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lorenfangor · 3 years

Note

I heard that #40 was super homophobic :/ so I skipped it. But now your fic is making me want to give it a try. How problematic is it? Are the characters worth it?

Okay.

Let’s talk about #40.

The plot of The Other (a Marco POV) is that Marco sees an Andalite on a video tape sent in to some Unsolved Mysteries-esque TV show, and he assumes it’s Ax and hauls ass to save him from being captured. Ax, being Ax, has videotaped the show, and they pull it up and Tobias uses his hawk eyes to figure out that it’s not Ax, it’s another Andalite - one without a tailblade. Ax is appalled at the presence of this vecol (an Andalite word for a disabled person) and we find out that he and others of his species have deep ingrained prejudices against at least some kinds of disabled people.

Despite this, Marco and Ax go looking for the Andalite in question because he’s been spotted by national TV, and they meet a second one, named Gafinilan-Estrif-Valad. The vecol is Mertil-Iscar-Elmand, a former fighter pilot with a reputation and Gafinilan’s coded-gay life partner. The two of them have been on Earth since book 1; they crashed their fighters on the planet and have been trapped there thanks to the GalaxyTree going down. Gafinilan has adopted a human cover, a physics professor, and they’ve been living in secret ever since.

Thanks to that tape, Mertil has been captured by Visser Three, and he’s not morph-capable so he can’t escape. Gafinilan wants to trade the leader of the “Andalite Bandits” to the Yeerks to get his boyfriend back; he can’t fight to free Mertil because he’s terminally ill with a genetic disorder that will eventually kill him, and (it’s implied that) the Yeerks aren’t interested in disabled hosts, even disabled Andalite ones. Despite Ax’s ableism, the Animorphs agree to work with Gafinilan and free Mertil, and they’re successful. Marco ends the book talking about how there are all kinds of prejudices you’ll have to face and boxes that people will put you in, and you can’t necessarily escape them even if they’re reductive and inaccurate, but you can still live your life with pride.

So now that I’ve explained the plot, I’m gonna come out the gate saying that I love this book. I love it wholeheartedly, I love Marco’s narration, I love Ax having to deal with Andalite society’s ableism, I love these characters, and as a disabled lesbian I don’t find these disabled gays to be inherently Bad Rep.

that’s of course just my opinion and it doesn’t overshadow other issues that people might have? but at the same time, I don’t like the seemingly-common narrative that this book is all bad all the time, and I want to offer up a different read.To that end, I’m going to go point by point through some of the criticisms and common complaints that I’ve seen across the fandom over the years.

“Mertil and Gafinilan were put on a bus after one appearance because they were gay!”

this is one I’m going to have to disagree with hardcore. I talked about this yesterday, but in Animorphs there are a lot of characters or ideas that only get introduced once or twice and then get written off or dropped - in order off the top of my head, #11 (the Amazon trip), #16 (Fenestre and his cannibalism), #17 (the oatmeal), #18 (the hint of Yeerks doing genetic experiments in the hospital basement), #24/#39/#42 (the Helmacrons’ ability to detect morphing tech), #25 (the Venber), #28 (experiments with limiting brain function through drugs), #34 (the Hork-Bajir homeworld being retaken, the Ixcila procedure), #36 (the Nartec), #41 (Jake’s Bad Future Dream), and #44 (the Aboriginal people Cassie meets in Australia) all feature things that either seem to exist just for the sake of having a particular trope explored Animorphs-style or to feature an idea for One Single Book.

This is a series that’s episodic and has a very limited overall story arc because of how children’s literature in the 90s was structured - these books are closer to The Saddle Club, Sweet Valley High, Animal Ark, or The Baby-Sitters’ Club than they are to Harry Potter or A Series of Unfortunate Events. Mertil and Gafinilan don’t get to be in more than one book because they’re not established in the main cast or the supporting cast, I don’t think that it’s solely got anything to do with their being gay.

“Gafinilan has AIDS, this is a book about AIDS, and that’s homophobic!”

Okay, this is… hard. First, yes, Gafinilan does have a terminal illness. Yes, Gafinilan is gay. No, Soola’s Disease is not AIDS.

I have two responses to this, and I’ll attack them in order of their occurrence in my thought. First, there’s coded AIDS diseases all over genre fiction, especially genre fiction from that era, because the AIDS epidemic made a massive impact on public life and fundamentally changed both how the public perceived illness and queerness and how queer people themselves experienced it. I was too young to live through it, but my dad’s college roommate was out, and my dad himself has a lot of friends who he just ceases to talk about if the conversation gets past 1986 or so - this was devastating and it got examined in art for more reasons than “gay people all have AIDS”, and I dislike the implication that the only reason it could ever appear was as a tired stereotype or a message that Being Queer Means Death. Gafinilan is kind, fond of flowers, and fond of children - he’s multifaceted, and he’s got a terminal illness. Those kinds of people really exist, and they aren’t Bad Rep.

Second off, Soola’s Disease? Really isn’t AIDS. It’s a congenital genetic illness that develops over time, cannot be transmitted, and does not carry a serious stigma the way AIDS did. Gafinilan also has access to a cure - he could become a nothlit and no longer be afflicted by it, even if it’s considered somewhat dishonorable to go nothlit to escape that way. That’s not AIDS, and in fact at no point in my read and rereads did I assume that his having a terminal illness was supposed to be a commentary on homosexuality until I found out that other people were assuming it.

“Mertil losing his tail means he’s lost his masculinity, and that’s bad because he’s gay! That’s homophobic!”

so this is another one I’ve gotta hardcore disagree with, because while Mertil is one of two Very Obviously Queer Characters, he’s not the only character who loses something fundamental about himself, or even loses access to sexual and/or romantic capability in ways he was familiar with.

Tobias and Arbron both get ripped out of their ordinary normal lives by going nothlit in bad situations, and while they both wind up finding fulfillment and freedom despite that, it’s still traumatic, even more for Arbron I’d say than for Tobias. And on a psychological level, none of the main cast is left unmarked or free of trauma or free of deep change thanks to the bad things that have happened to them - they’re no less fundamentally altered than Mertil, even if it’s mental rather than physical. And yes, tail loss is equated with castration or emasculation, but that doesn’t automatically mean Mertil suffering it is tied to his homosexuality and therefore the takeaway we’re intended to have is “Being gay is tragic and makes you less of a man”. This is a series where bad shit happens to everyone, and enduring losses that take away things central to one’s self-conception or identity or body is just part of the story.

Also, frankly? Plenty of IRL disabled people have to grapple with a loss of sexual function, and again, they’re not Bad Rep just because they’re messy.

“Andalite society is confusingly written in this book, and the disability aspects are clearly just a coverup for the gay stuff!”

Andalite society is canonically sexist, a bit exceptionalist and prejudiced in their own favor, and pretty contradictory and often challenged internally on its own norms. In essence, it’s a pretty ordinary society, and they’re really realistic as sci-fi races go. It makes sense from that perspective that Andalites would tolerate scarring or a lost stalk eye or a lost skull eye, but not tolerate serious injuries that significantly impact your perceived quality of life. Ableism is like that - it’s not one-size-fits-all. I look at Ax’s reactions and I see a lot of my own family and friends’ behaviors - this vibes with my understanding of prejudice, you know?

“Mertil and Gafinilan have a tragic ending, which means the story is saying that being gay dooms you to tragedy!”

Mertil and Gafinilan have the best possible ending that they could ask for? They are victims of the war, they are suffering because of the war, they get the same cocktail of trauma and damage that every other soldier gets. But unlike Jake and Tobias and Marco, unlike Elfangor, unlike Aximili? Their ending comes in peace, in their own home. Gafinilan isn’t dying alone, he’s got the love of his life with him. Mertil isn’t going to be as isolated anymore, he’s got Marco for a friend. Animorphs is a tragedy, it’s not a happy story, it’s not something that guarantees a beautiful sunshine-and-roses ending for everyone, and I love tragedy, and so I will fight for this story. Yes, it hurts. Yes, it deserved better. But it’s not less meaningful just because it’s sad. Nobody is entitled to anything in this book, and it’s just as true for these two as it is for anyone else.

“It’s not cool that the only canonically gay characters in this series don’t get to be happy and trauma-free and unblemished Good Rep!”

This is one I can kind of understand, and I’ll give some ground to it, because it is sucky. The only thing I’ll say is that I stand by my argument that nothing that happens to Mertil and Gafinilan is unusual compared to what happens to the rest of the cast, and that their ending is way happier than Rachel and Tobias’s, or Jake and Cassie’s. But it’s a legitimate point of frustration, and the one argument I’ll say I agree has validity.

(Though, I also want to point out that I think there are plenty of equally queercoded characters in the story who aren’t Mertil and Gafinilan - Tobias, Rachel, Cassie, and Marco all get at least one or two moments that signal to me that they’re potentially LGBT+, not to mention Mr. Tidwell and Illim in #29 and their long-term domestic partnership. There’s no reason to assume that the only queer people here are those two aliens when Marco’s descriptions of Jake exist.)

“Marco uses slurs and reduces Gafinilan’s whole identity to his illness!”

Technically, yes, this is true, except putting it that way strips the whole passage of its context. Marco is discussing the boxes society puts you into, the ones you don’t have a choice about facing or escaping. He’s talking about negative stereotypes and reductive generalizations, he’s referring to them as bad things that you get inflicted upon you by an outside world or by friends who don’t know the whole story or the real you. The slurs he uses are real slurs that get thrown at people still, and they’re not okay, and the point is that they’re not okay but assholes are going to call you by them anyway. He ends by saying “you just have to learn to live with it”, and since this is coming from a fifteen-year-old Latino kid who we know is picked on by bullies for all sorts of reasons and who faces racism and homophobia? He knows what he’s talking about. He’s bitter about what’s been said and done, he’s not stating it like it’s a good thing.

Yes, absolutely, this speech is a product of its time, but it’s a product of its time that speaks of defiance and says “We aren’t what we’re said to be,” and in the year this was published? That’s a good message.

tl;dr The Other is good, actually, and Mertil and Gafinilan are incredible characters who deserve all the love they could possibly get.

#animorphs #animorphs meta #mertil/gafinilan #mertil #gafinilan #mertil-iscar-elmand #gafinilan-estrif-valad

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doctorbunny · 3 years

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MILGRAM theory time: Haruka!

This isn't going to go super in depth (famous last words) but there's a few heavily debated parts of Haruka's MV I want to share my findings/thoughts on because I think this is my new special interest and during my quest to get best boy's song to 1 million views I have been looking over his first MV with a fine tooth comb so to speak.

Disclaimer: As the Jackalope said in the "This is the MILGRAM" trailer, we don't necessarily know everyone's crime from just the first video, its possible that a lot of things will be re-contextualized in the second MV, however I am not psychic or bilingual and thus will only be working with content released before August 20th 2021 and translated into English (which could cause some language/cultural details to be lost on me as translation is not a 1 to 1 process).

TW for discussions of ableism, child abuse, murder and animal death. Also this is really long so sorry to all the people that follow me for non-MILGRAM stuff

Firstly, I want to start on the topic of Haruka as a person. He is disabled. He does not have 'the mind of a child' (although he is 17, making him legally a minor in both North America and Japan). He is not just 'child-like'. And he is not mentally ill (well he might be, in the sense that many disabilities like Haruka's have strong comorbidities [where a person has two or more conditions but neither directly causes the other] with anxiety, depression and PTSD, but usually when I see people talk about him 'struggling with mental illness' they go on to refer to aspects of his disability). Sometimes on tumblr, people like myself, will see canonical traits written into a character and identify them as being traits associated with our disabilities/mental illness and headcanon them as such. Sometimes this even involves saying things like "It's basically canon!" Although we understand that these characters were probably not the result of a writer intending to write a disabled person. When I say that Haruka is being written as a person with a neurodevelopmental disability, I mean the writer intended to write a disabled character and wrote them in a way that they wanted the audience to pick up on. As an autistic person (which is one of many neurodevelopmental disorders and also something I probably didn't have to specify because who else would be writing an essay about a series they got into a few days ago at 11 o'clock at night) I really like how Haruka has been written so far. There's definitely some parts of him that have been exaggerated so abled normies can pick up on his disability (namely how his MV 's main motif is really child-like drawings) but the writers also included a lot of smaller details I appreciate like how it is noted he avoids eye contact when talking to other people and is depicted as nervously pulling at his sleeves in official artwork, or how he says he finds his prison uniform (which has tight straps) 'relaxing' and when he gets nervous/tense, he will dig his fingernails into the palm of his hands. (These last two potential being examples of 'self stimulation' [aka stimming] where a person seeks out specific sensory stimuli in order to help regulate their nervous system/emotions, in this case the tight uniform creates a comforting, secure feeling [you may have heard about some people preferring to sleep under weighted blankets for this reason] and digging nails into his palms sounds uncomfortable/painful but is done in an attempt to deal with a greater sensory discomfort caused by the situation/environment) I also appreciate the depth he is written with, he struggles to communicate verbally but in his MV and interactions with other inmates is shown to have insecurities, opinions and a consistent thought process (this is all basic character stuff but unfortunately not always present in disabled characters)

Also I want to add that (in terms of what we've been shown so far) Haruka did not kill anyone because of his disability/mental illness. Disabled people are not inherently more innocent than abled people. But there is no disability/mental illness where a symptom is that you kill people and real people have to live with the stigma when you speak carelessly and suggest things like "Haruka is the kind of mentally ill person who kills people as a cry for help" 🧂 (or at the very least real people have to read BS like that and cringe). TL;DR Haruka is less child-like and more onion-like (as in, he has layers) 🧅🧅🧅

Now is the actual theory stuff, oops:

Every prisoner in MILGRAM is supposed to have committed murder in some way, obviously considering Yuno just had an abortion (which i personally do not consider an act of murder) whilst Mu literally stabbed someone to death, this definition is stretched a bit. But it is not agreed upon yet who Haruka killed/how many people he killed or why he killed.

In his MV he is shown to have chased after his dog into a forest, seen something off-screen, then beaten something into a messy pulp with a rock. Some people think the dog is a red herring and that Haruka actually killed his mother/the girl from the fireworks show/his brother. I do not agree.

First: I believe Haruka when he says he doesn't have a brother. The MV literally starts by Haruka looking in the mirror and then switching between the him now

and a really similar looking younger child who just so happened to be a key feature of his memories (I don't have the vocabulary to explain it but its like cinematic parallels that establish this is the same person at different points of their life)

Its not impossible that this is Haruka's secret younger brother, but i think its unlikely. I saw someone saying they had to be different people because Haruka looks less happy than the child but like, most 17 year olds are less visibly happy than when they were 7 (or however old the child is meant to be). Life happens.

So when Haruka is shown pushing the child around and eventually strangling him, this isn't meant to be literal (homicide or suicide), but a representation of how conflicted Haruka feels about his younger self, who may have committed the murder (if you've ever been kept awake cringing at memories of something you said in the past and wishing you could go slap some sense into your former self, this is like that but 10 times more self loathing). The lyric "I am always repeating yesterday," implies he might think about this specific past event a lot.

Moving on, its pretty well accepted that Haruka's parents were abusive in some way and Haruka internalised a lot of it: he constantly apologises, he says in his interrogation questions that his one wish come true is that "[he] want[s] to be loved" and describes in his MV how when he couldn't find the words he was looking for ("you're unfair") one of his parents "would get angry at me and say “You’re hopeless.”". He seems to know its unfair but also still says he 'loves' his family, possibly mistakenly believing it is his fault, but also showing an awareness of his situation (and how his parents might behave).

Now, the MV is stylised in a way that makes certain details unclear, but there is one clear detail showing that Haruka's dog was killed

This is the first close up of Haruka and the dog. Haruka's mother is just out of frame supervising, but they look pretty happy. Notice how the puppy has a silvery chain for a collar. Somehow, this dog gets out of the house but only Haruka is shown chasing after it (whether his mother was searching elsewhere or didn't bother following her disabled son into the forest is unclear). Either way, young Haruka is now in the forest, unsupervised.

By the time he finds the dog, there is already blood, suggesting it was initally attacked by something else.

is this a sigh of relief from a boy whose finally found his beloved pet or a jealous weakling glad that nature took its course and he is finally free of that meddling mutt stealing all his mummy's attention? /j

I think this shock at the discovery that 'there is blood on his hands' could imply that rather than literally getting the blood from his dog, Haruka has seen his already injured dog and realises that if the dog got out because of him (he is previously shown to be aware his parents seem to blame him for everything) then he is the reason his dog is injured/dying and will be blamed for it. (this scene plays over the lyrics "It’s fine, though it’s really not It’s really fine, though I don’t really think so When I tried to understand it, You’ll make that disappointed face again" suggesting he is trying to avoid making his parents disappointed and letting the family pet escape into danger is something that could make them very disappointed)

now we get into rock murder (this is present-day Haruka implying that this is either: not how the scene really played out; the writers really wanting the audience to know that this was Haruka's doing and not someone else's; or this turns into a separate incident that happened much later [although note that the red sky and blue moon is the same as when young Haruka first appears at the start])

b the corpse is beyond mangled now, but its clearly the dog because the silver chain collar is still there, to the right of the body. (circled in red for your convenience :3)

My hypothesis is: Haruka didn't set out to kill his dog, but upon finding it injured (we don't know the severity aside from bleeding and also it not being able to run away from Haruka kneeling down above it w/ a big rock so it could range from treatable with a lot of vet help to already on death's door, TBH I don't think Haruka would know the difference) He knew he'd be blamed for this; made into a villain who let the poor puppy come to harm. He panicked and killed the dog out of some idea that it would make him the victim here (since he'd be found crying over a dog corpse, which might make a parent go comfort him rather than getting angry about what could've happened to the dog). This is over the lyrics: "I cried, I screamed I wanted to be a pitied and loved weakling I was in denial, I was in denial I just had to make sure I’ve become a victim, I’ve become a victim" (there's another theory that he was also jealous of the dog, which could work here too, since this is not some calculated plot; rather its a rash decision) This ties in with his Japanese song title (translated as Weakness) which is a play on a phrase sort of like "The strong eat, the weak do not" to become "The weak are eaten by society" or "The weak eat each other to survive" [once again I am reminding everyone this is based on second hand information from the youtube comments section (from users mitchki and Alphaistic) because I do not speak Japanese] This second meaning (The weak eat each other to survive) makes sense under the reading that Haruka killed his dog in order to 'survive' making his parents disappointed for the dog escaping.

Miscellaneous points:

We don't know where Haruka's necklace came from yet, it must be a gift since the most expensive thing he's ever bought was cotton candy. The younger child in the video isn't wearing it and neither is his mother or the girl in the purple dress.

Haruka's home seems quite big, at the start we can see a large flower garden outside the window and there's a forest in walking distance. This might suggest his family is quite wealthy

Haruka probably did go to school at some point as homeschooling is not a legally accepted as an alternative to public schools in Japan. (However it is estimated that up to 5000 families homeschool, this is uncommon) A lot (about 62%) of Japanese schools apparently have a 'special needs' classes and there are about 505 schools focused on educating intellectually disabled students (although I do not know which sort Haruka would've needed as whilst intellectual and development disabilities can be comorbid they aren't the same). Now, if children aged 7-14 don't go to school, their parents receive a fine, but its possible that if Haruka's parents are wealthy, they just paid it to avoid sending him to school. (This might imply they wanted to hide him or were generally ashamed of him in some way) However high school education (for students over 14) is not legally required and its likely that even if Haruka went to elementary/middle school, he hasn't been around people his own age in at least 3 years. As he seems quite lonely and glad that the other prisoners give him attention.

I don't think Haruka's parents are divorced and if they are, its not his father who left. Haruka mentions in the 30 questions that he thinks he disappointed his father. But still includes him as part of his family ("My father and mother and me"). A theory I've seen is that his father was disappointed by his son being disabled and left. but developmental disabilities (especially in non verbal and semi verbal children like Haruka) can be diagnosed before the age of 3, so I feel it is unlikely that Haruka would bring up his father if he left that early in Haruka's life

All MILGRAM prisoners have covered one of DECO*27's older vocaloid songs (DECO*27 is a well known producer who composes the music for MILGRAM) Haruka covered 'Two Breaths Walking' (https://youtu.be/puXLfVWrz2Q) which is about a boy's first relationship and how his mother's jealousy set him up for failure as the relationship becomes toxic (specifically it has some very funny out of context lines like "Whose breasts are you sucking on now?") so yeah, mommy issues: the song (Also: some people say in the song, the boy kills the girl at the end, but this isn't literal, TBW is the first of a trilogy of songs about the same relationship, it is followed by Android girl then Two Breaths Walking: Reloaded and the story resolves with the couple reuniting as adults and getting in the relationship again, although its not necessarily as abusive as before, its still implied to be codependant ending on the line 'We should live like oxygen tanks, sucking breathe from the words each of us exhale, until our last breathe')

In all seriousness, the scene where younger Haruka is walking through the city with his mother but it keeps repeating until older Haruka pulls the younger one away might indicate an attempt to focus the happier memories of his parents (since this is also over the lyrics "Why is it breaking? Tell me why? Please don’t change If I tried and couldn’t say it, You would get angry at me and say “You’re hopeless.”" which depict a worse scene) I think both his parents are still physically present but have become far more emotionally distant, not giving him as much attention, which exacerbates his loneliness from not having any friends his own age to talk to

And if one of his parents did leave? I think its likely his mother since she is shown disappearing out of his reach after the dog-incident (inferring she got angry/disappointed in Haruka anyway) This could also be where he got his necklace from: Its something his mother used to wear (although this is 100% a guess) and that's why its shown to be important to him

This one is just me, but i didn't realise until a rewatch that when Haruka is watching the younger him and the girl running together, the background has fireworks. Haruka mentions fireworks being a key memory to him so I wonder if this was one of the first/last times he got to make a friend...

On three separate occasions in the interrogation, Haruka mentions not liking animals. Despite this, he is depicted as sleeping with a rabbit plush and on his birthday art (I'd include that too but tumblr only allows 10 pictures per post, so here's a link) he is standing next to a giant blueberry and strawberry cake with two bunny themed biscuits at the side. Through my experiences of seeing Japanese fandom art on pixiv, sometimes rabbits are used to insinuate a character is cute and timid in fanart.

Meaningless details: Haruka sleeps with his necklace on; he sleeps on a bed and not a futon; at first I thought he woke up holding his plush's hand but his hand is merely next to the toy; and considering the state of the pillow and blanket, I wonder if he moves a lot in his sleep or if the is just because in this case he seems to be waking up from a nightmare about the dog incident...

Final note: I've spent so many hours writing this I don't remember if i was building up to any big finale or not but I hope you enjoyed reading this! Feel free to add on in the comments/reblogs.

#haruka sakurai #milgram #milgram theory #001 #text post #essay #long post

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thatsamericano · 3 years

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Careful, Throwing Snowballs May Result in a Kiss

Pairing/Characters: America/Romano. Background mentions of Seborga, Veneziano, Canada, and France.

Ratings/Warnings: T for cursing and mildly suggestive dialogue. Pure fluff with no warnings to speak of.

Word Count: 2103

Summary: America throws a snowball at Romano when he’s trying to build a snowman with his brothers. Once Romano tackles America, he has to decide what he wants to do with him.

A/N: Written for @hetalia-fanart-memes, who requested Romerica with the prompt “Don’t throw that snowball” on @helltalia-inc. I hope you enjoy this.

It was snowing in the park only a block away from where the nations had gathered for the world meeting. Romano was never the biggest fan of the cold, so if it had been up to him, he would have gone straight back to the hotel. He was looking forward to taking a flight back to Rome the next day, where he hopefully wouldn’t be dealing with this snow crap. In the unlikely event that it was snowing in Rome, Romano would go to Naples or another city in South Italy not affected as strongly by the winter.

But for today, Marcello, who had come along on this trip with Savino and Feliciano even if he couldn’t attend the official conference, had practically begged Savino to come build a snowman with him after the meeting. Feliciano had begged too, and under the force of two sets of puppy dog eyes, Savino had folded like a paper napkin.

This wasn’t so bad, Romano reflected. Sure, it was cold as shit, but he was relatively protected in his scarf, hat, and gloves, and he got to spend time with his brothers. At least he hadn’t been pelted with a snowball, which many of the nations had, thanks to America and Canada.

Romano glanced up when he heard France fussing about his appearance as he attempted to brush snow out of his hair. America, who was obviously the one who had thrown this particular snowball, was laughing in his usual obnoxiously bright, ridiculously loud, attention getting way. So, of course Savino turned to glance in that direction instead. He didn’t really have another choice.

Savino hated how his heart started pounding as soon as he looked at Alfred. It wasn’t fair, damn it. No one should look that handsome while just fucking standing there, hunched over a little as they laughed at their own joke like they were God’s gift to comedy. Alfredo was laughing so hard at himself that his cerulean eyes were narrowed into thin slits and tears were leaking from the corners. The sunlight reflected off his glasses, creating a bright light Savino couldn’t manage to look away from. Alfred’s grin was so big it could swallow the sky whole.

And the bastard had dimples, as if God hadn’t blessed him with too much beauty already. Savino wanted to kiss the corner of the idiota’s mouth, just to feel those dimples under his own lips. Savino swallowed heavily at the thought and told himself to focus on the snowman he’d been working on for the past half hour.

But he was too late. America’s smile had already softened, and he had already noticed that Romano was looking at him.

“What’s up, Little Italy? You feel like joining in on the snowball fight?”

Savino scoffed and forced himself to go back to reshaping his snowman’s head. “Hardly. As you can see, I’m busy at the moment.”

“Are you suuure? It could be a lot of fun.”

“If you want to go run around with America, that’s fine,” Seborga told him. “I wouldn’t mind.”

Romano wasn’t looking at his baby brother. He was looking at America, because he knew that mischievous tone of voice from back when they lived together, and he knew that Alfred was planning something. Fredo was never good at subtlety.

America was rolling a snowball together in his gloved hands with a smirk on his face. Because of course he was.

“I swear to God, if you throw that fucking snowball at me—”

The snowball went sailing through the air, and it hit him square in the chest. Savino was stumbled backwards a little, because Alfred had used way too much fucking force with that throw because of his super-strength. It wasn’t enough to really hurt him, but it was almost enough to knock him off his feet.

The sounds of laughter rang out around him. Alfred, of course, and Feli and Marcello nearby. Canada seemed to be chuckling, though he was too quiet for Romano to actually hear him, and so were the other nations nearby, even the ones like France who had been America’s snowball victims.

And that just wouldn’t fucking stand.

Romano glared at America as viciously as he could manage when he was more irritated than truly pissed off. “Now you’re gonna get it, stronzo!”

Alfred took off running, shrieking with laughter, and Savino chased after him. They ran for a couple minutes, because America could be pretty fast when he wanted to be. But he couldn’t outpace an Italian.

Eventually, Savino tackled him in a snowbank and fell right on top of him. If America had really wanted to get away, Romano would have had no hope of holding him down. But America wasn’t struggling. He relaxed back against the snowy ground, panted for air, and smiled up at Romano sheepishly.

“Looks like you caught me.”

“I guess I did.” Savino moved one of his hands to the side to gather up some snow in his palm. Alfred didn’t notice. He was still too busy grinning up at him.

Alfred giggled, because apparently, he found the idea of being in this position inherently hilarious for God knows what reason. “Now that you have me, what are you gonna do with me?”

Savino gazed down at him thoughtfully. He took a moment to examine the golden blond hair tousled underneath his knit cap and how it perfectly framed his rosy cheeks. He stared at the goofy smile and the electric blue eyes that had distracted him so thoroughly before. He memorized what it felt like to have Alfred’s firm, solid body laid out underneath him.

“I can think of a few things,” Savino admitted quietly. “Not all of them would be appropriate for a public park.”

Alfred’s eyes widened comically behind his glasses, and his face turned red. No, not just red, practically scarlet. His face practically matched the poinsettias that had been decorating the lobby of the office building they were in earlier today. “Vinny, that’s um, that’s, wow, I…”

Romano chuckled at how flustered and tongue-tied he was. “Do you want me to kiss you?”

Alfred nodded frantically, with a desperate look in his eyes. “Please.” He might have been embarrassed, but he was eager too. It was too adorable for Savino to resist.

He started to lean down, and America closed his eyes, because he was innocent and gullible enough to do that. He couldn’t see Romano’s arm lifting with the snowball he’d make earlier. A millisecond before their lips touched, Romano shoved the snowball he’d made earlier directly into the crook of America’s neck, right above his coat collar and scarf, where he was unprotected from the cold.

America’s eyes flew open, and he squawked indignantly. “You tricked me!”

Romano laughed at the offended look on his face. “You made it so fucking easy.” He couldn’t believe America had actually fallen for the oldest trick in the book.

Alfred growled at him, and the low noise sent a tingle down Savino’s spine. “That was evil. I really oughta do something about it.”

Savino snorted. “What the fuck do you think you’re gonna do, Mr. Tough Guy?”

“This.” Before Romano could ask what “this” was, America flipped them over, and in the space of a second, he was pinned underneath someone a lot stronger than him. He couldn’t have escaped if he’d wanted to. Savino couldn’t breathe properly, and he couldn’t tell if it was because of the sudden body slam or the fact that Alfred was on top of him.

To repeat, Alfred was on top of him. His brain couldn’t function at half its normal capacity when he realized that.

Then Alfred was kissing him, and it wasn’t soft, nor gentle, nor sweet. America’s tongue shoved its way into his mouth immediately, without any build-up or finesse, and Romano could feel how frustrated he was. He must have been suppressing this desire for as long as Romano had, because it didn’t just feel like something America wanted. It felt like a raw, animalistic hunger, like he was kissing Romano hard enough to bruise because he might die if he didn’t.

Savino felt the same way. He groaned in the back of his throat, clutched the collar of Alfred’s coat, hauled him close enough to feel the edge of his glasses digging into his face, and kissed him back just as forcefully.

After a while, it had to end. They couldn’t kiss forever because of that whole inconvenient “need to breathe” thing. Alfred disconnected their mouths, sighed happily, and scooted down a little to nuzzle Savino’s cheek.

“Best revenge ever,” Alfred declared triumphantly.

Savino huffed out a laugh. “I’m not sure if that counts as revenge. Revenge is supposed to be something the other person doesn’t like.”

“And you liked kissing me a lot, didn’t you?” America sounded so smug and sure of himself, and ordinarily, Romano would have been annoyed by anyone with that kind of attitude. But with Alfred, the fondness tended to outshine his annoyance. That didn’t happen with most people.

Savino rolled his eyes. “Yeah, I did.”

“I liked kissing you too. I’ve been wanting to kiss you for ages. I could kiss you all day long. Well, except for when I have to go to the bathroom or something like that. But other than that, pretty much all the time.”

Savino shook his head and laughed again. “God, I love you.” The words slipped out, because they were so easy to say. Fredo was a dork who would openly admit to wanting to kiss Savino all the time, and he wasn’t even exaggerating. He looked like a goddamned movie star, but even with his occasional moments of arrogance, he never seemed to realize how ludicrously attractive he was, much less how he could have anyone in the world wrapped around his pinkie finger. America made Romano laugh and smile more than anyone else ever had. Of course Savino loved him.

Alfred blinked in shock, he’d just seen the face of God, but somehow more astounded than that. Then he grinned, with the adoration of a child to its mother or a puppy to its owner, but somehow purer and more loving than that too. Savino’s internal similes were failing him.

Alfred’s words were failing him too. “I love you too! I love you so much, I just—” He didn’t finish his sentence and resorted to covering Savino’s face with ecstatic kisses.

Savino giggled at his overexuberance. “Tesoro, I believe you. You don’t have to prove it, okay?”

“But I want to.”

Fair enough, Savino supposed. He laid there, grinning like an idiot in the snowbank, and let Alfred keep kissing his face. His hat had been knocked off earlier when Alfred flipped them over, and the cold at the back of his head and the nape of his neck was starting to get to him, but he was trying to ignore that.

When he noticed Savino shivering, Alfred sat up and pulled him into his lap. “Better?”

“Much.” Romano saw his hat on the ground and frowned in indecision. It had been laying in the snow for a long time, so it would probably only make his head colder, not warmer.

So instead of reaching over to get his hat, he nestled his head into America’s shoulder. America wrapped both arms around him in a clingy embrace.

“Now it’s perfect,” Savino decided.

Alfred kissed the top of his head. “Damn right it is.”

Savino wasn’t quite warm due to the temperature outside, but he was content and drowsy. The rhythm of Alfred’s breathing was oddly soothing.

That rhythm was interrupted by an abrupt laugh. “Dude, I just realized. If someone came by looking for us, they’d find you curled up in my lap instead of running after me and throwing snowballs. They’d be confused as hell.”

“Let ‘em be confused. I don’t really care what they think, do you?”

Alfred squeezed him a little tighter, and Savino didn’t have to look up to know that he was smiling.

“I never did. I’m just happy to be holding you.”

Savino’s face was warm, and he was blushing at least as badly as Alfred had been earlier, after Savino had implied he might do something to him that wasn’t appropriate for a public park. He wasn’t used to this much affection, and maybe he never would be.

But Romano didn’t care who might walk by and see him blushing with a cheesy grin on his face. He was happy, Alfred was holding him, and that was all that fucking mattered.

#hetalia #romerica #hws america #hws romano #hws south italy #aph america #aph romano #aph south italy #hetalia fanfic #hetalia fanfiction #hws fanfic #hws fanficition #aph fanfic #aph fanfiction #my writing #original post

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transsexualhamlet · 4 years

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tg anime vs manga *sighs*

i have the power of hyperfixation and anime on my side! AAAAAAAA

Ok now that we’ve gotten the sins of re post out of the way we need to discuss this. And I just feel that this needs to be covered because I can’t ever get away from constant discourse on this, mostly fueled by manga readers who feel entitled to always think they’re superior for reading the manga, that the manga is the only real canon, that it’s more complex or better, I’m so fucking tired of it. I am also a manga reader, and I tend to get like that sometimes too with many series (for example no. 6 and the promised neverland.) I get it. It can be really annoying to see something butchered on screen to what the original is, changed or represented differently or given a different message or simplified. But just. Some people like the anime and it’s not a goddamn holy war for y’all to fight. It only makes anime fans not want to read the thing even more yknow cause manga readers are pretentious assholes, and I am aware of this as one of them.

(again ok i’d like to mention i know this fandom is basically dead but a certain p*nterest is always like 4 years behind on fandoms so i keep fucking running into Discourse that’s like, still current, whenever i want old random ass content) (and youtube, why do i look at youtube comments, because I personally enjoy being offended? yeah probably)

And that brings me to the point of this anime vs manga.

This is a lot harder to compare than a lot of other series, because there are just... so many more differences not just in the style and vibe but the story itself.

Disclaimer, I’ve never watched the anime for :re and i don’t intend to, because I honestly have no earthly clue how tf you can get from the highly diverged tokyo ghoul root A to re and make it make sense, and I don’t really want A ruined for me. So you can call me biased towards the manga in the case of re, i guess (which makes my eventual conclusion even more strong I’d say) Honestly I just see them as two completely different stories, the manga’s version connecting with re and A just like... ending there. So how we’re drawing the lines is basically tokyo ghoul A versus the manga and :re. God, I know this isn’t a fair fight because I already hate re so much, but I feel like the manga’s story is much more intertwined with :re than the anime’s is, so that’s what we’re going with.

oh god also another disclaimer this opinion is coming from the biggest fucking kanehide whore, you can disregard anything i say if you ship The Straights and/or do not care for my boi hide

To be honest, if I can take my own conclusions and liberties to the story, I like both versions, each have their pros and cons and kind of a conflicting message. They can’t really coexist. Usually I’d consume all versions and then create one consistent canon in my head for what I accept as the true events (for example my main owari no seraph, first season of the anime is canon but after that we only follow the manga since those can come together and make sense.) but it’s very hard to do that in tokyo ghoul, since I must confess... I really like root A. Like of course, it’s a lot different from the manga, but tbh I think it’s super valid. (unlike most Fans TM like this Fan TM who i’m sending this post to just to spite their singular Youtube Comment Section Discourse, yes I did write this post for you and many others like you) But the ideas that make up root A conflict a lot with the ones of the manga, so I just have to accept that they’re separate things and treat them as such.

Now to break it down so people can understand where I’m coming from I guess? God this is already so long here’s a read more

The Case for The Manga (including :re manga)

More Lore + Plot Shit: One of the main reasons that manga readers are pretentious little bitches is a valid reason, namely that, as is the case with most manga, there’s simply more to it than people can fit into an anime. (Although people need to understand that’s because,,, it’s simply a different medium, so it will have different pluses and minuses, such as for example a soundtrack, color, moving pictures,,, you know, all that. Anime onlys don’t say that the anime is better by stating these things that a manga won’t have... because they’re fucking obvious. So manga readers should stop acting like an anime is inherently sub-par for being less in depth, but we digress.) I can understand that reading the manga is kind of important for wanting to understand the lore (though there are like so many other reasons ppl might want to watch it other than to get the lore) and without the explanation of how all this came to be and how it works, everything tends to be really mysterious, confusing, and seemingly random. It’s really nice to know what’s all going on, of course, and stuff like the washuus, rize’s backstory, the explanation for like, kaneki in general, all that- if you’re looking for like, plot shit, manga is definitely your go to. But like, sometimes, you like, don’t actually care about those things.

Haise: Of course one of the most important things about well, including re is that I fucking love Haise. Like he is my favorite Kaneki. He’s just so wonderful, look at him in he glasses and he floofy hair and he striped pants and he energy boxers and he s p i c e and he MOM. And I really like how they took Kaneki’s character and developed it more with Haise, you can see his turnaround from innocent--> Emo--> Trying To Be Innocent Again But Failing and I think that’s really sweet tbh. I rejected that at first because I didn’t understand it but once I actually read re I thought it made a lot of sense and was a logical thing to do with his character. (though, uh, moving forward, after his hair changes again i disagree with it, haise 1.0 is a good take and i love him and i want the best for him) I could go on I’ve already written a post of what I think is wrong with :re so if you want to hear my take on kaneki’s 37 pokemon evolutions that’s in there

Good New Characters: And of course there are my favorite bitches such as quinx squad, oh my god, there was a terminal lack of dumbass squad vibes in the original and ishida fucking gave it to us, I love them, I love them with all my heart and I think that if I wasn’t attached to them I’d probably just cancel all of :re but like this is just my personal problem. God I love them. Ishida always pulls through with characters I’m now too attached to.

Vore Lmao:Ok like hear me out. I just get a laugh out of it every time the manga has to remind me of this little fucking fact. Like ok I just. Cannot get over it. It’s so serious about it too and like I realize it’s a serious deal but o h m y g o d

Ok and now that we’ve got that little rant over I do want to say that it is like actually really important past the “lmao that’s pretty gay” bit, like??? In some ways it’s more fitting than the anime because well, ishida’s point always seems to be “what would mentally and physically hurt kaneki the most right now” and does it because that’s who this bitch is. But it just?? Kind of makes a bit more sense for the storyline if we’re being picky here, it’s so,,, painfully on point? Like the entire reason he gave in to Being A Ghoul and all was so he could save his friends and shit (i actually do not remember if this was a thing in the manga but like? when he was being tortured and he like imagined hide being really mad at him and getting killed by jason and shit?) LIKE AND THEN HE GOES AND HAS TO BASICALLY BE THE PERPETRATOR OF THAT HIMSELF, FUCK, it’s a lose/lose situation of “don’t do the bad thing and watch your friends suffer” or “do the bad thing and watch your friends suffer but like, later” ishida please

The meaning of Hide being alive: Ok this is just me crying over chapter 75 still but like. Instead of in the anime, where hide’s point seems to be that instead of letting kaneki sacrifice anything more he’d be the one to give his life up and such, and save kaneki, in the anime tbh he just really wanted to be with kaneki right then?? and like ouch but understanding that in the manga he wasn’t just planning on dying and leaving kaneki to deal with it afterward he wanted to go on and continue to try to help the guy no matter the shit he had to go through, no matter if the dude just like forgot that he existed for two years and all- LIKE UH CAN WE TALK ABOUT HOW HIDE DOESN’T EVEN EXPECT ANY APOLOGY? like kaneki’s like “OH MY GOD I’M SUCH A TERRIBLE PERSON” and hide’s like lmao nah it’s cool i’m thriving- that his big motto was “live” rather than “peace out motherfuckers it’s been fun”. Cause. Fucking. Ishida. Can’t kill off characters well but like at least he made keeping this one alive justified.

The D e t a i l s: Ok well I feel like this is something everyone knows but the anime is missing a lot of really,,, crunchy details that the manga throws in there, like, well, kaneki’s fucking,,, bones thing, and other assorted details, g o d like those are missable if you want to never understand half the memes but also like,,, sometimes you just gotta read that shit. It also like, makes more sense when you do but sometimes it’s just stupid things that aren’t important but are fucking hilarious.

The Flavor: In general I’d say the greatest difference between the anime and the manga is the general flavor of the thing, the vibe in the manga is a lot, to be frank, darker and grosser and bloodier than the anime, which is a lot more focused on being pretty and Tragic than “HOLY SHIT WTF” but like. That’s valid. With that comes it being a lot more, real, and although the art may not be as polished as the anime’s, sometimes that’s exactly what you need, and the really gritty sketchy shit that’s in the manga sometimes is exactly what it’s supposed to be for the manga. (in the anime, i’d say that the colored and polished style fits it better, so we’re good there.) It’s a lot more real, in the manga, when the anime hesitates to “go there” a lot (and well, sometimes that’s welcome, but sometimes it’s like y o u g u y s c o m e o n r e a l l y maybe i DID want to see that did you ever think of that)

So like, to sum it up i’d just like to say it’s more detailed, sharper and darker and is simply So Much. There is just More Content

The Case for Root A

ON THE OTHER HAND, (buckle up fuckers)

Depth of Emotion (that Ishida was too much of a pissbaby for): God like you know what I mean if you read the last post, we spent a whole episode on these gay fucks in root A, with backstory and dreams and drawn out suspense and emotion and GUYS LOOK AT THEM NO REALLY OH MY GOD YOU HAVE TO UNDERSTAND HOW IMPORTANT THIS IS whereas hide’s limelight in the manga is a whole... two pages, oh whoopee, and that’s mostly due to the fact of ishida putting himself in a spot of “oh fuck goddamn if i drew that in i’d get flagged for gay porn” but that’s his own fault, so he downplays the whole scene and really keeps it in the dark, whereas in this anime it’s understandably a lot less,,, like that, but how it plays out here is simply... really nice and makes you cry and shit, whereas in the manga I’d go “oh god oh damn oh fuck” *laughs my ass off because i really can’t take this seriously*. You get just... more here.

To elaborate on this, in the anime, as a gay fucking bastard, I can get practically an endless amount of content from episode twelve, and endlessly stew over all Those Things about it, every hard hitting line, the expressions, the music making it even sadder, the ways the VAs say the words, the cinematic beauty of the blood dripping on the floor and like how it’s supposed to make you think it’s kaneki’s, GOD I COULD FUCKING GO ON, but if we want to get that in the manga...

we get three incredibly basic lines, a blackout, and then a “QUICK LET’S MOVE ON TO SOMETHING ELSE BEFORE ANYONE NOTICES THE IMPLICATIONS OF THAT HAHA”

So if we want to have more, we need to write it. (sadly) None of it is ever played out canonically so like,,, all we can do is infer and make shit up. It’s like, I am a writer so like that’s my whole job but I really would rather have more content, and have the content that’s there get to be emotional instead of *blank face* “this is plot that is happening, sadly” but like maybe it’s just bc i’m gay

Really Fucking Beautiful (aesthetically as well as story-wise): This kind of just goes hand in hand with the depth of emotion bit, and I think it can’t really compared to the manga here because I’m gay so I see pretty colors and cry so the anime is understandably appealing for me, but I’m also talking emotionally, yeah. There’s a lot of plotlines and implications of the story that are really well played out, I always love to watch the original because it does a very good job handling a lot of the harder topics and stuff that makes the whole thing worthwhile- like the whole point you’re supposed to see that the ghouls and humans are both just as monstrous when you break it down, that there are good and bad people on both sides, everyone just wants to live and feel good in their own life and perspective, everyone has reasons that justify their behaviour in their mind, sometimes you just can’t win no matter what, all that... they’re all really important messages and make the whole story, and they were handled much more delicately and with more expertise in the anime.

It’s hard to pin down, but I feel like the manga was just based more on Fight Scenes Characters OoH Fake Science and kind of just gave kaneki infinite power ups after Trying Harder no offense, obviously those things were there and they were still very good in the manga it’s just sometimes they were cheapened a lot by ishida really not keeping track of what he’s trying to say with his story and sacrificing it a lot for “BUT WHAT IF KANEKI’S HAIR AND IDEALS CHANGED AGAIN” instead of making it a whole cohesive work. (and yes, I am VERY aware of your “well aCtuAlLy the hair represents his sanity” thing i know i know and i’m about to rip it to fucking shreds so)

Understandable Character Development And Staying True To It: Which brings me to this point, character development. This was another thing that was just... handled with more expertise in the anime, whoever was in charge of it. Mostly this has to do with Kaneki, since like, no offense but he’s the only one who ever gets much character development other than like, juuzou (asmr you only get character development if your hair color changes) oh and i guess there’s tsukiyama but he’s someone who shouldn’t have gotten character development. Touka gets character development only before re for some reason, and like tbh that’s kind of it. I do think Juuzou’s character development was valid, because well... it made sense? I complained about it before because I was like “well he just turns into spicy L” but i’ve since changed my opinion, he’s best boy. But Kaneki? They went way overboard with him in the manga, and generally? Calm tf down ishida.

Breaking it down, one of the main things that most of the tried and true manga stans seem to hate about the anime the most is Kaneki going over to Aogiri in root A. Since they’re much more acclimated to the manga, they don’t understand why he would do that (quoting a particular ‘probably made sense in the manga!’ yes i know that whole thing was poking fun at the show and i felt it lmao) and they just pin it to “ahaha he has now become Edgy for the fans ehehe time to make fun of him” and TO BE FAIR YOU’D BE COMPLETELY RIGHT. I love to make fun of Kaneki when he does his edgy bitch thing because that’s what he is. A basic edgy bitch who is just,,, such a main character. But like. He does actually have his reasons despite popular opinion and to be honest I think they’re a bit more valid than in the manga, where he’s just like “well I’ve been tortured, that was not pleasant and i kinda did a bad thing, let’s go back to anteiku but i’m just gonna Try Harder To Fight this time”. I can understand that, but like, it seems like in the manga every Character Development of kaneki is some form of “i will now be stronger” except for the singular “I will now be a different person” which, well, we’ll get to that.

In the anime though, even if it seems like more of a basic edgy bitch move, it’s like?? It makes perfect sense to me, and to be honest more than the manga does? Obviously he doesn’t wanna be best bros with Aogiri, he realizes they’re all bad people who have done really terrible things, but the fact is he now sees himself as the same thing, he now understands their motives because in his mind he is also now Bad TM. His whole character development of being tortured was that peace wasn’t an option no matter how much he wanted it, he couldn’t live being a pacifist and the world was forcing him to give the “i am the only one that understands! we need to stop fighting!” bullshit up because there was no way to achieve it. He realized if he kept himself the way he was more people he loved would be hurt like they already had because he couldn’t, so he doesn’t just Decide To Become Stronger, he gives up his humanity. And that includes basically letting himself defend his own actions and try to do “the right thing”.

Him then joining aogiri makes sense because well. They’re the people who are the strongest, who have the power, who are the same as he sees himself. He still wants to protect the people he loves, he just also realizes he can’t do it by working with them since he now understands that their more peaceful ways will by definition get them fucking killed. His understanding is flawed, of course. He’s not really right. But this is his understanding and from that it makes perfect sense for him to join up with aogiri and try to still do as much as possible from that standpoint, realizing that most likely the people he’s trying to protect will hate him for it. I think that makes sense to me, what do you not understand about it? (I also understand that may make some people mad because he’d Doing Bad Things but I point to you he’s so soft, remember when he was really nice to naki when he was literally the one who killed the guy naki was crying about? remember when he was doing a raid and he saw that guy hiding and he never mentioned it? remember like the seventy times he Cried TM, yeah he’s problematic obviously but if you want problematic I’ll point you to a certain fucking black reaper. Shironeki has nothing on that asshole.)

I think what Kaneki did in the manga was fine, but in general the anime (again) had more depth of understanding and emotion versus a steady Try Harder Get Stronger shonen deal, which, well, fair, but like, nah. Continuing why I think the anime dealt it better is the ending of A, which was a lot more well rounded then *kaneki gets stabbed and then there’s a lot of random plot shit going on in the background*. Here Kaneki then got to round out the end of his character development by realizing slowly through the second half of this season, him becoming a kakuja and then basically deciding like, not to

((kakuja kaneki was dealt with again different in the anime and manga because he basically stopped trying to use it in the anime bc he realized it was a bad fucking idea but this goes along with the ‘his character development of “i’m gonna do bad things for good reasons” --> “actually no wait that was a bad idea” was actually done in root A instead of being dragged out into :re and it’s appropriate for its own medium and the messages it’s trying to get across so manga loyalists hate it’ but we digress))

So in root A we got to see him actually develop and realize himself through the second half of the season starting with cochlea, his interactions with Amon, and ultimately through Hide, that he’d been doing the wrong thing by becoming more monstrous/fighting harder because what he did was ended up forgetting the most important thing, *smiles in gay* HIDE.(well, his humanity. yeah. i cite the terrible opening for root A with the fun ‘the hands taking off kaneki’s mask are hide’s’ bit.) He then remembered again why he wanted so bad to stop the war between humans and ghouls, he wanted to be able to live in peace and not have to be a monster- something that was not dealt with in the manga (though for understandable reasons of We Need To Fuck With Him In Re More, they then didn’t deliver on creating something like that later so I take this.)

That’s most of the difference between the original manga and anime, but I’d also like to discuss (briefly, I’ve already yelled about them) the ridiculous amount of hurdles ishida went through to fuck with kaneki in the manga, Of course there is the fact that well, the slower transition of his character does make some more sense for the manga because if you take :re into consideration, his eight billion character changes are more tolerable when they haven’t like, already happened before in the manga (just the anime). It makes more sense there for Haise to be tormented by past kaneki telling him He’s Too Weak because in the manga he hasn’t already had that development prior to “dying”, and he lost his memories still believing he had to be strong even if he did bad things, whereas in the anime it doesn’t track because at the end like i just said he kind of gives up his ghoulhood on purpose because he realizes that joining aogiri and fighting and shit was really wrong because, hide. So I can see why those character decisions were not made in the original when planning for :re, but... the fact remains that those previous decisions do not make up for how absolutely weak :re’s game ended up being with kaneki.

So tldr this entire section, All the manga’s defense of how they handled Kaneki’s development is basically void because all those choices were buildup for development in :re which ishida then COMPLETELY fell down on. So the alternative is better.

And now comes my yelling about how exactly Ishida fucked it up: hair colors and kaneki’s 80 kanekis. If black is supposed to represent sane and white is supposed to represent insane or, whatever, i dunno, who tf thought black reaper kaneki was sane? Who tf would think kaneki in the end isn’t? I haven’t looked into this really, and I’d really love it if someone explained it to me the way ishida was going for bc I do not understand it. Like that tracks with Juuzou, and with Kaneki up to Haise Original, but they don’t really make a cohesive sense seeing as after Haise’s hair color changed again that whole deal kind of goes to shit. Not to mention... I just... they completely failed to make those character changes actually part of the story, I’m mostly complaining about black reaper haise, none of him makes any sense. What’s his deal? He wants to protect who he loves? Tracks with the ghouls but fun fact he abandoned his kids? He actually cared for them? What then, he wants to be the strongest as possible? Sure but then?? Why?? I don’t understand his motives at all.

We also didn’t get to see him get his memories back either, which I was actually very much looking forward to, it just,,, like all of a sudden he’s talking with eto about yoshimura and i’m like bruh when tf did that happen? It’s bad, and although chapter 74-76 is super valid, and his change back into white hair kaneki makes sense, I also have the complaint about how haise basically disappeared just like he was worried he would. I think that was bad and I’ve said that already, it doesn’t make sense, he just literally throws those entire two years away to go back to the way he was before he was with the CCG and just forgets everything he’s wanted for the last few years? Fiction logic test fucking failed, and you’ve also broken my heart. Love Haise. You got rid of him. I love kaneki too but like. Why don’t they just. Like. Merge. He is one whole complex person, not one and an imposter, god.

This is a big negative for re and the manga, so automatically a positive for root A where I simply Do Not Have To Deal With That Bullshit and the character development actually makes sense. I can understand the decisions in the original manga could have set up for good development in :re, but they completely failed to deliver.

root a didn’t fast forward to re at the end god damn let us process this shit first before you try to connect it to something else: The thing with this point is that it’s really difficult to separate the original manga from the continuing story in :re because the thing intertwines so much and immediately moves us forward with a ton of plot points for the next part of the story before we’re done with this climax and the end of this story. Sometimes that’s ok and I can see doing that from an author’s perspective because you want people to continue reading your story instead of taking that as the end but it’s really annoying on a reader’s end, because I’m picky and I want to be able to just be able to enjoy my original canon without it like, metaphorically touching :re on a plate. It’s something that I don’t even do with my own longer stories, like for example I have like a trilogy of >100k fics that like, well i’m technically not done with them but like.

People really like the first one because it’s more focused on a more popular ship and basic elements people like about the thing, and then by the second book it moves on to talk more about the plot and lore and brings in more secondary characters. And so I knew that a lot of the readers of the first one wouldn’t want to have to deal with a lot of the “oh well stuff is happening elsewhere that will effect stuff later!!!” random plot shit that none of my readers actually cared about. So I kept it to wrapping up the points of the first book and then leaving the introduction of new characters and plot for the people who actually wanted to read it. Ishida didn’t do that, and of course it’s within his right to like?? Want to promote the next series but I’d have enjoyed it more if we ended it at kaneki’s “death” and wrapping up the deals with the rest of the characters instead of quickly shoving in the beginning of seventy more plotlines before the book ends. Like honey I simply do not have the reading comprehension for that. In the anime we get something that... makes sense.

In the anime, however, it’s quite the opposite, for example the reveals like Eto=owl=takatsuki sen were pushed before that and they saved episode twelve for, well, the end bit. Like what was actually the ending. There were detriments to this I had to say (LIKE GUYS I GET IT HE’S CARRYING HIDE HE’S CARRYING HIM I GET IT YOU’VE BEEN DOING IT FOR HALF THE EPISODE NOW OK I UNDERSTAND CAN WE MOVE ON) But like, I prefer the concept of a simple idea with as much emotion squeezed out of it as possible to a ton of confusing and contradicting ideas that are touched on for a second before moving on. So the *cries for half an hour* ending was much more appealing to me, and I can keep that separate in my head from any of the ideas that :re creates, letting me pretend it doesnt exist and imagine that’s the end and there’s nothing else to worry about. If we want to move forward and hear more, then we can, but it isn’t necessary like it is with the manga.

No Bad Takes that are hard to pry apart from good plot and characters:This is basically the downsides of the new characters, which is well, if I had to make a whole ~keep reading~ post about how problematic everything in re was that does have to count as a downside. I love the new characters, but they also come intertwined with a thousand really bad takes on like, everything, and of course I can ignore it and just act as though they were written in like, to be perfectly honest, a non transphobic way, it’s a real downside when the original anime was pretty pain-free in the way of their takes on their characters. They fucked everyone up in re and I will not elaborate, we’ve talked about this, it’s just the anime, and which i mean season 1 and root A, don’t really have any bad takes I need to try to get rid of, it’s surprisingly something I have little complaint about at all and I ALWAYS have complaints.

Hide!!!!: Obviously, you can tell that a lot of my opinions are going to be hide based because he’s the only thing I ever think about. But we have to take into account just how... hide???? This goes a lot into the depth of emotion bit but it also offers the other side of the argument for Hide’s part in the :re manga, which well. Was mostly chapter 75 if we’re going to be perfectly honest here. He doesn’t get any other limelight. Even in the chapter where Kaneki meets him again he gets a whole what, three pages? In the manga, he has an extremely valid deal about basically, living, keeping going no matter what, and that is a fitting part for the manga, considering the rest of the points there ride more on Keep Fighting instead of Think About Your Emotions And Morals, but honestly chapter 75 was really valid. So why do I still think the anime’s version where he like (ok I don’t know about the re anime we’ve discussed this, i don’t even know how they choose to explain that) he like, dies in kaneki’s arms is better overall? Again, I would have totally accepted that deal if it was made a part of the story because it made me cry, it was super valid, and if they’d continued in that way I would have agreed with it completely over that. But the fact is again that they failed to deliver, and Hide got largely ignored, suffered so much with so little outcome. There was so much buildup and it was incredibly valid, but when the time came for them to meet again and basically show... why it was important that Hide lived in the end?

They didn’t. They straight up didn’t. Kaneki’s like “oh sorry bro... glad you’re alive and all...” *goes off and fights* and like? Honestly? @everlastingspiral is right, if that’s all they’re gonna do with him what’s the point of keeping him alive? I love every single panel of him and I wouldn’t have read re if he didn’t, but hide gets absolutely NO payoff. For letting kaneki literally vore his entire mouth off, leaving him disfigured and unable to talk, then kind of disappearing for two years and doing seemingly nothing but trying to help kaneki even though he’d forgotten the guy existed, risks his life like a thousand fucking times, eventually gets back to him and the dude’s running a fucking anti-human organization, helps him like Not Be A Volitile Pile Of Flesh Anymore and then what should have been a very important moment of them meeting again gets completely overshadowed by touka and random plot shit and more fights and they barely interact, they don’t even hug or anything, they barely talk, and at the end hide is still there but to be honest he’s gotten absolutely no thanks for all he did and ishida acts at the end as though he’s done very well with hide and gives him a tiny bit at the end throwing in a tragic backstory for fun (which hot take he really didn’t fucking need on top of it all) and... there’s no real hint that Kaneki is better off with Hide there, even though there should be. In 75, in his dream, kaneki is sobbing and crying and all like i’m so lonely without you but when they actually meet each other again? “yo” “hey” “uh sorry about,,, the thing,,, you know” “nah man it’s ok” “let me talk about myself for a bit” “yes you always do do you want to hear what I’ve been up to” “not really” “that’s fine i’m only here to support you”

...So you can understand why I’ve gone a bit sour on that. If that’s all you’re going to give him? Hot take? Let him die. Hide deserves better. (and i will deliver that in writing, but for the purposes of canon.)

In the anime, however (not counting re again... although he still gets the short end of the stick just in the original manga too compared to the anime) he’s properly dealt with! he gets his proper limelight and he gets acknowledged for what he’s done thusfar in the story, which is already so much. Kaneki then realizes that, but it’s already too late (or it isn’t, and they like negotiate with the ccg and then they get to live happily ever after) either way he gets appreciated and he gets hurt, but it’s properly acknowledged. And after all that, after saving kaneki and getting him to the cafe and doing it all while bleeding the fuck out, he gets to spend that time with kaneki and die in kaneki’s arms. And frankly? That’s all I think he’s ever needed. It’s really poetic and pretty and brings kaneki’s character around full circle, and even if it’s overly sappy, cliche, drawn out... he gets the attention he’s due and he gets a fucking break. He wanted to show Kaneki he wanted to do something for him and save him instead of the other way around, but then HE GOT ACKNOWLEDGED FOR THAT, instead of just well, tirelessly working towards it forever and having to be content to be a background character with practically no value to Kaneki anymore.

Keeps The Same Vibe: The big thing about this is that with the manga and with re, shit just goes all over the place, and I feel like I’ve amply showed that already through this essay or whatever this is. Again about the consistency and the professionalism, It’s a concise story that makes more sense than the manga while also being simply neater and more deep, making sure all the points, themes and messages work together and make sense to create a cohesive deal even if it’s not as long. (the manga is like ishida had a TON of good ideas for an essay but then fleshed out the thing ten minutes before deadline and managed to completely lose what his original thesis was even if the thing was 10 pages long.) Basically. yeah. That kind of sums it up, my last point concerns the ending.

Not Cheap Ending: If you want to hear my take about how absolutely terrible re’s ending was, check out my The Many Sins Of Tokyo Ghoul :Re post, and we’ve discussed how the original’s manga ending was bad and well not really an ending, it just leaves you unfulfilled and takes you into “well I guess I have to start a whole nother sequel series ig...” but root A like? Actually ends it? If a reader didn’t know that there was any content after that, they could pretty much infer that hide’s death or almost death whatever you inferred out of that ending (again we’re ignoring re) allowed Kaneki to finish his character development and realize they needed to stop the war, which basically tracks with what’s going on in everyone else’s perspective- eto’s problem with the world because of what happened with everything, is basically like, all of aogiri, juuzou and shinohara, amon and akira and kaneki and they can realize all they have to do is just sit down and fucking stop it because none of them want to be fighting, hide is the catalyst for that because the CCG can see how Kaneki cares for him? And it’s so open ended that you could just like literally believe that and there’d be no way for that canon to tell you otherwise, or you could go onto re and whatever if you wanted to. I think that’s the best thing.

In conclusion, both have valid points, and in general I’d say that the manga goes better with :re and the anime is better as a stand alone but if I had to choose overall, this particular anime is better (taking into account only seasons 1 and 2), for mostly the reasons of favoring a simpler story taken with much more care and depth versus a more complex story with many, MANY imperfect elements, and I am aware I will get shot on sight for this opinion. So sue me.

#tokyo ghoul #hideyoshi nagachika #kaneki ken #tokyo ghoul :re #essay post #god i've been writing this for so fucking long #but i'm right #y'all fuckers asked for a fight? you're getting a fight #rowan's hyperfixation essays

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uniarycode · 4 years

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Takari Week, Day 1 - Confession

Takeru has spent weeks trying to confess to Hikari but somehow he can never actually get it out. Hikari has a different interpretation on how they’ve been spending their time. Done as part of @takariweek 2020

Today was the day. Today everything would change for better or for worse. Today marked the first sentence of a new chapter of his life. Today was the day he was going to confess to Hikari.

Unlike all those other sentences he had to re-write.

This was not the first day this month Takeru had planned to confess. However, he was a romantic at heart, and no matter how much resolve he had beforehand somehow the moment never felt right. He would always be able to tell their grandkids about how they met, but he wanted to be proud or the story of how he first asked her out. And none of the opportunities so far fit his taste.

It was either that or he was afraid.

Even if his confession was successful, it would still mean a fundamental change would occur in his and Hikari’s relationship. And Takeru had a mixed relationship with change. Change meant the loss of his father and brother. Change meant the introduction of a strange world filled with monsters. Even the first time Patamon had changed into a new form had led to one of the most traumatic events in his life.

But change also led him to meet Patamon in the first place, something he wouldn’t trade for all the riches in the world. Change meant moving to the same school as Hikari, and meeting Miyako, Iori, Daisuke and Ken. Change meant that one day society might accept Digimon as a whole.

And whether he liked it or not, change was coming.

It was still surreal to him; his brother and Taichi had always seemed so close. They had never been part of the same cliques, and they spent almost as much time fighting as hanging out. But their friendship always eclipsed everything else, social standings, heated disputes, none of it mattered; they were best friends, through and through.

Then college happened. Now the legendary duo’s primary means of communication was via their siblings. Hikari would learn some new fact of her brother’s life, tell Takeru during the course of casual conversation, and Takeru would update his brother of the going-ons later that week.

It wasn’t just them. Even Mimi, who had an incessant talent for attaching herself onto someone and refusing to let them go, seemed much further from the rest of the chosen then she’d even been while she lived in America.

Takeru knew their bond was strong, that what the eight of them had done could not be forgotten or replaced. But even if distance could not destroy the bridge holding them together, it could certainly increase the hassle of travelling back and forth.

The last thing Takeru wanted was for that distance to appear between himself and Hikari. This was their final year in highschool, if he didn’t at least try now he might not ever get the opportunity again. He needed to try, despite the inherent risks.

Besides, Hikari had rejected Daisuke dozens of times, and they were still friends, right?

Gathering his courage, Takeru had asked Hikari if they could have a day to themselves, ‘just the two of them’. He’d suggested Wednesday, when neither club duties nor pressing assignments devoured too significant portions of their time.

Ever the romantic, he had it all planned out: First, karaoke. A good, private way to judge the mood, and get Hikari to let her hair down. Next, they had tickets to a movie, the new Disney flick that Hikari had been dying to see but never gotten around to (and without someone pressing, likely would not until it became available on dvd.) Finally, a romantic stroll on the boardwalk at sunset.

The boardwalk overlooking the bay.

The bay where they fought Ordienmon.

The bay where they’d been forced to kill one of their friends.

It was only after beginning his long-rehearsed spiel that Takeru had this epiphany, and, fearful that his date may have been quicker on the uptake than himself, he scrambled for a plan B.

Salvation came in the form of a nearby cat café, he knew as soon as he suggested it that Hikari would lose herself in the felines, paying more attention to the four-legged critters than she did to him, but it was worth it to avert potential catastrophe.

Fate still deigned to mock him however, from the instant he sat down a maine-coon attached to him, refusing to move from his side, or to let the memories of past failures escape.

All cats attached to Hikari, she merely shared them with the other customers as she saw fit. There was no doubt she enjoyed herself, but the moment had been well and truly ruined.

Takeru had managed to obtain an opportunity of redemption. ‘Same time next week’ had been the agreement, and he had near instantly resumed planning. Whatever he came up this time had to top what he’d just done, or else he might have to explain away his mistake.

But even the most perfect plan does not survive contact with the enemy, and the enemy presented itself as an ill-timed phone call from his father. One of his coworker’s households had apparently been graced by the appearance of a small white blob with a voracious appetite, and Hiroaki was wondering if his son could stop by after school and help calm the panicking mother, perhaps also giving tips for digital care.

Hikari would not allow him to say no, and insisted on tagging along. But the TV station itself held a lot of painful memories for the girl, every year she returned with an offering of flowers and incense for Wizardmon’s grave.

It was far from a total waste since an idol Hikari had been following was also present. Somehow the idol had overheard their arrival, and considered themselves interested in the pro-digimon cause. In fact, the idol had been downright helpful, asking questions of him and Hikari that the coworker was likely to embarrassed or too naïve to think of. Hiroaki ended up taking them all out for dinner, and they chatted for hours, finally assuaging the fear of a parent whose daughter now had a dog-head as a life partner.

By that point, he had to take Hikari home, with no real opportunity to confess, even if Wizardmon wasn’t on her mind.

The third attempt was a no go from the beginning, Hikari had been sent into a rare, foul state. All she wanted to do was eat ice-cream and rant, so they went to a dairy-bar overlooking the beach.

He’d let her vent when she wanted to vent, and when she was done he did what he did best: deflecting the conversation to some odd antics of Daisuke or his brother, anything to get her happy and cheerful again. Even after her mood had recovered, steering the conversation towards a confession felt like he might be taking advantage of her, or putting her on the spot somehow.

Cheering her up was reward enough, even as he paid for the forty-flavor super-jumbo, bottomless Sunday that they’d managed to make a liar out of.

(He’d eaten perhaps an eighth of it, there was no doubt in his mind that Hikari could have eaten the whole thing; but she at least wanted the plausible deniability to claim that he’d consumed half the calories.)

The fourth attempt was similarly doomed, he’d been too sick for school that day, and while Hikari had dropped by, he was too delirious to form a real confession, or for her to take any confession seriously.

The feel of her hand stroking his hear as she tended to him had been so heavenly though. He couldn’t regret the experience.

By this point Takeru was convinced their Wednesday gatherings were cursed. There was little reason Hikari would even see them as special. And while he always enjoyed spending time with her, especially just the two of them, he was worried that regularity may dampen the splendor he’d initially been going for.

This week he requested to move their weekly hang out session to Saturday. It would allow more time for them to be out at night, and thus more time for him to enact his perfect confession. Hikari’s father was away on business, and her mother had already agreed to be rather lax on her daughter’s curfew.

His mother had not, but she would not punish him if he told her he was out on his first date, nor would she punish him after getting rejected, yet another reason he needed to actually spit it out today.

And it seemed all the stars were aligning, on top of her father being out of town: a photography exhibition at a local gallery was going for half price, and her favorite indie group were headlining a public concert at the beach until sundown. Finally, there was a forecast for a clear, bright moon, and a local botanical garden was advertising a moonlit stroll through their flowers.

Hikari had agreed on one condition: they could wade through the shallows, but not do any real swimming at the beach. It had seemed odd to Takeru at first, but the beach had been more about the free concert than seeing her in her swimsuit.

***

When Takeru arrived at the Yagami apartment he was stunned by the vision of beauty that graced him. Hikari was wearing a strapless dress, black with accents of pink and white, that he’d never seen her in before. Based on how high her head was coming up his body, she had to be wearing quite daring heels as well.

And her makeup had been done with so much precision and effort he had to wonder if perhaps Mimi had come back to town to help her.

“T-Takeru?” she asked, and he realized he must have been staring.

“I’m sorry, have you seen Hikari? Brown hair, about yea tall,” he held his hand about three feet off the floor, “may have a family of ducklings following her around.”

“That was one time.” She scolded.

Takeru stood on his tip toes and moved one hand to sit above his eyes, like a visor. “Hikari? Is that you? Are you trapped behind this radiant goddess in front of me?”

A tell-tale pink infiltrated her cheeks as she turned around. “It’s too much isn’t it? I could still maybe change and-”

His hand shot out and grabbed her arm before she could escape. “You look perfect.” He said sincerely, pulling her in for a hug. “Besides, people at the exhibit will be expecting beauty and art. They just may not be expecting the source.”

“You’re just saying that.” She deflected.

He wasn’t.

Takeru was not the same connoisseur of photography Hikari was. When push comes to shove, he wasn’t sure anyone was the same connoisseur of photography Hikari was. That said, he enjoyed exhibits well enough. He liked to look at the pictures, and soak them in. Try and memorize every detail to regurgitate later.

Or occasionally, he would find a particular picture, and write a story in his head. How had they gotten here, to this moment, what did picture mean to the squirrel which was the focus? What was he doing immediately before? How did this moment change his life?

Such joys eluded him today, instead his focus was solely on the brunette accompanying him. The pictures only mattered in how they changed the expression on her face as she examined them.

After exiting the gallery, there was still about an hour before the band started playing at the beach, they stopped for a bite to eat, and Takeru did his best to fake his way though her questions on the exhibition.

What was his favorite photo? He named one on the left wall of the one she stared at for ten minutes, that had framed her head the whole time. Why? He made up some impromptu story he’d concocted about the scenery involved. It won him a laugh from her as he turned the questions around.

When they got to the beach, Hikari replaced her heels with flat sandals she kept in her purse. Takeru noted that he at least recognized the heels this time, unlike her dress, but he’d still never seen her wear them before.

Despite her insistence they not swim, (something Takeru now realized had to do with the amount of time she’d spent on her makeup,) hikari had instantly dragged him towards the water, to wade in the shallows. They didn’t go much more than ankle deep, anymore and they risked getting hikari’s dress and his shorts wet, but it had been romantic nonetheless.

When the main act began to play, they collected their shoes and moved towards the stage, communications dampening as the speakers drowned out all sounds but the band on stage.

Takeru didn’t need words, the sight of Hikari, framed by the sunset, losing herself in the moment was more than enough for him.

It was twilight when the band’s ‘second encore’ had concluded and the crowd began to peter out. There was a small ice-cream sack on the beach, and Hikari rarely turned down an opportunity for more of the frozen delight.

They talked about the concert, the waves on the beach, of everything and nothing all at once, until the residual light from the sun faded and the moon came in full force. In the city like this, there was always a glow of artificial light, but it did not diminish Tsukuyomi’s splendor.

Meandering towards the botanical gardens, continuing their chatter about daily life. Just outside Hikari stopped him, finding a bench to switch back from flats to heels, insisting it was more ‘proper’. Takeru didn’t let her get away unscathed, suggesting that if she wanted to feel taller, stilts would be more appropriate. She responded by playfully warning him that he may ‘wake up one day, two feet shorter’.

Neither comment had nearly as much effect as when the woman at the counter remarked on ‘What a beautiful date this would make’ and how she ‘wished her boyfriend had been so romantic at that age.’

Hikari’s face could be mistaken for a tomato, and Takeru adopted an uncharacteristic stutter as he paid their admission and ushered Hikari outside.

The woman’s words had a chilling effect, the natural conversation had all but dried up, replaced with subtle pleasantries and tepid remarks about the moonlit flowers. Before long Hikari had her camera out, taking pictures of the various plant life, abandoning most conversation all together.

Was this it, had such a small, well-meaning action already cursed him? Everything was going so well. Was he a modern Sysphus? Doomed to forever push himself up the hill of a relationship with Hikari only to fall down at the pinnacle and start all over?

“Takeru?” Hikari asked, snapping him out of his monologue, “Are you okay?”

“Fine.” Takeru replied “Just thinking.”

She grabbed his arm, pulling him towards a nearby bench. “Come on, let’s take a break, these shoes are killing me.”

“The price of fashion.” Takeru said sagely.

After they reached the bench, and Hikari had relieved herself of her footwear, they paused, focusing on some hydrangeas flow in the wind, accented by moon light. A weight appeared on Takeru’s shoulder, where Hikari began to rest her head.

“Right now.” She said “This moment just feels so…perfect.”

Takeru took a deep breath. He had the most wonderful girl on his arm, after spending nearly eight hours with her. “Yeah, perfect.”

A perfect moment.

It was unlikely a better opportunity would present itself.

“Hikari.” He said suddenly, just as she chimed in with his name. “Sorry,” they said in unison.

Her head pulled off his arm, quite disappointingly in his opinion, as she turned to face him.

“Ladies first.” Takeru said “I insist.” She gave him a soft look, knowing that he wouldn’t let her win this one.

“Okay.” She started “This last month, has just been so wonderful, so amazing. I know I’m not the most experienced with this, and I know we haven’t really put a name on it, but it’s still been like something out of a novel. I guess I should expect that from you.”

She had begun to look down, rummaging through her purse, as takeru tried to sort out exactly what she was talking about. Had it already been a month since they started these ‘friend-dates?’

Hikari continued obliviously, “It’s not much, especially since you seem to do all the planning, but I thought you’d like it.” She pulled out a tightly-wrapped box. “Happy one-month anniversary.”

Ani-what?

Dates rolled back in his head as he began to piece things together; the dress, the makeup, the heels, those were all for him? Had she always been considering these less friend-dates and more dates-dates?

And he, in a move of pure coincidence, had moved this week’s date to Saturday, one month to the day of that first date, and even asked her mother for permission to stay out late.

Takeru did the only thing he could think of in the moment.

He laughed.

“Tak-Takeru?” she asked, and he could already sense fear and hesitation begin to well up within her as she saw her (boyfriend?) laugh at her anniversary gift. He grabbed her and pulled her into a hug to dissuade any doubts.

“Happy anniversary,” he said when his hysterics died down. “One month, I’ve been trying to confess for a month, and you hit me with that.”

“Wait, confess?” Hiakri said, begging a laugh of his own that quickly spread to Takeru. “All this time and you didn’t even think we were dating? You completely stopped flirting with everyone else. Did you really think I didn’t…”

“We’re quite the pair, aren’t we?” Takeru teased in response.

“Yeah,” Hikari agreed. “Well, if you finally managed to confess after all that, maybe I can do something I’ve been too scared to do for the last month.”

Takeru looked down at her, “What would that be?” he asked leaning in close.

“This.” She pressed her lips against his.

#takari #takeru takaishi #hikari yagami #digimon #its still the 16th here so it counts #takari week

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killscreencinema · 4 years

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Doom Eternal (PS4)

youtube

Rip n’ tear!

5 stars.

End of review.

Nah, just kidding, but that does more or less summarize my feelings on Doom Eternal, the sequel to the masterpiece soft reboot of Doom that came out in 2016, other wise known as Doom 2016. On a side note, who would have thought “Doom 2016″ would have ended up being an omen of the following four year? Weird.

Anyway, speaking of Hell on Earth, Doom Eternal’s plot revolves around an all-out demonic invasion of Earth, with humanity’s only hope being the DoomSlayer (aka, the Doomguy). A lot has changed since he last thwarted Hell’s efforts on Mars, such as the DoomSlayer’s swanky new mothership known as the Fortress of Doom. Where did he get it? That information is probably provided in the loads of codex pages you find throughout the game that fill in the gaps in the lore.

Which brings me to my first problem with the game - too much story getting in the way of my ripping n’ tearing. I know, I could skip the cutscenes, but that ain’t really the point. Part of Doom 2016′s charm was its middle finger to story intensive gameplay and obnoxiously extensive game lore. What minimal story there was in the game was carried out organically during gameplay, similar to Half Life 2. Nothing ever felt like a cut scene or a complete interruption of the game. Also, the story pretty simple - you are a legendary badass who has been resurrected to save Mars, and by proxy the Earth, from the forces of Hell.

Doom Eternal tries to expand on the lore by giving Doomguy a backstory, involving him belonging to a race of demi-gods known as “Sentinels” who have stood in opposition to Hell throughout the ages. That’s pretty lame, as the appeal of THE DOOMSLAYER to me is that he’s just a regular dude who is so good as slaying demons at will, they’ve built a mythology around him as an unstoppable killing machine and the only being demons fear. That’s enough for me - I don’t need him to be part of a lineage of “Slayers” or some shit like that. YOU’RE OVERTHINKING THINGS BETHESDA!

I won’t lie though - there were some cutscenes I enjoyed, such as any time Doomguy interacts with other humans, who all scurry out of his way in fear or are just paralyzed in awe.

Another issue I have with the game is THERE’S TOO MANY WAYS TO KILL THINGS! I know, it’s an odd complaint, but bear with me here. So you have 8 standard weapons, but each weapon, except the Super Shotgun and the BFG, have two mods each that fundamentally changes them into new weapons essentially. So counting the mods, and the chainsaw, you have 21 weapons to choose from! That’s... a lot of goddamn weapons. I envision Doomguy comically approaching a demon fight, both hands full of so many weapons they clatter to the ground as he tries to pick the best one for the fight. Then there are the frag grenades, the ice grenades, the flame thrower, the “Blood Punch”, and eventually the one-hit-kill sword. All this results in me either pushing the wrong button for what I want (”Ah shit, I meant select the sword, but I accidentally switched my frag grenades to ice grenades!”) or getting pounded by projectiles in slow motion as I go through my weapons and try to figure out the best one for this particular encounter.

Oh shit, and then there are the Runes, which give you different abilities while equipped AND you can upgrade the Praetor suit. Oh, and you can upgrade your stats by finding crystals along the way. It’s just too much, and a little overwhelming to juggle at first. I just wanna shoot things, Doom Eternal!

Well, fortunately the game has plenty of that and then some. The combat is just as intense and frenetic as Doom 2016, with “glory kills” still in full effect and a nice variety of demons to maul. There’s nothing quite as satisfying as the visceral thrill of tearing a Cacao demon to pieces. Doom Eternal can also be extremely challenging, especially if you dare to venture into the harder difficulty settings. I tried playing through it on “Ultra-Violence” (the Doom equivalent of “Hard”) and got my ass humbled back into “Hurt Me Plenty” (aka “normal”) pretty quickly.

While Doom Eternal might be a little too bloated, like a Mancubator on a Golden Corral binge, it’s still, at its core, every bit as fun as its predecessor. The graphics are amazing, especially the lovingly crafted, ultra detailed level designs. There were many instances, in between battles of course, that I would just stand there and take in the environments. So if you loved Doom 2016, and current events make you wanna tear things to pieces, preferably virtual things, then Doom Eternal is a solid playthrough.

UPDATE

Since posting this review, I have gone on to play the online “Battlemode”. Normally, I don’t care for online multiplayer games. Playing games have always been a solo activity for me - a way to take a break from people. Also, playing online games seems frustrating in that you almost always start with a huge difficulty curve as you often play against people who LIVE AND BREATH the game 24/7, and therefor, have the uncanny knack to destroy you utterly and immediately before you have a chance to move, much less “get gud”.

Anyway, I started playing Battlemode solely to pop the PS4 trophies associated with it so that I can Platinum the game. I must admit, now that I’ve taken the “PS Plus plunge”, I’m curious to check out other online games people seem to be nuts about like Rocket League (which honestly looks fun as hell, I must admit) and Overwatch. So I figured it was only fair to edit my review to include my impressions of Doom Eternal’s online mode, which is thus..

My usual gripes about online death match difficulty curves aside, “Battlemode” is incredibly lopsided with its premise of 2 player demons versus one player Slayer. Not only are the odds stacked against you as the Slayer, but the demons also have the ability to summon minions to pester you, make your loot disappear (thereby making health replenishment a pain in the ass), and they respawn if you don’t kill them both within 20 seconds. As the Slayer, when you are up against two players who are extremely good as demons, the round can be over in seconds, which is infuriating and not remotely fun.

Meanwhile, playing as a demon is much easier for all the reason listed above, despite some demons handling better than others. The only difficulty is that the Slayer is inherently faster and more agile than any demon you can choose, which is the only real advantage a Slayer has. None of this would be a problem if you could just knock out the trophies as a demon, even though it’s a bit of an irritating grind, except one trophy REQUIRES you to be the Slayer - the Weapons Expert trophy, wherein you must kill player demons with each of the 8 weapons at your disposal, including the BFG, which you only have the option of using should you survive to Round 4 (which odds are you won’t). It’s an incredibly frustrating task, but I got lucky and found a lobby where the player demons were either exceptionally bad or were away from their controller a lot. So I was able to knock out this trophy at my convenience then, but only after several incredibly frustrating failed attempts.

The only other trophy where being the Slayer is ideal is the “Blood Bath” trophy, where you must kill 200 opponents. This goes by a lot quicker as the Slayer if you can manage to consistently kill both player demons every round in every match, but you’ll be lucky to kill even one. However, even then, that can work to your advantage because when they respawn, you can kill them again and rack up another point towards the trophy. Trying to pop this trophy as a demon is less of a headache, but still sucks because it’s too slow and possible your demon ally will get the deathblow, thereby stealing your point.

So the point of all this is to say I hate Battlemode. I hate it with a burning passion not unlike the fires of Hell. I wish the online feature of this game could have just been a good ol’ fashion Death Match. It’s also bullshit that the game even has trophies you can’t pop unless you play online, because what if you’re a late comer and nobody is playing Battlemode anymore? Does that mean you just can’t Platinum Doom Eternal? It’s also mild extortion in that it forces you to pay for PS Plus if you don’t already have it.

So there you have it:

Doom Eternal solo campaign = good

Doom Eternal Battlemode = bad

Happy slaying!

#doom #doom eternal #bethesda #id software #fps #sony #ps4 #playstation 4 #the doom slayer #first person shooter

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hellzyeahthewebwieldingavenger · 5 years

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2099 Alpha #1 Thoughts

This was a confusing set of teaser trailers.

This is partially a post covering the issue and a rant about the entire premise of the series.

Throughout this comic book (and F4 2099) one prevailing question kept crossing my mind.

“Who is this even for?”

It was a question that became louder when I looked at both the cover and the blurb at the back explaining how this project came to be about.

Matthew Rosenberg, author of the most controversial and derided X-Men run in recent memory (so you know that bodes well), pointed out that 2019 was both the 80th anniversary of Marvel comics (even though most people would argue Marvel truly started in 1961 with F4 #1) and also 80 years away from the real life year 2099.

The idea was dismissed but then Nick Spencer decided he liked it and after one thing led to another this event was born.

This event being a ‘reimagining’ of the 2099 universe but with ‘a similar methodology’ to the original 1992 line (that is to say avoiding the ‘common traps’ of descendants of known characters*), with a mind towards how the future was perceived in 2019 vs. 1992.

Right off the bat there are inherent problems with that entire premise.

First of all the original 2099 line presented a version of the future that if anything is MORE relevant now than it was in 1992.

Futurism in any era is never just one thing, but the futurism of 2019 is generally speaking understandably cynical and nihilistic. It’s a world which foresees a future where there isn’t even an illusion of freedom, where the gap between rich and poor has grown even wider than it already is with little-no feasible way to close it, where corporations run the show (more openly than they already do) and where environmental disaster is ravaging mankind if not having already wiped it out. This is to say nothing of a world where artificial intelligence and mechanisation will probably compromise a lot of people’s employment opportunities, and pose direct physical and mental dangers to human lives.

That is the general ethos of how a lot of people and a lot of fiction reflects the future NOWDAYS. And that’s what the 2099 was doing in 1992! Not only was the line set in the future it was literally ahead of it’s time as the world we live in if anything has grown to reflect it more and more.

Secondly when you are approaching the notion of making a futuristic version of Spider-Man and the Punisher in the year 2099 and applying the same ‘methodology’ as the LAST time someone tried to make a futuristic version of Spider-Man and the Punisher in the year 2099 the results at best are not going to be that different, rendering the exercise pointless. In fact in all likelihood you are going to be worse or at least derivative. Even if you are not the fact that the 2099 line resonated with people enough for it to continually pop up every so often for nearly 30 years means that your new take is unlikely to hold up to people’s nostalgia.

And make no mistake, this is a project that exists for nostalgia. It doesn’t exist just for the sake of exploring a possible future for the Marvel universe, otherwise why revive a popular and famous Marvel brand to do it?

And therein lies my fundamental question.

If this project exists because people are already invested in 2099 then why reboot it and thus mitigate their emotional investment?

Nostalgic 2099 fans don’t simply want to see any iteration of these characters. They want something at least mostly in line with the original 1992 iteration, which is why when Spidey 2099 was scheduled for a spin-off in 2014 the fandom spoke with one voice, they wanted Peter David back. And whilst the iteration of Miguel and 2099 as a whole he presented was not identical to the 1992 version(s) it was at least a helluva lot closer than 2009’s Timestorm (a pathetic attempt to essentially do Ultimate 2099) and wound up being more successful as a result.

This is literally the exact mistake the Nu52 made in that it erased the iterations of the DC characters and DC universe people knew and loved and replaced it with new versions (‘coincidentally’ closer to the versions the DC higher ups knew and loved as kids). It alienated readers to the point where DC Rebirth practically reverse rebooted the Nu52, rendering the characters much closer to their pre-Nu52 counterparts, and in Superman’s case having the pre-Nu52 Superman literally replace his successor.

With the 2099 event though the attempt at rebooting is even more wrongheaded considering that this isn’t even a lasting universe that might in theory develop new readers over time. It’s a string of connected one shots associated with a Spider-Man story arc. If there is any aftermath to this event at all it will be fairly minimal and at most follow Miguel O’Hara.

And that brings up the other end of this event’s problems. This holds little appeal to (the already miniscule number of) potential newer fans.

Consider how this event started. You are a newer fan reading Spencer’s ASM run. You pick up issue #25 and randomly this other Spider-Man looking guy you maybe recognize from some video games and the post-credits scene from Into the Spider-Verse shows up, looking half dead.

For less than 20 pages across 3 issues you follow him stumbling about spouting nonsense before he delivers some weird line about possible futures (that you’ll only understand if you already know about the 2099 lines) and then he blows up.

Okay, at best you get the idea. He is a Spider-Man from the future and the present day has erased his future, that’s bad.

Then you pick this up and you maybe figure out that this Miguel character in this comic book is in fact the same guy, or a VERSION of the same guy you met back in ASM. That’s confusing. It’s confusing because you need to deduce that this issue is the newly rewritten timeline, making your investment in the preceding ASM issues kinda pointless. It might also be confusing because time travel stories tend to be confusing unless written with a lot of clarity.

But say you just picked THIS up, maybe because you recognized Spidey 2099 on the cover (and god forbid you picked it up due to recognizing the classic 2099 characters).

Spencer in this comic book doesn’t write a story. He writes a series of teaser vignettes strung together by the Watcher and Doom spouting a load of cryptic nonsense.

Nothing is explained, nothing is clearly conveyed, the world building is quite frankly awful, you merely get an impression of this future, you are not actually organically introduced to much of anything. In comparison the first few issues of Spider-Man 2099 already gave you a great idea of what this world of the future was like.

It’s not just that the presentation is bad and thus likely to alienate newer readers (I was lost with it and I’m familiar with the older 2099 stuff to a degree) but it’s also frankly inferior to the 1992 rendition of the future.

Perhaps the 1992 Marvel line wasn’t the single most original vision of the future ever conceived, but it at least combined older ideas together and presented a consistent vision. Perhaps the microcosm of the 1992’s vision of the future was the notion of the ravaged ruins of old New York being the foundations upon which new super sky scrapers were built, the rich literally living above the poor.

But this issue never brings that up, it doesn’t bring up the narrative and literal foundations of the world this takes place in. My personal impression was that this 2099 doesn’t even incorporate such an idea. It’s a microcosm of how off the rails this reboot is.

Everything feels downright generic sans the city of traffic and the colony of Thor/Asgardian worshippers.

Even those are derivative though. Transverse City rips off (a much better executed) idea from a 2007 episode of Doctor Who ‘Gridlock’ which is regarded as something of a modern classic by fans. And the Thor worshippers was something that came directly from the original 1992 2099 line, but weirdly is being used to tease...Conan the Barbarian???????? Conan hasn’t got anything to do with Thor besides coming from a warrior background. It might as well be Silver Samurai!

Perhaps the best microcosm of this issue’s failings at world building and presentation, can be found in the opening scene.

In the scene Thor’s hammer is frequently relocated and seems to be maybe or maybe not moving on it’s own volition. That isn’t to say the story is building in mystery as to whether or not it is moving on it’s own. It’s just that poorly conveyed to the audience. I honestly have little idea what was happening in that scene sans the authorities going to war with Thor’s worshippers.

The scene also contains a microcosm of this book being for nobody. In said scene a police officer gets their face revealed and is referred to as ‘Jake’. If you didn’t already realize it, this is Jake Gallows, Punisher 2099. He does nothing else in the course of the issue beyond get injured fight and tell his friend a confusing police story. Then the issue ends teasing him as Punisher 2099.

Like I said nostalgic 2099 fans will be turned off by this on principle because it’s not the character you know and love (his costume will also be different too) but if you are a newer reader...what are you even supposed to make of this? He’s just a random cop, it might as well have been his cop buddy who was the Punisher. It was at best a lame first impression.

And that’s true of virtually EVERY character teased in this comic exempting maybe Ghost Rider 2099.

He at least got a little more personality, you got a little more insight into how he operates, but only as a normal guy not as anything associated with the classic Ghost Rider or the 2099 counterpart you know and love.

Miguel’s background was confusing as he seems to already have his powers but is chummy with his dickhead boss/Dad/archnemesis Tyler Stone and the brief flashbacks to his origin are both different to the original 2099 line and nonsensical.

Conan didn’t even appear to my recollection but he’s still teased.

And the F4 tease was laughable as it didn’t even feature the F4 but rather HERBIE and a newly imagined take on Venture, effectively the first super villain of the 2099 line.

When this event was announced I was sad that Peter David was uninvolved.

But now I see why.

They didn’t want him involved and this is frankly an insult to his and the other 2099 creators’ works.

Don’t read this.

*Gotta love that subtle shade thrown out at the MC2 universe, a universe which lasted longer than the original 2099 line and you know....was way better than this reimagining has been so far. Why does modern Marvel punch down on Spider-Girl.

#Spider-Man #Spider-Man 2099 #Marvel 2099 #Nick Spencer #Miguel O'Hara #Fantastic 4 2099 #Ghost Rider 2099 #Conan 2099 #Conan the Barbarian #punisher 2099 #MC2 Universe #MC2 #Spider-Girl #Tyler Stone

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tokiro07 · 5 years

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Okay...

So the theory goes that Jumpman, the Mario from Donkey Kong, is actually the father of Mario and Luigi (based on the fact that the original DK is supposedly now Cranky Kong and the current DK, who has faced off against the current Mario, is the son of DK Jr.)

If that is true, then Jumpman is likely the same Mario that worked as a demolition man in Wrecking Crew, given both the era of the game and the fact that Jumpman could easily have been a generalized construction worker (as he was stated to be a carpenter in DK). There is a Luigi in Wrecking Crew, though, so maybe not, but who knows, twins could easily run in the family and maybe Jumpman named one of his sons after his brother

Either way, that would mean that Jumpman, the father of the Mario brothers, worked with Foreman Spike, who for some reason hated Jumpman and his brother. Depending on the game, Foreman Spike bears a striking resemblance to either Wario or Waluigi. Now, we already know that Wario and Waluigi are canonically not brothers, so I’m not saying that Spike is both of their dads.

Just one of them.

(Long post under the cut. This whole thing really got away from me, but I think it ended pretty nicely, so I hope y’all enjoy it)

Probably Wario’s, if I had to bet, given that we know Mario and Wario have known each other since childhood (stated explicitly in the instruction manual for Six Golden Coins), so it would make sense for them to know each other if their parents were work “friends,” and it would especially make sense for Wario to be as hateful of Mario if his dad, Spike, were hateful of Jumpman. Hell, it would even explain his name. Jumpman has a kid and names him after himself, and then Spike has a kid around the same time and decides to invoke some nominative determinism and labels his kid “bad Mario.”

How Waluigi fits into the picture is ambiguous, but with a number of simple solutions. While some early sources indicate that they are brothers (strategy guides, official websites, etc.), while later sources refer to them as either cousins (Mario and Sonic at the Olympic Winter Games) or as friends (Mario Sluggers, voice actor Charles Martinet). They could be adoptive brothers, but this wouldn’t really explain the visual similarities, unless Waluigi explicitly modeled his appearance after Wario or Foreman Spike. This wouldn’t require that they be brothers at all, though, as Waluigi could have done that even if he was just a friend. The cousin aspect works best at explaining the visual similarity and even the name, as that would mean that his name was chosen to spite Luigi just the same way that Wario’s was chosen to spite Mario. The only issue there is that we’ve never heard of Spike having any siblings. He’s had multiple conflicting designs, so MAYBE there’s multiple Spikes and Spike is a family name, but I doubt it.

Personally, while the cousin angle wraps everything up the most neatly, I’m still a fan of the idea that Waluigi is some kind of shapeshifted disguise for Tatanga, since the two are both purple misanthropes with an unhealthy obsession with Princess Daisy, a hatred for the Mario brothers and an odd friendship with Wario. This would also of course explain why the exact nature of their relationship is so unclear, since it would imply that they’re outright lying but can’t keep the story straight. I would rather the cousin thing, though, since I would like Tatanga to be able to make a comeback, but that would still be a really fun twist.

The one major hole in all of this, though, is that Pauline appears in Mario Odyssey and gives no indication that she’s not the same Pauline from Donkey Kong, implying that Mario and Jumpman are, as they’ve always been presented, the same person. However, there is surprisingly an explanation for this. You see, in the original Donkey Kong, the damsel in distress was a blonde woman referred to as Lady. It wasn’t until the remake for the GameBoy that she was redesigned to be the brunette Pauline that we know today. While particularly damning sources (Shigeru Miyamoto, Smash 4) have claimed that Pauline and Lady are the same person, various extended Mario media present them separately (The Cat Mario Show, a 1994 encyclopedia, various Mario manga), and even present them as having opposing personality types. Naturally, Shigeru Miyamoto should be considered the most credible source here, but that’s no fun, and he also said he was Bowser Jr’s mom, so I’m going to ignore him.

So.

Jumpman’s pet Cranky Kong kidnaps his girlfriend, Lady, and he has to save her. Sometime later, Jumpman orders two children from the stork with Lady, whom he names after himself and his twin brother, Luigi, after a somewhat delayed delivery. His work rival, Spike, and Spike’s brother...Stanley the Bugman, why not, maybe he blames Mario for DK getting into his green house, both have children delivered around the same time, and name them Wario and Waluigi to spite Jumpman’s children. The Mario brothers and Spike children grow up to hate each other, and DK Jr. has also grown up and decides to kidnap Mario’s girlfriend, Pauline, just as his father did to Lady all those years ago. Mario saves Pauline, but unlike Jumpman and Lady who were brought closer together by their trauma, they break up, although they remain friends. Some years later, after Mario has established himself as a recurring hero to the Mushroom Kingdom, gets a toy line which DK III becomes weirdly infatuated with, leading to Pauline’s second kidnapping by a DK (or this is the first time, and Mario vs. Donkey Kong 2 was just a remake of DK on the GameBoy to give more context, the specifics aren’t too important here). Sometime after this, Pauline becomes mayor of New Donk City, which is adorned with references to Donkey Kong and his family’s crimes as if it’s all one big joke to these people. But I digress.

Somewhere in all that, Mario is given a castle for some reason, which is the last straw for Wario, who I imagine is working on a farm at the time, given that his best friend is a hen named Hen. Deciding that back breaking labor doesn’t satisfy his ambitions while his rival lives it up as a hero, Wario enlists the help of the alien Tatanga (who now that I think of it, he may well have met on his farm during an attempt to abduct a cow or something) to trick Mario to leave his castle so that Wario may steal it.

After Mario foils Wario’s plot and reclaims his castle, Mario extends an olive branch and invites Wario to play tennis with everyone, as that’s just the kind of guy he is. Wario, realizing he doesn’t have a partner, either a) invites his cousin Waluigi, who has gone into construction like uncle Spike (evidenced by his excavator in Mario Kart), since he loves sports and hates the Mario brothers as much as Wario does, or b) recruits Tatanga and has him disguise himself as someone who could ostensibly pass as a family member to lay low in case anyone tries to hold him responsible for his crimes (which they wouldn’t since they never try to arrest Bowser or Wario, but apparently he doesn’t know that)

As far as I can tell, the only thing we’re missing is where Waluigi was when Wario and the other Star Children were being delivered by the Stork and intercepted by Kamek. Perhaps he got passed over since he didn’t have a star? Maybe Bowser captured him and found he didn’t have a star, then discarded him.

Actually, what if...

Waluigi was SUPPOSED to be delivered to Spike.

Waluigi was SUPPOSED to be Wario’s brother.

But when Bowser went back in time to find the seven Star Children, he messed up the route that Waluigi was supposed to be on. When the Stork got Waluigi back, he accidentally delivered Waluigi to the wrong house, the way he did to Mario and Luigi at the end of Yoshi’s Island (as shown in Yoshi’s New Island). Unlike with the Mario brothers, though, the Stork didn’t catch this mistake, and Waluigi grew up in the wrong household. Maybe it was even Stanley’s, and Waluigi’s inherently nasty personality clashed with Stanley’s kindly personality, but he still inherited his adoptive father’s love of plants! Can’t believe I was able to work that back in.

That’s why no one knows if they’re brothers, cousins or strangers! Because they don’t know who he was supposed to be delivered to, but they can’t deny the visual similarity! That’s why Waluigi’s so misanthropic, because he wasn’t delivered to the right house and he felt out of place!

That last bit could easily be explained by being raised under Spike’s influence, though, since Spike is apparently the kind of jerk who would sabotage his own employees to get a bigger paycheck for himself.

Either way, I think that lends to a really solid idea for the story of a Waluigi game.

A long time ago, I suggested a game where Waluigi somehow travels through time and goes through levels themed around various Mario franchise titles (Waluigi’s Time to Shine), but now I know how to frame it! Waluigi, feeling odd about his family situation, asks Bowser how he travels through time so he can see where he comes from. Bowser throws him through a wormhole and Waluigi witnesses the events that lead to the Stork delivering him to the wrong house. He decides this is either Bowser or the Stork’s fault (Bowser makes more sense, but it would be super funny if the Stork ends up being the final boss) and journeys to exact revenge. The spell or technology tethering him to the past messes up, however, resulting in Waluigi being in flux and going through all of the Mario franchise.

It’d be really funny if when playing through the Yoshi’s Island section he becomes his baby self and knocks Mario off of Yoshi (resulting in Mario’s capture by the Toadies), giving Yoshi some weird new ability the way the Star Children did in Yoshi’s Island DS, but I’m not sure that having one level have a completely different control scheme would be the best idea.

It could also be that Waluigi rides Yoshi as a full grown adult, which would also be pretty silly given his lanky proportions.

A Wrecking Crew level near the end would also be a fun way to bring the story full circle, revealing Waluigi’s relation to Spike and Wario, and establishing that Mario and Luigi are the children of Jumpman and Lady.

Waluigi, Nintendo’s ultimate loose end, would be the catalyst through which all of the loose ends of the Mario franchise are tied.

Get on that, @nintendo

Edit: This ended up having a couple of revisions, but rather then amend this post, I just ended up making two others. You can check those here and here

#super mario #waluigi #wario #foreman spike #mayor pauline #stanley the bugman #pauline #long post #speculation #my theories #game ideas

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grigori77 · 5 years

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2019 in Movies - My Top 30 Fave Movies (Part 1)

30. GLASS – back in 2000, I went from liking the work of The Sixth Sense’s writer-director M. Night Shyamalan to becoming a genuine FAN thanks to his sneakily revisionist deconstruction of superhero tropes, Unbreakable. It’s STILL my favourite film of his to date, and one of my Top Ten superhero movies EVER, not just a fascinating examination of the mechanics of the genre but also a very satisfying screen origin story – needless to say I’m one of MANY fans who’ve spent nearly two decades holding out hope for a sequel. Flash forward to 2016 and Shyamalan’s long-overdue return-to-form sleeper hit, Split, which not only finally put his career back on course but also dropped a particularly killer end twist by actually being that very sequel. Needless to say 2019 was the year we FINALLY got our PROPER reward for all our patience – Glass is the TRUE continuation of the Unbreakable universe and the closer of a long-intended trilogy. Turns out, though, that it’s also his most CONTROVERSIAL film for YEARS, dividing audiences and critics alike with its unapologetically polarizing plot and execution – I guess that, after a decade of MCU and a powerhouse trilogy of Batman movies from Chris Nolan, we were expecting an epic, explosive action-fest to close things out, but that means we forgot exactly what it is about Shyamalan we got to love so much, namely his unerring ability to subvert and deconstruct whatever genre he’s playing around in. And he really doesn’t DO spectacle, does he? That said, this film is still a surprisingly BIG, sprawling piece of work, even if it the action is, for the most part, MUCH more internalised than most superhero movies. Not wanting to drop any major spoilers on the few who still haven’t seen it, I won’t give away any major plot points, suffice to say that ALL the major players from both Unbreakable and Split have returned – former security guard David Dunn (Bruce Willis) has spent the past nineteen years exploring his super-strength and near-invulnerability while keeping Philadelphia marginally safer as hooded vigilante the Overseer, and the latest target of his crime-fighting crusade is Kevin Wendell Crumb (James McAvoy), the vessel of 24 split personalities collectively known as the Horde, who’s continuing his cannibalistic serial-murder spree through the streets. Both are being hunted by the police, as well as Dr. Ellie Staple (series newcomer Sarah Paulson), a clinical psychiatrist specialising in treating individuals who suffer the delusional belief that they’re superheroes, her project also encompassing David’s former mentor-turned-nemesis Elijah Price (Samuel L. Jackson), the eponymous Mr. Glass, whose life-long suffering from a crippling bone disease that makes his body dangerously fragile has done nothing to blunt the genius-level intellect that’s made him a ruthlessly accomplished criminal mastermind. How these remarkable individuals are brought together makes for fascinating viewing, and while it may be a good deal slower and talkier than some might have preferred, this is still VERY MUCH the Shyamalan we first came to admire – fiendishly inventive, slow-burn suspenseful and absolutely DRIPPING with cool earworm dialogue, his characteristically mischievous sense of humour still present and correct, and he’s retained that unswerving ability to wrong-foot us at every turn, right up to one of his most surprising twist endings to date. The cast are, as ever, on fire, the returning hands all superb while those new to the universe easily measure up to the quality of talent on display – Willis and Jackson are, as you’d expect, PERFECT throughout, brilliantly building on the incredibly solid groundwork laid in Unbreakable, while it’s a huge pleasure to see Anya Taylor-Joy, Spencer Treat Clark (a fine actor we don’t see NEARLY enough of, in my opinion) and Charlayne Woodard get MUCH bigger, more prominent roles this time out, while Paulson delivers an understated but frequently mesmerising turn as the ultimate unshakable sceptic. As with Split, however, the film is comprehensively stolen by McAvoy, whose truly chameleonic performance actually manages to eclipse its predecessor in its levels of sheer genius. Altogether this is another sure-footed step in the right direction for a director who’s finally regained his singular auteur prowess – say what you will about that ending, but it certainly is a game-changer, as boldly revisionist as anything that’s preceded it and therefore, in my opinion, exactly how it SHOULD have gone. If nothing else, this is a film that should be applauded for its BALLS …

29. THE PEANUT BUTTER FALCON – quite possibly the year’s most adorable indie, this dramatic feature debut from documentarian writer-directors Tyler Nilson and Michael Schwartz largely snuck in under the radar on release, but has gone on to garner some well-deserved critical appreciation and sleeper hit success. The lion’s share of the film’s success must surely go to the inspired casting, particularly in the central trio who drive the action – Nilson and Schwartz devised the film with Zack Gotsagen, an exceptionally talented young actor with Down’s Syndrome, specifically in mind for the role of Zak, a wrestling obsessive languishing in a North Carolina retirement home who dreams of escaping his stifling confines and going to the training camp of his hero, the Saltwater Redneck (Thomas Haden Church), where he can learn to become a pro wrestler; after slipping free, Zak enlists the initially wary help of down-at-heel criminal fisherman Tyler (Shia LaBaouf) in reaching his intended destination, while the pair are pursued by Zak’s primary caregiver, Eleanor (Dakota Johnson). Needless to say the unlikely pair bond on the road, and when Eleanor is reluctantly forced to tag along with them, a surrogate family is formed … yeah, the plot is so predictable you can see every twist signposted from miles back, but that familiarity is never a problem because these characters are so lovingly written and beautifully played that you’ve fallen for them within five minutes of meeting them, so you’re effortlessly swept along for the ride. The three leads are pure gold – this is the most laid back and cuddly Shia’s been for years, but his lackadaisical charm is pleasingly tempered with affecting pathos driven by a tragic loss in Tyler’s recent past, while Johnson is sensible, sweet and likeably grounded, even when Eleanor’s at her most exasperated, but Gotsagen is the real surprise, delivering an endearingly unpredictable, livewire performance that blazes with true, honest purity and total defiance in the face of any potential difficulties society may try to throw at Zak – while there’s excellent support from Church in a charmingly awkward late-film turn that goes a long way to reminding us just what an acting treasure he is, as well as John Hawkes and rapper Yelawolf as a pair of lowlife crab-fishermen hunting for Tyler, intending to wreak (not entirely undeserved) revenge on him for an ill-judged professional slight. Enjoying a gentle sense of humour and absolutely CRAMMED with heartfelt emotional heft, this really was one of the most downright LOVEABLE films of 2019.

28. PET SEMATARY – first off, let me say that I never saw the 1989 feature adaptation of Stephen King’s story, so I have no comparative frame of reference there – I WILL say, however, that the original novel is, in my opinion, one of the strongest offerings from America’s undisputed master of literary horror, so any attempt made to bring it to the big screen had better be a good one. Thankfully, this version more than delivers in that capacity, proving to be one of the more impressive of his cinematic outings in recent years (not quite up to the standard of The Mist or It Chapter 1, perhaps, but certainly on a par with the criminally overlooked 1408), as well as one of the year’s top horror offerings. This may be the feature debut of directing double-act Kevin Kölsch and Dennis Widmyer, but they both display a wealth of natural talent here, wrangling bone-chilling scares and a pervading atmosphere of oppressive dread to deliver a top-notch screen fright-fest that works its way under your skin and stays put for days after. Jason Clarke is a classic King everyman hero as Boston doctor Louis Creed, displaced to the small Maine town of Ludlow as he trades the ER for a quiet clinic practice so he can spent more time with his family – Amy Seimetz (Upstream Color, Stranger Things), excellent throughout as his haunted, emotionally fragile wife Rachel, toddler son Gage (twins Hugo and Lucas Lavole), and daughter Ellie (newcomer Jeté Laurence, BY FAR the film’s biggest revelation, delivering to the highest degree even when her role becomes particularly intense). Their new home seems idyllic, the only blots being the main road at the end of their drive which experiences heavy traffic from speeding trucks, and the children’s pet cemetery in the woods at the back of their garden, which has become something of a local landmark. But there’s something far darker in the deeper places beyond, an ancient place of terrible power Louis is introduced to by their well-meaning but ultimately fallible elderly neighbour Jud (one of the best performances I’ve ever seen from screen legend John Lithgow) when his daughter’s beloved cat Church is run over. The cat genuinely comes back, but he’s irrevocably changed, the once gentle and lovable furball now transformed into a menacingly mangy little psychopath, and his resurrection sets off a chain of horrific events destined to devour the entire family … this is supernatural horror at its most inherently unnerving, mercilessly twisting the screws throughout its slow-burn build to the inevitable third act bloodbath and reaching a bleak, soul-crushing climax that comes close to rivalling the still unparalleled sucker-punch of The Mist – the adaptation skews significantly from King’s original at the mid-point, but even purists will be hard-pressed to deny that this is still VERY MUCH in keeping with the spirit of the book right up to its harrowing closing shot. The King of Horror has been well served once again – fans can rest assured that his dark imagination continues to inspire some truly great cinematic scares …

27. THE REPORT – the CIA’s notorious use of torture to acquire information from detainees in Guantanamo Bay and various other sites around the world in the wake of September 11, 2001, has been a particularly spiky political subject for years now, one which has gained particular traction with cinema-goers over the years thanks to films like Rendition and, of course, controversial Oscar-troubler Zero Dark Thirty. It’s also a particular bugbear of screenwriter Scott Z. Burns (The Bourne Ultimatum, Contagion, Side Effects) – his parents are both psychologists, and he found it particularly offensive that a profession he knows was created to help people could have been turned into such a damaging weapon against the human psyche, inexorably leading him to taking up this passion project, championed by its producer, and Burns’ long-time friend and collaborator, Steven Soderbergh. It tells the true story of Senate staffer Daniel Jones’ five-year battle to bring his damning 6,300-page study of the CIA’s enhanced interrogation program, commissioned by the Senate Intelligence Committee, into the light of day in the face of increasingly intense and frequently underhanded resistance from the Agency and various high-ranking officials within the US Government whose careers could be harmed should their own collusion be revealed. In lesser hands this could have been a clunky, unappetisingly dense excuse for a slow-burn political thriller that drowned in its own exposition, but Burns handles the admittedly heavyweight material with deft skill and makes each increasingly alarming revelation breathlessly compelling while he ratchets up the tension by showing just what a seemingly impossible task Jones and his small but driven team faced. The film would have been nought, however, without a strong cast, and this one has a killer – taking a break from maintaining his muscle-mass for Star Wars, Adam Driver provides a suitably robust narrative focus as Jones, an initially understated workman who slowly transforms into an incensed moral crusader as he grows increasingly filled with righteous indignation by the vile subject matter he’s repeatedly faced with, and he’s provided with sterling support from the likes of Annette Bening, delivering her best performance in years as Senator Dianne Feinstein, Jones’ staunchest supporter, the ever-wonderful Ted Levine as oily CIA director John O. Brennan, Tim Blake Nelson as a physician contracted by the CIA to assist with interrogations who became genuinely disgusted by the horrors he witnessed, and Matthew Rhys as an unnamed New York Times reporter Jones considers leaking the report to when it looks like it might never be released. This is powerful stuff, and while it may only mark Burns’ second directorial feature (after his obscure debut Pu-239), he handles the gig like a seasoned pro, milking the material for every drop of dramatic tension while keeping the narrative as honest, forthright and straightforward as possible, and the end result makes for sobering, distressing and thoroughly engrossing viewing. Definitely one of the most important films not only of 2019, but of the decade itself, and one that NEEDS to be seen.

26. DARK PHOENIX – wow, this really has been a year for mistreated sequels, hasn’t it? There’s a seriously stinky cloud of controversy surrounding what is now, in light of recent developments between Disney and Twentieth Century Fox, the last true Singer-era X-Men movie, a film which saw two mooted release dates (first November 2018 then the following February, before finally limping onto screens with very little fanfare in June 2019, almost as if Fox wanted to bury it. Certainly rumours of its compromise were rife, particularly regarding supposed rushed reshoots because of clashing similarities with Marvel’s major tent-pole release Captain Marvel (and given the all-conquering nature of the MCU there was no way they were having that, was there?), so like many I was expecting a clunky mess, maybe even a true stinker to rival X-Men Origins: Wolverine. In truth, while it’s not perfect, the end result is nothing like the turd we all feared – the final film is, in fact, largely a success, worthy of favourable comparison with its stronger predecessors. It certainly makes much needed amends for the disappointing mismanagement of the source comics’ legendary Dark Phoenix saga in 2006’s decidedly compromised original X-Men trilogy capper The Last Stand, this time treating the story with the due reverence and respect it deserves as well as serving as a suitably powerful send-off for more than one beloved key character. Following the “rebooted” path of the post-Days of Future Past timeline, it’s now 1992, and after the world-changing events of Apocalypse the X-Men have become a respected superhero team with legions of fans and their own personal line to the White House, while mutants at large have mostly become accepted by the regular humans around them. Then a hastily planned mission into space takes a turn for the worst and Jean Grey (Game of Thrones’ Sophie Turner) winds up absorbing an immensely powerful, thoroughly inexplicable cosmic force that makes her powers go haywire while also knocking loose repressed childhood traumas Professor Charles Xavier (James McAvoy) would rather had stayed buried, sending her on a dangerous spiral out of control which leads to a destructive confrontation and the inadvertent death of a teammate. Needless to say, the situation soon becomes desperate as Jean goes on the run and the world starts to turn against them all once again … all in all, then, it’s business as usual for the cast and crew of one of Fox’s flagship franchises, and it SHOULD have gone off without a hitch. When Bryan Singer opted not to return this time around (instead setting his sights on Queen biopic Bohemian Rhapsody), key series writer Simon Kinberg stepped into the breach for his directorial debut, and it turns out he’s got a real talent for it, giving us just the kind of robust, pacy, thrilling action-packed epic his compatriot would have delivered, filled with the same thumping great set-pieces (the final act’s stirring, protracted train battle is the unequivocal highlight here), well-observed character beats and emotional resonance we’ve come to expect from the series as a whole (then again, he does know these movies back to frond having at least co-written his fair share). The cast, similarly, are all on top form – McAvoy and Michael Fassbender (as fan favourite Erik Lehnsherr, aka Magneto) know their roles so well now they can do this stuff in their sleep, but we still get to see them explore interesting new facets of their characters (particularly McAvoy, who gets to reveal an intriguing dark side to the Professor we’ve only ever seen hinted at before now), while Turner finally gets to really breathe in a role which felt a little stiff and underexplored in her series debut in Apocalypse (she EASILY forges the requisite connective tissue to Famke Janssen’s more mature and assured take in the earlier films); conversely Tye Sheridan (Cyclops), Alexandra Shipp (Storm), Kodi Smit-McPhee (Nightcrawler) and Evan Peters (Quicksilver) get somewhat short shrift but nonetheless do A LOT with what little they have, and at least Jennifer Lawrence and Nicholas Hoult still get to do plenty of dramatic heavy lifting as the last of Xavier’s original class, Raven (Mystique) and Hank McCoy (Beast); the only real weak link in the cast is the villain, Vuk, a shape-shifting alien whose quest to seize the power Jean’s appropriated is murkily defined at best, but at least Jessica Chastain manages to invest her with enough icy menace to keep things from getting boring. All in all, then, this is very much a case of business as usual, Kinberg and co keeping the action thundering along at a suitably cracking pace throughout (powered by a typically epic score from Hans Zimmer), and the film only really comes off the rails in its final moments, when that aforementioned train finally comes off its tracks and the reported reshoots must surely kick in – as a result this is, to me, most reminiscent of previous X-flick The Wolverine, which was a rousing success for the majority of its runtime, only coming apart in its finale thanks to that bloody ridiculous robot samurai. The climax is, therefore, a disappointment, too clunky and sudden and overly neat in its denouement (we really could have done with a proper examination of the larger social impact of these events), but it’s little enough that it doesn’t spoil what came before … which just makes the film’s mismanagement and resulting failure, as well as its subsequent treatment from critics and fans alike, all the more frustrating. This film deserved much better, but ultimately looks set to be disowned and glossed over by most of the fanbase as the property as a whole goes through the inevitable overhaul now that Disney/Marvel owns Fox and plans to bring the X-Men and their fellow mutants into the MCU fold. I feel genuinely sorry for the one remaining X-film, The New Mutants, which is surely destined for spectacular failure after its similarly shoddy round of reschedules finally comes to an end this summer …

25. IT CHAPTER 2 – back in 2017, Mama director Andy Muschietti delivered the first half of his ambitious two-film adaptation of one of Stephen King’s most popular and personal novels, which had long been considered un-filmable (the 90s miniseries had a stab, but while it deserves its cult favourite status it certainly fell short in several places) until Muschietti and screenwriters Cary Joji Fukunaga and Gary Dauberman seemingly did the impossible, and the end result was the top horror hit of the year. Ultimately, then, it was gonna be a tough act to follow, and there was MAJOR conjecture whether they could repeat that success with this second half. Would lightning strike twice? Well, the simple answer is … mostly. 2017’s Chapter 1 was a stone-cold masterpiece, and one of the strongest elements in its favour was the extremely game young cast of newcomers and relative unknown child actors who brought the already much beloved Loser’s Club to perfectly-cast life, a seven-strong gang of gawky pre-teen underdogs you couldn’t help loving, which made it oh-so-easy to root for them as they faced off against that nightmarish shape-shifting child-eating monster, Pennywise the Dancing Clown. It was primal, it was terrifying, and it was BURSTING with childhood nostalgia that thoroughly resonated with an audience hungry for more 80s-set coming-of-age genre fare after the runaway success of Stranger Things. Bringing the story into the present day with the Losers now returning to their childhood home of Derry, Maine as forty-something adults, Chapter 2 was NEVER going to achieve the same pulse-quickening electric charge the first film pulled off, was it? Thankfully, with the same director and (mostly) the same writing crew on hand (Fukunaga jumped ship but Dauberman was there to finish up with the help of Jason Fuchs and an uncredited Jeffrey Jurgensen) there’s still plenty of that old magic left over, so while it’s not quite the same second time round, this still feels very much like the same adventure, just older, wiser and a bit more cynical. Here’s a more relevant reality check, mind – those who didn’t approve of the first film’s major changes from the book are going to be even more incensed by this, but the differences here are at least organic and in keeping with the groundwork laid in Chapter 1, and indeed this film in particular is a VERY different beast from the source material, but these differences are actually kind of a strength here, Muschietti and co. delivering something that works MUCH better cinematically than a more faithful take would have. Anyway, the Loser’s Club are back, all grown up and (for the most part) wildly successful living FAR AWAY from Derry with dream careers and seemingly perfect lives. Only Mike Hanlon has remained behind to hold vigil over the town and its monstrous secret, and when a new spree of disappearances and grisly murders begins he calls his old friends back home to fulfil the pact they all swore to uphold years ago – stop Pennywise once and for all. The new cast are just as excellent as their youthful counterparts – Jessica Chastain and James McAvoy are, of course, the big leads here as grown up Beverley Marsh and Bill Denbrough, bringing every watt of star power they can muster, but the others hold more interest, with Bill Hader perfectly cast (both director and child actor’s personal first choice) as smart-mouth Richie Tozier, Isaiah Mustafah (best known as the Old Spice guy from those hilarious commercials) playing VERY MUCH against type as Mike, Jay Ryan (successful on the small screen in Top of the Lake and Beauty & the Beast, but very much getting his cinematic big break here) as a slimmed-down and seriously buffed-out Ben Hanscom, James Ransone (Sinister) as neurotic hypochondriac Eddie Kaspbrak, and Andy Bean (Power, the recent Swamp Thing series) as ever-rational Stan Uris – but we still get to hang out with the original kids too in new flashbacks that (understandably) make for some of the film’s best scenes, while Bill Skarsgard is as terrifying as ever as he brings new ferocity, insidious creepiness and even a touch of curious back-story to Pennywise. I am happy to report this new one IS just as scary as its predecessor, a skin-crawling, spine-tingling, pants-wetting cold sweat of a horror-fest that works its way in throughout its substantial running time and, as before, sticks with you LONG after the credits have rolled, but it’s also got the same amount of heart, emotional heft and pathos, nostalgic charm (albeit more grown-up and sullied) and playful, sometimes decidedly mischievous geeky humour, so that as soon as you’re settled in it really does feel like you’ve come home. It’s also fiendishly inventive, the final act in particular skewing in some VERY surprising new directions that there’s NO WAY you’ll see coming, and the climax also, interestingly, redresses one particularly frustrating imbalance that always bugged me about the book, making for an especially moving, heartbreaking denouement. Interestingly, there’s a running joke in the film that pokes fun at a perceived view from some quarters that Stephen King’s endings often disappoint – there’s no such fault with THIS particular adaptation. For me, this was altogether JUST the concluding half I was hoping for, so while it’s not as good as the first, it should leave you satisfied all the same.

24. MOTHERLESS BROOKLYN – it’s taken Edward Norton twenty years to get his passion project adaptation of Jonathan Lethem’s novel to the big screen, but the final film was certainly worth the wait, a cool-as-ice noir thriller in which its writer-director also, of course, stars as one of the most unusual ‘tecs around. Lionel Essrog suffers from Tourette syndrome, prone to uncontrollable ticks and vocal outbursts as well as obsessive-compulsive spirals that can really ruin his day, but he’s also got a genius-level intellect and a photographic memory, which means he’s the perfect fit for the detective agency of accomplished, highly successful New York gumshoe Frank Minna (Bruce Willis). But when their latest case goes horribly wrong and Frank dies in a back-alley gunfight, the remaining members of the agency are left to pick up the pieces and try to find out what went wrong, Lionel battling his own personal, mental and physical demons as he tries to unravel an increasingly labyrinthine tangle of lies, deceit, corporate corruption and criminal enterprise that reaches to the highest levels of the city’s government. Those familiar with the original novel will know that it’s set in roughly the present day, but Norton felt many aspects of the story lent themselves much better to the early 1950s, and it really was a good choice – Lionel is a man very much out his time, a very odd fit in an age of stuffy morals and repression, while the themes of racial upheaval, rampant urban renewal and massive, unchecked corporate greed feel very much of the period. Besides, there’s few things as seductive than a good noir thriller, and Norton has crafted a real GEM right here. The pace can be a little glacial at times, but this simply gives the unfolding plot and extremely rich collection of characters plenty of room to grow, while the jazzy score (from up-and-comer Daniel Pemberton, composer on Steve Jobs, King Arthur: Legend of the Sword and Spider-Man: Into the Spider-Verse) provides a surprising complimentary accompaniment to the rather free-form narrative style and Lionel’s own scattershot, bebop style. Norton is exceptional in the lead, landing his best role in years with an exquisitely un-self-conscious ease that makes for thoroughly compelling viewing (surely more than one nod will be due come awards-season), but he doesn’t hog ALL the limelight, letting his uniformly stellar supporting cast shine bright as well – Willis doesn’t get a huge amount of screen time, but delivers a typically strong, nuanced performance that makes his absence throughout the rest of the film keenly felt, Gugu Mbatha-Raw continues to build an impressive run of work as Laura, the seemingly unimportant woman Lionel befriends, who could actually be the key to the whole case, Alec Baldwin is coolly menacing as power-hungry property magnate and heavyweight city official Moses Randolph, the film’s nominal big-bad, Willem Dafoe is absolutely electrifying as his down-at-heel, insignificant genius brother Lou, and Boardwalk Empire’s Michael K. Williams is quietly outstanding as mysterious jazz musician Trumpet Man, while Bobby Canavale, Ethan Suplee and Dallas Roberts are all excellent as the other hands in Minna’s detective agency. It’s a chilled-out affair, happy to hang back and let its slow-burn plot simmer while Lionel tries to navigate his job and life in general while battling his many personal difficulties, but due to the incredible calibre of the talent on offer, the incredibly rich dialogue and obligatory hardboiled gumshoe voiceover, compelling story and frequently achingly beautiful visuals, this is about as compulsively rewarding as cinema gets. Norton’s crafted a film noir worthy of comparison with the likes of L.A. Confidential and Chinatown, proving that he’s a triple-threat cinematic talent to be reckoned with.

23. PROSPECT – I love a good cinematic underdog, there’s always some dynamite indies and sleepers that just about slip through the cracks that I end up championing every year, and one of 2019’s favourites was a minor sensation at 2018’s South By Southwest film festival, a singularly original ultra-low-budget sci-fi adventure that made a genuine virtue of its miniscule budget. Riffing on classic eco-minded space flicks like Silent Running, it introduces a father-and-daughter prospecting team who land a potentially DEEPLY lucrative contract mining for an incredibly rare element on a toxic jungle moon – widower Damon (Transparent’s Jay Duplass), who’s downtrodden and world-weary but still a dreamer, and teenager Cee (relative newcomer Sophie Thatcher), an introverted bookworm with hidden reserves of ingenuity and fortitude. The job starts well, Damon setting his sights on a rumoured “queen’s layer” that could make them rich beyond their wildest dreams, but when they meet smooth-talking scavenger Ezra (Narcos’ Pedro Pascal), things take a turn for the worse – Damon is killed and Cee is forced to team up with Ezra to have any hope for survival on this hostile, unforgiving moon. Thatcher is an understated joy throughout, her seemingly detached manner belying hidden depths of intense feeling, while Pascal, far from playing a straight villain, turns Ezra into something of a tragic, charismatic antihero we eventually start to sympathise with, and the complex relationship that develops between them is a powerful, mercurial thing, the constantly shifting dynamic providing a powerful driving force for the film. Debuting writer-directors Zeek Earl and Chris Caldwell have crafted a wonderfully introspective, multi-layered tone poem of aching beauty, using subtle visual effects and a steamy, glow-heavy colour palette to make the lush forest environs into something nonetheless eerie and inhospitable, while the various weird and colourful denizens of this deadly little world prove that Ezra may be the LEAST of the dangers Cee faces in her quest for escape. Inventive, intriguing and a veritable feast for the eyes and intellect, this is top-notch indie sci-fi and a sign of great things to come from its creators, thoroughly deserving of major cult recognition in the future.

22. DRAGGED ACROSS CONCRETE – S. Craig Zahler is a writer-director who’s become a major fixture on my ones-to-watch list in recent years, instantly winning me over with his dynamite debut feature Bone Tomahawk before cementing that status with awesome follow-up Brawl On Cell Block 99. His latest is another undeniable hit that starts deceptively simply before snowballing into a sprawling urban crime epic as it follows its main protagonists – disgraced Bulwark City cops Brett Ridgeman (Mel Gibson) and Tony Lurasetti (BOCB99’s Vince Vaughn), on unpaid suspension after their latest bust leads to a PR nightmare – on a descent into a hellish criminal underworld as they set out to “seek compensation” for their situation by ripping off the score from a bank robbery spearheaded by ruthlessly efficient professional thief Lorentz Vogelmann (Thomas Kretschmann). In lesser hands, this two-hour-forty-minute feature might have felt like a painfully padded effort that would have passed far better chopped down to a breezy 90-minutes, but Zahler is such a compellingly rich and resourceful writer that every scene is essential viewing, overflowing with exquisitely drawn characters spouting endlessly quotable, gold-plated dialogue, and the constantly shifting narrative focus brings such consistent freshness that the increasingly complex plot remains rewarding right to the end. The two leads are both typically excellent – Vaughn gets to let loose with a far more showy, garrulous turn here than his more reserved character in his first collaboration with Zahler, while this is EASILY the best performance I’ve seen Gibson deliver in YEARS, the grizzled veteran clearly having a fine old time getting his teeth into a particularly meaty role that very much plays to his strengths – and they’re brilliantly bolstered by an excellent supporting cast – Get Rich Or Die Tryin’s Tory Kittles easily matches them in his equally weighty scenes as Henry Johns, a newly-released ex-con also out to improve his family’s situation with a major score, while Kretschmann is at his most chilling as the brutal killer who executes his plans with cold-blooded precision, and there are wonderful scene-stealing offerings from Jennifer Carpenter, Udo Kier, Don Johnson (three more Zahler regulars, each featured with Vaughn on BOCB99), Michael Jai White, Laurie Holden and newcomer Miles Truitt. This is a proper meaty film, dark, intense, gritty and unflinching in its portrayal of honest, unglamorous violence and its messy aftermath, but fans of grown-up filmmaking will find PLENTY to enjoy here, Zahler crafting a crime epic comparable to the heady best of Scorsese and Tarantino. Another sure-fire winner from one of the best new filmmakers around.

21. FAST COLOR – intriguingly, the most INTERESTING superhero movie of the year was NOT a major franchise property, or even a comic book adapted to the screen at all, but a wholly original indie which snuck in very much under the radar on its release but is surely destined for cult greatness in the future, not least due to some much-deserved critical acclaim. Set in an unspecified future where it hasn’t rained for years, a homeless vagabond named Ruth (Gugu Mbatha-Raw) is making her aimless way across a desolate American Midwest, tormented by violent seizures which cause strange localised earthquakes, and hunted by Bill (Argo’s Christopher Denham), a rogue scientist who wants to capture her so he can study her abilities. Ultimately she’s left with no other recourse than to run home, sheltering with her mother Bo (Middle of Nowhere and Orange is the New Black’s Lorraine Toussaint), and her young daughter Lila (The Passage’s Saniyya Sidney), both of whom also have weird and wondrous powers of their own. As the estranged family reconnect, Ruth finally learns to control her powers as she’s forced to confront her own troubled past, but as Bill closes in it looks like their idyll might be short-lived … this might only be the second feature of writer-director Julie Hart (who cut her teeth penning well-regarded indie western The Keeping Room before making her own debut helming South By Southwest Film Festival hit Miss Stevens), but it’s a blinding statement of intent for the future, a deceptively understated thing of beauty that eschews classic superhero cinema conventions of big spectacle and rousing action in favour of a quiet, introspective character-driven story where the unveiling and exploration of Ruth and her kin’s abilities are secondary to the examination of how their familial dynamics work (or often DON’T), while Hart and cinematographer Michael Fimognari (probably best known for his frequent work for Mike Flanagan) bring a ruined but bleakly beautiful future to life through inventively understated production design and sweeping, dramatic vistas largely devoid of visual effects. Subtlety is the watchword, but that doesn’t mean that there aren’t fireworks here, it’s just that they’re generally performance-based – awards-darling Mbatha-Raw (Belle) gives a raw, heartfelt performance, painting Ruth in vivid shades of grey, while Toussaint is restrained but powerfully memorable and Sidney builds on her already memorable work to deliver what might be her best turn to date, and there are strong supporting turns from Denham (who makes his nominal villain surprisingly sympathetic) and Hollywood great David Strathairn as gentle small town sheriff Ellis. Leisurely paced and understated it may be, but this is still an incendiary piece of work, sure to become a breakout sleeper hit for a filmmaking talent from whom I expect GREAT THINGS in the future, and since the story’s been picked up for expansion into a TV series with Hart in charge that looks like a no-brainer. And it most assuredly IS a bona fide superhero movie, despite appearances to the contrary …

#glass #glass movie #the peanut butter falcon #pet sematary #the report #dark phoenix #it chapter 2 #motherless brooklyn #prospect #prospect movie #dragged across concrete #fast color #2019 in movies

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tanadrin · 5 years

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@cyprinodont:

I mean, Samoan land ownership is *explicitly* racist. I heard a story where they interviewed a bunch of Samoans and (predictably) the ones who cabt own land there (married outside of the culture, etc) are opposed to the land owning traditions.

It's a very interesting study in like western liberalism vs indigenous racism.

And by western liberalism I mean like thinly veiled racism

Yeah, the Samoan land ownership thing is funny. Like, on the one hand, the whole reason that statehood/citizenship might endanger the system is that pesky equal protection clause, you know, the one that’s part of the series of amendments abolishing slavery. And I think the equal protection clause is a good thing! OTOH, I was listening to this Radiolab interview where a Samoan guy is like, “Well, we don’t want to be Hawaii--you go to Hawaii, and you can’t help but notice none of the Hawaiians own land anymore.” And he’s not wrong! Something definitely happened in the history of Hawaii that hasn’t happened in the history of American Samoa, and even if you go to American Samoa and try to point out that Hawaii had a very particular set of historical events happen that are unlikely to repeat themselves in American Samoa, I still think dismantling the current system of land tenure is gonna be a hard sell, as a consequence of any change in status of the islands or the population, because the current system, whatever its flaws (and I imagine they’re considerable--traditional land tenure systems are not known for being super equitable! plenty of traditional power arrangements are super fucked up!) does keep the Samoan culture and language pretty intact.

The problem is, in part, the assumptions of default American civil liberalism were developed among different populations of European immigrants, none of whom quite had the secure upper hand, and not for the realities of colonialism; where that system was expanded (like with the post-Civil War amendments) it was by rough carve-outs for other groups, without considering the vastly different historical and economic circumstances of those groups; and the system is deeply insufficient for balancing the tension of, like, not de facto eradicating a small Polynesian culture on a group of islands with roughly the land area of Washington DC, and also protecting individual liberty. And in general, I think, these kinds of regional autonomous arrangements that are used in plenty of countries besides the US often get wielded as a cudgel against weaker members of those autonomous communities by stronger ones--membership in Indian tribes is a huge issue in some places in the US, for not dissimilar reasons.

You can bite the bullet and say, “Look, so long as no individual person is being deprived of their human rights, nothing is truly going wrong. If a bunch of individual people make a bunch of free individual choices that result in the selling of Samoan land to outsiders, and the dilution of Samoan culture in American Samoa, then any resulting dilution or loss of Samoan language or custom, while sad, is the result of free choice by subsequent generations of American Samoans. It would be wrong to use unjust ethnicity-based laws that screw over individuals to prop up the current system.” I... actually think that is a reasonable bullet to bite. But I think in practice, given the inherently inequitable nature of our current economic system, and incentives far outside the control of individuals in these circumstances, it’s also hard to argue that these choices are always truly free. And it’s hard not to look at the prospect of a language and a culture being lost and not feel like something has gone terribly wrong. I am also, of course, keenly aware that that same justification, about preserving “culture” or “identity” is wielded in vicious ways even by millions-strong majorities elsewhere in the US and the world, and though I think saying that, say, white Christian Americans are in any way comparable to American Samoans in terms of their actual cultural and material circumstances, I point that out to say that it’s a line of reasoning that doesn’t really sit that well with me.

I don’t think anyone has the moral right to insist on preserving a set of traditions or a particular local culture, even if it manifestly harms members of that culture, simply for the sake of doing so, as though vulnerable minorities are zoo exhibits that we create so we can feel like we’re doing liberalism right or something. Yet given the history of countries like the US forcibly and murderously eradicating cultures, a certain reflexive defensiveness seems not only eminently understandable, but eminently wise. So I don’t think there’s a good answer to the question of “what is actually the most equitable arrangement here, or in similar circumstances.” I don’t know. But as for the more useful question of “what is the best ameliorative option for people who do get screwed over by the current arrangement,” not making American Samoans jump through bureaucratic hoops to get all the benefits of US citizenship, and making sure American Samoa can participate in elections whose outcomes might significantly affect it, seems like a no-brainer.

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oscopelabs · 6 years

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3D, Part 2: How 3D Peaked At Its Valley by Vadim Rizov

I didn’t expect to spend Thanksgiving Weekend 2018 watching ten 3D movies: marathon viewing is not my favorite experience in general, and I haven’t spent years longing to see, say, Friday the 13th Part III, in 35mm. But a friend was visiting, from Toronto, to take advantage of this opportunity, an impressive level of dedication that seemed like something to emulate, and it’s not like I had anything better to do, so I tagged along. Said friend, Blake Williams, is an experimental filmmaker and 3D expert, a subject to which he’s devoted years of graduate research and the bulk of his movies (see Prototype if it comes to a city near you!); if I was going to choose the arbitrary age of 32 to finally take 3D seriously, I couldn’t have a better Virgil to explain what I was seeing on a technical level. My thanks to him (for getting me out there) and to the Quad Cinema for being my holiday weekend host; it was probably the best possible use of my time.

The 10-movie slate was an abridged encore presentation of this 19-film program, which I now feel like a dink for missing. What’s interesting in both is the curatorial emphasis on films from 3D’s second, theoretically most disreputable wave—‘80s movies with little to zero critical respect or profile. Noel Murray considered a good chunk of these on this site a few years ago, watching the films flat at home, noting that when viewed this way, “the plane-breaking seems all the more superfluous. (It’s also easy to spot when these moments are about to happen, because the overall image gets murkier and blurrier.)” This presumes that if you can perceive the moments where a 3D film expands its depth of field for a comin’-at-ya moment and mentally reconstruct what that would look like, that’s basically the same experience as actually seeing these effects.

Blake’s argument, which I wrestled with all weekend, is that these movies do indeed often look terrible in 2D, but 3D literally makes them better. As it turns out, this is true surprisingly often. Granted, all concerned have to know what they’re doing, otherwise the results will still be indifferent: it turns out that Friday the 13th Part III sucks no matter how you watch it, and 3D’s not a complete cure-all. This was also demonstrated by my first movie, 1995’s barely released Run For Cover, the kind of grade-Z library filler you’d expect to see sometime around 2 am on a syndicated channel. This is, ostensibly, a thriller, in which a TV news cameraman foils a terrorist plot against NYC. It features a lot of talking, scenes of Bondian villains eating Chinese takeout while plotting and/or torturing our ostensible hero, some running (non-Tom Cruise speed levels), and one The Room-caliber sex scene. Anyone who’s spent too much time mindlessly staring at the least promising option on TV has seen many movies like these. The 3D helps a little: an underdressed TV station set takes on heightened diorama qualities, making it interesting to contemplate as an inadvertent installation—the archetypal TV command room, with the bare minimum necessary signifiers in place and zero detail otherwise—rather than simply a bare-bones set. But often the camera is placed nowhere in particular, and the resulting images are negligible; in the absence of dramatic conviction or technical skill, what’s left is never close enough to camp to come back out the other side as inadvertently worthwhile. I’m glad I saw it for the sheer novelty of cameos from Ed Koch, Al Sharpton and Guardian Angels founder Curtis Sliwa—all doing their usual talking points, but in 3D! But it’s the kind of film that’s more fun to tell people about than actually watch.

But infamous punchlines Jaws 3-D and Amityville 3-D have their virtues when viewed in 3D. The former, especially, seems to be the default punching bag whenever someone wants to make the case that 3D has, and always will be, nothing but a limited gimmick upselling worthless movies. It was poorly reviewed when it came out, but the public dug it enough to make it, domestically, the 15th highest-grossing film of 1983 (between Never Say Never Again and Scarface) and justify Jaws: The Revenge. Of course I was skeptical; why wouldn’t I be? But I was sucked in by the opening credits, in which the familiar handheld-underwater-cam-as-shark POV gave way to a severed arm floating before a green “ocean.” Maybe flat it looks simply ludicrous, but the image has a compellingly Lynchian quality, as if the limb were detached from one of Twin Peaks: The Return’s more disgusting corpses, its artifice heightened and literally foregrounded, the equally artificial background setting it into greater relief.

The film’s prominent SeaWorld product placement is, theoretically, ill-advised, especially in the post-Blackfish era; in practice, it’s extremely productive. The opening stretches have a lot of water-skiing; in deep 3D, the water-skiers serve as lines tracing depth towards and away from the camera over a body of water whose horizon line stretches back infinitely, producing a greater awareness of space. It reminded me of the early days of the short-lived super-widescreen format Cinerama, as described by John Belton in his academic history book Widescreen Cinema (recommended). The very first film in the format, This is Cinerama, was a travelogue whose stops included Cypress Gardens, Florida’s first commercial tourist theme park (the site is now a Legoland), which has very similar images of waterskiiers. Cinerama was, per the publicist copy Belton quotes from the period, about an experience, not a story: “Plot is replaced by audience envelopment […] the medium forces you to concentrate on something bigger than people, for it has a range of vision and sound that no other medium offers.” Cinerama promised to immerse viewers, as literalized in this delightful publicity image; Belton argues that “unlike 3-D and CinemaScope, which stressed the dramatic content of their story material and the radical new means of technology employed in production, Cinerama used a saturation advertising campaign in the newspapers and on radio to promote the ‘excitement aspects’ of the new medium.” There’s a connection here with the earliest days of silent cinema, short snippets (“actualities”) of reality, before it was decided that medium’s primary purpose was to tell a story. It didn’t have to be like that; in those opening stretches, Jaws 3-D’s lackadaisical narrative, which might play inertly on TV, recalls the 1890s, when shots of bodies of water were popular subjects. This is something I learned from a recent presentation by silent film scholar Bryony Dixon, and her reasoning makes sense. The way water moves is inherently hypnotic, and for early audiences assimilating their very first moving images, water imagery was a favorite subject. It’s only with a few years under its belt that film started making its drift towards narrative as default; inadvertently or not, Jaws 3-D is very pure in its initial presentation of water as a spectacular, non-narrative event.

If this seems like a lot of cultural and historical weight to bring to bear upon Jaws 3-D, note that it wasn’t even my favorite of the more-scorned offerings I saw that weekend, merely one that makes it easiest for me to articulate what I found compelling about the 3D immersion experience. I haven’t described the plot of Jaws 3-D at all, which is indeed perfunctory (though it was nice to learn where Deep Blue Sea cribbed a bunch of its production design from). I won’t try to rehabilitate Amityville 3-D at similar length: set aside the moronic ending and Tony Roberts’ leading turn as one of cinema’s most annoyingly waspish, unearnedly whiny divorcees, and what’s left is a surprisingly melancholy movie about the frustrations, and constant necessary repairs, of home ownership. There’s very little music and a surprising amount of silence. The most effective moment is simply Roberts going upstairs to the bathroom, where steam is hissing out for no apparent reason and he has to fix the plumbing. The camera’s planted in the hallway, not moving for any kind of emphasis as the back wall moves closer to Roberts; it doesn’t kill him and nothing comes of it, it’s just another problem to deal with (the walls, as it were, are settling), made more effective by awareness of how a space whose rules and boundaries seemed fixed is being altered, pushing air at you.

Watching a bunch of these in sequence, some clear lessons emerge: if you want to generate compelling depth by default, find an alleyway and block off the other half of the frame with a wall to present two different depths, or force protagonists to crawl through ducts or tubes. This is a good chunk of Silent Madness, a reasonably effective slasher film that, within the confines of its cheap sets and functional plotting, keeps the eye moving. It’s an unlikely candidate for a deep-dive New York Times Magazine article from the time period, which is well worth reading in full. It’s mostly about B-movies and the actresses trying to make their way up through them, though it does have this money quote from director Simon Nuchtern about why, for Bs, it’s not worth paying more for a good lead actress: “If I had 10,000 extra dollars, I’d put it into lights. Not one person is going to say, ‘Go see that movie because Lynn Redgrave is in it.’ But if we don’t have enough lights and that 3-D doesn’t pop right out at you, people are going to say, ‘Don’t see that movie because the 3-D stinks.’” Meanwhile, nobody appears to have been thinking that hard while making Friday the 13th: Part III, which contains precisely one striking image: a pan, street morning, as future teen lambs-to-the-slaughter exit their van and walk over to a friend’s house. A lens flare hits frame left, making what’s behind it briefly impossible to see: this portion of the frame is now sealed off under impermeable 2D, in contrast to the rest of the frame’s now far-more-tangible depth. The remainder of the movie makes it easy to imagine watching it on TV and clocking every obvious, poorly framed and blocked 3D effect, from spears being thrown at the camera to the inevitable yo-yo descending at the lens. (This is my least favorite 3D effect because it’s just too obvious and counterproductively makes me think of the Smothers Brothers.)

Friday the 13th was the biggest slog of the 3D weekend, and the one most clearly emulating 1981’s Comin’ at Ya! I am not going to argue for that movie, either, which is generally credited with kicking off the second 3D craze; it’s a sludgy spaghetti western that delivers exactly as its title promises, using a limited number of effects repeatedly before showing them all again in a cut-together montage at the end, lest you missed one in its first iteration. It’s exhausting and oddly joyless, but was successful enough to generate a follow-up from the same creative team. Star Tony Anthony and director Ferdinando Baldi (both veterans of second-tier spaghetti westerns) re-teamed for 1983’s Treasure of the Four Crowns, the movie which (two screenings in) rewired my brain a little and convinced me I should hang around all weekend. This is not a well-respected film, then or now: judging by IMDb user comments, most people who remember seeing it recall it playing endlessly on HBO in the ‘80s, where it did not impress them unless they were very young (and even then, perhaps not). Janet Maslin admitted to walking out on it in her review; then again, she did the same with Dawn of the Dead, and everyone loves that.

An unabashed Indiana Jones copy, Treasure begins strong with a lengthy opening sequence of tomb raider J.T. Striker (Anthony) dropping into a cave, where he’s promptly confronted not only with a bunch of traps but, for a long stretch, a small menagerie’s worth of owls, dogs, and other wildlife. There are a lot of animals, and why not? They’re fun to look at, and having them trotted out, one after another, is another link back to silent cinema; besides water, babies and animals were also popular subjects. The whole sequence ends with Striker running away from the castle above the cave, artifact retrieved, in slow-motion as Ennio Morricone’s score blares. There is, inevitably and nonsensically, a fireball that consumes the set; it unfolds luxuriously in detailed depth, the camera placed on a grassy knoll that gives us a nice angle to contemplate it looking upwards, a nearly abstract testament to the pleasures of gasoline-fueled imagery. Shortly thereafter, Striker is in some European city to sell his wares, and in every shot the camera is placed for maximum depth: in front of a small city park’s mini-waterfall, views of streets boxed in by sidewalks that narrow towards each other, each position calibrated to create a spectacular travelogue out of what’s a fairly mundane location. There’s an expository sequence where Striker and friends drop into a diner to ask about the whereabouts of another member of the crew they need to round up. Here, with the camera on one side of a bar encircling a center counter, there are something like six layers of cleanly articulated space, starting with a plant’s leaves right in front of the lens on the side, proceeding to the counter, center area, back counter, back tables and walls of the establishment. Again, the location is mundane; seeing it filleted in space so neatly is what makes it special.

The climax finally convinced me I was watching forgotten greatness. This is an elaborate heist sequence in which, of course, the floor cannot be touched, necessitating that the team perform all kinds of rappelling foolishness. At this point I thought, “the only way I could respect this movie more is if it spent 10 minutes watching them get from one side of the room to another in real time.” First, the team has to gear up, which basically means untangling a bunch of ropes—clearly not the most exciting activity. The camera is looking up, placed below a team member as they uncoil and then drop a rope towards the lens. This is a better-framed variant of the comin’-at-ya principle, but what made it exciting to me was the leisurely way it was done: no more whizzing spears, but a moment of procedural mundanity as exciting as any ostensible danger. Basic narrative film grammar is being upended here: if a rope being dropped is just as exciting as a big, fake rip-off boulder chasing our hero down the cave, then all the rules about what constitutes narrative are off—narrative and non-narrative elements have the exact same weight, and even the most mundane, A-to-B connective shot is a spectacular event.

This isn’t how narrative cinema is supposed to work, and certainly not what James Cameron’s conception of good 3D proposed. The movie keeps going, building to a bizarrely grim climax involving a lot of face-melting, scored by Morricone’s oddly beatific score, which seems serenely indifferent to the grotesqueness of the images it’s accompanying. (This is a recurring trait in the composer’s ‘80s work; the score for White Dog often seems to bear no relation to the footage it’s accompanying.) That would make the movie oneiric and weirdly compelling even on a flat TV, but everything preceding convinced me: 3D can be great because it’s 3D, not because it serves a story. I’ve spent the last decade getting more angry about the format than anything, but that was a misunderstanding. Treasure of the Four Crowns is, yes, probably very unexceptional seen flat; seen in all three dimensions, it’s a demonstration of how 3D can turn banal connective tissue and routine coverage into an event. The spectacle of 3D might never have been its potential to make elaborate CG landscapes more immersive, something I still haven’t personally been convinced of; as those 19 non-CG shots in Avatar showed (undermining Cameron’s own argument!), 3D’s renderings of the real, material world and objects have yet to be fully explored. 3D’s ability to link film back to its earliest days is refreshing, in the way that any rediscovery of forgotten parts of film language can be, while also encouraging thought about all the things narrative visual language hasn’t yet explored, as if 3D could take us forwards and backwards simultaneously. In any case, I’m now won over—ten years after Avatar, but better late than never.

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mdwatchestv · 6 years

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Westworld 2x05: Ain’t Nothing To Fuck With

How did all these disparate threads come together to create this nightmare? HOW INDEED FARES FARES, HOW INDEED.

Anyway welcome back to Westworld! I was pleasantly surprised by the cohesion and thematic relevance of last week's episode, and while they weren't able to deliver as tight a narrative this week, the hour did manage to deliver something often sorely missed on this show - fun! Sure, there was still some gloom and doom, but there was also like adventure! Comic relief! Action! Wu-Tang! And from what well did this welcome variance in tone spring? Why from Shogun World of course! My preferred setting for the rest of the series, please and thank you.

Shogun World was teased in season one, as well as a couple episodes ago when Maeve and her crew accidentally stumbled into it, but now we finally get to explored it in full. Shogun World is set during the Edo period (1603 - 1868) in Japan, which was marked by the rule of well...shoguns! Shogun World boasts incredible scenic beauty, as well as awesome samurai-based violence. Simon Quartermain describes it as the World for people who think Westworld is too tame. Lol okay. Of course I also have to point out that Shogun World also has its own MOUNT FUJI. This iconic Japanese geographical feature, and giant ass volcano, only furthers my theory that the location of these parks is a twist/important. I mean, they have a whole mountain!!!! But while no expensive has been spared in the environment, there was clearly some budget saving in the narrative department....

Maeve and her unlikely band are captured by a group of samurai, Maeve's robot voodoo doesn't work on them, nor does their automatic translation feature. Her group is taken into a...vaguely familiar town square, and by the time Paint it Black kicks in, we know what's happening. In a shot for shot sequence we see Sweetwater's vault robbery event (led in that world by Rodrigo Santoro and Armistice) enacted by a new, but not TOO new, cast of characters. Simon admits he may have lifted the character's and story from world to world to save time, as a writer I do not blame him. But besides other-world doubles of Rodrigo and Armistice (Hannibal's Tao Okamoto featuring a dragon tattoo instead of a snake), there is of course also an alternate universe Maeve and Clementine. At the end of the robbery Maeve comes face to face with Akane (Pacific Rim's Rinko Kikuch). Like Maeve, Akane is quick, cunning and fiercely loyal to Sakura, her surrogate daughter. Seeing Maeve, and a bevy of other characters, come face to face with themselves was the kind of boost this show desperately needed. Finally we get to see the show poking a bit of fun at its own expense, and it could not be more welcome. After hours of unrelenting Very Serious Mystery Time, it was nice to have a scene about Rodrigo having an inherent mistrust of his Other (every TV show ever's Hiroyuki Sanada). This is what we want from you Westworld!

The plot thickens as the local Shogun's messenger comes to buy Sakura from Akane, who bloodily refuses by going off-script and stabbing him in the eye. Our combined super-group makes a plan to return to Sakura's homeland Snow Lake (ps there is a whole-ass lake in this world too, where ARE we) but their plan is foiled by NINJA. ACTUAL NINJA. Imagine I am using the handclap emoji when I say this-is-what-I-am-talking-about. In a fantastic fight sequence that pits our brawlers and gunslingers against NINJA, Maeve's control powers get a major upgrade. Not only is she able to verbally instruct other hosts, apparently she can now even control them with her mind. Perhaps she is able to cognitively access the host network, issuing commands via cyberspace. Or you know, maybe she's a witch. But beside Maeve’s newfound ability to plug directly in the matrix, Sakura is captured anyway. No sooner have the ninja been defeated by the power of Maeve's brainwaves than who should role up but the Shogun's guard. In an amazing development, that the best samurai movies would be jealous of, it is revealed that ronin Hiroyuki Sanada is the ex-captain of the guard, and at the behest of Akane he rides out to confront the new, shittier, captain. Truly, I could live in this storyline forever.

[Note: I started writing this at work where I apparently left all my notes. So from here on out I’m flying blind people!]

The Hectors’ and Armisti allow themselves to be taken prisoner by the Shogun’s army allowing Maeve, Akane, and Simon to escape. Maeve is bent on helping Akane rescue Sakura, another mother trying to reunite with her daughter. Once they arrive at the Shogun’s camp however things don’t go quite so smoothly. The Shogun has gone a bit mad and had all of his men’s ears chopped off so Maeve can’t influence them with her witchy words. This seems sort of impractical for a number of reasons, but it’s whats happening. The Shogun says he will release Sakura if Akane also agrees to dance for him, and she reluctantly agrees. In the dressing room Maeve attempts to level-up Akane and free her mind, but Akane rejects the “freedom” Maeve offers her. She chooses to stay in the reality of her personal Matrix, with Sakura, rather than waking up and realizing she is really in ugly sweater land (it’s been a long time since I’ve seen the Matrix okay).

Sakura and Akane prepare to dance for the Shogun, but the Shogun murders Sakura in front of Akane and then demands she proceed with the performance, and proceed she does. In one of the season’s best sequences, Akane lays down a beautiful geisha dance, that turns into a brutal decapitation of the Shogun, all set to cover of Wu-Tang’s C.R.E.A.M. This was one of the rare scenes on Westworld that really exceeded the sum of its parts. The unexpected cover song, the grand aesthetic of the setting and Akane herself, and the emotional stakes of the scene, all came together to create a truly effective and memorable sequence. Westworld often boasts individual cool or compelling elements, but rarely do they all come together to create such an effective and engrossing narrative moment. These past couple episodes have been some of the best of the series in terms of episode construction and payoff, even displaying emotional connection, which the series has struggled with. However despite the sheer badassery displayed by Akane, she and Maeve are captured and set to be beheaded by the Shogun’s soldiers (they yell orders to each other which is weird because I thought they had no ears?). As they are about to be executed, Maeve tells Akane she is a true mother, and Akane thanks her. Akane has put Sakura before all else, her happiness, her freedom, even her life. However before the blades can fall, Maeve uses her new psychic power to turn the soldiers against one another (and she had to use mind power because all their ears were cut off...but then why were they JUST talking- never mind). Bloodshed and violence ensues, and armed with her new power, Maeve turns her eyes to the horizon, the future, and her daughter.

And that’s it! What a great and enjoyable hour (plus) of television. An engaging story with great new characters powered by a stand-out guest cast, new locales and exciting action. I can’t believe this episode was able to avoid the usual drudgery and angst of most of Westworld, what a welcome reprieve, what a tight- oh wait.

That’s right these guys. For all the delightful surprises to be had in Shogun World, Teddy and Dolores’ storyline came to an all-too predictable head. Back in Sweetwater Dolores’ gives Teddy one final “test”, metaphorically asking him how he would protect an infected herd of cattle. His answer is of course reflective of Teddy himself, gentle and caring: protect the sick, hope for the best. The answer Dolores is of course looking for is: burn it down, burn it all down, and if there are casualties so be it. Teddy and Dolores’ finally knock boots, but it’s more of a goodbye before Dolores sets him up for a full reboot (get it, boots, reboot. I work hard on these things). This “twist”, if we can even call it that, has been projected from the beginning as Teddy has consistently failed to adapt to Dolores’ new world order. However we know that Teddy is still going to end up floating in face down in a lake, so maybe this reboot won’t be as effective as Dolores’ hopes. Dolores tells Teddy that ‘to grow, we all need to suffer’, and she clearly sees sacrifice as the way to do that. She has cut away all the ties that made Dolores, well Dolores, and is living largely as the Wyatt personality. In Maeve’s storyline though, she grew by seeing a reflection of herself, and another path she could take. Akane was fully devoted to Sakura, and even though Maeve is dedicated to finding her own daughter, it’s unlikely she would have sacrificed the knowledge and power she currently has to do so (unlike Akane).

The introduction of the new worlds in Westworld is the best thing the show could have done. The time spent in Shogun World, as both a new setting, and a foil to the world we are familiar with, was a refreshing change. The return to the scenes in Sweetwater felt like a big clunk in an episode that otherwise soared. Like Maeve and Dolores, I as the viewer am also ready to venture out into a larger world, the new world.

Can you believe we are only halfway through the season?

XO MD

#westworld #westworld hbo #martha writes #westworld gifs #westworld spoilers #westworld recap #westworld reviews #rinko kikuchi #shogun world #wu-tang clan #thandie newton #maeve #tv recaps #tv reviews #tv gifs

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ruffoverthinksthings · 7 years

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Jane and carlos ship meme can't remember if I already asked for this

You haven’t.

1.Whois the most affectionate?:

Carlos.

Afterlearning that showing affection and vulnerability isn’t somethingto be avoided at all costs, and more so, not being victimized andtaken advantage of by others that just reinforce his Isle-sourcedbeliefs, he just goes all out on showing his friends, hispseudo-family, and especially Jane as much love and affection as hecan.

2.Bigspoon/Little spoon?:

Theyalternate, depending on who’s having the worse day, the worse panicattack, or in the case that they’ve both suffered equally sucky andterrible days, who Dude or their current pet dog/s decides to snuggleup to.

3.Mostcommon argument?:

Carlos’scientific projects, and what he can or can not work on, at home orin the office.

Aftergetting access to proper education, professional mentorship,communication with his fellow inventor peers, scholarships, researchgrants, and most importantly, a lifetime membership at the HandyDandy Hardware store franchise, sometimes even the laws of physicsaren’t enough to limit Carlos’ trying to make his ideas areality.

As he borrows from Adam Savage, “I reject your reality, and substitute my own!”

4.Favoritenon-sexual activity?:

Discussionof their days, what happened, and what will be happening.

Janeenjoys the way Carlos lights up when discussing his latest project,results, and activities, even if sometimes her incredibly advancedthought process and infallible memory can’t keep up with him, andCarlos enjoys knowing that he’s serving as the sympathetic,attentive ear for whenever Jane needs to unload, and boy, does shehave some plenty interesting stories to tell, even if they are rants.

They’reboth all too used to being ignored, or outright being told to shutup, that their issues and concerns were less important than someoneelse’s—the most common culprits were Cruella, and of course,Audrey.

It’sREALLY nice to have someone who just up and listens, no questionsasked.

5.Whois most likely to carry the other?:

Jane.

Carlosheavily relies on mathematics, physics, and Judo whenever he has todo anything physical. And however frail Jane’s mortal body lookslike, she can easily override the “limiters” and becomesuperhumanly strong.

6.Whatis their favorite feature of their partner’s?:

Janereally enjoys Carlos’ energy and sheer enthusiasm when he gets intosomething he really, really, really enjoys, such as dogs,science projects, or some other sort of achievement like an amazingblock in a friendly, non-professional Tourney game with friends.

Carlosloves Jane’s eyes, the one thing that she doesn’t—can’t,really—de-age or attempt to hide just how old, how experienced, andhow many things she has seen over her immortal existence, good, bad,and everything in between.

7.What’sthe first thing that changes when they realize they have feelings forthe other?:

Youcan watch this whole series in Descendants 2. I really don’tagree with many of the writer’s decisions and how they executed it,but I’m too lazy and tired to think up of an entirely differentseries of them getting together.

8.Nicknames?& if so, how did they originate?:

“Dr.de Vil” after Carlos officially gets his doctorate in MechanicalEngineering, “My Little Mad Scientist” because of all of hiscrazy, zany experiments, and “Fae’s Best Friend” when he onceasked, “If dogs are man’s best friend, what does that make me toyou?”

“BabyJane” as an affectionate, playful nickname, “Doggy Godmother”because of how experienced and skilled she is with taking care ofdogs, and “Blue” when Jane explicitly asked him to make up aspecial nickname that only he could use.

9.Whoworries the most?:

Jane.

Carloshas learned that sometimes, there’s really nothing you can do butface whatever impending unpleasantness is coming your way, and thatall the fretting and hypothesizing in the world is better spentactually doing something, objectively and definitively finding outhow a decision/preparations/experiment will turn out.

Thataside, he’s mortal, worrying takes up a lot of his inherentlylimited energy, and Jane has no such constraints.

10.Whoremembers what the other one always orders at a restaurant?:

Jane.Infallible Faerie Memory, baby.

11.Whotops?:

Theyswitch, but Jane takes this role the most.

12.Whoinitiates kisses?:

Carlos.See No. 1.

13.Whoreaches for the other’s hand first?:

Carlos.

14.Whokisses the hardest?:

Jane.Initiation might be difficult and awkward for him, but bridging theinitial gap is kind of like opening the floodgates of affection,love, and messy, slobbery tongue-action.

15.Whowakes up first?:

Jane,by virtue of rarely, if ever actually sleeping, and only for a fewhours if she does.

16.Whowants to stay in bed just a little longer?:

Carlos.All that flurry of activity and thinking in a short span of timeequates to a LOT of forced, necessary downtime, and unlike hissmartphone, you can’t expect him to be completely ready to doa-zillion different functions and programs as soon as you press the“On” button.

17.Whosays I love you first?:

Again,see the Descendants 2 movie.

18.Wholeaves little notes in the other’s one lunch? (Bonus: what does itusually say?):

Jane.

It’susually reminders of things that miss Carlos’ (admittedlyincredibly haphazard and disorganized) record keeping system, butsometimes she just goes on to say how much she loves him, or cutelittle things their pets have done that he might like to know about.

19.Whotells their family/friends about their relationship first?:

Jane,though it’s really easy to do so when your mother isn’tobjectively fucking crazy.

20.Whatdo their family/friends think of their relationship?:

FairyGodmother is super supportive and loving towards Carlos—sometimes alittle too much, as FG has a tendency to overcompensate with the“maternal support towards the boyfriend” because of lingering,unconscious guilt of never being around for Jane as much as sheshould have been.

Cruellathinks the whole thing is an absolute disgrace, especiallysince Jane can’t really get “anything of actual worth” fromCarlos. “Not that a homely face and run-of-the-mill body like herscan nab anyone worth marrying in the first place!”

21.Whois more likely to start dancing with the other?:

Carlos.Excessive amounts of energy that need to be released, yo.

22.Whocooks more/who is better at cooking?:

Jane.She’s had plenty of free time to fill, and even though Carlos doescook, he using his hands to work with machines and computers, notknives and fresh ingredients.

23.Whocomes up with cheesy pick up lines?:

Carlos.

“Youknow, Jane, when I think about us, I can’t help but feel like I’ma nut.”

“Anut? Why?”

“BecauseI fit so well with you, like you’re a bolt, and we were just madefor each other.”

24.Whowhispers inappropriate things in the other’s ear duringinappropriate times?:

Carlos.Look, Jane is not above and definitely into dirty talk, but Carlos isthe one who always feels the need to “shake things up” when Janewould rather they not be shook.

25.Whoneeds more assurance?:

Jane.

Carlosisn’t the picture of absolute, constant self-confidence, but atleast he can’t completely, objectively remember every single timehe has ever felt like he could not do it, and it turns out thatdespite his best efforts and the confidence of others, he couldn’tdo it after all.

26.Whatwould be their theme song?:

Imay have used this before, and my apologies if I did, and also for mylimited song knoweldge, but “Body Image” by TWRP fits them verywell.

Jane’sphysical appearance remains a sore point for the rest of her life—shewas “beautiful” in high school, but what about college? The realworld as a “twenty-something” in as much as an immortal, agelessfaerie can be a twenty-something? How should she look as she, herfriends, and her lover age and grow older?

Justhow much gray should she have on her hair? Should she start changingher appearance to have more wrinkles, extra, unnecessary padding, alittle more stoop to her posture? Is it even fair to be simulating aweakening, failing body, when everyone knows full well she willeternally be a spry spring chicken blessed with divine strength andagility like a Grecian Avian Demi-God?

Regardlessof what she looks like, though, Carlos will always love her.

27.Whowould sing to their child back to sleep?:

Jane.

Carlosdoesn’t really feel like he’s up to the task, seeing as all his“lullabies” were Cruella screaming at him at the top of hislungs, blaming him for all her problems, and loudly saying to hisface, message clear thanks to her facial expression, body language,and tone, that she regrets ever having him.

28.Whatdo they do when they’re away from each other?:

Carlosdoes science, Tourney, and “Guy Things” with Jay, the specificsof which change over time. In their teens and twenties, it’s goingout to town, getting into trouble, and possibly being arrested. Inhis thirties and forties, it’s meetings with the other dads and“with kids or serious, all-consuming careers” adults for thingslike weekend hunting trips, “bad-back friendly” Tourney teams andgames, and of course, embarrassing group bonding events with theirkids, their nephews and nieces, and/or godchildren, and so on and soforth for however long he lives.

Janegoes on with her numerous jobs and duties as a Fairy Godmother in anage mostly without magic, hanging out with her female friends withwhatever activities are “in” with them at the moment, and tryingto immerse herself in the present culture however well or awkwardlyshe can, if only so the inevitable generational paradigm shift of allof society around her gets less surprising and sudden.

29.oneheadcanon about this OTP that breaks your heart:

Carlosand Jane own a LOT of dogs over the course of their relationship. Asyou would expect, none of these puppers ever live as long as Carlosdoes, and it’s impossible for any of them to be an immortal Faelike Jane. Every decade or so, they lose a furry best friend orthree, bury and/or cremate them, and shelve a scrapbook filled withprinted photos and mementos in a special collection with all theirdogs.

Ithappens constantly. It’s inevitable. They know, and willinglyaccept that fact every time they are gifted a new puppy, or adopt onefrom the shelter.

Butstill, every single time, it hurts.

Andno time does it hurt the most, than the first time Jane has to fillin the very last pages of a scrapbook by herself, decide whereexactly it’s going to go in that giant wall of scrapbooks by herlonesome, figure out all by herself whether or not she’s going togo get a new dog, after she buried both her latest pet and herhusband.

30.oneheadcanon about this OTP that mends it:

Weknow from Mulan there’s definitely an afterlife—or enough of aperson that sticks around, that it’s basically them for all intentsand purposes. And thanks to connections with Lonnie, and the gradualweakening of the Magic Ban to the point where it’s really just aset of regulatory acts not unlike the laws governing ownership anddriving of a car, Jane manages to get an opportunity to see Carlosagain, along with all of their dogs.

Janehugs and kisses the ghostly, kind-of-cold Carlos in the middle of asea of dogs, before they both lie down and drown in all theslobbering, yipping, yapping, barking, licking, and tail-wagging,struggling to keep up with all the lapdogs who refuse to share withall the other lapdogs, the dogs that really did not like making newfriends, the ones that were just too eager to be friendly withabsolutely everyone they encountered--

--Alltheir dogs, of all temperaments, breeds, backgrounds, and what haveyou, Jane remembering all of them in infallible, exact detail,holding them in her arms once more, feeling their love and affectioneven if her hand goes right through them, and there’s no warmth, nofluffiness when she tries to pet them, just a muggy, slightlyunpleasant coldness.

Thereunion lasts for hours, the magicians, voodoo practitioners, andspirit callers officiating it having to clock overtime because theyhave just that many dogs, and Jane and Carlos want personal time witheach of their pets, however long each canine wants to be with boththeir owners once again.

Buteventually, even the most attention and affection hungry pup hastheir fill, even the dogs that want play time to stretch for on andon find themselves bowing out, and Jane feels that fatigue settingin, the kind that shouldn’t technically exist, but the power oftrying to imitate being normal and human can bring.

Janeand Carlos stand up, hug and kiss one last time, before Jane moves tothe side with the exhausted or just replaced summoners, Carlos andtheir dogs move to the other side. Hands waving, mouths open inpants, tails wagging, they say their goodbyes, before the latterdisappear, and all is quiet once more.

Janegoes home, and spends quite a long time alone immediately after, andtaking something of a semi-vacation from all her work and duties forthe time after that.

Butsome day, she plans on getting herself a new puppy, changing herphysical appearance once more to a woman definitely old enough to besomeone’s mom but not quite someone’s grandmother, putting out adating ad as she tries to get back in the “market.”

Shedoesn’t know exactly what she’s looking for, but she does knowthat they must love dogs.

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shenmeizhuang-blog · 7 years

Text

current standing + ramblings

*I wanted to do a more official, “pretty” post but currently it’s a bit...inconvenient to fully use Tumblr. So, here goes:

The Advisors Alliance (大军师司马懿之军师联盟): I do have some catching up to do, as I’m currently only 22 episodes into the 42-ep Season 1, which just completed its run a few days ago. Admittedly, I’m slightly apprehensive as I’ve read complaints that the latter part of the show becomes a bit...illogical, but time will tell.

Where I am currently, warlord/king of Wei Kingdom (despite the current “emperor” of Eastern Han still existing) Cao Cao is about to die; with the earlier eps essentially covering protagonist Sima Yi as he assists unfavored son Cao Pi to gain the position of Crown Prince and faces adversary Yang Xiu, the deaths of the recent characters mark a pretty obvious shifting point; while the earlier eps had that whole Nirvana in Fire vibe that came with an advisor placing an unfavored son on the throne (although frankly, I ship just about everything EXCEPT Sima Yi and Cao Pi), as well as Yang Xiu and Cao Cao’s dominating presences that assisted in holding the show together, the latter eps risk being somewhat messy.

The first episode was somewhat of a challenge to complete, with me having to even reference a dictionary multiple times, but eventually it becomes not that hard. Additionally, I find this show freaking ADORABLE -- there are just so many brief breaks of humor, heartwarming domesticity, and the ridiculously shippy romance between Cao Pi and Guo Zhao. Easily the best thing about this show is simply the cinematography and execution, so even if events become messy/illogical (though this is a considerably smart show), this is an amazing show to dunk my eyes into simply for the pretty.

Admittedly, I know next to nothing about Three Kingdoms history, except like the super super basic, so I can’t really comment on historical accuracy (the show does utilize historical events such as battles or someone’s ascension for time skips though). I KNOW that apparently Hua Too died way later than in the show, etc., but frankly I would rather see a well thought-out story than a dry retelling of history.

But I’m also hypocritical, and find that the show wants to emphasize Sima Yi/ everyone’s connections a bit TOO much -- like, what is the point of having to make Guo Zhao related to the Sima family? I ship her with Cao Pi a lot, but so many times it feels like she’s there to assist in saving someone in the Sima family (’tis a time where people’s lives are endangered essentially every 30 seconds). Additionally, since my cousin was watching this on TV, I saw a scene far far later where Zhen Fu 被打入冷宫 and she needed assistance or something and she freaking asked for Sima Yi. Because, of course, EVERYTHING comes back to him.

Acting-wise, everyone is quite solid, and very surprisingly I actually recognize a lot of the actors, which makes for a very nice viewing experience. (Admittedly Li Chen feels...like Li Chen rather than Cao Pi, though the mustache I think actually helps diminish that a bit. Wang Jinsong’s portrayal of Xun You blew me away, though I’m slightly irritated by the fact that he (among 崔尚书 and other characters) essentially served as sacrifices -- some of the more minor characters tend to serve purposes to push forward the plot or give some advice rather than actually be characters. (Although they do an amazing job portraying this show’s antagonists so far).

I really do like Yu Hewei as Cao Cao, even if people say he’s essentially channeling Chen Jianbin’s performance in San Guo (which I DIDN’T see). Personally, I can’t shake away the image of Chen Jianbin as Emperor Yongzheng (in Zhen Huan), so if I watch 3K 2010 for whatever reason it’s all going to very peculiar for me.

But, overall: I like it! I love its dramatics, humor, and cuteness rather than find it off-putting, and no matter what’s stored for the future, I will still fondly look back upon the earlier episodes at least.

Love Lost in Times (醉玲珑): Despite the more peculiar-looking hairstyles, surprisingly one of the biggest perks to this show is the gorgeous cinematography and directing. Everything is just so very pretty -- EVEN compared to The Advisors Alliance, making this a really nice show to just relax my brain with. This is a weekly show (the horror), airing only two days a week, so with me not completely invested yet but still enjoying, I’m not biting my nails and praying for new episodes/for Thursday to come yet can more easily stay on schedule.

Located in the kingdom of Western Wei, which interestingly is the location of a whole lot of currently airing shows (even AA technically takes place in Wei, though in a much different context), this is a world where the royal family struck a deal with a clan of witches/sorcerers (although I’ve only seen a total of two magical males in the witch clan’s realm hehe). This entire high fantasy/alternate realms is a pretty unique concept, and nicely melds with simple palace politics. But despite all the wonder and pretty, it’s very clear that the main point is the star-crossed (literally, with Qingchen being this 阴星 who is actually fated to meet 阳星) love between our leads. So far the pacing is very nice, and four episodes in, there’s already a very clear set-up . . . that is, leading up to Qingchen resetting the universe, Yuan Ling forgetting like everything, and everything angsty all starting over again.

Admittedly, if not for the unique high fantasy concept the entire royal-political arc would be very generic. And like...why Fourth Prince AGAIN? LOL. (People say that the original novel is essentially a rehash of BBJX, especially since the original saw our protagonist time traveling from the modern day, but the romance and political events at least in the drama feel WAY TOO DIRECT and simplified for me to even make a slight association. Also, the main point of BBJX is like the freaking time travel aspect . . . erm anyway, I could rant forever about BBJX so I won’t.)

Despite the quick and refreshing pace, the one thing I find difficult is shipping the OTP, and they’re getting married despite all odds like next episode. Because, already?

My favorite thing about this show, prettiness aside, is actually this show’s main antagonist, the seventh prince Yuan Zhan -- 1) Xu Hai Qiao but 2) unlike the other Evil^TM characters, he feels like the most complex and multifaceted character compared to everyone else (including, and especially our likable but so far typical leads, though I do also enjoy seeing Yuan Ling’s stubbornness and resourcefulness that would’ve resolved all the issues of most star-crossed romances), and is, Yuan Ling aside, someone I would entrust as a ruler. He’s sly and definitely some parts morally dark, but I enjoy seeing his ambition, the facade he creates, as well as his own perspective the justifies his own actions. He isn’t inherently evil or anything, just has a different 立场 and different motives than our leads. It’s just that his headpiece looks like either a cake or a flowerpot XD.

Acting: both Shi Shi and William Chan are mediocre, though I think nicely compliment each other in prettiness and mediocrity, but side characters such as Liu Yijun as the horrid and corrupt Emperor, Han Dong as Qingchen’s shifu, Han Xue, Xu Hai Qiao as Yuan Zhan, Zhang He as 9th all delivered solid performances.

It’s still a largely simplistic show that’s largely about the romance (*coughs* the title), but if well-done I’m always here for the angst. Overall, given that I didn’t really anticipate this show or have that many expectations, it’s a good show so far. Okay and randomly the opening theme sounds rather off-putting -- I would suggest skipping over that.

#the advisors alliance #大军师司马懿之军师联盟 #军师联盟 #lost love in times #drunken exquisiteness #醉玲珑 #cdrama #ramblings #word vomit

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