#like there's a fantastic balance of the two main characters learning to open up to each other and trust

[libraryleopard]

Dual POV adult historical romance set in 1810s England

When a Gareth, London clerk, unexpectedly inherits his estranged father's baronetcy in Kent, he moves to the Romney marshes and realizes that Joss, the man who runs the local smuggling clan, is the same one who he had several clandestine assignations with–before they abruptly things ended on bad terms

The two end tangled in conflicts between rival smuggling clans and the local authorities even as they find themselves drawn back to each other

Very grounded in historical politics, setting, and language

Gay main character; biracial Black/white, gay main character; M/M romance

[nny11writes]

Okay, so about that Super Gal Pal Trio fic.

Best fic name ever

Is this one of the infamous Lost Super Poly Trio/Catrapta Fics we were talking about a couple months ago?

WE DIDNT GET TO SEE THE OTHER TWO FIRST KISSES >:((( we saw them mildly thirsting over scorpia but we were promised two more first kisses and the author left it u_u

i was really surprised by how this was made after season 1 yet the author seemed to be hitting story beats from season 4, in particular Catra's nightmares and guilt, her feelings over Adora, Entrapta, and Shadow Weaver blurring together, much like they did in the show.

rest under a read more. do these work in asks??????

The chapter of Scorpia ripping open the vent to talk to Entrapta, and then trying to carry her to her bed and accidentally ripping apart the bedding, well, I think this fic has one of the best and funniest Scorpia characterisations I've ever seen, especially impressive with how little we knew about her, or her relationship to Catra and Entrapta, after season 1. Definitely one of the more brazenly confident Scorpias. Refreshing.

I am always impressed by when stories write a closer Catra and Entrapta dynamic and, in a way that seems almost more inevitable than Catradora, probably cos these two in particularly are so... troubled????, they ALWAYS get too close and hurt each other. Catra has a tendency to lash out when she feels vulnerable, and Entrapta takes every social fallout as her own failure, because she has always been told as such and doesn't have enough experience to understand when other people are not treating her properly. There's a bit where Catra's inner Shadow Weaver tells her she's "dug her claws deep" in Entrapta and engineered this almost abusive dependency, and Catra feels so shit because this is, well, true to the scenes in that fic. But Catra is also growing attached and really does care about them, and she's fighting her inner battles and getting more nightmares because of all these feelings mashing together

Catra as a result decides if shes going to be a toxic girlfriend she will at least make some effort to make the others happy together and actively starts pairing Scortrapta, which is the most hilarious outcome possible. Catra pointing to her girlfriends happily cuddling: "Look what ive done!!! Those two have an ACTUALLY healthy relationship!!! Youre welcome!!!"

But basically the catrapta dynamic showing how easy it is to simultaneously depend on another person, and be hurt by them, i see that in a lot of stories and I think the learning curve for them is figuring out how to set healthy boundaries and stop that cycle, which is something that the SPT in general struggle with.

Entrapta going full crisis mode because her feelings for Catra have just completely distracted her from her science fixation is so funny, it's almost Hordak levels of overreacting and the way she tries to figure out WHY she feels that way and even sets fire to some things to "purge" the feelings and talks in a recorder for 30 minutes nearly blacking out from lack of oxygen, it is so unhinged. As is the scene afterwards where they. um. break the cafeteria.

10/10 lonnie catra fight scene

YES THIS IS THE MAIN ONE THAT I COULDN’T FIND AND I COULD NOT BE HAPPIER THAT YOU DID!!!!!!!!!!!!! :D

It allows me to re-read it for at least the fourth time :)

I know! Gosh, this is the fic, this is honestly my “if there was one fic you could magically have updates for again, what would it be?” It would be this fantastic one right here. Characterization is so well done in it, and the character beats are good. There’s light hearted moments to balance out darker moments and I just love it to bits and pieces. And you’re totally right, it picked up on a lot of groundwork that was put down in Season 1 alone and that’s a huge part of what makes it a stand out from a lot of other fics that came out around that time too.

I love brazen Scorpia, she makes so much sense for this point in the show. I think she doesn’t get too nervous or second guessing that much until later on. At first she is just a one train running kind of person, if she wants to get to her friend in the vents and can’t fit well the vents will bend under her big meaty claws instead!

And I really like that initial bit of conflict in this fic, where Catra is just in a bad spot already to hear Lonnie being a jerk like that, but then Entrapta just enthusiastically steps into a hidden trip wire for Catra. So the lash out is Big and Bad, and of course Entrapta doesn’t get why. And just one chapter later we see Scorpia literally using her positivity as a blunt instrument the way Entrapta did the previous one, but just with much different results because of who, how, and why. And that damn nightmare sequence with all the mixed up emotions followed by Catra kinda faking her own version of comfort 100% based on Adora and AHHHHHHH!!!!!!!!

I had totally forgotten about the Lonnie and Catra fight, agree 10 outta 10. :p

It’s just a smart fic, and a fun fic with a lot of hurt/comfort and I think it was one of the first I read where Catra started to realize some emotional touchy feely shit in a way that felt realistic. I don’t know how to end this except saying that everyone who likes super poly trio and especially catrapta since that’s the only one of the pairings that actually had screen time, should go read Super Gal Pal Trio on Ao3!

[maliciouslycreative]

How I played damage control to an anti in a small anime fandom and may have led to her ultimate downfall

I know I had a really nice write up of this at one point but oh well. I’ll spill more of the tea in this one because honestly the tea was so hot.

There are a few things that I have to give context to first. Gaia online was like THE mega forum of the 2000s, you made a little avatar and through posting and doing other activities on the forum you made money to buy clothes for your avatar. There were forums for everything but the fannish portions were really what drew in most of the people. The anime I was into was Beyblade. It was a shonen anime about fighting with tops that were possessed by the spirits of magical creatures. The story was honestly pretty average but the characters were fantastic and the fandom is to this day still one of my favourites. The series had a primarily male cast and didn’t even have a female lead until the second season. This led to the fanfic for the English fandom being about 70% canon/OC, 10 % canon m/f, and 20% slash. The most popular character in the English fandom was by far Kai Hiwatari, the loner badboy of the team.

Also before we get started I would like to add that one of my best friends was neck deep in this and the two of us were more or less fandom married. This is the same friend that I fake dated, had feelings for, and she nearly got me into kpop in 2011 so like if you haven’t read that story please read it too because it will give you a good idea of how stupid I am and how much of a fanfic I have truly lived. 

To set the stage I was 16, soon to be 17 when I joined the fandom and it was 2004. In September of that year I wrote a humour longfic that became an absolute smash hit and I found myself somehow fandom famous. It was around this time that I joined Gaia online. I made my little avatar and immediately went looking for the beyblade thread so that I could make new friends. I found the main thread, made my little introduction and at the end of it mentioned that I was a slash writer but I supported all ships. This is where I met C. She had declared herself the authority on Beyblade in these parts and I had just committed the crime of mentioning slash which was very obviously not canon and we did not discuss in this thread because we only discussed canon things. I was like well that’s a bit severe but like sure whatever I just want to hang out and have fun. 

Oh boy did I have no idea what I was in for. 

C was a year older than me and unfortunately that made her older than the majority of the fans at the time. Her favourite character was Kai, and she was not shy about talking about this fact. She stanned Kai above all other characters, and often at their expense. She was also a fanfic writer of a popular canon/OC series. Actually, she was so full of herself that she didn’t even call herself a fanfic writer, no her stories were in fact novels and were apparently very good. I never read them. But more on that later. 

Eventually the slash fans got tired of her being rude to us in the general thread so we made a Beyblade slash thread. There was a core of like 8 or so of us and we honestly had sooo much fun. When C would be too unbearable in the main thread the people from there used to come over to our thread and we’d chat with them about non slash stuff because we were honestly all multishippers and just wanted to have fun. We’d get comments like “wow, I’ve had more pleasant canon het ship discussions in the slash thread than the regular thread”. We never worried about C coming over and getting upset about comments like this because she refused to be associated with anything related with slash lmao. 

I tried my best to keep the peace between C, myself, and the rest of the fandom because ultimately I hate being in fandom drama. I just want everyone to have a good time. I’m a people pleaser. Unfortunately my newfound fame put me in the awkward position of being the most fandom popular person in our small community aside from C. Virtually every fan that read fanfics that came into our thread knew one of us or the other by reputation and C HATED this. Especially because people would come in to the thread, recognise me and go “oh my goodness I love your fanfics!” and I’d be super sweet with them and it’d lead into “I can’t believe how nice you are, I love you” which would lead to us crying at each other. This was not the kind of fan interaction that C got, no her fans were more kind that were there to praise her and worship her like a deity that had blessed them with some gift. Rarely did they tell her how kind she was. 

Back in the mid 2000s there were really commonly those commercials (usually by Christian organisations) asking people to sponsor say children in Africa or to help build schools or provide drinking water. You all probably know the ones; know the language that they used in those commercials. My fandom wife, who I suppose I shall call wifey because yes we were THAT couple back then, once said that C described her fics like those people described donating money to save the lives of Children in Africa. So we used to joke that her fics were so good they’d save lives in Africa. Looking back at it all, she almost had a very fundamentalist Christian approach to bringing people into her fanfics. She of course tried to get all the slash people into reading it. None of us read canon/oc fic mostly due to our poor treatment at the hands of their fans and creators. Getting fed up I one day told her that if she would read any one of my fanfics that I would read the entirety of her novels. Yes, I was willing to commit to read a couple 100k of canon/oc fanfic that I’d never touch normally if she would even read one of my 1k 1 shots. Heck, I had a fic even that shipped 2 minor characters so she didn’t even have to sully herself reading about one of the main characters. It was honestly a good deal in her favour. I kept this up until the day we all left the fandom. Sometimes I do wonder if her fics were even ¼ as good as she claimed, but I will never know because she refused to read my fics. 

She wasn’t all bad and a tyrant all the time. As long as people kept the conversations on track and didn’t come in to the thread saying things like “KAI IS SO HOT ND T3H BEST N I AM GUN 2 MARRY HIM” she stayed mostly civil. It was always hilarious watching InuYahsa or Naruto fans try to come in and bad mouth Beyblade because they’d unleash the dragon and C was great at chasing off undesirables in the thread. 

The real apex of goings on though on Gaia was the guild drama. So guilds were like exclusive themed mini forums within Gaia. Anyone could buy one and run it however they want, as long as it still adhered to Gaia’s ToS. C of course was the owner of the only Beyblade guild. The fandom wasn’t really big enough to support 2 guilds so we just kind of let it go. Technically she allowed people to post slash fanfics but like everything had to be explicitly tagged and there was absolutely no slash RP. Wifey and I controlled a handful of minor characters together in the forum RP and definitely used to try to push the boundaries a little bit. Some ambiguous flirting here, a stray comment there. It was such a fragile balance though because C was heavy on the ban button. The active portion of the guild was just people that were in the cult of C and worshipped her writing. 

Understandably the other slash fans and myself were getting disheartened by this. So we pooled our funds together and decided that we’d open a second guild that though it was run by slash fans we would welcome anyone into our ranks. We just wanted to have a fun place for everyone to hang out, and to hopefully run a few events out of. In hindsight, we should have seen what would happen. When we opened the guild, with me as the guild leader, it was like somebody blew up the whole dam protecting the delicate ecosystem we had cultivated. Every single person in the Gaia fandom that was not a zealous follower of C applied to be in our guild and left her guild. We of course figured that we’d attract some of the gen population but we did not expect to accidentally poach all of it. All of the moderators were getting messages from people thanking us for giving them a place where they could say whatever they wanted without fear of getting their faces ripped off or banned. 

C lost her shit. She was so mad that we went behind her back to ruin her guild. We literally had to show her posts in the very public slash thread that we had been planning this in public and that it was not to ruin her life. We just wanted a place where we could freely post slash. The two of us had some spicy comments back and forth and then she dropped an absolute bombshell on me. Since Gaia’s mail system is terrible I unfortunately no longer have exactly what she said but it was something along the lines of “Ok, you win. I’m going to close my guild.”. Us slash fans had never been doing this to win anything. We had never been competing. We just wanted a safe space to be ourselves. 

C never joined our guild. The fandom slowly faded out within the next year anyway. We weren’t getting new content so naturally people just drifted into other fandoms. C kept up with the main Beyblade thread for a lot longer than most of us but eventually that eventually faded into obscurity too. 

I learned a lot about fandom bullies from those days. But honestly the thing that stuck with me the most out of everything was that if you provide a positive safe space for people they will flock to it. It may seem like there are so many hostile people out there, but there really aren't. They're the minority but they just make sure that their voice is the loudest. The best way is to ignore them and just do your own thing. The bullies just want attention and if you don’t give it to them and prove to them that their opinion doesn’t matter to you then they’ll move in and find something else to yell at. 

[sugar-petals]

Hey Caro ☺️ I just took your super m quiz - thanks for making such a fun quiz, I feel like it helped me get into super m! I know nothing about them yet but I thought it fit soo well that I got Kai bc I’m a full time dancer - now you have me super curious about him 👀👀

KAI :: INTRODUCTION MASTERPOST (dance focus)

so you wanna know about the god of k-pop choreo? oh yeah, i’ll talk to you about fucking kai! if you dance, this guy is the #1 must-know. once you see him move, there’s no going back. i don’t exaggerate: kai is the gold standard. brace yourselves, i’ll show you why.

kim kai aka kim jongin (27) is a solo artist and super m’s plus exo’s main dancer — est 2019 and 2012 respectively — heading either group with a passionate, hyper-physical style that roots in his early practice of of jazz dance and ballet. the influence definitely shows. 

learning choreography, he’s become the gorgeous fusion of emotional grace and explosive power that unites both tension and extreme accuracy. while at the same time: never sacrificing his interpretation. and HOW MUCH HE BLEEDS FOR HIS CRAFT. he enjoys it so much. 

and he’s communicating it 100%, jongin’s dance is so interactive and raw, luring. i swear to god, put the seatbelts on for this one. it’s never just him, it’s you as well. you’ve never seen this before. he’s like “yes, i meant you, i’m looking at you”:

he’s even gonna modify the choreography to point right at you to underline that very thought. he’s so good, he can learn it, ace it, epitomize it, and do his own thing anyway. even the person in the last row will get whatever point kai wants to make. this is dance that belongs on the biggest stages.

even when he films without a crowd, it’s like you’re literally standing opposite to him. he focuses on two people: his moves, and the viewer. he has it look like you made him smile and self-aware, or you made him determined. INCREDIBLE. he shows his charisma, BUT he also shows your own (!) impact on him. it’s a duet. he wants you to join him on the dancefloor. this is from exo’s call me baby mv where kai does his famous come-hither:

he flirts and he encourages. he values the audience and wants them to be confident as well. i think it’s the reason why he’s so outstanding and addictive, kai thinks beyond himself. it’s a tango he involves you in with his eyes and how he opens his body, interprets a lyric.

it’s not about imposing himself going one way. instead: he plays the back and forth ALL. THE. TIME. in any context. whether it be frivolous, or fun, or gloomy, or sweet. even with a simple little smiley wink it’s happening. and he acts like you had a reaction to it. there’s literally just a camera.

this guy’s physique, strength, elegance, feeling for the beat, character portrayal (!), and control is unbelievable. he’s destroyed it in every fancam out there. he can’t switch it off even if he tried. your eyes would go toward him in the largest group formation still. put him in the center, that’s his spot, he showcases it.

because he doesn’t just show learned moves, he makes it radiate something dynamic and animalistic (he embodies superm’s ‘tiger inside’ all the way). 

jongin’s dance says: i love this, you love this, let’s do this, the feeling is right. he makes bodies and unrestrained touch the opposite of wrong, he pronounces it a source of having fun and being instinctual. and he never breaks the tie with you throughout, and uses his shoulders and lips to put the oomph into it. 

he uses innuendo and a ‘we both know’ sentiment perfectly as an invitation rather than just going through his routine. that’s how he can make each move fascinating. you can tell kai knows exactly how to make everyone scream their lungs out. i bet somebody held their breath just reading this post already.

exo’s most famous choreo is ‘monster’ (kai focus linked) with good reason: jongin can turn himself into nothing short of a roaring beast. it’s one sharp, complex move after the other. kai can bend any gravitational law he wants to show any feeling and pose he wants. a glimpse:

now, how to spot him in general if you’re new to him? here are some pointers. kai’s execution is clean, fast, and powerful. those are two decades (!) of experience showing. kai is an all or nothing dancer, he plays no games. he treats every group and solo stage like his best and last. his work ethic is beyond words. yeah, he’s a capricorn. his style is direct as can be, working every axis.

as you can see, jongin is hard to overlook anyway: he’s a 182cm giant made of steel. he strives to acutely visualize impact in his style and it is always successful. in fact, it’s his signature. it’s like he creates invisible objects and pushes through them. boom, he just burst another bubble.

when the song gets to his part, i guarantee you won’t miss him and all the boldness and expression he brings to enrich the performance. hell... he carries it. jongin can handle the center, i’m telling you. (look how fast he rotates here)

talking features — this is what to look for when he dances in a group setting: you can recognize kai’s face by how wide, bluntly structured and sensual it is. jongin is a sight. he has such an aura, serious, sultry, and smiling alike.

with a very recognizable silhouette (like... holy hell!):

he’s very cute as well ♡ the fandom and kai himself have an adorable analogy going on. jongin calls himself a teddy/nini bear and we joined in on it. (i made a thread about it here, it talks more about his offstage life) — hence kai’s fans are called eri-gom, eris as in exo’s fanbase and gom meaning bear. 

and i mean. look at him. what an attractive guy. he’s that handsome. strong brows, teddy eyes, square jaw, swept hair, glorious lips, tan skin. 

now yes, something important concerning his appearance and a serious topic: i don’t want to list you the endless instances of colorism that kai has to endure but it has to be mentioned. jongin has been called every name in the book and people agonize him over his skin incessantly. it goes on and on and on. every day a new terrible comment about him emerges because some pitiful person thought it was funny and would elevate them. 

he’s had to deflect, ignore, reframe, defend, remotivate, assert, harden, prove, denounce, and push himself, protect his confidence, decline skin bleaching constantly, laugh along, dance and practice thrice as hard to get the respect, and still see his dignity torn to pieces all day. i’ll just give it to you straight, that’s all fucked up. kai’s skin is perfect, he’s amazing and wonderful. 

in his own words:

— exactly right. say it even louder.

having him at the bottom of every joke is weird and messed up. this man is an utter beauty and nothing has to be fixed. it is up to him to define himself rather than get called ugly for his skin’s appearance by default, and get whitewashed at every opportunity. it’s been going on for 27 years, he scrunitizes himself all the time and doesn’t look at himself fondly because he hears these beatdowns daily.

it’s heartbreaking that this happens literally with no end in sight (’kai is just a stripper!’... ‘he has bad vibes’... ‘darkest guy jongin!’). for his skin, and how he decides to show it, too. jesus christ his skin looks fantastic, end of debate. they just can’t handle him, kai couldn’t be any more immaculate.

♡

jongin has vigorously protected fans from discrimination, bullies, and shaming himself whenever it came up. in a very straightforward and deadpan manner because he knows exactly how it damages you. (”J” in the subtitles = jongin, he’s wearing the plain white top at the very back)

we need to protect and praise him that way right back. it’s important.

so, needless to say. all in for jongin getting the center stage he deserves. because he has the wow factor in every regard. kai usually opens an MV because there’s no better way to get people’s attention with that level of presence. with kai, you can’t go wrong. if you get the center in a an all star group like superm, you are the king.

being part of that presence, kai’s stage alter ego has reached levels of infamity you can’t even imagine. it’s great to see him being sovereign without apology.

and it doesn’t stop there. he shows time and again that acting, props, and commanding the audience has to be mastered to be an exceptional dancer. kai owns his sex appeal. sometimes, he even dances a portion of choreo with his eyes closed because he’s feeling it so much.

he is a pro in using his surroundings as well, superm’s stages are a glorious opportunity for kai to show how he comfortably ‘lives in’ the 3D space around him.

which makes the viewer do the same: watching kai makes you feel amazing, energized, but also serene and enjoying the moment. 

there’s always balance. it’s the magic of it. e.g. he comes along with so much impetus and decisiveness but eventually, he halts to offer himself. here i am — take me. i’m yours. closed arms, open arms. walking, kneeling. looking down, looking up.

kai goes every extra mile there ever was and makes each eye contact count. involving the audience, one grin at a time. it works. it’s about establishing contact. he connects to the onlooker with so much nuance. 

kai’s smirk is notorious and you can see why it’s so raw and real: he makes it linger. it’s such a duality since his dancing says i’ll come over, while his message is come and get me, i know what’s on your mind.

with a hilarious twist – kai expertly uses humor. you don’t get that in many dancer repertoires. i love it. all those quick expression changes. his smile! 😊 what a man.

so — what makes him so good and known: yes, his style doesn’t deny that dancing and eroticism are one in his business. that takes courage. kai has it. iconic performances have been his reward. point dance/killing part: exo’s love shot choreo. 

that suit has swept the nation. what’s more: kai shows you it’s more than just good hip movement that a good dancer needs. he does everything at once, he puts the pleasure on his face, all his limbs are following the template he chooses.

the thing is. kai couldn’t be any shyer, but when the music starts he becomes a oscar-winning madman. he emotes constantly (!) and stays in character. this is gold.

jongin always plays it up. he knows how to use that face and does a lot of power posing. this is how visceral looks like. he’s interpreted exo’s aggressive concepts to a T.

and he has so. much. fun. it propels him. on every beat.

past every hurt, heartbreak and injury, man. if you know about his genre you knew this was coming, kai does all of that with 4 herniated discs. since debut days, never recovered. every gif in this thread, he dances with a battered spine. wheelchairs, stage collapses, relapse-recovery-schedule tales, the dilemma of injuries being inevitable, limping, kai falling into depression during breaks, constant pain killers, countless tears on stage, we’ve seen it all, the extreme end of it. 

kai works out like hell to literally keep his body from falling apart. but it doesn’t help the nerves in his back that are impacted. doing choreo you can sometimes literally see the pain kicking in and he pulls himself through with force for the last minute. once you know how strained his back is, you can see it.

at the end his expression goes fuck now it’s coming when the adrenaline fades. he takes every second-pause he gets to rest but still finishes each move. even when he holds back, he keeps it together and executes each turn. sometimes, he has to restrict himself and soften his movements to protect his health (especially in hard choreographies such as lucky one which is universally disliked by exo — still jongin makes the very best of it smiling bright and dancing so hard his sleeves come off).

he frequently states he ‘dances in any case unless his legs are affected by something’. all torso injuries are fair game, this guy is hardcore. and people claim he’s just pretending. chen (a fellow exo member) says not a single part of jongin’s body is intact. he has paid every price to get this far to follow his love. he’ll step on stage with crutches. he works SO HARD.

that being said: exo being called the official nation’s group, i say kai is the nation’s dancer. period. he has had his great moment at the korean olympics flawlessly dancing in a hanbok with traditional instruments and fulfilling his dream. 

i love the tension and drama he can bring. he can also thrill with slow, vulnerable movements alike.

kai’s is called a legend, he’s all that and even more. the facial expressions alone are feared by any kai stan because they hit home. 

this guy is a sex icon and goes off like a gun, messing around was never kai’s incentive. 

while at the same time being incredibly nuanced and so, so descriptive with his movements.

point dance: baby don’t cry. yep, kai has danced in water. must-watch.

this man loves what he is doing. he said he wouldn’t regret to die on stage because dancing is his destiny. boy, it shows. this guy has found his purpose. he can tell any story he wants. he’s a complete artist.

he’s perfectly portraying his incentive and he couldn’t look any more like a god on earth.

long story short, kai is dance and motivation goals. if you dance professionally, you can easily look toward him for the right words.

if you want to further your study and knowledge: he released a self-titled solo album recently. highly recommended. he worked forever on it, and he’s really dishing it on there. you get to hear his soft voice plus sizzling footwork. and he isn’t even getting started yet. you’ll hear from kai, i promise. he constantly achieves new levels of artistic perfection.

a last remark. jongin is amazing for a myriad of reasons that go beyond what i show you here given the post focuses on his work on stage. but the point stands, while other people have tried to break him, he broke through every barricade instead and stood up for himself. we can be extremely happy to have him and witnessing his unreal dance is an exceptional pleasure. here’s to jongin continuing his passion and confidence, healing, and getting the sweeping respect and acknowledgement that is his.

[vidalinav]

Why? Why? WHY? Rant 2.0

ACOSF is very interesting to me, because there was absolutely no reason to have any of them be so antogonistic to Nesta when she was at rock bottom unless it’s to set up that they’re still going to be problems with Nesta in later books. That’s what SJM set up whether she meant to or not and only time will tell. But If the IC and the sisters had said nothing and were more neutral and the plot stayed the same... it would have been a better book. If they showed an ounce of compassion, it would have been a fantastic book. If there was a mixture of different views on the matter, it would have been a realistic book. Except in the narrative we got, the amount of antagonism is too strong for what didn’t happen to negate that, which is also why I have such a bad feeling about this healing arc. Let me explain.

Let’s say they said nothing. They told her about the intervention. Nesta agreed albeit still feeling a bit betrayed because she wanted more time to heal. Rhys was quiet, not sneering. Mor didn’t say anything. Amren was civil maybe business like. They were a bit pushy about using her powers, but Nesta conceded after learning about the baby. They were never directly antagonist. Elain stayed away, but we’d obviously know why from Nesta’s POV. We would also know why Feyre is not there, because Nesta doesn’t want to see her. Cassian would then be there to segment the romance and be the person she leans on, when she is healing. Maybe she’s a bit mean, but he takes it. He challenges, eventually he shows the more caring part of himself and the romance begins. Everything else can stay the same, mostly Cassian too. IF that all happened, then I would be more inclined to believe that the intervention was necessary, that Nesta had a skewed perspective, that they all might have tried to help at some point but Nesta was the one pushing them all away and did so up to this point. She would have her revelations, her epiphanies, and realize hey perhaps she is mean sometimes, or she would still have her personal hatred, and it would be about accountability, but no one is actively proving her right about her skewed perspective. The consequence is then not that she is being shamed into healing, but that without healing, she would lose her relationships and she wants them. She grows to want them. I would then be inclined to believe that the IC were waiting her out, possibly having Feyre or Cassian in their best interest if not Nesta, and that they were minding their own business until they directly needed Nesta involved. Not hostile, but wary perhaps. And then when Nesta did start healing and opening up, then their reactions would have made sense in that they were lightly friendly but not close, and it was up to Nesta to really fix those relationships. And when she did sacrifice her powers, then it would have been purely internal, that Nesta was proving to herself and to others that she’s open for love and that she loves them, particularly Feyre. The entire healing arc then would have been more internal because it focuses on Nesta and not the IC’s involvement with Nesta, and the outcomes and the ending are still the same. 

Opposite wise, let’s say that the IC/sisters were empathetic, as in the arc that would be more external. Healing not just for Nesta but for the relationships. A reciprocal sort of love. Feyre would tell her that they’re intervening, but because they care for her and she’ll learn in due time. Rhys would maybe be more hard-pressed, but we would see instances where he understands the darkness, the hollow feeling. We would have Amren who looks deeply concerned for Nesta, because she had been her friend at some point. We’d have Elain, who would come to the library desperately seeking comradery and even though she cries at what Nesta says, she understands that Nesta is hard-pressed and only recently started healing. Cassian would possibly be getting frustrated, but there would always be this internal monologue of I want Nesta to heal. I want that girl back. I understand as a soldier if nothing else. Having this deep sorrow in his chest from perhaps not being able to do anything but wait. Mor wouldn’t have to be nice, but she would see how Nesta fits in the library, know the pain of growing up in a gilded cage, would perhaps see Feyre and Cassian and feel compassion for her friends and want to perhaps help for them, so she offers to teach Nesta how to dance. Nesta then would slowly open up to them, open up to love, and all of the ugly parts of herself, the hateful, angry parts would then be juxtaposed with the action of everyone else, with the love that she needs to feel for herself, the love that came even at the last moment with her father. And when she sacrifices her powers, it’s just proof again, that she loves, and she wants to love, and she’s willing to be hurt for love, because she wants to feel it all. And then the relationships at the end would then be open to be made, to be healed more completely, but then I would understand this hopeful sort of ending where her story is complete, but also just beginning. 

Third option, is that we could get a bit of everything, because why does everyone have the same opinion as it seems in the book? Perhaps it’s Feyre and Cassian who completely show compassion, empathy. Elain could still have the problems, but either show empathy, or completely be antagonistic. Azriel is fairly neutral, Rhys is maybe more neutral where they’re waiting it out, but there are no bad opinions towards her. The antagonists could be Mor and Amren. Any of these people could be switched in that role, but the point would be that a few are neutral and more business like or minding their own. A few could possibly have bad intentions and it would be clear. And some would be undeniably empathetic, and I don’t mean to be kind--I mean that they understand, they have viewed Nesta through her eyes, and understand what she is going through and are unwilling to give up on her. The empathy would be the important aspect. But the point would be that none of them change their characteristics. The antagonists would still be fairly antagonistic. The mind your own’s would be open to a friendship, but the friendship would need work but there is a foundation for it. The empathetic would be completely close to the main, because they have stood by her, they have fought, and Nesta would realize this in her own personal journey. They have segmented a bond. The plot would be the same, except we’d now see that some characters suck more than others, and there’s definitely character arcs and growth that need to be made, but it would lead to future books that that might be highlighted and therefore leaves the door open for the rest of the series. 

HOWEVER, what we got is very odd. 

Because all of these characters start off antagonistic. All of them have some comments that are goading (except for Azriel). We have Feyre who makes the embarrassment comment, Rhys who... is antagonistic in many places. I won’t list them all. We have Mor and her lines. We have Amren and her lines. We have Elain and her lines. And no variation with anyone. Nesta gets proven right about her wrong perspective. She has an internal healing arc that seems to just morph into another odd perception, because she’s never proved wrong about herself, but she’s proven right about how good Cassian is (rolls eyes). She notes that she might like who she's becoming by the end, but how? Why? What has occurred to disprove her irrational thoughts? At the end, she is still very much irrational. Nesta still thinks too highly of Cassian, and she thinks too highly of everyone, and very little for herself. She is ripped wide open emotionally though, but that happens after the solstice scene where life suddenly looks very good. She apologies to Amren, who probably least deserved the apology, and to Cassian who also makes comments, but keeps making comments until the end where he means to apologize but doesn’t get the chance to by plot. Oh wait, she does apologize to Feyre about telling her about the baby, I think, but that situation is just swept under the rug for how dramatic it ended up being. Her not wanting to exist is also one and done. The necessity of the intervention is never highlighted, so the reader questions if it was necessary. I question if she might not need an intervention from them. Some of them stay the same throughout (Azriel, maybe Elain... maybe Feyre). Some of them miraculously change to neutral, even if nothing happens to change their mind (Mor). Some of them just change completely (Amren). Some of the relationships are only really fixed because of the baby plot (Rhys and Feyre). And Cassian is probably the only one who has the most reasonable scenario on why that relationship blooms, but it’s questionable if it was truly satisfying because ultimately the only person who really had growth was Nesta even though there are two POVs. And at the end, no one still has shown empathy. Well actually Gwyn and Emerie showed empathy, so perhaps the motivation in healing with Nesta was just added friends, a mate, and distraction. Which I guess... but why then involve so much of the opinions of the IC/sisters if they don’t mean too much? Why emphasize the danger of Nesta, the badness of Nesta, the problems with Nesta, and not negate any of these in scenes with the people that are perceiving her like that. Especially if the goal of this is not to just heal but to heal relationships, as it seems like that was the goal or should have been the goal if the perceptions of others were emphasized. So the end was almost too happy, too hopeful for an arc that started off with such deep trauma and every relationship seemingly failing to a point where the others are antagonistic, and who the narrator received the bare minimum at best to facilitate change... It’s a balance issue I’m telling you.

And, I am making general statements about what happened for good reason. I am trying to show how this could be more satisfying, if the aspects of the story was changed just a teeny bit. I have never read a book so deep in good and bad things. So easily arguable and all it took was how other people affected the narrative. So, I ask why? Why not make the IC/sisters empathetic or neutral or a strong variation of all three (empathetic, neutral, and antagonist). Why have all of them start fairly antagonist, very obviously antagonistic actually, and then have no major scenes of disproval? Because if you start that dramatic you need dramatic scenes throughout to facilitate the dramatic ending. If you start very low or very angry and the ending is suppose to be higher than rock bottom, the middle scenes should be a tug of war. So where was it? Why do it? 

WHy? why? WHY???????

[lilydalexf]

Old School X is a project interviewing X-Files fanfic authors who were posting fic during the original run of the show. New interviews are posted every Tuesday.

Interview with Michelle Kiefer

Michelle has 55 stories at Gossamer. If you haven’t read them, what are you waiting for?! She has great takes on Mulder and Scully. I’ve recced some of my favorites of her fics here before, including Christmas in California, Making Other Plans, and Six Inch Valley. Big thanks to Michelle for doing this interview.

Does it surprise you that people are still interested in reading your X-Files fanfics and others that were posted during the original run of the show (1993-2002)?

I’m not sure anyone is still reading my stories.  I haven’t migrated my X-Files ones to AO3. I don’t think Gossamer provides any viewing statistics. I’d be very happy to hear that people still like my work.

What do you think of when you think about your X-Files fandom experience? What did you take away from it?

My X-Files fandom experience was amazing.  I remember that sense of excitement and immediacy.  It was thrilling to write stories (and read those of other authors, of course) in an active fandom for a show that was on the air.  It was truly my first experience in an online world--a parallel world to my real life existence.  I learned how to keep a foot in each world.  As I recall, it was very hard to keep my focus in my “meat” world, when the online one was so fast moving and thrilling.  But I did get some balance in my life as time went on.

Social media didn't really exist during the show's original run. How were you most involved with the X-Files online (atxc, message board, email mailing list, etc.)?

Message boards and mailing lists were my experience.  They were primitive compared to the pretty screens now.  I forged some amazing friendships, some of them with people I discovered lived relatively near me.  All I wanted to do was discuss episodes and fic.  The flame wars were a little intimidating, but also amusing if you didn’t get swept up.

What did you take away from your experience with X-Files fic or with the fandom in general?

I was very passionate about the fandom--as I said, there were times when my online life seemed to overpower my real life experiences.  I learned to manage that, and think I’m all the better for that.  And I found some amazing friendships that are active and thriving today.  I learned a lot about writing with XF fanfic.  The level of quality was stunning.  A decent percentage of fic were as good or better than traditional published fiction.  But there were so many writers!  I wanted to make an impact on the fanfiction world, but that meant taking my writing very seriously and learning to develop a story, pace that story, make it compelling and believable.

What was it that got you hooked on the X-Files as a show?

I had a couple of coworkers that talked about the show all the time.  I was curious, so I watched an episode.  I believe it was the cannibal town one.  I thought David Duchovny was odd looking and wasn’t terribly impressed.  But I tried another episode - Wetwired, which blew me away with the morgue scene when Mulder thinks he’s going to identify Scully’s body.  Ah...I thought, now, I see what everyone is talking about!  And from then I was hooked.

What got you involved with X-Files fanfic?

As I watched, I wanted more.  I was fairly new to the internet (frankly, the internet was new to almost everyone)  I found episode reviews, and some of them were fantastic.  Some mentioned fanfiction.  I was unaware of such a thing, though to be honest, since childhood, I’d been spinning stories in my head about characters on TV shows.  I found some fanfic. The first couple of stories were not great (at least one was horrible) but then I found some that were very good.  Probably a bit soap-operaish, but still readable.  And then I became voracious as I plowed through the mass of stories looking for the good stuff.  And boy was there good stuff.

What is your relationship like now to X-Files fandom?

I’m not estranged from it, but I don’t spend much time with it after all these years.  I’ve found fanfic in some other shows that I like and only occasionally read old XF stories.

Were you involved with any fandoms after the X-Files? If so, what was it like compared to X-Files?

I’ve not been as involved with any other fandoms, i.e. following commentary on the show.  I tend to dive into TV shows well after their heyday, so I’m always late to the party. I do read fanfic from other shows, and have actually written fanfic for other shows, but I need a really good idea to write.  None of the other fandoms for my other shows are as busy and active as XF, even ones currently in production.  And none of them have as much fanfic and certainly not the level of brilliance that we had in XF.

Who are some of your favorite fictional characters? Why?

I tend to go for interesting partnerships, very much in the XF fashion.  And a flawed hero is always a plus!  The partnerships don’t necessarily have to be romantic---in fact I find I prefer those that are not.  Really, Mulder and Scully were the only ones I felt deeply as a pairing, probably due to the chemistry between the actors. But the partnerships have to be well-balanced and realistic.  I loved the characters on Sleepy Hollow.  The two main characters were very much in the mold of Mulder/Scully.

My newest passion is British detective shows and I’ve completely fallen for the “Morse-verse” shows, Inspector Morse, Inspector Lewis and Endeavour.  Less of an XF feel, but compelling characters with interesting backstories.  Other favorite partnerships in the British detective genre are on Inspector Lynley and Broadchurch.

Do you ever still watch The X-Files or think about Mulder and Scully?

A bit less now, though I’m still involved with a wonderful group of ladies who love the X-Files.  When we get together for a yearly weekend, we binge episodes and eat impressive amounts of junk food.  XF isn’t on network TV these days, but if it was, I’d probably watch it.

A couple of years ago, I listened to Kumail Nanjiani’s XF podcast on my long commute.  I loved the commentary and interviews so much that I did watch some old episodes.

Do you ever still read X-Files fic? Fic in another fandom?

I don’t read much XF fic.  I’m currently reading in some other fandoms, but it’s harder to find good stories--the ones I follow aren’t very active these days and the quality just isn’t what XF was.  We were so lucky.  We had maybe 20 incredible top authors at any one time, then maybe another tier of 50 to 100  good to maybe great writers.  And with new episodes, there was so much inspiration. We were so spoiled.

Do you have any favorite X-Files fanfic stories or authors?

Everything from Syntax6, MaybeAmanda, Kel.  A special story for me was “Strangers and the Strange Dead” by Kipler because I remember reading that very early in the morning in my unheated basement in the winter because that was the only time I could use our single computer without others in the family complaining.  I remember actually gasping at the big reveal in the story.  I can even remember the story’s opening line!

What is your favorite of your own fics, X-Files and/or otherwise?

I was just learning how to write fiction when I was involved in XF, so I’m not sure my best work is there, though the bulk of my stories are there.  I liked some of the work I did with others.  I wrote Bone of Contention and Out of the Everywhere with Kel and I think that those stories got the best aspects of both of our styles.  For stories I wrote myself, I think they’re not bad, but they are rather short and it’s always easier to maintain a theme and style for a short story.  I liked Black Cherry Velvet.  I’m writing some Inspector Lewis stories that I think are pretty good--they benefit from the years of experience that I was gaining through XF.

Do you think you'll ever write another X-Files story? Or dust off and post an oldie that for whatever reason never made it online?

Never say never, but I probably won’t write more XF.  I used to burn with it, but I think that got burned out a bit.  Still, I have such wonderful memories of the whole period.  It might be worth looking at again.

Do you still write fic now? Or other creative work?

As I mentioned, I am currently playing in the Inspector Lewis world.  It’s sad--it’s a very small and not terribly active fandom.  Sad that my best work is in an inactive fandom where I’m lucky if 20 or 30 people are reading them.  It doesn’t help that I don’t write the most popular pairing.  

But I’m really enjoying it.  I occasionally write for Man From Uncle, which really shows my age, as that was a childhood obsession.

Where do you get ideas for stories?

With XF, it was always a take on an episode--did I get a tiny idea that I wanted to develop, or was I not thrilled with the way something went on the show.  Now,  it’s usually a “what if” kind of thing where I get inspired by a possible event and explore how that would play out, i.e.  “What if this character had a one night stand resulting in an unplanned pregnancy?”  What would happen?  How would he handle the consequences of this?  How would it change his life?

What's the story behind your pen name?

It’s literally my own name.  I SOOOO wish I’d used a pen name.  But I was naive and fandom was so new to me that it never occurred to me that a pen name would be better.  I always told myself that my real name sounded like something made up, like a TV newscaster name, and I hoped people assumed it was a pen name.

Do your friends and family know about your fic and, if so, what have been their reactions?

My husband and my kids were the only ones who knew about it for many years. Then I went to a fandom/fic gathering for three days and had to explain to a few other family members and my work mates why I was going to Chicago on my own. It’s still mostly a need to know thing and they don’t really need to know.

Is there a place online (tumblr, twitter, AO3, etc.) where people can find you and/or your stories now?

I’m on AO3 as msk.  And everything I wrote for XF is on Gossamer.

(Posted by Lilydale on February 2, 2021)

[violethowler]

Symbolic Foreshadowing: Analyzing the KH1 Opening in the Context of the Heroine’s Journey

“But was it a dream, or a prophecy?” --Puck (Gargoyles; S2E43: Future Tense)

It’s generally widely acknowledged in fan spaces that the opening sequence of the original game, despite the fantastical visuals, foreshadows key elements of the game’s story, as well as the roles that Sora, Riku, and Kairi each play in the narrative and how their connections relate to one another. Riku standing in or under a giant wave with his hand reaching out for Sora is a clear visual connection to their separation as Destiny Islands falls that foreshadows his fall to darkness in the game itself. Meanwhile, Sora is separated from Kairi at the end of the opening just like how they are separated at the end of the game. 

But looking closely at the symbolism reveals even more layers of meaning hidden within the first Kingdom Hearts game’s opening, especially when the series’ adherence to the Heroine’s Journey is taken into account. 

We open with Sora having to shield his eyes from the blinding light of the sun before he looks to see Riku standing out in the water. The connection between Riku and the sun is reinforced in Chain of Memories, when his redemption is referred to as “The Road to Dawn,” referring to the sun rising at the end of the night to mark the beginning of a new day. This is made explicit when the original montage is recreated shot-for-shot in the opening tutorial of KH3, with a bright light in Riku’s place. 

Kairi, meanwhile is the opposite. Her appearance in the KH1 opening music video is accompanied by a sunset, a trend which repeats itself across the series. She and Sora talk on the dock at sunset the day before the trio plans to depart with their raft. She welcomes Sora home at sunset during the ending of Kingdom Hearts II. She and Sora share the paopu fruit in KH3 at sunset and the game ends with them saying goodbye before the sun sets. But it isn’t the sunset itself that Kairi is associated with. Rather, it’s the disappearance or absence of the sun. 

Her proper introduction in the original game is framed in shadows as she blocks Sora’s view of the sun on the beach. The illusion of her that Sora sees at Merlin’s House later in the game expresses a love of dark, musty places, comparing the Mystical House to the Secret Place on the island. Both are places with little or no sunlight, with the cave on Destiny Islands only having a small hole in the roof, while Traverse Town is always shown in endless night. And after her awakening in Hollow Bastion, she spends her time in Traverse Town at the Secret Waterway, even deeper underground than Merlin’s House. 

Kingdom Hearts III ends with the visual of Sora fading from his reality as the sun sets while the secret ending depicts him and Riku waking up in Quadratum, a place outside reality, at night. As a place outside of reality, Quadratum checks all the boxes for the Descent stage of the Heroine’s Journey. This phase of the narrative pattern marks the point at which the protagonist undergoes a period of self reflection in order to confront the parts of their psyche that they have thus far refused to consciously acknowledge. 

Riku’s presence and visual association with the sun is critical, because if Sora is about to undergo a “dark night of the soul,” then it makes perfect sense for the end of his Descent to be heralded by sunrise imagery. In Light Youth/Dark Youth stories and romantic Heroine’s Journeys, the protagonist and their Animus are typically separated from each other emotionally at the beginning of the story. The rift between the two keeps the main character from achieving inner balance and metaphorically keeps them both trapped in childhood by holding them back from maturing into their best, fullest selves. 

Falling into water or darkness in the Kingdom Hearts series is associated with physical and emotional separation, as well as the severing of bonds. So it makes sense then that the opening music video uses that imagery to illustrate that initial rift between them, as well as how that separation is quickly followed by the visual of Sora falling into the dark void surrounding the Dive to the Heart. 

On one level, this can be read as a metaphor for Sora’s Descent, where he is isolated from the people he cares about. But some recent developments over the last few years have given it another potential meaning that was probably not planned intentionally. 

One of Disney’s most recent properties to attempt the Heroine’s Journey was the Star Wars sequel trilogy, depicting Rey following the path of the Heroine’s Journey with Ben “Kylo Ren” Solo as her Animus. The Force Awakens and The Last Jedi followed the first two acts of the framework to the letter.

However the finale of the trilogy, Episode IX: The Rise of Skywalker, completely abandons the Heroine's Journey formula, removing any sense of growth from Rey’s narrative and ultimately killing off her Animus. The film ends with her travelling alone to Tatooine, the literal starting point of the franchise, where she buries Luke and Leia’s lightsabers in the sand and takes the last name Skywalker for herself. Regardless of what fans who enjoyed the film may think about what the ending was meant to convey about how long she was going to stay on Tatooine, the last image that audiences have is the girl who grew up on a desert planet but wanted something more going back to a desert planet with no clear goal for the future. 

Coming of age narratives that break away from the structure of what the story is setting up leave the main character metaphorically trapped in childhood. These endings strip their personal arc of its momentum and leave the audience feeling as if the character has learned nothing and that their growth has stagnated or even regressed. At the end of the Rise of Skywalker, Rey slides down the sand dunes of the Lars homestead the same way she slid down the sand dunes on Jakku in The Force Awakens, dressed in light colors the way she was in the beginning when she was ignorant of what was going on out in the wider galaxy. The KH1 opening ends with Sora standing on a stained glass pillar depicting Snow White, the first Disney princess. 

While Disney movies are generally acknowledged as something that adults can enjoy, there is still a general attitude in western (or at least American) culture that Disney (and animation as a whole) is solely for children. Many Kingdom Hearts fans who want to see the series “grow up” are most often the ones who call for the series to drop the Disney elements entirely and become more like Final Fantasy. So even if the narrative of the story itself doesn’t say anything, the visuals of Disney are still associated with childhood by many. And that visual of Sora standing on a stained-glass depiction of the first Disney movie serves to connect Sora to that Disney aspect of the series.  

So the symbolism of the KH1 opening can be read as both subtle visual foreshadowing of the narrative pattern and a silent warning of how deviating from that pattern will fundamentally break the narrative. If the rift between the protagonist and the Animus is not properly healed, then it will ultimately leave Sora isolated from the people he cares about and trapped in childhood while everyone around him grows up. 

[osakasshitpit]

I love Final Fantasy XIV

So I’ve been playing Final Fantasy XIV, and after playing for around 180 hours, I haven’t even finished A Realm Reborn. Normally, 180 hours is an insane time frame for a game to manage and hold my attention. Persona 5 Royal was 180 hours of game time, and that was slowly outstaying its welcome. FFXIV must be doing something right, because just recently I went to a convention and bought a Y’shtola Keychain in a heartbeat. I haven’t had time to play XIV a lot prior to this, since I was stupidly grinding Praetorium for days and got burned out. I haven’t played much in 2 months, and Y’shtola only really has a minor role during A Realm Reborn’s Storyline. Despite that, I started in Limsa and Y’shtola stuck with me since then. I just had to buy that keychain. My girlfriend asked me about it and despite me staying away from the game after being burned out, I explained to her in great enthusiasm why I loved Y’shtola and why I loved the game so much. I think that’s the first time I really realized how attached I was to this world, these characters, this game.

I came to FFXIV after having played WoW from Vanilla through WotLK, after having barely ever touched a MMO since quitting WoW. Honestly, I was very skeptical of XIV but holy fucking shit did it ever win me over. They are completely different games, mind you, but that is a good thing in my opinion.

So here is the longest tumblr rant post I have written so far, I think.

To be fair, the first 20 levels or so were kinda slow. You get thrown into the deep end and get bombarded with lore and characters, terms and phrases that you don't understand. For fucks sake, the opening cutscene shows Louisoix fighting Bahamut front and center. Its this big, epic moment of sacrifice, but to someone who has not played 1.0 and who doesn't know anything about the lore, this just zips right past you. During the main story of ARR, they keep talking about Louisoix and how important he is, but you haven't even seen the guy because he died before the game even started. I only really realized this today, it took me 180 hours and a look at the wiki to connect the dots. It really is a slow burn, but that slow burn was okay because everything else was so fantastic.

While the world can arguably be more subdued than Azeroth in parts, there is still this distinctive style that I quickly fell in love with. It’s fantastical, but it still feels grounded. Part of that has to do with how the game introduces you to the world, and how the main story quests explain to you the lore bit by bit. I feel like much of the world design of WoW was down to “the rule of cool”. Now, I’m not saying XIV doesn’t have that, but I feel like XIV always goes the extra mile to explain why this cool shit is here. Everything you see out there in the world feels like it has a purpose, a reason to be there and an explanation on how it works. The factions make sense, the political conflicts you get entangled in are believable. I feel like I am kind of biased to be honest. What got me to play FFXIV in the first place was seeing that Viera are a playable race. I’m a sucker for Final Fantasy, not in short part to my memories of Playing Final Fantasy Tactics and XII. XII is still my favorite game in the series, and much of that has to do with the world, Ivalice. Viera were always my favorite race of the ones seen in Ivalice. Seeing as you can play a Viera in XIV, I just had to try. Thinking about it, XII and XIV have a lot in common when it comes to world building.

One of the weirdest things to acclimate for me was how FFXIV handles story. I was used to WoW, where story was basically non-existent and you did what you did to see numbers rise and to unlock now content you could do. You are basically never involved in the story of WoW, you are just kind of there for the ride. In FFXIV, you are the main character. You are involved in what happens at all times, and that is kinda strange coming from WoW. At first I thought I wouldn’t like it, but the game made it work in my opinion. I also didn’t expect there to be so much of story to begin with. Kind of ironically the moment I realized just how much there was to experience was when I went through Ul’dah and saw a blue quest. Now, blue quest markers mean there is some content you can unlock by doing this quest. A lot of these are kinda short, with a bit of dialogue and some bits of lore for you to enjoy and I thought this one would be no difference. After all, the hook is basically just to help this lady mourn for the death of a friend. What I got was a fabulous detective adventure that spanned over the entire continent, where in I had to help the worlds most manly detective uncover the secret behind a mysterious phantom thief. To say the least, this 21 quest long quest line brought be hours upon hours of joy and had me in stitches throughout. And it was completely optional. I don’t think I even remember a single moment from any quest in WoW that made me this excited for it, optional or otherwise.

Ultimately these are very different games that try very different things.

Dungeons and Raids were a different thing. I remember when I rolled a new character for WotLK and wanted to do karazhan because I used to like doing that raid with my guild back in TBC. I could not for the live of me find a group willing to do it, because everyone was way more focused on the new content, so they could get better gear. Regardless, it just wouldn’t have been the same experience anyways I fear, because the new gear from the new Dungeons outclassed the raid gear from TBC, so karazhan would be way easier and a much different experience. In FFXIV, every dungeon is level synced by default, meaning if a higher level character joins, they get basically downgraded to the level the dungeon was designed for. Couple that with the Duty Roulette feature and suddenly, there was always someone to do any given dungeon with. I remember when I had to do the crystal tower raids and thought “why would they tie main story progression to a raid, I will never find a group to do that properly” but low and behold, I found a group within 30 minutes or less and raided through the entire set of raids within a day. Dungeons and Raids are generally a very pick up and play thing in FFXIV. To be fair, dungeons got easier and more pick up and play in WoW too, but Raids were always the endgame thing where you had to gear up and learn to play. In FFXIV, much more lenient. No corpse walking required. I say this, but I have yet to do the Coils of Bahamut or any Savage Raids. I have only heard that there is plenty of hardcore raid content for those who want that.

That’s nothing to say about the actual gameplay. FFXIV is a tab-target MMO, like so many others, but it manages to keep this kind of gameplay fresh by introducing a lot of mechanics that make the game more active than the typical “I stand here and hit my rotation a lot”. For starters, most enemies have special abilities that you can actually dodge by moving out of the way. There will a area marker on the floor and everyone within that area will be hit. It starts out easy, but later dungeons really start kicking your ass with this mechanic. You really need to say on your toes. In addition, every class is extremely different. They all have special mechanics unique to them, special meters and resources they will have to manage during combat and so on. For example, a Red Mage (the class I’m playing currently), has two meters that fill up as you cast spells. They generally have two types of spells, white and black magic. Each type fills its respective bar. Once they are both full enough, you can go in and do a more powerful melee rotation. However, if one bar is fuller than the other, the other bar will fill up slower. Since you need to fill both, you want to balance that out. You get instant casts for spells after performing a damaging spell, and you have some spells with a short cast time and good damage output that you want to cast and then use the instant cast of to cast a more damaging spell that has a long cast time. But these short cast, good damage spells require a you get from casting a spell of the respective type. So, in essence, you want to balance your use of black and white magic, but you also want to use the proc you get from casting your white and black magic, which means you cast more of the type which inherently unbalances your gauges. It becomes this micromanagement game you play with your procs and instant casts, so you can go in and do the big, flashy sword combo. And that’s just the red mage at around 50. Every class has something like this, and it’s all unique to them. Learning a class is not just learning the rotation and spells you have anymore, it’s really learning how to effectively play your class. Also, positioning. Some abilities do more damage from certain positions, so you will have to dance around an enemy to hit all the sweet spots with classes like monks. These complexities get introduced slowly as you level up, so you have plenty of time to learn the mechanics. My favorite feature might be the class system itself, though. In FFXIV, you aren’t limited to one class for the entire duration of your characters career. You can, from a certain point forwards, choose any class you wish and level that up instead. You can freely switch between classes outside of combat, too. If you are dedicated enough, you can level them all up to max, even. This means if you don’t like a class or the direction a class is going in, you can switch. I for my part started as an arcanist, so I unlocked Summoner at 30. I played Summoner up to 50 but I was just not meshing as well with the direction the summorer went in. So, I switched to Red Mage and after some getting used to, Its now my new favorite. Arcanists are special, because you actually unlock two classes at 30, so I also unlocked Scholars. Scholars are healers and that became my main dungeon class, since queue times are way shorter for healers. This would be unthinkable in WoW, and love the fact this is a thing here.

If I had to describe it, WoW is an MMO with RPG Elements, while FFXIV is a JRPG with MMO elements. I didn’t know I needed that, but in retrospect, it makes sense. The thing that really killed my progress in WoW was that I didn’t have anyone to play with anymore. My friends all dropped from the game and while I generally like doing solo content from time to time, I’m pretty introverted, after all... MMORPGs are usually most fun with friends. Final Fantasy XIV is a JRPG first, an MMO second. There is so much to keep your attention as a solo player, its nuts. All my friends who play this game, play on a different data center, so I can’t even visit them. Despite that, I had a lot of fun in my time with the game.

My experience with the game was incredibly positive, and I don’t think it will get worse from here. Everyone keeps telling me how great Heavensward is. I just have to finish 16 more quests and I’ll be able to see for myself what the fuss is about.

Honestly, if I had to say anything negative, it would be how longwinded ARR is. I mean, its not bad by any means, but I can see how someone could be turned off by this huge storyblock. Worst of all is, after you hit 50 and reach the end of ARR’s story line, there are 80 quests before you can even start with Heavensward. Since everyone keeps going on about how great it is, it’s kind of annoying how long you have to work to even get to it. In retrospect, it kinda makes sense though. These quests are meant to be played over months and months throughout a update cycle and bridge the narrative gap between one storyblock and the next, but holy fucking shit why did it have to be THAT long. They even cut like 20 of the quests from this already insanely long quest line. What the fuck. This is supposed to be an epilogue to ARR and it feels like I played a whole fucking JRPG in between ARR and Heavensward. Oh well. Thankfully, they learned from this and made the post-story blocks shorter.

I will just say that I can recommend this game. You should give it a try. Just... try not to drop the game before it gets really, really good.

[expired-monster-craft-smp]

Vibes Dream SMP members give off (in my opinion)

Dream

Barked at people in high school ironically but it became unironic real quick

Can’t cook very well but is good with a knife, especially at a fast pace

One of those kids who either purposely spells the first word wrong in a spelling bee to just be done with it right away or tries the hardest and manages to win (there is no inbetween for this heathen)

Bites ice cream with his teeth

Has snorted pixie stix far too many times and sneezed blue after each time

Eats bananas with the peels

Wears mismatched socks

Has taken a bite out of a pool noodle because he liked the texture and impulsively bit it (ADHD things✨😌)

Walks around looking extremely high but he’s just spacin out and stuck in his head

Dreams (lmao) in Minecraft and video games in general

Will flirt with anything that moves but has no idea how to respond to compliments

Makes fun of himself first before anyone else can

Has eaten an orange peel and it wasn’t that bad in his humble opinion

Wears khaki shorts

Eats the wax part of the baby bell cheese

Doesn’t actually know what genre his music taste is cause he vibes to everything

Georgenotfound

Picks at the skin on his lip when it’s dry so it bleeds and he tries not to give in by licking his lips often enough to the point where it became a habit

Wears velcro shoes because he doesn’t feel like tying them (he knows how, he just doesn’t wanna do it)

Eats peanut butter straight from the jar

Makes that disgusting “ants on a log” thing (celery stick filled with peanut butter topped with a row of raisins)

Can’t drink milk plain, it’s gotta have some sort of flavour

Can draw a perfect straight line but his circles look Terrible

Eats cheez-its like cereal without milk

Loves making little noises so much like he walks around his house doin chores and he’s just goin “memememenownownwnkwkshskshkshskhs”

Hates wearing socks

Coloured his tongue with highlighters because they’re non-toxic

Constantly tapping his feet and hands to a song/beat playing in his head

I can’t imagine this man using a bike of any sort, so Imma say he doesn’t know how

Can’t be licked by dogs because he’s used to being licked by his cat so it makes him uncomfortable

Can actually sing pretty well but gets real nervous in front of people so he fucks it up

Sapnap

No idea how to cook anything other than Mac and cheese please help this man

Meows at cats because he wants to confuse them and laughs Way too hard when he does (his laugh is like sunshine so I’ll allow it)

Would be fantastic at braiding hair Idk why

Gives the BEST fuckin hugs EVER

When singing, he makes noises for the instrumental parts too

Wanted to play the drums at one point

Really likes pit bulls but he’s more of a cat person so he loves them from afar

Only vaguely knows how to shave his face properly without hurting himself

Opportunities for him come up out of pure luck but mans is skilled for them so it works out well almost Always

Used to or currently has a skateboard and isn’t too bad

ALWAYS has bruises appearing everywhere for no reason, he doesn’t even know where 90% of them are from

Calls his friends twinks to jokingly bully them and gets away with it because he himself is not a twink

Gets sudden bursts of energy in the middle of the night and just shimmies around a bit to try and deal with it

Favours spearmint over peppermint

Arsonist

Banned from three (3) Dave & Busters in Texas

Badboyhalo

Washes his hands after doing literally anything

Likes the bird exhibits at the zoo (specifically the penguins)

Very good at cooking, best at soups and stews

If he painted his nails they would definitely be a baby blue

Overthinks very simple things and it makes him look less smart than he actually is

Drinks tap water

Probably prefers whiskey over beer

Knows how to tap dance a bit

Surprisingly good at taking and handling shots

Steady hands

Adds extra chocolate to hot chocolate

Plays sudoku and is really really good at it (only uses pen when he plays)

Everytime he sees a Himalayan salt lamp he NEEDS to lick it despite knowing it’s very salty and he’ll pull a face afterwards

Not great at Rock Paper Scissors

Wears sunglasses inside for no reason at all, he just,,,Does

Still has a stuffed animal from childhood perched on his bed

Probably tried his hand at archery

Tommyinnit

He has no idea how to use a baby voice on children or animals, so he just talks to them normally

Wears socks to bed

His fingers are double jointed

Always starts twitching if he stays still for too long because he’s gotta move around

His shoes and have different laces and it bothers everyone but himself

Doodles on himself in class when he’s bored or not paying attention

Has really good hearing, both with pitch and volume

Can’t eat tomato’s by themselves, it’s either gotta be in sauce form or with something else

FUCKING LOVES STRING CHEESE

Terrible handwriting

Favourite part of a slice of bread is the crust

Wants to paint his nails black to be cool and edgy but his hands are far from steady and he has no clue how to paint nails

Pretty affectionate with close friends (like Tubbo and Wilbur) off stream/camera

He likes pears for some reason

Wilbur Soot

Is constantly having to decide between leaving his hair as is or shaving all of it off

He also thinks about adding some colour but never actually does

Most tea is gross to him

Everytime he puts a breath mint thats circular in his mouth, he pretends it’s a pill and he’s taking drugs because he thinks that’s funny

He does that vacant state as a joke but that really what he looks like when he’s spacing out

Likes to aggressively flirt with his male friends but if his female friends flirt with him, he gets a bit flustered

Has probably accidentally swallowed a guitar pick

Once drank two entire jars of pickle juice

Bonks his head on anything and everything

He has broken a pair of glasses by walking face first into a pole outside

Thinks kinetic sand is fun

Has passionate arguments with others about trivial and random topics like chicken feet

Can open a beer bottle with his teeth

Would accidentally pop and swallow a bracket if he had braces

Tubbo

Hates sharp cheddar cheese

Everytime he learns a new word it’s in every sentence he says for the next week or so

Ate candle wax for a dare once

Doesn’t know how to tie a tie and will probably never learn

Wanted to do ballet at one point but decided not to

He has eaten multiple flowers for absolutely no reason other than wanting to know how they taste

Starts vibrating if he’s too excited

Used to bite his nails

ABSOLUTELY DESPISES MUSTARD

Has eaten paper and says it doesn’t taste that bad

Enjoys telling his friends how much they mean to him (this has resulted in Tommy and Wilbur crying on a few seperate occasions)

Spaces out a lot and doesn’t often pay attention to his surroundings

Gets lost inside of Best Buy’s

Likes s’mores but doesn’t properly understand how to make them

Technoblade

Learned to cook purely out of spite and found it’s actually pretty fun

Constantly getting smacked in the face by trees when walking outside

Really likes apple pie

Everytime he looks at potatoes he thinks of all the hours he spent trying to win the potato war

Starts things as a joke and gets too into it

Doesn’t like the taste of most energy drinks

Has rubbed salt and lemon juice into an open wound to just,,see how it felt (he did it once and Hated it but did it again because he forgot what it felt like)

Sometimes hates how quiet he is because everyone he knows is loud and talks over him

Despite how he is portrayed in the Dream SMP, he is extremely loyal to his friends and would kill for them

Over seasons his food because he can’t taste it otherwise

Really good balance

Doesn’t like to wear bright colours, but still enjoys wearing colours

Good at knitting

Quackity

Actually fairly quiet when off camera

Will accidentally use Spanish grammar while speaking English sometimes

Country music confuses him

Doesn’t really like kids but they really like him

Can’t dance

Hardest drugs he’s ever done is second hand smoke from a cigarette and children’s Tylenol

His favourite jolly ranchers are the red and blue ones

He uses lighters as fidget toys basically

Will have a breakdown, take a bubble bath, and call himself the self care king

Dehydrated

Wants a pet rat but he already has a cat and doesn’t wanna risk anything

Constantly questions why his main source of income is playing Minecraft with two 16 year olds

Karl Jacobs

Probably ate a spider once

Would wear those socks that are like gloves for you feet where it separates all the toes

Eats ravioli straight from the can, cold

Can answer an incredibly complex math equation fairly easily but will stumble over 12x11

Loves kids so much and speaks to them in a soft voice

Tried making ramen in a coffee pot and broke it

Drinks 2 monster energy drinks a day on average

Likes to open walnuts with his teeth but doesn’t actually eat them

The embodiment of that one John Maulany joke where he says you could spill soup in his lap and HE’D apologize to YOU

Loves physical affection so so much!!!!

If he moves his wrists in a certain way, they pop Really Loudly

Fantastic at making cookies

Fundy

Lowkey actually a furry but more on like, a cat boy level than fursuit level

Drives a Honda Civic

Likes ABBA

Adds parsley to almost anything he makes food-wise

Loves garlic bread so much, he’d commit a federal crime for it

Middle child vibes

Decent at skiing

Good at singing but isn’t terribly confident

Seems responsible at first glance but in reality he’s pretty chaotic and childish

Bad at spelling

Always cuts his nails way too short so they always feel weird/hurt

Likes bracelets and rings

Thinks pastel colours slap

JSchlatt

Despite the character he plays, he’s actually really sweet

He’s genuinely that cryptic off camera as he is on camera

Can cook but chooses not to most of the time

Would probably say “what pussy size you wear” to anyone who asks him to buy pads

Not actually as intimidating as he appears to be

Lowkey would fight a child

Shuts down when someone compliments him, often using aggression as a front because holy shit they just called him handsome and kind what the Fuck-

Jokingly says his license is suspended but in all actuality he never got his license in the first place

He has two (2) extra teeth but they don’t need to be removed so he kept them

Has a stick n poke of a stickman on his ankle he got in high school

Likes physics

This is already very long, and I still plan on adding more.

[a-man-for-hire-and-his-archives]

Big thanks to wonderful Brazilian friend, Isa for helping me to translate. Here's full translation from interview last night or early this morning.

Fabio: Hello guys, today i brought an interview with the author Luke Arnold, who wrote The Last Smile in Sunder City. Hello Mr. Arnold. Thank you so much for accepting answering this interview. I normally start asking the interviewed introduce themselves. Could you speak to us a little about you?

LA: Hello Fabio and everyone in Brazil! Until some years ago, my main profession was acting. always balanced that with writing and movie production, but I officially became an author last year. The Last Smile in Sunder City is my first romance of a detective series ongoing that follows Fetch Phillips, a [i really forgot this word but i'll edit in a sec] in a fantasy world where magic has died.

Fabio (Q1): I imagine that many authors influenced you during a long time, right? Could you tell us if there was an specific author that "caught" you to the fantasy world and influenced [your] writing?

LA: Most of what i "digested"[?] as kid came more from movies and video games, than books. i think i had some mismatches [?] with fantasy stories that seemed unreachable [?], until i found Terry Pratchett. The book series "Discworld" were a perfect mix of comedy, adventure and heart to invite me to the gender and made me search for me.

Fabio (Q3): The majority of people that I know here in Brazil, know you especially for your role in Black Sails (an excellent TV show). Besides actor, director, script writer, now you are an author. Do you believe that this previous jobs made easier when to write "The Last Smile in Sunder City?" (in the sense of world-building, creativity, script, etc)?

LA: There's many abilities that you need to be an actor, but a comprehension of the story and the character is essential, be you working in a quite easy job or a great epic like Black Sails, you need to know how tear apart a script, understand its place in history and make clear and specific choices. I worked in many excellent and terrible projects and read thousands of incredible and terrible scripts, in which probably helped me to prepare to write my own stories.

Fabio (Q4): And speaking of Black Sails, it's impossible to not make some connections when reading. Fetch is an ironic character, with a past that torments him, and others characteristics. When reading, i constantly compared him to Long John Silver. So the question is... had Long John Silver an influence in the creation of Fetch Phillips?

LA: I started to write "The Last Smile in Sunder City" when I was working on Black Sails, so I'm sure there was some elements that appeared [not voluntarily?]. Naturally, there'll be a little of me in both characters. People certainly will find some parallels, even thought it isn't intentional. To me, Silver knew the world he lived was unfair, so he was capable of not being guilty and do what needed to save himself. he put his past by side with the objective of going ahead. fetch is linked to his past - obsessed by it- and being smashed by the weight of his own fault. I think Fetch could learn a little from Silver.

Fabio (Q5): One of the main characteristics of this first book is the world-building. You created a fantastic world. It was hard to imagine it, or there was parts more difficult to create?

LA: Having ideas is the easy part, but to choose the scenario that better adapts to the characters and themes can be more difficult. I can always imagine Fetch wandering on Sunder's streets, finding in various ex-magical creatures, but I try to present him to the enemies and allies that will bring up his internal conflict. Sometimes, I have to resist in rushing some new creation, if that isn't going to add nothing to add to Fetch's journey at that moment.

Fabio (Q6:) Despite being a world with magical creatures, much can be associated with human problems. Do you believe that we can associate the end of magic with what human beings are doing to the earth itself in real life?

LA: There are definite parallels with climate change, but I have always seen the death of magic as something more personal and internal. I think the world (our world) is a really magical place. We all see this when we're younger, but then we make certain choices, we're led down certain paths, and we're often removed from that magic in adulthood. There is more than one theme at stake in these books, but Fetch's struggle to open up, forgive himself, be part of his community and find happiness is reflected in the world without magic more than any comment on industrialization.

Fabio (Q7): Another association I couldn't stop to do was imagine a book adaptation, with you playing Fetch. There's any possibility of having the book being adapted in the future?

LA: I would love to see these stories adapted in the movies and TV. At the moment, I'm focusing more in the books, trying to put the maximum of story on the paper before that happens, but would be a dream to see Sunder City come to life in the screen.

Fabio (Q8): This is your first book here in Brazil, but the sequel was already released. What we can expect from this sequel?

LA: In the first part, Fetch is fight to survive every day, oppressed by guilty, addiction and lack of hope. In "Dead Man a Ditch", Fetch is hired to investigate a murder that seemed to happen with magic. knowing that magic disappeared six years ago, he's forced to question himself if this darkness could have some secrets.

Fabio (Q9): Another thing I would like to ask is about the future works. Recently I saw that you were finishing the third book of Fetch's series, right? For what I searched before, it would be two books, but this third book appeared. It was already planned, or it appeared with time? Do you have other works, Fetch's or different others in mind?

LA: These are the histories of a detective, instead of parts of a traditional fantasy series. Each book is built around a case which Fetch is hired to investigate. I always planned to write a lot of books, each one like a auto-contained [translation: CSI episodes?], built in search of a final epic fantasy that will come when the time comes.

Fabio (Q10): To end, I would like to thank you again for accepting to answer, congratulate you for the book and I would like to know if you could leave a word to all your readers and fans from Brazil?

LA: Thank you for your fantastic questions, Fabio. I thank all my fans from Brazil. Thanks from supporting my career so much and my first book! i was planning to go to Brazil before COVID-19 changed everything. But i'm hoping for the that I'll finally can visit your beautiful country.

Source: Fabio Pedreira

[the-working-class-guide-to-films]

Tenet-No Spoilers

I am a massive Christopher Nolan fan. I’m a fanboy, I’ll admit. Nolan, for me, is the goat. I don’t think there’s a director out there today that can create movies like he does, the way he does it. The mix of pure spectacle, blockbuster action using real effects, combined with interesting characters and personal, real stories is something that is rarely achieved in the film industry today. 

John David Washington is The Protagonist, who after a mission goes wrong is recruited by a secret organisation, Tenet, to prevent the end of the world. He learns that there is a technology in the future that allows objects to be reversed through time and that people are buying these and selling them on the black market. Objects such as inverted bullets that cause much more damage than regular ones.

There has been criticism of Tenet that it is too complicated and confusing. And yes, this is definitely the most complex Nolan film to date. The inverted/reverse time business is quite bizarre and takes a while to get your head round but towards the end it certainly becomes a little easier to understand. The plot itself however is more complicated. All Nolan films are complex and there are always clues throughout that you won’t notice on the first watch that you will on the second. But the plots aren’t as difficult to understand than Tenet. With Tenet, I think the second watch will be to understand what you didn’t from the first one, and then on the third viewing it will click. Maybe, maybe some people got it straightaway, maybe some people won’t get it on the third. I think the film, and this isn’t just a criticism of Tenet, but of most films, is that the dialogue at times was difficult to understand. It’s hard to get your head round this in the first place, never mind when you can’t make out what they are saying. During the more exposition scenes it was hard to make out what was going on, and Tenet needed these scenes to be clear in order for the viewers to maybe get a better understanding of the plot. My biggest criticism of Tenet however is that it lacks the human side of his films, especially in comparison to his other films. Not that I went in over-hyped because I never think that is a good idea. And maybe the film was his homage to the spy genre where it wasn’t intending us to care as much about the characters. But in all his films, and however epic the scenes we always care about the character, that I feel is the main part of the film, it is what we are drawn to. Whether that be magicians in the Victorian era, a caped crusader, three layers deep in a dream or floating through space; it is the human element that always keeps the film grounded. I felt that Tenet didn’t strike that balance. And that’s not to say that John David Washington wasn’t good, because he was fantastic, but I didn’t necessarily care about his character because he didn’t have anything personal for us to relate to. In Inception and Interstellar, the two main characters are fighting to see their children again. It’s personal, it shows the human side. Washington’s character didn’t have that, it was him saving the world, and yes that’s brave and courageous, but why, why did he care? What was HE fighting for? And that was what disappointed me the most about Tenet because that side of Nolan is I think the most under appreciated. I LOVE the set pieces, the action, the mind-boggling plot, but the human side is what brings it all home. I was blown away during Interstellar with the visual side of it, the black hole, the waves, all of that. But it is when Matthew McConaughey’s character breaks down seeing his grown up daughter via a TV or reuniting with her at the end of the movie that overshadows everything else. Tenet didn’t have these personal moments and that was a real shame.

No doubt about it, Tenet is the biggest Nolan film to date. It is honestly huge. No matter how confused you may, or may not get, you won’t be bored. It’s a lot of fun. In most action films you’d expect to see maybe 2 or 3 small action sequences followed by the big kick ass action sequence at the end. Tenet has 4 or 5 big kick ass action sequences. The opening of previous Nolan films, The Dark Knight and The Dark Knight Rises really set the standard for opening sequences in action movies, Tenet follows suit and kicks off from there without skipping a beat. A lot of the scenes involve the inverted time structure, where the object is going backwards in time (I think that’s how it works), it’s incredible to watch.

It’s absolute madness. I don’t think I’ve seen something like it before. If I have, not to this extent. It’s barmy, but it is fantastic. Technically it’s a delight. The whole plane scene has been talked about, how Nolan bought a real plane to crash instead of just using visual effects. That’s the standard that action films should be aiming for. Yes, visual effects are a work of art, there is no denying it and I certainly won’t be shitting on it that some people do. I am incredibly envious of the skill. But there is something magical about watching real effects, and it’s become part of Nolan’s signature. 

Away from the jaw-dropping action scenes and the incredible technical ability on show the acting is fantastic. John David Washington is superb in this and should hopefully cement his name as an A-list. His character has it all, cool, scary, witty, he captures all of this. And it isn’t just his acting that is top notch but it is a very physically demanding role which as you might expect from a former American Football player, you might expect. I don’t think there are many actors who could have struck the balance quite like JDW did. Sure, an actor like Daniel Day-Lewis could do the acting, but he couldn’t do the physical side. Dwayne Johnson could do the physical side, but he can’t act. Washington achieves both terrifically. There is a huge, and brilliant supporting cast in Tenet, most notably Robert Pattinson, Elizabeth Debicki and Kenneth Branagh who each bring something different and exciting. Nolan comes under criticism for portrayals of women in his films which is something I don’t necessarily agree with but in this Debicki’s character is the one who we probably care about the most and it is her character that brings the humanity to the story. 

4/5 Now I’ve had a day to digest it, and now I have written this review, I’m really excited to watch it again. If it wasn’t for COVID I would probably watch it about 4 times. Maybe on subsequent showings I could give it slightly lower (although I’ve tried to be impartial) maybe I’ll think it is better once I understand it more. Yes it is a shame that the human side of the film is lacking slightly, but the technical ability on showing will blow you away. No matter how confused you are, you won’t be bored.

p.s There has been criticisms from some corners of the film industry saying that Nolan, and the studios, are irresponsible for releasing Tenet as the film to bring cinema-goers back, especially when the film is complex. Why would the audience want to watch a film they can’t understand? Now I have an issue with this. Critics slam the Fast and Furious franchise because it is over the top, silly, action fuelled, spectacle garbage. Critics will also jizz over films such as Midsommar, The Shining, The Lighthouse for their complex and interesting storylines. Now I love these films, but what exactly are those films about, and would you know directly coming out of the cinema. Would the link between Greek Mythology, Prometheus and giving knowledge to civilisation be known to you when you came out of The Lighthouse? Probably not. Isn’t there like a whole documentary on The Shining because there are so many fan theories? That film is weird af. I’ve always found an issue of classism within the film industry, especially when reviewing certain films. Action films are seen as dumb, lowest common denominator garbage, and yet odd artsy stuff is seen as the pinnacle of film. Nolan somehow manages to get these both together and yet now they criticism him when this complex stuff is the shit they love. Now critics want a film like Fast and Furious to bring people back, but you know they’d shit on it at any other point. Maybe Nolan can do no right, people have called his films obnoxious because they are too smart. Well maybe these people mistake the intelligence of the general viewer? Who knows, I’m just mad the Nolan hasn’t won a Best Director award, or hasn’t even got a knighthood when people like Ed Sheeran or Phillip Green have?

[amandaklwrites]

Movie Review: The Mummy (1999)

Genre: Action, Adventure/Historical Fantasy

Rating: 10/10

Movie Review:

I LOVE THIS MOVIE.

I know this a fan favorite all around, and I totally understand now. I think I only watched this movie for the first time like two or three years ago, and I have to say, I’m very disappointed with myself for having waited so long. It is totally a movie that is 100% up my alley.

First of all, I love anything archaeology, especially when it comes to Egyptology. So, a movie set during the height of Egyptology (well honestly, all times are the height because they keep finding such cool, amazing stuff all the time), made in an Indiana Jones-style adventure of treasure hunting and curses. And all about ancient Egypt (even if it’s made up places and people)! So much my jam.

Now, the only complaint I have about this movie(s) is they do take some liberties with Egyptian mythology/beliefs that I didn’t totally like (more in the second movie, which I will do later). In this one, it mostly had to do with the flesh eating scarabs. In ancient Egypt, they revered and honored scarabs, they weren’t afraid of them because they ate flesh like that. I do understand that is for the plot of this film, so I let it slide. It is technically a fantasy after all.

So, time to just gush about this movie.

I love everything about this movie. The action and adventure, the humor. My god, the humor is so well done in this movie. Sometimes, I notice in action movies, they try to put humorous moments at the strangest times. But not this movie. Every funny moment is perfectly timed, and the actors do it all superbly.

Speaking of which, let me get to the actors and characters. Our main cast is absolutely fantastic. I love Rachel Weisz so, so much, and Evie Carnahan is the ultimate woman. I think I connect with her even more than the other female characters that I idolize. She loves Egyptology (go girl, you read those hieroglyphs!), she’s headstrong, she may be clumsy and silly, but it doesn’t make her anything less than. It actually all gives her strength. She’s young, but she has a strong mind and a strong will, and she knows who she is. And I think that’s what makes her so interesting to Rick O’Connell. (Let my briefly say, I had grown up with some Brendan Fraser films, and I did like him, but I never loved him as much as others. But I LOVE him in these movies. He’s so great at this character, and the funny reactions he has is so perfect). At first, you wouldn’t think that the two of these characters would like each other—Rick is the macho type, living on survival of his own instincts, and he likes the fight. But the fact that he sees Evie just as who she is and falls head over heels in love with her (I personally think he does so first, before she does) is the absolute cutest. He likes that she has her own mind, that she’s strong and confident and intelligent as all hell. So, when it comes to personalities, they’re opposites, but they work so well together. The brains and the brawn, so to speak. But they respect one another, they work as a team instead of trying to be stronger or smarter than the other. The only moments when they argue/bicker are silly things that I think most people that deeply love one another and respect each other actually do (my grandparents are like this, so I’ve witnessed it). I think their love story is one of the best honestly, as they balance one another, and they don’t try to make the other feel less than because of their differences. When I watch this movie, I always think about how I want to be Evie, and I want to find someone like Rick. I have a type, I think.

The others are great too. Oded Fehr as Ardeth Bay is a total badass and I think he’s one of the coolest people in the movie. He has a mysterious air about him and he can seriously work every weapon??? Like how amazing! John Hannah as Evie’s silly brother Jonathan is the comic relief of the film, but I love his relationship with his sister. He may be all for taking the riches, but he has a good heart deep down. Arnold Vosloo as Imhotep is a great villain, and I liked that he wanted to take the only role if his character could be straight. Other than the running away from the cat thing (which, actually has an interesting take on ancient Egypt culture when I think about. More on that later), he doesn’t have “funny moments.” He’s just a straight up, terrible villain with so much that it’s scary. And a quick little add on—Kevin J. O’Connor as Beni is just hilarious. He’s such a little weasel and I love to hate him.

Earlier, I had commented on the little bit I didn’t like about the movie, which had to do with ancient Egyptian culture. Now, there are some things, though different from what I think ancient Egyptians meant, that I think had some interesting takes on that culture. Something to add real quick, I liked that they used a curse, even if there is really no connection between “the curses” Egyptologists have experienced. The ancient Egyptians did believe in spells, and I think curses to a degree, but there has been no proof of that actually happening. But I liked how this movie played with their idea of magic. Imhotep was a sorcerer, quite powerful, and he betrayed his King, so he was killed for it. And when he comes back, he’s pissed. I think that’s more of “the curse” than an actual curse because of opening a tomb. They brought back to life a really, really angry dude that happens to have so much power. A sorcerer that wants revenge on what happened to him and his lover, and he will take down the world with him. What he does reflects how angry he is, and he wants to punish everyone else. It’s really interesting. And the cat thing! I’m sure most people know that the ancient Egyptians loved and worshipped their cats. But I’ve learned that it went beyond that—there were actual rules that if anyone had hurt or killed a cat, they would be executed themselves. That’s how much they loved their cats. So, I think with the scene of Rick discovering that Imhotep “fears” cats is, though a funny moment to see him run away in fear, actually a comment on their culture. Imhotep would have known the danger for his soul if he killed a cat, so he would go in the opposite direction. He would get far, far away. So, though funny, I don’t think he was scared of the cat and ran away, he feared what would happen to him if he hurt the feline. Pretty interesting, how they did that, if that’s what they mean, I may have only interpreted it as such.

This movie is just so, so fun. The story is one that I love—an action adventure of these characters being plagued by an evil enemy and trying to fix everything. Evie, Rick, Ardeth, and Jonathan are great heroes, and I love seeing them team up. I love the world of Egypt, just the feel of it. Though I personally hate heat, I have such a strange fascination with endless sand, to watch it run across the land. I love the mummies, the story, the villain, the themes that they play with (and any treasure hunting movie, honestly). The love story is the best part of the movie, as it feels natural, it’s not so in your face until the very end—the subtle moments of Rick nervously giving her tools, Rick protecting her, checking her face, etc. There’s so much about this movie to absolutely love, and I do. I really, really love it.

It is one I can watch again and again, and never get tired of. Honestly.

[twentiethcenturymoviesandtv]

Dead Poets Society: Facets of Film

After the script is written, the story worked out, and the characters cast, the only thing left to do in order to make it to theaters is to actually make the film.

Which, as you’ve probably guessed, isn’t as simple as it sounds.

There’s a lot of effort that goes into the process of making a film, taking a story from the written page and turning it into a visual experience: props, costumes, sets, editing, special effects, music, camerawork, and, most importantly, the performances from actors that solidifies characters and makes them seem real to an audience.  Film is a collaborative art form, a project consisting of several different elements that are intended to blend together in order to tell a story in a visual, meaningful way.

It’s hard work, and it certainly explains why it’s called ‘movie magic’.  It is these elements that have the potential to take a film from good to great, from a cult classic to a historical blockbuster.  These elements are the shark from Jaws, the cinematography of Blade Runner, the sets of The Wizard of Oz.

See, although the most important elements of any given story, whether visual or not, are the characters and story, the fact is, the production of a film isn’t detached from the story it’s telling.

Movies are filled with all of these elements for a reason: to tell the story, to accentuate and reveal the plot and characters to the audience in the most efficient way possible.  Although it’s very true that some films do it better than others, the best films use these ‘facets of film’ wisely, conveying information to the viewers in ways that make sense, and keeping up the illusion of reality within the film’s context, making a film more understandable and enjoyable.

The balance can be tricky to achieve.  Underachieving films can end up with shoddy effects, or less-than-stellar performances, or sloppy camerawork, and other films, with the wrong focus, can end up turning their films into more extravaganza than story.  In the end, ‘balance’ is the key word, using these elements to accentuate the film and improve it, without overshadowing the things that are the most important.

All of that brings us to today’s question: Does Dead Poets Society use these tips well, or not?

Let’s take a look, starting with something that can seem kind of simple: cinematography.   (Possible spoilers below!)

A camera is a powerful tool, and nowhere is that more obvious than in movies.  The purpose of such an instrument is to do far more than simply film what’s going on.

The way that an individual director or cinematographer uses a camera, what it’s pointed at and how, can end up giving the audience quite a lot of information without them having to think about it.  Certain shots emphasize danger, or fear, or joy, and convey quite a lot of emotion.  In post-production, editing of shots are what tells the story, and are used to direct the audience’s attention to specific things, ensuring they are focused on the action while setting up the atmosphere, leaving a vivid visual impression on the viewer.

And in the case of Dead Poets Society, it’s all about atmosphere.

Cinematographer John Seale is well-known for films like Rain Man and Witness, and would go onto doing films such as Mad Max: Fury Road and The English Patient, and his work on Dead Poets Society is evidence of a man who knows his way around a camera.  Seale’s work as a cinematographer is subdued, designed to enhance the story, rather than overshadow it.  Many shots are of the outdoors of Welton, showing the seasons of change and giving some beautifully artistic shots for the audience to enjoy as well as demonstrating the passage of time.  But although Seale shoots the outside very well, he shoots the story even better.

Some scenes stick out in people’s memory: the iconic close-up on Todd’s shoe as it hits the desk as he stands up on it at the end, or the shot looking down at Mr. Keating, literally showing another perspective, or the interesting shot that follows Neil and Todd chasing each other around their dorm room in a tight spin, and, a personal favorite, the scene of Mr. Keating in the empty classroom after Neil’s suicide, and they all do this for a reason: they are shot with extreme care for the human experience.  The halls of Welton are shot with cold wide shots, emphasizing their stately nature, and how much bigger it is than the people that live there.  The focused opening shots on the banners instantly instill the impression of the values of the school.  The tight shots of the Dead Poets within the cave informing about the boys’ close relationship.  The empty camerawork framing Neil’s suicide deliberately builds up dread in the audience as we see his actions.

All of these are excellent examples of Seale’s eye for storytelling with a camera, but none are quite so well-done as the scene where the boys tell Todd about Neil’s suicide.

The scene opens with a close-up on Charlie’s face, not Todd, even though Todd is the one being told.  Afterwards, the scene immediately cuts to the boys outside in the snow, where Todd runs ahead before collapsing.  The camera closes in on the boys comforting him, before Todd gets up and runs off into a wide shot of whiteness, the oncoming snow.

It’s a cold shot, one that emphasizes the grimness of the emotion, and the stillness allows us to absorb Todd’s internal turmoil.  And it gets the point across.

Throughout the film, the camerawork is used to frame great visuals, even though it seems like there aren’t too many ‘distinctive’ images from the film.

The boys all dress in a school uniform: there’s not much in costuming or the way people look to differentiate them, but that’s partially the point.  The conformity of Welton bleeds into everyone, and there’s no ‘differentiations’, no individuality, that’s external.  It’s up to the boys internally to change.

The visuals can only get you so far, though.  Also helpful for a film’s attempt at communication is music.

Dead Poets Society actually doesn’t have a whole lot of music.  It’s overall a quiet film, mostly reliant on performances and camerawork to get the emotion across to the audience, but that doesn’t mean there’s no score at all.

Composer Maurice Jarre (Best known for composing for Lawrence of Arabia, Ghost, Witness, and Mad Max: Beyond Thunderdome)’s score is best utilized when it isn’t the main focus of the scene: the eerie sound of the boys sneaking into the cave for the first time, seeming almost magical or mystical as they disappear into the forest.  During montage scenes of activities at Welton, a touch of the rock-and-roll sound of the 1950s can be heard.  However, the score truly shines the best when its at its saddest: Neil’s suicide.

During Neil’s decision to kill himself, the music is quiet, not heavy, but definitely not light-hearted, either.  It’s a devastating sound, somber, and keeps the audience knowing that something bad is about to happen.

All of these are great examples, but there’s no better example of emotional scoring than the ending.

As we’ve discussed before, the end of Dead Poets Society is very uncertain.  There’s no real ‘happy’ ending, but it’s not exactly sad either, and part of that is in thanks to the way it’s scored.

When Todd leads members of his class to stand on his desk, the bagpipes start in, a victorious sound that harkens back to the beginning of the film.  It’s an intensely emotional piece that doesn’t distract from the momentous amount of emotion on the screen, and it proves that, all along, whether you’re listening to the music or not, it’s always there, falling and rising to help the audience know how to feel, when they aren’t sure for themselves.

Individually, the music and the cinematography are amazing in and of themselves, but together, they blend exceptionally well in two ways: visually capturing the sets, and emotionally capturing the performances.

We’ll start with the sets.

Welton is an appropriately foreboding place, full of huge hallways.  It looks old, old and rigid, because it is.  It’s a stifling place, full of tradition, literally and figuratively.  From the banners to the photos of famous alumni, Welton is a school concerned with how things have always been.  Every building in this film feels old and grand (with the exception of Chris’s high school), from Welton to the theater, and as a result, the lively antics of Mr. Keating and his class feel all the more transgressively energetic.

Contrastingly, the outdoor scenes are open, spacious and beautiful.  Even the cramped shots of the cave are more free than the more roomy halls of Welton, because of the change of atmosphere.  These scenes, notably the ones where Mr. Keating teaches his class outside, are full of life and movement, a noticeable difference from the darker indoors.

But the energy present in these sets is nothing without the energy from the actors.  Let’s talk about the most important part: the performances.

No matter how fantastic your sets, music, and cinematography is, they are meaningless trimming if the actors can’t pull off their characters.  When it comes right down to it, it’s on the shoulders of the actors to sell their characters’ personalities and emotions.  In the realm of film, a character is typically unremovable from the performance by a singular actor.  Dead Poets Society pulls this off with remarkable tact.

Most obvious is Robin Williams as John Keating.

Despite the fact that Williams was best known for his comedic talents, he is suitably sober and genuine as an English professor: bubbling over with passion and a desire to help these boys learn about the power of words.  He is exciting, drawing the audience in as much as the boys, putting out considerable charm as well as incredible enthusiasm and personal care for his students.  He cares considerably about these boys, and tries to take care of them, giving out advice and attempting to lead them onto the right path.  Occasionally, the typical Williams comedy shines through, but not in a way that feels unnatural for the character, and at the end, when he breaks down over Neil’s death, it is believable and genuinely causes pain to an audience who sympathizes with a teacher who feels responsible for losing a student.  At the end, it is his expression of hope that the film begins to close on, an emotional beat that Williams’ performance brings home to end the film in a satisfactory manner.

Ethan Hawke as Todd Anderson is subtly subdued, demonstrating not a lack of emotion, but a quiet depth to it that comes across very well.  We believe his transformation into a stronger person who is willing to take a stand, and his connection and grief over losing his best friend, and his nervousness overcome, revealing a poet inside.

Robert Sean Leonard as Neil Perry is also believable, performing a jarring switch between the confident leader and the obedient, dutiful son, portraying Neil’s restlessness and discontent with his situation very well.  He is charming and charismatic, but in the end, a tragic figure, with his decision to end his own life played with genuinely chilling calm and resolve.  We as an audience believe his passion for acting, and we understand why the other boys follow him, and we feel his absence from the rest of the film once he dies.

The other boys are acted very well also: Josh Charles as Knox Overstreet is appropriately dramatic and dedicated.  Gale Hansen as Charlie Dalton is mischievous, outspoken and confident.  Allelon Ruggiero as Steven Meeks and James Waterston as Gerald Pitts work well as a team, filling out the rest of the boys, and Dylan Kussman as Richard Cameron is appropriately reluctant, making his treachery to the rest of the boys very natural and believable.

Even the other adults are done very well.  Kurtwood Smith as Mr. Perry is unyielding, misunderstanding, but not completely heartless, genuinely broken by his son’s death, but unwilling to accept responsibility for it.  Norman Lloyd as Mr. Nolan is the film’s true antagonist, as hard and strict as the school rules that he enforces, but again, he thinks he is acting in the students’ best interests.  

Each performance in Dead Poets Society contains enough nuance that no character is truly black or white.  Every character in this film fills out their part, whether big or small, each putting forth genuine, passionate performances.  It’s a heartfelt film, demonstrated in every aspect from cinematography to the presentation of each character, perfectly portrayed by every ‘storytelling device’ used in the film, not too much nor too little, but perfectly balanced.  Every element comes together to tell an emotional and compelling narrative, assisted by the work done by the  production team.  As a result, the film feels like it is trying to be real, if not necessarily a realistic film.  Dead Poets Society is grounded in emotion and people that we can believe in, that we want to believe in, and remains moving and consistent, ending with satisfaction, if not outright happiness, and leaving the audience to think about the story they’ve just been told.

Thank you guys so much for reading!  Join us next time where we’re going to be discussing the behind-the-scenes story of Dead Poets Society in ‘Facets of Filmmaking’.  I hope to see you there!

[ponett]

Three novels down in my journey through Discworld! I’ve now read Equal Rites. As the first book not starring Rincewind, this one shifts its focus from wizards to witches, introducing another series mainstay, Granny Weatherwax

While it’s still obvious from the start that this is set in the same world as Rincewind’s misadventures, Equal Rites immediately feels like a very different book. It still has Pratchett’s comedic flair, but this book is incredibly earnest compared to the farcical tone of the last two books. At first, I was a bit disappointed that this book wasn’t as constantly funny as The Light Fantastic, but by the end I was deeply engaged by its more heartfelt narrative

You see, with this book, Pratchett has started to move from simple genre parody to satire. Equal Rites still pokes fun at fantasy conventions, of course, but at its heart is an examination of sexism and gender roles. It just so happens that this story is told through witches and wizards

The story begins when an elderly wizard travels to the rural town of Bad Ass (the story of how the town got its name is apparently interesting, although it’s never shared in the book). On the Discworld, the eighth son of an eighth son can perform magic and become a wizard, and so this particular wizard plans to pass his staff on to such a child before he dies. Except there’s a problem: after the wizard passes his staff on to the expected newborn, he realizes too late that the baby is, in fact, a girl. And then he dies, and the world is left with is first female wizard

We skip ahead about seven or eight years, and now the young Eskarina Smith wants to learn wizard magic even though she’s a girl. The book feels a bit like a young adult novel at times because its protagonist is a kid, although the narration makes it clear that the book is still written for adults. This is not the world seen through a kid’s eyes, but rather an adult’s commentary on how a kid sees the world. (The need to mark the book as for adults in spite of its young hero is also probably why the opening paragraphs reference sex, and why lots of jokes about adult things that go over Esk’s head are sprinkled throughout.) Esk is joined by Granny Weatherwax, the town witch who isn’t really related to her but is described as basically being everyone’s granny

For the first act of the book, Granny acts sort of as an antagonist (albeit a very mild one), teaching Esk the differences between witch magic and wizard magic and trying to stop her from learning the latter. Wizard magic is portrayed as being bombastic, changing the fabric of reality and shooting lightning bolts out of their hands and that sort of thing. Witch magic, on the other hand, is more in tune with nature. A lot of it could hardly be described as proper “magic” at all, actually--lots of knowing about herbs and home remedies and things. Another witch in the story reads palms and tea leaves, but most of her business seems to be selling some kind of homemade birth control concoction

As Granny puts it, a big part of being a witch is “headology.” Witches have to lean into the theatricality of their profession with the pointy hats and the spookiness and whatnot in order to be treated like witches, and that does half of their job for them. It makes people trust that the home remedies work, or believe that a witch could really curse them, or that sort of thing. Of course, Granny does also know quite a bit of “real” magic as well. The main power she uses is “borrowing,” the act of mentally becoming one with an animal--not quite controlling it, but rather “suggesting” its actions. This leads to some fun sequences throughout the book, including one where she borrows the “mind” of an old building said to have developed something resembling a consciousness over the centuries so that she can locate Esk within it

While there was a good deal of magic in the last two books (even if Rincewind, famously, cannot perform magic), the depiction of wizard magic in these books has already changed. In the first book, Rincewind explained that it took years of studying and a ton of effort to perform any task with magic, making a lot of it seem pointless. But here, with just a staff and no proper training, Esk figures out how to turn one of her brothers into a pig, and teleport her staff to her, and all sorts of other things. Of course, this isn’t some sort of CinemaSins ding or anything. The priorities of the books have simply shifted. In a pure genre parody like The Color of Magic, it made sense to say that magic was actually kind of stupid and pointless. Here, being a wizard needs to be desirable, because Esk’s whole arc is about wanting to become a wizard

While Esk does do well with her witch lessons, eventually it becomes clear that she’s going to start figuring out how to use wizard magic with or without guidance, and Granny accepts that she can’t change Esk. After a bit of a journey in which they get separated and meet several side characters, Esk and Granny make their way to Unseen University. (While Rincewind is nowhere to be seen, the librarian who got turned into an orangutan in the last book is still around. He’s apparently refused to be turned back into a human and is happier this way.) Esk is humiliated by the wizards and turned down, but Granny manages to get Esk a job there as a housekeeper so that she might be able to pick up some magical knowledge while hanging around

In the climax, Esk uses her skills to save a fellow student she befriends named Simon from some eldritch horrors that wanted to take over his mind, and as a reward she’s named the first female wizard. But she realizes that being a wizard is kind of silly, and she and Simon go off to develop their own type of magic (which, if I’m understanding correctly, involves a good deal of Not Doing Magic). In the action of the climax, Granny also manages to show the head of the school that witches know a thing or two about magic as well, and is offered a position at the university (although it’s left unsaid whether or not she took it)

Overall, I really, really enjoyed this one. This was the first book in the series that felt like it took its characters and their problems seriously, writing them as people to empathize with instead of just vehicles for jokes. The gender-based conflict is simple, but effective. I really liked that Pratchett didn’t lean into Esk being Not Like Other Girls. She actually still quite likes the feminine witch magic, and uses those skills to her advantage. It’s just that she also wants to learn wizard magic. It’s not about one being better than the other, it’s about the gender divide being silly. The book shoots down the idea that there must be some fundamental physical or psychological difference between men and women that means they’re destined to excel in different fields, which is honestly a refreshing thing to read in a fantasy novel from over 30 years ago

While it might be a little convenient that the head wizard of the university was swayed to be less sexist so easily, I do think the ending struck a good balance. Sexism is ingrained into wizard culture, so he’s still got some biases against women, and he’s only considering letting a few women into the school to start. He’s taking baby steps. Some might see this as a failure because he only got a little better, but personally, I find this much more believable than if the book had ended with all the wizards deciding that witches were their equals and the school quickly achieving a 50/50 gender split

People don’t quite change like that overnight. But this book does still believe that people can change, challenge their preconceived biases, and become better. And I think that’s what really sets this book apart from the previous two. It’s the first glimmer of those humanist Discworld themes I’ve heard so much about

(Also I laughed every time a wizard said women couldn’t study as wizards because it was “against the lore”)

So yeah, good book. Very good book. Pratchett’s style is already rapidly evolving And next, it’s finally time... for the first Death novel. I couldn’t be more excited

[oboe-she-didnt]

I just finished watching the X-Files and I have a lot of thoughts

Yes it’s 2021 and I’ve finally finished a show I should have seen ages ago. Normally I might make a YouTube video with all my thoughts but I feel like doing something more immediate and since no one I know has seen it...here I go.

Going in nearly blind (besides knowing “Mulder’s the believer and Scully’s the skeptic” thank you ATS, Mulder/Scully is one of the quintessential ships of fandom history, and there was a reboot or something a couple years ago) I found myself rather hooked from the beginning. I enjoyed the practical effects, the seasons-long mysteries (though sometimes not knowing the answers got frustrating), and the way the show managed to stay fresh for its original 9 season run. It was definitely a well-crafted show with a good balance of monster of the week episodes (further divided into procedural monster of the week - your average monster/witch/freak of science killing random people - and character-based monster of the week - the haunted house on Christmas is the first episode that comes to mind) and lore/mythology building episodes (everything tying back to the alien conspiracy aka anything that said “Written by Chris Carter”)

I can see where the Mulder/Scully chatter has come from. I was definitely shipping them very early on, and not just in a “ooh they’re rivals so of course I’m gonna ship them” kind of way I was expecting going in. They are one of those examples of fictional soulmates, platonic, romantic, two people who are essential in the others’ lives. They are the epitome of “the best romances come from people who work well together”. Literally. They balance each other, even when sometimes the roles would get flipped. You need a logician and you need a believer in your search of The Truth. I also appreciated overall it seemed an equal balance between each of the pair getting “damseled”. It wasn’t Mulder saving Scully all the time (another thing I was kind of expecting). The one thing I’m still puzzling over is which one I would consider the one main protagonist, if I had to choose. My gut says Scully, she’s the audience insert brought into this fantastical world who grows to open her mind a little. But by the end, it’s Mulder who has all his questions answered, his purpose for coming to the X-files complete. Mostly. Pretty much. There’s always another conspiracy, though.

I will stand by my early observation that my absolute favorite parts of the show are Scully’s right arching eyebrow and Mulder’s inability to function like a normal human when she’s out of the office. I never thought I’d get emotional over pencils stuck to the ceiling but it happened.

And now a rundown of thoughts on all the main characters...

Mulder: Two things I said most often to the TV: “you cheeky little shit, you’re gonna get yourself killed” and “oh honey I want to give you a hug!” I also wish I had done a little more BTS research besides figuring out where and when to watch the 2 movies because that would have saved my two season litany of “he’s gotta come back, they wouldn’t kill one of the main characters off offscreen, he’s written and directed episodes, I would have heard at some point if he got fired, Chris Carter’s just pulling a conspiracy of his own, he’s fucking with the audience by pulling him off the credits, right right RIGHT?” and then I should have figured out the reboot was LITERALLY STILL THEM so that would have saved my The Truth litany of “well all his mysteries are solved so I guess his arc’s complete, it’s a supernatural show so I GUESS you can kill off one of the mains in the finale, but there’s too much build up to save him, I would have heard about it if it had THAT kind of ending, right right RIGHT?”

Scully: Two things I said most often to the TV: “Yes you go girl!” and “oh honey I want to give you a hug!” Gillian gets all the credit for wearing those fucking heels for that long and probably didn’t get paid enough for it (though I appreciated their little callout to it in the movie episode). I’m glad they only went to the mystical pregnancy well once, though the build-up was a little too heavy-handed. I can’t wait to rewatch and see the gradual development of her knowledge and understanding, so much so that by the time it becomes her and Doggett as the team, Scully is absolutely without question the “Mulder”.

I also would say, about both of them, that they need a vacation...which they did get...probably not the vacation I was hoping for them.

And now for many less thoughts about the rest:

Skinner: flip-flopped maybe a couple too many times for my liking. Wish we knew a little more about him. Definitely the first person to ship the two of them.

The Lone Gunmen:

AKA “ahh it’s my boys!” (me squealing every time I saw their actors’ names appear in the credits). Nice little extension of the team and interesting to see technology from “back then”. Loved how they used their stories as little breathers after really heavy two-parters. 

Frohike: adorable little grump who knows his kung fu

Langly: did he just choose not to cut his hair for 9 years or did they not let him?

Byers: marry me

Smoking Man: or whatever nickname you want to call him. Yes, I know they revealed his name but I’m not bothered to look it up now. The definition of “you aren’t dead in a supernatural show unless you die on screen” (though he goes and breaks that trope too because hey fan service!). Had me saying “ugh this bitch” every time he appeared on screen so I guess he got the job done.

Krycek: also had me saying “ugh this bitch” and I wish I didn’t learn his actor’s name so early on so I would be more surprised when he showed up in later seasons. I think he worked pretty well as a secondary bad guy and is another I’ll be watching more for in my rewatch.

Marita: grew more tired of her the longer she stayed on. Became less interesting when she was revealed to be in with the Syndicate. Nice to have another female character, though.

Jeffrey Spender: my catchphrase with him was “I wanna slap his little weasel face”. I figured out who he was before it was revealed, though that I blame on my ability to recognize actors...unless it was supposed to be an easy enough twist to figure out? (I guess the actor made enough of an impression in the “greatest hits of Smoking Man: America’s assassin” episode for them to want to keep him around). Did not like him one bit until Season 9. Then my thoughts were mainly “JEFF!? They’re entrusting the safety of William to JEFF!?”

William: okay the episode “William” was pretty much me saying “what the FUCK was that?” and I’m mad I didn’t figure out the Jeffrey twist that time. As for the character, kid deserves better. I was waiting for a Once Upon a Time style knock on the door “hey, I think you’re my mom” at some point but NOPE he had a purpose and they were sticking to it! The ambiguous powers (AKA which came first, this or Stranger Things 2?) were a little annoying, I suppose, but there wasn’t enough time, or interest, to explore it all. Also, pandemic? That sure hit differently to a viewer today than it would have a couple years ago holy shit.

Doggett: didn’t like him at first, which I guess you’re not supposed to, but then he turned into a big old teddy bear. Whatever happened to him? Dude deserved a shout-out in the reboot.

Reyes: loved her from the start, a different kind of “Mulder”. HATE what they did to her in the reboot. I thought she and Doggett were supposed to live happily ever after.

Okay, I think I’m pretty much out of thoughts for now. Excuse me as I start watching all over again, free of some of this “what’s gonna happen next?” anxiety since I now know where it’s all going.

[oosteven-universe]

Elvira Meets Vincent Price #01

Elvira Meets Vincent Price #01 Dynamite Entertainment 2021 Written by David Avallone Illustrated by Juan Samu Coloured by Walter Pereyra Lettered by Taylor Esposito & Elizabeth Sharland    Elvira is back, with her most historic AND greatest costar ever! The ghost of Vincent Price is a spirit with a mission, and only the Mistress of the Dark can help! The Apocalypse is coming, and it’s going to be live-streamed for binge-watching, but a long-lost movie can save the world… if only the movie star specter and the horror hostess with the mostest can find it in time! Thrills, chills, and all sorts of terrible puns!    Have I mentioned lately how much of a fan of David’s that I am?  Eddie and Elvira open up the book and I have to say the ideas that they pitch are spectacular and I do hope that eventually David gets to tell all of these stories and hopefully sooner rather than later.  Also I do love that this is Elvira and that nothing is too ridiculous for us to see within these pages and it’s kind of like taking a bit of artistic liberty at times which I’m totally okay with and seeing her love of and influence of Vincent Price kind of fuels his restless spirit to pay her a visit.    I am absolutely loving the way that this is being told.  The story & plot development that we see through how the sequence of events unfold as well as how the reader learns information is presented exceptionally well.  The character development that we see through the dialogue, the character interaction as well as how they act and react to the situations and circumstances which they encounter helps to portray them as people that we know, know of, relate to or simply empathise with.  The pacing is superb and as it takes us through the pages revealing the story, the characters and this world we’re pulled into this beautifully.    I greatly appreciate the way that we see this being structured as well as how we see the layers within the story emerge, grow and strengthen as the pages go forward.  The layers are where we see the characterisation and the plot twists plus so much more and whether they work with the main arc or swirl around it they all add depth, dimension and complexity to the story.  How we see everything working together to create the story’s ebb & flow as well as how it moves the story forward is impeccably achieved.    I’m totally digging the interiors here.  The linework is fantastic. It's clean, crisp and strong and how we see the varying weights and techniques being utilsied to create the detail in the work that we see throughout the book is amazing.  While I’m pretty impressed with the backgrounds that we see I would like to see more as they really do enhance and expand the moments.  They also work well within the composition of the panels to bring out the depth perception, sense of scale and the overall sense of size and scope to the story.  The utilisation of the page layouts and how we see the angles and perspective in the panels show a remarkably talented eye for storytelling.  The colour work is brilliantly rendered.  The various hues and tones within the colours being utilised to create the shading, highlights and shadow work shows a stellar eye for how colour works.  Plus the black & white with gray tones is utterly phenomenal to see. ​    This is the kind of fun that comics need to be at times.  We get so many different books that take themselves way too seriously that to have a balancing act like this one is beyond anything that I could have hoped for.  Two icons of horror in one book and not being done through the miracle of time travel or both being alive simultaneously nope one is a ghost and it’s perfectly done.  With intelligent writing and witty characterisation wrapped up in these perfectly suited interiors make for such a rip roaring good ole time.