#i feel so incredibly ROBBED of what should have been the most important scene of this entire show | Explore Tumblr Posts and Blogs

amphibious-entity · 3 years

Text

TMBS Book 1 Brain Dump

~An Embarrassingly Long Post~

I don’t know why I’m writing this or why I’m so determined to do it. Maybe to finally assume my true form and become a mega dork on main, or maybe just for fun!

This is basically a compilation of all the main points running through my head after reading The Mysterious Benedict Society (2007) for the first time. Rather than posting a ton and spamming the tag, everything’s here in one neat package! (hopefully this gets it all out of my system rip)

Contents:

The Book Itself

The Book Itself, for real this time

The Characters

A Funny Parallel

The S.Q. Section

Lines & Scenes I Liked

Spoilers abound!

The Book Itself

Upon acquiring the first three books (don’t judge me pls), I was surprised at just how long they are. Like, they’re still pretty light being paperbacks and all, but these books are hefty lads.

The first book has this Disney+ Original Series circle thing printed on it, which is kind of unfortunate. Regardless, I love the cover illustration and yellow is actually my favorite color :D It made me weirdly quite happy whenever I saw the book lying around in my room

Also, it’s really cute how there’s a letter from Mr. Benedict at the end! (It only reveals that you can find out his first name if you “know the code”, meaning the bit of Morse printed below the summary on the back.) Shock and horror, though, as I realized I’m starting to recognize some of the letters

The Book Itself, for real this time

It’s wonderful how the tone of the book really shone through to the show adaptation. Something about the deliberateness of the aesthetic, from the set designs to the fashion to scene compositions, that really sells that particular style— like it’s very clear that this story is being told to us, rather than one we’re seeing unfold, if that makes sense.

Where that narration style stood out to me the most was the first chapter. We are told (rather than shown) how Reynie gets himself to the point of the second test, and there’s this whole twisty time maneuver for that whole sequence of events that’s really interesting

A super secret fun fact about me is that I wanted to be a writer when I was younger! So this particular balance of show vs. tell is really neat, since it runs counter to my own tendencies. The sheer amount of commas in every sentence is also kind of comforting, since Ahah, I Do That in those few serious-ish attempts at writing lol

Overall this book’s style reminds me a lot of Roald Dahl’s books, which are very nostalgic for me :D The whole “kids are more competent than adults” angle helps a lot too haha

The Characters

Oh boy here’s where I get a little bit critical! Overall I did really like this book!! it’s just that that expresses itself in all this weird “”analysis”” lol

Reynie - much better in the books than in the show

It’s sort of a lukewarm take but I feel like show!Reynie is kind of boring? He doesn’t have a lot going on flaw-wise, and obviously since he’s the protagonist he can’t have too many weird traits or else the kids watching can’t project themselves onto him as easily

(I call it the difference between an aspirational protagonist and a vessel protagonist. Going off of the Roald Dahl vibes, think Matilda vs Charlie. show!Reynie is more of a Charlie)

Thus when we get to see him really struggle with the Whisperer and doubt himself it gives him a lot more dimension, at least in my opinion

It is a federal crime that the white knight scenes were not adapted into the show

Sticky - my son

I’ve long held to no one besides myself and my long suffering sister that Sticky is The Best Member of the Society

He happened to hit a lot of the Bingo squares of Stuff I Like In Characters: glasses, anxious, nice :), kind of a coward but ultimately is there for his friends, etc

For some reason I don’t talk about him nearly as much as you-know-who, but I love him just as dearly

Kate & Constance - I don’t have much to say

Kate is really interesting in this book! I like how we get to see more of her depths, in particular that one passage about her belief that she is invincible being the only thing that keeps her from falling apart? :c

Also her constant fidgeting is relatable lol

Constance is somehow a lot more tolerable in the book. I think I’m just one of those people with no patience for small children, unfortunately lol

(Some of) The Adults

It’s interesting that they had such an offscreen presence for most of the book. Giving them more time was probably one of the stronger changes of the show

However if that decision was made at the expense of the white knight scenes I think the choice should have been clear

I like the way Rhonda and Number Two are written

Milligan always on sad boy hours 😔✊

The “mill again” passage is touching but kind of messes up the pacing of the getaway, at least for me. Maybe I should read it again to make sure I didn’t miss something

Miss Perumal is much better in the show. We see so little of her in the book she doesn’t function well as an emotional anchor for Reynie, imo

The Institute Gang

Jackson and Jillson serve their purpose well, and Martina was surprising to say the least. I like the direction they took her in the show! I can’t imagine how funny it must have been to watch the tetherball subplot come out of nowhere lolol

These sections were written out of sequence, so random tidbit I couldn’t fit in The S.Q. Section: I like how he stumbles over his words. relatable

Mr. Curtain

While I think I know why they decided to not give Curtain the wheelchair in the show, we were totally robbed of Actor Tony Hale’s performance for the reveal during the final confrontation

Speaking of the wheelchair, it’s such a powerful symbol of his need for control or rather, his fear of losing it

The Contrast between him and Mr. Benedict. This point is expanded on in A Funny Parallel

Mr. Benedict

Oh boy, Mr. Benedict… How do I say this

I find it hard to trust Mr. Benedict, unfortunately

I mean to say, I do in the sense that I know he would never hurt the kids, thanks to knowing that a) this is a children’s book series and b) the meta (tumblr) states that he is really nice and lovable and stuff, but seriously. Why do the kids trust him at first?? I probably missed something somewhere

I like to think I’m an optimistic person, but unfortunately I’m also super paranoid. The premise of “a bunch of vulnerable orphans team up with a strange old man” is just so odd to me I don’t know how to explain it

I don’t know!!! I really want to trust Mr. Benedict

One of the strengths of the show is that we get to see him more often, and thus he gets to acknowledge more often that the plan is weird and that he feels really badly for putting the kids in danger and that he’s trustworthy and genuine

But his lack of presence for most of the book just makes him into something of a specter, invisible and unknowable, speaking only in riddles from across the bay

Which is why the white knight scene is so important!! I loved that scene ;-;

Because here’s an actual emotional connection! We can actually see it happening, rather than only being told that it exists

Reynie asking for advice and receiving encouragement, in words that demonstrate that Mr. Benedict actually cares about him and worries about him and agghh

It is a federal crime that the white knight scenes were not adapted into the show

But overall this whole issue didn’t ruin my enjoyment of the book at all! It’s just ->

A Funny Parallel

Okay, ready for my biggest brain, hottest take ever??

Mr. Benedict and Mr. Curtain…. are… the same

I mean obviously not entirely, given that one is benevolent and kind and the other is… Mr. Curtain

But seriously. Genius old man seeks out children (mainly orphans) to enact a plan. Said children often end up incredibly devoted to his cause and deeply admire him this is a little flimsy

Undoubtedly that’s intentional and is supposed to show the difference between them, like some kind of cautionary tale? “Let yourself be vulnerable and let others help you, lest you turn eeeeviiillll”

I guess that’s where the aforementioned epic contrast comes in. You get Mr. Curtain, strapped into his wheelchair and hiding behind those mirrored sunglasses, terrified (but unwilling to admit it) of ever showing the tiniest hint of vulnerability, vs. Mr. Benedict, who can let himself fall knowing that someone will catch him :’)

Anyhow I have nothing against the parallels, I just think it’s funny

The S.Q. Section

The S.Q. Quarantine Thread so it doesn’t leak out everywhere else <3

I’d like to meet the emo angstlord genius who read this book and decided to make SQ into Dr. Curtain’s son. What in the world

Okay I should probably preface this by saying that I absolutely adore both book!S.Q. and show!SQ with all my heart. Somehow, despite being a completely different character in both mediums, he has managed to be one of the best characters in either and certainly one of my favorites (besides Sticky of course) in the entire franchise, despite the fact that I’ve only read the first book/watched the show so far. I am confident in this statement.

But seriously! How?? Why?? I could probably write a whole other essay about why show!SQ is such an interesting character, and the change works so incredibly well. I’m just. Baffled

Okay, focus. book!S.Q. is such a sweetheart, oh my goodness. Like, 100% one of the most endearing characters in the book. Poor guy. I don’t even know where to start!!

He just seems to be a genuinely good guy at heart, despite being technically one of the bad guys. He’s genuinely happy for Reynie and Sticky when they became Messengers and helped Kate when she “fell” and was concerned about Constance when she looked sick and how he was in that meeting with Mr. Curtain and Martina?!!? aaahhhhghgh ;-; he just wants people to be happy TT-TT

Comparing him against literally every character at the Institute is probably what makes him so endearing tbh. When everyone else is so awful to the kids, it really makes him stand out. Like a cheerful little nightlight in the worst, most humid and rank bathroom you’ve ever been in

It’s kind of pointless to theorize about a book series that’s already concluded (I think?) but. Is the implication of S.Q.’s forgetfulness supposed to be that Mr. Curtain used him in brainsweeping experiments somehow? The timeline probably definitely absolutely doesn’t line up but like. How did he get to being a Messenger being the way he is now, given how cutthroat the process is? And then of course Mr. Curtain keeps him around as an Executive because he’s fun to mess with and presumably his loyalty. I’m very curious as to how their relationship develops in the other books, if at all. Those are probably where the seeds of the “let’s make them family” logic were planted

But wouldn’t it be hilarious if the reason we don’t know what “S.Q.” stands for in the books is that he just. Forgot

Another thing that occurred to me. Given that he and the other Executives were Messengers at some point, what were their worst fears? What is S.Q.’s worst fear?? Inquiring minds need to know

One last horrible little anecdote: I was thinking about book!S.Q. while eating breakfast, as one does, and suddenly it hit me.

I want to believe The Author Trenton Lee Stewart had the name for a character, S.Q. Pedalian, and was like, “Hm! What sort of quirky trait should this young fellow have?” Because, of course, in this style of fiction every character has to have at least one cartoonish or otherwise distinguishing trait to stand out in the minds of children. (For instance, Kate has her bucket, Sticky has his glasses, Constance is angry, and Reynie is Emmett from the Lego Movie)

Anyhow, he looks around the room, searching for inspiration. Suddenly he comes across a jumbo box of plastic wrap. Completely innocuous in design, save for one line of text. 300 SQ FT.

“…large… S.Q. …feet? THAT’S IT!” i’m sorry

Lines & Scenes I Liked

In no particular order!

Sticky quotes Sun Tzu, The Art of War

Evil combination aerobics/square dancing in the gym with the Executives

Everyone being happy at the end :’)

Everyone partying after Sticky reunites with his parents, and later finding Mr. Benedict asleep at his desk from the moment they shook hands :’’)

Literally any scene with Sticky in it

Any time Kate says “you boys” or “gosh”

[“Um, sir?” S.Q. said timidly, raising his hand. “A thought just occurred to me.” / Mr. Curtain raised his eyebrows. “That’s remarkable, S.Q. What is it?”] clown prince of my heart </3

S.Q.’s determined monologue about searching for clues after he bungled up the first time

Literally any scene with S.Q. in it (please refer to The S.Q. Section)

Reynie trying to resist the Whisperer.

[Let us begin. / First let me polish my spectacles, Reynie thought. / Let us begin. / Not without my bucket, Reynie insisted. He heard Mr. Curtain muttering behind him. / Let us begin, let us begin, let us begin. / Rules and schools are tools for fools, Reynie thought.]

NO MORE HURTIN’ WITH CURTAIN

Milligan showing up on the island!!

Remember the white knight hhhhhh

“controle”

A Super Secret Bonus Section

I would be extremely surprised if anyone read through all the way down here lol. Regardless, here’s a little acknowledgements section :D not tagging anyone since I don’t want to bother all of these people

Special shoutout to tumblr blog stonetowns for unknowingly yet singlehandedly demolishing my reluctance to read the books by posting a ton of cute quotes. Thank you for your service o7

Thanks to the two OGs that liked the post I made right before this one, for being my unwitting enablers and for sticking around despite being a) technically an internet stranger (hello!) and b) someone I haven’t spoken to irl in literal years (hey!!)

Last but not least thankz 2 my sister for putting up with me ranting about the book when I first got it and for asking about “CQ” sometimes lol. (i desperately hope you’re not reading this orz)

#the mysterious benedict society #this took me like three days to finish rip #it’s worked though! i feel less of a Mighty Need to think about this stuff constantly now #however!!! today through some conniving i have gotten the Second Book #now I’m at 3 out of 4 infinity stones. muahahaha #was going to include my villain origin story about why i like show!SQ so much but cut it for being too long and irrelevant. however #if the words jeff naomi and Sweet Dreams are Made of These mean anything to you please hit me up. it’s kind of a funny story

31 notes · View notes

the-ferocious-kittyrose · 3 years

Text

What I would’ve done w/ Lotor’s character

It’s not exactly a secret to anyone who’s been following me for a while that I’m not the biggest fan of canon Lotor. I had high hopes for the character from his 80s counterpart and intro in season 3 but I was really let down by the direction the writers went with him in canon.

When he was introduced, I was so hoping for him to be this cocky manipulative asshole that’s only out for himself. I love that character archetype so goddamn much.

But in canon he was just kinda boring to me. His personality was bland and his motivations never really made sense. He’s introduced using empty promises of peace and comradery to manipulate people, then its revealed that he actually does want peace and comradery and wants to lead a peaceful empire, then that turns into draining Alteans and wanting to kill all Galra...

I also didn’t like how the writers decide to tack on this whole child abuse plot to explain why he was the way he was. As if that’s the only way to make a villain sympathetic. Yeah other versions of Voltron have touched on Lotor’s childhood before and it was never pleasant, but VLD really leaned into that shit, to the point where it felt like the writers were just shoving angst down our throats thinking that equals good writing.

It takes more than a tragic backstory to make a character compelling. It takes an interesting personally and motivations that make sense. And you can make a character tragic/sympathetic in more subtle ways.

For me personally, I wanted Lotor to be a sorta fusion of Loki and Littlefinger in space.

Loki is a sly trickster who grew up feeling like an outcast, unaware of his true heritage. He grew up believing he could be king but when his shity father handed it to his perfect brother he felt he had been robbed and decided to take the throne by force.

Littlefinger is a small man from a small house with no power, and after getting the shit beat out of him trying to win the hand of the girl he loved, he decided he would use his intelligence and skills in manipulation to screw over all these noble lords and weasel his way into the throne. And when he did he would finally get vengeance on all those who had looked down on him.

I feel like this fits Lotor well. Lotor is a prince, so he isn’t small in that regard, but he is not respected in the way a prince should be.

He is a lot smaller than the average Galra. And even though Lotor is still quite strong, developing a fighting style that suits his small form and uses his opponents size against them, in a society so heavily based on physical strength that’s still a big blow to your rep.

He employs half breeds, which we know are looked down on in the empire. And there are definitely rumors about Lotor himself being a half breed. I think after 10,000 years Zarkon would’ve done a pretty good job at hiding Lotor’s heritage from the public but just looking at him compared to the average Galra there’s going to be some suspicion there. On that note Lotor is probably considered butt ugly by the Galra.

And Lotor works in the shadows and achieves his goals through lies and trickery, which Lotor himself says are things the empire looks down on.

So yeah, the people in the empire hate Lotor. Even Sendak who’s all ‘Gung ho empire’ has no respect for Lotor. And because of this it would probably be up in the air whether or not Lotor would even be allowed to take the throne if his father were to pass, even though it’s his birthright.

And in the face of all this rampant disrespect, Lotor decides that he is going to overthrow his father and take the throne. And when he does he will take vengeance on everyone who had ever undermined him and expand the empire beyond anything his father could’ve dreamed of.

And don’t try telling me, “oh that’s so out of character! Lotor would never take pleasure in the pain of others!” Because he does.

Remember Throk? Remember how Lotor sent him away to the worst station in the empire and joked about letting him, “rot with the ice worms?” Remember how Lotor later invaded his station then watched with a grin as he was tortured by Haggar?

Lotor 100% takes pleasure in hurting those who would hurt him, because it makes him feel powerful.

Now let’s talk about Lotor’s planet. The one given to him and destroyed by Zarkon. I always felt weird about this plot. Obviously it’s a very sad thing to have happen, but I always liked the idea of Lotor’s promises of peace to be empty, a means of manipulating people. So this whole situation being genuine feels weird to me.

In my version, Lotor didn’t get banished for being too kind. He got banished because Zarkon caught him in a plot to betray him.

When Lotor was put in charge of the planet, he seduced and married the princess Ventar. He filled her head with promises that her people would be free and they would rule the universe together and convinced her to secretly round up her armies and send word to her ally planets to do the same, so they could start planning a way to overthrow Zarkon.

It’s left ambiguous whether or not he was being genuine and whether he really loved Ventar and intended to keep his promises to her or if she was just a tool to get the throne. But either way, it ends the same. Zarkon finds out, destroys the planet, kills Ventar, and exiles Lotor.

Still sad/humiliating thing for Lotor, and definitely a story that could gain sympathy from Allura.

Speaking of Allura and Ventar, let’s talk about Lotor’s relationship with the women in his life.

(Trigger Warning: Brief mention of of a rape scene in GoLion)

In the 80s Lotor was incredibly misogynistic. He walked around with a harem of half naked women, tried repeatedly to kidnap and marry Allura against her will, and in GoLion it’s heavily implied that he raped Romelle because she looked like Allura.

It’s a common joke in the fandom that he went from this to drinking respect women juice in VLD but I don’t know if I’d go that far.

He’s definitely better in VLD than he was in the 80s, but even in VLD he manipulates, uses, and hurts most of the women in his life.

Allura is the obvious example, but you also have his generals. Acxa talks to the paladins, Allura in particular, about how persuasive Lotor could be. Implying that she and the other general were manipulated the same way Allura was.

Well not EXACTLY the same way Allura was, romantically I mean. Though there are people who believe that Acxa was also in love with Lotor and he used that to his advantage, which I can see.

But I feel like it was more about giving them a place in an empire that didn’t care about or accept them.

I hate The Last Jedi but I really feel like the line, “you’re nothing, but not to me,” fits really well. They were outsiders with no place to go until Lotor swooped in and gave them a purpose.

Do I think that there was a part of Lotor that genuinely wanted to help them because he saw a kindred spirit in them? Yeah. But I also think that at the end of the day, they were more tools than real friends. And he had no qualms about killing them if they betrayed him.

The situation with Narti proves that. As well as the fact that Ezor and Zethrid seemed very scared of the prospect of Lotor being alive and coming for them.

And then you have Allura. Lotor’s lust for Allura has always been a very important part of his character. In the 80s the reason behind his obsession with her was that he had a lot of baggage about his mother and had a thing for women that looked like her. Also the fact that he just didn’t like not getting something he wanted.

There was never any love. He didn’t want to be with her, he wanted to own her.

In VLD, his want for Allura seems to stem more from the fact that she’s Altean than an Oedipus complex. As well as the fact that she’s powerful and skilled in Altean alchemy, which makes her rather useful.

I don’t personally believe that Lotor ever really Loved Allura. I think he liked the idea of her and what she could do for him, but the end of the day she was more a means to an end than anything else.

Allura’s been trough a lot. Zarkon betrayed her family and destroyed her entire planet only about a year ago from her point of view, and she appears to have a pretty bad case of survivors guilt and PTSD. And to make matters worse, while Lotor was on the ship she was fighting with Shiro, someone she clearly cared about. The idea of loosing him after already losing so much must’ve been really painful.

She was hurting, conflicted, and lonely. Which made her all the more vulnerable to Lotor’s manipulation.

He took advantage of her loneliness and insecurities, making her believe she had found someone who understood her and could help her avenge her family and planet. She trusted him, let herself be vulnerable around him, which made it hurt even more when it was revealed to all be a ruse.

And then you have his relationship with his mother Honerva/Haggar.

I talked a lot about this in my whole rewrite/rant about Honerva, but I’m not a fan of how they made their relationship 100% negative. I feel like it robs the show of a lot of interesting character interaction.

It’s sad. The whole relationship is really tragic. Shit like this is literally my worst nightmare. The thought of looking my mom in the face and have her not recognize me as her daughter keeps me up at night.

But the thing is, in canon the relationship kinda falls flat because Lotor and Haggar/Honerva have no connection. Haggar was awful to Lotor and Lotor hates Haggar. What reason do I have to be invested in their relationship?

So If you haven’t read my Honerva rant, here’s how I would’ve done the Honerva Lotor relationship.

10,000 years ago, when Alfor came to Dibazzal to convince Zarkon to close the rift, Honerva went into labor. Alfor and many Galran doctors tried there best to save her and the baby, but the quintessence had damaged her body so much that she couldn’t be saved and died in childbirth.

Zarkon went ballistic and Alfor had the doctors take baby Lotor somewhere safe, fearing Zarkon would take his grief and anger out on the child.

After Honerva was resurrected as Haggar and throughout Lotor’s childhood, they had a strange sort of relationship. Lotor was an inquisitive child and was always curious about Haggar and her work, making a habit of following her around like a little shadow and watching as she worked. And there was also the fact that, while his father was never friendly, he was calmer when she was around.

Haggar had no idea what to make of this weird child following her around all the time. All these big strong Galra were terrified of her but this tiny child showed no fear as he tugged on her robes and excitedly asked questions about her work. And she never minded. She didn’t know why or how to explain it, but she cared for the child. As much as a soulless undead witch could care for something anyway.

But as time went on there relationship became more and more strained. Lotor was a smart kid he was gonna find out about his mother and deduce what happened to her.

He resented Haggar. Resented her for not remembering him. Resented her for the fact that he had to go through life without a mother while she was right there. And he resented her for being loyal to Zarkon, who had been making his life hell for thousands of years.

Every time she showed him something resembling kindness he’s conflicted. He knows he should feel happy that she cares, but at the same time, why does she care? It’s not like she sees him as her son.

He turned to denial, insisting that Haggar couldn’t possibly be his mother, even though he new the truth deep down, and a part of him always secretly longed for her to remember who she was, who he was, and embrace him as her son. He hates that part of himself.

And when he does meet Honerva for the first time, it’s... tense... to say the least. Having his mother reach out to him and acknowledge him as her son is something he thought would bring him joy, but in that moment all the pain he went through rises back to the surface and he lashes out. He draws his sword and is about to cut her down but he hesitates. He’s trembling with tears in his eyes. He can’t forgive her, but he also can’t bring himself to kill her.

Then you have his relationship with his father.

It’s no secret that Zarkon is an awful man and a shity father, always has been.

The explanation as to why is kinda shaky. All we get is Zarkon saying Lotor is his greatest shame because he’s Altean but I don’t know about that. Zarkon may hate Alteans but he loved Honerva and I don’t think he would be ashamed of his relationship with her.

He definitely did his best Lotor’s heritage from the public. But I don’t think that’s the reason he hates him.

In my version of the story, Zarkon hates Lotor because Honerva died giving birth to him and Zarkon blames him for her death. He lost his beloved wife and was forced to watch the son that killed her waltz around wearing her face.

It didn’t help that Lotor was a snarky rebellious kid that liked to show off. He did things his own way, didn’t care much for rules, and had a real knack for finding loopholes. All things that made his strict father very angry. He was an embarrassment. Small and rebellious. That’s why Zarkon began training Sendak.

I personally believe the reason Zarkon was so trusting of Sendak and had so much faith in him was because Zarkon had been grooming him to be his “true heir.” Sendak is the epitome of what a Galra should be. Strong, loyal, and brave. He would be the son Zarkon wished he had. The favorite child.

Lotor obviously hates Zarkon, and rightfully so. Zarkon hates him for something he had no control over and constantly disrespects him.

Lotor may not follow the rules, but he passes every trial. He excels at everything he does but Zarkon refuses to see that all because he blames him for Honerva’s death.

Lotor sees Zarkon as an old fool. He knows that he could do a far better job at running the empire.

Lotor dedicated thousands of years of his life to overthrowing Zarkon. His hatred for his father was his motivation, what got him out of bed every morning, so when the deed is done and Zarkon was finally defeated, in the moments after he felt empty.

But he didn’t have time to dwell on that feeling for long. He still had to deal with his father’s men and take the throne that was rightfully his.

Then you have his plan.

Lotor’s plan in VLD is really weird and over complicated. There was no real reason for the whole draining Alteans thing. Just a lazy way of making him 100% evil.

The plot could’ve been a lot simpler. He gains the paladins trust, gets them to help him build his ships and overthrow Zarkon, and then once he has the throne he pulls an Uno reverse card and is like, “yeah, nothing personal but this was all a trick and imma lock you and your lions up now.”

Obviously more complicated than that but that’s the basic idea.

One of my main problems with VLD is that they had a bad habit of over complicating the plot. People don’t care about VLD because of the plot, they care about the characters and their relationships, the actual plot doesn’t have to be anything spectacular.

It’s strange to say but I feel like the writes tried too hard with Lotor. He had the potential to be an amazing villain but the writers were too focused on tricking the audience and making him angsty that they forgot to make him compelling.

#Voltron #vld #voltron legendary defender #prince lotor #Lotor #emperor zarkon #zarkon #haggar #honerva #princess allura #Allura #acxa #ezor #Zethrid #narti #galra #vld critical #discourse #sincline

62 notes · View notes

iturbide · 3 years

Note

What do you think could have been done to improve 3H? Given the budget/time, what changes would you have done? Also, what elements do you consider KEY to a good story?

fffffff I would have done so many things differently in 3H it requires a read more but to your second question: I feel that characters are a key element of a good story. Possibly the most crucial element, to me. You can have the most epic, incredible plot in the world -- but if the characters taking part in it aren't interesting or able to engage the reader, then the story loses a huge part of its impact. It's only by caring about the people taking part that a reader can get invested in the story and its outcome; if you don't care about what happens to someone (either in a good or a bad way) then you're at best apathetic to the events, at worst bored by them.

Frankly everything else in a story -- narrative structure, conflict, etc -- is so malleable that I can't consider it key. You can easily make stories that have no classic conflict if you have characters that people care about, because just watching them interact with the world and each other can be beautifully engaging. So at least to me, the key is in the characters: whether you love them and want them to succeed or love to hate them and want to see them get their just desserts, they're the ones that do the heavy lifting in a story, so making sure they're compelling is one of the most important things to me when writing.

As for 3H though I have a lot of changes I would make. Throughout the whole game.

Academy Phase

Giving each House their own unique set of missions. I feel that part of why the Azure Moon route is considered so strong is because it's the most character driven, something that starts in the Academy Phase: everything from Lonato's rebellion to Miklan's theft of the Gautier Relic are highly personal to the Blue Lions students, with Ashe being Lonato's adoptive son and Miklan being Sylvain's estranged older brother (and someone who's well-known to Dimitri, Felix, and Ingrid on top of it). While these are both important events, for the Black Eagles and the Golden Deer there's not the same level of personal engagement: it's just a thing that's happening rather than a devastating blow to the students we love. While there are certainly missions that can and should stay the same (the raid on Seiros' tomb, Flayn's kidnapping, the Remire incident, etc.) having select missions be personalized by House to give that same level of engagement would have made for a far stronger narrative, since it enhances the player's connection with the students of their chosen House.

Just as an example: for the Black Eagles, rather than putting down Lonato's rebellion, maybe have their mission be aiding a small sect of the Church in the Empire that's being plagued by monsters or bandits. It gives us the chance to learn more of the history between the Church of Seiros and the Adrestian Empire, how close they were and how it fell apart a century before the game; Rhea might explain that she wants to improve these failing relations by having Imperial students go to aid this disconnected branch, and in private Edelgard could hint at her distrust of the institution and of Rhea herself even if she is following orders. Not only that, we could hear on returning that the Blue Lions students accompanied the Knights of Seiros in dealing with Lonato's rebellion, so we still get the fallout from those events and have a reason to choose the Blue Lions in another run.

Another example: for the Golden Deer, rather than going after Miklan and witnessing his transformation, maybe a report arrives that someone stole Failnaught and task the Alliance students with retrieving it. It lets us learn more about the situation in the Alliance, giving more details about Duke Oswald's situation, Claude's appointment as the heir to the Riegan House...and while he would never do it personally, have there be subtle implications but no hard proof that Duke Gloucester is behind the theft, just as he was the death of Claude's Uncle; on top of that, we could still get a battle against a Black Beast when Failnaught transforms the bandit, giving Claude a very personal look at how dangerous these Relics can be (something he likely wouldn't have had deep insight into, given his Almyran roots). And again, on returning to the monastery we could see the Blue Lions dealing with the fallout from Miklan.

More interaction between the House Leaders in general. There are only a handful of scenes where all three of them interact together, and I can only think of one instance where they're even in each other's company at the monastery (Claude and Dimitri in one of the early chapters). Having more of these moments where they're apparently interacting on the grounds or where we can see them together in cutscenes, giving us more insight into the leaders of the other Houses we didn't pick, would give us a lot more investment in them as people and make the eventual revelations at the end of the Academy Phase hit a lot harder.

Especially with Claude's ambition being what it is, it would have been a far better show of his character to have him hanging out with different students every month -- not just from his own House like Hilda, but from other Houses. Have him be talking with Petra in the dining hall one month, or with Annette at the reception hall another; if you sided with the Black Eagles or the Blue Lions, it would be very easy to suspect that he's up to tricks and trying to figure out individual weaknesses...but if you picked the Golden Deer, you'd likely realize very quickly that he's got no ulterior motives because you've been seeing him in action and getting Supports with him.

More Supports period. We were robbed of some fascinating interactions, like Ashe and Dorothea or Dedue and Petra, and some really strong Support chains stop before they reach their full potential (several Sylvain supports, including Marianne and Bernadetta). I want to see so many more of these and I would add in a ton if given half an opportunity.

Giving Byleth more agency. This bleeds over into the War Phase, too, but one of my biggest complaints about the game is how limited the response options are, especially when it comes to Edelgard and her frightening rhetoric as early as chapter 3. Give us more options with real varied outcomes, rather than it changing one immediate line of dialogue; give us real dialogue trees rather than minutely altered responses so that we have an opportunity to affect change. This runs the risk of drastically altering Byleth's relationship with the various House Leaders, but that potential is undeniably fascinating in and of itself.

War Phase

Azure Moon: Make Dimitri's turn more gradual. Show him grappling with Rodrigue's words more, have more scenes where he and Byleth talk and he tries to work through his understandably complicated feelings. It doesn't even have to take that much longer, honestly: every week for the next month, give us an extra cutscene and let there be a small change in how you can interact with him. For example, maybe he still doesn't attend the round table in the first week, but you do have the option of assigning him to a task around the monastery; in the second week if you explore, you have the option to invite him to a meal; in the third week he finally attends the roundtable and you're able to work on his skills again; and in the fourth week his supports finally unlock.

Azure Moon: Make Claude recruitable. Don't have him leave Failnaught and go waltzing back to Almyra, have him actually head up the Alliance in this time of need and volunteer to join forces with the Kingdom forces. You can have the option of turning him down, if you really want, at which point he might leave Lorenz in charge and go back home, but give us the option of bringing him on board along with any other former Deer that fought with him at Derdriu -- and furthermore, let us have some supports with Dedue and Dimitri to go with it. Ideally those Support chains would be available in the Academy phase and maybe you'd have the recruitment option only if Dimitr's Support level with Claude is at least a B (since you can get to A during the Academy Phase but not unlock it until the War Phase as I experienced many times). But still: Claude recruitment. Yes.

Verdant Wind: Make Dimitri recruitable. Having him die offscreen after Gronder is absolutely terrible, especially since we know for a fact that at least two people from the Alliance army saw what was either going to happen or directly happening. At the end of the battle, give us an option of going after Dimitri: if you choose not to, he still dies, but if you do you have the opportunity to save him and recruit any other former Lions with him. As abve, Supports between Claude and Dimitri would be great, and you could even keep Dimitri's Supports locked for a while and include scenes of Byleth and/or Claude and Dimitri talking and working with him until he starts turning around the way he does in Azure Moon. Dimitri's death in Verdant Wind is a travesty and it needs to be changed.

Verdant Wind: More character stuff in general. One of the things that makes Azure Moon such a strong route is that it's so deeply character-driven. Verdant Wind is much more plot-driven, and while it's still strong, it could have been more impactful if the characters were more directly affected and/or we got to see more of their individual actions. For instance: after securing Myrddin, have weekly missions where you actually go along and meet with the Great Lords and discuss with them before the final round table. Have Byleth and Claude go with Lorenz to talk to Count Gloucester and try to get his buy-in, and give us more dialogue trees where Byleth can contribute (for better or for worse) so that in the end you either get his full agreement or only grudging consideration because Lorenz intervenes. Get us engaged, show us more of the situation in the Alliance, and let us have a role in moving from this uneasy state of neutrality to full agreement that it's time to take action.

Silver Snow: A unique story in general. Basically everything in the route is a weaker copy of the events in Verdant Wind, and regardless of which came first, Verdant Wind handles the events in a way that makes more logical and narrative sense than Silver Snow does. So even if things could be changed in Verdant Wind to make it stronger and more unique, Silver Snow needs the most work and ideally should have a new plot made just for them that gives the Knights of Seiros a chance to really shine.

Silver Snow: More for Seteth to do period. Despite the fact that he's ostensibly our Lord stand-in for the route (since he's the one who meets you after the timeskip, where it's either Claude, Dimitri, or Edelgard who does in the other routes), he barely has a chance to do anything and doesn't make much of an impact on the route overall. Silver Snow could -- and ostensibly should -- give him a chance to showcase his talents and stand as a unique and engaging character, since his role in the Academy Phase was so minor; relegating him to the same general role in Silver Snow does him a great injustice.

Crimson Flower: Have Edelgard suffer consequences. This is one of my biggest complaints with the game on the whole: that Crimson Flower goes out of is way to glorify imperialism and Edelgard gets a rosy perfect ending with nothing ever going wrong according to her endcards. Logically the way she achieved her goal would have led to massive dissent, unrest, and civil conflict in the territories she conquered and subjugated; her route needs to show that, and make it clear that there are in fact consequences for her actions, both within the original Adrestian territry and without in the newly conquered ones.

Crimson Flower: Deal with the damn Agarthans. Given that she knows about them in detail the way neither of her fellow House Lords did, it's an absolute travesty that we never saw her go after them in her route: all she did was show her hand too early and cause hundreds of senseless deaths when the Agarthans fired on Arianrhod. Her route should have ended with a conflict against the Agarthan menace -- and likely a very hard one, harder even than the battle against Rhea, because she left them for too long and gave them time to bolster their defenses before she arrived. And given that she's killed Rhea, the end of that conflict would likely be a massive loss of life when Thales bombs Shambhala -- further consequences for her actions.

All Routes: Give Byleth agency. This is especially pertinent in CF where canon reduced Byleth to Edelgard's enabler: give them a chance to fight her, push back against things that either don't make sense or are only going to hurt people, argue and maybe force her to change her mind or see another viewpoint rather than continuing to barrel down a path of bloodshed and loss because she selfishly decided that war was the only way. But giving Byleth that same agency in other routes would be equally powerful: let them talk candidly with Dimitri, let them encourage Claude to trust his companions and reveal his Almyran heritage, just...let them have a chance to be their own person, with complicated relationships and the ability to speak freely.

#answered #21stcenturyhero #fire emblem: three houses #look i enjoy 3h a lot #but it's also kind of a mess when you think about it #these are just the immediate changes that come to mind #there are probably more improvements that could be made #but these are a good start #and would have made a much stronger game #at least in my opinion

32 notes · View notes

bringstheflower · 3 years

Text

Overblown “Death Flags”: Why people should stop worrying so much about Ren or Nora dying

The question of which characters have “death flags” has been a much discussed topic in the community ever since V3. For those not familiar with the concept, saying a character has a “death flag” means that there is something in the narrative that suggests that character is going to die. For example, someone being one day away from retirement means there is good chance that character dies on their last day in order to make the audience extra sad about this death, hence they have a “death flag”. Now outside of Pyrrha we really haven’t had any major, permeant protagonist deaths, but that doesn’t stop the fandom from constantly talking about which major protagonists are doomed to die. The latest of this speculation is people thinking Ren and/or Nora will die in this climax.

Personally, I consider that to be completely ridiculous.

There are a ton of reasons why I think Ren and Nora’s character arcs show us there is no death planned for either them, but for some reason the fandom still believes they have death flags. So, today I’m going to to through my complete list of reasons why I don’t think either Ren or Nora are going to die, starting with Ren.

Reasons why I don’t think Ren will die

Neath has been extremely hyped about Ren this Volume, both on Twitter in general and in particular saying on Galaxycon that V8 has his favorite Ren moments. I do not think he would be this hyped about his character dying.

Suppose you are CRWBY, and supposed you are planning to both kill off Ren and to have Nora go through an identity crisis because she doesn’t know who she is without Ren. Why on Earth would you start that arc for Nora before Ren dies? This arc for Nora works so much better if it happens after Ren is dead.

Ren was formerly Monty’s character and CRWBY has gone out of their way to keep Monty tied to Ren. Now to be clear, I am not saying that they shouldn’t kill off Ren for this reason. However, I think CRWBY might feel understandably weird about killing Ren unless this was something Monty had planned out for a long time, which I seriously doubt. And even if Monty did plan Ren’s death out this far in advance, they might still feel weird enough about it to make a change to that decision.

Reasons why I don’t think Nora will die

In general, giving a character a major injury is not something you do if they are slated to do shortly thereafter, unless their injury takes place in the same scene as their death. Nora has been not just severely injured but knocked unconscious for quite a while, which is something that makes a character’s death even less likely.

It would be very similar to what happened with Pyrrha and fridging both of the ladies of JNPR to develop their male partners would be pretty shitty. I always thought it was dumb to call killing off Pyrrha sexist, but if CRWBY does the exact same thing, then unless it’s handled incredibly well I might be pushed to calling it sexist.

I do not think Ren would work well as a character if Nora died. Yes Ren has been good this Volume, but if Nora died then Ren would become the most angsty person on the planet and I really don’t think Ren could remain a compelling character like that for multiple arcs. Additionally, while Ren works great as a character while he is in the middle of an arc, his characterization outside of an ongoing arc has been extremely lacking (i.e. V5 and V6 Ren), while every other character can function extremely well outside of an ongoing character arc. Nora in particular works great even when she’s not being given a character arc, so I really don’t see why you would kill off Nora and keep Ren.

Why I don’t think Ren and Nora will both die

RWBY isn’t the death happy show a lot of people want it to be and has never killed off multiple important protagonists in one fell swoop. I mean I guess you could count Penny and Ozpin on top of Pyrrha, but Penny and Ozpin were both characters we knew probably weren’t gone for good and they weren’t.

Killing off both Ren and Nora in the same Volume robs us of the emotional impact of their death. Everyone who says shit like “They should both die at the same time, it would be too sad if one of them survived” can fuck off. If CRWBY is going to sink my comfort ship, they better have the common fucking courtesy to rip my heart out and stomp on it.

Why I don't think Ren or Nora will die in general

This entire arc being given to Ren and Nora really feels like CRWBY’s thought process was “We realized Ren and Nora’s characters revolve way too much around each other, they need to be split up so they can develop separately, and in order to do that we need to introduce some drama”. If Ren or Nora really was going to die, CRWBY would get them together without any issue and give us sappy shit like Ren looking at engagement rings or Nora having a discussion with Yang about her plans for her life together with Ren after this is all over. That’s like, Angst 101.

The last thing I think RWBY needs is members of JNPR being sad about their dead teammates. We’ve been there, done that and can we please not do it again? There are more interesting stories involving JNPR to write.

Now, could Ren or Nora still die this Volume? I mean, I guess. But that is not what the story being told in this Volume is suggesting and if anything I would say there are way more signs that they will both survive.

TL;DR: Ren and Nora don't have death flags and people should really stop worrying so much about their deaths.

#rwby #rwby8 #rwby v8 #renora #nora valkyrie #rwby nora #lie ren #rwby ren #flower power #rwby analysis #rwby theory

71 notes · View notes

shihalyfie · 4 years

Text

Ichijouji Ken, his future, and Kizuna

Having talked about Kizuna’s extremely deep relationship to 02 as a series, it’s only natural that I should probably spend some extra focus on its main central character, Ichijouji Ken. It’s no secret that, although Daisuke was the protagonist of 02, Ken was the central figure to the series itself (after all, the series was founded on the concept of deconstructing the supposed “genius kid”), and so Kizuna having such a deep relationship with 02 means that it does, inevitably, have a deep relationship with Ken in particular.

The last twenty years have been full of a plethora of meta analysis on Ichijouji Ken as a character within 02 to the point I feel anything I could possibly come up with would probably be redundant, so today I’d like to place extra focus on his development after 02 (in terms of both canonical materials and general analysis), and how it leads up to his portrayal in the recently released Kizuna. (Naturally, spoilers for the movie will be below.)

We’ll start this analysis by looking at where Ken left off during the final episode of 02.

Thanks to his interactions with the rest of the 02 crew (especially Daisuke), Ken was slowly putting his life back together, but he still had a long way to go. As late as episode 49, we learned he still had suicidal ideation tendencies in regards to his deeds as the Kaiser, and although the rest of the team did get through to him in the end, it was clear that there was still a huge path ahead of him as far as coming to terms with himself and bonding with the rest of the team went. This was especially because he ended the series with the Dark Seed still in the back of his neck -- supernatural forces may have assisted his initial downfall, but it was going to be entirely on him to make sure that he never went back there again for the rest of his life.

One thing that’s really important to put in perspective is the actual chronology this ordeal took place in. Although the Kaiser saga spanned a little under half of the yearlong series that 02 was, Christmas skewed the schedule a little bit, so a good chunk of the second half of the series actually took place in much more condensed time than the first. Taking into account the official statement that everything before Christmas roughly aligns with the time of the year the relevant episode aired, and given the exact dates in December that we know episodes 38-50 take place in, within the course of 02, Ken’s reformation from being the Kaiser and bonding with the group spanned around only four months. That is not a lot of time, especially compared to the roughly two-year period Ken went through the trauma of his brother’s loss and his transformation into the Kaiser, so in actuality, Ken made a huge amount of progress considering how little time he had to do so.

Before we continue, I should make clear that I generally count pretty much everything in the Toei-esque fashion of “everything is canon, don’t think about contradictions too hard” (which is generally their modus operandi with pretty much any franchise), so pretty much everything here is fair game. That said, obviously, contradictions and other outliers do exist, so occasionally I am going to have to omit stuff that really, really doesn’t track...so for the sake of this analysis, I’m skipping Armor Evolution to the Unknown for two reasons: one, because it takes massive liberties with characterization for the sake of crack (it’s pretty hard to believe Ken would be this degree of flippant about the Kaiser persona in a more serious situation), and two, because it was written before 02 finished airing (it was released between episodes 43 and 44) and doesn’t reflect a lot of series and characterization development that happened later in the series. (Armor Evolution to the Unknown was released during a time period when the drama CDs were really, really big on the crack -- the three Adventure mini dramas are the same -- and it wasn’t until later that actual “serious” ones would start coming out.)

Given that, our next canonical point we can work with is Diablomon Strikes Back, which takes place in March 2003.

At this point Ken’s recovery is at a little around six months, and he’s making massive progress -- even if you’re not sure about counting the actual events of this movie as canon, it’s an excellent character study in terms of watching Ken’s emotional recovery at this point in time and his relationship with Daisuke, now that he’s not directly dealing with issues pertaining to his own past trauma.

It’s already a very different Ken from the one we’ve seen in the original series, where in episode 38 the idea of him laughing was such a huge shock, but here we already see a much wider emotional range from Ken -- light cheerfulness, playfulness, and at times even a bit of petulance. His actions and dialogue still have Ken’s trademark “softness” -- being kind and gentle has always been said to be his core inner trait, after all -- but, nevertheless, he’s a lot more willing to show “superficial” emotions, especially compared to how closed up, shy, and sometimes standoffish he would be within 02 proper.

Even Ken’s own body language indicates a lot -- he’s much more relaxed and natural. Observe how he slouches here.

In fact, if you listen to Park Romi’s delivery of his lines throughout this movie, she voices him with a significantly higher-pitched and “lighter”, soft tone through all of it, which really gives off the impression that he’s much less emotionally uptight.

We get a glimpse of Daisuke and Ken’s future dynamic and how they’ll continue to be such tight friends in the future -- Ken is someone who can keep the infamously chaotic Daisuke in check (especially since prior to Ken coming into his life, Daisuke’s closest friend was probably Miyako, and while the two certainly got along very well with each other, they had a tendency to enable each other’s chaos a bit too much at times).

But despite Ken obviously trying to be more sensible than Daisuke here, it still manifests as a much greater show of emotion than the kind you’d be used to within 02 proper. He’s much more assertive with putting his foot down in keeping Daisuke under control, which indicates not only a more comfortable relationship with Daisuke in particular, but also a general increase in his ability to be assertive.

In one of his most famous scenes in this movie, he actually outright taunts Daisuke in order to spur him on. He’s doing it totally affectionately (it’s specifically to give Daisuke more motivation to keep running), but nevertheless, he’s taunting Daisuke -- not really something you'd expect from Ken in 02 proper. The original line in Japanese even has him use the very super-casual and aggressive end particle ~ze.

He even snarks about Daisuke’s convenient bouts of luck in ways that aren’t exactly complimentary (the literal phrasing of this line has “baka mitai ni” in it, in this context "some kind of ridiculous incredible power”).

And, near the end of the movie, when he starts to lose hope, it only takes a single line from Daisuke to get himself back together -- this kind of thing would have probably taken a whole speech in 02, even from Daisuke himself, but by this point Ken’s got a much better emotional grasp on himself.

And in the end, the movie ends on both Daisuke and Ken laughing together -- very lightly.

It’s easy to pass off Ken’s characterization in DSB as an incidental thing simply because this is a “side story” movie from 02 -- especially since it was technically produced during 02′s airing -- but in fact, this portrayal is consistent with what Ken has to say about himself during his next known point in canon, Spring 2003.

Given that Takeru’s track is apparently set “three months” after Christmas, and Miyako’s track talks about having just entered middle school, I assume that this means Ken’s takes place in around late March or early April 2003 (almost exactly a year since 02′s start), but in actuality nothing really “happens” during Ken’s track. Nevertheless, it provides a lot of information on Ken’s state of mind during this time and his own self-reflection on his past...and defines in very clear words what it is that Ken needs to move away from.

You were always in a bad mood and you were cold to me, but now that I think about it, maybe you really wanted to be nicer to other people. I don’t know what happened to you that made you act like you did, but now, I finally feel like I understand a bit. You were demanded to grow up fast, weren’t you, Brother? Because we were always being evaluated and compared by someone, we didn’t get a chance to have more freedom. We didn’t have any chances to run down an alley because we felt like it, or pull up weeds, or tumble around… meaningless things, things that didn’t bring any value to us at all. Just like the cat napping on the roof… we weren’t able to fully enjoy any everlasting freedom.

02 -- especially its latter half -- dealt largely with the concept of parents imposing too many expectations on their children, acting “proud” of them but actually using them to inflate their own self-worth, and in the end effectively robbing their own children of their right to “be children”. While we don’t know a lot about Osamu based on limited information about him, Ken’s parents also lament that they might have robbed Osamu of the opportunity to be a “normal boy” in 02 episode 23.

Once Ken took the role of the “family genius” after Osamu’s death, Ken was thus likewise robbed of that “normal childhood” due to all of the expectations put on him -- and Ken’s words in his track imply that it extended to before Osamu’s death, because just because Osamu was the favored one at the time didn’t mean that Ken wasn’t subject to the same kind of expectations to at least some degree, even if not as much. (Note how he really didn’t seem to have any kind of friends at all prior to Daisuke and the others.)

Thus, Ken’s ideal trajectory is to become “a normal child” -- one not subject to expectations as a “well-behaved genius child”. That applies not only to things like his academic or sports performance, but also even his core manners -- being a “normal person” in this context meaning being allowed to show emotions, be petty, have emotional range that extends beyond just being deferential and polite, and generally do things because he enjoys them and not because others expect him to. This is consistent with his portrayal in DSB, as in said movie he really does come off as a “normal boy” -- a young child who, while certainly less chaotic than Daisuke, is still enjoying himself and interacting with the world in “his own” natural, relaxed way rather than holding himself to obligations.

Another interesting thing about DSB is that it has Ken refer to Daisuke by given name. This is particularly intriguing because up until the end of 02, Ken consistently referred to Daisuke as “Motomiya” (he did use given name in episode 39, but it wasn’t something he really followed up on). This despite the fact he went with given names (plus honorifics) for everyone else in the 02 team, but it seems like Ken was still trying to figure out his very complicated feelings about Daisuke as someone who was his Most Hated Person™ during his Kaiser days and yet is now trying to aggressively reach through his barriers that he’s constructed out of self-defense.

And yet, extremely notably, almost every single post-02 material is consistent about the idea that Ken switches to given name basis with Daisuke after 02. (The only exception is Armor Evolution to the Unknown, which, as stated before, was written and recorded during 02′s airing and not after; notably, Daisuke is also on surname basis with Ken during that drama CD, even though he permanently switches to given name basis after episode 39.) That includes “out-of-hard-canon” things like Xros Wars episode 78.

Yet they still couldn’t remember to put the highlight back in Ken’s eyes, among other things.

Honorific and surname-given name basis fluctuated quite a bit in both Adventure and 02 (especially whenever canon material changed hands between writers), but for all intents and purposes, there is no reason Daisuke and Ken should not be on mutual given name basis after 02. This is especially when you take into account the more naturalistic relationship they have as of DSB -- there’s no standoffishness at all between them anymore.

This ties very deeply into how 02 portrayed its characters. One thing I’ve very, very often pointed out was that it was always an explicit point of contrast between themselves and the original Adventure team was that the 02 kids were not only “friends” in terms of fighting together on Digimon cases, but “friends” in the sense of actual social-life friends who clicked well in personality and adored each other’s company. (Part of this was because of the core theme of the series; Jogress being such a huge motif, “understanding your friends” took precedence over Adventure’s “understanding yourself”.) These are the kids who hung out together in the totally-not-related-to-any-Digimon-incident (at least, not at first) picnic in episode 6 and Christmas party in episode 38, a stark comparison to the Adventure kids who infamously started drifting as early as Our War Game!.

(Note that this isn’t meant to diminish or drop shade on the Adventure kids’ bonds in any way -- I feel like their bond is more of one that’s a “transcendent” one that crosses space and links them through their shared experience, but, nevertheless, is simply not the same in nature as the “social life” bonds the 02 kids had where they were very casual and yet intimate with each other in almost all daily life respects.)

As a result, Daisuke and Ken’s relationship ended up very different from that of their predecessors Taichi and Yamato -- it’s actually hard to imagine them getting in all that many highly heated fights in the same way their seniors would be prone to, and they’d generally be on “mild banter” terms for most of it. In fact, they come off as pretty casual and in-sync with each other, and it’s to the point where it really does feel like -- especially by the point of DSB -- staying on “standoffish” surname basis really is unwarranted.

And while it’s tempting to limit Ken’s relationship to only Daisuke, this did involve the rest of the 02 group, after all -- we got significant episodes defining his relationship to the others (Miyako got a whole episode in 25, and 30′s entire events kicked off because of an attempt to get him to better socialize with Iori!), and the 02 kids as a cohesive “overall group” were integral in getting Ken to open up and show different sides of himself. Although his relationship to certain team members ended up closer than others (Daisuke and Miyako, the ones who tried most aggressively to reach out to him, ended up getting the most out of him), nevertheless, it was important that Ken ultimately cultivated a relationship with a group of friends, and not just one.

This, of course, brings us to Kizuna, which takes place in the summer of 2010. This is a massive leap of time we don’t know a lot about, and for all it’s worth, this means we have, compared to the approximately two years Ken spent suffering under the influence of the Dark Seed, a whole eight years dedicated to potential recovery. There’s a lot that could have happened during that time, and what happened in between, we can only really guess.

Well, for one, he cut his hair.

The reveal of Ken’s design for Kizuna was a huge shock for those watching, because, among all of the twelve main human characters in Kizuna, he probably has the biggest and most drastic design change -- especially because his long hair was so iconic that even the epilogue depicted him with it (and even longer, at that). Were it not for other important identifiers like Wormmon’s presence and the fact said hair is at least still indigo blue, you’d almost wonder if it’s the same character.

(I do have to at least give props to this Animedia poster, though -- that soft and concerned expression is textbook Ken-chan, so it absolutely nails the vibe that it’s the same character despite the massive design change, and it even has a small cute detail that, despite clearly trying to calm Yamato down in haste, he’s still tidy enough to lay his chopsticks neatly on the bowl. That Ken has a habit of doing this while eating hot ramen is a very specific minor blink-and-you’ll-miss-it detail in 02 episode 36, and while I’d normally pass this off as coincidence, Kizuna and its PR has had such ridiculous attention to detail that I’m not entirely willing to.)

Not only that, his actual outfit in the movie is rather unassuming -- it’s just a black shirt, pants, and a belt, compared to the more distinctive/fashionable or setting-immersive outfits everyone else has. I mean, it sure beats that godawful grey gakuran he was constantly wearing during 02, but there were certainly a lot of complaints about how...well, unassuming and plain he looks.

The thing is, though, this is very much in line with how Ken would most likely want to present himself. When you think about it, Ken himself would probably not really appreciate his fanbase status as the “sad pretty boy”; having been scrutinized, evaluated, and put on uncomfortable pedestals through all of his early life, “blending in” and coming off as an average, unassuming person would be right up his alley.

Anyway, before we get into Kizuna itself, we have the drama CD that came with its BD, Where Should We Go? While it was released after the movie, in chronological timeline, it serves as a slight prequel, and what we learn about Ken in it is certainly...interesting. Namely, that he’s apparently a hardcore fan of Japanese hot springs. And not just a hardcore fan of them, but also a complete nerd.

The hot springs *obviously* must have free-flowing water. If possible, I think I’d prefer a quiet, rural flowing hot spring that’s surrounded by a moss-covered garden. Then I want to stay the night at a historical inn that focuses more on tranquility and wabi-sabi rather than wildness or beauty. I’m not looking for a lot on the food options, but the portions should ideally be neither too large nor too small. If we’re just going to relax our bodies, then I’d like it if there was a variety of hot springs to choose from. The water quality that I recommend for the ladies would be the hydrogen carbonate spring or the alkaline simple hot spring (these are otherwise known as simple hot springs with a basic pH of 8.5 or above), but my personal favorite is the hot sulphur spring! Incidentally, the hot sulphur spring is said to treat arteriosclerosis and high blood pressure. If it were possible, I’d like to take my time there… At least stay for two nights! Ahh… Hot springs… Hehehe…

I cannot stress enough how much the audio delivery for this depicts him as being terrifyingly into it. It’s also...not exactly the most fashionable thing for a nineteen-year-old to be into (actually, it’s more of a stereotype old man thing, what with the fixation on traditional Japanese aesthetics and health nut aspects), but we have Ken being very shameless and assertive about his personal interests, even if they’re a bit unusual.

Funnily enough, this isn’t actually the first time he was demonstrated to be a huge infodumping nerd -- it’s just that the last instance was questionably canonical, but tracks extremely heavily with what was just demonstrated here. Namely, Daisuke and Ken’s Shopping Carol:

Listen, the thing about Christmas is that it's one of the most important days in the world... It was the day the Savior was born... So, you go to church and pray... Of course, you knew all of that right?

Or in other words, he interrupts Daisuke’s wistful thoughts with The Actual Nerd Facts, because he’s a nerd. He even has a bit of a smart-aleck atmosphere...and then he cheerfully and sassily dumps all of the work on Daisuke thereafter. While the canonicity for this song is hard to place since it was released during 02′s airing (and 02 itself depicted a very different Christmas), plus the ambiguity of character song canon in general, it’s interesting how Ken’s portrayal here is pretty surprisingly in line with what we’re learning about his future personality.

The rest of what we see of Ken in the drama CD is what we generally knew about him already -- he’s kind, he dotes on Wormmon (he even indulges Wormmon’s request to take him skiing!), and he still keeps up with being into intellectual studies, and even soccer (he’s described as actually keeping up with soccer to the extent he does training camp), because he was always interested in those kinds of things -- it’s just that now he can indulge in them in ways he personally likes instead of being held to other people’s standards.

But he’s also very emotional, passionate, and openly assertive -- something he could be in 02, but only when it was something he really, really cared about, because most of the time he was a little more on the shy side with others. Not anymore. And he’s happy to indulge in the chaotic trip planning and enable the others, and, at the end, gives some sentimental words to Daisuke, his best friend.

Anyway, onto the movie itself!

Notably, they do not mention Ken’s past trauma nor his deeds as the Kaiser throughout the entire movie.

That might surprise people, given that this was...well, central to the entire plot of 02, so it’s arguably a glaring omission that despite having the 02 cast here, it’s not even brought up once. The only real “reference” to it is this scene, where Ken happens to be the one who knows about Menoa’s background as a child prodigy -- and even then it’s uncertain whether this had anything to do with said traumatic events (Menoa was admitted to Liberica in 2002 itself) as much as it’s a meta nod to Ken having a suspiciously similar background and the fact he and Menoa were based on the same real-life story (the nine-year-old boy who skipped grades into Columbia University).

But, again, recall that Ken has had eight years to move on from the events of 02, more time than said events had actually spanned over. That doesn’t mean he’s easily going to forget that trauma, nor that said events don’t still have an impact on him, but rather that a true positive development for him should have him not having to consciously dwell on it if it’s not necessary, and that his friends of now eight years should probably not be still holding it over him at a time like this.

After all, 02 itself was dedicated to scolding this kind of behavior -- not being “stuck in the past” (which, well, also happens to be a very pertinent theme when it comes to Kizuna...) was basically the entire point of the latter half, and so it stands to reason that Ken, and by extension the rest of the 02 cast, would be more focused on what they’re doing now instead of what happened back then.

In the absence of any references to said past, Ken in the actual movie ends up coming off as a bit unremarkable and plain compared to the three friends who end up surrounding him, all of whom have much more extreme personalities (the chaotic and exuberant Daisuke and Miyako, and the comically poker-faced Iori). But you get the feeling that he’s perfectly fine being that way -- rather, he’s enjoying getting all of his fun from his exciting friends, without feeling a need to spice things up himself.

So when we finally do meet Ken for the first time in Kizuna, he’s cheerfully eating ramen with Daisuke and Iori in New York (which, for all it’s worth, is probably really questionably legal, considering that Adventure’s world of 2010 likely still hasn’t figured out how to deal with that whole thing with “immigration and customs” as it pertains to Digital Gates.) Emphasis on cheerfully. He’s as tidy as ever (note how he still properly keeps his chopsticks between his fingers and cleans up after himself, albeit not as well as Iori), and he’s obviously more straight-laced than Daisuke or Miyako, but he isn’t really hiding the fact he’s also totally enjoying this. He didn’t even know why they were there for ramen in New York in the first place, but he just rolled with wherever Daisuke took him.

Recall that, according to their official profiles, these three go to completely different schools now -- Iori’s in high school, Daisuke’s at vocational school getting a chef’s license, and Ken’s in university studying psychology. (Which, by the way, is not brought up at all throughout the movie nor the drama CD! It’s easy to glean how his past experiences might give him an interest in the topic, and it’ll certainly be a valuable background to have for his future known career in criminal investigation, but despite Ken previously having had a reputation for being studious, it’s not brought up at all -- almost as if hanging out with his friends and having fun with them is more important and pertinent.) The drama CD even points out that Ken would normally be busy with soccer training camp. Yet they’re hanging out. In New York. Eating ramen. So, Yamato, what were you saying about how “choosing your own path can sometimes mean being alienated from friends”? If anything, these friends seem to be going out of their way to make sure they’re staying tight.

And, as you’d expect, Ken refers to Daisuke by given name, following DSB’s precedent. Again, given the nature of their relationship right now, this should be expected. There’s other evidence that Kizuna does use DSB as reference in certain other respects as well (Takeru calls Yamato “niisan”, which had previously been exclusive to that movie), and it’s very possible that Ken as portrayed in that movie was used as reference for his potential trajectory here.

Note that he seems to be even more outwardly affectionate with Wormmon than before (which is, shockingly, apparently possible) -- he still feeds his partner before feeding himself (similar to what he did in 02 episode 37), but now he also shamelessly carries Wormmon on his head, which he never did in 02. Perhaps it’s because he’s tall enough to carry the weight, but unlike with Takeru and Patamon, Wormmon is big enough that the sight is honestly comical -- yet Ken couldn’t care less, and while we don’t see him in his own school, it’s a sharp contrast to how Taichi and Yamato scoffed at the idea of bringing their partners to school because they “have their own lives to live”.

(A nice touch is Ken carrying Minomon from his arm, which actually comes from a very obscure piece of 02 concept art -- you can find it in the Character Complete File or the Animation Chronicle -- but was never depicted in the series proper. The Kizuna design works in the April 2020 edition of Animedia actually recreated that piece of art with Ken in the exact same position, only as a nineteen-year-old this time, which was an incredibly welcome thing to see.)

He greets Miyako upfront when she arrives, which doesn’t look like much on its face, but recall that this probably wouldn’t have happened during 02 proper -- not even with Daisuke! -- and, at the very least, not with this very casual “hey!” tone. It means a lot in terms of how much more casual of a person he’s been able to become in the last eight years, and how much more casual he is with this group (well, at least with Miyako). Takeru also greets Wormmon in the drama CD, and Wormmon seems pretty unusually happy to see Hawkmon when they meet each other there, certainly implying a lot of interpersonal interaction since.

Miyako meets up with them (and, going back to how tight these kids are, Miyako would come in all the way from Spain to meet her friends even for the exact same job that she dumped on her seniors), and they end up infiltrating Menoa’s office. He gets in a line of snark, especially because the Shueisha Mirai novel indicates he’s deliberately “looking the other way” in regards to worrying about security -- looks like he’s developing some Lawful tendencies, but in the end, his friends and getting to the bottom of the real truth take priority.

And, also, it’s still pretty clear he’s totally taking the opportunity to enjoy this.

So what does this all mean, really? He’s taking a fairly passive attitude with his abundantly more chaotic friends, but he’s also not protesting, and he’s enjoying everything he can out of it. He’s a bit quieter than he was in DSB, but that could easily just be from being older and a bit more mature, and he hardly comes off as reserved, either (it helps that Daisuke doesn’t quite resort to any antics nearly as ridiculous as he did in DSB, so there’s no need to keep him in check -- yep, even Daisuke got a bit more mature himself). And he’s joining these kids in being possibly some of the most chaotic disaster adults (near-adults?) on this planet, in a sharp contrast to their seniors.

I mentioned earlier in my analysis of Kizuna’s relationship to 02 that Ken is actually a “hidden” foil to Kizuna’s main antagonist, Menoa -- they were both conceived from the same idea Producer Seki had regarding the real-life “genius boy” who ended up going to Columbia University at a young age and, in her opinion, was going to be robbed of a proper childhood experience. 02′s Dark Seed children arc was a major indictment against parents forcing this kind of pressure on children, not only in the sense of pushing them academically but also quashing out their more “childish” dreams for the sake of a more “dignified” outlook and future. Through the events of 02, Ken learned a very personal lesson on not losing his “true self” to the pressure of those expectations, and the meaning of valuing his family and friends instead.

Ken and Menoa, effectively, were originally on the same path, but thanks to the circumstances of 02, Ken managed to avert Menoa’s fate and ended up following his own way. Nevertheless, Ken was largely robbed of a normal kid’s childhood up until the age of eleven, and it stands to reason that, even at the age of nineteen, he might still be trying to make up for all of those fun experiences he never was able to have.

Funny thing about his haircut, too -- this isn’t the first time Ken’s had this haircut, actually. You know when was the last known time he did?

Hm. Coincidence? Maybe. Maybe not.

But unlike Menoa, who decided that it would be better to trap herself in her own distorted view of what “childhood” is, or Oikawa, who ended up clinging dearly to the last reminder he had of what he’d lost from his childhood, Ken ends up dealing with it in a very forward-facing manner. In fact, he’d elucidated his feelings on the issue back in Spring 2003:

There are still a lot of times when I think about how I should have “done this back then.” But I discovered that there are many things I can do over afterwards. I’ll stop counting the things that I can’t do. Because I’m sure there are many things that I can do.

Instead of living in regrets about the past, Ken simply chooses to move forward by making new fun experiences and memories with his friends, befitting those he couldn’t have when he was a kid, and perhaps even enhanced by his newfound freedom as a nineteen-year-old.

During the final battle, we get a few more emotional and assertive shows from Ken -- his concern about Miyako is pretty frantic-sounding, and the fact he steps in so quickly and frantically to help her out by his own will is pretty impressive. And then he definitively declares that they can’t afford to give up -- which is certainly in line with the nobility he had even during 02, but remember when, even in DSB, Daisuke had to be the one to remind him of this? Now he’s the one reassuring his teammates about this, all on his own. When it all comes down to it, his sense of awareness of what he wants and what he wants to do is stronger than ever.

I mentioned in my analysis of Kizuna in relation to 02 that the 02 kids are in a fairly unique position in the movie, thanks to having already practically gone through a lot of the lessons in both 02 and Kizuna, thus leading them to become very lacking in susceptibility to potentially losing their partners anytime soon (and in fact are deliberately portrayed as such). I would say of all of them, Ken is the most representative of this -- being such a direct foil to the movie’s main antagonist, one who actually came dangerously close to making some of the exact same mistakes she did and emerged with his own trauma as a result, the lessons and warnings imparted by the movie are already deeply embedded in his being.

He’s one of the most openly affectionate and intimate with his partner, having already learned the very, very hard way of what happens when you don’t treasure your partner properly. (He’s taking Wormmon jogging with him, which has got to be an awfully uncomfortable setup, but, goddammit, he’s gonna make it work. And if ~With~ is to be believed, he’s been doing this for years now.) He’s still got a Dark Seed in the back of his neck as an eternal reminder to remember who he is, and to acknowledge the love from his family and friends around him instead of succumbing to arbitrary societal expectations. Remember what I said in my earlier analysis about the true reason for partnerships dissolving, and how deeply it was tied to throwing yourself away for the sake of arbitrary standards of adulthood? Ken’s experiences and extremely painful trauma are like a giant do not do this stamp on his face, and although everyone in this cast is naturally human and may have ups and downs or relapses, Ken is possibly one of the last characters one could imagine succumbing to that kind of mistake again.

So we make it to the epilogue, and although Ken’s technical job title as given in the epilogue is literally “police officer” (keisatsukan), his form of dress (plainclothes, not uniform) and his the Character Complete File indicate he’s from the Digimon Special Investigations Unit (tokusoubu), or, in other words, he’s actually a public-servant detective. (So no, the various dubs also going with “detective” are thus not “changes” in this respect.) In short, he investigates scenes of crimes after they happen, and the Character Complete File provides an example in the form of him investigating a dead body found at the river.

This is probably why Kizuna has him major in psychology, because forensic psychology would be a pretty useful skillset for this kind of job, and a university education in general would most certainly be helpful. (The job requirements as per the Japanese system also require a very high level of athleticism and aptitude.) On the other hand, considering what we know about Ken up to Kizuna, there aren’t any indications that he treated this like any kind of major aspiration, and the psychology major makes you think he might have just fallen into this career by a series of accidents -- he took an interest in psychology (and mental health) due to his own experiences, and then decided that “discovering the truth behind things” was up his alley (much like Iori). Even more notably, his position isn’t really described in any history-making terms, not even ones like being “the first” of anything (like Jou), and it feels like he’s doing this to contribute to society in a way he prefers more than he’s trying to accomplish anything world-shattering.

But on the flip side, it’s probably no coincidence that the 02 epilogue portrays him with such a big family. Of course, it also fits with his and Miyako’s family backgrounds (they’d probably want their kids to have siblings, given their own experiences), but since the Dark Seed was described as having its effects countered by acknowledging how much you’re loved, Ken is clearly surrounded by love -- his wife is one of the most openly affectionate people out there, and his kids (or at least his middle child) use the same “Mama” kind of affectionate language Ken shared with his own parents. Once the events of 02 came to a close at the end of 2002, Ken went on a journey of discovering his own self-assertion, personal desires, and fun -- shedding the expectations and societal standards others had of him, and learning to enjoy life in ways he personally enjoys, for his own sake.

#digimon #digimon adventure 02 #digimon adventure last evolution kizuna #ken ichijouji #ichijouji ken #shihameta #kizuna spoilers

123 notes · View notes

nyerus · 4 years

Text

His Royal Highness, the Crown Prince of XianLe -- Xie Lian

I wanted to do a little meta for Xie Lian to celebrate his birthday, about why he’s an incredible and unique character! One of my absolute faves. Happy Birthday Lianlian! ヽ(o´∀`)ﾉ♪♬

(Spoiler Warning!!!) (Also: massive length warning--get snacks!)

Xie Lian and The Hero’s Journey

One of the most interesting things about Xie Lian is that his personal arc starts near the end. Meaning that he is already nearly fully-realized by the time we meet him in book 1. He has only a few steps left in his classical Hero’s Journey, since TGCF starts in media res. A lot of his growth has been completed--which we witness more first-hand in books 2 and 4--so by the time we meet Xie Lian, he is already endured the most painful of his trials. It leaves him with the traits readers first pick up on: calm, confident, humble, and kind.

The main steps he has left to complete in his journey are the quintessential “atonement with the Father” and his “return home.” These stages of the Hero’s Journey are actually played somewhat straight in TGCF, and the former stage is actually the main plot of the novel. The stages are not meant to be literal, but metaphorical tools for literary analysis, as most books we read employ them in one way or another. TGCF does so as well, just out of order. So Xie Lian’s confrontation with Jun Wu (atonement), then getting his happy ending with Hua Cheng (return home) are the respective stages we see play out in the “present” narrative.

(However, he does have a “call to action stage” nestled within the present-time plotline. One can almost think of this as one Hero’s Journey nestled inside another.)

Xie Lian and The Heaven’s Will

The Heavens shook spectacularly when Xie Lian ascended. Each ascension, the Heavens greeted him with grandeur, even on what he considered his “fluke” of a second. And on his third ascension, the Heavens announced his return in a way that no one had ever seen before--by astonishing all its residents; bringing down the gilded palaces of other gods, and having the ancient clock sound off so fervently that it broke free of its hinges.

There is a lot of symbolism in this alone.

While Xie Lian’s narration (and the reactions of the other heavenly officials, including Ling Wen) paints his third ascension as a mix of comedic and tragic, we can interpret this scene differently. Xie Lian is the only one to have ascended thrice. He is the only one for whom the Heavens shook so powerfully. It isn’t because he’s a disgraced laughing stock--it’s because the Heaven know his true character, and his true strength.

(As an aside--see this post of mine about Heaven as an entity, separate from the Heavenly Capital and gods therein.)

It isn’t a big stretch to conclude that the Heavens show Xie Lian a particular amount of favoritism that it doesn’t to anyone else. One of the explanations for this could be that Xie Lian is the closest thing to the physical representation of the Heaven’s Will™.

This isn’t to say that Xie Lian is perfect. He isn’t, by any means. But he doesn’t have to be. Further thinking of the Heavens along the classic Taoist principles that TGCF draws from, the point is that Xie Lian tries. He works hard with what he has, embraces his fate and destiny, and makes the best of it as much as he can. Xie Lian himself doesn’t set out to be perfect. That is not his goal. His goal is to be a good person who is able to help people. He is morally upright, sincere, and humble. He seeks to maintain balance. These are treasured qualities.

Ultimately, he is human. He makes grievous mistakes, he makes bad decisions, and so on. But at the end of the day, Xie Lian lacks no conviction about his ideology. Even though he endured hell, and very nearly succumbed to darkness, there was always a part of him that held onto that notion that people were worth saving. Even at his worst, he still hesitated before causing harm. And when the man with the bamboo hat helped him--just a single gesture--it was enough for Xie Lian to rediscover that part of himself. His beliefs were re-affirmed, and he found the strength he needed to carry them.

The Heavens did not penalize Xie Lian for needing help. In fact, they rewarded him with ascension itself. When Xie Lian accepted his grief, he began to overcome it. He refused to fall into total despair--and while the actual nature of his second ascension are ambiguous, it’s probable that this is why he ascended. Not because he fought against Bai Wuxiang (because he wasn’t even the one to “win” that battle physically), but because he stood against him in the first place. Xie Lian’s grief, subsequent resolve, and decision to ultimately oppose everything Bai Wuxiang represented--THAT was his Heavenly Tribulation. And he passed with flying colors (much to Jun Wu’s intense fury).

[CONTINUED UNDER CUT DUE TO LENGTH.]

What it fundamentally comes down to, is that Xie Lian chooses to be compassionate. He does so even and especially in the face of adversity. Choosing to be kind when it is the hardest path of all is the mark of true courage and strength. It can’t be said it enough: Xie Lian very consciously makes the choice to do good even when it is hard for him. Even when he doesn’t want to. Because being a good and moral person doesn’t mean that you never have negative thoughts, and for sure Xie Lian gets frustrated and upse. It doesn’t mean you never make mistakes or never hurt people, because Xie Lian has done all those things before as well. After all, he is human, god or not. Things are not black-and-white, and never will be. But staying true to one’s ideals is what matters.

When Xie Lian made the decision to help Yong’An during the drought, for example, he knew it may be futile. He knew that he was breaking rules, going against what everyone else was saying. But he knew in his heart that it was the morally responsible thing to do. He is not the type of person to sit by quietly when there are people in need. He cannot see injustice and despair, and turn a blind eye to it. It also isn’t necessary (or even possible) for him to help literally everyone--as he learns the hard way. But doing what he can, where he can--that’s more than enough for Heaven to favor him. Because that’s the sign of someone who is genuinely compassionate and just.

So it’s no wonder that the Heavens favored him more than others. With a pure heart and strong sense of justice, while still being humble and patient--that’s all the Heavens need.

It’s even ironic that Xie Lian spoke out against the very “Heavens” themselves in book 2, at the height of his pride. But he was actually speaking out against the institution of heaven, and the overly-conservative beliefs that the gods (Heavenly Officials) held. Xie Lian has an extremely non-traditional view of looking at things.

His ideas go against the grain of what has been held true to the people of the world for centuries, but are actually in line with many modern philosophies--that one should not give much importance to idol worship, and instead focus on doing good deeds. That gods, being immortal ascended humans, should display the same humility and temperance; that they not hold themselves in higher regard or expect others to be subservient or fearful. This could very much be in line with what the Heaven’s will actually may be. Why the Heavens favor him so--because Xie Lian understands, in every sense, that gods are only human.

Xie Lian’s Character Growth

“I WON’T CHANGE! EVEN IF IT’S PAINFUL, I WON’T CHANGE. EVEN IF I DIE, I WON’T CHANGE. I WILL NEVER CHANGE!” (ch.239)

That’s the big thing about Xie Lian. It’s what sets him apart from many other characters. From the beginning to the end of his journey, his motivations and beliefs do not change. Only the nature of his motivations, and the basis of his beliefs change. That is to say, he believed that helping others was the right thing to do when he was 17 years old. 800 years later, he still feels this way. It’s just that he approaches the concept differently.

As a teenager, he was naive and coming from a place of high privilege. He was unable to understand the true plights of the common man, and his concepts of helping them--while still noble and morally just--were often somewhat patronizing. His heart was in the right place, but he was simply too young and too sheltered. He also fundamentally overestimated his own capability to help others, while underestimating the negative forces at play that would actively work against him. But 800 years later, Xie Lian has gone through hell and back. He knows better than anyone what it means to struggle, to suffer, to hope, to persevere. He still wants to help the common man, but now it comes from a place of understanding and humility. (The tragedy is, if he were allowed to grow up “normally,” he very much may have grown out of his naiveté and youthful arrogance anyway, after gaining more worldly experience. He was robbed of that chance.)

So Xie Lian chooses to be optimistic about life in general. He knows that he will get hurt by doing this. That people will take advantage of him. He knows, and yet, he continues to hold true to his principles. He neither asks nor expects people to thank him for it, or even understand him (as many people simply don’t). He does it because what other people think or even deserve is not his concern. It comes down to what he believes. That’s just the type of character he is--which is to say: fantastic.

TLDR; Xie Lian Best Boi!!!

#tgcf #tian guan ci fu #heaven offical's blessing #hob #meta #tgcf meta #Sorry had to repost this!#there was an error in the last one's format...#nyerus.txt #its a bit early for lianlian's bday but idk if i'll be able to post tomorrow so here we are #please DM if you see mistakes in this lol

297 notes · View notes

elevatorladylady · 2 years

Text

Bridgerton Season 2 : A Compilation of Complaints

Pacing. The last few episodes absolutely dragged because we were still doing this thing with Edwina. It really robs Kanthony of the happy moments they get when they are finally together and makes everyone more annoying. The should have gotten together at or just after Aubrey Hall.

Lack of Kate’s trauma. I would have liked this for the character, but also for the way it plays a role for her and Anthony’s connection. It wouldn’t have taken much more screentime to work it into the existing library time and a subsequent scene of the next thunderstorm would have been better than spending a whole episode on Edwina’s choice. It could have even been condensed down by her knowing about the trauma there and explaining it to him the following morning.

Anthony’s approach to marriage. The way he initially talks about his checklist of attributes was a little too campy, and the way the other men cared so much about what was Anthony’s doing. I also missed that they didn’t include his fear of dying early. I think that would have lended itself well to talking about how he wants a wife that can be what his mom was for his family without a dad.

The Queen. This character is incredible and her wigs might just cancel out this complaint, but it’s just absurd that the queen is this involved in any of this shit and it makes the queen less powerful and interesting. I also hate how naming The Diamond of the season idea is so important.

The Sheffield’s. Totally unnecessary and added nothing to the plot.

Mary not being as close with Kate. The whole idea that Kate was setting up Edwina’s dowry behind her back automatically puts Kate in conflict with them and means Kate is constantly othering herself because she doesn’t have a dowry. They can’t just say she cares for them equally when everything suggests Kate is just not as important as Edwina.

Edwina. I know everyone has complained about this but holy crap, they ruined Edwina. The biggest crime here is that it dragged the plot but also I liked Edwina and I don’t know why they made her so frustrating. I got the sense that Edwina was savvy enough to pick up on the chemistry between Kate and Anthony before Kate did. I also liked that she knew she was marrying to support her family and handled the pressure with grace. She also handled Kate’s engagement with so much grace. I would have liked her to also not have been so set on Anthony, so we could feel better about it not working out. I guess it was for drama, but it seriously made everyone more frustrating.

Stifled dialogue. I noticed this with Kate most but also some of Colin and Penelope, but some moments the actors seem to struggle to emote through the dialogue and it just comes off like a line reading. I think it’s partly the writing making some internal monologues external, but could be the performance as well.

Penelope getting found out so early. Eloise should be the first one to figure it out, but it’s so much less impressive that Penelope can barely keep her secret one year into it.

#bridgerton #bridgerton s2

1 note · View note

hilarieburtonmorgan · 3 years

Text

Ten Years Later, the One Tree Hill Cast Is Setting the Record Straight

Ten years after the finale of One Tree Hill, the actors Hilarie Burton Morgan, Sophia Bush, and Bethany Joy Lenz have never been closer. Despite their shared experience growing up on screen, the trio— who played Peyton Sawyer, Brooke Davis, and Haley James in the heartland-set high school soap for nine seasons—were kept largely isolated from one another during those years.

That distance began to dissipate with age, and when the #MeToo movement alerted the actors to some of their common experiences while working on One Tree Hill. In their new weekly iHeartRadio podcast Drama Queens, the three actors unpack the moments—nostalgic and traumatic alike—that unfolded behind the scenes of the wildly popular drama. To celebrate the podcast’s success, Burton Morgan, Bush, and Lenz joined us for a bit of reminiscing. —BRIAN ALESSANDRO

———

HILARIE BURTON MORGAN: Sophia, you were the person that called me about a podcast. What was the catalyst for you to be like, “It’s time”?

SOPHIA BUSH: When we first finished the show, I didn’t want to talk about it. I didn’t want to touch it. I didn’t want to be close to it. And then as time went on, and we all started being able to get together, and share stories, and talk some shit. We all finally told each other the stories we’d been afraid to share — I wish we’d been able to have the friendships we have now back then! — and hearing everyone’s stories really made me so furious. It lit that fire in me, and I thought “well, we just have to burn it down.” But, I also had to remember how much our fans love the show, and to realize that despite so much that was insidious we also had fun. We’ve shared stories about what was painful and hard, and I think especially because of what you were put through, I wanted to call you first and just say, like, “Does this idea feel triggering?” You said “No, this feels quite cool.”

BURTON MORGAN: What was your first reaction, Joy?

BETHANY JOY LENZ: I was definitely hesitant about more One Tree Hill anything. But the more we talked about it, I was like, “Wow, this is actually a chance for redemption.” Also, I don’t want to throw shade on the show that did give us amazing opportunities. I always try to temper my frustrations with a good bit of gratitude. But as for the bad stuff, I really do love the opportunity to redeem that. Some of it was us being young and stubborn twenty-year-olds, but a lot of it was the people around us who were using our youth and naïveté to keep us from arguing back. It was always, “Joy, you’re the odd man out. Sophia, you’re the odd man out. Hilarie, you’re the odd man out.” So we never reached out to each other. I’m incredibly grateful for the relationship I with you amazing women now.

BURTON MORGAN: I left the show first, and it was the divorce of my life, because I’d committed so much to being the good soldier. “I’ll do whatever press you want. I’ll go on whatever mall tour.” And so, the loss of that was traumatic. But the next relationship I got into professionally was with White Collar, and the best person I could have ever encountered was Tiffani Thiessen, who was an icon to me. She told me right out of the gate, “Don’t bad mouth the show that got you started. Defend your character, forget the bad guys, take what’s good.” That was such great advice. She was someone whose opinion meant something to me, because she’d been a teen idol of mine. Who were some women on TV that that you felt like we were trying to emulate while we were doing the show?

LENZ: I don’t think I ever really knew how to process it. I actually feel like I missed a lot of the excitement because I kept asking myself what it all meant.

BURTON MORGAN: I was the opposite! I like experience. But I made terrible choices.

BUSH: I’m with Joy. Now, I over intellectualize everything because back then, I was always soaking up all the experiences and I got my ass handed to me. So now I’m like, “What does it mean? What is it all?”

BURTON MORGAN: How many years out are we now? Like 17 years out from the first year?

LENZ: I don’t even know how to process that.

BURTON MORGAN: 18 years out? Jesus, we could have children in college at this point. Why do you think people still care?

LENZ: Comfort food. I mean, that’s it, like especially now that there’s so much content. I can only speak from my experience, but when I settle in to watch TV, I will spend 20 minutes scrolling before saying, “You know what, fuck it,” and turning on Frasier. And that’s what I watch because I know those characters, and I just want that familiarity. I honestly think the over-saturation has played a huge role in our fans’ need for One Tree Hill.

BUSH: And I would also say that there is something about how — as outlandish it got at times — there was also a lot that felt honest. People write to us about how they feel seen, how they feel represented, how they see their own struggles in our show. When I meet new people who are just discovering it and I think, “You could be watching anything! Why? Thank you?”

BURTON MORGAN: Honestly, having an older kid, and seeing the things that he’s drawn to, he loves watching TV shows from our era. Probably the same reason I loved watching Bewitched and I Dream of Jeannie and What’s Happening – it’s retro. They’re mystified by it because there’s no social media on our show and so people are actually talking to each other. You actually had to show up at Karen’s Cafe to have that important conversation. It’s a wish fulfillment for these younger kids where they’re like, “Oh, my life doesn’t look anything like that.” We are the time warp, which is super fucked up.

LENZ: And we were also the last show that was doing, dare I say, wholesome content? I mean I know our show, like, jumped the shark several times in many regards, but in terms of the“hometown kids, middle of America, just dealing with regular emotions and life stuff,” those shows became very rare. Everything that came after us was like rich kids—Gossip Girl and The OC, and then it was all brought to a high-concept place like the Vampire Diaries, Riverdale stuff. And I don’t know that there’s anything out there that’s kind of gotten back to the roots, like One Tree Hill.

BURTON MORGAN: Can you imagine pitching One Tree Hill now? Like, “it’s about some kids. Two of them play basketball, and the rest are just moody.”

BURTON MORGAN: What episodes are we all excited to review the most? Some of them are cringey as hell.

BUSH: I’m sure a lot of them will be.

BURTON MORGAN: I like the Halloween episode we did at Tric [the “all-ages” nightclub]. That was batshit. It was 1000 degrees in there and everyone was dying and miserable and we’re dressed up like cartoons.

LENZ: I know. The one with the car, where they made me fucking siphon off gas.

BURTON MORGAN: That was fun cause that was really the first time the three of us were put together.

BUSH: Having to pretend to be high on pills when I never had been, I was like, “I’ll try!” Hilarie, your wedding episode was…

BURTON MORGAN: Christ.

BUSH: That was such a shit show, man. You said the Halloween episode — you’ll cackle when you see we did a Halloween episode after you were gone. And I had to be dressed up as one half of A Clockwork Orange, but was abandoned in my costume, and I was written to be dressed as a giant orange and Carol (Cutshall, costumer) papier-mached a workout ball and drilled armholes in it, and I had to wear it. AND I directed that episode!

BURTON MORGAN: That’s perfect! That’s a chef’s kiss.

BUSH: I had little T-Rex arms, being like, “well, if you go over there” – And they’d say “Where?” And I’d be like, “I can’t show you! I’m stuck in an orange!” It was, it was so humiliating. But when I think back on it, great comedic fodder.

BURTON MORGAN: What is your favorite keepsake from the show?

LENZ: I have the Julius Caesar book that Haley gives to Lucas in the pilot.

BURTON MORGAN: I have the leather jacket that Peyton takes after Ellie [Sheryl Lee] dies. That was an intense crying scene for me. My body has a physical reaction to that jacket.

LENZ: What’s yours, Soph?

BUSH: I have, like, a bin.

BURTON MORGAN: You have everything!

BUSH: There’s like this sad episode where Brooke celebrates her birthday alone in her room with a cupcake. I have the photo album from that scene, which is very sweet because it’s all photos of you and I, Hilarie…

BURTON MORGAN: You have that?

BUSH: Oh yeah, I took that immediately. There are real pictures of us from growing up, because it was this story of these friends who grew up together…

BURTON MORGAN: Joy, we’re gonna photoshop you in.

BUSH: Honestly, we should just make a new one. Of all the stuff that feels sentimental, that “Brooke Davis for President” pin kills me. It’s up on the wall in my office, because it makes me laugh. When I think about why that’s the one thing I’ve displayed—next to a photo of the three of us— it’s because it symbolized something that at the time really embarrassed me, but now I respect. Brooke Davis took the thing she was made fun of for, and turned it into an anthem. She was this bad bitch who owned her shit. That’s something I’ve tried to emulate.

BURTON MORGAN: One thing that I keep thinking is, “we deserve this.”

LENZ: Because we do! It’s hard to say that as women, I think.

BURTON MORGAN: What makes you two feel like we deserve this?

LENZ: Because we’ve worked our asses off, and because it’s beautiful to experience friendship with each other in a way that we were robbed of in our younger days.

BURTON MORGAN: We were really good girls. I’m excited to set things straight.

#hilarie burton #sophia bush #bethany joy lenz #drama queens oth #one tree hill #interview #2021

8 notes · View notes

spectralscathath · 3 years

Note

do robyn :3c:

Send me a RWBY character and I’ll tell you:

Robyn Hill

My top three ships for the character

Clover/Robyn (Lucky Shot is my OTP), Qrow/Robyn (Jailbyrds is a spite ship and I’ll admit it), Roman/Robyn (Rob the Rich, if only for the name)

My three least favorite ships for the character

Robyn/any of the other Happy Huntresses, Robyn/Winter (I remember that fucking ‘snowbyrd’ discourse you bastards), Robyn/Qrow (when I remove the spite goggles I don’t like this at all.)

My biggest criticism for the character

you got 10 minutes? 20? Maybe 30? Buckle up fuckos. I got some points to make and you’re gonna listen.

1. Robyn Hill is wasted potential

Robyn’s first appearance was one of my favourite scenes of Vol7. No joke! She was witty, interesting, had an excellent banter with Clover, deliberately stood down from a fight she couldn’t win, though she seemed eager for a challenge, showed some cunning, and looked like she was having fun.

And then pretty much all of that got ignored. Robyn was set up as a good, smart leader with a cocky swagger, history with Clover, a deceptively cunning streak, and a calm, level-headed attitude. What Robyn was from then on was Angry Shouty Hothead Picks Fights She Can’t Win. She turned into someone impulsive, short-sighted, bullheaded, and focused only on fighting. 70% of Robyn’s lines are about violence and how she likes violence and how she wants to fight with VIOLENCE. The other 30% are, incidentally, ‘i’m so smart and understanding and kind, I’m gonna force people to undergo a lie detector test via peer pressure and ultimatums but it’s actually tragic that no one wants to be my friend because of my semblance. Poor me.

And that was not what I was expecting. That is not what was foreshadowed. And compared to what the potential could have been, a good allusion rich with depth, a setting that could ahve been interesting if it wasn’t so rushed, how she could have been a player on the board, filled so many possible roles, and instead she was a walking ‘Ironwood bad’ mouthpiece that didn’t actually do anything (and has never done well in a fight, which is RWBY’s staple). What a waste.

2. Robyn Hill actively makes things worse and gets no comeuppance

Robyn Hill makes situations worse. First of all, she steals supplies from Ironwood (and then doesn’t use them???? what the fuck????), which puts Ironwood under stress, which then leads to Ruby being Miss Unhelpful (but that’s a rant for another day). Robyn then gets classified info from Blake and Yang who, may I remind you, never met her. She could have been a spy! But no, Blake just has a gut feeling (because the script said so).

Robyn then calls James out on this, which later leads to ‘how did Robyn know about the global communications tower’, which means the fighting happens in the office, everyone stresses, Salem provides one of the few redeeming scenes in the show post-Ironwatts fight (it all went downhill from there, even more then it already was). Robyn didn’t explicitly cause this but she sure as fuck had a hand in it.

Then you have fucking. Clover’s death. Yes, Robyn, agreeing with the serial killer who just tried to murder you and starting a fight in an enclosed space when you’re a ranged fighter vs your melee combatant ex-boyfriend is absolutely the smart thing to do. And then, for a moment, Qrow and Clover nearly sort things out, and fucking Robyn jumps in again. And then, what did she do? She got knocked out immediately. Yikes. Ladies and gentlemen, our ‘Resident Strong Female Character’. But because she did all this, she pretty much guaranteed first: Tyrian escaped. Secondly: Clover died.

And yeah, Robyn. Just because Qrow didn’t personally shove that blade through Clover’s chest, he still worked with The Serial Killer Who Kills People to help. So yeah, Robyn, that does count as some sort of murder. Or at least, accomplice to murder. You’re also vaguely adjacent to it, so don’t get all ‘but Qrow’s innocent’.

It’s the same problem with team RWBY. They do terrible things, they whine about how hard it is, and all is forgiven cause they’re cute sad girls. There’s no comeuppance. There’s no growth. It’s just the script going ‘this character is right because we said so, so now we’re gonna do our best approximation of if a pretzal and a contortionist had an unholy boneless lovechild and bend the plot so the characters win anyway.’

3. Robyn Hill is a static character

This is gonna sound weird with this lil header but Robyn actually had an arc in vol7! She had an arc that was fairly basic, she went from ‘I don’t trust Ironwood and want to know what’s going on’ to ‘I am actively ruining Ironwood’s goals’ and finally settled on ‘I know what’s going on, Ironwood is worth supporting, and I do trust him.’ It was a simple arc, but it didn’t need to be anything more then that.

Then in the span of about 1 minute all her actual development was reversed and she ran backwards to her original stance of ‘Ironwood bad’. We literally saw her devleopment walk backwards, and there it stayed. She spent all of vol8 as an empty voicebox that occasionally pipped out ‘Qrow’s my friend’ and was devoid of any personality. She didn’t have much beforehand that wasn’t fairly generic, so it’s almost impressive.

The problem is that static characters take a lot of work to avoid being boring characters. A lot of rwby just has these problems in general, character development is either ignored, skipped over, or given to the wrong characters, but in Robyn’s case it’s actively annoying because she had some development, and then she ignored all of that to go back to being ‘ironwood bad’ with a side of ‘Qrow good’ because we needed to be reminded of that after he got an innocent man killed.

4. Robyn Hill is an unnecessary character

Why are you here. What do you do. Robyn was stated to be a character meant to act in opposition to Ironwood, to put him under stress like every other fucking character in this series. This was ‘confirmed’ by Eddy Rivas, which means zero because at some point the mentally deranged Weazel Ball that masquerades as the crwby writing team’s collective braincell will rapidly and suddenly change direction, causing massive retcons and plotholes in their moth-eaten threadbare dishtowel they dare to call ‘lore’, and we will have a different excuse for this waste of a good VA.

Here’s the thing tho: Robyn as ‘opposition for Ironwood’ isn’t fucking special. The fucking air in the Atlas Academy lobby opposes Ironwood. Robyn seems to be there... because Mantle needed a voice? Okay, well, why the fuck did Mantle need to exist? Because... the election plotline needed to exist so Jacque could do something mean? God, everything about Mantle and Robyn and the election plotline is just annoying. It drags and it adds nothing to the plotline and it all should have been culled so instead we could focus on things that are actually important (like maybe: the myth arc? character development? the fucking Schnees in Atlas???) rather then rwby’s fuckboi incel attempt at ‘classism = bad?’. If I, as a professional paid editor who works with actual manuscripts, was given the scripts for rwby vol7, I would have gotten the big red highlighter and done a shitload of crossing out. Then I would have told the writing team “come back with your second draft”, but alas, we got the Atlas Arc.

My favorite thing about the character

I love her design aside from that ugly-ass scarf. Also, her VA, Cristina Vee, is the only redeeming quality of this tire-fire of a character. Godbless and praise.

A headcanon I have about them

She deals with chronic ‘ponytail keeps falling out’ syndrome, just constantly. So many hairbands get used up when she does anything.

What I would change about them if I was making a re-write

Everything. Every fucking thing. Especially that stupid fucking lie-detecting semblance.

What I I think of their character allusion and what (if anything) I would change about it

It’s incredibly underutilised. It’s Robin Hood in-name-only. It’s like, the most basic ‘oh the name is Robin and they steal’ and there’s not even any of the most obvious tells. Where’s the bright green? Where’s the hood? Where’s the fucking longbow? Where’s the ‘giving to the poor’ that comes after ‘stealing the rich’? She didn’t actually use any of those things she stole to fix Mantle, she just stole it.

Literally, all the classic elements of Robin Hood are missing, all that’s there is a name and... that’s it. The allusion isn’t there, and even if it was, it’s done in a boring fashion.

Personally, I would add more Robin Hood elements, and I would change one key thing. I would change her allegiance. Instead of ‘Robin Hood on the side of good’, I would take the team WTCH approach, a ‘good allusion turned evil’, and I’d have Robyn working with Salem, or, at least, as an antagonist. Because that could be actually interesting then the boring and unnecessary storyline we had.

#rwby #robyn hill #asks #if you get mad at this just remember Galatians 4:16

9 notes · View notes

duhragonball · 3 years

Text

BEGIN: Battle Tendency Liveblog. JJBA Ch. 45-47

🇺🇸🗽🧗‍♂️🧼🪀🌵Part 2, Hell Yeah!🌪️🎈🛩️🌋🚬

I'm pretty friggin' excited for Part 6 anime, and Part 6 is one of my faves, so one could understandably assume that Part 6 is my favorite. And I post a lot of other JoJo stuff on this blog, so it's probably not obvious, but Part 2 is the best.

I got into JoJo in 2017, watching Parts 1-4 in anime version, then reading the scanlations of Parts 5-8 while I waited for the anime to catch up. Then I re-liveblogged the Part 5 manga because there was finally a proper translation available. And technically the Part 8 liveblog never ended, since the manga is still ongoing.

As I developed an appreciation for the manga, I started to feel like I should go back and check out the comic versions of Parts 1 through 4. Where better to start than my personal favorite? But I never got around to it, until now.

There's a few things I want to explore with Part 2. First, I want to go through and work out why exactly I like it so much. It's kind of tough to articulate, but usually I just say that it's fast-paced and something's always happening. Part 1 takes a while to get going, and Parts 3-8 rely on the Stand concept, which means that each of them occasionally fall into the trap of becoming formulaic. Part 2 doesn't have the hassle of introducing all the lore, and it doesn't have the luxury of just doing a gauntlet of Stand Battles to pad out the story. But I think there's more to it than that. Battle Tendency has a charm all it's own, and that's what I want to talk about.

Second, now that I've become familiar with Parts 1-7 (and most of 8), I want to go back and see how 2 holds up as part of this mythos. BT sort of gets overlooked, I think, and that's fair, since it doesn't involve Dio, Stands, or the more outlandish costumes of the later installments. A lot of fans write off Parts 1 and 2 for being "boring", but at least Phantom Blood carries the prestige of starting it all, and providing the origin of Dio. Something I think a lot about is whether or not Part 2 "connects" with the later entries in the JoJo series. It forms a trilogy with 1 and 3, and Part 4 features Joseph's legacy in an important way, but what about the later ones? Parts 5 through 8 owe a huge debt to Stardust Crusaders for introducing Stands, and to Phantom Blood for introducing JoJo's, but what does Part 2 give them, if anything?

Third, I'm interested in seeing how BT holds up in isolation. It's a direct sequel to Part 1, and it ends with a prelude to Part 3, so it's clearly designed to function as part of a larger saga. But Parts 4 and 5 really don't operate that way, and that got me thinking that maybe Part 2 is more self-contained than I give it credit for.

But enough about that, let's get this started.

There's two plot threads in these opening chapters. One reintroduces Robert E. O. Speedwagon, now a 70 year old oil tycoon, and Straizo, who has succeeded the late Tonpetti as the Ripple Master. Speedwagon has been using his oil fortune to fund a research organization called the Speedwagon Foundation, and it discovered something major during an archaeological expedition: an engraving of the stone mask, the same one Dio used to turn himself into a vampire 50 years earlier. Note that the mummified corpse lying on the slab with the engraving has vampire fangs. Whoever this guy is, he didn't just know about the masks, he used one personally.

It might get revealed later in the comics, but I'm pretty sure the anime version had Speedwagon explain that he primary purpose of his foundation was to learn more about phenomena like the Stone Mask, which is probably why they were digging up an Aztec temple in Mexico to begin with. As I recall, the Stone Mask was discovered in that part of the world, and taken back to Europe, where it eventually came into the possession of the Joestar family. Speedwagon would know this tale, and so if he wanted to find out more about the mask, he would have known where to start. Fifty years later, he seems to have hit paydirt.

But the mask engraving isn't why he called Straizo all the way in from Tibet. Deeper in the temple, there's a weird looking area that looks like something from out of an H.R. Giger painting. In the center stands this column, or pillar, if you will, and mounted on the pillar is...

...This guy, surrounded by more stone masks. When I first watched this part of the anime, I though the big reveal here was that there were lots and lots of Stone Masks, which would be a big problem, since Part 1 made a big deal out of destroying the one Stone Mask that started all the trouble. And maybe the guy in the pillar was the one who invented the things, I thought, but the bigger problem is that he made so many of them. But no, Speedwagon explains that the "Pillar Man" is not an image carved into the stone, but a living being, in some form of suspended animation. He even has a pulse.

So who is this guy and why did he create the Stone Masks? Speedwagon does not care. He only wants this Pillar Man destroyed before he wakes up, and that's the sole reason he called in Straizo. The two of them were the only survivors of the battle with Dio 50 years ago, and Straizo's Hamon power, also known as the Ripple, can destroy vampires that were created by the Stone Mask. So he's desperately hoping Straizo can finish off the Pillar Man the same way. But Straizo doesn't seem as concerned about it, and he asks about Joseph Joestar instead. So I guess I ought to circle back to the other plotline...

Fifty years after Jonathan Joestar sacrificed himself to defeat Dio Brando, his wife Erina and his grandson Joseph have moved to New York City. Joseph tries to buy a Coke, but this kid swipes his wallet. Kind of funny how Joesph's first and last appearances in JJBA are him getting robbed.

But the kid runs afoul of the local corrupt cops, who bludgeon him with their batons and threaten to put him in jail for 20 years unless he agrees to give them a cut of whatever money he makes from pickpocketing. When Joseph catches up to this scene, the cop even says he's going to keep Joseph's wallet "as evidence". I gotta say, not everything from Battle Tendency has aged well, but this police brutality stuff has become incredibly relevant. This could be 2021, except the cop would have had a gun, and he would have shot Smokey, then Joseph because he mistook the Coke bottle for a rocket launcher.

Joseph tries to defuse the situation by claiming he gave the wallet to the kid as a gift, but the cop doesn't believe that story, and he wouldn't care even if he did. He even smears boogers in Joseph's face just to prove that he can say and do whatever he pleases. Up to this point, Joseph looks and seems a lot like Jonathan. Later artwork tries to downplay that resemblance, probably just so it's easier to tell them apart. The anime gave Joseph different color hair, and Hirohiko Araki himself started drawing young Joseph with aviator goggles all the time, even though he doesn't wear them that much in this story. But starting out, the idea was that Joseph is the spitting image of his grandfather, and it almost looks like this is just an clever way to sneak Jonathan back into the story and transport him forward in time, except....

Coming through, coming through, coming through now

Coming through, coming through, coming through

Shake it like it's heat, Overdrive!

Yeah, so Joseph can do Hamon/Ripple tricks just like his grandfather, and all the others guys who could use Hamon back in Part 1. The difference is that when Joseph does it, it looks coooooool. After breaking Officer Hulk Hogan’s trigger finger, Joseph takes a big swig of soda, because it’s awesome.

To Smokey’s surprise, Joseph did all that badass stuff a second ago, but he’s terrified about his grandmother scolding him for it. So Joseph wants to run for it, and that suits Smokey, so they rush off together, beginning a long tradition of JoJo’s running from things. Enemies, consequences, you name it.

Smokey asks Joseph how he learned how to do that trick with the coke bottle, and he says he has no idea, he’s just always been able to do it. He knows his grandfather had the same power, but he’s dead, and so are his mother and father. Curiously, Joseph’s father did not have Hamon powers, so it seems to have skipped a generation.

And that sets up the other side of the plot. Speedwagon wants Straizo to destroy the Pillar Man immediately, but Straizo first asks about Joseph. He had heard some time ago that Joseph had innate Hamon abilities, and he had used them once to rescue Speedwagon from a kidnapping attempt in midair. A flashback shows us this moment, with guys threatening to ransom and kill Speedwagon, but Joseph is just chilling in the back with a Superman comic.

Okay, time out. This panel rules and all, but the Superman comic book didn’t start until 1939, a year after Battle Tendency begins. Superman was featured in the 1938 magazine Action Comics, but this scene on the plane is a flashback to Joseph from his early teens. Also, the earliest DC bullet logo didn’t appear until 1940, so what is this? Some kind of magic, time travelling comic book? I hope someone got fired for this blunder!

Anyway, Joseph was content to ignore the hijackers until one of them struck him, and even that wouldn’t have upset him except he got his own blood on his clothes, which Erina bought him, so that sends him into a rage. Speedwagon was worried that Joseph might clobber the hijackers, but instead he knocks out the pilot, then drags him and Speedwagon out of the plane before it crashes. The main thrust of that story was that Speedwagon was more worried about what Joseph might do than the hijackers who had already threatened to murder him. Joseph is slow to anger, but once you piss him off he’s going to go to war, and he doesn’t always think things through.

But he’s never been trained to use his powers like Straizo’s order. Upon hearing this, Straizo kills his own disciples, and all of the Speedwagon Foundation guys, then knocks Speedwagon himself out. This will anger Joseph when he hears about it, but Straizo is counting on this. As he explains, Hamon power can slow his aging process down considerably. He and Speedwagon are both about 70 here, but he looks much younger. Even so, he’s feeling his age, and he confesses that he always admired Dio for his immortality and power. So now that there’s Stone Masks available, he’s decided to use one on himself, become a vampire, and become “a being that surpasses all”.

And that’s a theme that runs through all of Battle Tendency, along with the rest of the JoJo franchise. The main villains always seek power to position themselves above the rest of humanity. At first, it seems kind of random for one of the men who opposed Dio to suddenly switch allegiences like this, but in truth, it’s human nature to be tempted by this kind of power. Dio succumbed to the lure of the Mask, and now we find that Straizo would have done the same. He just didn’t have the opportunity until now.

But the reason he’s concerned about Joseph is that he’s thinking this through. Dio was defeated after all, so Straizo wants to eliminate anyone who could potentially defeat him. Aside from himself and Speedwagon, the only others who know about the battle with Dio and the Stone Mask are Erina and Joseph. Once he eliminates them, he’ll be free to do as he pleases.

Back to New York, this is a pretty sweet drawing of a car. I’m not a car guy, but even I can get behind this. By now, Smokey has met Erina Joestar, and he finds out some of the backstory from Part 1. Erina’s husband died at sea, and she was pregnant with their son, Joseph’s father, and had a baby girl whom she rescued from the same incident at sea. The two children grew up, married, had Joseph, and died, the father in World War I, and the mother of some unspecified illness. Perhaps out of loneliness, Erina is “unflinchingly kind” even to someone like Smokey Brown, who doesn’t seem to think he’s worthy of her favor.

Anyway, Erina wants to take Smokey out to dinner at this nice Italian restaurant, but this racist mafia guy makes a big stink about a Black person being allowed to eat there. Joseph gets up to kick his ass, but first he has to check with Erina to make sure it’s okay, and she’s like “Yeah, destroy that guy,” because even though she doesn’t approve of Joseph beating up people, she can’t abide disrespect to her friends. This leads to the memorable fight scene where Joseph is like eight steps ahead of his opponent. He goes for his brass knuckles, but can’t find them, and Joseph deduces where they are because of some bloodstains on his shirt. He even suggests what this guy is about to say next because he’s so predictable.

Then he dodges every blow, moving so quickly that this jerk thinks he was hitting Joseph, when in fact he was punching a hat rack behind Joseph, and somehow he didn’t notice that he impaled his hand on broken wood until Joseph explained it to him. And honestly, this feels like the prototype for a lot of Stand Battles down the line. I’ll have more to say on that later.

What puts Battle Tendency over the top is how Joseph not only outwits this big lummox, but the rest of the diners at this restaurant all start applauding him for doing it. They’re just honored to be present in this insane comic book where literally anything can happen. “He made that asshole punch a hat rack! This is awesome!”

Then this dude suddenly speaks up. He’s not only the mafia guy in charge of the first guy, but he’s also heard a hot tip about Speedwagon getting murdered in Mexico by a Tibetan man. He knew Erina would be interested in hearing this, but he’d never met her before. Small world, huh?

How would this guy already know about it, though? I guess Straizo deliberately leaked the story, specifically so Joseph would find out about it sooner, but it seems awfully convenient. But that’s how Battle Tendency rolls. This thing’s only seven volumes long, and we’ve got a lot of ground to cover...

#jojo's bizarre adventure #battle tendency #joseph joestar #smokey brown #erina joestar #robert e o speedwagon #straizo #santana

12 notes · View notes