#it's trite but you really need to focus more on saving what you love than fighting what you hate

[slyandthefamilybook]

fellas is it freeing Palestine to send graphic images to American Jews

[hotel-japanifornia]

What’s your feelings on godot i do feel sorry for him and i don’t hate him but he was a huge prick to Phoenix

Godot is a rather complex character. I like him as a character in general, however the fandom does seem to misunderstand who he is and what his motives are, even his fans.

When we first meet Godot chronologically, we meet him as the defense lawyer, Diego Armando. Diego is honestly pretty charming, he’s smooth, he’s confident, he’s cool, and I like the way he plays off of Mia. I personally never found the “kitten” nickname sexist nor do I understand why it would even be considered that way. It’s never said once that Diego doesn’t think Mia is lesser for her gender. In fact, in their first conversation during the case, this is said:

Armando:No, no, no… You’ve got it all wrong! Today, YOU’RE the finest! After all, it took an amazing amount of guts to take this case! Imagine… An escaped death row convict for a first client!

If anything, I think the whole kitten thing is probably just his nickname for rookies in general, and not necessarily women. I’ve seen people think it’s his way of flirting with her, and that’s possible too, just not necessarily how I see it. Anyways, at the end of the case, Mia beats herself up because she thinks that she was the reason her client died and Diego gives her this piece of advice:

Armando:Don’t you get it? You can’t cry yet. The only time a lawyer can cry is when it’s all over.

Mia:M-Mr. Armando…

It’s honestly a good piece of advice, and I love how Mia takes inspiration from that quote and uses it towards Phoenix even if it’s said in a different way:

“The toughest of times are when lawyers have to put on their biggest smiles.”

It’s not exactly the same as what Diego said, sure, but it does have the same meaning. In that way at least, you can see the impact he must have left on Mia. Regarding the two’s relationship for a moment, I do think they had just started dating when Diego was poisoned. It does explain why Grossberg calls Diego Mia’s boyfriend, but I digress.

When we meet him in 3-2 and 3-3, it’s obvious he dislikes Phoenix but we don’t know why yet. Honestly, Godot is probably one of my favorite parts of 3-2: he’s mysterious and confident, but he also has some goofy moments like when he refers to himself as a legendary prosecutor because he’s never lost a case but he’s also never won one either. I don’t know that it was intended to be funny but it’s always made me snicker a little. He comes off as being a jerk sure but so did Edgeworth and Franziska, and like them, we learn more about Godot and his motivations later on.

Godot in 3-3 is why I can never agree that T&T has a filler case. For one, in 3-3, you learn about Godot’s inability to see red on white when he fails to notice the ketchup on Maggey’s apron. It’s an extremely subtle moment, but it’s given quite a bit of focus so the player could then assume that that unique feature will be important later on. Godot is still mysterious and a jerk but I love the way that he handles Furio and willingly admits to being the one who summoned him to court. Like Nick said after the fact:

(T… Too cool…) 

Not only that, but he does manage to have a somewhat nice moment with Phoenix at the end of the case after throwing coffee at him:

Godot:Well done… Trite. I saved my 17th cup of coffee just for you. Savor it… While you watch your caged prey. 

While we don’t learn that much more about Godot than we did in 3-2; what we do learn about him plays a very important role in a case later on. 3-3 isn’t directly involved with the Feys at all, but it does have some importance to the overall plot of the game.

We meet Armando in 3-4 which is the first playable case chronologically in the trilogy’s timeline. Right off the bat, we notice he looks similar to Godot, the two even have a similar suit to each other, just different colors and have a similar hairstyle. I’m not entirely sure how many people guessed that Godot and Diego Armando were the same person right away but I think people might have at least thought the two were related at least (I’ve even seen people think that Godot and Diego were identical twins!). As for me, I kinda had a feeling since the two look alike and have the same love for the hot, bitter lady known as coffee.

Godot is extremely important to 3-5. If it wasn’t for him forming a plan to save Maya with Misty and Iris, Maya would be dead. Thing is, I don’t agree that Godot is entirely to blame for not going to the police and bringing the plot to them or just burning the note the whole way through. If the latter had happened, Pearl would have told Morgan she couldn’t find it and Morgan would definitely suspect that something was going on and possibly even relay the plan to Pearl herself. The former happening is unlikely because of reasons that I will go into a bit deeper. Another problem lies in that Misty also shares some of the blame herself but this post isn’t about her so I won’t go deep into it. 

We don’t see Godot until the second investigation period when Dusky Bridge has been rebuilt and Phoenix enters the Inner Temple, desperate to find Maya. It’s there that we learn why Godot hates Phoenix so much. Godot blames Phoenix for the murder of Mia Fey. He states that since Phoenix was there at the time, he should have protected her and by failing to do so, he in a sense, killed her. And because Maya is missing at the time, he goes further and says that Phoenix killed Maya indirectly by failing to protect her when she needed it most.

Personally, I find this conversation to be more Godot venting out his frustrations on Phoenix. Think about it, the guy spent 5 years in a coma because a psycho killer poisoned his coffee. He wakes up and he finds out that his girlfriend was murdered while he was in a coma. He feels mad at himself for not being able to protect Mia and thus sought to protect Maya as a way to make amends. While it seems like a weird conversation and just another example of Godot being a douche during one’s first time going through the case; a replay of the case after finishing it helps shed new light on the conversation the two have. 

We also learn more about Godot’s inability to see red on white during that same encounter in greater detail. He says that his eyes are messed up and that mask is the only way he can see. Although it’s not much, it is something. 

During the first trial portion of the last trial day, Godot starts acting rather strangely. When he learns that there was writing in red on the stone lantern in the Inner Temple Garden, he starts freaking out. Not only that but he actually helps calm Phoenix down when he freaks out over Dahlia’s suggestion that Maya jumped into the Eagle River from the Inner Temple side, and tells him that would be impossible to do.

Eventually, after Dahlia has been exorcised from Maya’s body, the Judge attempts to hand down his verdict. Godot immediately objects and says that they still don’t know who killed Misty, and the only person who can testify about that is Maya Fey. Some people have called this move callous and insensitive to the state that Maya is in, but it really isn’t. Godot could have simply let the Judge hand his verdict down and get away with his crime. But he doesn’t, he requests that they summon the one person that could incriminate him. Also, he does show a fair bit of empathy towards Maya in this exchange of dialogue towards her before her first testimony:

Godot:Straighten up this moment, young lady!

Maya:Huh…?

Godot:Pick your head up and speak clearly. There’s always time for crying later.

Maya:B-But I…

Godot:Your mother was killed right in front of your eyes! There’s nothing you can do to change that fact.

Maya:…!

Godot:But there’s something you can do… You can finish this. You’ve been watching the whole thing right? You’ve seen the witnesses come out and you’ve seen us squeeze the truth out of them. Now it’s your turn. …Let’s hear your testimony. On the night of the crime… what exactly did you see happen!?

It’s pretty obvious during Maya’s testimony that she’s willing to protect the identity of whoever killed her mother, even to the point that she begs Phoenix not to reveal his identity and even suggests that she thought it was a man for other reasons than the three red glowing lights. We also get to hear about this one cute little story about an interaction between him and Pearl in which he actually comforted her and gave her coffee. That’s pretty sweet…and kinda dangerous.

Still, it’s quite obvious upon cross-examining Maya that Godot is the killer, so why is she covering up for the man who killed her mother to the point that she’d be found guilty otherwise? Godot did save Maya’s life in the process of killing Misty who was channeling Dahlia at the time and would have killed her if Godot hadn’t intervened. Maya is plenty aware of this and it is in character for her to do something like that.

We also learn through Godot’s self-reflection that he knows that he could have killed Pearl instead of Misty that night and that Misty’s murder was out of a fit of rage against the ghost of the woman who ruined his life. He also goes on to say that he’s not really sure that him saving Maya’s life was out of a genuine will to protect her, and even tells her that if he genuinely wanted to help Maya, he should have gone to Phoenix instead. Despite this, Maya genuinely believes that he wanted to save her life and so does Phoenix even despite the way Godot had treated him up to that point.

Godot is an extremely gray character and it’s really interesting to study him as a character, who he is and what his intentions were. I don’t think he truthfully wanted to kill anyone that night in the Inner Temple Garden, all he wanted to do was protect Maya the way he wanted to protect Mia. He was never willing to actually kill anybody and even helped Phoenix catch him in the end. Iris and Misty both played a role in this plan too and made their own share of screw-ups so I don’t understand why people shift so much of the blame for it onto Godot?

Honestly though, I think that the whole black-white morality lens that people typically view characters through doesn’t really work with characters like Godot. Godot is not a good guy but he’s not a cookie cutter bad guy like some of the culprits in this series seem to be and that’s what makes him so intriguing to me. He’s not my favorite character, but I can see why someone may say he’s their favorite.

[loopy777]

So far you seem to be a expert on the show and it’s lore I have to ask was aang written to bro always right in the show? Some people complain he was never called out for being in the wrong

No, that’s ridiculous. Aang was wrong plenty of times, and the show definitely acknowledged it.

What may be confusing for some people, though, is that AtLA wavered a bit on how much of a Kiddie Show it wanted to be. Sometimes we got dialogue that was very direct in a “X was wrong” style, complete with polite apologies. Other times, the show trusted us to understand less obvious cues and didn’t bother showing the characters reconcile.

But don’t take my word for it. Let’s list every single episode where the story treats Aang as being in the wrong in a major way.

101/102 - Aang covers up being the Avatar to Katara and Sokka, leading to his not being trusted by the Tribe, exiled, and having to save the Tribe from Zuko.

104 - Aang lets his head get swelled from all the adoration on Kyoshi Island, leading to drawing Zuko to the island, getting the village burned, and having to return to save the village using the Unagi. He even apologizes to Katara about it.

105 - It’s portrayed as funny, but I think the treatment is that Aang is wrong to do the whole sledding-through-the-city thing. It causes havoc and gets the gAang arrested. The show just doesn’t care all that much, because this is a generally silly episode, and one of the most childish. And the chaos is pretty amusing.

108 - Aang is definitely wrong in trying to confront Hei Bai before he understands what’s going on.

110 - The focus is on Katara, but Aang is also wrong to trust Jet despite Sokka’s suspicions.

113 - Aang was portrayed, I think, as overconfident up to getting captured by the Yu Yan archers. He only got away because of the Blue Spirit rescue.

114 - Aang’s preoccupation with love and his blind trust in Aunt Wu’s predictions (alongside Katara) is definitely portrayed as childish and troublesome. It’s just not a big deal because they luck into an early warning. Note, however, that Aang fails to make the progress with Katara that he wants.

115 - This episode could have been named ‘Aang is totally wrong for thinking that Katara and Sokka would abandon him, and his lying was definitely a mistake.’ But I guess ‘Bato of the Water Tribe’ is shorter.

116 - Again, Aang being wrong about the way he sees Firebending as a toy is the primary plot of this episode. The ‘some people’ who complain about Aang never being wrong must have skipped the back-half of Book Water.

117 - Hey, look at that, Aang is wrong for not wanting to share the temple with Teo’s people. However, I can see where idiots would be confused by this episode, because for all that it can get a bit Kiddie with things like slime bombs, it does have The Mechanist being a complicated dude who destroys Air Nomad culture willy-nilly and works with the Fire Nation under duress. However, that doesn’t make Aang’s initial grumpiness right. The ending the episode is clear that Aang learns a lesson in allowing others to inherit the temple.

201 - Aang is wrong to trying to exploit the Avatar State, and also trusting General Fong. For all that Fong has a point about the needs of the war, Aang shouldn’t try to blindly rush access to the Avatar State.

205 - This is a very silly episode, like ‘The King of Omashu,’ in which even mistakes are treated as lighthearted fun. But I do think the episode treats Aang as wrong for having blind trust in Kyoshi and submitting himself to Chin Village’s justice system. The episode does end, after all, as a kind of “Shaggy Dog Story” with the hard-won friendship of the village leading only to gross food. Chin Village didn’t even send any fighters for the Day of Black Sun!

208 - Aang’s yelling at Toph is treated as bad. Sokka even calls him a jerk for it, and doesn’t get any Universe-sent backlash in return! Whoa!

209 - I’m not sure about this one. Aang is portrayed as over-eager and a bit full of himself, only to get depressed and quit. Is the show treating that as “wrong,” though? I’m not sure, but I do think he is deliberately characterized as Prideful, which is consistent with how he’s always been a show-off with his powerful Bending. I think this episode shows a flaw of Aang’s in action, without a trite lesson attached, but is that him being “wrong?”

210 - Again, this episode portrays a complicated situation, so I can see less thoughtful audiences not getting it, but Wan Shi Tong does have a good point that Aang and company lied and were only interested in finding ways of destroying their enemies. The Day of Black Sun invasion doesn’t even pay off, so I think the narrative considers the whole thing to be a mistake, and Aang should have heeded the owl’s warning in the beginning.

211 - Aang is definitely portrayed as being something of an antagonist with his attitude as Katara tries to get everyone through the desert. Yes, Aang is grieving Appa, but he’s handling his grief in a terrible manner, a subplot that continues into the next episode.

212 - Aang is wrong to give up on hope. That’s right in the dialogue.

218 - It’s been a long stretch without Aang being wrong about anything important, but obviously he (and the rest of the gAang) are mistaken about Long Feng being a solved problem.

219 - This is so complicated that even I’m not sure of what the storytellers want us to think about everything, but at the very least, Aang is portrayed as wrong to rush off to rescue Katara without completing his training. (It’s a big Star Wars allusion to a moment when Luke is wrong to go after Vader, so I consider myself safe in drawing that conclusion.) Aang partially addresses it in the next episode, but that also gets complicated.

220 - Hey, maybe if Aang had really completed his training, he would have more control of the Avatar State and Azula wouldn’t be able to shoot him with a move that takes forever to set up.

301 - Yeah, that whole prideful Running Away (On a Wind-Board, Yay!) To (Somehow) Solve Everything Myself is obviously a bad idea. He doesn’t even put a shirt on first.

303 - For all that the episode does treat Katara (and by extension Aang) as a hero, it shows that they really need Sokka’s help and consideration in order to avoid doing more harm than good with their antics. Both sides are a little bit wrong and a little bit right in this episode.

307 - Aang joins in with Toph’s scamming, which leads to trouble. And the episode even goes out of its way to have Aang forget (with Sokka) that Toph can’t write when they triy to fake that note to Katara. I think we’ve established that the series isn’t afraid to show Aang as wrong, but this is notable for portraying him as really stupid, too. ;)

308 - Minor case, but Katara, and by extension Aang, obviously shouldn’t trust creepy Hama. It’s heartbreaking, though.

310/311 - So, that whole Day of Black Sun thing doesn’t really work out, huh? The episode even draws attention to the fact that Aang still hasn’t mastered the Avatar State and there will probably be fallout from that. Obviously it was a huge mistake from the beginning, losing Aang even more of his allies. He has to flee into the horizon with sad eyes.

312 - I mean, the episode’s sympathies obviously lie with Zuko. It’s understandable that the gAang doesn’t trust him, but they’re still wrong about him.

313 - Again, Aang’s fear of Firebending is understandable, but something he needs to reverse himself on.

317 - Attending the Ember Island Players’ performance is a big mistake, no? ;)

319 - Aang is wrong in temporarily thinking that he needs to give up on his beliefs and kill Ozai. I think this episode is what most critics of Aang think of when they complain that he’s never wrong, but that’s because those people don’t have any understanding of spirituality and are trying to impose their own cynicism on the story. It’s fine to disagree with the story’s message, but turning that into a critique of the writing around Aang is disingenuous.

So, there we are. A whole long list of Aang Being Wrong. Feel free to share it in any debates, but don’t expect this to change anyone’s mind. The argument probably never came from an honest place from the start.

[nadziejastar]

Did you finish reading that KH3: A Conclusion without a story article? If so, what did you think of it?

I loved reading it. It was a fantastic take on KH3. There was pretty much nothing that I disagreed with.

By the time you leave Olympus, Sora hasn’t learnt how to restore his powers; and the frustrating part is that he never explicitly does.

I completely agreed with this. Sora’s journey in KH3 should have been about learning the power of waking. But even in the scene where he finally does learn it, there’s no real reason why. He didn’t seem to learn anything on his journey.

Even the villains are given no progress – a subplot about Pete and Maleficent looking for a mysterious black box goes nowhere, and Organisation XIII (the primary antagonists) only put in a brief appearance, spouting their usual brand of vaguely ominous dialogue. To compound these issues, the protagonists are ultimately left not knowing where to go or what to do next. Only two hours into the game, and the plot has no sense of momentum or direction.  

Yep. The black box thing annoyed me so much. The Organization was also a huge letdown. We don’t get to learn the real reason why Marluxia, Larxene, Demyx, and Luxord joined until KH4!? Something went very, VERY wrong in the Dark Seeker Saga for that to happen. 

By comparison, Kingdom Hearts II’s opening was significantly slower paced – to the point that it was a detriment to some players. However, so much more was achieved in a similar space of time; II’s initial hours establish the game’s tone and major themes, as well as introduce a large cast of brand new characters (while simultaneously reintroducing old ones in new contexts).

Yep. I liked KH2′s opening, slow as it was. The prologue of KH2 felt like it had more plot than almost all of KH3.

And this is one of the core problems with Kingdom Hearts III; even if you look past a threadbare narrative for Sora and company while they adventure through the self-contained Disney worlds, there is nothing going on outside of that either. In Kingdom Hearts II, both Riku and Mickey were operating behind the scenes, aiding Sora from the shadows and setting key events in motion. In III, however, these same characters spend most of their time expositing plot points and passively waiting for the big battle at the end of the game – and that can be said for almost all of our heroes.

I also agree. This problem would have been mitigated if every character got their own time to shine using the power of waking. Riku and Mickey could have had a subplot together, showing how Riku got his new Keyblade. They should have saved each other from the darkness. 

If there’s a job to do, it’s up to Sora to do it. With a couple of key exceptions, every character apart from Sora, Donald, and Goofy is presented as almost comically useless – yet our protagonist remains the butt of every joke.

Yep. Everyone other than Sora was useless. Aqua needed to save Ven, but all she did was get knocked out in the battle with Vanitas. Ven needed to save Terra, but he didn’t really do anything. Sora did all the work. Lea needed to save Isa, but he did nothing in his fight. He got shoved to the side while Roxas and Xion took over. Kairi saving Sora should have gotten more focus. 

The villains reveal that the only way Sora can release Roxas is by giving into the darkness, and sacrificing his own heart. Self-sacrifice is nothing new for Sora (he did the same thing in Kingdom Hearts I to save his love interest Kairi), but this had the potential to be an interesting plot point, as it gives him a selfless reason to be tempted by, and potentially give into, the darkness. But it’s never brought up again. 

Yep. Early scenes in KH3 make it seem like the game did originally have an actual plot at one point. Xigbar was luring Sora into a trap, so he’d fall to darkness. But it’s never brought up again, LOL. It’s crazy.

In fact, ‘saving Roxas’ is scarcely discussed until the end of the game (King Mickey telling Sora to “let the rest of us worry about Roxas and Naminé for now”, essentially dropping the subject after only the second Disney world). Ultimately, Roxas’ heart just leaves Sora’s body of its own volition in the final act, making the player’s time here, once again, feel largely pointless.  

And yes, saving Roxas was handled very badly. This is because, IMO, saving Roxas and saving Ventus was supposed to be one and the same. There shouldn’t have been a separate “saving Roxas” subplot.

In interviews, Nomura discussed the struggle of dealing with so many characters – even citing the cast size as one of the main reasons that Final Fantasy cameos were omitted[2]. The real problem, though, is that nothing is done to mitigate this challenge.

Yes, exactly. And treating Roxas and Ventus as separate characters only exacerbated this problem.

Upon leaving Twilight Town, the player finally begins their true journey – travelling to various worlds based on Disney properties and beating back the forces of darkness. But there’s no real set up for this; no distinct reason *why* we’re visiting these worlds. 

Mm-hm. I think the issue was that we were supposed to learn more about Ansem the Wise’s data in KH0.5. That was supposed to give Sora a quest in KH3: search for the “Key to Return Hearts”. Once that game got cancelled, Nomura had no idea how to write KH3′s story any longer.

So around 3-4 hours into Kingdom Hearts III, the story still lacks a clear sense of direction and purpose, and hasn’t yet established any clear themes or deeper meaning.

Yeah, it’s sad because there was an underlying theme in the Disney worlds: the power of love and its ability to restore what was lost.

Kingdom Hearts III cleverly tries to frame its story through the lens of a chess match between two Keyblade Masters, Eraqus and Xehanort, when they were young. The game even opens on this scene, highlighting its importance. But chess has rules; logic; a clear sense of direction. Kingdom Hearts III’s narrative is akin to two people who don’t know how to play chess. They understand that they have to defeat their opponent’s king, but the rules of how to move their pieces, how to actually reach that coveted checkmate, are completely unknown to them. The characters in this game feel like pieces on a chess board with no rules; aimlessly moving back and forth across a limited space, until both players finally decide enough is enough and agree to bring their match to an end.

LOL. Yep. The fact that Xehanort had “reserve members” showed he had no idea what he was doing.

Stick to your guns – don’t be afraid to explore a good idea, or to develop the plot outside of your main protagonist. When so many previously proactive characters are in play, the story shouldn’t feel so static, or entirely dependent on the protagonist’s actions. The way your protagonist reacts to events and changing circumstances is just as important as the ones they play an active role in creating.

That’s why I liked the spin-offs. KH3 suffered from forcing you into only Sora’s perspective. Even Nomura said that the Keyblade Graveyard should have had everyone fighting their own battles.

Simply put, the Disney worlds in Kingdom Hearts III have no tangible impact on the game’s core narrative.

Sad, but true.

“In the end, although I had a hand in it as well, the flow of the dialogue and the stories of each world were largely handled by the level design team.” While I very much appreciate this standpoint of ‘gameplay first’, as well as the act of involving multiple teams in the execution of the story, these statements do prove my point. Set-pieces and events are one thing, but if there was a specific story to tell – with outlined themes to be explored, character conflicts to evolve, and goals to be achieved; all developed evenly throughout the entire game (Disney worlds included) - you would imagine the scenario would be built around balancing those narrative elements with the individual tales of each level.

Very interesting. The story in the Disney worlds was largely decided by the level design team? Wow.

Despite major villains such as Young Xehanort, Vanitas, and Marluxia making multiple appearances in their respective worlds, they generally just spout off trite exposition and then either disappear or summon a boss fight. Some villains don’t even know why they’re there, while others introduce plot points (such as the Black Box or the new Princesses of Heart) that are never utilised or expanded upon. As the game features at least thirteen main antagonists, these early appearances should have been integral in establishing their personalities, motivations, and the threat they pose to the player (as well as our heroes). In execution, though, they seem like little more than after-thoughts that offer hints of personality, but never go beyond the superficial – and certainly contribute nothing to the main narrative. This, I believe, is because Kingdom Hearts III doesn’t have a story to tell, but was instead content with treading water until its grand conclusion.

Yep. I had no idea why Marluxia, Larxene, and Luxord were running around in the worlds. Why are they back? Other characters, like Saix, were given flimsy “motivation”. All in all, the organization members were supposed to be vessels by the time you fight them in the KG. Hollowed out containers for Xehanort’s heart. Victims of mind control who you are supposed to have pity for. But they never felt like it.

Kingdom Hearts III’s meandering and vapid progression during ‘the Disney loop’ supports my argument that the game lacks a complete narrative and was merely concerned with reaching its final act. I believe this is most evident by the way in which the player is made to jump from world to world without any direction or purpose. Consequently, the majority of Kingdom Hearts III feels content to aimlessly ‘go through the motions’, setting a repetitive, humdrum pace and ultimately lacking the sense of narrative depth and genuine value that is integral to a great RPG.  

Yeah, I believe there was–at one point–an actual plot for KH3. But after BBSV2 was cancelled, a huge portion of KH3′s plot was pretty much scrapped along with it and rewritten.

Everyone’s heard of the three-act structure; a model that forms the foundation of popular culture’s favourite stories. Act 1 features the setup and exposition; an ‘inciting incident’ to get the narrative moving. Act 2 is the confrontation; a midpoint which challenges the protagonist, pushing them to their limits. And finally, Act 3 is the resolution; concluding the plot, along with any character arcs introduced in the previous acts. While this structure doesn’t necessarily need to be adhered to, I believe it possesses something that Kingdom Hearts III sorely lacked – a midpoint.

Yep. KH3 had no mid-point. Scala ad Caelum could have worked as the mid-point. And it could have been another hub world like Radiant Garden. KH3 probably originally had this, but it was scrapped.

This is especially a shame, as Aqua’s fall into darkness – resulting in a twisted form that externalises all of her loneliest thoughts – is one of the most dramatically compelling aspects of the game. And that’s despite lasting for all of 10 minutes (a decade of solitude and suffering are seemingly erased by a few whacks from Sora’s Keyblade).

This is true for all of the characters that needed to be saved. Nobody really used the power of waking on anyone. It’s was just whack, whack, okay you’re saved.

And this is ultimately the problem with the lack of a true Act 2 – the characters aren’t explored or challenged when they need to be. The narrative refuses to escalate until its final act, at which point it feels like going from zero to sixty in a matter of moments. But during the heat of battle – at such a late stage, and with so many heroes and villains in play (more than twenty) – it’s hard to develop your characters in a way that feels natural. Kingdom Hearts III’s solution is bizarre soliloquies that are completely disconnected from the events around them. Is Sora in the middle of a boss fight with three villains? Well, the other two will disappear while you spend several minutes casually chatting with the third. And while this is partly due to the challenge of giving such a large cast an appropriate send-off, it’s also a direct consequence of the lack of time given to exploring characters and their relationships in the previous 20-25 hours of playtime.

So true. So many characters who had so much development over the series. That’s why they needed another game before KH3. It was probably too much to ask for KH3 to be the epic conclusion as well as dive into everyone’s backstory.

On that note, having some sort of hub – a place, like Traverse Town or Hollow Bastion in the first two Kingdom Hearts games, that the player regularly returns to – can be an effective way to centre your story. It provides a home base, and a recurring cast of characters that can be revisited at any time. This kind of location helps players to feel a deeper and more personal attachment to your world.

Yeah, the game would have been so much better if you could visit RG and interact with the plot-important NPCs.

Put in Kingdom Hearts terms, we might say that the body and soul are here; it’s just missing its heart.

I’ve had the exact same thought.

This essay began with the assertion that Kingdom Hearts III is a conclusion in search of a story; a game without a tale of its own to tell. So far, we’ve examined the material impact; the effect this has on the game’s pacing, its sense of player progression, engagement, and character development. So in this topic, I want to consider the conceptual side of things; the motivations that drive our heroes and villains, the purpose of the events that take place, and finally the meaning intended to be conveyed by the story. Put simply, does the narrative of Kingdom Hearts III have something to say?

Sadly, no. I can tell it was supposed to, though. KH3′s story was supposed to be about the power of love. It was really that simple.

By the time of Kingdom Hearts III, Riku has overcome all of these challenges and been granted the title of Keyblade Master, so it was important to present him as a more mature, capable character, having regained his confidence and developed a clear identity. But ultimately, he just feels bland and stoic in this game. He has no new narrative arc, relatively few interactions with Sora, predominantly serves as a mouthpiece for exposition, and is more devoid of a distinct personality than ever. And for a game which serves as a conclusion to the story so far, it’s essential that our core group of characters, such as Riku and Kairi, reach a satisfying crescendo. The narrative should organically involve them in significant ways, and the challenges they face should provide natural opportunities for growth and exploration.

Sad, since Riku seemed like he did originally have a narrative arc. He got a new Keyblade! But the way he got it was laughably random and meaningless and contributed nothing to his overall growth or development.

As much as I’ve tried to understand it, I cannot summarise Master Xehanort’s motivation in that same, concise way. His initial speech in Kingdom Hearts III implies idle curiosity; he speculates that “If ruin brings about creation, what, then, would another Keyblade War bring?” followed by statements that he wants to re-enact the conflict and simply see what happens. He also wonders if they will “…be found worthy of the precious light the legend speaks of”, implying that his goal is to test humanity; or at least the current generation of Keyblade wielders. But that’s a pretty flimsy motivation, and it’s lacking any context or logic.

Yep. Xehanort was supposed to have another game to explore his motivations. When you get rid of that, his character just doesn’t work anymore.

And it’s not just the heroes that have this problem. During their death scenes, several of the Organisation’s members (Luxord, Marluxia, Larxene, Xigbar, Xion, Saix, and Ansem) either encourage Sora or imply that they didn’t care about the outcome; or didn’t even want to battle in the first place. Some have their reasons, but if even one of them had chosen not to fight, Xehanort’s re-enactment could have failed. Much like I described earlier, it doesn’t feel satisfying to overcome a foe who didn’t want to fight, and a war with the potential to destroy the universe should be motivated by much more powerful convictions.

I don’t disagree. But I honestly think this is because none of these characters actually wanted to fight in the Keyblade War. They were supposed to be possessed puppets. Mind-controlled vessels with no will of their own. 

Let’s use Saix as an example. What makes a more engaging battle? In canon, Saix had flimsy motivations to be fighting, anyways. He wanted to atone so he was acting as a double agent in order to procure some Replicas. And he wanted look for Subject X. That’s why he joined Xehanort. That’s all the reason he had to fight. 

Compare that to a potential backstory with him as a vessel, lacking free will. Isa was a human test subject who was possessed as a teen. His best friend Lea has to fight him unwillingly. Saix is berserk and nearly kills Lea without even being aware of it. But all Lea wants is to save his best friend. I know which one I find more engaging. 

Ever since that first game, I’ve been trying to identify what it is that unified these two styles of storytelling – the Disney fairytale with the SquareSoft RPG. And in writing this essay, I finally realised; the secret ingredient, the unifying thread that both franchises had in common, was love. Romance is at the core of almost every classic Disney film, and every Final Fantasy from IV to X was in some way a love story. Seemingly the developers of the original Kingdom Hearts realised this too.

I’m pretty neutral about the Sora/Kairi romance. I mainly wanted Kairi to not feel like a damsel-in-distress yet again. And KH3 definitely screwed that up.

In a way, my problem was the same as that of Kingdom Hearts III’s story. We both spent so much time looking to the horizon, imagining what the future may hold, that we missed out on what was already right in front of us. I will always love and support this series, and its creativity and charm will no doubt continue to inspire my own stories for the rest of my life. But despite not being the conclusion I hoped for, Kingdom Hearts III has freed me from my own obsession with the series’ future. I no longer feel like I’m waiting for something that may never come. Of course, I hope the series gets its story back on track, and rises to new heights greater than ever before! But it turns out that I already got my ending in 2006; and now that I’ve finally realised that, I can finally, honestly say that, as a Kingdom Hearts fan, I am satisfied.

It’s sad that KH2’s ending felt more satisfying. Because KH3 should have been even better than KH2′s ending. KH2 had a happy ending. But in KH3, everyone was there on the beach. Terra, Aqua, and Ven were saved. In KH2, Axel was dead. He had a sad ending. But in KH3, he was human again and even had his childhood best friend back, too. Even Hayner, Pence, and Olette were there. Sora should have been there, too. By all accounts, I should have liked KH3′s ending the best out of any game. But they ruined it with the horrible character development and the cheap cliffhanger.

[jbuffyangel]

Undeserved Forgiveness: Arrow 7x18 Review (Lost Canary)

After seven years and 150 episodes (yes, I math’d it) Arrow has finally paid off a L*urel L*ance storyline in a way that makes sense and feels earned.

Let’s dig in…

Olicity

Sometimes the Arrow writers are so obtuse about their audience it boggles my mind. Then there are other times when they are so self aware I can’t help but laugh. “Lost Canary” is one of those self aware moment. It’s almost as if the writers said to themselves, “Okay. This episode is gonna be a lot about birds so we better give the audience some Olicity goodies to keep them happy.”

Smart move.

Arrow has to ship the boys off somewhere in order to have their all girls episode. Rene is off with Zoe on a school field trip while Oliver and Diggle try to find the person who killed Emiko’s mother, so they can convince her not to be evil. Or something? I think? It boils down to a interrogation of a Longbow Hunter. Yeah, remember the Longbow Hunters? Who knew they were still a thing? Not me. 

It’s kind of fantastic all the guys are stuck with monumentally crappy storylines while the ladies have their moment in the sun. Ah the gloriousness of reversing gender roles.

Anywho, Oliver is going to leave Felicity which means WE GET WORRIED DADDY! 

Oliver begs Felicity to take it easy. 

Pffft, it’s like he’s never watched Arrow before. Dude, know your genre. 

Felicity promises she’s going Netflix and chill. Oh girl, you totes just jinxed it.

And then it happens. Oliver rubs his stomach and says...

Source: olicitygifs 

April 15, 2019 will hence forth be known as Precious Cargo Day in the Olicity fandom. We shall drink and sing in merriment while binge watching Olicity moments in celebration of this blessed day. For this is the day fan fiction came to life.

We’re five minutes and twelve seconds into this episode and I already think it’s fantastic.

After Oliver returns from his Longbow Hunter thing (Seriously don’t ask me what happened)

and Felicity returns from saving a soul and giving Earth 2 a hero to fight for them, our wonderfully stable and unproblematic married couple cuddle on the couch. Honestly, I don’t understand why Olicity snuggling and watching Netflix isn’t a hit show? It’s Emmy award winning entertainment. 

Source: olicitygifs 

Felicity was away from Oliver for a day and she practically ran into her husband’s arms, so I really don’t know how homegirl is gonna do twenty years without him. It hurts to think about, so let’s focus on the happy. 

Source: olicitygifs 

Oliver wants to order whatever Felicity is craving because he’s determined to be fictional perfection so no one can have realistic expectations of non fictional men. Felicity informs him L*urel is going back to Earth 2. He doesn’t care. I cannot describe to you how much Oliver Queen doesn’t care about any version of L*urel L*ance. 

Once again I reflect upon the road we have traveled my friends. I don’t know how we got here, but our destination is glorious.

Worried Daddy is far more concerned that Felicity didn’t take it easy as she promised, but no worries the Green Arrow is here! 

Oliver promises to take care of Felicity and then promptly falls asleep on her shoulder because he’s so exhausted. 

Yup, that pretty much sums up the first trimester right there. You’re pregnant but you’re husband is the exhausted one.

She finagles a foot rub out of half asleep Oliver and they both collapse. MAX DOMESTICITY ACHIEVED. 

Source: olicitygifs

Honestly, the show could have ended right here. I’d be thrilled.

Felicity Smoak and Canary Corp.

Yes, that’s the official title of the episode. Don’t @ me. Arrow has tried this Birds of Prey thing before. Remember Helena, L*urel and Sara in Season 2? Yeah, neither do I and why? BECAUSE IT DIDN’T HAVE FELICITY IN IT. Too bitter? 

The Felicity Smoak/Oracle similarities were not lost on the Arrow writers and it’s clear they tried to adopt the moniker for our girl’s codename, but were shot down by the DC brass. Overwatch it is then and, as usual when it comes to Felicity Smoak and Emily Bett Rickards, she has made it her own.

This is Emily’s last season and therefore Arrow’s last chance to do a Birds of Prey themed episode with Felicity Smoak at the helm. Boy, they did not waste the opportunity. Thank goodness too because that would have been a real bummer. 

“Lost Canary” is full on girl power. Arrow has many female characters, but the storylines are dominated by the men. It’s not a shocker. The main character is male. The writing staff I believe has been male dominated until a shake up this season. That’s not to say the male writers haven’t crafted a fantastic show with some amazing female characters – Felicity Smoak being at the top of the list. However, this show is long over due for the spotlight to shine on the female characters, actresses and writers.  

Representation means hearing the voices of the marginalized, but “Lost Canary” is not simply Arrow ticking a box. Nor did the writers pad the episode with trite and insulting dialogue like...

(I will forever side eye The Flush for that one.) 

No, “Lost Canary” is steeped in big life questions as it addresses the season theme of redemption head on. Each character has her own perspective on Bl*ck S*ren and redemption as a whole. Each character is given ample screen time to voice her perspective as the women debate the best way to handle Bl*ck S*ren’s recent downward spiral… or perhaps it’s a stagnant upward spiral. The point is the women are written like the multi faceted characters they are. WOULD WONDERS EVER CEASE?

Let the redemption debate commence.

Source: dcmultiverse 

Bl*ck S*ren is back in the evil business. See, you can tell because of the all leather, black lipstick, cloak, tacky techno music and the sashay walk KC ripped off from Nina Dobrev. 

Exhibit A:

Exhibit B:

This is what I like to call an “Everything but the kitchen sink” visual trope. Oh hell, the kitchen sink was there too.

Bl*ck S*ren chucks the three piece power suits, with the shoulder pads that can fly her to Hong Kong, in favor of a more diabolical ensemble to convey her inner turmoil. The subtext is pretty much text. Arrow hammering away at it should be a monumentally huge tip off for where Bl*ck S*ren’s character is going.  

The surprise isn’t so much where Arrow is going with this character, but rather in how they get there.

Admittedly, I struggled with E1 L*urel L*ance. I couldn’t stand her romance with Oliver, couldn’t keep up with her flip flopping personality, grew tired of her blaming everyone but herself, couldn’t forgive her for Tommy, hated her disdainful treatment of Felicity, and found her to be a insufferable pain in the ass, which she compounded by becoming a drunken, insufferable pain in the ass. 

Whew. Season 1 and Season 2 were rough.

I had one bright and shining hope for this character – her Bl*ck C*nary storyline. It was a colossal disappointment. 

Not even my deep love for the Lance sisters could save my investment in L*urel and I was overjoyed when Arrow killed her. It remains one of the best creative decisions this show ever made.

Regardless of the reasons for KC’s return (and there are reasons my friends), the writers smartly chose not to resurrect L*urel. 

No need to bring back that mess. Instead, they started over with some doppelganger hijinks and crafted Evil L*urel aka Bl*ck S*ren from Earth 2. 

It turns out Evil L*urel is a hell of a lot more fun than Saint L*urel. The character plays to KC’s acting strengths and she didn’t impede on Dinah Drake’s storyline as Bl*ck C*nary. Well, not much.

But the dramatic linchpin in Bl*ck S*ren’s character is that she’s not L*urel.  Yes, she looks and sounds like the L*urel L*ance Team Arrow loved and lost, but no amount of time would ever make this woman into a replica of the one who died. This is a good thing because the woman Oliver Queen dedicated that ridiculous statue to was a hindrance to the story.

L*urel’s Season 6 arc was infuriating primarily because they reduced a meta human to a helpless victim. The writers shredded Quentin Lance’s character as he pursued his deeply unhealthy obsession with resurrecting his dead daughter through an entirely different human being. Let us never speak of it again.

Season 7 is a vast improvement. The good/evil push/pull remains the dramatic well the writers drink from, but instead of cramming old L*urel down Bl*ck S*ren’s throat they allowed her character to breathe. The fact she was different from L*urel is what made her interesting. Arrow didn’t run from it. They embraced it. And they paired her with an unlikely partner.

Felicity Smoak.

Bl*ck S*ren’s willingness to cross lines, including murder, was a necessary evil because Felicity’s husband was trapped inside the system. She needed help from someone with access and who wouldn’t be afraid to go over the line to get the job done. Suddenly, being evil doppelganger playing pretend lawyer was massive pro. 

Bl*ck S*ren’s a sardonic wit and glowering demeanor made the perfect straight woman to Felicity Smoak’s ball of sunshine. 

Except, Felicity wasn’t a ball of sunshine and more often than not L*urel was stopping her from going too far.  

The two women worked in tandem as they questioned their morality and what defines good and evil. The ebb and flow of light and dark allowed Felicity and L*urel to see each other differently. 

This sparked understanding, respect and finally compassion.  Their interactions felt more honest than anything that transpired between E1 L*urel and Felicity and as a result their friendship was more believable.

I’ve enjoyed the good/evil/push/pull dynamic that’s made up the majority of Bl*ck S*ren’s arc this season because it was fairly even handed. When L*urel tipped too far in one direction they would shift her the other way. Every time L*urel helped Felicity with Oliver’s case or pulled her back from the ledge, she would follow it up with almost murdering someone. 

Bl*ck S*ren’s instinct in almost any given scenario was to kill first and ask questions later. It flew in the face of the straight laced, law abiding DA image she cultivated by stealing E1 L*urel L*ance’s identity. The writers did this deliberately because everything that made Bl*ck S*ren “evil” is still there even as she tried emulating Quentin Lance’s dearly departed L*urel.

But eventually the writers need to pick a lane. Arrow has two choices – keep Bl*ck S*ren evil or redeem her.  It’s kind of a like a love triangle. You can play with the back and forth for awhile, but eventually the writers need to make a decision. Otherwise the story loses any emotional authenticity.

The real shock of “Lost Canary” is how the writers present both sides of the argument. It’s so fair and logical. A L*urel L*ance centric episode is making sense. Talk about feeling like a fish out of water.

Dinah and Felicity are diametrically opposed when it comes to who Bl*ck S*ren is and if she can be redeemed.  The argument boils down to nature versus nurture, but how Felicity and Dinah arrive at their individual conclusion fits not only within the scope of their own storylines, but within L*urel’s as well.

Dinah is nature.  She firmly believes L*urel is an irredeemable killer and all efforts to save her are for naught because a killer is who she is. Dinah issues a warrant for L*urel’s arrest and believes she killed Diaz. I’ve been loudly advocating for some jail time for L*urel, but I didn’t really expect Arrow to go there. I’m not that lucky. A warrant for her arrest and L*urel on the run is close enough. 

It’s understandable why Dinah believes Bl*ck S*ren is a lost cause. She witnessed her boyfriend’s murder at L*urel’s hand and a tearful apology doesn’t erase what happened. 

Dinah has also been there any time L*urel has decided to murder someone, typically out of frustration, anger or to protect her own self interests.  She would pull L*urel back from the ledge, but it’s difficult for her to believe BS was ever on the wagon when she so frequently fell off it.

Dinah is not wrong. L*urel is a murderer. Murder is L*urel’s default position whenever the going is rough, which is exactly what is happening now. Yes, L*urel is wrongly accused of murder, but let us not forget all the murders she did commit and has yet to pay for.  Dinah didn’t love Bl*ck S*ren’s approach when it came to interrogating criminals, but the answer to these problems is not a crime spree.

Felicity is nurture. In the beginning, Felicity did not see Bl*ck S*ren as anything but criminal pretending to be her dead friend. She emotionally manipulated people and was reaping all the benefits of E1 L*urel’s life. 

But the hubby was in the slammer and Felicity needed a lawyer, fake or real it didn’t matter. Desperate times call for desperate measures. L*urel was one of the only people to have Felicity’s back and their partnership grew into real friendship.  Felicity has been the beneficiary of L*urel’s kindness and love, so she knows without a doubt there is good but it needs to be encouraged.

Felicity is so ardent in her belief that she bizarrely blames herself for L*urel’s crime spree because she wasn’t a good enough friend. 

Let’s just pretend that’s true for a second (even though it’s not). The max penalty Felicity could incur would be paying for drinks some night. But L*urel tries to blow up Felicity and HER BABY.  I feel safe categorizing that as an insane overreaction.

The truth is Felicity has been an amazing friend to L*urel and she continues to be throughout the episode. She proves to Dinah that L*urel has been framed by Emiko for Diaz’s murder. Felicity offers L*urel her support even after she goes on a crime spree.

L*urel: Oliver’s sister did me a favor because I was really sick and tired of pretending to be someone I’m not. Plus, no one believed it any way.

Felicity: I did! Look, what happened to you wasn’t fair. You were accused of murder, you lost your job, Dinah didn’t have your back I get it. You got a bucket load of bad news, but you are not Bl*ck S*ren. Not anymore.

L*urel: That’s funny I used to believe that too.

Felicity: Think of the good you’ve done L*urel. Think of honoring Quentin!

L*urel: Quentin is dead. Nobody cares about Quentin. He only wanted his daughter back.

Felicity: That is not true.

Well… far be it from me to disagree with my Queen but it is kind of true. This is a wonderfully impassioned speech even if I don’t agree with all of Felicity’s arguments. Sadly L*urel pretty much spits in Felicity’s face and is generally undeserving of all this support and understanding.

Felicity and Dinah have it out after L*urel tries to blow them up. Felicity continues to blame herself for this Bl*ck S*ren spiral whereas Dinah is firmly entrenched in the “Bl*ck S*ren Is a Murderer” camp.  Felicity calls Dinah out on her hypocrisy when she boasts in a fit of moral superiority that she could have gone down the same road as L*urel, but didn’t. 

Felicity accurately points out that the reason Dinah didn’t go down the same road was because she had the team. Dinah had friends who loved and supported her even when she didn’t deserve it.

Felicity ain’t wrong! I forgot Dinah is a murderer too. Yes, there is a big difference between murdering bad people versus murdering good people, but it doesn’t change the fact that Dinah has also taken lives. 

While we’re on the subject on Vinnie, she also lied to the team about her relationship with him 

and went on a crazy revenge bender after Bl*ck S*ren murdered him. 

Dinah was in the Newbie tantrum up to her elbows, which included assaulting OTA when they refused to hand over Bl*ck S*ren.

Dinah was forgiven for all of these transgressions and welcomed back to the team with open arms without even apologizing. Now she’s the captain of the police force and a deputized vigilante. All of which would have never happened without Oliver Queen and Team Arrow. 

Dinah was forgiven when she didn’t deserve it. 

It was the second chance she needed to become someone who is deserving of that forgiveness. 

(We can argue the semantics of whether or not Dinah really has become someone worthy of Oliver and Felicity’s love and trust another day. For the sake of this episode let’s just roll with it.)

Dinah continues to argue that even if all of that is true (WHICH IT IS HONEYCAKES) it doesn’t apply to L*urel because she doesn’t want a second chance. She never did. Felicity pushes back once again and argues the opposite. She thinks L*urel wants a second chance more than anyone else and didn’t realize it until it was already gone.

WOW. What a scene. It’s so invigorating to see two female characters argue passionately about something that has nothing to do with a man. This debate is about friendship, faith and forgiveness. It’s about the true meaning of redemption, who deserves it, and who decides who deserves it. Felicity and Dinah are arguing about their fundamental beliefs and challenging one another’s morality.

Source:  hollandrooden

Dinah gave L*urel a chance and she blew it, so enough is enough. Felicity feels L*urel was succeeding at that second chance until she was wrongly accused. Sometimes people need several chances to get it right. I completely understand both Dinah and Felicity’s positions, which is how you know it’s a great storyline. If you can see both sides of the coin then the writers are mining drama with serious depth.

Both women are right and both are wrong. We’ve been exploring Bl*ck S*ren’s redemption since Season 5, but “Lost Canary” feels like the first honest conversation being had about it. I understand Dinah’s frustration because they are my frustrations. 

I do not believe throwing on a three piece suit, playing lawyer, living someone else’s life and enjoying all the benefits someone else earned qualifies as redemption. Pretending to be E1 L*urel L*ance has protected Bl*ck S*ren from facing justice for any of her crimes. While I appreciate she’s helped put criminals away, freed Oliver Queen, and is a good friend to Felicity Smoak, it does not even out the cosmic scales when compared to the evil she has committed.

Bl*ck S*ren is a murderer. She was coddled by Quentin Lance because she looks like his dead daughter. Felicity reaches out again and again and Bl*ck S*ren continually rejects her love, support and forgiveness. I’ve watched Bl*ck S*ren time and again head out to murder someone as a solution to whatever problem she’s trying to solve. I’ve watched both Dinah and Felicity stop L*urel from committing those murders. 

L*urel stopped because she was caught – not because she thinks murder is wrong. She doesn’t express remorse for wanting to kill someone either. She typically has a snippy remark for Dinah and Felicity as she slinks away from the scene of her premeditated murder.

Unfortunately, the writers are treating Bl*ck S*ren’s penchant to murder the same as E1 L*urel’s alcoholism. Felicity and Dinah tell Bl*ck S*ren to put down the drink and convince her to stay on the wagon. But we aren’t talking about booze. Bl*ck S*ren’s addiction is killing people. NOT. THE. SAME. THING. I get it, Dinah. Trust me.

Then there’s Felicity Smoak. She sees the best in Bl*ck S*ren even when she’s at her worst. Primarily because Bl*ck S*ren saw Felicity at her worst and pulled her back from the brink. 

Felicity is not a killer because Bl*ck S*ren offered her hope.  So, it’s understandable why Felicity refuses to abandon her friend especially now.

But that’s not all of it. Sure, BS was a good friend to Felicity, but that’s not why she is standing by her. The truth is Felicity Smoak is a really good person. She is intensely compassionate, loyal and supportive. Felicity sees the best in people and her ability to pull that light from those she loves is unparalleled. Nearly every character in the Arrowverse has benefited from Felicity’s steadfast encouragement.

I know this aspect of the character often frustrates some people. Some believe Felicity is used to prop up other characters. Her character suffers because she’s constantly launching another superhero. 

The fastest way to cultivate a positive fan response to a new character is to filter that character through Felicity Smoak. She represents the audience opinions more often than not. Her popularity has a way of spilling over to problematic characters and it casts them in a more positive light. I don’t deny Arrow employs this practice often.

But I never saw it as a negative. Felicity is the believer. It’s what I love most about her.  Diggle is the mind (moral compass) and Oliver is the soul, but Felicity is the heart. She is the hero of heroes.

L*urel L*ance was a wildly problematic character. The writers never quite knew what to do with her and they could never really settle on a personality with a defined set of characteristics. 

We never knew what version of L*urel we were going to get week to week. 

The writers struggled with her even more after rerouting the central romance away from Laurel to Felicity.  Her storylines never seemed to get the necessary focus they required even though it felt like we spent an inordinate amount of time on L*urel. Watching Arrow develop her character was a lot like running in place, as @callistawolf​ once said.

Her messy history with Oliver also seemed to be the elephant in the room when it came to any friendship with Felicity. There’s never any discussion around the events of the Season 2 finale. Felicity wondered if Oliver’s “I love you” was real and I’m sure L*urel had some questions too.  

Did she think it was all a ruse to save her life or did she simply accept that Oliver was really in love with Felicity? It seems like the latter although it’s never actually addressed. If there was any confusion on L*urel’s part I guess 3x01 cleared it up because the only thing on Oliver’s mind was Felicity Megan Smoak.

Arrow likes to pretend L*uriver never happened and it is completely understandable. It’s a bad dream we’d all like to forget, 

but L*urel’s central connection to the team remained an ex boyfriend she didn’t like very much. I appreciate the show wanting to define a relationship between Felicity and L*urel outside of Oliver, but ignoring L*urel’s romantic history with him didn’t feel very honest.

Perhaps their friendship would have been more believable if the writers set aside time for L*urel and Felicity to bond outside of Team Arrow, but they didn’t. L*urel just shows up in the foundry and starts barking orders. 

Even Felicity questioned their relationship status. Girl, same. They had moments of kindness, but we never saw them work as partners or enjoy each other as friends like Felicity and Bl*ck S*ren. 

In fact, one of the most common arguments against L*urel being in the grave was that Felicity would never be that upset because she wasn’t that close to L*urel. HA! A lot of L*urel’s character was built upon telling rather than showing and her friendship with Felicity is one of the many areas the writers made that very frequent mistake.

The writers did not make that same mistake with Bl*ck S*ren. They gave her friendship with Felicity time to develop. They started off as enemies, but as circumstances evolved so did their relationship. 

Bizarrely, this is why Bl*ck S*ren’s and Felicity’s friendship feels more honest and earned than anything Felicity had with E1 L*urel L*ance. Bl*ck S*ren’s connection to Team Arrow is through Felicity. She has absolutely nothing to do with Oliver Queen and IT’S FANTASTIC. 

The writers tried to connect L*urel through Oliver for four years, but he was never the solution. Felicity is.

Felicity is the solution because she has a big bandwidth when it comes to forgiveness. No one has benefited more from it than Oliver Queen. Murder isn’t a deal breaker for Felicity. She fell in love with Oliver when he was dropping bodies. She barely blinked at Sara’s assassin history. Diggle murdered his own brother and I don’t think Felicity even commented on it. Remember when Roy thought he killed Sara? Who did he tell first? Felicity. She was freaked but calm. Dinah was a murderer and Felicity welcomed her onto the team with open arms. Rene pulled a gun on her and it was totally cool. I mean, sweet mother of Moses she was friends with Curtis Holt and tolerated his mansplaining and misogynistic bullshit, which says it all. 

So is it really a shock Felicity is ride or die when it comes to Bl*ck S*ren? No. I identify with Dinah’s frustrations, but recognize Felicity is on the higher road. Simply put, Felicity Smoak is a better person than me. The belief she is giving Bl*ck S*ren is no different than the belief she gave to Oliver or Sara.  

So, she’s challenging me as well. I cannot cheer Felicity on when she offers unconditional love to Oliver or Sara or John, but admonish her when she offers the same to L*urel L*ance. Sara was an assassin and I didn’t demand a prison sentence for her.

That said, I see one massive difference between Bl*ck S*ren and Oliver Queen. Oliver was remorseful about his past and crippled with guilt. He didn’t need additional punishment because he was already punishing himself enough. Oliver also spent five years in hell, lost nearly everyone he’s ever loved and is constantly sacrificing his happiness for the greater good. 

His redemptive journey is wildly different from Bl*ck S*ren’s. Oliver didn’t get to just toss on a nice suit and call it a day. And he killed bad people!!! So, I maybe I can’t hold Bl*ck S*ren to a higher standard than other characters I love, but I can damn well hold her to the same standard. 

So, is L*urel remorseful?

We don’t have to pick between Felicity and Dinah because it is possible to hold L*urel accountable and be compassionate. This is where Sara comes in.

Source: canarygifs

I have been incredibly frustrated with how Arrow has used Sara in the past when she’s come back as a guest star. I’m still ticked she didn’t get a goodbye scene with Quentin. The Sara I know on Legends isn’t always the same on Arrow, but “Lost Canary” is different. The writers give Sara her due and she reflects on her journey in a way she’s been allowed to before.

Everyone knows I’m a huge Lance sisters fan. The one saving grace in L*urel’s Season 2 storyline was when it stopped being about her relationship with Oliver and she began to focus on repairing her relationship with Sara. 

I bought into the Bl*ck C*nary storyline in Season 3 because I believed Sara’s death was a life altering catalytic event for L*urel.  “The Calm” remains my favorite L*urel L*ance episode and I will always believe Sara is her great love and vice versus. We all need something or someone to live for and that love doesn’t always have to be romantic in nature.

So, Sara coming back to town to protect her sister’s good name and offer some wisdom to Bl*ck S*ren made a lot of sense to me. Sara is the one who pieces together that maybe failing to kill Felicity and Dinah wasn’t a mistake after all. She uses her sisterly intuition and finds Bl*ck S*ren at Quentin’s grave.

Source: canarygifs 

Sara gives it to L*urel straight in an EPIC speech. She owns all her past mistakes. Sara cheated with her sister’s boyfriend, let her family believe she was dead and then became an assassin. 

Yuuuup. Sara Lance history sure is colorful! Each one of these errors in judgment is an unforgivable offense. And yet, L*urel found a way to forgive Sara. Well, after she blamed her for absolutely everything that went wrong in her and boozed her way through the liquor cabinet, but let’s not get bogged down in the details.

This remains my favorite Lance sister scene of all time because L*urel does not go to Sara offering forgiveness. No, L*urel comes to Sara begging for forgiveness. Despite everything she’d done and everything she suffered, Sara survived whereas L*urel was crippled by her pain. These two women found their way out of the dark together. Sara’s forgiveness put L*urel on a path to sobriety. L*urel’s forgiveness put Sara on a path to heroism. Neither of them truly deserved forgiveness for what they had done, but that’s not the point of forgiveness is it?

It was L*urel’s love, not Oliver’s that gave Sara the second chance she needed. Maybe Sara didn’t deserve forgiveness when L*urel gave it, but it sparked the beginning of her journey towards someone who did.  Sara is the Original Canary, the captain of a time traveling superhero squad and the one and ONLY White Canary. She offers the wisdom of her life experience to help Bl*ck S*ren.

Source: canarygifs 

 She also calls Bl*ck S*ren out on her bullshit. She tried to be a hero for six months. TRYING? SIX MONTHS? She thinks that evens the score for years and years of mayhem, theft and murder? 

We’re supposed to feel sorry for BS after she’s spent six months living in a comfortable apartment and getting paid well to do a job she didn’t earn.

Great, she helped Oliver out of prison. She also tried to kill him multiple times, so they aren’t exactly equal yet. When Sara tried to quit the murder business a lethal team of assassins came after her and she had to commit suicide to get them to leave her alone. But L*urel knows the horror of the Balmain double breasted, wool blend jacket. Poor baby.

I forgot she was accused of working with Diaz and lost her job. Yeah, except she did work with Diaz and SHE IS NOT A LAWYER SO SHE SHOULD LOSE HER JOB. 

Then there’s being falsely accused of Diaz’s murder. Hmmm… who killed Vinnie again? L*urel being falsely accused of ONE murder compared to the multiple homicides she has committed and has yet to pay for in any real or substantial way does not equate. Yet, here she is with a stick up her ass and expecting everyone to feel sorry for her. You know, I take it back. She really is like E1 L*urel sometimes.

Sara explains what real redemption is and it is my favorite line of the episode.

Source: canarygifs

She’s right. Redemption is not a light switch that can be flipped on. L*urel can’t do a couple nice things and say, “TA DA! I AM REDEEMED!” It’s not how it works. There’s no endgame here. This is something L*urel needs work at for the rest of her life. She needs to fight every day to be a person worthy of forgiveness. When L*urel falls down, or life doesn’t go her way, she can’t throw an evil temper tantrum.

A real hero isn’t looking for a reward. A real hero doesn’t look for someone else to blame. A real hero doesn’t keep score. A real hero sacrifices and fights the good fight because it is the right thing to do. Does Bl*ck S*ren qualify? 

No. She is not a hero yet. She is undeserving of the love, compassion and forgiveness Sara and Felicity are offering her.

But we all are undeserving of forgiveness. We are all broken in some way. We all do or say hurtful things. Each of us will either do something unforgivable or feel like we’ve done something unforgivable. What makes the difference in our life is having someone who loves us despite our sins. 

We can see the people who have been loved when they are unlovable and those who have not when we look at the landscape of humanity. Sometimes we need a push in the right direction when we are at a crossroads, but not all of us have someone in our life who loves us enough to give one. The ones who do are blessed.

Bl*ck S*ren’s sins are deeply evil. She has dug herself a very large, dark hole. L*urel stopped Felicity from falling down the same hole because she knows there’s nothing but pain, emptiness and loneliness at the bottom. She knows how to stop someone from falling in, but L*urel does not know how to climb out. Bl*ck S*ren is stuck in a self destructive cycle. Felicity fundamentally believes every human being is redeemable if they want redemption, but some need more of a push than others.

The truth is we all need help out of the darkness. We all need someone to love us unconditionally. We all need someone reach down into the hole and offer a hand. But our redemption remains in our hands. It’s not enough for someone to reach out. We have to reach back.

All the evil hijinks boil down to a faceoff with Bl*ck S*ren and Felicity.  Felicity tells BS one last time  she believes in her, but ultimately it’s not about what she believes. It’s not about L*urel L*ance’s legacy or who Quentin wanted BS to be. This is about who Bl*ck S*ren wants to be. Free will my friends. It is a bitch.

COME ON! Nobody is killing Felicity Smoak least of all Bl*ck S*ren. L*urel is picking out china patterns in her head, so she ain’t killin’ bae. She joins Felicity and the rest of the birds and together they defeat the villain of the week. Sorry I really didn’t pay much attention to the partner.

Source: smoaktechs 

In their victory celebration, Dinah decides not to arrest Bl*ck S*ren and even comes up with a get out of jail free card excuse aka “working undercover.” A relieved Felicity tells L*urel that everything can go back to normal.

But L*urel disagrees. It is time to stop running. It is time to stop pretending to be someone she’s not. It’s time to go back to Earth 2. She has to made amends in the place where she created so much pain. I. AM. SCREAMING!!!!!!!!!!!!!!!!!!!!!!!!!

No, it’s not a stint in the pokey, but I WILL TAKE IT. Going back to Earth 2 is the next best thing. It addresses my primary problem with L*urel’s redemptive arc and that is pretending to be someone she’s not. Being Earth 1 L*urel L*ance protected Bl*ck S*ren from all the damage she caused on Earth 2. If she really wants a shot at redemption then she has to go back to the place where everyone knows her as Bl*ck S*ren. Earth 2 is where L*urel will be forced to confront everything she’s done and accept responsibility for it. There’s no hiding, running or easy outs on Earth 2. That is the place where an honest redemptive arc can begin.

Felicity understands and gives her a parting gift – E1 L*urel’s Bl*ck C*nary suit.

Source:  nyssaalghl

It’s a beautiful full circle moment. I don’t make the rules! Felicity anoints the superheroes, assigns the names and hands out the couture! If she says L*urel should be Bl*ck C*nary on Earth 2 then L*urel is going to be Bl*ck C*nary on Earth 2. Fine with me!

L*urel meets Sara once more at Quentin’s grave. Her story always comes back to Sara no matter what version of L*urel it is. Felicity was the push, but Sara’s words lit the spark. She launched L*urel L*ance’s hero’s journey once again. Cuz see the light?!!!!

Source: canarygifs

This scene also feels like a goodbye to the Lance family. Quentin is gone, L*urel is dead, Sara is off hero-ing through time, and Bl*ck S*ren is returning to Earth 2. This isn’t the end of L*urel’s redemptive journey. It’s the beginning. But it is the first time I believe she might deserve it someday.

Source:  nyssaalghl 

FLASH FORWARD TIME!

Dinah created the Canary Network to be a support system for women, so someone always had their back. It’s a reminder to Dinah of what she failed to give Bl*ck S*ren once. It’s a whole conglomerate of leather clad ladies supporting ladies! LOOOOOOVE IT!

There is no singular Bl*ck C*nary. No one woman holds the title. It fulfills L*urel L*ance’s dying wish in a way she couldn’t even imagine at the time, which is why it is so fitting.

Unfortunately, Galaxy One massacres the network in “Lost Canary” and Dinah loses fifteen of her girls. It’s a devastating loss for Dinah, but I couldn’t help but cackle a little. Arrow never misses an opportunity to throw a little petty at the LL fandom. Oh you’re made we killed once Bl*ck C*nary? Watch us kill fifteen! How do you like them apples?!

Dinah, Felicity and Zoe want to lay low and regroup after such a big hit, but Mia is fired up and ready for pay back. 

Source: amunetblack 

Dinah tries to convince her to wait for the surviving canaries to fight back when the time is right, but Mia defiantly says...

Source: amunetblack 

It’s like they tailor made her for us fandom. Mia Smoak is perfection on every level. 

Dinah calls in some back up to keep an eye on Mia.

L*urel.

She saves Mia from some Galaxy One goons. Unfortunately, the horror show of a wig is back, but let us pray there are less buckles on the suit. The lipstick has changed from black to red so serious upgrade in that department.

Source: dcmultiverse

It’s a beautifully symbolic moment because L*urel saves Mia in an alley where a body of a dead canary is lying. It’s the same kind of alley where Sara fell to her death and launched L*urel’s Bl*ck C*nary journey. 

It’s the same kind of alley where L*urel’s journey was foreshadowed in the pilot,

but with a significant change. L*urel is no longer connected to the man in the story, but to the women.  Sara, L*urel, Felicity, Dinah, Bl*ck S*ren, Zoe and Mia all weave together in one beautiful thread. Bl*ck C*nary no longer belongs to one woman. It belongs to all of them.

The beauty of this is I don’t have to sit through another half baked Bl*ck C*nary storyline for L*urel. I trust she’s earned the suit on E2. Even better she’s still Bl*ck S*ren. This isn’t 2.0 of E1 L*urel L*nce. Hopefully, all the snarky wit, aptitude for zingers and glowering that made me fall in love with BS remains. I just needed her to stop murdering people. That’s all. All of this means I might finally have a version of L*urel L*nce that I can enjoy.

L*urel gives Mia some wisdom that screams THERE IS GOING TO BE A SPIN OFF, 

but what I loved most is L*urel is still trying every day to prove she is a hero. 

Redemption is a journey and not a destination. And undeserved forgiveness is often the beginning of that journey. Nobody knows that better than L*urel L*ance.

Stray Thoughts

#Fact. Source:  felicitysmoakgifs

Bl*ck S*ren pretending to be L*urel acts somewhat normal. She ratchets up the cheese factor when she's Bl*ck S*ren. I forgot about that.

Emily is having an A+ hair season. Really it's like a Vidal Sassoon commercial every week.

This made me emotional. Source:  olicitygifs

"Let's just call her a genius and leave it at that." Hubby is so proud of bae.

Bl*ck S*ren versus White Canary is like a heavy weight boxer fighting a chipmunk.

Felicity and Sara flirting is everything I didn’t know I need. The love triangle was centered on the wrong person in Season 2. It should have been Felicity and not Oliver. Source:  ebett

Yup. We all knew. Source:   felicitysmoakgifs

“Felicity Smoak is killing people now." Sara is my spirit animal.

Sara has seniority Dinah. It should've been you sitting it out. Respect your elder. Source:  canarygifs

The great evil of this episode is the grommet sweater. We must protect the actresses from this atrocity because it's spreading. 

This  was cute. Source: hollandrooden

Sara has a baby on Earth 2? I NEED THE NAME. WHERE ARE PICTURES?

Don’t tell me L*urel is not in love with Felicity. I know my truth.  Source: hollandrooden

Spit my drink out when Sara said this because it’s ridiculous. That said, Arrow continually painting Laurel as a saint is a constant reminder they are never bringing her back. the more Arrow paints Laurel as saint. Source:  danverskara

Was it snowing in the future? What was up with the weather?

Disclaimer: Any gifs on the blog are not mine. If you would like a gif removed from my reviews, please message me. 7x18 gifs credited.

The *** in names is so the review doesn’t show up in the tag.

If you’d like to support the blog, please buy me a cup of tea!

[dumdeeedum]

“The Magicians” Alice/Quentin/Eliot Love Triangle? Que? No, let’s stop the fuck right there...

I’m so frustrated with how bad Wednesday night’s episode of “The Magicians” was and with how bad this entire season has been, especially with how poorly they’ve handled anything to do with Alice, Quentin, and Eliot. I mean, generally I’m frustrated with how bad this show can be way too often but I’m going to try to keep my thoughts as organized as I can.

I want to preface all of this by saying that no, I don’t believe they’re still pursuing Eliot and Quentin because they’ve still given me no reason to. I just wanted to express my thoughts on these rumors of a love triangle and who knows, they might go that way, I don’t work there. I just know that for now they’ve set things up in a really poor way and I don’t see a true Eliot and Quentin outcome happening for a while if at all.

First I gotta reiterate this in case it isn’t clear: this is not a well-written show for me, it’s a fun show, to be sure, but not a well-written one. They have too few episodes to get away with the amount of dicking around they do and it’s clear they have no direction even when they have source material to draw from, and that’s a bad combination and a big problem. And those are just some of its issues.

A show like “Black Sails,” for example, had about 8 episodes per season and made good use of every minute of them because that’s how you tell the story you want to tell when you have limited time and can’t fuck around with filler. Very similar situation with the show “Spartacus” with a similar number of episodes per season to “The Magicians” and they wrapped it up in 4 seasons. But I tend to think 4-5 seasons is the limit before a show loses focus and goes downhill anyway. 

It has also become clear to me that Sera Gamble has no interest in doing anything progressive. She wants to be one of the boys, play the game and get ahead which is her prerogative but at this point people have to come to terms with the fact that she’s always been a White Feminist(tm) and quit fucking around like she gives a shit about equity for marginalized communities or even visibility. All of the bullshit to do with Sera Gamble has been known for years now, too, so I’m not even sure why anyone would be surprised that she sucks at this point. I’m sure she’s sitting somewhere right now unable to understand where she fucked up and why because she doesn’t have it in her to accept criticism and it shows. Last I heard she’s still going after people on twitter for not liking the outcomes of her dumbass decisions as a show-runner; bitch, grow up!

You know what would be truly radical in this series? Stop having these women live for these men. Julia is off losing her autonomy to a man, again, Kady is about ready to allow herself to die because she misses her boyfriend, Margo is ditching the plan to save her best friend over some super mediocre, joke of a man she can do better than without even trying, and Alice is once again in Quentin’s orbit and having nothing to do for herself. Yay, feminism? You’re fucking kidding me, right? 

And now I’m hearing people saying that they’re trying to set up a love triangle in season 5 between Eliot, Quentin, and Alice and I think the idea of this disgusts me more than if they’d just drop Eliot and Quentin as a pairing altogether after the massive fuckup that was the latter part of this season. How obtuse do you have to be to think a bisexual love triangle would be appropriate queer representation given our social climate? But here’s the thing, they’re playing on your intelligence if they do this, again, and I’m about to explain why.

Yes, it’s going to get lengthy because I’m going to be discussing the show from a social but also from a narrative standpoint, but you know me by now.

Don’t get it twisted, what they would ultimately be doing if they went this route is giving us even more straight representation while under the guise of bisexual representation given that Alice and Quentin are now back together, as a straight couple whether you think Quentin is bisexual or not. And that’s what matters when it comes to queer visibility. We’ve gotten straight Quentin pairings now from seasons 1-4 and they’ve yet to have Quentin explore any same-sex romantic partnerships or even fantasies other than the nonsense with Eliot because those were blink and you miss them moments. 

And here’s the insidiousness of all of this and I really want people to think about this: They would use this as an excuse to still appear as though they were doing right by their queer audience while once again only really exploring one facet of Quentin’s supposed bisexuality, the more palatable one, while ignoring the other, more taboo one and calling it bisexual representation. That is not good bisexual representation, at all, how can it be?

And god forbid you raise a stink over these poor attempts at representation because then you get accused of hating and bi-phobia and of erasing Quentin’s bisexuality and blah blah blah. And, really, bisexual, where? Where are we going to get this exploration of Quentin’s sexuality while he’s dating Alice again and Eliot is somewhere in the sidelines dealing with the aftermath of being possessed by a being who murdered people using his body? 

Can we stop with the intellectual dishonesty? Can we stop accepting these insults to the intelligence of the lgbtqa community? 

And no, don’t even pretend the idea of a poly-amorous relationship wouldn’t be a fucking absurdity given their history. Quentin and Alice broke up because Quentin fucked Eliot and Margo. One of the people involved in that betrayal would be one of the last people Alice would want to share her boyfriend with. And that’s if she would even be OK with a poly-amorous relationship to begin with because the idea seemed to disturb her when her parents were doing it and frankly, not everyone is poly-amorous, in fact, most people aren’t. 

Unfortunately, that’s just part of living in a heteronormative society where people, as a whole, just aren’t evolved enough yet to have explored other types of relationship dynamics because of the restrictions society has placed on them and it is what it is. The polyamory argument doesn’t even belong in the same space as the bisexuality argument because it makes bisexuality seem like a life choice as opposed to something people are born as. I’d say it’s less realistic, right now, to have everyone OK with sharing their significant others with everyone than to have a person identify as bisexual! Most people don’t have the self-confidence or the conditions to improve their self-esteem enough to even explore poly yet, and some people just aren’t into it and that’s their right, but I digress.

It just seems like everything that should have been happening in this season would instead be happening next season if they went this route and the only difference would be that they’d have made it palatable for their straight, homophobic audience by having Alice on Quentin’s dick the majority of the time they should be using to explore Quentin’s sexuality. When would they have time to give Quentin the important moments of introspection he needs to figure out whom and what he wants? Even his getting back together with Alice was very abrupt and didn’t seem like a well thought out decision on either Quentin’s or Alice’s part. Why couldn’t they just be single for a while if they were going to waste season 4 and work on this in season 5??

But this is just what they do by now because they can’t write a good romance. Straight shit gets put on the fast track in an absurdly unrealistic way, everyone’s in love in 5 minutes, smart, beautiful, boss bitch women date mediocre men when we’d never see it the other way around, and anything queer gets a couple of seconds of screen-time at best before someone is killed off, or they add a woman to the mix for no good reason, or we have to do a 50 year montage with no actual romantic intimacy to establish tha they’re even romantically interested in one another, blah blah, woof, woof.

Here’s a good question for those of you bi-Quentin-stans: None of you think it odd that while these creators kept alluding to exploring a canon male/male pairing with a bisexual character Alice and Julia, two women whom have exclusively dated men, have still had, to date, a longer, more sexually charged make out scene than gay Eliot and a supposedly bisexual Quentin ever have? Not to mention that the only time we explore Quentin’s sexuality in fantasy it’s some super fucking trite women making out for his pleasure fantasy.

No one thinks about why that is? No one thinks that perhaps it’s because depicting lesbian situations for the male gaze is a super common thing to do in media and is another one of those things that allows creators to pretend they have queer representation when really they’re trying to draw male views by exploiting the women of their series? It seemed pretty obvious to me as soon as I saw it but I haven’t fucked around with critiques of this shit in a long time and I don’t let this shit slide.

So now if they went the love triangle route in season 5 how would that work?

We’ve gotten a story line where not only was Eliot right that Quentin wouldn’t choose him when Quentin has the choice, but Eliot is going to have to come back and see this shit and deal with it on top of whatever massive trauma being possessed like this would inevitably cause. Do we really see Eliot saying anything to Quentin after that knowing what we know about Eliot’s way of handling shit? 4.5 leaves us thinking that maybe Eliot now sees that perhaps he shouldn’t have been so quick to reject Quentin and that perhaps Quentin would have chosen him and that Eliot wasn’t right to suggest he wouldn’t and yet here we are. And knowing what we know about Eliot would he try to get between that?

I actually think they’d done a good job closing the chapter on Alice and Quentin when Quentin told Alice he didn’t love her anymore and closed the book and I think they could have explored a really good friendship between them after that! That should have been when Alice and Kady did their own library thing and became more fully-fleshed out characters in their own right and when Quentin started exploring his own options and realizing he would choose Eliot even if at the time he thought Eliot wouldn’t choose him. Because this is something he should have been thinking about anyway!

There seems to be a pretty big issue that no one is considering about 4.5 and it’s a result of this ret-con having been handled so poorly so they couldn’t do what really needed to be done with the aftermath of it. The rejection conversation was really fucking poorly done because it was such a short, almost throwaway scene! We have Quentin get his memories back and immediately jump to wanting to be with Eliot and Eliot rejects him, for very good reason, in my opinion. Quentin seems a little bummed about it and then the scene ends. But from what we know about episodes 3.5 and on, Quentin hasn’t given it another thought. It didn’t even come up when he talked up Fillory to the plant so I really reject the premise that it was so traumatic for him to be rejected by Eliot that he didn’t even want to talk about anything to do with Fillory. Unless he’s even more immature than I thought it seems really unlikely that being rejected would eliminate all the other good shit in Quentin’s mind that relates to that lifetime, like, I don’t know, his fucking wife, his son, his grandchildren!? Miss me with that and stop excusing the shit decisions they make for Quentin in this show.

Was the idea here that they continue to go this route where everyone is expected to consider Quentin's feelings but he isn’t expected to consider theirs? Quentin has a habit of being inconsiderate dating back to season 1 (For Julia, his best friend, not getting into Brakebills was her punishment because she wouldn’t fuck him, Alice shouldn’t be upset that he cheated on her and Quentin doesn’t have to respect it when she tells him to back off, etc.) and the reasoning is always that Quentin’s got a low self-esteem and depressive issues but that’s not good enough now with 50 years of life experience under his belt. It’s especially not good enough when it comes to a man whom he’s known an entire lifetime through good and bad. So why didn’t they have him even consider what Eliot said to him and the validity of it?

Eliot explicitly says to Quentin that he knows Quentin so he knows how this would turn out, and Eliot was right! But somehow when Eliot rejects Quentin it isn’t incumbent upon Quentin to consider why Eliot would do that even though Quentin knows his own dating history and that he’d had a wife in Fillory? We’re just supposed to accept that Quentin just took the rejection at face value without even really listening to the wording or thinking about where Eliot might be coming from? Neither his nor Eliot’s problems or desires in the real world have suddenly disappeared just because they got their memories of Fillory back and Quentin knows that. Eliot made that point when he rejected Quentin, in a way, so isn’t there more to consider here? It’s especially egregious for this to be Quentin’s take away when we remember that Eliot didn’t have a husband in Fillory so Eliot was always there for Quentin and Quentin’s son and even Quentin’s wife in ways Quentin couldn’t be there for Eliot. How could it be as simple as “in the real world, you don’t do it for me” by Quentin? That’s just dumb.

A better scene would have had Eliot qualify his rejection to a man he spent 50 fucking years in love with so that Quentin could consider Eliot’s feelings on the subject before jumping to conclusions or even making a decision about them. And Quentin could have taken a moment to discuss Eliot’s insecurities if he really wanted to be with him or even just understand them. But instead the takeaway is more “poor victim Quentin isn’t special.” That’s just bad writing!

And what about Eliot? What does he get in all of this if they went the triangle route? Would they then allow him to explore a non-toxic relationship of his own or would he be sitting by like a dog and watching this shitshow of a romance between Quentin and Alice for however long it takes before they give us a sprinkling of Queliot? And who will be there to support him when his best friend is off fucking around with that loser Josh and Quentin is back with the girl that Eliot was afraid Quentin would choose over him? This effectively leaves Eliot alone to handle shit the way he’s always handled it and that’s just bad for his character after all the development he’s had. 

What kind of queer representation is this going to be moving forward? We barely got Eliot this season, will he just sort of be there next season and have just as little to do as he had this season? He has nothing more to do in Fillory so where will they stick him now?

Narratively, everything that’s happened post 4.5 has really fucked the ability for an Eliot and Quentin pairing to work unless they double time it in season 5 and I don’t see how they can when Quentin is with Alice again. The show-runners have really gone out of their way to erase anything having to do with Eliot and Quentin as a couple to the point where it makes 3.5 and 4.5 seem like alternate universe versions of the show that don’t fit into the rest of the series. It’s clear to me at this point that they’re trying to move past the idea of Eliot and Quentin as a couple so even a triangle would seem really bizarre in light of that.

I’m not seeing it, I’m really not and as much as I know people want to hold out hope that Eliot and Quentin will happen I just feel like at this point the show would be trying to run out the clock without giving them anything substantial the same way they did this season. Everyone’s obviously free to do what they want with that but realistically I would hold out and not give them ratings until we see if they give us something that isn’t insulting bullshit.

[buri-art]

we stan Please Save my Earth!! I always get so happy when i find a fan lol anyways did you read the sequel? i wanted to, like so so much because i've heard good thing about it but the change in the art turn me off, it is so bad?????

Yaaaaay, always good to find PSME fans! : D (This is primarily an Akatsuki no Yona blog, though.) I did read the sequel (Boku wo Tsutsumu Tsuki no Hikari, which takes place 15 years later) and although it has wonky art, I did enjoy it. I’m also four volumes into the sequel to the sequel, Boku wa Chikyuu to Utau, which takes place another 4 years later. My feelings toward both are a little complicated, so I’ll discuss Boku-Tsuki first (and I’ll also answer your other questions behind the cut, since this will get long!): 

I love PSME so much that OF COURSE I love having more of it and seeing what the characters are doing when they’re older (though I’m sad that characters like Rin’s mom and Boon never made appearances! Tamura himself only had one scene, haha). It’s a very different story at first, which a fun focus on the children of a few of the old characters (plus some other kids they meet). I liked the kids’ relationships and perspectives a lot, with the PSME lore as background. I was hit and miss with how the old cast wound up, and it inevitably has colored how I look back at them in the original. However, I found the last arc (which spanned a few volumes) pretty… I don’t know. The phrase that comes to mind is a Chinese idiom, “pulling up sprouts to make them grow faster”, which means “spoiling by excessive enthusiasm”. It started to feel like Rin, Alice, Mokuren, and Shion were getting strangled by excessive drama/development. It’s like their characters were no longer allowed room to breathe. And it was during this arc that Hiwatari noticed that it was started to become a different story, which was why she abruptly asked her editor if she could conclude the series and start a new one under a different title. That makes sense, because Boku-Uta takes those changes a lot further. With this one, I feel it’s really overindulging in extra background development, which takes away from the mystique of the original.It’s also…. just weird. Like, Hiwatari writes weird stuff,  that’s why she’s so beloved because her stories are so unique. ^_^ I’ve read a lot (but not all) of her other works, and I loooooved stuff like Global Garden because–although the art style was wonky–I’ve never read anything quite like it. Well, except for PSME–it’s funny how it uses so many similar themes but plays them in such a different way. 

But with Boku-Uta, it’s like her publishers just stepped out of her way and said “you know what, you have such a fanbase that people will buy it no matter what you write, so go ahead, add more magic cats.” 

So, like, I really want to like this one too, but I find it difficult to. I do really like the continued developments of the younger generation which Boku-Tsuki focused on, but other than that, I find it difficult to enjoy. I read Volume 4 around 2am in an airport and just felt angry by the time I finished because some of the new plot twists just felt so stupid. XDSo, in conclusion, yes, Boku-Tsuki has a lot of merits, but it’s going to change your experience of PSME, which is why I can understand why a lot of PSME fans didn’t like it or choose not to read it. Boku-Uta is a natural progression from the ending of that one, so if you choose to read Boku-Tsuki, keep that in mind. But hey, I AM such a big Hiwatari fan that I know I’m going to buy every volume of Boku-Uta anyway. Maybe it’ll redeem itself in my eyes, it still has some interesting elements keeping me going. Okay, on to your other PSME Ask: “sorry, i just found this tumblr so i’m going to ask a lot of PSME questions lol: favorite characters and why?“I love this question. : D Ironically I was just talking with a friend about this the other day since she’s borrowing the manga from me, and I didn’t really know how to answer it. As stated before, my perceptions of the characters has been affected by reading Boku-Tsuki.So like… just because they get the best development, how can I NOT love the Rin-Alice-Shion-Mokuren quatrad?? I keep going back and forth over the years between who of those four is my favorite. While reading the manga for the first time while I was a teen I think I usually leaned more toward Rin and Alice, but now maybe it’s Shion and Mokuren?? I don’t know XDDDAs for OTHER characters, though, part of what I love about it is that there are so many good supporting characters, especially beyond the basic seven kids and their past lives. So here are a few that come to mind to write some thoughts on: Haruhiko: I haaaaaaaated him with a passion as I was reading the manga because he was so whiny and helpless, UNTIL I got to the volume when he confessed everything to Alice, Jinpachi, and Issei, and it was like a switch was flipped and he became one of my favorites because of how much courage he had. You know how he really lightens up and gets comfortable talking with Alice later on? That’s the sort of person he remains in the sequel, which has made me like him even more. He’s mature and mostly at peace with his past, but not totally, and he can recognize that about himself without it taking over. But he’s not totally mature either—you know that scene when he fakes having heart trouble and then gets Alice to stop? And how he makes that “What did you think I was going to do? I’m not Shion!” joke right afterward? That’s the sort of nasty side of his personality that I love too. Looking back at the start of the series now, I see that he was courageous and understanding all along, he just had an extremely weighty situation to deal with. Mikuro: I can never see him the same way again after the sequel (in which he’s a major character). XDD It’s clear that he’s always been a pet OC of Hiwatari’s, but the cool, hard-boiled original character designs for him are nothing like the adult he’s become. He tries so hard to play it cool, but the guy’s a helpless dweeb sometimes. I always found it exciting to learn more about his EPIA life. An extra one-shot (Things Accidently Left Behind, I think it’s called?) gives a lot more backstory for him and introduces more of the EPIA characters, who I enjoy. (Fun fact: Remember his friend Tomoko who was briefly mentioned? She winds up marrying his brother Hokuto. XD Mikuro winds up in a complicated relationship with an American psychic named Pamela, whom I also really like, she’s a hoot.)Mode: I loved her as soon as I met her (and although I’m okay with how she was used in the final arc of the sequel, I sort of wish she could have been left as-is too). She was, through and through, such a good friend, but I like her sense of responsibility as a caretaker too. Lazlo: How can I not love Lazlo!!? The sob story gets played up a little TOO much and I think it was effective as-is in the original (like, we didn’t need to know that he and Kyaa got into the car accident while bringing home a toy for Shion to try to make him smile). In fact, it was Lazlo who made me realize that I have interest in being a foster mother someday. Rin’s Mom: She’s got such a rough job, seriously. She had a break-down, which I don’t blame her for, but I love the courage and understanding she shows after that. She’s the mom who Shion always deserved. Hajime: Always a favorite. XD But I also love that he’s not a huge influence on the story either, his mission has always been to support and take care of Alice, even if that means being critical of her decisions. There are a few extra chapters in Boku-Tsuki discussing Rin & Alice’s early parenting years, and they’re told from Hajime’s POV (he wasn’t exactly happy with the shocking situation), which I really enjoy. Daisuke/Hiiragi: He’s not as big a favorite now (because in some ways he and Jinpachi grew into lame adults XD), but I always liked him and found it funny how despite being the leader, he basically has no influence and is the least important of the seven. XDD It was liking him in a sort of feeling bad for him kind of way. The Lians: Part of what’s so cool about PSME is the development of the Homeworld, and I thought the role of the Lians fleshed out that world really well. Seeing Shion’s different relationships with them (they’re all doing their best, but the older one clearly has more of a way with him) was a nice touch. Plus, I just like and respect nuns in the first place, so that influences my view of them.

Tamura:  When I first read/watched it, I didn’t like him much because I thought he was too nosy and I just wanted to focus on the younger cast; the yakuza subplot was a turn-off at first. But looking back on it, Tamura is a such a great and unexpected driver of the plot for a shoujo manga. Nowadays if I rewatch or reread it, you’ll even hear me squeal about seeing Takeshi again. XDDIssei & Sakura: They are such a stinking cute, girly married couple in the sequel, and now it’s hard to ever see them the same way as in the original when I could just appreciate how their deep friendship took shape. If anything I didn’t want them to get married because that felt trite and like a Pair-the-Spares trope and it made it seem like that was the only possible result of a deep friendship between a girl and formal-girl-now-guy-on-purpose-due-to-failed-romance. BUT!! Boku-Uta does provide a nice insight on that, which I appreciate, and which explains why the other three are singletons (being from the Homeworld, they have a different wavelength from regular earthlings, which is why they harmonize well together (as do Rin and Alice), whereas Daisuke, Jinpachi, and Haruhiko can’t find partners to be in the same harmony with). But to back up a bit, Issei’s subplots was one of my favorites in the original. That scene when he “releases” Enju’s soul to go out and love deeply again was so sweet. : DSo like, I pretty much like EVERYONE due to deep attachment for the series, though my thoughts and feelings change over the years. These are just the thoughts coming to mind at the moment. XD

[pass-the-bechdel]

Marvel Cinematic Universe: Thor (2011)

Does it pass the Bechdel Test?

Yes, three times.

How many female characters (with names and lines) are there?

Three (21.42% of cast).

How many male characters (with names and lines) are there?

Eleven.

Positive Content Rating:

Three.

General Film Quality:

The fun:boring ratio tilts considerably depending on audience mood and/or desire for originality; the majority of the story is generic in the extreme and can be tedious as a result, however those elements which are more unusual and intriguing arguably save the overall product. 

MORE INFO (and potential spoilers) UNDER THE CUT:

Passing the Bechdel:

Darcy asks Jane if she can turn on the radio. Jane tells Darcy to drive into the anomaly. Jane tells Darcy to stop talking about her iPod.

Female characters:

Jane Foster.

Darcy Lewis.

Sif.

Male characters:

Eric Selvig.

Odin.

Loki.

Thor.

Fandral.

Hogun.

Volstagg.

Heimdall.

Laufey.

Phil Coulson.

Clint Barton.

OTHER NOTES:

“But I supported you, Sif.” Good to know that Thor supports non-traditional gender roles, despite being such a macho cliche.

I’m really very concerned by Jane’s driving. Someone revoke her licence. 

“Son of Coul.”

Heimdall does not get enough credit for being the MVP of Asgard. 

Loki’s suggestion that maybe he’ll pay Jane a visit himself is clearly intended to goad Thor into fighting him and as such need not be taken seriously, but it’s still totally uncool. Of all the goading methods he could have used, we really didn’t need to go for the implied rape threat.

I thought they might manage a Bechdel pass between someone other than Jane and Darcy for a moment there at the end of the movie, but Frigga doesn’t actually get referred to by name in this movie, and she and Sif only talk about Thor anyway. Disappoint on both counts. I kinda also thought Jane and Darcy might do some more/better passing in general; it’s better than nothing, but the three passes they got were pretty freakin’ weak.

When it comes to uninspired, generic origin stories, this movie kinda makes Iron Man look like an innovative goldmine by comparison. ‘Arrogant man takes a humble, learns to value his power and earns it back through selflessness’, it’s...been done. A lot. And while Chris Hemsworth’s Thor is watchable and not without charm, he’s not an especially charismatic actor and the predictable arc of his character doesn’t offer much scope to impress, while the typically-excellent Natalie Portman suffers a similarly bland fate with prescription-love-interest Jane Foster. The chemistry between the two is pretty nonexistent, and frankly it’s easier to believe that Jane is a slightly-amoral scientist essentially using Thor for her own gain, rather than buying that she’s becoming genuinely enamoured. If the film had leaned into the idea of Jane Foster: Amoral Scientist a little stronger, they could have built a more interesting (though less comfortable) narrative and perhaps even a more believable romance as the two bond over their shared moral learning curve. But, that would require Jane’s character to be more of a priority beyond finding excuses for her to be in Thor’s presence and develop ~feelings~, so. Not shocked they failed to deliver there.

Pretty much every person who has ever seen this movie (and probably some who’ve only read about it) agrees that Tom Hiddleston’s Loki is where the fire’s at, both as an individual character and in terms of the plot he facilitates and inhabits. It’s not hard to understand why: while Thor has his dull human journey in the desert on Earth (the majority of which is spent just going places and talking to Jane and occasionally having a comedic ‘not from around here’ moment), Loki is a trickster God with magic powers living in the mythological land of Asgard and playing out a long con to win both the throne, and his adoptive father’s approval. Anything about the film that is clever or different or interesting, visually engaging, or emotionally poignant, it’s going on in Asgard, in the part of the plot where Thor is absent for the bulk of the film. Unfortunately, Thor’s absence from that thread means that we don’t get to spend nearly as much time enjoying it, and that’s why even the film’s best qualities can’t necessarily save it from the generic trash-pile. It’s easy to reach the end of the film in frustration, wondering how the Hell the strongest elements of the story (Shakespearean tragedy on alien worlds!) wound up as background noise to an unconvincing snooze-fest romance in Nowheresville, USA.

Broken into its component parts, Loki’s story isn’t that unfamiliar either; ‘jealous younger brother vies for older brother’s birthright’ has been done a fair bit (The Lion King being the most well-known example, let’s not kid ourselves), as has the juxtaposition of entitled brat vs scrappy underdog, as has ‘driven mad by envy’ and ‘power corrupts’ and pretty much any other trope being invoked in Loki’s lane. However, it works through 1. Hiddleston’s dynamic performance, 2. any and all majesty/intrigue/gravitas supplied by the setting, and 3. the additional factor of Loki discovering his adoption and true Frost Giant heritage. While it should not be ignored that Loki’s machinations for the throne predate that revelation and therefore it is neither an influence on his overarching ploy nor an excuse for him devising that ploy, Loki’s struggle with learning that his life as he’s known it was built on falsity and the way that complicates his desire to prove himself provides him some all-important nuance and pathos that gives the audience something to latch onto and identify with, even if only as empathetic understanding (one hopes that no one is going so far as to identify with the attempted genocide or the successful patricide; most of us can identify with betrayal/abandonment/daddy issues to some extent or another). Even if his ultimate decisions are plainly reprehensible, Loki’s journey to that point is littered with appreciable miseries, and that makes it an obvious emotional narrative standout compared to Thor’s paint-by-numbers excursion.

The villain narrative being the highlight of a story isn’t entirely unusual (though films in which this is unintentionally so tend also to be poorly conceived), but what’s really unfortunate is that Thor’s character motivations are not second in complexity to Loki’s; the criminally underused Heimdall is actually the next-most nuanced character around (and look at that, he’s also on Asgard and not bore-ing it up on Earth). The thing about Thor’s arc is that it’s not just predictable, it’s not just generic: it’s also barely there. We perceive the arc because we’re so familiar with the trope, but we don’t actually watch Thor learn anything, we don’t see practical signs of the degradation of his arrogance and his transformation into a wise warrior who understands restraint. Beyond causing a ruckus when he first arrives on Earth, Thor really doesn’t display any aggressive entitlement, he settles into pleasantly-strange-fish-out-of-water mode pretty much immediately, and he seems to ‘learn his lesson’ spontaneously after being told that his father is dead. He appears to mourn the implications of his inability to lift Mjolnir more than he is bothered by being told of Odin’s demise and that he can never go home; those latter revelations instead trigger his instantaneous reformation (insofar as he says the words “my father was trying to teach me something only I was too stupid to see it”) and that’s it. Confronting the destroyer and being ‘killed’ by it prompts the return of his Godhood, but refusing to shrink from a fight isn’t a change of pace for the character we saw at the beginning of the film; all in all, there’s no actual clear-cut learning in this process, there’s just a complication-free acceptance of his apparent new state of being, and that means he’s worthy of kingship now? Were they too afraid of making him dislikeable by playing out an excess of arrogance on Earth, so they softened him up immediately and in doing so, downgraded his character arc to just the concept of one rather than an actual presence? If there were more of a distinct process to his experiences on Earth, they’d be less damn boring, because we’d be following an actual story instead of just waiting for them to hit each predictable beat, and maybe they’d also generate some real characterisation of any of the Earth characters while they’re at it (instead, we have completely-useless-to-the-plot-comic-relief Darcy, and surrogate-dad-exposition-master Selvig, comprising the whole of Jane’s illustrious company). Thor’s clutch of friends back home may be a one-dimensional quartet defined almost entirely by their most obvious single descriptors (the female, the Asian, the fat guy, and...Sir Didymus), but at least they have a clear trajectory of plot-relevant motivation, even if they do become inconsequential by the end of it. Yeah, this isn’t a very good movie.

I said at the top that audience mood may be a deciding factor in the success or failure of the film, and I mean that in the sense that this is a movie that may prompt vastly different responses in the same person over different viewings; speaking for myself, I have watched it and been basically entertained and appreciative of the visuals and at least some of the characters and story elements, but I’ve also watched it and been overwhelmingly bored by the trite predictability and the flat characterisation of most of the players, and unimpressed by the soft-focus CGI of Asgard. Caught in the right mood, Thor’s inexplicable laid-back Earth persona can hit just the right note for casual comfort viewing. Caught in the wrong mood, Loki’s Asgard shenanigans feel over-hyped and not engaging enough to save the movie. Is Jane too bland, or full of shades of untapped character potential? Is Darcy funny, or painfully annoying? Is Heimdall intriguing, or too nebulous to matter? It all comes off very conditional, little of it anchored solidly or fleshed out strongly enough in-text to be considered an absolute. The plot floats, dependent on the aura of various cliches rather than categorically declaring itself in any unequivocal ways. It’s not particularly messy, so at least it has that going for it, but even that is a conditional statement. The film is rarely subtle enough to develop any depth, and the shallow invocations of the idea of a narrative arc lack the conviction necessary to make simplicity a virtue. The end result? I guess the best word for it is ‘forgettable’. 

[nogoodingoodbyes]

Breathe. You’re Okay.

I want you to know that nothing is wrong with you. I know, I know, this sounds cliche and trite and like I’m patting the top of your head while telling you all the things you want to hear. No, that’s not where I’m coming from. I need you to know and I need myself to know that there is nothing wrong with you/me. We’re fucking fine. Do you hear me? We’re fine.

I want you to know that you can try to be better, you can work hard, you can do all the things you think you need to do, but none of that will do anything to prove to you that you are worth your space in this world. The only person that can decide that is you. You. You decide how much space you get to take up. You decide how much your voice is worth. You can work yourself ragged and accrue everything you ever thought you needed, but if you don’t believe who you are underneath the glitz, nothing will matter. A fevered mind has a funny way of turning gold into dust.

I want you to know that there’s nothing to prove, that even if you do all the things that you or someone else told you that you couldn’t do, there will be no glory in it. There is no glory in living a life in search of undoing a feeling. You have a core belief in yourself that you are not worthy, that you are not lovable, that you are not good enough? There is no manner of things you can achieve, people you can impress, people who will love you in order to convince you of a thing you can’t believe in yourself. You can’t turn a sour belief sweet just by outrunning it forever.

I want you to know that you can’t outrun your life, your emotions, those little beliefs that feel tiny enough to overlook, but fester over time. Inconsequential negative beliefs have a way of turning into hugely damaging beliefs. Believe me, I’ve lived in search of the magic elixir which will turn my emotions into something else, something better, my life into something shinier. I’ve searched everywhere, but the only real magic elixir is reckoning with yourself, is taking the responsibility, is demanding that the only person who can save you is you. It’s you, babe. It’s you. You’re the savior. You’re the one you’ve been looking for.

I want you to know that you will never be enough if all you’re looking to be is enough. You need to forget about enough and look beyond it to something else entirely, something that can be measured. Enoughness can’t be measured. You are only as enough as you are better than someone else and that’s a slippery slope to wage your life on. Not being enough needs participation from others — because it’s always comparison. That’s always where it begins and ends — this incessant need to weigh the value of your life against another person’s. Are you more than another? Less than another? You don’t really want to be adequate, good enough. No. What you’re searching for is to be special, to be better than others. And, that’s a losing game even if you think you’ve won.

I want you to know that if you need to feel loved, please look around at your life and see the magic everywhere. You may not have a thousand friends or a perfect family, but you have your people and they matter, even if the number of those you can count on is in the single-digits. Don’t throw that away looking for more. I know it seems like admiration, fame, social validation make you feel the love you may not feel for yourself, but it’s so fleeting it’s dangerous to stake anything on. Attention is not love. Double-taps are not reminders of your adequacy. Favorites, likes, followers are not an indictment of your value, no matter how big or small the number reaches or falls. If you’ve found yourself entirely too consumed with the digital trail of admirers you do or don’t have, you need to remind yourself that you are valuable, as you are, with nothing or no one paying attention. Your value exists without condition.

I want you to know that strength is not what you think it is, what the world has told you it is. Strength is not your loud voice, your angry rally cries. Strength is in keeping a positive heart in a negative world, a sensitive soul in a cruel world that often feels beyond the realm of soulless. There is a strength in not letting this world swallow you and spit you out as someone who thinks preaching their opinion off the highest mountain is what brave people do. Courage is listening when your knuckles are going white from clenching down on the arms of your chair. Courage is respect and not letting any number of heartbreaks sour you from believing that there is good, there is love, there is something in this mad world to have hope for.

I want you to know that, within you, lies something integral to this world. You’re a puzzle piece that fits into the grander framework of humanity. Today is a whole new day and you can turn it all around in one quick decision to do something, anything different than how you’ve done it before. Change comes slowly and then all at once. You will think you’re going down the long tunnel of darkness until it happens, until you’re renewed. Trust that it’s coming. Trust that something bigger is forming. Trust your tender heart. Trust your wild ideas. Take the chance. Say no when it doesn’t light you up. Follow whatever within you tells you that you’re doing something that makes you come alive.

I want you to know that the only waste here would for you to sleep through your life. The only thing you could do wrong is to opt-out of who you are, to forgo whatever fights to come out of you. Because, something does fight within you to be said, to be done — no matter how small or seemingly inconsequential you think it is. You can change a heart in the most ordinary gesture. Don’t let this world harden you until all you see is what’s going wrong, what’s bad. Because, the thing no one tells you is that there is as much good as there is bad. As much darkness as there is light. It simply depends on where you focus your eyes.

[dustedmagazine]

The Dusted Mid-Year Exchange: 2018 Edition, Part 1

In our fifth annual switcheroo, Dusted writers review each other’s favorite records, venturing out of the genres where they feel most comfortable to wrestle with excellence outside their frame of reference.  As always, assignments were made at random with the only rules being: a) you can’t review your own pick and b) you can’t review something you’ve already written about for Dusted.  

Unlike in past years, there was no clear favorite in 2018, although artists including Marisa Anderson, Olden Yolk, DJ Koze and Kacey Musgraves made multiple lists.  And perhaps most heartening, a number of writers amended their mid-year favorites after listening to other writers’ picks.  We hope you’ll also be able to find some new favorites among the artists we highlight.

Today, we’ll run the first half of the mid-year blurbs (alphabetically) from Marisa Anderson to Joelle Leandre & Elisabeth Harnik.  We’ll cover the second half of the alphabet tomorrow, then close our feature with individual writers’ best of lists through the first half.

Marisa Anderson — Cloud Corner (Thrill Jockey)

Cloud Corner by Marisa Anderson

>

Who recommended it? Eric McDowell

Did we review it? Not yet, but it’s assigned.  

Ben Donnelly’s take:

"Slow Ascent" is one of the titles in Anderson's latest batch of profound electric guitar explorations. It's a good phrase to summarize her career and style, hiking higher with each release, wandering further from the trails. For the second time, she's tracking a few extra instruments into her miniatures without disrupting the solitude, keyboards and acoustic strings mostly matching the cracks and chime of her main axe. Her fingerpicking has a fractal aspect, where intricate and rapid patterns can create a cycle that's relaxed and gradual, as on the title track and other lilting numbers. "Lament," a slide blues with a dissipating tempo and skeletal keyboard notes is forceful in its minimalism. She's becoming a master of small contrasts. Nowhere better than the closer "Lift,” where folks sounds step aside for a plucky scale that spirals up, offset by sweeps that sound like brushing the harp of an open-lidded grand piano, but take focus as a harmonized electric. Her brilliance is ever more in focus.

 The Armed — Only Love (Throatruiner)

ONLY LOVE by The Armed

Who recommended it? Jonathan Shaw

Did we review it? Yes. Jonathan Shaw said, “The Armed will likely be delighted by the divisive responses Only Love generates.”

Ian Mathers’ take:

You almost wish for anyone who’s potentially up for the Armed’s pummelling, exuberant, often frantic, tremendously maximalist take on hardcore and assorted associated genres to come to the record totally blind, and not just because “Witness” comes leaping out of the gates so forcefully. It can be fun to start digging around and register all the distancing tactics, purposeful obfuscation, sense of play, and weird links (to everything from Converge to, err, Rubicam and Young), but the visceral impact of Only Love is powerful enough that all that context should be saved for later. It’s one thing to start filling in context, it’s another thing to hear something as ferocious and compelling as “Role Models” (“NO INS! NO OUTS!” yell-chanted in a way I’m pretty sure even little kids would find appealing, if you could sneak this synth-spiked bomb past their parents) in the context of trying to figure out the game, if there is indeed a game here. After the roiling chaos of the first few listens subsides the sheer number of hooks packed inside these songs really settle in your mind, anchored by Ben Koller’s incredible drumming (possibly commissioned on false pretences) and just as adept at etching out a multi-part climax like the seething “On Jupiter” as just full-on sprinting on the likes of “Heavily Lined.” And then there’s “Fortune’s Daughter,” maybe the strongest earworm I’ve encountered yet in 2018. Who are the Armed and what are they up to? It’s not that I’m not interested in the answer to that kind of question, it’s more that as long as they keep making records as good as Only Love I’m happy to believe whatever they tell us (or don’t).

 Bardo Pond — Volume 8 (Fire)

Volume 8 by Bardo Pond

Who recommended it? Jennifer Kelly

Did we review it? Yes, Jennifer said, “The sound, vast and muscularly monolithic as ever, seems more like a demon summoned periodically from a ring of fire than the product of any sort of linear development.”

Isaac Cooper’s take:

Like fellow travelers Yo La Tengo’s There’s A Riot Going On, Bardo Pond’s Volume 8 is stitched together from jam excerpts and spare parts, but unlike Riot, Volume 8 is remarkably cohesive and propulsive. Even at its droniest and spaciest, there is no shortage of momentum or sense that Volume 8 is a collection of barrel scrapings to tide over the diehards; it stands with any of Bardo Pond’s releases. The guitars on “Kailash” and “Flayed Wish” howl and wail like Lear on the heath, while the rhythm section pushes on, determined as Sisyphus. Two shorter pieces, “Power Children” and the gorgeous solo guitar piece “Cud,” act as a brief respite before the entropic and monstrously heavy closer, “And I Will”. Musical improvisation is one of the best means we have of tapping into the murky world of the unconscious, and Volume 8 demonstrates that while there’s plenty of chaos and darkness down there, it’s also the source of inspiration and transcendence.

 Cut Worms — Hollow Ground (Jagjaguwar)

Hollow Ground by Cut Worms

Who recommended it? Ben Donnelly

Did we review it? Not yet...

Patrick Masterson’s take:

“Amid all the noise nowadays, there’s precious little that still makes me feel the way those peoples’ songs do, and aspiring to reach that level is a big part of what makes me do this to begin with.” This is Cut Worms’ Max Clarke in a charmingly earnest Medium interview last fall on some of his biggest influences – John Lennon, Bob Dylan, Lou Reed. Maybe you’ve heard of them; maybe you’ve heard of the level of cultural influence they have exerted on us all. And if you’ve heard the Alien Sunset EP that was released just after the interview ran, you’ll easily be able to see where Clarke was coming from in the time that he spent putting the homespun eight-track wonder together, splitting halves between Chicago and his current Brooklyn home. It’s a beautiful record that doesn’t overplay its hand, choosing instead to let the simplicity of his natural ear for a melody do the talking despite the humble recording quality. He was never going to reach the mythical heights of his influences plying away at that trade forever, of course, but his art was all the better for sounding so self-assured in its limitations.

Hollow Ground, however, is a Trojan Horse of the most exhausting variety. Those same reference points – the Beatles, Dylan, solo Reed – still apply, only here they spring forth in an aggressively augmented form with a backing band and a more fleshed-out sound that’s like saying, “Alexa, give me every pop music trend of the 60s at once” or, more accurately, like listening to someone too young to have experienced the decade but old enough to be familiar with its most basic cultural signifiers play an album’s worth of icons. How do we know? Check the new versions of Alien Sunset’s “Don’t Want to Say Good-Bye” and “Like Going Down Sideways”; they’re wholly different, coldly unlovable remakes of the intimate originals. Even his lyrics feel unconvincing; Clarke uses the pet name “baby” on 60% of the songs here, which, look: I don’t need to stare into a wordless void with Bill Basinski to feel something and there’s an evident surplus of genuinely touching heartache present, but that’s an affectation of the most irritatingly trite variety.

For a certain kind of person, Max Clarke is the perfect person; for that person, Hollow Ground will resonate simply, perfectly. I am not that person. I will never listen to this again – likely not individual songs, certainly not in full. Does that seem unduly harsh? Does it feel too personal? Does the cut worm forgive the plow? Guess we’ll see. Ask again when there’s a follow-up.

  Sarah Davachi— Let Night Come on Bells End the Day (Recital)

Who recommended it? Bryan Daly

Did we review it? No

Bill Meyer’s take:

Sarah Davachi puts out albums often enough that it’s hard to catch up, so please cut Dusted some slack for not getting to Let Night Come on Bells End the Day until now. The Canadian composer and multi-instrumentalist has followed All My Circles Run, an all-acoustic minimalist chamber piece, with an overdubbed solo recording for electric organ, acoustic piano, Mellotron and synthesizers. Like some ecclesiastic initiate, she has followed a solitary path to arrive at a place that is one with the cosmos. Her slow-morphing tones, incremental melodies, and exquisitely voiced harmonies don’t just sound like they should be played in a chapel; they erect a virtual space around the listener that only lets the ineffable through.  If Andrei Tarkovsky was still around, he might be writing a movie to wrap around these sounds.

  DJ Koze — Knock Knock (Pampa Records)

Who recommended it? Patrick Masterson

Did we review it? Yes. Jennifer Kelly said it “has a humid, organic air, even its most rigorously electronic tracks seething with jungle-y vitality and caressing warmth.”  

Ian Mathers’ take:

Like a lot of his peers, DJ Koze has been active and prolific for years without ever putting out that much in the way of “proper” albums, which probably goes some way towards explaining why Knock Knock, only his third, sounds so relaxed, confident and casually accomplished. With stellar vocal turns by everyone from Lambchop’s Kurt Wagner to folkie José González to Róisín Murphy (who’s rarely put her imperious purr to better effect than on the two perfectly-matched tracks she’s on here), 16 tracks in total and a lengthy running time, Knock Knock feels like a bit of a Statement from the producer. Which makes it maybe even more impressive that some of the best stuff here (like the sad jam “Pick Up” with its perfectly deployed vocal sample, or the almost-Avalanches style “Baby (How Much I LFO You)”) is just Koze without a high-profile guest vocalist. The whole thing has a friendly warmth and subtle propulsiveness that makes for compulsive listening; if this isn’t Koze at the peak of his powers, it sure feels like it could be.

 Tashi Dorji and Tyler Damon — Leave No Trace: Live in St. Louis (Family Vineyard)

Leave No Trace: Live In St. Louis by Tashi Dorji & Tyler Damon

Who recommended it? Isaac Olson

Did we review it? Yes, Isaac said, "While these performances are undoubtedly chaotic, they never feel purposeless.”

Justin Cober-Lake's take:

That guitarist Tashi Dorji and percussionist Tyler Damon have a limitless supply of ideas isn't surprising, but it's remarkable how well they've organized them into sensible packages on Leave No Trace: Live in St. Louis. Neither of the quarter-hour tracks here are exactly linear, but they do progress both coherently and unhaltingly. “Leave No Trace” offers the most noise, with the first half of the piece continuously crescendoing. The disappearance of one artist or the other simply means the soloist has more volume to cover. The pair spend the last two minutes together, Damon crashing away while Dorji sounds like two guitarists fitting blips together.

“Calm the Shadows” works differently. While not a suite, the song comes in sections, with Dorji and Damon filling in an outline as they go. The pair respond to each other, and work mutually on an unpredictable but discernable path. The slow build to the noisy section lets the chaos function as a thesis statement with the back half of the track the understanding of what to do with it. Dorji's pointed playing through that section answers the early rumble without making anything easier. Damon's sounds complete the thought. When “Leave No Trace” works so hard to slowly heap sounds before smashing through it all, the effect is amplified but the control of its predecessor. Dorji and Damon are a few albums in now and, while there wasn't much doubt from the start, they seem to be working in a rare place right now.

 Holland/Parker/Taborn/Smith—Uncharted Territories (Dare2 Records) 

Who recommended it? Derek Taylor

Did we review it? Not yet.

Jennifer Kelly’s take:

It feels like a math puzzle. How many distinct ensembles including duos, trios and quartets can be formed out of four musicians?  But hearing it in practice as master bassist Dave Holland, free jazz titan Evan Parker, pianist Craig Taborn and drummer-vibe-ist Ches Smith assemble and disassemble into improvisatory groups is quite another thing. “Trio No Tenor” on disc one takes a luminous shimmer from jangling metallic percussion, abstract interpolations of piano and the shape-shifting tone of plucked, hanging bass tones. “Duo Bass Tenor” on disc two is far more fluid and contemplative, as long bowed bass notes underline the fluttering explorations of sax; its two old friends finding space in each other’s musings, darting in to challenge and interject and locating points of agreement even in occasional dissonance. The quartets, though, are the most astonishing, (I like #5 from Disc 2), as extraordinary, unruly energies careen off one another, extemporizing, reacting, reaching over and in between each other in a dense mesh of sound that seems, nonetheless, uncrowded and precisely choreographed. Only three cuts were composed ahead, the rest worked out in two days of live improvisation. Uncharted indeed.

 Quin Kirchner — The Other Side of Time (Astral Spirits)

The Other Side of Time by Quin Kirchner

Who recommended it? Bill Meyer

Did we review it? Yes, Eric McDowell said: “ Kirchner sidesteps novelty and navel-gazing by putting pyrotechnics second to, well, music.”  

Jennifer Kelly’s take:

Kirchner leads from behind on this sprawling two LP solo debut, his drumming feverishly hot but held in check so that others — saxophonist Nate Lepine, bass clarinet player Jason Stein, trombonist Nick Broste and Matt Ulery — can take the spotlight. Interplay between the two reed players is intricately, acrobatically fine. In opener “Ritual,” Lepine jets off with Stein in hot, asynchronous pursuit, Kirchner executing a furiously syncopated undertow, part samba shuffle, part continually exploding roll. “Brainville,” the Sun Ra cover, swings and swaggers, bass and drums in arch, stylized conversation. Kirchner is, maybe a drummer’s drummer, but this is not a drummer’s record, except on two lovely, timbrally varied “Drums & Tines” tracks, where layers of kit rhythms and kalimba intersect in fascinating geometric patterns. Kirchner clearly reveres another band leader whose instrument didn’t always occupy the top of the mix; Mingus’ “Self-Portrait Three Colors” cuts the drums to brush-on-snares, while giving Broste a chance to wail, the two reedists to evoke lush dance-hall sensualism, the bassist to pluck out dark blots of body-moving tone. Kirchner is not the façade, but the architect and also the guy who holds up the building.

 Joelle Leandre & Elisabeth Harnik — Tender Music (Trost Records)

Tender Music by Joelle Leandre / Elisabeth Harnik

Who recommended it? Eric McDowell

Did we review it?  No

Isaac Olson’s take:

The best part of listening to improvised music is hearing the moment when the musicians lock in and the music takes on a life of its own, when the thrill of discovery dissolves the boundaries between performer and audience. There are many such moments on Tender Music, an improvised set from bassist Joelle Leandre and pianist Elisabeth Harnik. A few examples: the swelling tension that emerges at the one and a half minute mark of “Ear Area I,” the rising anxiety and tentative conclusion of “Ear Area IV”’s final minute, and the march that closes out “Ear Area VI”. Between these peaks, Leandre and Harnik evoke Cecil Taylor, Morton Feldman, blues, bop, classical and more, sometimes all within the space of two or three minutes. Fortunately, Leandre and Harnik are attentive enough players that their restlessness never comes at the cost of coherence. Leandre and Harnik are formidable soloists whose use of extended techniques coax ear-tickling, unexpected timbres from their instruments, but it is when they’re playing together, and more or less “normally,” that Tender Music is at its best, that the melodic and rhythmic invention of both players shines brightest, and that they’re able to speak to each other, and to us, most clearly.

[maxthommusic]

Own Tiny Space

Nihilism is a bitch. Or whatever version of it I've decided to adopt. Because, you see, I've gone to write on my blog probably hundreds of times since becoming Maxwell-Thomas and it's amazing how many drafts never get posted or how many posts don't even get saved -- spend thirty minutes crafting something just to go, "Nah, stupid."

Which it all comes from a nihilist point of view I've seemingly adopted in my thirties. I write something. Say some words. And when I'm done go, "Why post that?" Who is going to read this? Who is it going to matter to?

For a long time I really truly believed blogging was a powerful form of communication. I used to get comments on an old Wordpress blog that I was soothing strangers who just didn't want to feel alone. In fact, that's kind of what the promise of the Internet was back when social media really started taking off. It was this idea that you weren't solely reliant on friends you could make/run into IRL. You could drop into message boards, chat-rooms and other bizarre dens looking for mutuals. Now everything has become so self-contained and self-indulgent the process of connecting is actually a seemingly bygone one, imo.

You don't use the hashtags on Instagram to find friends. You use it to get more likes. And Twitter isn't about discourse, it's about yelling at one another. Facebook's also trite -- you don't connect with people hoping to be invited to their birthday, it's become a social norm. You meet people, you add them on Facebook, done, goodbye, see you never.

The crazy thing about the Internet is that it has so many corners, I'm very aware that the things I'm saying right now are already out of date, out of touch, and purely out of focus. And that's kinda where my nihilism comes from in the first place. The world has become such a vast place of expression and ideals that anything you say can be flipped. Loved that film? Someone has a great essay on why it's terrible. Think that album was too raucous? Someone has the defense it's too quiet. Everyone perceives things so massively different that your opinion is now solely your opinion -- fact has become blurry and writing a blog seems almost... useless.

Why spend so much time writing something that will sit in a void, maybe to be read by less than 10 people? Is there any gratification from writing? If I practice this craft will it help me in my current job? Get me another job? Help me blow off steam?

To be completely honest, I'm very successful at my job because of my understanding of speech and human emotion. I can read faces, discern tone and pick up on cues that are all very beneficial to my success in my field. Being a writer. Being an avid reader. These things are all beneficial. My quick typing skills are a must, my exceptional office prose makes me a delight to interact with... Has blogging been a boon for those natural talents?

Maybe not everything needs a higher purpose, how about that? Maybe sometimes embracing the fact that "nothing matters" is the best medicine for making it through the day. In fact, isn't the reason why we've stopped connecting online due to the sad reality we're all trying to gain something from our latest post instead of just doing it for the sake of human interaction? If you look cute enough maybe you'll get that sponsorship. If you start a podcast, maybe you can make money from advertising. If you play music, maybe you'll go viral. ETC. ETC.

If we back pedaled a little bit and remembered that social media is purely for "fun" and there's nothing greater to be gained from it, maybe things would be less hectic. Maybe it would be more enjoyable and not a cess pool of people trying to sell you things.

I'm totally to blame for this, too. I get it. I'm just playing the game. "Making it" with my music is possibly the most important thing to me in this life and I'll do whatever it takes (routes that are logical -- no reckless abandon here, sorry). But maybe it's time to lead by example and stop aiming for higher goals with social media. Maybe it's time to say goodbye to hashtags and stop caring so much about my official "brand."

Something I think social media has done a brilliant job of is highlighting local businesses. It's my favorite way to learn about vegan restaurants, indie shops and even cultural activities like festivals. Taking a photo and tagging the location is such an easy way to spread the word about amazing things. The only other road block is getting up and getting out there. But that's not so hard when your phone is in your pocket.

Actually, when I was in CA last we took almost 0 photos. I say that as a silly hipster badge of honor because it was proof we were just so in the moment, stopping to photograph it seemed almost inappropriate. Which I love having that experience because I'm always looking at my friends' instagram accounts going, "Man, they're having the time of their lives." But a candid conversation with one of those friends once revealed how their social media makes their life glamorous and it isn't always so. If you're stopping to take photos, how invested are you really, truly?

Sure, that's not the case all the time. Nothing is a hard truth. Nothing is black and white. But it could certainly allude to the reason why when we were all reconnecting on the West Coast, we just focused on the person next to us and in front of us. We just wanted to be present, making the real moment last as long as we could savor. And when I think of those relationships, I made them all organically. Without the help of the Internet. And yes, at the end of the day this is a post on the Internet about bashing the Internet and it's extremely narrow-minded. But there's something truth here, don't you think? And that's kind of where we're at. It's not about any big revelations and wide-sweeping generalizations that are true -- it's about the micro truths. The microcosms we form. It's about living smaller. In all ways.

Less energy. Less driving. More walking. More exercise. More local shops. More local restaurants.

What's true for me isn't necessarily true for you. And vice versa. And that doesn't make us enemies if our experiences don't line up. Everything exists in its own space. Its own, tiny space. Enjoy your neck of the woods while I enjoy mine. Hopefully we can continue to share those spaces with one another when we cross paths.

[theragamuffininitiative]

Hey, rags....I'm wondering if you could bestow some sage advice on me. Every once in a while, I tend to have these spurts where I'm just, well, lusting (for a lack of a more subtle word) after attractive men. I'm having one of those phases now that's lasted quite a long time. I know it's wrong and sinful, but at the same time, I don't feel bad because I'm single. I'm in my 30's and I've never had so much as a kiss on the cheek. I don't want to be physical physical, but my body wants something.

Hey there, friend. ❤︎

I think the first thing to do is pray. This may sound trite or impractical, but truly there is nothing more helpful than bringing our pains and burdens and sins directly to the cross. We’re going to be tempted and we’re going to sin in this life, but the closer we draw to Christ, the less of anything else we will want. And he is the only Person we can find true help in.

We all struggle with sin, and I’d wager most of us struggle or have struggled with lustful thoughts. This is an article I’ve found helpful. It’s written from a male perspective so a lot of the wording follows, but at its core lust in men and lust in women stem from the same source and end in the same results, so it all applies. There is nothing wrong with sexual desire within a marriage as defined by God. Human beings were created with companionship and even romance in mind. We see that from the first chapters in Genesis to Revelation and to the daily lives we live. The problem with our broken nature is letting Self enter and take over the equation, always taking the good and bending it away from God and toward ourselves.

I’ve started reading Gods at War by Kyle Idleman, a gift to me a few years ago. Idleman puts forth the same concept that the above article ends with: at the very root of sinful desire is another, seemingly archaic, sin: idolatry. We might not have little stone statues we worship, but every sin and every lustful attitude is a result of loving something other than, more than, God.

Unfortunately, there isn’t a magical formula to steer your thinking away from sinning, as much as every single one of us wishes there was.

But by focusing on God, his word, and obedience to him, your love for him will grow as you fight every battle, and his grace is boundlessly and overwhelmingly deep and sure.

I have no practice in bestowing sage advice, but I can point you to the best place to find some:

Lamentations 3:25-27 “The Lord is good to those who wait for him, to the soul who seeks him. It is good that one should wait quietly for the salvation of the Lord. It is good for a man that he bear the yoke in his youth.” This a verse is for singles. Granted, this passage isn’t talking about waiting for a spouse. It’s about waiting on the Lord. But that’s the point: the Lord is good to those who wait for him. He knows what you need. The preceding verses tell us “The steadfast love of the Lord never ceases, his mercies never come to an end; they are new every morning; great is your faithfulness. The Lord is my portion, says my soul, therefore I will hope in him.” Don’t think “How can I live without sex for another year or decade or two decades.” Think about today. The Lord has given you grace for this day and he will give you grace for the every subsequent day in which you follow God in the midst of unmet desires. 

Hebrews 2:17-18 “Therefore he had to be made like his brothers in every respect, so that he might become a merciful and faithful high priest in the service of God, to make propitiation for the sins of the people. For because he himself has suffered when tempted, he is able to help those who are being tempted.” Jesus was tempted, not as we are from a sinful nature. But there were external voices calling him to sin. Let us not underestimate the real nature of his temptations and undercut his sympathy and his ability to help. Jesus was hungry in the wilderness. He had a desire, a want. He was enticed to make the stones bread so he could enjoy the pleasure of food. But he told the devil, “Man does not live by bread alone, but by every word that comes from the mouth of the Lord” (Matt. 4:1-3). In our moments of sexual temptation, we need to think, “Flesh does not sustain me. Jesus does.”

Matthew 5:8 “Blessed are the pure in heart, for they shall see God.” This has been the most helpful verse for me in fighting lust and the temptation to sexual immorality. We need to fight desire with desire. Satan tempts us by holding out something that will be pleasurable to us. We aren’t tempted to gorge ourselves on liverwurst, because for most of us, it doesn’t hold out the promise of great pleasure. But sex does. Pornography does. A second look does. The Bible gives us many weapons to fight temptation. We can tell ourselves it is wrong, it is sinful, it will lead to bad things, it isn’t what I should do as a Christian. All of those are helpful. But the one weapon we rarely use is more pleasure. We need to fight the fleeting pleasure of sexual sin with the far greater, more abiding pleasure of knowing God. The fight for sexual purity is the fight of faith. It may sound like nothing but hard work and gritting your teeth–the very opposite of faith. But faith is at the heart of this struggle. Do we believe that a glimpse of God is better than a glimpse of skin? Do we believe that God’s steadfast love is better than life (Psalm 63:3)? We’d probably sin less if we spent less time thinking about our sins, sexual or otherwise, and more time meditating on the love and holiness of God.

Ephesians 1:19-21 “…and what is the immeasurable greatness of his power toward us who believe, according to the working of his great might that he worked in Christ when he raised him from the dead and seated him at his right hand in the heavenly places, far above all rule and authority and power and dominion, and above every name that is named, not only in this age but also in the one to come.” The great power that created the world, and saved us, and raised Jesus from the dead–that same power is now at work in you. We must believe that God is stronger than sexual temptation, sin, and addiction. If you believe that God brought a dead man back to life, you should believe that you can change. Not over night usually, but from one degree of glory to the next. Work out your salvation from sexual sin with fear and trembling, for God’s power is already at work within you.

[Source]

Let your heart’s affection and your mind’s attention be focused on Christ. And by “let” I really mean “very forcibly, in concentration, with a great deal of effort and focus.” Because it’s hard. But in the end, only Jesus is worth it.

Does that mean you’re doomed to endless struggling against this sin, and to loneliness without romance in a relationship? No, not necessarily. Again, love and marriage are good things ordained by our creator. But the love of God and the pursuit of him is the highest form and without it, nothing else can ever satisfy or save.

I’ll be praying for you, my friend. If you can, I highly encourage you to seek out a group or an individual who you can trust and confide in, and allow them to come alongside you to pray for and encourage you as well.

[fadedtoblue]

so what are your thoughts on elektra's arc in defenders

Wow, no way to give a short answer here, so I guess I’ll just jump in haha. Spoilers abound, obviously!

Overall, and there’s really no way for me to be truly objective about this gut response, but Elektra’s arc kicked all sorts of ass for me and I was thrilled to see her be given this level of focus in the storyline. I have to admit it’s not something I ever expected from the series. 

That being said, I think there were some definite mistakes made and things I wish they had done better…so let me run through a quick list of those, and then follow up with my list of highlights :).

Things that could have been better:

No significant Black Sky payoff. This was one of my biggest personal disappointments with the storyline. The limitations of the way they set up the Netflix universe leading up to this team up show really showed in this one…I have a feeling whatever they were planning for the Black Sky and the Hand in DD S1 got totally derailed by the time they got to Defenders, what with all the retconning of the Hand mythology to fit the K’un-Lun storyline. I’m not sure if this is because the individual shows had too much leeway with how they set up their individual character origins and storylines or how much input they get from high up to keep the plotting consistent…my impression was the former, and as a result, it seems like the Defenders’ writers were tasked to pick up all of the disparate pieces and just try to fit it into one semi-coherent storyline, with mixed results. Given how much they leaned into the Iron Fist stuff as a huge part of the Hand stuff, I’m not sure why they didn’t just retcon the concept of the Black Sky into one where it’s the Hand’s own Immortal Weapon…that would have been pretty easy and at least lends consistency if you’re going down that route in the story. Ultimately though, if I could have done it, I would have done a flashback scene (or I mean, even just someone monologuing about it, whatever) to Alexandra’s past where she actually has the prophecy / vision of the Black Sky. Like, that tidbit in the conversation between Gao and Alexandra was SO intriguing and it’s like, what does that even mean??? It would have been a cool way to better establish both Alexandra – show us why she became the leader of the Fingers, let her do some cool fighting / getting her hands dirty, AND provide some context on why she’s obsessed with the Black Sky and what she intended to do with one once she got it – as well as Elektra’s role in the context of being a Black Sky – give us some clarity on what it means to be one, define her powers / abilities better, and maybe even shed some light on why she was able to break out of her brainwashing (like maybe the Black Sky was never meant to be a weapon, but was meant to be something else, I don’t know). But I don’t write for the show so whatever, lol.

Elektra’s motivations after she kills Alexandra were way too opaque. I think a lot of people were rightfully confused at where her arc was supposed to go, which is totally fair given how it unfolded. I feel like we could have used one more episode to flesh out what was going on but ultimately, I think there were two issues: the progression on the slow but steady turnaround on her character may have been too subtle, and second, there just wasn’t enough time in the last two episodes to properly map out a way to sensibly show what her real endgame was since they basically needed her to stand-in for the face of the other side and help get the story rolling on into the final act. 

Here’s my general interpretation of what happened…

We know she was brought back as an empty vessel to become the ultimate weapon / killing machine for the Hand…I read a great description of this that compares Elektra’s resurrection as the Black Sky as the same as if you were to erase and reboot a phone, except this time you’ve unlocked EVERYTHING…this is the same for Elektra…she has these latent abilities that allow her to be an incredible weapon, but it took a very purposeful reboot to bring it out. Anyway, all is well and good until Elektra encounters a glitch in the programming…this glitch, of course, is Matt, and this tiny little crack in her system throws open the door to uncovering a side to herself that she had thought was lost…basically, her humanity. As she’s remembering / recovering, she’s also remembering what happened in her past life – and that was also used and trained to be someone’s weapon. That back then, just like now, she had no control and no say over her own life. And what she ultimately wants is to wrest back control from people who never viewed her as anything more than just an empty vessel for their desires, and to finally be able to control her own destiny. 

So this is why it’s significant that she kills BOTH Stick and Alexandra – they may have both felt genuinely toward Elektra and treated her as a surrogate daughter, but they also made her do terrible things for their own ends. Killing them symbolizes her wresting back her agency and I think, to me, clearly shows that she is on no side but her own. Taking control of the Hand was really not supposed to be the main point or anything permanent aka ‘look I’m a bad guy!!’, imo…but I think it was both a self-preservation move (you’re not gonna kill the head of the ancient ninja cult and then try to take them ALL down without securing an out for yourself first and working with them guarantees you some more time to do that) as well as a bit of a lazy storytelling way to slot someone in as the leading antagonist heading into the final fight. I think her conversations with Danny clarifies that to some degree, but not as much as I would have liked. 

The jump from here to the last fight is exactly why I think we needed one more episode of screen time to bridge the gap, but as to why she’d suddenly go from ‘I need to get more substance’ to ‘Let’s die here together’ – well, the whole last episode is setting up an impossible scenario for everyone involved. So we know the stakes are high and people gonna die. A newly independent Elektra without her humanity would have gotten everyone neutralized as quickly as possible and hauled ass out of that pit with some dragon bones and called it day. And that was probably her goal. But once the Defenders take the fight to the Hand in the bottom of the pit, and Elektra is face to face with Matt again…well, things get a little more muddled.

At some point, it seems that everyone left in that pit knows that they’re running out of time – Gao herself is so pragmatic about the damn thing that she doesn’t even attempt to bother getting out. I imagine Elektra has this knowledge too, and we know that she the one thing she doesn’t want is to go back to that dark place, to death…but the one thing that is perhaps a saving grace for her is that Matt is there too. Someone who can face the darkness with her. She probably thinks the only way to keep him there is to fight him, antagonize him, lie to him, but what she doesn’t realize is that he’s been ready this whole time to stay down there with her…and GAH, okay I gotta stop there. 

SOOO yeah, basically, I think there was a plan there, but the writers didn’t do a super job connecting the dots at the end, mostly b/c of the limited time to get the last act rolling…this is my interpretation and I’m sticking to it :).

Okay, now things that were AWESOME:

All of Elektra’s fights!!! Omg so one of my major annoyances in DD S2 was that it really felt like they nerfed Elektra’s skill level on the show. On the one hand I understood that she’s a much younger, impetuous presence on the show than she is in the comics, but still, she should have been able to handle Yazuka goons with no issues. If it took becoming the Black Sky to activate OP Elektra mode then well, I’M HERE FOR IT!! She was such a badass and I loved every single moment she was fighting someone on screen. Of course there were inconsistencies with her level of Black Sky amplified abilities, but then again, that was an issue with all of the heroes. But ughhh she truly became the fighter I wanted to see on screen. And all of her fights with Daredevil / Matt were particular delights. I spar best with you!!!

Elektra regaining her agency!! As I mentioned above, I don’t think the writers did the best job they could in executing this storyline but all I wanted from this show was for Elektra to really take control of her life again and SHE DID IT. Just like I had predicted in this post here. It literally went down exactly as I had hoped it would hahah. 

MCU Elektra inching closer to becoming comics Elektra. Okay so I had a lot of theories on how things were going to turn out for Elektra by the end of the show, my prevailing theories being based on what I thought I could expect from Marvel TV – either get the trite but not entirely unexpected ‘Elektra rediscovers her goodness and switches sides’ direction OR you get the ‘Matt angsting over Elektra but realizing she’s a lost cause and tries to kill her’ direction. My personal hope was that Elektra would wrest back her agency, ultimately survive the show (b/c killing her again would have been so dumb) and become a free agent, true neutral type of presence in the background of the Netflix Marvel universe, coming in to help bail out Matt’s ass from time to time on DD, but not necessarily having to operate in any romantic capacity, just a super skilled and reliable ally of Matt / Daredevil when he faces bigger antagonists. Given the unexpected level of Mattelektra in the show overall, I’m an optimistic fool and wondering if there may be more in the cards for them…but I’m not going to dwell too much on that now.

Elodie Yung!! The most awesome thing about Elektra’s arc was that we were blessed enough to have Elodie Yung cast as Elektra in the first place and the fact that she’s the head of the Mattelektra Protection Squad. I’ve always believed the role of Elektra could have become real hot garbage in a lesser actress’ hands but Elodie brings such thoughtfulness and presence to material that can sometimes be a little weak and potentially one dimensional. Her transformation over the course of the Defenders was such a treat to watch and I will love her forever. So yeah, I love Elodie as Elektra and I will love her as Elektra til the end of time.

AND THAT’S IT! Thanks for asking and making me write all of this out. This is a great way for me to continue emotionally processing everything that’s happened on the show lol. 

[marcythewerewolf]

Some Lord of Shadows Thoughts, In No Particular Order

I think Jace’s name is in this book more than Kieran’s which is obnoxious. Also every appearance of his was prefaced by a multi-sentence description of how gorgeous he was. This did not stop even when he showed up purely to be a dick to Kit. I officially hate book Jace now. He’s drunk the Kool Aid and he’s part of the Shadowhunter establishment and he’s insufferable so thanks for that book. ‘

Shadowhunters are a cult. Full stop. Sometimes it seems like the book has started to recognize this but then it backtracks and goes back to glorifying them. They’re so rich, they’re so pretty! Like, yeah, but they’re also super racist and hugely regressive and directly responsible for the suffering of thousands. Sure, they do some good along the way but so does Salvation Army, they’re still BAD. Look past all the glitter and propaganda and they’re just magical thugs who haven’t gotten past the middle ages and at this rate never will. The Blackthorn kids are better off without them. 

Kit is probably the most sympathetic person in the entire book and I do want him to run away and set up a pawn shop in Ohio? Save him from everyone but especially Jace. 

At one point his face was described as angular though, which makes me wonder if CC has seen a fifteen year old ever. You do it once, it’s justifiable, but most teenagers have a bad case of the baby face and saying other wise is ridiculous. This cheekbone addiction is getting out of hand. 

This book was so ridiculously heterosexual. Like, just such a pervasive case of unfortunate and tragic heterosexuality. So casual. So pointless. Magnus first gets brought up as “glittery”. One character thinks in all seriousness that you only get one dad. Gwyn is painfully straight for no apparent reason when faeries should and previously have been all sorts of flexible. It’s just... bad. 

The centurions are all kind of awful and I didn’t bother to learn their names. 

That being said, I did like the focus on Diana. She’s beautiful and amazing and brave and I love her. 

This is just blatant apologism for what happened to Anselm Nightshade. You set up a situation like that, you deal with the consequences of it, you don’t wimp out. 

The kids went to Faerie together and I am glad for that. They did just kill of Iarlath with no fanfare, but now his headcanon bf are chilling together and we got some follow up on Malcolm’s faerie ties so I’m not too mad about that. 

“Her old tutor, Katerina.” God, where’s my  Katerina spinoff. She has gotten no lines ever and because of that I love her. 

I do like anything with faeries very much but it could afford to be a little less fantasy and a little less chaos theory. The rest is just an issue of misplaced expectation. Obviously I like some of my interpretations better (killing girls is so stupid and outdated, an actual curse dooming him to have fifty sons all the time is maybe a twist) but other than that, nice worldbuilding, solid writing. 

Faeries! Gosh, I just love them so much. Faeries all the time, that what I want. 

The Unseelie King is super interesting. His kids are more trite, but hey, I love them anyways. 

On a related note, have I mentioned how much Gwyn just wants his big dumb teenagers to be safe and happy? Kieran and Mark aren’t even twenty and they need to take care of each other and not die. What a quality Faerie Dad. 

Some times these kids act dumb but i do not begrudge them it on account of them being children. 

The book got good about halfway through, which I appreciated. Kieran my sweet bratty boy, Nene the enigma, the courts, this is some good stuff I appreciate. 

What I did not appreciate was the killing off of Arthur. Like, come on. You’ve already done a disservice by magicking up your mental illness, you don’t have to kill him off too. A much more straight forward solution would have used the fact that Malcolm and Annabel were technically married, have his death revive her, then have confused Annabel and her angry zombie husband coming after the Institute, then Annabel realizing what was really going on and turning on Malcolm. Less in between steps. Failing that, ancient aunt they mentioned last book. 

Mark, Miach, darling, in fairness, the Seelie Queen’s lover very much did kidnap you. She was kidnap complicit. Don’t be trusting her. She absolutely had Sebastian’s baby. 

Memory loss plots are rather boring, but I recognize they do something for some people, so it might just be a cup of tea situation. Enjoy your memory loss then, friends. 

The Kieran/Mark/Cristina plot is juicy and I do like that but I want More Diana and Helen and Aline back and Answers first, you know?

One of the downsides of these books being about Shadowhunters is that it always comes down to the Shadowhunter heroes fighting and killing the irrational villainous Downworlder hordes which is Unfortunate. That conflict with Barnabas could have gone so much better. 

People need to stop trying to brainwash Kit with this Herondale stuff. People don’t go around calling me by my great-great great grandmother’s name and expect me to sit down and take it. Sure, we’re technically related, but that’s not how convention or basic politeness works. Your name is what you are raised with and more importantly it’s what you choose. His name is Kit and he’s a Rook until he decides, on his own without the constant pressure of adults, to be something else. 

As an extension of that? All these callbacks to the other book? They’re getting old and frankly more than a little annoying. 

Jessamine died in 1878. Edgar Allan Poe died in 1849. I’m telling you guys, the timeline just doesn’t line up. She wasn’t even born when Malcolm was young and building his house.

Kieran is a very impulsive boy who is already too invested in his Shadowhunter bf and gf. I don’t make the rules. 

I tried not to read too much into the Disaster Children literally burning down a church and having a weird intimate moment but they really are a mess. No laws, no holy lands, nothing but family, and nothing comes before family. I’m much more invested in them when they’re tearing down the establishment and making terrible toxic Wicked Powers choices. 

AIRMED WAS THE DAUGHTER OF MANNAN. This is basic people. Do your research. 

See, the memory loss plots always backfire unless you come clean. Lying never pays, kids. 

My Diana theories are more or less confirmed which I appreciate, thank you very much. 

I do very much wish they’d at least had the decency to leave bby Morgenstern a bby, that or go all the way and age him a few decades so you had a fifty something year old claiming to be Clary’s nephew. Much better than this cliche storm. 

I recognize that Annabel got a short shift in life, but so did Malcolm, frankly. The fact that he gets a life of torment and a horrible death at the hands of one he loved while she gets to wander off and live happily is a little concerning to me. Why do Downworlders not get to be happy? Downworlders, and Arthur Blackthorn, apparently, aren’t allowed to live nice, non-tragic lives, but pretty young Shadowhunters can get away with anything. At this point I would have preferred a disappointing end for Annabel. Get that good tragedy going. The Blackthorn’s clearly have a bad case of the Gothics they need to fulfill. 

Oh. OH. There we go. There’s the Blackthorn drama I crave. 

My sweet girl, my sweet girl Livvy. She’s coming back as a ghost, isn’t she?

So that’s about five hours. My record holds. The book wasn’t bad, it was just sooooo long. I feel like it could have used a ruthless editor with a really good grasp of the classics to clean things up a bit. Didn’t make me laugh as much, but that might just be a result of my evolving sense of humour. Drama got good nearer the last half of the book. There was some nice stuff in there. Overall, not a waste of five hours, and I’m not mad. Just please, someone de-brainwash these Shadowhunter children. They’re in a cult. Someone needs to tell them that they’re in a cult. Save Kit, he’s getting pulled in as well.  

[ascensionstories-blog]

Menace #37: Sunny Days

It was an almost unbelievably beautiful day. The sun shone high over New Monmouth City, and a comfortable breeze ran by as kids played in the town square, and people socialized up and down Main Street. Couples crowded the outdoor courtyards of restaurants to watch the busy city streets as they ate, conversing with a passerby whenever the situation arose. It felt, to most, like a day before the villains had shown, when New Monmouth City was pristine and safe. The city had a hectic air, but with a soothing undertone; it was just warm enough for the day to fade into a memory of another lazy-dog day.

Nate noticed this as he walked with Courtney towards City Hall. They were stopped — more than once — by old women speaking about how nice they looked, or couples reaching out for polite conversation. They were heroes, after all, and secret identities were a thing of the past for most, so they were almost like celebrities, in a way. The popularity was often Nate’s least favorite part of the job, but Courtney seemed to be eating it up, and he, unable to control himself, got swept up in her excitement at being recognized. The air got warmer as people stopped them on the street and, for the first time, Nate couldn’t tell whether it was Courtney or himself that was causing it. Even though he was already smiling, the thought made him smile. When they finally walked from the populated streets, she laughed loudly, a sound that seemed to come straight from her stomach.

He and she climbed the steps to City Hall, walking through the large wooden doorways beneath the cement frame, and entered into the third door on the left of the grand hallway, a wooden door with the black name card Jeremy Rhodes hanging on the front. He knocked twice before opening the door, then stepped inside, to see Mr. Rhodes at his desk, covered in papers, sitting across from a scholarly looking African American gentleman, who was wearing a brown-tweed jacket over a blue and white striped shirt. The gentleman looked to be in his early to mid thirties, Nate thought, but Nate was terrible at judging age. Courtney would have pegged the age at around forty, but she, for all she was, was no better at discerning age than Nate. Dr. Anstorm, the gentleman in question, was twenty-five, receiving a doctorate in fine arts at the age of twenty-three; he was considered one of the greatest minds of the generation.

“Oh, I’m so sorry Mr. Rhodes,” Nate apologized, “I’ll wait outside until you’re done.”

“Nonsense, we were just finishing up. Come in, come in,” Mr. Rhodes beckoned him in, filling the room with an uncomfortable air, as the room could only really hold four people, and the fifth entity it held, a monstrous amount of trash and paperwork, was a very imposing presence. “I was just speaking with Dr. Anstorm here about receiving his own Heroic license.”

“Oh?” Nate asked. “Congratulations, Doc. Welcome to the roster,” Nate said, awkwardly stretching out a hand (in the tiny space allotted) for the doctor to take.

“Thank you,” the doctor said, shaking Nate’s hand. “I look forward to working along-side you. I’ve heard a small bit about the Menace of New Monmouth City, you’ve made some headlines down in Amice. And you must be his side-kick?” He said, turning to the White Witch.

“Sure,” Courtney said with a half-fake grin as she pinched Nate on the side of his ribs, a little tradition she had implemented overtime someone referred to her as a side-kick. He made a small noise of pain, but kept on smiling at the man. “Glad to meet you. Have you decided on a hero name?”

“I was thinking of something like: Dreamscape,” Dr. Anstorm answered. “In any event, I really must be going; it was a pleasure meeting you.” The doctor stood, grabbing a briefcase that had rested at his feet, and hurried from the crowded room.

“Why don’t you have a cool hero name?” Courtney asked, turning to Nate.

“What, you don’t like Menace?” Nate replied. “It’s kind of dull, a little boring. Doesn’t really say anything about your powers.”

“Well, what would you prefer my name be? ‘Guy who is able to augment his strength and senses in increments after a set period of time?’”

“But now you could make it something awesome, like Firestarter or, or something like that,” Courtney argued.

“I think I’m going to stick with Menace, at least for a bit. At the very least it’s brand recognition, don’t you think?”

“A dumb brand,” Courtney muttered under her breath.

“Anyway!” Nate said, turning to Mr. Rhodes who had been watching with mild amusement. “I am here to give an update on my abilities.”

Nate walked alone down the winding road to the Chambers, a prison held underground used to contain villains who had proven, in some way or another, to be capable of super villainy, whether through magic, science, or other means. He heard his feet echo along the ground as he showed his identification to the front guard, allowing him to enter the first floor of the prison. There were a series of cells, mostly iron-bar, with despondent looking men and women recoiling from the walking hero. He walked slowly, examining every inmate, until he came upon what he was looking for, a face he recognized.

“Hi, Liam,” he said, sitting down outside the cell of the former Forge.

“Nate, I was beginning to think you’d forgotten about me,” he said, tritely, as his back remained against the back of his cell, sitting as far from the light as possible. “Don’t you think shoving me in here was a little extreme?”

“You killed a man,” Nate reminded him. “In front of his daughters.”

“It was retribution, his children attacked me.”

“They were little girls, Liam.”

“They laughed at me, Nate. They all did. I can’t hold a sword anymore. My superpower went from being able to create any weapon I needed, to being able to have two hands again. The bad ones, they take without remorse, why shouldn’t we?”

“Liam… no one was laughing.”

“Pity, then. Looking at me with pity.” “Do you know why I’m here now?”

“From the first portion of your visit, I can only assume it’s to lecture me. So continue, oh wise hero. Instruct me about the moral guidelines put in place by our betters. Dictate to me the ethics of myself having not been given a trial. Explain to me, in your infinite wisdom, why you’re allowed to beat me to the brink of death in the streets and escape with impunity, but I took it one step further and I’m here for life. Tell me, Nate, why the line is set where it is. Tell me, Nate, why some are allowed to cross the line — now and then — but I am not. Tell me, Nate, I’d like to know. Or don’t. It makes no difference to me; for the rest of my life I shall be what I am to you in this very moment. A fool in a cage, singing hymns to the deaf.”

“Well, I was going to come to lecture you, at first. But then I figured, what good would that do? Either way you’re still stuck in here. So I thought I’d bring you something, instead.” Nate reached into his pocket and tossed the former Forge a soda. “I wondered what you might be missing most from the outside, this was the first thing that came to mind.” The Forge began to laugh.

“Hero to the core, aren’t you?” He asked. “Where was this before, Nate? When I was practically screaming for help, and all you wanted to focus on was the little bitch-”

“Watch yourself,” Nate commanded, his eyes holding a powerful audacity.

“All you wanted to focus on was the little bitch and your missing sex-toy. Never mind a friend who lost his arm, his source of livelihood, his happiness. Why should you? Your twelve-year old might have stubbed her toe. Never mind an associate teetering on the brink of suicide. Why should you? It’s not like you can have sex with me if you save me. How heroic. How mind-numbingly, stupendously heroic. Go ahead, write them off as acts of love. Go ahead, do it. No one could blame you. But we both know what happens when you open your eyes and see the truth. It looks a lot like me.”

“I’m sorry you feel that way,” Nate told him. “I had another gift for you,” he grabbed from his pocket a small, metal sphere that he had taken from the Forge the night he had brought him in. “I’m sure you remember the Forge of Creation.” The metal sphere moved around in his hand, melding into a series of random shapes against his palm. “I thought you might enjoy that second hand back.” Liam looked at Nate, staring straight into his eyes. “I thought our talk might have gone differently. I’m sorry, Liam.”

“No, you’re not.”

“Who do you think the new guy is?” Beatrice Rivera asked her sister as they peeked over the roof of the New Monmouth candy shop. They had been staring down at the man who had emerged from City Hall, an African American man in a tweed jacket. He was walking almost carelessly, with a wide grin on his face.

“I don’t know,” Ruby replied. “Don’t you wanna get back to mom? She must be really worried.”

“She said we could stay out till 6 and it’s only 5:30, Rue,” she reminded her sister.

“Wait, who’s that?” Ruby asked as a man appeared — seemingly from nowhere — in front of the man who had emerged from City Hall. He had long hair and a small beard, with a small sports coat covering a black T-shirt and pants. The two men spoke for a short bit, the man in the tweed jacket apparently getting very angry, before the long haired man put a hand on his shoulder, and tweed-jacket-man began to scream.

“We gotta help him, Rue!” Beatrice shouted, then, in a blink, had vanished from the top of the roof onto the ground next to the man. “Get away from him!” She shouted to the long haired villain, who, looking disgruntled at the girl suddenly appearing, took a swing at her, landing a punch on the young girl’s face, and knocking her down, crying. Ruby flew down from the building to grab her away from the villain, but he had mysteriously disappeared. The tweed-jacket-man’s screaming was getting worse, and, as he screamed, waves seemed to pulse from his mind, shooting out into the sky and towards buildings, each one appeared to tear apart the air around it. Small rifts began to appear all around him, all with a strange image of purple waterfalls or flying lions or others. As one began to open over the girls, they felt a large gust of wind shuffle them away as a young girl, dressed entirely in white, landed across from the screaming man. Courtney ran to the man trying to talk to him, to soothe him, and as she did, a rift opened atop her. She was gone.

[jade-basicity]

Review for Game of Trolls

Today, we live in a Philippines torn between the horrors of its past and the fear for its present. With the dawn of issues such as th EJK and the resurfacing talk of Martial Law during the Marcos regime, for the modern youth, it’s not that easy to put these problems into perspective. We were born at a time before we could remember it, but were born in its aftermath. The Philippine Educational Theater Association, with their production “Game of Trolls”, sought to do just that.

“Game of Trolls” revolves around the life of Hector (TJ Valderrama), a modern milennial working for Bimbam (Vince Lim) the son of an Apo loyalist. There, he earns money by fighting against SJWs like his friend-zoned flatmate Constance (Galang Fernandez) by means of hacking, covering up Martial Law, and alternative facts under the pseudonym HecklerBelter on different sites. He also holds an angsty grudge against his mother, Nanay Terre (Galang Fernandez) who, ironically, also happens to be a former Human Rights activist during the Marcos Regime. After attempting to bury the casualties of the Martial Law under the “Cloud” (a software that masks information), he gets visits from ghosts of Martial Law past that open his eyes to the tragedy of Martial Law, and the falsities of his beliefs, in game shows and moving musical numbers.

I appreciate that it was a story that needed to be told. We cannot deny the reality of historical erasure. Many people beside me, and myself included were genuinely learning new things. But, having labeled itself as a “musical for millennials”, perhaps came a little to its detriment. It pandered too heavily to its target audience, and it showed. It assumes a lot of the generation it markets itself to, and sometimes dumps information on our shoulders as if a more sparse telling that did not require an info dump would suffice.

It at times (most evident through the unappologetic and sometimes

tiring use of pop culture sound effects) uses pop culture reference so much in an attempt to be relatable and hip to its audience that it risks being contrite. But, I still appreciated the other instances where pop culture is used cleverly as a lense with which to make martial law relevant to today.

That being said, I admired the play and its respect for its subejct matter. It was made in cooperation with the National Historical Commission, and it showed in how much facts they were able to teach us (or at times, simply tell us about, which is a huge difference).

I loved the main screen and the animation they utilized! I also ALWAYS appreciate PETA’s minimalist and yet creative set designs. They also used the theater to its full usability to tell the story, I loved the moments like when Nanay was talking about her experience during the martial law, how the sound effects were cleverly used to put us in the right astmosphere.

I also loved scenes Like the rap battle and the game show. The lines in these scenes were so artfully crafted, enjoyable, and yet directly addresses the problems, in a way I wished the rest of the script had consistently done. Whenever they explicitely spelled out the message they were trying to impart when it was already obvious, i found myself taken aback.

The play at times either treats us as one of two things: Ignorant angsty youth or smart individuals able to process complex information. This lead to an incoherence when it came to how they relayed the themes and messages. As I said, at times they found it necessary to spell out the message instead of visually telling the story??

I found myself disliking the romance portion (the one specifically crafted for the apparent sensationalism that creating for MILLENNIALS apparently required) the most. ESPECIALLY THE AMBIGOUS LGBT/GENDERFLUID CHARACTER WHOSE SEXUALITY WAS ONLY EVER PLAYED FOR COMEDIC PURPOSES !!!

NO, NOT ALL LGBTQ+ CHARACTERS NEED TO BE FLAMING SJWs BUT THAT DOES NOT MAKE IT OK TO USE A CHARACTER’S SEXUALITY ONLY AS A MEANS TO STAY RELEVANT, RELATABLE AND SO YOU CAN BRAG ABOUT HAVING REPRESENTATION. WE DONT NEED MERE REPRESENTATION, WE NEED ACCURATE AND M E A N I N G F U L REPRESENTATION.

I understand that they wanted to keep us engaged and through focus groups found out that millennials responded best to romances (though I believe personally that Filipino culture could tell you this, without having to focus-group it) It is not an excuse to make a romance that I saw as trite and shoe-horned in.

There were moments where the “kilig” was completely unearned. Especially when the graohics at the back unambigously spelled their relationship out for me, that i at first wouldnt have gotten. Their romance served no actual movement to the plot, it was so background and unnecessary. I WISH they didnt have those grpahics at the back that spelled it all out for you because then we wouldve had to genuinely earn and realize for ourselves the chemistry they have.

THEY CLEARLY LIKED EACH OTHER FROM THE START so we never have any moments where the two love interests build an understanding and a genuine romantic bond with each other because FROM THE BEGINNING they were already crushing hard on one another and the only thing left was to say yes. We never got enough actual time devoted to setting up their romance BECUASE IT WAS SO BACK BURNED, IT DIDNT EVEN NEED TO BE THERE! They couldve stayed friends and it would have been almost completely the same.

For the review: Maybe something like: Some quote from the creator about millenials tas “And that’s exactly what you’ll get, so dont expect it to be much more than the romance put in for millenials’ attention spans than they intended,”

they spent way more time HECKLING EACH OTHER ONLINE than as actual friends, much less love interests !!! The plot was also quite… unclear at times? Not because they werent being explicit (THEY WERE) but beause the flow and the tonal shifts of each scene were so drastic that at times they were left feeling like two peices of completely different parts of the story.

We would go from crying to kilig to laughing in no time flat. We had no scenes where we were left to just appreciate the serene BECAUSE THERE WAS ALWAYS SOMETHING HAPPENING. Which is good for spectacle, but breathing space is something we would appreciate.

also, you cant be primarily motivated by angst and apathy. These are thibgs that usually lead one to non-action rather than TAKING A JOB AT THE ACTUAL MOST POLAR OPPOSITE THING YOUR MOTHER STOOD FOR. His motivation was to be a horrible person to his mom.

That does not make for a good and likeable character. What saved him though, were his jokes, and the humor thatvthe script peppered around him. As well as the excellent acting that hid the character flaws well.

THE VILLAIN HAD NO ACTUAL PERSONAL MOTIVATIONS. the script lacked an awareness of how motivation works in real life, so they created characters with often flimsy motivations that did things simply because the plot or situation called for it rather than because of any decision they conciously have to make.

MOST OF THOSE ACTUAL DECISIONS where made before the play even started, so this device that couldve been used to visually show character was instead poured into actual monologued lines. SHOW DONT TELL.

But ultimately, it’s something we had to see, especially for those of us with little to know knowledge on the Martial Law, it really helped but the play into perspective.

It did what it was set out to do, show Martial Law’s horrors while also being appealing to millennils. At its core, that’s what matters the most.

I remember my classmates and friends gushing about the play with fondness as we went put of the cinema. For all its flaws, it was able to imbed itself in the heart of its target audience.

It did not skirt around the issue with deep allusions and metaphors, it showed us how it was without holding back. And, in true José-Rizalian fashion, bared Martial Law out for everyone to see. And for that, I leave it a good 3.5 star rating and a hope to rewatch it again, that I may perhaps understand more and appreciate it.