#i also have an entire air of comics based on two background characters from the wrongs mans

[the-casbah-way]

it’s bad enough only liking niche ships but it’s even worse liking them in a completely different way than how everyone else seems to ,,, everyone else makes cool art or fanfic or wholesome headcanons meanwhile all i can provide is thoughts like “he should call the other guy mommy” or “i’m going to slurp his pussy”

[gemini-care-barr]

⚠️ Spoilers for World’s Finest: Teen Titans #5 ⚠️

On the subject of team books and friendships/teams in superhero comics in general…

So, I just read the latest issue (#5) of Mark Waid and Emanuela Lupacchino’s World’s Finest: Teen Titans series and I gotta say it has made me realize what I’ve been missing for a while in comics:

I. need. more. STRIFE!!!

I need more characters fighting and tearing into each other in the meanest ways! And NOT because they hate each other or are on opposite ends of the good/evil spectrum, but because people fight! They disagree! They get frustrated and they take it out on the people around them! And then when the pain of changing FINALLY becomes outweighed by the pain of staying the same: people GROW. They become better. They see how the ways that they were acting and the things they were thinking were tearing them apart and they come together against and despite that strife. And no, that doesn’t make things perfect, there will (and should) still be inner conflict and butting of heads, but that only guarantees more change and more growth because no one is constant and no one should be. The only constants are change, and, with a good team, each other.

And by God, this issue, and this series really, has shown that perfectly. Over the past few issues, we’ve seen the perfect dynamics of the team getting ever so slowly chipped away. Starting with Roy very understandably getting mad at Dick for not sharing his secret identity with the team which was promptly “fixed” in a way that we all knew wouldn’t last. Then we’ve seen Garth and Donna’s relationship on the rocks almost from the get-go because unfortunately shared circumstances just isn’t always enough for two people to base an entire relationship on when their similarities and compatibility basically stop there. We also have Karen bringing in a new guy and not really having too many close relationships with the already established team. And finally, we have Roy’s personal struggles with his father figure being aired out and almost ridiculed by the other kids who just don’t know how to help him. Oh, and of course we also have Wally who comes from an almost perfect superhero sidekick background (special thanks to my guy, Barry Allen, no doubt 😜) which unfortunately makes him a little too loving and lighthearted in the eyes of some of the team and is also seemingly pretty unequipped for dealing with their levels of dysfunction (can we really blame him? No, we can’t, and we really shouldn’t, he’s literally the most functional member of the team outside of maybe some of his judgement of Roy). And all these problems have (inevitably) finally resulted in a lot of in-fighting. In-fighting that has now utterly crippled them, but hopefully not for long as the final page shows Dick’s willingness to change when he goes against Bruce’s rules of secrecy and finally reveals his true identity to the team. I’m hoping this means that they’ll set aside their differences and start working as a team again, rallied around their now unmasked-to-them leader, but I have a feeling that waiting so long to finally reveal himself to the team may carry some consequences of its own for Dick.

Regardless, I’m excited to see some more deliciously grounded, well-written, and much-needed personal conflict in comics again. Not to artificially further a plot or build fluff drama, but to evolve characters and relationships alike.

[sameteeth]

an incomplete list of tiny details in The Adventures of Tintin that make me unreasonably happy:

the intro, being 2D and more cartoony in style while also making callbacks to the tintin comics

having herge actually be in the beginning of the movie, drawing tintin

he also has several portraits set up in the background of characters that don’t show up in the movie but were still in the comics

when tintin walks by the mirror and we see him try to pat his hair town! such a small thing but adds depth and character imo!!

Tintin obviously frequents the open air market that we first see, as herge knows him + has drawn him before, and the man who sells him the Unicorn also knows him by name

snowy finds tintin’s magnifying glass for him twice in the movie

tintin leaves his windows unlocked, enough for the cat to be able to get in

it may just be to move the plot along, but Tintin seems mostly unconcerned with his apartment being wrecked by snowy and the cat, and by it being ransacked - he’s not one for material possessions, you would think, but he took the time to frame/collect big cases he has solved. ik that is also to establish tintin as a famous reporter but idk it’s just interesting that when he’s in the heat of the moment, he will do anything to chase a story!

when thompson and thomson corner the pickpocket and he crashes into someone outside the petshop, three canaries fly around his head like they do in cartoons. a man from the petshop catches 2 of them in a butterfly net and the third lands on the net

the wallets the pickpocket has stolen are alphabetized, and also are labelled with the owner’s name and the date stolen, as seen on tintin’s wallet when thompson and thomson find it

when tintin steals the keys from the karaboujan’s men, the shark hung by the hammocks appears to be a juvenile white shark or (less likely) a salmon shark, based on teeth, size, and markings. obviously it is inaccurate, as real great whites have black tips on the inside of their pectoral fins and the movie shark lacks this detail, but I’ll take what I can get. it’s more accurate than some sharks that i’ve seen in movies

there are four swordfighting scenes in the whole movie! the first two between red rackam and sir francis, then haddock and saccharine face off in the cranes, and then again with Saccharine and his cane vs haddock and whatever he found on the ground (idk what it is lol)

another thing about the swordfights! every time, rackam/saccharine use something to obscure or trap sir francis/haddock - in the past, rackam lights his cape on fire and throws it over sir francis, and then in the present, saccharine uses the crane to throw dust and debris on haddock and later throws a net on haddock when they fight in person

nestor’s ancestor (presumably) is sir francis’s first mate, or at least someone who looks like nestor is

the rottweiler that guards the haddock estate is named hector :)

snowy is able to find ways into places that tintin would otherwise miss - we see this when tintin breaks into the haddock estate in the beginning of the movie, and again at the end when snowy gets to the walled-off treasure! snowy does the real detective work tbh <3

i also love the part when tintin swims up to the plane he shot down and his tuft of hair sticks out of the water like a shark fin :)

after the dam is burst and the front of the hotel bagghar ends up by the water, the owner (presumably) affixes a starfish to his hotel’s rating, making it a three star hotel

in the entire movie, there’s a lot of collateral damage, but they do take care to show that most people don’t die- the airplane pilots jump to safety, the police make it out of the car when it is wrecked by the crane, etc

as they wander through the desert, snowy finds a huge ass femur bone that is never explained??? and the bone is really big?? idk what it could have been from off the top of my head but i always love that snowy finds it and carries it around for a while

thats it for now but idk i will probably rewatch this movie and find more details :) i love this movie a lot and it’s super well animated!!!

[bedlamsbard]

Putting aside aesthetics and characterization (inasmuch as I can), I have been trying to logic out why Mando Ahsoka feels so different from Rebels Ahsoka (to me, personally; I know many other people feel fine about it), especially in terms of having a character who’s known in Rebels for her “I am no Jedi” line going to a character who is specifically introduced as “The Jedi” in The Mandalorian.  (And who is identified as “Ahsoka Tano, Jedi Knight” on merch -- merch is merch, it’s essentially meaningless, but it’s still a choice that was made somewhere along the line.)

“Shroud of Darkness,” Rebels 2.17

“Twilight of the Apprentice,” Rebels 2.21

This is strictly Doylist and not Watsonian; I don’t care what went on in the character’s life in between Rebels and Mando; I’m trying to guess what was happening in the writers room.

I was noodling through this on Twitter, in case it looks familiar.

My first thought was Dave taking a cut scene from Rebels as canon going into Mando, something he shared on Twitter back in the lead-up to S4.  Looking at this again I’m not sure this was a cut scene or a scene that he wrote that never made it into the actual script. (Certainly I can’t see how it would have fit into the episode.)

Here Bendu specifically identifies Ahsoka as “former Jedi Knight.”  This is also obviously not canon, because Twitter posts aren’t canon, Dave.  (Though that doesn’t mean that he might have taken it as part of his working backstory for the character anyway.)

I was then thinking about TCW and the unused TCW arcs as they existed in 2016 when this aired (with the rough guess that Rebels S2 was probably written in 2014).  There are three Ahsoka arcs that were written and existed in 2016 in some form (”scripts and some artwork” is what Pablo Hidalgo says, and some pre-viz and recordings from the original Walkabout arc that were shown at a couple Celebrations), but which hadn’t made it into S6 (which came out in 2014): Ahsoka’s Walkabout (in its original form with Nix Okami instead of the Martez sisters), the Siege of Mandalore, and an arc which would have taken place between those two, “Return to the Jedi.”  We know about these because of a panel from Star Wars Celebration Europe in 2016 called Ahsoka’s Untold Tales -- I was actually at this panel, but I haven’t thought about it in a while.  Here’s the SW.com liveblog of it; here’s the video.

I remember hearing somewhere that the TCW team had nine seasons or so written, but can’t find the source for that number now.  When S7 was made, there were obviously a lot of compromises made that we’ll never really know about, minus a tell-all memoir or documentary, which probably isn’t coming any time soon.  Knowing that this Return to the Jedi arc existed, I wondered if at one point Dave had tried to get all three Ahsoka arcs into S7 before having to give one up for the Bad Batch arc (especially as we now know there’s going to be a Bad Batch TV show); it’s also entirely possible that at one point in the production process there was the possibility of a full 22 episode season floated, which would have made three Ahsoka arcs in one season less unbalanced.

I went to go look up what the Return to the Jedi arc actually was, since 2016 was a long time ago and I haven’t really thought about this panel since.  My guess is that it had been intended for one Ahsoka arc per remaining season (7, 8, 9).  Pablo Hidalgo says that after the Walkabout arc, Ahsoka would have stayed on Coruscant as “an under-city vigilante of some degree, helping people who can’t help themselves,” and Dave points out that he talked about this with George Lucas, as well.  The Return of the Jedi arc would have involved Ahsoka finding out about a nefarious plot targeting Yoda and working with the Jedi to figure out what’s what with that -- this revealed that below the Jedi Temple was an ancient Sith shrine. (Some details of this were revealed at Star Wars Celebration Anaheim in 2015.)

Ahsoka would have been protecting the holocron vault from Darth Sidious, putting her lightsaber blade through the door while Palps shoots Force lightning up the blade.

“The whole purpose of that particular arc would have been to bring Ahsoka back. She’s not a Jedi, she doesn’t change her decision, but she gets involved in Jedi business again.”

The next Ahsoka arc and the final arc of the series would have been the Siege of Mandalore arc, which “reunites Ahsoka with the clone troopers, with Anakin.”  My guess is that the end of the Return to the Jedi arc would have involved Ahsoka making the decision to go to Mandalore because the Jedi themselves couldn’t get involved in that conflict at the time (especially the emphasis in the panel that Pablo and Dave put on Ahsoka as being “a responsible person” who couldn’t ignore that the war was still going on, and because Ahsoka knew Satine).  (It would be interesting to know when if this arc would have fallen before or after the Darth Maul - Son of Dathomir comics, which are based off another unmade TCW arc.)  This would probably have put as much as a season between this arc and the final arc -- given TCW’s funky timeline that doesn’t mean much, but in terms of audience expectation it helps.

(also, damn, the context of the beginning of Siege of Mandalore in the original concept vs. how it actually happens in S7 is very different -- like, on the surface identical but the emotions involved are totally different.)

Before going into the next part of the panel (post-war), Pablo Hidalgo adds “We consider it to have happened and that’s how we inform the writing in Rebels, because that’s the history that these characters carry in their heads.”

So going into Rebels, the writing team was working with the background that Ahsoka had not only left the Jedi Order once, in “The Wrong Jedi,” but had reinforced her decision not to go back to the Jedi by not returning to the Order during the Return to the Jedi arc.  That explains why in Rebels she’s so adamant about not being a Jedi or being in the Order; it’s a decision that she has made not once, but twice.

Fast forward four years to 2020, where we have the Siege of Mandalore arc in S7.

It’s heavily implied that Ahsoka was planning to go back to the Order after the end of the war, and in fact Yoda treats her as such.

Now, there’s no way to know if this exchange was in the original Siege of Mandalore scripts short of those being released at some point (which is possible but seems unlikely when the character is still in play), but because of the way S7 plays out there is no way to put the Return to the Jedi arc back into the story, which means all the emotional context and Ahsoka doubling down on not returning to the Order is thrown out of the window.  That’s a fair chunk of backstory to take into the Rebels writers room.

(It should also be noted that presumably E.K. Johnston wrote the Ahsoka novel with the assumption that that arc was still part of Ahsoka’s working canon, though she may not have seen scripts for it; I feel like I read somewhere that she had seen scripts for the original version of the Siege of Mandalore, which changed quite a lot between original concept and the eventual 2020 version, as is evident from the novel vs the show.)

Going into The Mandalorian, then, Dave Filoni is not only working without a writers room (as Mando has only had two writers, Dave Filoni and Jon Favreau), but working with an entirely different continuity than what the Rebels writers room was working with.

Trying to backtrack when various scripts were written is an exercise in futility to some extent; I usually guess anywhere from a year to two years out from when the shows air.  (I seem to remember that around this time in 2016 it came out that Katee Sackhoff was doing something for Disney, which ended up being the recording for Bo-Katan in Rebels S4, which wouldn’t air for another year, but don’t quote me on these dates.)  Dave ends the panel by saying that “After the season 2 finale for Rebels I was very adamant that that was it for Ahsoka...in Rebels...but after this reaction it might just be possible...it might be possible to see her again. She might have something to do. Maybe.”  (For those trying to run dates in their heads: the con was in July 2016, the season 2 finale aired in March 2016, WBW aired in February 2018.)  My guess is that they hadn’t recorded for that part of S4 yet (and S4 is so weirdly paced that I have questions about how it was made), but that the initial scripts for S4 had already been written at this point.

Looking back at the Star Wars Celebration Chicago 2019 TCW panel where Ashley Eckstein talks about getting the news about TCW S7 from Dee Bradley Baker (rather than from Dave Filoni, and hoo boy is this uncomfortable to watch knowing that the script for “The Jedi” had almost certainly been written and Dave may have already made the decision not to talk to Ashley about it), there’s still not like...a clear way to tell when that happened.  Except that Dee talks about “wine tasting with the Rebels,” which likely puts it back when Rebels S4 was either still actively airing (2017-2018) or before it had wrapped filming (2017).  (I actually vaguely remember seeing pictures from this wine tasting but I can’t remember whose twitter it was on and going to look feels creepy.)  Probably the scripts weren’t fully revised at that point but they may have been -- still, this was certainly after S2 and could potentially be before S4 had been fully finalized.  We got the TCW renewal announcement in 2019, but the animation wasn’t fully completed yet so didn’t get more than that teaser trailer.  This is only important insofar as it involves which set of backstory was being used for WBW Ahsoka, an episode that Dave Filoni wrote and co-directed.  (Honestly? I think Mando Ahsoka matches okay with WBW Ahsoka but is a little off Rebels S2 Ahsoka, but that’s off my memory of WBW, an episode I refuse to rewatch.)  Certainly with the epilogue he knew he was setting up for something else.

ETA: I FORGOT AN IMPORTANT PART OF THIS TIMELINE AND THAT’S THE RISE OF SKYWALKER because I try not to think about TROS, frankly, but as we may remember Ahsoka is included in the “be with me” scene in the final confrontation.  This always struck me as weird given the “I am no Jedi” thing from Rebels, but she’s the most well-known female Force-user so I had just mentally written it off as easy shorthand and JJ Abrams being lazy about it. HOWEVER, presumably JJ talked to Dave about which prequel era Jedi to include (there’s a note in one of the previous SWC liveblogs about Rian Johnson being in the Rebels writers room at some point).  TROS came out in December 2019, I can’t recall exactly when they did the voiceovers for that scene (if anyone has ever mentioned it), but it was probably fairly late in the process since I believe that there were still edits being made up until fairly soon before the premiere.  (I have a completely different theory that the Lego Star Wars Holiday Special from this year was written off an earlier version of TROS.)  If Dave had already moved towards making Ahsoka more inclined towards the Jedi, with a full-on return to calling herself one regardless of the existence of the Order (as Mando implies), then her inclusion here makes a LOT more sense than it did a year ago.

Anyway this is all very conspiracy theorist, but it does explain something that was puzzling me: Rebels S2 Ahsoka and Mando Ahsoka (as well as TCW S7 Ahsoka and potentially Rebels S4 Ahsoka) were written off slightly different backstories which differed in one very key thing: how committed Ahsoka was to no longer being a Jedi.

Now, this sort of thing happens all the time in anything with an ongoing continuity; obviously TCW makes major changes to how viewers might read or write Obi-Wan and Anakin/Vader in RotS or the OT.  I was just trying to narrow it down in this particular case because until I started thinking about it I had assumed that it was all being written off the same assumed backstory. And many people read Ahsoka differently in Mando than I did or found her perfectly in character, this was for me to track references down about something that was bothering me in hopes of an explanation that would satisfy me.

[mccall-me-maurice]

So This is Just Me Indulging on That Superhero AU

Fun Fact: This AU is over a year old, starting in March 2020 and still developing. I will 100% be drawing this au, and probably making a comic series with it.

Side Note: This post is really long, read at your own risk. It also doesn’t include all of the information of the au, just what I want to elaborate on

Okay So Here’s some Background Information that I want to include because with the comic pages it will be mentioned, but not in the detail that I would like it to be:

AOE - Alliance of the Elements: Consists of Jack Merridew, Roger Volkov, Maurice Bellomo, and Robert Evans. Is Controlled By PotG

PotG - Protectors of the Globe. Global Alliance that trains those with powers and protects the Earth from Extra Terrestrial threats. Funded and run by a member of each developed country.

The Runaways - Those who left PotG in a illegal fashion, exposing secrets about the organisation as they left. Members Unknown, Ralph Allebach is the known leader and only identified member.

Each Characters’ Powers:

- Jack Merridew: The Element of Fire, When angered it comes in fierce blasts that burn anyone it touches who isn’t protected. His powers falter in rain or underwater.

- Ralph Allebach: Controls the Weather, whenever he cries the sky cries as well. He can overcharge when using too much lightning energy, causing a sudden collapse. He can fly as well, along with being able to manipulate Roger’s powers to an extent, if he is focused enough.

- Roger Volkov: The Element of Air, espionage, and infiltration. He is the combat trainer of the AOE and can summon tornadoes and extremely high winds.

- Dyria “Simon” Cortés: Dyria is an alien from the planet Nagneon, born as the heir to the throne. His planet differs heavily from Earth and the PotG gave him the nickname “Simon” and began using he/him pronouns instead of they/them due to Earth’s society. He can summon the energy of the star on his planet and use his body to project its energy. He is one of the things the PotG wishes to understand but never can, as he is too powerful for them to experiment on without catastrophic consequences.

- Maurice Bellomo: The Element of Earth. Maurice can cause Earthquakes, control rock formations, summon plants and control most aspects of nature as a fighting technique. His powers are ever evolving and he is widely considered to be the least powerful Elemental as he hasn’t reached his peak yet. The Earth heals him at high speeds and he causes craters when distressed.

- Sam Pinch: Can manipulate electrical currents with his hands and has super speed due to an Atomic explosion that didn’t kill him or his brother. He talks extraordinarily fast and can remain unseen by most. In order to make up for the calories he burns, he has to eat in high amounts. His super speed is borderline uncontrollable when he is outside of his suit, body moving faster than the mind can comprehend. When manipulating electricity, he causes a blip of energy in the surrounding area. The explosion caused him to have heavy hearing loss and he wears hearing aids.

- Robert Evans: The Element of Water. Robert tends to spend all of his time in the ocean, only emerging when he is needed as he is currently on the throne under the waves. He can breathe underwater and communicates with sea creatures, as well as controlling water on land. His main tactic of combat against his enemies is to remove all forms of water in the human body, however he is known to have summoned hurricanes and high ocean waves to wipe out places.

- Eric Pinch: Has Chaos Magic, which grants him with the ability to manipulate reality in any way he chooses and has electrical powers very similar to Scarlett Witch (Marvel). Was also given to him in the Atomic experiment gone wrong, his body absorbing a certain unidentified element. He can control his powers to an extent, intense emotions causing him to lose his mental balance and become a death machine.

- Peter Curtis - No superpowers, but is an incredibly intelligent hacker and coder who works for Ralph but is currently undercover as a PotG officer. He regularly sabotages the PotG plans to kill the Runaways and trades information with Ralph. He is skilled in manipulating others.

Details of Importance:

- The Elementals are each over 4,000 years old, coming from a long line of those with powers who have since died off. They laid dormant until absolutely needed, the prophecy stating “Those who control the elements laid in deep sleep, growing stronger each day and emerging when the world needs them most.” The elementals came from different areas that correlated with their powers. Jack from a Volcano, Maurice from a Crack in the Earth’s surface, Roger from the middle of a Tornado and Robert from the ocean’s tides. Their identities are kept entirely a secret through masks and identity manipulation tactics.

- Only one of the Runaways laid dormant for some time, his appearance being a mystery as only those who control elements are supposed to emerge from the Earth.

- The Runaways were all once part of PotG, identities and numbers still unknown. They lay as the elementals biggest target currently. One was found in the remains of a thunderstorm with such high winds that his house collapsed, one in the remains of an old minefield, supposedly dead, the other two in an old farmhouse, right after their mother exploded. The runaways hardly pose a real threat, but the leader of PotG wants them to be brought in.

- Chips have been installed in each elemental’s scalp to track their whereabouts as well as their health and stats such as heartbeat, blood pressure, etc.

- Ralph and Jack’s ancestors met once a year to discuss their futures and when they realised extinction was on the horizon, the two populations had Ralph’s biological mother and Jack’s biological father merge their blood together through a cut on their hands, so whenever either of their bloodlines was in peril danger, they could call on each other’s powers to save them.

- The Prophecy was predicted thousands of years ago, after the first extinction of elementals and those who came after found remains of their civilisations. It reads that “Those who must save the world are those who destroy it first - The beings who control the elements lay deep in sleep, growing stronger with each second humanity breathes, and will emerge when the world needs them most. The globe must burn before it can be reconstructed with fragile hands, sculpting a new childhood for the young out of clay. The world must end for it to begin again. It all starts with the flicker of the boy from flame.”

- The Inferia Crystals: The Inferia Crystals were crafted by the ancestors of the elementals and those who set up humanity to build the prophecy. 4 crystals were stolen by the runaways and 4 remain with the elementals. They control certain sectors of the Earth, split into 8 parts thousands of years ago, and help some beings gain control over their own powers.

- Each Elemental has been tagged with a certain number, the correlation of number to person still unknown to those who wear the tags. They come in the form of a dog tag necklace, and they were told to never take them off. Jack is #2098, Roger is #3092, Maurice is #4266, and Robert is #5609

Areas Of Importance:

- PotG base - Unknown location, Run by Roger Volkov’s adoptive father

- The Arena - Located in the centre of the PotG base, The Arena is generally used for entertainment of the wealthy. Prisoners are pitched into a dome, an audience surrounding them on all sides, and are forced to fight to the death or until Roger Volkov’s adoptive father calls it off. Competitors are given poorly crafted weapons and armour, the arena not built for those of great power.

- The Crystalline Cave: The cave in which the walls hold the Prophecy, carved into glass. Each elemental has an area with carvings that glows when they pass by, but it is unknown as to why or what it means.

- The Runaways Base: The Runaway’s base is in an unknown location, on the top of an unknown mountain. They have charms and protective spells up to hide them from the public entirely, area appearing as government owned property.

If you don’t want to see this au, please block the tag

#macksstories

Thank you!!

Let the End, begin

[rockmiyabideusexmachina]

2021 Megaman Valentine’s Day Contest Results

Among the many things this past year or so has tested us with is delays, and I apologize that this year’s Valentine’s Day contest results are included in that. I certainly did not plan on this taking until March to get completed, and I am sincerely sorry to have kept you all waiting. But hopefully it is all worth the wait!!

Thanks once again to every single one of you who participated! I will be contacting the winners soon enough. Work will probably keep me from replying to everyone immediately, but I will send a message about prizes hopefully within 24 hours.

Also, my thanks to @subzeroiceskater​ for helping out with judging this year. Not to mention the promo pic above and other assorted bonuses that always bring me a big smile. I might say this seemingly every year, but you all made judging this VERY hard. It might have something to do with the themes as well, but I think both of us flipped and rearranged our rankings repeatedly, and even then, it was hard to decide on who would place. XD Each one of you did an amazing job!

After the break, you’ll see the winners for both categories, along with all of the entries. Raffle prize winners will be noted below by their alias, as well.

Category 1: Kiss From a Rosered (Talent)

For our talent category this year, the theme focused on your favorite Megaman characters giving roses to their special someone, along with incorporating the symbolism of specific rose colors within the piece. That rose color was also to be the predominant color within the piece, to the best of your ability.

A grand total of 9 entries were submitted for this category. You can see the full gallery of all entries at full-size [HERE]. Each entrant’s name will also link to their individual pieces at full-size.

1.) Sapphire: *$100 prize*

Subzeroiceskater said:

Oooooh, this is so cute and pink! Piiink~ Ehem. I love the depth, angle, and color grading of these—notice how Roll’s black linework is at the forefront of the pic but colors mixes with the lights and colors from the sun further along the pic. There’s a lot to admire about how everything easy to read with so many competing elements like the similar hues and bright lighting.

Pink roses usually mean a gentler sort of love but did you know that different shades of pink could signify different things as well? A darker shade may mean gratitude; medium shade could be about a first love or congratulations while a light shade may mean admiration. Tron holding a singular pink rose with varying shades of pink while literally tripping over herself and a Servbot could only mean—that this is hilarious.

Miyabi said:

From a technical standpoint, I think your piece clearly felt the most polished, crisp and virtually professional of the bunch. But more than that, I felt it also best gave off the vibe of the rose color dominating the piece, but in very subtle, beautiful ways. Where as the pink sunset causes many of the normally white areas, like Roll’s collar/sleeves, parts of Gustaff, and more, to ooze that pink lighting. Even with her klutziness, you still also portrayed the feeling of sweetness, admiration and appreciation that a pink rose conveys. Just so pretty, calming, and joyful to look at!

2.) Forceway: *$75 prize*

Subzeroiceskater said:

There is a sort of gentle irony with how Skull Man and Shade Man are both robots modeled after horror symbols—skulls and vampires—but are here surrounded by a soft sea of pink roses. The dark night is often depicted as a primal fear because it hides our deepest fears but here—illuminated by the bright shining moon—the night is transformed into a scene of love—perhaps devotion, with how Shade is gently cradling Skull, as well with the church bell in the background. This is a very tender piece mixing the shadows and the sweet.

Miyabi said:

I know most digital art programs have the brushes and shortcuts to make detailing things like roses a lot easier, but your bed of roses certainly look all done by hand on your own, and that alone impressed me a ton! Based off of the Ariga Megamix tale of Skull Man not feeling appreciated or having a family after Cossack stored him away, I felt the pink roses and Shade showing him that he is actually appreciated here was a fantastic conceptual choice. Purples in the sky and Shade’s body split the canvas and contrast with the pink well, including how you used the pink for some of the stars in the sky. Beautiful job!

3.) DigitallyFanged: *$50 prize*

Subzeroiceskater said:

Yellow is a bright color, often evoking the sun, warmth, light, joy and hope. With roses, its positive connotations continue with possible meanings of friendship, care and remembrance. Tabby’s piece seems to evoke the last one the strongest—with Zero, broken and forgotten in a lab—but, not entirely, because of a bond that is stronger than apparent death lives on—even if in this moment, it’s only a memory. Even the roses are not real—just projections of what was once alive. This is fantastic use contrast with the dark, moody blues against the vivid, almost defiant yellows; and the repeated little motifs such as X crying and the water drops falling all over Zero. It stands out from the rest of happy entries with how sad it is but it still manages to be hopeful.

Miyabi said:

Zero’s blonde locks certainly are an iconic part of his design, so playing off of that and focusing on yellow as your rose color fit perfectly. You definitely made this a very emotive piece considering technically, neither of these two are even alive and moving here! As mentioned above, the little details like the water droplets balancing against Cyber Elf X’s tears, the digital lines to make it appear like X has created the cyber-roses for Zero, and Zero’s battle damage caught my eye immediately. You certainly captured the yellow rose symbolism of remembrance and friendly affection beautifully!!

And the rest of the wonderful entries, in alphabetical order by alias:

AbilityField: [Page 1] [Page 2] [Page 3] [Page 4]

*Raffle Prize Winner* Captain N Mega Man Cel

Subzeroiceskater said:

It’s so poetic about how this contest theme is about how the language of flowers is used to communicate feelings beyond just using words; and so, the comic is completely silent, relying on actions to convey its meaning. Yellow roses could mean friendship, care and affection; and it’s shown wonderfully with how Iris and Lan are so thoughtful with one another. It’s so cute how Iris missed Lan only because he was already out buying roses for her. Given how hard comics are to make and how this is fully colored, I really wanted to give this first place—however I felt the color usage of yellow could have been stronger, especially with the last page, where it would have had the most impact. I had to squint and zoom out to even see if the lighting had changed. Still, it’s such a very warm and lovely work.

Miyabi said:

I always appreciate the effort people put into making multiple-page comics for these contests, and this is no exception! Even without dialogue, you did a great job at conveying your story through your art in each panel and it was easily understandable. Another utilizing the yellow rose, I certainly felt the friendship and warmth in your tale. As Subzero mentioned, the only thing keeping it from placing was that the yellow colors weren’t as dominant in other areas of the pic, besides the panel by Sal. Still, your coloring was very crisp and vibrant throughout each page, and it was an awesome submission!

aw-colorcat:

Subzeroiceskater said:

With the red for Metal Man, orange for Cut Man and the explosion of yellow flowers, that’s the trifecta of warm colors. Yellow roses could mean delight and this pic is delightful in all ways. Cut looks so cute practically swimming in the sea of flowers and greenery, as does Metal’s adorable expression—which is a feat since he only shows his eyes. I also really like the juxtaposition and balance of this piece from: the rust-brown car against green-yellow nature running wild, and Metal holding a bouquet meanwhile Cut’s covered with plants. It makes me want to get some fresh air myself!

Miyabi said:

Cut Man looks grateful for being able to ride in that pickup bed of flowers, and I have a feeling the two of them had a wonderful time just snipping and sawing away at all the stems to gather them all. XD Love how the yellow and oranges play off of both character’s color schemes nicely. The subtlety of the yellow flowers in the foreground, along with the sun and tree in the background all play off each other well, too! Just an absolutely cute pic!

Dark-Dullahan: 

Subzeroiceskater said: 

What a fantastic composition. Dark-Dullahan does away with most color, leaving the colors of the mixed-bouquet roses as the main focal point. Classic red for romance, a gentler pink for affection, mixed yellow roses to signify caring and probably so much more—seems like Nana can’t contain her feelings for Massimo. I love how the close up of the bouquet doesn’t just form a kind of heart at the top but serves as the divider between the two, like a diptych. With such a wonderful offering, Massimo would surely accept her feelings.

Miyabi said: 

As you brought to my attention, your mixed bouquet had a few different meanings, such as the dark pink representing thanks to Massimo for saving Nana from Silver Horn, and the red tips on the yellow roses to symbolize falling in love. Certainly got those vibes from her shy demeanor, as she sheepishly tries to hand them to him. Also agree with Subzero that the line from the bouquet nicely works as a way to separate them uniquely with the background. Sorry you weren’t able to complete it as fully as you had hoped, but the concept behind it certainly was strong!

Donnie:

Donnie also sent in an alternate version made during the creative process, in a different artistic style, that I still feel needs to be shared, as well. Fun to see the contrast, yet still have the same feeling and mood to the piece. 

Subzeroiceskater said:

Oh, I adore this one. It reminds me of a movie poster with the tagline. I love the extra PINK flourishes of the letterings like with the Mega Man logo color change and cute pixelated font and heart. Both Rock and Roll’s expressions are so cute, too—with his more subdued smile contrasted with her exuberant grin. Much like how the pink rose could mean many things like thoughtfulness, cheer or as a show of appreciation, this piece is positively sparkling with affection, hearts and all. It’s clever how the sunset is giving the picture an overall pinkish-red hue while having the yellow light as an outline. A darling piece.

Miyabi said:

With pink roses again, I truly liked the additional hue adjustments where you can feel the warmth and see the lighter pink mixed into their skintone, or areas normally of white - from eyes to teeth to the Megaman logo - that have taken on the pink in it’s place. With the painterly watercolor style you used, it all blends in nicely. Even in your earlier version, I feel you brought a strong game with the hues, but toned down the red from that version to make it feel much stronger towards pink, with a tighter crop of your canvas. It was fun to see how it evolved, and strengthened your piece in doing so! Fabulous job!

DragonMarquise:

Subzeroiceskater said:

No better way to show how madly in love you are than a bouquet of roses that run the gamut of—I can’t call these warm colors because these passions are running hot. Orange seems to be the dominant color here—which in roses could symbolize a love that’s passionate, fierce and deep. It’s also expressed nicely with the two lovers embracing, engaged in mid kiss, their bodies also forming a subtle heart shape, to emphasize the flurry of hearts around them. The bouquet is not just orange roses, however, but a mixed bouquet of the classic romantic red and the more affectionate pink—it’s a piece that’s bursting with all degrees of love.

Miyabi said:

You also certainly mastered the limited color pallette challenge as you tackled this piece! Orange, the color of passion, is certainly felt in their deep kiss and embrace. I too caught the heart shape their heads essentially form, which is then further enforced with the heart of hearts behind them. I thought that concept was pulled off very well. Perfect for the fiery intensity of Match, this turned out to be a very hot pic!

Mattasaurs:

Subzeroiceskater said:

This one has a very clever framing (eh? EH?). The color white is often associated with purity, innocence and hope, and with white roses—weddings and marriage. Sonia dons the classic white wedding dress which has a très élégante design—and the little Lyra on her belt is very cute. The pink background is also very romantic and a nice way to tie in with her theme colors. I dig the lovey-dovey feel of Geo doing the classic bridal carry while clasping a single white rose...but seeing the thorns, I think he better watch his hand!

Miyabi said:

For a theme emphasizing color within the pic, I salute you for taking the biggest challenge in choosing white. In many ways, it could have been the hardest to keep as a predominant color, but still make the pic interesting and visually appealing. Choosing to have the petals all around the frame, with the bouquet nearby was a clever touch. With white often used for weddings and new beginnings, I think the concept of your piece worked just right, where it was subtle, but still incorporated enough other color to give the piece some life. 

Category 2: Kawaii-rimi (Humor)

For our humor category this year, the theme focused on your favorite Megaman character gifting the plush form of another Megaman character to their crush, instantly created by a ninja-like character, to play off of the Kawarimi concept from the EXE series. 

With just 3 entries in our humor category this time around, every entrant placed. You can see the full gallery of all entries at full-size [HERE].  Each entrant’s name will also link to their individual pieces at full-size.

1.) Mattasaurs: *$100 prize*

Subzeroiceskater said: 

Y’know how blocks of wood are sometimes used by ninjas when they do that whole body switching thing? I think it’s clever how this pic has Sal—Woodman.exe’s operator—conjuring the doll. Everything about the pic is so fun and colorful: from Sal’s mischievous grin of accomplishment, Miyu being completely shocked by her chibi doppelganger (check out that body language!) and Masa’s confused expression.

Miyabi said:

Yes, while to some, Sal might not be the first one they think of when they think ninja in the Megaman Universe, but I certainly thought she still fits the bill in her design. Usually we don’t see this much emotion or shock out of Miyu, so seeing her torque her body, taken aback at a doll of herself, is amusing in it’s own right. Meanwhile, nothing fazes Masa. And a bit of randomness: oh man, seeing Masa’s head in profile, with his bandana...wow, I never realized how much his head shape with the bandana looks like a fish’s. I can’t unsee it now. Anyways, I also agree that the color, polish, and fun vibe made this a worthy winner!

2.) ColeManX: *$75 prize*

*Raffle Prize Winner* Captain N Cutsman Cel

Subzeroiceskater said:

E-Eyes? What did you mean by that, Mr. RT-55J?  Although judging from the sparkle on those booblights… I understand, Cinnamon—if that happened to me, I’d be making asides to the camera, like I was in “The Office”, too. Cinnamon’s enthusiastic smile with this whole bizarre scene really sells it for me but shoutout to Marino’s smug satisfaction in the background.

Miyabi said:

🎵 I kind of liked it your way How you shyly placed your eyes on me Did you ever know That I had mine on you?🎵

RT says it only has eyes for Cinny right now, but it’s also known to be a little grabby hands, so I don’t know if I’d fully trust it...but good thing this is just a plush version. Time for the tables to be turned, and Cinnamon to get her claws and paws on it, instead. Very cute, although after the DiVE V-Day event, we all know this is a ruse and your pal boobeyes only belongs to the Ferham Fanclub. XD

3.) Ronin-Apprentice: *$50 prize*

Subzeroiceskater said: 

This whole comic is so sweet and fluffy, nya!  ~(=^‥^)ノ☆ It’s adorable how Proto brings up his gift first and the surprise is how Shadow handmade his gift. The little cat-eared Blues design is so darling--almost as cute as him fussing how totally NOT a cat he is. “Did you steal my cat.” had me snorting. Now I’m wondering where Tango went off to…

Miyabi said:

FU-SION-HA! 

Aside from getting his own Super Adaptor, this is probably the closest we’ve got to seeing Tango and Blues merged as one. LOL I’m sure that plush would have a ton of fans wishing it actually existed. The panels where Blues embarrassingly hides behind his scarf and gets pet like a cat had me laughing! Very cute and adorable comic, that certainly had the most depth in terms of the theme of this category!

[ayuuria]

Yashahime Translation: Animage April 2021 Issue (Part 1)

Please do not repost this translation without my consent! This includes screenshots of any type and amount. If you wish to share this translation, simply link to this post.

For more information regarding the use of my translations, click here.

This month’s Animage article has more content than usual and mainly covers the music of Hanyō no Yashahime. That being said, I have decided to split the translation into three parts

Part 1: Interview with Kaoru Wada, Satō Teruo, and Nagura Yasushi

Part 2: Interview with NEWS

Part 3: Interview with Ryokuoushoku Shakai

Wrapped in the Warm Demonic Air of Spring!?

The Yashahimes, who reside in the feudal era, are in the midst of fully enjoying the spring event that is so familiar in the modern era. Surrounding those girls isn’t the nice warm air but rather the presence of a dangerous demon… …?

Spring is here! Towa, Setsuna, Moroha, and Takechiyo are blessing Easter under the bright warm weather. On this day, the three girls who carry the blood of the Dog General have turned into easter bunnies Y Setsuna, Moroha, and Takechiyo who grew up in the feudal era are overflowing with curiosity at the vibrant easter eggs Towa paints.

Well, in the illustration the Yashahimes have a warm air about them but in the main story, the girls are truly in the middle of an upheaval. In episode 21, the relationship between Riku and Kirinmaru which was wrapped in mystery up until now has been revealed. Riku himself states that he was abandoned by Kirinmaru.

In addition, in episode 22, Kirinmaru’s older sister, Zero, appears before the three of them, controls Towa’s body, forcefully breaks the seal placed upon Setsuna, and disappears after doing whatever she pleases. Zero is the creator of the cause that separated child Towa and Setsuna. Also, it seems she has a connection to Rin’s slumber. It appears Riku fondly calls Zero “Elder sister” but to Towa and the others, she is a person they need to keep an eye on.

The three girls continue to be exposed to a harsh fate. When will the girls be able to reunite with their families and live out a peaceful life known as “the flower (prime) of youth”?

Character Bios

Takechiyo A cheeky tanuki (racoon dog) demon child who works at the corpse shop. He gets snacks from the modern era when he cooperates with Towa, which pleases him. He is also aiming for the easter eggs!?

Higurashi Towa In order to save Setsuna who had her dreams and sleep stolen, she searches for the Dream Butterfly. Her explosive power when Setsuna is in a crisis is enough to leave a scar on Kirinmaru.

Setsuna She is always cool and calm but in episode 22, Zero released the seal placed on her demonic blood and Setsuna went out of control. It was resealed by Hisui’s older sister, Kin’u.

Moroha She works hard as a bounty hunter to repay her debt to Shikabaneya Jyuubee. In episode 21, she obtained the head of Tōtetsu of the Four Perils and received her first monetary reward in a while.

Spring Has Arrived in Towa’s Heart!?

In episode 21, Towa an Riku approach each other for the first time in a while. While saying there is no meaning in protecting her, Riku defended Towa from Tōtetsu’s attack and Towa told him “I like you!!” and gave him the silver rainbow pearl. Although it is not to the point of love, there certainly seems to be a special feeling budding between the two.

The Rainbow Pearls Are Zero’s Tears

The true nature of the rainbow pearls that Riku and many other demons seek out: they are the transformed tears Zero spilled onto the Shikon Jewel when she grieved the Dog General’s death. Currently, Riku possesses five of the rainbow pearls: green, purple, blue, orange, and silver. Setsuna and Moroha have the other two remaining pearls. When all seven are gathered, what exactly will happen?

The Grim Comet and Kirin-Sensei

The Grim Comet is a comet that nears the earth once every 500 years, bringing calamity with it. Working together to get rid of the comet were the Dog General and Kirinmaru during the Heian era and Sesshōmaru and Inuyasha during the feudal era. And now the modern era. Watching the Grim Comet approach once again was Towa’s middle school English teacher, Kirin Osamu-sensei. What exactly is his true identity?

Coloring the World with Sound

Director: Satō Teruo Music: Wada Kaoru Sound Director: Nagura Yasushi

To commemorate the release of the soundtrack CD, we circled around composer Wada Kaoru for a round-table discussion. We had him talk about the charm of the background music for “Hanyō no Yashahime”.

The Main Theme is the Yashahime’s “Hereafter”

— How did you create the musical composition for “Hanyō no Yashahime”?

Nagura: First, we gathered information from the finished scenarios and I created an at-a-glance music menu. After having director Satō review it, I handed it to Wada-sensei and we got together for meetings. We had Wada-sensei compose in accordance with that music menu but…

Wada: At that stage, we only had a rough direction of the story and the only finished scenarios that had final manuscripts were episodes 7 and 8. Not only did a lot of characters appear but just from reading the script, it was a constant state of “???” from the beginning like “Why are they separated even though they’re twin sisters?” “Where are the parents?” “Why is Moroha alone?”. It was then that (series composition) Sumisawa (Katsuyuki)-san and I had quite a few secret meetings where we cross-examined the information regarding the characters and story. I used that as a base for composing. While talking with Sumisawa-san, we had thoughts like “Even though it isn’t in the music menu, we probably need a song for this character” and as a result, the number songs increased unintentionally (laughs).

Satō: At first, we placed an order for 45 songs which I think is a lot for a 2 cour work. However, from there you created 1 to 5 times as many songs which I truly thank you for. I’d like to use all of them within the story.

— Wada-san, how do you normally go about composing music?

Wada: I don’t really use a piano and I just worry endlessly and have wild ideas. There are times when I think of ideas while walking. I’ve also come up with many ideas during my daily life like sitting at my desk in the office, taking a bath, or going shopping. If there are times where I can only come up with the motif, then there are also times where I can come up with an entire song in an instant. There are a variety of cases. Fundamentally, the melody I think of doesn’t get left in that spot. I consider anything I forget as something not good.

First, I need a starting point like “Let’s make something in this direction” so until I reach that point, I will rethink things over repeatedly. This time too, I had a hard time settling on the main theme that is “Hanyō no Yashahime”. The main theme expresses the world setting of a work, so I wonder how much to depict. This is why my meeting with Sumisawa-san regarding “Where exactly is this story going?” was necessary (laughs). It’s not like the music is the story’s answer checker but the main theme for “Inuyasha”, “Half-Demon Inuyasha”, is an action-adventure kind of music so to speak. Compared to that, it was a little different this time. What will happen to the three Yashahimes from here on was a major key to the motif, so in that sense, without knowing the story, I couldn’t write anything.

By the way, back then I rewrote “Half-Demon Inuyasha” three times before completing it. It was a completely different song at first and after writing and performing the piece as well as rereading the original comic again, I thought "This doesn’t fit”. Every time I’m creating a song, it’s a repetition of going in one direction or another.

Songs From the “Inuyasha” Era Have Been Reborn as A Next Generation Version

— Please tells us the characteristics of the music for “Hanyō no Yashahime”

Wada: For “Inuyasha”, it was work where the feudal era was the setting so the objective at the beginning was to heavily use traditional Japanese instruments like the biwa, shakuhachi, and flute. Rather than making traditional music like in Noh (play) or kabuki, my aim was to add the traditional Japanese instruments into the orchestra without feeling out of place. It went well in “Inuyasha”, so I continued that with “Hanyō no Yashahime”. As a work, “Hanyō no Yashahime” isn’t necessarily a “sequel to “Inuyasha”” but the music is.

Satō: This is something I also ordered. Afterall, I absolutely wanted the “Inuyasha” atmosphere. Nevertheless, this is a new story, so I wanted it to evolve as well.

Nagura: This time, we are using several musical compositions from the time of “Inuyasha”, but we’ve done new recordings of them. This is because roughly 20 years have passed since the songs for “Inuyasha” were first created. We worried that the “Inuyasha” music as it was back then and the newly recorded music for “Hanyō no Yashahime” wouldn’t take on the same color when mixed together. Thus, we had them newly recorded as a “Hanyō no Yashahime” version.

— In terms of “Hanyō no Yashahime” for example, how is the “Inuyasha” version from back then different from the “Hanyō no Yashahime” version?

Wada: The biggest difference is the tempo. I have recorded “Half-demon Inuyasha” several times after its completion but the slowest one was the first version. The tempo then was a quarter note = 120 (beats per minute) (annotation: roughly fast paced (allegro). The second hand of the clock is a quarter note = 60 bpm). At first, I looked at the comics and thought “Is this how it should go?” but when watching the anime, I began wanting to match the tempo of the animation and steadily (the music) changed into something action like. At the end, we had risen the bpm to nearly 140. This time, we can’t really use (the music) if it’s too fast so I generally keep it around 130 bpm.

— Director Satō, Sound Director Nagura, please tell us a scene within the main story where you especially felt the charm of Wada-san’s music.

Nagura: In episode 1 and 7, there’s a scene where Setsuna and Moroha rush to Towa who’s being held captive within Ougigayatsu-Hiiragi mansion, but you see, in episode 1, we didn’t use the main theme, “Hanyō no Yashahime”. This is because episode 1 was imaged as building the bridge between "Inuyasha and Kagome’s era” and “the Yashahime’s era”. During that time, based on the circumstances, we had battle type music set in but with the story having progressed in episode 7, we put in “Hanyō no Yashahime” as “Towa and the others’ music”. We were able to set it in a good way where it truly felt “Yashahimes Gather!”

Satō: We would love for people to pay close attention to that scene. “Hanyō no Yashahime” is my absolute favorite song. When I heard this song, I felt “With this, the world setting of “Hanyō no Yashahime” has been expressed” and I once again realized how amazing Wada-sensei was. For the scene in episode 7 where Towa, Setsuna, and Moroha gather, we not only redid the music but also the acting and recording for the three princesses. At a glance, it’s the same scene as episode 1 but I think it would be fun to view and compare them.

The Cheering Party During Composing

“When I was composing these (songs), there was the broadcasting of ““Inuyasha” Best Episode” on Youtube and events like “Inuyasha Café” and the “Inuyasha Anime Tracing Exhibition” were topics of discussion. That kind of hype up for Inuyasha was a like cheering party that encouraged me. I was truly grateful for it.” (Wada)

The Main Instruments of the Three Princesses

“With the various character themes, I employed an instrument that imaged each character. Towa is the flute type instruments (Japanese woodwinds), Setsuna is a koto, and Moroha is the percussion and flute. Also, Moroha’s theme has the inheritance of her mother’s blood in mind, so it’s a transformed version of the song “Overcoming Time Kagome” back from “Inuyasha””. (Wada)

[whyqueerbaitingisbad]

movies & shows

cracks knuckles* alright this is going to be more of a rant than an analysis because i’m basing this on both my research, but also how it felt to personally be baited by these shows. there are obviously more pieces of bad (almost every horror movie) and good ones but these are the ones i’ve watched.

please keep in mind that i am but one queer and everyone has different opinions.

Supernatural (CW) 2005

This show is 15 years old and just ended. From season 5 till 15, there has been tension between two of the lead characters. They were constantly shipped together and not only did the entire fandom know about this ship but so did almost all of Tumblr. On top of that, the actors and show runners knew about it as well. Which is why it makes it ridiculous that it was constantly pushed aside while the romantic coding  kept happening, even after show runners dismissed it as being intentional. The Destiel (Dean x Cas) case has been going on for years, and as the show came to its end, many fans had hope. But N O P E. Instead, we got a love confession from Cas where Dean looked like he was near constipated and the Cas was killed and sent into a fiery place that was not hell but s u p e r  h e l l.

… w hy.

Sherlock (BBC) 2010

Just like Supernatural, this show was renown on Tumblr for not only how good it was, but its hinting at a potential relationship between Sherlock Holmes and John Watson. But again, like Supernatural, the intentional tension between the two characters was denied by producers. This caused an uproar within the fandom, and even left some people believing that, after the last season aired, it had been a joke and the producers were hiding a “secret, unaired season” because they had felt so robbed by this show that had implied something and denied it.

The 100 (CW) 2014

We got lesbians. We got background gays. We were happy. Then, all of a sudden, one of them is killed for no reason. Did it advance the plot? No. Was she fighting and died in battle? lol no. She was doing literally nothing and got shot and died. And then the producers kept bringing her back once a season in the form of a ghost or illusion because why? Because she was a fan favourite queer character. ✨bury your gays and sparingly bring them back for profit anyone?✨

Voltron: Legendary Defender (Netflix) 2016

*deep breathe* This one is a special disaster. Not only was there romantic tension and romantically coded scenes for 7 seasons, but producers, voice actors and artists working on the show repeatedly said “don’t worry klance (Keith x Lance) shippers, you’ll be happy”

. … w h e r e??? You code one of their scenes with a sunset in the background while they talk about love and then one of them goes on a date with someone who has declined his advances for 7 seasons but now in season 8 decides to do a full 180. Not only that, but you announce at a Comic Con (a convention) that a character is gay and has a fiancé, only to kill off the fiancé and never make it explicit in the show except at the last second of the last episode where he marries a no name character. 

Personally, i’d like to say a big fuck you to the show that strung me along for 2 years and never stopped saying we’d be happy to then pull the rug out from under us and call us crazy for thinking anything from the past 8 seasons was intentional.

Scooby-Doo (2002) 

While not being outwardly queerbaiting, this movie’s filmmaker has just revealed some shocking news, which wasn’t at all shocking to the gays who had watched this movie over the years. In July of 2020, James Gunn, the filmmaker of Scooby-Doo, revealed in a podcast that, initially, Velma was explicitly gay in his script, but then the studio watered it down until it became nothing. This isn’t an example of baiting as much as it is changing a character’s initial design to “better fit an audience”. The worst part of all this is that with Velma’s character having been written with a l i t t l e queer subtext, people had been theorizing about if since the movie came out, but were always yelled at by the internet for “imagining something that isn’t there”. But now, even with it being said that the initial point was for her to be gay, people have no objections to still refusing to accept it. Why?? So we can’t get the subtext gays OR the confirmed gays?? Make it make sense.

Brooklyn 99 (NBC) 2013

To have the queer characters firstly introduced without mentioning their sexualities and have it brought up naturally was so goddamn nice to see, because no one does a big deal about it unless they ask for that. This show is amazing in general but the way they show their queer characters is *chefs kiss*.

She-ra and the Princesses of Power (Netflix) 2018

This. Show. My heart SOARS. It's just a remake of an old show so absolutely nothing was ever expected, but then it was sprinkled in and ENDED WITH A BANG. And it was so beautiful and real to see the struggle of two friends who care for each other and want to be together but have different visions of the world fall in love. And they also had characters with disabilities, a non-binary character and jUST SUCH A GOOD SHOW.

Kipo and The Age of Wonderbeasts (Netflix) 2020

This is a case where you go into it not expecting anything and are BLOWN AWAY by the bare minimum. And not because it’s bad!! It's mind blowing because this is the simple representation we need!! Not something over the top, but an every day relationship. It’s just two boys falling in love and going on dates and being nervous around each other, yet i was so stunned. Because it’s not shown enough. I should not be this excited over something that should be this normal. 10/10 though this show is so good for all kinds of representation.

Steven Universe (Cartoon Network) 2013

This show did so much for queer representation with its general message of loving everyone and loving who you want. Especially since it was aired on Cartoon Network, a channel for kids, it was able to help normalize something so looked down upon in some circles. It made it easy to watch for s o m e people because it's a cartoon but it's so beautiful to see these ladies so in love with each other, both platonically and romantically and we see them have a family dynamic that isn’t a “nuclear family”. Rebecca Sugar (creator) really said “lemme just break all stereotypes real quick”.

Adventure Time (Cartoon Network) 2010

It's the “knowing a fanbase shipped something so hard that the creators made it canon” for me. This relationship had been theorized by fans for years, but it had never been explicit in the show. When the finale episode came out and the two shared a kiss, it was a moment of celebration. The producer of the show said that it had not really been planned but when the episode was being made, the choice of what happened was given to one of the artists (bless your soul Hanna K. Nyströmthe). And as the show releases little bonus episodes, its latest was centered around Marceline and Bubblegum and their relationship. AND WE LOVE TO SEE OUR DOMESTIC LESBIANS BEING HAPPY AND IN LOVE.

Yuri on Ice!!! (anime) 2016

The fact that an A N I M E gave us a love story between two men is mind boggling and it makes me so happy!! Especially because it's a Japanese show and they’re very conservative about these things just makes it more emotional. The creators said they wanted to make the anime take place in a world where gay/straight isn’t a thing, it’s just love (ladies, you’re going to make me cry). So as the weekly episodes came out and fans start speculating, THEY GAVE US THE LAST FEW EPISODES FULL OF ROMANCE AND EMOTIONAL SCENES BETWEEN THE TWO AND THEN THEY GET R I N GS?!???!! You watch for the figure skating, you stay for the figure skaters that are in love.

Shadowhunters (Freeform) 2016

*insert me being frustrated that the actors are straight so we can move on from that disappointment*

This show really said “let’s name a whole episode after this couple because they deserve it”. But seriously, they gave us two characters whose entire plot does not center around their sexualities while still showing us the differences in a relationship between someone experienced and someone new at this. They were both powerful and amazing characters apart from each other, with their own story lines and goals but they loved each other so much omgs. SO MUCH. 

It was so great to watch.

Love, Simon (2018) 

There’s a lot of disagreement on whether this movie is good representation or not. However, we need to take into consideration that this was Hollywood’s first movie with a main character that was gay, where the story’s focus was on Simon’s love story. The biggest problem, for me at least, was that the actor playing Simon is a straight man and not queer. My problem is not with him, but the fact that there are other actors that are gay and that could have played Simon just as well. (the love interested was however played by a queer actor so ✨progress✨)

All in all, this movie does represent what a lot of queer kids have to go through: being outed at school, how they then come out, the bullying and doubt they go through.

The book is also really good.

Call Me By Your Name (2018)

This movie is so aesthetically pleasing and was able to capture the confusion and heartbreak felt by a boy who’s struggling with his own feelings towards a man. His inner conflict and joy and l o v e he feels but doesn’t know how to deal with is so well communicated through the screen and just breaks your heart because it feels so real.

But again, they could’ve gotten gay actors to play gay characters…

through having this list here, i want to show you that it’s not hard for creators to give good queer representation. the LGBTQ+ community isn’t asking for much, we just want to be well represented on screen as just a regular character, not some token queer kid there for the diversity points. having been exposed to so much queerbaiting and just not seeing any representation on screen, i always get over-excited when i see a queer character, and that’s not how it should be. it should be a normal thing, something you can find in most pieces of media, just like there’s a straight white cisgender person in everything.

and they seriously need to start casting queer actors for queer characters...

[verobatto]

Destiel Chronicles

Vol. CXI

It was a love story from the very beginning.

My Dearest Friend

(14x04)

Hi again! I'm bringing another meta to this collection, this time I will only talk about 14x04 because it was full of subtext we need to disect slowly.

Link to my metas from this episode X; X; X; X.

What if...?

This episode was written by Perez. This writer is always exploring the possibility of Dean coming out from the closet.

The dumb excuse given by Sam about why he hates Halloween, is a symbolic description of Dean's inner fears. Pay attention to it:

SAM: When I was in sixth grade we were living in Bismarck and I had a huge crush on her.

DEAN: Aw, that’s adorable. Continue.

SAM: So, she invited me to her Halloween party. I said yes and I went over and at first everything was great, um, and then we started to play games.

DEAN: Spin the bottle.

SAM: Bobbing for apples. Like I said, I had a crush so the entire night my stomach was in knots and when it was my turn I bent down and… (...) …hurled, everywhere. Lunch, dinner it all came up, on Andrea mostly. People ran and screamed and it was so bad.

DEAN: Ah that’s great.

SAM: I ended up hiding out in the woods till you finally came and got me.

"If Dean would confess all that makes him sick inside, all the trauma, all his fears (and I'm gonna include here the "getting out the closet" bc it seems like Perez begins to explore this item in this chapter) if Dean would do that, barfing everything out, how would people react? How Sam would react? Would be disgusting? Scandalous? If he confess his fears, if he confess he is in love of Cas, an angel in a man vessel, would Sam be ok with that?"

I wrote all of this about that symbolism, and this is also connected to some episode at the second half of the season 15 in which we will see Dean gagging and characters vomiting. I remember back then I was sure it had to do with Dean confessing his feelings to Castiel. I must say it was related to Dean trying to do it but writers and CW silencing him.

After that we had Dean naming queer couples to his brother Sam, this scene had the same target that Sam's excuse about Halloween. Dean was tasting waters with his brother if he would decide to come out from the closet.

Gif credit @itsokaysammy

Now, let's explore why Dean was missing his angel in this episode.

So Handsome, So Angry

This entire episode was a reflection of Dean's mind and it brought an important foreshadow: SAM AND CAS GETTING INSIDE DEAN'S HEAD HELPING HIM TO RELASE HIMSELF FROM AU! MICHAEL.

That's why the whole episode was color coded and full of symbolism.

If you don't know about my color coded meta, please check at the beginning of this analysis, where I put all the links. Blue represents Castiel, Green and Red represents Dean (healing!Dean and toxic!Dean) and yellow is Sam. The colors had their meaning, like blue is related to protection and wisdom, green is new life and red anger, yellow is knowledge and insightful mind.

Now, let's check Stewart first apparition in the episode. He has a Panthro in his hands...

STUART: Whoa, 15 inch megascale Panthro. So handsome, so angry.

This is screaming CASTIEL. Foreshadowing their break up and how angry will be Castiel with Dean.

Because we are inside Dean's mind, we have STEWART (Toxic!Dean) DIRK (Healing!Dean) and Sam is Sam, Dean's reason.

Now... Keep in mind Pantro sending Stewart to the hospital (a fight between Toxic!Dean and Castiel coming up) and also this entire scene at the beginning of the episode...

Dean had been in his room for two weeks, Sam goes to see him, worried. Dean is depressed after the Possession, but he will name a couple of things that are bothering him...

DEAN: Well, since when is okay part of this job, huh? Yeah, Cas is you know, showing Jack the ropes and Dark Kaia and her spear are in the wind and we have no clue where Michael is or what he’s up to. And not that I’m complaining, but the house is full of strangers, so.

These insights are from my metas. As I put above, Mint Condition had a lot of what I like to call Indirect Castiel representation.

Mostly because Dean mentioned him at the beginning letting us know he is horribly missing his angel.

So, the whole episode will bi him Castiel as memories.

Including the colors. When Dirk is talking about Stuart, how they eat pizza and watch movies and how special their friendship is, Dean has this fond expression on his face and the whole scene is showered in blue color.

Guess in who's Dean thinking about?

Inside of Dean's mind

Always based on the colors, is very important to understand all the monsters that will appear throughout the season are representing Dean's toxicity and AUMichael (which is the symbolic icon of Dean's fears and toxicity).

Remember episode 13x05 in which i pointed at a picture in the kid's room (Advanced Thanatology) well, that pic was foreshadowing this season, and mostly, this monster:

Of course is in red because red is Dean's toxic behavior.

We also had Stuart dressed with a red t-shirt with a Godzilla Squirrel. Because is Toxic Dean, who sees himself as a monster.

Also, the morgue scene...

We can see in the first picture, the fear in Dirk when this "world" starts to tremble, at the inevitable arriving from the "monster". This is Dean's mind, he has so much fear of his own thoughts, guilty and negative feelings, and he doesn't feel secure in his own raped mind.

The second one is more about it... We see corpses, representing two things: beloveds who died, trauma (I'm including the resent Castiel's death) and the second is all the death he thinks he provoked when he was possessed by Michael.

Then we have color yellow, representing wisdom , honesty and Sam too. Then the horror... The "monster" is still in there. He must to win this battle.

All of this represents Dean's emotional prison, his inner fight to break free from AUMichael, and we will see it in 14x10.

So the war Dean fights inside of him is between his inner fears and toxicity. Also, Sam and Sam, Dean's reason, will be locked by the monster. (The fears caging Dean's ability to think) but they will be break free successfully thanks to a mix of colored liquids (yellow, green, red an blue) TFW working together to help Dean to release himself. And also using this...

Scooby Doo box is representing Dean's innocence, healing!Dean.

Miscellaneous: A very colorful visual elements was the figures of Superman and Lois Lane in the background in the comic store protected by a glass. When the monster arrived the glass began to freeze. This was a foreshadow of the Destiel fight and break up.

To Conclude:

This episode had a lot of elements that talked about Castiel, because it was a symbolic representation of Dean's mind. And Castiel is centric in Dean's life.

Also, this episode it's connected to 14x10 and Dean's emotional prison.

Hope you liked this meta, see you in the next one.

Tagging @magnificent-winged-beast @emblue-sparks @weird-dorky-little-d @michyribeiro @whyjm @legendary-destiel @a-bit-of-influence @thatwitchydestielfan @misha-moose-dean-burger-lover @lykanyouko @evvvissticante @savannadarkbaby @dea-stiel @poorreputation @bre95611 @thewolfathedoor @charlottemanchmal @neii3n @deathswaywardson @followyourenergy @dean-is-bi-till-i-die @hekatelilith-blog @avidbkwrm @anarchiana @dickpuncher365 @vampyrosa @authorsararayne @mybonsai1976 @love-neve-dies @dustythewind @wayward-winchester67 @angelwithashotgunandtrenchcoat @trashblackrainbow @deeutdutdutdoh @destiel-shipper-11 @larrem88 @charmedbycastiel @ran-savant @little-crazy-misha-minion @samoosetheshipper

@shadows-and-padlocked-hearts @mishtho @dancingtuesdaymorning @nerditoutwithbooks @mikennacac73 @justmeand-myinsight @idontwantpeopletoknowmyname @teddybeardoctor @pepevons @helevetica @dizzypinwheel @horsez2002 @qanelyytha

@destielle @spnsmile @shippsblog @robot-feels @superlock-in-the-tardis @superduckbatrebel @belacoded @madronasky @anon-non2 @cea1996 @lisafu02 @asphodelesauvage @deancasgirl777

If you wanna read the previous metas from this season here you have the links:

Vol. CIX and CX

Buenos Aires, May 2nd 2021, 3:13 PM

[life-observed]

How To Keep TV Real The Anthony Bourdain Way

How To Keep TV Real The Anthony Bourdain Way Anthony Bourdain didn’t start out developing TV shows. But seven seasons later, his No Reservations is going strong and, together with production partners Zero Point Zero, he’s launched a second show, The Layover and is working on a range of new projects. Here, the author/chef/restaurateur/TV show creator and star and Zero Point Zero principals talk about keeping TV real. BY ZACH DIONNE7 MINUTE READ Seven seasons deep, Anthony Bourdain’s No Reservations is doing something right. The show, which revolves around the brash chef/author/all-round personality indulging in transformative stints of eating, drinking, and traveling, airs on the Travel Channel and is a product of Bourdain and Zero Point Zero Productions, the same company that just helmed a successful first season of a Bourdain offshoot, The Layover. Co.Create sat down with Bourdain, Zero Point Zero executive producers Chris Collins and Lydia Tenaglia, and managing director Joe Caterini to dig into why Bourdain’s shows stay afloat in a sea of programming, how multi-hyphenate creative types are working to adapt to new content paradigms, and why comedian Louis C.K. should be emulated in all things. Co.Create: You’re filming No Reservations’ eighth season. What’s the first trick to keeping the show fresh? Tenaglia: We understood very early on that if you’re really going to get to know a location well, it’s got to be through the characters that live there. Many scenes live or die by a good sidekick. Bourdain: Fixer selection is huge. Do they know the area as well as they say? Are they capable of doing all the logistical shit a fixer’s gotta do? But also, do they have a sense of humor? Are they fun? Do they drink? We’re not looking for the best of a place or everything you need to know about a place; we’re looking to have as close to a local experience as we can get, and have a good time and do something interesting that hasn’t been done before.

With Anthony’s writing background, are you doing much scripting ahead of time? Bourdain: We don’t script. We never do any writing beforehand. The Queens of the Stone Age show, it was like, let’s go to the desert and see what Josh Homme wants to do. All we really know for sure is he’s going to provide music for the show and we’re gonna be in the desert. If you think you’ve already figured out what the show’s going to be about or what you expect out of the scene, that’s a lethal impulse.

Does it get tricky to stay away from a fixed template? Tenaglia: Each year the show keeps evolving. Tony has an inimitable style and strong point of view that informs the creative, and we have an incredible creative team, very multi-platform, from animation to incredible graphics to unbelievable shooting and cinematography that informs the show. It truly evolves out of this process of intense collaboration, and then having these incredible creative tools to basically tell a story in any way, shape, or form. Bourdain: Let’s face it, ordinarily this is a very restrictive format. The story is always the same: Guy goes somewhere, eats a bunch of stuff, and goes home, presumably having learned something. The core of whatever we do is to fuck with the format as much as we can. Let’s find a way to tell what is basically the same story, different setting, in as disturbing-to-the-network fashion as possible. Why? Bourdain: Because television, if it’s a success, if it works, they wanna replicate it. That’s the death of creativity. Then we’ve settled into a groove, then I become bored, the people I work with become bored…it’s a mortifying process. If this isn’t fun and interesting to us, there’s no point doing it. Collins: We continually want to push further in the storytelling. We understand that with television you’ve got to work within certain parameters, but within those 42 minutes and 30 seconds, how can we play with this thing?

One way you did that was with an entirely different show, The Layover. Bourdain: That’s an even more restrictive concept–this is a format that’s been done a million times. Everybody loves the damn thing, but it took me a few episodes to figure out how to do it. No Reservations is about me, me, me–they’re basically essays. The idea of going to major cities and doing a “useful” show really goes against the grain.

What are the driving principles behind Zero Point Zero as a content production company? Caterini: The heart comes from a true vérité documentary filmmaking tradition. Bourdain: You don’t want people saying, “Could you say that again?” We’d rather miss the scene than fuck up the scene you have. That dynamic is absolutely essential to why our show is different from all the other travel shows. The show looks slick, it’s beautifully photographed, beautifully edited, but you’re never going to get those transforming human moments out of a character reenacting them for you. You’re never going to get real generosity, any kind of chemistry or any kind of fun, for that matter, if you’re muscling and you keep hammering home the theme. Caterini: Our primary goal is to be able to work on projects in the way we want to. We are looking to learn about digital technology and distribution and other ways of making content that don’t have to fit into the TV business formula. TV, being advertiser-driven, is all based on predictability and consistency. Predictability means you can’t take risks and consistency means it’s dreadfully boring. We’re fortunate we can bust those two barriers down, but it’s really hard to sell new TV shows when that’s your launch pitch. Why does it work with No Reservations? Caterini: The creative process is executed very well. We create situations that optimize that. We feel lucky we got greenlit and got on the air. Now we’ve proven that it works.

How do you take it forward? Caterini: We had a big eye-opening moment when we launched into social media, and looking at it as simply another medium in content and storytelling; truthful storytelling in different size bites with a different arc of time. We’re connecting directly with who really matters, which is the audience, the people who want to enjoy what we’re creating. That really did open up the doors for us to think about ways to go straight to them. For a lot of content creators that’s extremely exciting, and the revolution really hasn’t even happened yet.

📷You must be familiar with how Louis C.K. sold his latest stand-up special directly to fans for $5 via PayPal. Bourdain: A heroic pioneer. It was a huge, tectonic moment. Tenaglia: What’s really fantastic about him, and I think it mirrors a lot of what we do here, is he’s the producer of the piece, the writer, the editor, behind the scenes, in front of the camera–he’s extremely multifaceted and nimble and flexible and self-contained. I think we have a lot of those same qualities. We don’t go out with big, bloated crews of 25 people. We can create something pretty extraordinary with a team of one or two. What’s the key to getting content made, and seen, with these new paradigms? Bourdain: People in the television business have a vested interested in keeping it as close to the way it was as possible. You don’t want to cut the ground out from under your own feet. We’re in a more luxurious position to adapt to the situation on the ground. I like making television. But I definitely have both eyes on what’s next. Caterini: The creative people have to shift the content paradigm. We look at social media as a big medium in and of itself, and we’ve successfully developed and in fact exploded growth in an audience. So it’s working. Then unfortunately we have to say, “Is that a business or not?” But that has to come second. I think we’d ideally like someone to build the perfect platform for creators to work off of. There are bits of it. No one’s actually figured out how to turn it into money right for the creator, though. I think either the platform will come along or we’ll have to do some of the business a network does–market our own stuff, sell our own stuff. Bourdain: A person with a television show generally lives or dies by the Nielsen numbers. I don’t really understand why anyone would care. I care how many people over time see and like the show and are interested in seeing more stuff. That’s the only number that counts.

What about your personality as a brand, Tony? How does it factor into all this? Bourdain: I’m happy to use the word “brand,” but listen, I’m doing a lot of things: I’m doing a comic book, I’m writing for Treme, I’m making two television shows, publishing books. I do these things because they’re fun, and interesting, and because 12 years ago I had no opportunities to do anything. It bothers me when people say I’m “expanding the brand.” You expand the brand so you can land a Pepsi-Cola commercial. You haven’t seen me endorsing any products yet, though I am asked. I’m doing it ’cause it’s fun. What happens when things become not interesting? Then it’s a job. I had a job for years, I know what it’s like to show up every day and do the same thing the same way. I don’t know how Howie Mandel gets up in the morning. I don’t ever want to be that.

[florencecastlewritings]

Writing Dialogue

Below the read more is a lesson on writing effective dialogue in fiction. As with everything in art, rules are there to be broken, so please do treat the below lesson as a guideline rather than a legal document, and remember that it is based on what works for me as well as advice I have received from other writers. It might not match your style, and that’s all right. It’s also a very lengthy blog post, but I have used headings to try and break it up and there’s a little contents of sorts at the start, so feel free to skim/skip where needed. 

If you do find it useful, however, please consider helping me through a tricky time by sending a few pennies my way via ko-fi. 

Dialogue is the written speech of your characters in your story. For some people, writing effective dialogue comes naturally, for others it feels almost impossible to master. It is worth considering, as well, the differences in dialogue for different kinds of media - in screenwriting, for example, a writer will be able to rely more heavily on actors’ expression, comic timing, body language and other effects such as music. However they will also be constrained by shorter time, more need for unnatural exposition, and lack of internal thoughts. The following lesson will focus on dialogue in fiction - for short stories or novels - although some rules will be applicable to dialogue in other mediums too, so they’re worth keeping in mind. 

The Purpose of Dialogue

Dialogue should:

Progress the story

Deepen character and relationship

Have realism

Be embellished/supported with suitable dialogue tags and appropriate narration. 

Easier said than done. Let’s take them one at a time. 

Progress the story

As with most writing, the writer needs to be constantly asking herself ‘what is the point?’ Why am I having my characters say/do/notice this? It may be to deepen character and relationship (and we’ll get onto that), but for longer stories we must acknowledge that the dialogue needs to move the plot along as well, as much as we might want to indulge in a bit of pointless fluff now and then. 

Dialogue can drive the plot in a more engaging and exciting way than plain narration. Narration on its own can be effective at building tension, but usually only in small doses, and having many pages of narration without dialogue or internal thought will feel more like a summary of events or a witness statement than the author would perhaps like. Consider the below: 

Breakfast was tense that morning. They ate silently as they pondered what to do. Michael buttering his toast so aggressively that it was surprising that the knife didn’t go through it. Susan asked him to stop, but that only started the arguing again. He accused her of expecting him to get over the affair so quickly. She threw back that there was nothing left to say if he refused to get therapy, and she had warned him for years that things had to change, and that it had been one foolish night in twenty years of unhappy marriage. She, Susan insisted, had excused plenty of foolish mistakes on his part. 

Compared to: 

‘Will you stop that?’ she said sharply. Michael did not pause in the furious buttering of his toast. ‘I said I was sorry.’ 

‘What, you say the magic word and I’m meant to shrug it off?’ he replied. ‘Pretend it never happened? Pretend you didn’t-’

‘You’ve made your anger perfectly clear, and I understand, but you don’t need to be so aggressive with everything, I get it.’ 

‘Oh, here we go. Buttering toast is aggressive now.’ 

‘Well, yes, like that - I’ve tried to talk to you like a grown up, but-’

‘It really bloody winds me up when you just say insane stuff patiently and without emotion and think that makes it acceptable, d’you know that? I’m allowed to be angry, you cheated.’

I could continue. The first example can pack a lot more information in, but using dialogue to drive the plot makes for more interesting and deeper meaning. It turns it into a story, rather than an account of events that occurred. It allows the writer to layer the plot with character work and unlock the story a little at a time.

In this regard, it is good to have your characters talking. To each other, to themselves, to the reader - whatever your particular style demands. Having that personable voice is engaging. 

There are a few “rules” to keep in mind in order to ensure you remain plot-focused with your dialogue:

Avoid small talk. Enter late, leave early. Naturally there are exceptions (if you want to emphasise the awkwardness of a relationship between two characters you might want to include some failed attempts at small talk), but the usual chit-chat and extended greetings that we are used to saying in every day life can normally be skipped or avoided. You don’t need to have lots of ‘hi, how are you?’  ‘I’m fine thanks, you?’ ‘Fine, cheers. Have you seen the rain?’ Your characters are allowed to just get to the point and your reader will thank you for it. 

Have characters on their own thought trajectories. This is a great way of driving the plot, and though it can be tricky to master it can really help in making your characters believable individuals as well as creating some conflict. If characters know each other, or both know the topic, they will likely jump ahead, make assumptions, fail to answer each other directly - this can be a great way of showing that they’re on the same wavelength, but can also be a vehicle for miscommunications and misunderstandings, or deliberately misleading one another. In that vein, don’t have the characters telling each other things they already know, unless made to sound believable. 

Similarly, don’t have characters say things solely for the benefit of the reader. This is called exposition, and while exposition is necessary, it can be clumsily handled in dialogue. It’s made fun of frequently in films where they have such limited time to get background information across. You definitely don’t want dialogue like ‘So, Michael, it’s been three years since your divorce, have you thought about dating again?’ Michael knows this, his insensitive friend knows this, the reader is not stupid and knows that it’s not natural sounding. If it must be said in dialogue, weave it into a more natural conversation - ‘I haven’t been to Ibiza in three years, and I don’t plan on going back any time soon. Don’t want to run the risk of bumping into Susan and Jorge.’ 

We’ll get onto weaving it in with narration and dialogue tags later, which makes that a lot easier, but, in short, use dialogue to drive your story. 

Deepen character and relationship

This is my favourite thing to do, and why I often prefer to write shorter stories than longer ones. A writer can find great joy in bringing a character to life through dialogue, dragging them away from plot vehicles and making them people of their own.

Firstly, it’s important to remember that your character’s background and personality will affect the way that they speak. If all your characters sound the same, they probably sound like you! A well educated character will obviously have a different way of talking than a common street urchin, but everyone has quirks and patterns to their speech that you can use to say a lot. You might use long meandering sentences with lots of rhetorical questions for a character known to be boring, for example. You might use short, sharp sentences for a character that’s grumpy or distracted with some deeper internal struggle. You can use the way two characters talk to each other to say a lot about their relationship and power dynamic, especially if you remember that good dialogue should have subtext (what isn’t being said being important).

A good example of this is from the short story Hills Like White Elephants, by Ernest Hemmingway (CW; indirect discussion of abortion). Consider the short passage below. 

‘It’s really an awfully simple operation, Jig,’ the man said. ‘It’s not really an operation at all. 

The girl looked at the ground the table legs rested on. 

‘I know you wouldn’t mind it, Jig. It’s not really anything. It’s just to let the air in.’ 

The girl did not say anything. 

‘I’ll go with you and I’ll stay with you all the time. They just let the air in and then it’s all perfectly natural.’ 

‘Then what will we do afterward?’ 

‘We’ll be fine afterward. Just like we were before.’ 

‘What makes you think so?’ 

‘That’s the only thing that bothers us. It’s the only thing that’s made us unhappy.’ 

The girl looked at the bead curtain, put her hand out and took hold of two of the strings of beads. ‘And you think then we’ll be all right and be happy.’

It’s a really interesting story that is almost entirely dialogue, so it’s well worth reading to get a good sense of using subtext. I wasn’t aware of the abortion connotations when I first read it because I hadn’t heard of the very dated term ‘letting the air in’, but really the story is great at demonstrating the uneven power dynamic between the two even without knowledge of what the operation is. Without much description (though ‘man’ and ‘girl’ says it all really, doesn’t it?), you get a sense that a much older man is persuading this reluctant girl into this act by leveraging how hopelessly in love she is with him, though he does not seem to feel the same way. He speaks most when he is trying to persuade her - the rest of the time he is snappish and short with her childish and ignorant questions about the world around them. The above passage is the only time in the story where he refers to her by a name, and we can gather that it’s a pet one. The girl’s silence says as much as her dialogue, and when she does speak it is questioning - looking to him for authority. 

Understanding character motivations and background is what makes this masterful use of dialogue. It would be tempting, for a novice writer, to have the girl argue. For her to say something like ‘what if we could be happy without it?’ But where that should be, there is silence, or repeating his thoughts back to him - because Hemmingway is not only driving the story but emphasising the imbalance of their relationship and her own naive nature. She would not argue with him, she can only wish that he will change his mind. This is all through dialogue and a tiny bit of narration, barely any dialogue tags, and really says so much without saying it at all. Show vs tell is about more than description after all. 

That kind of depth when it comes to writing dialogue is... really hard. I haven’t picked Hemmingway to suggest that this is the quality all writing should be at, and I certainly don’t mean to intimidate anyone. But it really is a golden example of thinking about your dialogue within the context of the character, and how their background, situation, and goals will affect how they respond and react to those around them. Your character may not always be able to say what is convenient for you, the author, to tell the reader, because it may not be in their nature or sound authentic. But there are clever ways around that and it can make for more powerful writing, between the lines of what is said. 

Have realism

If you skipped down to this bit, I understand. It’s the area that people most often struggle with. I find that people tend to fall into two traps here - either their characters sound like robots because they are over formal and have too much emphasis on being grammatically correct or over eloquent at the expense of natural dialogue, OR they swing in the other direction and try to replicate perfectly how people speak in day to day life. 

If you do have a problem with stilted dialogue, it is a good idea to listen to how people naturally speak and try typing it out to get yourself out of the habit. But on the whole, the way people normally speak actually doesn’t sound that great in written format. In real life, we use lots of filler words, we get muddled, we go off on tangents, we trail off, we stutter and stammer and phrase things badly, we um and ah and say far more with our body language and expression than we realise. If you ever read transcripts, from interviews or courts, you’ll see how much of it actually doesn’t make a lot of sense. Our brains make sense of it when we listen to others, based on other parts of communication. Yes, sometimes adding in a ‘er...’ is beneficial and good, and you might have a really nice character moment of someone anxious trailing off when they realise no one is listening to them. Sprinkling those moments in can absolutely make your dialogue sound more authentic, especially when carefully used with character knowledge, but be careful not to over use it. In written dialogue, our characters can and should be more articulate and quicker to formulate their thoughts than in real life for the sake of the story. Striking that balance between overly structured and too real and easy can be really hard, but it only comes with practice - reading dialogue out loud can be a big help, as can writing the dialogue first with no narration or speech tags (more on that later). 

Some common mistakes when it comes to dialogue: 

Having one character speak too long without a break. Monologues are tough to get through as a reader and don’t come up often in real life in any meaningful way. They can end up cheesy or exposition heavy. Occasionally you can get away with it with very particular characters, but in general, avoid. 

Over use of names. It’s really distracting as a reader if dialogue is constantly like, ‘what do you think, Harry?’ ‘Charlie, I just don’t know.’ ‘Really, Harry, you need to decide if you’re going to marry her or not.’ ‘I know, you’re right, Charlie.’ Use names to get someone’s attention and then don’t use them again unless you need to make it clear to the reader who the character is talking to. 

Not using contractions. Even very formal people use contractions such as don’t and won’t, it is part of natural rapid speech. Save the ‘do not’ and ‘will not’s for when the emphasis is really needed. 

Having characters speak in unison. Don’t get me wrong, sometimes this can be used to hilarious effect and can always be used for a bit of comedy. But on the whole people don’t do this, including twins. 

Misuse of slang or dialects. If you’re going to use it, make sure you do your research. It’s also worth bearing in mind that if you over use it, it will be hard for the reader to understand and may break immersion. 

Over explain for the reader. I mentioned this before but it’s worth repeating. If you went outside right now and saw a UFO, you would probably shout something along the lines of ‘wtf is that?’, and you would perhaps point or scramble for your potato to take a shaky video. You would probably not shout, ‘look at flying saucer! I’ve never seen anything like it!’ Think carefully about realistic reactions, even if they are not particularly convenient to you as a writer. 

Over use of exclamation marks/caps lock. People aren’t that vibrant and it’s tiring to read. The less you use it, the more punch it packs. 

Using narration and dialogue tags

First, a quick grammar lesson. Sorry. 

‘This is some speech.’ 

‘This is also some speech,’ said the character. 

‘Is this also speech?’ asked another. 

‘Well,’ said the first, ‘yes.’ 

‘Brilliant,’ said the other. ‘Thanks for letting me know.’ 

I use single quotation marks because I’m British and annoying, the conventional double quote marks the Americans use (”like this!”) is also correct. The only important thing is that you pick one and stick to it. Quotation marks always surround the words that are being spoken aloud, and must be opened and closed. Where the sentence ends, you must use a full stop (period), or another piece of punctuation like a question or exclamation mark before closing the speech with the marks. 

Where there is a dialogue tag (he said/said/replied, etc), the sentence is continuing, so a comma is more appropriate (but you can also use a question/exclamation mark and the sentence still continues), and again this must go before the speech marks close the dialogue. If you want to continue the sentence with the dialogue tag in the middle, you can continue by using another comma, or you can end the sentence with a full stop and continue the dialogue as a new sentence. 

Use a new line for a new character speaking.

Phew, that’s over so you can pay attention again. But unfortunately I still have more to say. 

Here is a fun little exercise. Take the below dialogue between two characters, A and B. 

‘Do you love me?’ 

‘You’re drunk.’ 

‘Why won’t you answer the question?’ 

‘Sit down. I’ll make you a tea.’ 

‘I don’t want tea, I want an answer! Tell me!’  

The dialogue alone already tells us a bit of a story - a picture is probably already forming in your head, perhaps of the characters, perhaps of the setting. As it stands it’s ok, and if you struggle with dialogue it can be effective to write only the dialogue out in this way (this tip from my writing teacher also helped me cut down on purple prose!). But now look at the scene: 

It was not the first time, nor would it be the last, that Alex was woken at 3am by repeated bangs on the floor and shouts through the letterbox. Nothing else would have made her rise from bed. If she had suspected even for a moment that it was anyone else, she would have called the police. 

But as usual, it was Sam. Blonde, tousled hair a mess, eye make up smudged, pouting lips trembling as she swayed. 

‘Do you love me?’ 

‘You’re drunk,’ said Alex, wincing as Sam’s grey eyes shone with tears. ‘You’d better come in.’ 

‘Why won’t you answer the question?’ 

Alex ignored her, pulled her in by her slender arm. ‘Sit down. I’ll make you a tea.’ 

‘I don’t want tea. I want an answer. Tell me!’ Sam’s voice was loud and high, and it pierced her. 

So, we haven’t actually added that much narration or dialogue tags (t’s best, if you can, to avoid using them too much), but we’re able to give a clearer picture of these two characters. You may even now be reading the dialogue in a different tone to the one you originally did - picturing the scene with a different feel. Not convinced? How about now? 

Yet again, as had happened dozens of bloody times before, Alex was woken at 3am by incoherent, slurred shouting through the letterbox. 

‘Do you love me?’ was Sam’s immediate demand as Alex wearily opened the door. 

Alex rubbed her hand over her bleary eyes and sighed. ‘You’re drunk. You’d better come in.’ 

Sam turned on the tears at once, mascara running in thick, spidery lines down her blotchy cheeks. ‘Why won’t you answer the question?’

‘Sit down,’ Alex muttered. ‘I’ll make you a tea.’ She stood aside and jerked her head towards the living room.

‘I don’t want tea, I want an answer! Tell me!’ 

Wincing once more at her piercing shriek, Alex closed her eyes. 

The very same dialogue can be shaped by carefully worded narration and dialogue tags. It’s a fun exercise to do with writing buddies - all use the same dialogue and see how different the stories come out. It can also be a pretty nifty way to challenge writers block or shake up a scene you’re struggling with. 

Some extra tips from my writing teacher - I fully confess that I am not always the best at following these ones, because my writing has been heavily influenced by JK Rowling who also doesn’t seem to set much store by them. But they are good, and since I’ve kept them in mind my writing has improved. 

Avoid overuse of adverbs (’she said nervously’). Use action or dialogue alone to convey this information instead. 

Avoid overuse of verbs besides ‘said’. The reader will skim over said and barely notice it, if every character is whispering and muttering and shouting all the time it stilts the flow of the scene - use sparingly.

Use tags when necessary to ensure clarity as to who is speaking, otherwise let the dialogue stand for itself. 

Use internal thoughts in place of speech tags sometimes. 

Use action beats (’he turned to stare coldly out of the window’) in place of speech tags sometimes to help set the pace of the scene. 

I hope this very lengthy post has helped! Please do get in touch if you have any further questions or would like any elaborations on anything I’ve mentioned here, or if you have suggestions for future lessons!

Lastly, I hate to do this but times must - if you have even just a couple of quid to send my way it would be a massive help to me. If you did find this useful, please consider donating to my kofi. 

[silyabeeodess]

Thoughts on Frisk, Chara, and the Player

Besides what I’ve covered briefly in the description of a comic a few years back, this is long overdue; however, since I might make something focusing on Chara in the future, I decided to go ahead and put down my two cents on these two characters.  Since this is effectively a long essay, I’ll have everything below the cut:

One of the most longstanding debates among Undertale fans is the morality of these characters and their relation to the Player.  Some see Frisk and Chara as effectively polar embodiments of good and evil following the Pacifist and Genocide routes while others see the Player alone as the individual in control of all choices with the two characters bowing to that control.  The truth might be somewhere in the middle.

Let’s cover the most basic thing first.  The Player is you.  Yes, it’s your decisions that take the story in different directions, but you are not a character. You are not a part of the world of Undertale.  You’re an intruder, an outsider, an anomaly--something that the people in Undertale only seem to have a vague understanding of.  Characters like Flowey will break the 4th wall by calling you out for your actions, but it’s often from the idea that you’re still Chara--even if Chara’s own story played out long before you came in.  Chara will ask for your SOUL, but you personally don’t actually sacrifice anything: Even as far as the game’s story goes with the “Soulless Pacifist” route, the most you lose is the time is takes to reinstall the game and play it as you normally would. You can cheat them out of “your SOUL” easily.  They think you’re Frisk.

Most glaringly, however, is that both Frisk and Chara will fight against some of your decisions.  For Chara, you have them not giving you much of a choice with how you end the Genocide route and declaring that you were never in control, amongst other actions like killing Asgore and Flowey. Most people might not notice Frisk’s refusal beyond the fact that we don’t pick their name like we can Chara’s; however, the point where this becomes most clear is during our interactions with Undyne on a Pacifist Run.  When we try to become Undyne’s friend and she insists on fighting anyway after her house catches fire, we have the choice to fight back.  Doing so though results in a weak attack, which Undyne declares as being the result of a lack of will to hurt her.  That isn’t the Player’s decision, and it effectively forces us to spare her whether we want to or not.  

This relationship parallels what we also see in Deltarune, with the Player there also exhibiting control over Kris, but Kris fighting back.  Kris isn’t an empty vessel or puppet for the Player to manipulate, and the same can be said for Frisk and Chara in Undertale. It’s a form of temporary possession, where we--an otherworldly being--take over a host for as long a period as the game’s designers allow. It means that we can’t pin our actions on either Frisk or Chara.  Let’s go back to that second paragraph though.  The other characters don’t really know this, making Frisk/Chara/Kris suffer as a result.      

From a gameplay perspective, this is an awesome idea to tackle. From a story perspective, meanwhile, things get a little complicated.

Here’s the thing about handling it simply as a story: The Player often has to be ripped out of the equation.  Again, you aren’t a character, and the only way the Player can really be present in the world of Undertale is as an OC or persona based on the independent choices of each creator.  Keeping them out means leaving the choices we would normally make 100% up to Frisk/Chara.  Ergo, stop attacking artists and writers for their portrayals of those two when creators have to give them qualities that are entirely up to each individuals ideas and experiences to try and fill in a bunch of blanks.  Beyond Chara’s backstory giving us some information on who they were, which is mostly told to us through other characters, there is no perfectly in-character portrayal of either of them.  

Which I guess brings us to the part where I try explaining my idea of them.  So let’s start with Chara, since again, they have the most background info.

What are some canon points we can cover with Chara?

Asriel describes them as “not the greatest person,” but still cared for them deeply as his best friend. From the recordings in the True Lab, we see they had a good friendship, even if Chara often took a more leading role.

Also according to Asriel, Chara “hated humanity” and had an unhappy reason for climbing the mountain.

It was Chara’s plan to commit suicide, have Asriel take their SOUL, and try to kill humans to break the barrier.

Chara laughed after poisoning Asgore with buttercups. It’s presumed by Asriel to have been an accident, but we don’t know Chara’s knowledge on the situation.

An extended monologue from Asgore has him describe Frisk and Chara as having “the same look of hope in their eyes.”

Asgore considered Chara “the future of humans and monsters.”

They refer to themselves as “the demon who comes when people call its name.”

As of the Genocide route, their goal is the complete destruction of Undertale’s world to join the Player and move on to another. They pin the Player’s actions on their newfound “purpose” to attain power.

Narration in the game is different depending on the route, speaking commonly from a 2nd-person POV on Pacifist and Neutral runs, but 1st-person on a Genocide run. This alludes that Chara is always with us during gameplay.

Chara’s dialogue mimics Toriel’s, hinting to a close relationship following the concepts of mimicry being a form of flattery and a child’s desire to be like a positive adult figure in their lives.

So here’s what I think.  Chara’s hatred toward humanity is supported not only by Asriel’s confession, but also in their actions.  If Chara took control as Asriel described after crossing the Barrier to kill humans and take their SOULS, that willingness to commit murder along with their own suicide indicates not only that general disdain, but also a hefty amount of self-loathing simply for being human.  Whatever happened to them prior to entering the Underground, that hatred was likely only nursed further by knowledge and ideas fed to them from monsterkind: Humans hurt monsters too and monsters are supposedly “made of compassion” while “humans don’t need any.” (They may have even been bullied or faced prejudice for being human, even if it wasn’t from the Dreemurrs, just like how Frisk was constantly attacked on-site.)  This likely led to a monster-centric worldview where all of humanity--and even themselves, to a point--was the enemy.  

I imagine the “Mr. Dad Guy” sweater we find was made by Chara rather than Asriel because of the inclusion of “guy” at the end, since this seems like something more of an adopted child would do than a biological one, maybe not entirely comfortable with the idea yet of calling Toriel and Asgore “Mom” and “Dad.”  I truly do think Chara loved their newfound family and never meant to hurt Asgore: The laugh, while it can’t be confirmed, seemed to be a mark of mental instability rather than something of true malice. With the pressure of being called “the future of humans and monsters” as well, they probably felt like they had to be responsible for humanity’s actions as a whole even if they personally did nothing wrong.  From that perspective, their life--and any other human’s--mattered less than a monster’s, because they had to atone for the crimes of others.  Humanity itself had to atone.  This is why they would be so willing to sacrifice themselves and kill for the sake of breaking the Barrier.

So what happens when the monsters Chara placed on a pedestal start breaking their script?  Asriel stopping Chara from committing murder is one thing: That seemed to be one part of the plan that Chara didn’t tell him about, probably because they knew he wouldn’t agree to it. Beyond that though?  What happens when monsters stop showing that legendary compassion?  Asriel started playing with lives and killed for fun as Flowey.  Asgore declared war against humanity and started killing children.  Toriel left her position as queen and couldn’t protect anyone. Not only was their happy family broken, but monsters started acting like the humans they claimed to be better than through their own “weaknesses” and desire to kill.  They were supposed to be above humanity’s choices, above even Chara’s choices. Vengeance isn’t an excuse anymore: It’s all the same, and it feels like the ultimate betrayal.  

They’re all the same.  Monsters, humans, it doesn’t matter.  It’s an ugly world where only the strong and terrible reign, and it deserves to be destroyed.  There’s nothing left.  There’s no good left.  There’s no hope left... 

Unless, maybe, someone new enters the game. Can they rekindle that hope or will they only prove those dark thoughts right?

In comes Frisk, who we really only know as a blank slate.  We don’t know their history or their desires except to leave the Underground one way or another.   We can’t really say much, so this is where it really is entirely up in the air how we portray them.

A personal headcanon of mine is that they were a bit of a little thief, “frisking” things off of others--which is why we can get G even without killing in the game.  A very morally grey character, fitting the multiple routes Undertale’s story can go and Sans description of them “maybe not being a saint” even if they play as a Pacifist.  Maybe they don’t really know what the right choice always is, but they desire to do their best when possible. 

I can’t say much here because, as I’ve said several times now, it’s up to everyone.  Me?  I like a Pacifist Frisk, even if they struggling and suffer before reaching their happy ending.  Some might have them go through a Genocide route on their own or by Chara’s possession. Some have them with guilt-riddled consciences and others treat them as the purest of souls. Some pick different endings.   

So enjoy your interpretations, your characterizations, and your AUs.  You don’t have to agree with my ideas or anyone else’s: Just don’t bash others for theirs.  Undertale’s gameplay opens things to everyone’s personal experience and should be enjoyed as such. 

[proserpineisback]

TROS

If the only problem with TROS was the death of Ben and the rest of the movie was a masterpiece, then maybe I could forgive them. But the serious problem here is that the ENTIRE FILM is an absurdity on its own. You kinda feel like gathering all the facts across the trilogy and distribute them proportionally in each of the films so it all feels cohesive. But that couldn´t be done because Lucasfilm obviously didn´t map this project as a trilogy which it´s absolutely embarrassing. It wouldn´t have costed much for the board writers to sit for a week and write ONE STORY and divide them in three acts just like every writer does when making a book or an independent film or a short film or a documentary, Jesus there are so many people out there writing way better stuff than this with almost nothing of a budget. Having to use different directors is no excuse. The team behind the Mandalorian proves that, they obviously work as a team and so far they seem to treat the Star Wars legacy with respect taking old facts and carefully placing them where they´re needed.

Now, what pisses me off the most about this film is definitely the irrationality of Rey´s arc. The Rey who stood in front of Palpatine and told him “You want me to hate you but I won´t, not even you” is the same Rey who spent THE WHOLE MOVIE attacking Kylo over and over again out of nothing. I´ve spent this whole year wondering why they were fighting in the rain, only to find out that it was for nothing other than Rey´s sudden rage. Wondering why was Kylo flying his TIE towards her and why was she backflipping over it, only to find out it was for nothing too, were they trying to kill each other? Just after Kylo told her that he didn´t want to kill her? Did the conversations in TLJ were all for nothing and they´re back to zero? It´s like all JJ wanted was to retcon TLJ and have cool shots, which they are. The fights are very well choreographed and performed, and they´re visually beautiful and majestically scored, but that doesn´t take away the fact that plot-wise they´re absolutely pointless. When Kylo starts to talk about her past, she again attacks him in a way that for someone who believes in the good side and the Jedi and the light and repulses everything that has to do with the dark side, seems pretty infuriated and aggressive. If she was pissed off about everything the First Order did during the Allegiance comics, it would have made sense for her to mention it at least, because as it was presented it all seems pretty illogical and only for show. Again, they make her look as a person who it´s not enough informed about anything and can´t use her words to stop being one. She didn´t even think in taking advantage of Kylo´s second offering of joining him to defeat Palpatine, then if she didn´t want the throne and was so worried about Kylo becoming emperor, she just could have TALKED and tried to bring him back to the light. But that didn´t even crossed her mind, she just wanted him dead until she actually killed him and didn´t want him dead anymore just because she felt Leia dying, and I can´t believe Chris Terrio has repeated the same also pointless fight between Batman and Superman where Batman remembers his mother and suddenly decides to not kill Superman after beating him badly. I absolutely hated that movie and I was hoping he wouldn´t bring any of it into this. Saddly, I was wrong.

You can´t just link Rey to Palpatine out of nothing. You either connect her to him from the very beginning throwing hints of it or you don´t link her with anyone from the past at all. And you can´t just bring Palpatine with absolutely no excuse, it makes it obvious no one planned to have him behind it all from the start. The concept of Rey Nobody settled by Rian Johnson was a good idea so all kids around the world could relate to her, giving an important message that you don´t need to come from something important to be someone. But if the idea here was to prove that someone who comes from the dark side can choose to be light side, then DEVELOP it through the entire trilogy.

Bringing new supporting characters in the last two films has resulted in a crowded mess when everyone gets to say a line with no purpose, wasting the film´s time. When they presented Rey, Kylo, Finn and Poe as the main characters in TFA, it was understood that the story would be told through their eyes. Then why the hell bring new characters to do the job that they could do. It just makes Finn and Poe look like a pair of extras with nothing relevant to do, just being a burden to Rey when she clearly could have done everything on her own. It would have be them two going to the core worlds and convincing the people to join the cause, so they can truly be heroes in this story. Instead of having everyone joining at last minute because they think Lando is dope and decided that somehow they´re not scared anymore even now that a massive imperial fleet has appeared out of nowhere. And why having so many ships to fight the final battle when they´re gonna waste it by not showing too much of it. I mean it´s called Star Wars for a reason, but somehow they´ve wasted more time having Rey and Kylo fight than investing in the action on air. If all those fights between the two of them had place in TLJ and the talking force bonds had place in TROS, then maybe it would make a bit more sense and the story would seem to have a proportional pace in each film and a better structure. Instead, this movie seems like rushing scramble of events awkwardly mixed with all the trivia they could find from the Star Wars lore while spitting in your face absurd facts about the characters you have known for 5 years and having to believe each of them.

I wouldn´t have problems with Hux being the spy if he was suspect from the beginning. You can´t make a character to be a cold blood mass murderer and devoted to the First Order to the point of fanaticism and then turn him into a softy who reveals he is the spy and traitor of the very thing he loved, in a stupidly parodic way, and who can also be gotten rid off quite easily. And all without any character development whatsoever. I mean, fanfics make a better job with Hux as a villain.

Why create the knights of Ren if you´re gonna have them like silent dogs and get them easily killed when they´re also force users? I mean, I´m not saying that Ben is not powerful enough to finish them but apparently in the comics HE AND LUKE have fought them before and they made it out alive. It would have been a lot more interesting to have the KOR since TFA and make one of them suspect so he can be the one to bring Palpatine back to life in TROS. It would have been better to have Ben and Rey fighting them in TLJ throne room instead of the shitty praetorian guards that are killed in one second in episode III.

Why presenting new characters in Resistance Reborn if we´re not going to see them not even on the background during the resistance base scenes? It´s such a lucrative and deceitful game to have books, comics, etc. and not include them in the films in any way. I can picture them saying to the writers “Yeah, do whatever you want”.

And finally, why create such a good concept like “dyad in the force” if you´re gonna have just one of them fighting against Palpatine while the other one is in a hole. It obviously should have been them BOTH fighting Palpatine and defeating him since when they´re together they have the balance of the force. I mean, I thought that was what Star Wars was all about. It should have been all the generations of Jedi helping them BOTH since Ben Solo had already gone back to the light. Why create such a compelling complex character if they were going to make him have the exact same fate that Darth Vader had. It´s so frustrating the lack of imagination for a conclusion, it makes you cringe. The ultimate message here is that the Skywalker family was cursed and they all deserved to die.

I applaud the astonishly good performances of the actors, the realism they brought makes it all more believable and painful so we don´t forget this film actually happened. The entire movie pains me so much because I´ve grown to love Star Wars and I´ve had deep love for each of the films, yes even the prequels. I´ve defended every movie from the haters and I never thought it would come the day that I would say the saga has been completely destroyed.

[travasourus-rex]

DC’s Stargirl soars high and shines bright! (Spoilers.)

I logged into my DC Universe account last Monday totally ready to my hopes surpassed by the service’s newest original program Stargirl after I was pleasantly surprised by the complete balls to walls delightful wackiness of the Harley Quinn Animated Series. Now, I confidently say that DC Universe has hit another home run with Stargirl’s pilot episode, and I’d like to explain why. To say that I was simply interested in Stargirl by the end of the pilot is a vast understatement. No, I was completely captivated by the show’s superhero world and sophisticated action by the time the pre-credits sequence was over, I couldn’t to see what else the show had in store throughout the episode, to the point where I was actually sad that I had to wait a week when the end credits rolled.

 The pilot begins ten years ago on Christmas Eve with Luke Wilson’s Pat Dugan racing down a Los Angeles street in a retro red and white Chrysler as his superhero partner Starman/Sylvester Pemberton fights alongside the Justice Society of America battles against the evil Injustice Society of America led by the villain Brainwave in a knock down drag out fight for the ages,which the JSA is desperately losing. Unfortunately Pat arrives too late with Sandman, the Golden Age Flash, Dr. Mid-Nite, Wildcat, and Hourman dead or currently dying, meaning Pat has no time to worry about the rest JSA as he searches the battle site for Joel McHale’s Starman, who’s busy kicking the ISA’s asses with his Cosmic Staff, but Pat’s presence at the battle causes Starman to become distracted and be fatally wounded before Pat is able to drag to him to safety in his car, which is capable of more than meets the eye, because it can fly for a hot second until Solemen Grundy forces it down. The night ends with Pat’s car totaled and Starman dying in Pat’s arms, but not before telling his soon to be former sidekick that the JSA’s legacy must live on, and someone with honor, strength, grace, and heroism must carry the Cosmic Staff. 

Elsewhere in LA, a young five year old named Courtney Whitmore waits to give a Christmas present to what later will be confirmed as her absent father by Courtney’s mother Barbra played by Amy Smart, as the present remains unopened even up to the present day ten years later when Courtney and her mom are about to move cross country to Blue Valley, Nebraska with Barbra’s new husband Pat Dugan and his son Mike played by Trae Romano. Courtney mopes about missing her friends in LA and pretty much ignores her family in the process, especially Pat’s attempts to bond, until lunch time of her first day at Blue Valley High School when Courtney sits with a table of outcasts right before the school’s meathead jock Henry King Jr. begins slut shaming a girl who will become the new Wildcat alongside his band other meatheads, they even go so far as to steal the girl’s phone until Courtney steps for her and pushes Henry into a juice tray, an act that lands Courtney in detention on her first day, which isn’t a bad thing when you do it for the right reasons. and it’s shows Courtney as being someone with strength and heroism to stand up for others like Starman said, 

Long Summary kinda short, Courtney continues to mope about the move and be frustrated with Pat’s attempts to be fatherly to the point where she takes her frustration on a box of Pat’s stuff in the basement, where she discovers box of his old JSA stuff, including files on the ISA  a picture of the entire JSA team as well as Starman’s costume, which causes the Cosmic Staff to become  sentient to Courtney’s command, leading her and the Staff to teach the meatheads by kicking their asses and blowing up their ride home after the group is bullying some other kids at the town drive-in. Pat is able to catch Courtney and the Staff in the act as they return home through the basement window, which brings me to my favorite parts of the episode as Courtney and Pat confront one another about the secrets they hiding, and the two are finally able to bond over the lameness of Pat’s code name Stripesy, I do hope their bond continues growing in future episodes

The action-packed episode doesn’t end there, because Henry confesses that the car was blown up by a masked person with a glowing staff, catching the attention of Henry's father who just so happens to be Brainwave, still alive and even aniger. Another thing that I love about the first episode is the relationship between Courtney and Stafie, as I'm calling it, Stafie clearly adores Courtney and follows her around like a little puppy who is ready to take her on superhero adventures, even if that over excitement leads them directly to Brainwave before he easily trounces the girl with mastery of his telekinesis powers against the relative inexperienced Courtney, who struggles to get away from the villain, until Pat comes to her aid while sporting a gigantic robot mech suit in a cliffhanger to end the episode.

Now that the overly long summary is finished, I'd like to give some positives and negatives that I haven't mentioned yet. First, the positives.

Geoff Johns: It's clear that getting Stargirl on the air was a passion project for the character's co creator, Geoff Johns, who based Courtney off of his own sister of the same name after she tragically passed away in an airplane accident. Johns also has an affinity for the JSA, I mean, it's pretty obvious since he had notable runs writing about Stargirl and JSA, but that love doesn't hinder his ability to write a gripping episode of TV that pays respect to the past comic books with clever easter eggs, yet tells a new origin story for Stargirl than the one seen in the comic books, which is friendly to those unfamiliar with the character. Plus, some of the jokes in the script got an honest chuckle out of me, like Michael Dugan asking what sports team Gerald Ford played for and Pat's response.

Brec Bassinger as Stargirl: I was pretty unsure how to feel when DC Universe cast a relative unknown actress as the lead of one their shows. If you asked me what my reaction to the casting news was, I'd say that I was cautiously optimistic and wanting to see more, as it turns out, I wouldn't have to wait long for a first look, because Stargirl and The JSA had cameos at end of Crisis on Infinite Earths. Now that the show has premiered, I have nothing but positive things to say about Bassinger's performance of Courtney, she plays the character with an understated confidence which she grows into as the episode continues, and she also plays the role with a great deal of physicality and physical reactions to things happening around her, such as the reaction Courtney has in school ID photo, as well as the reactions she has when Stafie tries to drag her along for the first time. It will be interesting to see how the character will evolve over the first season.

The production and the world building: Maybe it's because the show is co production between DC Universe and the CW Network, but the budget has put to good use by the production team, I mean, they built an actual S.T.R.I.P.E robot for use in certain shots, the show should be commended for that alone. The costume design and special effects are all top notch, as usual in any superhero show nowadays, but I want to bring special attention to spectacular background details used in things like ISA's criminal files, the photos of the JSA, and the photo between Starman and Stripesy, pretty much everything in Pat's box of JSA memories gets a nerdy chief's kiss from me.

Luke Wilson as Pat Dugan: To put it simply, I can describe the way Wilson plays Pat Dugan as a good dad who rolls with the punches life throws at him and tries to do the best thing in every situation to keep his family safe, even when he's overwhelmed, but he doesn't let that fact dampen his positive and charming attitude. Honestly, I'm rooting for him to succeed as much as I am for Courtney.

Now, the negatives.

The New JSA: I wish the kids who will eventually become the new generation of JSA had more to do in the two episodes of Stargirl released so far, or at least had their characters set up. Only the new Dr. Mid-Nite played by Anjelika Washington has a small handful speaking lines over the two episodes and any character establishment as a girl named Beth Chapel, who is in need of friends so much that she talks with her parents over video chat at lunch instead of the other kids, while the new Hourman played Cameron Gilman only has one line before leaving the scene to probably get in trouble because he's in detention in the following scene, so I guess he's the bad boy/powerhouse of the team. The same one line treatment wasn't given to the new Wildcat played by Yvette Monreal, who must sit in shy silence as the meatheads bully her until Courtney steps to her defense. I know the new JSA members will become more confident and open up emotionally once they adopt their superhero personas, but I would've liked a hint of the heroes that the kids would become during these two episodes, or at least have the new Wildcat work up the courage to thank Courtney for what she did for her.

Travis: One of kids in Henry King Jr.'s band of meatheads has the audacity to besmirch the good name Travis with his repulsive douchey behavior, putting other people who just happen to have the same name to complete shame, but I want to tell you that not all people named travis are the alike.

For the last section of the post, I'd like to ask some questions brought to my mind after watching the first two episodes of Stargirl, which I hope will be answered in the remainder of the first season.

Is Sylvester Pemberton truly Courtney's Biological father? Sylvester seems like an obvious red herring, but I wouldn't be surprised if the show decided to change Courtney's Bio Dad from who he is in the comics, they changed Courtney's sport of choice from cheerleading to gymnastics.

If Sylvester isn't Courtney's Bio Dad, and Pat said the Cosmic Staff only worked for Starman, then why does it also work for her?

What's up with the janitor of Blue Valley High? Something's up with that bearded janitor who gave Courtney weird looks during her first day of school, like he knows more than he's letting on, maybe he's an old JSA member. My guess is he's Doctor Fate because he wasn't one of the confirmed dead on the night the original JSA team perished, I think he used his magical powers to peer into the future on that night and saw what Courtney and the new JSA would become, so Janitor Fate planted himself in Blue Valley to watch over them. Either that, or he's just a crazy man

Does Rick Tyler know what his father did with the JSA? In the second episode, it's revealed that the original Hourman, Rex Tyler also survived fight against the ISA, at least long enough for him and his family to follow the villains to Blue Valley before he and his wife are killed in a car accident, so does Rick have a clue about his father's superhero life, or was it hidden from him like Pat tried to do with Courtney? Does Rick become the new Hourman to get revenge for/honor his father?

What else could Pat be doing in Blue Valley? Is he following in Rex's footsteps and completing his mission to stop the ISA, or it just a fresh start for his family?

How will the different members of the new JSA assume they're superhero roles, and how they help Stargirl stop the ISA?

How does "The American Dream" initiative to help Blue Valley prosper factor into the ISA evil plans?

Do the ISA's children factor into their parents' plan as well?

Will the new Wildcat finally get to speak in episode three?

Suffice to say, I love the new Stargirl TV series quite a bit, it has quickly become my favorite thing DC is producing right now and it's even gotten me interested in the comic books Stargirl is based on, which I believe is the job of any adaptation from page to screen after delivering a compelling story and characters.

Thanks for your time.

[whocalledhimannux]

TBATD Chapter 2 note

I’m keeping my longer, more rambly author’s notes off AO3, so if you have started to read The Blackfish and the Dragon and want to get in-depth with some worldbuilding discussion, please click Keep Reading! If you haven’t or you don’t, please disregard!

So, there is definitely a whole fic that could be written that solely examines how the plot of the first two and a half seasons, and the characters of Katara and Sokka, if the Southern Water Tribe were in slightly-less-desperate straits and Katara had already started to learn waterbending. That isn’t the fic I wanted to write. There’s also a fic that could be written about the Southern Water Tribe if it were a much stronger political player, with resources to rival the North, which would alter the entire plot of the show as it currently stands. That’s also not the fic I wanted to write.

Honestly? I wanted to write an arranged marriage fic where Katara and Zuko still had most of their canon interactions, so that they could work out all the issues they have in the latter half of season three, but married. So the SWT, in this fic, is changed only by the return of Hama after she escaped from prison. With a waterbender, their walls were stronger, their organization was a bit better, and they were able to repel the Southern Raiders in Katara’s lifetime, but the general situation in canon remains. Likewise, we’re going to pretend that Aang’s timeline still works if we boost it up a little bit--the gaang still meets Suki and Bumi under the same circumstances, they still make it in time to talk to Roku on the solstice, etc.

I know, this is all kind of a cop-out. but I wanted to, as much as possible, keep Katara and Zuko as they were in canon, rather than dramatically change the worldbuilding of the show or rework their pre-marriage relationship. Also, time and travelling in canon is 100% plot-dependent. I spent several hours trying to find a way to make my timeline “realistic” based on the show, and it just ain’t happening. So there.

And now, with all my cards on the table, I’m going to address a few of the things I did consider more in-depth to think about how they would affect the relevant plot and characterization of my fic:

Katara and Zuko’s conversation in the caverns of Ba Sing Se plays out differently when they don’t have missing mothers in common. They do have a conversation, and the fic will discuss it, but her animosity towards him isn’t motivated by betrayal quite the way it is in canon.

Iroh is still captured at the end of Crossroads of Destiny. When it became clear that the Avatar had left the South Pole, assassinating his brother became Plan B (Plan A being convincing Zuko to take a healthy, measured attitude towards his goals and accept the reality of his situation, because Iroh is nothing if not an optimist). He did lay the groundwork for Plan B, however, so instead of needing the moment of the eclipse to break out of prison, he was able to escape and kill Ozai.

I’m not going to confirm or deny anything Zuko does on the Day of Black Sun. Whether it’s the same or different will come up at some point in the fic.

Oh, I will say that we’re just going to go ahead and assume the whole Combustion Man thing gets resolved offstage, because honestly I always thought that was a pretty uninteresting plot. It was useful for the canon plot but honestly? I forgot that it had happened until literally right now, while writing this note. I’ve spent four months on this fic, the rough draft is 85,000 words, I did a shit ton of background research on whale pod structure and post-WWII Japan and fuel in the arctic and all kinds of unnecessary nonsense, and I FORGOT that Combustion Man existed. Let’s just all forget it, mkay?

Gonna be real with you guys: I had no fucking idea what to do with Ursa in this fic. Just. No clue. The explanation in the comics makes sooooo little sense to me, but figuring out a reason why Ursa would still have her memories yet not come back to find Zuko was becoming too complicated and messing with my actual plot. Zuko seemed to think there was a strong possibility she was dead in canon, and I’m just going to accept that. So... I sort of technically killed Ursa offscreen in this fic? Sorry.

IMO, Katara’s desire to prove herself is the foundation of her character in the series, and I tried really hard to keep that in this fic, even though Kya is still alive and even though Katara had a waterbending master. Her relationship to Hama is going to be brought up a bit more in later chapters, but suffice it to say, for now, that Katara still didn’t become a master until she reached the North Pole, and that she sees both Pakku and Hama as her teachers.

Another fundamental part of Katara’s character is becoming a “mom” person in part due to losing her own mother, and Kya’s death is something I changed. It did consciously affect my writing of Katara’s character in some places, but I’m not sure if it’s totally obvious? Basically I wanted to play around with the Water Tribes as semi-matriarchal culture where men wield power in the community and women in the family. So Katara grows up knowing her mother is willing to kill for her, and seeing that both her grandmother and mother have a lot of pride in their roles and pride as the mother/wife of the chief, and act as First Ladies of the tribe, and therefore still feels that profound sense of obligation towards her people... buuuuut also sees that they’re still bound by gender roles, and that other women also believe in those gender roles just as strongly as the men do. Again, I don’t know how much of this will come across, but yeah. Katara is still a nurturer, but she has some extra feelings about it and it comes from a sort of different place.

I saw the first five episodes of LoK when they originally aired and just couldn’t get into it. I’ve read the plot synopses for The Search and The Promise and just..... no. So basically nothing beyond the original series affected my plot or writing.

[paulisweeabootrash]

2020 mini-review pack

Di Gi Charat (1999)

Episodes watched: 7

Platform: VRV (Hidive)

Di Gi Charat (pronounced like “carrot”) is a series of fast-paced 4-ish-minute shorts nominally about Dejiko and Rabi-en-Rose, rivals trying to be Earth’s greatest idol.  Who are, respectively, a catgirl and a bunnygirl.  Oh, and also they’re aliens?  That’s... uh... certainly a premise, I guess.  The actual show consists of self-contained gag-filled episodes with no ongoing story, in almost a sitcom kind of way, throwing the characters into situations without context, but with a stable “baseline” situation (unlike, say, Pop Team Epic, where the characters serve more as stock personalities playing different roles in different sketches).  Dejiko is a snarky schemer.  Rabi-en-Rose is a snarky schemer whose main activity seems to be bothering Dejiko at work.  Puchiko is a small and quiet child and behaves accordingly.  And Gema is... something?  I have no clue, honestly, and neither does the fan wiki.  Other recurring characters fill stock roles such as “manager” and “otaku”.  A lot of the humor centers around poking fun at fandom.  It’s a show by, for, and about otaku from an era before our current internet culture, and since I’m a millennial and not from Japan, that makes it unusually hard to evaluate.

W/A/S: 8/2?/5?

Weeb: Chibis.  Catgirls.  Idols.  Kappas.  Kawaii verbal tics.  Akihabara.  Low-detail background characters who look like blobs or thumbs with faces.  Kanji left on-screen but untranslated.  Particular sorts of highly-exaggerated facial expressions we may have become familiar with through emoji, but which still haven’t made their way into American media generally.  This is ludicrously Japanese.

Ass: This really isn't that kind of show.  Although it is certainly designed for adults, as evidenced by the presence of phrases like “naughty doujinshi”.

Shit: The art is fun.  It has style shifts from comic strip to watercolor painting to mainstream 90s anime, and looks better than some of its contemporaries that were, uh, “real” shows.  The opening takes up about a quarter of the total runtime and gets annoying quickly (but that's because it’s clearly designed for being part of a broadcast block, not binge-watching).  Still, unless I’m missing hidden cleverness on account of not having the background knowledge, there’s not much to it.  It’s just okay.

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First Astronomical Velocity (band, active 2011-present)

Platform: Spotify, surprisingly

Okay, this one is a bit different, and I’m jettisoning the whole format for it.  Remember how I said the music-centered episodes of SoniAni were actually pretty good, even though the modeling-centered episodes were so offputting I never finished the show?  Well it turns out that First Astronomical Velocity, Sonico’s band, has released several IRL albums.  Physical copies may be a little hard to come by, but official uploads of a lot of their music can be found on Youtube and Spotify.  Do your musical interests include at least two of: string arrangements that would be at home in a particularly sappy movie soundtrack, 90s-00s alternative rock, synthesizer beep-boops, and that constricted cutesy Japanese women’s vocal style (you know the one I mean)?  Then this is for you.  They’re a pretty good... uh... alt-pop-rock band, I guess is what I’d call them.

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Interspecies Reviewers (2020)

Episodes watched: the entire 12-episode season

Platform: I plead the 5th.  But it’s getting a video release soon, so it will finally be legitimately available in English!

I started this year with a plot-light fanservicey animal-people show, and now I’m ending the year with... a plot-light fanservicey animal-people show.  But unlike Nekopara, this show had me cracking up, eagerly clicking “next episode”, and not complaining about the premise.  I’m sure a lot of people do have a problem with this show’s premise -- which centers almost entirely on various forms of sex work -- and I understand and respect that they will want to skip this show.

But for the rest of you: Interspecies Reviewers is a wildly-NSFW comedy about a group of fantasy world adventurers who gain fame and fortune reviewing brothels of different species.  I expected excessive nudity and fantasy tropes, but I didn’t expect to also get serious thoughts.  Like showing, in the golem and Magic Metropolis episodes, some of the unsettling problems that are looming IRL as deepfakes and sex robots are in development -- note especially the contrast between consensually and non-consensually basing automata on real people in those episodes.  Or the discussion in the last episode of how much riskier sex would be in a world without magic (i.e., ours).  This is a much smarter and more interesting show than you’d expect, considering that it has so much sexual content that it got dropped by two of the networks airing it and even its US distributor.

W/A/S: 5/10/4

Weeb: Although heavily influenced by the Western fantasy media canon of European mythology and Tolkien and tabletop RPGs, familiarity with the tropes of fantasy anime will help you “get” this too, as will familiarity with the -sigh- character dynamics and censorship practices of hentai.  Especially because it’s a comedy, there are probably also instances where I have completely missed topical references or wordplay that a Japanese person would get, but I can’t think of any specific instances right now of “there was clearly supposed to be a joke but I missed it”.

Ass: Look, this could not possibly have more sexual content without unambiguously becoming porn.  Genitals are (almost) always carefully hidden by viewing angle or conveniently-placed glowing (something lampshaded in one episode as an actual feature of one of the species they review), but otherwise, expect lots of nudity and almost nonstop crude humor.  Do not watch this with children.  Do not watch this with your parents.  Do not watch this with friends you don’t know well enough to know how they’ll react to something like this.

Shit: This show is better-made than it deserves to be.  It’s pretty dumb at points, but it’s fun enough to make up for it.  The art is consistent and pleasant, and the opening and ending themes are extremely fun, but it’s not a serious standout in any of those departments.  Also, I swear the background music is stock music, but I don’t remember what other show(s) I’ve heard it in before.

Stray thought: Crim is a precious and relatable cinnamon roll and I love them.

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OreSuki OVA (2020)

Platform: Crunchyroll

So, I know I didn’t cover the whole season in my initial review, but I still want to mention the hour-ish-long finale of this show, which was released straight to streaming.  Short version of the rest of the season: Joro starts to actually fall for Pansy, but a new challenger, Hose, appears.  He is irritatingly attractive and effortless at maintaining the right persona for the situation, leading Joro to describe him as “the main character”.  Hose is the sociopathic manipulator Joro wishes he could be, and Pansy, who has a bad past with him, clearly wants nothing more than for Joro to stand up to him.  But, since this is OreSuki, it’s not going to be handled simply.  No, instead, strap in for a grand finale of Joro and Hose competing in, and trying to manipulate through rules-lawyering, an absolutely ludicrous competition to win the right to date Pansy.  And, on top of it, we also get to finally see how Sun-chan got to be the way he is and what happened at that pivotal baseball game that set off the whole plot.  What has Joro learned from the experiences of the past season?  You’ll see!  And you��ll facepalm about it!

Really, you must watch this if you watched the regular season.

W/A/S: 6/5(!)/4ish

Weeb: Basically the same as I said before.  Gags referencing other Japanese media, anime and otherwise, and it's better if you’re familiar with the high school romcoms and harem comedies Joro thinks in terms of.

Ass (and slight content note): -sigh- Why does the camera need to be there?  Also, Joro, you just committed a little bit of sexual assault for the sake of this contest.  Stop.

Shit: I want to rate this overall better than I did the regular season because I think it’s an excellent finale overall because, even though it ends in a very “let’s leave everything unresolved” way that’s common in media that rely on absurd relationships to propel the plot, it does so in a way that makes sense in character.  I personally think it would’ve been stronger if it had, well, confirmed its title, and at least some of the other “challengers” had lost interest in Joro, but I guess they probably want a Season 2, since they have so much more source material to work from.  There are... oh god 14 light novels?!  That is too many.

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Your Name. (2016)

Platform: DVD

Two high schoolers -- small-town girl Mitsuha, from Itomori, and big-city boy Taki, from Tokyo -- find themselves in each other’s bodies for a day.  They both think at first it must be a very vivid dream, but when it happens again, and they start finding clues like notes they don’t remember writing and comments by friends and relatives about their out-of-character behavior, they realize the body swap is real.  This begins a relationship of mutual understanding that nobody else can really understand -- or would even believe (except Mitsuha’s grandmother, who is... familiar with this phenomenon) -- and the plot then pivots to a tense adventure where they use their connection, some crucial information Taki has, the skills of Mitsuha’s friends, and the intervention of Itomori’s patron deity, to save the town from an impending disaster.

And that’s all I’ll say about that, because I really do think this is something you should go into blind.  My only remaining comments are that (1) the red string of fate is critically important imagery, and is particularly interesting to me here because, if I took a particular scene correctly, Mitsuha made her own red string of fate from sheer necessity, which is a very different twist on that trope, and (2) I am now curious about the history of the body-swapping phenomenon in-universe.

W/A/S: 4?/2/2

Weeb: As mentioned above, symbolism of the Red String of Fate shows up throughout the movie, as do the occasional distinctly Japanese quirk like a wildly out-of-place vending machine or a café with dogs, and but for the most part it’s a cross-cultural story of understanding and dealing with someone else’s life, and of forming a connection other people don’t -- can’t -- truly understand, and to some extent of divides between urban and rural and modern and traditional that I think could play out in any country with just the local symbolism tweaked.  The significance and content of Shinto beliefs and practices depicted, particularly kuchikamizake, are made pretty explicit, so although foreign to the vast majority of the non-Japanese audience, I feel like this movie also has nearly no barrier to entry for people not familiar with the cultural context, so I don’t want to rate it very high on this scale.

Ass: Look.  It involves teenagers switching bodies.  What do you think they do?  Especially Taki?  But it’s played for laughs, not titillation.

Shit: This movie is beautiful and punched me in the feels and was very satisfying.  The closest I have to a complaint about any aspect of it is that the musical breaks that I guess are supposed to mark acts of the movie almost make it feel like binge-watching a short series instead of watching a single self-contained movie.