#i really REALLY felt his character arc was... incomplete in a way

[barnbridges]

really about to eat grass rn jULIAN *WAS* SUPPOSED TO BE A MORE IMPORTANT CHARACTER

[echos-gal]

ok i'm rapidly losing hope that Tech is still alive, and this sucks because it was basically the top thing i desperately wanted from this season. i wanted to see him survive. so here's my exhaustive and embarrassingly long list of reasons why he SHOULD still be alive, and if he isn't, why it was a missed opportunity. obviously no hate to the writers or anything, i love them dearly for creating this show!!!

(if you're a "Tech should stay dead for the stakes/so someone in SW stays dead for once/i hate delusional Tech stans" person, kindly keep scrolling, this ain't for you)

SEASON 2:

right from the start, Romar connects with Tech and calls himself "a survivor." HELLO???

in this same arc, Tech breaks his leg in a fall which he survives. he continues to walk on it, fighting off troopers to save Echo & Omega, showcasing his persistence and grit.

one of Phee's first lines is "better late than dead," and we know she shares a connection with Tech. she flirts with him later in this scene. it would be a shame not to reuse this line, i'm just saying....

Cid still owes Tech for racing for her in Faster. we see Cid looking miserable as she betrays the batch in Plan 99, so her playing a part in his rescue/comeback would be a nice way to show her growth. (i'm afraid there isn't enough time for this, though- as much as i thought a Cid redemption was on the horizon!)

Phee and Tech's departure is awkward, and although we have some context from season 3 (they talked more than we realized), the scene would do best if reconciled in person imo. it felt like it was setting up for something, and feels weird to leave hanging.

"don't go running off with any pirates or smugglers" could not have just been a throw away line. it set up for him to do exactly that. how fitting would it be if pirates or smugglers actually did manage to pick him up before the empire made it to the railcar crash site?

Hemlock's retrieval of the goggles shows that he sent a team to look through the wreckage. he thought there was a chance Tech survived, and may have him.

i won't go into the logistics, but big falls ARE survivable. in star wars especially. we have no idea what was below the layer of clouds/mist Tech fell through.

SEASON 3:

this is mostly CX-2 centric. their armor is very similar: the jaw/mouth shape, the hexagons over the ears, the rectangles on the chest, and the pouches/pockets.

"domicile." that is all.

CX-2 uses technology more than the other operatives we've seen, and he gets past the encryption on Phee's ship with ease.

"who are you?" was enunciated in the exact same way Tech says it to Trace and Rafa, which i definitely think was intentional.

CX-2 stops to use his rifle scope in the exact same spot where Tech and Phee stood to let down the ladders in the sea surge on Pabu.

he survives a waterfall plunge on Teth, which appears to have fooled Rex's group into thinking he'd died. the writers could have killed him off there and sent a new operative, but they chose to stick with CX-2 pursuing them to Pabu.

it's worth noting that while this CX is designated as "2," Tech's CT number is CT-9902. he is associated with the number even on a visual level: he's a dual-wielder, he wears goggles, he salutes with two fingers.

FROM A STORY PERSPECTIVE:

firstly, i am sorry and i LOVE the writers, but if you want people to accept a character's death, you've got to show his family and friends' grief. we saw no reaction from Crosshair or Phee, no tears from Hunter or Echo. it feels like fans were sadder about Tech's death than the characters in the story.

Tech seems to have been mentioned more in the second half of season 3 than the first half, which works if they want to bring him back in the finale.

the finale is called "The Cavalry Has Arrived." i really don't think you can have the cavalry (aka the bad batch) arrive without every member present. i also don't think it would feel right to play their theme without Tech there. idk, that feels incomplete!

we saw no body, and Hunter received Tech's goggles not from a trusted ally or friend, but from Hemlock. this calls into question the legitimacy of his claim that the goggles were "all he could salvage."

Tech alive and being held on Tantiss would provide a nice parallel to Echo in the first mission where we meet the batch, in TCW. and [ep 14 SPOILERS] we see that Echo is currently looking more like his TCW self, with his earpiece removed.

feels kinda sour that a character who a lot of people related to as neurodivergent representation would die just a few episodes after having a deep conversation with his sister about it.

likewise (and as a white woman i can't speak for WOC), from what i have seen, Black women are rarely the main love interest of a series! Phee is the ONLY love interest in this whole show, and it would suck to just cut off that romance before it could really become something. a lot of people wanted to see TechPhee become canon.

CX-2 is the one who destroys the marauder. it works well storywise for its pilot to have been the one to do that- the person who worked so hard modifying it, flying it, and teaching his sister to fly it. i'll be lowkey pissed if it turns out some random dude blew it up.

it's also CX-2 who invades and sets fire to Pabu. this is emotionally gripping on its own, but if he is Tech, it's even more so.

we have no idea what the operatives go through. Crosshair isn't telling, but it clearly put him in a really bad place. if Tech underwent this conditioning in his post-fall injured state, there's a chance he could come back from it. Emerie is probably the key to this, if they take the CX-2 route.

this show is all about a family trying to stay together as the Empire desperately tries to rip them apart. seeing the whole family together again - even if not everyone survives - in the finale is the satisfaction that the show ideally would go for. the last time they were all together was the season 1 finale. that was about 2 years ago in the show's timeline.

leaving Crosshair and Tech's final interactions be where they parted on the Kamino platform also feels off. Tech was the one who really vocalized the need to rescue Crosshair in season 2's finale. Crosshair, in the meantime, has changed significantly as a person. Tech's comment about Crosshair being "severe and unyielding," and unable to change this facet of his nature, is incorrect. leaving Tech dead would mean that he never gets to see this change in Crosshair, which makes me feel like a deflated balloon.

FROM MY SELFISH PERSPECTIVE!!!

give me Tech with cool scars and slightly disheveled longer hair. this is such a good opportunity for the creators to give him a sweet new look!

we never got to see Tech without his goggles on, despite Phee constantly referring to his eyes. he definitely doesn't have them right now (they're in the Archium), so we could get Mister Big Brown Eyes if he's alive. it's another missed opportunity if not, imo!

the goggles being placed in the Archium was a beautiful scene that makes me tear up whenever i think about it. it's symbolic, it's bittersweet, and it's exactly where the goggles belong. but was it closure for me? not really.

Tech is a character who became a LOT of people's favorite in season 2, including my own. why kill off a fan-favorite with an entire season to go?

yes, i desperately want a Rex and Echo series. yes, i want the batch to cameo in it, and yes... that includes Tech. making up for lost season 3 Tech content 😎

the finale will feature the zillo beast, and Tech loves the zillo beast. FREE HER! REUNITE THEM! he would love to witness her rampage.

FROM A "SURPRISE!!!!!" PERSPECTIVE

it seems like most people think Tech is either CX-2 or dead. it would be a great finale twist if we DID get CX-2's identity, it's NOT Tech, the audience loses hope, and then he shows up. i think this is actually plausible given the other assassin schematics Hemlock was looking at in Point of No Return. Tech might be in Hemlock's grasp, but not an active operative. having an enhanced clone to toy with is something Hemlock would want to keep under wraps. we see him step out of the assassin chamber at the start of that episode - if Tech is anywhere on Tantiss, i think it's here.

i think the writers have expected us to have all lost hope by now, so his finale reappearance would ideally come as a shock. the finale is almost guaranteed to be a very long episode, so we really might have quite a bit of time to explore his return, if it happens.

secret 16th episode: i know, i'm putting my clown makeup on as i type this. but the previous 2 seasons each had 16 episodes, with a two-parter finale. season 3 is just 15, with a single episode finale. TBB formally ends may 1st, so what if we get a may 4th surprise episode detailing how Tech survived? (that or an epilogue leading into a new series, which i think is more likely actually!)

[winters-rose-daughterofcain]

I've been trying to phrase things eloquently and I really can't so here you go. Part two really felt like it was trying have its cake and eat it as well in a lot of ways, and it really didn't work.

You give Cressida a whole redemption arc and friendship and put her in an impossible situation and humanise and make you sympathise with her, then want me to hate her again?

You show how Pen uses LW as a coping mechanism and how it's not good for her or those around her and not have her drop it?

You want LW revealed to the ton but no real consequences?

You double down on how Pens family treat her only to have them all come together and be forgiven at the end?

You sideline Colin in his own damn season and butcher Penelope so badly I almost wanted less of her as well?

You can't have everything. Not in such a short time span at least, and it really suffer from it. If you wanted to give Cressida more depth and expend on her role why was she tossed away like nothing at the end? Why did Eloise abandon her? Why was she treated as awful in part two after being put in an actual horror show of a situation? I know they needed the blackmail plot but you can't just give her depth, make her the antagonist and then drop her storyline in the drain that's not how that works. That's not complexity that's laziness, and laziness they created mind you.

They didn't have to write Cressida the way they did this season, if they wanted to make it easy they could have had her marry off screen between seasons to a rich man, they could have had Eloise befriending her be a mistake and had a different arc there, they could have had her LW claim be for any number of reasons, and her blackmail because she still has it out for Penelope. They added this to the story, and as much as I was sceptical at first (I have seen far too many botched bully redemptions) I was glad they did it aded a lot of depth and character interaction, it created some interesting parallels between Cressida and Penelope and seeing Eloise in a different, less intimate friendship with someone who, ironically, is a lot more open with her was interesting. Incomplete, but interesting. It was good, or it could have been. But you can't just turn like that and have it still work. You can't just have Eloise abandon her and have it treated as the right thing to do. You can't leave her with that ending and consider it a happy one. You can't have your cake and eat it too. You didn't create a complex antagonist, you created a scared lost girl who was cruel because she was taught to be and you left her to burn.

You could have had Penelope and Cressida talk to each other, could have explored the ways the mirror and the ways they differ. You could have had Penelope struggle, but untimely empathise with Cressida and help her out, she could have forgiven her for her years of torment because she of all people understands why she did it. You could have had her forgiveness mirror Colin and Eloise forgiving her for LW. You could have looked at how Cressida's openness helped her friendship with Eloise and how Penelope might start to incorporate it. About how by nature of Cressida's openness Eloise is learning to see other perspectives and listen more even if she still has work. You could have done so much with female friendship and camaraderie and empathy and you just... didn't.

The Lady Whistledown this season was just... I think I have a thesis which is most of my thoughts on Polin.

Whistledown was meant to be the subplot to the Polin storyline, not the other way around.

Putting aside my own wishes to have her end Whistledown for her character and for her and Colins relationship, and her love of Colin, her continuing it isn't unexpected I was afraid of this and thought it might happen even if it's lazy. If that was it and if it was handled better I think I could begrudgingly live with it. But it's not. Not only was it handled so so poorly it was the whole second part and for what? Part one was Polin. Part two was Lady Whistledown drama with some cute Polin moments sprinkled in-between with some mandatory angst. Tell me the resolution to Colins arc now. Quickly. You can't he didn't have one, we barley even saw him through Episode seven and eight. There is so much romance in your purpose being the person you love, IF and only IF, it's reciprocal. Penelope literally says in season two, when she has been Whistledown for over a bloody year that she hasn't found her purpose yet. They were meant to find each other. To both have their writing as their passion and creativity and fulfilment, not Whistledown, but her manuscripts, his stories from around the word their joint and secret words. But their centre, their purpose, their guiding light was always meant to be each other. It's what kept Penelope sitting at that window, it's what draw Colin to her at every ball. They had all the potential and set up to be the most beautiful, genuine, heartfelt relationship. But no.

Colin deserved to be angry. The woman he loves has lied, has hurt him, has his from him after all the times he was venerable with her and so, so much more. They deserved to argue. Penelope deserved to be more upset over this than crying in the moment and walking past him later. That's the man she loves, who she thinks hates her, who she know if he did hate her she would deserve it and she wouldn't blame him for a second. They deserved time and space and Colin deserved explanations and apologies. They deserved a later, happier wedding, they both deserved to have their feelings heard and said and listened too. Is that not the core of their relationship? Listening to and seeing each other? Would that not lay the groundwork for some really good well earned conflict and a really rewording resolution? The groundwork was all there that's what's killing me. The set up was all there for something so good which is why I was excited. I know screen time is limited, I know there is only so many emotional conversations you can have on screen, but Bridgerton primarily just people talking on conversations, when it's there bloody season surely they can space out the conversations that need to happen in a way that works with pacing. And to be honest, the screen time defence only works when the screen time that they did have was allocated well. And I'm not taking subplots. Even if I think a few could have been trimmed, the screen time Polin did get was just used so so badly. Colin got dust and that didn't even feel like Penelope had the time, just a mouth piece for the writers.

Rapid fire stuff because I need to expand on the above in more detail later lol.

The acting was flawless give everyone on that set their flowers.

I really like the Mondrich's and seem to be the only one who likes seeing them lol, their sweet and always a good time they just need a better storyline, or you know, one that actually has a resolution.

Not what I would have done for Benedict and I still want to see him look at art again but let's hope season 4 is better lol.

Don't like the way Penelope's family stuff was done, specifically Portia but it is what I thought would happen. Disappointed but not surprised. I'm biased tho so I won't speak on it too much. I lose too much objectivity.

Hate hate hate the baby thing tho, it was fine as a subplot with her sisters but her having the boy was predictable and also dear god the girls nineteen for fucks sake. No. Hated that.

Francesca the absolute love of my life. I adore her and John, I liked the conflicted with Violet, loved everything about her storyline this season she was perfect, my favourite part honestly lol. Also Michaela Stirling get behind me NOW. Sapphic Bridgerton fans truly are the bravest soldiers cause istg. Also I don't trust this fandom with any actor or actresses period but especially not a Black actress who's "ruining" your favourite storyline. So I will be greatly enjoying everything I see of all three of them Francesca John and Michaela, while watching with a sharp eye for any bullshit.

Kate, also the love of my life it was so lovely to have her back even if just for a bit. Wish they did more with Anthony especially him and Colin tho, but again, wasn't expecting much more. I do wish they would write them out with a bit more subtly tho it's getting almost funny how obvious it is.

The Violet, Marcus, Lady Danbury plot I didn't actually mind. Could have been trimmed a bit but it was good seeing the adults in more depth, I haven't watched queen Charlotte tho so I kinda feel like I missed some things.

Overall, I liked certain parts of this season I really did, especially if I fully ignore the context, and I'm happy for everyone who enjoyed it truly, but it was have an entirely different ending in my head. I'll definitely write about at some point but who knows if anyone wants to see that lol.

[petr1kov]

Man I feel like they did Betty dirty bc like yes Simon could've been more attentive to her wants but the writing treated her as someone who needed to be told what to do instead of an intelligent adult woman with control over her own obsessive actions. She's not wholly innocent in the relationship's issues and that's what makes her interesting! It feels like her arc and character is revolved around Simon even when they're trying to critique that and she doesn't get the chance to really shine. Even their break up was mainly about Simon's feelings and flaws like c'mon let my girl SPEAK

LITERALLY i was just about to say that. i don't like how their relationship problems are being blamed mostly on simon for being selfish and not noticing or whatever?? when clearly, clearly their problem has always been codependency. betty sacrificed everything for simon, and simon was so down bad for her he kept subconsciously looking for her in the princesses of ooo even when he went completely insane! he based a lot of his personality around finding a bride even as ice king. he very very clearly felt incomplete without her, which is why he thought marriage would fix his problems.

so to say all of that was just simon being oblivious to her obsession with him just feels so.. wrong? it's like betty needed him to put some restraint on her, to tell her what to do, when in reality, she is a grown ass woman who is in charge of her own choices, and she was always was a bit too into with him even before she really knew him (she basically invited herself to go along on that trip with him, if you really pay attention). felt like a really strange way to portray their relationship, to me

[bengiyo]

Century of Love: A Muddled, Pretty Mess

Century of Love is a somewhat difficult show for me to rate. On the whole, I have to say that the final four episodes squander a lot of the fun and potential of the earlier episodes, leaving this to be a fundamentally unsatisfying, somewhat-incomplete project. Century of Love is another show where I find myself struggling with the idea of what the show could have been beside the reality of what it actually was. Thus, despite finding the show visually pleasing and sometimes-fun, it’s honestly rather forgettable now that it’s passed.

Rating: 7, Recommended With Serious Reservations

Runtime: 10 60+ minute episodes

Country: Thailand

Network: Netflix, One 31, oneD

Availability: GagaOOlala

Century of Love is about a man named San (Daou Pittaya), who has lived for a century in search of the reincarnation of his murdered love. Accumulating wealth for his family and receiving their care, they’re anticipating the seminal moment in which San will finally find Vad (Cookie Yada) again. In this case, all measurements indicate that Vad has been reincarnated as one of the most beautiful boys ever in Vee (Offroad Kantapon), and San has to unlearn his own internalized homophobia and presumptions if he doesn’t want to suffer a painful death. He must connect with Vee, and stave off attempts to steal the magic stone that’s kept him alive for a century. 

The show blends romance, drama, action, and comedy really well in the first few weeks of viewing, but then takes a steep nosedive over its final arcs. I want to talk about some of the things I enjoyed in this show before I criticize the back half too much. User @flowerbeasblog covers the significance of this as a queer lakorn airing in a primetime slot in their post. We also know that there were serious workplace safety issues on set (@singto-prachaya), and it seems like the director has distanced himself from the project by not even posting about it.

Daou Pittaya. I loved Daou in this role. He showed real chops as an actor. I felt the entire time that he was an old man in a young body. He looked worn and tired most of the time in a way that is recognizable in elders. His training as an idol clearly helped with his ability to perform the fight choreography (limited as it was). He was also beautiful, and the costuming department was so correct to put him in shirts that shows off his collarbones in every episode. 

The Family. I loved San’s family so much. I loved that we had members of all ages calling San great grandpa the whole time, and I loved the way they teased him across the show. Juu (Xiang Pornsroung) was a standout character, and it was obvious that War Jirawat was having a great time treating Daou’s character like an elder.

Offroad Kantapon. I thought Offroad was the best part of Our Days (2022), and I liked him in Love in Translation (2023). He’s good with Daou in this show, but seems like he struggled in scenes with others. I wanna chalk that up to the storytelling confusion later.  He has great scenes with Tuk Deuntem as the grandmother that I also feel like didn’t clear up with the themes.

Let’s get into the big issues. More than anything, this show muddled its messaging about accepting death and new life. There are clear guides to this early with Vee not remembering his prior life as Vad, and asserting that he personally would move on because there’s no way the old Vad would come back. 

The Mythology. This show really cocked up its own mythology, evinced best by the multiple episodes of hot potato they played with who got the five-colored stone. I’d have rather the show focused on the relationship with the goddess than the stone as a plot device. The show sidesteps the own question it asked about whether it matters who is reincarnated as Vad by having a doppenganger lie about what she remembers, and yet the stone responded to her, too? San choosing Vee regardless is a nice idea, but the show really let me down on not resolving its own mythology when it showed that Tao could predict exactly when San would run into Vad. Also, what the fuck was the deal with Chibi San (credit to @negrowhat)? Why does he have to rejuvenate as a kid, and then that just goes away? Finally, why was Pond Ponlawit even in this show? What purpose did Third serve in this reincarnation tale? There were hints he was going to be some kind of villain, and then it’s just dropped. 

The Villains. Speaking of villains, what was the point of Chen and nephew other than to extend the show by having people trying to steal the stone? Why did Third have no role in the reincarnation tale other than to share the face with Trai? We don’t learn anything interesting about Chen and nephew before they kill each other like an SNL sketch. 

The Themes Around Death. Early on the show set up a growth arc for San to grow beyond who he was at Vad’s death. He’s literally preserved the theater she died in until she returns. Vee is dealing with the impending death of his grandmother. The grandmother makes the choice not to continue living in pain and accept the life she has, asserting that every story must come to an end for it to have meaning. Then, San lies about his own impending death only to be saved at the last minute. I just didn’t really enjoy the way they handled this at all in the end. 

Final Thoughts. I’m really glad a lot of new people got to enjoy Daou and Offroad. I also really like the way this show handled its themes around bisexuality with Vee, and San coming to enjoy the intimate relationship he built with Vee. I thought there were a lot of really fun moments in the early part of this show, especially with them giving the audience exactly what we wanted from one scene into the next one (like Vee meeting Chibi Sun immediately). I will remember the costuming fondly, and I will remember the cast. Other than that, I will probably not return to this show, and that’s a real shame because it started off as something that felt like it could be a favorite.

Hopefully they hire Daou and Offroad for the idol romance BL that @lurkingshan has been asking for.  

[kyliafanfiction]

Victoria Dallon and Righteousness: An Incomplete Deconstruction

From everything I've heard and read, there was a lot of negative response to Victoria Dallon being the main character of Ward, when that was revealed. Lots of people obviously wanted Taylor, but even more, Victoria as MC didn't really resonate with a lot of the people who loved Worm so much - very different sort of MC.

Now, obviously, I wasn't in the fandom when Ward came out, I was still just loosely aware Worm existed and that the MC was a villain protagonist named Taylor Hebert. I wasn't even aware Amy Dallon existed, let alone Victoria!

So I don't know how I would have felt about it, but I'm willing to bet I wouldn't have been a huge fan. One, because I probably would have wanted Amy as the MC, because I'm willing to bet Amy still would have been my blorbo (though I don't believe the term blorbo existed when Ward was started) even coming into Worm blind, by the time I was done.

But two, because... even though I like Victoria (a lot), and would presumably still like her in this hypothetical scenario, I don't like her as Main character material. Because at the end of the day, the sort of archetype she represents is not one that I tend to care for.

It is not breaking new ground to say that Victoria Dallon, Glory Girl, is, in large part, a deconstruction of the Flying Brick/Superman type character. Worm has several deconstructions of that type of character, and Vicky is one of them. Her invulnerability is an illusion, and indeed, her whole schtick is the illusion, the 'Aura' (heh) of perfection and untouchability.

But the thing is... I don't, as a general rule, actually like the superman-type characters, in fiction. Your Captain Americas, your Supermans, your CW Supergirls - they're not really my type of character. Not because of their strength or 'invulnerability' or whatever, but because of their sense of self-righteousness, their righteousness, and the way the narrative tends to support and build up that righteousness. Obviously the wide world of comics is full of exceptions, but in the comics-adapted media I've seen, the 'Superman Type' character still tends to get away with always being right, with their moral rectitude being unquestioned in the end, with them getting to be the 'moral heart'. Whenever their code clashes with someone else's, theirs always gets to be right.

Once in a while the narrative will let them be wrong, but even then it's usually brought back around to them being right.

And Victoria Dallon has that righteousness in spades, in Worm. Her first introduction, of course, immediately exposes that this is at least somewhat an illusion. Interlude 2 has her do a police brutality and nearly kill a guy. Sure it's a Nazi, but police brutality is bad even if it's done to 'acceptable targets'. That shouldn't be a controversial opinion. And then Amy is called in to help Victoria maintain that illusion by healing the guy and leaving it his word against Glory Girl's and Panacea's. Again, another case that her righteousness is, in the Wormverse, a bit of an illusion.

And then in Arc 3, she arguably threatens some pretty disproportionate retribution for bank robbery. Again, the illusion of righteousness. And her insistence 'New Wave Doesn't Have Secrets' when we know full well from Interlude 2 that she sure as shit does have secrets from (most of) the rest of New Wave.

But for a deconstruction of a self-righteous character to be complete, that sense of self-righteousness needs to get the character in trouble. And that doesn't really happen for Vicky in Worm.* And everything I know about Ward suggests that her sense of 'I know what's right, my moral code is the Correct™ one all the time, I'm the good guy and that makes what I believe correct ipso facto' doesn't really go away or get questioned or undermined.

But notice that asterisk? Because the thing is, in a way, in Worm, her sense of 'I know what's right, I'll do what I think is right damn anyone else's idea of it, I'm the hero, those who oppose me are the villains, the monsters, and it's cut and dry' does actually get her in trouble cause her major problems.

But it's hard to talk about, because it happens in Interlude 11h. And talking about it risks looking like you're victim-blaming Victoria.

Now, I shouldn't have to say this, but I'm pretty sure if I don't, there's going to be people believing I think otherwise, but Victoria 113% did not deserve to have her brain altered, or to have what happens to her when Amy wretches her.

(Whether you agree with Wildbow's dubious insistence that rape was the intended reading all along, or think that it was meant to just be nonconsensual body modification/etc as a metaphor for sexual assault or whatever else, what happens is a horrific violation of Victoria's bodily autonomy ontop of the previous violation of her mind. It was bad. Victoria is a victim and Amy her victimizer here)

But, Victoria's sense of her own righteousness does sort of lead to both.

In Interlude 11h, Amy makes it very clear she wants Victoria to stay away from her, to not touch her. Now, Amy doesn't communicate what's going to happen because it's not like she, before the critical moment, was actively planning it to happen, so despite what some people have said, it's not a case of 'Fuck Around, Find Out', and people who unironically say that definitely need to get smacked around the head with a metaphorical two-by-four a few times, because that's a fucked up POV.

But, Amy still laid a boundary very clearly. 'Don't Touch Me!'. Tumblr, correctly, is very much a fan of the notion that 'no' is a complete sentence, that people are absolutely allowed to refuse hugs, that that all is part of bodily autonomy. That 'don't touch me' is an acceptable boundary, even with close family members.

Vicky, without hesitation, violates that boundary. She decides that her belief that it's okay to hug Amy, because she loves her (as a sister), because they're family, because she knows better than Amy what's right for her (as the whole first half of the scene is her trying to convince Amy to do what she manifestly does not want to do) takes precedence over Amy's boundary. Over Amy's belief about what's best for her. Over Amy's own wants and wishes.

Now this is entirely understandable - she loves her sister, she's afraid for her, she wants her sister to come back home, her sister is being chased by fucking serial killers, it's entirely understandable she doesn't want Amy running around on her own. And if she'd just stuck to trying to convince Amy with words, then that wouldn't be an issue. And... her brain wouldn't have been changed. At least not then. Maybe Amy snaps more completely later and does something, but that's a pretty deep hypothetical.

Now again, Vicky does not deserve this. This is not 'earned'. This is not 'FAFO'. But her sense of self-righteousness does indeed get her into trouble here. The one (hugging Amy) is a necessary antecedent to the other (Amy changing her brain).

Until the critical moment it happened, Amy did not want to do this. Hence the 'don't touch me'. Whether it was an errant impulse, an intrusive thought or her shard deciding to act on it's own to push her towards doing it, it happens. Amy does a very bad thing, and she has to own that.

To Amy's (perhaps minimal) credit, she immediately is horrified by what she did, and tries to fix it. To undo it. Understandably, Vicky says no. Her sister just violated her on a fundamental level, and her entire view of her sister has just been destroyed, because she's also finding out that her sister has been in love with her this whole time, and that of course makes her question everything else she thought she knew.

So she doesn't trust Amy enough to give her the chance to fix it.

Now, I'd like to believe that under other circumstances, say Scion suddenly shows up and turns S9 into paste, aborting the entire arc or something, that Victoria, once she has a few days to reflect, will decide to trust her years of knowing Amy, of loving Amy (as a sister) and trust her sister enough to give her the chance to fix it. Probably with some backup (trust but verify and all that), but still. Maybe that's wishful thinking on my part, but either way, that opportunity doesn't happen.

And in 11h, there's another place where her self-righteousness, her 'I'm the hero, anyone who opposes me is pure evil' mentality also ends up contributing, in a small way, to something else bad happening to her.

In her entirely justifiable anger at Amy, she says that Amy never deserved any of the defense, the benefit of the doubt, etc that Vicky gave her, vis-a-vis her father. That she 'exceeded' him in awfulness. This is of course manifestly not true - Marquis may not have meddled with minds, but his plethora of murders is still much worse - but Victoria isn't exactly speaking from a place of rational analysis here. She's beyond angry, and wants to say a thing she knows will hurt Amy the most. And, given her mental state in that moment, she might even believe it. I certainly doubt she has a firm understanding of Marquis's criminal career.

But, understandable, justifiable or not, it is another blow to Amy's incredibly fragile psyche. Another piece of 'proof' to Amy that she really is the monster she always thought she was. And confirmation of that fear of hers, and her surrender to it, is critical to the wretchification and rape/sexual assault metaphor (see above).

In Interlude 11h, Amy was ready, willing and psychologically able to undo what she did to Victoria. By the time she has the opportunity, she is in a very different mental state, and isn't willing to. Isn't really able to. Amy, rightly, gets shit for this from fans and from characters in-universe, and it was wrong of her to not fix Vicky, let alone what she actually does to her. But there was a moment when she could have fixed Vicky, and in part, the reason it doesn't happen is directly linked to Victoria's sense of righteousness.

Now, a good character beat to have when a righteous/self-righteous character suffers or otherwise gets into trouble because of that aspect of their personality, is for them to reflect on their mistake, to realize what they did was wrong (or at least, the incorrect choice), and to resolve to not let themselves always be so sure that their sense of moral rectitude is always... well, correct in the future. Not to the extent that they just forget they were hurt or betrayed or whatever, but at least understanding it was wrong and they should do better in the future.

But that doesn't really happen. Not in Worm, because Vicky has no story arc after being wretched. Even her being fixed at the end is entirely bound up with it being a conclusion to Amy's story arc.

Now, that could have happened in Ward, but it is rather hard to do when you're insisting that rape happened. Because IRL, there's a lot of baggage around anything that even smacks or looks like you're victim-blaming someone who was raped. Even suggesting that people shouldn't walk alone in dangerous places at night, or don't accept drinks from people you don't trust, for instance, is often met with 'no, just teach people not to rape' from some quarters. (Which is true but... exceedingly unhelpful).

Anything that even kind of sounds like you're saying the victim 'deserved' it, or that they 'brought it on themselves' or whatever is 'rape culture', and to be fair, there is a fuck of a hell of a lot of that IRL. There's a lot of people who really would rather blame the victim, IRL. And even for fictional characters.

But saying that the victim did things they probably shouldn't have done, that they made mistakes, that certain choices of theirs led to what happened to them is not victim blaming. Not inherently. The ultimate choice to victimize is with the perpetrator. Whatever else, it's Amy's fault what happened to Vicky, not Victoria's.

And if it hadn't been full on actual rape, it might have been possible to actually see that deconstruction of Victoria's righteousness through to it's conclusion. But once you make it rape, and decide to make that a centerpiece of the character's narrative, it's rather hard to discuss how the character's own flaws and mistakes led to it, at least not without looking like you're doing a bit of victim blaming, doing rape culture apologia or the like.

And so, even in the most charitable reading of Wildbow (which I am at this point never inclined to give him as a first choice, personally, but), it's fair that he might not want to deal with that and just... drops that little notion that he built in 11h.

Of course, it's entirely plausible that my reading of 11h isn't even remotely what he intended because at this point I'm almost inclined to believe that anything good about Worm was an accident. This is of course, unfair, but Wildbow's own patterns of behavior make it hard to believe him about his authorial intent, anytime, ever.

Regardless, to bring it back to the start of the post - this reality, this incomplete (to me) deconstruction, this failure to properly explore the failings of Victoria's sense of righteousness and belief in her own moral rectitude is why, Victoria Dallon, as she exists, is not a character I can really like as a main POV character.

There's a reason why Captain America is the MCU character that annoys me the most. Why Supergirl, on the CW show of the same name, is my least favorite of the main cast, generally (I do like Kara Danvers, but still, least favorite). Characters who are possessed of their own sense of righteousness, and with him the core narrative tends to agree with, are always the sort of characters that are going to rub me the wrong way.

People who fervently, unquestioningly believe they are the hero of the story, the good guy in the narrative, without ever asking 'am I in the wrong here, not just a little, but completely', who don't have doubts not about specific moral choices, but their entire moral standing, don't tend to be very appealing to me.

There's a lot of problems I have with Ward, and that I would have had with Ward as it unfolded if I'd been reading it life (presumably), and in the interest of full honesty, the biggest is and would have always been the handling of Amy, above all else, but this lack of correction of Victoria's sense of her own righteousness and the fact that by all accounts the narrative tends to support and agree with this sense she has, would definitely have been and indeed is, another factor that means I'd probably have ended up one of those people saying "Victoria was a poor choice for the MC of the 'sequel' to Worm."

And again, I understand why, once rape is settled on and made 'clear', why it doesn't happen, why the examination, the 'I fucked up' moment doesn't happen, but... still. I can't help but think that, and all that could have flowed from it, really should have happened. That it would have been more interesting. And why, to my mind, even if to no one else's, the real promise, the best possibilities of Victoria's character, will always be incomplete. Why she's never going to be 'Main Character' material to me personally.

[reunionatdawn]

The beauty of Axel's original character arc

"I thought a lot about that. Should I leave him as he was or should I bring him back again? However, when I considered the people that Lea wants to bring back, his existence plays a big role. I think Lea has successively become a key character." (Tetsuya Nomura)

Nomura said that he debated whether to bring Axel back to life, or to leave him as he was. The fact that he wasn't sure meant that his KH2 character arc must have felt complete somehow. So, I'd like to take a look back at Axel's original storyline in KH2 and why I liked it so much. I thought his death worked very well as a beautiful and satisfying (albeit more bittersweet) ending to his story. In many ways, I found it to be much more poignant than his storyline in KH3.

“Is that how to treat a best friend on coming back from completing a long mission!” “I don’t recall becoming your best friend.” (Another Report: Roxas—Somewhere in Time)

Roxas was closer to Axel than any of the other Organization members. But he obviously yearned to have best friends his own age. That is why he was best friends with Hayner in his dream world, even though he didn't know them in real life. And he didn't even remember Axel. In other words, Roxas and Axel were not really best friends. In the short story that was included with the Japanese version of KH2FM+, Axel was the one who was insistent on using that label.

Hayner: Well, I doubt we can be together forever. But isn't that what growing up's all about? What's important isn't how often we see each other, but how often we think about each other. Right?

The whole concept behind Nobodies was that they had no hearts, but they still had their memories from the time when they did. So, the writers undoubtedly had some idea of what each member's backstory was like. In the original KH2, the writers chose not to explicitly tell us anything about Axel's past. But based on his behavior, we would be able to ascertain that he probably had a best friend when he was still a human. However, he was already a grown up. His summer vacation must've ended a long time ago. He could no longer be with his best friend, and he needed Roxas to fill that void.

Roxas: Organization XIII… they're a bad group. Naminé: Bad or good, I don't know. They're a group of incomplete people who wish to be whole. To that end, they're desperately searching for something.

One of the biggest themes in KH2 is that of duality. In Hinduism, the universe is said to be made up of two complementary opposite forces called Shiva and Shakti. Shiva is the masculine force and is known as the destroyer or transformer. He is associated with chaos, darkness, and the element of fire, which symbolizes purification. Shakti represents light, order, and the feminine nurturing aspects of the universe, giving birth to new life. She is associated the element of wind, which symbolizes life energy and creation.

Axel's moniker is "おどる火の風". It translates to "Wind of the Dancing Fire" or "Dancing Fire's Wind". This is my theory of what the deeper meaning was. One of the most famous depictions of Shiva is that of him dancing in a ring of fire. This version of him is known as known as Nataraja. The rhythmic movements of the dance are said to cause storms and destruction. And there's a backstory to the dance.

In Hindu mythology, Sati immolated herself out of intense devotion to her husband Shiva when her father insulted him. When Shiva learned of Sati's death, he was overcome with grief, sorrow, and uncontrollable rage. Shiva carried Sati's lifeless body on his shoulders and began to perform the cosmic dance of destruction.

In KH1, the reports mentioned how Ansem amplified "storms" in the subjects of his experiments on the darkness of the heart. The kanji used (嵐) can refer to a literal storm or it can also be used metaphorically to describe an intense emotional state. I suspect that the original idea in KH2 was that Axel's best friend was killed during an experiment. And this event caused Axel's heart fall to darkness, turning him into a Nobody. It's probably the reason why Axel was so delighted to assassinate Vexen by setting him on fire.

Axel: Let's meet again in the next life. Roxas: Yeah. I'll be waiting. Axel: Silly. Just because you have a next life…

The imagery of Shiva dancing within a circle of flames represents the eternal cycle of birth, death, and rebirth. Shiva performs the dance and destroys the universe, but this destruction is eventually followed by rebirth. His lover Sati was reborn as the goddess Parvati and reunited with Shiva as his other half. Their combined form represents unity in duality and cosmic balance. In KH2, Axel did not think he was going to be reborn. And that was the basis of his storyline.

Naminé: We may not have homes. But there is someplace I want to go… And someone I want to see… Axel: Same here.

Nobodies had a strong thematic association with death and the afterlife. In KH2, Naminé was the ghost girl living in the haunted mansion. In KH3, she was an incorporeal star in the Final World, the metaphysical place where people go when they have strong attachments and cannot pass on to the other side.

A Nobody was the spirit that went on even as its body faded from existence. They were very similar to the Unsent from FFX, which was another game written by Kazushige Nojima. Axel was created because his human-self had strong sentiments. He desperately wanted to be with his best friend forever. And this unfulfilled dream, ironically, kept his body and soul tethered to the realm of light.

Kairi: Maybe…waiting isn't good enough. Axel: My thoughts exactly! If you have a dream, don't wait. Act. One of life's little rules. Got it memorized?

When Axel asked Kairi if she wanted to "see" Sora, he was referring to her meeting him in the afterlife because he was planning to kill them both. A similar form of wordplay was also used in the Japanese dialogue. His intentions were made apparent by his outstretched hand. He wanted Sora to become a Heartless again. So, he probably planned to accomplish that the same way he became a Heartless.

(Japanese Translation) Axel: We're quite similar, aren't we? Both of us want to meet our important friends. Don't you think we're like comrades?

In the KH universe, when a person dies, their heart returns to the light of Kingdom Hearts. Since Axel didn't think he had a heart, he thought there would be nothing left of him to live on after his empty vessel was destroyed. Even if he wanted to die and be reborn to meet his best friend, he couldn't. He was driven by intense loneliness.

Some Kingdom Hearts fans think there's something romantic between Axel and Roxas and that Disney stopped that from being made explicit. Is that true? Have there been things Disney have stopped you from doing? Nomura: In terms of the relationship between Axel and Roxas, we never intended anything like this and this is actually the first time I ever heard of it! We don't want to openly negate how the fans have come to enjoy the characters, but it was not something the creative team intended. Axel and Roxas are the best of friends and that's their primary relationship. 

Axel's intense yearning to see Roxas once more made fans question his orientation even back in 2005. Akuroku was quite a popular ship back in the day and many players saw romantic subtext on Axel's part. I do agree that Axel is easily read as queer. But the creative team was not trying to imply that he was in love with Roxas. I think it was his human best friend that he was really in love with, and Roxas just reminded Axel of him. When he was with Roxas, he felt like he was with his best friend. And that's why he wanted to die by his side.

(Japanese Translation) Axel: When I was with him, it felt like I had a heart too. That kind of feeling... I feel it with you too... The same...

When Axel said, "the same", he was referring to how Sora reminded him of Roxas. But I believe that we were invited to read between the lines and wonder if he was also referring to a human best friend that had already passed on. Ultimately, Axel's original KH2 arc was not about being together with Roxas forever. Roxas merged with his other half and became whole. He would live on within Sora.

In some Hindu traditions, "Sati" also refers to the act of a widow willingly participating in a self-immolation ritual on her deceased husband's funeral pyre. It was seen as an expression of devotion and loyalty and also an act of peerless piety which was said to purge her of all her sins. The widow would achieve spiritual liberation (moksha) not only for herself but also for her deceased husband. This meant that both would be freed from the cycle of death and rebirth (samsara). The widow was thought to be reunited with her husband in the afterlife, enjoying an eternal spiritual existence with him.

To help Sora reunite with Kairi, Axel self-immolated. After he died, Nojima probably envisioned that he would meet his dead best friend again, who was waiting for him on the other side. He had attained moksha, which represents the final goal of human existence in Hinduism, where the soul is liberated from the cycle of samsara. And that's probably why Nomura wasn't sure whether it was better to bring him back to life or to just leave him as he was.

"I never thought he would grow as much as he has. We originally planned to have him exit upon being defeated by Roxas during the opening of KHII, but all the staff, myself included, were strongly inclined to have him keep playing an active role after that. It's possible he will have things to do in the future, too. I tried to put that into his 'see you' line in KH2 FM+." (Tetsuya Nomura)

When KH2 was written, the writers probably had not envisioned a preexisting relationship between Saïx and Axel. But after its success, they decided to expand on the Organization's backstories, and came up with that idea. Isa was based on the original concept that was implied in KH2. Axel did have a human best friend, and that loss had a profound influence on his relationship with Roxas.

If Axel's human best friend was supposed to be literally dead in KH2, then him only being Norted is a major retcon, yes. But it was a retcon that would allow for the eventual reunion of Axel with his best friend in the physical life. Like the Phoenix rising from the ashes, he could resurrect him from the dead. And that was the underlying idea of making Lea a Keyblade wielder in the first place.

Lea and Isa's backstory is one of the missing links of the KH series. By all means, it should have been depicted many years ago, in the defunct Birth by Sleep Volume II. This is a shame because it left their relationship extremely underdeveloped, and their reunion was largely glossed over in KH3 as a result. Because of this, I thought Axel's storyline in KH3 fell flat, and I thought that his ending in KH2 was more impactful. But I may change my mind if we finally get to see more of Axel's long overdue backstory in Missing Link.

[sukithebean]

My thoughts on Crosshair's Hand

So I wanna talk about something that used to really bug me about the season 3 finale that I have now come to appreciate: the controversial chopping of Crosshair's hand.

Why it Bugged me originally:

It felt like a lost sub plot. There had been so much emphasis on his tremor throughout the season and I was waiting for a moment in which he'd be able to overcome it. We got the meditation, his face off with CX-2, the lost chance when he missed planting the tracker on the ship to Tantiss, and I was really hoping for retribution. Then they just lopped it off. They fucking cut his hand off before anything else could be done. I thought 'Wtf? What was all this focus on his hand for then?' It kind of felt like they stopped trying to make a moment happen, which was dissatisfying to watch.

What I thought his tremor represented:

In its most basic sense, Crosshair's tremor was directly related to his trauma, and the lingering effects of his time on Tantiss, as pointed out by AZ. It was a device for the usually stand-offish character to open up and receive some well-deserved comfort. You could also view it as a consequence of his actions in previous seasons; he turned on his family and actively hunted them down and he was now paying for that.

When you look at it that way, the expectation that he will get over it by the end of the season is paramount to his character development. And when that didn't happen, it left his arc feeling somewhat incomplete. Which made me go grrr at the screen when credits rolled.

What I think it represents now:

After thinking about it some more, I realised how silly it was to think that he could just 'get over' what was probably the most traumatic event of his entire life. PTSD doesn't go away because your little sister meditates with you and holds your hand. Tremors don't fade because you removed yourself from the stressful environment. They come and go like bad thoughts, and you have to constantly work on them, potentially for the rest of your life. And yes, this is a cartoon, but it's TBB we're talking about. Filoni loves to put his audience through this type of gut-wrenching realness.

I came to realise that maybe Crosshair's tremor wasn't about consequences or living with trauma, it was representative of being torn between one life and the next: Being a soldier for the Empire, and being on Pabu with his family.

Why the limb lopping works for me now:

Crosshair losing his hand became almost symbolic of him finally deciding which life he wanted. He even said it himself before storming the facility, "we're not that team anymore". He was ready to put the soldier away and everything that came with it. He didn't need to be the top sniper anymore. He just needed to be there for Omega.

While his tremor was never sorted, losing his hand is what effectively cost him his career as a marksman. But it didn't matter because he had already made the choice to move on. What I once thought of as sloppy storytelling and an inconclusive ending for such a fantastically layered character became a great moment and a new beginning.

[lunalivvy]

season 3 felt unfinished but i think it was for a reason

something about s3 felt so,, incomplete? like this season didn’t feel as tight as the others, there weren’t any character arcs really and i’m definitely not the only one who feels that way. but i feel like the lack of a conclusion is permissible for this season bc i feel like s3 and s4 are supposed to be like part one and two, because what i think they’re trying to do will take a lot longer than 10 episodes to fully flesh out, and because this is the only season that’s ended with a “to be continued” (or maybe i just have too much faith in the writers, who knows lol)

don’t get me wrong i’m also super bummed about the lack of scenes between sydney and carmy (not even just in a romantic way), they’ve definitely had many issues each season but s3 in particular lacked so much warmth between them, but it was very necessary.

carmy is beginning to turn into his mentors in the worst way possible. he wants to get sydney her star, and he’s doing so the only way he’s ever learned how- from those who taught him. and those who taught him, for the most part, treated him like absolute shit. he’s becoming who he hates and turning sydney into himself and he doesn’t even realize it. s2 was all about working together as partners + communication, and s3 is all about carmy regressing into old habits (which makes so much sense since this is the first time he’s been back working in fine dining in a year, compared to the beef in s1 and the “building stage” of s2) . we see it so clearly with the use of the “im sorry” in sign in s2, and the lack of it in s3. their relationship is always one step forward and two steps back, and s3 is the “two steps back” phase necessary to take a step forward, which i’m hoping will be s4.

[tempenensis]

I know you don't usually weigh in on non-canon content, but I've seen a lot of people say 236 was a bad ending, or like gege joked, that things are moving too fast or he's missed a chapter (or 20, I'm personally annoyed that we jumped from Nov to Dec 24, I know gege wants the manga to end for some reason, but those three weeks of training/preparation would have been a great time to let us get re-invested in the student characters since the culling game arc felt like it was missing so much)

Do you have any feeling for what could have been a better way to end things, if indeed things are ended, for Gojou Satoru? Or do you agree that things have been moving too fast?

Sorry for this and please feel free not to answer if this is not the kind of question you want to entertain, I am just curious if you have an opinion you're willing to share since I feel you have a very good grasp of the jjk's plot and themes! I trained as a literature major, so my interest is always in whether character consistency is maintained and what a story is saying and whether that message is carried successfully or not and what that might mean for us as readers. I'm personally still on the fence about this particular twist because I'm trying to withhold judgement of the piece until we actually see it as a whole, but I am starting to feel that the narrative started to unravel a bit after Shibuya, like somehow we didn't see a lot of the characters to their full potential (like Nobara T.T my baby Nobara). Maybe this is just part of gege's notorious fast pace.

Some of this I believe is due to JJK's titular meaning of the issue of curses and what they represent being an "endless battle" but there's only so many times one can show hopelessness and loss I think before it becomes almost redundant. We actually haven't seen that many on-screen sorcerer deaths, but somehow it's been two of the most popular adult characters so far, and only direct mentors, which is a frequent trope of the hero's journey in western literature. I think that even though I really wish it hadn't happened, Nanami's ending made a lot of sense. Power-wise, Gojo's current death also makes sense, and he's not the kind of character who instantly changes his mind or learns something in his heart from a single experience, but I think it feels somewhat frustrating from my point of view because despite the bodhisattva imagery, he had more to learn as a living person, rather than continuing to believe he was like a flower and maybe no one had the right to ask him to understand. I don't know, it's just a bit frustrating for me because I think it feels character consistent (which I think gege tends to be pretty good at) but somehow incomplete too.

Again my apologies for the long ask, you're always the one I wish I could sit down and have a conversation about these things with!

-raindrop anon

Hi, raindrop anon,. Good to see you again.

First of all, I don't really think Gojou's death is particularly bad, but yeah, as you said, there might be something leaves to be desired in the plot - if jjk is a traditional shonen manga, that is. But jjk is different, which is also the reason for its popularity. I feel that jjk storytelling has always been fast-paced, and one thing that Akutami-sensei does really well is to stick to the main points that he wants to tell with his manga. The last time we have a non-serious non-battle chapter was probably chapter 64 lol - but at the same time, this also shows how jjk departs from the traditional shonen jump manga custom where the mangaka tends to drag the story to make the manga runs longer. Gege on the other hand, seems adamant to want to end the story sooner than later (if his last estimation is to be believed, only a few months left for jjk).

I don't actually have a strong feeling of how gege should end thing with Gojou, but it's been a habit of him to get to the.. shocking side of things; we see this with Gojou getting sealed back in Shibuya. Nanami's death. Then we see the Culling game, and Tengen getting killed. And lastly for Gojou to die. The longstanding status quo is going to be changed eventually. And the next one with status quo is already targeted; Sukuna himself.

As I follow this manga, "things moving too fast" has always been the opinion I saw a lot discussed here in my askbox for many, many developments in the manga. And this is more of a personal preference, but I actually like the fast-get-to-the-point-storytelling that Gege uses with jjk, exactly because how it breaks away from traditional jump manga. I feel that this fast pace is just how gege do his storytelling since the beginning lol

tldr is all I can say is jjk has always been different and fast-paced, gege is unpredictable, and I'm in the opinion that Gojou's death does make sense, unfortunately :')

[excess-thought-dump]

Finished another amazing series Mob Psycho 100

And it was a exceptional experience y’all, ( Spoilers a head for the non telepaths and psychics)

So the last season I heard it was just meh till the end from my friends who whatched it and DAMN they were dead wrong on that mark I LOVE BEGINNING TO END THIS SEASON

Want to talk about each arc that blown me away

Which I don’t have a single clue what the fandom name these arcs so I gonna make some simple names for it

Back to mob arc (1-3 episode)

Was really amazing as a starter for what to come for those school elements that was every episode that was ther. I related to mob so good dam hard that first episode from just his fear of the future and that advice gave at the really helps me get my head looking forward at the future without fear but with excitement for the possibility. Just speech from the teacher was soooo reassuring and I could just understand on that feeling so hard then that yokai hunter episode was just hilarious and cute having mob solves his own problems in such a way that incorporates his passion and reliability was just a real fun time to watch. Having that yokai king( the one that mob made) was cute to seee all of that effort that been put together. And now what I I would say the last place episode and by no means I think it was bad I just felt incomplete but with that next arc it has been a amazing to hint at and show what to come .

The divine tree arc (4-6)

This arc was just sooo good and for it was too reason the eeriness of the first part like how everyone started to ignore mob and starts to be more of a out cast while the religion starts to slowly take over. Like this what was One of favorite YouTuber videos Supereyepatch wolf video about social anxiety horror was about ( and yall should watch that video if you want to explore that same feeling with mob) but yea having that feeling of slowly becoming a outcast is just a fear that now looms over me. And then having those little scary moments of just the spread will linger in my mind for a while. The other part of why I love this arc is dimple from how he was in the beginning and end. I don’t know what the opinion on the beginning of the arc about dimple but I loved how unnerving it was about. The concept of someone takes your place is equally as scary as the becoming a outcast to your friends and I think it went hand by hand perfectly but the ending with dimple was sooooooooooo good like I thought oh easy back stab here but the genuine kindness that mob showed actually made him change and I love that soo much and how he made mob go home made me cry actually tears with that wave because aaaaahhhh I can’t really explain it in words but if anyone can explain please do but it was so gooood.

Space arc( 7-8)

This was just a cute nice simple arc. I just love how it expanded so much with occult club members and it just so cute and wholesome having them together, and the message of make memories is resonating to me sooo hard. Wanting to make a friend dream a reality is real heartwarming and how it explored more on a different psychic is really interesting and love that new character so much with his excitement for the adventure. And the aliens was just a treat to because having them there made sense in that strange world of mob psycho and having them either real or not really didn’t matter but just making them real felt so complete.

Final (9-12)

Okay ao I. I don’t want dismiss the other parts of this great season but wow this is the best way to end a series like this one from the amazing action to the most heart felt speeches and the overall tone of this felt soo right. Having experienced this was great bringing back last season big bad was a treat and the fights were great but that running scene from Reigan was just immaculate just him running towards Mob as the world turns to ruins it just amazing. And I love how each character ending was felt so complete like with Teruki Hanazawa him with that scene calling himself mobs rival was soo good he save everyone because he knew that fighting mob wasn’t the main thing but protecting mob from killing people was. And there were so many more great moments like this to round out most characters in this great story. But we have to talk about tumblr sexy man Reigan and his speech and I don’t know how many people are said this but I just love how he was honest to mob and helped him accept himself to become more of a complete person and it just makes me have goosebumps from just listening to him admitting to his faults it just soooo god damn good.

I don’t have any good ending statements but I am just glad to experience this amazing show and I hope yall have similar experiences with this great series

[justworthlessreblogs]

scattered thoughts on kirapika 2

part 2 of my great kirapika rant. this one is shorter but i'm still putting it under a read more

the series tries to argue that rio's sole motivation for going evil was jealously but i disagree (to an extent) because that is a 12 or 13 year old alone in an unfamiliar city without any support system (i mean. it's just straight up canon that he and ciel started to drift apart during this time, he doesn't really seem to have had as much of a bond with jean-pierre as ciel does, he probably didn't interact with anyone else, and i think it's pretty telling that at some point he started exclusively working on his stuff in their attic instead of jean-pierre's workshop). jealously was absolutely a factor, yes, but he was also incredibly isolated and emotionally vulnerable (something we know noir specifically preys on). mentioned this to my beta once and he said that noir sounds like a textbook cult leader

in the end, rio and ciel just feel very... incomplete, as characters. like they get setup for arcs that never happen, but the show insists that they did.

ciel: i've said this before, but to me ciel is the sort of character who needs a broken pedestal. because when we meet her, she's already got everything. she's perfect in every way. and then you start seeing the cracks, tiny little flaws that sneak through. because ciel *is* flawed. she's selfish, she's shortsighted, she's got a tendency to only think about herself. she can't comprehend why ichika's "simple" sweets have so much kirakiraru even though they're not as fancy as her sweets. and i love it. i was so hyped for seeing how her intro was going to turn out while watching her introductory arc, because they had so much to work with.

the problem with ciel as a character is that she needs a moment of reckoning, but she never gets it. she comes very, very close in 23, but it's immediately undercut by the fact that she isn't the one who gets herself out of her slump (it's rio and ichika who do) and she gets rewarded despite doing nothing to really earn the reward. ciel just wallows around, then rio makes the waffles and makes her feel better, but it's ciel who gets to become a cure? it's just... disappointing. things just fall into her lap, and others do the work for her, but she gets to reap the reward. when watching 23 for the first time i thought that it really felt like set up for *rio's* debut as a cure, and i still stand by that. it's the apex of his redemption arc, the episode where he gets his big emotional realization and resolves to become a better person. and while as previously mentioned they try to give ciel something like that, it falls flat because she never does any of the emotional work.

and then after 23 ciel is just... there. it feels like the writers don't really know what to do with her character arc since its primary focus is her relationship with her brother, but they just put him in a coma for 16 episodes. and so ciel just kinda Exists. none of her episodes during this stretch are all that interesting except for 26 and that's because she's got really good chemistry with bibury - but they don't even really take advantage of that, either, because bibury disappears from the plot again until 32 and remains in the background after that! the implication in 26 that ciel has developed a bit of a savior complex based on her interactions with bibury is really interesting too, but once again they don't really do anything with it after that. ciel offers bibury a home and that's about it.

"but justie, you said that ciel gets to define herself as a character! why are you complaining about how aimless she is?" and yeah that's fair, i did. but when i say that ciel gets define herself i mean that more in accomplishments. because ciel has a *lot* of accomplishments, to the point where it gets a little ridiculous. she's perfect at literally everything except sometimes she mixes up her idioms in japanese, and that's a character trait that shows up so little that i usually forget it even exists. and they don't do anything with this perfection, either, unlike yukari. ciel's perfect because she just is.

anyways. ciel kinda floats along for a while, and then 41 happens, and they try to tell me that ciel's grown and changed and become a really great person, except i don't buy it because she's still saying thoughtless stuff at the literal emotional climax. and it frustrates me, because i can see her potential character arc - but the writers refuse to commit to it. at the end of the show, ciel is the same exact person she was at the start, except now she's got fancy precure powers too.

rio: rio gets an incomplete arc more in the sense that he literally isn't around to complete it. i'll die on the hill that the coma was the worst thing the show could've done. because all of rio's development that he'd been getting vanishes after 23, and while 41 tries to develop him more it falls flat for me because in my opinion it's too little, too late. they waste his last chance for development on a generic "redeemed villain feels bad about what they did" plot, and they don't even have fun with it! as i've already mentioned in the other post after the coma rio just becomes kind of a shell of himself. a lot of interesting things set up during the first half of the series vanish because we only get to have one episode with him and they waste it on "oh i feel bad about my crimes" and they don't even do it well because just like ciel in 23 rio doesn't get to sort out his own shit. he's the one being framed, he's the one being targeted, he's the one who wanted to run away - but it's ciel who confronts elisio, because ciel is the precure and the precure has to be the one to confront the villain, and rio just stands there uselessly in the background even though his arc is supposed to be about how he's not useless and can measure up to his sister. the underlying message of the arc we do get is just. depressing. rio struggles, and struggles, and tries so fucking hard, but no matter what he does he's still second best to ciel. and for a show like precure, "you'll never be good enough so you should just give up and accept your place in the background" is really, really bleak. he needs a confidence arc the way ciel needs a broken pedestal arc, and he never gets it, and his really interesting dynamics with characters - ichika and yukari specifically - vanish into the wind, because the writers decided the coma was a better option instead of exploring them. in my opinion, 41 should have been episode 24, or 25, or somewhere in that range. because it feels like the behavior of both ciel and rio would fit a lot better there. patching up their relationship is the beginning, not the ending. there's still a lot of development to be done. you can't just tell me that everything's fine now.

i think cure parfait could've worked, but the way it happens in canon just is Not It

this one is tangentially related but i'm putting it in here anyways: i also think cure pekorin could've worked if we'd actually gotten some setup for it. like yeah 38 was an episode that happened and she gets focus in 7 as well but i feel like pekorin as a character just mostly exists in the background. and then suddenly bam she's a precure despite never really showing any drive to be one or do that sort of thing. even removing all my biases i still think that for the sake of the narrative alone rio would've been a much better fit because he already had that motivation and it would've been a nice cap on his redemption arc imo, but if pekorin was given actual setup and foreshadowing aside from getting a human form in 38 i think it would've gone a lot better

[karouvas]

Do you think there's anything that Adam could do that would make you not love his character

Don’t entirely get this question… honestly because trc was the level of formative for me that it was in terms of media / char / fandom tastes I don’t think I could be in danger of growing to stop loving any major favorites who I went hard for on here back in the day, even if more content was coming out that maybe wasn’t the greatest for them. Especially if I had to deal with horrible brain dead discourses about them as is the case with Adam Blue and Gansey that type of thing really builds up your resolve to love a char unconditionally. Maybe if like a four book series in his pov came out where I disagreed with a lot of the character trajectory choices and/or it felt like a different pov than the trc one I could have grown to like him less? But I can’t think of a specific action that would make me stop loving him. Of course there’s always the question of how I’d feel now if I’d read these books for the first time as an adult and if that would change things but that’s not the hypothetical I think you wanted me to ponder. I do think if a book came out set after Greywaren that was all about him as a magic fed and supposedly happily married that would have been a real drag for me, and I do think the worst sin Adam could commit to me is suddenly being boring so.

I will say that I’ve always thought of his behavior in Bluedam and treatment of Blue as being worse than a lot of other fans who love Adam as much as I do think of it, but as much as trc has issues with sexism in certain ways I actually do think that storyline in a vacuum is quite well handled / well written so I don’t have an issue with it narratively and it doesn’t impede me loving him in fact his TDT arc is probably my favorite storyline of his overall which says a lot when his BLLB arc also exists (I love downward spirals when they’re well written). Possibly if I had been exposed to certain fandom takes on it and on Adam in general before properly getting invested in canon and in him I could have had a harder time liking certain things about him especially that… but there are also so many things about him that I feel I would have loved regardless, so we’ll never know tbh.

But like. When it came to the compulsive lying and the scheming and the blackmail and the horrible self esteem and the unbridled horniness of narration and the psychosexual mind games he plays with rich men whose skin he wants to crawl into scamming fraud and other atrocities I thought it was all very fun and he should do all of it a lot more not less <3. This is an incomplete list that doesn’t do justice to his freak credentials but I’m like about to fall asleep cut me some slack.

[aerithium]

FFXIV Endwalker Review!

*Spoilers Ahead*

★ Score: 10/10 ★ Date Finished: May 30th, 2024 ★ Final Thoughts: I'm not entirely sure words can describe how I feel about this expansion. I feel as though my haste to get through the expansion speaks volumes, completing one of the longer expansion in just over a week. This expansion is the (nearly) perfect finale to every single one that lies before it, there was no better way for this story to end, and begin again. The overall story flows perfectly, with very few moments of "low" energy. Each of its own quest lines serve greatly to the overarching story of the expansion, my favorite being the time the WOL spends with the ancients. To be there with characters that are once your enemies and allies, yet before they even know, creates strong emotions and the entirely seperate world is easy to fall in love with. The area designs overall are fucking phenomenal, each on is so different from the others and have their own beauties with in. The characters, both new and old, are so incredibly written a factor of media that means the most to me. I've felt this in the previous expansions but it seems to shine well here, each close ally of the player's is their individual person and they are all so different from one another. Such as the ways they talk to their allies, the player, and the choices they make during the expansion. The new characters recieve this treatment as well, and have great development across the expansion's story. My only problems with characters rely with the twin's father, who has a distinct moment that I felt didn't align with his overall writing as a character. The music in this expansion also utterly smashes the music from all the expansions before it. And I mean SMASH. Every song is so perfect for the moment in game that it plays, and the music is used in a way that truly amplifies the events that unfold in the story. The ending of the expansion leaves so much to look forward to without making anything feel incomplete, which solidifies the end of the current story arc but still leaves much to look forward to in the next expansion. I was seriously just blown away with this one. That's the only way I can put it. Following up to talk about the post Endwalker content, the story overall didn't have me as roped in but its rather hard to follow up the expansion that Endwalker is. The existing characters were still as great as ever (I'm lookin at you Estinien) and the newly introduced characters were very enjoyable. Zero's character development across the post-EW quests was really well done and you could slowly see her begin to make more sense of human feelings such as trust. The dungeons and trials were also fantastic, some being among my favorite in the game. The Dawntrail build up quests are small but they do a great job of ramping up the players hype for the coming expansion and feeds into the spontaneous nature of everything. This side content alongside post-EW (normal and alliance raids) were also really awesome, getting to spend more time in Elpis and meet more of our former enemies was just what I wanted and then to get to learn more of the Twelve. It was the perfect time to expand upon their existence after both Hydaelyn and Zodiark's defeat. Finally, the music is actually insane for these set of patches. I constantly found myself jamming out to the music in the new content I was doing. The post content has only further solidified my desire to give Endwalker the 10/10 it deserves.

[rawliverandgoronspice]

Thoughts on TOTK Ganon's appearance?

A lot of them!! Some would say: too many!!! Too much!! So much so that I was almost starting to turn this ask into a TotK early review, so I'll simplify my answer a little.

I have not finished the game yet, but I have seen the memories and a good chunk of it, but my opinion is therefore incomplete and subject to lapses in judgement/hasty positions. Also, my opinion on this is kind of a buzzkill and I already made people depressed and bummed out by explaining it, so I'm putting it under the cut to avoid hurting the good time of people who might not want to think about this/might disagree on this description alone (and I understand, since it's an opinion that also depresses me!!! I wanted to like everything!! I wanted to be blown away!!).

I think this Ganondorf is like OoT Ganondorf redux, but with even more problems than OoT Ganondorf, somehow??? which is honestly a flex at this point.

(I love OoT Ganondorf to be clear, but the flaws are pretty undeniable and you have to navigate through a lot of bullshit to get to the good parts)

Between the green skin that lacks any proper justification in the context of the game (I say this because I always hear "oooo but it's because he's a demon/undead" and uhhhh no, it's not because of that apparently), the fact that he's half naked but we're never ever meant to conceive him as a human person in any way but merely as a constant physical threat... Like I'm certain the famous Ganondorf Designer did their utmost to give him justice and there is an obvious attention to details in his design, and I'm not blaming them or anyone in particular for the Nintendo treatment --but it does add up to something quite uncomfortable in his characterization regardless. Even the fact that his face rigging is extremely flimsy and makes his emoting feels super strange bugs me (I heavily suspect it's because it's way less soft anime and structurally very different from any other face in the game, especially around the jaw, and so they had to do a custom rig and had to work around its limitations --it's all speculation, and I am always here for Unsettling Ganondorf Faces, but it kinda felt accidental and not intentional like in WW or TP). He's at once a lot and really not much. I find his characterization beyond barebones. Even Twilight Princess Ganondorf had more to him than this (like the man was fascinating in comparaison, show me a guy claiming to be chosen by the goddesses while sitting on a throne next to the decapitated statues of said goddesses any fucking day over what we got here)

I like the mechanical aspects he introduces; the gloom is cool, the hands that grab you are amazing, the bosses are such cool callbacks --and he's just causing messes and putting parasites in things!!! You go girl. I do love that he's having his little puppet Zelda run around causing hijinxes, that's very fun of him and my favorite part of his character in this game so far, tho I don't know if that even counts as him --and I'm not 100% sure what that even says about anyone?

But here's the thing: nobody (beyond * arguably * Rauru) seems to be allowed to have a character arc in this game, so it's hard to come up with anything to say since he's the sole cause of conflict while being almost completely motivation-less. I don't think anyone is written particularly competently honestly; it just shows more with him because a Ganondorf who's not well written reverts back to Ganondorf at his most generic expression of a baddie imaginable, with a side-serving of, quite frankly, really questionable orientalist themes that I see little excuse for being handled the way they were in the year of our lord 2023. Like I'm kinda shocked not to see more people calling the racism for what it is, because it's... pretty blatant. But that goes beyond Ganondorf and that's the whole game, and I said I would try to keep my scope limited, but!!! I will screech about imperialism eventually!!!

The other aspect of that discussion, which is inevitable, is how much does TotK erase everything that came before? I'm sure there are some amazing Zelda theorists out there who will find a way to reconcile all of this, but for now, I get the sense that Nintendo wanted to get away from their messy timelines (fair) and reinvoke some of the old songs for a new audience, and in doing so scrubbing the slate clean. My problem is not so much that they wanted to do this (even if I think BotW's solution was, strangely, much cleaner and more respectful of their own history), but what they introduced instead: and, in Ganondorf's case, he's kind of reduced to a parody of himself --one that is so unbelievably unsympathetic and impossible to relate to and also responsible of his own oppression and also not oppressed since he attacked first!! and also oppressive?? (I made A Sound when I heard the line about Rauru talking about "the last free gerudo village falling" bitch!! free according to whom??????)

Removing a lot of the Goddesses/Triforce thing (so far, maybe it will come up) also does this conflict zero favors in my opinion, as it makes everything and everyone's actions much less fated and an expression of self-determination/resilience over their predestination, and much more uhh political in a bad way, while still borrowing the aesthetics of divinity to justify its own mind-numbing moral simplicity.

I don't know. Maybe the third act reveal will really surprise me and make me reconsider my position, but it would take a lot to scrub off all the dedicated efforts made to flatten Ganondorf to his lowest possible denominator (him and his people honestly my follow-up to the gerudo post will probably be Oops! All Salt) for the sake of the most brazenly imperialistic and feudalist Hyrule to date and its really weird and uncomfortable reimagined origin story.

So uhhh, Thoughts Bad! I guess thoughts bad. :(

(Matt Mercer did a great job with what little he was given tho, and so did every voice actor)

[panvani]

Anyway general breakdown of my thoughts on Scott Pilgrim:

Perfectly solid romantic drama. I'm actually kind of impressed that the story does not feel dated (except in, like, having flip phones) despite it having by now been copied to death. I'd even dare to say it was ahead of its time. A lot of that is purely through the lack of apprehension with which it portrays gay people, particularly gay men, which like, no one was doing in the early 2000s. That isn't exactly praise, and it comes with a lot of caveats, but it's worth saying. The art was Fine. There was some truly repulsive comic art coming out in the early 2000s and while I'm not a fan of the art style, it's not terrible.

Neither Scott nor Ramona are particularly interesting characters on their own, and their relationship is (deliberately) plain and stereotyped. This is somewhat lampshaded in the story, but still a bit dissonant when compared to the cultural impact of * their * relationship on the general Heterosexual Culture. Ultimately, their romance was the least interesting part of the story, which I think Bryan Lee O'Malley knew.

Knives is kind of the obvious emotional core of Scott Pilgrim, and (by Bryan Lee O'Malley's admission) has the most true and complete character arc. She's, in my opinion, the articulation of a lot of the greater thoughts and anxieties held by the author as opposed to Scott, who is a general representation of a (white) everyman. There's a lot I could say about Knives specifically, but it really comes down to Knives being too big a character for her story. Despite all of her development and screentime, her arc feels starkly incomplete. This isn't really * inappropriate * -- the central idea of her character is that she is a child, ergo still developing -- but it does make the conclusion feel more empty than it should.

The way this is most obvious, I think, is the discomfort with which Scott Pilgrim (series) handles The Existence Of Gay Women. Bryan Lee O'Malley is obviously pretty damn comfortable with the existence of gay men, but seems to have difficulty in processing intimate, sexual relationships between women. Knives is (subtly) written as gay from the get-go, but this aspect of her character (despite, arguably, being a core motivational factor to every other aspect of her character) ultimately produces a lot of momentum to have nothing much done with it. By the beginning of volume 4 it's evident that the author has noticed this dissonance and attempted to address it, but ultimately did so ineffectively. What resulted was a strange, forced kiss between an adult woman and an underaged girl that had essentially no lasting narrative impact, and also Ramona Is Gay, Btw, Not That This Will Ever Be Acknowledged Again. (I kind of have nothing to say about the bizarre pedobait in that volume that was subsequently backtracked.)

The last point I'll allocate to this post is how taken aback I was by the pervasiveness of race as a source of conflict in Scott Pilgrim given that I'd literally never seen someone acknowledge race as a source of conflict in Scott Pilgrim. Knives, aside from her conflicts as a gay girl, is also an articulation of the author's anxieties when it comes to race, particularly the perceived inadequacy of Asian men and the vulnerability of Asian women. This, while fairly understated, is very deliberate and very heavily saturated within the text of the story. Just as Scott has a fetish for gay women, he's implied to have a fetish for (young) Asian girls, and while his repeated and specific assertion of physical dominance of Asian boys/men is never brought up in those terms, it's pretty obviously A Thing.

I think this is probably the most interesting aspect of Scott Pilgrim from a "what's this author's fucking Problem" perspective given that Bryan Lee O'Malley has a Korean mother, though I don't particularly want to go into too much depth. I will say the one way in which Scott Pilgrim felt especially dated was in its particular slew of Orientalist stereotypes, which were in themselves pretty telling: Japanese people have scary cyberpunk shit, Chinese people do martial arts, and Korean people are entirely beneath mention. As I was finishing the story I had to wonder how the story might be different if it were made today, specifically in that Korean people are now at the forefront of North American pop cultural consciousness in a way they were not in the early 2000s. I had to wonder the author's relationship to his own identity informed his decision to not include any prominent characters of his own ethnicity.