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nocek · 3 years

Note

Don't spare us the long rant! We want to hear your thoughts!

Oh you are going to regret this ;P

So here goes my loooooooong angry rant about Taskmaster and also the Black Widow movie in general.

Let's start with my point of comparison. Captain America the Winter Soldier was a good movie. It's still in my top 3 Marvel movies as I'm sure is for many people. And statistically speaking everybody likes Bucky. He is like the most beloved side character right after Loki. I guess.

Anyway. My point is that Taskmaster and Winter Soldier have bit for bit the exact same building blocks: hypercompetent antagonist that is a serious threat to our hero who just can't win with in one on one combat. But then plot twist: our antagonist was just a victim and puppet without free will in hands of actual villain who is bland bureaucrat.

So why did Winter Soldier worked really really well and Taskmaster was just ehh.. ok?

Well the short answer is that catws was a much tighter movie that had clearer goal (and also that goal/theme was singular: good things get corrupted with time and sometimes you get to start over) compared to black widow which had to jump through too many hoops and still somehow managed it but it wasn't as graceful as it would be if they (as in executives) resigned from one or two hoops and flips and explosions.

And I'm omitting a BIG disadvantage of making a prequel movie about a character that they killed off in shitty way. Though that created one of extra hoops for them to jump through: quickly build up Yelena as a character.

And character build they did. Because srsly Yelena is awesome and I love her. BUT. That came at a price.

Lets compare to catws. The new character there is Sam (and kiiiiiiiinda also Natasha a bit but that's a topic for a different rant) who is nowhere near as well build as Yelena. At the beginning. Because he had time to be fleshed out and naturally grow in few different movies and then we got a deep dive in the Falcon and the Winter Soldier.

But Marvel can't give Yelena few movies because she will appear in Hawkguy an Hawkeye series and also Marvel is generally dividing their assets into: outer spaaaace, down to earth heros and magic stuff (aliens, androids and wizards ;P). But also they can only create so many things in a year.

So yeah. Yelena offtopic can be summarized that I love that we have her as we have her but it came at a cost of air time of the movie.

So comparing the movies again:

Catws had the theme of good things being corrupted with time. And the theme was underlined 3 times through Peggy, Bucky and then Shield/Hydra. Which are interconnected and also make nice scale from inner conflict of the main character to the outer conflict of the movie.

In Black Widow there is the topic of the past evil that never went away and is still taking away free will from people. And again we have it shown through 3 outlets: Yelena, Taskmaster and Black Widows. But there is also whole family subplot attached to Yelena and there is Red Room attached to Black Widows. So as you can see things are getting crowded. Which in turn make the theme a bit blurry.

I mean, sure, the Red Room should be the Shield equivalent. Even it could take smaller space because good Shield turns out to be evil Hydra is generally more time consuming to explain than Red Room bad. But still combining Red Room and Black Widows make things a bit crowded.

(There is a reason why the surprise subplot of there is more Winter Soldiers was in separate movie and was kinda handwaved and cut to minimum. But they couldn't do that here).

But it's time to stop my ranting about whole Black Widow movie and focus on comparing Taskmaster and Winter Soldier.

Because to be honest both are bare bones of character and more of an carte blanche in the movie. Both have barely any screen time yet there are colossal difference which stems out of:

first introduction: as I mentioned they are hypercompetent and unstoppable threat that you can't win with, you can only hope to run away (both done equally well)

programmable killing machine:

For Taskmaster we just get a scene with her watching other heroes fighting at the screen. For the sake of building up the mystery of character we think that "he" is just watching. Maybe learning or more likely just being creepy. The information about the chip and literal programming is given to us much later in the movie which makes this scene lose the power. idk how it will work on rewatch? Maybe better? Hopefully. right now there is too many new movies in cinemas to go for a rewatch and disney+ still isn't available here -.-

For Bucky we have literal torture scene. You just can't be more blunt than that. It also hammered the next point in.

there is human behind the mask:

Winter Soldier is introduced with full face mask which he gradually loses and then we have the big reveal of not only: that's a human but also that's a human our main hero cares about deeply.

With Taskmaster they fucked up it for chap plot twist. We are learning quite late that oh snap that's Antonia (that we don't really care about) and our main hero kinda feels guilty about her.

I think the big difference is what kind of character Steve and Nat are and also the way they reveal this secret. Steve actively recognizes Bucky by himself and is very openly shocked. Nat is passively told and shown that hey, this is Antonia. And there is no time in the movie for Nat (and for us) to be shocked because that's the 3rd act and we need time for explosions and stuff.

Besides, the problem is that all the big plot twist reveals are boring on rewatch (stil big props for Pacific Rim and giving us the monster reveal in like second minute of the movie, I will never not appreciate that).

Also on related shitty note. We the audience. Bucky is handsome and vulnerable and we can drool all over him (and oh man, we the fandom did a fair share of drooling). Antonia is disfigured and not sexualized in any way. Which I'm actually grateful for but there is no pretending that doesn't make a hell lot of difference. But that's a whole different, ugly and big topic I'm not remotely qualified to write about. I'm just angry ranting here.

they don't have free will:

For Winter Soldier we have amnesia + torture tropes which to be honest have been done over and over again and it shouldn't have worked as well as it worked. Bit it did. In context of Black Widow movie it worked because it was just one guy that actively broke through brainwashing with active help of the hero.

In Black Widow there is a lot of characters that are pasively "woken up" out of mind control over and over again by active protagonist. Unfortunately the repetition kinda cheapens it. Especially in comparison to main gut punch right in the feels scene in the other movie. Which is why it's not fair to compare the two.

So lets talk about lack of free will aspect itself. To be honest the mind control aspect in Black Widow was done really great from story perspective. Evil scientists perfected it to the point it being (bit handwavey but) completely impersonal but also completely dehumanizing to the subject. So I'm buying that it can be completely switched off in equally efficient and impersonal way. Even the way they explained it with Alexei the pig was great and terrifying... to a point. Because then kicked the main problem with this movie. Clearly some execs came and saw it and went whoa... that's too dark for pg13 blockbuster. Let's put some cheap jokes here. And it happens over and over again in this movie :S

humanizing flashback scene that ties them to main hero:

For Bucky, sure we had Captain America First Avenger but a movie needs to stand on it's own legs. That's why we have the flashback scene which shows us that Bucky cared about Steve. Leaving it at the narration in Smithsonian of "best friends since childhood" would be just telling us. And we needed to be shown and we needed a space for the "till the end of line" so it could come back and stab us right in the feels.

Also because we are ignoring previous movie Russos cleverly made us care about Winter Soldier because Steve cares about Winter Soldier. And we already know and like Steve so building up our main character gives us more mileage out of new bare bones character (because let's be honest, Winter Soldier is just that). Two birds one stone thing.

In Black Widow there is no such thing which IMHO is the main reason Taskmaster doesn't work. We just get information about cardboard cutout: insert cute little girl here (only told, not even shown actual cardboard) and all of the emotional connection to Natasha is: I know that my boss that I hate has a daughter, she got in the crossfire. Which means nobody cares.

All it would take is adding a short flashback scene. idk Dreykov is an asshole and doesn't care about Antonia but she is she cutest and most adorable little girl. She treats the Black Widows as older sisters. Hell if you want to make it more horrorish copy of the idea of Thor wanting to be a Valkyrie when he grows up or T'challa wanting to be a Dora Milaje. Little Antonia wants to be Black Widow when she grows up because they are badass and they are nice to her (and are also slightly confused by her) because she is nice to them and is only person that treats them as humans. Hell we could have short interaction between her and Nat. Just a smile between them would be enough.

You could get a lot of character buildup mileage out of such a short scene.

But it couldn't happen partially because the movie didn't have time for that but we didn't get that mostly because it would show us instead of telling that Nat killed a cute little innocent girl for her own personal gain. (well she thought she was destroying Red Room but mostly wanted to get away - vide she didn't check on Yelena or other widows. But I wouldn't hold that against her. It was put your oxygen mask first kind of situation. But still it would make her look bad)

Besides, that would take guts to actually show.

And technically they could have afforded to have that guts. That was last movie with Nat anyway. It would actually make this plotline about her feeling guilty about Dreykov's daughter and red in her ledger work. But well... It was last movie so they wanted to leave us with the most goodest and bleeding hartest and heartwarming mary sue version of Nat with just telling us without showing hey, she got dark past.

On the other hand if we had the rumored Endgame plotline of Nat running an orphanage. Damn that would tie to this plotline so well. We could tie the loose widows also. Dam we were robbed here I tell ya >.<

Ok I'm overdoing offtopic about Nat. Sorry

design

So yeah. Design wise Winter Soldier is like great. For Taskmaster, she sure looks cool but also kinda generic? If in 10 years you'd show me her and say it's antagonist from GI Joe or something I'll believe you :S (not touching the debate that in comics something something because unfortunately I don't know Taskmaster from comics. Although I hear that few recent ones were quite good so I'll check them out sooner or later)

snapping out of mind control

I mentioned before. It would be unfair and there is no point comparing main emotional scene of the movie versus means to an end that were repeated several times through a movie.

Natasha freeing Antonia even if she thought that Antonia will kill her because that would fair was great. What I'm annoyed is a cheap fakeout that went with that. It was just after the bombastic finale with explosions and all the cgi shit. Even without looking at the movie runtime it was obvious there will be no extra fight scene.

In catws it worked because the cgi pew pew extravaganza was a background noise and was part of a continuous fight. In BW helicarriers fell already, there was a second of dust settling and then Nat throws away the shield (uses that capsule). Tension just fell from highest place in a movie (quite literally lol), trying to rise it again for such a short moment just doesn't work.

But that's the general problem with Marvel movies. Bombastic CGI fest as grand finale that probably is "outsourced" and then actual director comes back and needs to end movie super quickly.

disappearing act at the end

So in catws there is mystery of what will Bucky do. We are given some hope since he dragged Steve out of river and visited the museum but thats all. I mean there is this annoying Marvel thing of skipping over the interesting ending of last movie and starting with next plot point. We were hoping for the grand roadtrip/hunt for Bucky but nope. We must run ahead with all the plotlines (same way I'm sure that the Spiderman is Peter Parker and he killed a guy thing will be already dealt with in the beginning of the next movie -.-) But that's bonus mini rant.

In BW they needed to wrap up to many plot lines too quickly so Antonia wakes up and that's all. We don't get a suggestion what she may do. The problem of the chip she still has installed is omitted. There is nothing. She just fucks off to lalaland with other Black Widows the end. Because we needed ending for Nat's actual family which was ok but also kinda rushed.

As I mentioned waaaay before (god, this rant is pretty long) too many hoops to jump through.

Which really sucks because if they added that one flashback scene just for Antonia and spared few more minutes for the overall ending it would work so much more better.

And I even know where they could have saved few minutes (besides the explosions thingies). The supply guy. One extra character in a movie with too many characters. In catws the supply problem (with wings) was solved with nbd shrug. If you wanted to show that Nat has her own web of contacts it should be more than one guy. IDK in Budapest there could be 10 second scene with neighbor saying hi nice to see you again we reinforced the walls after last time. In Norway we could see her visiting some special secret supply stash run by some rando before getting to the mobile home.

But oh she was on the run so that would be too many people. Then cut the people entirely. The shitty helicopter can be worked around with joke that I'm not on speaking terms with Stark rn and that's the best we can have on short notice.

Eh.. side rant again. Sorry.

So to wrap it up. I actually really would love to see what will happen with the loose Black Widows and Antonia because here they were really underdeveloped. And while widows were more of a group hero and we have Yelena as a representative so in a way it balances out but Taskmaster needed so little extra care to make her character so much better and I'm a tiiiiiiny bit salty about it.

#text post #long post #very long rant #black widow #black widow spoilers #black widow movie #black widow 2021 #taskmaster #antonia dreykov #i kinda doubt we will see her again #but one can hope #if anyone actually read through all of this congratz!#and thank you #let me hug you #(and I'm sorry it's so long)

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ihatetaxes99 · 3 years

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A Little Rant

Okay, so I've been mulling over this for a long time and I have decided, fuck it, I want to talk about something that has been on my mind for a long time. Specifically, how much I just really, really dislike Katsuki Bakugo as a character and to do so, I'm going to compare him him to my favourite character... Well, technically, second favourite, since my overall favourite doesn't quite fit the discussion (Sorry, Sako-kun, I swear I'll give you the acknowledgement you deserve another time.)

---------------

So, uh, before I start, probably a good idea to mention that I am going to be very harsh to Mr. Bakugo here, so if you like him, I'd advise not reading for your own sake. I know that a lot of Baku stans tend to prowl the anti tags, and this isn't for you. However, if you think you can handle it, be my guest; Just don't get pissy at me if you don't like it.

Let's get started. Where to begin, where to begin? Well, we all know the characters of Katsuki Bakugo and Tomura Shigaraki, two of the most integral characters in the series and, as far as I am concerned, two rather noteworthy pieces of shit. For the latter, this is no surprise to anyone, Shigaraki is the main bloody antagonist. He's terrorised the world of heroes for around a year by the most recent point in the manga, has murdered dozens during the MLA confrontation alone and ultimately aims to wipe everyone out. At his purest form, he is an agent of chaos and nothing less. A young man who was driven out of society and forced to indulge in his own rage. He's very clearly a character beyond redemption, and even attempting to do so would just be silly. And yet, I love him. Easily my second favourite character, at some points, he has weasled his way into first place.

Then, we have Bakugo. Beloved by all, both in universe and in the fandom, Katsuki is an explosive, ill-tempered brat with a dispositon as childish as Shigaraki's was earlier on in the series. I really do not like his character, but at the end of the day, he hasn't killed anyone and hasn't committed any crime, so why should I?

Well, that second part is technically a lie. Yeah, we all like to forget the suicide baiting scene, even Horikoshi. But simply put, it cannot be forgotten and that is my big issue with Bakugo. Everything he has done both past and present is swept under the rug. He has acted absolutely abhorrently towards a Quirkless little boy who just wanted to be his friend for years, constantly belittled and in some cases assaulted this boy. During the initial training, he nearly blows Deku to kingdom come. And why? Because he doesn't like feeling inferior. Well tough shit, the little bastard has gotten his way all his life, and coming to UA was the perfect opportunity for him to put on his big boy pants, grow a pair and actually mature as an individual. Surely, an institution such as UA would not ignore or even reward his behaviour?

....

Yeah, UA deserves all that is surely coming to it following the end of the war, purely because of how they let Katsuki slide. Keep in mind, Nedzu and Aizawa fully acknowledged that his tempermental behaviour made Bakugo a target for the League of Villains. And yet, upon recapturing him, no attempts are made to actually nurture him into dropping this egocentric shit that makes him such a target.

And of course, it's Katsuki who gets to learn about One for All first. Not Ida, the streadfast, loyal friend, not Uraraka, who has often been Izuku's closest confident. Hell, even Mineta, for all his faults, is more friendly to Izuku than Bakugo has ever been. And yet, it's good old Katsuki who gets to learn about it, the same Katsuki who didn't believe it at first, mocked the dead users of One for All and was generally a horrible, spiteful little shit. He even somehow has a friend in Kirishima, which frankly astonishes me. I am aware that 1-A don't know about Bakugo's past, but who would ever be attracted to his completely unstable personality?

And of course, he's ended up calling himself DynaMight as his hero name. First off, my darling Mister Compress is right, that's so fecking tacky, even by BNHA standards. But secondly, what the actual fuck? Okay, so the actual disciple of All Might gets stuck with a hero name that everyone knows is meant to humiliate and tear him down while the cocky little bugger who has shown nothing but open contempt to the very nature of One for All gets to ape on All Might's name? Remember a very early chapter, that had a flashback to Midoriya's potential hero names and they were all intentionally childish and cringe? Yeah, this is quite literally that but unironic. God, I hate Bakugo.

And that's really it, what separates two deeply unlikable characters. Shigaraki is acknowledged by the writing as an awful person with a scant few redeeming qualities. His backstory never tries to excuse his actions, only explain them. And so, this ragtag violent scumbag ends up as a better character than the violent scumbag that we're supposed to root for. Because I cannot root for Bakugo no matter what. He deserves the full Endeavour treatment, frankly. Because at least Enji is finally receiving what he deserves for his actions (Even if the absolutely God-awful chapter 301 has muddied that a little by portraying him in a positive light for some reason.) Bakugo needs consequences, he needs intervention and he needs to actually fucking apologise with some sincerity before I'll ever accept him as an even halfway decent character.

Blegh. Sorry for this long, boring and ultimately pointless rant. I know that literally no one cares what I have to say on this internationally beloved character, but I needed to share my two cents.

#bnha #bnha manga #anti-bakugou #anti bakugou #anti bakudeku #shigaraki #mha #boku no hero spoilers #rant #angry #God I'm an idiot for posting this #and no I don't like any ships for that matter but Bakudeku in particular winds me up

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mikaze-discord · 3 years

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OG Heavens: Love letters

For these Heavens posts, I had reached out to a few people who just never ended up responding. With projects like these, please at least hear them out, you don't have to do it because I know its a huge project but at least tell them you won't be doing it instead of ghosting them. But apart from that little road block, this project was really fun!!

Please enjoy under the cut!!!!

EIICHI OTORI

From @milkmateartist:

I have always leaned towards megane characters and Eiichi is no exception. However, it's not often you see idols wearing glasses, and that is something I appreciate about Eiichi's design. His color palette also intrigues me since I love deep shades of blue. His royal blue jacket is very attractive, and the way he pops the collar also makes me go "kya!". His voice is also very sexy as well and is pleasing to the ear uwu. I love how egoistic he is too. Being incredibly ambitious he has been able to reach amazing heights that surpass other idols. The one thing that seems to make him unique though is that he really gets zealous and overly passionate when it comes to the power of music, so much that it makes him physically tremble. You could get high off that shit literally. His entire being is centered around being an idol, and all the components of him go above and beyond the requirements. It's not just a job for him or something that simply makes an earning or brings satisfaction. It's pretty much everything to him. For that reason he has made it to the top. There is also the component where he's lonely and isolated emotionally that interests me. Despite being a beloved idol, he clearly didn't get the love he needed growing up. Even though he had Eiji I feel as though his nature was more to protect Eiji and shield him from whatever terrors would arise. I admire his ability to come through all of that and pay attention to the things he really cared about. Eiichi can be himself, his strange, sexy self, but also he acknowledges the lonesome darkness within too. I think that component makes him incredibly powerful.

Extra Details:

While appearing to be a bad guy in the anime (at least), Eiichi seemed to be that typical bad boy idol that would steal away Haruka from the main group. The time when he approached Haruka and took her by the chin is a perfect example. How dare this new guy just think he can have his way with our protagonist! To be honest I liked that aspect about him a bit. While I can't remember my first impression of Eiichi aside from not knowing how to feel about that, he slowly grew on me. He had the appearance of just another selfish idol, demonstrated by swiping the mic away from the announcer at one of his concerts and immediately declaring their foreseen victory. So far that looked rather bland to me, and I was still cheering for STARISH. They really made him out to look like some bad guy who would not play fair and do whatever he could to take the throne (and the girl). It's not surprising his glasses shine adds to his 'freaky antagonist' vibe that the show seemed to try to give off, but however for me I love the glasses beam, thus having the opposite effect.

And then there is the Next Door episode. Now here's where we got to see more of Eiichi aside from when the HEAVENS Dragon demolished the entire stadium. Aside from kya-ing over the EiichiOtoya content (especially where he goes behind otoya and covers his eyes), I got to see more of him here. It surprised me that someone so cocky and confident was actually the same depressed, lonely person that Otoya was. But it was also evident to me as well that he did care about the effect it had on Otoya as well after he sort-of-well mind broke him. I like how he is ambitious but also still caring, as compared to an antagonist that would stop at nothing to achieve their goal regardless of how much pain they cause.

I also enjoy Eiichi because I feel like I can roleplay him well. Usually for me, roleplay has to achieve some kind of goal since I tend to be business oriented. I think to some degree I'm able to practice being a eboy idol through Eiichi, as I do enjoy charming the fans. It also helps that I can naturally play characters with an inflated ego who enjoy charming people.

From @/egoisticCEO on twt:

July 2019. When Eiichi was first introduced to me via his voice, I hated him from the very beginning. His singing, his appearance, his personality – everything about him made me despise him. It’s funny looking back and seeing how quickly my attitude changed towards him, realising I’d been biased against him because of a friend. Finding more about him, hate turned to interest. It seemed like his life hadn’t been the best. Maybe that was why he acted in such a way? Interest turned to liking him more. Maybe I’d misunderstood him. I’d made the mistake of taking him at surface level.

December 2019. Like was slowly turning to love. More and more, I found myself looking at him instead of my current favourites. I found myself wanting him to actually be a part of Egoistic. Once I started devouring HEAVENS Radio and unveiling his true character, it was shocking how quickly I fell. He truly acted like a father to everyone in his band. Giving them what he never received. Everything was for them to thrive.

2020. With how much I was at home, it only made sense I grew more obsessed. I found Life with Thanks’ translation. “We’re irreplaceable to him,” he tells us, and that made me certain that his heart wasn’t as evil as some people liked to believe. He’s a caretaker, someone who wants everyone to feel like they matter. Even at his own expense. Instead of selfish, he’s selfless.

I related to him more than I have to any character – it was comforting. Seeing someone have no choice but to put on a brave face, even when his confidence was at an all time low. 2020 got a lot harder for me, but when I recovered, Eiichi was like a home to go back to. Time and time again, I’d have to break away, but I’d always be invited back in by that stupid smirk and overexaggerated ego and the warmest heart you could ever find. Every scene I watched with him would make me smile. I’d tease him to myself. I still do.

2021. That brings us to now. I can’t see my love for this one of a kind man dying any time soon. I don’t want it to, either. Just looking at him makes me happy! He’s the type of character with so many facets to his personality that you can keep digging and never reach the end. So, in conclusion, I hope I never stop finding new things out about this wonderful idiot. More than anything, he deserves all the love he gives to others, and I’d love to provide it tenfold.

KIRA SUMERAGI

From Anon:

Many have their reasons to love their favorite characters. As for me, why Kira Sumeragi is my favorite character is because there are several things about him that I can relate myself to and there are a few qualities he has that I like about him. If many do not know about Kira that much, they’d look at who he is. He may look intimidating at first and may not talk much, when in actuality, Kira is a considerate, dependable, and mindful guy. Mainly, he is the type of guy that lets his actions do the explaining. He is a hard worker, as an idol, he looks after his bandmates, HEAVENS, like family. It’s like what Eiichi said in HEAVENS Radio about Kira, “he is HEAVENS’ pride!” Although he may not say much, Kira is very observant of his surroundings and never hesitates in his decisions. The members of HEAVENS understand and acknowledge Kira, knowing that he means well.

You can even tell in his solo music! Although there are only two solo songs for Kira, if you read the lyrics carefully, Kira’s thoughts and feelings are shown. Kira always knew that if he cannot explain his feelings through words, then he’ll let his songs and his actions do it for him for you to see. Although the anime doesn’t show much of Kira, the only way to get to know him more is through HEAVENS Radio, also drama CDs like Paradise Lost, and other media like LINE Messenger Japan. There’s still much that I’d want to know about him, but as a start, these things are what makes Kira my favorite character for HEAVENS.

From Anon:

Aside from my huge bias towards OnoD the first thing that drew my attention to Kira was his design. Dark haired anime boys with bright eyes have such a vibe and I loved how mysterious he was set up to be in season 2. But the thing that really hooked me a lot was the found family that Heavens became over the progression of the anime.

Particularly since people in the fandom have a bunch of funky headcanons about Kira being the mom friend in the group, which is incredibly wholesome. Kira’s very quiet and reserved but clearly holds a deep caring for his group members and does what he can when needed which is one of the reasons why he became so loveable for me.

NAGI MIKADO

From @/_PXRFECTIONIST on twt:

If I managed to stan Nagi, so will you.

Greetings. I present to you, once more, a story of how I came to love a character that I wished I threw hands with.

So.

Nagi Mikado.

The possible only utapri character that Shinomiya oshis despise. Thanks to what happened in the anime.

Truth be told, I too was one of them. Until I came to love Both Shinomiya and Nagi. Reason?

Research.

Ya see, it is universally agreed upon that the way Nagi was pushing and pulling at Shinomiya's trauma and DID was… Not okay. So I said "yeah okay what an obnoxious kid i dont think ill ever like him lol" especially since I never come to really warm up to people younger than me.

Boy was I wrong.

My heart really sways easily when I go deep into characters, and why they act the way they are. And also because I chose to roleplay as him, but let's not. Speak of that.

(its actually the main reason i like him in the first place who am i fooling)

Nagi is… Indeed obnoxious, and really has bad manners that are covered up by his cute looks and fame, especially since he's one of the original HEAVENS members, but once you get to really know him.. It makes sense why he's being such a brat. And that is sort of endearing. And knowing how his group is like family to him too, it becomes harder and harder to completely dislike him.

….

He really is a boss man.

He knows what he wants, and how to get it. He knows how to get people to like him without handing over the tiniest sliver of his weaknesses. He acts in his own way that shapes his personality to suit him, yet still manages to be caring and helpful, even if it's hard to see tenderness and good will through his aggression.

Reading his solo lyrics, listening to the drama CDs, even thinking of headcanons due to lack of lore, it all slowly comes together like a lovely parfait to suddenly make you realize..

'Wow…'

'I really do like that rat.

#utapri #utanoprincesama #uta no prince sama #eiichi otori #otori eiichi #Kira Sumeragi #Sumeragi Kira #Nagi Mikado #Mikado Nagi

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rachelbethhines · 4 years

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Tangled Salt Marathon - Rapunzel’s Return Part 2

Continuing on from part 1 -

https://rachelbethhines.tumblr.com/post/635068926214258688/tangled-salt-marathon-rapunzels-return-part-1

Summary: When Rapunzel tries to defeat the Saporians by herself she gets captured; but once Varian realizes that the Separatists plan on using one of his potions' destructive properties to destroy Corona, he and Rapunzel work together to stop it.

Let’s Talk About What a Let Down the Sapiorans Are

Throughout seasons one and two the Sapiorans were built up to be this intriguing race of people with a complex past and real problems that are sadly relatable to this day. They had a history, goal, motives, and special abilities like magic.

Yet all we got was a really bad hipster parody.

Heck, the crew can’t even keep it’s stereotypes right because they mostly slide into hippy territory instead. Hipsters, Yuppies, and Hippies are three distinctive counter culture movements for three different generations with completely different social concerns and fads.

Basically Chris tried to “stick it to the kids” again and just wound up insulting his parents' generation instead because he’s that oblivious of other human beings.

And that’s not even taking into account that previously the Sapiorans were living on the run as nomads in caravans not dissimilar to common Romani stereotypes, so the show is once again making negative racial connotations due to thoughtlessness.

Why Do You Have a Secret Underground Room Hidden Behind Your Workshop Xavier?

Like that not a thing normal people happen to have lying around there workspace. We still are given zero explanation for why Xavier has all this plot convenient knowledge and rare unordinary plot useful stuff.

Given his previous connection to Saporia and Zhan Tiri wouldn’t it not have made more sense to reveal that he is an actual plot important character in season three rather than keep him as just the exposition fairy?

So Was This Before or After the Saporian Take Over? Cause Either Answer Makes This a Dumb Plan.

Why would the guards, especially Cap, just give up? Did they even bother fighting and then lost to Varian’s weapons or were they told to stand down by a brainwashed Frederic? If they knew something was wrong then why not stay and help? What makes them think they even could find Rapunzel given how no one knew where she was heading and her letters were infrequent? What difference would they think finding Rapunzel would do?

Basically, just like with the “former cellmate” line, we needed to actually set up and establish this conflict rather than relying solely on exposition dumps. Because what we get here doesn’t make a whole lot of sense. It goes against established character and leaves a lot of unanswered plot holes.

More Promotion of Authoritarianism From the Show

Remember that these are the same people who formed a lynch mob to hunt down a fourteen year old all because the king told them to. The same king who had been lying to them for years and placed their lives and homes in danger for months. The same king who persecuted the poor and orphans for years. Him suddenly sending townsfolk to the mines isn’t anything new, so what are these people’s breaking points? Anyone else would have revolted by now.

But noooo, they need Rapunzel to do it for them. Cause Rapunzel is royalty and they can’t do anything without royal permission because they’re sheep. Sheep that’s been subjugated for years and conditioned to be afraid of their “beloved ruler”.

I understand from a meta point of view why you would want your main character to take charge but...

Like this isn’t inspiring.

It’s disturbing.

Why are we promoting blind loyalty to a person who’s not earned it just because they were born special? In a freakin’ kids show no less!

Oh and still no one bothers to call out King Frederic’s abuses here, FYI.

Take Note That Quirineon is Activated By Heat

This will be important later on in the review.

He’s Already Built Grenades For You. Wouldn’t Those Be Better Because They’re Easier to Control?

He’s already built explosive chemicals for you. You just used them in part one of the episode. And it came in an easy to use form rather than an unstable, and untested, mess that could literally blow up in your faces since no one, not even Varian himself, knows how to control it yet.

You Don’t Hammer Out a Cast Iron Pan

It’s literally in the word. To make a cast iron pan you pour the metal into a casted mold. You don't hammer it out like you would with a sword or something. And you can’t even go with the “rule of cool” here cause Rapunzel surrounded by molten metal and fire would have been far more impressive looking.

Yes I’m being picky cause I’m stalling. I don’t care. This is just yet another instance of the crew not paying attention to details like they should.

Behold The Final Time Eugene Will Ever Call Out Rapunzel’s BS

This is the last time Eugene will hold an honest discussion with Rapunzel like an equal to her. By the end of this episode he will have transitioned into full on doormat mode.

Also burying negative feelings and not addressing issues is who Rapunzel is. She’s been pulling this shit since day one. It’s what causes 90% of the conflicts in the show. Have you not noticed Eugene?

So This Episode Has Contradictory “Lessons”

The episode presents this idea that Rapunzel needs to open up to others and trust again after Cassandra’s betrayal. The problem is that the episode doesn’t follow through on that. It makes a knee-jerk decision to go with a “responsibility” lesson that wasn’t built up to instead at the last minute.

More on this later.

Varian Doesn’t Actually Interact With the Saporians at Any Point.

The only person Varian interacts with is Andrew. We have no concept of how he fits in with the rest of the group and what his dynamics are with them. What do they think of Varian? What does Varian think of them? The consequence to this is to further divorce Varian from narrative, even though this is supposed to be his redemption episode.

As I said in the last part, you can easily write Varian out of this episode and nothing really changes plot wise. That’s bad writing.

Also I was robbed of Khary Payton and Jeremy Jordan exchanging lines. I was this close to having audio material for my BH6 crossover, dang it!

Behold The One Time the Black Lady Gets a Line!

I think her name is Juniper?

You can tell it’s her because of the shadow on the wall.

Anyways they casted this part and only bothered to give the character a single line? What a waste!

But this just goes back to the series' poor representation. The only WOC in the show are presented as “shifty” and untrustworthy, even when they are ultimately “good guys”. The majority of them are straight up villains tho, and even as antagonists they’re not afforded any real screen time.

And the only other outright black women on the show is the inventor lady who was given zero respect and the ghost of a barbarian.

Once again, I don’t think the crew are intentionally racist. I think they’re just sloppy. They wanted to be more inclusive but they failed to actually give voice to minorities behind the scenes and so failed in representing them well. This is a problem with the industry as a whole, not just this one show, and must be talked about as such if we wish to change things for the better.

None of this “Stuff” Holds Any Real Meaning

We get several callbacks to season one through Cassandra’s personal things that she left behind, but none of this stuff holds any real personal meaning. It’s just there. They wind up triggering these big emotional reactions from both Rapunzel and Cassandra but the audience is just left confused because what they’re crying over are things that have little significance to these characters. Even this line from season one is just dripping with sarcasm and not some pleasant past memory that either Cass or Raps holds dear to their hearts.

Way To Go, Dumbass

It’s not that she went alone, or that she broke down when it finally hit her that Cass left, that I’m making fun off. The episode already addresses those two points.

No, what ticks me off is that Rapunzel has taken down killer robots, ghosts, and monsters before now with her magical hair but a handful of regular dudes can just bring her down? I don’t care how much alchemy they got. Depowering your main character for no stated reason just for narrative convenience is poor writing.

Because If He Didn’t He Would Have DIED, Rapunzel!!!

He literally would have freakin died had he not done something! He was left inside a jail cell to rot away! Before that he was threatened with hangman’s noose! Before that violence from an angry crowd! Before that he was left alone to starve and/or die from exposure! There was no way out for him except to fight!

And here you are inside the very prison that you kept him in and you still don't have the fucking self awareness to put two and two together!

This Right Here the Assassination of Rapunzel’s Character and the Killing Blow to the Series

Yeah, and what about after the storm? Hun, bitch!?

We’ve spent two damn seasons watching Rapunzel stepping on people and making excuses for herself and the one time when she should realize her actions are wrong and finally own up to her behavior and she still does not fucking change.

This is supposed to be a coming of age story! That means the main character is supposed to grow and learn shit! But when it matters most, Rapunzel only digs in her heels and refuses to change!

Why should I care about this character anymore if she’s just going to keep on being selfish no matter what? Why should I bother watching the show if it fails to deliver on its premise? How is this in any way shape or form an appropriate message for children!?

If you’re watching the series for the first time, then it’ll take awhile to register just how awful this scene is and how it really is the beginning of the end, because they did have time to turn things around after this. But they didn’t, and here we are.

This Isn’t a Real Apology

It’s not a real apology if all you do is make excuses for yourself. Rapunzel doesn’t address what she actually did wrong here and it has nothing to do with her stupid promise.

She neglected and enabled the abuse of a child for a year and three months, and she’s not even sorry for it!

You Were Never a “Friend” Rapunzel

Friends, actually do shit together. They enjoy each other’s company. They care when the other is hurt or in trouble.

Rapunzel only came to see Varian when she needed him for something. Even now, after this confrontation, that’s all she’ll ever do. She does not actually care about Varian, because the creators will not let her care.

And Here Comes the Death of Varian’s Characterization

In order to make this stupid, forced, “redemption” work the writers had to do a complete 180 with Varian’s character and his motivations. Instead of freeing his father, seeking revenge, or just, you know, surviving, he now suddenly cares about “being friends” and “being accepted by people”, only he has no reason to want any of that!

Rapunzel is a shit friend. Heck all the mains are crap friends to him. They ruined his life and the townspeople tried to kill him. Why would he want anything to do with any of these a-holes!?

Varian doesn’t get assassinated in the same sense as Rapunzel and Cassandra do. He doesn’t suddenly become a hateable dumb douchebag or anything, but he nevertheless has his character retroactively sabotaged by the writing.

Uh, Were You Not There When Your Dad Rounded Up a Lynch Mob Against Him, Raps?

I believe you were. Also Varian literally told you to your face that he had to go into hiding cause the townspeople were willing to attack him just because those rumors that you failed to stop and pretended not to know anything about.

Just because the characters shout something repeatedly does not make it true. The audience isn’t dumb. They can remember what happened only two seasons ago.

Where Was the Inciting Incident For This Change of Heart?

Why should he even want their forgiveness? Why has he given up on freeing his father? Why is he having second doubts about overthrowing the kingdom that persecuted him?

If you’re going to drastically change a character’s motivations, goals, and moral alignment then you need to present an in story reason for that change. We don’t get that. There’s no inciting incident on screen for us to see the shift in his character development.

The audience is left to only infer, and that’s poor writing. The audience shouldn’t have to do the work of the writers for them. Characters’ motivations and goals should not be guess work.

The only thing we can glean from this is that he had a change of heart while in prison and that’s a horrifying thing for the show to suggest. That’s basically justifying Frederic’s abuse. It also recontextualizes Varian’s arc into one of submission to his abusers and not one of learning to do the right thing simply because it’s right.

Once Again, Were You Not There For Season One Rapunzel?

They had a year and three damn months of chances. These people actively tried to do him harm just for simply seeking help. He has no reason to trust them nor you.

Why Are We Shoulding All of the Blame Onto the Abused Child?

Yes, he did do all of those things, technically, but they’re being presented here without context.

The Queen enabled his abuser who was threatening his life and destroyed his home. He kidnapped her as a last restore when all other methods to get out of his desperate situation failed.

The princess he threatened neglected him for three months and repeatedly refused to help him, even throwing him out into a deadly snow storm. Despite him being her responsibility, thereby making her neglect a flat out abuse of power.

He would have died a slow and painful death in prison had he not helped to overthrow the kingdom that persecuted him.

I’m not going to pretend that what Varian did was right or that he shouldn’t feel sorry for what he did, but this is a highly skewed version of events that are being recounted here just to create bias in the viewers. It’s manipulative writing intended to gaslight the audience.

Also, why does he even want a second chance!?

Doesn’t This Undermine The Saporian’s Goals?

The Saporians wanted to reclaim their ancestral homeland so that they would no longer be a displaced people. How does blowing up that homeland help them?

Season three just throws all logic out the window. There’s barely a single villain who doesn’t undermine their own goals at some point with their stupid actions.

So Why Varian and Andrew Not Some Other Team Up?

Out of all of the various recurring baddies in the show Varian and Andrew have the least in common. I’m not saying that they couldn’t work together, but doing so required more set up than this. Because as is, this is a very contrived teamup.

They have diametrically opposed goals and moral alignments. Varian doesn’t bring anything to the table that the Saporaions couldn’t have supplied themselves. Meanwhile the Saporians have failed to offer Varian anything that he could want.

At best it’s a marriage of convenience for them to both break out of prison together, but even that is contrived because we don't know why neither of them were sent away on the prison barge with the rest of the season one villians.

Better combinations would have been

Varian & Lady Caine

Andrew & Lady Caine

Varian & Cass

Andrew & Cass

Varian & Zhan Tiri

Andrew & Zhan Tiri

Varian & Hector

The Baron & Varian

Andrew & Staylan

King Trevor & Varian

Like there were tons of options here that the writers just ignored, even though any of them would have made more sense than the one they went with.

The Andrew and Varian Dynamic Can Be Seen as an Allegory for Grooming; Unfortunately the Writers Didn’t Consider That Implication.

Yeah... That’s pretty much what Andrew has done here. He’s groomed this desperate and lonely teen to become a child soldier for him. And one only can only pray that’s all he tried to groom him to do since they were trapped inside a confined and enclosed space together for several months.

Listen, I don’t mind children’s shows touching upon darker subjects. Often fantasy is a good way for people to process complex themes and uncomfortable real world situations through the safety of fiction. It can even be helpful for those who have had the misfortune to experience certain traumas.

I’m not complaining that TTS is too dark.

I’m complaining about it being shit.

All of the crap Varian goes through is just thrown in there for shock value. It’s not here to commentate on the real world nor provide a complex story. The situations are brought only to then be outright ignored. This isn’t thoughtful nor deep. It’s not meaningful nor heartfelt. It’s just hollow drama done in bad taste.

You’re Not In a Position to Judge Rapunzel

You got captured first because you decided to throw yourself a pity party.

Would He Though?

I’m pretty sure Quirin is very well aware of how shitty Frederic is. If anything I would think he’d be pissed that his son, that he tried so hard to protect, was mistreated in such a hordenous way.

This isn’t some satisfying ending to Varian’s arc. It’s a heartbreaking revelation that he’s been beaten down by his abusers.

Varian’s Arc Isn’t Actually About Validation, and Rapunzel Giving It Here Doesn’t Really Change Anything

I spoke about this before on its own, but Tangled the Series places far too much stock in validation. Yes, it’s an aspect of his character arc, but it’s not the end all and be all of his motivation. It’s not the force that drives him to do what he does.

His primary goal is survival, both for himself and for his father. His secondary goal is gaining his father’s approval, but that’s not because he’s seeking generic praise, it’s because his father is emotionally distant. The “validation” is a mask for the real issues which are to fix his relationship with his dad and avoid the guilt of having possibly killed him in an accident.

Rapunzel has fuck all to do with that.

He doesn’t need to hear approval from her. He needs her to get her shit together and help him!

Rapunzel’s and Varian’s Situations Are Nothing Alike and Rapunzel Doesn’t Know Jackshit

Rapunzel you were dumped by your bestie because you’re a shitty friend.

Varian was neglected and abused by those who were supposed to take care of him.

Unless you’re drawing parallels to how Frederic and Gothel treated you, and even then neither of them denied you basic fucking needs!

This should be an “Oh Shit! I’ve become just like Mother Gothel” moment for Rapunzel, not an “Oh yay! Someone to share in my personal misery” moment.

Man, Rapunzel suuuuuucks!

Also This Still Isn’t An Actual Apology

Once again, Rapunzel is not admitting what she did wrong here. She’s not actually acknowledging Varian’s pain, nor what she needs to do to make admins with him.

What she’s doing is making things all about herself again. She’s talking about her feelings. About what she is facing. Rapunzel is an incredibly selfish and egotistical person and the show is trying to present this as a positive thing by rewarding her for such behavior.

Varian’s Redemption Should Have Nothing to Do with “Friendship”

Varian has no reason to want to become friends again with the woman who ruined his life and abused him.

But more than that, redemption shouldn’t be dependent upon Rapunzel’s friendship, nor even her ‘forgiveness”. Varian should be able to do the right thing just because it’s the right thing, Rapunzel be damned.

This cheepens not only his character development but also Rapunzel’s development as well. Rapunzel is not allowed to grow as a person and accept that not everyone wants to be her friend, and that people may have valid reasons to hate her even, and that doesn’t make them evil.

It also rushes through Varian’s arc undermining what the audience had to get through to get to this point.

OK, Let’s Talk About The Goatee

I wouldn’t have minded the beard had it just not looked like a fucking barcode. There’s production art where it looks fine. But just wiping it away ties back to what I was talking about in part one. It’s denying Varian the chance to grow up. This is supposed to be his coming of age story as well but the crew won't let him do that because “rule of funny” apparently overrides what the characters actually need in order to develop.

Once again, the show isn’t a sitcom. You can have comedic moments but the comedy doesn’t need to outright undermine the drama.

Once Again, Shouldn’t Eugene Be the First Person to Jump to Varian’s Defence?

You mean the orphan on the streets who stole stuff and fought to survive when the adults failed to take care of him? Is that what you’re talking about Eugene? Cause if I remember correctly that was you not just three years ago.

You Mean Rapunzel Needs Him To Make Her Feel Better About Herself

Spoiler alert, but Varian doesn’t actually do anything after this point in the episode. His entire “redemption” is just about making Rapunzel feel better about herself after Cass has rejected her. He’s literally become the rebound.

How Come Varian Suddenly Became Shorter Just for This Shot?

I know the meta reason is to reflect that scene back in Queen for a Day when Rapunzel promised him that she'd help him before everything went tits up. Where he was also drawn shorter in that episode to make him seem more verunable, but here he’s just suddenly shorter for only two shots and then suddenly back to his usual height.

Crap like this is why I insist that Varian didn’t actually get any taller in season three. The show just has always been inconsistent with his height and most of the “evidence” for his growth are cherry picked instances where the show drew him smaller than usual for reasons, like here.

So Where Did They Get That Much of the Explosives and How Did They Get Them So Fast?

Only Varian knows how to manufacture that stuff. Why would he make that much of it if he was still in the experimental phase with it? He’s even surprised that they have so much, so where did they get it? If they made it then, how did they make it so fast?

So This Plan Goes Nowhere

Spoiler alert: Varian doesn’t actually get to do any of that. In fact he’s kind of pointless for the rest of the episode.

Why Would the King and Queen Care About a City That They Can’t Remember?

Like this revenge doesn’t make sense. It’s just a contrived way to get Eugene and Lance out of the way.

If the Quirineon Explodes From Being Exposed to Heat Then What Good Does Just Dropping It Do?

Yeah, remember? The stuff explodes when heated. Simply dropping it shouldn’t do anything other than make a mess on the ground maybe.

All That Build Up and Varian Still Doesn’t Get to Do Anything Useful

Up till this point, Varian was shown to be the most competent threat in the show. Yet here they have him be a screw up twice in a row just for comedy antics and to glorify Rapunzel again.

If you got to nerf other characters just to make your main look good then you’ve failed to establish your main character as being capable in their own right.

Remember That This Boy Was Trapped in a Jail Cell With This Guy for a Year!

No, I’ll never be over this.

Andrew is the most directly violent and scummy out of all of the villians in the show.

If he’s willing to do this now, if he was willing to do this to his ex-girlfriend, then what the heck was he willing to do when he and Varian were trapped alone together?

So Andrew Just Willingly Sacrifices His Own People Here....Even Though His Goal Was to Give His People a New Home....

People need to use this gif more often when concerning this show and the villains’ ass-backwards plans.

And yes they survive because of Varian alchemy. But that was on accident. Andrew had no way of knowing that would happen. He’s willing to destroy his own people just to blow up his ancestral homeland and for what!? What does he gain from this action?

The Mind Wipe Kills Frederic’s and Arianna’s Characters; Littraly

Frederic and Arianna are effectively dead at this point. Anything that made them, well them, has been wiped away. Their personalities, hopes, dreams, their on going stories and development, just gone. And we never get them back, even when their memories supposedly return.

Varian’s Not Even Allowed to Get the Idea On How to Save Corona...In His Own Redemption Episode No Less

This is his episode! We’ve spent two years building up to this point and you can’t even let him help? He’s denied the chance to make up for his own mistakes! Just so Rapunzel can play hero and be a very shallow representation of what a bunch of men think a “strong” woman should be!

It’s fucking insulting. That’s what it is.

Making a female character the center of the universe to the point where other people are just props for her is not empowering!

No It’s Not!!

Uh you wouldn’t even be here had you just fucking helped Varian to being with you dumb bitch! This is very much you and your father’s mess!

Even now, while pretending to be responsible, Rapunzel can’t actually be responsible and own up to what she did!

She’s fucking 20 and the 16 year old shows more maturity than her!

Also Your Hair Can Protect Two People at Once Rapunzel; Remember?

There’s no excuse for leaving Varian out of the action. We’ve been shown multiple times now that Rapunzel’s magic hair can protect her and other people at the same time.

Having Rapunzel Save the Day By Herself Undermines Everything the Episode Was Trying to Establish

What happened to needing to “trust again” and letting other people help you? Having Rapunzel save the day alone just tosses out the lesson that the show was trying to build up to.

The show tries to frame this as Rapunzel learning “responsibility” but that also does not work. For one it was never established that she needed to learn that within the episode itself and secondly, she doesn’t actually do anything different from what she usually does.

Being an action hero isn’t the same thing as being responsible. Being responsible is being considerate of others, doing the borning shit or mundane crap that you hate, and being mature enough to recognize your own failings and admitting when you were wrong.

So in the end Rapunzel is neither responsible nor more open to others.

And There’s the Death of Eugene’s Character

Lance, who has maybe exchanged all of three sentences with Raps, is more distrught than the guy that supposedly wants to marry her. This isn’t heartwarming, nor it is growth. It’s just lobotomizing a character right in front of our eyes.

In this very episode he was worried about Raps going to face the Saporians by herself and was, guess what, fucking right to do so. But he doesn’t give two shits if she gets blown up!?

Ooookaaaay.....

This is the completion of turning Eugene into a doormat. From now own he shan’t be allowed to have any thoughts or feelings of his own that disagrees with Rapunzel.

The Eugene we knew is now dead.

But Of Course the Show Rewards Everyone for Behaving In the Dumbest Way Possible Anyways

Don’t expect any of these grossly out of character moments and oxygen deprived logic to be addressed nor fixed within the show. The series will keep on shoving unearned endings into our facing while insisting that this is positive development.

How Did Y’all Get Here Before Varian?

Yes, he was left on a roof, but he can climb and y’all were outside of the city.

Yeah... A Year and Half Fucking Later!

Ok, a year and three months, but that’s still not any better. Worse, all this implies is that Rapunzel would not have ever concerned herself with trying to free Quirin had Varian not broken out of prison. She would have literally left them both for dead and we’re supposed to find her suddenly doing the bare fucking minimum heartwarming and inspiring?

Where Was the Inciting Incident to Use the Decay Incantation for This?

How did Rapunzel come up with this plan? When did she come up with it?

When the hurt incantation was first found no one mentioned how it could be used to save Quirin. No one even gave Quirin a thought. Since then the incarnation hasn’t been brought back up, ever. This is a pretty big leap in logic for Rapunzel to suddenly think of this.

All it highlights how Varian was originally meant to be there to translate the scrolls and incantations in order to establish all this but of course it got cut so now it just comes the fuck out of nowhere.

Not Letting Varian Have Anything to Do With Saving His Father Is Even Worse Than Not Letting Him Save the Day

This has been his motivation since the beginning. It’s been the driving plot for a season, and now that the time has finally come what does get to do?

Hold a dang bucket.

Part of coming up with satisfying endings is following through on what you’ve established. The audience needs closure. Simply freeing Quirin isn’t enough, we need the carthartis of Varian specifically fulfilling his goal.

I don’t know how to break this to you Chris, but this isn’t Rapunzel’s story. Not this segment of it anyways. It’s Varian’s and it just so happens to connect to Rapunzel’s. She shouldn’t have been center stage for this.

The Series Blows It’s Load Too Early with the Incantations

This is the last time we’ll hear any of the incantations sung on screen, cause someone in budgeting didn’t know what was important to throw the money at and what was not.

It’s not bad here, but if we could only hear one incantation only once this season it needed to be in the finale with the final heal incantation.

Varian Was Right All Along

Also, all this does is justify Varian’s actions in season one. Rapunzel was indeed the only one who could free his dad according to this. For a series that desperately wants to shove all of the blame onto an abused child’s shoulders they sure go out their way to prove him right.

So How Is the Hurt Incantation Suppose to Work?

There were so many fan theories after this scene because Varian and Quirin don’t respond to the hurt incantation the same way previous characters had.

No one is gasping for breath, Varian can touch Raps without burning his hands, and Rapunzel can control the direction of her power. ect.

Turns out there was nothing there, the writers just didn’t know what the fuck they were doing and made the hurt incantation very inconsistent just like all of the magic in this show.

BULLSHIT!!!

You literally turn into a villain because she gave up on you!!!!

She also didn’t give two shits about you throughout the entirety of season two.

Why are we just pretending like season one didn’t exist!?

Why!?

The Note!!!

No It Fucking Didn’t!

Does That Look Like “I’m Proud of You Son” To You?

Chris went on to confirm that, yes, the note did hold more information that then got cut. Pretty much confirming all that we suspected. That Varian was cut from season two and his story hastily shoved back into season three at the last minute.

Below is the link to the tumblr post he made.

https://cnotes.tumblr.com/post/190534585146/apparently-one-of-the-writers-said-a-while-back

What’s worse is that his defense is such bullshit. The below exchange pretty much sums it all up.

This Doesn’t Actually Resolve Anything and Is Therefore Unsatisfying to Watch

Part of the reason why this conclusion doesn’t work is because it doesn’t actually address any of the problems that they have in their relationship. Quirin never owns up to what he did wrong. There’s no discussion of what Varian was up to while he was entrapped, no conversation about what secrets Quirin hid from his son, and zero admission of wrongdoing on either side.

Also Varian has done nothing significant to earn those particular words. Saying I love makes sense, but in context saying “I’m proud of you” does not. It doesn’t even work on a meta level cause the episode prevented Varioan from accomplishing anything.

It’s empty.

There Could Have Been More Screen Time to Fix This If Not for Season Two Mucking About

https://discord.com/channels/427940661589704715/569296212218347522/777635115978457098

Above is the link to the original storyboards. It doesn’t fix everything but there’s a lot more satisfying emotional beats including adding Ruddiger back in who is suspiciously absent for the entire episode for no stated reason.

This version was cut due to time. Which, like with the Crossing the Line song, didn’t need to be had they been more effective with their usage of time in season two.

They also could have had a better conclusion to Varian’s arc in general had he not been cut from season two altogether.

So What Does Freeing Quirin Add to the Series?

I’m serious. What does freeing Quirin at this point and time do for the story?

It doesn’t add any character development, Quirin just wanders around aimlessly in the background until the finale and even then his part in that is a pointless dead end. Varian doesn’t gain his emotional closure, just empty, hollow “praise”. Nor is he allowed to accomplish any of his established goals. No new lore or history is exposed. No mystery uncovered.

There’s no reason why this couldn’t have been done later in the season. Provide more tension and keep up the consequences of the characters actions. Give the mains something to do and work on until Cass and Zhan Tiri show up again.

The only reason why this is here is to wrap Varian’s story up as soon as possible so he won’t “steal Cassandra’s spotlight”. That’s it. He’s rewarded for conforming to Rapunzel’s will and all the fans should shut up and be grateful, at least according to Chris.

I Like This Song But It Wasn’t Needed

It doesn’t add anything to the story. It’s just a generic celebration song. Which would be fine if it wasn’t for the fact that we have a limited number of songs, even less than in previous seasons, and the story isn’t over yet. This is the wrong place to put a victory song at.

Especially when we could have had a song that furthered Varian’s redemption instead. Yeah, that was cut too.

So Is Varian the New “Lance” This Season?

He’s right there! This is his dang focus episode!

Why hire Broadway singers and not let them sing!? Why waste talent and money like that?

Also These Lyrics!

Did Glenn Slater just not read the scripts before writing the songs? That’s all season three ever does! Give the mains what they want without earning it. Even in this very episode!

So Is This Rapunzel’s 20th Birthday or Not?

Ok I have gotten into many a heated debate about how long season three is supposed to be. And that’s because what the crew says doesn’t match what the series shows us.

By all accounts this should be Rapunzel’s birthday. According to season two she’s been gone for one year, and there’s the lanterns that they fly specifically on her birthday.

But no one verbally says it’s her birthday and I’ve heard conflicting accounts from different members of the crew. Some stating that it is her 20th birthday and some disagreeing that it is.

Well I’ll take what evidence that the show actually presents to its audience on screen over what the cast and crew says after the fact any day of the week, so I’ll be gathering up this evidence and proving by the end that season three is two years not one.

But the fact that I must comb through series to prove this, the fact that we can even have this debate, and the fact that the crew have to state basic info after the series is over is just proof of the bad writing.

Fun Fact: Cupcakes Weren’t Invented Until the 20th Century

Yeah, that’s the fault of the OG film, and yeah it doesn’t really mean much, but still it’s one more thing to add to the pile of stuff that doesn’t fit.

Plus I’m just a hardcore nerd for historical cooking and I like to share my knowledge.

Yeah But How Can He Trust All of You Again?

You’re the ones who let him down first; repeatedly. And you only started to make things up to him once he became useful to you. What assurance does he have that you won’t mistreat him again next time he’s in trouble or is no longer of any use to y’all?

Yes, Let NOT Show What the Main Character Is Actually Going Through

Yup, this is “Rapunzel’s show” but we’re not going to let Rapunzel have any focus on her feelings or give any insight into her thought process about what is the main conflict of the series now.

Conclusion

Ducktales was robbed!

I can’t believe this shit won an Emmy for “best writing.” It utterly fails on every possible level. It fails to be a continuation of the ongoing story and it fails to be a stand alone episode. Even the very structure of the story is fundamentally flawed. The only reason why it’s not the worst episode of the entire series because the finale and the penultimate episodes exist.

Anyways...I finally made it through. It literally took my entire weekend but I’m finally caught up. Next week I’ll be going back to the usual one episode a week schedule.

#Varian #tangled #anti-rapunzel #rapunzel's tangled adventure #tangled the series #Eugene #andrew

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ariainstars · 4 years

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Thank You, Disney Lucasfilm… For Destroying My Dreams

Warning: longer post.

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So… I watched The Rise of Skywalker on Disney+ a few weeks ago. Again.

Sigh.

I guess it has its good sides. But professional critics tend to dislike it and even the general audience doesn’t go crazy for it. I wonder why?

The Fantasy

When his saga became a groundbreaking pop phenomenon in the 1970es, George Lucas reportedly said that he wanted to tell fairy tales again in world that no longer seemed to offer young people a chance to grow up with them. The fact that his saga was met with such unabashed, international enthusiasm proves that he was right: people long for fairy tales no matter how old they are and what culture they belong to.

“Young people today don’t have a fantasy life anymore, not the way we did… All they’ve got is Kojak and Dirty Harry. All the films they see are movies of disasters and insecurity and realistic violence.” (George Lucas)

I’ve been a Star Wars fan for more than thirty years. I love the Original Trilogy but honestly it did not make me dream much, perhaps because when I saw it the trilogy was already complete. The Prequel Trilogy also did not inspire my fantasy.

The Last Jedi accomplished something that no TV show, book or film had managed in years: it made me dream. The richness of colorful characters, multifaceted themes, unexpected developments, intriguing relationships was something I had not come across in a long time: it fascinated me. I felt like a giddy teenager reading up meta’s, writing my own and imagining all sorts of beautiful endings for the saga for almost two years.

So if there’s something The Rise of Skywalker can pride itself on for me, it’s that it crushed almost every dream I had about it. The few things I had figured out – Rey’s fall to the Dark, Ben Solo’s redemption, the connection between them - did not even make me happy because they were tainted by the flatness of the storytelling reducing the Force to a superpower again (like the general audience seems to believe it is), and its deliberate ignoring of almost all messages of The Last Jedi.

Many fans of the Original Trilogy also were disillusioned by the saga over the decades and ranted at the studios for “destroying their childhood”. Now we, the fans of the sequels and in particular of The Last Jedi, are in the same situation… but the thought doesn’t make the pill much easier to swallow. What grates on my nerves is the feeling that someone trampled on my just newly found dreams like a naughty child kicking a doll’s house apart. Why give us something to dream of in the first place, then? To a certain extent I can understand that many fans would angrily assume that Disney Lucasfilm made the Sequel Trilogy for the purpose of destroying their idea of the saga. The point is that they had their happy ending, while every dream the fans of the Sequel Trilogy may have had was shattered with this unexpectedly flat and hollow final note.

I know many fans who dislike the Prequel Trilogy heartily. I also prefer the Original Trilogy, but I find the prequels all right in their own way, also since I gave them some thought. However, it can’t be denied that they lack the magic spark which made the Original Trilogy so special. Which makes sense since they are not a fairy tale but ultimately a tragedy, but in my opinion it’s the one of the main reasons why the Prequel Trilogy never was quite so successful, or so beloved.

Same goes for Rogue One, Solo, or Clone Wars. They’re ok in their way, but not magical.

The sequel trilogy started quite satisfyingly with The Force Awakens, but for me, the actual bomb dropped with The Last Jedi. Reason? It was a magical story. It had the spark again that I had missed in the new Star Wars stories for decades! And it was packed full of beautiful messages and promises.

The Force is not a superpower belonging solely to the Jedi Anyone can be a hero. Even the greatest heroes can fail, but they will still be heroes. Hope is like the sun: if you only believe in it when you see it you’ll never make it through the night. Failure is the greatest teacher. It’s more important to save the light than to seem a hero. No one is never truly gone. War is only a machine. Dark Side and Light Side can be unbeatable if they are allies. Save what you love instead of destroying what you hate.

Naively, I assumed the trilogy would continue and end in that same magical way. And then came The Rise of Skywalker… which looks and feels like a Marvel superhero story at best and an over-long videogame at worst.

Chekov’s Gun

“Remove everything that has no relevance to the story. If you say in the first chapter that there is a rifle hanging on the wall, in the second or third chapter it absolutely must go off. If it’s not going to be fired, it shouldn’t be hanging there.”

(Anton Chekov, 1860 - 1904)

If you show an important looking prop and don’t put it to use, it leaves the audience feeling baffled. There is a huge difference between a story’s setup, and the audience’s feeling of entitlement. E.g. many viewers expected Luke to jump right back into the fray in Episode VIII, because that’s what a hero does, isn’t it? The cavalry comes and saves the day. And instead, we met a disillusioned elderly hermit who is tired of the ways of the Jedi. But there was no actual reason for disappointment: in Episode VII it was very clearly said (through Han, his best friend) that Luke had gone into exile on purpose, feeling responsible for his failure in teaching a new generation of Jedi. It would have been more than stupid to show him as an all-powerful and all-knowing man who kills the bad guys. Sorry but who expected that was a victim to his own prejudice.

A promise left unfulfilled is a different story. The Last Jedi set up a lot of promises that didn’t come true in The Rise of Skywalker: Balance as announced by the Jedi temple mosaic, a new Jedi Order hinted at by Luke on Crait, a good ending for Ben and Rey set up by the hand-touching scene which was opposite to Anakin’s and Padmés wedding scene. Many fans were annoyed about the Canto Bight sequence. I liked it because it felt like the set-up for a lot of important stuff: partnership between Finn and Rose whom we see working together excellently, freedom for the enslaved children (one of whom is Force-sensitive), DJ and Rose expressing what makes wars in general foolish and beside the point. So if we, the fans of Episode VIII, now feel angry and let down, I daresay it’s not due to entitlement. We were announced magical outcomes and not just pew-pew.

The Star Wars saga never repeated itself but always developed and enlarged its themes, so it was to be expected that delving deeper, uncomfortable truths would come out: wars don’t start out of nowhere, and they don’t flare up and continue for decades for the same reason. In order to find Balance, the Jedi’s and the Skywalker family’s myths needed to be dismantled. Which is not necessarily bad as long it is explained how things came to this, and a better alternative is offered. The prequels explained the old political order and the beginnings of the Skywalker family, and announced that the next generation would do better. The sequels hardly explained anything about the 30 years that passed since our heroes won the battle against the Empire, and while The Last Jedi hinted at the future a lot, The Rise of Skywalker seemed to make a point of ignoring all of it.

The Skywalker Family Is Obliterated. Why?

Luke was proven right that his nephew would mean the end of everything he loved. The lineage of the Chosen One is gone. His grandson had begun where Vader had ended - tormented, pale and with sad eyes - and he met the same fate. Luke, Han, Leia, all sacrificed themselves to bring Ben Solo back for nothing. Him being the reincarnation of the Chosen One and getting a new chance should have been meaningful for all of them; instead, he literally left the scepter to Rey who did nothing to deserve it: merely because she killed the Bad Guy does not mean she will do a better job than the family whose name and legacy she proudly takes over.

I do hope there was a good reason if the sequels did not tell “The New Adventures of Luke, Leia and Han” and instead showed us a broken family on the eve of its wipeout. It would have been much easier, and more fun for the audience, to bring the trio back again after a few years and pick up where they had left. Instead we had to watch their son, nephew and heir go his grandfather’s way - born with huge power, branded as Meant to Be Dangerous from the start, tried his best to be a Jedi although he wanted to be a pilot, never felt accepted, abandoned in the moment of his greatest need, went to his abuser because he was the only one to turn to, became a criminal, his own family (in Anakin’s case: Obi-Wan and Yoda) trained the person who was closest to him to kill him, sacrificed himself for this person and died. And in his case, it’s particularly frustrating because Kylo Ren wasn’t half as impressive a villain as Vader, and Ben Solo had a very limited time of heroism and personal fulfilment, contrarily to Anakin when he was young.

The impact of The Rise of Skywalker was traumatic for some viewers. I know of adolescents and adults, victims of family abandonment and abuse, who identified with Ben: they were told that you can never be more than the sum of your abuse and abandonment, and that they’re replaceable if they’re not “good”. Children identifying with Rey were told that their parents might sell them away for “protection”. Rey was not conflicted, she had a few doubts but overall, she was cool about everything she did, so she got everything on a silver platter; that’s why as a viewer, after a while you stopped caring for her. Her antagonist was doomed from birth because he dared to question the choices other people made for him. It seems that in the Star Wars universe, you can only “rise” if you’re either a criminal but cool because you’ve always got a bucket over your head (Vader / the Mandalorian) or are a saint-like figure (Luke / Rey).

One of Obi-Wan’s first actions in A New Hope is cutting off someone’s arm who was only annoying him; Han Solo, ditto. These were no acts of self-defense. The Mandalorian is an outlaw. Yet they are highly popular. Why? Because they always keep their cool, so anything they do seems justified. Young Anakin was hated, Jake Lloyd and Hayden Christensen attacked for his portrayal. For the same reason many fans feel that Luke is the least important of the original trio although basically the Original Trilogy is his story: it seems the general audience hates nothing more than emotionality in a guy. They want James Bond, Batman or Indiana Jones as the lead. Padmé loved Anakin because she always saw the good little boy he once was in him; his attempts at impressing her with his flirting or his masculinity failed. Kylo tried to impress Rey with his knowledge and power, but she fled from him - she wanted the gentle, emphatic young man who had listened to her when she felt alone. Good message. But both died miserably, and Ben didn’t even get anything but a kiss. Realizing that his “not being as strong as Darth Vader” might actually be a strength of its own would have meant much more.

The heroes of the Original Trilogy had their adventures together and their happy ending; the heroes of the Prequel Trilogy also had good times and accomplishments in their youth, before everything went awry. Rey, Finn and Poe feel like their friendship hardly got started; Rose was almost obliterated from the narrative; and Ben Solo seems to have had only one happy moment in his entire life. Of course it’s terrible that he committed patricide (even if it was under coercion), but Anakin / Vader himself had two happy endings in the Prequel Trilogy before he became the monster we know so well. Not to mention Clone Wars, where he has heroic moments unnumbered.

The Skywalker family is obliterated without Balance in the Force, and the young woman who inherited all doesn’t seem to have learned any lesson from all this. The Original Trilogy became a part of pop culture among other things because its ending was satisfying. We can hardly be expected to be satisfied with an ending where our heroes are all dead and the heir of their worst enemy takes over. What good was the happy ending of the Original Trilogy for if they didn’t learn enough from their misadventures to learn how to protect one single person - their son and nephew, their future?

For a long time, I also thought that the saga was about Good vs. Evil. Watching the prequels again, I came to the conclusion that it is rather about Love vs. War. And now, considering as a whole, I believe it to be essentially Jedi against Skywalker. The ending, as it is now, says that both fractions lost: they annihilated one another, leaving a third party in charge, who believes to be both but actually knows very little about them.

Star Wars and Morality

After 9 films and 42 years, it still is not possible to make the general audience accept that it is wrong to divide people between Good and Evil in the first place. The massive rejection of both prequels and sequels, which have moral grey zones galore, shows it.

It is also not possible without being accused of actual blasphemy in the same fandom, to say the plain truth that no Skywalker ever was a Jedi at heart. As their name says, they’re pilots. Luke was the last and strongest of all Jedi because he always was first and foremost himself. Anakin was crushed by the Jedi’s attempts to stifle his feelings. His grandson, too. A Force-sensitive person ought to have the choice whether they want to be a Jedi or not; they ought not to be taught to suppress their emotions and live only on duty, without really caring for other people; and they ought to grow up feeling in a safe and loving environment, not torn away from their families in infancy, indoctrinated and provided with a light sabre (a deadly weapon) while they’re still small. A Jedi order composed of child soldiers or know-it-all’s does not really help anybody.

The original Star Wars saga was about love and friendship; although many viewers did not want to understand that message. The prequels portrayed the Jedi as detached and arrogant and Anakin Skywalker sympathetically, a huge disappointment for who only accepts stories of the “lonesome cowboy” kind. The Last Jedi was so hated that The Rise of Skywalker backpedaled: sorry, of course you’re right, here you have your “hero who knows everything better and fixes everything for you on a silver platter”. The embarrassing antihero, who saves the girl who was the only person showing him some human compassion, can die miserably in the process and is not even mourned.

Honestly: I was doubtful whether it would be adequate to give Ben Solo a happy ending after the patricide. I guess letting him die was the easiest way out for the authors to escape censorship. (I even wrote this in a review on amazon about The Last Jedi, before I delved deeper into the saga’s themes.) The messages we got now are even worse.

Kylo Ren / Ben Solo

A parent can replace a child if they’re not the way they expect them to be. A victim of lifelong psychical and physical abuse can only find escape in death, whether he damns or redeems himself. An introspective, sensitive young man is a loser no matter how hard he tries either way. A whole family can sacrifice itself to save their heir, he dies anyway.

Rey

Self-righteousness is acceptable as long as you find a scapegoat for your own failings. Overconfidence justifies anything you do. You can’t carve your way as a female child of “nobodies”, you have to descend from someone male and powerful even if that someone is the devil incarnate. You are a “strong female” if you choose to be lonely; you need neither a partner nor friends.

In General

Star Wars is not about individual choices, loyalty, friendship and love, it is a classic Western story with a lonesome cowboy (in this case: cowgirl) at its centre. Satisfied?

The father-son-relationship between Vader and Luke mirrors the Biblical story of Cain and Abel, saying that whoever we may want to kill is, in truth, our kin, which makes a clear separation in Good and Evil impossible. The “I am your father” scene is so infamous by now that even non-fans are aware of it; but this relationship between evil guy and good guy, as well as the plot turns where the villain saves the hero and that the hero discards his weapon are looked upon rather as weird narrative quirks instead of a moral.

In an action movie fan, things are simple: good guy vs. bad guy, the good guy (e.g. James Bond may be a murderer and a misogynist, but that’s ok because he’s cool about it) kills the bad guy, ka-boom, end of story. But Star Wars is a parable, an ambitious project told over decades of cinema, and a multilayered story with recurring themes.

A fairy tale ought to have a moral. The moral of both Original Trilogy and Prequel Trilogy was compassionate love - choose it and you can end a raging conflict, reject it and you will cause it. What was the moral of the Sequel Trilogy? You can be the offspring of the galaxy’s worst terror and display a similar attitude, but pose as a Jedi and kill unnecessarily, and it’s all right; descend from Darth Vader (who himself was a victim long before he became a culprit) and whether you try to become a Jedi trained by Luke Skywalker or a Sith trained by his worst enemy, you will end badly?

Both original and prequel trilogy often showed “good” people making bad choices and the “bad ones” making the right choices. To ensure lasting peace, no Force user ought to be believe that he must choose one side and then stick to it for the rest of his life: both sides need one another. The prequels took 3 films to convey this message, though not saying so openly. The Last Jedi said it out clearly - and the authors almost had their heads ripped off by affronted fans, resulting in The Rise of Skywalker’s fan service. It’s not like Luke, Han and Leia were less heroic in the Sequel Trilogy, on the contrary, they gave everything they had to their respective cause. They were not united, and they were more human than they had once been. Apparently, that’s an affront.

The Jedi are no perfect heroes and know-it-all’s and they never were, the facts are there for everyone to see. Padmé went alone and pregnant to get her husband out of Mustafar - and she almost succeeded - although she knew what he had done and that he was perfectly capable of it (he had told her of the Tusken village massacre himself) because she still saw the good little boy he had been in him; Obi-Wan left him amputated and burning in the lava, although he had raised Anakin like a small brother and the latter had repeatedly saved his life. But Padmé was not a Jedi, so I guess she still had some human decency. Neither Obi-Wan nor Yoda lifted a finger for the oppressed populations of the galaxy during the Empire, waiting instead for Anakin’s son to grow up so they could trick him into committing patricide. Neither Luke nor Leia did anything for their own son and nephew while he became the scourge of the galaxy, damning his soul by committing crime after crime. On Exegol, Rey heard the voices of all Jedi encouraging her to fight Palpatine to death. After that, they left her to die alone, and the alleged “bad guy”, who had already saved her soul from giving in to Palpatine’s lures, had to save her life by giving her his own. The Jedi merely know that “their side” has to win, no matter the cost for anyone’s life, sanity, integrity or happiness.

Excuse me, these are simple facts. How anyone can still believe that the Jedi were super-powerful heroes who always win or all-knowing wizards who are always right is beyond me. Luke, the last and strongest of them, like a bright flickering of light before the ultimate end, showed us that the best of men can fail. There is nothing wrong with that in itself. But it is wrong and utterly frustrating when all of the failure never leads to anything better. If Rey means to rebuild the Jedi order to something better than it was, there was no hint at that whatsoever.

And What Now?

The Last Jedi hit theatres only 2 years before The Rise of Skywalker, and I can’t imagine that the responsible authors all have forgotten how to make competent work in the meantime; more so considering that Solo or The Mandalorian are solid work. Episode IX is thematically so painfully flat it seems like they wanted us to give up on the saga on purpose. The last instalment of a 42-year-old saga ought to have been the best and most meaningful. I had heard already decades ago that the saga was supposed to have 9 chapters, so I was not among who protested against the sequels thinking that they had been thought up to make what had come before invalid. I naively assumed a larger purpose. But Episode IX only seems to prove these critics perfectly right.

The last of the flesh and blood of the Chosen One is dead without having “finished what his grandfather started”?

Still no Balance in the Force?

And worst of all, Palpatine’s granddaughter taking over, having proven repeatedly that she is not suited for the task?

Sorry, this “ending” is absurd. I have read fanfiction that was better written and more interesting. And, most of all, less depressing. I was counting on a conclusion that showed that the Force has all colours and nuances, and that it’s not limited to the black-and-white view “we against them”. That’s the ending all of us fans would have deserved, instead of catering the daddy issues of the part of the audience who doesn’t want stories other than those of the “lonesome cowboy” kind. I myself grew up on Japanese anime, maybe that’s one of the reasons why I can’t stand guys like James Bond or Batman and why I think you don’t need “a great hero who fixes the situation” but that group spirit and communication are way more important.

It was absolutely unexpected that Disney, the production company whose trademark are happy endings and family stories, would end this beloved and successful saga after almost half a century on such a hollow note. Why tell first a beautiful fairy tale and then leave the audience on a hook for 35 years to continue first with a tragedy (which at least was expected) and then with another (unexpected one)? And this story is supposed to be for children? Like children would understand all of the subtext, and love sad, cautionary tales. Children, as well as the general audience, first of all want to be entertained! No one wants to watch the legendary Skywalker family be obliterated and a Palpatine take over. The sequels were no fun anymore; we’ve been left with another open ending and hardly an explanation about what happened in the 30 years in between. If you want to tell a cautionary tale, you should better warn the general audience beforehand.

The Original Trilogy is so good because it’s entertaining and offers room for thought for who wants to think about its deeper themes, and also leaves enough space for dreams. Same goes for the first two films of the Sequel Trilogy; but precisely the last, which should have wrapped up the saga, leaves us with a bitter aftertaste and dozens of questions marks.

We as the audience believe that a story, despite the tragic things that happen, must go somewhere; we get invested into the characters, we root for them, we want to see them happy in the end. (The authors of series like Girls, How I Met Your Mother or Game of Thrones ought to be reminded of that, too.) I was in contact with children and teenagers saying that the Sequel Trilogy are “boring”; and many, children or adults, who were devastated by its concluson. There is a difference between wanting to tell a cautionary tale and playing the audience for fools. This trilogy could have become legendary like the Original Trilogy, had it fulfilled its promises instead of “keeping it low” with its last chapter. Who watches a family or fantasy story or a romantic / comedic sitcom wants to escape into another world, not to be hit over his head with a mirror to his own failings, and the ones of the society he’s living in. Messages are all right, but they ought not to go at the cost of the audience’s satisfaction about the about the people and narrative threads they have invested in for years.

This isn’t a family story: but children probably didn’t pester the studios with angry e-mails and twitter messages etc. They simply counted on a redemption arc and happy ending, and they were right, because they’re not as stupid as adults are. I have read and watched many a comment from fans who hate The Last Jedi. Many of these fans couldn’t even pinpoint what their rage was all about, they only proved to be stuck with the original trilogy and unwilling to widen their horizon. But at least their heroes had had their happy ending: The Rise of Skywalker obliterated the successes of all three generations of Skywalkers.

If the film studios wanted to tease us, they’ve excelled. If they expect the general audience to break their heads over the sequels’ metaphysics, they have not learned from the reactions to the prequels that most viewers take these films at face value. Not everybody is elbows-deep in the saga, or willing to research about it for months, and / or insightful enough to see the story’s connections. Which is why many viewers frown at the narrative and believe the Sequel Trilogy was just badly written. This trilogy could have become legendary like the Original Trilogy, had it fulfilled its promises instead of “keeping it low” with its last chapter. As it is now, the whole trilogy is hanging somewhere in the air, with neither a past nor a future to be tied in with.

The prequels already had the flaw of remaining too obscure: most fans are not aware that Anakin had unwillingly killed his wife during the terrible operation that turned him into Darth Vader, sucking her life out of her through the Force: most go by “she died of a broken heart”. So although one scene mirrors the other, it is not likely that most viewers will understand what Rey’s resurrection meant. And: Why did Darth Maul kill Qui-Gon Jinn? What did the Sith want revenge for? Who was behind Shmi’s abduction and torture? Who had placed the order for the production of the clones, and to what purpose? We can imagine or try to reconstruct the answers, but nothing is confirmed by the story itself.

The sequels remained even more in the dark, obfuscating what little explanation we got in The Rise of Skywalker with quick pacing and mind-numbing effects.

Kylo Ren had promised his grandfather that “he would finish what he started”: he did not. Whatever one can say of this last film, it did not bring Balance in the Force. What’s worse, the subject was not even breached. It was hinted at by the mosaic on the floor of the Prime Jedi Temple on Ahch-To, but although Luke and Rey were sitting on its border, they never seemed to see what was right under their noses. It remains inexplicable why it was there for everyone to see in the first place.

We might argue that Ben finished what his grandfather started by killing (or better, causing the death of) the last Jedi, who this one couldn’t kill because he was his own son; but leaving Rey in charge, he helped her finish what her grandfather had started. The irony could hardly be worse.

Episode IX looks like J.J. Abrams simply completed what they started with Episode VII, largely ignoring the next film as if it was always planned to do so. We, the angry and disappointed fans of The Last Jedi, may believe it was due to some of the general audience’s angry backlash, but honestly: the studios aren’t that dumb. They had to know that Episode VIII would be controversial and that many fans would hate it. The furious reactions were largely a disgrace, but no one can make me believe that they were totally unexpected. Nor can anyone convince me that The Rise of Skywalker was merely an answer to the small but very loud part of the audience who hated The Last Jedi: a company with the power and the returns of Disney Lucasfilm does not need to buckle down before some fan’s entitlement and narrowmindedness out of fear of losing money. And if they do, it was foolish to make Rey so perfect that she becomes almost odious, and to let the last of the Skywalker blood die a meaningless death. (Had he saved the Canto Bight children and left them with Rey, at least he would have died with honor; and she, the child left behind by her parents, would have had a task to dedicate herself to.)

The only reason I can find for this odd ending is that it’s meant to prepare the way for Rian Johnson’s new trilogy, which - hopefully - will finally be about Balance. We as the audience don’t know what’s going on behind the doors. Filmmaking is a business like any other, i.e. based on contracts; and I first heard that Rian Johnson had negotiated a trilogy of his own since before Episode VIII hit theatres. Maybe he kept all the rights of intellectual property to his own film, including that he would finish the threads he picked up and close the narrative circles he opened, and only he; and that his alleged working on “something completely different” is deliberately misleading.

Some viewers love the original trilogy, some love the prequels, some like both; but I hardly expect anyone to love the sequel trilogy as a whole. What with the first instalment “letting the past die, killing it if they had to”, the second hinting at a promising future and the third patched on at the very last like some sort of band-aid, it was not coherent. I heard the responsible team for Game of Thrones even dropped their work, producing a dissatisfying, quickly sewn together last season, for this new Star Wars project and thereby disappointing millions of GoT fans; I hope they are aware of the expectations they have loaded upon them. George Lucas’ original trilogy had its faults, but but though there was no social media yet in his time, at least he was still close enough to the audience to give them what they needed, if not necessarily wanted. (Some fans can’t accept that Luke and Leia are siblings to this day, even if honestly, it was the very best plot twist to finish their story in a satisfying way.)

I’m hoping for now that The Last Jedi was not some love bombing directed at the more sentimental viewers but a promise that will be fulfilled. “Wrapping up” a saga by keeping the flattest, least convincing chapter for last is bad form. Star Wars did not become a pop phenomenon by accident, but because the original story was convincing and satisfying. Endings like these will hardly make anyone remember a story fondly, on the contrary, the audience will move to another fandom to forget their disappointment.

On a side note, I like The Mandalorian, exactly for the reason that that is a magical story; not as much as the original trilogy, but at least a little. Of course, I’m glad it was produced. But it’s a small consolation prize after the mess that supposedly wrapped up the original saga after 9 films.

We’re Not Blind, You Know…

- Though Kylo Ren (Ben Solo) has Darth Vader’s stature, his facial features are practically opposite to Vader’s creepy mask. This should have foreshadowed that his life should have gone the other way, instead of more or less repeating itself. - As a villain Kylo was often unconvincing; by all logic he should have been a good father figure. (Besides, Star Wars films or series never work unless there is a strong father or father figure at their center.)

- Like Vader, Kylo Ren was redeemed, but not rehabilitated. Who knows who may find his broken mask somewhere now and, not knowing the truth, promise “I will finish what you started”. - The hand-touching scene on Ahch-To which was visually opposite to Anakin’s and Padmé’s should not have predicted another tragedy but a happy ending for them. - The Canto Bight sequence was announcing reckoning for the weapon industry and freedom for the enslaved children. It also showed how well Finn and Rose fit together. - Rey was a good girl before she started on her adventures. Like Anakin or Luke, she did not need to become a Jedi to be strong or generous or heroic. - Rey summons Palpatine after one year of training. Kylo practically begged for his grandfather’s assistance for years, to no avail. Her potential for darkness is obviously much stronger. - Dark Rey’s light sabre looked like a fork, Kylo’s like a cross. - The last time all Jedi and Sith were obliterated leaving only Luke in charge, things went awry. Now we have a Palpatine masquerading as a Skywalker and believing she’s a Jedi. Rey is a usurper and universally cheered after years of war, like her grandfather. - The broom boy of Canto Bight looked like he was sweeping a stage and announcing “Free the stage, it’s time for us, the children.”

Rey failed in all instances where Luke had proved himself (so much for feminism and her being a Mary Sue): - Luke had forgiven his father despite all the pain he had inflicted on him. She stabbed the „bad guy”, who had repeatedly protected and comforted her, to death. - Luke never asked Vader to help the Rebellion or to turn to the Light Side, he only wanted him back as his father. She assumed that you could make Ben Solo turn, give up the First Order and join the Resistance for her. She thought of her friends and of her own validation, not of him. - Luke had made peace by choosing peace. Rey fought until the bitter end. - Luke had thrown his weapon away before Palpatine. Rey picked up a second weapon. (And both of them weren’t even her own.) - Luke had mourned his dead father. Rey didn’t shed a tear for the man she is bonded to by the Force. - Luke went back to his friends to celebrate the new peace with them. Rey went back letting everyone celebrate her like the one who saved the galaxy on her own, she who were tempted to become the new evil ruler of the galaxy and had to rely on the alleged Bad Guy to save both her soul and her body. - Luke had embodied compassion when Palpatine was all about hatred. Where he chose love and faith in his father, she chose violence and fear. - Luke had briefly fallen prey to the Dark Side but it made him realize that he had no right to judge his father. Rey’s fall to the Dark Side did not make her wiser. - Rey has no change of mind on finding out that she’s Palpatine’s flesh and blood, nor after she has stabbed Kylo. Luke had to face himself on learning that he had almost become a patricide. Rey does not have to face herself: the revelation of her ancestry is cushioned by Luke’s and Leia’s support. Rey is and remains an uncompromising person who hardly learns from her faults.

This is cheating on the audience. And it's not due to feminism or Rey being some sort of “Mary Sue” the way many affronted fans claim. Kylo never was truly a villain, Rey is not a heroine, and this is not a happy ending. The Jedi, with their stuck-up conviction “only we must win”, have failed all over again. The Skywalker family was obliterated leaving their worst enemy in charge. Rey is supposed to be a “modern” heroine which young girls can take as an example? No, thank you. Not after this last film has made of her. Padmé was a much better role model, combining intelligence with strength and goodness and also female grace. The world does not need entitled female brats.

Bonus: What Made The Rise of Skywalker a Farce

- The Force Awakens was an ok film and The Last Jedi (almost) a masterpiece. The Rise of Skywalker was a cartoon. No wonder a lot of the acting felt and looked wooden. - “I will earn your brother’s light sabre.” She’s holding his father’s sabre. - Kylo in The Last Jedi: “Let the past die. Kill it if, you have to.” Beginning with me? - Rey ends up on Tatooine. - The planet both Anakin and Luke ardently wanted to leave. - Luke had promised his nephew that he would be around for him. - Nope. - Rey had told Ben that she had seen his future. What future was that - “you will be a hero for ten minutes, get a kiss and then die? (And they didn’t even get a love theme.) - “The belonging you seek is not behind you, it is ahead.” On a desert planet with a few ghosts. What of the ocean she used to dream about? - Ben and Rey were both introduced as two intensely lonely people searching for belonging. We learn they are a Force dyad, and then they are torn apart again. - Why was Ben named for Obi-Wan Kenobi in the first place, if they have absolutely nothing in common? - The Throne Room battle scene in The Last Jedi was clearly showing that when they are in balance, Light Side and Dark Side are unbeatable. Why did the so-called “Light Side” have to win again, in The Rise of Skywalker, instead of finding balance? - Luke’s scene on Ahch-To was so ridiculously opposite to his attitude in The Last Jedi that by now I believe he was a fantasy conjectured by her. (Like Ben’s vision of his father.) - Anakin’s voice among the other Jedi’s. - He was a renegade, for Force’s sake. - The kiss between two females. - More fan service, to appease those who pretended that not making Poe and Finn a couple was a sign of homophobia. - We see the Knights of Ren, but we learn absolutely nothing about them or Kylo’s connection with them. - Rose Tico’s invalidation. - A shame after what the actress had gone through because for the fans she was “not Star-Wars-y” (chubby and lively instead of wiry and spitfire). - Finn’s and Rose’s relationship. - Ignored without any explanation. - Finn may or may not be Force-sensitive. - If he is: did he abandon the First Order not due to his own free will but because of some higher willpower? Great. - General Hux was simply obliterated. - In The Force Awakens he was an excellent foil to Kylo Ren; no background story, no humanization for him. - Chewie’s and 3PO’s faked deaths. - Useless additional drama. - The Force Awakens was a bow before the classic trilogy. The Rise of Skywalker kicked its remainders to pieces. - The Prequel Trilogy ended with hope, the Original Trilogy with love. The Sequel Trilogy ends on a blank slate. - “We are what they grow beyond.” The characters of the Sequel Trilogy did not grow beyond the heroes of the Original Trilogy. - The Jedi did not learn from their mistakes and were obliterated. The Skywalker family understood the mistakes they had made too late. Now they’re gone, too.

P.S. While I was watching The Rise of Skywalker my husband came in asked me since when I like Marvel movies. I said “That’s not a Marvel movie, it’s Star Wars.” I guess that says enough.

P.P.S. For the next trilogy, please at least let the movies hit theatres in May again instead of December. a) It’s tradition for Star Wars films, b) Whatever happens, at least you won’t ruin anyone’s Christmases. Thank you.

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drivingsideways · 3 years

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Misaeng review

Ok, it's been almost a week, so I feel like I can get my thoughts (somewhat) in order. As usual, I'm late to the party, given that Misaeng aired 6 years ago, and is already considered a kdrama classic. Still: thoughts!

(under the cut)

I came to this drama with quite a lot of expectations, both because I'd seen it on a lot of rec lists, and also because I'd watched director Kim Won-seok's Signal and My Mister, which are justifiably as beloved as Misaeng. I'm happy to report that Misaeng mostly lived up to those expectations!

The writing & direction work together to make Misaeng a very immersive experience, which is good, considering the entire run time is over 20 hrs. The level of seemingly mundane detail of the operational aspects of running a trading firm that they delve into (and other dramas might have avoided for sake of pacing) seemed odd to me at first, but eventually result in a world building that's incredibly well fleshed out. The (formerly unlikely!) high stakes of a misplaced piece of paper or octopuses in a shipment of squid end up being parts of an emotionally wrenching narrative whole fairly seamlessly. Still, at 20+ hours, Misaeng also does get into the kind of pacing issues that most of the slice of life kdramas I've watched so far have. And it didn't need to! I think it had a wonderful ensemble of characters, and if they'd maybe given a little more time and space to characters other than Jang Geu-Rae (Im Si wan) and Oh Sang-sik (Lee Sung-min), the mid portions may not have felt quite so, well, stuck.

But more than the strong writing and direction, it was really the actors who delivered. They made what could have easily been a dull-ish office drama into a heart warming story about human connection and the joys and troubles of leading an "incomplete life". I'd never watched Lee Sung-min in anything before, and about half way through the series I was like, HOW IS HE MAKING A SHORT TEMPERED, ALCHOHOLIC MIDDLE MANAGER SO SEXY? Like, serious props, dude. Lee Sung-min is by turns annoying and brash and too shout-y and stubborn and funny and so incredibly vulnerable as a man trying his best to live by his principles in a world that thinks they are an impediment to "success", that you forget that he's playing a fictional character-- he's someone you know, he's someone you've seen in the mirror.

His performance as Oh Sang-sik is very ably matched by Im Si Wan's Jang Geu-Rae. This series would not have worked if these two actors didn't have the chemistry they do, and play off each other in every scene. I had watched Im Si Wan recently- in JTBC's "Run On", in which I liked his performance quite a lot, but I absolutely loved him as the naive and endearing Jang Geu-rae. Misaeng, is in part, a bildungsroman narrative centered around Jang Geu Rae. Im Si wan brought a kind of vulnerability to the role that might have felt cloying and emotionally manipulative in the hands of other actors, but Im Si-wan manages to do it with a light touch. I feel he's one of those actors that uses his whole body in a scene, not just relying on facial or verbal expression, and it's a joy to watch.

Each of the other actors in the ensemble also bring that dedication and talent to their roles, even if it's in a single scene. There are lots of one-off characters that we meet during the course of the series, and every single one of them leaves an impact.

But! I'm going to pick a fave from the supporting cast and that's Byun Yo-han, whom I'd last watched as the broody, troubled (and very sexy) swordsman Lee Bang-ji in Six Flying Dragons. I can't imagine a character more in opposition to that one than Han Seok-yul in Misaeng, but Byun Yo-han just knocks it out of the park as the scheming, cheerful and mostly inappropriate clown with a heart of gold; Han Seok-yul is the definition of Chaotic Good, and you're equal parts horrified by his antics- which include sexual harassment dont @ me -- and yet charmed by him. I wish they'd given him a few more scenes and a larger plotline to work with, but I also suspect that he might have just walked away with the entire series if they did that. (Am I plotting that series in my head as I write this? MAYBE.)

Alright, this is getting a bit too long, so I'm going to get to the bits that disappointed me. That's really one major thing: the gender politics. I don't know how different the show is from the web toon it's based on, so I can't tell whether they made significant changes to the basic plot and characters. As in- I have no idea if the webtoon was as male dominated in every way as the show is, so I'm not sure how much of the show's treatment of women as a class, and its female characters in particular, I should lay at the door of the original writer vs the screenwriter and director. I'm also lacking the Korean context in which this was written and made and aired, so you may take my criticism with a pinch of salt, if you please!

That the show features mainly male characters is perhaps unsurprising and realistic, since we know that the kind of corporate life it depicts is very male dominated, top to bottom. The show also portrays the very real and horrific overt and subtle misogyny that women face in the workplace and out of it; mainly in the character of Ahn Young-yi, played with steely determination and quiet suffering by the lovely Kang so-ra. There are only 3 other female characters that have any sort of real speaking role- Sun Ji Young (played by Shin Eun jung), a senior manager at the company, Jang Geu-rae's unnamed(!) mother (played by the amazing Sung Byoung-Sook) and Oh Sang-sik's unnamed (!) wife (played by Oh Yoon-Hong, who's a delight in every tiny scene she has). There are other women who appear but in very minor roles, and often in "comedy" moments that often rely on sexist tropes to start with.

Anyway, right there you can see one of the problems- 4 women characters that have any kind of real screen time, and only 2 of them are named. Aigoo! Screenwriter Jung Yoon-jung is a woman, and like, I don't like putting the burden on any one woman to y'know fix structural misogyny, but I can't also help feeling disappointed that she overlooked even this "small" thing among the larger things.

But that apart, the main issue for me was that while the show doesn't shy away from depicting egregious sexism in the form of sexual harrassment, verbal and physical and certainly emotional abuse, in a manner that's clear that we are meant to be horrified by it--it falls short of depicting how women deal and work with it. It just doesn't give enough space to women or their worldview.

It's very comfortable depicting victimhood, but doesn't put work into depicting the ways in which women survive by finding solidarity with other women. We have a scene or two where Ahn Young-yi who is this show's poster child for female victimhood interacts with the older women who offer sympathy and understanding, but no real strategy or support. And yes, we see men also being targeted by their seniors for the grossest verbal and physical abuse; and it's men who help Ahn Young-yi strategise on how to deal with her situation. Real life experience tells me that it's the women who do this work for other women. I have certainly been on both sides of this equation, for one, and so has every woman that I know in corporate life. And yes, one of the show's core philosophies is that those who endure, survive--but it is none the less extremely painful to watch Ahn Young yi "endure" the kind of abuse she does as a coping strategy and a survival strategy.

At the end of it, when she slowly manages to gain the support of her sexist team, it's shown as a victory-- though naturally imperfect, because this show takes its Realism very seriously (right until the end where it makes a tonal shift into quirky that I was a little ?? about)-- and y'know, sure, it is a victory. And I absolutely understand the choices she makes and why she does it-- I guess I just got annoyed by the fact that other antagonistic figures in the narrative get a more straightforward comeuppance for their egregious behavior, but Ahn Young-yi doesn't even get a goddamned apology from her abusers. Instead, we have a half humourous, half serious moment where she comments on how she's working at turning herself into "someone cute"- because she understands now that sometimes the right strategy is to "go with the flow". Be the water that slowly wears away at the rock. It's an interesting moment- the men she tells this to are taken aback by her bluntness, but also a little clueless about what she means. It's the kind of nuance that I would and do enjoy. Unfortunately, it also closely follows one of the show's most annoying scenes at the tail end of the series- where it tries to play off workplace sexism and misogyny as comedy- boys being boys-Reader, when I tell you that I had to WORK to unclench my jaw--!

I'm not saying we should have a single and obvious narrative of female emancipation. I'm not against realism in fiction, but god, sometimes, please do remember that when we look for escapism, we are actually imagining a better world. The first step toward liberation is allowing yourself to imagine it.

And the show does allow other characters its moments of unfettered fantasy- Im Si Wan parkour-ing all over the rooftops of Amman- and having a semi mystical + Indiana Jones moment in the deserts of Jordan--so why, I ask, are the women not given that gift?

*looks into the camera *

Tl;dr: I enjoyed it, it made me cry every episode, and I cared about all the characters, and if you haven't watched it yet, treat yourselves.

PS. Yes, Han Seok-yul is a disaster bi, sorry, I don't make the rules. Yes, hotties Oh Min Seok and Kang Ha-neul are canonically naked in a hot tub six feet apart because they are bros. Yes, I will be writing the fix it in which they fuck like angry bunnies. Yes, I am going to put my shipper cooties all over this gen slice of life show, deal with it.

#misaeng #kdrama #thinky thoughts

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ramblingguy54 · 4 years

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The First Adventure: Bradford Introspective.

So, uh, sir as you can see, our unpredictable S.H.U.S.H. escapades are costing us millions. A chaotic event occurs...We respond with even more chaos.

Getting more insight into Bradford’s ideology was wonderful to see. Giving the antagonist screen time to flourish in expanding their personality, while adding to what makes them who they are, is seriously important for an interesting well rounded character. It further adds a weight to their presence, like we’ve seen with Magica De Spell looming around Lena in Season 1 before. Lunaris suffered a serious lack of screen time in Season 2, since it was focused on a bunch of other stuff, such as Della’s introduction into the fray at long last. It’s very interesting and ironic that he started out working for the very agency he’s entirely against, going to show how Bradford really isn’t an antagonist, per say. More of a well intent extremist, who’s just some guy wanting order and control that won’t result in spiraling out of hand chaos. He’s done intensive studying on all of the organization’s previous occurred scenarios and wanted to find a better more efficient way of creating a less concerning environment. Ludwig, naturally, saw the big red flag a mindset like this would obviously cause for everyone in the grand scheme of things shutting down his idea from ever being approved. Bradford knows though a guy like himself doesn’t have the abilities in creating what is believed to create a better world from his perspective so he turns toward enlisting Black Heron for help. A decision both good & bad for his plans.

The First Adventure ties in Scrooge’s growth of using adventure to bond with his beloved niece and nephew, just as Bradford uses his experience of working together alongside Black Heron to be more careful and cautious about making sure this plan doesn’t have severe slip ups down the road. Black Heron’s over eccentric nature puts them consistently at risk of being caught red handed, considering she loves getting attention for her evil deeds much to Bradford’s dismay. Their chemistry is priceless seeing how Bradford tries tolerate her arrogant nature, while feeling the need to constantly remind her that he’s no villain with a need to make their maniacal motives known to everyone. Bradford only wants to attain the chaos ridden artifact allowing no more disasters occurring of it falling into the wrong hands, which Heron constantly butts heads with him on throughout the episode’s run time. Heron’s nature is a loose canon Bradford would inevitably tie down for good measure afterwards to make sure she wouldn’t endanger his master plan operation for future reference. Well, at least until her incompetent shenanigans went down in Let’s Get Dangerous.

You used the Papyrus twice! I should’ve known. You, Scrooge...All of you! You’re all reckless! Nothing but trouble!

If it wasn’t for Bradford’s quick thinking in using the Papyrus, the very thing he heavily was criticizing early about not wanting to use funnily enough, his aspirations would’ve been cut short right here and now. However, it did serve an important purpose of Scrooge figuring out his true colors even back then because he made it clear of never resigning his resolve to capture Bradford, even if it meant tearing down whatever is in the way of preventing that accomplishment. A resolve like that scared him greatly enough to make a heel turn change in perspective about how he should go about better handling an approach of caution. Instead of hiding in the shadows, Bradford takes the good ole approach of keeping your enemies closer than any ally basically. The First Adventure is laced with plenty of optimism, but shows the dark under belly of Bradford’s evolution, too. Having Bradford interact with Scrooge as much as he has in the story’s current events makes for awesome dramatic material. Been really enjoying this dynamic of their’s in studying how they’re so much alike, business wise, but so insanely different contrast wise on approaches to risk taking. I’ve always enjoyed the idea of incorporating a character serving as an exact opposite to everything the main hero of a story stand for, which in this case is Scrooge’s love for adventuring blossoming stronger than ever here.

Bradford & Scrooge want control in their lives to create some kind of happiness for themselves. They’re seriously stubborn, driven by their own pride, and don’t normally waver from what they want to see through til the end. Greatly appreciate what Season 3 has been conveying between their mentalities. It’s eerie as heck looking at how much Scrooge trusted him because they’re so similar in their thinking from a business standpoint on stuff to a degree. Not only did he go underneath Scrooge’s radar, but Agent 22 as well who can be a tough nut to crack in terms of gaining her trust and respect. He’s secretly deadly to the core because of how calculating he is in his approach as this season’s big baddie. Bradford’s silent methodical planning has gotten him this far on the path for achieving his goals in gaining control over everything.

This looks like the start of a beautiful friendship...

Give me an episode having the antagonist as part of a focal point alongside our hero and you’ve caught my full attention. It was entertainingly insightful seeing how it all began for Bradford showing his evolution of plans for orderly organized control would lead him straight to being a board member of Scrooge’s businesses and corporation. You can just feel the sinister atmosphere flying off this screen shot of Bradford’s passive aggressive two faced personality.

#dt spoilers #ducktales season 3 #bradford buzzard #scrooge mcduck #the first adventure!#ducktales 2017 #dt analysis

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insanely-creative-things · 4 years

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Everything wrong with Karmi and why its a problem

Never thought I would do this thing, but as of now… I’ve kept this to myself for a long time since the beginning of the show, and I want to say that this is not recent, this is not a response to every fan that likes this character. This is to share why I find Karmi as an awful character in full detail and the fact that it’s being portrayed positively rather troubling.

(This is just a small disclaimer put to put it shortly: Jelly pig’s actions were inexcusable. She can hate Karmi all she wants and should not be forced to like her. However, sending threats and going out of their way to put nasty comments on other’s piece of work is not a healthy way to express your distaste for a character. At most, they should have just filtered their tags so that they don’t see any Karmi related work on their dash. And Jelly/pig or whatever your name is now if you’re reading this: I want to let you know that you can hate Karmi all you want, but again, sending death threats is not a way to get others to listen to you. And I get what you were trying to do, trying to say that Karmi’s existence is worse than COVID. While I get what you’re saying if you seriously think this way then you need to reevaluate yourself and your choice of words. Karmi is a bad character but there are far worse things to worry about. I do genuinely hope you change your behavior and express your opinions in a healthy manner, that you are getting better, but again, death threats will get you nowhere. In other words: think before you run your mouth.)

I am a fan of Disney, and I especially adore the show Big Hero 6: The Series. However, it has come to my attention that a certain character is a harmful presence in the show that is being portrayed in a positive light when their actions had clearly been damaging. In Big Hero 6: The Series, there is a character named Karmi, who is a Biotech student. From what I can understand, she is portrayed as a rival to Hiro Hamada to which her actions are endearing, and is set up as a love interest to the main character, with the added charm being that she is a fanfiction writer who is enamored with Hiro's superhero identity. However, upon further inspection and research, it becomes clear that Karmi, the character, is not a positive character who should be presented as such. In fact, what her actions and behavior actually are is that of a bully, an antagonist. While it is nothing new to have a bully character to be an antagonist, it appears that the writers and executive producers of Big Hero 6: The Series are unaware of/ignorant of how Karmi appears in the show and genuinely believe that Karmi's character is endearing. Here is the following evidence to display Karmi's actions and why it is not justified.

In her first appearance of the show, Issue 188, she is introduced to Hiro as to ‘help him’ socialize better by Professor Granville, and yet her behavior/actions to Hiro, when the professor is not around, is demeaning and antagonistic; One particular scene near the end where Karmi is experimenting on a dangerous virus, a virus that requires her to be in a biohazard suit, and yet doesn't tell Hiro to wear a biohazard suit himself. This becomes more concerning since the virus is compromised and could have possibly escaped, with the chance of it infecting Hiro yet she expresses no concern over his well-being and that she could have gotten him killed via said virus. Even if this is played for comedy, no biotech major or scientist would even think of replicating Karmi's actions. Especially virology majors and biotech scientists because it is the most irresponsible and negligent thing to do. Then later, we learn that it’s not Hiro that has a problem socializing, it was Karmi the whole time. Helping others socialize is nothing new, and while that is a start... later in the series we see Karmi having no problem talking to others around her, and can easily approach Liv to steal Hiro’s attention to present her invention(More on that later.) So immediately, it shows that Karmi’s problem isn’t social, it’s behavioral, she has gotten in trouble for her behavior before.

Now, I got to say this: at the beginning, I genuinely wanted to give Karmi a chance as a character, reasoning myself that it’s only her first episode. I was not expecting a 180, I only want her to be at least decent to Hiro. I could tolerate a sarcastic line or two... but Failure Mode had ultimately destroyed any sort of sympathy I could have had for her since then, the one to make me shout ‘WHAT. A. BITCH!’ and make me absolutely hate her.

During the episode of Failure Mode, her second appearance in the show, Hiro Hamada's first attempt at his project has been a failure; to which her first reaction to doing so is to film the blundered presentation and post it online for all to see. Her action during that moment is in fact, cyberbullying; an act to which the bully will post slander or humiliating moments of their victims' actions online to further humiliate them. The fact that Professor Granville, a professor/Dean of the school, who was teaching that class, in particular, does not reprimand Karmi for her blatant bullying here is disgraceful as no other teacher in authority would allow such a vile act happen in their classroom.

When I first watched it I was staring in horror at such a blatant act of bullying. I actually stopped the video I was watching because I couldn't stomach watching any more of it and it took me a solid week until I could watch the rest of the episode. And even then, she didn’t stop there: She does it again when Hiro’s second presentation inadvertently destroying the other student’s projects to which Karmi(and a group of students standing behind her) taking pictures of the whole ordeal. The next scene shows Granville and Hiro having a moment discussing how Hiro shouldn’t be discouraged and that he shouldn’t call himself a failure… to which Karmi barges in with her project and asks Granville point black to let Hiro call himself a failure many more times,(curiously the next scene cuts off to the gang before it gets to Granville’s reaction so we never see if Karmi was scolded for this.) Then, when Hiro presents his project a third time, Karmi has her phone out expecting it to fail a third time! That’s three times Karmi had done in a span of an episode with the intent to humiliate Hiro online and even wanting Hiro to call himself a failure! Could you imagine a child watching that episode, someone who might be bullied at school, watching such an act go by, and for laughs?? That’s just downright terrifying and horrific for anyone in that situation.

In Small Hiro One, Karmi is clearly demeaning to Hiro as she makes fun of him not joining the other students to a seminar of a student-alumni due to his age. Even when they had a moment to talk, Karmi originally came up to Hiro to humiliate him for being around a 'fake scientist' that made 'fake volcanoes' for a kid's show. So even that sweet moment is soured when you realized she came up to him to insult him to make herself feel better for being the first student to be kicked out of the seminar. Even Hiro, in his super suit, tells Karmi to be nicer to other people! But even then it doesn’t work and Karmi still continues her malicious behavior.

Fan Friction is a more infamous example. While it is true that people write fanfiction of their beloved celebrities and actors there has to be a line. In Hiro Hamada's view, he is clearly uncomfortable with Karmi's writing of his superhero self being portrayed in a romantic relationship when, as previously stated before, her prior actions towards him are antagonistic. He is a person, a person that had been antagonized by Karmi. He had every right to be upset about this, but the others around him basically chalk it up to being embarrassed by Karmi's infatuation with Hiro's alter ego rather than the fact that the fanfiction is written by someone who despises him.

Do you remember the episode Big Hero 7? The plot being that Fred inadvertently exposed his superhero identity to Mole which lead to Mole blackmailing the team to which they had to give in to his demands that ultimately failed because Mole still made that appointment with bluff dunder to expose their identities? That all started because Fred saw that Mole forged an autograph of Fred's superhero self, where he claimed they(The team) go apple picking and are close friends, which leads to Fred’s outburst and the reveal. Fred did it because a person who despises him and does everything he can to upset/torment him made an autograph that says they are friends when they’re clearly not as Mole tormented him for laughs. So, how come Fred has the right to be upset about Mole's autograph forgery, and yet Hiro can't be upset with Karmi's fanfic? I bet you that Fred would have been just as upset at the fanfic if it was written by mole as a self-insert, and Gogo would be just as upset if Mole also included writing herself as his GF like Karmi writing Super Hiro as her boyfriend. And here's a kicker: if the fanfic was literally written by anybody else, then Hiro wouldn't have been so upset about it. Why? Cause it was a stranger that wrote it, someone he never met and could care less about. He would have probably shared the sentiment the others had. Except it wasn't written by some stranger, it was by Karmi, who had routinely bullied him and belittled him from day one all because he’s a younger student than her.

Karmi’s self-insert fanfic even backfired when Momakase literally thought that Karmi was in fact Hiro’s girlfriend and kidnapped her. To which brings up this thought: Why would Momakase think that a self-insert about a student be real? Is it because Obake thought it was real? I highly doubt it since he had been spying on the team for a long time and would have known everything about them, hell he made a replica of Hiro’s room in the previous episode Rivalry Weak! He would have been long aware of Hiro’s true relationship with Karmi and realized that Karmi is not involved with the team in any way. Its actually my head-cannon that Obake placed that fanfic in his sources as a joke, as a way to test Momakase to see if she could tell the difference between real info and fanfiction, to which she failed... and then he proceeded to laugh at her when he told her the truth after the fact.

In the episode Big Problem, it starts off with the introduction of Liv Amara who is going towards to see Hiro Hamda for work on Baymax. While they had waited for Liv Amara to arrive, Karmi comes in uninvited to get Liv Amara's attention. Then Liv Amara pushes away Hiro because it was Tadashi who made Baymax; there was no explanation as to why Liv Amara disregarded Hiro because it was Tadashi's invention,( is it because she had a run-in with Tadashi before that lead to some bad blood between them? We never learned anything about it). To which Karmi steps in and takes Liv Amara's attention. Hiro Hamada is clearly upset that he was snuffed for his invention not being his own, to which the others around him basically say that he is jealous of Karmi attracting Liv Amara's attention. That is a false assessment from the supporting characters and from the writers. Karmi had no right to be there when it was clearly Hiro's interview with Liv Amara. If Liv was so impressed with Karmi that she chose to spend the day with her, fund her project, and give her an internship in season 2... then why didn't she go to Karmi in the first place? If they wanted to have Hiro jealous it should be that Granville tells the students that Liv is going to see Karmi because of her invention. That would make Hiro’s jealousy believable, but instead, Hiro’s supposed jealousy is out of anger that Baymax, his brother’s invention, was snuffed by Liv Amara (who has the power to distribute Baymax to the public to help people like Tadashi wanted) with no explanation why and only to have Karmi, who had no right to be there, take her attention.

The episode Intern-about showcases most of Karmi's negative interactions with Hiro here as he is bothered by Karmi's high and mighty personality to which he goes to get an internship with Krei Tech. When Karmi sees that Hiro is being used for ordinary errands she insults him and laughs away like a bitch. Nothing more, not even an ‘I’m sorry’.

Prey Date has Karmi calling him an idiot. Of course, she does ask Super Hiro how Hiro is and a lot of people find that endearing. Except that was the bare minimum of decency anyone could ask. Fred asked if Mole was OK after their battle with High Voltage and not much is said about that. Even then, why didn’t Karmi ask Hiro herself? Why didn’t she look for Hiro and ask how he was, and what Orso Knox did? She didn’t. It could have happened off-screen except that’s not good enough. If it doesn’t appear in the show than that never happened, which means Karmi’s concern for Hiro by asking him in person did not happen.

Something Fluffy also has Karmi being an idiot considering she exploded at Hiro for even suggesting that Liv was behind the monster attacks and that he had no evidence to prove it. Except he does. He has Karmi’s sticker patch that he got from Ned Ludd, the hybagon. It is literally Karmi’s invention found on a person, that transformed him into a monster, and she says that it wasn’t Liv? That is more than enough evidence to show that Liv is behind the attacks because last we checked, Liv funded Karmi’s project, making it part of Sycorax. There is literally no reason for her to doubt or attack Hiro on this. Karmi could be forgiven if the patch itself was redesigned without her knowledge by Liv and Chris, but it’s an exact match which means Karmi should have known better.

On a side note: The Mayoi being a Fungus is true: however, fungi are not plants, not even close. They are in the class of Animalia because of their eukaryotic cells, they lack the ability to photosynthesize so they get their energy by absorption of other plant life, and the fact that their cell walls are made of a carbohydrate polymer called chitin, which is also found in insects as their exoskeletons. There’s even a species of fungi called the cordyceps that infect insects like ants, to which they plant themselves into the head, control the hosts’ bodies to an environment to spread their spores, to which the host dies as the fungus consumes it. What the mayoi are is just an evolved form of the fungus (thankfully not the cordyceps strain of fungi otherwise it would be far more terrifying in the show) given legs and eyes instead of a plant being given an animals’ characteristics and biology. Even the science Karmi uses isn’t correct, misdiagnosing the mayoi as plants.

There are plenty of more instances that had shown Karmi behave at her worst and I had no love for her to even care about her at this point.

For more details about Karmi’s actions, I recommend this post, https://galaxiesinadot.tumblr.com/post/187608576016/big-hero-6-season-2 as it goes more in detail about everything Karmi’s interactions with Hiro and how it was antagonistic..

But then, a particular moment during the episode, City of Monsters had me once again staring in shock to which it made me realize just how malicious and ego-driven this character is and made me wonder why the writers and executive producers think this was acceptable. Now, beforehand, her blatant bullying behavior could have been done out of ignorance simply because she doesn't know who exactly Hiro Hamada is because to her, he was simply a younger student that took up the title of the youngest student in SFIT. Not a good excuse but it would explain it. But what she revealed showed that all her previous aggression towards Hiro Hamada was out of genuine malice, nothing was accidental. The insults, wanting Hiro to call himself a failure, the cyberbullying, the purposeful attempt to get Liv Amara’s attention, every aggression towards Hiro was all on purpose; the story reveals that Karmi does, in fact, know who Tadashi Hamada is and that she had admired him at school, something she confesses to Hiro... She had known from the start that Tadashi Hamada is Hiro's older brother, and therefore would have known what had happened to Hiro and Callaghan's theft of his microbots. This means that she had chosen to harass Hiro Hamada, she had chosen to call him names. She had chosen to belittle him in any way possible because of her wounded pride in being the youngest genius at school. It was not a misunderstanding, it wasn’t a miscommunication problem. Karmi deliberately chose to behave this way towards Hiro despite knowing who Tadashi is. And even after their time at the lab where they worked at the cure, all Karmi had to say about Hiro is that he was useful…

Not ‘’He’s not so bad to talk to’

Not ‘He’s actually OK.’’

He was simply ‘useful’ to her…

That is not a friendship blossoming. That is just Karmi using Hiro for her project. which meant that she only mentioned Tadashi to emotionally manipulate Hiro to get him to help her. The fact that she said he was useful is the type of language that Liv literally has for anyone: even Karmi. It’s an antagonistic way of speaking of another person and this is considered their relationship being improved over the course of the show? And in the end, when she leaves she doesn’t bother to say goodbye to Hiro. Not even send him a text message to explain why she just up and leaves. That doesn’t sound like a friendship where you leave without another word, especially since this is where tech is super-advanced where sending a text wouldn’t a problem. Instead, Hiro gets nothing out of it.

Now, all of the previous actions and behavior Karmi had done would have been interesting if the writers had been aware and kept Karmi in the role of the antagonist at school. I would honestly enjoy having Karmi as a bully because not only would she be someone you love to hate because of her bitchy behavior, like Heather Chandler from Heathers, it would lead to Hiro’s rising above her and others rightfully verbally slapping her in the face because of her shitty behavior and foiled attempts to undermine Hiro. Except she isn’t: Instead she’s being praised for that bad behavior, and Hiro is the one who has to apologize and be the bigger person, never the other way around.

The way she had been portrayed and presented with Hiro Hamada is unsettling because this is not a relationship to even form in a healthy manner; this type of behavior, which has been documented over time, could evolve into an abusive relationship. Just like the stories where the woman abused their male partners and some people not giving a damn because they thought of it as charming. In fact, if Hiro was the girl and Karmi the boy in this dynamic, going through the exact same thing, a lot more people would point out just how careless the producers and writers are because they chose to portray this type of relationship as positive.

And this isn’t just me: There’s a review that specified Karmi being a major problem in the show.

https://www.imdb.com/review/rw4915097/?ref_=tt_urv

The executive producers' Bob Schooley, Mark McCorkle, and any other previous writers involved don't seem to realize that this type of behavior should not be presented in a positive light as it could encourage young children to tolerate their bullies and even pursue a relationship with them, which then continues the cycle of bullying which would then evolve to an abusive relationship. It is best that they do not resume writing the character Karmi because she is not a positive influence for the intended audience because her behavior and actions are excused while Hiro is the victim and repeatedly written to just tolerate her abuse which in this time, is simply inexcusable and recklessly irresponsible to teach children.

Now, whenever I hear responses this sort of thing, a common defense I hear is that its a kids show, its fiction, it shouldn't be taken seriously as it has no impact on the real world.

Except... it really does.

Animal Farm? A critique and warning about Stalin Communism that is still used today.

20,000 leagues under the sea? The real-life Nautilus.

Star Wars in general? Lightsabers in the process of being built.

Harry Potter? Two real-life theme parks in Universal Studious that had gotten insanely popular since their grand opening.

Also, kids shows/movies have the power to show lessons and experiences that could speak to someone at any age. Big Hero 6 the movie itself is an example, considering that it has themes of grief and loss and how it could affect someone to progress positively (Hiro Hamada) or in a self-destructive path(Callaghan). It touches on REAL WORLD GRIEF, THE REALITY OF THE LOSS OF A LOVED ONE. THE SAME LOSS THAT IS STILL PRESENT IN THE SHOW ITSELF.

How can people claim that a show/movie is so deep and meaningful that touches their hearts and influences them and yet turn around and say ‘it’s a kids show’ as a defense when people point out their flaws? Either small and minute or genuinely a large problem.

And here’s what I’ll say next: You are not a bad person for liking Karmi. If this made you uncomfortable to see all this then... I don’t know what to say. You can continue loving this type of character all you want... but don’t deny the reality of your favorite character being a toxic influence when other people call it out.

#Karmi #big hero 6 #Big Hero Six the series #big hero 6 the series #Karmi bh6

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kuwurapikaaa · 4 years

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Chrollo Character Analysis

I have to warn you, even if this analysis does not have spoilers in the manga, but it is very long and with a dash of personal bias towards Chrollo - Admin MeiQi

Chrollo Lucilfer. One of the main villains of Hunter x Hunter. Leader of the phantom troupe, the band of thieves responsible for the Kurta massacre. Love him or hate him, he is an impressive character from a writer’s standpoint. You don’t know his morality. Like many characters in the manga, you don’t exactly know where to pinpoint him in the morality spectrum. He’s very gray in his morals, and that is what I want to see with a character.

Honestly, Chrollo is my most favorite character to write for, his complex character and his cunning personality easily makes him one of my favorites to stan and write for. Dissecting him is a very interesting thing to explore. - When I said that I can write a 2000 word essay on Chrollo, my friends said that they couldn’t believe that it was true or if I was joking, but here we are, with the quarantine and nothing to do, it has to lead me into this, a 2000 word monster.

His Past and How it affects him.

As of writing, we knew nothing about Chrollo’s past. And I think Togashi is not that interested in Chrollo. In my headcanon, Chrollo grew up roaming the streets of Meteor City. No family, no money, no food, nowhere to go. I can even see Chrollo doing sex work just to get around his life. He had to grow up very fast and was exposed to a cruel society at an early age. So, with his charm, his intelligence, and his sex appeal, he can put anyone around his fingers.

Meteor City is already a rough environment for an adult but you should also think about the children who roam the streets. How would a child interact with an environment as harsh as Meteor City? The city had always been described as this hell hole. Where people throw unwanted things, including unwanted children. Nobody was written in records and nobody knew the place. The city seems like it has no peace and is constantly in danger.

If my dad is writing this, he’d say that Chrollo is “Nagutuman” it literally means “starved”, it means that Chrollo got something taken away from him. Something that is really important. If I am going to paint a picture of Chrollo’s past, it would be less than beautiful.

Combined with Chrollo’s harsh upbringing and some type of mental illness, you have a recipe for disaster. - Perfect building blocks for a villain of a series as complex as Hunter x Hunter. As an aspiring writer, I always looked up to Togashi’s work and how complex the series is. Chrollo’s layers are one of the hardest for me to dissect without writing a long essay. Once you make me talk about Chrollo, I will run my mouth for ages. (Like what I am doing right now)

If I am going to embody Chrollo as one of the seven deadly sins, I think he’d probably represent greed, although envy is very close as well. He was a man with nothing who wants everything. He wants the money, he wants vast knowledge, he wants other people’s nen, he wants all the worldly things.

He was very obsessed with human nature. To the point that he will use this obsession to manipulate another person, and get what he wanted from them. He instilled himself to read books and observe the people around him. He used these books to pick a personality trait. Look, in typical literature, it’s easy to distinguish who is “good” and who is “bad” and personalities are not as complex as humans are.

With no one to talk to, he had this very reserved personality. Then, the books and observations couldn’t suffice anymore, so he started stealing very important things from people to know how they would feel when those worldly possessions were gone to them. When he saw how these people reacted to him doing that, he was joyed. He was happy in a twisted way to see what would happen.

I would say Chrollo is kinda numb, but can you really blame the man himself? I don’t think so. Nobody looked after him. Nobody cared for him. Not that I’m trying to convince you that Chrollo is a good guy, which obviously is not the case. (Being the antagonist of the series)

Stealing these things made him understand humans, made an empty void in his body filled in this twisted way. But since Chrollo is greedy, these things never satisfied him. I can even compare him to Ging, Gon’s dad. His greed made him leave his son so that he can have all these adventures and stay a hunter forever.

That’s why I would hate being in the hunter x hunter universe. As someone who has a very set standard of morals, I don’t believe greedy people like hunters deserve the privileges that they are taking for granted. I believe that people should have equal rights and people that have privileges should use their privilege in the right way.

What is the troupe for him?

A favorite quote of mine from him would be “I’m not important, but my orders are.” It shows that Chrollo treats and respects each leg of the spiders like his equals. I would even argue that the members of the troupe are the only thing that is important to Chrollo. I would go more into that in the last category.

The troupe is everything for him. His friends, his family, and lastly an extension of himself. The troupe became his identity, the thing that gave him life, and probably the only thing that is making him significant in this world. The troupe members are the only ones who cared for their beloved boss

To form it, he gathered people that he trusted the most. They all shared a thing in common, immensely talented nen users and outcasts. They shared his philosophy. “We can steal anything from you, but never steal anything from us” He built the phantom troupe with immense trust and him sharing the same principles as his members.

The troupe members are the only people that actually know Chrollo and even then, as I observed, he doesn’t seem super close with anyone in the whole troupe, minus Pakunoda and Machi ?? I will expand on Pakunoda and Chrollo at another time.

One of the ironic things I have seen with the Phantom Troupe is how they would go through all that for the death of a member. (With the requiem for Uvogin) But it was also said that in order to join, you have to kill a member. I find it very contradictory. Or maybe they would get mad or be like that when the person who killed Uvogin didn’t join the troupe ?? That is just very ironic.

Although I don’t have an opinion on it, I am putting it out there so that we can discuss it below and what do you think about this ‘rule’ made by Chrollo. It was something I never thought of when writing this analysis or just as I am watching the anime and dissecting the manga.

How would his demise be?

I think his demise would be ironic and symbolic. As an avid fan of Teleseryes, anime, and a reader of many book series, I know what I’m talking about. His death would be satisfying to both him and the reader. I am aware that Togashi defies the tropes of regular shounen manga, but this ending is the best in a way that it is shocking and satisfying.

His death would be bittersweet. - His death would seem cold, yet twistedly satisfying. He would have nothing to lose. I have to stress it again, that he’s a man who has nothing, and for him, death is inevitable. Remember what Melody said? “He walked with death by his side” That means that the man is really prepared for his demise and feels satisfied whenever it would happen at whatever point of his life.

I can see that his troupe members would be in heaven already. Him being cornered by either Kurapika or Hisoka (if Hisoka wants a re-match). He’d be happy if Kurapika killed him because the boy will get what he wants because he knows that nothing good will happen in a life full of revenge. Kurapika will just regret it in the long run.

Yet, he would die with a smile on his face. A genuine smile, not the one that he’s showing to the people he manipulated. It would be the only time Chrollo would feel happy because he can join his troupe members in heaven. (If they are ever going there) He would be happy to be with the only people that he cared about.

In his conversation with Neon, which showed his human side (but of course, in typical Chrollo fashion, he used this vulnerability as an Uno reverse card and manipulated Neon with it) he showed that he genuinely believed in the afterlife. In life and death. In heaven and earth. In sin and forgiveness. In my headcanon, Chrollo is a devout Christian like myself. He prays every night and day.

His favorite bible verse in someone’s headcanon that I also agree would be Corinthians 13:4-7 “Love is patient, love is kind. It does not envy, it does not boast, it is not proud. It does not dishonor others, it is not self-seeking, it is not easily anger, it keeps no records of wrong. Love does not delight in evil but rejoices with the truth. It always protects, always trusts, always hopes, always perseveres.”

This exact verse shows that Chrollo is someone that has sympathy, as much as he is portrayed as evil, in fiction’s black and white principle. But, he always cared for the Phantom Troupe. The troupe is above his life. The number tattoo that they have shows his loyalty and how he would instill to his members that “once you’re a spider, you’d always be a spider”. As said before, the troupe is the extension of his identity.

The million-dollar question: Is Chrollo capable of loving someone?

As much as I am the Chrollo fucker that I am, I will answer you wholeheartedly, No. Why? You may ask. Because at the end of the day, Chrollo is a thief, a wanted criminal with a high bounty on his head. Having a significant other can throw him off from his highly unattainable ambitions, from him achieving what he wants in his life.

When I was writing my OC, Zara, that was partnered with Chrollo, I started thinking about this deeper. Since Zara is an OC of mine that is like the opposite of Chrollo. She wanted simple things like a family and a husband that will love her forever. - Chrollo doesn’t want all of that. As I said before, what he wants is the treasures and knowledge to fill his empty void.

I don’t think Chrollo is someone who is capable of loving someone. - That is my opinion.

Like he isn’t the kind of guy for a long term commitment. He will fuck, but he’s the kind of guy to leave you behind. He sees that his troupe is far more important than some girl/man that would leave him if they knew he was this wanted criminal.

As much as the troupe is a piece of huge evidence to show that Chrollo is capable of loving people in a genuine sense, but his love for his troupe is limited to familial and mutual respect and trust. It isn’t something that should be taken into a romantic context.

Chrollo’s relationships minus the troupe will always end up in an abusive standpoint. It will always be filled with Chrollo feeding his partner lies about himself just to get what he wants. I said in his past that he never had anything, so he wants to take away everything from other people.

Without his manipulative nature, it would be hard for Chrollo to express love in a genuine way. I can even say that he’s like Kurapika in this department. They both are emotionally constipated people. Yet, they express it in a different way, being traumatized in different ways. Chrollo, unlike Kurapika, he used people to get what he wants and not push them away.

Since I am not a registered medical professional, I am not going to diagnose Chrollo with a mental illness. Like surely he does, but without proper knowledge, I cannot personally deliver it to the reader.

#chrollo #chrollo hxh #chrollo hunter x hunter #chrollo lucilfer #kuroro lucilfer #hunter x hunter #hunter x hunter character analysis #hunter x hunter headcanons #anime #anime character analysis #anime headcanons #heacanons #hxh #character analysis #phantom troupe

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cock-holliday · 4 years

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I don’t think I’ll ever tire of writing thinkpieces about video games but here we go. I recently finished playing Dishonored 2 again and wanna talk about how the game is thematically similar to TLOU2 but imo succeeded where TLOU2 failed.

Obvi, spoiler warnings for both games

I think a good place to start is saying that nothing The Last of Us 2 did or tried to do was new. This isn’t a bad thing, most things have already been done or said, it’s how you say it that makes things refreshing. Revenge stories are not new, hunting down lower-level enemies until you reach the big bad has been done to death, cycle of revenge stories have been done.

The stories mirror well no matter who you play in D2, but it obviously works better if you play as Emily (frankly the story should be hers, but it’s still fun to play Corvo too).

As Emily, you are introduced to a provocative antagonist on the anniversary of your mother’s death. This antagonist, Delilah, has an unconventional and flashy character design. She reveals that she is your long-lost aunt, and she has come to “rightfully” claim the throne. We don’t don’t know if she’s lying, but she immediately reveals herself to be a powerful foe by incapacitating Corvo, your father and lord protector, and then turns his ass to stone.

The story follows Emily hunting down Delilah’s co-conspirators, learning why Delilah is doing this, and rescuing her father from an uncertain fate.

It’s the same story. Dishonored 2 didn’t invent these tropes either.

What makes Dishonored 2 work, however, are 3 main points: choice and consequences, building sympathy for Delilah vs Emily’s character development, and not crossing lines.

The first line Dishonored 2 didn’t cross that TLOU2 did was not killing your dad. Corvo, the beloved protagonist of game 1, does not die, he just gets taken out of play and you must save him. Emily is still seeking revenge for a lost throne, but her motivation is not Corvo’s death. This is not only important tonally, but it influences your opinion of Delilah and others, which is crucial when it comes to choice.

The Dishonored games allow for multiple endings, and operate on a “chaos” spectrum. More killing and violence, higher level of chaos, darker ending. This allows the players to reap the benefits or suffer the consequences of their decisions. Do you kill these people or spare them? The game saying “what you did was fucked up :/” lands much better when YOU chose to do it. Some characters I went in disliking, then as you learn their stories I felt bad for them, and would pick a kinder ending. Sometimes the opposite happened, though, and again, that was my consequence to face.

Fairly early on, it’s revealed that Delilah is Emily’s mother’s half-sister. Grandpa Kaldwin had an affair with a kitchen maid, and the maid had Delilah in secret. The child was hidden in shame. She was treated differently from her sister Jessamine, despite being older, because of the nature of her birth. When Jessamine broke something they played with, and got confronted, she panicked and blamed Delilah. Delilah’s mother was fired for this, and the pair were out on the street. Delilah’s mother got sent to debtors prison and had her jaw broken. She didn’t recover from her injury and left Delilah orphaned when died. Delilah built herself up from the gutters to become powerful and exact her revenge. A pretty gut-wrenching and sympathetic tale.

Playing as Corvo, characters give you more leniency for your connection to royalty, since Corvo was from the streets too, but as Emily, she gets a lot of characters reminding her that she comes from privilege. Emily did not cause Delilah’s suffering, but she inherited the position that contributed to the wealth disparity in the same streets Delilah and her father suffered in. Emily’s journey is very much about realizing and changing how the kingdom operates. Delilah comes from a very sympathetic background, and Emily is an unintended beneficiary of the suffering of her people. An important dynamic to balance out the characters.

By the end of the game I really pitied Delilah. Everything she did, misguided and destructive as it was were desperate attempts to find people who would love and care for her, and to gain control over a life that tortured her relentlessly. Taking out her allies made her realize how after getting what she wanted, she still had no one. By the final fight I actually wished there was a way to rehabilitate Delilah. A third option to take her in, because the game did such a successful job of making me feel for her. The game made me more sympathetic to her than I think they even meant to. Good good internal conflict, an a successful tragic story. It’s also crucial that the tragic story falls on the antagonist to learn, and not the protagonist, UNLESS of course you chose a darker path.

The Last of Us Part 2 is just missing all of that. I’ve already written about the order of the story being a real wall between what they wanted to do and what they did, and talked about how killing off Joel at the beginning really fucked up people’s ability to feel sorry for Abby. I wrote about Jerry not being a sympathetic or likeable person, and the damage THAT did to the story, AND Abby’s lack of conflict and repeatedly crossing lines. Not just with Joel, but with Jesse, and Dina, and Owen, and even her desire to torture imprisoned scars.

Essentially, the things that TLOU2 wanted to do were good thematic ideas, that were executed poorly, and games like Dishonored 2 show how they COULD have been a success.

#anti tlou2 #anti tlou 2 #tlou2 #tlou 2 #the last of us part 2 #tlou part 2 #the last of us part 2 spoilers #the last of us 2 spoilers #tlou 2 spoilers #dishonored 2 #dishonored 2 spoilers

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xoruffitup · 4 years

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TROS (Mis)Characterizations: What Was and What Could Have Been

What started as responding to an anon ask turned into an entire meta... but working out all these thoughts has at least eased a bit of my TROS pain. :’)

From my perspective, TROS managed to destroy not only the characterizations built so far in the sequel trilogy, but also the entire story built upon these characters (mainly Reylo) as we knew them. While talking to a family member about the movie a few days ago and voicing my grievances with the story, he pointed out how someone could watch TFA and skip to TROS without realizing they’d missed much. That’s mostly true and entirely gutting.

Since I had an ask to talk about how TROS regressed in terms of characterization, I’ll start with the most hurtful of defacements: All of the nuanced vulnerability that made Kylo/Ben our most beloved character. We had absolutely nothing in TROS like the complex masterpiece moments of TLJ. Think back to “You are a monster.” / “Yes I am” – delivered with glowering menace as Kylo stalked closer, simultaneous to the tell of fragmented uncertainty in a quivering bottom lip and chin, all while his eyes remained completely riveted on Rey. Think back to “You’re not alone” – delivered with a wet sheen to his eyes in a soft cracked voice, but with self-loathing still smoldering behind his expression. Until the scene with Han, Kylo was shrunk into an entirely two-dimensional cookie cutter “villain” figure in TROS, seemingly more committed to the dark side and the First Order than he ever was to begin with in TFA. (I say “seemingly” because his true motives and interior dilemmas are frustratingly unclear in the entire first half of the movie. Cue me loathing the mask more than ever.)

Though Kylo seems uncharacteristically committed to the Supreme Leader role in TROS, considering he ended TLJ in a supplicating position fixing regretful eyes up towards Rey, luckily TROS did at least maintain the Force bond. …or at least the concept of it, because in execution the Force bond scenes achieved approximately nothing of what TLJ so uniquely excelled at: Creating a sense of intimacy, understanding, and forbidden tenderness between Rey and Ben. Instead of soft-spoken entreaties and promises across the soft glow of a fire or the dappling light of rain (ugh, remember the way light and shadow literally played out in contrasts across Kylo’s face during “I am a monster”? TLJ is a cinematic wonder, pass it on), we get scenes where the two yell and spit spite at each other. Most frustrating is how absolutely out of touch Kylo’s dialogue is with the Ben who was revealed through previous Force bond scenes. In a regression that makes absolutely no sense after Ben’s big proposal of “It’s time to let old things die: The Jedi, the Sith… I want you to join me” – he literally has the most reductive, bland, and meaningless lines such as “I will find you and turn you to the dark side.” ……..? Kylo has literally never been that boring or straightforward ever, not even since the TFA interrogation scene. He offered to be her teacher, sure, but never on terms that simplistic or blatantly combative to Rey’s will.

What I’ve always passionately loved and defended about Reylo is that Kylo never forced Rey to do anything harmful or against her will. Even pushing her to the painful moment of admitting the truth (or so we FUCKIN’ THOUGHT) about her parentage during the throne room scene did, in the end, help her character come to terms with repressed trauma and move forward in her journey of self-determination. (haha look at me, still stuck in my feminist goggles as if they haven’t been ripped off my head by TROS…) The point is: The TLJ Force bond was never a means of threat. It was never a tool for Kylo to say something as blatantly antagonistic as “I will find you and turn you to the dark side.” (Wow, did a Kindergartener write that? Come the fuck on, JJ.) And I was deeply disappointed to see the Force bond reduced to a tool used only to tell a part of the story unrelated to Reylo; rather than being the means of developing their relationship in and of itself.

This feeds into my overall biggest grievance with how Kylo/Ben was handled in this film. Similar to the Force bond – Ben’s character was reduced to a secondary prop piece who mostly served only as a narrative device in advancing the Rey-Palpatine plotline. Look, I imagined for months ahead of TROS the kind of candid Force bond conversations we might hear. Like “No one (knows me)” / “But I do.” (Where the FUCK did that line go?! Apparently JJ doesn’t know her…) Or perhaps Ben apologizing and opening up to Rey about how unhappy he is in the dark, how alone he feels. Instead…. we got shit like “You’re his granddaughter.” Like how dare they disrespect Academy Award Nominee Adam Driver’s talent like that?

Now, looking past the fact for a moment that the Rey-Palpatine addition is insulting, unoriginal, and sexist; there could have been a very interesting dynamic here. We would have the grandson of Vader and the granddaughter of Palpatine feeling very different pulls to both light and darkness, Force bonded together as they struggle with the weight of these legacies. Kylo, I imagine, was probably partially excited when he learned it, because maybe this means that Rey would understand him fully and perhaps this time, once she learned the truth, she would finally be with him. But nope, we don’t get nearly that much of a look into Kylo’s head. He does say at one point “You can’t go back to her (Leia), just like I can’t,” but the line missed the mark a bit for me because TROS still had Kylo appealing to Rey from the perspective of “Join the dark side as if we’ve done away with all that grey morality complexity we introduced last movie” – rather than from the perspective of “Neither of us should feel alone ever again.”

I’m rather unspeakably bitter that we had no exploration into what Palpatine’s return meant for Ben. I imagine he would have gone a bit wild upon learning that the man who was responsible for his grandfather’s fall was still alive. And the revelation of “I have been every voice you’ve ever heard inside your head”? This was enough to bring Ben Solo stans to tears before we even watched the movie, and yet it was treated completely off-handedly. Ben never even gets his own moment of coming to terms with Palpatine’s return. No “My grandfather killed you – how is this possible?” Nothing like that at all – even though he’s the character who would be most affected by his return in terms of legacy implications. Nope; Ben’s first encounter with Palpatine at the beginning of the movie – the same encounter where we learn Palpatine has apparently been behind all of the dark side grooming, manipulation, and isolation Ben has suffered since he was literally in the womb – quickly veers towards “Kill the girl / She is not who you think she is.” Early warning here that Ben Solo as a character in dire need of resolution is about to be treated with utter apathy by this film.

Here’s where I need to pause for a moment of self-awareness. While arguing with my Dad about this movie (he loved it), he threw at me that he thought I was being anti-feminist because I disliked the ending of Rey being alone. I quickly did my best to disabuse him of the idea that feminism = women being forever alone. This did make me think though about the implications of TROS veering away from the dual protagonist story framework that had been established up to this point; in favor of a narrative with Rey as the single and clear protagonist. The two main reasons I had such a knee-jerk reaction against this shift were A) It left a bad taste in my mouth after Rey ended TLJ emboldened by her acceptance of her past and unremarkable lineage; and B) It upended Reylo as the foundation of the entire story – also which we’d been led to expect. And I’m not just talking TLJ – I’m referencing back to JJ’s own Director’s commentary for TFA where he says “Now back to the story we really care about” when the film goes back to Rey and Kylo’s forest battle; who described Kylo as “a sort of prince,” and insinuated “you get the feeling there’s more going on here” when Kylo decided to spirit off Rey on Takodana. JJ set all the fucking clues here and then apparently forgot about each and every one.

However – am I perhaps not being fair to Rey in my disappointment that she doesn’t end the film in domestic bliss with Ben? Was I expecting something beneath her potential? Can I really say it’s a bad thing that the narrative rearranges itself in this film to focus chiefly on her?

The reason it all sits so wrong with me is because Rey’s characterization became bastardized for the sake of her solo narrative. Her character was essentially entirely effaced. The emphasis of her journey thus far pointed towards the crafting of one’s own identify; to the fact that might and greatness can reside within anyone, and it is up to that person alone to decide what kind of life to live with such power. Rey’s development at the end of TLJ indicated she’d found freedom from her past, and was now fully embracing the act of forging her own path without any constraints or shadows. But then, this road she’d been paving for herself was abruptly switched in TROS to one already completed and well-traveled, lined with unoriginal identity struggles and a copout for assigning Rey’s instincts of aggression and passion to the hereditary and ungendered “dark side.” This sudden switch stripped away all of Rey’s unique identity struggles, as well as her agency to define her own story.

Confining Rey to such an unoriginal and unfortunate struggle also required that her own goals and desires be changed as well. When faced with a legacy of evildoers, Rey’s story immediately shifts away from being focused on her, and rather to remedying the mistakes of men who came before. Rey’s own story was about a thousand times more interesting when she was in the center of it. As a twitter post I saw a few days ago but now frustratingly can’t find said very aptly: Male viewers found “Rey Skywalker” satisfying because they see a happy ending as being the “best” or the most powerful. Female viewers see a happy ending as being truly seen, understood, and valued for the person one is. (If anyone knows the source, please let me know...)

Rey used to say she wanted to learn “her place in all this.” That doesn’t indicate a thirst for greatness or power; but rather for belonging and connection. She has spent most of her story so far thinking back to her parents, then spent a solid 2 minutes in TROS looking longingly and smiling at the alien babies on Pasaana, which hello motherhood signaling. She has been happiest in moments when she felt valued and connected to those around her.

The idea of having greatness bestowed upon her by some external entity (aka a man) was already examined and rejected in TLJ. (Read: throne room proposal scene.) But in TROS, this act of external determination is thrust onto her regardless of her will. In so doing, her possession of a legacy rewrites and predetermines all of her goals, battles, and the key facets of her identity. She no longer has the freedom to embrace and cherish her found or chosen family; instead, her goal is to rid herself of the “family” that’s been thrust upon her – making what’s now presumably her happy ending of being disconnected from her assigned family the complete opposite from everything her character previously yearned for. Standing alone in a desert with the company of only half-remembered spirits is likely what filled the nightmares of young Rey of Jakku.

This is, of course, why the dual protagonist/Reylo narrative we expected to see in this film was so compelling. While doing none of Rey’s decision-making for her or removing any agency from the formation of her own identity; her force-bonded relationship with Ben offered Rey belonging, understanding, and purpose. Ben was the only character who could understand how debilitating and frightening it was to feel her Force sensitivity come alive and waver between the light and dark; just as he was the only one who could comfort her in that conflict without infringing on her independence. Once we saw dark!Rey in that D23 footage, I think every Reylo imagined scenes where Palpatine begins to sink his control into Rey’s mind and Ben rushes to her side to pull her back towards the light, because he knows all too well what those voices are like inside his head and he’d rather hear them all again than watch Rey suffer it.

From several perspectives, Reylo fighting and defeating Palpatine together is also the only ending that makes sense from a holistic storytelling perspective. (I mean both of them wielding blue sabers against Palpatine and fighting together in tandem – rather than that single crowd-pleaser shot of them hefting their complementary lightsabers together before Ben gets brushed off into a pit…) While Ben is the legacy character, representing all that our beloved original characters fought and suffered for; Rey is the new-generation character, representing a new age and the banishing of old mistakes which continued to perpetuate conflict. Only these representatives of new and old; of royal legacy and self-made upstart; could truly banish all of the harm committed in the galaxy by Palpatine and remedy all the loss and suffering effected throughout the Skywalker line. To have only a single character recently revealed to be related to Palpatine facing him alone (no matter how “badass” that might make said female character seem by superficial standards), rather than a union with the single remaining descendant of the Skywalker line himself is simply unsatisfactory and directionless storytelling. It is Palpatine’s manipulation towards three generations of Skywalkers that was the sole catalyst for all of the warfare, struggle, and conflict we’ve witnessed throughout this entire 9-film series. To not even engage with Ben Solo-Skywalker’s troubled relationship to that heritage and to completely fail in realizing the emotional catharsis and resolution that stood there waiting is nothing short of infuriatingly shortsighted storytelling. J.J. claimed in several interviews that this film was crafted with the entire preceding story in mind, as a cap to everything that came before. I have absolutely no idea which story he was referring to.

And so, from the perspectives of this film alone, the sequel trilogy, and the entire 9-film saga as a whole – Yes, I do claim that it was a poor decision in terms of story telling and character integrity to reconfigure the narrative to focus solely on Rey. For the reasons just mentioned, it was an utter disservice to Rey’s character arc. To reduce all of the tragedy, charisma, and youthful potential in Kylo/Ben’s character to a secondary narrative device is nothing short of shameful. Not to mention wasting all of Adam’s potential for playing truly heart-wrenching scenes of Ben’s penitent soul-searching. I will never forgive the fact that Ben had literally not a word of dialogue after his quick conversion scene halfway through the movie. Not only does he play no major role in the final battle with Palpatine, but aside from charging in heroically and doing a phenomenal Solo Shrug, he isn’t allowed a single moment of interiority. He has no speech to Palpatine declaring his change of heart and his reclaimed heritage. Perhaps most painful of all – he and Rey never even have their Big Talk where we expected Ben to apologize for the doings of Kylo Ren and for both of them to affirm their desire to be together and their devotion to each other. Adam did a pretty amazing job demonstrating all that in how he cradled Rey’s body and couldn’t even bear to look into her lifeless face (RIP my heart). But no matter how phenomenal and tender the Reylo kiss was, how luminous Rey’s smile was when she said “Ben,” and how achingly loving his eyes were when he looked at her – I can’t help feeling crushingly cheated that their love itself wasn’t what enabled the victory. Rather than the strength they lent to each other through a union that defied light-dark dichotomy (as it should have been and as the story was previously leading towards), it was rather Rey’s miracle heritage that won the day. The fact that Ben never says a damn word when he stands before Palpatine, or when Rey kisses him and he finally realizes she does care for him too – makes both their bond and Ben’s entire character feel like a throw-away prop only there for Rey to wear so long as this feeble story needed it.

I’ve been trying to put my finger on what made TROS’ plot so underwhelming and lifeless compared to TLJ or even TFA. The difference between TLJ and TROS in the simplest terms is that TLJ’s narrative was character-driven, whereas TROS subjected its characters to a narrative. Rather than a huge space battle, TLJ’s biggest moments are Rey and Kylo’s throne room proposal and Kylo and Luke’s showdown on Crait. Both of these moments had huge emotional stakes for the characters involved, which was what made them epic. TROS’ narrative, meanwhile, uses twists like the Rey Palpatine reveal to manipulate its characters in inorganic directions, and builds towards a finale that is unrelated to any of the long-standing challenges our heroes have confronted throughout the story. TROS derided its characters down to mere tools for a superficial spectacle of a story. TLJ, on the other hand, made its characters the story. It’s no wonder I found myself strangely numb and disconnected the first time I saw TROS.

Now, I’m just angry and disappointed. Disappointed that such brilliant, wonderful characters were wasted. Angry that we’ve imagined a hundred endings more appropriate and fair to the characters we hold dear. I am trying to appreciate what I can from the film and hold on to the few beautiful moments, but I definitely plan on writing my own fic version of how TROS might have played out, had it upheld the complexity and integrity of its characters. Even still, I’m quite sure we all know and understand Ben Solo much better than J.J. or Chris Terrio, so in our hearts Ben will find the happy ending he deserves.

#TROS #TROS spoilers #The Rise of Skywalker #Star Wars #Star Wars meta #Reylo #Reylo meta #Kylo Ren #Rey #Save Ben Solo #tros reactions #tros review #TROS meta

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hellzyeahthewebwieldingavenger · 4 years

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Do you mean the characterization where the character relived all of Peter Parker’s memories at the end of ASM #700 and was trying his best (from his point of view) to be a hero and NOT a villain? It’s almost like an important, life changing/character-changing moment like that happened in between those two scenes. But go figure. :-D

@danslott-blog

I’m writing this because I wouldn’t have space in the original post. This is to be considered a direct reply to the above poster.

You know, I can’t be 100% certain if you are the real Dan Slott or a sycophantic fan of his. Your blog page…

…leads me to believe you are in fact the real Dan Slott.

Thing is I saw this comment last night but I didn’t check out your blog until this morning. Nevertheless, last night my first instinct was to presume you to be the real Dan Slott.

The fact that my mind immediately jumped to that possibility, the fact that I can’t rule it out and the further supportive evidence of your blog, speaks volumes.

It speaks volumes about the person Dan Slott whether or not you are the genuine article or not. Because your actions so thoroughly fall in line with his behaviour.

And it is damning. As are your words. Let’s unpack them.*

So, did I mean Otto’s characterization? That’s what you were getting at. That my original post was in reference to Otto’s characterization between ASM #700 and Superior #2?

No.

I did not.

At all.

I was referring to Mary Jane’s characterization. I elaborate upon the topic in this post.

Tl:dr: MJ was eager to sleep with ‘Peter’ in the former issue but not in the latter.

That should have been utterly obvious to anyone observing the post because I was presenting events from 2 issues and saying they didn’t line up. Obviously the purpose was for the readers of my post to play spot the difference.

The similarities were Otto’s desire to have sex with Mary Jane. The difference was with MJ.

As of this writing, twelve other people grasped that obvious intent Dan.

Why on Earth do they have superior reading comprehension skills than a professional writer for the largest comic book company in America? Surely that should be a basic requirement of the job?

Not that I’m surprised. It is exemplary of the vast majority of your pathetic, reductive and damaging work on this franchise.

But let’s dive deeper.

You claim that Otto reliving Peter’s memories in ASM #700 (after the scene in the OP) changed him hence he was different in Superior #2.

But he’s not.

In ASM #700 he tried to exploit Mary Jane’s misconception that he was Peter Parker (and her pre-existing feelings for him) to have sex with her.

In Superior #2 he was still trying to exploit Mary Jane’s misconception that he was Peter Parker (and her pre-existing feelings for him) to have sex with her.

So he hasn’t changed. At all.

But for the sake of argument, let’s pretend you are right. In Superior #2 (because he relieved Peter’s memories) he was trying to be a better person from his point of view.

So you are saying from his point of view raping Mary Jane by deception constituted trying to be a hero and not a villain?**

If Otto experienced Peter’s memories then that would logically entail his upbringing and morality. Meaning Otto would in fact know that what he’s trying to do with MJ is unethical. Or he’d appreciate that he’s not the real Peter Parker and it’d be a disservice to the real man who’s legacy he’s trying to uphold to sleep with the woman he loves. Or he’d know who MJ was and appreciate she deserved better than to be deceived.

But no. He was horny and was going to satisfy himself no matter what. Hence later in the issue after he experiences Peter’s memories of ‘being’ with MJ he says he’s ready to move on and starts eyeing up other women, including Sajani.

Furthermore, even without Peter’s memories Otto would never have attempted to sleep with Mary Jane for two big reasons.

The first is that she is frankly not his type.

Prior to Superior, the women Otto held affections for (romantically or otherwise) were either scientifically gifted (Mary-Alice, Carolyn), admirers of his brilliance (Stunner, Carolyn, Mary-Alice) or unconditionally kind towards him (Aunt May).

You know…kind of like his own mother was!

MJ is not scientifically gifted. MJ did not admire Otto’s genius. As far as he knew she didn’t even admire Peter’s genius and even the times she has canonically it has been in a different way to the ladies in Otto’s life. MJ was never singing Peter’s praises for being so clever for inventing this or that, she was never borderline fangirling over his intellect. She also wasn’t unconditionally kind like Aunt May was, her kindness manifested in a starkly different way. She wasn’t taking Otto, Peter or a stranger home for a cup of tea or a nice meal.

Since Otto wanted to sleep with her before he was exposed to all of Peter’s memories, the only rationale reason for his interest was the superficial. She was an attractive young woman and Otto wanted her body.

Which would be weird right because I seem to recall you and your buddy Christos Gage saying Otto didn’t care about looks in his romantic partners?

This brings me to my second reason.

Otto is evil but he’s not Purple Man/Doctor Light levels of evil. He wouldn’t do something as debase as that, he’d view it as beneath him. In his own warped way he holds a certain respect for women. Hence he genuinely cared for Aunt May, Stunner, Carolyn Trainer, Mary-Alice and of course his mother.

But let’s say I’m wrong. Let’s say Superior #2 was covering totally virgin territory for the character that had never been touched upon before. As in there had never been a word written about Otto’s love life, attitudes to women, attitudes to sex, etc.

That being the case, you established as hard canon that Doctor Octopus, the villain of the pg-13 movie Spider-Man 2, antagonist in dozens of Spider-Man cartoons for children and video games for kids and teens, is an attempted rapist!

As in if MJ hadn’t turned him down all those times his attempts would’ve been successful and he’d just be an actual rapist.

You took a beloved, fun character (who was unique for having a somewhat humanitarian side to himself) and made him utterly irredeemable. You had him attempt an act of evil that the readers know (within the context of the genre conventions) is one of the, if not the actual, worst things a villain can do.

Good job buddy.

Oh, and needless to say, you totally and utterly failed to take Mary Jane’s point of view into account; as you did in response to my OP.

You never considered how you were using the main female character of the franchise who is beloved within the fandom and generating cheap, gratuitous tension by threatening to rape her.

In conclusion Dan Slott, you were never ever qualified for the job as Spider-Man’s lead writer. You never ever deserved the role because of how you lied and cheated your way into Marvel, disrespected the works of your predecessors and disrespected the characters you were in charge of.

You had good ideas half the time but your writing craftsmanship skills on the title were woefully lacking hence you could only competently execute them 1/8th of the time. When combined with the raw damage you wrought to the characters and narrative you are without question the single worst on-going writer of Spider-Man in history.

I’m sure you are pleased with that record considering it was blatantly obvious you were far more invested in cultivating an eventual legacy for your self on the character than you were actually serving the characters and organically developing them.

Author of ASM #600, 700 and 800

The only Spider-Man writer to have written 3 centennial issues in a row.

The guy who has written 1 in 5 issues of Amazing Spider-Man.

Oh, and also the worst on-going writer of Spider-Man in history.

Wow.

What an achievement.

Now, why don’t you stop searching for your own name or works online and do something more practical with your time.

Like learning how to write.

*Oh and btw, I’m writing this presuming you are the real Dan Slott.

Also I’m going to try my best not to swear but that is where my politeness ends. This isn’t CBR Dan, Mister Mets (nor any other moderator) is around to censor or ban anyone to protect you.

**And yes, having sex with MJ when she didn’t know he was really Doc Ock is objectively a form of rape. Here is literally the first sentence about rape on Wikipedia, with emphasis by me:

“Rape is a type of sexual assault usually involving sexual intercourse or other forms of sexual penetration carried out against a person without that person's consent.”

Contrary to what your buddies Fred van Lente or Stephen Wacker might have told you, force is not a requisite.

No consent = rape.

Had MJ had sex with Otto she’d have been giving Peter her consent not Otto. Therefore Otto would have been raping her. This was acknowledged in fact in a Dead pool comic book from 1998!

Courtesy of one of your Brand New Day peers, Joe Kelly, Deadpool v1 #12 saw Wade have sex with Siryn, whom he had feelings for.

However, in the next issue ‘Siryn’ reveals she was actually Typhoid Mary in disguise, a woman who’d endeavored to bring out Wade’s darkside against his wishes.

Wade’s dialogue and body language clearly convey how he feels sickened and violated by the experience. When he asks Mary why she did this to him she replies it was simply because she could. Whilst Wade is on the ground feeling vulnerable she stands up, leans over and licks him!

The scene when taken in context is brutally unsubtle. Typhoid used trickery to exploit Wade. She put herself in a position of power and abused that power to dominate Wade, to remove his agency.

That is literally all rape boils down to. Not sex but power. The scene, especially the last panel hammers that point home.

But just in case you still didn’t get it the very next page depicts Wade vomiting and saying he needs a shower.

This is a common reaction from victims of sexual assault, at least in media. The ‘I need a shower’ moment is practically a trope.

Why did a 1998 Deadpool story have a clearer understanding of the topic being played with than a 2013 Spider-Man story…that was allegedly for children no less!

P.S. You know Tom DeFalco had Peter Parker wrestle with his emotions in the wake of the ‘Death of Jean DeWolff’ story arc way back in ASM #275.

You might say that witnessing such violence and examining his own actions with perspective was a life changing experience for him.

With that in mind, how about you explain to me why Peter experiencing death, deletion, abuse of his life and body, losing a whole year of his life and then returning to it totally changed doesn’t count as a life/character changing experience?

Because you sure as hell didn’t write him reacting with the pain, the sadness, the anguish that he (or any normal human being) would’ve had after he came back. Nope. Just back to cracking jokes I guess.

Do you like…not know how human beings work?

That’s a rhetorical question because I know the answer.

#Dan Slott #Spider-Man #Superior Spider-Man #otto octavius #Doc Ock #Doctor Octopus #The Superior Spider-Man #mjwatsonedit #Mary Jane Watson Parker #Mary Jane Watson #MJ Watson #Peter Parker #joe kelly #deadpool #Wade Wilson #Typhoid Mary #Siryn #theresa cassidy #X-Men

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theghostbeaters · 4 years

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my timeline of thoughts during my tlou 2 play through (bad and good and maybe even some silly) just let me vent because i can’t stop thinking about it tbh

- i was away from the internet for months because i didn’t want to be spoiled for anything, so when i started to play i had only the deceitful trailers to go by

- the beginning felt pretty normal for the last of us. they started you in the town and then on patrol for your hour of tutorial basically. i also remember thinking the recap of the first game was so nice because i liked seeing their younger selves in the new graphics

- abby was introduced, and like i said i had no clue what was going on because i had not been spoiled so my mind was going a mile a minute on wtf abby and co. were up to. when they spotted jackson my initial thought was maybe they do want joel and they will be the main antagonists? joel and ellie will have to fight them??? but because of the trailers, death of any sort wasn’t on my mind.

- i also had a very odd and pure hatred for owen’s voice, lol. i don’t know what it was but omg from the moment he spoke till his last breath i would always be like “why is he speaking like that??” in the back of my head.

- that scene happened. i’m a crier i’ll admit, but this was something else. I felt shocked, nauseous, numb. I don’t think I actually even cried till I saw the tombstone i was so taken aback by the way they went about this. I don’t care if they are fictional characters. It has been 7 years since the first game came out and almost 5 years that they released the first trailer for part 2. I did not wait this long, excited to see two of the most important characters to me in such realistic graphics get their fucking head caved in. at the very very least a fade to black and then to the tombstone would have gotten the same reaction you wanted from me, but it would have been done in a way less cruel way.

- i took about a 3 hour break. i could not get that image out of my head and it was really starting to upset me more then any media should. i don’t care or want to hear about any walking dead or apocalypse setting trope. it will never be edgy, deep, or meaningful to kill a favorite character in that manner. I want to state that again. In that manner. If they had killed joel in a more tactful way I could have possibly liked the game more.

-i remember thinking it felt forced. like the creators wanted this narrative so badly they seemed to go through hoops and hurdles to get there. there was a random horde that seemed to disappear as quick as it came, abby just gets lucky and has joel and tommy save her and then they go straight to the lions den? would joel from the first game be so quick to do that? Wait was she 100% sure just from two peoples names this was the guy she wanted? Ellie gets there just in time to see the final blow and then the others only get there just in time to miss everything and not be able to help? Whats going on??? This feels too structured and not genuine??

- going into his house was just as painful. i’m sorry but i’m going to bring this back up a lot- if they would had just killed him in a more tactful manner i would have praised the way these little scenes were done. grabbing his watch, ellie smelling his clothes, seeing the pictures of sara and ellie, looking at his workshop and seeing how well he can carve! I couldn’t appreciate it the way I wanted to because I couldn’t get that image out of my head. i was literally bawling the entire time.

-REVENGE TIME BEGINS:

+so the first scene was set: ellie wanted to go to seattle for revenge, dina was going to go with her, and tommy had already left. I remember having two thoughts here

+“please tell me its going to be more then ellie just going on a revenge spree and then at the end she doesn’t kill abby because morals / murder is bad / not everything is black and white kind of tropes.”

+and “i have a wild feeling tommys gonna be like the only person that makes it out alive. he did it in the first game somehow hes gonna weasel his way free in this one.”

-ELLIES SEGMENTS:

+the graphics are amazing the sceneries are some of the most beautiful i have seen in a game. and it didn’t stop there. every area was amazing. I think most can agree to this.

+i was determined, no matter what else the game threw at me i was going to see it through to the end and try very hard to visualize it the way the creators wanted it to be visualized. even if i didn’t agree or didn’t like parts, i figured hey the first game was so good this has to revive itself.

+i really liked the gameplay, it was a finer tuned version of the first game. i also liked the idea of the map and how it actively showed you different locations and crossed them out when you were done. but in the back of my head i was thinking “wow this would have all been so neat in the first game”. I shouldn’t be thinking about the first game. I should be enjoying this one.

+i was getting concerned none of the new characters were getting as much character development and love as some of the characters in the first one. I liked dina a lot, and by the very end of the game she did feel pretty rounded out (i especially liked her in the farm segment) but the beginning and middle seemed almost more focused on “this is ellies girlfriend” instead of “this is dina”. I felt the same with jesse. I liked him but nothing stood out as much as it could and should have. I got more from tess in the short amount of time she was in the first game.

+there were certain segments that felt way more horror like and scary then in the first game and I loved them a lot. The new enemy (shambler) was cool and the settings where they used red lighting looked amazing. I also really loved the new take on stalkers. They were way harder to find and I found myself on edge to get jumped by one during those sections. They funny enough reminded me of dead space stalkers and i thought they were an improvement from the first games.

+at this point i pretty much understood what the creators were going for plot wise, but i personally just didn’t think it was needed. 1) i’m confident the majority of hardcore last of us fans already understand the concept of how every character can be good and bad and that not everything is black and white. we didn’t need to see one beloved character die horribly and the other be in that much pain and lose herself to understand that. 2) did we not pretty much already cover this concept in the first game? but....better? you remember...the ending?

- ELLIES FLASHBACKS:

+ of course I enjoyed them. its what i needed from a sequel. its what the whole game should have been, at least for me personally. the birthday flashback was the highlight of the entire game. i needed it so badly after the mind numbing, emotionally exhausting, weird out of place plot was putting me through. I was glad to finally see how ellie felt about the ending of the first game. but trying to crunch all that in 4 cutscenes? I just don’t feel like it was enough. you basically gave me one scene per year of joel and ellies relationship and you felt like that was enough to let me digest almost 5 years they spent in jackson?

- ABBYS SECTIONS:

+call me an optimist or maybe just stupid i’m not sure but when it rolled over and said “hey take over and check out the life of joel’s killer” my first thought was okay so i was right they want a “”nothing is black and white”” narrative but maybe doing it this way will be new and fresh? I can get through this and enjoy it? .... Its just not a fully possible reality and how could it be? had it been the first game in the series maybe it would had worked, but of course no matter how hard I tried I just felt disassociated from abby because I was already close to joel and ellie. I understood her reasons. I understood the narrative you were going for. I understood the damn parallels. I’m not an evil person that would just laugh about what happened to her dad, but how can you not understand as writers that a huge majority might be able to understand it, but still won’t be able to enjoy it. It felt so pushed and shoved into my face that I couldn’t enjoy it if i wanted to because the game just kept screaming “LOOK AT THE PARALLELS THO!!!”

+abbys dad seemed forced and out of place too. when abby and co. first killed joel i didn’t even think fireflies tbh. I thought it was something he did before he met ellie, or something he did during the 5 years in jackson. like yeah i got it, its not the worse backstory in the world but when put in context to the first game it just doesn’t make sense to me to use as the narrative you want to portray in the second game. maybe i’m nitpicking here but from all the personal notes and all the tapes you can read and listen to about the fireflies in the first game it makes it hard to believe the majority of fans would care for the second games narrative at all. they already made their decisions. it at the very least just seems like bad salesmanship? but maybe they already knew that and thats why the trailers were all lies? (just my thoughts at the time remember)

+and oh god was the character development even worse for abbys friends. at least they tried to give abby a rounded character development that mirrored ellies but if you think ellies friends barely got character development, abbys friends got almost zero. I didn’t care about a single one. they felt so flimsy and husk like. “this is the boy she likes” “this is a medic friend” “this guy likes sex alot” “this is dog, so of course you like dog”

+I mean its great everyone was able to be so different. abby is muscular, ellie is a lesbian, there were many poc, dina is jewish, they brought in a trans character....but how can i enjoy any of it when more than half of these characters felt put in just to be there instead of well rounded characters you can appreciate for good or bad?

+the sex scene with her and owen was the scene where i personally felt myself giving up. it felt so much like this game wanted to be an HBO classic instead of just a video game that i felt myself detaching even more. (also whats up with owens voice??? lol)

+GROUND ZERO was a very good chapter. That shit was spooky in all the good ways, it felt a lot like dead space with the plastic everywhere, THE BIG ASS MONSTER HAD ME ON MY KNEES. The chase scene up to the actual boss fight was A+. Here is the one catch though - I forgot I was playing as abby. It felt more like just playing first person. Not a character at all. I don’t think that is how you want your game to be played, and no it wasn’t my intention.

+I wish yara and lev had gotten more screen time. the game was so focused on the abby vs ellie thing and shoving it down your throat that most the side characters got washed out, these two included. Their story was interesting and it would had been nice to see more of them instead of whatever the weird love triangle abby had going on with her two friends I couldn’t care less about. (i stg chances were given, but as i previously stated they felt more like husks of characters then fully rounded ones.)

+getting hunted by tommy was actually a pretty cool highlight of the game for me. and even for a narrative i didn’t personally like it was a good idea to do! it reminded me of the sniper section (but holy hell tommys a better shot lol) and david’s hide and seek section in the first game which i thought was very well done.

+this is when i went “oh maybe i was wrong, tommys gonna die. i give him a 20% chance of survival now that abby saw his face

-THEATER TIME

+why in the all out hell would you ever think it would be a good idea to tell the player to go after ellie? no matter what narrative? lmao. I died here the most literally for the soul fact i was scared there might be some kind of choice so i wouldn’t mash QTEs as fast as i normally would. and when i found out no, you just gotta power through it i literally found myself going through this 10 minute segment going “but i don’t want to do this”, “i really dont want to do this”, “do i have to do this?” “why do i gotta do this?” and yes i still understood your narrative but it doesn’t matter. it was just awkward.

+This is where personally I would have put the cali segment if I really wanted to go with a narrative I still say didn’t need to happen because we already went through it in the first game, and then the happy farm bit at the end.

-FARM

+i felt the game was going on too long and i was literally screaming at my screen to just end my suffering when i realized there was more after seattle. adding the extra PTSD scene just felt like an added fuck you towards the fans. I said it once, I’ll say it 1000x that scene with joel was seared into my brain already. I didn’t need that literal jumpscare. I already knew what ellie was going through dammit I was going through it with her! Let the girl and me for that matter have a bit of happiness after what you put us through!

+holy hell tommy fucking lived. he fucking lived. that mother fucker. hes the new telltales kenny.

-SANTA BARBARA

+I said previously this section should have some how been merged into the seattle ending. I couldn’t tell you how honestly, but keeping it dragging like they did was so emotionally draining. it didn’t give me any feeling but more sadness and torment for a favorite character that didn’t deserve this kind of treatment. ellie looked so skinny and sad here. and i feel like it was what the creators were going for? because abby ended up looking just as sad looking. The ending fight was so sad and pathetic. I felt bad for both of them and that is what the creators wanted right? but at what cost? most of your fans, if they even managed to play this far, so emotionally drained and tired that they end up hating the game or not wanting to play it again?

-ENDING

+so how do i feel now that i finished it? overall there were more cons than pros for me. as i said numerous times before this narrative is not new, this narrative was not needed. this narrative definitely shouldn’t have been lied about through trailers. this narrative was basically done better in the first game anyways. the ending did not give me “sad but hopeful”. it just left me empty and depressed. I don’t see myself playing this game ever again.

+If anyone was able to enjoy it I’m truly happy you were able to and these were all just my personal thoughts and opinions while playing the game. I don’t hate anyone that liked it, I don’t even hate abby. I just personally hate they wrote a narrative that felt so forced down your throat in all the wrong ways. I hate that I wasn’t ready for that joel scene because it still hurts to think about. I hate thinking about how sad ellie looked and how they were both treated. It just wasn’t healthy for me tbh is the best way I can put it.

#the last of us #tlou #tlou spoilers #the last of us spoilers #holy shit this is long i'm sorry #not that anyone will read it lol #but its just nice to write sht down sometimes #anti tlou2

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