celebrating the culture of the west. It’s surprisingly profound! However...using Flock of Seagulls’ I Ran during a chase scene is...less so. That’s one’s a little on the nose, let’s be honest here. And that basically sums up the music for the movie. It’s all good music, but it’s either used well, or it just isn’t. Also, there actually is music composed for this movie, by Tyler Bates, and it is good...but I had to listen to the soundtrack to remember that it was even in the movie. So, yeah, not fantastic.

OK, how about the editing? The flashback sequence intercuts as part of the movie have been criticized by some for interfering with the pace and tone. And...eh. Wasn’t too much of a problem for me, to be honest. And other than that, it didn’t stand out too much to me. I’m finding that editing is the hardest thing to judge in these movies, but who knows? I think this little project might improve my film judgment skills. Also, those long shots? Not true long shots, as they were edited in post. So, good job to Elísabet Ronaldsdóttir! Overall, though, this category’s getting a 7/10 from me.

That’d be a...68% Really?

I’m legitimately surprised, because I do like this movie! Really, I do! But breaking it up piece by piece...it’s only really OK. My personal preference doesn’t necessarily dictate my score, and vice verse. So, I like this movie...even if it’s not as good as it can be. It’s a distinctive and stylish film with great action, and if you wanna see Charlize Theron be cool and kick ass, then WATCH THIS MOVIE!

And by the way, I didn’t touch too much upon the fact that this is the rare bisexual protagonist, and this is Tumblr, so I know that that’s something you guys know. And honestly...eh. Fact of the matter is that it’s a part of her character, but...we don’t really get to know the real her throughout the entire movie, so...is it? I’m honestly not sure. But, representation is representation, I get it. Also, fun fact, Delphine actually is in the graphic novel, but as a guy. So, interesting change, that!

OK, I think we’re done with the spy movies for a bit, now. Let’s switch subgenres a day. Let’s inject a little more adventure into this month, and let’s trade fists...with swords. It’s swashbuckler time.

January 18, 2021: The Mask of Zorro

#Atomic Blonde #David Leitch #Charlize Theron #Lorraine Broughton #James McAvoy #David Percival #Eddie Marsan #John Goodman #Toby Jones #sofia boutella #Bill Skarsgård #roland møller #365 movie challenge #365 movies 365 days #365 Days 365 Movies #365 movies a year #user365 #movie challenge #action january

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canonicallysoulmates · 4 years

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Walker 1.07

This was a really good episode, there were a couple things here and there that could have been done better, but overall, imo, one of their best yet and a huge improvement over last week.

I definitely liked it a lot more, in terms of how it flowed, and the story and the focus and the acting, it’s just an overall much better episode.

It was another caseless week, the focus was on Walker helping Micki figure out what was going on with her mom and her arrest, and the second storyline was Trey taking the kids on an away game. On the side of those two things were Liam and Captain James who traveled to Mexico to continue investigating Emily’s death which somebody was not happy about but let’s not get ahead of ourselves.

This episode had a lot of really good things but the highlights that should come as no surprise to anyone at this point were Micki, and Micki and Cordell.

I know I sound like a broken record because I say this pretty much every week, but Walker and Micki’s relationship: I absolutely love it ❤ This epi is no exception.

Last epi she was there for him, this week it was his turn to be a good friend and return the favor, and that’s exactly what he did; if y’all remember her mom got arrested at the end of episode 1.06, the reason for her arrest was a hit and run while under the influence which makes no sense to Micki because her mom doesn’t drink and she’s always been very responsible so Walker, being a good friend, accompanies her to San Antonio, were Micki’s mom is being detained, so she doesn’t have to deal with it alone but also because if he’s there they can make it an official investigation since he’s not related to them.

So they bail Adriana out, and she tells Micki she’s gonna solve things herself and that she did it, she did the hit and run. But our girl Micki does not believe her, things don’t add up for her, so they set to investigating what Adriana is hiding. And ooooh she should not have gone digging cause mama had a big secret.

On the lighthearted side of things they discover she has a boyfriend! But Micki and Walker didn’t realize he was her boyfriend at first, they thought he’d been harassing her but then after they show up to the dude’s house they find out he’s the boyfriend. Which leads to a very interesting family bbq.

But the big secret, the life changing secret, the reason she didn’t want Micki to get involved is that...Adriana is not Micki’s biological mom. She’s her aunt. Micki’s bio mom is an addict, and she tried to get clean and go to rehab and such after Micki was born so while she worked on herself she handed Micki over to Adriana to take care of her but three years passed before she showed up again, and by that point Adriana was too attached to Micki. She had become her daughter and while her sister claimed she was clean Adriana didn’t think she was gonna stay that way and she didn’t want Micki to be dragged into her mess so she told her to stay away and her sister agreed for payment so basically...Micki’s bio mom sold her.

Afterwards, Adriana packed up, she moved them out of town, she changed their names all so her sister wouldn’t find them. But she did, and that’s where the hit and run comes in cause Adriana got arrested due to there being DNA at the scene that partially matched hers but it was actually her sister who got into the accident. She had found them, and she wanted to see Micki but Adriana told her no, and they got into a fight about it and she drove off drunk so Adriana feels partially responsible.

This was a heartbreaking and unexpected reveal, it honestly made me wanna cy for both of these women! Poor Micki, finding out that this person who she has called mom her whole life, who she has tried so hard to make proud is actually her aunt and that her biological mom sold her, she’s feeling like her whole life was a lie, she doesn’t know who she is- I feel so bad for her! And Lindsey did an amazing job showing Micki’s pain, not just during her reveal but also earlier in the episode when she was remembering how her mom and her used to be close when she was little.

But I also feel really bad for Adriana because she just wanted to protect her daughter, and that’s what Micki is she’s her daughter, she’s the one who raised her, who loved her, who took care of her. And I hope Micki realizes and remembers that, I just want them to fix things between them. This storyline has genuinely struck an emotional chord with me.

And the way they got to the reveal was fantastic, it was done through the best use of flashbacks this show has done. (Yes, I am praising this show’s use of flashbacks I’m shocked too but in this episode they don’t just work, they do so incredibly well.) The thing about the flashbacks in this episode is that not only are they placed properly, not only do they not mess with the flow of things, not only do they serve a purpose but they’re done like memories. I’m not sure how to explain it but with Walker’s flashbacks you see the scene play out crystal clear and a lot of the time that just takes the viewer out of the scene, here it’s played like her actually getting lost in her memories and it matches the tone that was set.

Also, real quick before I continue when Micki told Walker what had happened, he was all “do you need me there? I’ll come to you right now” which 🥺

That whole part was excellent; other great things were that Trey and Walker are becoming friends which I am loving, there was a really intense action sequence, and there was a shocking cliffhanger cause remember how I said someone wasn’t happy about Liam and James snooping around in Mexico? Yeah, someone put a bomb in their car, they weren’t in it but when James went to unlock the car 💥 . So that was exciting!

But like I said at the beginning there were some things here and there that could have been done better. This episode has a lot of unrealistic aspects starting with the kids, I am seriously begging this show to write teenagers better. The soccer team has a “secret” tradition to play something called thirsty ball basically they drink and play soccer. I put “secret” in quotation marks cause usually those things are not actually a secret and there’s at least one adult that knows about it. Anyways, all the kids sneak out for this thing and not a one of them came up with a lie to tell Trey.....*sigh* They planned their little game out but not the lie to tell the coach, I’m sorry that is not realistic I know for a fact that they would have come up with one hell of a lie and they probably would have snuck out at night when he wouldn’t be checking up on them.

Another thing I don’t find realistic is Trevor getting to tag along when he doesn’t go to the school, I don’t know maybe schools in the US are different but I can’t recall one time when I had a school or camp trip that they allowed anybody to tag along that wasn’t a student, the only exceptions were sometimes the kids of teachers that were going on the trip or sometimes they could follow in a separate car. But getting to tag along in the bus and have the school pay for his stay and probably food. No.

And I love him, but how did Trey become head coach when he lost those kids? Even if the other coach, who we never saw, was the one that was supposed to be in charge Trey still has a level of responsibility, they were lost on his watch too, and it’s not like they could hide what happened Trey had to call the parents. Yeah, he saved their lives but he’s also the one who lost them.

The action was fun and intense but can this show stop condensing the action scenes to only like two minutes? Please? I want longer action sequences.

I also want Walker to stop letting his kids off the hook, this is the second time those kids have gotten themselves into danger and instead of having to face consequences or at least getting a stern talking too he just gives them a hug and let’s it go. Like, I get he’s relieved they’re safe but they seriously have to understand the danger they were in, there have to be consequences for their actions.

Speaking of consequences, y’all remember the friend Stella got into trouble back in episode 1 which put her friends parents under treat of deportation? Well, her parents had to move back to Mexico because the threat of deportation was too real and they didn’t want to drag their daughter into things. I really hope that’s not the end of this story cause if it is then it’s a disappointing cope out on part of the show to not have to actually talk about deportation, the roles Ranger play in it, and the role Stella played in this specific case. But we shall see.

All that being said, it’s like I stated at the beginning, this episode has a couple things it could have done better. But, the majority of it was great, the things that could have been better and were unrealistic are easy enough to look past in the grand scheme of things, and overall it was a really solid episode. I really enjoyed it.

#was it perfect? no but it got damn close #walker #opinion on walker #walker 1.07 #walker spoilers #mine

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beastars-takes · 4 years

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Zootopia Takes: The Power of Really Liking Each Other

Our main event, Beastars Takes, will resume soon, but in the meantime I want to talk about one of my favorite movie relationships:

Has this been talked about to death by other people? Yes. But this is my blog and I write it for free so I can do what I want.

Note: this is not a shipping post--this is just an examination of their canonical relationship in the movie and why it rules.

At first glance, this is your typical enemies-to-friends story. I love those. But while the typical arc tends to involve two characters who can’t stand each other, who eventually develop a grudging respect for one another (often through some kind of shared ordeal) and maybe thaw into actual friendliness at the end. Zootopia packs all of that into the first half--by the midway point they are clearly not just allies, but friends, and by the end of the film they’re inseparable.

It’s important to recognize this isn’t just for the hell of it, or just to be cute--the closeness and trust they build is the linchpin of their success in the final moments of the movie.

All the reasons why, after the jump.

Something I talked about in the previous post was the messaging of Zootopia, and I don’t want to rehash it too much here. It’s a movie about prejudice, and the work it takes to overcome it. A key theme (one that it shares with Beastars, incidentally) is that friendships with those who are different from you are hard--but they are worth it.

Part 1: They Hate Each Other! (Right?)

Now...it goes without saying that when these two first meet, they bounce off each other hard. Each is seeing the other at their absolute worst.

Judy can’t stand Nick because he takes every bit of optimism she has about this world and throws it back in her face. She want to use him as a prop in her vision of an equal society, where “not all foxes” are crooks. He laughs at her. He humiliates her. All he has to do is walk away, but he takes his time. He twists the knife.

For his part, Nick sees a laughably ineffectual bunny who condescends to him and threatens him with jail for the crime of...humiliating her. She may not personally be a threat to him, but she wields the institutional power of the ZPD--a power he has plenty of reason to be afraid of--and she does it irresponsibly.

On first viewing, Nick inarguably wins this exchange. He avoids arrest, reads her to absolute filth and leaves her stuck in cement.

And he makes her really sad. Nice!

But, and I don’t pretend to be the first person to have pointed this out, on second viewing it’s obvious he can guess her story so well because it’s basically his story. The only difference, in his mind, is that he’s accepted the reality that he’ll never be allowed to live the life he wants, while she is still vainly pursuing hers.

I don’t know about you, dear reader, but the people I’ve met who have always most pissed me off are the people who remind me of things I hate about myself. The people who seem to embody the flaws I’ve worked to minimize. Nick’s naive hope is what has brought him the most pain in his life. He sees this bunny full of the same naive hope, surmises that she’s facing the same failures he did and yet stubbornly refusing to learn from them. It’s irritating.

Pictured: irritation.

Maybe I am projecting, but if Nick is anything like me, he probably didn’t walk away entirely happy from this exchange. Yes, he “won,” but he was also reminded of everything about himself that he least wanted to think about.

Part 2: They Are Not Very Good at Hating Each Other

So, the thing about Judy is, she is naive. By default, she assumes people are her friend. But she’s not stupid.

Nick assumes she is stupid, not least because she hasn’t wisely given up on her dreams like he has, and...he learns that she maybe not so fun to pick on after all.

So they wind up doing the first part of this enemies-to-friends routine, allies of necessity.

So, naturally, because he is Him, he makes it his mission to torment her.

In fact, we get two whole scenes where all he does he does is watch her struggle and make this face.

The first read of this behavior is that he’s just enjoying the failures of someone he hates. He says as much later. But I would also argue--from a viewer’s perspective--Judy is ridiculously entertaining and charming throughout these encounters. She wears her heart on her sleeve, and it’s hard not to like people like that.

Is there more happening here than just schadenfreude? I won’t pretend to know for sure. But worth considering.

By the time they’re investigating the limousine, his sabotage has diminished into something more like gentle trolling. And you can’t see this face, in context...

...and tell me she isn’t starting to like him, at least a little bit.

He’s also starting to help! By the time they’re past the minor detour of almost being murdered by a mob boss, he’s entirely cooperative, helping her conduct interviews and look for clues. The movie doesn’t call particular attention to this, but it almost did.

Finally, let’s look at Nick’s behavior when they’re being chased by a rabid jaguar. He could have absolutely booked it, with no regard for the cop who was blackmailing him into helping her.

These moments go by so quickly, but they��re hugely revealing of his true character, even before he defends her in front of Chief Bogo.

He picks her up when she falls.

More importantly, when he gets to the skytram, his first instinct isn’t to jump in--it’s to hold the door for her:

He sees she can’t make it, and she even tells him to leave without her. He doesn’t. He holds the door until he can’t anymore, and as a result he’s nearly killed.

Nick is a good boy.

Part 3: They Are Friends Now

She save his life, so he saves her job. This is a key story beat, and it’s a Disney movie, so there’s not a lot of subtlety (except how the specular highlights in Judy’s eyes fade as Bogo asks for her badge--the light literally goes out of her. Go watch).

But it’s such a sweet moment of teamwork--he was contemptuous toward her from the start because she believed in herself. This is the first time she’s simply given up in the whole movie, and he steps up. Because he believes in her now.

And she believes in him! Or, she wants to.

Judy’s supportiveness here is sweet, but it’s also still a little selfish. It’s not that different from their interaction at the ice cream shop, really: she wants to meet a fox who defies stereotypes, who is easy for her to like. Someone who ticks all the boxes to prove her family wrong.

When he starts being more foxy, later--self-identifying as a predator, showing his claws, challenging her--we learn that her supportiveness is conditional.

Am I being too hard on her? Sure. She’s been in bunny country her whole life. She’s new to this and she’s trying. But that’s where she’s at.

But still! They’re friends now. They’re no longer pretending they don’t like each other. Judy’s openly encouraging, Nick is fully in her corner, and we get a few cute sequences where they keep being more and more impressed with each other.

He’s still not above affectionately messing with her, and she’s getting worse at pretending to dislike it.

And he trusts her enough to let her flush him down a toilet...

Which gives us this heartbreaking shot where he thinks she’s drowned. He cares a whole lot about this bunny.

She likes him too! Enough to want to team up on a more permanent basis. This is pretty standard-fare enemies-to-friends stuff now, but considering where we started, and considering they’ve known each other for all of two days? Not bad!

It’s clear this moment means far more to him than it does to her, too. It’s actually taken very little persuading from Judy to get him to step up and be brave and helpful and trustworthy. The fact that he’s turned around and opened up to her so fast suggests he’s been ready for an opportunity like this for his entire life, and never got it. I mean, look at his face.

The foundational flaw in her worldview is still there, though, and it’s about to do almost-irreparable damage to their whirlwind friendship.

Part 5: Fuck!

So Judy gives her press conference, and gives a great example of why police usually answer every question with “the matter is currently under investigation,” or “we’re not prepared to comment further at this time.” Honestly, though, this is on Bogo--I had coworkers who once did some press interviews, and they spent over a week doing media training. They didn’t even break a major kidnapping case. So, you know.

So she repeats some weird race science stuff she assumes is true because someone in a lab coat said it, which is amusingly similar to how race science (or “race realism”) often propagates--people with low-rent doctorates from crappy universities write a bunch of scientifically shoddy material and people say “well, he has a PhD!”

And then Nick has a PTSD flashback? I don’t want to be irresponsible and make an armchair diagnosis, but also...that is absolutely what is depicted on screen.

You’re not immediately “better” after something like this, which is why I cut Nick a bit of slack when he basically blows up their friendship.

Judy...doesn’t get it. It’s completely heartbreaking, because she likes him, and doesn’t understand why he’s mad, and isn’t self-reflective enough to stop and think maybe he has a point. Not until it’s too late. He tests her, and she fails.

Their friendship has always been a little inequal. He’s trusted her with everything, shown her his deepest vulnerabilities. She’s never trusted him completely.

So he leaves.

I don’t want to impugn her professionalism by suggesting she wouldn’t have quit the force if she hadn’t had that friendship-ending fight, but, you know. Maybe.

This is the second time she gives up, and this time he’s not there to pick her up again.

Judy is intensely goal-oriented, and I don’t think she realized what Nick’s friendship meant to her, as the first person in the city who truly believed in her, until it was too late. Judy is sweet and well-meaning but emotional intelligence is not really her strong suit (which is actually cool to see in a female Disney protagonist, imo).

So, while it would have been nice for her to track Nick down immediately and apologize, I think it makes sense for them to spend time apart. Her own self-perception has been shattered, and she needs time to figure out how she went so wrong.

So when she does come back, she delivers one of the best animated apologies I’ve ever seen. Only AtLA compares, in my mind.

Part 6: They Are Much Better Friends Now

Nick forgives her, because of course he does.

(Sidebar--people talk about how he kept her carrot pen the whole time they were apart. He also kept his handkerchief from Ranger Scouts, AND he only wears shirts that match the wallpaper in his mother’s house. He desperately needs a hug.)

Credit to Nick also, who can’t fight and has no police training whatsoever, who has multiple times been almost killed helping her out, now agreeing to help her out again. She’s not even threatening him with jail this time!

We, the viewers, are then rewarded with this great montage of them being best friends.

She’s finally stopped pretending not to be amused by his shenanigans.

(One other sidebar here--Nick is canonically a really gentle character. For all their adventuring, this is only time in the movie he gets physical with anyone: to protect the bunny. Again, he definitely can’t fight and immediately gets smacked across the room. But it’s the thought that counts, right?)

Per the post title, more visual evidence of them really liking each other.

Judy trips on a dead body, and here we get the second time in the movie that Judy tells Nick to leave without her, and he won’t--this time, he refuses explicitly.

Which then gives us the opportunity for the big moment--the culmination of all this care and intimacy and trust.

In order to con Bellwether, she lets him stalk her, and bite her throat. This has been often pointed out, but it’s important--throughout the movie, Judy’s wriggling rabbit nose has been used as a signifier of fear and suspicion. It wriggles when she’s spying on Nick at the beginning. It wriggles like hell when he confronts her after her press conference.

Not here. Doesn’t move. It’s a great, clearly intentional animation choice that tells a close observer (or more likely, a repeat viewer) that she’s completely unafraid.

She trusts him.

I could write a whole other post about how well-scripted this movie is, how every scene is doing half a dozen different things, but the way the personal and the professional come together here, the way the threads of prejudice and friendship and the police case all tie together in this moment. It’s good shit.

This is basically where things end, in terms of character development, but we get a bunch more shots of them clearly adoring each other:

So there it is.

To sum up, certainly not suggesting this movie invented “characters liking each other,” or anything like that. But it goes above and beyond in portraying a friendship that’s not just one born of circumstance, one that’s authentic and unmistakably loving. Characters who enjoy spending time with each other, regardless of what’s going on around them.

I hope everyone is able to experience friendships like that. I absolutely treasure the few I have.

Appendix: The Shipping Thing

I hope I’ve made all this ship-agnostic, which was my intention. I personally like the ship, and I think the reason it resonates with people is because that love and trust and closeness is clearly there, and a romantic relationship creates a lot more easy opportunities for dialing those things up even higher.

I would also argue, if pressed, that the amount of teasing and physicality that happens reads as pretty flirty. If they were humans I knew in real life, I’d definitely think there was something going on there. But I’m an American, where touching and emotional intimacy tends to be read as romantic. Also, animals are a lot more cuddly than humans. So who knows? I think it’s perfectly reasonable to read them as platonic friends until the end of time.

But, one way or another, they love each other a lot. Shout out to this, one of the most emotionally rewarding relationships I’ve ever seen in a cartoon.

#zootopia #zootropolis #zootopia takes #judy hopps #nick wilde #disney

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scoundrels-in-love · 4 years

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for the ask meme: 9, 32 & 49 please!

It’s only been 10 days... It’s only a guess which ask game you sent this for...! ^^; (I am basing it on the fact I read the questions and mused about them for this whole time so I am probably right about the game.) @nossbean

9. What are your favorite fanfics?

Oh no. Oh no. I could and should write POSTS upon POSTS about this.

But I haven’t, because I don’t have the energy to. So you get a cheat version of some of my random favorites from my last pages of my AO3 history. And few special shout outs.

@angel-deux-writes Worth is a wholeass gem and I haven’t commented yet, but I binged it basically today (with exception of first chapter) and I can’t stop yelling about it internally, because the way she says things!! She always has some of my favorite Brienne characterization I get so envious over. There is strength and pride in it, and vulnerability and fear and the acknowledgment that her self-loathing is unfounded yet how hard it is to defend yourself, even knowing all that. I could write essays about it and Angel’s stories in general. Anything by her is a treasure trove, truly.

@samirant Rush Me All Night Long is a fascinating concept, so very well executed and absolutely captivating. Makes me go slack-jawed with awe with how seamless it is. And beyond the craftsmanship of the story form itself, the contents are absolutely epic, too. Intrigue, growth of relationship, dash of humor that is right up my alley, lot of good other characters with their wonderful insights... Nothing to add or take away. Just great. And you KNOW you should check rest of her writing out, too. You won’t regret it.

@ajoblotofjunk is back with another subtly, but powerfully in-depth world story with Baby I Will. How many professions has she gotten degree in already? Because the way she weaves art of playing in bars is so organic. And oh, the connection between Jaime and Brienne... Electrifying, a storm that starts as static sparks as they brush past each other. And I can’t wait to watch it grow. (Also shout out to her absolutely beyond epic gift to me, Petrichor. Which is mindblowingly great and written at haste I cannot comprehend. It couldn’t be more tailored to me and I tear up just thinking about it.)

LadyRhiyana’s Stray Sparks II is the perfect example why I tell someone at least once a week “I wish I could LadyRhiyana this”. Her absolutely amazing skill to capture a whole setting, a whole world of emotions in sometimes as few as 5 to 10 sentences (and not the 30 word sort!) is just... Mesmerizing. I admire it so much and am typically absolutely enamored by her stories. Crossover is also in my history and I am absolutely head-over-heels for it.

@kurikaesu-haru Thirsty is the most endearing, captivating way to combine the two meanings of the word and I adore it to pieces. It’s fun and emotional and hot, and everything it could possibly need to be and then some, in best way possible. And her works contain more and more of gold mines, truly.

@firesign23 is a treasure, to this fandom and to me in particular, for many reasons. But her skill to devastate me with short stories is truly something else. Odd Socks (link to one of my favorite of the lot, but do give them all a read if you haven’t!) is what I have in my history, but I rec her as a writer 1000%. Her prompt fills are always poignant and not shy of ache and I can only marvel at them all. But also how could I miss out on mentioning her two breathtaking recent stories for fic exchange? Hold Steady is a Journey without ever leaving Winterfell, but the miles traveled by weary, worried, longing hearts in it... Oof. And, of course, I have to mention by hearts and hands made fast because it’s for me and it made me cry real tears more than once (!) and actually yell in real life, like no other story. Real and complicated as the characters deserve to be told, painful and comforting, absolutely breathtaking in the prose... I could rant for days, truly. And truly, wherever you look at her work, you’ll find more of it.

@aviss Skin Deep is just gem, gem, gem. Am I biased because she wrote for me, in a sense? Maybe. But she ACED it in ways I can barely comprehend. Everything I could wish for in the concept is there and more. Sweet pining, absolute besottery and realistic realizations and then hot, earnest resolutions... What a gem. As is rest of her works, really!

32. Past or present tense?

I used to be such a past tense snob. Nothing else for me, no sir. But now I write almost exclusively in present tense. I can’t tell when the shift happened, I think when I was 20 or few years older than that, and I don’t know why, I think I read a good fic, like really good one, and also was trying to bypass my writer’s block by switching it up. And I found a certain freedom in it. A sense that it makes sense for me to go deeper, to be in present turmoil and wax poetics about it for few paragraphs. Because it’s currently happening, instead of retelling if something that has been. It freed me more in past tense, too, though.

It’s odd I don’t remember how and why the shift happened, almost makes me feel sad.

Nowadays I mostly write in past tense because I get too caught up in flashback sort of sequences and can’t make it grammatically correct anymore so I switch everything to past tense. Tomorrow (with you) is prime example.

49. Where do you draw inspiration from?

Anything. The other day, I was bitterly laughing with a friend I could write a piece about stain on floor, create whole 1-3k word story about someone thinking about the stain, etc. Doesn’t matter if it has funny shape or not, known origin or not.

Most often, though, it’s prompts, it’s song lyrics, it’s some kind of thought/belief I have for character that I want to express/see them through some kind of event in way I think they would. Sometimes, it’s specific setting or watching something. Like, there was one (1) almost head-kiss in a kdrama with secret identities and I created a whole 10k word worth story idea off of it... Sometimes, it’s honestly even just a dumb, dumb post. But yes, music/feelings/prompts, I’d say are the main thing.

And as for inspiration drawn for writing itself... That’s a difficult question for me, right now. In kindest, non-rambly way I’d probably say what other people have lived and written.

Send me fanfic question?<3

#braime #braime ff rec #ask games answered #trying to remember what my rec tag was and failing...#nossbean #sent on a cloud

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kaizokuou-ni-naru · 4 years

Text

The Voyage So Far: Wano (Part One)

shirahoshi seeing the sun for the first time is really a relatively minor and understated thing, among all the chaos and revelations of reverie, but it strikes me as one of the most meaningful little moments in the arc.

i LOVE the luffy fanclub. i love that a meeting of the world leaders winds up being a who’s-who with assorted friends of one of the world’s most notorious criminals, and it brings me SO much joy to see them meeting each other and being able to connect. i feel the same way about coby and rebecca meeting.

in general, and i think i said this at marineford too, i love that the one piece world is developed and interconnected and alive enough to allow for these sorts of interactions.

fucked up that this was almost a hundred chapters ago and we still have no clue what the fuck was up with this, isn’t it?

i do find the introduction of im fascinating. up until this point we’ve had two presumed final villains- blackbeard and akainu- who were first established pretty far back at jaya and enies lobby (in robin’s flashback) respectively. meanwhile, im isn’t even seen until chapter nine hundred and something. it feels very late-game, but at the same time, their existence doesn’t contradict anything previously established, and in fact jives pretty well with a lot of information more recently revealed in dressrosa.

in any case, when in doubt i do trust oda knows what he’s doing when handling his story, and i’m very excited to see what he does with this.

wano is SO PRETTY. i mentioned this before in fishman island, but i think wano is definitely the prettiest setting in the series to date. i think it’s obvious oda was both very excited to draw it and put a lot of work and research into his depiction of it, and wow does it pay off. wano is so bursting with life and detail, and frequently looks like an ukiyo-e painting come to life, and just- wow wow wow.

i love zoro and luffy’s reunion so much... i love how happy they are to see each other. it’s only been, what, a couple weeks in-universe? but luffy is pulling the full tackle-hug like he did for sabo at dressrosa. i love them.

i really like the outfits in wano, too!! zoro’s ronin look in particular i think suits him very well, and i also love luffy’s patchy yukata and robin’s geisha getup and they’re just very cool. this also applies to the non-strawhat wano characters, for the record, and kind of ties back to what i was just saying about wano being so full of detail. it has a very specific look, and everything from the outfits to the way things like the fire and the waves are drawn folds very neatly into that aesthetic.

as i’m writing this i just finished on the paramount war posts, so with that fresh on my mind, i have to say i really like the way ace (or rather, his memory) is incorporated into wano. he’s not really a major presence- that is, the fact that he was there before luffy has no real bearing on the plot. but there are people who knew and cared about him and remember him fondly, tama and yamato, and it just really helps add to this feeling that ace was a person and his life and death had real and lasting affects.

and it adds, too, to the fact that even if it took ace way too long to realize it, he was so thoroughly loved everywhere he went.

i have a lot of thoughts on the intersection of food and heroism in one piece (i keep trying to compile a coherent meta post on the subject and mostly failing). but i’ll settle for saying that in wano luffy is a hero by his own definition, as someone who shares food with others, and i doubt he realizes that, but i think it’s really interesting.

i know luffy’s fight with kaidou is kind of controversial in fandom but i love it, personally. it feels like a logical outcome for luffy to get his ass kicked the first time he tries to go up against a yonkou singlehandedly! he got wrecked when he tried to throw down with a shichibukai the first time, too, and this is just the next logical step from that.

luffy’s always been an underdog starting from nowhere and working his way up and up and up, and i love that for him. of course he’s going to get messed up the first time he tries punching an entire order of magnitude above his weight class. and then he’s going to get up and try again, and again, and again until he wins.

the act structure of wano is really neat, i think. it helps such a long and complicated arc feel a lot more structured and less interminable than it might otherwise, and it also gives specific breaks where we can cut away to the story happening on the outside world.

honestly i really like the whole udon prison segment. it’s fun! i like it for similar reasons i like the colosseum mini-arc in dressrosa, honestly, which is that there’s no real stress because we know luffy is the scariest person there by a country mile so we can just watch him go ham, and that’s fun. it consistently cracks me up that absolutely nobody is worried luffy’s in jail. they’re all just like “yeah, he’ll be fine.” and they’re right! he’s having the time of his life!

wano’s cast is fascinating, because almost nobody is who they first appear to be. almost everyone is wearing masks, whether literal or not- fitting, for an arc structured after a kabuki play. everyone is playing roles, from hiyori to denjirou to kanjurou to yasuie, and everyone lies.

this entire sequence at orochi’s party is one of my favorites in the whole arc- in fact, it was my favorite, until we reached a certain part i’ll get to in the next post. everything from komurasaki standing up for toko and slapping orochi to denjirou “killing” her to robin getting caught by the oniwabanshu and dissolving into petals to nami calling down a massive lightning bolt to cover their escape- it’s really good.

i’ve written extensively before about the smile fruits and the themes of smile and laughter in one piece and how important the freedom to feel and express emotion is. suffice it to say that for all the atrocities orochi commits against the people of wano, it’s feeding the smile fruits to the people of ebisu town that is his greatest crime, and the revelation of just what happened to those poor people ratchets up the tragedy of wano tenfold.

i do think it’s interesting to think about how if denjirou had been just a little less committed to his role, zoro would’ve killed orochi right here. it really drives home that orochi is nothing- he’s weak, he’s cowardly, he’s just lucky and clever and cruel enough to be able to get much more powerful people to do his work for him.

it’s infuriating that someone like him has been able to hold such power over the lives of the people of wano and ruin them so thoroughly, and that’s exactly the point.

wano is the arc where oda says you Will care about the supernovas and i’m like yeah

hey, another of my all-time favorite luffy panels!! i honestly just think this one sums him up as a character in a line more than almost any other- “i’m always free.”

just look at the detail on kidd’s metal hand holy shit holy shit. on occasion certain panels jump out at me that remind me that oda really is just, a genius at drawing on a technical level, even setting aside his writing and storytelling chops, and this is one of them.

oda is really, really good at creating the sense of a darkest hour- a time when all hope seems lost. the other best example in the series is in water seven, when the crew seems to be falling to pieces, merry is marked for death, robin’s gone, and the aqua laguna is coming. here, too- nobody comes to meet the akazaya nine, and the one chance they’ve waited twenty years and staked their lives on seems in danger of slipping through their fingers-

but the point of making it so all seems lost is so that when hope does appear, it shines all the brighter, and feels all the more triumphant. it’s always darkest before the dawn, and we all know how wano has been waiting for the dawn.

#the voyage so far #arc: reverie #arc: wano kuni #one piece #opmeta #not japanese #long post

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