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chidoroki · 4 years ago

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Isabella - 73584

I had a serious debate with myself over whether or not I wanted to sit down and spend my weekend writing another one of these praise posts. I was content with just doing one for each of the Fullscore Trio kids and ending it there.. but apparently I love this woman too much to just ignore her on her birthday. So here were are on September 9th with a list of all her best and my personal favorite moments as to why I believe she’s such a great character, antagonist and mother (yeah you heard me right). Considering she only shows up in the beginning and very end of the story, this post ended up longer than I originally anticipated, which just goes to show how many thoughts I really have about this woman. (for real, this rivals Ray’s post in terms of points but there’s far more words)

Since she also has some backstory and certain events differ between manga and anime (thanks to the second season), I’ll try to go in chronological order between both timelines instead of chapter by chapter, which might be a bit confusing as we’ll jump around the story a lot but just to bear with me as I try to makes sense of it all.

(spoilers for the entirety of The Promised Neverland & ch181.7, so if you haven’t read/completed the manga yet, consider this your first warning, because I’m literally going from start to finish with this one last time. I promise.)

- I’m not sure how well she compares to Emma when it comes to athleticism, but Isabella seemed to have no trouble climbing up and down trees when she was younger.

- Not only that, but she managed to scale the wall by herself using a method that requires a fairly impressive jump. It’s also implied that this is how she climbs the wall again so many years later when chasing the soon-to-be escapees, which helps prove that even at an older age, she hasn’t lost her touch.

- Was chosen to undergo training to become a Mom, which required high test scores and the current mother’s recommendation. She accepted the offer in order to keep living and survive as human the demons couldn’t eat.

- Based on Sienna’s comment, is it fair to say Isabella is on par with the full score trio? I mean, the woman is basically flawless.

- She was practically untouchable during her time at headquarters while training too apparently. Mom positions are scarce so the environment where these ladies fight (physically/mentally/emotionally) to even snag that job is highly competitive, and yet Isabella never let anyone deter her from her goal of becoming a Mom, which probably led to the “Iron Lady” nickname she received now that I think about it.

- She was the youngest ever to be granted the Mom position at..what, 19? 20? Somewhere around there, but impressive nonetheless considering they’re forced to have a child, build up a strong, emotionless exterior and endure so much fear. (but my goodness, the woman doesn’t age at all. she looks just as good when the story actually starts as she did her when she was a bit younger)

- It became common knowledge among the Sisters that she was also very successful in the way she raised her children.

- Her success greatly benefited the farm, as she offered up countless high quality goods, which sounds terrible, I know, but believe me when I say she gave her best effort for her children. Even though she held the Mom position, the amount of power she actually had in this system was pretty minimal, especially with how much she valued her own life. She couldn’t afford to make any mistakes or risky changes, so she settled with doing the most with what she was capable of. She provided her children with a normal lifestyle, not only to keep up the orphanage facade, but knowing that their lives would all be cut shorter than they anticipate. She gave them love in hopes that no one would ever have to feel the dread she felt after Leslie’s death and/or finding out the truth. She tried to delay that horrific fate by encouraging them to learn all they can (like teaching the trio about strategy and chess) so they could achieve higher tests scores and (unknowingly to them) add a couple more months or years onto their lives. Yes it was her job to raise these children to such high standards but she excelled at it for their sake too.

- And I know y’all will just throw Ray in my face like, “oh but he was her actual child and she treated him horribly/different.” Okay but deep down I don’t think she actually wanted to? When they both realized they were truly mother and son, Isabella couldn’t just dote on him and start treating him as such. I’m sure Ray wasn’t too fond of Isabella at this point in his life either, knowing that she sent several of his siblings away to get killed. They probably would’ve gotten along just fine in a perfect world, but since they were both aware of the hell they’re trapped living in, they emotionally distanced themselves and formed a business-like relationship as a result of Ray’s deal, which benefited them both in different ways. For Ray, it was more practical, with the obvious notion of living as long as possible along with obtaining various rewards and knowledge of the outside world. For Isabella, it helped emotionally by simply just ignoring their true relation. I believe if she clung to that realization, it would break the orphanage illusion and eventually wear down her “Iron Lady” exterior that she relies so heavily on.

- Like can you imagine how much you would have to harden your heart in order to quite literally walk children to their death every couple months for years on end and just move on like it’s completely normal? Now imagine how earth shattering it must be to think about doing the same to your actual child. All those years spent perfecting a fake smile and emotionless exterior like she was trained to have and her son shatters it in an instant. She becomes completely terrified about how he’s actually alive and in front of her right now and there’s nothing she can do to truly save him.. and yet she still recovers so damn quickly I can’t even comprehend it! But there’s still some sadness in those eyes. You can’t tell me otherwise. That one moment of weakness speaks volumes to me.

- So now with her general backstory FINALLY out of the way, we can finally start with ch01/ep01 and how her laugh is sweet and innocent. I say that because (all hidden emotions and motives aside) that’s exactly how she’s supposed to sound in this moment, not only to us but to the children as well.

- She of course checks Emma’s tracker a moment later but other than that I still think it’s a pretty genuine moment between the two.

- As previously stated, her ability to raise high quality children is unmatched, which is clear as day thanks to the fullscore trio.

- Despite their crazy level of intelligence, the trio has yet to win a simple game of chess against Isabella, even when teamed up.

- She treasures everything about the kids.

- She really cares about them, even when it’s time to send them off with a smile, which we know is thanks to her strong facade.

- But mother dearest isn’t really fine. She doesn’t like walking kids to their death, especially so young. But she can’t let them (or even herself) know that. She can’t show weakness, so she hums Leslie’s song, which is a tool she’s used for years in order to give herself strength.

- Don’t worry, I disliked her this moment happened too, just as the story intended. And here’s where her fantastic antagonist role begins for all the world to see.

- A true champ at jump scares.

- Acts completely calm the night after a couple of kids found out the secret of the farm.

- She uses the tracker in plain sight, sending whomever went to the gate last night a threatening but silent message.

- Correct Norman, that’s the “Iron Lady” for ya. Also the name of ch03 for us. Well, “The Iron Woman” but same difference.

- She switches from calculating and manipulative breeder to sweet and pleasant mother so quickly and effortlessly it’s incredible. Isabella even checked Emma’s pulse in this scene to see if she was acting normal.

- At this point she still had no idea who went to the gate (Ray didn’t tip her off yet, at least I don’t think so) but her guess couldn’t have been more precise. The level of fear she drives into both Emma and Norman was great too, but then again her presence is enough in any scene to give us chills.

- Notices her watchdog isn’t at his usual post and starts to get suspicious.

- Not only of him, Emma and Norman, but Don and Gilda as well, thus giving the five extra chores to finish in an attempt to slow down any escape planning, such as cleaning vacant rooms, organizing the pantry and inspecting spare linen.

- While the trio believes Isabella was being too soft and patient in finding her targets, she effectively catches them off guard by bringing in Krone for assistance. The trio soon realize they were actually preparing the sister’s new room and those mundane chores were just an excuse to buy time.

- Look at her, all smug. Checkmate indeed. (and totally not important, but her eyes are such pretty shades of purple)

- The sass and her no nonsense attitude.

- Immediately puts Krone in her place the moment she even thinks about shipping out the targets. Of course holding off on shipping the targets would benefit the farm, as it would produce higher quality merchandise as time passes, but plant 3 is run by Isabella and she’ll be damned if an assistant thinks they could waltz right in and decide her children’s fate.

- She check’s Emma tracker again despite her claim of knowing exactly who the targets might be. You can never be too careful.

- Her precious children managed to win a game of tag against Krone, which is still impressive considering the kind of training the sister has gone through, so kudos to her teachings.

- Knows right away that Krone was trying to take advantage, which allows Krone to realize that the opening she had to learn more about the children was all planned by Isabella herself. Her intimidating nature is enough to scare adults too.

- Reveals that Krone was mostly summoned in order to keep Ray in check after his failure.

- Despite the trust issue, Isabella still keeps up her end of the deal by requesting the items Ray asked for, thanks to the odd perks she had under Grandma Sarah which allowed her to order goods that weren’t on the supply list.

- This hug between her and Phil is just too cute not to mention.

- I imagine she makes this comment because she knows exactly how long a rope must be based off her own almost-escape.

- It’s just something about how this scene is framed alongside this dialogue that makes me think “oh, like mother, like son.”

- I blame her very thoughtful planning for my first big freak out when I watched season 1 blind, like ma’am that’s my favorite boy, please don’t.

- She conspires with Grandma Sarah in order to get rid of Krone for good, which renders the evidence sister just found out about the children’s escape completely useless. Sarah believes there might be some truth to it, but ultimately ignores it and puts her faith in Isabella’s ability of controlling the children & the situation.

- She then cuts Ray off and ends their six-year long deal, opting to control the situation herself from now on. Also, how she wanted to keep him around until the very end is kinda bittersweet. Does she mean as merchandise? Or because she wanted him to live as long as possible? Ah such a tricky little comment.

- She also tosses him across the room like a rag doll.

- Thank god for this panel existing and actually being adapted into the anime so I could hear it because I had absolutely no memory of her laughing in this moment.

- “She says it so nonchalantly,” Norman said once upon a time, and it’s still so frightening.

- As insane as her ideals seem given the circumstances, nothing she says here is really a lie.

- She has the strength to quite literally break a leg and that cracking noise still haunts me to this day.

- It wasn’t even a spur of the moment thing either. Isabella came fully prepared with bandages to fix up any injury she was willing to inflict and that thought alone is terrifying.

- Not only that, but she broke it so cleanly that Emma’s leg does indeed heal perfectly in the exact time frame she estimates. This entire moment is so unfairly impressive, like ma’am how dare you do this to Emma of all people.. like why couldn’t you at least use that kind of force to snap Peter’s neck instead or something?

- To make matters worse, she then reveals Norman’s shipment date. And it’s the following day, which sends the kids into a very understandable panic.

- Needless to say, November 2nd, 2045 was a very successful day in the life of Isabella. Woman was putting everyone in checkmate in ep08 and my anger on full blast.

- This sly smile she sends Ray’s way after announcing Norman’s shipment to the younger kids is so cruel.. it’s perfect.

- I can only imagine she asked about Ray’s whereabouts because she knew the boys were close friends and she hoped they would at least say goodbye to one another, but that’s just me.

- Puts an end to Norman’s parting words in such a simple and chilling matter.

- The way she just openly threatens Emma with others just out of earshot.

- Norman out here asking the real questions. If anything, I say she’s more “content” rather than happy. I don’t think she’s ever really thought about her own happiness, at least not often enough, hence the slight pause. This entire time she’s been focusing on how to make her children’s lives perfect, but for herself she just wants to survive in this hellish world they’re all living in.

- I’m honestly still not sure who’s final decision it is to send people to Lambda, either Isabella, Peter or someone else (honestly never bothered to check), but whether or not Isabella had any say in the matter, I’m sure she’s at least a little glad that Norman gets to live a bit longer? Perhaps that’s a stretch, but I’m putting the idea here anyway.

- I say this because I believe that’s part of the reason why she offered Emma a Mom recommendation, not only because our girl’s high test scores, but in hopes that she could live a longer life.

- Although she really stresses in an intimidation fashion how pointless Emma’s efforts are now that Norman’s “dead,” the cliff remains a major hazard and her leg is still bandaged up, Isabella still tries so hard to convince her to give up, like Ray has, in order for Emma to end her own suffering. It was the first instance during my blind watch-through were I started to get the hint that Isabella might actually care about her kids, and of course I know now it’s because she didn’t want Emma to experience the same pain she did after Leslie’s death.

- With Emma and Ray both broken, things went by rather smoothly for Isabella those last two months, though she continued to keep a close eye on them.

- Her humming is so soothing. And why it took me this long to bring up “Isabella’s Lullaby” is beyond me, but oh my god, that song and any other soundtrack that uses its melody is absolute perfection.

- Had enough sense to not let her guard down the final night, even though her efforts were ultimately unsuccessful, but the idea counts.

- Though her caretaker side is focused on more during the fire, some motherly instincts do kick in as she instructs Gilda to get the babies from her room and lead everyone outside to safety. She was also concerned for Emma’s well being, hoping all the smoke didn’t get to her when the girl vanished. (i know you can argue “she’s only worried because they’re merchandise” which is fair but c’mon, i swear she’s not completely heartless)

- Took a hot minute (ahha) but Isabella eventually realized that the kids were actually escaping solely based on what they were wearing on their feet. I’m sure Emma’s discarded left ear was a big tip off too but to come to that conclusion by noticing the shoes they had on during all that chaos is surprising.

- She looks completely insane here but I always thought this shot of her was nicely animated with all the fire (or embers? sparks? whatever they are) flying around. The laugh she does before this is also a nice bonus. Oh, and she somehow managed to secure a radio from the room Don had locked.

- Figured the fifteen kids would head towards the bridge and called in headquarters to block it off.

- But when the children didn’t appear at the bridge, she just happened to know exactly where else they might try to cross the cliff.

- In the anime’s case, Isabella climbed the wall and ran there quick enough to engage in a stare down with Emma before she finally slid down.

- The moment I knew I was doomed.

- After the 15 kids successfully escaped, Isabella admits defeat, for she couldn’t really see how much her children have grown to outsmart her.

- This iconic quote, which conveys so much truth and sincerity. There were multiple occasions where she had to distance and restrain herself due to the system that controlled her, but the love she was able to show the children was genuine. If she wasn’t held back by the strict rules enforced by Mom position, I don’t doubt she would’ve treated Ray better or became far more emotional whenever a child had to leave for good or seriously injured, instead of donning a fake smile and being closed off.

- She realizes with this unspeakable loss in merchandise, the reputation she worked so hard to build up is meaningless now and that the farm no longer has any use for such an incompetent caretaker. She figures she’s as good as dead anyway now, so she wastes no time in actually helping the escapees by reclaiming the ropes to hide their exact method and route of escape, if only to grant the kids some extra time before the pursuers really locate them.

- She doesn’t act bitter as a result of her loss, instead choosing to wish the escapees luck with the future they grasped for themselves and care for the children that were left behind.

- She’s just so pretty y’all. Thank you anime.

- She was named “Best Antagonist” (and rightfully so!) back during the 2020 Crunchyroll Anime Awards, winning over Askeladd (Vinland Saga), Overhaul, (My Hero Academia), Garoua (One Punch Man,) & others.

(Post-season 1 spoilers ahead, even though the anime is completely finished at this point, but will be touching upon her special chapter more as well.)

- Completely owns up to her mistakes that caused the farm a massive loss in profitable goods and is ready to received whatever punishment necessary, which she expects to be death.

- Only.. she’s not being killed, she’s actually being promoted to Grandma. Though Isabella was directly responsible for the children’s escape, the blame ultimately falls on Sarah who couldn’t correctly control Isabella, thus leading the old lady to be shipped out in place of the goods Isabella lost.

- Peter also notes that the farm found more worth in Isabella than Sarah, so her past merits also played a part in sparing her life, as having a woman like Isabella in charge would surely produce the level of quality the farm needs.

- Isabella eventually accepts the promotion, though she can’t help but feel hesitant and shocked about the whole deal. This woman was ready to embrace death and finally be free from this cruel world, but now she has to witness not only more kids being shipped off, but moms and sisters in training as well (yay old chapter reviews coming in clutch).

- She could have very well just refused Peter’s offer, but we all know how much Isabella originally wanted to survive, so she doesn’t just accept because this man dangled a sense of freedom in her face, she also agreed so she could have the opportunity to help her children in any way her newfound power would allow her.

- Of course, her transition to Grandma happens a bit differently in the second season, but I will give some bittersweet thanks to the anime once more for the obvious but curse them for also having this entire scene dark as hell. Let me see her beauty darn it! I can only fix the lighting so much until it looks overexposed and bad again.

Anyways, Sarah is still alive at this point and taunts Isabella with the escapee’s lives just to see how she would react, which gave her a small sense of hope. Then some demons pay a visit later on and also ask if she would want to see the children one last time, but Isabella tells them that not only would she be too ashamed to face them but that they would manage to survive Grandma’s capture plan, which involved several men blowing up their shelter. It’s now clear to the demons that these children are special, and while Isabella agrees, it’s not for the same reason the demons think so. The demons believe the kids are special because of how they were raised to such a high quality. Isabella calls them special simply because they’re her children, just as any mother would.

- In the anime, it’s the demons who offer Isabella the Grandma deal if Sarah’s current plan were to fail (which it does) and she takes it and the freedom from Grace Field House without question. Do I still believe she had similar intentions to help out the children like she did in manga at this point? Of course.

- Not even a full month into her new job did she start preparing to help Emma & the others by considering who from the current Sisters she wanted to recruit to personally assist her destroy the farm entirely.

- A month later and Isabella had already decreased the number of shipments that took place at Grace Field, which obviously helps raise the quality of the children by default, but it also means less death and gives those kids a chance to live longer.

- She completely anticipated that Matilda, Jessica, Sienna & Scarlet were conspiring against her and caught them quite easily, as they were among the top scorers.

- Each had a fair chance at becoming Moms but with those positions limited, it was obvious to figure out they were trying to force Isabella’s seat open by creating some suspicious activity to place on her almost perfect record. Unfortunately for the girls, our new Grandma is too smart for her own good and I love it.

- The four women are apprehensive to join her insane plan to go against the farm, but Isabella assures them there’s no freedom if they follow the system’s rules and betray her. The harsh reality they’re all living in will continue unless they stop competing with one another and combine forces to defeat the true enemy.

- To persuade them further, Isabella mentions the children they all gave birth to are still alive, bringing out an array of emotions from the women that they each thought they had buried deep down.

- THIS! Just all of this is wonderful and shows just how much Isabella learned from her children who once defeated her.

- To fully gain the women’s trust, she gives them Ray’s farewell note that he originally left in order to bait Krone, as proof she won’t double-cross them at any point.

- I love the fact that she kept the note close to her because it acts just like all the other various toys and items she saved in her secret room back at plant 3. The original owners were all precious to her so she kept a piece of them behind to remember them in a place only she knew about. As I said before when mentioning her “I wish I could have just loved them normally” quote, all the love she had for her children had to be suppressed when she was under the system’s control, but that doesn’t mean she never cared. Because she did, and if I haven’t made at least that clear by now then I’m failing.

- Can her intentions and love for her children be any more clear? (possibly, i’m not done with this darn post yet. how you guys holding up? i’m going a little insane at this point.)

- Anyways! Second season didn’t make the rest of the story easy so apologies for any timeline mishaps as I switch between both anime and manga events from here on out.. like how in manga Isabella is informed of the escapee’s return to Grace Field via Peter, while the in the anime it’s her who helps lures them back with a fake transmission via the radio they stole.

- Just before Emma & the others do return to Grace Field on November 13, Isabella finally reaches out to the farm’s many other Sisters to recruit them. She waited until the right moment to inform them of her crazy takeover plan so Peter wouldn’t become suspicious from all of headquarters acting/thinking differently (you know, like how Emma kept the jailbreak plan under wraps until the night of). These ladies also feel a bit wary and even think of Isabella’s offer as a joke, but with some real, heartfelt encouragement, she manages to win over every single woman to her side.

- The moment when it was first revealed to us that she was not only still alive but was also promoted to Grandma is still so powerful.

- She snaps Nat’s finger back into place after Peter broke it. (and considering emma’s group infiltrates the farm right after this, i’m pretty sure that ch170 with rallying the sisters took place before this..i think?)

- Gave me a minor heart attack.

- *CLAPS FRANTICALLY!!!* The moment she truly won me over. 

- While her betrayal against Peter in the manga is fantastic and quite possibly one of my favorite moments, the anime did give us a little something too. It shows Peter spewing utter nonsense to Emma about how she’s destined to fail, only for best girl to bite back with such a fantastic quote, and then Isabella drops the act and switches sides. While I agree Emma’s comeback is “wonderful,” it’s the English dub that completely wins me over in this scene by having Isabella comment “Now that’s my girl” instead, like bro.. hearing that makes me so happy.

- For real dude, you have several highly skilled women pointing guns at you, I think her betrayal is crystal clear.

- This is like the perfect example of how she had to conceal her feelings while bound by the system. She just misses these kids so much y’all but she can’t let her true emotions show yet.

- Having her call Peter a boy is beyond hilarious to me. Also, how she disagrees with him on so many levels is excellent, like how he believes in experimenting on kids and having the right to call yourself their parent just because you created them, while Isabella believes in raising and loving children normally and that you earn that parent title by actually being part of their lives. To be fair they both inflicted pain on kids (Nat’s finger/Emma’s leg) but Peter’s action was a mistake in itself. Isabella got frustrated back when Krone even threatened to ship out the kids who discovered the secret, so you can bet she’s probably pissed off at this boy for harming one of her kids on purpose.

- The best mother-daughter moment ever! It’s such a shame it never got truly animated since the second season decided not to give the children guns, but we get to see a small smile from Isabella after Emma decided to still call her “mom.”

- The anime never gave Peter the chance to run away, like he (somehow) managed to do in manga, so we had the chance to see someone actually shoot at him. Well, in his general direction at least. Isabella lands a perfect shot not even a full second after he pulls out that disc. Accuracy on point.

- Said this once or twice in the past in manga so I’m glad the anime brought it back.

- Remains cautious and keeps her gun raised at Peter when Emma approaches him and rightfully so considering he still had his knife hidden at this point.

- Refuses Emma’s offer to join the kids in the human world at first because she knows that her (& the sister’s) actions shouldn’t be forgiven so easily, but with some rather blunt sympathy from Ray and encouragement from her other children, she finally gives in.

- This entire post summed up in one image.

- She apologizes even though distancing herself from her kids and preparing them for death were just required of her role as a caretaker. She wouldn’t have done any of that in a normal world. (do i sound like a broken record yet? probably)

- The emotion you hear in her voice during this entire dub scene hits my heart in all the right places.

- She still thinks of Leslie after all this time and I think that’s real cute.

- Her protective nature is on full display when she protects Emma from this bastard of a demon. A truly surprising and heartbreaking moment, considering this is the woman who’s survival used to be her top and only priority in the past, but now doesn’t hesitate to give her life in order to save her kid (and by extension that small girl emma saved. also, major heart attack for me).

- Despite being critically injured, this woman still possess enough strength to hold back a demon twice her size. She doesn’t even pay any mind to its nonsense. Like the demon, people often think this is when redemption arc starts but I believe it started way back in ch37 when Isabella retrieved and hid the ropes the kids used to escape. Ever since she admitted defeat on the wall that night, she threw caution to the wind and began cheating the system in hopes to one day assist the kids achieve a brighter future. Despite all the work she’s done behind the scenes, Isabella believes there’s still so much more she can do to atone, so even though she’s already received the children’s forgiveness, she continues to assist them by jumping in and saving them directly from demons for once in her life.

- Ma’am it’s sweet you’re so concerned with their safety, but we should be asking you that question ya know? (but then again emma was the same way after she woke up from her coma).

- Knows that just apologizing and saving Emma isn’t enough to suddenly forgive all her actions and wants to do so much more for the children as a result. Even though I already acknowledged all her subtle and hidden moments, I wish we got to see her care for them more openly.

- I simply can not read through ch177 and not get emotional. No matter how hard I try, I always feel tears start to form in my eyes. Oh my god, how cruel that death can be this beautiful. It’s so unfair.

- *uses old chapter review because I’m too upset right now* “She apologizes for everything. For not treating him right and loving him as a mother normally would her own son. For making him despise his life so much and enduring so much pain that he thought the only escape was suicide.”

- “She leaves him with one last wish to protect everyone, and that completely breaks me because you know exactly how much they both care for their family. Not only would they literally die for their family, but they would live for them too if someone asked. Truly like mother, like son.” (aaaaaahhhhh)

- Her, umm.. ghost (along with Conny’s & Yuugo’s) help Ray reunite with Emma in 2049.

- All my tears aside, the anime did something right by actually keeping her ALIVE!

- Have you ever seen something so GODDAMN BEAUTIFUL in all your life?? This image is so powerful it literally tossed aside any salty feelings I had that night with how the second season ended. Seeing her like this grants me so much happiness y’all, it’s truly unbelievable. I still can’t get over it and hopefully I never will.

Okay, now I’m done, thank god. Sorry this is like ridiculously long, especially since she’s absent for sooo many chapters. Also find it so hilarious how drastic my opinion of her changed from the beginning to now, from “bitch” to “oh my god I love her so much.” I know people will always have opposing opinions whether she’s actually a good mother or not and that’s totally fine. Wasn’t trying to convince y’all of that either because yes, some of her actions are real unforgivable, but she was suffering under the farm system too and just followed through with what she was trained to do in order to survive, but while other Sisters fought to climb ranks and help themselves survive, Isabella ultimately wanted the best for her children. The more power she gained, the more risks she took and once the system crashed so did her facade.

An absolute queen.

#the promised neverland #mother isabella #tpn isabella #tpn manga #tpn anime #chidoroki used chatter

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vannahfanfics · 5 years ago

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Happy Birthday, Izuku!

Category: Friendship Fluff, Family Fluff

Fandom: My Hero Academia

Characters: Class 1-A, Inko Midoriya, Toshinori Yagi, Shouta Aizawa

Hey, everybody! This story is a submission for two of @bnhabookclub’s events; I’m incorporating the prompt “Gifts” from the Bingo Event as well as the prompt “Happy Birthday!” from the Celebrating Deku event! I hope you enjoy it! Let’s give a little love to our favorite adorkable hero-in-training! :)

“Wake up! Wake up! For I am here!”

Izuku groaned loudly and rolled on his side to blindly fumble for the button on his alarm clock. He uselessly slapped the nightstand a few times, making the various items situated atop it jump and jostle. Still, after a few unsuccessful tries, he managed to bang the bright red button that turned off the alarm. The slightly grainy, robotic voice of All Might faded into silence, and Izuku laid in his bed for a few minutes, blissfully trapped in the twilight of half-sleep. However, a dull ache soon began to throb in his left arm. The pain stubbornly drove him into consciousness, and so with a sigh, he opened his emerald eyes to stare uninterestedly up at his white bedroom ceiling.

He reached around with his right hand to ghost his fingertips over the blotchy red scar tissue that marred his upper left arm. It had been a month since the incident at the Forest Training Camp, but the injuries he had sustained in the fight with Muscular were still very much healing. In another two or three weeks, the U.A. students would be returning to the campus- living in dormitories thanks to the relentless villain attacks- and Izuku wondered how his mangled arm would fare. It doesn’t matter, he thought obstinately. I’ll make myself stronger and stronger, because I have to!

“Izukuuuu!” The green-haired boy sat up in bed as his mother’s voice floated down the hallway. “Are you awake, dear?”

“Yeah! I’m just getting up,” he responded in an equally loud call. When he threw the covers off himself and swung around to get off the bed, he caught a glimpse of the date glowing in bright red numbers in the black screen of his alarm clock. June 15th… Oh! It’s my sixteenth birthday! He remembered with a gleeful smile. Now that he had sufficient motivation to get up, Izuku jumped out of bed to wrestle himself into some slippers. When he opened his door, his mother was waiting in the hallway, twiddling her fingers.

“Oh! Good morning, sweetie. Happy birthday!” she smiled broadly and shuffled forward to envelop him in a hug. Izuku hummed contentedly and wrapped his arms around her middle to embrace her with equal enthusiasm. “Ah! My little boy is sixteen… Oh, dear, I’m getting old,” Inko moaned forlornly and began to sniffle. Izuku laughed and pulled back to blot at his mother’s tears with the hem of his tee-shirt.

“Aw, Mom, it’s okay,” he chuckled.

“Yes, yes,” she tutted and wiped harshly at her face. “Today is your day! I’ve already prepared breakfast for you!” Izuku exclaimed in delight and scuttled into the kitchen, with his mother tottering behind him and laughing good-naturedly. He was greeted with a scrumptious array of fried eggs over buttered toast, seared beef, and white rice. He scarfed it down and chased it with sweet black tea his mother had also prepared, bleating compliments and gratuitous remarks to his mother all the while. Afterward, he helped her clean all the dishes, although she kept dithering around him and insisting that he shouldn’t have to do any chores today.

“Mom, just because I’m sixteen today doesn’t mean I have to lump all the work on you!” he snickered while putting the pots and pans in the cabinets. He blinked when the chime of the doorbell rang through the small apartment. “Oh? Who could that be?” he wondered aloud, abandoning the dish he had been drying to trot up to the front door. He opened it and nearly jumped out of his skin when a big, broad, muscular body shoved its way into the room, which now rang with bawdy laughter.

“I am here, young Midoriya, to wish you a happy birthday!” All Might crowed, his button-up shirt straining to keep from snapping into threads as he flexed his massive biceps. Izuku let out a sound somewhere between a scream and a warble at his mentor’s sudden appearance.

“Ah! All Might!” he cried. His mother called greeting from the other room, peering around the wall with a shy wave, to which the number-one pro hero laughed audaciously and responded accordingly. Izuku’s cheeks turned pink, and he hurriedly bundled the large man into a room where his mother couldn’t see him. “All Might, are you sure this is wise? How long can you hold your muscle form?”

“Not long,” he admitted with a slight frown. “However, that doesn’t matter, for I am here to take you on a super-duper special outing, my young Midoriya!” he crowed with another loud laugh. He then peeked his head around the crown molding to smile dazzlingly at Inko, who squeaked and straightened up. “Of course, if your dear mother doesn’t mind me stealing you for a few hours. I wouldn’t want to ruin a mother’s wonderful day with her son!”

“Oh no! Please, go ahead! I have to go shopping for dinner anyway,” Inko laughed amiably with a dismissive wave of her hand. Izuku yelped as All Might then grabbed him to bundle him back to his bedroom.

“Excellent, excellent! Now then, young Midoriya, get dressed!” As the door slammed shut behind him, Izuku exhaled deeply and fiddled with his fingers.

I never would’ve dreamed that I would be spending my birthday with All Might, he thought. The notion brought a giddy smile to his lips, and he hastily began rifling through his closet to find something suitable to wear.

~~~~~~~~~~

As soon as the apartment was out of eyeshot, All Might released his muscle form. He collapsed against the brick wall of a nearby building with an exaggerated sigh, wiping blood from his lips with a pink-stained rag. Izuku fluttered nervously around him, arms flapping.

“All Might, are you sure about this?! You’re not in the greatest of health! I mean, you really ought to be in bed being tended to by a doctor or two or three, not spending the day with me! I’m certainly not worth it; it’s only my sixteenth birthday, after all! I can’t smoke or drink or vote or drive- wait, no, I can technically drive now. I wonder when Mom will take me to get my driver’s license. Wait, are you taking me to get my driver’s license? I’m not nearly prepared! I need to practice a little first!” He continued to babble, nervously fiddling his fingers, until Toshinori slapped both his hands down onto his slim shoulders. He clamped his mouth shut with a squeak.

“Young Midoriya. Focus.”

“Yes, sir.”

“I’m taking you out today because I wanted to be here for you on your birthday.”

“Thank you, sir!” Izuku smiled gratefully at him. The fact that his beloved teacher and mentor desired to spend such quality time with him outside of training made a warm feeling bubble up inside his body. “If I may ask, what are we doing today?” he inquired as the thin man began a leisurely pace down the sidewalk. Toshinori chuckled amiably and patted him on the head.

“Patience, young Midoriya. Some of life’s great joys come by surprise!” Izuku gasped in awe and mentally committed the sage advice to memory to hopefully quote later. Together, they plodded merrily through the subdivision to soon transition into the business district. It was a lovely day for a jaunt to town; it was pleasurably warm with just a faint breeze to keep things cool, and the sun shone in a cloudless blue sky. Izuku found himself in high spirits, considering the lovely weather and the fact he was strolling around with his cherished teacher. I wonder what he has planned! Oh, I’m so excited! He thought, unable to contain and eager wiggle. Toshinori chuckled warmly beside him.

After about a twenty-minute walk, they arrived at a nice restaurant in the center of town. An iron-wrought fence enclosed a garden eating area with elegant stone paths and a cloth veranda to protect restaurant-goers from the elements. Izuku recognized it as one of the ritziest venues in town- and therefore the most expensive. When Toshinori stopped walking to smile at him expectantly, Izuku’s jaw nearly struck the floor.

“What? N-n-n-n-no way, All Might! I can’t-! You can’t-!” The taller man snorted with laughter and unceremoniously bundled him inside despite his sputtering protests. Izuku’s back straightened like a rod when the usher regarded him with a critical look. “Why are you doing this?” he hissed under his breath as Toshinori whispered something to the attendant, who nodded curtly and whirled around. Izuku and his mentor followed the tuxedoed man to the back of the restaurant, where they were escorted into a spacious room with a long table set for over twenty people. Izuku’s emerald eyes were as wide as green moons as he beheld the setup. “Um… All Might, are we expecting others…?”

“Dekuuuuuu!”

“OHMYGOSH!” Izuku screamed as someone abruptly hugged him from behind. He glanced over his shoulder to see Ochako’s round smiling face blinking up at him.

“Happy birthday!” she giggled happily. Pink-faced and thoroughly flustered, Izuku could only release a high-pitched whine as she scuttled around him. In her moment of distraction, All Might had assumed his muscular form. “Hello, All Might, sir!” she chirped jovially as she bounced over to him. The hero chortled good-naturedly and patted her shoulder.

“Hello there, Uraraka! Good to have you.”

“Umm, All Might? What is happening?” Izuku whispered as Ochako procured a small wrapped package and set it at the center of the table.

“Isn’t it obvious?” Ochako laughed and hopped into a seat. “We’re here to celebrate your birthday, Deku!” Izuku’s face turned the color of a tomato. When he looked wide-eyed at his mentor, he just grinned broadly and shrugged. At this point, Tenya game bundling in.

“Midoriya! Happy birthday!” he cried with exaggerated waves of his arms. Izuku squirmed uncomfortably as the tall boy plopped a large wrapped present atop the table right beside Ochako’s. He took the seat beside the bubbly girl, and they devolved into avid conversation; Izuku took the opportunity to scamper over to the muscle-bound hero.

“All Might! Did you arrange this?” he whispered fervently.

“Why, of course, young Midoriya! I imagined that you wanted to spend your birthday with your friends,” the pro hero answered. A bright haze of pink blazed over his cheeks, and that bubbly happy feeling rose inside of him again.

“My friends…” he echoed in wonder. Izuku jumped when someone kicked the door open.

“Oi! Are we late?!”

“Ka-Kacchan!” Izuku stammered in shock as the explosive blond boy charged in through the door. Frankly, the green-haired boy was shocked to see Katsuki attending his birthday celebration. When Eijirou poked his head over his shoulder to grin toothily at him, Izuku reasoned that perhaps Katsuki had been persuaded to attend. Izuku jumped and squeaked when Katsuki tromped over to slam a crudely-wrapped package into his chest.

“Here, loser, for your stupid birthday. Now, where’s the food?! I’m starvin’!” Katsuki complained loudly and stomped over to Ochako. “Oi, Cheeks, you got any food?” Eijirou chuckled and set a present down by the others before also wishing Izuku a happy birthday. Izuku was basically short-circuiting, because his poor brain couldn’t handle all the information being thrown at him at once.

“Looks like I’m right on time,” droned a gravelly voice from the door. Izuku’s jaw flopped open when his teacher, Mr. Aizawa, sauntered in bearing a small package for a gift card. He casually tossed it beside the others before striding over, hands stuffed in his jumpsuit pants pockets. Izuku was amazed that the underground hero would have the gall to stroll into such an upscale place wearing such casual clothing. Props to Mr. Aizawa… “Happy birthday, Midoriya.”

“Th-thank you, sir! I’m very grateful to everybody for planning this,” Izuku smiled sheepishly. Aizawa gave him a charming smile before walking over to keep Katsuki from clambering on the table to punch Tenya in the jaw over some silliness or another.

It wasn’t long before the rest of Izuku’s classmates showed up, and they were soon embroiled in a fun and raucous lunch. Izuku tried not to think about the terrible mess that the staff would have to clean up, nor the enormity of the bill that All Might would have to foot as a result of their avid celebration. Instead, he tore into the filet mignon and grilled asparagus before him. He purred happily at the excellent flavors bursting over his tongue, squeezing his eyes shut as he savored the spices and marinade. After enjoying the delicious food, they piled up all the plates, glassware, and silverware on the edge of the table so that Izuku could have ample room to open his gifts.

“You guys didn’t have to do all this,” Izuku laughed sheepishly as Mina shoved the sizeable pile of gifts over to him.

“Oh, hush! Now open mine first!” the pink girl insisted while shoving a glittery pink bag over to him. The sparkly confetti rained from the tissue paper as he tugged it free from the confines of the plastic container. His face turned nearly as pink as the solid plastic when he peered down into the bottom. “I’m funny, right? Right?” Mina cackled as Izuku pulled a container of calcium gummies and a bottle of milk from the bag. “’Cuz you break your bones all the time!” she howled as she doubled over and held her belly.

“Very funny, Mina,” he muttered blankly, not sure whether to be offended or amused.

“Aha, I know, I’m a genius,” she sighed as her laughs faded down into giggles. “Here’s your real gift, though,” she said and held out something to him. Izuku flushed when he realized that it was a pair of All Might-patterned socks. He spluttered a simple thanks and tried to suppress the urge to rip off his shoes and slide the socks onto his feet. He elected just to push the item aside and go on to the next gift. Katsuki eyed him intensely as he grabbed the roughly-wrapped package and tore away the gift paper. His eyes nearly bugged out of his head when he beheld the limited-edition All Might hoodie, holding it with trembling hands.

“Ka-Kacchan,” he breathed in amazement and looked at his childhood friend and rival. Katsuki snorted derisively and looked down at his feet.

“Don’t gimme that dumb stare, loser,” the blond huffed. “What, did you think I was gonna turn up empty-handed? I’m not an asshole.”

“Uh… That’s exactly what you are, Bakugo,” Denki snickered. He then yelped when Katsuki boxed him over the head.

“Mind your own damn business, Pikachu! Gah!” Katsuki growled and shot Izuku an intimidating stare. “Anyway, happy birthday, or whatever…”

“Aw. Bakugo, you can be sweet when you put your mind to it!” Ochako praised. A pink tinge came to Katsuki’s cheeks, and he muttered something under his breath. Izuku looked down to admire the soft fabric of the exclusive hoodie and smiled.

“Thanks, Kacchan…”

~~~~~~~~~~

Izuku’s friends were very generous. He scored a multitude of fun gifts, including a quaint mug and some tea bags from Momo, a new videogame from Denki, and some cool new laces for his signature red tennis shoes from Ochako. Mineta even managed to give him something halfway-decent, a gift card to the local bookstore. However, the small purple-haired boy naturally began salivating and talking about the very indecent things that Izuku could spend it on. By some feat of acrobat-like ingenuity, Tsuyu flipped him head-first into the busboy’s dirty dishwater.

The sky was dyed red, and the sun was sinking towards the horizon by the time Izuku bid his friends and Mr. Aizawa adieu and set out for home. As soon as the last student vanished from sight, All Might released his muscle form and collapsed against the alleyway wall.

“Ugh, that was rough. I didn’t know if I was going to make it,” Toshinori lamented as he wiped the blood dripping from his mouth with the back of his hand. Izuku smiled gratefully at him.

“I really appreciate you for putting this on for me, All Might… I can honestly say this has been one of my best birthdays ever!” Izuku chirped. Toshinori chuckled lightheartedly and stepped forward to pat him a few times on the back. All the gifts bundled in Izuku’s arms bounced slightly with the jostling of his body.

“Of course. I’m glad I could be there for you. Oh! I almost forgot,” he said and began fishing in his back pocket. As much as he could with his arms laden with presents, Izuku waved a hand in refusal.

“What? No, All Might, I can’t accept anything more than you’ve already given me!” he protested. “You spent so much on that dinner, and all this effort into inviting everyone over and straining yourself to keep up that form- I can’t! I refuse! No!” All Might ignored him and procured a Polaroid camera. Izuku blinked, very confused, and the tall, lanky man held the camera above their heads and jerked him by the arm to pull him into the camera frame.

“Cheese, young Midoriya!” he grinned before the bright white of the camera flash nearly blinded the shocked boy. He just managed to squeeze in an uneven, shaky smile before Toshinori’s thumb tapped the button to take the picture. Immediately, the camera spat out a black photo rimmed in white. Toshinori plucked it from the printer and shook it vigorously until the color finally developed. The blond man inspected the photograph before smiling in satisfaction, and then pulled out a marker. He plucked the cap off with his teeth and scrawled something across the bottom of the photo. Izuku blinked as Toshinori plopped the camera down atop the mountain of gifts, then showed him the picture.

Happy birthday, young Midoriya. Smiling, his teacher tucked the photo between some boxes. Their happy faces grinned at Izuku, and he felt his eyes watering. It was such a simple gesture, yet it meant more to him than the most expensive gift in the world.

“Thank you, All Might. This is the best birthday ever,” he repeated in a soft voice, and the tears dripped down his cheeks. All Might chortled and ruffled his green hair.

“Always with the waterworks. That’s all right. Sensitive people make great heroes because they’re very empathetic,” he mused. Izuku sniffed and nodded, but he didn’t want to cry all day, so he struggled to wipe his face with his upper arms. Somehow, he didn’t knock any of his gifts out of his hands. “All right then!” All Might announced and clapped his hands together. “Your mother is probably hard at work on dinner for you. Let’s not keep her waiting, eh, young Midoriya?”

“All Might! Please stay for dinner.”

“Oh, no, I couldn’t-“

“Please! I insist! Plus, knowing Mom, she probably already has the table set for three.” All Might grimaced and rubbed his chin thoughtfully.

“Well… If she’s already burdened herself…” Izuku didn’t let him finish the thought and hurriedly bustled out of the alleyway. “Ah! Wait, young Midoriya!”

Izuku ignored him, trotting down the sidewalk towards his home. The fruits of his friendship bobbled in his arms, and a big bright smile graced his face. Maybe he couldn’t do much with turning sixteen, but if the day led to him spending time with the most important people in his life, he would argue that’s a pretty momentous occasion indeed.

Enjoy this oneshot? Feel free to peruse my Table of Contents!

Tag List: @deliathedork @simplybakugou @sadistiks @wesparklebitch

#bnhabookclub #bnhabookclub event #bnhabookclub bingo event #bnhabookclub deku event #izuku midoriya #midoriya izuku #my hero academia #mha #bnha #boku no hero academia #my hero #mha fanfic #mha fanfiction #bnha fanfic #bnha fanfiction

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liskantope · 5 years ago

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Some brief (and sometimes not-so-brief) reactions to major Disney films 1937-1967

Around a month ago I made a temporary switch from Netflix to Disney+ with the goal of watching all major Disney movies in order, roughly paced so that one year of Disney film-making equals one day of real life. I should clarify here that by “major Disney movies” I mean mostly just all the animated ones plus a few hybrid live-action/animated ones, and a few of the most popular live-action ones (at least the ones I remember having a song considered good enough to feature on one of the Disney Sing-Along videos, a staple of my video-watching as a kid growing up in the 90′s). I would have been interested to see Song of the South, which I’ve never seen in its entirety, but it’s not included on Disney+ for fairly obvious reasons. As I get further into modern Disney, I’ll probably skip over most of the sequels and other features I strongly expect not to like (with the exception of Belle’s Magical World, which is said to be so legendarily bad that I just have to see what the fuss is about).

This time range of three decades happens to include more or less exactly those Disney productions that Walt Disney himself took a major role in (he died shortly before the final version of Jungle Book was finished). I’d like to do this again in another month, when I will have gotten up through the late 90′s, but honestly this post wound up way longer than I was imagining and took several more hours than I expected (or could really afford), so I’m not promising myself or anyone else that.

Looking at Wikipedia’s list of Disney productions, I’m a little taken aback at what a low percentage of these are animated features, which to me form the backbone of that company’s legacy; visually scanning the list makes the line of animated films look shorter than I had always imagined, but really what this is showing is that Disney produced far more live-action movies than I ever knew about, including (and perhaps especially!) in its early days. Right now I’m continuing on through the 70′s films, but this set of mini-reviews represents the first month of watching and three decades of Disney magic.

Snow White and the Seven Dwarfs, 1937

This is the full-length feature that began them all and which had the burden of defying contemporary skepticism that a full-length animated feature could be taken seriously at all. We are already far beyond the earliest days of animation and have progressed lightyears beyond the quality of “Steamboat Willie”; throughout the film I marveled at the sophistication of the animation with a newfound appreciation of how groundbreaking a lot of the sequences must have been.

I know I watched this at least a couple of times in childhood and I think once when I was a bit older, but even that was long ago.

Snow White is based on one of the simpler classic fairy tales, and the writers had to come up with ways to flesh out this very short story enough to occupy well over an hour. This was done not by exploring the character of Snow White or the Queen or even filling in extra plot details (the fate of the hunter is never addressed) but by spending a lot of time on the dwarfs. The detail spent on individuating them took a lot of work from the animators, but I think their efforts paid off. I can’t say the same about the attention paid to Snow White or the Queen (pretty much the only remaining characters). Snow White has an almost entirely flat personality, with no sense of curiosity or concern whatsoever about the Queen’s designs to have her killed, just having literally only one goal in mind: to marry this Prince who she’d only seen for about two minutes and run away from out of shyness. (This is of course a trend we’ll see with Disney princesses for a long time.) The Queen similarly only has the goal of being “the fairest in the land”. Something about the particular harshness of her voice strikes me as The Quintessential 1930′s Female Villain Voice (“I’ll crush their bones!”), whatever that means -- maybe I got my idea of what this should be from the movie Snow White in the first place.

I still think “Heigh Ho” (which I’ve known well since early childhood) is an excellent song in its utter simplicity, especially when complimented with the “Dig Dig Dig” song (which I did not remember at all until a few years ago when a Tumblr mutual posted the excerpt containing it!). I’m not enormously fond of “One Day My Prince Will Come”, although I did enjoy playing it on the violin at a couple of gigs with one of my musician friends back during grad school -- I was convinced then, and up until watching Snow White just now, that it belonged to Cinderella.

Pinocchio, 1940

This was a favorite movie of mine in earlier childhood; we owned the VHS and I watched it a lot. As a child, I had no sense of one Disney movie coming from a much earlier time than another one; it was only much more recently in life that I understood that Pinocchio really comes from all the way back eight decades ago. Pinocchio taught me the meaning of “conscience” (both in the dictionary sense and in a deeper sense), and it shaped my notion of what fairies may look like -- for instance, my mental picture of the Tooth Fairy, back when I believed in her, was inspired by the Blue Fairy in Pinocchio.

It’s amazing just how much the quality of Disney animated features improved from the first one to this one, the second. It helps that both the story and the characters are far more complex than those of Snow White. The plot from the original book (which I’ve read in Italian and English) was more complex still, of course. There is one gaping hole where it’s never explained how Gepetto somehow found himself in the belly of a whale (I don’t remember whether or how this is explained in the book), but I’ll forgive that.

It’s interesting to see the 1940′s caricature of “bad (early teenage?) boy” shown in the animation and voice of Lampwick. Phantom Strider talks about the turning-into-donkeys scene as a notoriously dark scene for adults who didn’t find it as terrifying when they were children -- count me in as one of those adults! It’s especially terrifying to see the whole mass of boys-turned-donkeys being treated as slaves in the hellhole known as Pleasure Island and realizing that this is never going to be resolved in the movie -- it’s rather unusual in Disney stories for some great evil to be left unresolved with no recompense even for the chief villain. In fact, Pinocchio is pretty much the only Disney story I can think of where the worst villain doesn’t meet some kind of dire fate. Really, the range of Pinocchio’s view is much narrower: it’s just the coming-of-age story of one puppet in his quest for Real Boyhood. (And yes, I still giggle at how intricutely Jordan Peterson analyzes particular scenes from the movie to support his beliefs about neo-Marxism or whatever.)

Disney+ heads many of the descriptions of the older movies with “This program is presented as originally created. It may contain outdated cultural depictions.” I’m a little surprised they don’t do this with Pinocchio, given what appears to me a rather derogatory depiction of Gypsies.

“When You Wish Upon a Star” has become a timeless hit, for good reason. And I still find “Hi Diddle Dee Dee” extremely catchy.

Fantasia, 1940

I saw this one multiple times growing up (for earlier viewings, I was not allowed to see the final number “Night on Bald Mountain”). My mom, for her part, saw this in theaters at the age of around 4 (even though it originally came out long before she was born) and thought for years afterwards that there was no such film in real life and her memory of seeing it had been just a pleasant dream.

I have nothing much more to say about this one except that, representing a very different approach from most animated films, Disney or otherwise, 1940′s or otherwise, it succeeded exquisitely. The “Sorcerer’s Apprentice” number was particularly perfection; it was as though the composer originally had every motion of the story in mind when writing the music. At the same time, having the main character appear in the form of Mickey Mouse in some way seems to cheapen the effect.

The Reluctant Dragon, 1941

I watched this for the first time, not having known it existed. There isn’t really much to say. All that stuck in my mind was one of the shorts, “Baby Weem” (amusing in a disturbing way), and the longer segment which gives the movie its title (also amusing, in a different kind of disturbing way). It was especially interesting to see a 1940′s cartoon portrayal of a very effeminate man, or should I say, male dragon.

Dumbo, 1941

I saw this maybe two or three times growing up, and not in very early childhood. It was never one of my favorites. Later on, I learned that it was done very low-budget to make up for major financial losses in the Disney franchise. This definitely shows in the animation. However, if there’s one thing I can say in praise of Dumbo, it’s that it’s incredibly daring in its simplicity, not only to have such elegantly simple animation but in having a mute title character (instead the main “talker” in the film is the title character’s best friend, who had much more of a New York accent than I’d remembered).

In some ways I find this film incredibly cold and dark by Disney standards, for reasons I can’t entirely explain, and I remember feeling this way even on earlier watchings when I was much younger. The stark cruelty of the humans running the circus, as well as the elephants other than Dumbo and his mother, just really gets to me. (I vividly mis-remembered one of the lines I found most memorable in childhood as “From now on, Dumbo is no longer one of us.” The actual line is, “From now on, [Dumbo] is no longer an elephant”, which in a way, is even more chilling.) In this regard, there was no need to make a modern, woker remake of Dumbo containing an explicit anti-animal-exploitation message -- the 1941 version conveys this message loud and clear. Now that I’m writing this, I suppose it could be argued that this is another instance of what I described under “Pinocchio” of leaving a major evil unresolved in a Disney film. And apart from that, while the ending for Dumbo is meant to be a very happy one, as an adult I find it incredibly naive: Dumbo is now super internationally famous for his extraordinary gift and is entering the life of a child celebrity, and it’s just going to be smooth sailing from now on? I hate to say it, Dumbo, but your troubles are only just beginning. (I was glad to see Dumbo reunited with his mother in the last scene, however, which I hadn’t remembered happening at all.)

“Look Out For Mr. Stork” is a skillfully-written song I’d completely forgotten about for two decades or so but remember knowing well when I was young. I still think “When I See an Elephant Fly” is a fantastic song, especially with all its reprises at the end -- I’d had some bits of it confused in my memory but had kept the main chorus with me over all the years. Now it’s widely decried as racist, or at least the characters who sing it are decried as racist caricatures. For whatever my opinion is worth, I’m inclined to disagree with this, in particular on the grounds that the crows seem to be the most intelligent, witty, and self-possessed characters in the movie. I’m also pretty sure I heard critical things about it over the years which are false. For one thing, not all of the crows are played by white actors -- only the lead crow is, while the rest of the voices are members of a black musical group called the Hall Johnson Choir. Also, I’m not clear that the lead crow was actually named Jim Crow by the time the movie came out (no name is given in the movie itself). Now an earlier, much more forgettable song featuring black men singing about how they like to work all day and they throw their pay away... yeah that seems awfully racist.

Bambi, 1942

I have surprisingly little to say about this one -- it’s just very distinct from other Disney films of the time, in its story’s lack of magical elements, its characters all being animals and animated in to realistically model animals’ movements, its lack of musical numbers, and its plot reaching the same level of simplicity as that of Snow White. Not to mention actually having a benevolent character die, which I don’t think had been done up to that point. I remember watching this a couple of times as a kid; I was never terribly eager to watch it again and I feel the same way now, despite having majestic beauty that I can really appreciate.

The Adventures of Ichabod and Mr. Toad, 1949

This is the first of Disney’s animated features that I never had seen before. What a strange movie, or should I say, two smaller, unrelated movies rolled into one. I liked Mr. Toad’s half better than Ichabod’s half, or at least I found it more entertaining. I was brought up with the book The Wind in the Willows and recall seeing a non-Disney animated rendition of it (which was better and somewhat more thorough than this half-movie-length rendition). I was kind of excited when the “The Merrily Song” started because it unlocked a song from my early-childhood memory that I’d forgotten about for more than twenty years but knew from one of the Disney Sing-Along videos. I still think it’s a not half bad song, especially with the harmony.

The Ichabod story was not at all what I expected, not being familiar with the original book version (I had always assumed that Ichabod must be the name of a villain). I found it completely boring until the final horror sequence. As a child I would have found the courtship part even more boring (at least now I can muse on how man-woman courtship dynamics were shown in the late 40′s), and I would have found the horror part at the end very scary (in fact, maybe this is the reason my parents never showed the movie to me). It is a little shocking in being the only Disney story I’ve seen so far with a decidedly unhappy ending.

Cinderella, 1950

This one I only ever saw once or twice as a child. This is not counting a very vivid memory I have from around age 6 or 7 when I was watching a part of it over at another family’s house and their child, who was almost my age and nonverbal autistic, rewound and repeated the same 2-minute sequence involving the mice for probably about an hour (I was impressed because I at the time didn’t know how to work the controls of a video player).

I suppose this could be considered the second in the main trifecta of the most conservative fairy tale princess stories that Disney did in the earlier part of its history. I think one can argue that Cinderella has the strongest and most fleshed-out character out of those three princesses. I like the spirited internal strength she reveals in her very first scene. That said, like the other earlier princesses, she seems to have one singular goal in life, and that is to find her true love, not, say, to escape her abusive stepmother and stepsisters.

My reaction to this movie is overall positive. The mice were fun (I also like how their voices seemed a lot more like how mice “should” talk than in most other Disney cartoons); the dynamic between Cinderella and her evil relatives, and the dynamic between the stepmother and stepsisters themselves, was shown in a rounded way; and the fairy godmother is a great character despite having only one scene. The character of the king is pretty odd (very selfish yet his main dream is of getting to play with his future grandchildren) while not especially memorable or well fleshed out. There are certainly some great classic songs in this one -- not the most stellar that Disney has ever produced, but solid.

Alice in Wonderland, 1951

I was curious about what I would think of this one, since we owned the video of this at my home growing up and I watched it many times during childhood but as I got older I fell in love with the original Lewis Carroll books which, together, I often consider my favorite work of written fiction ever. I had not seen the Disney film Alice in Wonderland for around two decades, although I made the mistake of catching parts of more modern, live-action adaptations of the story more recently. I wondered what I would make of the old animated Disney adaptation after getting to know the books so well.

There is simply no way that any movie can recreate the true flavor of the books, but Disney’s Alice in Wonderland does a fine job of creating the general nonsensical, sometimes bewildering dream atmosphere, and, perhaps more importantly, capturing the essence of Alice’s personality. I give a lot of credit to Katherine Beaumont for this -- she has the major girl’s role in the next movie on this list as well, but she especially shines as Alice. Two other very distinctive voices, Ed Wynn as the Mad Hatter and Sterling Holloway as the Cheshire Cat, also add a lot to the cast of characters.

While mixing around some of the scenes of the original book Alice in Wonderland, with some scenes of Alice Through the Looking Glass inserted, the progression of the plot is a long, dreamlike sequence of strange situations with only a few common threads, true to the original first book (Looking Glass had a little, but only a little, more structure). In the movie, everything breaks down at the end with many of the previous scenes and characters swirling together and Alice frantically trying to wake herself up. One could object that this is not how the dream ends in the book Alice in Wonderland, but there is a similar sort of breakdown at the end of the dream in Looking Glass and it feels very real somehow, as in my experience this is sometimes how vivid dreams disintegrate.

Oh, and did you know that Alice in Wonderland has a greater number of songs in it than any other Disney film? There are nearly 25 that made it into the film, even if lasting just for seconds, with a around 10 more written for the film that didn’t make it.

So, does the Disney film do a good job of conveying one of my favorite books of all time, within the confines of being a children’s animated film? I would say yes. For reasons I described above, and from the fact that it manages to avoid working in a moral lesson for Alice, or depicting Alice as a young adult, or manufacturing an affair between Alice and the Hatter (ugh), like some film adaptations, I would say that this classic Disney version is the best Alice in Wonderland adaptation that I know of.

Peter Pan, 1953

Although I never knew this one super well, this movie has a special place in my heart from the way the flying sequence enchanted me in early childhood. I have to differ with the YouTuber Phantom Strider when he dismisses the 40′s/50′s-style song “You Can Fly” as just not doing it for him, because that song along with the animation of the characters’ journey to Neverland had a major hand in shaping my early-childhood sense of magic and wonder and yearning. I distinctly remembering a time, around age 6, when I just didn’t see much point in watching other Disney movies, or movies at all, which didn’t have flying in them, because what could possibly top the sheer joy and freedom of feeling able to swim through the air? I’ve had hardly any exposure to Superman, and so the kind of bodily flight I imagined in fantasy or performed in dreams was almost entirely shaped by Peter Pan. (At the same time, the crocodile in Peter Pan influenced my nightmares at the same age.)

I only ever saw this one a few times, but I distinctly remember the most recent of them being when I was a teenager, perhaps even an older teenager, and I remember thinking at the time that it was a pretty darn solid Disney movie. I still think the same now, while granting that some aspects of the movie seem a little antiquated and certain sequences with the Native Americans are quite cringe-worthy from the point of view of modern sensibilities. Only a couple years ago, when visiting my parents’ house, I finally took down the book Peter Pan from the shelf and decided to give it a read and found it a beautiful although slightly strange and offbeat story. In particular, I was shocked at how nasty and vengeful Tinker Bell was (particularly in trying to get Wendy killed), when I had remembered her as sweet and naive in the movie. It turns out I was wrong about the movie -- Tinker Bell tries to get Wendy killed there also! -- but somehow the tone is moderated well enough that in this version I never really feel horrified at her behavior, nor do I feel disturbed at the situation of the Lost Boys in the way the book made me view them. The song of the lone pirate who sings about how a pirate’s life is short, right before Captain Hook fires his gun and we hear a dropping sound followed by a splash, is one of the more masterful executions of dark humor that I’ve seen in Disney animation for children.

While most of the songs in Peter Pan, considered as songs on their own, are pretty good, I think the best one is the one whose lyrics didn’t make it into the film: “Never Smile at a Crocodile”.

Lady and the Tramp, 1955

Despite being more obscure than most of the old Disney animated classics, I used to know this one quite well since we had it in our home. I’ve always considered The Great Mouse Detective as the most underrated Disney film of all time, but I think it has serious competition here. Lady and the Tramp is an absolute gem. While not quite as Disney-fantasy-ish with its lack of magic and other fairy tale elements, in my opinion Lady and the Tramp is, in most ways, superior to everything else on this list save Mary Poppins. Beautiful animation which shows Lady and most of the other animals moving realistically in a way we haven’t seen since Bambi*. Everything visually and conceptually framed from the dogs’ points of view. Great voice acting. Consistently solid dialog without a single line too much or missing. A story evoking the dynamic between humans and pets, class inequality, and deep questions about the place of each of us in society and choices between a stable existence among loved ones and striking out to seize life by the horns. Our first female lead who stands on her own two four feet and whose sole goal isn’t to get kissed by her true love (one could argue that Alice was the earlier exception, but she is a little girl whereas Lady is actually a romantic female lead). When Lady is approached by her two best (male) friends in a very awkward (perhaps especially from a modern sensibility) but sweet scene where they offer to be her partner, Lady makes it clear that she doesn’t want or need a husband just for the sake of having a husband to make babies with -- her standing up for her own wants in this way doesn’t in the least turn into a Moral Stand that dominates the movie. Excellent music all the way through.

Oh, and this movie was my very first introduction, in early childhood, to the Italian language (”Bella Notte”), which some 25 years later sort became my second language of sorts.

Criticisms? Well, the baby was animated rather stiffly and unnaturally, but that was like half a minute of the movie at most. And there’s the whole segment with the Siamese cats, which produced a great song purely music-wise (fun fact: Peggy Lee provided the voices of the cats) but nowadays comes across as rather racist. I’m not entirely sure how I feel about it, but I will say that I’m sure in the minds of the creators this was no different than having animals of all other nationalities (Scottish, Russian, Mexican) appearing in the film with voices reflecting the respective accents.

*There may be a few exceptions, like Peggy, who seems to be modeled after the musician Peggy Lee and moves like a sexy human woman. The way that human sex appeal is conveyed through the animals’ movements in this movie is quite impressive: my mom confesses to having somewhat of a crush on Tramp growing up and not quite understanding how that could be possible when, well, he’s a dog.

20,000 Leagues Under the Sea, 1954, and Old Yeller, 1957

I don’t want to say about these movies, as they don’t really fall under the category of animated classics. I just want to say that, while I saw each of them once growing up, on seeing them again I recognize each as a great movie in its own adult point of view way that is not necessarily very Disney-ish.

Sleeping Beauty, 1959

I think this was the movie I was watching at the time I decided it would be fun to write a bunch of mini-reviews for Tumblr, as my reactions were changing a lot as I was watching. I went into the movie very curious, because while I only remembered enough of the fairy tale story to know that it was another of the very simple ones, and I remembered the one song as a waltz by Tchaikovsky, and I knew I had seen the movie once (and probably only once) as a kid, I couldn’t remember anywhere near enough to possibly fill a full movie time. What was actually going to happen in this hour-and-a-quarter long film?

I wasn’t watching long before I came up with the description “spectacularly forgettable”, in part to justify why I’d managed to forget practically all of my one previous viewing. The story doesn’t have much substance and feels sillier than even the other fairy tale Disney plots, like even minor twinges of critical thought, even granting the magical rules of the universe, are liable to make the plot topple. There is some filler to flesh out the movie, but (unlike with Snow White’s dwarfs) none of it is as amusing as the creators seemed to think it was. The only characters with actual personality are rather boring -- the capers between the members of royalty and the jester are a bit on the annoying side in my opinion. Maleficent seems to have no motive whatsoever. She actually calls herself something like “the mistress of evil” later in the movie. This is pretty black-and-white even by Disney standards, where the bad guys usually at least want to think that they’re on the right side of things or justified in their aggressive behavior. Aurora (the title character) has the least personality of all the Disney princesses. Literally all I can say to describe her is that she has the Disney Princess Trifecta of characteristics: she has a good singing voice; she is friends with all the “nice” animals; and her only goal in life is to be reunited with her True Love who she met once for all of a few minutes. The reason why I couldn’t remember any songs other than the Tchaikovsky one is that there aren’t any.

The one thing I consciously really enjoyed while watching was the fact that the score throughout was Tchaikovsky; the idea of having one work of classical music as the entire score seems like a bold one for a Disney film. As I was digesting the movie afterwards (and watching the short documentaries supplied on Disney+ helped here!), I came to realize that this classical music backdrop was complimented in quite an interesting way by a fairly unique animation style. I had been disappointed by the animation early in my watching, disliking how a lot of the figures in the beginning castle scene (for instance, various people’s faces), looked very “flat” somehow. But I’ve come to see this as part of a style where everything looks almost like a series of cut-outs superimposed on each other, to incredibly beautiful effect in a lot of the outdoor scenes.

My conclusion? If you watch this the same way you watch most Disney animated movies -- focusing on plot, characterization, action, and meaning of the main story -- it will just be kind of forgettable at best. But if you watch it as more of a purely visual and musical piece of art without trying to make much “sense” out of it (so, more like I would watch a ballet), you may find it uniquely beautiful among Disney classics.

One Hundred and One Dalmations, 1961

Whew -- what a complete and utter contrast from its predecessor! I can hardly imagine a film that’s still distinctively Disney while being more different from Sleeping Beauty in every aspect.

I remember seeing One Hundred and One Dalmatians a handful of times in childhood (when I was around 5 and it had just come out on home video, my mom almost bought it for me but decided to go with Beauty and the Beast instead explaining that it had better music -- I grew up knowing the preview for Dalmatians that showed at the beginning of our Beauty and the Beast VHS than the dalmatians film itself). I remembered a number of scenes very distinctly, including a lot of the Horace and Jasper bickering and Cruella smashing one of their bottles of beer into the fire and knew Lucky’s line after getting stuck behind in the snow almost word for word, while I had entirely forgotten all of the country/farm characters and entire sequences involving them. I had forgotten, but soon remembered, the television scenes including the Kanine Krunchies jingle. (Some years later, I think as an older teenager, I read the original book with some interest.)

Although I wasn’t around in 1961, everything about this movie’s style strikes me as very contemporary -- the animation in particular seems like the current style for 60′s cartoons. Something about the dialog and humor feels that way as well, as though it closely represents a sort of 60′s young-people-in-London culture that I’ve never seen myself (I was struck for instance by Cruella being asked how she’s doing and cheerfully answering, “Miserable dahling as usual, perfectly wretched!”). It was a little strange and offputting to see television so prominently featured in Disney animation from so long ago, and to see such a decrepit bachelor pad (with the accompanying lifestyle and attitudes) as Horace and Jasper’s in a children’s movie. The crazy driving in snow at the end startled my adult sensibilities (as I now have some memorable experiences driving in snow) in a way that didn’t affect me as a child -- scenes like that just didn’t feel like Disney after having just watched all the previous films. All in all, these novel features made the whole movie a wild ride.

I’m bemused by the fact that, despite taking place in London (which I hadn’t remembered -- I thought it took place in America), the only accents which are fully British are those of the villains Cruella de Vil, Horace, and Jasper.

Main criticisms: I found all the stuff with Rolly being characterized by his body shape and only ever thinking about food to be in poor taste (although not surprising for the times). And while “Cruella de Vil” is a great jazz number, the movie has no other music to speak of -- my mom was quite right to choose Beauty and the Beast over it.

(I realized when finishing this review that this is the only one of all the movies in the list that I’d actually enjoy seeing again sometime soon. Not sure what to make of that. Something about it is more interesting than most of the others? Especially the human-centric parts?)

The Sword in the Stone, 1963

I never saw this movie until later childhood or maybe even early teenagerhood, when I quite liked it. On watching it again, I was overall pretty disappointed. This movie has some decent songs and some fun aspects to the story, but a lot of it is kind of weak and forgettable and it’s all just sloppily done.

The story has a clear moral message which is generally pro-education and about reaching one’s full potential, but in my eyes it comes out kind of muddled because the story shows Wart ending up as a legendary king only out of the arbitrary happenstance that that happens to be his divine destiny. Merlin’s motives seem kind of inconsistent as well, with him sometimes seeming to support Wart in his desire to become a squire, then flying off in a rage when Wart chooses squirehood over fulfilling a “greater” destiny, then joyfully returning after Wart pulls the sword from the stone and is now set on the fixed path to being king, even though this involved exactly zero change of attitude on Wart’s part. The message that actually comes across looks more like, “We have to just follow whatever fate has in store for us” than “We must strive to be the best we can be”. And, it arguably even comes across as subtly disrespectful to more mundane lifestyles and career paths.

The animation is not great by the high standard of full-length Disney features (I noted how I especially disliked how tears were shown). Wart’s voice seems to change a lot, sometimes broken and sometimes not yet broken. I found out after watching that this is because the character was played by three different actors, sometimes with more than one of those actors in the same scene! This was purportedly because the voice of the first actor cast for the role started to change, but then why does Wart sometimes sound like his voice has already changed anyway? Sloppiness all around.

Still, some parts of The Sword in the Stone are fun even if none of it is stellar, and it entertained me more when I was younger, so worth watching once, especially if you’re a kid, I guess?

Mary Poppins, 1964

I came into this one far more familiar with it than with most of the other Disney movies, including the ones I watched many times when I was young, so it feels a little strange to try to summarize a similar-length review of it. Mary Poppins is in my book without a doubt one of the top three Disney movies of all time, in some respects the very best, and certainly the masterpiece of Walt Disney himself, the culmination of literally decades of determination on his part to turn Pamela Travers’ children’s works into a movie. (I would feel sorrier for Travers about how strongly Disney twisted her arm to turn her books into a movie whose style was entirely antithetical to hers, if it weren’t for the fact that the Disney version of the story is just way better than her rather weak set of stories. I give Travers ample credit for having created an amazing character in the person of Mary Poppins, but for coming up with good stories, not so much.)

I didn’t see the full movie Mary Poppins until later childhood (although I knew many of the songs) and it quickly became a favorite of mine. I went a gap of a number of years without seeing it before I copied the soundtrack from someone when I was in college, which spurred me to go out and rent it (back when Blockbuster was a thing) and so I managed to reconnect with it at the age of 20. More recently I’ve become somewhat of a Mary Poppins enthusiast -- feeling pretty alone among my generation in this regard, with the possible exception of the theater subculture -- having seen probably most or all of the documentaries there are on its production and learned a ridiculous amount of trivia about it, not to mention knowing the whole soundtrack pretty much in my head.

Mary Poppins seems to be Disney’s longest children’s classic, at 2 hours and 19 minutes. All it lacks, really, is an animal-themed or classic fairy tale atmosphere and a proper villain. But what can you get out this movie? Stellar child acting (especially for that period) and excellent performances all around, apart from some awkward but endearing aspects of Dick Van Dyke’s acting (while his singing and physicality is superb). A complex and multi-layered story combining magic, comedy and a little tragedy, appreciable in equal measure from a child’s level and from an adult’s level. Revolutionary special effects which include the first extended hybrid live-action and animation sequence. Timeless words and phrases which have permanently entered the lexicon. One of my favorite extended musical sequence of all time in any movie (”Step In Time” takes up 8 minutes and change, and I’m glad they didn’t go with the “common sense” measure of cutting this “unnecessarily long” number). The Sherman brothers at their very best, in a musical soundtrack that easily scores in my top two out of all Disney movies (the other one being The Lion King). A beautiful message (among several big messages) about the little things being important (or at least, that’s a very crude summary), exquisitely encapsulated in the most beautiful song of the movie, “Feed the Birds” (this apparently became Walt Disney’s favorite song ever, and I’m pretty close to feeling the same way -- I’m determined that one day when I finally have a piano I’m going to learn to sing it along with the piano). I could go on and on here.

If I try really hard I can come up with the sole nitpick of feeling that maybe the parrot head on the umbrella’s handle shouldn’t only reveal itself as a talking parrot head in only one scene right at the very end -- this should have been shown at least once earlier. Even granting that, this film is still practically perfect in every way.

The Jungle Book, 1967

(Let’s get the Colonel Hath in the room out of the way first: “The Jungle Book” is a terrible title for a movie. You know, when you base a movie on a book you don’t have to give it the same title as the book...)

I saw The Jungle Book several times as a kid and, despite not considering it nearly as good as Mary Poppins, similarly reconnected with it in adulthood (particularly the soundtrack). Only several years ago I found myself thinking of getting hold of a double album of classic Disney songs that I thought I’d heard about but couldn’t seem to find online. It soon occurred to me that mostly what I really wanted was some of the songs of The Jungle Book, so I got that movie’s soundtrack instead. I soon learned for the first time that The Jungle Book’s songs were written by the Sherman Brothers*, precipitating an “Ah, that explains why I remember them as so good!” moment. (“I Wanna Be Like You” seems like the clear winner among the songs.) Of course hearing the soundtrack made me curious about the movie, which I did eventually get hold of several years ago; thus I had seen this film exactly once already since childhood.

It says a lot about the music and the overall technique behind this film that I still look back on it as one of the great classics, considering how weak the story is. In particular, I consider a story arc to be pretty flawed when characters that seem significant and/or memorable come in without really living up to their expected big role: the wolves who raised Mowgli play a crucial role in the beginning before more or less disappearing (and it doesn’t entirely make sense to me why Bagheera, rather than they, is guiding him to the man village), and King Louie (who is a well-formed character that I particularly enjoy watching) really ought to come back into the story later somehow (an alternate, and much more complex, ending had him make a reappearance). The villain Shere Khan is not especially well developed in terms of his character and motives, but I do enjoy his menacingly bass voice. Still, the voice acting, the action, the animation, and the overall setting are all very solid here.

I’ll end with some random observations about the song “That’s What Friends Are For”. I think the likeness of the vultures to the Beatles was mostly lost on me as a kid (along with the recognition that this movie came out in the Beatles’ heyday). More interestingly, even when I was old enough to understand how vultures eat, the fact that every single line of the song is a clever macabre double-entendre went completely over my head. I do think it was a very obvious mistake, by the Obvious Standards of Cinematography, to give Shere Khan the last line of the song and begin that line with the “camera” on him, rather than have his voice come in “off-camera” and Mowgli and the vultures looking thunderstruck before panning to him, but maybe I shouldn’t be pushing for overdone techniques here.

* An exception is “Bare Necessities”, which was written by Terry Gilkyson, the original songwriter Disney received submissions from, who wrote two hauntingly beautiful other numbers which were deemed not Disney-ish enough to be put in the film.

Some general stray observations:

These older Disney films love gags involving alcoholism and drunkenness, a bit of a questionable emphasis given that the audience is children. This trend continues into the 80′s at least, but I don’t think one sees it much in modern Disney movies.

Watching these animated films I often find myself flinching as characters’ heads smash into things or gigantic objects smash over their heads, feeling almost surprised when they come out of it pretty much fine. I guess this a staple element of cartoon action throughout the decades, but I can’t recall a more recent Disney animated film where we see this (guess I’ll soon find out!)

There is a certain style of vocal music, with unified rhythm and lyrics but complex harmony and a capella, which seems to have been immensely popular in the 40′s and 50′s and distinctively appears in practically every single one of the 40′s and 50′s films above (“You Can Fly” is a typical example). I recognize it also from some non-Disney-related old records my parents have that were passed down to them. I’m curious about whether this style has a name.

For years I thought the Sherman Brothers did only the soundtrack for Mary Poppins and Bedknobs and Broomsticks, only discovering they did The Jungle Book songs rather recently as I explained above. It turns out they were involved in most of the major Disney films around that period, including The Sword in the Stone and The Aristocats (although not its best-known number “Everybody Wants to Be a Cat”).

There is a particularly sad instrumental passage, played by the string section starting with a minor-key violin melody going downward and joined by lower string instruments, which I knew well from my Jungle Book soundtrack (partway through “Poor Bear”) but was surprised to hear in desperately sad moments of several of the other movies around that time (including One Hundred and One Dalmatians and Robin Hood, or at least a close variant of this passage with slightly different endings). I have no idea who wrote this or how it came to be reused so many times.

I knew the name Bruce Reitherman as the voice of Mowgli in The Jungle Book, but in watching all of these other features back to back I’ve noticed that there are some other Reithermans in the front credits of quite a few of them.

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ask-de-writer · 5 years ago

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KURIN’S FOLLY : World of Sea : Part 10 of 15

KURIN’S FOLLY

Part 10

De Writer (Glen Ten-Eyck)

23,699 words

writing begun 2006

Reproduction in any form, physical, electronic or digital is prohibited without the express consent of the author.

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Users of Tumblr.com are specifically granted the following rights. They may reblog the story provided that all author and copyright information remains intact. They may use the characters or original characters in my settings for fan fiction, fan art works, cosplay, or fan musical compositions.

All sorts of fan art, cosplay, music or fiction is actively encouraged.

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New to the story? Read from the beginning. Part 1 is here

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Juris snarled, “I wasn’t even talking to you, Lunatic!” Surveying the cabin he added, “What a collection! All the ship’s most useless rejects!”

Without even looking up from fitting a drawer to the bench frame, Kurin replied with only mild curiosity apparent in her voice, “I see, came to join us, then? I gather that you need some sort of work.”

Juris recoiled as if Kurin had slapped him. “I wouldn’t work with you if you had the last shop on Sea!”

Tongue in the corner of her mouth as she scraped a rough bit on one of the drawer’s slides, Kurin asked, “So, are you the one who needs the guard now? Did you decide whether you are on dry land or safely afloat?”

Juris stormed into the room yelling, “I am sane!” He started to make a grab at Kurin who dropped her scraper and drawer as she reached for her knife. The hissing screech of High Cloud as he launched himself across the small space caused Juris to cower back.

Kurin was whirled toward him, knife out. In a voice tight with rage and sorrow, she told him, “Go. Never enter my shop again! Talk to the divers about work! You’re going to need to know how to swim!” The big Sea Hawk on her shoulder, wings partly spread, made her seem even more menacing. Only the tears at the corners of her eyes spoiled the effect.

Everyone in the cabin was giving him such poisonous looks that Juris retreated as swiftly as if he had just found a deadly poisonous Ord in his net. Roper and Luin had said nothing during the exchange but now were swarming Kurin, overjoyed. “That’s telling him!” Roper cheered. “Talk to the divers! I love it! Wait until I tell Mom!”

Kurin was struggling to get disentangled so that she could pick up her drawer and scraper when a gentle voice interrupted, “Tell me what, darling?” Roper's mother, Mistress Daeron, the Mistress of the Longin’s rope walk stood in the doorway.

“Master Juris got his shop yanked out from under him. He came here to blame Kurin, when she’s tried everything on Sea to save his a . . .” He paused, realizing what he had been about to say to his mother. “Life. When he said that he was sane, Kurin told him to talk to the divers ‘cause he was going to have to know how to swim,” he finished lamely.

Mistress Daeron nodded tolerantly at her son and winked. “I know what you were going to say, Roper. You’re right, too. The Craft Council has convened and they sent me to get Kurin. Can the rest of you carry on without her for a while?”

Luin answered proudly, “We sure can, Craft Mistress. Kurin’s already showed us what we need to do to get the shop prepared.”

Kurin smiled at Luin’s confidence and said, “Then my work here is in good hands. I’m ready.”

They walked through the familiar, well lighted corridors of the Longin to the Mess. The Masters were convened and Captain Mord was chairing the meeting. Master Juris’ framed Master Boatbuilder’s certificate lay on the table before him.

The Captain looked about the room and began, “We have several things that need doing. As you all know, Juris has gone so far aground that we can’t refloat him. We were forced to require the surrender of his Certificate. Due to the fact that he is competent in his Craft, the law requires us to formally accept his own decision as to the state of his sanity.

“He has declared himself sane. That decision has blocked any protection that we can offer him. We can’t do as we did for Lissa. At the Fall Gathering, he will be executed.” Sad faces and understanding nods went about the tables at the formal statement of the news.

“From here, it is necessary to decide whether to allow him to stay aboard this ship or put him off on the first ship that we meet.

“In addition to these heavy duties, we must pick a new Head for the Craft Council and decide who will take over the boat shop in the interim.” Looking unhappy, he sat.

A long silence followed, while everyone just looked at the certificate and thought on its implications. In the over seventy Gatherings that the Longin had existed, this had never happened before. At last, Mistress Daeron spoke, gently, as always.

“I think that we should acknowledge Kurin’s many efforts to prevent this disaster. If anybody can think of one thing that she has failed to try, I should like to hear of it. This must be weighing on her. I know that she still cares for Juris. I have seen her tears. She needs our support just now.”

A rumble of assent went around the tables. Master Cerde, the Weaver, voiced it simply, “We should enter a vote of thanks to Kurin in our records. It should be in both this Council’s minutes and in the Log of the Longin. The vote should acknowledge her many efforts to save us all. In that, though the price has been a heavy one, both for her and us, she has succeeded. We have all lost Master Juris, as both friend and valued associate.

“To Kurin, our Thanks!”

Master Clard, the Drummer leaped to his feet and exclaimed, “Seconded! Call a vote!” Hands went up all about the tables.

Deeply moved, Kurin said, “I thank you all. Mistress Daeron is right. I do still care for Master Juris. I propose to let him stay aboard this ship that he was born on and has labored so long to benefit. If he is determined that he must die, let him take our name to Dark Iren so that all will know that we still care for him even if he has renounced us.”

There was a long pause as the implications of Kurin’s proposal sank in. In capital cases it was customary for a ship to distance itself from the criminal by stripping him of his Ship Name. Master Reddic, of the ship’s tannery, nodded acceptance and put in, “The notion is a good one. It lacks one thing. Put into it, that while we all agree with it, it was Kurin, the one most wronged, who proposed the idea. She has a generous heart.” He sat to soft, thoughtful applause all about the tables.

It was decided that Master Cerde, the Weaver, should chair the Craft Council. The idea of a contest for the new boat shop head was proposed. Having the journeymen build boats that were needed anyway, was a good idea, quickly adopted.

Master Reddic took Kurin aside after the meeting. “I can’t make Juris behave toward you Kurin, but I do have something new for you to play with.”

Having long ago learned the value of Master Reddic’s ‘things to play with,’ Kurin excitedly asked, “What? You have something besides the heavy parchments and thin shaved Skins that I ordered?”

He smiled at her enthusiasm and handed her an irregular two inch round piece of clear, tough material. “One of my apprentices made a mistake. He pried the scale off a Side Jumper’s eye. You must remember how much goo there is in those. I recall a certain white-haired scamp making just such a mess in my shop long ago,” he said cheerfully ruffling Kurin’s hair.

“Anyway, some of the goo spilled into the big hide press. We didn’t notice it and put twenty Strong Skins in the press to finish the flat cure. When we took them out of the press, this was stuck to the bottom hide. I noticed that it was clear and flexible and thought of you. Here. Play with it. I know that it’ll find a use in your hands.”

Kurin had bounced the light of the big horizontally striped watch timing candle off the material and was observing the effect of having the flame superimposed on the table. She was studying the effect closely. Master Reddic knew that he had hit Kurin’s curiosity bump and was pleased.

Thoughtfully, Kurin wandered back to the new shop. She was delighted to see how much progress had been made. The others had been busy indeed. She tested drawers and examined the tool racks, declaring, “This is excellent! As soon as the last of the glue sets we can begin. Lissa, would you and Roper go to the tannery and get our supplies from Master Reddic? He has them ready for us.

“Luin, I have a quick chore for you, too. We need triple rendered tallow from the galley. I want all that they can spare. Get a few pounds of gray weed while you are at it.”

TO BE CONTINUED

<==PREVIOUS ~ NEXT==>

#KURIN'S FOLLY #Part 10 of 15 #World of Sea #Written by De Writer

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ramblingguy54 · 6 years ago

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Okay Real Talk

Nothing Can Stop Della Duck is a lovingly crafted episode depicting a long lost relative returning to not just her family members, but kids too. It’s downright adorable, wholesome, and most importantly hits close to home for many, like myself, who have dealt with different forms of family separation. I’ve always wanted to see in the previous series what it would be like, if the triplets had a mother figure. DuckTales (2017) handles the concept of Della’s character with such great execution and exploring her personality as a whole. In just the couple of episodes that focus on her, they’ve already made me very attached to Della’s character arc and her internal struggles as a parent. If that isn’t the sign of excellent writing, then I don’t know what in the world is!

However, what I absolutely adore about this episode is it calls out Della’s big mistake of impulsively getting on the Spear Of Selene. Part of Della may have meant well in wanting to get an extraordinary gift from space before they hatched, but she is also a thrill seeking adventurer at heart, obviously. That other aspect of herself was what drove her into getting stuck on the moon for many years. Really appreciate the grey area of morality here. Scrooge may have built the rocket sure, but Della could’ve easily had played it smart, like Donald was telling her, and stay with the boys. Della is just as much at fault equivalent to Scrooge’s big mistake. Della, having plenty of time to reflect over the decade, is aware of this fact all too well and goes to silly lengths in this episode trying to make up for tons of lost time.

This dialogue from Della hits that nail on the head, delivering a very poignant moment for her own journey of self-discovery.

Boys, I don’t know what to say except, I’m so sorry for ever stepping foot on that rocket...

I fought every day to get back to this family and I will fight every day to be apart of it...If you’ll have me...

Dewey and Huey are more than on board for having Della in their lives as their mother. Louie on the other hand is where things get complicated. Louie has been without a mother for so long, naturally, the very notion that he can share this deep connection with someone he thought to be “dead” isn’t easy for any person, let alone a child, to emotionally contemplate. Louie, even though he is normally laid back and chill, has a lot of emotional baggage. Granted, so do Huey and Dewey, but Louie I’d argue is easily the most sensitive of their group regarding their mother. Never gonna forget how Louie held her clothing from Season 1 after hearing Dewey reveal that he had been investigating about their mother’s disappearance in secret.

These other moments too add onto my point about Louie’s emotional state surrounding the topic of Della.

Mom was great at adventuring and she still got hurt! I’m only good at talking my way out of it...

How long before that’s not enough...?

Another thing worth noting. Louie is the last at the beginning to embrace Della in a hug. He keeps looking for ways to self-rationalize this not being reality.

This has to be a trick! Or a curse from Magica! Or a parallel universe! Or...or...

Look at this poor kid. Louie is so torn up over what’s in front of himself he’s willing to believe Della is all in his head right now.

Evil triplet...? More like most self-cripplingly depressed triplet.

I’ve gone so long without a mom I guess I really don’t know how to have one...?

This conflict is very organic and resonating for the themes of coping with family separation. It helps elevate this episode to high tier quality in writing, making the scene where Louie comes to terms with how he feels about welcoming Della into his life as mom a genuine and earned moment for both characters here.

Today’s episode was endearing, very heartwarming, tackled some uncomfortable family real life issues that happen through separation, and are all pulled off in a way that doesn’t talk down to the audience regarding its messages overall.

#nothing can stop della duck #my two cents #della duck #my heart #the feels are real #scrooge mcduck #ducktales 2017 #ducktales #huey dewey and louie #hitting close to home

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grrlinthefireplace · 6 years ago

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Hey so I’ve been seeing you post a lot about La Casa de Papel recently. What exactly is it? It looks kinda interesting.

Thank you so much for asking!

I am delighted beyond reason to have the opportunity to tell you - and by extension the entire world - why this show has cleared my skin, watered my crops, and legitimately healed my soul after this particularly soul-crushing season of Grimdark White Man Television almost broke me as a human being.

I will attempt to keep this as spoiler-free as I possibly can, because this is a show that should be experienced in the moment, but in a nutshell, La Casa de Papel is a heist show set in present-day Madrid which follows both a found family of thieves who rob the Royal Mint of Spain, and the law enforcement officials on the outside who are chasing them.

If that is enough for you, go right to your TV or computer, fire up the ol’ Netflix, and don’t waste any more time.

If, however, you need a little more, here are the top five things I flail about to every single person in my life to convince them they need to start watching this show like immediately and then come back and tell me all about it.

For visual flair, we’ll intersperse them with some gifs of ladies, because I know my audience.

5. character driving plot > plot driving character.

You know that infuriating thing lazy TV writers do where, in order to to hurry up and get to the big explosion or battle scene or dragon attack or whatever, which is the only bit they really care about, they handwave away the whole concept of motivation and make some character do something that any halfway-attentive viewer will immediately clock that they would never actually do?

There is none of that bullshit here.

In its simplest form, the plot of La Casa de Papel is as follows: a brilliant criminal mastermind devises a heist which cannot possibly go wrong, and then we proceed to watch all the ways in which it goes wrong.

This is a fantastic setup for an action story, made even more breathlessly exciting by strategic use of my favorite heist movie plot device (as perfected by Ocean’s Eleven): namely, “scene where it looks like our crime heroes have been outsmarted and are now threatened by a completely unforeseen disaster” immediately followed by “flashback to the team prepping for the heist where we learn that of course they prepared for this exact scenario.”

But from time to time, things do actually go wrong (as they must, or else there would be no story); and, when they do, it is never because you can tell a writer just wanted to write a scene where bullets go flying, and didn’t care how he got there. These characters are so clear, their behavior so consistent, that when gasp-worthy plot twists happen, they happen because of course that character, in this exact scenario, would do that exact thing.

I’m telling you, I came to this show for a ship (more on that in a minute) and I stayed for a swooning, heart-eyes writer crush on the impeccably-designed plot structure and characterization.

4. High stakes, low gore.

Tone-wise, on a sliding scale of Heist Film Intensity where a really fluffy episode of Leverage is a 1, Reservoir Dogs is a 10, and the Ocean’s franchise is somewhere in the 3-4 range, I would place La Casa at a 5 or a 6, which is perfect for me. I love action, suspense, drama and adventure, but I hate gratuitous violence (especially when it’s pointless and masturbatory and doesn’t contribute anything to the plot) and have a very low tolerance for blood and gore. So I kept waiting for the story to eventually take a hard left turn into Tarantino Land, until eventually it was all just one huge pile of dead bodies, and was genuinely surprised when it didn’t.

This is how I learned just how badly my brain has been fucked up by lazy showrunners who think shock deaths are the only way to raise stakes. During the first season of this show, before I had figured out that it was a Flawless Gem of Television Which So Far Has Not Once Disappointed Me, there were probably a dozen moments where I was absolutely convinced that some character was about to be gruesomely killed for shock value … and I was wrong every single time.

Reader, it was fucking wild.

Every single time I was convinced that person A was going to shoot person B in the head because blah blah maximum angst over here in this part of the story and then it will motivate person C to do this other thing, the show did the hard work of finding a smarter, more unexpected direction to take that character’s story. That means that when deaths do come along - and there are a couple - they feel genuinely earned, and they matter deeply to the story and to us.

3. I would die for these women.

This show loves women. Like it truly, authentically, uncompromisingly loves women in all our fucked-up messy glorious complexity. There are no “types” or cliches here; no one is forced to be only one thing. Fuck your one-dimensional Strong Female Characters, lazy writers.

For one thing, on many shows you might be lucky if you get maybe one mom who is given a personality and a story outside of motherhood. Often, on shows written by men, the fact of her motherhood diminishes her strength or her agency. On this show, nearly every one of the central female characters is both a mom and an action hero simultaneously. Seriously. By season 3 there are four different battle moms. They’re all different, they’re not all on the same side, they have different perspectives, and their role as mother impacts the story differently, but that’s the joy of having a whole lot of different kinds of women - no one has to be everything to everyone.

These women are complicated. They laugh, they cry, they crack dirty jokes, they get laid, they have babies, they fight, they make mistakes, they fall in love, they grow. Men pull sexist shit and they shut it the fuck down. Some of them have love stories, some of them don’t, but they are never defined by or triangulated around relationships with men. They get to have relationships with each other. All of them are excellent at their jobs.

Tokyo is the kind of hot mess antihero protagonist we’ve been watching middle-aged white men play for decades.

Allison is such a realistic teenage girl it’s genuinely painful to watch.

Monica has one of the best arcs I’ve ever seen on television, this is not a drill.

Alicia is terrifying. (A pregnant black ops interrogator! ON WHAT OTHER FUCKING SHOW!?!??)

Nairobi is unlike any other character you’ve seen on TV before; she’s got a little bit of Parker from Leverage, a little bit of Raven Reyes from The 100, but she’s entirely her own creature and you will fall in love with her instantly.

And Raquel. Oh, my love, my angel, my hero, Inspector Raquel Murillo. Love of my goddamn life. A fierce, kickass hostage negotiator swimming upstream against a tide of workplace misogyny who sometimes has to make the frustrating little male-appeasing compromises we all have to make to get through the workday. A beautiful, sexy, powerful heroine over 40 whose femininity isn’t diminished based on some bullshit notion that, for example, pairing your tough-bitch suit and gun holster with red toenails and a lacy blouse detracts from your strength. A loving mom and daughter who has to juggle raising a small child and caring for an aging parent with the stress of, you know, trying to stop the biggest robbery in the history of Spain. A domestic violence survivor (TW for those who need it; nothing is ever shown onscreen, but it’s discussed several times) who is given the space to discuss the things that have happened to her and how she has worked through them with such dignity, accuracy and respect that you can tell the writers did their homework.

This is a show where you can tell there are women in the writers’ room.

2. The Professor and Raquel. I don’t want to spoil a single thing for you here except to say that I myself was lured into this show by the promise of electric sexual chemistry between a criminal mastermind and the police inspector hunting him down, and my God I was not disappointed.

1. Love.

This show came into my life at a period where I was so weary of cynicism on television - so fucking furious at showrunners who dangle hope in front of us and then crush it, who only care about building anything if they can tear it down later, who treat love and fun and joy and hope and family and happiness like they’re intellectually lesser than grimdark nihilism with no soul - that I was honestly kind of broken by it. I was just so. fucking. tired. Tired of “the way we show this heroine is strong is to kill off her love interest.” Tired of “sorry but all this rape and murder is NECESSARY because of REALISM” (particularly rich when coming from shows featuring evil A.I.’s or dragons and ice zombies). Tired of getting invested in relationships - whether ships or friends or found families - only to realize that the show I was watching was always going to sacrifice character to force plot mechanics into place, and those relationships were never going to get the kind of care and focus I wanted them to get.

But that is not this show.

The single most revolutionary thing, to me, about La Casa de Papel - the thing that sets it apart from every other rollercoaster action thrill ride on television - is that every single thread of the plot is tied to love.

Every.

Single.

One.

Love of all different shapes and sizes - parents and children, friendships, doomed crushes (straight and queer), toxic exes, blossoming romances, siblings - and over it all, a deep, deep love for humanity.

The thing I said before, about how when things go wrong they go wrong in character-driven ways? It’s this. Love is why everything on this show happens. Love is what makes children want to live up to their parents and what makes parents fight to leave a better world for their children. Love is why deaths have stakes. Love is why we spend so much screentime lingering on small moments another show might ignore, like all the thieves at heist camp sitting down every night to have dinner together and argue about paella techniques. Love is what causes chaos in the middle of the heist; when there’s one person in the room you care about more than the others, you can get distracted and take your eye off the ball. Love is how your enemies can get to you, by leveraging or blackmailing the people who matter most, knowing that you’ll crack if they’re in danger. Love, gone wrong, causes toxic men to develop possessive and controlling behavior towards women. Love is how the Professor gets the idea for the heist in the first place. The plan is flawless on paper, but it doesn’t account for the human variable, and over and over again we see that relationships and connection and sex and family and love cause people to behave in unpredictable ways and throw the whole plan into chaos, which is what makes for a dynamic and compelling story.

How refreshing to see a show simply refuse to grant the oft-repeated premise that a show cannot have both high-octane thrills, and a big soft squishy heart, at the same time.

ANYWAY, I’VE TAKEN UP ENOUGH OF YOUR VALUABLE TV-WATCHING TIME, GO JUMP ON BOARD THIS TRAIN AND COME SCREAM ABOUT IDEALISTIC SPANISH ROBIN HOODS WITH ME, AND LET THE GOOD SHIP SERQUEL INTO YOUR LIFE, YOU WON’T BE SORRY

THANKS FOR COMING TO MY TED TALK

#lannister-slings-and-arrows #la casa de papel #money heist #from the inbox #i have a lot of feelings about this show #is this entire post just one long subtweet of 'the 100'#listen #maybe #i'm still pissed about kabby and will be for awhile #but legit this show was HEALING and CATHARTIC in some unexpected ways #yes virginia you CAN have functional loving stable relationships and high-stakes drama at the same time

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icarialex · 5 years ago

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(Sebastian Stan, CisMale, he/him) ⌇ have you seen Wesley Sullivan around icaria? they are the 31 year old child of Ares. they remind me of computer screens, the smell of sandalwood, dad jokes, and a nicely fitted suit. ( Lex / 29 / EST / she/her )

I refuse to become anything like you.

Full Name: Wesley Sullivan

Age: Thirty-one

Birthday: September 27th

Parents: Meredith Sullivan

Godly Ability - Wesley possesses the ability of strength manipulation. He can enhance someone’s strength or decrease it.

I will live up to the reputation of my name.

(Trigger warning for mentions of domestic violence).

Childhood wasn’t something that Wesley really liked to look back on much. His mother Meredith had honestly done the best that she could, but she was a woman stuck in an unhappy marriage due to her foolish notion of love when she was eighteen. Like many young relationships, when the stress of adulthood hit, the passion was lost along with understanding. Sacrifices and compromises had to be made which made both young adults bitter about dreams they had to push off or cut out all together. It was this unhappiness that led Meredith to cheating on her husband with Ares. He looked like a regular, attractive male in a dive bar, but she would eventually discover that he was a Greek God that was now the father of her child. Not ready to deal with the repercussions of her actions, Meredith lied to Gregory that the baby was his. Elation and excitement once again filled their marriage, and the young mother thought that maybe a baby would get them on the right track again. She silently thanked Ares for his unintentional gift.

That was until around the time Wesley was four and Gregory was laid off from his job. Since he was a man with no college degree finding a job that met his inflated sense of self worth was nearly impossible. Instead of being a man of the house and taking anything he could get in stride to provide for his family, Greg turned to alcohol which made his already nasty temper worse. For the first two years it was just constant yelling in the home. Wesley quickly learned after a string of insults floated his way when he tried to show his father that he could not only spell his name perfectly but count all the way to twenty all on his own. Most fathers would be impressed at this skill being displayed by such a young age, but Gregory just called him a nuisance.

There wasn’t much time for tears though because by six things escalated from screaming to violence. Wesley as a small boy would do all he could to protect his mother, but she either made sure he left or he was easily pushed aside. It was during one horrible night in particular that Wesley discovered just how different he was. His father was belligerent again and ready to start his weekly terror on Meredith. That night Wesley refused to go away and instead firmly stood in front of his mother glaring at the man he long ago stopped calling dad unless he had to. When Gregory tried to push his son away, it felt like a feather tickling Wesley’s skin. Although he wouldn’t understand it until much later in life, that moment was the first time the young boy manipulated someone’s strength.

Fortunately Ares found them again by the time Wesley was seven and helped get them away from Gregory. It didn’t take long for Meredith to become pregnant again, and her son was so excited for a younger sibling. There was anger deep in his heart, but the boy refused to let it show after seeing it so often from his father. Instead he focused on using it to protect his family as much as possible. When Gianna was born, Wesley tried his hardest to be the best big brother he could be. Sure, they had sibling squabbles sometimes, but the boy always looked out for his sister as much as he could. Life once it was just the three of them turned around drastically. Wesley was able to grow up like a normal kid. He became a great football player, excelled in school, and even got a side job at a pizza place to help his mom with bills from time to time.

Things were going great until his mom died when he was eighteen. Right then, Wesley’s life stopped. Instead of going to Ohio State College on a football scholarship, the boy quickly learned that he was going to Icaria to take care of his sister. Instead of being angry or bitter about it, Wesley just listened to Ares and planned to do whatever he could to give Gianna a good life. So, he went to Icaria University while working at Icaria Books to make sure they had enough money for every day things. They’d gotten a some money from their Mother’s life insurance which Wesley used to cover rent in the small apartment and gave them emergency funds.

Since he spent a good amount of his nights at home watching his sister, Wesley was able to really focus on coding. Computers were always something he loved being on for gaming, so when he learned in college that he could major in coding engineering the boy jumped at the chance. Little did he know just how good he’d be at it. Wesley wound up being one of the best coders in the industry and many application developers were wanting to hire him.

Life was going steadily as he got older. While he loved his sister, he understood her need to leave the island, so he just funneled her money as often as she’d accept it while continuing his own life. He traveled a lot between Icaria and California and was happy being a desirable bachelor until he met Raye. For two years Wesley enjoyed being in love and was so happy that he asked the woman to marry him. Like many previous times in his life though reality pulled him harshly back down to reality. His fiancé not only broke his heart by ending the engagement but cheated on him. After a bad fight, Wesley left in anger and wound up in a car accident which was what brought his sister back home.

I take being a big brother very seriously.

Wesley is a huge goofball. While there is heaviness in his heart from events in his life, he doesn’t like to let anger or bitterness overtake him. He saw what that did to Gregory, and instead just puts his energy in trying to pick things back up again.

He didn’t have much of a young adult life. Going out drinking with college buddies or partying wasn’t a thing because he was taking care of Gianna. It wasn’t something he really desired though. He found watching his sister grow up and making her happy much more rewarding.

Wesley is very successful professionally. His work allows him to make a lot of money which he used to buy a large house in Icaria. He also sets money aside for those that he loves whenever possible.

He’s definitely a guy who likes looking good. He loves a good tailored suit and looking hot whenever possible, but he isn’t a guy that acts like he knows how hot he is. It’s more something he does to make him feel good about himself.

#icaria: intro #about wesley

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cateringisalie · 6 years ago

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FFVII Halloween Week (Day 6) (Aerti)

Written for today and possibly (clearly) inspired by Terry Pratchett...

Aeris Gainsborough was a witch. In the classic sense; broomstick, black hat and magic. Not that magic was a particularly note-worthy skill or anything. The availability of materia allowed any in the population with the knack (and a sufficiently deep bank account) to conjure up fire, ice, lightning and, in rarer cases, dragons and lancers and Chocobos.

Aeris’s magic was different – though it shared a common source. Materia was crystallised Mako, drawn up from the depths of the Planet and rendered into spheres, the knowledge of the Ancients, of the Cetra, solidified. Aeris got her skills more directly. There were more spells in the Planet, in the Lifestream if one had the skill or patience to hear them. To spend year after year training, meditating, reaching out with one’s being. Mom had taught her before the tragedy took her; her protégé Elmyra took Aeris in in the aftermath, continued her training and became her surrogate mother. Reality diverged sharply from popular depictions of witches; while magic might be easy for Materia users, drawing on the voice of the Planet required effort, more training and work. Short-cuts – some resembling mathematical formulae were transcribed into tomes to speed up the process on repeat uses. The call and response to invoke a spell became second nature and Aeris excelled at her studies – though it would be so much easier to obtain materia. Easier but less effective. No Materia yet identified or catalogued could allow the flight her mother’s own spell provided, the enchantment cast upon a broomstick (why avoid the obvious? Even in the era of airships and powered flight, a person was unable to move as freely and quickly as she could upon her broom). Elmyra already had a reputation in the slums of Midgar and Aeris helped perpetuate; many were wary of the two women who could invoke spells no one else could and with apparently few restrictions. There was a whole cocktail of reasons for the distrust, the occasional insulting word. But these never came to prominence and always swiftly subdued. Elmyra and Aeris were essential for the community of Sector Five. Mom’s knowledge expanded well beyond magic from the Planet. Detailed medical texts, drug experiments, anaesthetic, all penned by her hand. All of use to the ails of the people of Sector Five. Aeris accompanied Elmyra from an early age, tiny black hat perched on her head; the pair went to each house, visiting the pregnant, the ill, the elderly. Keeping an eye on them, providing for them. Much of their work involved no magic at all; simple chores left undone, shopping brought home, free health checks as opposed to the uncomfortable prices in the less than reputable doctors down here or the naked profiteering of the Upper Plates. Despite the other spells; levitation, deeper insight, visualisations of a patient’s internal injuries, there were no spells to wave away maladies. Pregnancies had to be brought to term or else alleviated at the mother’s request. Missing limbs could not be restored, and age was a remorseless drag on everyone. It was never merely one visit to someone in the Sector. Time after time, Elmyra letting Aeris assist in more and more instances. Deaths were something held back for a while – one of the few situations Elmyra took the longest to let Aeris participate in. A shock the first time; waiting on a knife-edge as hours ticked away with a patient on their deathbed, waiting to be there. The need for their presence only became clear after the first time. The moment of death, the sudden knowing that the person lying in the bed had returned to the Planet and breathed their last. For most, the last moments as they faded away were the last imploring’s of love, devotion or sorrow for someone left behind. Distressing but nothing Aeris could not cope with. Later she would encounter the situation Elmyra wished to avoid; the vicious, angry discomfort of a return, the fading voice lashing out at those around them. Being a witch had been Aeris’s life for so long that she thought little of how other people her age might be. She was a witch in training – soon to be a witch herself. Not that she intended to move anywhere else. Mom’s house in the slums had become home and moving away felt wrong. So much of her dealings were with grown-ups; women giving birth, the old and infirm – until the unremarked point when attending to a pregnancy made clear that the patient was younger than Aeris. Children, teenagers, young adults in Sector Five did not especially like Aeris or Elmyra. They respected (and to an extent feared - based on older rumours of those who crossed or brought peril upon Mom) them both. Neither had many friends. Other witches certainly, though few enough were Aeris’s age and none close at hand or with a similar mindset. Aeris was okay on her own, but eventually Elmyra intervened. “You need...” She cast about, removing her hat and cloak. “Someone else.” Aeris blinked at her. “A romantic partner.” “Well. Yes, if you would like to pursue that.” Not something Aeris had thought much about. That kind of thing seemed to extend mostly to how one wound up pregnant or how one ended up weeping beside the bed a partner lay dying in. “Though even just someone your age. Someone for you to talk to or...” “The people my age keep their distance.” Aeris placed her hat on the stand. “I could try a different sector?” “Maybe.” Elmyra approached holding the paper. “Though I was thinking maybe a penpal?” “A penpal?” Letters? But any conversation would be delayed. “It’s not ideal.” Elmyra sighed. “But maybe if you can start talking to them so they get to know... you, before you worry about mentioning the Witch bit.” “You always said it was nothing to be ashamed of!” “I know, I know.” Another sigh. “But I don’t want you to miss out-“ “Would taking off the hat help?” Aeris clutched the brim. “It might.” She smiled. “That might be better. And wear something more colourful if you try.” Absolutely the idea, but now the notion was in place, who were these people who wanted penpals? Still odd seeming given the availability of phones. But- A skim read. Men looking for romance. Men looking for someone to talk to about... sports. Less than compelling. On and on and- One stood out for no particular reason. This was familiar enough; the Planet suggested at times, highlighted something mundane or made them aware of significances. T. Lockhart. Resident of Nibelheim. Likes Martial Arts, piano, cooking and writing. Another name in amongst so many others, but- Aeris fetched the writing paper and penned a first letter. Careful introduction. She was Aeris Gainsborough, resident of Sector Five in Midgar. Interests included- A quick cast around the room to figure out the best way to no precisely lie, but not outright admit her situation. Gardening. Caring for the elderly. Research. Or perhaps reading? Her first letter became a mass of re-worded and crossed out changes. What did T write? She wrote the letter all out again and sent it off the next day, rapidly forgetting all about it. A month later the reply arrived. This lead to an awkward moment of trying to remember what had been said in the first letter. How much had Aeris implied and how much was carefully couched to avoid controversy? T was Tifa – and glad to have an answer from her. The caring for the Elderly threw her – Aeris penned a better explanation even before she was through the letter. Her writing was all oriented around a TV programme; Aeris made a note to tune in and see what it was all about. That was how Aeris wound up watching Seeds of the Garden – a dubbed soap opera from Wutai about a group of teenagers in a military with magically augmented powers. Fun enough. She asked Tifa for some of her writing out of curiosity. The letters accelerated to the point Aeris would receive a reply every two weeks; about the fastest expected between so distant settlements. Tifa’s writing encouraged Aeris to try her own – sending it back for critique and review by Tifa. Tifa’s she carefully kept along with the letters, but she would return to that time and again for enjoyment. Letters became augmented with phone-calls; Aeris volunteering Elmyra’s number first. Thrilling to hear Tifa’s voice – however distant and crackly it was thanks to distance. Tifa was easy and fun to talk to. But always on edge. Always something that did not sit right with her. Two years from the initial contact and Tifa let slip what it was: “I think I hate my Dad.” “Oh.” Aeris shifted the phone from one ear to the other, twisting the cord between her fingers. How even to respond to that? “I mean. I love him and I don’t want anything to happen to him. It’s just me and him at home. No one my age is here and people are leaving the town. He refuses to even consider leaving. No one comes here anymore. No one needs me to guide them across Mount Nibel and...” “Tifa...” A loud sigh from her end of the phone. “I wish someone could help me get away. Just swoop down and carry me off. I can’t afford a transport ticket out of here-“ “I will.” Aeris bit her lip. “I mean. I would. If I could.” Tifa chuckled. “I know. Thank you. That at least gives me something happy to think about.” Was it idle conversation? Or did Tifa really wish for something like that? She was down, depressed and unhappy in her situation. And Aeris could – absolutely could – get to her. Flying to Nibelheim would be all kinds of exhausting. The drain of magic to keep the broom air-borne, not to mention the weather and finding somewhere to say. Navigation. So many reasons not to. But a big reason to. Tifa herself. A few more conversations had Aeris convinced. She would apologise to Elmyra and strike out. Sail her broomstick across the sea and to Nibelheim. Swoop down to the town and find Tifa. Let her know everything obviously and- And what happened next was up for debate. If Tifa wasn’t serious it could be an arduous, unfulfilling trip. And that might damage their friendship. But if Tifa was being honest, perhaps Aeris could offer a way out. Sit Tifa behind her on the broom and return to Midgar with her. Still unsure up until the day; her deadline, to set off and (theoretically) arrive in Nibelheim for Tifa’s favourite holiday. The time when the world at large seemed to celebrate the old magic and witchcraft. And the decision was made. Aeris would go to say in person “Happy Halloween”.

#ffviihalloween #aerti #aerith gainsborough #tifa lockhart #final fantasy vii #my ffvii fanfic

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edmund-valks · 6 years ago

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Prelude Night (Ilandreline)

Winter's Veil was confusing. Greatfather Winter? Ugly sweaters and brightly wrapped gifts? The traditions were not hers, not did she understand how they had originated. Not that it really mattered -- her friends were into it, so she would do her best to participate.

For herself, though, Ilandreline stuck to little bits of the family rites. She'd purchased her candle long ago. Two, actually, to test the seller's claim that it would yield both non-toxic smoke and dark purple light. It could only be better if there was one that made things darker, but that audience was likely too limited for any shop to worry about them.

Despite recent events, she left the safety of the Respite. Not unarmed, of course; there was no requirement to be weaponless for these things. In fact, it was extremely ill-advised to do so. Between excitable relatives and unspeakable horrors from beyond, the odds of dying on Prelude Night were actually significantly higher than on almost any other. Her satchel carried the usual implements: a heavy wrench, a small sledge, her trusty bonesaw, and an array of grenades. Also the candle and a handheld firestarter, because flint and steel were a pain in the ass.

A wiser person would have used the lookout camp. That would have been a great idea, far enough removed to be mostly private, still close enough to avoid being truly alone on the most ominous night of the year. Ila didn��t think much of great ideas, though, or being a wiser person. She did just fine as she was; no need to change. As such, she left the protective barrier of the Warding Tree, headed for a little spot she’d found nearby.

It wasn’t too far a walk, though the distance was enough to make her glad she’d worn her heaviest coat. It was her warmest as well as the most protective -- an excellent dual-purpose item considering the number of mindless dead who would very much enjoy a warm-blooded meal on a cold night. By the time she reached the cave, the hood’s fur trim was beginning to frost over, her breath having frozen amidst the soft hairs.

Just inside the jagged opening, Ilandreline turned around to scratch several crude symbols into the ground. Two more followed in an ink that was only easily viewed with peripheral vision, one on either side, and then a final overhead. She said the prayers, such as they were, the words echoing in her mind. It was her voice that spoke, she knew, but all she could hear was the thousandfold reverberation of whispers from within. The truest darkness was never empty, after all, especially when daylight was at its weakest.

A barrier flickered between the sigils, visible for only the briefest moment. If she’d done it right -- and the weird thrumming inside her indicated she had -- it would disguise the opening entirely from passersby. It would also turn aside the senses of the ghouls who roamed Silverpine, preventing them from taking her unaware. At least in theory.

Faith, a voice whispered in her mind, keep always the faith. You will be rewarded at the end. It sounded like her mother this time. An interesting choice, considering the two had never been particularly close. But Mom had been the better of her parents at explaining the family’s peculiar religion, so maybe it made the most sense.

The cave was empty, its dirt floor hard packed and almost smooth from her work over the last ten days. She placed a bowl in what passed for the center of the space, gently mashing the candle’s base into it. Just so. Now it would stand properly. She pushed back her hood, forcing the sudden cold from her mind. After several slow, shivering breaths, her goggles came off as well. Her eyes were closed, of course, but not for much longer. If she was going to do this, she’d have to open them.

Ilandreline relaxed, sort of. There was a way to force the body to act relaxed, even when it wasn’t, and she’d had to learn it many, many years ago. They all had, or else they hadn’t survived very long. She went through her body mentally, muscle by muscle, unwinding those that hadn’t obeyed her initial command. When the last finally uncoiled, she knew it was time. Her eyes opened to the blinding dark.

Decades, perhaps centuries, before she was born, her family had abandoned the Sunwell. The arcane was, they’d decided, not for them. Maybe it was because the magisters were irritating; maybe it was the insistence that laws were supposed to be followed. The details were never made particularly clear to her and they were rather moot at this point anyway. No explanation would change the simple reality: her ancestors had sworn the family to that which lurked between the stars, the infinite blackness and mind-shattering horrors. That was why they’d been exiled, of course; the quel’dorei authorities didn’t want anyone to know there was an alternative to the Sunwell. Not needing the Sunwell meant not being subject to the magisters’ authority, and who among them could countenance such a thing?

A side effect of their unique independence was the peculiar vision she was using now. If one took normal sight and replaced every colour with its opposite, that would almost explain what she saw. There was more to it, though. Like the way certain areas of emptiness could be seen from the corner of the eye, except they weren’t really emptiness at all. They were quite full instead, though that fullness was composed of nothingness. Those were the spots you had to ignore. She refused to engage with them, even when images of lidless eyes or lamprey-like mouths flickered there, taunting.

Ilandreline pulled her firestarter from the bag, ignited the candle. “A single light, flickering weakly,” she intoned in the other language she’d been raised with, the one far older than Thalassian. “The last remnant of a dying sun, full of terrible promise and beguiling lies. A tyranny of ill-advised order, never meant to withstand the endless dark.”

A prick of a finger then; a drop of blood on the burning wick. Instead of smothering the flame, this fed it, the candle emitting a burst of light not unlike pouring fuel onto a bonfire. “Our gift to you, this living blood, and a reminder of our bonds. Our sacrifice is your gain, your whispers our knowledge. All in service to the last fading of the light.”

Another drop. “I’ve done little to bring the final darkening this year. I don’t think anyone expected me to do differently.” She was speaking Thalassian now. Her vocabulary was too limited in the ritual tongue to do this part. “I’m not like the rest of my family, you know. They’re big into all this stuff, they’ve got goals. Me, I’m just trying to do the things I’m good at, stand on my own. I figure it’s not too big a deal that I’m not super involved anymore. Sure, you don’t get a lot of blood sacrifice from me, but I also never use your power, so I figure we’re pretty even.”

The third drop. “Under the circumstances, I’m not asking for anything, not even that you keep watch over these friends I’ve found. They may not thank me for that kind of attention, for one, and I haven’t any offerings to seal such a pact. The Long Night will come, I know, but I’ll leave that to my family to worry about. We both know they’re always working toward it, and by not sticking around and having to kill more of them off, I’ve probably helped you more by leaving.” She smiled at the thought.

Blood drop number four; the most important. She watched it fall, looking for that special sign -- ah, there it was. The redness hung suspended over the violet flame for an eyeblink, quivering, full of potentiality. Then the fire consumed it, as, of course, it must. Once again the rite spilled from Ila’s lips. “Four for four, given by one. Less than five, but greater by far. After life, beyond death, the Long Night comes. We kill to serve. We bleed to live. Through our sacrifice, the light shall die at last.”

She extinguished the candle as she spoke the final sentence, pinching out the flickering light. As always, it hurt more than any other burn she’d ever experienced. As always, it left no visible trace, simply the throbbing, bone-deep ache. Rolling her shoulders to work out the stiffness that had settled during her obeisance, Ilandreline slowly got back to her feet. The leather strap attached to her tinted lenses remained unbuckled for the moment, lying atop the contents of her pack. Stretching out a hand, she traced her last rune for the night on the notional plane created by the sigil-conjured barrier. There was no proper translation for the word represented by this symbol, though “consume” came close. The barrier vanished, the patterns that had created it burning away as if they’d never been.

Stepping into the freezing dark, she pulled up her hood. Another year gone, she mused, though this one suggested potential for the next. Hope, even, something she hadn’t realized was missing. Smiling, Ila turned her black eyes skyward.

It took a moment to realize there were no stars in her vision at all. An omen, her mother’s voice whispered again, flitting through her mind like a bat in flight. And what a glorious one it is, to look on the Eternal Dark before it has come! There was a certain extra spring in her step as she returned to the Respite, goggles forgotten in her satchel.

#warcraft rp #fence macabre #wow rp

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stevenuniversallyreviews · 6 years ago

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Episode 122: Tiger Philanthropist

“It’s like the sequel no one asked for.”

Adventure Time is technically a serial, but rather than one continuous story it’s a hodgepodge of multiple meandering plots that get checked up on at random over the course of its 283-episode run. For instance, minor character Maja the Sky Witch was introduced in Episode 133 (Sky Witch), yelling at the end that she’s planning “something big,” and we got that follow-up a full year later in Episode 166 (Something Big; let it not be said that these episodes aren’t named well). Virtually no mention of Maja was made between these episodes, but Something Big served as a direct sequel, beginning in the middle of a huge battle as if we knew it was coming, and we just went with it. That, for better and worse, is the spirit of Adventure Time's long-term structure. Episodes can be about any character in its vast world, and we jump around so much that it feels like anything could happen.

Steven Universe takes a different approach, aided by a singular focus on Steven's point of view. It also has distant sequel episodes, but it’s easier to keep track of these connected stories because of a more unified through-line. I mentioned in The New Crystal Gems that I’d like to see more character interactions that are restricted by this focus (give us an episode about Peridot making avant-garde metal-powered multi-instrumental music with Sour Cream, you cowards), but it’s still generally a positive from a plotting standpoint to keep things Steven-centric.

For the most part, I’m a huge fan of distant sequel episodes in both Adventure Time and Steven Universe despite them being such different beasts. But while the random “hey remember this storyline?” in media res variant works well in a zany show that bounces from plot to plot, Tiger Philanthropist is proof that this type of sequel doesn’t work quite as well on a show with a more traditional structure.

The premise of Tiger Philanthropist hinges on the idea that Steven and Amethyst have been wrestling this whole time. But, as we might see in an Adventure Time sequel episode, we’ve gotten zero references to this subplot between the first and second episode of the story. We never see Steven and Amethyst coming back from a gig. We never hear them talking about it in passing. We never see the tiger mask lying around to indicate recent use. The Brothers Construction and Good-Looking Gang even feel like Adventure Time one-off characters, as they’re for some reason never seen outside of a wrestling context despite Steven Universe otherwise doing pretty well at building a sense of reliable locals and background characters.

Bear in mind that we just had a whole arc about Amethyst’s inferiority complex in terms of physical ability, and at no point did the coping mechanism that she’s apparently been using this whole time come up. The thrust of Tiger Philanthropist is that she’s moved on from the need to use wrestling as an outlet for her issues, but when we haven’t even thought about Tiger Millionaire outside of a few Purple Puma cameos and maybe a poster or two early in our first season, it strains credibility to be told that she still was using wrestling as an outlet for her issues. I’m too focused on the hamfisted retconning to get invested in this story. It’s as if we got an episode about Garnet deciding to stop going to the arcade and Steven is bummed because oh by the way we forgot to mention it but she and Steven have been playing co-op Meat Beat Mania every Thursday since Arcade Mania and it’s a major part of their relationship.

Steven Universe is at its weakest when the crew seemingly forgets key plot points: episodes like House Guest forget a character’s established personality, episodes like Sadie’s Song forget Steven’s development from bratty to empathetic, and both Malachite and Bismuth go unmentioned for huge swaths of the show during times when they would’ve been relevant to discuss or feature. Underground wrestling might be less pivotal than the long-term bubbling of an old friend, it’s just as frustrating for the thread to be completely ignored until it becomes relevant again. Because it’s not like the show always does this: look at Connie’s training, which has focus episodes here and there but is also background noise in other episodes to let it feel like a consistent part of her life. Mindful Education would’ve been a disaster if Connie started training in Sworn to the Sword and then we didn’t mention it at all until she accidentally tossed a classmate.

And really, imagine if at least one of the episodes in Amethyst’s big Act II arc was in the ring. We easily could’ve had Tiger Millionaire accidentally eclipsing Purple Puma as a catalyst for her self-doubt (among many other possibilities that this crew could conceive better than I) and it would’ve made Tiger Philanthropist feel so much better. But I can’t write about that, because that’s not what happened.

What sucks is that I love Tiger Millionaire and am all for more wrestling. Despite my snotty header quote choice about unwanted sequels, I was super excited for Tiger Philanthropist, and that glorious music brought me right back into the zone as the episode began. But the wind went right out of my sails when it became clear that we’re to believe Tiger Millionaire and Purple Puma are fixtures of the wrestling scene, and that it’s an activity that’s super important to Steven as a way of bonding with Amethyst.

And there are plot elements here that, in an episode with better context, would get a chance to shine. In a world where we knew Amethyst and Steven were wrestling for around two years, this would’ve been a pretty emotional conclusion to a relationship that began in the show’s early days (not that Steven and Amethyst would stop hanging out, but it’s always bittersweet when an important phase of your life is over). It would’ve served as a great acknowledgment of how Amethyst has moved on with her life if we saw the part of her life she was moving on from. We could’ve felt Steven’s sense of loss, and the surge of relief when Purple Puma returns for one last ride. If you transported this exact episode into a series that built up to it in any way, it would be a classic. But we aren’t watching that series.

It’s a little fun that I’m unsatisfied with a follow-up where an entertainer reacts to a fan being unsatisfied with a follow-up. Much like Season 2′s Mombo Combo, two thematically linked episodes about moms separating the Week of Sardonyx from Peridemption, we get two episodes in a row about fan interaction to buffer Steven’s long day in space from the continuation of his mother issues culminating in another trip to space. Unfortunately I can’t think of as good a name for Rocknaldo and Tiger Philanthropist as a unit as “Mombo Combo” (the Fandom Menace?) but nobody’s perfect.

Lars plays a fascinating role here, because the easy option would be making him an entitled fan a la Ronaldo who wants things to go just the way he likes. And to be clear, Lars does want things to go a certain way. But he’s not dictating the terms or saying he needs Tiger Millionaire to act exactly how he wants, he’s just frustrated by a new development that seems out of step with his favorite wrestler. Even when asked directly about what he'd like to happen, Lars doesn’t know, because he hasn’t confused his fandom with the notion that he gets to dictate the specifics about the thing he likes.

(I try to be the same way, but I also definitely wrote a spiel about how Tiger Millionaire and Purple Puma should’ve been present during Amethyst’s latest arc like five paragraphs ago. Again, nobody’s perfect.)

It helps that Lars doesn’t understand that Steven is Tiger Millionaire (a repeat gag that I’d probably find funnier if I felt more charitable about the episode), so he’s unaware that he’s speaking with the creator of the content he enjoys; perhaps he’d be singing a different tune if he knew the truth. But as it is, we get a surprisingly generous interpretation of a demanding fan, allowing us to see the ethos behind Lars’s disappointment instead of writing him off as an entitled fanboy with impossible expectations. The timing of Tiger Philanthropist fits perfectly with Lars’s imminent moment in the sun, as he’s still prickly but has enough layers by now that I don’t roll my eyes too hard when he up and calls himself complex.

I don’t talk about the visuals of this show as much as I should, considering how creative the settings and weird alien vehicles and structures can get. But it bears mentioning that, aside from some weird conspicuous computer graphics for falling money, Tiger Philanthropist looks great. The stylized snapshots provide moments of goofy flair to the mix, and the heightened drama of the ring leads to some excellent lighting that shadows Steven’s face as a hooded stranger and makes Purple Puma look like an honest-to-goodness superhero. We get fun choreography and costumes befitting a wrestling episode, and some premium character expressions throughout.

And it’s funny! Colton Dunn remains a worthy successor to Sinbad, giving us not one but two great gags of Mr. Smiley joyfully defining a word to the audience (both in the ring and at home); explaining “philanthropist” is funny enough on its own for how cheesy it is, but I’m really tickled that he gives the same weight to “sea wasp.” Really, this episode has so much going for it if the central idea wasn’t such a misfire.

As you may have guessed by this review, I obviously think it’s valid to criticize aspects of art that you don’t like. So in theory, it sounds awesome to have artists respond to such criticism to make a product that you as a fan enjoy more. But we now live in an age where absolute garbage like CinemaSins allows people to pretend that productive criticism is just nitpicks, an inability or refusal to understand basic nuance, and frankly bigoted ideas about what certain people are capable of doing (if you have half an hour to spare, Everything Wrong About Everything Wrong About Civil War delightfully gets into all three!). It’s a double-edged sword, because creators listening to fans perhaps isn’t inherently bad, but a desperation to fill in “plot holes” at the expense of good storytelling is detrimental to modern storytelling (if you have another half an hour to spare, watch Lindsay Ellis’s take on Beauty and the Beast for more on this; this is a review with homework!). And this is on top of the potential of harassment covered in Rocknaldo, which not even the lousiest content creator deserves.

Tiger Philanthropist isn’t about bad faith criticism, as Lars’s views are from a sincere place, but its message of not treating fans like bosses is a valid response to fandoms who want more and more influence over the direction of an artist’s work. Which could’ve veered towards self-importance or hackneyed nods to the camera, so I appreciate that I never feel pulled out of this element of the story. We never shift from a regular episode of the show to a screed from the animators, and again, Lars isn’t villainized for not enjoying Tiger Millionaire’s face turn. Combined with Rocknaldo, we can see how important good boundaries between fans and creators can be, both for the well-being of the people involved and the quality of the art being created. Shirt Club gave us a tribute to making art, and the Fandom Menace (it’s growing on me) sees a more experienced team of animators commenting on a specific issue when creating popular art, all while not coming across as bitter or self-congratulatory. If only they’d done it in an episode with more buildup!

Obviously the creation of a big letdown wasn’t the intent of the crew, despite how neat it’d be to demonstrate fan disappointment through a purposefully disappointing episode. Rarely do I feel like effort isn’t made to produce a good episode of Steven Universe, and as seen in its strengths, Tiger Philanthropist isn’t lazy. Which makes it a little more frustrating than if they phoned it in, because we’ve got jokes and visuals and a great message but none of it matters when the conflict they wrote requires a backstory they didn’t have. If you’re gonna make an episode about the end of a continuity, it’s critical for literally any amount of that continuity to be established beyond one wayward story over a hundred episodes ago. As it is, I couldn’t wait for this episode to retire.

We’re the one, we’re the ONE! TWO! THREE! FOUR!

Tiger Philanthropist was a huge disappointment, but I wouldn’t consider it bad enough to go on my No Thanks! list. With a different leadup of episodes it would be great, or at least fine; it just suffers from a plot that comes out of nowhere. Context can’t salvage my bottom list, which are episodes I just don’t like period. Still, if I was doing more thorough ranking, it’s probably in my bottom ten.

Top Twenty

Steven and the Stevens

Hit the Diamond

Mirror Gem

Lion 3: Straight to Video

Alone Together

Last One Out of Beach City

The Return

Jailbreak

The Answer

Mindful Education

Sworn to the Sword

Rose’s Scabbard

Earthlings

Mr. Greg

Coach Steven

Giant Woman

Beach City Drift

Winter Forecast

Bismuth

Steven’s Dream

Love ‘em

Laser Light Cannon

Bubble Buddies

Tiger Millionaire

Lion 2: The Movie

Rose’s Room

An Indirect Kiss

Ocean Gem

Space Race

Garnet’s Universe

Warp Tour

The Test

Future Vision

On the Run

Maximum Capacity

Marble Madness

Political Power

Full Disclosure

Joy Ride

Keeping It Together

We Need to Talk

Chille Tid

Cry for Help

Keystone Motel

Catch and Release

When It Rains

Back to the Barn

Steven’s Birthday

It Could’ve Been Great

Message Received

Log Date 7 15 2

Same Old World

The New Lars

Monster Reunion

Alone at Sea

Crack the Whip

Beta

Back to the Moon

Kindergarten Kid

Buddy’s Book

Gem Harvest

Three Gems and a Baby

That Will Be All

The New Crystal Gems

Storm in the Room

Like ‘em

Gem Glow

Frybo

Arcade Mania

So Many Birthdays

Lars and the Cool Kids

Onion Trade

Steven the Sword Fighter

Beach Party

Monster Buddies

Keep Beach City Weird

Watermelon Steven

The Message

Open Book

Story for Steven

Shirt Club

Love Letters

Reformed

Rising Tides, Crashing Tides

Onion Friend

Historical Friction

Friend Ship

Nightmare Hospital

Too Far

Barn Mates

Steven Floats

Drop Beat Dad

Too Short to Ride

Restaurant Wars

Kiki’s Pizza Delivery Service

Greg the Babysitter

Gem Hunt

Steven vs. Amethyst

Bubbled

Adventures in Light Distortion

Gem Heist

The Zoo

Rocknaldo

Enh

Cheeseburger Backpack

Together Breakfast

Cat Fingers

Serious Steven

Steven’s Lion

Joking Victim

Secret Team

Say Uncle

Super Watermelon Island

Gem Drill

Know Your Fusion

Future Boy Zoltron

Tiger Philanthropist

No Thanks!

6. Horror Club 5. Fusion Cuisine 4. House Guest 3. Onion Gang 2. Sadie’s Song 1. Island Adventure

#tiger philanthropist #steven universe #su #steven universally #review

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biofunmy · 6 years ago

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The Dolphins Are Awful. Brian Flores Is Fine.

DAVIE, Fla. — Before agreeing to become the head coach of the Miami Dolphins last winter, Brian Flores consulted his former high school coach in Brooklyn. The response was, sure you’ll have to face New England twice a year, but even Bill Belichick has to retire at some point.

“They won’t be great forever,” Dino Mangiero, who coached Flores at Poly Prep Country Day School, advised him. “Miami might be a really good place to land.”

And at some point for Flores, it might be. It is impossible to judge an N.F.L. head coaching career that consists of two games with a franchise that has gutted its veteran talent and is rebuilding with fragile youth and the hoarding of draft picks.

But after losing to New England by 43-0 on Sunday — the Super Bowl champion and A.F.C. East rival for whom Flores worked the previous 15 seasons — the winless Dolphins have been outscored in two games, 102-10. The team might not be merely bad, but historically futile.

To many observers, Miami’s front office seems to be tanking to secure the first overall pick in the 2020 draft. Safety Minkah Fitzpatrick, the team’s No. 11 draft selection in 2018, asked out and was traded to Pittsburgh on Monday. Every position, Flores said recently, is up for evaluation.

On Sunday, the team’s owner, Stephen Ross, told reporters that he remained committed to rebuilding for long-term success. The Dolphins have five first-round picks and four second-round picks over the next two drafts. Flores, 38, has a five-year contract.

“I think he’s the right guy to lead us through these times,” Chris Grier, Miami’s general manager, said Tuesday.

Still, black head coaches tend to have the most precarious hold on jobs with the most vulnerable teams and the most limited opportunities for a second chance helming a staff elsewhere. Last season, five African-American head coaches were fired.

So far, Flores has shown a rare ability to remain even-keeled during one of the rockiest starts to an N.F.L. head coaching career, with no outward sign of anguish or regret. That stoicism is fitting perhaps for someone whose life has been built on a refusal to despair. He is the son of Honduran immigrants, born to a family who lived in the frayed Brownsville neighborhood of Brooklyn, where violent crime has declined but where official neglect, gang feuds and ruthless poverty have been corrosive.

It is one thing to lose football games. It is another to grow accustomed, as Flores has said he did, to helping his mother carry groceries up 20 flights of stairs when the elevators failed at the Glenmore Plaza housing project.

“I’m very prepared for difficult moments,” Flores said Monday. “I learned resiliency at a very early age.”

Flores and three of his four brothers have master’s degrees. And Brian appears to have become only the eighth N.F.L. head coach in the modern era from New York City, — no one’s idea of a football hotbed — according to the Elias Sports Bureau, the league’s official statistician.

Flores possesses a singular identity in professional football — black and Latino at a time when there are only two other African-American head coaches (Mike Tomlin of the Pittsburgh Steelers and Anthony Lynn of the Los Angeles Chargers) in the N.F.L. and one other Hispanic coach (Ron Rivera of Carolina).

While Belichick, Flores’ mentor, is the epitome of a gruff, taciturn coach who reveals little, Flores possesses a blunt candor. During a training camp practice, he played eight consecutive songs by Brooklyn-born Jay-Z as a rebuttal to then-Dolphins receiver Kenny Stills, a social activist who criticized the rapper as being tone-deaf after he formed an entertainment and social justice partnership with the N.F.L.

But Flores also gave an impassioned defense, rarely done by the league’s coaches, of the right of Stills and the ostracized quarterback Colin Kaepernick to kneel during the national anthem in protest against racial inequality and police brutality.

“They’re bringing attention to my story,” he said. “I’m the son of immigrants. I’m black. I grew up poor. I grew up in New York during the stop-and-frisk era. I’ve been stopped because I fit a description before. So everything these guys protest, I’ve lived it, I’ve experienced it.”

The Flores family story reflects the classic American immigrant experience. Yet his ascent in America’s most popular sport comes as the Trump Administration attempts to bar most Hondurans leaving a Central American country overwhelmed by poverty and violence from seeking asylum in the United States. The administration has also tried to end the protected status of some 57,000 Honduran immigrants, many of whom have been in the U.S. for more than 20 years.

“What’s interesting about Flores is that he’s part of multiple identities,” said Danielle Clealand, an associate professor of politics and international relations at Florida International University who studies Afro-Latinos in Miami.

As an N.F.L. coach in a sport fundamental to American identity, Flores has challenged the notion in a divisive political climate that immigrants do not belong in the United States, Clealand said.

“We have to think of the diversity in those communities and how they have integrated into our society, ” she said.

Asked what he thought of the President Trump’s plan to severely restrict Hondurans from entering the United States, Flores said Thursday through a team spokesman, “My journey is the answer to that question.”

With Flores on the sidelines, the Dolphins, are the only N.F.L. team with a black head coach and a black general manager, Grier. Ross, the team owner, is the founder of a nonprofit called RISE — the Ross Initiative in Sports For Equality — whose mission is to use sport to help improve race relations.

But Ross’s reputation for progressiveness grew complicated in August when he held a re-election fund-raiser in the Hamptons for President Trump. Stills, the receiver, criticized Ross via Twitter, writing, “You can’t have a nonprofit with this mission statement then open your doors to Trump.”

When Stills also criticized Jay-Z and Flores responded with his calculated playlist, the move drew mixed reaction. Mangiero, who coached Flores in high school, said he chuckled at Flores’s feistiness.

But the Miami Herald responded harshly on its editorial page, saying that Flores’s musical choice was insensitive and “looked like a smirking taunt, giving the back of his hand to a real-life American plague.”

Flores said he was challenging Stills to perform at a higher level and to not become distracted by events outside the team. Whatever scrutiny he received, Flores said at the time, he would continue to coach his own way. “If anybody’s got a problem with that, we’ve just got a problem,” he said. “We’re going to agree to disagree.”

Days later, the Dolphins traded Stills, an extremely popular player, and Laremy Tunsil, an emerging star at left tackle, to Houston. Asked if the trade was personal or political, Flores told reporters, “Not at all.” The compensation received by the Dolphins, which included two first-round draft picks and a second-round pick, “was something we couldn’t turn down,” Flores said.

He seemed taken aback by the widespread attention paid to the Stills/Ross/Jay-Z controversy. To Richard Lapchick, the founder and director the Institute for Diversity and Ethics in Sport at the University of Central Florida, Flores attempted to perform a delicate balancing act. In playing the Jay-Z songs, Prof. Lapchick said, Flores appeared to be “toeing the company line.”

But Flores’s plea for social justice was something few coaches outside of the N.B.A. ever address, Lapchick said, excepting the mass demonstration of solidarity that occurred across the N.F.L. on Sept. 24, 2017, after President Trump criticized protests during the national anthem.

“He realized, ‘My players do have opinions,’ and if he wants to successfully coach them, he can’t be dismissive, as the playlist seemed to indicate he was,” Lapchick said.

As a New Yorker, Flores is another sort of rarity in the modern N.F.L. His only current compatriot is Jacksonville’s Doug Marrone. Other New Yorkers who have coached include the legendary Vince Lombardi and the less than legendary former Jets and Eagles coach Rich Kotite, with his career record of 41-57.

Flores’s parents — Raul and Maria — immigrated from Honduras in the 1970s, speaking no English, seeking a better life, and his father spent as many as 10 months each year away as a merchant seaman. An uncle, Darrel Patterson, then a Brooklyn firefighter, became a father figure, taking the Flores brothers bowling and on trips to a video arcade. Traveling home one evening when Brian was 12, he said he spotted a Pop Warner game and asked his uncle if could play.

Patterson, 66, and now a fire safety educator, remembers the football origin story somewhat differently: He visited the family’s apartment in Brownsville on a beautiful fall weekend, only to find the brothers watching television. When asked why they were indoors, Brian or one of his siblings, replied, “Mom doesn’t want us outside; she thinks it’s too dangerous.”

Patterson said he took the brothers in his station wagon to a youth league game in Howard Beach, Queens. Brian ran an impressive 40-yard dash and was pointed to the team equipment van, where he grabbed a helmet and shoulder pads. But no one in his family had ever played football and the shoulder pads felt awkward.

“He had the pads on backward,” Patterson said. “We turned them around and from there he excelled.”

Flores received a scholarship to Poly Prep Country Day, an elite academic and football school, commuting more than an hour across Brooklyn by bus and subway. He struck Mangiero, his coach, as Flores strikes many people — serious, driven.

At Boston College, Flores played safety and linebacker, but a leg injury in 2003 ended any slim chance of playing professionally. So Flores famously wrote to every N.F.L. team looking for a job. He took an entry-level post in the Patriots’ personnel department in 2004. His duties included getting coffee and picking up dry cleaning. He slept on an air mattress in a friend’s attic for a time. He climbed from scout to assistant coach, to the de facto defensive coordinator last season as New England won its sixth Super Bowl.

Miami players describe Flores as New England players did. Quarterback Ryan Fitzpatrick: “He’s been great being upfront.” Linebacker Vince Biegel: “Steady Eddie.”

Flores often recalls his mother, Maria, who died of breast cancer in March, shortly after the Dolphins named him head coach, forcing him to practice his reading when he was little and wanted to cut the lessons short. She would grab him by the ear and tell him, “We’re going to do this right now.” So that is how he plans to rebuild the Dolphins: Move forward. Persevere.

“You always know that if you put your head down and work hard,” he said, “things normally turn around and get better.”

Alain Delaqueriere contributed research.

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