#my only explanation is... vibes. I have a general idea of the conversational / plot flow and go from there

[wtl-archive]

Any time I'm forced to explain anything about the actual script of this AU I feel like the creator of Cruelty Squad when Pyro was interviewing him

[makeste]

BnHA Chapter 304: The Council of OFA

Previously on BnHA: Hawks and Best Jeanist were all, “what up Todofam, we are here to apply for the positions of ‘son #4’ and ‘weird uncle’, respectively,” and then proceeded to insert themselves into the family drama without waiting for an answer. Hawks briefed Endeavor on the nation’s current status of “totally fucked”, promised to help him sort that out, and then asked him about OFA. Endeavor was all, “oh do you mean One For All, the mysterious thing that my intern Deku was apparently being targeted for?” and then we cut away, presumably before Endeavor could clarify that it never occurred to him to follow up on that, and Hawks was all “no of course not, why would it occur to anyone other than me to follow up on any of this super weird and ominously important shit.” Anyway so meanwhile Bakugou was all “LET ME SCREAM AT DEKU UNTIL HE WAKES UP” and the other kids were all “NO”, and then the chapter ended with All Might being all “I wonder what the vestige!me is currently chatting with Deku about.”

Today on BnHA: Deku drops in on the Vestiges, who are all “sup Deku, how do you like our fancy chairs.” OFA II and III are all “if you need us we’ll just be standing here silently in the corner pretending to be invisible and sparking endless discourse with our mere existence.” OFA IV is all “and now I will explain to you in a very convoluted way that you being quirkless was actually a good thing, since it means that you are probably not going to suddenly drop dead at the age of twenty. But also you’re probably going to be the last user of OFA for that very same reason.” Deku is all “that is wild. I’m just gonna stand here and stare at my hand.” Nana is all “so now that that’s settled could you please do me a small favor and kill my grandson for me”, because having just one topic to discourse about this week WASN’T ENOUGH, apparently. Thanks so much Horikoshi.

(ETA: okay so just a note before I start, this week’s RHA translation was a huge mess, so I followed up this chapter by reading a couple of other translations. the main one I’m using for reference is the one by @hanashimas​, whose weekly posts I highly recommend. anyway so you’ll see a couple of ETAs in this post in places where the initial translation was off.)

how many layers of bandages did they wrap this poor kid’s fucking hand in omg

jesus Deku. are you holding onto a bouquet of flowers under that thing?? or a tennis racket??

omg yes, finally

is he reading these names off a teleprompter lol. and if so, what has Jeanist ever done to slight you, Deku? “god bless Kacchan and Aizawa-sensei and Todoroki-kun and everyone else in the whole wide world... except for Best Jeanist. fuck that guy.” actually this joke would be funnier if half of tumblr didn’t legit feel that way lol but anyway

OH MY GOD

I NEED TO HAVE A TALK TOO. ABOUT, OH, EVERYTHING

I got immediate KHR vibes from ALL OF THIS. this is seriously such a Vongola aesthetic. “let’s use the luxuriously cushioned chairs with the seat backs that are ten feet high, and arrange all of the handsome ghost people in a big circle” like come on

that said there are also some slight LoTR vibes as well. “bring forth the ring, Deku”

I like how Six is sitting there with his feet drawn up all casual, but with his arms inexplicably sticking STRAIGHT OUT IN FRONT OF HIM and dangling over his knees like he’s doing some sort of zombie walk

apparently the Fourth wasn’t a big fan of shoes huh

interesting that All Might is the only one who’s still faint/indistinct, and and that Two and Three are fully visible

(ETA: the rest of my speculation about Two and Three has been moved into a separate post, the better to focus on the shit that’s actually happening in this chapter lol.)

and lastly, interesting that all of them are talking now, except for All Might (and I guess the Second and Third as well). to the best of my knowledge Deku hasn’t unlocked the Sixth’s quirk yet, so I guess the quirks don’t really have anything to do with it

oh and it looks like Deku’s mouth is still covered. I guess that’s convenient for the vestiges since we all know it’s hard to stop Deku once he gets going. but on the other hand it’s very inconvenient for people like me who wanted to see some interaction. alas

so First says that OFA’s power has grown a lot in the last four months (i.e. since Deku unlocked Blackwhip), and now the vestiges can communicate with each other as well as Deku

so even when Deku’s not around they can all just chill with each other. this is such a weird thing to me lol. like it’s cool, don’t get me wrong, but it’s also strange as hell to know that you’ve got eight other people hanging out in your head spying on everything you do and having conversations with each other about it. it would be like if Dark Shadow had someone to hang out with other than Tokoyami. good thing you weren’t triplets, Tokoyami

First says that it’s become easier for the vestiges to interact with Deku ever since TomurAFO barged into the OFA Domain back at Jakku. huh

(ETA: apparently this is because AFO forcibly pulled out OFA’s power when he was trying to steal the quirk, so I guess that makes sense.)

okay thank you Banjou for addressing this concern which I initially brought up as a joke, but which was apparently real enough for you to reassure Deku about

“don’t worry, even though we’re awake and hanging out inside of you at all times, we’re definitely not secretly watching and making fun of every single thing you do” hmmmmm

(ETA: “not that you could do anything about it even if we were, since you’re probably going to be the last OFA holder ever!” I don’t trust anything this asshole says lmao.)

OH SHIT??

YESSS DEKU now you can hold them accountable for all of their bullshit! because I do not doubt that there will be bullshit lol but let’s see how that goes

oh damn

well okay then. you didn’t have to stand up and walk over to him and loom all threateningly like that but okay sir

this guy has kind of a Kimimaro vibe to him. remember? that bone-growing guy from Naruto? except I’m pretty sure he had eyebrows. and wasn’t twenty feet tall. speaking of which, that explains the chairs

why are you wearing only 3/5ths of a shirt

lol what

someone’s gonna have to explain this to me. is he just redundant or something lol, or is he strangely poetical or what

(ETA: apparently HE’S MAKING A PUN omg. I immediately gained +10 love for him lol. also it flows a lot better in Japanese. this is one of the things Caleb is usually good at, so we’ll see what he does with the wordplay.)

omg the hermit theory is true!!

“I’M NOT WEIRD, IT’S SOCIETY WHICH IS WEIRD.” lol whatever you say buddy. also love how Banjou tried to give him a big hearty slap on the back but Hermit Boy was not having it lmao

IS HE TRYING TO CAPTURE HIM WITH BLACKWHIP

AND ACTUALLY, NO, SIR, AS A MATTER OF FACT, WE ARE NOT AWARE. SO SPILL!!

?!!?

okay my first response was LOL ARE YOU SERIOUS, THAT’S THE BIG SECRET!? -- and then it hit me what the significance of “died from old age... AT AGE FORTY” meant. at which point it was like “!!!!!” and then “OH, SHIT”

(ETA: there’s also an Iida joke here somewhere but I’m just too tired to make it.)

oh my god oh my god

did he somehow get a copy of the coroner’s report or something? like how does he even know that he died from “old age” as opposed to any number of other natural causes? ??

but anyway. so this is the quirk singularity coming into play then I guess. but then how come All Might is still alive and ticking?

(ETA: so this is one example of where this week’s translation is a mess lol. apparently the Fourth explains here that he didn’t know what the fuck he died from until All Might researched it. and it turns out there actually was an autopsy lol so there you go.)

so Fourth says he held OFA for eighteen years, and since he knew he would never be strong enough to defeat AFO on his own he basically just spent all his time punching rocks in the woods and training to power the quirk up

oh shit

is he implying that his body literally fell apart?? like that’s how he got the scars on his face? -- IS THAT WHAT KEEPS HAPPENING TO TOMURA, THEN. oh shit

DUDE

so you’re telling me that this quirk actively shortens the lifespan of anyone who uses it?? and my little boy here has had it now for a year already?? fuck me, I have immediately have a TON of thoughts about all this but let me save it until he’s done with his explanation

THANK YOU, DEKU

right?? how come All Might didn’t die then. even after he got injured. please don’t tell me he actually is dying still and is just being slow about it because I SWEAR TO GOD

what does this mean??

so what you’re trying to say is you all have NO FUCKING IDEA how long Deku’s gonna be able to hold this quirk before he SUDDENLY DROPS DEAD?! five generations ago this dude was able to hold it for eighteen years, and then four generations later All Might was able to hold it for thirty-odd years or so, and now Deku has it and you all have no clue which way it’s gonna go? actually this makes it sound like it really wasn’t OFA that killed the Fourth at all and you guys are just really bad at forming hypotheses. but since you’re making a big plot point out of it I guess it must be true

and don’t think I didn’t notice the part where you said you didn’t have OFA very long and then “died while fighting”, Firsto. I want to hear more about that. specifically who you passed the quirk onto before your death

and yes, if we are agreeing that OFA was the cause of the Fourth’s death, then the conclusion on this next page is the natural one to draw

so that’s a bit of a relief then, because Deku is quirkless too. so it means he won’t be able to hold OFA forever (and will probably have to find another quirkless person to pass it on to), but at least he won’t be randomly dying out of the blue next Tuesday or something

oh my god now he’s talking about OFA and AFO and user consciousnesses and all sorts of good theory stuff but it’s so much exposition. you’re really gonna make me read all this lol

wait what. why would All Might being quirkless have anything to do with the presence of his vestige in OFA Outer Space Party Land

but Deku is also quirkless and he’s clearly visible and chatting with you guys. so what gives. like how much of this is verified fact and how much of it is you guys just shrugging and making stuff up lol

SERIOUSLY, GUYS

BUT DEKU IS ALSO -- you know what, never mind sob. none of this shit makes any sense but whatever

(ETA: seriously, this all seems like an awful lot of speculation on their part. for Deku’s sake I sure hope they’re right.)

FSSKDJFLSKLKJLKJL ALL MIGHT IS FIFTY-FIVE?!

lol that’s a full ten years past my closest estimate, wow. but this pretty much confirms his age now at last! or at least confirms it within a couple of years, because we know All Might and Nana met when he was in middle school, and he presumably had the quirk by the time he took the U.A. entrance exam. so yeah. gonna go with fifty-five

so they think that because All Might was quirkless, OFA was better able to adapt to his body and became his true quirk, as opposed to being an extra quirk that stacked on top of the one he already had and overwhelmed him. ties in back to the whole “AFO used to bend people to his will by forcing quirks on them” thing, as well as the “Noumus are all mindless because of the strain of having multiple quirks”

Two and Three are really ruining the serious vibe of this scene here lol

they look like they’re doing the counting for hide and seek

and is this Deku talking now? I was about to get mad at First for implying that quirkless people are somehow freaks, as opposed to “normal” people jdslk

so in other words, don’t go giving it to your best friend all casually for shits and giggles, Deku. even if it would make a really cool climax for a movie. well shit. maybe that’s why they were so quick to nope back into Deku’s body afterward

so First says that because quirkless people are becoming rarer and rarer, the fact that All Might just happened to stumble upon Deku is “nothing short of a miracle.” which, yeah, that was definitely a stroke of luck there. being quirkless saved his life. but being quirkless is also part of why he was chosen in the first place, and we’ve always known that much

“in other words, kiddo...”

looks like there was some hurried clone stamp usage going on here lol. but props to RHA as always for putting this scan out so fast, especially given how exposition-heavy this week’s chapter has been

“anyways, that was the main topic” ARE YOU SERIOUS. there are like ten other topics imma need you all to get to here, people

(ETA: seems like this is a mistranslation; the line should actually read something more along the lines of “and now for the main topic.”)

FFFFFFFFF

“ENJOY YOUR CLIFFHANGER THIS WEEK.” dskfalkjlkjwlgkjl you really went and dumped this discourse on us yet again. fucking...

(ETA: forgot to mention, but as several people mentioned, this seems to be another mistranslation -- rather than asking Deku to kill Tomura as though it’s doing her a personal favor, Nana is asking “will you be able to do it.” in other words more of an “are you capable of doing it” type of thing. which is a very reasonable question to ask given that Deku is, well, Deku.)

anyways, and the answer is obviously going to be “no” of course. this isn’t going to end any differently than when the previous Avatars all told Aang to kill Ozai. but I guess it means we’re in for a fun conversation next week

so Nana looks pretty grim here though (nothing at all like the person who once taught All Might the importance of saving people with a smile), and I’m wondering if this means she believes that her grandson is already beyond saving. as in killing him would be a mercy, as opposed to him continuing to live with AFO bending his mind and body to his will. except if that is the case, I think she’s underestimating Tomura’s own will. and definitely underestimating Deku’s will to save

and also, just... I’m so fucking sick of AFO screwing the Shimura family over, honestly. this is exactly what he wanted. well fuck you, guy. you don’t get to have what you want. go out there and save Tomura, Deku. for his sake and for Nana’s. give them some hope. do your thing, boy. can’t wait for your big speech all about it next chapter lol

[sukirichi]

heeeey do you have any advice for newbie writers?

writing advice for newbies!

disclaimer: the advice i’m going to give (funnily enough) is not something that i always personally do. i’ve been writing both fiction and non-fiction for years, i only came to tumblr because i wasn’t satisfied with how i kept pressuring myself to write “high literature” after gaining awards and recognition for my stories. my fanfiction here in this blog...it’s unrefined, definitely not what i used to write before because i’m a lot less serious about it and i’m just writing freely. but the advice i’ll list below is personally some stuff that has helped me a lot in my entire writing journey! Some are technical, some are personal! down below will also list some tumblr related writing advice! 

1. Keep writing! No one is born a great writer. Before I actually started publishing/posting my stories, I remember I spent at least five years writing the most random crap just so I can get a feel for what my style is. Plus, the more you do things repeatedly, it’ll come eventually like second nature to you and you’ll find the words are flowing. Keep writing, keep writing, keep writing! Even if you’re not satisfied with your first work, that’s okay, just keep going on!

2. Be mindful of what tense you’re using. NOW I KNOW I DON’T REALLY FOLLOW THIS BUT THAT’S BECAUSE I DON’T EDIT MY FICS LMAO, but you could totally do this! So in writing, we have “voices.” The narration will always use tenses of whether the entire story will be past tense or present tense and it’s important this remains consistent in your entire story. This one is TECHNICAL, this just help improves the flow and formality of your story. As for me though, I don’t really care about the tenses anymore because like I said, I just write freely with no regards for “creative writing techniques.” an example of past tense is: Suki jumped to Naoya’s arms. “My love!” she called, wrapping her arms around him. (RIP EXAMPLES) and present tense is: Suki jumps to Naoya’s arms. “My love!” she calls and wraps her arms around him. (this could be real flexible tho, this is just an example ehehehe)

3. Be mindful of dialogue tags! There’s a huge difference between putting periods and commas after dialogues. Like for example, “Suki loves Naoya,” she declared. If it’s followed by an action, the comma is best. Or example, Suki said, “I really love Naoya.” If the statement can stand alone, then it can be “Suki really loves Naoya./I really love Naoya.” There’s better explanations here! And one more thing, you should put the commas/periods inside the quotation marks. There’s more variations/explanations here but generally, this way of writing,,,example: “Suki really loves Naoya”, LIKE??? if it’s a dialogue, put the commas/periods inside the quotation marks.

4. PARAGRAPH BREAKS. I cannot stress this enough. There should be a variety in the sizes of your paragraphs. Long paragraphs should be followed by smaller ones, varied with medium paragraphs and then so and so forth. There’s no formal sequence that it should be LONG – MEDIUM – SHORT – MEDIUM – LONG, writing is flexible, just make sure you’re varying the lengths because reading long, chunky paragraphs with no end is equally annoying as reading paragraphs that are always 1-2 sentences and then a paragraph break.

5. Outline, outline, outline! Whether it’s long fics or short ones (excluding drabbles, I don’t think you need them that much) outlines will help you have a more solid feel of your story, and you can easily track your story flow when you have your ideas plotted out. or me, my outlines is in the form of Dialogue Outline, where I write out all the dialogues first so my pages will be just conversations then I’ll add the monologues/actions later. That’s personally what works for me, you can discover your own writing style <3

6. Research! Now this is pretty funny for me to say this because I don’t really do research, at least not the “how to effectively write this type of role” or whatever. Of course it’s better if you try to learn more about the concept you’re going to write about (like if you wanna do a vampire AU then read Twiligh – JK THAT’S A BAD REFERENCE, SORRY NOT SORRY, love the memes tho!) or you can do my own way of researching, which is reading other people’s fanfics! Not only do you get a vibe of how this character is like, but you also get to support other content creators!

7. You don’t need verbs all the time. Sometimes I see stories wherein ALL dialogues have “said” “screamed” “explained” on EACH line and here’s the key: as long as the readers can understand which character is speaking, you don’t need dialogue cues all the time. 

8. PUT THE KEEP READING TAB. I cannot stress this enough, but please put the keep reading tab. Drabbles are fine without them, but if it exceeds maybe 400 words then you’re going to need that. Sure, it’s easy to scroll past a long text, but some fics are super long and without the keep reading tab that it can be quite a hassle to whoever sees it.

9. Have your own writing safe space. Now this could be more personal than technical, but I absolutely cannot write or focus when I’m in a public space or when I’m being bothered. So if you want to write, SHUT THE WORLD OUT and dive deep into your imaginations, let the noise of your fantasies be louder than distractions.

10. Take your time! I guess that would be my best advice. You don’t have to rush anything at all, and one more thing, DO NOT OVERTHINK! Maybe this is just me but I honestly don’t really try to dive too deep in the technicalities anymore :// I’ve been in Creative Writing class for years and it stressed me out that my writing teachers always told me “not to use big words because no one will understand that” or “don’t try to paint the picture too clearly because not everyone has that big of an imagination” and I was like ISN’T THAT THE POINT THOUGH, TO MAKE PEOPLE IMAGINE THINGS? but yeah anyways, maybe this is just me again, but I find that I write better when I’m not overthinking too much on how to write a “perfect” story. I don’t always have the prettiest words to use. I don’t always have the most intricate plot. I don’t always have the most poetic content that is “inspiring” or “moving.” Sometimes I write stupid shit that has no plot at all, and that’s okay. Just write whatever you want tbh, I’d say my biggest advice is to not worry too much about having the “perfect” story. It’s still great to do research and want to improve your writing skills, but hmm...I guess I’d say the most important thing is that you enjoy what you do!

11. “There is nothing to writing. All you do is sit down at a typewriter and bleed.” – Ernest Hemingway. This is one of my favourite quotes because it’s true, writing is both complicated and simple, but as for me, writing is something that I don’t want to stress too much about. There isn’t really an actual right or wrong, there isn’t a law, just some techniques that could help you improve, but at the end of the day, it should be about the steady state of progress or the “creation flow” that matters the most. Just write, that’s it. You’ll get there eventually and you’ll start creating magic before you know it. Just let the words flow and build, worry about quality later when you edit it. Or you know, if you’re lazy like me, just post it when you’re done LMAO. really though the BEST advice is to enjoy the process and not stress too much about it!

here is a previous ask i answered that may be of help too! 

[nowis-scales]

Pre-Verdant Wind Endgame Update

An Update on the ol’ Three Houses Verdant Wind playthrough, since I’ve been neglecting documenting my journey properly for a bit:

• My current placement is Ch.20, so I’m only a few chapters away from the last one. It’s kind of a weird thought because I feel like I just hit the timeskip, but I’m keeping my fingers crossed that this will feel well-paced out. In terms of writing, I’m known for being a bit of a stickler for good flow. It’s why all of my fanfics take so long to update! I have to make sure my flow is perfect.

• The fact that they have been giving background information on characters has been so amazing. Learning that Raphael’s sister’s name was Maya and getting to hear about her has made me irrationally happy.

• Also, just generally, holy shit people sleep on Raphael and Leonie. Raphael often gets shoved to the side, and Leonie is treated like her only trait is liking Jeralt, and for me it all just culminates in the question of “so did you like... not do their support conversations, or...?” Seriously. I think Leonie might be one of my favourites in the game so far, and I adore Raph. He’s so sweet!

• The Flame Emperor reveal for some reason gave me “and I would have gotten away with it too, if it weren’t for you meddling kids” vibes. I liked the venom Cherami Leigh had there as Rhea, too. I think I read from someone that in Japanese, Rhea’s actually super calm in that scene. I don’t think I have a preference towards the anger or the calmness, honestly. I think I just liked how smoothly the emotion came across. Plus, I’m a little biased, I’m fond of Cherami as an actress. I haven’t found a performance from her I haven’t enjoyed yet.

• I was really confused as to why Seteth showed up in my house after Chapter 12ish I think? I wasn’t expecting him to just be there after the paralogue, but I definitely wasn’t unhappy. I do like him! I just never use him, because I recruited Bernadetta and Sylvain, so I kinda have a full roster going... 

• I was also confused in the Gronder Field fight because I couldn’t see what people meant about Bernie getting set on fire. Then I remembered Bernie wasn’t on the hill because she was with me. I recruited her. Whatever this proves about me, I don’t know.

• I did end up beating Marianne’s paralogue! It actually wasn’t as hard once I levelled her up a bit and classed her to a Holy Knight. The big thing with her in that paralogue seems to be that she needs a decent amount of power and movement to really get by, so that’s what I’d recommend for anyone else playing it. Using rescue will also probably help you out, but I tried to avoid using Flayn there because it’s kinda easy to kill her. 

• Admittedly, I’m not 100% sure how I feel about the support system. In some ways, I think it’s better that not everybody has that forced S-Support. Oftentimes we were either squeezing a love confession out of two characters who were unlikely to have one, or characters with decent potential might get snubbed because their connection was less apparent to the writers (and unfortunately that still does happen in the case of same sex S-supports in 3H). Having the conversations only go to a certain point is helpful, but at the same time, the inherent romantic undertones of several of the A-supports do make things feel strange. If it weren’t for the fact that I know characters can have only one partner as their paired ending, I would think lots of them were in a polycule. Nothing wrong with that as long as everyone’s comfortable, but because I know they can only have one person in their ending, I find it pretty jarring.

• I think it was interesting that they went to do the fights for breaking into Enbarr and then taking down Edelgard back-to-back. I’m glad they did, honestly, because while I don’t usually like to do two fights next to each other unless I’m grinding, it doesn’t mess with the suspension of disbelief. It would be stupid to break into Enbarr and then just run right back to the Monastery.

• I have still not completed the randomized quest from just after the timeskip. You know, the one I was yelling about with the weeds? Still haven’t gotten any weeds. I think I might just have to give up on it. It’s hilarious that my luck is so good that it’s actually bad.

• The fact that Byleth is praised for having more of a personality than Corrin is the biggest slice of bullshit I have heard from this fanbase in a long time. Byleth is literally designed to be a silent protagonist with nothing going on with them – they even came up with a story reason for why Byleth is such a blank sack of meat! In the kindest way possible, I don’t think most people realize that they are implementing whatever personality they want onto Byleth. Personally, I don’t find anything relatable about being stoic, calm, and not inclined to anyone (until plot happens, of course). I’ve always been the overly enthusiastic and caring type, with a tendency towards nervousness. Trying to relate to Byleth was like trying to relate to the experiences of a cactus. While I definitely don’t think Corrin is the strongest of the modern FE avatars – that award goes to Robin – they still had some things I could understand and relate to. If you’re not the type of person who loves the cool, “I fight for my friends” types like Ike, though, you’re likely to have a hard time relating to Byleth. If you can manage that type of character, then you’re more likely to have present them with a personality of their own.

• Actually, while we’re on the topic of Byleth getting praised for things Corrin got dragged for, the fact that Corrin is still cited as the character who receives the most “player pandering” is ridiculous too. Do a lot of characters like Corrin? Yeah! But most of them who do are deeply traumatized in a way that inclines them specifically towards Corrin. The Nohr siblings cling to each other due to their abusive childhood, the Hoshido siblings all in some capacity seem to suffer from abandonment issues (oldest) and/or attachment issues (youngest), and the official foursome of retainers have also had some sort of abandonment struggle in their past (forced separation from parents, murdered loved ones). While the cast of Three Houses needs therapy and is traumatized too, there is no reason why the inclination moves towards Byleth. Bernadetta feels safe around them just because. Edelgard is obsessed with them just because. Marianne learns to feel better about herself just because. Why are there so many exceptions for Byleth, and so many just without explanation? I don’t hate Byleth by any means, but these two things make my opinion of them lower than it would be otherwise. It kinda sucks that my image of Byleth is tainted by the fanbase’s hypocrisy, but I know I can’t have everything.

• The gameplay overall for 3H has been pretty fun! I love the addition of the Demonic Beasts, as annoying as they are to fight. There’s a charm to having some of your stronger units working to take on the soldiers blocking the path, meanwhile your army’s more intermediate strikeforce works to keep them safe by bringing down the beast. Once you get the hang of it, gameplay with the new additions is fun. The only thing I don’t use is Divine Pulse, but that’s because I’m on Casual and usually when I want to rewind, I want to just plain start over. So I use the old “turn off and start again” trick.

• Edelgard’s death scene was actually pretty good. I must confess that I went out of my way to avoid Edelgard in the academy phase, as I knew how hard the game was going to hit me with the “she’s obessed with you” thing and I wanted to see how wonky it would feel if I didn’t speak to her much. I was right that it’s incredibly awkward in terms of writing when you haven’t spent the time with her, but surprisingly, her death scene still holds up. Good voice acting, animation, and music. My only beef with it is something they have done in FE before, and it’s something I wish they’d stop. If a character is dying, you either let them have a few last breaths after their last lines or you kill them mid-sentence. It’s probably just a personal nitpick, but hearing them get their last word out without struggle and then immediately die just makes me aware of how badly the directors wanted the whole line to be in there. I can totally understand it but I find it so troublesome in the grand scheme of things that I just can’t.

• I also like that in the fight against Edelgard, they tried to make it ambiguous who had the key. Immediately as it told me that, I decided it was Petra and ended up being right. I was kind of sad to kill her though, to be honest. I don’t know her well, but she’s probably one of the Eagles I like more.

• The fight against the Death Knight at Fort Merceus ended up being surprisingly pretty easy. In fact, while I paved the way for most of my army, Nader ended up making it to the Death Knight just as Claude did. He did most of the damage – I’m not kidding, the Death Knight was down to 1 HP – and then Claude took care of the rest. It was a weird fight. They said impregnable a lot leading up to it.

• I understand why they kill Dimitri off-screen at the Gronder Field fight, but I was admittedly a bit disappointed. Again, Salli Saffoti does a good job doing Hilda’s voice for it, but I would have liked to see it animated. It was also nice to have that little rapport with Dedue! If only we could have allied with the Lions a bit more. Everyone always says Claude and Edelgard have similar goals; however, it’s their methods that differ. Claude seems to align himself a bit closer to Dimitri, so I’m usually a bit confused by the idea that Edelgard and Claude would work together. I was spoiled on enough to know her background and story, and even so, I think that her methodology is just a bit too violent for his tastes. But that’s just my two cents.

 Alright. I think that’s about all I can drain out of my brain from the top of my head. With that, I am off to kill the slithers! We’ll see how this goes. Wish me luck!

[goingoverthegardenwall]

Chapter 6: Lullaby in Frogland

Let’s look back. Way back. Back before the dawn of animation, before the dawn of film, well before Ruby or Spears or Disney or Iwerks or either Fleischer Brother. Back to 1835, in a town named Florida in a state named Missouri when a boy named Samuel was born.

Like Ub Iwerks, Sam was raised in Missouri. And like Max Fleischer, Sam’s family took a financial hit when his father’s work stopped (this time due to a premature death rather than the decline of tailory), giving Sam a practical approach to employment. He left school at age eleven to become a printer’s apprentice, then moved to his older brother’s newspaper as a typesetter and occasional columnist, writing humorous articles and drawing cartoons. But unlike Beatrix Potter or the animators we’ve covered, visual art wasn’t in the cards for Sam.

He moved to the East Coast to work for other papers, bouncing between cities before returning to the midwest to embark on a career he’d dreamed of since he was old enough to dream: piloting a steamboat. He thrived on the water, and kept writing about his work along the river, but everything stopped when the Civil War closed off the Mississippi. So Sam headed west to work for the same brother who once ran the newspaper, now a politician in Nevada (I’d be remiss if I didn’t point out that this brother was for some reason named Orion). Sam tried mining, and it didn’t take, but he’d gotten pretty good at writing and set off for San Francisco to get back into his jocular brand of journalism. 

It was here that he had his first success, a short story published in his paper called Jim Smiley and His Jumping Frog. But, like a certain frog we’ve covered in this series, Sam wasn’t huge on permanent names. Within a month, the story was reprinted as The Celebrated Jumping Frog of Calaveras County, and Jim Smiley’s name was changed to Jim Greeley. Until the book version came out, when it was changed back to Jim Smiley. And this whole time, within the story, it’s a mystery whether Jim’s real name is actually Leonidas (it turns out that it isn’t, but it might be). None of this should come as a surprise for Samuel Clemens, who wrote under the names of Josh, Thomas Jefferson Snodgrass, and most famously, Mark Twain.

“I knew you were special.”

Over the Garden Wall is, among other things, a story about the importance of solid communication. After five episodes spent building up our heroes as a group of friends, all it takes is one episode of terrible communication to throw it all away. The specific issues vary, despite leading to a similar result of not verbalizing their thoughts very well: Greg’s youth stops him from articulating his rapidly changing ideas, Wirt’s anxiety leaves him too timid to speak up or too rambling to be clear, Beatrice’s true intentions make her obfuscate the truth, and Jason Funderburker straight-up can’t talk. Or so we think.

This time he’s named for American statesmen George Washington and Benjamin Franklin, which fits the continuing vintage Americana vibe of the series—while I figure it’s a coincidence, it should be noted that Mark Twain’s Jumping Frog was named after American statesman Daniel Webster. Surrounded by other frogs that walk around and wear fancy garb, our frog is more anthropomorphic than ever, standing on his hind legs and dancing along with Greg. But it’s still a shock to hear him open his mouth and sing, a shock that soon cedes to the realization that the frog playing the piano at the beginning of the series is singing the Jack Jones song in the montage that follows.

Lullaby in Frogland is Jason Funderburker’s episode through and through, so much so that it’s the first time we hear of his namesake, Jason Funderberker. This is an episode where Wirt rejects Greg’s assertion that their frog is “our frog,” a plot point that’s paid off in their last conversation in the series. This is an episode where Greg wonders aloud if he can be a hero, sees the frog set off on a diverging path immediately afterwards, and accepts it, because he’s willing to sacrifice his happiness for the good of others. And it’s an episode where the frog returns after a harrowing betrayal, showing that even when all seems lost, there’s still room for hope. Over the Garden Wall (the song) might not sound like a traditional lullaby, but it soothes us into a cold night as the sun sets on the first half of Over the Garden Wall (the show).

Adelaide’s true nature is foreshadowed by Beatrice’s sudden hesitance to bring the brothers to the pasture after several episodes of nagging, but the twist is made tragic by Wirt finally letting his guard down enough to be happy. He sings a completed Adelaide Parade with Greg and joins the dance before collapsing into the most earnest laughter I’ve ever heard in a cartoon. He’s a good enough friend to notice when Beatrice is “uncharacteristically wistful,” and takes a risk by playing the bassoon instead of just giving up. He’s still got growing to do—it’s one thing to blame Greg for getting them in trouble by throwing away the ferry fare and forcing them to sneak aboard, but another thing to literally shout “Take him, not me!” when confronted by the frog fuzz—so it’s clear that his journey isn’t over yet, but he doesn’t even get a full episode of peace before everything blows up.

The whole steamboat sequence flows between simple delights, like saluting the captain mid-chase, the revelation that the frogs love music more than they hate trespassers, and the repeated gags of three gentlemen frogs snatching up flying flies and a frog mother dropping her tadpoles. Everything just feels calm, even when antics are afoot. Wirt gets to save the day with his bassooning, Greg gets to feel rewarded in his knowledge that his frog is special, Jason gets to sing a song after being silent throughout the series, and Beatrice seems, for now, to come to a sort of peace about things after several clear attempts to sidetrack the boys. This is the only episode to feature two major stories instead of one, but the steamer segment is rich enough to feel like a full episode. If only we could’ve stopped here.

All roads lead to Twain when it comes to depictions of steamboats as a go-to American icon, which is why he preceded this discussion of Lullaby in Frogland: I’m not claiming Mickey Mouse wouldn’t have been successful if his first cartoon was about something else, but I’m certainly claiming that we wouldn’t have gotten Steamboat Willie as it was if Ub Iwerks hadn’t grown up in a Missouri whose lore was shaped by Twain’s tales of the river. But while the author is the root of the episode’s many influences, I think the most fascinating branch that we borrow from is The Princess and the Frog. 

2009 was a great year for animation, seeing the release of Coraline, Fantastic Mr. Fox, The Secret of Kells, the surprisingly great Cloudy With a Chance of Meatballs, and the first ten minutes of Up (also the rest of Up, if I’m feeling generous). The first two on that list are my favorite of the year, twin stop-motion masterpieces that I’m always in the mood to watch, but The Princess and the Frog is a brilliant last gasp from Disney’s 2D animation studio. It isn’t the final traditionally animated film they made (that would be 2011′s Winnie the Pooh), nor the final fully sincere princess movie they made (that would be 2010′s Tangled), but it marks the beginning of the end for both trends: for better and worse, modern Disney animation feels the need to loudly subvert old tropes and wouldn’t be caught dead in two dimensions.

Lullaby in Frogland’s connection to The Princess and the Frog is certainly visible on the surface level: both feature a long sequence starring frogs on a steamboat where a lead character must pretend to be another animal and play a woodwind instrument to get out of a jam, and both involve our heroes seeking help from a wise woman far from civilization (even if only one of these women is actually helpful). But it’s the somber nostalgia factor that binds these stories closer than anything, the knowledge that this is the end of the road for this type of tale. The ferry’s gotta land somewhere, and the cold is setting in as the frogs begin hibernating for the winter, but there’s still more story to tell.

The second story of Lullaby in Frogland is scored throughout by a haunting string and piano rendition of Adelaide Parade, and Adelaide herself is immediately captivating. John Cleese returns for the second episode in a row, but as both of these episodes aired the same night, it feels like a consistent through-line: in the first half, he’s an eccentric who might be a deranged maniac but is actually harmless, and now he’s a witch who might be harmless but is actually a deranged maniac.

Adelaide gets a compelling amount of detail for someone who’s barely in the show. We don’t get any explanation about her fatal weakness to...fresh air? Coldness in general? Either way, like the Wicked Witch of the West’s lethal reaction to water, it’s absurd that someone like her has managed to live this long. She never says what she needs a child servant for, why she has scissors that seem custom-made for Beatrice’s specific curse, or what her spider-like deal with yarn and wool is (she has a black widow hourglass on her back, but also reminds me of the Greek Fates with her emphasis on thread). We never find out how she’s connected to the Beast, whose theme bleeds into her music as she proclaims, without much prompting, that she follows his commands; her goal of using children as zombie slaves seems counter to his goal of turning them into trees to fuel his soul lantern. But this blend of unexplained characteristics and seemingly inconsistent motives only makes her more enthralling to me, because she feels like the major villain of another story who just happens to intersect with ours. 

What makes Adelaide even more compelling on rewatch is that her scissors, despite their gruesome method for curing the curse, do end up working. Which means she did mean to help Beatrice out as part of the deal. At no point does Adelaide lie, and given Beatrice knows she’s bad news as she lures the brothers in, it becomes clear that for all her villainy, Adelaide is an honest witch. I’m always down for baddies that tell the truth, but it’s of particular interest when we compare her to the Beast, whose whole deal is lying. 

The only liar in this episode is Beatrice, even if she wanted to set things straight without hurting anyone; she values her friendship with the boys so much now that she’d rather make herself a servant to Adelaide than just tell them she’s dangerous and reveal that she lied. By the time she’s willing to tell the truth, it’s too late, and not even saving Greg and Wirt by killing Adelaide is enough for Wirt to forgive her. Considering he knows in The Unknown that the scissors he uses to escape the yarn can save her family, he was also listening in on the end of the conversation before entering the house, which means he must have heard that she was willing to sacrifice herself, but that doesn’t matter either. Beatrice gave the boys hope, and no matter how badly she tried to stop it, the encounter with Adelaide transforms Wirt. Where he was once nervous and unsure, and was then briefly optimistic, he’s now sullen and untrusting.

But again, in comes Jason Funderburker, croaking and hopping on all fours once more to bring some light to the darkening series. He doesn’t do much for Wirt, but allows Greg to quickly get over whatever trauma he had about getting webbed up in yarn; he’s remarkably quiet about it, but it’s important to remember that he was betrayed, too. Whether he doesn’t understand exactly what happened or is just quicker to forgive, Greg is fine with Beatrice, allowing us to focus harder on Wirt’s reaction from now on.

It’s all rain and winter for Wirt until the end of his adventure. But the show isn’t content to leave him even slightly forlorn: when it gets too dark, he has a frog to swallow a lantern to light the way, and when it gets too cold, he has a brother to cover him in leaves, and when he falls, he has Beatrice to help pull him back up. Even the Woodsman tries to save him in his own way (talk about folks who are bad at communication). Bad things happen, and people make mistakes, but the bigger mistake is allowing that to close you off to others, or to never forgive friends that are genuinely sorry. Our heroes have taken the ferry to the other side, and now the story can shift to one about the folly of abandoning all hope.

Where have we come, and where shall we end?

On top of Jason Funderberker, who’s set up as a major rival to make his eventual reveal one of the show’s best jokes, Wirt gives Beatrice a general summary of Into the Unknown three episodes before we see it play out.

[podcake]

Audio Drama December: Neon Nights: The Arcane Files of Jack Tracer Review

A week has already passed and here I am again on a Sunday morning trying to justify my sudden yearning to peal back the monochrome layers of the noir genre. Noir in audio drama is an interesting little specimen that I might not be able to go into much detail about in the upcoming year, though the constructs of genre, narrative, and aesthetic choices truly do flourish in this particular style and covering it was inevitable given this line of journalism.

I’ve already offered my thoughts on the topic a few weeks ago and what I thought of The Penumbra mere days from now, so let’s spare the introduction and get to the second part of a very much anticipated dual review month. Today’s case to crack is Neon Nights: The Arcane Files of Jack Tracer, a supernatural mystery series brought to you by Evil Kitten Productions. 

It tells the story of Jack Tracer, a cop gone private investigator, who spends his days keeping track of the strange and eerie events of Neon City where he encounters some strange people and even stranger events surrounding them. It’s the broader lens of the whole plot but makes room for some innovative individual stories nonetheless. 

Neon Nights adheres to a sort of supernatural edge that I found strangely lacking in a lot of noir podcasts I’ve come across. Though The Penumbra certain has its moments, the more bizarre elements were almost always on behalf of smoke and mirrors and some sci-fi technology that makes sense within the world’s universe while Neon Nights has a more distinct air of the occult in play which can be both a strength and a weakness depending on the stakes-more on that later. 

There’s creepy cults and mystical items and just something that implies there’s a bigger, badder thing on the surface that the series hasn’t quite admitted to yet. Episodes are often divided up into ten to fifteen minute shorts that boil down to a four part complete product when put together. It manages to pack quite a bit of lore and intrigue in just a few short moments and the individual pieces flow together nicely into a pretty gripping series of events.

Neon Nights has some authentically noir inspired tropes to its design from its acting, to music, to use of old-timey sound effects that almost make you feel like you’re listening to it in black and white. The opening track is wonderfully rustic with some bass and piano over some soothing vinyl crackling and even without any background music, you still get this sort of jazzy vibe from the whole ting.  

As far as audio editing goes, it certainly knows how to make use of the most subtle of sound effects to improvise an idea of space and can seamlessly flow between narration and conversations with little stumbling. 

The presentation is certainly Neon Nights’ strong point, seeming to know all the best ways to make a scene feel as exciting or tense as it needs to be. Even through the most subtle of music selection and rain effects, it brings many of the moments to life and leaves a lot to drink up even with the short run times of individual episodes. 

If there was anything here that I really found myself liking it was the unsettling mood it was able to pass off in only a few seconds of an opening scene. This especially goes for episode four of “Case of Shady Grove”  that gave me some strong Psycho vibes and the entirety of “House of Joy” that not only had one of my favorite antagonists but a nice perspective switch between the two leads and what had me rooting for Red immediately. And with that in mind, we can nicely segue into some complaints.

I’m sorry to say that the lead character Jack Tracer doesn’t have the most pleasant of voices. Though I admit the rasp and aggression of his performance has its charm here and there, it’s often just a touch too absurd to take seriously. It gets just a little more bearable in later episodes, though it just wasn’t as easy on the ears as it could have been for our returning protagonist.

As I said, I honestly found myself most enamored by Red, the troubled but equally competent leading lady whose got some nice bite to her performance and a presence you quickly get comfortable with. I always looked forward to her returns and saw her as more protagonist material in the long run.

The dialogue is luckily, at least most of the time, in Jack and the supporting cast’s favor as even if Jack isn’t someone I enjoyed listening to more than a few seconds of, at least his words carried some weight. Now this is only a majority of the writing that can be credited as such as Neon Nights’ tends to fluctuate between some generally solid bits of dialogue and narration and, dare I say, laughable one liners that sound like something straight out of a early sixties comic strip.

So you might just be taken out of the moment when a character drops a cliche phrase into your lap with a straight face and the scene doesn’t pause itself for a laugh track. If this is intentional or not is always a struggle to figure out with noir shows given the hammy nature of their origins and it’s not like Neon Nights is fully exempt from a certain degree of theatrics. A given for a show of this brand, though it would be nice if Neon Nights could decide if it wanted to go full camp or not-giving me the same tone problems I had with The Adventures of MechaBetty.

Neon Nights isn’t exactly the most original of noir shows out there and lacks a certain element of surprise and critical thinking that I often found in my listening of The Penumbra. The supernatural edge can often leave mysteries a little hollow with the villains made apparent in just a few minutes of screen time and the explanations and build up being boiled down to “because magic”. 

Despite this, I can’t say I wasn’t entertained and that the show didn’t have me interested in what new mystery might bubble to the surface. I’m more intrigued by the bigger picture being painted here and I certainly didn’t leave behind the feed feeling unsatisfied. The cases are just creative enough to get you interested in the conclusion and you certainly don’t mind the characters you get to go on the journey with.

Listening to Neon Nights is just fulfilling enough to keep you coming back if not out of curiosity then at least some fun world building and a nice supernatural twinge to the noir formula. It’s an easy and digestible listen that may not be trying to reinvent the wheel but at least has all the pieces to be turning in the first place.