#in comparison to the first half of the story which i felt was fantastic

[malo-mart]

Don't know if people will agree with this, but I felt Nintendo missed a huge opportunity not using Paya as the fifth sage. It would have been impactful in linking the Sheikah to the main body of the story, as well as adding depth to her character that isn't revolved around meek woman + infatuated with main boy character. I know they were instead trying to highlight the Zonai more by using Mineru, but I felt Links arm and the story of Sonia and Rauru got this across. It was also hard to connect as a player with mineru when she is present in just a few scenes and has no relationship to Link. I think what infuriates me the most is that they just completely erased the Sheikah influence from the first game instead of using it to continue expanding on the concepts and reminding us of breath of the wild. Majora's mask had no issue giving us nods to ocarina of time, but for some reason tears of the kingdom felt much more distanced as a sequel............anyway Paya deserved better

[cyvonix]

I know we only have one episode, but so far, the new dndads is exactly what I wanted for season 3.

To preface this: I REALLY ENJOY SEASON 2! I thought they had a lot of cool ideas for it and ultimately I think they pulled it together and produced a really enjoyable experience with a latter third that included some of their best work. That being said, I'm not alone in saying I still thought there were very noticeable bumps along the way, and the two biggest problems I felt were present have already been solved in this new season.

The first is, though the obvious angle is complaining that season 2 wasn't enough like season 1, on the contrary, I thought it was shackled by the first season. Tying the story directly into the events and characters of S1 but giving us an all new main cast was unfortunately just set up for comparison, and even until around the last half of the season, I felt it was trying to recapture the lightning in a bottle that was the first season, and only once the crew seemed to let go of that a little more did I actually find myself noticeably enjoying the episodes more.

The second is, and I don't know if anybody is with me on this, it just felt too complicated. The ongoing story retained from the previous season, the new mechanics the cast were trying to introduce toward the beginning, the set-up involving essentially an entire off-screen shifting of the realms themselves, even the characters themselves felt less easy to latch onto than the very defined archetypes and dynamics of the dads from season 1. Again, I think they smoothed this out in some fantastic ways over time, but it was certainly a hurdle for me.

Now we have season 3, where both of these issues I had are essentially completely obsolete. I'm not sure if the season will somehow tie in to the overall lore of the show (for the record, I hope it does at least a little) but the narrative is very obviously not at all beholden to the events of either of the previous seasons. And I would also say the characters are back to more understandable comedy archetypes BUT while all retaining very obvious character flaws that could lead to much more depth in the future, which I personally think simply works better with the cast's style. All in all, I would just say this feels extremely refreshing as a listener, and I would be willing to bet it does for them in making it as well. High, high hopes for this era of dndads.

[waywardsalt]

my grievances with botw

Breath of the Wild is... undeniably a fantastic game, but it is very genuinely not the kind of game I like, and since I started playing it I’ve been enjoying it less and less so... I have a pair of problems with it that I’d figure I’d go into, as well as some stuff that, while weak in botw, were executed better in past loz games.

(small shoutout to @zeldanamikaze for encouraging this and having some points that i agree with and had some examples that i hadn’t thought about much initially)

Again, Breath of the Wild is an objectively impressive game, and I’m not trying to sit here and convince you that it’s a bad game. I’m just trying to point out things that detracted from my enjoyment of it, especially compared to my enjoyment of other Zelda games.

Before I get into the big stuff, I’ll just shoot off some quick little things that I think could’ve been improved:

- The dungeons generally felt like glorified shrines, and while they had cool mechanics and ways to access them, they were short and more or less pretty simple and all have similar visual and musical identities.

- Side quests and their rewards didn’t feel worth doing half of the time. I barely remember any notable ones off the top of my head and the longer ones just gave mostly generic rewards, which I suppose makes sense considering the limited amount of truly unique items in botw.

- Seeing the same enemies over and over again made the combat feel more like a chore than something to really engage with, not to mention that there is hardly any difficulty scaling beyond just making the enemies more durable.

- The story is fine, but in my experience, even seeing people go into more detail about the meanings of events, I never really cared for the events or the characters presented, since you don’t actually have to directly interact with any of that to play the game. Hell, you don’t even need to interact with the story at all to beat it, so the focus certainly doesn’t feel like it’s on the story.

- It would be a lie to call the soundtrack bad, but it’s sparse usage makes it hard to truly appreciate and the fact that most of it is meant to be more atmospheric generally makes them a bit less interesting to listen to on their own, though I will admit there are some fantastic tracks in botw, usually being some of the boss themes.

- While the Sheikah slate runes are cool, they feel very bland after a while, especially compared to the varied items seen in previous games. They’re good tools for an open world, but not much fun otherwise (the bombs were good though, since they had a variety of uses).

And that’s the quick stuff- again, mostly courtesy of @zeldanamikaze, since these are the examples I’ve seen her mention.

I have two big points that kind of encapsulate why I dislike this game and still adore the older games, that being: the minigames and the items and their relationships to dungeons.

Breath of the Wild is a very different game than what came past it, and I am very aware that it is a vast departure from those other games for a reason. However, this leads me to view it not only simply as a game not up my alley, but also as kind of inferior in some aspect to those previous Zelda games. Breath of the World is first and foremost an open world game, seemingly putting a focus on gameplay enjoyment above all else (not to imply that the ‘else’ is bad because of this, but I do think that the ‘else’ suffers in comparison to other Zelda titles.)

It may also be worth mentioning that the other Zelda games I have played is the following: LoZ NES, Link’s Awakening (Original and Remake), Ocarina of Time, Majora’s Mask, Phantom Hourlgass, Skyward Sword, A Link Between Worlds, and Triforce Heroes. I have also played both hyrule warriors games as well as loz 2, wind waker, and minish cap, none of the latter 3 i have finished or currently have access to.

1: The Minigames

Minigames are common in Zelda games, so of course botw has a few scattered around it’s world. Botw’s minigames are very different than the minigames seen in past Zelda games, mostly due in part to the limited array of items and unique gameplay gimmicks available in botw. Botw’s minigames usually focus on different forms of archery, gliding, or rune usage: all things integral to normal gameplay. At best you get rupees or cosmetic items from most minigames.

Botw’s minigames are just slightly altered situations of normal gameplay. The bowling is just using stasis except this time the game has a special little arena for it. Pretty much all of the archery games are either just counting how many deer you can kill or if you can just hit some targets on horseback. There’s one race I can think of and one gliding activity I can think of.

This makes sense, considering that there are a handful of other non-minigame activities to engage in, but these minigames feel... hollow. None of the minigames feature gameplay exclusive to those minigames or feature gameplay only used in certain parts of the game. They all make use of readily available mechanics in botw, so they’re like tests of skill- but otherwise not really any worth giving a second-thought unless you want to see how good of a glider or archer you are or grab some extra rupees.

But they aren’t very... worth it or generally fun within the context of botw. It’s just another way to do something that is available to you pretty much all game. They don’t feel unique, they just feel like a task.

Previous Zelda games (obviously) have archery minigames and allow you to use archery when you get the bow and from that point onward. And yet the archery minigames are made unique from the rest of the archery in the game; ocarina of time’s archery minigame is simply just shooting at targets, but the possible rewards and the simple fact that not often are you going to be continuously shooting arrows at enemies make it a bit of a novel experience within oot. The minigames in past zelda games take advantage of the items and area-specific mechanics: they usually include item-exclusive mechanics like bombchu games, or take advantage of more specific mechanics, like the minecarts in skyward sword, the masks in majora’s mask, or being able to control gongoron in phantom hourglass.

They also gave genuine rewards- empty bottles, quest items, ship parts, new masks, heart containers or pieces, kinds of stuff that are hard to get and very valuable. They’re worth doing for reasons outside of just a little activity. The minigames in other Zelda games do really enhance the experience by taking advantage of situational mechanics or giving a unique usage for some items.

You can probably get every item in botw without playing all of the minigames. They have little actual purpose. But in other zelda games, they have a purpose in the greater game and provide novel experiences within the game.

2: Items and their relationships with the dungeons

Obviously, compared to past games, botw’s ‘dungeons’ kind of sucked. They’re fine in a vacuum, with interesting gimmicks and the like, but they’re really little more than glorified shrines with four different-but-similar bosses at the end.

In my opinion, one of reasons why the divine beasts just... fell flat compared to other zelda dungeons is the lack of unique items in general. The runes in botw are cool and useful but you get them at the start of the game and never get anything new. You are give every tool you need to beat all of the dungeons the moment you finish the tutorial.

Older zelda games’ dungeons being tied to their respective items is a big part- to me- of what makes those dungeons so good.

Obviously, the theming, musical themes, and larger layouts and more varied puzzles make them objectively better experiences, but the way they interact with item acquisition makes the whole thing even better. 

Even in a link between worlds, where you can get every item whenever you want from Ravio, each dungeon is still tied to one of those items, and one of those items is needed to successfully complete that dungeon.

The dungeons in past Zelda games are practically complex tutorials on how you can use your new items. They are where those items shine and they are designed so that those items are used to their fullest potential within. And then you must then use that item to defeat that dungeon’s boss, and you usually have no chance of beating that boss if you don’t make use of the dungeon’s associated item. It’s like a final test for the item, seeing if you know how it works enough to complete the dungeon and use it against a boss’s weaknesses.

The most recent example, and probably one of the best, is needing to use the whip to tear off koloktos’ arms in the ancient cistern, but the classic scenario of the bombs for king dodongo works well enough, and the bosses of majora’s mask requiring you to understand how the transformation masks work. There are definitely some bosses that require no use of dungeon items (moldorm in the tower of hera, either ghirahim fights), but the item’s usage is still showcased prominently in their dungeons.

Outside of the dungeons, too, the progressive acquisition of items makes more areas and secrets available to you, giving a much more palpable sense of progression through those games’ worlds.

In botw, you get every tool the moment you are released into the rest of hyrule, so while figuring out what to do with those tools can be fun, the sense of progression is dampened by having every item from the start and nothing you gain beyond that being needed for anything aside from a nice little ability to make things easier.

I’m not really too sure exactly why I never found botw fun the way everyone else does, but I think lackluster minigames and the general lack of items that aid a sense of progression are parts of it.

[captainsspnanon]

C3E14 reaction

First half reactions in no particular order:

This fight feels like it’s trying to be Grog vs Kern.  Like, the C2 fisticuffs were vibing incredibly differently so I didn’t really feel the comparison, but this didn’t hold my attention anywhere near as well.  I do wish that Taliesin described what he was doing before rolling, and then saw if it succeeded or not, but the flavor to the combat was still pretty good.  

TELL US WHAT THE GODDAMN RAGES ARE FFS

Also not a fan of the rage-spamming to get the effect that Ashton wants.  It’s 100% valid mechanically, but doesn’t make sense RP-wise to me.  If it’s a random effect, I want it to actually be RANDOM, not ‘oops I’ll try again’.

What the fuck kind of barbarian is Ratanish??  Is this another homebrew?  I also feel like he’s got to be a decently higher level, considering the hit point difference seems fairly significant.  Unless all of the 7 points and 7-reduced-to-3 points were actually even more reduced due to an un-narrated hidden detail.

This party has so many button pushers!  It’s both amazing, and worrisome.  Mostly just because I don’t really enjoy super chaotic episodes, and the main campaigns have always seemed to walk the line of having enough seriousness to balance out the chaos.  With a bunch of button pushers?  I’m slightly on edge.  On the other hand, there are a good number of calmer PCs, so we’ll see.

I still can’t tell if it was Sam or FCG who was showing ‘irritation’ and impatience. I’m really hoping it’s FCG, I just need some depth to the PC visible.  Yes, there’s a ton implied, but I’d like a bit more outright rather than just ‘friendly folksy healer with proverb malapropism’

Such shitty rolls outside of the combat bit!  It’s gonna be one of THOSE nights, isn’t it?

Also everyone is super ridiculous today and I love it.  I wonder what was happening when they were filming that had them all giddy and out of it?

Why is Marisha trying to kill me this episode?  *fans self*  I just get so THIRSTY some times!

BREAK TIME!

Fun combat!  I feel bad for Taliesin for not really getting to be in the fight, but happy for Ashton that they don’t die because they were already super low on health!  Also glad that barbs get at least 3 rages at level 5, I had thought they only got two and they’d used them up!  (either that or they reset on a short rest, which Ashton clearly would have gotten)

I’m intrigued by the Green Seekers, I’m expecting them to be an ongoing ‘antagonistic’ force.  Not that I think that they’re bad, but just will most likely be on the other side of the party.

I don’t have too much to say about the rest of the episode.  I’m doing my write up after the fact, rather than while I’m watching, so most everything has blended together into feels.

I didn’t like Bell’s Hells at first (I actually got it spoiled before I had a chance to watch the episode), but actually hearing them toast to each other with it, it grew on me.  I can see myself liking it after a number of uses.  (also not going to tag this post with it yet, because it counts as a spoiler.  I’ll start tagging once they change the youtube names)

Ashley with her hair up is trying to kill me just as much as Marisha was.  The ladies are ROCKING IT this episode!!

I also got Robbie leaving spoiled, but I will watch the two part EXU story with him. Surprised it’s only two episodes though!

Cyrus saying Emoth Kade worked with someone she called ‘mother’.  What The Sheet has posited that this could be an ooblex, and with this reveal, I’m thinking they may be right!

I teared up when Dorian was leaving, and the goodbyes they shared, though lolling forever at him leaving the ship behind to get snatched up by a child.

Real talk – I’m in the minority here in the fact that I don’t mind Robbie leaving. I absolutely would not have minded him staying, he’s been a delight!  But eight PCs has felt a bit overwhelming to me at times, and while they’ve had a fantastic dynamic with Robbie, I do kind of miss just core cast dynamic.  It’s selfish, I know.  I AM expecting that they’ll bring on other guests to stay for like, 10 episode stretches at a time.  If they do so, I do hope that they have a number of episodes between, just for my own personal preference.

@suicidallyreckless

[itsclydebitches]

RWBY Recaps: Volume 8 “Creation”

Happy Saturday, everyone! Oh man, oh man, oh man. I think I'll need to steer clear of the general RWBY tags this week, simply because I know the sort of responses I'll see to this episode. From smug celebration at Ironwood's downfall, to bad takes about what makes us human, this episode is a petri dish of sensitive material handled insensitively.

Let’s unpack it, shall we? 

We open on an action that feels like a summery of the last three volumes: a grimm attacks an airship from the front, no doubt killing its pilot, while the other grimm conveniently ignore our heroes, no masking in sight. The group looks a little sad at the destruction around them, but ultimately ignore it because they have bigger, heroic things to do. I could write a whole, additional essay on how the huntsmen code — to protect the people — has been warped and abandoned by our protagonists in their effort to do what they think is right. It's a tale that might have been compelling if only RT knew they were writing it.

We get a shot of Atlas drones unloading the bomb before one is taken out, presumably by Qrow and Robyn. Segueing to Ironwood and the Ace Ops, they're waiting for Penny to arrive, the former carrying a massive gun presumably capable of capturing her. Despite the horror we saw on their faces last episode at the realization that Ironwood would kill Marrow for speaking up, it seems that now the Ace Ops are entirely in agreement with these measures. A week ago the implication was that they fell back in line out of fear, but now Harriet talks passionately about "putting down" the group if they were stupid enough to accompany Penny. "The General gave his terms." Vine sighs at this, but doesn't actively disagree. He's just "retracing the steps that led us here."

So, congratulations on introducing four new characters, not bothering to develop any of them, killing one off while ignoring Qrow's hand in that, and having the other three become all, "Yeah! Mass murder is a perfect solution!" off screen. Marrow is the only one with something resembling development and, as covered in these recaps, that's been pretty badly executed too.

Ironwood sends them to deal with Robyn and Qrow after Winter reappears to "assist" him. That gets quotation marks because most viewers at this point have realized that she's who our two birbs spotted in the elevator. Winter isn't on Ironwood's side anymore, she's just skillfully clearing the field for the final attack. Indeed, we get a moment where she hesitantly brings up the bomb and Ironwood responds that he hopes she's not going to try and talk him out of it. No. Winter doesn't think that's possible. This was her final attempt at peace.

One of the reasons why I think I'll stick to my own blog for a while is because the fandom has a tendency to paint broad personality traits as evil when applied to some characters, yet simultaneously heroic when applied to others, when really it's about how that those traits are used. What I mean is, I've seen a lot of Ironwood critical posts that emphasize how stubborn he is. He thinks he's right and he won't back down. He wont listen to others. He's going through with this plan and if anyone tries to stop him? That's their mistake. Totally evil, right? Except, this is the exact same behavior Ruby displays, particularly in Volumes 6 and 7. She was stubborn about stealing from Argus and continuing the fight to the point where it endangered her and her teammates, to say nothing of the rest of the city. She refused to listen to Qrow, or Ironwood, or the Ace Ops, loudly announcing that she was right about, well, everything. If they didn't agree with her, the options were to leave the group entirely, or fight her. The actual difference here is that the writers have taken Ironwood to an extreme, one that's incredibly easy to understand as bad because it is bad: bombing Mantle has no defense. Ruby pulls the exact same nonsense, it's just not to that same extreme and her actions are followed by scenes that are meant to make us forgive her: a sad look because she didn't mean to get a city attacked by a leviathan grimm, a cry on the staircase because she didn't mean to risk the lives of an entire kingdom... even though she did. Ironwood is the bad guy because he's been written to take specific, OOC actions like shooting unarmed kids. He's not the bad guy because when other characters go, "Don't do this" his response is, "I have to." Because that's been Ruby's motto ever since she "had" to use the Lamp to rip Ozpin’s life story away. RWBY introduced those extreme actions of shooting the youngest in the group (for no reason) and threatening to bomb a city (for no reason) or shooting a councilman (for no reason) because when you remove those you've got a man who looks exactly like our hero. Ironwood's arc has been peppered with these confusing, unpersuasive actions because if you just keep the story as him stubbornly keeping to a plan he thinks will save the world, you're left with the reminder that all Ruby has done lately is stubbornly keep to plans she thinks will save the world. This moment with Winter just highlights how ill thought out Ironwood's descent has been because he does everything Ruby does... with a few, tacked on, “and randomly shoots people!” moments to ensure we understand that he’s definitely evil. No comparison to our heroes here, folks! 

Ironwood is a bad guy now. That’s certain, but he was made that way so the story never had to grapple with the question of what that means for Ruby if we really start condemning things like lying, secrets, stubbornness, or endangering others for the greater good. Well then damn, if we strip away the hypocrisy then she might not be a good person after all. Or the people she’s simplistically labeled as bad might not be the devils Ruby claims they are. 

But that’s a level of nuance RWBY would rather pretend doesn’t exist. 

All of which is highlighted by Ironwood’s reaction to "Penny." He sighs and sags over the gun, immediately putting it aside. With his hand on her shoulder, Ironwood tells her she's "done the right thing." Precisely the same way Ruby would lower Crescent Rose and give someone a smile when they decided to fall in line with her.

Which, of course, is the moment when Emerald reveals herself, dispelling the Penny illusion and revealing Team JNPR The Second behind her. She gives a quip about it feeling "weird" to do the right thing before disappearing.

From there the action picks up fast. I really enjoyed this battle simply from a choreography and energy standpoint. It gets the blood pumping, Ironwood's hand-to-hand is spectacular — especially that moment against Ren — and the group actually displays teamwork for the first time in what feels like forever, all of them needed to land a hit on Ironwood. As always, out of the context of the rest of the show it feels and looks great. My primary issue is that we get this fantastic fight against Ironwood. Not Salem, not Cinder, not Watts (like last volume when Ironwood was still a hero), not even Emerald as a means of transitioning from murderous villain to the group's best bud. No, what's arguably the best action sequence in the volume thus far goes to beating up the guy they betrayed from the start. There's no catharsis for me here, only frustration as we watch Ironwood stand in shock as Winter powers up Nora — who's fine now, I guess — and she slams her hammer into his face. 

It never should have come to this and when a good character is done so dirty, their downfall doesn't evoke the emotions the writers are looking for. Watching Ironwood fall doesn't generate feelings of victory, or even tragedy at a course of events others were powerless to stop. It's just frustration at watching years worth of bad writing, sprinkled with fantastic ideas that never go anywhere.

Oscar gets a few hits in, Ironwood snatches his cane, and just as he's about to throw a punch, Winter arrives with the most dramatic sword slash I've ever seen.

Ironwood's aura breaks and he falls, unconscious. We cut to an image of a droid's head separated from its body, one of Robyn's arrows through its skull. That doesn't have meaning or anything.

I suppose I should be grateful they didn't rip Ironwood's arm away during the fight, or outright kill him, though I'm still expecting him to die before the end of the volume.

Hmm. Wouldn't that be something? If after Salem's arrival, freezing cold, a Hound attack, grimm soup, a giant whale, a massive army, and a hack ending in self-destruction, the one character who actually dies is Ironwood. 

It's looking more and more likely.

Honestly, beyond all the obvious, what's so frustrating about this fight is that characters are only now using their impressive abilities to their fullest. Emerald creates an entire fantasy of what's happening and then straight up disappears, but she only does a half-assed version of that when fighting against Penny. (And really, she put more effort into helping the heroes she just joined over Cinder, the woman she's been obsessed with since the start?) Marrow refuses to use "Stay" against a group they wanted to peacefully arrest because that's just too horrible an act, I guess, but he'll do it on his own teammates the second Qrow and Robyn don’t want to fight.  

This is what I mean when I say the rules of the world bend to assist the protagonists in absurd ways. It's not nearly as egregious as Amity suddenly being up and running, but the fact that characters become substantially more powerful while fighting for the protagonists than they do against them is still a significant problem.

So Ironwood is down and out. As much as I hated watching that and didn't necessarily want more, am I the only one who felt like it was... a bit lackluster? I mean, the action was great, yes, but relatively short. There was no dialogue, such as another delve into the moral questions that led to this fight in the first place. There certainly wasn’t any hesitance against fighting a former ally. (Again, we’re meant to believe that the Ace Ops won because they just couldn’t bear to fight the group seriously, but every former ally here is capable of wailing on Ironwood without a single pause or pained look?) Ironwood just skillfully blocks for a while, is blindsided by Winter's betrayal, and then falls unconscious. Given that we learn he and Jacques will be evacuated after the rest of the kingdom, it's possible he'll escape somehow and we'll get a fight 2.0, but if not that feels like a rather tame end to the guy forced into the antagonist seat. Plus, what was the point of having Qrow frothing at the mouth to kill him this whole volume? I never wanted that to happen, I'm glad it hasn't, but I'm nevertheless left to ask why we bothered with that eleven episode side plot if we were going to erase it with one sentence from Robyn about Qrow being better than this. If that's all it took, let them work through Qrow's irrational anger while sitting around in a cell.

Winter tells the group to move onto "phase two" which is when we're treated to a flashback. We return to the ending of the last episode, with Ruby realizing that opening the vault is an option. Jaune, all smiles, goes, "We never considered using what's inside!"

This is what I mean about no consequences! This is what I mean about it all being a meaningless circle that ends with undeserved praise for the group! We started this horror show with Ironwood going, "We don't have a plan to protect the people, so I'm going to take what people we do have to safety" and the group going, "We don't have a plan either, but we're going to stop you implementing your plan because it's not perfect, risking a kingdom's worth of lives in the process." Now, the group has used two plans, one of which two characters knew about at the start and another they could have devised with the information they had. Oscar and Ozpin's, "We have an all powerful magical blast in our cane" and the group's "What if we used the Staff for something other than raising Atlas?" are both things that could have come up in the office debate. These were both always on the table! Instead, Ruby grew furious over the mere thought of cutting their losses, betrayed Ironwood again, attacked his people, denounced him to the world, and then two days later goes, "Oh wait! We could do something now that we could have easily done before if we hadn't made a needless enemy!" 

Everyone realizes how much worse they made things, right? Turning against Ironwood, bringing everyone left in Mantle directly under Atlas, sitting around while an army was devoured, drawing it out until Penny was hacked... all of it would have been avoided if the group had thought and discussed things for a few minutes, not jumping straight to violently resisting what Ironwood came up with first. "We never considered..." Ruby says. Yeah, you didn't, except that's not something to smile about. The group made the situation a thousand times worse with their reaction when they could have just magically evacuated the kingdom from the start. “Maybe we could use it to save Penny and get everyone in Atlas and Mantle back to safety." Nothing has changed! They had this ability the whole time! Nothing about the last twelve episodes led them here, they just randomly thought of it after RT had padded the volume with needless drama. Considering that they're heading to Vacuo now, we could have just made this the finale of Volume 7 instead: big fight with Ironwood, revelation, get everyone  evacuated while Salem attacks, leave her behind, then Volume 8 begins in Vacuo with the group knowing Salem is out there looking for them. This entire volume has been pointless. What did they accomplish?

Oscar got kidnapped and beat up, Nora was scarred, Ruby and Yang realized horrible things about Summer, and the whole world is panicking about a witch. Good things are... Ren and Ruby unlocked some semblance stuff? Weiss loves her brother again after he proved himself useful to her? Great work, team.

So this one moment makes everything they've done up to this point useless and, of course, once thought up the plan goes off without a hitch. Note that the summary of this episode says, "It's risky, dangerous, and nearly impossible — but it's the only plan they've got." Nearly impossible? That's a whole lot of talk for a plan that was implemented perfectly.

There is, admittedly, one snag, but one that is likewise made meaningless just seconds later. We'll get to that.

We see Winter call Weiss who also smiles at hearing from her sister. Obviously interactions like the group's with Emerald are the bigger concern, but it's still an issue that no one reacts as they should to people reappearing in their lives. Rather, RWBY continually confuses audience knowledge with character knowledge. We know Winter is on their side now, but Weiss hasn't a clue. Last she saw, she and Winter were agreeing to head down different paths. She has no reason to think her sister isn't loyal to Ironwood, so why isn't the group treating this call with suspicion? What if it's Ironwood trying to mess with them through a presumably safe party? I swear to god, with any consistency in the story this group would be dead ten times over because their decisions are so stupid. Oscar decides to believe in the guy currently beating him to a pulp, the group decides to trust a villain over a flawed ally, and now they see Ironwood’s second calling and are like, “Great, big sister Winter is checking in!” There’s a difference between a hopeful story filled with second chances and characters whose reliance on the narrative bending to assist them makes them come across as insanely naive. 

None of which even touches on characters forgetting that other characters are presumably dead. Ironwood shot Oscar off the edge of Atlas, but doesn't react to learning he was kidnapped, or when he shows up to the fight. Thanks to Marrow's comment, Winter thinks YJOR have perished in the whale, but also has no reaction to them appearing to help with this plan. Absolutely nothing is followed up on.

We then get a flashback within the flashback (fun) of Winter — shock — not arresting Marrow. It's precisely as I assumed, with Marrow angrily asking why she hit him and Winter responding with, “Because you were about to get killed if I didn’t do something!” As I said last recap, I feel like I should let the marginalized groups lead this discussion, but I do want to add that no matter how well intentioned — or strategic, as I mentioned last time — the imagery itself is still harmful. No matter the context, we were still left with white woman Winter putting her knee on black man Marrow's back to arrest him, and it’s an image that everyone in the U.S. should be familiar with the horror of. Far more of a problem than the (presumed) ignorance of this scene is, I think, the choice to make Winter entirely unrepentant. I think some of this discomfort could have been alleviated if RT had written Winter as apologetic, contrite that it came to that and asking Marrow to understand that she only did it as a means of assisting him. Asking his forgiveness. Instead, we get this

So what, the only emotion we have room for is gratitude that Winter beat him up? Yikes.

As a lighter side note, I find the animation here unintentionally hilarious. Winter's assistive device makes her shoulders look too high, making this gesture more, "Woman exaggeratedly pouts about not getting ice cream for dinner" and less, "Woman sternly closes off during a disagreement about saving lives and betraying their general." Gotta find our humor where we can, right?

What's intentional, but far less funny, is the needless animation to show us that, yes, Marrow is peering at Winter calling Weiss. Oh, the shenanigans. 

The elevator opens where Qrow and Robyn spot them. "Speaking of help," Winter says, as if she has any reason to believe Qrow didn't kill Clover. He and Robyn lower their weapons a bit, as if they have any reason to believe Winter and Marrow aren't still loyal to Ironwood. Would it really be so hard to have Winter immediately throw up her hands in the face of their almost-attack, blurting that she's not their enemy and needs their help, please listen? Again, RWBY can't remember which characters know what, let alone what their motivations and reactions should be.

We then enter the third part of the flashback where everyone piles into the Schnee dining room and discusses doing the things they could have done from the start. I'm metaphorically banging my head against that table. In RWBY's favor though, we also get a long shot of Jaune continuing to boost Penny’s aura.

Though it's only one of many issues, just the other day I asked, "Hey, why has Jaune always needed to hold onto the person he's assisting, but now suddenly he can touch Penny once and the boost remains?" It still doesn't explain why he was letting go before/why him needing to boost her continuously didn't put a hard time limit on their plan — not that Mantle's hour limit meant a thing — but at least they're showing more of that here.

Oscar notes that Atlas has enough gravity dust that it won't fall immediately when they use the Relic, but they will have to move fast to ensure no one is underneath. Yeah, like all the civilians you put there. He also cautions that the Staff isn't a "magic wand" that they can just wave to make all their problems go away... even though that's precisely what they're going to do. Ozpin gets some lines that aren't apologies or followed by attacks — hallelujah! — about how the Staff's spirit is a "character" and requires that you be able to precisely explain anything you want him to make. Blueprints, examples, a firm knowledge of how this will be accomplished — all of it is required to actually get what you're after. That's a cool limitation. It's just too bad we didn't know about it episodes ago, forcing our heroes to find ways to meet those requirements. Instead, they already have everything ready to go the moment they learn about it: Penny has her own schematics and Whitley apparently has knowledge of the entire kingdom after sending some ships out. Normally I'd go, "Really?" but I'm still just struck by how much good he's done compared to everyone else in this room. Your show is seriously broken when the side character the writers didn't even want the audience to like until a few episodes ago is more active, mature, and sensible than the heroes.

From there we see the group implementing the plan. They fly up through the hole Oscar left, straight to the vault. Penny opens it without any trouble and Ruby uses her speed to grab the Relic and stop time, halting her self-termination. I do like that combination of skill and their knowledge of how this magic works. That felt like a smart move. What's interesting though is that the Relic appears to stop time in the entire kingdom. We see people in Mantle and Atlas slowing to a halt too. I assume no one remembers that happening after time restarts, otherwise people would be freaked out by suddenly being frozen in place.

Wouldn't that have been cool though? The group often takes a while to use the Relics, either deciding what they need, or watching Jinn's information, so what if you had a population that blinks and suddenly, from their perspective, half an hour has passed? How long might Ozpin have sat on his knees after Jinn told him he wasn't able to defeat Salem? How long was that space frozen? We could have had a world built around rumors and fairy tales. Not the random stories Ozpin brings up to make a point and that we never hear about again, but tiny details that foreshadow these revelations. A Beacon where the kids tell each other spooky stories of people suddenly losing time, once a whole day. The wives, sisters, daughters, and nieces who disappear, or wake up one day with horrifying, unnatural powers. We see magic influence the world around it, but we've seen very little of the world reacting to that influence. The one time I can think of is Blake reading a book about "a man with two souls," the fiction clearly inspired by knowledge of Ozpin. And indeed, it felt great to recognize that as a significant detail and then be proven right years later as the lore was revealed. We could have gotten so much more of that if RWBY was better planned out.

I'm getting off track though. As time stops we see a series of images: Ironwood being led to a cell with Jacques, Penny succumbing to her hack, Team JNPR The Second preparing to contact the kingdom about what's going on. Then everyone is distracted by the giant, blue, buff Ambrosius who comes out of the Staff.

...there's a lot of innuendo in that last statement lol. At least RWBY is committed to the crazy design they chose? I was never particularly comfortable with the image of characters gaping up at a giant, naked woman in chains, so it's nice to balance that a bit with an equally giant, naked dude in chains.

From here things get confusing. In all honesty, I'm not sure if this is another moment where RWBY is trying to pass off a retcon as the group being brilliant, or if I, as an individual, simply didn't follow the logic. I won't bother to rehash the slow, meandering way that Ruby reveals their plan — that certainly didn't help with the clarity. Not in an episode where we didn’t even know these rules ahead of time — but it boils down to this:

The moment they have Ambrosius create something new Atlas will start to fall. Two of his creations can't exist at the same time.

He needs clear instructions about what he's making in order to create it.

The group has brought him Penny's schematics so that he understands how she's built.

They want, specifically, "a new version of her... using her exact robot parts."  

They can't just create an exact duplicate of Penny because that would carry the virus with it.

They can't create an exact duplicate without the virus because that Penny would cease to exist as soon as they used Ambrosius to make an evacuation plan instead.

So they essentially want Ambrosius to create a new Penny by removing all the robot parts from the Penny that currently exists, carrying the virus with them, and leaving only the human parts of Penny behind: her aura/soul. Then, the purely robot version is destroyed when Ambrosius creates something new.

Except... this new Penny, this human Penny, still needed a human body. That's what Ambrosius created and that's the snag I don't understand. They want a version of Penny that's just her aura, just her soul, but that soul still needs something to be housed in. Ambrosius himself notes that. At first I thought the group would just have some wisp-like version of Penny they'd have to find a new body for — perhaps leading to a new one for Ozpin too — but she's just... given a human body when he takes the technology away, something she absolutely didn't have before. That is Ambrosius' creation. That is what should have disappeared along with the removed parts of Penny, leaving only her soul — what Ambrosius didn't touch — behind. Instead, the plot oh so conveniently has Penny get a new body for free and it's untouched as they move onto the next task.

Ruby drops a casual line about Ambrosius not being able to kill, or destroy, or something, which I think is meant to be the justification here. The rule (which, again, we JUST learned) about not killing anyone supersedes the rule of two creations not allowed to exist, allowing Penny to stick around. But even if that’s true, it’s a load of bull. What, does the magic think no one in an entire city might die if the floating mechanism is removed and it plummets to the ground? Ambrosius didn’t say, “Sorry, can’t stop floating Atlas because thousands of people are still here and they’ll die if I create something new,” but we’re supposed to believe the group skated by on, “Sorry, can’t destroy the last creation like everything else because there’s a single person still using that body and she’ll die if I create something new”? 

Seriously, did I miss something? Or is this another, "Amity is ready because the group needs it" situation? The rule of creations ceasing to exist is bent because the group needs to have their friend around. Ambrosius is certainly enthusiastically complimentary, saying how "smart" the group is and that they've "done their homework," but I'm not so sure. It feels like a moment where the show is (once again) insistent that the group is far more talented and brilliant than their actions actually imply. It's only the rules of the world twisting and turning that allows for their success. To say nothing of how the episode dropped all these rules on the viewer in a ten minute info dump, ensuring we didn’t have any time to think about them before the deed was done. 

It doesn't add up for me and honestly, even putting that aside? I hate this. I absolutely despise it. Look, if it turns out this really does make sense then props to the group for coming up with that plan. Our snag aside, the rest is a legitimately well thought out wish. I don't have a problem with the execution so much as the message. I've been saying since Volume 7 that RWBY has done Penny a disservice in terms of her "real girl" narrative. Whereas before we had a firm message that you don't need "squishy guts" to be human, to be real, Volume 8 continued to carry us further and further into the idea that it is necessary. That Penny's body is entirely inhuman, something to hate, but at least her soul is human and good. That's what the virus arc taught us: your terrible, technological body might be betraying you, but hold onto the parts of you that are really human. I hated that too, but I never thought RWBY would go this far. They made Penny fully human and went, “THIS is the version that always should have existed.”

And this isn't just me reading into the implications. It's right there in the text. Blake says that they're looking for “Penny, the girl who’s always been there underneath." Meaning, underneath the metal. The girl exists trapped in the robot body. Yang holds up her arm and says that the metal is only "extra," it's not really who you are. 

That gets into two perspectives on disability that RWBY just doesn't have the nuance for: what's an integral and celebratory part of one person's existence can be seen as something separate and discomforting to another. Though there are many people with disabilities who would happily cure themselves with a magic Staff if given the chance, there are just as many who say no, this is a part of my identity. I don't want to change, I just want the world to accommodate my existence. However, RWBY takes a hard stance here, saying that any metal in your body is intrinsically bad. We didn’t use to have this take, but now the show has embraced it. Blake says the real Penny is trapped in there. Yang's words implies that she'd get rid of this "extra" bit of her if possible. Mercury with his metal legs is the enemy. Ironwood with half his metal body is the enemy. Whereas once difference was truly accepted, now it's shunned and fixed whenever possible. Those who can't be fixed, like Yang, must simply deal with the lot they've been dealt, reassuring themselves that the metal isn't really them. But Penny? Penny they can fix.

So they do and the very first thing Penny does is hug Ruby, exclaiming, “Do hugs always make you feel this warm inside? Wow. More!” and proceeds to hug all the others. 

What's the underlying message there? Penny didn't understand hugs before this moment. She never experienced the "warmth" of them while an android, despite the fact that here warmth is entirely metaphorical and has nothing to do with a literally cold body. RWBY really went and said that the "real girl” android was never actually real at all — not as real as she could be — because it's only when she's given "squishy guts" that she understands the true happiness of a hug.

Wow.

I mean seriously, wow. 

Never-mind that, you know, we've seen that happiness and warmth since she was first introduced.

RWBY is really rewriting all the core themes introduced in Volumes 1-3 and it sucks. The show is absolutely the worse for it.

To say nothing of all the other disservices to Penny's character here. There's all this buildup about whether she'll still be the same Penny once the wish is complete, but of course she is. We wouldn't want to have Penny struggle when she becomes something other than what she's always been, would we? After all, it took Yang an entire volume to work through the shock of a metal arm, but taking away a metal body for a human one is in no way traumatic. Having a normal, human body is intrinsically a good thing! Of course Penny accepts it with nothing but smiles. Becoming human is celebratory, but becoming more machine is a horror.

She gets to watch her body self-destruct, glitching out and collapsing in front of her. But again, nothing to unpack there that can't be covered with a hand over her mouth.

There's no discussion of whether Penny still has the Maiden powers, or whether a wish like that would mess with the transfer in any way. How did the group know this action wouldn't register as a clear-cut death, forcing the power out of her and into someone new? Obviously they couldn’t know, but no one even thought to bring it up? 

And the entire time they're formulating their evacuation plan, there's no talk of whether these portals will appear before everyone currently alive in the kingdom. I mean, if they do then Ironwood and Jacques can just waltz through and escape into Vacuo. If they don’t, then Maria and Pietro don't necessarily have a way out. We still don't know if they're stuck floating in Amity, or if Amity crashed, or if they made their way back to Mantle or Atlas. More importantly, the characters don't know. I have no problem with RWBY keeping that a surprise until the finale, but I absolutely take issue with Pietro's daughter walking through a portal, seemingly not to care whether her father is going to make it out too.

It's been the same with Qrow and his nieces' relationships. The show is good at insisting that these families love each other because they hug and smile while on screen together, but when shit is actually going down, none of them care about pesky things like disappearances, arrests, or “The last time I saw you, you were with an old woman on a damaged station after a villain attack, potentially stranded in deadly cold if life support failed.” 

So yeah, this entire arc with Penny has been a disaster. From throwing away her framing subplot, to giving her a virus that did absolutely nothing, to giving her the Maiden powers which she's also done nothing with, to erasing her android status for a “She's really human now” message, Penny has been done dirty by the show these last two volumes. Not nearly to the extent Ironwood has, but still. At this point I wish they'd just kept her dead dead. Why do I want her back when that resurrection produces no reaction, her conflicts lead nowhere, and one of the core things that made Penny Penny has now been magically erased?

I've been saying for weeks that killing Penny off and keeping Penny around each had serious downsides attached, yet I never expected RWBY to do BOTH.

Also, I'm warding off any, "But Pinocchio was made into a real boy too" defenses. RWBY is not Pinocchio. Penny is not Pinocchio. I thought the allusion was going to be the Pinocchio inspired girl heading into the whale, not the show forcing the exact plotline  —  down to a blue, magical creature — onto a character whose entire journey has been about accepting herself as an android. Congratulations, RT. You just obliterated years of work.

Again, if you'd like an example of how to do this far better:

As Penny's character falls apart, Atlas shakes, alerting Jaune and the other that a new wish has been granted. Jaune pecks at the screen and realizes "That did, uh, something…?” but doesn’t realize that there's a giant, red "LIVE" up in the corner.

Jaune tries to warn the entire kingdom about their plan, but what he actually says is

“Atlas is falling, but — !”

And then the communications cut out. 

Watts, perhaps?

Our heroes are really good at saying things that make large populaces panic, huh? This is the one (1) snag in their "impossible" plan, but as said above, it doesn't amount to anything. We get a shot of Nora, horrified at the thought of kingdom-wide communications being down, but literally seconds later Team RWBY has made portals appear that everyone can walk through. So... why do we care about communications? More importantly, why does the show try to make us care? So much time is spent getting the viewer invested in problems that never come to mean anything. 

Including the problem of Salem herself.

Because the group successfully creates that evacuation plan. This is it. Everyone is leaving while Salem still reforms. 

Yang asks if they can use the vaults themselves as a single point for everyone to go to and Ambrosius agrees. So everyone is going to pile into the Vacuo vault that can only be opened by an unknown Maiden? They're going to put an entire kingdom's worth of people, including their enemies, into the vault where the Relic of Destruction is? Yeah, that's great. Prior to this — like if this had been the plan at the end of Volume 7 — I would have 100% agreed that these risks are better than death by Salem/grimm/cold. Now though, Oscar as axed Salem for an unknown length of time, the cold is having no impact on the civilians outside, and the grimm only attack background military personnel that supposedly no one cares about. They couldn't have spent another few minutes (especially with time stopped!) to figure out a means of getting to Vacuo that doesn't involve revealing and providing access to the location of a super secret vault? To say nothing of what they're going to do if Salem wakes up and snags one of those portals for herself. Two kingdoms for the price of one!

But that's what they're going with. Weiss gives Ambrosius a schematic of the kingdom, I guess, and he makes branching pathways appear with numerous portals for everyone to step through. They'll enter through one and, when they exit another, will be in Vacuo. Easy peasy, right? Especially since Ambrosius doesn't seem to have any limitations about how often his power is used. Is it three creations every 100 years like Jinn? We're not told, at least not to my recollection. However, I was expecting there to be a waiting period, that they'd fix Penny, go to evacuate the kingdom, and learn that sorry, I can't make another creation just yet. It feels like the sort of shit move these beings would pull — "Don't cry to me when it's not what you wanted" —  it would have been another commentary on the group's insistence on putting friends over the people's safety (like demanding the Ace Ops not bomb the whale because of Oscar), and crucially, would have kept the action in Atlas. Isn't that what this volume is? The battle for and potential destruction of the Kingdom of Atlas? We have two episodes left and, unless something unexpected happens, we're moving that action to Vacuo. Why? 

Meanwhile, Penny's corpse is just chilling in the background 😬

While all this is going on, Winter reassures Jacques that he and Ironwood will be evacuated too, though she makes it clear saving him was Weiss' idea. It checks out, considering Weiss is the one who turned her father's arrest into a joke last volume. Winter still takes his abuse seriously.

The group prepares to leave with a celebratory, "We did it!" from Weiss. I'm still banging my head against that dining room table. Before they can pass through the portal though, Ambrosius leaves them with one, dire warning: "Do not fall." 

In any other story a line like that is a neon sign announcing to the audience that someone will absolutely fall, and maybe they will, but RWBY has dodged consequences so often I wouldn't be surprised if this was merely another way to string us along. Remember all the hype surrounding Salem? The cold combined with her army and magic? How she was going to decimate Atlas and leave our group broken in a Fall 2.0?

I mean, we still have two episodes left. Forty minutes of content. Salem might still decimate them, especially since something has to happen in the finale. But god, it's a problem that we've come this far without a payoff. Salem randomly decided not to attack anyone, was stopped by a weapon added in solely for this purpose, and now the whole kingdom is being evacuated with a plan the group could have used at the start. This volume really is meaningless. 

“We go to vacuo and hope we’ve thought of everything” they say as the camera zooms in on Cinder's smiling face. For the second week in a row.

Bingo time!

Winter betrayed Ironwood, the group used the Staff of Creation, and I'm axing Maria on behalf of Pietro. You can't have the guy's daughter become human — after he was killing himself to give her his aura?? — and magically walk to Vacuo, not knowing if he's even survived since she last saw him, and expect me to think he hasn't been forgotten. Same with Maria. Has the group mentioned her since Amity cut out, notably for reasons they couldn’t explain? Of course not. Did they care to find out what happened? Of course not. I have no doubt they'll both re-appear in the next two episodes, Pietro crying over how perfect his girl is now and Maria congratulating the group on their actions, but we're still marking it.

This is the ugliest thing I’ve ever created, I hope you all are enjoying it :D

Another week, another couple feet added to the hole we’re digging. I know I keep saying I have no idea what's going to happen next... but I have no idea what's going to happen next. A Vacuo ending was not in the cards, not outside of them miraculously showing up in ships. Maybe they have been on their way to Atlas (somehow...) and will arrive precisely when everyone has left! Anything is possible at this point.

See you next Saturday, everyone. Hold on until then lol. 💜

[galladerocksgamer]

Okay so I love the Paranormal Liberation War arc, it does so much fantastic stuff, dang near perfect across the board. But I think it’s pretty widely felt that the pacing got a bit off the rails near the end, we had big reveals and character moments stacking up and half of them barely even felt relevant. And me being the person who just thinks about things in depth and for long periods, I’ve still been dwelling on it for months. And now as the manga has continued, I’m finally seeing how some of the aforementioned War moments could have been better executed in different situations, because honestly this latest arc seems like it would have been tailor-made to address them all. So lemme take a closer look at three different components here: Mirio/Eri, Bakugo, and Hawks.

1. Mirio and Eri

Probably the most random moment from the war’s climax, don’t think anyone was predicting the sudden return of Mirio to battle. I love Mirio, he’s one of my favorite characters, but it was a pretty anticlimactic way to bring him back into the fold. He doesn’t even really bring anything special to the battle, nothing uniquely Mirio. His role is just backing up Best Jeanist against the Nomu, and anyone could have done that. Burnin could’ve arrived sooner, or Manual and Rock Lock could’ve come back after getting the injured heroes to safety. Heck, if you still wanted the Nighteye agency to be involved, then Bubble Girl and Centipeder could’ve been the cavalry to help Jeanist. But instead Mirio returns unexpectedly and none too remarkably.

And on top of that, we’re basically just told “oh by the way Eri has some control of her power now.” Something that the series had been building up toward for awhile just … occurs off-screen with no forewarning. Really feels like a disservice to Eri and her development to not give that intense moment any real spotlight.

It felt extremely weird for me at the time, but I also kinda wanted to give it the benefit of the doubt. Maybe the coming arcs just couldn’t afford to place focus on Eri and Mirio, so their respective developments were tied together to lend an extra surprise to the war’s final bout. But instead this most recent arc has gone the opposite route … through the return of Chisaki.

The man once known as Overhaul, now thoroughly broken and wanting nothing more than to fix his one great regret. With Nagant’s defeat, he winds up back in custody, but having now once again met with Midoriya and made his wish known. So indeed, the opportunity arises for Eri and Mirio to be brought back to the forefront. I don’t doubt that we will indeed have at least a brief glimpse at Eri healing Chisaki’s boss as Midoriya promised, but the potential for that scene could really have been through the roof if it was the impetus for Eri to willingly use her power on a person for the first time.

Imagine Midoriya coming to Eri with that heavy request, of Eri deciding to offer this kindness toward Chisaki of all people, using her power to heal before the man who always told her that she could only destroy. Because really, I don’t think there’d be a question of that, we know the kind of kid Eri is, and she won’t let anyone suffer if there’s any way she could prevent it. Even if Chisaki was the person asking, there might be hesitation and fear, but is there any doubt she’d offer what aid she could in the end? And for Pops to be the first person she helps, to undo the harm carelessly inflicted by Chisaki … well, it’d certainly be poetic.

As for Mirio in this scenario, that could go a couple ways. Route 1: Eri is hesitant to help Chisaki with Pops because she would rather help Mirio get his Quirk back, and we know that her power seems to have a bit of a limit on it via the energy stored in her horn. So what if it did work, but she ran out of juice healing Pops and then made Mirio wait even longer? Well, of course that’s exactly what he’d insist on, he wouldn’t let himself take priority over another person in need of Eri’s help. And he’d take it all in good spirits as always. Or Route 2, if there was concern that Eri’s power could run wild while trying to help Pops, then they could go the complete opposite direction and have Mirio offer to go first, to be the guinea pig for Eri in case of emergency. But of course, he’d have full faith in her all along and coax her through, ensuring her of just how helpful and brave she always is.

So yes, can see how Eri and Mirio’s development could have taken a more satisfying route, and cap us off with some good ole Chisaki angst to boot (though at least we’ve still got a decent serving of that). Now moving on …

2. Great Explosion Murder God Dynamight

So Bakugo’s long and arduous journey of personal growth reached a new peak during the battle with Shigaraki, where his body moved without thinking and he underwent his true heroic awakening to protect Midoriya. Such a sacrifice seems like a perfect cap for his development for the War arc … and then a couple chapters later he forces himself right back into action to back up Best Jeanist, and as promised he reveals his over-the-top hero name to his mentor. In this case I don’t think there’s anything inherently wrong with the reveal, but in light of his preceding big heroic action, it really feels like a hat on a hat.

It’s not like Bakugo’s hero name heralded some major turning point for the battle; Jeanist’s arrival (and subsequently Mirio’s) had already assured that. And like Mirio, there wasn’t any real special reason for Bakugo to rejoin the fight with the Nomu, especially with Iida and Hado on the scene. After getting skewered by Shigaraki, it would have been pretty simple for Bakugo to just spend the rest of the fight bleeding unconscious on the ground, rather than complicating matters by shoving him back into the fray. And ultimately, the moment feels a bit anticlimactic. All the suspense waiting for Bakugo’s hero name, and then it’s revealed at a time where he barely even has the spotlight.

Of course, such a bombastic name as “Great Explosion Murder God Dynamight” doesn’t particularly lend itself to a quiet or emotional scene, so it wouldn’t be thematically fitting to move that revelation to Bakugo’s hospital bed or his somber apology to Midoriya. That said, given his decision to announce the name first to Jeanist, there would at least be precedent for him to have a “Dabi says secrets in a black speech bubble” moment in the hospital in which he talks to Jeanist but leaves the readers in the dark, before coming back to the actual audience reveal later on.

And there must certainly be other opportunities to present the name appropriately. Bakugo is a master of making an explosive entrance, after all. And when Class 1-A finally catches up to Midoriya, if Bakugo really wanted to make a big impact on his friend/rival before getting into the sentimental stuff, then it would be a prime chance to reveal his hero name in grandiose fashion, both to Midoriya and the audience.

Or if his hero name had been Kacchan, then that reveal would have fit right in with his apology to Midoriya, but that’s neither here nor there

This could be one scenario, of course, but it hardly feels like that would’ve been the only option. And compared to the crammed-in reveal in the final fight with the League, it’s easy to say that there could have been plenty of smoother roads to take.  But setting that aside, moving onto the final touch:

3. Hawks

The long-awaited Hawks backstory doesn’t really disappoint. Admittedly, there weren’t really a lot of holes necessary to fill in there; we’d had enough bits and pieces provided before this point to pretty much put together the whole picture of his crummy childhood. But even without any really surprising turns, the flashback is welcome and hits some good emotional beats. But really, the glaring issue in this area is the timing.

We’re presented this backstory at an instance where Hawks is hardly the most relevant character. Shigaraki is undergoing a personal crisis as All For One seizes the reigns of his own body, Endeavor’s dark history has been exposed and the Todoroki family is in turmoil, escapees from Tartarus roam the streets, and Midoriya consults internally with the vestiges of One For All ... and the narrative decides to take a chapter to look at Hawks. Practically nothing from his flashback directly relates to present events, serving only to further emphasize his already well-established devotion to Endeavor and his (misguided) understanding of Twice’s feelings. The timing is just kind of baffling, especially with some other more appropriate places being readily apparent.

For instance, only a dozen chapters later, we’re properly introduced to Lady Nagant. As Hawks’s predecessor within the Hero Commission, the two have a lot in common, and the similarities and differences between the two could set up some interesting comparisons if Hawks’s backstory was saved to follow up Nagant’s. Two idealistic young children, handpicked by the Commission and groomed into assassins, yet whose outlooks in the present day are starkly opposed? Nagant's guilt driving her to turn on the Commission, while Hawks holds few regrets despite the blood on his hands, longing for freedom from the Commission’s grasp? That kind of parallel could really have built a more solid foundation for Hawks’s past to be laid upon.

That could be an effective setup, but there’s another approach I’d actually much rather have seen, one that brings Hawks’s backstory not later, but earlier: during the dramatic confrontation between Hawks and Dabi. The instant that Dabi reveals he knows Hawks’s real name, the story opens itself up perfectly to dive into his past. And the timing would be superb, showing Hawks at his worst as he murders Twice, then turning back the clock to look at the innocent child who just wants to save people. A little boy whose feathers tingle with the need to rescue those in need, superimposed against the man whose same feathers are used to deliver the killing blow to a victim of hero society’s ills. You want angst? Now that’s how you do angst. Placing the backstory there would play up the tragedy of both Hawks and Twice simultaneously: a “hero” raised by the Commission to cut threats to their control short at the root, and a “villain” who could have been a kindred spirit but instead suffers for their would-be friendship.

And that’s not even the icing on the cake. The real matter of interest here comes in Hawks’s view of Endeavor. By the time we get to Hawks’s backstory, all of Japan has already learned of Endeavor’s history from Dabi, and the result of the timing feels a smidge tone-deaf, and fails to realize the full potential resonance of the situation. The flashback to young Hawks as a victim of child abuse, who is rescued (unwittingly) when Endeavor arrests his father, is presented to us as the moment when Hawks realized that heroes are real, not merely a fantasy. We see why he developed such an ideal view of heroes, and why he is so specifically loyal to Endeavor ... so just imagine if all that was presented during his showdown with Dabi. Imagine if all that came before the tragic revelation of Toya Todoroki. The true terrible irony, that Hawks was rescued from his abusive father by someone secretly guilty of the same crimes, that Hawks’s whole epiphany of “real heroism” was founded upon one of the most corrupt enforcers of all.

The end result would be the same, I’m sure. After all, this is certainly the same thought process Hawks was going through all along, and his decision to maintain his faith in Endeavor’s personal growth would presumably remain unchanged. But presenting Hawks’s backstory before Dabi’s would have opened up a lot more room for us as the audience to actually see Hawks’s views be challenged. If there’s one real complaint I’ve got about Hawks’s character, it’s that we don’t really tend to see him questioning himself or his actions; whatever happens, he rolls with it and presses on, no matter how his ideals are brought into question. But this simple matter of timing could go a long ways to remedying that, granting the audience the chance to watch Hawks grapple with his personal image of and approach to heroism, and his relationship with Endeavor, rather than allowing most of that to pass unseen in the wake of the war’s end. Even if he would ultimately come to the same conclusion, at least such a narrative structure would provide a much more satisfying presentation of his struggle up to that point.

So, I’m not great at endings, but that brings us to the conclusion of my rambling though process here. To recap, the more I’ve thought about it, the more obvious it is that the backloaded War arc could be remedied, and the following arc only made that more obvious. Why force Mirio’s return so soon when he could be tied in later with Eri mastering her powers and the desperate pleas of Chisaki? Why shove in Bakugo’s hero name when the boy has already made a tremendous impact on the arc, and will be more open to further focus during the conflict with Deku in the next? And why throw in Hawks’s backstory as a standalone chapter at a time when it’s largely irrelevant, when there was such great potential to emotionally contrast him with the backstory of Nagant or Dabi? These are the kinds of things I think about. Little things, really, and honestly the whole reason they stand out to me is just that the rest of the arc around them is so dang fantastic. So … yes. This is the testament to my love for this manga, thanks for coming to my Ted Talk, byeeeeee

[retphienix]

I'm not sure if I should make this the finale post or not to be honest because I plan on playing some of the DLCs soon, so I'll make this a 'light' finale post because I'm sure I've said more than enough through my playthrough.

Morrowind genuinely surprised me. I heard all the oldguard TES fans saying it's way different and some claiming it was miles better.

Specifically I remember when Oblivion came out I heard from somewhere that Oblivion was just "dumbed down Morrowind" and kid me was like "What the heck are you talking about, Oblivion is the best game in the world (right now)???"

But man, they weren't wrong, but that's hardly what I'd point at in Morrowind in comparison.

Then again my memory of Oblivion is all rose tinted nostalgia and half memories.

What Morrowind is to me today is a fantastic fantasy game with some really interesting lore, a villain I love, a world that feels alien, troubled, imperfect and intriguing, and a gameplay cycle that felt really satisfying to me from the very start to roughly level 20 or so.

I REALLY like how pitiful and overwhelmed I felt at the start of this game- it felt fucking awesome to me and I know for some that's a weird statement and others it's the most obvious thing in the world but man is it true.

Level 1 in Morrowind as a newbie who doesn't know up from down is like waking up in the woods naked with the sound of hungry wolves all around you.

It's brutal, and exciting- every little victory- a potion, a new dagger, a new piece of armor- feels like the world to you.

I LOVED the early game in Morrowind, more than I ever liked it in Oblivion, Fallout 3, Fallout NV, Skyrim, or Fallout 4 (yeah I'm looping the bethesda engine NV in).

Because I constantly felt like I was punching up at a behemoth but I was getting away with it from time to time until I started to feel more on par with the behemoth, and eventually I overcame and hit end game and really became the behemoth and that was fun in its own right.

But I've been "mega end game god" in like 900 dang games at this point, it's always fun! And feeling like I earned it (like here) makes it feel better! But the journey often beats it and Morrowind's journey was so fun to me.

But yeah, beat the main quest. I did a lot in this game, and barely scratched the surface.

Beating it immediately made me think of how fun it would be to challenge myself to beat it- or another objective- right from the start without dumping hundreds of hours into leveling because that early game is a treat.

About the only things I didn't fully love were most of the quest designs showing their age.

Nothing super egregious, but there really was a lot of extremely simple "fetch thing" "Kill thing" "Walk to place" quests that didn't hold additional story value to make up for it.

Not to say simple is bad, but to say having a LOT of my playtime being killing various creatures for no real story reason beyond being asked to makes some actions feel pointless and like busy-work.

There were also quests that DID tie story in, which was really nice to see- things like inter-guild relations becoming a thing for some quests, or some quests having consequences further down the quest chain depending on how you completed it, and of course (as implied) some quests having multiple solutions with some of those solutions being interesting in how you find out about them.

I mean I think it's really neat how the fighter's guild has like 4 quest givers and if you blindly follow them you'll be doing all kinds of questionable stuff with questionable end goals, but if you talk to each of them you'll find that one of them is much more trustworthy and honorable than the rest, and it becomes a common loop to be sent on a quest for the FG and swing by him to ask if the quest sounds legit- AND MANY AREN'T! AND HE OFFERS ALTERNATIVE SOLUTIONS! THAT'S COOL AND LET'S YOU MAKE THE MISTAKE OF BEING TOO LOYAL AND FORGETTING YOUR MORALS BECAUSE YOU ARE "JUST PLAYING A GAME" BUT REWARDS YOU FOR QUESTIONING THAT LOYALTY AND SEEKING ALTERNATIVE SOLUTIONS! THAT'S AWESOME! Though the solution almost always being "just talk to the good guy before you do the quest" was slightly lacking, but such a cool idea.

But there wasn't a ton of this, but there also wasn't not a lot of this- it was an idea they clearly considered playing with and did when they could- I just wish there were both more and that it was used more on the menial tasks you're asked to do as well. I'm a sucker for multiple solutions is all, and consequences appearing later and altering how events play out or quests line up is always cool and I think it only happens a couple times in some guild quests if I'm not mistaken-

But again, I didn't do much in the grand scheme of things lol.

A TON of time invested and still, a metric fuckton to do including 100% of both expansions lol.

So- Morrowind. I really like this game :)

I think it's my favorite TES game, though I might change my mind whenever I revisit TES4, but I can at least say it's my favorite early game BY FAR and PROBABLY my favorite TES game.

I wonder if I can get buff enough to kill Dagoth Ur with like potion abuse. I haven't looked into it, all I know about him (and I knew before this gameplay also, I was just attacking out of curiosity) is that phase 2 rapidly regens health at like 2 billion a second or something, so you have to one shot him if at all possible.

Also I knew that he was supposed to be weaker depending on how many ash vampires you killed, but that that wasn't properly implemented (and I don't think the morrowind code patch bothers fixing it?).

Anywho- great game. I've been playing a lot of good games lately now that I think of it. I mean most of this blog is me playing good games, but I feel like, and I could be mistaken, but I feel like there was a stint there where I was playing "complicated" games and "games I don't enjoy but want to see the merit of so I'm being a sourpuss while I play".

Now I feel like the last 10 dang games were strictly good and or great. Can't say that's a bad thing :)

If you haven't ever played Morrowind before but you're familiar with say Skyrim, I'd honestly say give it a look. A look first- because it's a thick game to begin and you might be able to discern it's not for you based off a look- but a look none the less.

It's Skyrim with more RPG nonsense going on and a more brutal "rags to riches" hero story for your protag. Might be up your alley as much as it ended up being up mine :)

So up next is EITHER an entirely different game with some ocassional Morrowind posts as I touch on the expansions, or more direct Morrowind content as I emphasize the expansions until I finish them, but I'm leaning towards the former.

I think beating the main quest has earned Vaksten the Idiot a short break.

[marginalgloss]

I turn 35 tomorrow. How better to celebrate that than with some notes on the handful of video games I have managed to finish over the last ten months. In no particular order:

Judgment (PS4)

Something I think about often is that there aren’t many games which are set in the real world. By this I man the world in which we live today. You can travel through ancient Egypt or take a trip through the stars in the far future, but it’s relatively rare to be shown a glimpse of something familiar. Hence the unexpected popularity of the new release of Microsoft Flight Simulator, which lets you fly over a virtual representation of your front porch, as well as the Grand Canyon, and so on.

I found something like the same appeal in Judgment, a game which took me longer than anything else listed here to finish — seven or eight months, on and off. Like the Yakuza games to which it is a cousin, it’s set in Kamurocho, a fictional district of a real-world Tokyo; unlike other open-world games, it renders a space of perhaps half a square mile in intense detail. I spent a long time in this game wandering around slowly in first-person view, looking at menus and in the windows of shops and restaurants. The attention to detail is unlike everything I have ever seen, from the style of an air conditioning unit to the range of Japanese whiskies on sale in a cosy backstreet bar. And this was a thing of value at a time when the thought of going anywhere else at all, let alone abroad, seemed like it was going to be very difficult for a very long time.

It’s a game of at least three discrete parts. One of them is a fairly cold-blooded police procedural/buddy cop story: you play an ex-lawyer turned private eye investigating a series of grisly murders that, inevitably, link back to your own murky past. In another part you run around the town getting into hilarious martial arts escapades, battering lowlifes with bicycles and street furniture. In another, you can while away your hours playing meticulous mini-games that include darts, baseball, poker, Mahjong and Shogi — and that’s before we even get to the video game arcades.

All these parts are really quite fun, and if you want to focus on one to the exclusion of the others, the game is totally fine with that. The sudden tonal shifts brought about by these crazy and abrupt shifts in format are, I think, essentially unique to video games. But the scope of Judgment is a thing all its own. As a crafted spectacle of escapist fiction it’s comprehensive, and in its own way utterly definitive.  

Mafia: Definitive Edition (PS4)

I was amazed when I found out they were doing a complete remake of Mafia, a game I must have finished at least three or four times in the years after its release back in 2002. Games from this era don’t often receive the same treatment as something like Resident Evil, where players might be distracted by the controls and low-poly graphics of the original. 

A quality remake makes it easier for all kinds of reasons to appreciate what was going on there. (Not least because they have a lot of new games in the same series to sell.) But in the early 00s PC games like this one had started to get really big and ambitious, and had (mostly) fixed issues with controls; so there’s a hell of a lot more stuff going on in Mafia than in most games of that era. It was also a very hard game, with all kinds of eccentricities that most big titles don’t attempt today. Really I have no idea how this remake got made at all. 

But I was so fond of the original I had to play it. The obvious: it looks fantastic, and the orchestral soundtrack is warm and evocative. The story is basic, but for the era it seemed epic, and it’s still an entertaining spectacle. The original game got the balance of cinematic cutscenes, driving and action right the first time, even while Rockstar were still struggling to break out of the pastiche-led GTA III and Vice City. 

They have made it easier. You’re still reliant on a handful of medical boxes in each level for healing, but you get a small amount of regenerating health as well. You no longer have to struggle to keep your AI companions alive. Most of the cars are still heavy and sluggish, but I feel like they’re not quite as slow as they once were. They’ve changed some missions, and made some systems a little more comfortable — with sneaking and combat indicators and so on — but there aren’t any really significant additions.

The end result of all this is that it plays less like an awkward 3D game from 2002, and more like a standard third-person shooter from the PS3/360 era. Next to virtually any other game in a similar genre from today, it feels a bit lacking. There’s no skill tree, no XP, no levelling-up, no crafting, no side-missions, no unusual weapons or equipment, no alternative routes through the game. And often all of that stuff is tedious to the extreme in new titles, but here, you really feel the absence of anything noteworthy in the way of systems. 

My options might have been more limited in 2002 but back then the shooting and driving felt unique and fun enough that I could spend endless hours just romping around in Free Ride mode. Here, it felt flat by comparison; it felt not much different to Mafia III, which I couldn’t finish because of how baggy it felt and how poorly it played, in spite of it having one of the most interesting settings of any game in recent years. But games have come a long way in twenty years.    

Hypnospace Outlaw (Nintendo Switch)

If this game is basically a single joke worked until it almost snaps then it is worked extremely well. 

It seems to set itself up for an obvious riff on the way in which elements of the web which used to be considered obnoxious malware (intrusive popups and so on) have since become commonplace, and sometimes indispensable, parts of the online browsing experience. But it doesn’t really do that, and I think that’s because it’s a game which ends up becoming a little too fascinated by its own lore. 

The extra science fiction patina over everything is that technically this isn’t the internet but a sort of psychic metaverse delivered over via a mid-90s technology involving a direct-to-brain headset link. I don’t know that this adds very much to the game, since the early days of the internet were strange enough without actually threatening to melt the brains of its users. 

(This goes back to what I said about Judgment - I sometimes wonder if it feels easier to make a game within a complete fiction like this, rather than simply placing it in the context of the nascent internet as it really was. Because this way you don’t have to worry too much about authenticity or realism; this way the game can be as outlandish as it needs to be.) 

But, you know. It’s a fun conceit. A clever little world to romp around in for a while. 

Horace (Nintendo Switch)

I don’t know quite where to begin with describing this. One of the oddest, most idiosyncratic games I’ve played in recent years. 

As I understand it this platformer is basically the creation of two people, and took about six years to make. You start out thinking this is going to be a relatively straightforward retro run-and-jump game — and for a while, it is — but then the cutscenes start coming. And they keep coming. You do a lot of watching relative to playing in this game, but it’s forgivable because they are deeply, endearingly odd. 

It’s probably one of the most British games I’ve ever played in terms of the density and quality of its cultural references. And that goes for playing as well as watching; there’s a dream sequence which plays out like Space Harrier and driving sequences that play out like Outrun. There are references to everything from 2001 to the My Dinner with Abed episode of Community. And it never leans into any of it with a ‘remember that?’ knowing nod — it’s all just happening in the background, littered like so much cultural detritus. 

A lot of it feels like something that’s laser-targeted to appeal to a certain kind of gamer in their mid-40s. And, not being quite there myself, a lot of it passed me by. Horace is not especially interested in a mass appeal — it’s not interested in explaining itself, and it doesn’t care if you don’t like the sudden shifts in tone between heartfelt sincerity and straight-faced silliness. But as a work of singular creativity and ambition it’s simply a joyous riot. 

Horizon: Zero Dawn (PS4)

I stopped playing this after perhaps twelve or fifteen hours. There is a lot to like about it; it still looks stunning on the PS4 Pro; Aloy is endearing; the world is beautiful to plod around. But other parts of it seem downright quaint. It isn’t really sure whether it should be a RPG or an action game. And I’m surprised I’ve never heard anyone else mention the game’s peculiar dedication to maintaining a shot/reverse shot style throughout dialogue sequences, which is never more than tedious and stagey.

The combat isn’t particularly fun. Once discovered most enemies simply become enraged and blunder towards you, in some way or another; your job is to evade them, ensnare them or otherwise trip them up, then either pummel them into submission or chip away at their armour till they become weak enough to fall. I know enemy AI hasn’t come on in leaps and bounds in recent years but it’s not enough to dress up your enemies as robot dinosaurs and then expect a player to feel impressed when they feel like the simplest kind of enrageable automata. Oh, and then you have to fight human enemies too, which feels like either an admission of failure or an insistence that a game of this scale couldn’t happen without including some level of human murder. 

I don’t have a great deal more to say about it. It’s interesting to me that Death Stranding, which was built on the same Decima engine, kept the frantic and haphazard combat style from Horizon, but went to great lengths to actively discourage players from getting into fights at all. (It also fixed the other big flaw in Horizon — the flat, inflexible traversal system — and turned that into the centrepiece of the game.) 

Disco Elysium (PS4)

In 2019 I played a lot of Dungeons and Dragons. I’m talking about the actual tabletop roleplaying game, not any kind of video game equivalent. For week after week a group of us from work got together and sort of figured it out, and eventually developed not one but two sprawling campaigns of the never-ending sort. We continued for a while throughout the 2020 lockdown, holding our sessions online via Roll20, but it was never quite the same. After a while, as our life circumstances changed further, it sort of just petered out.

I mention all this because Disco Elysium is quite clearly based around the concept of a computerised tabletop roleplaying game (aka CRPG). My experience of that genre is limited to the likes of Baldurs Gate, the first Pillars of Eternity and the old Fallout games, so I was expecting to have to contend with combat and inventory management. What I wasn’t expecting was to be confronted with the best novel I’ve read this year.

To clarify: I have not read many other novels this year, by my standards. But, declarations of relative quality aside, what I really mean is that this game is, clearly and self-consciously, a literary artefact above all. It is written in the style of one of those monolithic nineteenth century novels that cuts a tranche through a society, a whole world — you could show it to any novelist from at least the past hundred years and they would understand pretty well what is going on. It is also wordy in every sense of that term: there’s a lot of reading to do, and the text is prolix in the extreme. 

You could argue it’s less a game than a very large and fairly sophisticated piece of interactive fiction. The most game-like aspects of it are not especially interesting. It has some of the stats and the dice-rolling from table-top roleplaying games, but this doesn’t sit comfortably with the overtly literary style elsewhere. Health and morale points mostly become meaningless when you can instantly heal at any time and easily stockpile the equivalent of health potions. And late on in the game, when you find yourself frantically changing clothes in order to increase your chances of passing some tricky dice roll, the systems behind the game start to feel somewhat disposable. 

Disco Elysium is, I think, a game that is basically indifferent to its own status as a game. Nothing about it exists to complement its technological limitations, and nor is it especially interested in the type of unique possibilities that are only available in games. You couldn’t experience Quake or Civilisation or the latest FIFA in any other format; but a version of Disco Elysium could have existed on more or less any home computer in about the last thirty years. And, if we were to lose the elegant art and beautiful score, and add an incredibly capable human DM, it could certainly be played out as an old-fashioned tabletop game not a million miles from Dungeons and Dragons.

All of the above is one of the overriding thoughts I have about this game. But it doesn’t come close to explaining what it is that makes Disco Elysium great.

[thirteenfortythreeforty]

infinity train b4 spoilers below the cut!!

these are just my incoherent ramblings about the book after watching it through twice. 

im curious to know what the crew could have done with longer episodes. i think with the way this book played out, it needed to be expanded upon or some information needed to be cut or rearranged. i absolutely loved min and ryan; their dynamic is so wholesome (can you go wrong with childhood friends?) and their more emotional moments still hit pretty hard.

while i do think that the story and conflict itself could be a metaphor for coming out or being gay, of course it would have been great to actually see that on screen. even with the first episode showing some signs that min-gi might have been crushing on ryan? and that was dropped? also in the art gallery car, it felt like kez was trying to set them up together. she even said like “a little birdy told me...” like she was going to say “a little birdy told me you have a secret admirer” or something like that. either way, i am happy with how their relationship was portrayed and i do agree with some of the opinions i’m seeing, saying that their relationship needed to be patched up before they get together. i guess it would have been nice to see the pining played up more idk, i still really liked this book. 

it just so happens that their story does feel a bit half baked in comparison to the other books, even though the story is centered basically on them and only them (outside of kez)? i don’t know why. there were so many one off lines that i think the book could have benefitted from addressing (even just a tad bit more): that line about how they’re just “two asian guys from bc” and that there are not too many musicians who actually look like them, when ryan says that only min-gi’s parents would care if they were gone (what happened to ryan’s family?), etc. also, i needed to be convinced a bit more that min wanted to be in chicken choice judy. again, it was addressed (especially with his stylophone) but not enough! i want to know what was holding him back from going with ryan. was it his parents? his own expectations? was he simply just too afraid? found traveling to be too unstable? i think they were just going to dive into this with the latter, but it’s only scratching the surface. i really think these conflicts could have been fleshed out so much more. 

and this is something that’s kind of confusing me, if ryan’s growth resulted in his realization that he’s not leaving min, i guess his portal opening up was his last test for him to see if he would leave? was his number going back up to like 150 just the reason why he now has to stay or was he punished because he didn’t leave? i dont think i articulated that correctly...but the numbers were very peculiar to me with this book? their numbers would go down maybe to like 120, 150 in some episodes, but later on, it was stuck at 202. especially after the art gallery car it felt like 202 to 0 to 202 to 0. like at the end of the book, they were still where they started? but i’m not too sure i agree with that. i do think they had grown somewhat over the course of the book? but i guess they were still arguing by the maze episode? see i don’t even know.

i can’t help this feeling that kez is almost like the main character to me. even if min and ryan are technically the main duo, kez is the one who is guiding them from car to car, she starts the conflict of the final episodes and then we get an info dump about her past with morgan and jeremy. i also didn’t like how that was done, but trying to think of another way to tell that story...i’m not too sure how it would work. it may be that there are technically two storylines here: kez and the train plus ryan and min’s relationship. i did like kez and even though, i have to agree there weren’t many memorable denizens (and the pig baby and porcelain cow were pretty annoying), this was focused on ryan and min (and kez too ig). i thought the inclusions of amelia were probably added to be convenient for the plot, but i still do like how they were implemented and we did get to see her gradual take over of the car from the passenger perspective, which was interesting. 

the book does feel a bit underwhelming after the absolutely fantastic book 3, but i love ryan and min so much so i cannot be too upset. what i do like about this situation though, is that i was always so apprehensive to rewatch the show because i don’t think i would ever be mentally prepared again (especially for book 3) but with this newest season, i see myself rewatching it all the time because it is so laid back and lighter than the rest? i am curious if anything happened with production that could have held this season back...but i guess we won’t know lol. of course i am upset about the show ending because i really really really wish that we did get that hazel and amelia season, but alas, i have to be extremely grateful for what we have. my ranking at this current moment is 3, 4, 2, 1, purely because book 3 hit me too hard. it is near perfect and unforgettable to me, but book 4 is getting close...

[gffa]

Hi!  There are some excellent Obi-Wan and/or Ahsoka fics in the fandom!  Not all of them will necessarily feature a ton of interaction between the characters, but you will have a ton of reading material if you just enjoy reading about the characters!  I have a long archive of fic recs here, where any given list will give you at least something to check out for both characters! But if you want to hit up some of the Must Read Firsts, LET ME HELP WITH THAT. OBI-WAN & AHSOKA: A Future in Crisis by WolfMarauder is a fic where Ahsoka has a vision of the terrible future to come, so she returns to the Jedi,  works through her feelings and starts working on saving the rest of the galaxy. At it’s heart it’s very much an Ahsoka story, about her figuring herself and her relationships out, as much as it is about being a fix-it fic.  There’s such a warmth and charm to this fic that it’s like being in a warm bath and relaxing into it.  There’s very much a plot going on here, a complicated relationship with Anakin because of Everything, but it’s balanced with something that feels really, really good to read. The Journey of the Lights by Pandora151 is a fic that I got sucked into and couldn’t stop until I’d finished the first one, because it’s a Canon Divergent AU where things go just a little differently, things snowball, and it’s painful but so good and ultimately I think things end up in a better place.  Another great fic if you want plot, super satisfying confrontations that have been building for ages, and a progression towards things changing, in a way that’s often not easy, but works. Chosen, not assigned by Lysore is one where, ultimately, Anakin and Ahsoka’s relationship became absolutely incredible and Yoda was right about how good they were for each other, but what would it have been like if things were nudged a little to the left and she’d been chosen by Obi-Wan instead?  That she’d felt directly wanted from the beginning instead?  And it’s a lovely piece that explores that! Tano and Kenobi by FireflyFish is a time travel fic with Ahsoka going back to the past, taking a young Obi-Wan as her Padawan instead.  The fic is admittedly pretty hard on Qui-Gon, as well as their dynamic is different here because this is an Obi-Wan who is not yet an adult, but Ahsoka is, so they’re very changed from how they were before.  But it’s two and a half novels worth of plot and development and fun and angst and action!  It’s an incredibly written fic and does so much to really build up what it’s going for and really earns the massive changes it’s making.  Fishy is an amazing writer and I love the wide span of dynamics she gets into this story, so many different relationships, even as Ahsoka & Obi-Wan is the central one!  PLUS TIME TRAVEL FIX IT FIC, YESSS. Declarations by Nny11 is a series of scenes exploring Obi-Wan and Ahsoka’s relationship and I always like anything I read by this author.  I haven’t finished this one yet, but I’ve enjoyed what I’ve read of Close But No Cigar (Ahsoka-centric fic where the timeline is changed a little and she’s Yoda’s Padawan instead and it spirals out from there) and Let's Try This Again with a time-traveling Ahsoka in toddler form (so it’s more Obi-Wan & Anakin & Ahsoka) is probably my favorite of the author’s! Waiting and Learning by otherhawk is a lovely piece for Obi-Wan & Ahsoka that’s balanced between hilarious antics and the more painful aspects of what it means to be a psychic space wizard who wants to help people.  There’s such kindness here, even as it aches, in a way that’s very deftly done. The Only Way Through by victoria_p (musesfool) is a shorter piece, but has this really well done balance between the familiarity between them and yet how they’ve both grown so much older, during Obi-Wan’s time on Tatooine.  There’s so much pain in the background, but that doesn’t mean there’s not still moments and sparks of light to be found, which is perfect for them. Under a purple sun... by Perspicacia is Obi-Wan helping Ahsoka with her homework and it’s short but so lovely, it does a fantastic job with their dynamic and weaves in a few really nice details about Jedi philosophy that are hinted at, and is just warm and charming exactly as it should be. The Ryloth Excursion by Icarus_is_flying is one I love, where Obi-Wan and Ahsoka are on Ryloth, where she asks some questions that don’t have easy answers (but aren’t awful questions, either), and Obi-Wan’s guidance as her grandmaster is absolutely wonderful. Knight-Errant by zinjadu is about three novels worth of fic, which doesn’t have a lot of them interacting directly, but Ahsoka is probably the most central character and Obi-Wan has a lot of scenes in it, plus SO MUCH PLOT.  I’ve read about a third of the series so far and it’s incredibly engaging, where Ahsoka’s choice to stay with the Jedi helps shift things a little to the left, then a little more to the left, and suddenly everything is snowballing, all the same pieces we’re familiar with are in different places and maybe they might have a chance!  It is Rex/Ahsoka eventually, but it’s a very slow burn to get there and it’s not the only relationship that’s important to them.  It’s an Ahsoka piece and an ensemble piece and a fix it piece and a huge sprawling plot epic, and I’m loving it a lot. When Darkness Seems to Hide This Place by IllyanaA is another one where Obi-Wan and Ahsoka don’t interact directly a lot, but they’re both very present in the story and get some really excellent scenes.  The Jedi manage to scrape a few more people together, Anakin doesn’t turn on them, so they’re still in the middle of a galaxy that’s hunting them down, but now they might be able to mount a fighting chance sooner than before.  The Obi-Wan & Anakin scenes are stellar, Ahsoka gets her own subplot, and it’s a lot of really excellent plot as they figure out how to rebuild in this new Empire. Echoes of Mortis by orphan_account is more Obi-Wan & Anakin + Anakin & Ahsoka, but both are well done here, and the plot is excellent.  It’s marked as incomplete, but I would say that it reaches a place of good resolution and I felt satisfied by the ending!  In a Canon Divergent AU, where Anakin remembers everything that happened on Mortis, things go a little differently.  Which is very, very much not the same as easier, but it does lead to better places, even when everything is painful and ouchy in the best ways.  A lot of angst, but the kind I eat up with a spoon, it was so good. Obi-Wan and the Terrible Horrible No Good Very Bad (Life) Day by orphan_account is charming and adorable, that Obi-Wan’s life day is beset upon him by the people who care about him and it’s just an absolute JOY to read. OBI-WAN KENOBI: Fire and Ice by Yesac is the one fic I always, always come back to, the one I keep rereading and the one I would put at the very top of my list of fics that I think really wrote Obi-Wan brilliantly.  Oh, sure, there’s some stuff I disagree with, a few brief bits of the Jedi weren’t allowed to love or the like, but they’re extremely minor in a fic that shows otherwise.  This is a fic where Anakin won the duel on Mustafar and kept Obi-Wan and Padme hostage both, unable to let either of them go.  This is an Anakin who has this tremendous power but no core of self-understanding, so he’s legitimately unstable, you feel how fragile and cracked he is.  In comparison, Obi-Wan is steady and unbreakable, even when he’s entirely human.  This fic gets the balance of that, of who Obi-Wan is and how he relates to Anakin Skywalker, in that way that I can’t even be coherent about because it’s so well done.  Yeah, I’m probably overhyping it, but this one is just my fucking jam. starbird by imaginarykat is the other fic that I always come back to as a fic that really gets Obi-Wan Kenobi, the mix of flirtation and humor and seriousness and insight and how he’s both direct and wily at the same time, that Anakin’s just kind of spun around by him when Obi-Wan really focuses on him.  Yeah, wicked thing is the more popular one by this author (for good reason!) but I always love starbird for the one I can point to as a more canon-friendly version of Why I Love Obi-Wan Kenobi So Much.  (Obikin.) The Dark Path Lit by Sun and Stars by A_Delicate_Fury is a brilliantly done time travel fic where Obi-Wan, Luke, Leia, and Han end up back in the past and even in just the smallest of gestures, this fic gets Obi-Wan, all the more so because it’s balancing a character who is both the General Kenobi of the war and the Old Ben of Tatooine as they suddenly find themselves occupying the same mental space! Cataclasm by dendral is another excellent fic that does right by Obi-Wan’s character, where he gets a vision of something and decides he needs to take another path in this terrible war they’ve all been dragged into.  He takes Waxer along for the ride, going around the galaxy where the Force leads them, getting into batshit Jedi scrapes, trying his best to save people, and it’s this really beautifully done action fic, buddy fic, and examination of what the war has done to the Jedi and why it’s such a tragedy. The Living Force; Parables for Padawans by glorious_clio is a beautiful piece for both Obi-Wan as a character and for a story-within-a-story about what a Jedi fairy tale would be like.  It does such a beautiful job of telling interesting stories, the kind that would be used to make generations of Jedi think and turn them over and find meaning in them, while also illustrating the deeper meaning of the lines that make up their most famous meditation mantra. Stunning work. Supreme Chancellor Obi-Wan Kenobi by stonefreeak is an ensemble piece, but it’s centered around Obi-Wan and is really great if you’re a fan of his character, where he has pretty much The Most Exasperating Day Ever and winds up elected as Supreme Chancellor of the Republic and then everything starts slowly inching towards the left, now that the Jedi and the good people of the Senate have some actual breathing room.  It’s about what might have been possible in a galaxy with a little more good faith to go around, as well as a great look at Obi-Wan’s relationships with various characters.  An absolute scream to read, but also a really delightful plot. Remedial Jedi Theology by MarbleGlove is a fic that is very much based on Legends, rather than on canon/George Lucas’ Star Wars, so you have to roll with that when you pick this fic up (which I find useful to note mainly in the context of those who find my recs useful/want a heads up, never really as a value judgement), but what you’ll get is an incredibly thoughtful, warm-hearted fic that I found to be incredibly engaging and charming. The entire fic is about Obi-Wan trying to figure out just how to train Anakin and how to fit him into the bigger structure of the Jedi Order, how to adjust himself and that structure to better fit his new Padawan and the other Jedi learners, but in a way that’s also about understanding why they’re set up the way they are, about how deeply caring they are, and how thoughtful they are. It’s a good faith look at the Jedi and a great look at Obi-Wan’s character. Reprise by Elfpen is another fic that I’m only a third of the way through so far (I’ve been hoarding it for awhile) but it has some absolutely stellar Obi-Wan characterization, who is someone that’s really Seen Some Shit, who feels kind of lost sometimes, who feels things very deeply, but who also has a kind of strength that allows him to continue rising above.  It’s not that he’s untouchable by mortal feelings, but that he’s used to understanding himself, acknowledging himself, and working through what needs to be worked through.  Combine this with some really stellar writing for Qui-Gon, for Obi-Wan’s younger self, for the other Jedi around him, for the plot, and it really is one of the best fics in the fandom. The Exchange by MissLearn is one of those that I absolutely fell in love with, where Obi-Wan and Anakin exchange places with their TPM and pre-ROTS selves, which leads to a lot of shit hitting the fan in a way that is forcing things to a head a little earlier, so they can deal with it in a way that they couldn’t in canon.  It’s a great look at their relationship, both the beginning of it and the established one, as well as the glee of having them in different eras and seeing how they react/how the people around them react! The Hand Dealt by not paranoid enough is another favorite, where it’s about a simple twist that changes so much--instead of Qui-Gon going to Tatooine, it’s Obi-Wan who meets Anakin first, and that shifts everything to the left just enough that everything is so recognizable and yet different.  It’s an engrossing read as things happen differently, some good and some bad, and it’s an amazing read. Though Lovers Be Lost by panharmonium is a shorter but absolutely fantastic look at Obi-Wan’s character.  I love all of pan’s fic, The Mathematics of Repair and Take My Waking Slow are both great looks at Obi-Wan and Anakin’s early days, but I think the first one is a great starting place for a fan of his character, it’s beautifully written. After the Pillars Come Down by Virgo827 is a fic that deserves so much love because it’s one of those that, aside from the acknowledgement of Obikin, it could have fit right into an episode of The Clone Wars.  It does a lovely job of Obi-Wan being level-headed and focused, but that something about Anakin makes him lose his mind a little, that Anakin is that one person that he finds it difficult to remain calm about, which speaks to how blind he was towards Anakin’s faults, because he loved that guy so much.  It also has a real, genuine plot that’s a fantastic read, it has amazing Anakin moments, and it was an incredibly satisfying read. Equinox by lilyconrad is a fic I’ll never not be biased about, because it was written for me and tailored to my wants, but I genuinely hold this up as one of the best examinations of Obi-Wan’s character and his relationship with Anakin, as it moves from one of friends to one of lovers.  It’s a look at what having Sith versions of themselves means for parallels and contrasts alike, what that forces Anakin and Obi-Wan to understand about themselves and their feelings towards the other.  And it has a fantastic plot!  Every chapter of this fic was one I wrote like three paragraphs of a rec for because it had such thought and care put into it, so it’s probably always and forever my #1 Obikin fic. Upfall by bell (belldreams) is a stellar Obikin read for both Obi-Wan and Anakin’s characters, where so much thought has gone into each chapter, as well as some incredibly building tension and breaking.  This is a fic that is very, very aware of Anakin’s character arc in canon and the things he does there, as well as it’s an incredible look at Obi-Wan trying to balance his own boundaries, that he’s allowed to have his own internal world that’s not just about Anakin, versus that Anakin is the one he’ll always choose, even when he’s being a shit.  Seed is another one I love (Anakin contracts a virus that means he needs to give Obi-Wan blowjobs and then, oh, no, feelings happen) that does an amazing job of looking at the characters and digging into the issues they have.  bell really gets the both of them and these are incredible reads for them. Pas de Deux by Ghost_Owl is a lovely look at Obi-Wan and Anakin and Ahsoka.  Well, it’s primarily Obi-Wan and Anakin, but it’s about Anakin’s relationship with Ahsoka in the background as well, shown through the lens of Obi-Wan & Anakin.  I love this one because it’s about how difficult it is to balance that Obi-Wan was his Master, but is now his friend, that Anakin bends over backwards to lash out sometimes, instead of listening, instead of still accepting Obi-Wan’s guidance, but that they can muddle their way through to something good again.  And its characterization is lovely, too! AHSOKA TANO: What We've Become by Vinyarie is probably my favorite Ahsoka fic, where the first one is an absolutely gorgeous look at her getting trapped on Malachor with Vader, where they have to depend on each other to live, which gives them time to breathe and then argue some more.  The characterization for her is spot-on, where she is a grown woman who is settled in her own skin, that she still feels deeply but she has a hell of a grip on herself.  That she may not be a Jedi anymore, but she still carries their teachings in her heart, and that strength of her sense of self is beautifully shown.  The second fic is one where she visits Obi-Wan on Tatooine and I loved the conversation they have, as well as the digging into her character even further and what she really wants from here. time to change the road you’re on by wreckageofstars is time travel fic with Ahsoka and is another absolutely stellar look at her character, that it’s partly about her relationships with others (especially Anakin) but is also about her coming to understanding about everything around her and even herself somewhat.  This is an older Ahsoka, the one who has settled into her own skin more, and it’s a beautiful look at her AND a time travel plot! Old Sins Cast Long Shadows by zarabithia is an AU where Anakin died in the fight against Palpatine and the galaxy has to continue on without him.  Ahsoka takes up the job of protecting Padme on Tatooine, giving her time to heal from everything that’s happened, as well as Obi-Wan eventually joins them, and it’s a lovely look at Ahsoka’s character and the dull ache of Anakin being dead in this universe, but knowing that things are so, so much better here. Strange Meetings by gilestel is a beautiful post-Return of the Jedi scene between Ahsoka and Luke, where they don’t have much time to talk, but the potential of it and promise of it and just the immediacy of the moment are all lovely. memories like ashes at our feet by ambiguously is another shorter fic but a fantastic one where Ahsoka is stranded with an amnesiac Vader and has to walk the line between that this is something of her Anakin back, but also that this is still Darth Vader and he could regain his memories at any point.  It’s aching and hopeful in all the right places. The Season's Rain by Bythoseburningembers is an absolute scream of a fic, where Lux and Steela and Saw join Ahsoka in the Jedi camp, where they get to see them in a more relaxed state and they are all a bunch of absolute CHILDREN.  It’s one of those fics that could have been bordering on parody, but the strength of the writing and the charm of the characterizations instead makes it a fantastic look at the Jedi and clones being entirely relatable, being family to each other, and I love everyone in this, including Obi-Wan and Ahsoka. The Cave by Ria Talla (ronia) is one where absolutely fell in love with this gorgeous fic because it pulls off a dreamy mishmash of imagery and slipping from one memory/moment to the next beautifully, it does a gorgeous job of making Ahsoka feel unstuck in time after the events on Malachor. Which is wonderful in and of itself, but it lends such a great weight to the cost of traveling through the World Between Worlds as she did, that there’s a reason that it’s not a thing to use lightly, and it’s not punishment, but consequence all the same, as the fic says.  It has some really great characterization for her, too.

[whistlewhileiblogit]

Thoughts on TLoU Part 2....Again

Yeah, I am back with another vent, rant, thoughts on...thing. I wanted to wait a long time after writing my initial reaction to the game, because I figured I’d get more clarity or something. Anyway, so here are my unedited and unfiltered thoughts...8 months later. So as always, this is going to be rambly, and I’ll probably just bold parts of note in case anyone wants to jump around. So here we go!

Oh and, SPOILERS AHEAD

Things I liked: These pretty much haven’t changed. The game is obviously beautiful, the gameplay itself I enjoyed immensely (when mentally separating it from the plot), the Joel and Ellie flashbacks. They were fantastic, and made me feel very reminiscent of the first game. Jesse and Dina were cool, but I found them underutilised, which is a massive shame because they were cool characters.

Yara and Lev were also great, and again, Yara was another completely wasted character potential. But love them nonetheless.

So yeah...that’s pretty much it, I think?

Now for the things I didn’t like...

The writing is the biggest sin in the game to me, as it creates so many structural issues. The pacing is wild and jarring, we aren’t given enough time to bond with certain characters before they are killed off, the narrative itself manages to be incredible simple yet complex simultaneously, but it is a total mess.

Let me explain. The end of the game essentially comes down to “revenge bad”, no matter how you look at it. Sure, you can also include other aspects like, “do good deeds”, but they seem sort of tacked on, considering what happens throughout the game. Ellie goes through the entire story with vengeance for Joel being basically the only thing on her mind (or at least, at the forefront of it), and then just...doesn’t go through with it at the end.

Honestly, the game felt by that point that she HAD to go through with it, after all, how would she learn her lesson? Yet she learns her lesson, without actually getting revenge? So what was the point? Some have said that she learnt in that final fight with Abby to forgive Joel, but this makes no sense. Ellie had already started to forgive Joel before his death. Obviously, she wasn’t over it yet, but she clearly wanted to make amends with her father figure. Besides, she’s fighting Abby, after all. And she certainly didn’t forgive her.

I think a lot of people took Ellie letting Abby go as forgiveness, but in reality, it was in complete grief. There was no point in killing her anymore.

But again, THIS MAKES NO SENSE. Given every. Single. Thing Ellie went through the game, all to find and kill Abby. Losing others she loved and cared for, her family, her fingers (and her ability to play guitar which was the only thing she had left connecting her to Joel)...all of that and she just let Abby go?

It would have made so much more sense had she gone through with killing Abby, only THEN to realise it didn’t make her feel better in the long run. That she was still conflicted in her feelings for Joel. Why bother having Ellie go through every point in the game, only to have her back out at the last second and STILL lose everything? What is that saying? If you do the “right” thing, you’ll still get shit anyway? Ugh.

So speaking of Abby...I thought hey, maybe after all this time, I’ll be able to grow to like her! Yeah, nope. She is just as unlikable as always. Abby is a deuteragonist that we are meant to grow to care for, like we do Ellie. But here’s the thing; Ellie has an ENTIRE GAME beforehand PLUS a freaking DLC game that gives us so much time to love her. So you would think that the writers must think, we’ll make Abby super likeable! NOPE.

Throughout the game, Abby is stoic (which isn’t a bad thing on its own), serious, and just flat-out boring. Sorry Naughty Dog, but I don’t find a character who collects coins as her biggest personality trait interesting. She isn’t funny, or kind or particularly clever. She has her strength, and that doesn’t count as a personality. She’s also a shitty friend, and person, and gets called out for that in the game by Dr Preggers (still don’t remember her name).

Even Abby’s flashbacks do little to make me like her. Oh wow, she has a magical, amazing, super perfect animal-helping papa? And? I just can’t latch onto her character and story. Even if she were really well written and interesting, I wonder if I could have after the game presents her as a total fucking barbaric monster in the first two hours of gameplay.

No, I’m still not over Joel’s death. And despite what some people try and say, it isn’t BECAUSE he died. I went into the game fully expecting Joel to die (I was lucky enough to see no spoilers prior to playing), because I felt like that would be the next step narratively that ND would go. This was a terrible decision on ND’s behalf, but I’ll get into that later.

Joel’s death as the way it plays out, does not only Joel a great disservice- but Abby as well. If ND wanted us all to like Abby so much, they easily could have just made her show some remorse, or conflict, or even just a quick, somewhat merciful death to Joel. But instead, we get ~torture porn~, which becomes the first scene of many of these in the game. This scene is so fucking brutal and sickening, I personally cannot watch it. I have seen it ONCE, and after that I have avoided having to watch it again. And I am not a person with a weak stomach.

Instead of having a death scene worthy of Joel’s character, like having him save Ellie somehow or going out in a blaze of glory, as many have suggested...we got an incredibly beloved character being treated as merely a plot device.

Imagine if the roles were reversed, and Ellie had been killed in Part 2, not Joel. I doubt those saying they’d be cool with it really would be. Especially in such a disgusting, horrific manner.

And one of my biggest grievances with the game- the retconning. I’ve had some people argue with me, that the game doesn’t retcon anything. Those people are fooling themselves or just being wilfully ignorant. Part 2 completely contradicts facts from Part 1. Including:

- Joel didn’t completely lie to Ellie. He half lied. If Joel finds all of the recorders in the hospital, it is revealed that the fireflies DID find dozens of immune people. And killed all of them trying to make a cure...and it didn’t work. This is literal in-game proof that the fireflies never would have succeeded in their quest, had Joel let them kill Ellie.

- Part 2 would have you believe that the fireflies were doing well with their groups and their research. Part 2 shows a beautiful, modern-day looking hospital. But the fact is, as shown in Part 1, the fireflies were on their last legs, and killing Ellie to try and find a cure was their last-ditch attempt to find meaning in their cause. It never was going to work. The hospital is shown to be filthy, and barely up to scratch by all standards. The fireflies were struggling, despite what part 2 tells us.

- The character design changes. We have all seen the comparison pictures of the doctor in part 1 vs part 2. They tried to make Jerry (?) look so wholesome and kind, begging for humanities sake. That isn’t how it went down, and he isn’t the same person. They just wanted Joel to look like a total villain.

I also want to mention what a disservice the marketing was to this game. I know Naughty Dog is very anti-spoiler, for obvious reasons, but they went above and beyond hiding spoilers that they straight up falsely advertised the game. And no, I will not forgive them for that.

The game completely undoes what made the first game special. It was a story about two people, struggling to survive, and somehow through it all, finding a familial love and trust within each other, and fighting to keep it, no matter what.

Ellie and Joel ARE The Last of Us, and Part 2 literally kills of half of what made the first game so incredibly special. As soon as Joel was killed, I wondered how the game would remedy those moments, and aside from the few Joel flashbacks, there really isn’t anything comparable to these scenes. Ellie is alone, so she doesn’t get to develop, or show her personality. And even when she is partnered up for short periods of time, she is too miserable (for good reason), to be the joking, lovable character we knew from the first game.

Final thoughts...

All in all, I would say my opinions have stayed pretty much the same for Part 2. I will forever love Part 1 (played it not long ago for the millionth time), and it is always going to be special to me.

But part 2, as it is, is nonredeemable to me. It really could have been something truly special, like part 1, but I guess that’s just what made The Last of Us so special.

[betweenthetimeandsound]

Three Minutes to Eternity: My ESC 250 (#17)

#17: Barbara Pravi -- Voilà (France 2021)

"Regardez-moi, ou du moins ce qu'il en reste Regardez-moi, avant que je me déteste"

"Look at me, or at least what’s left Look at me, before I hate myself"

Once again, there's a bit of recency bias with putting this so high, but I couldn't help it after what she had done in Rotterdam and the story she had to tell. There's a lot of fierceness and determination with this one, which can get lost if you don't read a translation of the lyrics, or if you're quick to dismiss it as "another French chanson". (Which is why I'm a bit peeved when Go_A and Maneskin fans ally with each other and gush over each other's songs, and exclude Barbara, who came third in the televote and got televoting points from every single country. Guys...)

Like with Zitti e Buoni (#75), Voilà is an affirmation of oneself, but unlike with Maneskin, Barbara tells her story from the inside out. She wants somebody to listen to her tale as a "chantesuse a demi"--"a half-singer", or a wannabe. She starts small, as seen through her quiet voice and the sparse piano and violin, which eventually grows as the song goes on. Of course, there's a certain sense of desperation and tension throughout, but I can understand it. I keep imagining a ballerina on stage trying to work on her craft--struggling and tripping on her own toes in order to get the performance right. It's very theatrical, with her eventual growth as a singer and performer, but it works through the entire track. I knew it was going to be my favorite by the second chorus, in which she starts taking flight.

What also shines with this was with Barbara as a performer. Before the big night in Rotterdam, she could make a different performance of it every time. Noted was her prière version (also check out both "prières" EPs, they are fantastic), in which she has layers of her own backing vocals to add almost a divine version of the song. It seems like the angels are singing with her.

And that's not going into the night of. With minimal changes from the NF staging, including an improved bird effect, Barbara had the stage to herself, and simply lived though the song. There were a few times where she wavered, but I could feel everything she wanted to convey, especially in the last minute where she finally finds her wings. She performed it as if it were the last performance of her life.

I can't be too sad about Voilà not winning--Maneskin had a powerful song themselves, and they're doing great, so why not? But Barbara got France's best result in thirty years, with what should've been a televote poison, a total 180 to what they would've sent in 2020. It's beautiful and sincere and deep, with a purity which shines throughout.

And for that, I'm eternally proud of Barbara.

Personal ranking: 1st/39 Actual ranking: 2nd/26 GF in Rotterdam

Final Impressions on 2021: Can you say one of the strongest years ever*? That's how I felt after the final song of the GF--they were all good to some extent, and the energy accompanying them just left me on a high for a month. The production, considering the circumstances, is also quite solid; I particularly liked the "Winner's Journey" segments as well as "the power of water" interval in the first semi-final.

A flaw was with some of the overlaps between delegations--the silver dresses, the 80s aesthetics, along with the "playbacked backing vocals" rule. I could see why some people would want it to stay to allow for a greater variety of genres to be represented, but if used the wrong way, I fear it would lead to lead singers miming the lyrics. If this rule is continued, then there has to be tweaks to make sure that doesn't fall through the cracks.

*of the modern era, of course. It's a bit too soon to determine how strong it is in comparison to other years.

[jossielrs]

Tomatoes

-Shane Koyczan

People always ask me, "How do you memorize all that?" And the truth is, the first girl I ever kissed tasted like tomatoes. I know this because the second girl I ever kissed tasted like pepper. It wasn't unpleasant, it was just, I was expecting tomatoes. When I was a kid, I learned that time slows near a black hole. Inside a black hole time stops all together. Whether or not this theory will ever be proved, I am moved to believe, this would be the perfect place to love someone. In grade four my gym teacher gave me the nickname half ton. It was a name that stuck. I remember it because it was the first time I ever told someone, "Go fuck yourself," and meant it. He quit calling me the name after he called my house trying to get me in trouble for what I'd said, to which my grandmother replied, "Mr Shithead, I told him to say it!" I remember my grandfather's blue toolkit, where he hid a secret stash of raisins. I recall thinking, "My granddad has the worst taste in candy." But he did teach me how to tie a tie. My first opportunity to apply this knowledge was my first date. A seventh grade classmate who showed up wearing acid washed jeans and a death leopard t-shirt; I wore a suit and tie. When she asked why I was all dressed I had to think quickly and told her, "I thought it'd be funny." I don't wanna say it ended badly but she wound up leaving me for a boy who could make farting noises with his armpit. I'm forced to admit, it was pretty cool. In fourth grade my teacher had a rule about speaking out of turn. Failure to learn and practice this lesson would result in having to sit outside. I know this because I tried it once. When she finally came out to check on me she asked, "What was so important that it couldn't wait?" Knowing that it's rude to point but needing to illustrate my position, I gestured to her chest and said, "Your boob is hanging out." She quickly covered up and corrected me, "Breast." She was a good teacher. When I was twelve I was given an academic diagnostics test. The instructor later informed me I had an aptitude for history. He looked puzzled when I replied, "Yeah, but that was yesterday and today I'm more interested in tomorrow." I remember it because the next day I asked a girl if I could borrow a pen. When I offered it back she said, "You should write me a letter with it first." So I did, I wrote her a note which the teacher then intercepted and read to the class. It was something we'd learned in science that day. About how the way gravity affects mass and weight in relation to how quickly something will fall. Example: A crumpled ball of paper will fall at the same speed as a chunk of granite. It doesn't matter how much something weighs, it stays the same until you consider surface area and resistance, at which point the persistence of gravity loses force. Example: Crumple a piece of paper into a ball, it'll fall more quickly than a loose sheet. They're both composed of the same mass and weight so you'd think that the rate of velocity measured by the force of gravity would fall each to fall at the same speed. But that's when you need to consider the greater surface area of the loose sheet adds resistance, so the crumpled ball will fall quickly and the loose sheet will slowly float. I wrote a note, saying that "When two people fall in love, they do so at the same speed." There's no need to factor in the physics. Explanations are something we can make no use of. Einstein once wrote, "Gravity will not be held responsible for people falling in love." I wrote a note saying, "If I fall in love with you, no one will ever be able to explain it," and I think that's beautiful. Despite the class laughing, and she did as well. Which is how I can tell you that I then knew and now still know, she tasted like tomatoes. I don't remember the way every song goes, I can't recall every person I've ever met, I get names mixed up all the time, I'm terrible with birthdays. But I remember all the ways people have affected me; how our stories became memories; and if you're brazen enough to make one with me, you're

in there somewhere. Maybe it was a truth or dare kiss, or a simple act of kindness, one that reminded me to remember the moment and mark it as a memory so I could have it to look back on. From this life, I've drawn conclusions so big that you can't fit into the tiny comic book boxes. Because I don't wanna risk losing the details just so I can make the story fit.

It's not a trick. I remember how things felt, which in turn makes me remember how things happened. Like my first attempt at skateboarding, when I received a down to the bone skinned knee. I remember a tree that looked like a man with huge arms trying to hold up the sky. I used to try and climb to the top until one day I did and couldn't get down. I remember the man with the brown car who tried to convince me he was sent to pick me up by my mom. Number one: I lived with my grandparents. Number two: You didn't know the safety word. I recall when it finally occurred to me, I'm pretty fantastic. It's not magic. I remember because I make comparisons, and not in terms of better or worse, just different. And not all of these memories are great, but they're mine. Which lends weight to the belief that none are our lives are put together on an assembly line. We're not prepackaged with emotions or programmed with stories, we have to make our own. And they all come batteries not included. Amid the endless opportunities we have daily, seldom do we take the time necessary to pause; to stop; to record, rewind, and press play. In our own way we are all ghetto blasters at top volume. We consume silence with noise. Speakers pounding at our heartbeats as we write refund receipts for the broken eardrums of people that could hear us live. We give of ourselves time, precious because it's quality is limited only by your ability to live within it. Put yourself into every second of every minute and you will have a life worth remembering. Just because we don't have forever, doesn't mean we have to move towards the end as if we're on a conveyor belt. I feel nothing short of astonished when people ask me, "How do you memorize all that?" The fact is, it's not a trick. There's no fake curtain you need to pull away. No little old man making it all work from behind a locked door. You yourself probably remember when I told you before that near a black hole, time slows. Inside a black hole, is where I wanted to grow tomatoes.

[sz-amare]

7. My Top 15 Anime List

I have watched a lot of anime in the past four years, but one thing that gives me great enjoyment is ranking my top anime. Here I will rank my top 15 favorite anime, along with some honorable mentions that couldn’t make it. However, I won’t be going too in-depth on the analyses; I just want to give you a general idea of why the particular anime is where it is on my list. In general, I rank my anime depending on a combination of factors: 1) how brilliant I find the anime to be written, 2) if the themes resonate with me, 3) if it is categorized in my favorite genres, and 4) my general enjoyment level. Anyway, to the list.

 Number 15

One Punch Man

When I first watched One Punch Man, it seemed nothing more than a mindless comedy anime. Don’t get me wrong, I really enjoyed it and laughed a lot, but I found it to be forgettable. But one day, I heard that the genre of One Punch Man was seinen, which made no sense to me. It had no dark and mature themes, and as I mentioned, it was nothing more than a senseless comedy. But then one day, on a whim, I watched One Punch Man again. And I REALLY enjoyed it. I still laughed a lot, but something felt different to me this time. I actually felt like I had a deep connection with each of the characters. The story seemed to be more structured and enjoyable this time, and finally, I could actually see the themes that One Punch Man was trying to explore. It made sudden sense to me that One Punch Man is indeed a seinen and that it had a lot more to it than on the surface. Of course, the difference in experience is because of my new understanding of anime and the experience I gained.

Number 14

Kenichi: The Mightiest Disciple

Kenichi: The Mightiest Disciple is probably one of the most unknown, underappreciated, and underrated anime on this list. Someone recommended it to me, and I had never heard of it, so I assumed it was a mediocre anime. But when I watched it, I had so much fun which I hadn’t felt in many months. It is a training shōnen anime where the main character tries to learn martial arts. That is all I want to say for now because I don’t want to spoil anything, so go watch it. I highly recommend it.

Number 13

A Place Further than the Universe

I don’t see many people talking much about A Place Further than the Universe. But, I must say, it is absolutely phenomenal. It is, hands down, the most inspiring anime in existence. The basic premise is a high school girl wanting to do something significant in her high school life. I won’t say anymore because, again, I don’t want to spoil this anime, and I recommend you check it out if you need inspiration in your life. Let me just say that it is now an aspiring goal of mine to visit Antarctica.

Number 12

Plastic Memories

I made a whole analysis on the previous post so go check it out. But for a quick recap, the life lesson I learned from Plastic Memories has permanently changed my behavior for the better. I found it to be the saddest anime I have ever watched.

 Number 11

Steins; Gate

Once again, I have already made an analysis on Steins; Gate, but this time I only covered the first episode. I also ranked Steins; Gate a 10/10 so that must mean that the rest of this list must contain masterpieces. But to be honest, that is not really the case. You see, to me, even if I consider something a masterpiece, the enjoyment factor plays the most significant role in ranking high on my list. For example, I found Death Note to be brilliant, but I really struggled to enjoy it and therefore, it is not ranked that highly. Don’t get me wrong, I really enjoyed Steins; Gate, but I just enjoyed the rest of these anime way more. Anyway, if you want to see why I loved Steins; Gate so much and why I find it so brilliant, check out blog post 4.

Number 10

Berserk (Manga)

Almost everything I found In Berserk is brilliant (except its adaptations, that’s gas station toilet). Guts is a 10/10 protagonist, Griffith is a 10/10 antagonist, the cast is a 10/10, the story is a 10/10, AND THE ART!!! Holy shit!!! I can actually picture an entire museum dedicated to each panel of Berserk.

 Again, the only reason this anime is not any higher is simply because I enjoyed the others on this list so much more. However, I am yet to review any analyses on it so there is a possibility that it will bump-up several places higher when I truly understand the brilliance behind it. Great read though!

Number 9

Haikyuu

I LOVE Haikyuu. Each season gets progressively better and better. It has a lot of controversy around it because of its fan base and because it’s a sports anime. But to be honest, I find Haikyuu to be a better shōnen than My Hero Academia, Black Clover, Jujutsu Kaisen, Demon Slayer, and most other modern shōnen anime. It has its amazing moments, its cast is amazing, the character development is amazing, the themes are amazing, and the antagonists are amazing. I am not bluffing when I say that the antagonists in a Volleyball anime are better than the antagonists in many shōnen anime (I’m going to develop haters before I can even develop fans). I plan on making an essay on what most shōnen strive for yet fail to achieve, and Haikyuu somehow delivers.

Number 8

Oregairu

Best romance. Hands down. Oregairu, or SNAFU, or My Teen Rom-Com is Not What I Expected (yes, so many titles) is a masterpiece in its own right. If you are a guy and you watched Oregairu, don’t act like you didn’t imitate Hachiman a couple times. He is a beautiful protagonist, which most of us guys relate to. His inner monologues result in us treating them as gospel. The sub-text is confusing as fuck, but end up making sense in all sorts of ways once decoded. Yukino is best girl, but man I love Yuigahama almost just as much. The general enjoyment I got out of Oregairu is so far through the roof that I once forced myself to stop watching it so that I could savor the show a little more. It is a little difficult to get into at first, but you will most likely end up enjoying it.

Number 7

Re Zero

This is the most recent addition to the list. I often don’t add anything new to my list; I just switch the places between some of them. But ever since season 2, Re Zero jumped significantly in rank. It is the best anime of 2020 (including sequels), and I enjoyed each episode to the max. I was considering adding Re Zero to my top 10 since the first half of the second season finished, but I was a bit hesitant because I am easily affected by recency bias. But my love for Re Zero would just not die down: my love for it grows after each episode airs. It is the only anime on this list that I watched weekly other than One Piece. I actually prefer watching a series I love weekly rather than binging it all, except for One Piece, pacing is constipation (slow and painful). Other than the vast enjoyment I got out of Re Zero, the main reason it made it to this list is because of the light novel comparisons I watch. Aninews is my favorite source. He compares the episode to the light novels, mentioning what was left out and further describing the emotions and thoughts of the characters. He tends to release the “Cut Content” videos a week after the episode airs, but the content and quality are incomparable. I found the videos to be so amazing I am basically just as excited for the weekly videos as the Re Zero episodes themselves. If you love Re Zero, the Cut Content series is a must watch.

The fantastic details and emotions the light novels are able to portray are stunning. I decided to read the light novels recently, but the only issue is that I am very short on time. But for each novel I complete, I will release a post on it.

Number 6

Mob Psycho

Although I said I found Haikyuu to be better than most modern shōnen, Mob Psycho is hands down the king. Its quality far surpasses all modern shōnen and a lot of older generation shōnen too. Funny thing is, I believe Mob Psycho’s primary genre is slice of life, not shōnen. I also believe it to be the best take on an overpowered protagonist. One of my favorite things is that Mob, who is the strongest esper we have seen, seems to be so weak. That is exactly how he should be portrayed; he is still a child with mental challenges that he is constantly trying to overcome. The themes that Mob Psycho explores are some of my favorites. The animation is a bit weird at first, but after watching it, you suddenly realize how brilliant it is.

(Honorable Mentions)

Attack on Titan

I am going to get a lot of hate for not including this in my top 5, let alone my top 15. Attack on Titan is still releasing episodes, so that opinion may change soon but let me be clear about one thing: Attack on Titan is a masterpiece. It is absolute greatness. The hype and enjoyment I get out of Attack on Titan are out of this world. But, a) the enjoyment feels a bit short-lived for me personally. It is a fantastic week after airing, but I tend to forget about it the next. b) Attack on Titan is simply not my type of show. Again, I do love Attack on Titan. Again, it is a masterpiece. And again, it may bump up a bit after a few episodes release, but as of now, Attack on Titan isn’t in my top 15.

(Honorable Mentions)

No Game No Life

Similar to One Punch Man, I thought No Game No Life was an anime for senseless fun and enjoyment. But then I watched the movie. The movie is canon to the light novels, but it is irrelevant to the plot and only contributes to the understanding of the world. However, since I watched that movie, I felt the world of No Game No Life to be more realistic. Of course, a world where games resolve all sorts of conflicts like war is ridiculous. But after watching the movie, that ridiculousness somehow turned to reality. The world of No Game No Life became fascinating to me, and what seemed like dumb games began to turn into political machinations.

(Honorable Mention)

Magi & Yona of the Dawn

All I have to say about these two anime is that they seemed to be very fascinating premises and concepts, but the anime sadly stops for both. I am considering reading the manga for both of them sometime soon, so this list may change once I do.

Number 5

Hunter x Hunter

If you like shōnen, I don’t see why you would hate Hiatus x Hai—I mean Hunter x Hunter. The only thing it slightly lacks is a strong main cast, which many people like anyway. Otherwise, absolute perfection. They have most of the best villains in all of anime: Hisoka, Chrollo, Meruem… How can you not love Meruem? And the way he parallels with Gon but in the opposite direction: just perfection. The arcs are hard to rank because they are all perfection in their own right. The best power system in anime is nothing short but perfection. If it weren’t for the Hiatus, it would be ranked fourth. I doubt it would scratch my top three.

Number 4

Full Metal Alchemist: Brotherhood

I know I kept saying perfection when talking about Hunter x Hunter, but I actually believe that Full Metal Alchemist: Brotherhood is the perfect series (Note: I am not saying that no one can love it and that it has to be your #1; obviously there are preferences. I’m merely saying that it perfectly crafts what it is trying to portray). The only two arguments you can bring is that the beginning is weak. But if you watch the 03 version, there are no issues whatsoever, in my eyes. Keep in mind, when I say it is the best, I mean from a narrative standpoint. Yes, the animation isn’t the greatest, and the gags are kind of bad, but from a general narrative standpoint, it is the best writing I have ever seen. The plot was brilliant and well-crafted. The world is beautifully bound by their power system: alchemy. The philosophical discussions and themes it explores always have you thinking. The characters are very likable and are all top tier characters. The mysteries keep you in a cycle of confusion and excitement. Since I love science and chemistry, alchemy was so fascinating to me. This show is definitely well-deserving of the number one rank in My Anime List.

Number 3

Kill la Kill

After listing a lot of the best anime/manga with the best stories and narratives, I can see why someone would be upset that I brought up Kill la Kill. This one is certainly the odd one out. However, remember me mentioning that the enjoyment factor is the biggest decision maker in my list placement? Kill la Kill gave me the most enjoyment out of all the anime on this list, even more significant than the obvious #1. I didn’t find anything to be all that brilliant in Kill la Kill, and I can completely understand if someone hated this particular show. But there was something about Kill la Kill that made me feel nostalgic in a weird way. It also gave me one of the weirdest yet most immense feeling of satisfaction I have ever felt. I love Kill la Kill.

Number 2

Konosuba

           Okay yeah, this one is also the odd one out, but it is a little more acceptable. I find Konosuba to be the best comedy anime of all time. Not necessarily because it is the funniest anime (I think it is the funniest but comedy is subjective), but instead because, unlike most comedies, like Nichijo, the characters in Konosuba are absolutely brilliant. Kazuma is one of my favorite characters of all time, Megumi is best girl, but I still love both Darkness and Aqua. Their interactions are absolutely entertaining on both a comedic scale and a general enjoyment scale. Their assholeish-type relationship reflects my relationship with my friends (we are complete assholes to each other, but we also love one another).

Not only that but from the comedy focused anime that I have watched, the plot in this one is actually delightful. The Konosuba movie is my favorite movie of all time, right after A Silent Voice.

Number 1

One Piece

If you read a couple of my previous posts or recognized my profile picture, you probably knew that One Piece is my favorite anime of all time. My love for One Piece is so extensive that I would rather forget all my experiences with anime than forget my experience with One Piece. One Piece inspired me and changed my life. Not in the typical way where I learned a life lesson from the story like Plastic Memories, but simply because I found the writing to be so brilliant. So it was more that Eiichiro Oda, the author of One Piece, inspired me. The characters are the best I have ever seen, the villains are well crafted, the world-building is literally the best in all of fiction, the build-up is fascinating, the questions from the mysteries somehow keep piling over, the symbolism fleshes out aspects of the anime even more, the backstories make characters more relatable and understandable, the general dynamic flow of the world feels like reality, the themes it explores are great learning experiences, the originality never ends, the hype moments keep you energetic for more, the foreshadowing is so phenomenal to the extent where it shouldn’t exist, and the general planning of the story makes it obvious how amazing of an author Eiichiro Oda is.

This series has been airing weekly for nearly 22 years now, the manga for 25. How in the world is Oda able to create this monster of a story, planning certain elements a decade or two in advance? This is brilliance. This is beauty in writing. And I want nothing more than to create a masterpiece of my own.

Final Notes

Emotional, I know. I believe my list here is a bit diverse in terms of genre: shōnen, seinen, romance, comedy, sports, slice-of-life, and mystery. I think it’s a great thing to widen your horizons a bit by exploring various types of genres. Anyway, there are many anime I haven’t watched that could easily replace and dethrone some of the anime on this list. I plan on watching and reading Hajime no Ippo, Gintama, Vagabond, Oyasumi Pun Pun, I”s, etc. I heard these anime/manga are considered the best for their respective genres by many people, and I will probably finish reading and watching these anime/manga in about six months. So I will make a top 15 anime list once again around that time.

If you have any questions or you want to discuss something, feel free to ask in the “Ask Me Anything” tab on my Tumblr page.

[ammalythic]

The diary of a Norwegian troll

[Sorry for my bad English, I'm French. I do my best]

My oldest memories date from my 5 years.

I remember my last year of kindergarten. During this period, I had a "click" compared to other children my age. I quickly felt out of step. First of all because my way of defending myself was very childish but also because I was a clumsy, hypersensitive, anxious, nervous, anxious, obsessive, maybe even having a certain dyspraxia. I was diagnosed much later with Asperger's.

It is true that, since my elementary school, I have always had the role of the "scapegoat". I couldn't integrate myself. They called me "the plague". I was the contagious beast that you should never approach.

I do not know the exact origin of these mockery (which lasted until college). I have always been stigmatized by others without ever really understanding why. I wasn’t an unhappy kid though, it was just like that and that’s all, "fatality". Sometimes I was jealous of well-integrated people but nothing more.

Many children have been subjected to bullying at school. Many children have been stigmatized, described as "bizarre" or "different". And, while this is absolutely terrible, other children have experienced sexual assault. Not all of them, however, began to identify as creatures. No, in reality, something happened in my head. In fact, I began to consider myself "non-human." Maybe because of the stigma, maybe because of the disgust of the human being, or whatever.

After all, in my stories, humans always played the role of villains. At that time, I was already clearly saying to myself "I am not a human". I thought I was some kind of alien sent to Earth, on a mission or something like that. It must, among other things, explain my difference from other kids. I don't know if I really believed it, but I know I wanted to believe it. I thought I was close to Adi / Adibou, an alien character from a French video game / children's series.

I remember, at the end of the lessons, I explained to my "best friend" that my father secretly built a rocket to bring me back to my real planet.

In primary school, I started to read many fictions. Harry Potter being my favorite (especially fantastic creatures). I read about witches, fairies, vampires, dragons and werewolves. I felt like they could understand me better than anyone.

I particularly liked the comic strip "Witch". In this fiction, there is a “Metamonde” named “Méridian” populated by “hideous” but nice creatures. I felt good reading these stories and made up my life there, accompanied by these benevolent monsters.

My favorite scene was obviously the one where the professor turns into a monster: her true form.

So I saw my creatures like this: Often green/brown skin, troll or elf ears, triangles on the coat, fangs, claws, often horns and a long tail.

I invented for them a new way of life, more wild and animal (because in this book, the beings of Méridian live as in the Middle Ages). I was this kind of alien from an alternative world, I also saw myself with a lion or cat tail. My imaginary diet consisted of insects, snakes, fruits and berries.

I saw myself living in a cave or a burrow (or a house like that of the Barbapapas / Teletubbies) and I developed a passion for digging in the ground. Listening to the song “dig a tunnel” (The Lion King 3), watching “The Magic School bus” or reading “My adventure under the ground” (French children's book) giving me real well-being and a feeling of inexplicable complicity with the characters. So, my aliens liked to play in the mud, get dirty, dig, collect insects and molluscs, just like me.

  Our way of life was simple, a bit like Peter Pan's “lost boys”. The group behaviors were mainly animal (body, ear and tail position) and play and behave like animals (in one of my “fictions”, I said that the aliens bit their tails to play) .

Mine wore a simple loincloth, clothes didn't matter (just like for me in "real life".)

I remember a few anecdotes about my aliens: I imagined their daily life before sleeping or whenever I had time.

I don't prefer to go into details. I just remember that I had two imaginary best friends and I visualized them in our world as soon as possible. We had a special treasure, made up of spiders, snakes, insects, bones, feathers and snake molts, something that wicked human villains. My creatures could speak "human" but it was extremely painful for them.

Subsequently, I invented all kinds of stories of humans "not quite human" but these "aliens" were the first.

When I was 9 years old, I started to lock myself up mentally, to live only in my head. I discussed my creatures with my friends, my need to see them, to imagine their suffering as an outlet One of the girls spoke about it - at school - in the canteen, in front of all the students. I was so ashamed that I erased my texts with white corrector before tearing them up and throwing them in the trash (something I bitterly regret today).

Right after entering school, I reconciled with my mental critters and tried to accept them. During an alien-themed drawing assignment, I was shocked to see myself having a bad grade when I had a strong feeling of having shown the "absolute truth".

I also created a fiction about my aliens, to explain on the internet how they exist. Then I was ashamed, I was afraid of mockery, so I erased everything (I'm even more disappointed now).

When I was 12, I experienced the most incredible trip, that of visiting Norway. I saw the troll figurines, the songs, the landscapes and it was a revelation: I was also a troll, from the start! Everything matched: The physical, the way of living, the habitat, the food, the animality ... EVERYTHING! I later had this strong feeling of having an invisible tail and ears that only trolls could also see.

Small comparison between the creature of my 5 years and that with which I identify myself today:

Then, over time, I moved away from the trolls, I developed - badly influenced by "friends" - that I had to be a much more powerful and fierce creature, like a vampire or a werewolf. I was lost, turning sometimes to angels, sometimes to wizards: I was magic and non-human, it was obvious.

Screen capture from one of my blogs in 2011 (in French)

Translation : “I always felt a little different from others but for me all the weird phenomena I was going through were part of me! I thought everyone was like this! Then one day, I realized that what was happening to me was strange. I was a little panicked and asked on the internet if it was okay to act like this. Two people made me understand that no and that I should not worry because after all, I have always been like this and learning who I am will not change anything. For about a month, they didn't explain the basics to me, what to do and what not to do. Then, little by little, I tried to manage on my own, continuing to ask them for advice from time to time.” (2011)

Translation : “I’m a creature of the night, half animal half human “ (2011)

Traduction : "I am very close to nature, the forest is my favorite place. I feel close to plants and animals, maybe even more than human beings, I think. I am more animal than human." (2011)  "I feel different from other humans, I feel more like a 'forest human'. I feel constantly connected with nature and animals. I feel closer to animals (especially wolves and foxes) than men. Sometimes I feel like I can go so far as to lose control: I attack, I bite, I claw. Humans probably see me as a monster. " (2011)

See the movie Twilight played on my animality (I was young, too). And many people tried to convince me that I was an overpowered werewolf ...

Then I discovered the otherkins community in 2012, after very long researches to discover myself, I was disturbed by this resemblance. I then turned to therianthropy and the European badger, abandoning this "troll" side that was also in me ...

So today, I search over and over for ancient writings that would have survived. I'm trying to find bridles from my non-human childhood.

The troll must also be seen as a pillar of my existence. A pillar that, unfortunately, that I absolutely don’t assume ...

[monysmediareview]

Shadowhunters (Freeform show) Review

Review #2!!

In case you missed it, I wrote a review on the Mortal Instruments book series books 1-3 (they’re the only ones I read because a chapter into book 4 and I was over it). I had mixed feelings on it, as I do with most things - including the Shadowhunters TV show, which is what this review is about!

Casting

Let���s talk about the casting in this show. First of all, I think the cast matched the physical descriptions of each character in the books and I very much enjoyed that. I do like when shows take liberties with casting, especially for the sake of things like diversity but there’s something very satisfying about seeing the characters exactly as they were written. 

I don’t think all of the acting was fantastic, but it’s FreeForm so I really didn’t expect much. It did get a lot better as the series went on and I think the actors really found their footing with these characters. It’s one of the reasons that I love series so much more than movies for things like this because there’s growth and the chance to really explore characters as they exist. These characters really took on a life of their own in a way, but we’ll get into that as I go through the rest of my points here. 

One thing I will say is, while this show did much better than others in terms of diversity it is not lost on me that the BIPOC characters in this show (and in the book series as well) were all “other” characters. As is often the case, people of color in fantasy media are usually portrayed as animals such as werewolves, or other “undesirable” characters. This is an incredibly complex part of casting, creating, and writing, and I will not get into it here, but I didn’t want to not mention it. 

Gay Pride & True Love

If you read my review of the Mortal Instruments series then you already know that I love love love Alec and Magnus, but that love grew exponentially when I watched the show. Magnus was an interesting character in the books but Harry Shum Jr. really brought the character to life and that show especially in the scenes with Alec. The show also gives Alec a ton more depth than in the books and I love that they didn’t keep him hung up on Jace (a straight man) for most of the story. He fell for Magnus and he fell for him hard. Magnus is the one that broke through Alec’s shell and encouraged him to be himself. By cutting away all the petty teenager shit that was in the books we were able to see this real, complex, but honest and deep love story that rivaled the main love interests immensely. I would watch this show over and over just to watch these two again. 

Representation and diversity are two huge factors when I think about whether or not I liked a piece of media. These kinds of things are what makes media so relatable, real, and ultimately enjoyable in a lot of ways. This show didn’t make the characters gay-ness a main factor of their relationship; they just showed a relationship as they would with a straight couple. They didn’t ignore their gay-ness either, though, and acknowledged the difficulties within that. By making this normal, they took huge strides in showing these kinds of relationships on TV and I adore that. And I just cannot get enough of this pairing in general - there are so many contrasts and compliments in their relationship and it’s what I honestly consider to be a perfect OTP relationship in any kind of romantic plot. 

10/10 would watch the show just for Alec and Magnus. 

I like Clary better in the show than in the books

Clary is by far, not one of my favorite characters in the fantasy genre. I find her to be selfish, martyr-like, and just kind of annoying but I really felt like the show was able to redeem the decent characteristics that she has and shed off most of the aggravating ones. 

As a whole, I am not a fan of how stupid the books make Clary out to be. Clary falls into the category of characters I don’t like because there is ultimately nothing very special about them yet they end up with a guy who is completely out of their league in every way who is head over heels in love with them. It infuriates me so much and Clary is not an exception to this rule. Her character is still this way in the show but it is much less evident because she seems to be more of an active participant in her own life and I don’t have to sit through her endless internal monologues about how attractive or strong or whatever Jace is. Thoughts that she still has while she thinks they’re siblings. At least in the show, these characters seem to draw a strong boundary here when they think they’re related rather than making out in a field like they did in the books. 

Clary also has a much stronger sense of self in the show and often reflects on what her life was and what it has become, how she’s grown. And I think that’s a huge part of it - that she has grown when in the books she was just constantly such a dumbstruck teenager who only thought of herself. I absolutely love the difference in her character here so I’ll give the show a star for that. 

Her relationships with other characters is also so much stronger. I believe this is in part because we don’t know her every inner thought about them and we also aren’t distracted by her distraction that is Jace. Her relationship with Izzy is so much better and stronger. I’ll always give good reviews to strong female relationships! Even her friendship and relationship with Simon is more in depth in the show. Their book friendship is very baseline; they constantly say they’re best friends but that’s not really reflected in the way they act around each other. In the show they have anecdotes about the past we never see in the books, they talk in a comfortable way and even show their relationship with each other’s families a lot more. This plays into her being an active participant in her own life as well. 

The Lightwood Family Drama

This might be something that happens later on in the books (however I don’t think so because of some spoilers I’ve received on my main account) but I really liked the Lightwood family subplot. I would imagine they have some marital problems after Max’s death in the books but considering they don’t kill him in the show, divorcing them earlier and giving Maryse a second chance was a fantastic choice. I kind of wish they had kept Max’s death because to me, it was the driving force between Izzy and Simon, but overall I don’t mind the way they did it. It just felt like a missed opportunity for drama and angst.

Back to the point at hand - families are complicated and the only “normal” or rather, nuclear family we see in this series is the Lightwoods. Clary was raised by a single parent, as was Simon, and no one else really has parents that we’re introduced to to be able to judge their family life. By making their family story a complicated one, rather than the “ideal”, it becomes not only more dramatic, which is fun and interesting, but real. And it may seem counterintuitive to make things seem real in a fantasy genre show/book series but that, in my opinion, is what makes it easier to believe the fake stuff. I can focus more on the magic and the demons and the end of the world as we know it if it’s grounded in something that’s familiar to me. The Lightwoods feel like a very real family with complicated relationships between kids and parents, adopted children/siblings, and marital issues that affect everyone differently, which invites us as an audience to relate to them and doesn’t make the Shadow world so different from ours. 

A scene I loved specifically is when Izzy brings the doctor she’s seeing to the Hunter’s Moon and they’re all messing with each other, eating, drinking, laughing, talking. They really felt like a family there, like adult siblings which can be a really difficult feeling to capture but I think it was done very well. I didn’t want to go through this review without mentioning that part since it was something very special for me. 

Design Choices

Changing topic just a little bit, I wanted to talk about the design of the show. First thing I noticed was that the runes were not at all how I pictured them. Now, that may be a fault of the writer because they weren’t very well described so it all landed on imagination which is different for everyone. The show design gave me kind of Henna tattoo vibes, whereas the books gave me full black ink vibes. 

The clothing was also something very strange to me. Izzy was always described as wearing long silvery skirts. I very much imagined her as wearing borderline rave outfits in most of these scenes but she mostly just wore crop tops and low cut shirts. I also noticed that as the series went on she dressed in a bit more of a conservative way compared to the first half of season 1 when I recall her wearing literally just a sports bra as a shirt in a few scenes. It was apparent to me in the books that the way Shadowhunters dressed was something that separated them from humans, made them stand out, and the show lacked that. I think this also took away the idea that Shadowhunters are a whole race of people with a history and culture separate from being human (they are, in essence mixed raced, but this comes with a lot of implications and is not a complete statement or comparison in any way). My point with this is mostly that I wish there had been more of a separation visually between Shadowhunters and humans beyond their runes. 

I also pictured the Institute to have a very non-human, Catholic type of design and instead just got pseudo-futuristic feel. I didn’t hate it, it just feels overdone in these kinds of shows and movies. For example, the Divergent series or Maze Runner or even Tomorrowland all have this type of vibe and I was hoping for more of a DmC: Devil May Cry approach. 

Jace Wayland is a beautiful character

I had mixed feelings about Jace in the books; he felt stale and like every other straight, white, male, romantic lead. In the show, however, I think Dominic Sherwood did him a great deal of justice and gave him the depth that actually made him a desirable person that I could understand someone being in love with. He’s charming, and a little cocky but we also get to see a deeper side of him than we do in the books. We see his emotions, especially his unconditional love for Clary (whether I agree with that or not). 

The Owl plotline was a waste of time in my opinion, but the scene when Izzy and Alec go to save him from inside his mind and we see him break down is absolutely beautiful. Jace is introduced to us from the start as hard, strong, calloused and here we see him vulnerable and scared with two of the people he trusts most in the world. I will accept the Owl plotline if only to keep this scene because I think it is absolutely essential to his character arc. 

I also found that scene to be indicative of his relationship with Izzy. In the books it’s often alluded to that he and Izzy had been together in one way or another but that’s not the case for the show (thank the angel) and here you can really see them as siblings more than in any ther scene, I think. But this takes me to his relationship with Alec as well. 

Parabatai 

I don’t remember Parabatai being mentioned much in the books but it is a huge deal and talked about quite a bit. I this this is super cool, personally and it’s not something I can really think of too much in fantasy outside of sires or singers or the like in many vampire novels but that has a whole “owner” vibe that doesn’t exist with Parabatai. I am super intrigued by this idea and I loved how much they played with it being a strength and an essential part of their existence. 

The relationship between Alec and Jace is obviously stronger than just brothers, but it also isn’t quite love in the romantic sense. It’s something else and it makes them vulnerable to each other. They feel everything the other person feels, sometimes literally, and while that can weaken them they use it as a strength. It’s really beautiful how honest and open these men are with each other. I feel like the Parabatai bond breaks down a lot of the toxic masculinity traits these characters might have otherwise and I will always be in favor of tearing down those walls. A+ characterization if you ask me. 

I thought Izzy deserved better in the books - the show gave it to her

In the show Izzy is way more badass than in the books, which I wasn’t sure was possible. They made her so much smarter, gave her important roles at the institute like head of weapons and she even did autopsies? In the last episodes we even see her as Head of the Institute. Beauty, brains, and brawn simply can’t be beat. 

Her love life was even more interesting! She wasn’t boiled down to just a slut who slept with everyone regardless of species: she was a lover who fell quickly and saw the best in people despite what people might tell her about “their kind”. She’s strong and very sure of herself; she doesn’t need a man in her life but she wants love and I think that’s a really amazing trait they gave her that deepens the character. 

They made her an activist, too in a way. She’s found really standing up for her beliefs in the show and challenging the way things are. In the books Izzy is pretty stuck in the way Shadowhunters do things but in the show she speaks up when something isn’t right. Her connections to downworlders does a lot of really great things for the Shadow world as a whole. They certainly could have beefed this up a little bit, but it wasn’t a huge part of the show in general so I’ll allow the pass on it. 

Her Yin-Fen addiction was so interesting! Again, I don’t know if this is something that happened in later books in the series but this is just another layer to Isabelle that I really loved. No one is perfect, even her, and it built her relationship with Rafael (another plot I was a huge fan of) which was incredibly complex. 

All in all, I would die for Izzy. Please give me shows and books about her and more characters like her. 

This series was steamy as hell

I can’t write a review on this series without mentioning all of the steamy scenes with so many of the characters. I mean, of course, I expected as much with Jace and he got a lot but so did everyone else. We got saucy scenes with Alec, Magnus, Simon, Izzy, Maia, everyone. (Not all at the same time, thankfully). But they were all very well directed and acted and I enjoyed them quite a bit. What can I say? Sex sells. 

In conclusion, I liked this series a lot. I really was not expecting to. I was warned that it was bad, and to start off it was but I found myself unexpectedly enjoying a lot of it. There’s still work to be done and it is by no means perfect but it was entertaining and had some really good moments. I also give so much credit to the actors and creative team for doing so much with material that didn’t give them much depth in the first place. 

Would recommend for something to enjoy but maybe not think too hard about.

xoxo

Mony