#its the only way to get character growth and plot developement

[anneapocalypse]

On Wuk Lamat, and Female Characters in FFXIV

The Thing with Wuk Lamat is you can tell me you think she had too much screentime; you can give me numbers on how many lines she had or how many scenes she's in relative to other characters or other expacs; you can prove to me "objectively" that she gets more focus than other main NPCs; you're simply not going to convince me that this is something I should be unhappy about. And not just because it's silly to think you can use numbers to prove a story is good or bad and make someone else go, "Wow, you're right, let me just throw away all the joy I experienced with this story and revise my opinion because you've scientifically proven to me that I'm wrong."

Because while I love Final Fantasy XIV and I have greatly enjoyed its story in so many ways, fundamentally one of my biggest beefs with this game has been how much female characters have been denied complex character arcs and growth and agency and interiority.

Minfilia gets treated as a sacrificial vessel who lives for everyone but herself and doesn't even get to have feelings about her own death because that entire arc is focused on a male character's angst about it instead. The game tells us in the Heavensward patches that Krile sees Minfilia as her best friend and then just forgets about that later and never follows up on what that loss must have meant to her. Ysayle is basically right about most of what she's fighting for but harboring a bit of self-delusion is apparently such a terrible sin that she has to pay for it with her life, while her male foil is deemed so worthy of salvation that there's a whole plot point about how important it is that we risk our lives and others' lives to save him. Y'shtola is a major character who's been around since the beginning, and the game keeps dropping maddeningly interesting things about her (apprenticed to a cranky old witch in a cave! saved her own life and the lives of her friends with an illegal and dangerous spell and it worked! reserved and undemonstrative yet regularly through her actions reveals herself to be deeply caring! disabled!) and then shows complete disinterest in following up on any of those things with the kind of depth and care shown to male characters with complex arcs like Urianger.

In general there is also a repeated thread of female characters being portrayed as weak or overly emotional: Minfilia is weak because she doesn't fight and needs to be eaten by a god in order to gain "a strength long sought." Krile is portrayed as not being able to pull her weight with the Scions (despite the fact that she actively keeps five of them from dying in Shadowbringers) and the only thing they could think of for her to do in Endwalker was be yet another vessel for Hydaelyn (hmm, that sounds familiar) and it's not until Dawntrail that she gets much actual character development in the main story and even that has to come alongside "Look, she can fight now so that means she's useful." (And I love Picto!Krile, I'm just saying, there's a pattern.) Alisaie, despite having very good reasons for needing to find her own path apart from her brother, is portrayed as having to prove herself when she returns, that she's "not the girl she once was," and "will not be a burden" (while Alphinaud is repeatedly given the benefit of the doubt and reassurance and affirmation from other characters even after he takes on responsibilities he isn't ready for and fucks up big time).

And if you follow me you know I adore Urianger, and I love Alphinaud and Thancred and Estinien too, so please don't misunderstand what I'm saying here! I'm not knocking those characters, or saying we shouldn't also love them. I just use them as a comparison to demonstrate how the female characters have been neglected.

Lyse has some of the stronger character development among the female Scions, and while she's still kind of portrayed as being too emotional and hotheaded in early Stormblood, I think it's actually explored in more depth in a way that I like; Lyse has good reasons for wanting to fight for her nation's freedom, but having been away from Ala Mhigo for several years now, she needs to understand the stakes for the people who've been there fighting for years, what they've lost and still have to lose. She grows as a person and rises to the challenge of leadership, and I'm even okay with the fact that she leaves the Scions afterward because it feels right for her to stay in Ala Mhigo, and at least she doesn't die.

And by all accounts she was, like Wuk Lamat, widely hated when her expansion came out.

Unironically I think the other female Scion with the strongest character arc is Tataru. She tries to take up a combat job, finds that it's not for her, and decides to focus on where her strengths are instead. In doing so, she both holds the Scions together as an organization in the absence of a leader by capably managing their finances, and also comes into her own as a businesswoman and makes international connections that benefit both the Scions and her personally. In contrast to Minfilia, she's not portrayed as weak because she doesn't fight, and is actually allowed to be an important character who's good for more than being sacrificed. Tataru is still distinctly in a supporting role for the player character, however, and her character arc happens as a side story that takes up a relatively small amount of screentime over several expansions, which I think is probably why she doesn't evoke such a negative reaction.

But there is a pattern of the game's writing showing disinterest in the interior lives of female characters generally, and in making their growth the focus of a story.

So yeah, I'm going to be happy about Wuk Lamat! I'm going to enjoy and celebrate every moment of her character arc, of her personal growth, of watching her put the lessons she's learned into action. I'm going to love and treasure every moment when she gets to be silly, embarrassing, emotional, scared, grieving, confused, upset, seasick, impulsive, and still deemed worthy of growing into a hero and a leader. I will love her with all of my soul and you simply will not convince me that it wasn't worth the screentime after such a profound imbalance for basically the entirety of the game. We've never had a major female character get such a strong arc with this much love and attention put into it and that means more to me than I can truly say. The backlash to it is disheartening, as this kind of thing always is, but I'm not going to let it ruin the wonderful experience I had playing it and how much joy it continues to bring me.

And for those of you who don't want any of that for a female character, thank goodness you have Heavensward and Shadowbringers and Endwalker and no one can take those away from you.

(And if you follow me you know that I love Shadowbringers and Endwalker and have very fond memories of Heavensward despite some issues with it, so not only can I not take that from you, I am not trying to!)

Some of us have been real hungry for a character like this with an arc like this, so, I think, y'know, maybe we can have that. As a treat.

[bestanimatedmovie]

Choose your favorite!

Vote in the other polls!

What fans say:

The Lorax:

Spider-Man: Into the Spider-Verse:

It had a very big impact on meme culture. And a really catchy soundtrack. Plus it has the silly sexy green man. What more could you want from a film.*

The Once-ler and the let it die song. This movie is glorious.

It is legit the mother of all great animated movies nowadays. From Mitchells vs the machines to the new mutant mayhem movie! The plot is so good and you can really see character development from almost all of the characters, plus the designs are BANGER.

THE MUSIC?? TOP FUCKING TIER. THE CASUAL DIVERSITY? IT ALSO HAS LITERALLY THE BEST SHOT IN CINEMATIC HISTORY (Miles rising after taking his leap of faith)

BRO THE ANIMATION IS SO SICK. The amount of sheer effort put into this movie is insane. The character growth was so amazing to watch and such a great movie to analyze. Best scenes are obviously the leap of faith. Actually gorgeous. And also the scene where aunt May sees Peter b after her Peter died. Her “you look tired, Peter” is just so heartfelt

Where the hell do I even start. The visuals are incredible and the plot is engaging. Every scene is perfect.

This film has EVERYTHING. Humor, action, inspirational scenes, kickass music, absolutely killer animation, an art style that is an homage to comic books, loveable characters, a talking pig, DR OLIVIA OCTAVIUS, I could go on

This is the best superhero movie ever made, the leap of faith is one of the best movie scenes of ever

The animation style is better than all the others, and makes the movie funnier too! The representation is also good, and the romantic storyline isn't too prevalent in the movie. Probably the best animation Marvel has made. My favorite scene is when the villains show up to Aunt May's house -- its my favorite fight scene!

I’m sure this movie’s been submitted already because it’s arguably the greatest animated film of all time. I have a personal connection to it because I saw it in theaters on opening night with my late father, and we both loved it and I still do. The animation is revolutionary and it’s one of the only 3 movies that make me cry.

gsksvbsvsbsvs I love everything about it, I love the animations, the story, the soundtrack also the style of animation AAAAAA its so beautiful its art it belongs in a museum i get goosebumps everytime I rewatch it

It’s just so good. All the characters are amazing and I love Miles dad. It’s hilarious and sparked my love for spider-man. It’s such a sweet movie about finding yourslef and has such a powerful message. I totally recommend it so I’m not adding spoilers, but like. Ohhhh, it’s so good.

Interesting villains, well-developed character arcs, a fresh take on Spider-Man, unique use of animation, funny, good use of multiverse that adds to the nature of the story being told, complicated character dynamics

It's the best animated movie because A: it takes one of the most well known comic characters of all time, kills him off in the first few minutes, and then shows you every cooler version of him. B: Has a large amount of representation in its main cast, considering that they're all versions of Spiderman, and that requires a white guy by default. C: everything in it is so well done I can't pick a favorite scene, but the most iconic is the jump off the skyscraper window.

The animation is incredible, the movie has so much story and heart, and there’s a perfect balance between humor and seriousness. And the soundtrack slaps

This is probably the best animated film I've ever seen. The animation is definitely the highlight, the way they blend comic book art styles and 3D animation is an absolute joy to look at and is so overwhelmingly creative, every frame of this movie is gorgeous. The impact this had on the industry is undeniable, as we start to see more and more movies getting more creative with their animation styles. It's not just the animation though. All of the characters are entertaining, all of the jokes land and the story is really well done. It leaves me blown away every time I watch it.

This movie kind of changed the western animation industry from the ground up. Apart from being expertly written, funny, and heartfelt, it is also stellarly animated, with a unique visual style that takes direct inspiration from the comic books it adapts and mixes 2d- and 3d-animation in a way and to a degree that hadn't really been seen before in western mainstream. Its critical and monetary success paved the way for mainstream 3d animation to open up to new and excitingly stylised movies that were like a breath of fresh air between the generic Pixar-style animation that had been the largely unchanged norm in the industry since Toy Story circa twenty years earlier**. ITSV divides the screen like panels on a comic page, it uses dots and lines for shading and gradients, doesn't shy away from lowering framerates for stylisation, and makes liberal use of onomatopoeia, both to comedic and dramatic impact. Impact frames and SFX are often hand-drawn and stunningly colourful, and even the simple dialogue scenes astonish with an expressiveness and realism in their depiction of emotions that makes me rewatch a two-second scene of Miles laughing fifteen times in a row. My favourite scene has to be the What's Up Danger scene, the emotional climax of the movie. Set to an absolute banger of a song, it is the moment the entire film has been building up to. I won't spoil anything plot-wise in case you somehow haven't seen this movie, but both from an emotional and a visual standpoint it is Fucking Dope. Conclusion: Spider-Man: Into the Spiderverse is my favourite movie of all time and I could talk about it for hours. If you haven't seen it, go watch it. Thank you.

Have you SEEN the Whats Up Danger/rising and falling scene? it's a work of art that makes me fall in love with storytelling all over again whenever I see it. Also the impact that it's had on animated film is absolutely being felt at current, if incrementally. Incredible film.

It has an amazing art style based on comics and mixed up due to genre differences. It's really fun and the characters are great, even the side ones. The story line is great and I love Miles and his family.

*Mod note: errr, quite a lot more than memes and music actually

**Mod note: amen

[linkspooky]

Megumi Will Start the Merger Theory

You heard me. I know this sounds wild and out of left field, but it's just a theory. A Jujutsu Kaisen theory. I fully acknowledge it might not happen, but please stick around long enough for me to argue why I think Megumi's character may go in this direction.

This one is for all the Megumi corruption arc truthers out there. I came up with this theory when it became clear that saving Megumi from Sukuna's grasp was going to be more difficult than just giving him a motivational speech, or punching Sukuna until their souls separated. Furthermore, I believe that Jujutsu Kaisen's manga won't end with the defeat of Sukuna. There will be one more curve ball thrown at us by Gege in the late game, and this is me trying to anticipate the pitch before the baseball hits me in the face. Underneath the cut I will speculate on the direction that Gege may take Megumi's arc, the relationship between Sukuna and Megumi, and Yuji's role in the finale.

What is a Corruption Arc?

Before digging in too deep I want to explain what I mean when I say I'm a Megumi corruption arc truther. A character arc is a story arc in regards to a character where a character changes from beginning to end. That's the most basic definition, arcs can be more complex, some arcs are actually inversions of the standard character arc where a character is defined by his lack of change.

However, those still need some element change, sometimes characters around them change to show contrast. For example, Eren is a stagnant character from beginning to end in Attack on Titan, but characters like Mikasa, Armin, Jean all grow up to show by comparison how little Eren has grown. Sometimes circumstances change around a character, and their lack of growth is a failure to adapt to those circumstances.

A character arc requires a change, but it's not necessarily a positive change. Often called negative character development, these characters regress instead of grow. This happens in many ways. One of the most basic examples of a character arc is a want / need arc. A want / need arc shows an emotional hole in the protagonist's life that needs repairing and how resolving the plot allows them to fill that hole. The protagonist usually knows what they need, but they know what they want, and often what they want won't actually fix them.

For example if I'm feeling sad I want to eat donuts to lift my mood, but what I need to do is learn healthier ways to work through my negative emotions. A character who keeps pursuing what they want, instead of realizing what they need won't grow, that's negative character development.

That's just one example though, Gege gave us a blueprint for a corruption arc in Hidden Inventory.

In Yu Yu Hakusho the character Sensui (directly cited by Gege as his inspiration for Geto in an interview) once was a spirit detective like the protagonist. No one describes him as corrupt from the beginning, in fact he's constantly described as more pure and upstanding than delinquent Yusuke Urameshi who likes getting into fights. He has a strong sense of justice, but rigid black and white views that come with it. Once he's confronted with evidence that directly contradicts his demons bad, humans good paradigm he cannot cope, and the narrative all but states Sensui's purity traditionally a good trait corrupted him because of his inability to adapt and his rigidity in in his beliefs.

Sensui goes through a corruption arc, albeit one offscreen and mainly referred to in backstory.

Geto's happens onscreen in its own story arc where he is one of two main characters. Much like Sensui he's presented to us as a sorcerer like Gojo, but unlike Gojo he believes sorcerers are obligated by duty to protect non-sorcerers who have no way of fighting against curses. You could argue that in some ways Geto and Gojo are the same type of jerk, but Geto's principles are clearly set up to contrast Gojo who at that age only was a sorcerer to flex his abilities. Geto's friendship often has him lecturing Gojo about respecting others, paying special attention to Gojo's feelings in ways that other characters don't, and also not being afraid to clash with Gojo over differences in morals.

If Geto is corrupt from the beginning there's no arc there, so he's clearly set up as being the moral fiber to contrast Gojo. We are literally presented with a scene where Gojo admits he could kill the non-sorcerers who hired a bounty hunter to assasinate Riko and feel nothing, and relies on Geto to make a moral judgement in his place, that society will already punish them and their slaughter is pointless.

The irony is that later, Geto will engage in pointless slaughter killing an entire town in retribution for their abuse of Nanako and Mimiko. When Gojo confronts him about his actions, Gojo cites the same reasoning that Geto provided him to stop him from killing the cult members.

That Geto's murder of innocent civilians is pointless, because it won't achieve anything - his world of sorcerers is out of reach. Geto's clearly positioned as Gojo's moral tether, because he cites Geto's statement of only killing when there's meaning to it right back at him.

This is also where the corruption part of his corruption arc comes in, a change has taken place here. Geto hypocritically contradicts his earlier words, not just engaging in meaningless slaughter but also punishing people with his own hands instead of letting the justice systems in place take care of the punishments. Two things he held Gojo back from doing, only to do himself post corruption arc.

You could cite many things as the reason for Geto's corruption arc, but the common theme shared with Sensui is resistance to change. Geto saw the world in two distinct categories strong / weak, the same way Sensui saw humans good / demons bad. When Geto is shown that weak people are capable of bonding together to oppress strong people (the cult) and that sorcerers despite having strength are on the losing end of their society (they are expected to risk their lives and toil endlessly for curses 99% of the population can't even see), he cannot cope.

He especially cannot cope with the reality that Rika's death showed him, that he is not strong as he once believed. All of this combined leads Geto to double down, still seeing strong and weak as separate categories but now blaming normal citizens for the inherent corruption inside the Jujutsu World. Notice how Gojo a character with positive development seeks to reform from inside the Jujutsu World instead.

Geto also still wants to think of himself in the strong category, rather than facing the feelings that Riko's death and his helplessness in that moment gave him, as well as Gojo pulling he instead decides to double down on the idea that he's in the strong category, that he's superior.

Geto even remarks jealousy at Gojo's godlike power for the first time, when before this he's always been the only person to treat Gojo as an equal - because Geto doubling down on his superiority complex begins imagining himself above others and therefore untouchable by trauma. It's also a grab for agency, because in this world sorcerers are rather agenciless, forced to be cogs in an unfair system. Geto incorrectly assumes agency = power. If he possessed Gojo's power he would be able to grab his agency back (which is simply incorrect because Gojo is one of the most agenciless characters in the manga, defined by his rigid role as the lynchpin of society).

Geto also doesn't mature. A mature adult lives in the world, and accepts that the world is imperfect. Geto is remarked as childish, first by Shoko when they are smoking together "sulking because no one understands you... sounds awfully childish if you ask me", and then by Yuta "You think you're a god? You sound like a kid!"

So we have, refusal to grow up, refusal to adapt to a complex world, resistance to grief, and grabbing for agency and power instead of fixing an issue inside himself - all of these combine to make the Jenga Tower that is Geto Suguru collapse.

The central question of Geto's arc, spoken by Gojo to Yaga is "Is it possible to save someone who doesn't want to be saved?"

If Geto refuses all help, refuses to admit that he's wrong, and does not want to change then what really can Gojo do in this situation? Was he right to give up? Did he give up too early, refusing to kill Geto but also spending ten years just ignoring the problem until Geto attacked in Jujutsu Kaisen Zero? Did it not matter what Gojo did because ultimately Geto's choices are his own?

There's no clear answer, because it's a question the author is asking the audience to ponder. It's also a question directly set up for Megumi to answer, because when Gojo is unable to do a thing for Geto we see his next action is to seek out Megumi. His words imply that he sees Megumi in Geto and advises him not to be left behind, he also clearly became a teacher in order to not let what happened between him and Geto repeat in the next generation.

In spit of Gojo's best intentions, he's not able to protect Megumi from any of Sukuna's designs toward him, or basically anything that happens in post Shibuya's. Simply raising Megumi to be strong, did not prevent him from suffering trauma in his youth on Geto's level.

There's even a deliberate parallel, they both witness the death of an innocent who they promised to protect (Tsumiki, Riko Amanai) and they both have had their body taken from them, Geto's corpse is turned into a literal puppet to help advance Kenjaku's plans, Sukuna steals Megumi's body in order to revive himself in the modern era. They're both even used as tools against Gojo, Kenjaku uses Geto's body to awaken memories in Gojo and complete the sealing. Sukuna uses Mahoraga to learn the world splitting slash that cuts through Gojo's defenses.

Megumi also has a set of values that society spits in the face of. Megumi wishes to selfishly protect his sister, and pick and choose who to save. Geto believes the strong are obligated to protect the weak. Geto sees weak people who are corrupt and not worthy of his protection and also the reality that sorcerers are the exploited class, Megumi is forced to kill Tsumiki with his own hands.

These are intentional narrative parallels to show the risk of Megumi may walk the same path as Geto, especially since Megumi is in many ways a pure child like Geto himself.

Dark Phoenix Arc

There's one more corruption arc I want to compare Megumi's too, to give some idea of where I expect Megumi's arc to lead.

The Dark Phoenix Saga commonly refers to the story in Uncanny X-Men #129 - 138 of Jean Grey’s corruption by the power of the Phoenix and the Hellfire Club. It was considered incredibly shocking for its time. One thing to note is while Jean Grey is famous nowadays, in early X-Men she was the weakest character and her role was basically limited to “The Woman” of the team.

Elevating the helpless damsel woman to the most powerful member of the team, if not the entire universe and then having her turn evil had never been done before. It was a jaw-dropping shock at the time. 

The reason I am citing the Dark Phoenix arc as an example, is because both Jean Grey and Megumi's character arc revolves around themes of agency, how it's stolen from them and how they reclaim it.

The basic summary of the Phoenix arc is that Jean Grey is initially given a massive power boost when she's possessed by the Phoenix. She stays behind on a crashing ship only to be saved by the Phoenix, a guardian, alien entity of immense power that was locked away in a crystal. Jean Grey returns as Phoenix with a massive power boost, but there's several ambiguous elements that compromise her agency. It's implied that Jean Grey always had a tremendous power that was in part sealed away by Professor Xavier using his telepathy (infringing on her agency) and that while the Phoenix gifted Jean Grey power, it's also an alien entity effecting her mind and body.

On top of that when she acquires the power, outside forces begin wanting to manipulate Jean in order to gain her power for their own ends.

A group called the Hellfire club begin to psychically tamper with her mind. They trap her in hallucination world where she is a woman of the 1800s, (not famously known for their agency) and in love with the leader of the Hellfire Club, even going so far as to give her false memories in order to convince her that this is reality.

The concept of agency and how it's constantly infringed upon, even by someone who's supposed to be on her side (Xavier) is central to this arc. Jean evetually escapes from the Hellfire club's manipulation, and reclaims her bodily autonomy but the story does not end there.

The subtle changes in Jean's behavior still continue, even after Jean has freed herself from the mind control. Is this the result of being given too much power at once? Is Jean losing control because she was never taught to properly handle her powers?

Jean Grey is also the character with the strongest potential in the main cast (much like Megumi) and also a character who's been prevented from using her powers to their full potential and even had her powers stolen and used by others (Much like Megumi).

It's heavily important that Jean's corruption into dark phoenix happens after freeing herself, and in response to the Hellfire club's machination to take all agency away from her. Jean instead makes a grab for power and agency by abusing her power as Dark Phoenix.

Jean even mentions that turning against her friends and trying to kill them as Dark Phoenix, will sever the last tie holding her back, will get of Jean Grey for good and cause her to fully embrace being Phoenix.

Jean has flipped entirely, overembracing the power and agency that has been stolen from her again and again, but really how could someone not desperately try to take back control of their lives after being mind controlled or having their mind violated multiple times (the phoenix itself, the hellfire club, even by Xavier).

How can someone never allowed to use her power, or given choices on how to use her power, not be corrupted when after being stepped on all of their lives the power of a god is dropped into their lap?

This is why I believe Megumi will be the one to initiate the merger, because his entire arc has been about having his power stolen away from him and what would Megumi do when given total power over the merger by Kenjaku?

Megumi Corruption Theory

The biggest piece of evidence for this theory is right here, Kenjaku specifically says to give Megumi Fushiguro the authority to start the merger.

There's a technical reason for this, Sukuna is currently in Megumi's body, and Sukuna himself was actually registered in Yuji's place because Yuji was built by Kenjaku to be a cage for Sukuna.

However, it can also be read as foreshadowing. If you believe like I do that the merger has to happen, then Sukuna can't be the one to initiate it. The simple reason why is that the main characters will have to be alive to fight against a merger, and Sukuna has set the condition that he'll start the merger after killing the main cast in order to motivate them to fight him with everything they have.

If Sukuna is going to start the merger after killing all the main characters, then he can't be the one to start the merger because the main characters have to be alive to witness the merger take place and fight against it somehow.

Therefore, logically if the merger is going to occur the only person who could possibly activate it is Megumi Fushiguro after reclaiming his body.

There's more foreshadowing then this one instance however, and a lot of it revolves around Sukuna and Megumi's unique relationship and Sukuna's role as a character.

As for why Megumi would possibly start out the merger, it's the same as Jean Grey, a character denied of agency suddenly has all the power in his hands, who wouldn't be corrupted? Especially Megumi, a character who's just been robbed of his sister and his mentor, and his purpose in life besides that (protecting Tsumiki)? Why wouldn't he lash out if suddenly given the power to? His friends are trying to save him yes, but Megumi is begging those save friends not to save him to end it all.

How do you save someone who isn't prepared to be saved?

How is the story going to answer that question, if saving Megumi is a matter as simple as just beating up Sukuna and giving his body back to him?

Onto analyzing more foreshadowing, but first a brief tangent on the nature of foreshadowing in Jujutsu Kaisen. Every major twist in the manga is foreshadowed far in advance. Kenjaku beng the one to possess Geto's body - foreshadowed by Kenjaku killing Mechamaru when Geto was against killing young sorcerers, and the fact Geto was deliberately killed onscreen with no explanation provided to the audience on how he could possibly revive.

Sukuna calls the purpose of the bath to be near evil, to submerge Megumi's soul.

If saving Megumi is just a matter of ridding him of Sukuna's possession however, then how does that allow Megumi to reclaim his agency? What agency does a damsel in distress who just exists to be rescued have?

Megumi's entire arc has been defined by the potential power that everyone sees in him, and his inability to reach that power especailly since other characters (especially Sukuna) seek to steal that power for their own ends. In the culmination of this arc, Sukuna literally steals Megumi's body, and his bodily agency.

How does Megumi finally live up to that potential if Megumi's arc ends with him being saved by Yuji? How does this make Megumi grow or change in any way?

Sensui, who is once again Gege's model of a corruption arc is referred to as a pure angel that was inevitably grew scarred and defiled, by his close personal confidant Itsuki. Not only that, but sinking deep into despair made him grow stronger not weaker.

Itsuki is also, a demon who met and encountered Sensui and then took a deeply invested perosnal interest in watching Sensui be corrupted in real time.

Megumi also has a curse that took a sole interest in him because of his talent and potential, then had a hand in bringing him closer to evil in order to make him sink into despair. There's once again the symbolism of purity being corrupted.

This panel explicitly shows white lilies (symbols of purity) being torn apart and blackened to symbolize what Sukuna wishes to do to Megumi in order to further is own ends.

There's also the heavy budhist symbolism with Sukuna's role in the story, and the way he influences the rest of the cast, especially Gojo Satoru who is our stand-in for the Budha. If the goal of Jujutsu Society is to attain enlightenment (escape cursed energy probably the only thing that will end the miserable lives of sorcerers), then the merger represents the opposite, Kenjaku's goal of optimizing cursed energy by mixing humans, sorcerers and curses to give birth to a new being.

That's also a conflict that needs to be resolved, but Sukuna by pushing forward the optimizing of cursed energy and representing the peak of sorcery living only for sorcerery and his own strength represents a Mara.

Sukuna is comparable to the Celestial Demon Mara in budhist mythology, more on it in this thread. In budhist cosmology, Mara is the “personification of the forces antagonistic to enlightenment.”

If the ultimate goal of budhism is to escape the cycle entirely and stop being reborn in the sensuous realm, Maara instead tempts people to stay in this realm. it defines impernanence by suggesting we stay in this realm forever. It defies Dukha by saying we indulge in physical pleasures in this realm, that we should seek to satisfy ourselves even if budhism argues that life is primarily unsatisfactory.

We even see Sukuna literally tempt a budha-like figure into remaining in this earthly realm. After all aren’t we shown that Gojo achieved enlightenment at seventeen and let go of earthly emotions like the need to be angry and avenge Riko’s killer because the feeling of oneness with existence was too good in that moment.

A lot of people noticed what they thought was Gojo acting out of character in the fight with him and Sukuna, by enjoying the fight and choosing his selfish desire to love jujutsu and fight as a sorcerer over his responsibiltiy to protect children. Something which Nanami says in his dying hallucination that Gojo only ever lived for the pursuit of his selfish desire for Jujutsu in the first place.

Gojo in his last fight against Sukuna forgets about saving Megumi or at least makes it a lesser priority, because Sukuna tempts him to do what he's always wanted to go all out in a sorcery fight and have the freedom to use his powers to the best of his ability. Hoewever, even after using his full strength, Sukuna cuts down the notion that he is above humanity and drags him back to the earth - literally calling him unenlightened.

“This is goodbye. You were born in an era without me and hailed as the strongest yet you turned out to be painfully ordinary…”

Does Sukuna not represent this temptation for all characters? Sukuna represents the selfish ideal of sorcerers, using his powers for himself to satisfy his hedonistic desires and because of this he has the most agency in the story and the story at times even bends to his desires.

Characters even fight for Sukuna's recognition, Hajime, Jogo and Gojo are validated by that same recognition in theend.

Why wouldn't Gojo and more importantly Megumi who are characters with very little agency not jump at the chance to be more like Sukuna, especially if it brings Sukuna the freedom he possesses?

Itsuki refers to himself as Senseui's shadows, leading him to act on his darkest impulses and enjoying watching the corruption spread. Megumi is literally a character who's Jujutsu revolves around his shadow, and summoning powerful Shikigami from it in order to fight. A character with an incomplete domain expansion (another loose plot thread with Megumi that would be unresolved if Megumi were simply saved) which is his own creation, which might surpass Mahoraga the technique handed to him.

In addition to being a Mara, Sukuna is also literally called the "fallen / disgraced one". Itsuki calls Sensui a fallen agel, but in the context of Jujutsu Kaisen there's literally a character called Angel, who's only goal is to save Megumi's soul, and there is a satan figure in Sukuna who wants to corrupt him. Literally, there's an angel and devil on Megumi's shoulder.

How is stealing Megumi's body corruption though? Megumi's not being tempted into being selfish. He's not responsible for any of the sins that Sukuna commits in his body. There's no arc there, because Megumi doesn't reclaim his agency in response to having it stolen away, he doesn't decide to do the bad things himself - it's Sukuna who commits the wrongs.

Even More Setup for the End Game

Here's where I stop referencing Yu Yu Hakusho and only use foreshadowing in the comic itself. The first is the discussion of roles, and how Yuji needs to break away from them, as much as Megumi needs to fight for his agency back.

Part of the reason Sukuna jumped bodies is because Yuji wanted to be given an easy role like a character in a story - rather than thinking and deciding for himself. He thanks Megumi and Gojo for giving him a role seconds before the body swap happens. If Yuji is immediately punished for thinking that what he needs is to be a cog in the machine, to be given a role then methinks that's a bad thing.

However, Yuji has not broken away from that thinking in any significant way. Sukuna even mocks him for finally being given a role.

If Yuji's thinking hasn't changed then no story arc has taken place. If this conflict of Yuji wanting to conform to a cog or a role has persisted since Shibuya - then it's clearly important to his arc and is something that needs to be resolved. If Yuji just solves the problem by being stronger than Sukuna and beating him in a fight, how does that resolve Yuji's flaw of clinging to roles rather than thinking for himself? I ask once again, where's the change?

Saving Megumi like a damsel in distress is still a role someone else has assigned him.

How does the decision to save Megumi right now challenge Yuji's hero complex in any way, besides the fact that Megumi has sunk into despair and would rather just end it all. Is that much a conflict that really forces Yuji to think for himself - to go against the grain of society rather than blindly following others.

If Yuji gets to rescue Megumi like a damsel, that's giving him what he wants, without forcing him to realize what he needs. That's as much of an unfullfilling end to Yuji's arc as a ending where Megumi never reclaims his agency and stands on his own feet and just has to sit there and wait and be passively saved.

Most of all the question: "Is it possible to save someone who's not prepared to be saved?" goes unanswered.

Geto wasn't just depressed and suicidal, he was actively making harmful choices and represented a danger to others. He also had no intention of stopping the path that he was on.

There's a clear parallel between Megumi and Yuji's friendship, and Geto and Gojo's past fallout. However, if it's just a conflict of Yuji saving Megumi who's simply too suicidal and doesn't want to go on living, there's no conflict there. The audience will not see whether or not Gojo was still capable of saving Geto post his burning down the village, or if there was no walking back from that choice. The previous generation won't resolve or fix the mistakes of the past generation.

Yuji remains a hero, Megumi remains a victim, as I reiterate for the thousandth time there's no change.

Megumi starting the merger, or even defeating Sukuna himself (maybe with a completed domain expansion) and then starting the merger is a change. It's also foreshadowed, Mahoraga is the technique he inherited, the technique Sukuna stole (and Mahoraga won't work against him he's already defeated it), Megumi's domain expansion is his own creation, created in his deepest moment of personal growth.

The process of individuation also literally requires a character fully integrating their shadow. Sukuna possessing Megumi is not Megumi facing his shadow or his worst traits, because Sukuna is not Megumi's shadow, he doesn't reflect Megumi's flaws in anyway, he's literally just a parasite.

There's also the 1001 Toji parallels to Megumi that have gone unfulfilled. Toji specifically a character who was abused, then chose to continue the cycle of abuse, specifically because he wanted to prove himself stronger than the peak of sorcery. Especially after a lifetime of being belittled and abused by not having the potential of his Heavenly Restriction recognized.

And what do we have here, but a scene of Toji LITERALLY EMERGING FROM MEGUMI'S SHADOW, in order to enter Dagon's domain.

How is Toji referred to afterwards? As a puppet of carnage bearing his fangs at the strongest around.

An incredibly Sukuna like description, number one because Sukuna's entire existence is simply bearing his fangs at the strongest around, and number two Sukuna is referred to as pure destruction, like a calamity, something with overhwelming sense of self and no humanity.

Not only that, but when fighting Sukuna, Gojo makes an explicit reference to Toji comparing him to Sukuna as the last time he ever felt nervous or challenged by an enemy. Sukuna and Toji are being alligned as similiar characters, supremely selfish people who hoard their agency and strength. Toji also represents the worst of Megumi, a victim caught in a perpetual cycle of lashing out against the world, a bad future path he might take if he doesn't get over himself.

Sukuna is connected to Toji wo is connected to Gojo, and all three represent a path that Megumi has been nudged down his entire life, that he should just selfishly use his power with no regards to anyone else the same way they do.

As I said before in my comparison to Jean, why wouldn't someone who's been robbed of all agency for so long, not go too far in reclaiming it? What's stopping them now that the chains are finally off?

Megumi parallels Geto, who parallels Toji, who parallels Sukuna and why draw all these lines between these characters if it's not to represent a path that Megumi could take?

In other words...

[incomingalbatross]

Things that make Weirdmageddon a top-tier finale:

Every victory and ally the characters gain is essential to pursuing the next victory.

Dipper needed Wendy to reach the bubble, needed to talk down Gideon to reach Mabel, and needed to reconcile with Mabel to do anything. Then they needed to reach the Shack to get Shacktron, needed Shacktron to reach Ford, needed Ford and all their previous character development to build the Zodiac—oops! not enough character development! REVERSAL! But they still pulled out a win from having all four Pineses in the Fearamid, which wouldn't have been possible except as salvage from their previous victories.

It all builds really nicely—it's easy to get your characters running in circles to fit in enough action and/or screentime (see certain Classic Who serials), but that doesn't happen here.

Personal issues and plot problems were interwoven in a way that genuinely made resolving the former a basic step in resolving the latter.

The big problems at the start of the finale were the rift between Dipper and Mabel, the older, deeper rift between Stan and Ford, and... well, the Rift. And Bill. The finale is able to resolve all of these things together because it is, in fact, crucial that the Pineses all be able to work together; they need each other to defeat Bill. This means that, for instance, Mabel and Dipper's reconciliation is the urgent first step on every level, personal and situational (neither of them will accomplish anything until Mabel's free), and that Stan and Ford's reconciliation is a necessary condition for the last step of beating Bill. It's seamless—no one has to take time out of the plot to talk about their feelings, because the plot can only move if their feelings are being addressed.

Even more, the action works in such a way that Stan and Ford have to show character growth to defeat Bill and the way they defeat Bill then results in healing for both of them (Stan gets to be a hero while Ford gets to let go of his hero complex).

Gave time to addressing the big themes and made them structurally important, too.

This ties in to the point above, but... the fact that Dipper and Mabel's conflict (the manifestation of a much longer-running tension of "is it possible to grow up and still be happy? is it possible to be sure we'll stay in a close and healthy relationship, and not lose each other?") is given its full weight. Dipper and Mabel have the conversation they need to convince themselves, each other, and the audience that this ghost has been expelled from their futures. That's big.

And the themes continue consistently throughout the finale! They answer the questions raised by Stan and Ford's estrangement—first through Dipper and Mabel and then repeatedly through the rest of the cast—with consistent reassurance and hope for the future. It's thematically sound. That's not easy to balance with plot progression in a way that makes sense, but like. The plot can only progress to a happy ending if these themes are tested and found to be true.

Plot development and emotional impacts hinged on information the audience already had.

When the finale revealed new information (the zodiac's function, for instance), it was almost always answering specific questions the show had previously raised for fans (what's that zodiac about??). Not always true—the barrier around the town was not foreshadowed—but a very high percentage of the time.

More, the moments with a big emotional punch hinge on us realizing something at the same time as the characters and sharing their reactions to that thing, rather than reacting to their reactions. That sounds clumsy, but you know what I mean—"Grammar, Stanley." Ford pulling out the memory gun. "Get off me, Waddles!" Ford holding out the picture of the Stan O' War. The finale builds on what we already know so strongly that we can react to good or bad events alongside the characters.

(Well, except for the exact moment revealing the twin switch, I guess. We are not having the same emotional reaction as Bill Cipher there. ;P)

A fully satisfying send-off.

After the plot is resolved, and even after the eucatastrophe moment of Stan getting his memory back, we get to stick around and see for sure that everything's okay. The twins turn thirteen. Stan and Ford plan to go sailing. Soos gets the Mystery Shack. Everyone in Gravity Falls is fine. Everyone gets to say goodbye. We end on repeated reassurances that the thing the story most highlighted as crucial but uncertain will, in fact, happen—that they'll stay a family and they'll all be happy.

I'm not saying every story needs to end with a wrap party, but it was the right move for Gravity Falls, and they nailed it.

[phantomchick]

Naruto and being the Underdog

Okay so recently I was discussing naruto's characterisation in the comments section of a fanfic and the author was explaining that they don't like/never vibed with Naruto's character (which is totally fair). But then they explained how they felt the supposed underdog setup was contrived and didn't really work because Naruto never actually starts at zero thanks to his jinchuriki powers and being the yondaime's son. (And so here I am, on my soapbox to discuss how Naruto and the concept of being and underdog relate.)

On a physical level perhaps this applies, but Naruto places an equal (if not larger) amount of focus on the emotional action as it does on its plot action.

On an emotional level he has to work for each and every one of his personal relationships.

He wants to be hokage a role he can only take if he is both respected by his village and powerful enough to protect it. It''s a twofold goal. And in terms of the social aspect this is clearly stacked against him due to the hatred and exploitation of jinchuriki as well as shinobi in general, achieving emotional connection and dialogue between people who are used to might makes right or who are pre-disposed to look down on him or want to kill him puts him firmly at a disadvantage narratively.

With the notable exception of Hinata whose love is unconditional, whether it's Tsunade, Neji, Sasuke or Gaara or even Kurama the respect and attention that naruto craves are things he actively pursues in both good and bad ways and he earns them through his own effort.

He does this both by striving to understand these very different people and where they're coming from as well as surviving all the shit the world throws at him. Emotional and physical tasks.

In terms of being a jinchuriki and getting the rasengan easily thanks to his shadow clone bullshit / birthright connections to the yondaime It must first be acknowledged that the jinchuriki power is more of a disadvantage than a boon to him at first. First, because of kurama actively going out of his way to mess with his chakra control as a kid while doing the leaf exercise he was unable to learn the regular clone jutsu; it also results in him experiencing the trauma of discrimination and isolation from a young age which could easily have led to festering self-hatred and alienation if not for Iruka's intervention, it results in multiple S ranks who are fully capable of killing even shippuden level Naruto targetting him, and while the trade-off of boundless energy and survive-ability is immense those same boundless resources have the potential to burn him alive if he loses emotional control/gives into his most negative emotions - that's basically making the subtext text at that point, the story is about his emotional development and growth, something his "OP buffs" don't earn for him. Let's talk about boundless chakra resources for a moment. At the end of the original series, he only knows the rasengan; the rasenshuriken, the shadow clone justu and sage mode/yinyang mode by the end of the series and that's like 5 justu tops if we're counting yin/yang/bijuu mode and sage mode as jutsu. The majority of what he learned from jiraiya for three years seemed to be taijutsu only with a side of failed bijuu control. Naruto has his jinchuriki chakra from the start but that doesn't translate to an ability to use it, he has to spend hours working out how to do the shadow clone, he did not figure out how to do the jutsu because of his chakra even if that was the reason he was able to use it at all, and when it comes to the rasengan I will cite [someone who deleted their reddit account] here:

Naruto completed the first stage in three days and one night. He figured out how his chakra needed to move to burst the water balloon (thanks to a cat) but because he didn't have the necessary chakra control, he improvised by using another hand. He completed the second stage in three weeks or so. The next day(?), Jiraiya gave him a hint to improve his focus which allowed him to finally complete it. And the third stage was completed seven days later to win his bet with Tsunade. Once again, Naruto didn't have the control to focus his chakra the correct way despite his continuous efforts. It wasn't until he came up with another improvised method by using a shadow clone to focus the chakra that he was able to complete the final stage.

Meaning he is the one who comes up with unorthodox methods, such as also using his other hand, or using a shadow clone to focus the chakra, to learn it in four and a half weeks but he still had to figure out how to do it all himself. The shadow clone would've been useless without his understanding of the jutsu or his ability to do the individual parts of the jutsu. He earns the jutsu and could conceivably have learned it the old fashioned way were he not under an artificial time limit as both Jiraiya and Kakashi, both without jinchuriki power, know it and can use it.

Now I'll talk about his supposed privilege as the yondaime's child: Sasuke gets chidori and later kirin thanks to HIS connections but that's never remarked on in the same way. And in fact most people in the naruto-verse learn a big jutsu from their clan or parent; see Might Gai, the genius of hard work, learning the eight gates thanks to his father. The rasenshuriken is something he's only capable of learning thanks to his chakra and shadow clones I hear you quote Kakashi, but it's again, something he couldn't do without actually putting the work in to learn the jutsu. Naruto is on a time crunch because of Akatsuki, the fact he is capable of learning the jutsu once he has advice on wind chakra from Asuma and has practiced forming the rasengan and doing windblades enough means he didn't need the extra chakra to do it, having the chakra didn't automatically make him capable of the rasenshuriken all it did was speed up his chakra control practice exponentially, it would have taken him more time practicing but he could have learned the jutsu eventually even if he wasn't a jinchuriki. Now summons. Being the Yondaime's child might get him an in with Jiraiya to let him have the toad contract, but Sakura and Sasuke also get summoning contracts thanks to personal connections with Tsunade and Orochimaru and Jiraiya only gets him the opportunity. It's Naruto who has to use his willpower to stay on Gamabunta's back and it's Naruto who has to form relationships with his summons like Gamakichi, (a bond that becomes instrumental toward the end of the 4th war). Additionally learning Sage mode wasn't just a result of Naruto getting the contract because neither Sasuke nor Sakura achieved it despite both having contracts (and despite Kabuto managing it where Sasuke didn't) Sasuke with the Hawks as well as the Snakes. And importantly Naruto was unable to use clones or his extra chakra to speed up his training in this. In fact the clones only come into it after he has successfully mastered sage mode and function as a limited extra resource that's can't go beyond three shadow clones meditating and this doesn't function as more sage powah but as a means of extending his sage modes duration, a workaround that's only needed because his being a jinchuriki gets in the way of him gathering sage mode in real-time with the toads on him. In conclusion while his chakra lets him practice jutsu to learn them faster, this is not the case in either his sage mode or the yin yang release and only applies to the shadow clone, rasengan and rasenshuriken - all of which he had to actually learn and understand the mechanics of otherwise the jutsu wouldn't have worked no matter how many shadow clones he had try it and that with the exception of shadow clone he demonstrably could've learned them without being a jinchuriki. And in the case of rasengan and rasenshuriken he is under artificial time-limits imposed by Orochimaru and the Akatsuki.

So that's shadow clone, rasengan, rasenshuriken and sage mode covered but what about bijuu mode. An overpowered special mode he only gets for being a jinchuriki, that B only bothers to teach him because he's a jinchuriki, surely that's LEGIT op bullshit. No? No. At least not in comparison to the Sakura's forehead seal from Tsunade, Sasuke's Mangekyou abilities like izanagi, giant purple warrior and amaterasu, Obito's mokuton, Madara's sage of six paths abilities or the rinnegan's everything, anyway. Not to mention what the edo tensei are capable of.

The only reason bijuu mode works is that he earns Kurama's regard on an emotional level, it's not something which being a kage's kid or having jinchuriki chakra levels actually does fuck all to contribute to. He was that all along but Kurama still hated him and tried to take over his body. It's Naruto himself who has to reach out and make that effort to understand this person who he's always seen as a burden or a curse or an annoying tenant who doesn't pay rent, a monster who tries to kill him and take his body. It's Naruto who has to put in the emotional labour and see Kurama as a person, no matter the harm he's done.

Naruto is the underdog in spite of being "the chosen one" and having the strongest bijuu and a kage father because emotional labour is never easy and in a world like his it seems insane to even try. It's why everyone except him was prepared to give up on Sasuke, Naruto recognises his anger at Itachi and desire to avenge his family as valid, Naruto when he finds out the truth about Itachi from Danzo tells Sasuke he gets it, why he wants to destroy the village, why he's so angry, when Sasuke changes his mind and decides to become hokage instead of destroying it so he can change it, Naruto understands WHY even if he still wants to be kage himself. The problem with Sasuke is that his anger is self-destructive and self-isolating, not that it exists, it's when Naruto fights him one last time and makes Sasuke realise that he's only hurting himself and his loved ones at this point, that "talk no jutsu" finally works and Sasuke is able to listen to Naruto and come home.

It's also why Naruto earns being hokage; in a world full of killers, someone who is capable of acknowledging the harm done and not ignoring or forgetting it (like how he tells pain he can't forgive him), but who is also capable of looking past that and understanding the motivations and feelings of the person he's dealing with and talking to them on that level as equals hits so hard. It just felt like a fantastic set up for a diplomatic hokage capable of dealing with other kages and achieving a peace in spite of the fact they're all to the last, untrustworthy ninja mercenaries who are generally very ends justify the means. In a world of kill or be killed Naruto is still willing to kill, but he's also willing to understand and to talk. And he wasn't born with that, he worked for it and failed often, especially with Sasuke, it was never easy, it often appeared hopeless but he kept trying.

And we rooted for him because of it.

[kindlingkeen]

What are your favorite tropes or plot points in Jason fics and why do you like them???

That’s really hard for me to narrow down. I will read just about anything gen that’s Jason-centric. Usually what makes or breaks a fic for me is the quality of the writing and characterization, rather than specific plot points or tropes. That said, some things do stand out…

Competent Jason, my beloved, how I adore you. He’s makes killer (ba-dum-tss 🥁) plans, he can adapt on the fly, and he’s got the range and depth to go up against anyone.

That’s my boy, any story that celebrates this is golden in my book. (Images from Event Leviathan #3)

I like Bruce and Jason origin stories, or stories that deal with them being father/son and Batman/Robin, because these boys love each other so much and, honestly, I just want them to be happy together.

I like fix-its or what-ifs that center around the Lost Days/UtRH timelines, because Jason’s story is a goddamn tragedy and I like thinking about all the ways it could have gone better/differently.

I like stories that feature late UtRH or Outlaws era Jason where he goes through real growth and development, because dc refuses to give us any meaningful character evolution without ripping it away or undermining it, and I have to feed my soul somehow. Bonus points if Jason gets to be badass with his guns or sword (or both 🤤).

I’m always up for a story that deals with batarang incident, although preferably not Dick-finds-out-and-runs-off-to-yell-at-Bruce, been there read that. Also, time travel or alt universes where Red Hood is there for Jaybin, because of all the lovely angst and hurt/comfort (and when it comes down to it, time and time again, Jason can really only depend on himself—thanks dc 🖕).

Finally, I’m weirdly lowkey obsessed with Selkie!Jason. There’s just something about baby Jay as a baby seal that melts my heart. Plus I think the vulnerability of the Selkie coat mythology is a really good fit for Jason’s character, which is so often held hostage to the narrative or other characters.

I could go on, but that’s probably enough for now. Thanks for the ask, anon! 💙

[kradogsrats]

Schrödinger's King in the Bird Box

Time for a return to the single topic that most torments me in this entire franchise canon: is Harrow in the goddamn bird or not?

Except not really. I'm not going to go over the evidence again. I've done it before. Almost everyone has done it before. It has only gotten stronger. At the absolute minimum, an attempt was made to put Harrow in the bird. That's not really disputable. I admit it. It's over.

This is actually the second time that I've struggled with narrative cognitive dissonance regarding a real core factor of this show (like not "what's the deal with Archdragon reproduction," but something that is clearly supposed to be thought about with the intent that it will eventually make sense), and eventually managed to rotate it so hard in my mind that the way I wanted to see it slipped out of my grasp and I saw it the way it's actually intended. Ironically, I think I may have been thinking about the Ocean arcanum at the time.

Anyway, what previously always bothered me about this question was mainly two things:

It would have a devastating impact on Ezran's character development if Harrow reappeared during s1-s3, but the timeskip and arc of s4-s5 made it so it would also be deeply weird for him to reappear before the show ends.

If Harrow is in Pip's body, both Viren and Pip's subsequent behavior, as well as how Pip is treated by the narrative on a meta level, make absolutely no fucking sense.

But... if Viren doesn't know whether the spell was successful or not? If we are meant to not know whether the spell was successful or not, because it's not going to get resolved in the show itself?

If we accept that the earliest point with any chance of the hooks for this plot being set is late s7—because yes, Aaron Ehasz would do an exact beat-for-beat repeat of Zuko and his mom—that both puts Ezran far enough in his growth for it not to be threatened by the "real" king returning, and keeps Harrow out of the loop for long enough that it doesn't really make sense for him to do anything but step down from the throne in favor of Ezran, anyway. As for Viren and Pip's behavior, if the show isn't going to advance that plot much further during its runtime, there's no reason for us to be constantly reminded of it. The setup has been made, and they can just let it stew because it's not actually relevant.

That being said, Viren's behavior actually does make a lot of sense if "is Harrow in the goddamn bird or not" is a question that is also tormenting him. To that end, I'll be doing some digging here on the nature and context of the body-switching spell, Pip/Harrow's behavior post-swap, and what the hell is going on in the Harrow section of Viren's dark magic dream.

The Spell is Made Up (Unlike All Those Real Spells)

First of all, I think there's been some long-term incorrect assumptions made about the body-switching spell. It's not a known spell: this is Claudia and Viren essentially flying by the seat of their pants... but we rarely stop to think about how that contextualizes the rest of the discussion around it.

The initial plan is to find the assassins and ambush them before nightfall. As Soren points out and Viren himself confirms: if they fail, the assassins will be unstoppable under the full moon and Harrow is as good as dead. Claudia decides to put her mind to that problem, so naturally she stops to flirt with Callum in the library and gets the inspiration for the spell from something he says.

(Fun fact: none of that happens in the novelization. Zero amount.)

She brings the idea to Viren, and they develop the spell from there. It's not really clear if Claudia actually knows whether something like that would be possible, but Viren does know that transferring the essence of a person can be done—he's got a nice little coin collection that proves it.

As for the snake, there's no way Viren "acquired" a two-headed soulfang serpent because he has a book somewhere on how to use a rare, malformed specimen of a dangerous Xadian creature to switch people between bodies. He probably thought "that's weird, but could be useful," or maybe whoever sold it to him just had a great sales pitch. A non-trivial amount of success at dark magic is in having access to rarer and more powerful reagents than your competition.

Anyway, what this means is that Viren has absolutely no idea what success looks like for this spell, particularly when using it on subjects of different species. When he describes it to Harrow, he is 110% talking out of his ass. He sounds like he knows exactly what the spell will do and how, and I think a lot of us kind of fell for that. He needs to sound confident, because if he admitted that he doesn't know if it will even work, with a possible failure condition of "snake eats your soul," well... a) Harrow rightfully wouldn't go for it, and b) he'd look incompetent, which is the worst thing ever.

When he goes to Harrow's room, he casts the spell... but did it work? I think that whatever it did, it did it in a way that Viren can't tell whether it worked or not. Maybe both Harrow and Pip passed out. Maybe Viren just didn't want to hang around for the aftermath—in the novelization, when he exits the room and runs into Callum, his eyes are still black from spellcasting.

Activities of Dr. Pip Harrow, Ph.D.

Probably the thing that has always bothered me the most about the entire Harrow-Pip theory is that yes, literally everything in the lead-up and immediate aftermath of the assassination points to that being exactly what happened... and then the narrative lens of the show completely drops the rope. Pip doesn't even appear in the novelization until Viren's pre-coronation scene, which is funny given his looming presence over half the scenes with Harrow in the show.

Pip appears exactly twice after the assassination—once in s1 and once in s2—otherwise he goes completely ignored. He's not in the background of Viren's office, or the throne room, or Harrow's bedroom. No one ever mentions him ever again. Ezran never mentions him again, in the show or in any supplementary materials. You'd think the boy who can talk to animals might have some interest in his dead dad's beloved pet... but who knows, maybe Pip has always been an asshole and Ezran's actually like "thank goodness I never have to speak to that dude again."

Anyway, in all of Pip's appearances, he behaves like... a bird. A trained bird—Harrow can rely on him not just fucking off—but he doesn't demonstrate human-like intelligence the way Bait does. That being said, Bait is essentially a main-cast character (at least as much as, say, Corvus... maybe even Soren) while Pip is a plot device, and even then it takes until well into the first arc for Bait to show the kind of complex reasoning and initiative that separates him from an unusually smart dog. Pip's human is also a stressed-out king, rather than a rambunctious ten-year-old, so he's probably a bit more sedate overall. I would personally bet, given the way the show has progressed with regard to Xadian creatures, that Pip is as intelligent as Bait.

The point of that is: even if Harrow's consciousness is occupying Pip's body, he's not really doing anything with it. He's pissy, sure:

But is that Harrow's pissy-ness or Pip's? Even if Pip is only as intelligent as a trainable bird, that's plenty intelligent enough for both grieving/confusion that their human is gone and holding a grudge against obvious assholes. Viren cages him, but is that because he flipped out and got bite-y? And was it Harrow flipping out, or Pip? Or is he caged just because Viren's of the general attitude that animals belong in cages? Those who fail tests of love... We just don't know.

A lot of us also, to circle back to assumptions about the spell, have tended to think of a body swap between Harrow and Pip resulting in Harrow flailing his arms around wildly and screeching... but again, we know literally nothing about this spell, nor do we actually know anything about Harrow's behavior after Viren leaves his room. Maybe his body sat catatonic on the bed until Runaan came in and shot him. Maybe Pip, being intelligent, was able to maintain the facade—once everyone's in the heat of battle, it would be hard to notice even significant deviations from normal behavior. Even if "Harrow" appeared to fight only halfheartedly, or give up entirely... well, he hasn't been the same since he lost Sarai. Maybe the spell only partially worked, and only half of his soul is inside Pip, with minimal or no influence over the bird body's behavior.

Viren does appear to take some precautions in case Harrow is alive inside Pip. The cage, for one... but he also has nearly all subsequent important conversations outside of his office. Like I said earlier, Pip's cage isn't rendered in the background of any scene, but since he escapes from Viren's office I'm assuming that's where he's been. Even if Pip was just out of frame in every scene in Viren's office post-assassination through end of s2, the only things he's seen are... Viren eating butterflies, and the conversation between Viren and Claudia about the mirror and her side mission to bring the egg back at all costs. He doesn't know about Soren's instructions to murder the boys. He knows about the mirror and Viren's obsession with it (which he could have known before), but he doesn't know about Aaravos. He may know that Viren stole his seal but only if Viren was stupid enough to stamp the letters with it in front of him (which... look, he could be). The only things he's really learned are that a) his sons are alive, and b) Viren lied to him and the egg is alive.

Now, realistically, if we were meant to hang on to the is-Harrow-in-the-bird plot thread because it's going to be significant within the scope of the show... I'd be expecting to see at least one cut to Pip glowering at some point during all these machinations. If it weren't for the mirror and Aaravos, I'd expect Viren to be yelling all his monologuing at Pip, too. But the show does none of that. Instead, the next time we see Pip, we see him peace-ing out of the show for at minimum the next three seasons, and possibly the remaining two, as well. If Harrow's in there... why? Did he go to find Callum and Ezran himself? It's not actually clear that he knows Ezran can understand animals, so it would be reasonable for him to think Viren is his only chance at ever not being a bird again. Maybe he thinks that chance is gone with Viren's arrest and would rather not spend the rest of his life in a cage. Maybe he really isn't in control of the body.

Back to Viren, though: since Pip refuses to demonstrate any behavior that could be taken as distinctly Harrow's, Viren actually has no idea at any point whether Harrow's in there or not. He doesn't know if Harrow lived. He doesn't know if he succeeded or failed. It's a constant reminder that he's almost, but not quite, in control. Almost, but not quite, good enough to achieve what he wants.

It probably drives him absolutely insane.

Did You Think You Were Somehow Getting Out of This Without Me Mentioning Kpp'Ar?

Just kidding, it's finally time to talk about Viren's dream. We've gone two entire seasons and a two-year timeskip without any mention of Harrow or Pip (though those maniacs dropped the fucking snake basket on us as an incidental but obvious prop early in s4), and then suddenly we get punched in the face by Viren's subconscious.

First, though, I do actually need to point something out in the scene with Kpp'Ar. Bear with me, I promise this is relevant.

Viren sealed Kpp'Ar's soul in a coin 12-ish years ago, and the coin has been sitting collecting dust in his secret dungeon for... some amount of that time. Now he opens the door and finds Kpp'Ar standing there, free—and I will note that I don't believe Viren actually knows how to free people from the coins, or whether it can even be done. His reaction is surprise, followed by suspicion and wariness:

When he encounters Harrow—dead—his reaction is horrified shock, which is fair since the last time he entered the room that way there was no surprise body chilling out waiting for him in it:

Then, when Harrow speaks to him, suddenly alive and unharmed, he drops straight into relief:

Some of this is undoubtedly due to the differences between Viren's relationship with Kpp'Ar and his relationship with Harrow. With Kpp'Ar, after that initial moment of confusion, he's absolutely determined to not show a single hint of ignorance or weakness—this is a trick, or a test, and a passing grade in "light verbal sparring with the mentor you're pretty sure you remember betraying" is a thing that is both normal to want and possible to achieve. For Harrow, who he wants so desperately to call him brother, who he walked into this very room ready to die for, before everything went horribly awry—he not only immediately and willingly goes to his knees, he literally prostrates himself.

... I'll give everyone a moment to get all the innuendo and suggestiveness out of their systems, because that's not the point. This time.

What is the point is that Viren's reaction to Harrow isn't disbelief, but relief. Hope. Kpp'Ar is supposed to be in a coin, and Viren immediately questions how he got out. Harrow is supposed to be dead but Viren doesn't give a second thought to how he's not. Fortunately, Harrow helpfully explains:

Fun fact: back in s1, we don't actually see Viren actually taking action against the assassins. We don't even see evidence that he re-entered the room at all—it's only Soren and Claudia who participate in Runaan's capture.

I haven't actually touched a lot on the complex shit going on for Viren, emotionally, throughout all of this—I mentioned it's was probably driving Viren insane over the course of the first two seasons, but let me elaborate. If Viren successfully switched Harrow and Pip, that means Harrow survived... but he expressed his feelings on the proposal in no uncertain terms, and there's a good chance he will literally never forgive Viren. I don't think Viren thought far enough ahead to consider how to get Harrow into a human body again, but I do think he's dragging his feet on it a little because if he can work things to his advantage—unite the Pentarchy against Xadia and follow through on the war Harrow was avoiding—he'll prove to Harrow that he was right all along. Any chance of that flies out the window with Pip at the end of s2.

If the body-switching spell failed, it means Viren essentially killed Harrow himself. That's the reality I think he grows more and more resigned to over the course of s1 and s2, when Pip remains unresponsive. He had no choice but to take the best chance at saving someone he loved—but this time, instead of saving Harrow, he murdered him.

In the dream, Harrow has not only survived, but credits Viren with his survival. He doesn't just dismiss Viren's show of remorse, but makes his own apology to Viren. He calls Viren brother. After an impossibly long nightmare, everything is okay. All is forgiven. Maybe there was nothing to forgive, in the first place. Maybe Viren was right all along.

Then it all turns sinister with the callback to the coin incantation, and we have a sharp return to reality:

The cinematography here treats Pip a lot more like how I would expect him to be treated in s1/s2 if we were meant to know he was actually Harrow. There's focus actually on him, instead of just other characters' reaction to him. He "speaks"—as I noted in another post—in raspy sounds very unlike his songbird chirps from s1. This is absolutely Harrow as Viren actually left him—even if he's not dead, he's in a warped prison of dark magic, a perverse mockery of himself.

Oh wait.

Harrow-who-is-both-human-and-alive was never an option, and what we've got now is mirror images of Harrow-the-dead-human and Harrow-the-live-bird, and they're going to do to Viren what he did to them.

Now, it's not that none of this makes sense if Viren knows for sure that Harrow is in the bird... but it makes a lot less sense and has less emotional resonance. If Viren knows Harrow survived as Pip, he'd be more likely to question Harrow's human form than his survival—the way he does with Kpp'Ar. He might be more guarded, expecting hostility—which, I will note, is what he gets when Pip enters the scene. Instead, because until now he believed that he actually killed Harrow in his attempt to save him, he's so relieved to see Harrow alive that for that one moment he loses all pride and is ready to beg for forgiveness at Harrow's feet.

Since legitimately none of this makes sense if Viren didn't at least attempt to put Harrow in the bird, we're left with Harrow maybe or maybe not alive, Viren having maybe or maybe not been the one to actually kill him (gonna be a fun one with the Runaan context), and a plotline that is definitely not going to be resolved in the remaining two seasons of the show. I'd be kind of surprised if they even did any more setup for it (like Callum/Ezran finding out it's a possibility, or even a hint drop like Runaan being all "it was fucking weird, he just sat there" or something) outside of future supplemental media.

Conclusion

Either Harrow is alive and in the bird, with the future intent being to do a spinoff story The Search-style, or we're in for a huge bummer of a "actually, it was Viren all along who killed Harrow, therefore Runaan is a good guy and we can all be one happy family" pile of absolute bullshit. Yes, they said Harrow's dead. Harrow's body is dead, we knew that all along. There's a note in the artbook that Viren was actually going to rip the shroud off at Harrow's funeral in order to publicly prove it's his body, because that is an extremely normal thing to do.

The show just treats it extremely weirdly because, even as the only person with any chance of knowing, Viren is in the same uncertain boat as the rest of us. (Actually more uncertain than the rest of us, since he's not genre-aware.) Also it's another chance to torment Viren emotionally, and they'd never pass that up.

Thanks for coming to my absolutely ridiculous TED Talk on this topic, I hope this screenshot now does as much psychic damage to you as it does to me:

[sepublic]

Lumity and Conflict

            We’ve all talked about Lumity being a really healthy relationship, a refreshingly healthy one at that, but we should also appreciate how the writers manage to have this AND portray conflict in a way that isn’t contrived, too.

         Take for example, Follies at the Coven Day Parade. It’d be SO easy to have the conflict come from Amity going ahead with checking Luz’s videos, and then have her and Luz argue over the breach of privacy, like in a lot of media. But instead, Amity KNOWS it’s wrong, but at the same time she can tell Luz has a problem and a tendency to keep it secret, which forces loved ones to call her out until Luz finally confesses and asks for help!

         So Amity’s conflict is whether or not she SHOULD go through Luz’s phone, and it resolves in a healthy manner because she goes to Willow for advice. That of course continues the plot thread of these two attempting to reconnect after their sorta reconciliation in Willow’s mindscape, and sets up the eventual confrontation between the two in Labyrinth Runners, regarding Amity still continuing to underestimate and condescend Willow, even if from a place of good intent.

         And that’s so much more interesting than Luz and Amity drama for the sake of drama, because now we get to throw in Willow and Amity’s dynamic and check up on how it’s developed, set up how it WILL develop, all while having Amity manage to do the right thing, but with some meaningful struggle and discussion, sympathetic and nuanced given her legitimate concern for Luz (rather than insecure snooping for the sake of it) and her issues of bottling up, on her way to do that!

         And we do see Amity struggle with insecurity over her and Luz’s relationship earlier, but she doesn’t take it out on Luz; Instead, we have her struggle with Hunter as the two are paralleled and contrasted in their relationships with people they care for and feel the need to impress, due to the abuse of their childhood! Again, more interesting and less stereotypical than Amity being the toxic, possessive lesbian trope.

         And Luz and Amity still have conflict WITH each other, like in Reaching Out, but it manages to avoid feeling contrived because it isn’t drama and jealousy for its sake, it’s about uncovering an aspect of Luz’s past, a fundamental experience, while also following through on addressing a character flaw she’s displayed for a while! Thereby advancing Luz’s growth instead of creating a reset for both girls to work through all over again. I like that Luz and Amity are allowed to be a healthy couple and have conflict, while also still navigating that conflict in a pretty healthy way.

         I think it’s a nice message to kids about how your relationships can be healthy and still not be perfect, if you put in the time to communicate and work through those problems, because every relationship will have issues. But what makes it healthy isn’t the absence of issues, it’s how both parties handle them together.

         Plus, Lumity still struggles with conflict, albeit together, both of them facing another problem; There’s stuff more lighthearted like Any Sport in a Storm, in which we get to see Luz and Amity struggle with an issue, but they do it mutually. There’s no drama or problem between them, it’s the two tackling a separate thing together and we get to see them interact and have fun with no concerns about their relationship. There’s still conflict and there’s still Lumity, but we see how they actually function as a duo together in synergy, how they approach outside things as a unit, without the dynamic itself at stake, just a shared objective. The conflict isn’t between Lumity, it’s Lumity VS Something Else.

         Then we have Clouds on the Horizon, which is Lumity coming together, to fight against Odalia and her control, her abuse and disapproval; It’s only Luz and Amity’s love for each other prevailing, no doubt about their standing with one another, against an outside force, Odalia. Dana said she and the writers intended Lumity to act as a sweet counterbalance to a lot of the angsty struggle, and indeed it provides some light-hearted relief seeing the two just get along and be happy together! But they still manage to balance and spice it up with some conflict sometimes, without jeopardizing the relationship because it’s not contrived conflict either.

         It’s Lumity against an outside force, or it’s Luz and Amity navigating being in a relationship, while being both relatively mature and understanding about it, AND allowing room for insecurities for them to feel and work through. Their relationship doesn’t feel more precarious or toxic because of the problems, it ends up feeling MORE healthy because Luz and Amity take the time to acknowledge and work on them (unlike Raeda, who are messy in their own compelling way).

         And we still do have Luz genuinely mess up (such as her and Amity’s separate conflict with Kikimora that episode), she gets to be a flawed individual who makes mistakes, but it’s not out of a macho disregard or apathy for her girlfriend; Likewise, instead of expecting Amity to settle as the unconditionally supporting, demure GF, the narrative does make a point to Luz that she has some responsibility to let Amity in, and that Amity can only take so much of it, and she’d be right to set those lines for Luz to cross! 

        There is conflict between Luz going off and being a hero, getting into trouble, and Amity having to back her up; But it’s a conflict that takes the side of Amity and others who played that role, which is refreshing to see. They both take care of each other, which I’ve already discussed how Amity does, but don’t forget Luz did it plenty in S1, then in Eclipse Lake, especially Clouds on the Horizon where she plays a role of support to Amity going out and getting into trouble, enables her GF to be the one up to mischief! It’s really neat, is all.

        There’s conflict in getting Lumity together, but for all the buildup of coming together in a relationship, we also get to see them navigate being together as the second half of their storyline, rather than the ending. So it’s the reward of Will They or Won’t They culminating in They Do, coupled with the narrative of them AS a relationship, not just becoming one, both ends of the spectrum. Wonderful balance. 

[progamer27]

EPIC: The Musical - Character Growth

I like it when characters aren't one-dimensional, especially main characters.

Sure, it's fine and fun to have characters who are solely evil or solely good from time to time.

But I vastly prefer characters that go thru some sort of development - that takes its time -, and then come out changed by the experience.

Enter: Odysseus and Athena (and also Eurylychous)

I think it's pretty safe to say that, at least at the start of the musical, a lot of people didn't like Athena and Eurylychous too much - and were quick to label them as, at the very least, "villain-adjecent".

But now that we have had 6 out of 8 Sagas released, we can understand them better. And same for Odysseus.

Eurylychous: In the Odyssey, he is a minor character whose only role is to be a plot device (killing and eating Helios's cattle). In EPIC, Eurylychous is shown as someone more focused on the crew than anything else. Brash and Hot-headed, he is the opposite of Odysseus.

So, why is he interesting? Because we SEE (or HEAR) how he grows from just; a soldier whose first instinct is to murder (Lotus Eaters) or flee (After blinding Polypheamus), to a desperate man who wants to get back home as fast as possible - even if it means leaving his comrades behind (Circe), to a man who needs to confess his guilt (Scylla, as a follow up to Keep Your Friends Close and Puppeteer), to someone who's desperate and has given up entirely (Mutiny and Thunder Bringer).

In conclusion: Eury isn't a villain, but Just a Man. He made mistakes and was abrasive, but so would many people in his place.

ATHENA: In Greek Mythology, Athena is one of the most Hubris-Filled (Prideful) Goddesses out there. In EPIC, she is much of the same... at the Start.

Because Remember, prior to the Wisdom Saga, we only really saw/heard Athena 3 times. And in those 3 times, we get presented with who she is at the moment; A Goddess who views Odysseus as a "project/creation" (Warrior of the Mind and Remember Them), and as the less rose-tinted Goddess who lost her friend because of the circumstances (My Goodbye).

Now, at this point in time, most people would simply label Athena as a "typical greek goddess" - that is to say, a deity who doesn't really view humans as equal to her, and who lacks Humanity.

....until she meets Telemachus.

Then, the characterization... matures; she becomes less closed-off (We'll Be Fine), admits that she was pushing too hard (Little Wolf), realizes that what she did to Ody was HORRIBLE - and, if I may interject, she will probably be a bit shocked/traumatized at seeing Ody trying to kill himself (Love in Paradise), and finally as someone who realized they STILL CARE for their friend, and that tried to do everything to save them (God Games)

In Short: Athena went from being an unlikable cold goddess - one who refused to comprehend human emotions -, to being much more "human".

(And please, if you are a fanfic writer, try to write a story where Athena just... realizes how shitty her life was, and how badly she treated others, and let her have an home with the Itachan Family. She needs her friends, and she probably needs to express her emotions in an healtier way)

ODYSSEUS:....

....

....

What is there to say? The musical is ABOUT HIM, and about how the line between man and monster (good and evil) is incredibly thin... but also about how you CAN come back from the brink, how you can "Become Yourself" again.

In the Odyssey - even if the story is a banger -, I didn't get the impression that Odysseus changed too much. Sure, he may have some trauma and suicidial thoughts, but he didn't do a 180°, then another one, and finally got a better understanding of life. He was still just... Odysseus, the King of Itacha and Father of Telemachus. Odysseus, the Silver-Tounged Liar. Odysseus the sacker of cities.

In Epic....

...Well, I think you know where I'm going with this..

In Conclusion: The EPIC versions of the characters feel like Actual Characters - almost actual humans - who make mistakes and aren't wholly "pure villainy" or "goodie two-shoes".

Sure, we have example of both of these things (Goodie = Polites, Penelope, Astynax; Villains = Poseidon, Polyphemus, Scylla, Zeus, The Suitors), as well as some morally-grey ones (Dark Grey/Leaning toward Evil = Calypso; Light Gray/Leaning towards Good= Circee, Aeolus, Tiresias)

But i think that I've said enough.

[pumpkinpie59]

ranking the tmnt shows based on plot writing, character writing, and what my preferences are:

first off, plot writing

6, tnm

idk what to put here.

5, 2012

it really sucks because its first season’s writing is unironically my favorite writing in the franchise. but then the show steadily gets messier and more inconsistent writing as it goes forward. especially in season 4. i wish i could defend it more but it is at the bottom for me. besides tnm ig

4, 87

i actually like the arcs in 87, but the thing with 87 is that … the plot isn’t the point! but i don’t consider that a flaw. the show is a comedy first, and it’s great at what it does. so yes, even if the plot episodes are pretty forgettable compared to the goofier episodes, it’s not the worst thing in the world. but it’s still number 4.

3, rise

rise is kinda weird because even tho most of the series is comedy filler like 87, it’s most known for its plot. but i think it earns that because sometimes the show will throw in episodes that foreshadow the big plot at the end of the season, and it handles it pretty well for the most part.

2, tales

i honestly really enjoyed the way the plots were set up in tales. since it’s pretty new, i won’t spoil it, but i think my only actual complaint was the framing devices they used. but otherwise it was pretty good.

1, 03

every once in a while, the show would have a hiccup writing-wise, but overall i liked the flow of the arcs and stories it was trying to tell. out of all the tmnt shows, 03 was the best at juggling several arcs at once and committing to giving them closure (cough. unlike 2012-).

okay character writing rankings.

6, tnm

tbf this one has venus. and a pretty good donnie.

5, rise

this is so controversial i know. but i just get so frustrated with how the show handles leo and donnie’s writing specifically. they feel ooc half the time and there’s little consistency. and then raph and mikey (my favorites of the team) were sidelined a lot.

4, 2012

mikey has no character growth whatsoever and is an adhd stereotype. donnie’s development gets thrown to the background so you only notice it if you’re paying attention to him the entire time. leonardo gradually gets worse over the course of the series and we never see him get better. they couldn’t decide what to do with karai half the time. april’s arc got switched for a different one halfway through (i still love her tho). the only one with a decent arc is raph, and i still think it could’ve been better ://

3, 03

this is not a knock at 03. i just think that character growth wasn’t its priority. telling stories was. however we do occasionally see them go through arcs. most obvious is leo, but i also enjoy seeing raph get less hostile and trusting leo more over the course of the first season.

2, 87

you’d have to watch the whole show to see it, but there’s almost … an accidental ?? arc for each turtle??? raphael gets angrier up until it reaches typical raphael levels in red sky, donatello goes through ups and downs of wishing he was never mutated while still pursuing human-level knowledge, michelangelo early on in the show wished he was more human (he changes his mind after becoming human once, but the feeling lingers a bit sometimes), and leonardo goes through anxieties related to his team (he acts differently about being without them depending on the season). but even without considering development, their personalities are written fantastically and i love seeing how they interact with the world around them.

1, tales

this is suspect to change since we’ve only had a movie and a 12-episode show. but what i’ve seen so far, i’ve really liked. my only complaint is that donnie feels different in the show vs the movie ://

and ,,, my biases

6, rise

sorry.

5, tnm

guilty pleasure idk what to say. uh. venus de milo. and turtlelamb <33

4, tales

i liked it a lot! i just want more characters and world building. we’ll see where it goes in the future.

3, 03

i love many aspects of the show. it’s not quite as entertaining to me as the next to tho. idk why but my attention span just can’t handle too much of it.

2, 2012

i grew up with this one. does it suck? oh yeah for sure lmao. but it’s nostalgic and i like a lot of the characters. and season 1 particularly is amazing. sucks for the rest of the show tho lol. i will unashamedly bully it.

1, 87

wow. who would’ve— i mean. man. who could have possibly guessed— this one has lotus blossom so i’d say this one can’t be beat.

[longing-for-rain]

What immensely bothers me about the way Kataang was written is that it not only hurt Katara's character, but Aang's character as well.

The writers set up the subplot of Aang needing to let go of his idealistic vision of Katara and then... just completely ignored it throughout the entirety of S3?

While I'm not saying that every ATLA character needed to go through an extensive character development, Aang having little to no development as a person and a leader (I am not talking about his physical training as a bender here) is some extremely disappointing writing, considering he is THE protagonist.

It's actually baffling to me how much the show deliberately dodges most oppurtunities to develop Aang as a character and how much the poor handling of Kataang plays a role in it.

Instead of Aang slowly growing to appreciate Katara as a person with all her flaws and quirks and trying to understand her way of thinking and culture, which culminates in him EARNING his Avatar state, we get the inconsistent mess, full of unresolved arguments and overstepped boundaries, that is S3 Kataang, Aang getting the girl only because he's the Hero™ (even though their last interaction before the kiss was an unresolved argument) and Aang being saved by Deus Ex Machina. TWICE. All of which could have been easily fixed, if the writers actually capitalized on the development that was already set up to happen.

I would be more willing to accept the points "he's literally twelve" and "why are you getting so worked up over which fictional characters are dating", if the writing didn't waste the blatant oportunity to develop the character, and if the ship in question didn't nuke any development its characters recieved.

Like, you don't even have to be a Zutara shipper to see how Kataang basically shat on both Aang and Katara as characters.

Agree with all of this, but I want to focus on this bit right here:

I would be more willing to accept the points "he's literally twelve" and "why are you getting so worked up over which fictional characters are dating", if the writing didn't waste the blatant oportunity to develop the character, and if the ship in question didn't nuke any development its characters recieved.

Here’s the thing. Aang is the protagonist of the show. You know, the one character who absolutely should have a solid arc and experience meaningful growth. I’m not saying he had no growth. But it’s just like you said, there are some pretty glaring plot holes surrounding his story. Could be excusable for a side character, but for the protagonist? Really not great.

And people will also act like romance is no big deal, but I think it really shines a light on how Katara is viewed by the creators and fans in relation to romance. From Aang’s perspective, romance can be treated as a minor add-on at the end because it’s narratively framed as his reward for saving the day. Aang doesn’t have to fundamentally change as a character to enter into that romance. It is written in a way that centers him.

Katara, however, does change. That can be seen in any post-canon material. I know they’ll keep trying to retcon this, but Legend of Korra will always exist to show us how little regard for these people have for female characters they’ve relegated to love interests.

[dreadfuldevotee]

Thank you for this last post. The discourse on this fandom can often be so annoying. I hate it when people are like "this is a Gothic horror, let them be toxic and problematic!!!!11!!!1" because it's not take they think it is? At the end of the day, they still want us to root for these characters and relationships, right? So how can we do that if they're stereotyped vampires, who is dark, cold, just hurt each other and don't have an ounce of growth, development, empathy and humanity? And this is such a dismissive opinion of the show and even the books, because their conflict with humanity and vampirism is a central aspect of the plot. That said, if you reduce them to the abuse alone, you're also missing the point of the story? I mean, you can totally have your opinion, you can see them as unforgivable even on this fictional universe, you can hate and root against them... But this show isn't about punitivism, it is about them navigating immortality. There are consequences for their actions, as there should be, but the goal is for them to find a way to make this work. You don't need to agree (idgaf about the British monarchy and still watched a few episodes of The Crown for the acting, for example), but if you expect otherwise, you're just playing yourself? But this fandom seems to have a problem with finding a good balance. Not to mention the hypocrisy of never forgiving certain characters and reducing them to their problematic actions, but treating their faves very different lol. And I'm like, okay, you don't need to love everyone, it's okay to have a favorite, but at least don't be contradictory? Your fave does the exact same thing or worse? Anyways. Thanks again for putting it so well. It's refreshing to see posts like that here.

Thank you! I'm glad that other people get anything out of my ranting and raving, as I am a chronic yapper and really only talk for my own health LOL.

But yeah, there is a lot of selective hearing in any fandom, really; but it pisses me off a lot here because of all the "Gothic Horror" handwaving going on. Interacting with the fandom, reading the books and seeing clips & bits of personal writings from Anne Rice, the image it paints for me is a profound unwillingness to engage with contents of the story if they're not fun and sexy. Shit, even my own odyssey into the books is spurred on in one part, to be able to form my own opinion and critique on the writing and secondly, realizing that book readers were straight up lying at times about how things went down.

And there is this persistent idea I've seen on here and twitter of "If you have issue with XYZ then this series isn't for you" and like, okay if you don't wanna see gay people who have everything-but-the-bagel of mental illnesses then, yeah, sure. But when someone goes "Hey there is like,,, a ton of casual pedophilia and CSA in these stories that is framed as cute n' casual and/or deeply romantic, I wonder what that's all about" and then people crawl out the woodwork trying to convince you its not weird or that you're weird or weak for think its kinda fucked up- then at that point, I think maybe there is actually a different issue occurring here, you know?

Anyway, I think where I'm going with this is- TVC is a cultural phenomenon and has a tangible impact on Vampire and Gothic Horror canon and that's good and fun. But if we can recognize something like H.P Lovecraft's racism/classism/general fear of change having a profound effect on his writing and the spark of the entire Cosmic Horror Genre, then I think we can interrogate how AR as a Rich White Woman who grew up in mid-21st century New Orleans has an effect on the kind of stories she writes and how she does it.

[coffeeandstrawberries]

A Part of You is good.

It's emotional, it's impactful, it's realistic. It has a story to tell, and it tells it in an honest way, mostly avoiding melodrama. It has its flaws but they are easy to ignore once you start caring about the characters.

I really appreciated APOY for showing a family struggling with a loved one's depression. Their inability to communicate with each other and support each other felt too true at some points — I paused the film multiple times because it was that difficult to watch. It was different from the way too many media deal with subjects like addiction and mental health. In real life, those things aren't small obstacles on the path to happiness, they are life-long struggles. APOY felt true in this regard. Through a better part of the film Agnes is completely isolated in her grief, so is her mom. They cannot support one another even in the moment when they learn about Julia's death.

Felicia Maxime's character is the main focus of APOY, we see the story through Agnes' eyes. Felicia is good and completely believable in this role. There were a few moments when her acting seemed a bit melodramatic but they could have been the director's choices.

Edvin has a smaller role than the promo campaign had suggested so I get YR fans' disappointment. Even so, he is brilliant in every scene. I was pleasantly shocked by his ability to bring to life such different characters as Noel and Wilhelm. Not that we needed it after three seasons of Young Royals, but APOY is another confirmation that Edvin is an exceptionally talented actor who will make the absolute best out of any material he is given.

Someone who knows about filmmaking more than I do could write about APOY's visual language. I know nothing. I only can say that the film is really effective at making the viewer feeling the characters' emotions.

The one thing I have issue with APOY is its message. I am not a five-year-old, therefore I don't need a piece of media to be a How It Should Be Done manual. A Part of You is a film about recovering from grief but it sacrifices something to be it. Julia isn't given enough space to become a character the viewer could care about. Bluntly speaking, she is there to die so the other characters could complete their arcs. We only see Julia as her depression — she is a burden to her loved ones, her mom doesn't know how to deal with her, her boyfriend is exhausted and overwhelmed by his duties of a babysitter. Her friends are saddened by Julia's death but we don't know the reason for that, it can be a typical young people's reaction to a death of someone their age. Julia could have been a good person outside of depression she didn't know how to handle. APOY only allows her to be a plot device for other characters' growth.

It brings us to the message. The film leads us to believe that nothing could be done. Julia is dead, her loved ones have to understand her death wasn't their fault and move on. I don't disagree with that. What rubs me the wrong way is carelessness with which the film handles the subject of depression. Depression is difficult for anyone, but it's especially difficult for teenagers. They brains haven't finished developing, they biologically incapable of understanding how long life is. To them, any struggle seems like the end of the world.

I am not suggesting that APOY — a piece of media inspired by a real-life tragedy — should have had a different plot, the one that would teach the audience that depression is manageable and suicides are preventable. I think that any character with mental health struggles deserves to be portrayed as a multidimentional person and their death can't be reduced to a reason behind someone else's journey of self-discovery.

[oodlyenough]

rogue!

well i really enjoyed that! felt like a classic MOTW doctor who episode, in a way that none of the others this season really have (except maybe space babies... except i uh. did not like space babies lol). i think it makes sense that bringing in two new writers (women! hooray) would stick pretty close to the formula, and i think it worked well. as much as i love the experimental episodes, the formula done well is still a very good formula. that's how you get 60+ years of tv.

the one-off romantic interest for the doctor who tragically gets sacrificed to save the day shtick felt refreshing because it was a man this time, and also because it's in a season where the doctor and the companion haven't had any ship tease stuff themselves lol. also the kylie song playing reminded me of astrid, who had a very similar arc. wonder how intentional

i also liked ruby's subplot of bonding with the one girl, she felt very Companion in this episode

i thought the bridgerton cosplay angle was pretty hilarious and i enjoyed it. i haven't really been paying much attention to the "it's a tv show!" theory -- mostly i find it... more enjoyable to not create theories for myself on doctor who bc there's a 99% chance i'll be wrong and get disappointed -- but i have to wonder if that being the plot of this episode helps or hinders that idea.

also this. really felt like it was meant to be episode 2 of the season. sorry. i know i've been in a "devil's chord got swapped in its order" conspiracy theory this whole season. but space babies leads to the doctor meeting carla again and then we flash back to that conversation here. to prove her identity ruby only references TCORR and space babies. the 6 month jump in devil's chord and the obvious finale tease at the end of it, which was notably missing from this episode. i feel like rtd could personally pinky promise me these episodes weren't swapped in their airing order and i'd still be skeptical

overall, i feel like we've had a pretty enjoyable run of episodes. i've liked just about every episode, with space babies being my least favourite. 73 yards / dot and bubble / rogue is a really strong three ep run for me, had a blast with all of them for different reasons.

however, with only two episodes left in the season, i have to say fifteen and ruby as a team tardis feel quite... generic? they're both extremely likable in the role and i enjoy both characters and the dynamic they have. but there's not really any tension between them, i feel like we skipped so much of the getting-to-know you, i don't feel that ruby has any big character challenges to overcome which means there's not really a lot of growth opportunities for her development either. it's such a shame because this was always the RTD1 era's biggest strength. i think a lot of it is the reduced episode count, but i'm still surprised we haven't seen more of that characterwork that is usually his bread and butter.

sad there's only two episodes left though, i've had fun with the season

[bobbydagen24]

While I love World Tour something that's always Bugged me is The Hickory's Betrayal plot point.

Hickory is a stranger who they meet at a convenient time who seemingly sticks his neck out to help our main characters for no Reason other than Moral Goodness

and who Branch warns Poppy about Trusting but who she chooses to trust anyway and after a Journey where some trust is built up between the characters

Hickory is eventually Revealed to be a Bounty Hunter who was just getting close to them so he could find out where they had their string so he could give it to Barb

all in all not a bad plot point in the story personally it caught me by surprise the first time I saw it Hickory is a fairly likable character that from what I can understand most of the audience Grew fond of

and Poppy and even Branch Deffo built up a little bit of trust and maybe even friendship with him in the movie making his betrayal work on pretty much every level

a Twist needs to to work except the problem is the movie Really undersells it

after his betrayal he leaves the movie and is only seen again briefly at the end and its a little comedic scene where he proudly remarks about having taught Poppy the trick with using sweets as ear plugs.

my main problem is Poppy having no Real Reaction to his Betrayal as Hickory's turn is done seemingly just to get Poppy caught by Barb and that's it narrative wise

when I feel it should have been more of a turning point for Poppy's character as she's a overly trusting person

who in the last movie got betrayed by someone she trusted very much which Hurt her a great Deal.

and Despite warnings from Branch about Trusting Hickory she still chooses to keep being a trusting person only to get betrayed again

this should have a way bigger Reaction from her even tho she didn't know Hickory all that long she was clearly starting to view him as a friend

and she went out on a whim by trusting him but she got Burned yet again this should have either made her furious or emotionally Devastated her

instead she has very little Reaction to it and it Really didn't seem to at all change her character as in TBT she's back to being overly trusting such as

instantly taking Brozone's sides when Branch is mad at them going out of her way to make excuses for these total strangers

and comforting Crimp and trusting her as soon as she sees her Despite her being a willing accomplice in torturing her boyfriends Brother.

Hickory's Betrayal should have been used as a way to Develop Poppy into a more cautious person less Trusting person

that way the movie wouldn't literally be throwing away this likable character simply because they needed a way for Poppy to be captured for the climax

and his Betrayal would have a legit character Growth purpose so I feel Poppy should be more emotionally impacted by his turn

and he shouldn't just leave the movie after this he should Remain by Barbs side as a Remorseless Henchmen who is nothing but cold to Poppy when she tries to ask him how he could do this.

and Ideally the movies wouldn't just forget about this and Poppy would be a little more cautious when Trusting strangers in future movies

as Poppy's character Development seems to be undone in every movie making it very surface level tbh

so yeah Hickory's Betrayal has always Bothered me from a plot perspective for this Reason as he's an example of a Good Twist Villain in the way he's set up

( unlike someone else who I will be making a post on very soon ) but like I said the movie Really underplays this aspect and it makes it feel very pointless tbh

as there's a million other ways they could have had Poppy get caught by Barb along with the string without the Hickory Twist.

[lena-in-a-red-dress]

@theresnothingcruviswithme has given me permission to continue ranting about the Sam Carter character assassination that was done in yesterdays panel, so here's some more thoughts:

Sam was not always ready to lead. In S2, there's an episode called 'Spirits' where RDA (actor for Jack O'Neill) was unable to film, and so they basically had to rework the script and basically have Sam read his lines. It felt very OOC for her, bc the lines were literally not written for her character, but ultimately established in-world Sam's approach to the mission and her reactions to the plot developments were not right for leadership of a team. She got the job done, but she wasn't ready to lead a team of her own long term.

And that's okay. She didn't have much real world leadership experience under her belt at that point, and book learning only goes so far when it comes to field leadership. It gives her a starting point, and room for growth. And she does!

She grows a shitton by the O'Neill is promoted out of fieldwork. Before Mitchell comes into play, Sam Carter is promoted regularly on a realistic timetable commensurate to her development and improvement. It's only when the show needs a new male lead that suddenly Sam leading SG1 is "unrealistic"?

Also, while we're talking about unrealistic, you wanna know what's unrealistic? Two colonels on the same field team. It's a waste of resources, and confuses the line of authority-- ESPECIALLY when one of them is a new face on an existing team that has had almost a decade to bond and build trust in each other.

I will concede, however, that it's not really Mitchell's fault that he became a commanding officer of SG1. IIRC, he simply wanted to serve *with* SG1, not lead it. It's just that when he was able to join, they'd already gone their separate ways, and that in bringing the band back together, leadership was arbitrarily assigned to him, for some reason. Despite Sam's over-qualifications and his own lack thereof.

They didn't have to make Mitchell a Colonel. When he's introduced, I believe he's acting as a squadron leader during the battle over Antarctica. But to my knowledge, squadron leader is roughly the equivalent of the rank of major. So, why not leave him as a major and introduce him as a hotshot fanboy who just wants to serve with his idols? Suddenly Sam is not only a leader but a mentor, and gets to have journey not unlike the one O'Neill had?

The cold hard fact is that the execs didn't trust that Sam could carry the show, and probably wanted to bring in the Farscape fans, so they cast the leading Farscape stars to be the fresh new faces of the show. And its a goddamn shame.