#one change (though said change does make the eight child arc completely different and I also plan on tri being quite different. I’d love to

[holydramon]

honestly I’ve been thinking about fic projects I want to do for a while lately. like my digimon adventure au has been living in my head rent free for years now and it’s still something I’m really interested in doing one day even if it’d be very long and take a lot of work.

[shihalyfie]

A meta and analysis on Takaishi Takeru

Of all of the Tokyo Chosen Children, Takeru is lucky enough to get significant attention for two full series from beginning to end, and his character also goes through some drastic changes in the process, especially through Adventure and 02. There’s so much going on with him that it makes it hard to give a short answer to the question “what is Takeru like?” because there’s so much you could say about him at so many different times.

Fortunately, that’s what we’re here to talk about today!

Takeru in Adventure

At first glance, Takeru seems to be the “tagalong kid” -- the obligatory “little kid character” you have whenever you have a party in a fantasy story. Generally, these “obligatory kid characters” are the kind constantly struggling to catch up with the older ones. Adventure being a series that loves to play with tropes and expectations, though, very quickly says no to that.

Seki: ...We also mixed up the children’s ages, for a bit of variety. Kakudou: The oldest one would be the most unreliable, and the smartest one would be one of the third youngest. Just a little to throw you off the usual, conventional track. Seki: The youngest one would feel too much like a burden to everyone else, and conversely would actually have himself together.

Takeru “doesn’t want to be a burden” -- meaning his feelings on this issue are actually rather much like Hikari’s. Unlike Hikari, though, Takeru reacts to this compulsion differently -- instead of simply repressing things and pretending the problem doesn’t exist, Takeru’s reaction to his own negative feelings is to “have himself together” and act as if he’s got everything under control.

Or, more accurately, pretend he has it together and has everything under control.

Takeru, for all intents and purposes, was not supposed to be on the camping trip the others were on, not having gone to everyone’s school -- he had to get special permission to go. Takeru’s family is very, very split harshly at this time, with his mother not even able to treat Yamato comfortably. Yamato deals with the familial estrangement badly -- alternating between approaching everyone awkwardly and exploding like an emotional fuse bomb -- but Takeru tries to take it as a sign  that he needs to be “responsible”. A lot of his actions in Adventure are him basically exuding this aura of “I can take care of myself!”, and in fact he works very hard to “assert” himself as if he were yet another peer. We even see him make the complaint directly in Adventure episode 43 -- while he is correct in calling out Yamato for coddling him and him only while recklessly disregarding the others, the fact he specifically complains about Yamato approaching him as someone holding them back if he’s not protected reveals a lot about his own mentality regarding the situation.

One of his first major scenes in episode 2 is him offering his own food for the pile of supplies everyone has, even though it’s just snacks. Which is, probably, a pretty accurate summary of Takeru’s character at this point: on the surface he’s responsible, well-behaved, and capable...but, in fact, he’s still about as immature as an average eight-year-old child would predictably be.

Yamato spends his Adventure character arc pretty openly angsting about his relationship to Takeru and how his family’s split has affected them, but throughout the entirety of Adventure (and, eventually, 02 as well), not only does Takeru rarely if ever touch on it, there are indications that Takeru deliberately tries to dodge the subject or not dwell on it too much. In Adventure episode 12, he actually outright lies to Patamon about his younger childhood memories, claiming he “probably doesn’t remember” anything about it despite the audience very clearly being shown that he very much did, and in episode 26 he comes very close to leaking his actual feelings about the group being separated being tied to what happened to his family, before quickly covering it up and trying to move on with the topic.

In other words, unlike Hikari, who knows exactly what she’s feeling but is compulsively unable to vocalize them, Takeru actively suppresses his negative feelings and tries not to dwell on them too much. Again, this comes from his desire to “not be a burden” on others -- he’s got this situation under control! Everything is fine!

And this has a very, very nasty payoff. While Yamato clearly deals with his emotional issues badly, tending to get very explosive about it, Takeru’s way of coping isn’t actually all that much better in the long run, because Yamato’s frustration and openness about his emotions at least lead him to being very straightforward about his feelings, incredibly self-aware and sometimes even self-conscious, and ultimately able to get at least some degree of catharsis from the situation. Takeru...not so much.

Takeru is a child, no matter how much he tries not to act like one, and it ultimately results in him reacting disastrously whenever something hits him too emotionally hard -- which results in Takeru suddenly becoming irrationally stubborn and even angry. We later see what it takes to actually break through Takeru’s facade of “totally having this together” in Adventure episode 22, which is also the first time he openly breaks down wailing in front of anyone besides Patamon -- and it’s, of course, when PicoDevimon convinces him that Yamato hates him. The interesting part is that this is so blatantly a lie that even Tokomon is able to quickly call bullshit on it, but Takeru, previously having worked so hard to maintain this facade of being responsible, falls for it completely with utter irrationality -- and it really does suggest that Takeru’s fear of losing yet another member of his family, and being a burden to Yamato, runs so deep that it causes that entire facade to shatter in one blow.

Which is where the problem lies: Takeru’s habit of suppression is so bad that once one of his triggers is hit, he completely loses all sense of rationality and blows up, and it becomes nearly impossible to reason with him because he locks down on becoming stubborn. It’s also dangerous because even he isn’t particularly self-aware of what he’s doing when he blows up like this; at least Hikari was very consciously aware of her suppression problem, but Takeru never really seems to have any awareness of the fact that his covering up of his feelings is directly related to some of his worst moments. We see it cause problems between him and Patamon again in Adventure episode 33, when Patamon asks a rather innocuous question about the brothers, and it hits Takeru’s trigger so badly that he snaps at him, resulting in the fight that kicks off the plot of the episode.

Adventure episode 52 is basically a major test for Takeru as to whether he really can hold himself together in a situation where everyone else older than him is gone, and “having himself together” is something he has to actually do instead of just have the surface facade of. He does, ultimately, pass, and this is why the Crest of Hope glows this episode -- but it’s also made clear that it wasn’t quite as easy for him as he would normally pretend it is. Of course, it also helps that Piemon is genuinely the scariest threat they’d faced during that time, but it also reveals that, yeah, ultimately, Takeru is an eight-year-old child who still has to struggle to put on a brave face so that Hikari doesn’t get impacted by his own fear.

For all it’s worth, although we get a ton of depth into his background and mentality, Takeru does not actually change that much as a character over the course of Adventure. This incident is probably what changes him the most in terms of him gaining a more solid core, and he also learns to accept the inevitability of fighting after his stubborn refusal to engage in it all the way back in Adventure episode 12 -- but for the most part he still does remain a bit naive about the world at large, and, more importantly, his issue with trying to cover up his problems with a confident smile never really gets addressed. At most, he’s willing to admit his grief over being separated from Patamon in Adventure episode 54, but even that is something Takeru tries to bounce back from quickly, much like with the first time he cried with Patamon in Adventure episode 12. But there’s nothing to indicate that his problem with emotional management isn’t going to continue being a problem from here on out if left unchecked.

That problem ends up taking another three more years to get addressed.

Takeru in 02

Takeru is one of the first people we meet in 02 (for reasons that end up revealed in the final episode), and right off the bat we learn that he’s a bit...evasive. He leaves a cryptic line to Daisuke about his goggles without coming even close to what we all know is the full extent of what’s on his mind (that the goggles specifically remind him of someone important to him), and later just...deflects Daisuke throwing accusations at him with a mild dismissal. In fact, even though Takeru pretty clearly understands very quickly what’s going on with Daisuke and how touchy he gets with the Hikari issue, he keeps dodging the question and constantly saying things that are evasive about it and therefore never truly helps his case until episode 17, when the circumstances between why Hikari and Takeru knew each other are finally properly clarified to Daisuke and he stops getting on their case about it on his own.

There were multiple points in time before this -- especially in episode 7, when Daisuke is practically at his worst in regards to approaching Takeru -- when Takeru could have easily said something to at least attempt to get Daisuke to stop bothering him, but Takeru never even asks him to cut it out! He simply continues to handle everything with a “yeah, okay, sure! :)” attitude, which of course confuses Daisuke (who’s rather allergic to people not being straightforward) rather thoroughly, and you wonder if he’s practically enjoying seeing Daisuke’s antics to the point he’s just enabling it further.

As a point of aside trivia, the official 02 website adds the fun detail that apparently he's popular with the girls at school but doesn't show much interest in them himself, and the Animedia audio commentary CD for Armor Evolution to the Unknown had his voice actor even express the opinion that he saw Takeru as someone who wasn’t really the type to think about romance at this age (adding in a separate interview for the 02 DVDs that he felt Takeru was respectful of girls primarily due to having been taught by his single mother to be such). The latter part of course isn’t something that comes from the writing, but given the website trivia I’m inclined to personally agree with it -- and, more importantly, the implication is that Takeru is at least aware of these kinds of things, but actively chooses to not think about it and deal with it when the time comes.

So in other words: That part about how Takeru actively suppresses things that are negative or inconvenient to think about, all for the sake of keeping a smile plastered on his face? Yup, still there.

In fact, a blink-and-you’ll-miss-it moment from 02 episode 17 implies heavily that, even with their parents having developed a more cordial relationship after the events of Adventure, Takeru is now emotionally dealing with the aftermath of his parents’ divorce worse than Yamato is, since Yamato is at least able to speak about it casually and even joke about it openly, whereas Takeru keeps his mouth shut and the framing of the shot heavily implies he’s still extremely sensitive and unable to vocalize his feelings on it. Takeru never brings this up as something eating away at him for the entire series -- but BelialVamdemon uses it against him in episode 49, revealing that, yes, this is a problem that’s still tearing away at him, and yet he’s refusing to be open to anyone about it, even to Yamato himself. (Especially since, again, Yamato seems to be doing a great job trying to move forward; why kill his mood and thus be a “burden” to him?)

Even so, Takeru is very different in 02 partially because his circumstances are completely different. Adventure had him as the youngest in a group of older kids, so in terms of “being a responsible child”, that naturally meant being deferential and polite to everyone due to standards of propriety. 02 is where we learn a lot more about how Takeru interacts with peers his own age and people who are outright younger than him, when he has a bit more leeway to be more assertive.

On top of that, back in Adventure, Takeru was a young child who had a very small “range of periphery” -- as a young child still rather naive about the world, his emotional investment in things primarily pertained to loved ones and the people around him. But now that he’s a bit older, he’s gained a certain degree of strong feelings about “what’s the right thing to do”, and now has very strong opinions on it.

These things ultimately manifest in, unfortunately, Takeru losing his composure much more often than he did in Adventure, and for reasons that pertain to much wider things than just his brother. Still not having recovered from the trauma of losing Patamon back in Adventure episode 13, Takeru starts physically fighting Daisuke in 02 episode 11 because he perceives Daisuke as not doing enough to prevent Patamon from potentially becoming a slave to the Kaiser, and in 02 episode 13 he lashes out at Hikari in frustration about her refusal to do anything about her situation (which he of course ends up deeply regretting later in the episode).

Takeru’s infamous scene of suddenly switching modes on the Kaiser and punching him out in 02 episode 19 is basically the pinnacle of this -- because, yes, the Kaiser really did deserve it, but this really is not a good thing for Takeru either. This is Takeru getting the closest we ever see him to being a genuine sadist, and it’s basically everything to do with his emotional stuntedness coming out at once -- blowing up in anger out of nowhere with a passive-aggressive demeanor, succumbing to the weight of his trauma in the worst way possible, and mixing the ^^ front he puts on with his tendency to blow up angrily at anything that cuts him a little too emotionally close.

And for the first time, we see someone actually acknowledge how bad this is. Iori, one of the most consciously perceptive of the group, witnesses, for himself, the sheer jarringness of Takeru seeming to only really have two modes between “all smiles” and “unreasonably angry”. Sure, Takeru had shown a penchant for getting active as soon as there was something he needed to protect, but the moment it got personal, Takeru suddenly blew up in front of his eyes and almost turned into a completely different person. (Perhaps he’s not that different from Yamato after all...)

This is a very important moment because it sets up the base for what ultimately becomes the Jogress arc between Iori and Takeru. Daisuke ended up reaching out to Ken because Ken was someone who needed someone to accept him and teach him to move forward instead of drowning in the past; Miyako ended up reaching out to Hikari because Hikari knew herself to have a suppression problem but had difficulty doing anything about it, so the extremely in-your-face and aggressive Miyako could go in deep. But with Takeru, since his personality is genuinely volatile, and because Takeru goes out of his way to hide the fact he’s having emotional problems, personalities like Daisuke and Miyako wouldn’t help much because they’re too straightforward for someone like this who’s a bit unpredictable -- whereas Iori, who’s assertive but also methodical and thinks through everything consciously, is eventually much better able to reach out to him.

Once the relevant arc kicks in, in 02 episode 34, Iori continues to observe Takeru, and quietly notes the many “contradictions” in Takeru’s behavior -- since, after all, Takeru starts to sometimes violate what you’d think would be common sense whenever he gets too emotionally compromised. The fact that ostensibly one of the outwardly “nicest” kids in this group suddenly blows up in certain circumstances and basically goes “absolutely nope, needs to be killed!” in the midst of a few moral debates over killing sentient Digimon disturbs him deeply, and really, it’s not even about the killing part (after all, it’s later established in 02 episode 43 and after that Takeru and Hikari have a certain degree of acceptance of the inevitability that the others don’t) as much as Takeru’s being pretty gung-ho about it. Not “I don’t like it, but we have to” like he said earlier, but NOPE, GOTTA DO IT.

Iori refers directly to the duality of Takeru that he doesn’t quite understand multiple times in this episode (including in regards to the incident back in 02 episode 19), and it continues to torment him until the end, when Takeru only gives a very cryptic “clarification” that he doesn’t necessarily hate the darkness per se.

Iori, too intimidated to ask Takeru about it directly, goes to ask Yamato in 02 episode 35, and Yamato finally clarifies the background that we as the audience knew but Iori didn't: the story behind Takeru's trauma regarding the loss of Angemon back in Adventure episode 13. Yamato also makes a conjecture about why Takeru has been acting so ambivalent towards Ken -- you'd think he'd still be under Takeru's scorn after the events of 02 episode 19, but in fact Takeru's judgment of him in episode 25 was simply that he was certain something had changed, yet he couldn't tell what he was thinking (really rich coming from someone who refuses to tell anyone else what he's thinking himself!). Yamato guesses that Takeru is inclined to be a bit more forgiving of Ken due to understanding the feeling of losing a partner -- and the ultimate conclusion here is, basically, that Takeru's behavior is contradictory because he's acting based on what's personal to him, not necessarily via principles that make sense. After all, back in Adventure, it was clearly demonstrated that Takeru isn’t exactly rational when things hit too close to home.

The other important thing that happens this episode is that Takeru learns that Iori is actively trying to reach out to him, when Yamato drops him a line informing him that Iori asked. Despite complaining that Iori could have just asked him directly, after Takeru witnesses the face-off between Iori and BlackWarGreymon and a demonstration that Iori is clearly trying his best to make sense out of this entire mess, Takeru actively reaches out to Iori and says something to comfort him -- “a life is beautiful simply by existing.” It’s still cryptic as hell, but it’s not something he would have said in the midst of his anger in prior episodes.

It would be one thing if it were simply that by itself, but the following episodes further push the idea that Takeru really is starting to change after witnessing all of this. 02 episode 36 has him explicitly acknowledge what Iori’s been doing this whole time in trying to understand him for the sake of their Jogress, and, finally, during their meal later that episode, he says, very openly and honestly, that he thinks they’ll be able to do it now. After two instances of Jogress, these kids are very aware of what that entails -- so this is basically Takeru consciously acknowledging to Iori “yes, I understand that you’re trying to reach out to me, and I accept it and want to understand you.” Because Takeru is such a convoluted sort of person, this “understanding” ended up being something that didn’t span a single magical moment as much as it took several episodes and a diplomatic, conscious affirmation on both ends -- but it’s a fitting way to go for someone who had always indicated some pretty poor conscious awareness of where his feelings were taking him.

This is especially because, in 02 episode 37, his statements to comfort Ken are in pretty significant opposition to the sort of anger he’d displayed in earlier episodes, and are now a more pragmatic view of the issue in light of Iori’s efforts and everything he’d just witnessed with BlackWarGreymon -- and to drive the point home, the episode has, at the very end of it, Takeru making his first true explicit show of goodwill towards Ken after having been a bit touchy with him for so many episodes.

Iori himself, being the youngest of the 02 group, still has a lot to learn, and so Takeru, who had previously been one of the youngest in the Adventure group himself, now has his role inverted to effectively be a guiding mentor to Iori as he finds his own way. Basically, Takeru becomes responsible for the welfare of this young child, and so his way of treating Iori is markedly different from the more detached and playful way he would treat others from here on out. This is especially because, earlier, Yamato had informed him that Iori had taken a very roundabout way to help understand him better, and so Takeru probably understands that he scared the hell out of Iori earlier and needs to do better. While the Takeru of 02 episodes 38-50 still has a way of being playful, and while he still isn’t completely straightforward about his intentions, he is definitely much better about being open with the others, especially Iori, instead of doubling down on his “everything-is-fine” mode.

And perhaps this is what the other meaning of “hope” thus became in this situation -- learning to be forward-facing even in the midst of truly knowing and understanding everything that’s wrong with the situation.

Post-02

Although Takeru’s Spring 2003 track is addressed to no one in particular, meaning that it’s the most likely reason he’s so willing to be open about it, Takeru outright admits he’s having problems with his emotions -- especially those pertaining to Angemon’s death. We do, however, learn that Takeru’s started writing the early, early drafts of what’ll eventually end up becoming the novels he writes as a future career.

This being only a year after the events of 02, Takeru’s position is interesting. His decision to start writing is that he wants to have a record of everything before it’s forgotten -- because these things are very personal to him -- but he’s not emotionally ready for the huge task of finalizing everything in words, to the point he still hasn’t told his mother he’s started writing yet. After all, this is a book we eventually find out takes upwards of twenty years, and so this is the presumable reason why -- being able to get this down in a rational way that’s not emotionally compromising is going to be an upwards battle for him.

Even come Kizuna, there’s still a long way for him to go, because an actual line (in a very fast-paced movie) is dedicated to establishing that he’s still uncomfortable with his novel progress to the point he won’t even let Yamato see it. His official character profile and background details are revealing, too -- although he’s currently taking language classes in university and is even part of a children’s literature club, he still hasn’t actually decided on what to do with his future, meaning that he hasn’t determined that he’s going to be a full-time novelist with these yet. That means that even though he’s clearly still clacking away at his novel (multiple indications in the movie are given as such), his memoirs are still at the level of being so deeply personal, and not something he feels comfortable telling well, just yet.

I’ve pointed out before that despite not appearing directly with them in the movie, Takeru and Hikari have more in common with the others in the 02 group than they do with their Adventure seniors, and this is fully codified in the drama CD when Takeru is content to basically just “do whatever” with the rest of his friends instead of having any particular concerns about his future. And as someone who has a tendency to kind of just let his emotions take him wherever they’re going, this isn’t too surprising. Although he approximates as the closest to level-headed during most of the group’s antics during the CD, he’s still completely guilty of enabling them full-force, after all...

So, with the 02 epilogue, we get the massive meta reveal that the entire series was Takeru’s novels the whole time. This was planned to be the ending for Adventure before recording for the first episode had even started, but was postponed to the end of 02 when the second series was greenlit -- and if you’d followed the Japanese version, there are a ton of meta hints scattered around from day one:

The narrator of the series is Hirata Hiroaki, who played Takeru and Yamato’s father, and is revealed in this episode to voice him as an adult as well;

Episode 12 of Adventure is named “Adventure! Patamon and Me” and is the only episode title in Adventure or 02 to use a first-person pronoun -- and it’s of course a Takeru-centric episode, with the episode title using Takeru’s boku;

02′s first episode kicks off narrated by young Takeru opening the story, with Takeru himself suspiciously omitted from the opening vignettes;

02 episode 18 suddenly has the narration cut in when discussing Takeru’s trauma from Adventure episode 13, with the younger Takeru even filling in part of it himself;

02 episode 49′s “next episode” preview for 50 suddenly also starts using “we”, which also includes Takeru’s boku;

Finally, Takeru starts narrating right after Oikawa’s death, which fades into what’s revealed to be his adult voice.

In the context of Adventure, Takeru was “the youngest child”, so the idea makes sense that “the littlest one” would be the one to grow up and reflect on all of the adventures they had as kids -- and once 02 was added, it practically made sense that Takeru would be the one to recap both adventures, being the one person who was there to completely witness both (it also explains why Takeru and Hikari’s character arcs remain somewhat unresolved by the end of Adventure compared to others, since by this time it was apparent their story would be continued in the second series). So on a meta level, Takeru is, in a certain way, one of the most important characters in both groups.

On a level relevant to his personal character arc, on the other hand, the point here is that Takeru finally managed to put together his book and story in a way that he was comfortable telling the entire world about, to the point of choosing to make his entire career into it. That’s something that requires a lot of coming to terms with what happened, how he feels about it, how others feel about it, and everything about the whole ordeal in general, without compromise or (too much) bias.

And in the end, that’s really a lot!

[kitkatopinions]

Speaking of Rogue 1, whatever it’s flaws, is so much better than these last couple of RWBY volumes. The key being the characters actually putting their lives on the line for what they believe, and in turn inspiring others (and a bunch of other little story bits and such).

Omg, does Rogue One put RWBY volumes seven and eight to shame. And the funny thing is, there are some really similar story beats! (spoilers btw.

Protagonist gets brought into the fold of a big organization trying to stop a world-ending terror machine (run by big evil magic dark creepy thing,) protagonist has personal problems involved in the fight against evil terror machine including the death of her mother, protagonist finds the force she joins not up to par with her standard despite her own behavior being pretty lacking, and gets heated when the people she's been bidden to work with don't operate under as strict of a moral code as she'd like. During this time, meet the defector from evil terror machine, the lower level grunt who turns to the good side and joins protagonist. Protagonist (along with defector and other friends) find out that evil terror machine is gearing up to do some extreme evil terror machining and they argue to the group fighting ETM that they should take a chance to achieve what they need rather than fleeing. The group fighting in general does not agree, but that's not going to stop Protagonist, who then leaves the group fighting to do her own fighting, bringing a small following with her - including a very devoted member of the group fighting who goes against orders to do what they think is right. Then during the big fight trying to save everyone, the group is attacked and our protagonists 'die,' having completed their goal, but leaving their work of fighting Evil Terror Machine unfinished. During this, there's themes of trust, redemption, hope, and perseverance as well as the necessity and the responsibility to do what you think is right, even if it goes against orders.

Sounds a lot like RWBY volumes 7-8. But Rogue One goes about things a little different and out classes RWBY in a lot of ways. The Rebellion for instance operates under a gray area, with spies and murderers amongst its rank and people who refuse to get involved in the war when they think they can't win, and yet they aren't treated as villains, they aren't treated as gutless cowards, they aren't even treated as wholly in the wrong. Jyn gets checks and scoldings and learns and grows, while Cassian - lifelong rebel who spies and 'follows orders' even when he doesn't like said orders - undergoes some change, learning to trust more and doing what he has to do while defending the life he's lived and saying that managing to stop the Empire is what will make his life of sacrifice worth it. Meanwhile, it's made abundantly clear that running away won't actually stop everything from being destroyed and that actually, everything likely will be destroyed if they don't try and get the Death Star plans, which contrasts in RWBY where keeping the Relics out of Salem's hands will do more to save the world and fighting an invincible foe while leaving them in her reach is not the way to go. Meanwhile, the Defector (my baby boy,) Bodhi, makes it clear he knows what he did was wrong and is trying to make it right by defecting, eventually giving up his life to try and get the Death Star plans out despite undergoing extreme mental trauma recently for his troubles, which really makes Emerald's arc look even less convincing if you ask me, especially considering that Bodhi was just an Imperial cargo pilot who's kill count (prior to leaving the Empire) was zero and Emerald was actively helping to bring down kingdoms and murdered a kid. Meanwhile the main villain of the movie isn't a child slave or a heavily disabled military veteran on the side of the good guys (though there is a heavily disabled military vet coded character on the side of the good guys that gets treated kinda badly I never said this movie was perfect,) instead our main villain is a jealous old punk trying to rise in ranks of the Empire who wants recognition for coercing a man into building a death machine for him after he murders said guy’s wife. Also the disabled military vet coded character that gets treated badly at least gets some sympathy and love from his daughter figure before he dies and his sacrifice and years of fighting for the Rebellion is recognized. And in the end of the movie, their deaths aren't the result of a lack of foresight, sloppiness, or a failure to act. Instead it all came down to the odds having been stacked against them from the start, and them doing the best they could and scraping together a win for the galaxy that cost them their lives. And like you pointed out, when they decided to leave the Rebellion (temporarily, because it was more of a 'don't ask for permission, ask for forgiveness' sort of thing,) they actually did what they said they were going to and threw themselves into a battle even when the chances of winning were slim and they were willing to die and watch their friends die, which is actual bravery, actual guts, actual sacrifice. (Also like usual, I'm way less harsh on Team JRY in this respect as well as Oscar, May, and obviously Ozpin. But Team RWB? Mmmm.)

And I know that RWBY isn't meant to be Rogue One (which is essentially a war movie set in the Star Wars universe,) but I am saying that the way they handled most of the story beats and even the base concepts and even the themes of love, trust, and hope, way better than RWBY did. Imagine a version of Rogue One where - after hearing the Rebel Alliance didn't want to go to Scarif, Jyn contacted the rest of her group and was like "Mon Mothma is going to leave the plans on Scarif omg everyone she's evil!" and then instead of just leaving to do their mission, half their team returned to Jedha to save any refuges who may have survived the blast and get them out of the heat, and the other half hacked some Rebel Alliance towers and sent out a galaxy wide broadcast that was like "Um, hi. My name is Jyn Erso... I'm a Rebel." That told everyone that Jedha had been destroyed and that the dark side of the Force would come to destroy them next, and they made sure to throw in the Mon Mothma and the other Rebels could no longer be trusted. And then after sending out that message, Chirrut got hurt, so Jyn was like 'fuck it' and found out that there's some great places to bunker down on Alderaan. So she decided she could leave that 'saving the Galaxy' shit to Mon Mothma and the rebels she used to know back in the day and that bearded guy who seemed to know what he was talking about and she and K2-SO just went there and had some tea. But meanwhile Cassian, Baze, and Bodhi were taking care of people in Jedha, but then whoops, Bodhi got captured and taken to Scarif, so Cassian and K2-SO go to save him. They manage it and it turns out - silly Bodhi, he'd had a weapon in his pocket the whole time that they can just use to blow up the Death Star anyway! So they get the plans and then do that and get out of Scarif easy peasy. Then they meet up with Jyn and the others, but Mon Mothma is really mad because she wants Cassian back and wants the plans in case the Empire does make another Death Star sometime later, so Mon Mothma sends out a message telling Cassian to surrender or she'll blow up more of Jedha herself and - Okay, this has really gotten away from me.

But, all in all, Rogue One - despite being a very flawed movie - is an example of some of the ideas in RWBY done better and with more moral depth and nuance than in RWBY. Also the last Darth Vader scene is everything.

[makeste]

BnHA Chapter 249: Todoroki Taco Night

Previously on BnHA: Nothing happened at all, because the manga was on break last week! Fortunately the anime had finally resumed after a billion years (estimation; exact length of time may be slightly off), so we had that to take the edge off in the meantime. Except we didn’t, because the anime also ended up going on break due to a rugby game or some shit. So that was nice. On a related note, when I die I’d like the Basement arc to lower me into my grave, so it can let me down one last time.

Anyway, Endeavor did some mentoring and gave Shouto and Kacchan a power-up assignment and told Deku to work on Air Force to help him master the fine control he needs for the Bloop. Then Fuyu called a week later and was all “HEY DAD, DINNER, OUR PLACE, TONIGHT, BRING THE KIDS.” And then as previously mentioned, we waited two whole fucking weeks and MY GOD, my body is ready, on to the new chapter we go!

Today on BnHA: Shouto, Katsuki, and Deku are cordially invited to Todosmith Farms for an evening of food and fun! They make it approximately six minutes into dinner before Natsu loses it and exits with more theatrics than a spurned reality TV show contestant. Baku and Deku spend the next hour being all “!!!” at each other back and forth, and whispering about how fucking dramatic the Todorokis are, which fully kills me and is my favorite thing ever to happen in the world. Deku then begins to guide Shouto through his personal healing process like fucking Mufasa booming at Simba from the heavens, and meanwhile Endeavor listens in while quietly kneeling before HIS DEAD SON’S PHOTOGRAPH, IN THE SHRINE THEY BUILT FOR SAID DEAD SON IN HIS BEDROOM, and sorrowfully wishing he could do more for his family. Anyways so I’m in ruins now, but otherwise fine. How are you?

(All comments are my unspoiled reactions from my initial readthrough of the chapter. I did a quick edit for grammar and clarity afterward, and added a few ETAs in the process, but aside from that there are no changes.)

well it’s Thursday morning, and I have just seen the picture of baby white-haired Touya because no one in this fandom knows how to fucking spoiler tag (and that’s on me too for browsing the BnHA tag on a Thursday; I know better, but I was just curious how this new group chat thing was working out), so here are my immediate thoughts

we never actually confirmed that the hair color correlates to their powers, huh. we just assumed. but come to think, there’s no reason why someone couldn’t have mom’s hair but dad’s quirk. it’s all Shouto’s fault for being a perfect 50/50 split and thus making everyone assume that THAT’S JUST HOW IT WORKS. damn you Shouto and your dramatic character design

anyways I tried not to look at the pic for too long -- once I realized what I was looking at, I averted my eyes -- but he does look like Dabi, I think. oh shit guys. it’s really fucking happening

and I also didn’t get a good enough look to determine whether this was a photo of Touya (that Deku or whoever happened to spot while visiting the Todochester Mystery House for the much-hyped dinner) or a flashback image (in which he is just standing really fucking still for some reason and staring directly at the camera), so I guess we’ll see. but anyways, Deku and Kacchan didn’t come all the way down to Todoroki taco night to not have their evening peppered with intricate family drama and reopened wounds and hysterical conspiracy theories, so you had better keep them goddamn entertained! lord knows the Todorokis don’t do small talk. this is literally their only way of spicing things up so their guests don’t die of sheer awkwardness while Endeavor sits in stony silence and Shouto just stuffs his face with soba all night

also aren’t we due some popularity poll results soon? just getting in all my random thoughts now before we dive in. anyways Horikoshi, so you know what I want to see now and you better deliver

aaaand now it’s Friday! so Happy Birthday Aizawa, and LET’S GET TO THAT CHAPTER

and we’re opening with Endeavor’s Redemption Arc: The Page. omg

holy fucking shit BnHA. you sure do have a way of making me wait WITH BATED BREATH!! FOR TWO WEEKS!!! ON THE EDGE OF MY SEAT!!!! for the new fucking chapter only to have me immediately suck in a deep breath through my teeth and seriously reconsider whether I am in any way emotionally prepared to handle this. “you think you know what you want?!” Horikoshi demands. “YOU HAVE NO IDEA.” sob it’s trueeee

okay. okay. we can do this. hell, if we made it through Tomura’s flashbacks then this should be child’s play. so all right, let’s go

-- oh wait, but before I click to the next page, I just want to note that Endeavor isn’t the only one who’s nowhere to be found in this pic, though! boy you have three sons. uno dos tres

“the hellish Todoroki residence” lmao this legitimately sounds like the title of a Buzzfeed Unsolved episode

ARE YOU TELLING ME ENDEAVOR PROVIDES LUXURY APARTMENTS FOR ALL HIS FUCKING EMPLOYEES OMFG

SO MY THREE SONS HAVE ALL BEEN ROOMING TOGETHER UNDER ENDEAVOR’S ROOF!? THE FANFIC ENDEAVOR AGENCY RESIDENCES?! WHAT KIND OF OT3 SHENANIGANS HAVE BEEN ABOUNDING THIS PAST WEEK OH MY GOODNESS THIS IS LIKE A DREAM

OH MY GOD

okay I have like... ten different notes I want to make about Katsuki and I don’t know where to start SO I’LL JUST START SOMEWHERE!

I’ve legit wanted to see how he would look with his mask pushed up into his hair like a headband for the longest fucking time (I don’t know why! I just wanted to see it!) so this. is. Christmas for me omg. if only he wasn’t making one of his (◣д◢) faces and was instead making a normal face. but that’s probably too much to ask of him at THE CRACK OF DAWN, which brings me to my next point,

I thought he was a morning person?? [furiously checking headcanon notes] kid you go to bed at 8pm. you have your full eight hours by four in the fucking morning. and the full nine and a half hours that GROWING BOYS ACTUALLY NEED by 5:30am, which is when I always assumed you typically woke up in order to get in your morning workout and BEAST IT UP IN THE PIT or whatever gym people do. yet here you are, half dead, while Deku and Burnin’ are raring to go. were you just burning the midnight oil and that’s why you’re grumpy? WAS IT THE FANFIC AGENCY RESIDENCES SHENANIGANS, OH MY GOD I CAN’T

lastly, look at that unzipped collar. why is it that the more disheveled he looks the more I want to pile him up in a headlock and give him noogies. I love him so fucking much, this is ridiculous, he was only gone for two weeks but it felt like SEVENTEEN YEARS anyway

so Burnin’ is all “catch any villains faster than Endeavor yet, LOL, LIKE THAT COULD EVER HAPPEN!!” and they’ve been putting up with this trolling for a fucking week now huh. no wonder Katsuki’s ready to pack it in and sleep for the next year

motherfucker holy shit

sure thing coach. Todoroki Shouto out here ready for the morning huddle. BRING IT IN! ONE TWO THREE PLUS ULTRA

meanwhile Katsuki better keep his hair like that for the rest of the arc now. the collar too. I am living for this

what is Shouto doing with his hands

are you blowing a kiss. or beckoning toward her like Neo in the Matrix. are you channeling your inner Iida. wtf is this

this one panel perfectly encapsulates everything I love about this OT3 dynamic oh my god

Katsuki screaming at Todoroki that he’s better than him (based on impeccable, flawless logic). Shouto completely disregarding this and calmly continuing to have a normal conversation at a normal person volume. and Deku ignoring them both while sending the chipperest, most positive energy in the world out toward this other person because he loves everyone!!

and now there’s three closeups of the boys showing how worn out they are

they’ve been working so hard I’m so proud of them and also they totally deserve a night off to go gorge themselves on soba at Toderly Manor

and then there’s a whole nother page continuing to establish that it has been a week! and they’re working hard! and YES, WE KNOW, though

yep yep yep we get it now WHAT ABOUT THAT DINNER oh my god. it’s been four pages! and if we’re only getting thirteen again then this is precious real estate we’re just wasting here, come onnnnn

so Endeavor is continuing to show off how great he is while the kids look on in frustration

heh but I like this panel because LOOK AT THEM

ALL THREE OF THEM CAN FLY (basically). I love it. yes. just let them be airborne for the rest of the series

meanwhile Endeavor’s thinking agitated thoughts about how Fuyu wants him to try and CONNECT TO THE CHILDREN ON AN ACTUAL EMOTIONAL LEVEL, like what do you think he is?? a human being??!

lol he’s got that look like “WHY DON’T YOU JUST KILL ME NOW AND BE DONE WITH IT.” things he would rather do than have a family dinner with his kids and his two new apprentices: literally. anything. else. ah, but Endeavor. no one said the path of Not Being A Bastard would be easy

he’s thinking about how happy Fuyu sounded on the phone, though. “the thought of us finally becoming a real family...” c’mon Enji you can’t just let your only daughter down like that

and also me. you better not fucking let me down. I was promised dinner at Todoton Abbey and DAMN IT THIS IS HAPPENING

lol he’s getting all fired up and the kids are just mindlessly yelling back like “FUCK YEAH”

even the guy in the background’s like “YEAHHHHHHH LET’S DO ITTT.” the best part is how not a single one of them has any clue what they are loudly agreeing to

OH MY GOD

TODOLAND RANCH, AT LONG LAST. YESSSSS

lmao Kacchan

“it’s not too late!” he is so desperate, bless him. all he wanted was to curl up in his room with a bowl of spicy ramen after a long day and watch old All Might clips on Youtube while blissfully not interacting with a single other soul. and now instead they’ve dragged him to fucking Todo-a-Lago for dinner with his boss, his two best friends who he hates, and SOMEONE’S SISTER. what a nightmare

FUYUMIIIIII

worst part is, I don’t think Kacchan will be able to resist Fuyu’s Kind Elementary School Teacher Energy at all. he’s totally screwed. -- OH MY GOD, IS HE HIDING

like, I know this is the Todoroki drama chapter and that’s where my focus should be, and I’M SORRY, but you guys all know what you signed up for by this point, right? you can read a million other Todo hot takes on tumblr today, but this will forever be the blog that spends paragraphs and paragraphs obsessing over Kacchan hiding behind the door frame and sulking and asking “why though?” in increasingly petulant tones like a four-year-old because SOMEONE DRAGGED HIM TO A SOCIAL EVENT and this is his personal hell! Fuyu’s gonna end up having to manually feed him chicken like Satou did at the party

meanwhile now that I’m actually READING THE REST OF THE PANEL LIKE A NORMAL PERSON, I have to pause for a moment to let my heart break over Deku saying that he hardly ever gets invited over by friends. hey Deku come here for a moment, I just have to give you a dozen hugs real quick and then you can continue as you were

anyway so guys I literally owe Todoroki Fuyumi my life and I want to send her flowers with a “THANKS FOR SAVING THE MANGA” card but it’ll have to wait until the chapter is done. let’s continue

NATSU’S HERE TOO, SHOUTO SAW HIS SHOES, OH M Y GO D

AHHHHHHHHHHHHH

(ETA: shout out to Natsu for wearing the greatest shirt of all time and taking Deku’s rookie-tier gags to THE NEXT LEVEL!)

I LOVE EVERYTHING. I’M SOBBING. BLESS YOU HORIKOSHI. LET THE GAMES BEGIN!!

holy shit Deku

Alton fucking Brown over here. chill my dude

NATSU BRINGING THAT DRAMA YESSSS

and look how oblivious Deku is to the general vibe settling in here

what the fuck do you see. you just literally had no idea how else to respond to that, huh

oh my god oh my fucking god

(ETA: I’m laughing so hard and I’ll explain in the tags. sob.)

guys let me just break down these two panels for you

1. Fuyu is all “NATSU YOU COOKED TOO”

2. Shouto is all “WTF, I ATE NATSU FOOD AND NO ONE FUCKING TOLD ME”

3. Natsu is all “YOU PROBABLY DIDN’T BECAUSE... THAT MAN PROBABLY WOULDN’T ALLOW IT”

how the fuck is there drama brewing over the fucking cooking. this fucking family. and Shouto’s face is two seconds away from being my new icon omg

LMAO

SO YOU TWO FINALLY FUCKING CONNED ON TO THE DANGEROUS SITUATION YOU’VE FOUND YOURSELVES IN, HUH. that’s right bitches. welcome to Todo’s Landing

and now Fuyu has finally made a FATAL ERROR IN JUDGEMENT oh no. that error being trying to fall back on Shouto of all people to ease the awkward tension. that boy literally is made up of awkward tension. right down to his atoms. Fuyu what were you thinking??

FUYUMI: [SLAMS HANDS ON TABLE] “SHOUTO WHAT KIND OF FOOD DO YOU EAT AT SCHOOL!!!!”

SHOUTO: [LEAPING TO HIS FEET] “AT THE CAFETERIA!!!!”

someone help me I’m fucking dying. actually, you know what, help them

“yo Deku, do you wanna get the fuck out of here right now.” “yes, yes I do.” turns out, they didn’t really need that internship anyway. maybe they can still convince the centipede man to take them instead

holy shit

like, I feel so bad for him, but also Fuyu looks so fucking sad and I can’t?? this is too much, and things haven’t even gotten spicy yet. this arc is going to leave me a wreck

DSFKSLDFJLK

“it’s okay,” Horikoshi says comfortingly, “here’s a panel of your two good boys helping clean up.” WELL THANK YOU, EXCUSE ME FOR A MOMENT, I’M GOING TO GO SIT. and think about Katsuki being a fucking gentleman whose momma raised him right and who helps clean up the dishes after being invited over for dinner. never mind that he didn’t even help clean up the Christmas party. but he saw Fuyu being sad and immediately went MY GOD, I’VE GOT TO DO SOMETHING TO HELP THIS STUPIDLY NICE LADY

anyway so are you two going to ask Endeavor why his kids hate him so fucking much. or just ignore it because you pretty much know the gist already because Shouto can’t keep a lid closed on anything

OH MY GOD THEY’RE HAVING A SECRET CONVERSATION ABOUT IT

FFFFFFFdfsLK -- “YOU GUYS WERE TALKING ABOUT IT RIGHT NEXT TO ME, ON ACCOUNT OF I WAS STANDING RIGHT THERE, IN THE SHADOWS, BECAUSE I WAS EAVESDROPPING, SHUT UP”

anyways so did you guys know that Deku and Kacchan having whispered conversations about how dramatic the fucking Todorokis are is my all-time aesthetic. I didn’t know either actually. but it is

Fuyu why are you apologizing to Shouto for making him help clean up

AND WHY ARE YOU PERSISTING IN MAKING THAT FACE. SON OF A BITCH. GIRL I’M BRINGING YOU SOME ICE CREAM AND SOME DVDS. WE’RE GONNA HAVE A SLEEPOVER AND FORGET ALL ABOUT THIS SHIT. PLEASE FEEL BETTER. I’M SORRY YOUR TWIN BROTHER IS DEAD AND YOUR WISH TO HAVE A NORMAL FAMILY IS NEVER GOING TO FUCKING COME TRUE BECAUSE WE CAN’T HAVE NICE THINGS OMG

oh my god she’s having a heart to heart with Shouto about how he feels about Endeavor. oh my god I see Horikoshi aiming a bow right at my fucking heart. he’s notching the fucking arrow, this is it, it’s been real you guys

that look in his one visible eye. god. there it is. oh god. hurts

(ETA: do you suppose all of the Todorokis have secretly had that exact same dream. we know Fuyu has, and Rei as well based on her letter. I’m starting to think that Shouto has too. it only makes sense that a boy who was denied a real childhood for the first fifteen years of his life is going to have some part of him that secretly longs to just have a normal family. in related news, Shouto had better get some fucking hugs in this arc!)

-- ARE YOU SERIOUS

WHAT IS IT WITH HORIKOSHI LATELY AND BEING DONE WITH JUST IMPLYING THINGS AND NOW VERY INTO SHOWING THEM IN EXPLICIT HORRIFYING DETAIL. HERE’S A DEAD DOG! HERE’S A DYING CHILD! HERE’S A SIX-YEAR-OLD WHOSE MOM JUST POURED SCALDING WATER ON HIS FUCKING FACE AND SHE DIDN’T MEAN TO BUT IT’S TOO LATE AND NOW THEY’RE BOTH TRAUMATIZED. AND SHE’S USING HER QUIRK TO HEAL HIM AND HELLO, THIS ONE PANEL IS ABOUT TO MAKE ME START CRYING. KATSUKI YOU WERE RIGHT. WHY, THOUGH

(ETA: yeah this does not bode well for an upcoming flashback in which a child was presumably burned the fuck alive. feels like Horikoshi was testing the waters to see how much he could get away with. we may be in for some brutal shit pretty shortly.)

OH MY GOD A LETTER

they’re going to discharge her soon!?? IMMINENT FEELINGS INBOUND. I HAVE NO MORE SPACE TO PUT THEM!! MY HOUSE IS PACKED WITH FUCKING FEELINGS ALREADY, PLEASE

ahhhh he says he doesn’t know

this is the most realistic fucking thing I’ve read in this manga to this date. not knowing how you feel about the abusive parent who did so much harm but is now trying to change. boyyyyy howdy I feel that in my fucking bones. Horikoshi is out there delivering the real shit. goddamn

KATSUKI MY HERO

it’s as though Horikoshi placed his hands on his shoulders and said “listen up sonny boy, I’ve got an important job that only you can do. defuse this tension. in any way you can.” and Katsuki looked him dead in the eye and said “I got this”

meanwhile Deku’s hoping he can spontaneously develop another new quirk which will open up a hole in the ground to swallow him up

DEKU: “I HAD PERMISSION!!!” KACCHAN: “I DIDN’T HAVE SHIT!!”

HE IS BITCHING LIKE A DISGRUNTLED HOUSEWIFE HOLY SHIT I’M LOSING MY MIND

“A NORMAL, PLEASANT EVENING!!” yes of course, that’s why you spent the entire ride over here clinging to Todoroki’s shirt and repeating “WHY” ad infinitum. anyways as usual this child is a nightmare whose fickle tirades absolutely no one deserves to be subjected to, god bless him and I adore him so

and Deku is again apologizing for him like they’re fucking married. this chapter is filled with so many highs and lows for me, it’s wild

this, to be clear, is one of the highs. god I love it

oh shit it looks like Deku’s getting ready to say something! SOMETHING WISE, I BET

YESSSSSSS

IS HE?? sometimes this kid can just peer into other people’s souls with perfect clarity, it’s uncanny

oh my god Shouto’s face

genuine shock. he doesn’t even know how he feels, but somehow Deku is able to cut right to the heart of it

oh my god Katsuki’s there to chime right in too and say “but if you feel like he doesn’t deserve forgiveness that’s fucking fine too”

this is actually incredibly fucking supportive? anyway so guys have I mentioned within the last five seconds how much I love Bakugou fucking Katsuki. I have? well that’s okay I’ll just say it again anyway. and also I love Deku and Shouto too oh my god. bless this chapter

oh lol nevermind that still Deku talking while Katsuki is just making faces. well he’s doing his best. anyways so like I said I love Midoriya fucking Izuku

(ETA: [chinhands] do you guys think. that perhaps. Midoriya Izuku might be harboring some unresolved feelings regarding his own absent daddo. maybe. ??? why does this chapter have so many layers??)

ah I see, Katsuki spied Natsu just STANDING THERE LISTENING IN THE DARK, as one does, and that’s why the face

and also YES, Shouto is like the kindest fucking person in the whole series possibly. thank you for acknowledging that?? I’m in the process of arranging all of these new feels into a comfy little pile now, so maybe I can curl up in them. if Horikoshi insists on delivering more and more

SLDKFJSLDKFLSHGLKJKLJSLGKJSDLFKSDLFKJLSDKJFLKSL

“THE OTHER CHILD WHO’S NO LONGER THERE” RED ALERT, RED FUCKING ALERT, IT’S REALLY HAPPENING, HOLY FUCKING SHIT. REMINDER TO SELF, NEXT THURSDAY I’M GONNA HAVE TO GO ON A SELF-IMPOSED INTERNET HIATUS FOR TWENTY-FOUR HOURS BECAUSE FANDOM’S GOING TO LOSE THEIR FUCKING SHIT WITH THE SPOILERS NEXT WEEK AND I’M NOT EVEN MAD

sdfhk. oh my god. and so it was a photograph! but one which appears to be a segue into a flashback! and the law of escalating tragic flashbacks states that Touya’s is somehow going to be even more horrific than our last flashback, in which, let me just think back for a sec, oh yes, an entire family was massacred and torn into bloody chunks including a six-year-old girl and a dog, and the surviving child was then adopted by a psychopath who adorned him with severed hands and was all “NEVER FORGET HOW FUCKED UP YOU FEEL ABOUT ALL THIS” and then the child murdered some people to feel better about himself. so this is somehow going to be worse than that. well that’s just. ...I don’t even know. I literally can’t think of a lighthearted way to end that train of thought lmao. WE ARE FUCKING SCREWED. get ready to burn, baby

but meanwhile, parting thoughts

so they really do believe he’s dead. that’s confirmed. and he died (or, well, “died”) young, too, based on this picture and on the toys on that shelf. fffff

Endeavor kneeling at a family shrine to pay respects to his dead son and miserably wishing he was still alive is just. repeated stabbings of my already mutilated heart. thanks. thanks for that

he heard EVERYTHING and he’s saying nothing, because what can he say?? I meanwhile have already said “oh my god” about 1600 times in this recap, but I’ll go ahead and say it again anyway one last time because oh my god, the fucking Todofam AND THEIR FUCKING DRAMA!!!

what can I do for my family at this stage? the last plea of a desperate man struggling to make amends and piece together something he’s already shattered into a million pieces. he keeps dreaming of them being happy together, even if he’s not in the dream. he wants to do right by them, finally. but he doesn’t know how. anyways so people have been saying and saying that this arc so far has been death flag after death flag for this old coot, and you know what, they’re fucking right. this does not have a happy ending. this is going to be fucking devastating. and here I am, fully obsessed with it. fuck me

anyways I guess that’s finally everything I can think of to say. this recap is already a million fucking words so that’s fine lol. why though

[siderumincaelo]

@brilliantfantasticgeronimo replied to your post: I don’t hate the Timeless Child reveal.  There’s...

wish i could say i agree but i can’t tbh. i think it does change quite a lot, but it does so on a thematic level… im working on a longer meta on it but the tldr; is that it refreshes the doctor’s position as an “outsider” in a way that makes their “escaping” time lord society not just an act of rebel-dry, but has given it an extra layer of survival-and-healing-from-abuse (or of ‘saving yourself’ kinda thing)

do wish we could’ve gotten more dev on the companions of course ,,, but idk. i do think we got stuff. and some scenes might *seem* like the same stuff, but i *really* dont think we’re meant to be watching them the same way. like the bit of nine “coward any day” vs thirteen’s (“become death, become me”-) “i will… finally” -might- have the same outcome. but they’re completely different on what they’re saying about the character

I have two separate problems with viewing the survival-and-healing-from-abuse as a “new” layer:

Because the Division wiped the Doctor’s memory, what they did to them couldn’t have been part of their motivation for running away.  (I suppose you could argue it subconsciously influenced them, but I don’t think anything in the episode suggests that.)

The Time Lords being massive, massive dicks is not exactly a new idea.  Six called them “decadent, degenerate, and rotten to the core.”  Eight said “Enjoy your corruption, Romana. I don’t want to see or hear anything of Gallifrey ever again.”  And then of course there’s EoT.  Frankly, compared to trying to murder the entire universe, some (non-fatal!) genetic experimentation on one kid is pretty tame.

And again, the obvious way to make this point would still be to connect it to Yaz’s backstory!

I realize I sound really negative about the finale, so I should note that it’s miles better than the arcs we got in seasons 6-10, all of which had central elements I actively hated.  Whereas this arc was fine!  But I think it could’ve been great.

@upslapmeal replied to your post: I don’t hate the Timeless Child reveal.  There’s...

I know that was my post and I do still agree with it to an extent but I also agree with Camila, I guess it doesn’t change anything in that it doesn’t…..idk it’s not something fundamental to understanding the show and like I said I feel like it could more or less be ignored by anyone who doesn’t like it, but the more I think about it the more I feel it does actually have an impact on a character level

I am 100% with you about things needing to feel as though they have more consequences and I have a post about that that’s been knocking around in my head for a while and I need to actually write down

Part of the reason I’m skeptical this’ll inform the character of the Doctor is how we went immediately to the next adventure, with Thirteen getting locked up... but maybe it’ll come back next season, which could definitely change my opinion.

Also both of you please write your meta!  I wanna read it!

[bladekindeyewear]

Boots Reads Homestuck Epilogue(s) Part 15 - Candy Page 34

==>

John finally decides to let the relevance of his story end, and enjoy that he’s made at least some of his other friends happy with his choice.  Time to read Page 34...

VRISKA: Pfft, yeah, wh8tever. I’m basically Immortal, bitch.

Preeeetty sure you’re confusing yourself with one of your parents.

Pff, actual healthy kismesis with a Tavros?  Wow, we’re getting all sorts of redemption by not-really-Vriska proxy here.

HARRY ANDERSON: he’s always getting all weepy whenever i talk to him anyway. HARRY ANDERSON: i don’t think i could have taken another round of him choking back tears while apologizing to me about “what happened with me and your mother, harry.” HARRY ANDERSON: i mean, god. he’s not even fucking DRUNK when he does this. HARRY ANDERSON: that might actually be the most embarrassing part.

.......

Okay, having grown up with a father who suffered from serious depression and would break into tears embarrassingly easily, uh.  I can relate?  But also fuck you, that’s inconsiderate.

--Dammit, new Vriska is catching wind of old Vriska.

Vriska and (Vriska) both start shrieking at a pitch John’s only ever heard one time before. It was a sound that once accompanied the end of everything. A sound once heard the night he dreamt in anime.

Oh that’s brilliant.  If the entire Candy arc ended here it’d be great, though I know it’s not quite over yet.

==>

...Oh shit, we actually get to see what happens immediately next.

Interesting introspective thoughts!  Or, trying her best NOT to be introspective and failing.

Oh my god, SHUT UP Gamzee.  Vriska, just kill him already??

PFFF HE SENT A PIC OF IT TO KARKAT :D

Pfff.  Yeah, Vriska, TRY and ignore what just happened and how it was almost entirely your idea.

(Vriska) is so furious, she has no way of pinpointing the exact moment her intent stopped being intimidating him into silence and started being guaranteeing his silence, forever.

Thank FUCKING goodness, PLEASE kill him.

YAY he’s dead! :D  (Even though he’ll probably revive anyway because bullshit.)

Heheh. NOW we get a cross-Vriska heart to heart.

==>

Alright, a bit more John moping.  Man... this Candy section is a whole lot easier to swallow AFTER Meat than I imagine it would have been before.

.....heck.  EITHER of these epilogue branches are really fucking hard to swallow the first time around without the other’s context.

Oh huh, it’s his house from the Medium then?  Relocated and stuff?

Jake, hm.  Is Jake going to try and leave his son with John like that failed kidnapping in reverse or?

Jake snaps the elastic on his pair of red underpants. It’s the only thing he’s wearing.

Oooookay then.

JAKE: She had a certain way she liked me kipped out and well, i didnt want to bring anything that belonged to her when i left. Nothing she er, might miss. TAVROS: You took me,

Jake winces.

TAVROS: And,,, you took you,

Jake’s wince deepens.

Oh, so that’s what this is!  Jake fleeing with his son from an abusive relationship.  About gosh darn time.  .....geez, how bad did it get for JAKE to finally muster the gumption to do that himself after all these years???

Jake is one whole wince now

I know THAT feeling.  Or at least feel like I do.

John you dedicate your life to keeping this child happy

JOHN: it’s just been kind of a rough forever.

:C

JAKE: Maybe you should blame me? JAKE: Maybe i need someone to blame me. For once. JOHN: ...huh? JAKE: I think im starting to realize that ive been going through life with the mindset that nothing has ever really been within my control.

YES.

This is how Vriska broke Tavros way back in the comic, by constantly denying him agency.  Jake’s been battered down the same way too, and it’s not too late to pick up the reins.  He’s already DONE that by finally leaving his genocidal wife.

There’s a bit of Page of Hope-yness to this whole disastrous Candy timeline, come to think of it?  People fulfilling others’ desires out of obligation constantly, doing what they think others want?  Roxy, Jake, Dave and Karkat... all fucked over at the aggressive whims of more active folk, rolling over when they really shouldn’t have?  Or in Roxy’s case, her CHARACTER basically SHOULD NOT HAVE IN THE SLIGHTEST?

JAKE: Havent you ever wanted to let someone make the tough choices for you?

Huh.

Or maybe he is doing exactly what Jake has always done. In a certain light, isn’t ascribing all this mess to some unconscious influence he might have had over the metaphysical shape of reality just a way to brush off his simpler failures as a man and a father?

Yes.  You can act and change this too, John.  You almost did with the kidnapping before!  Go and take down the new Batterwitch.

Hm, Hopey thing?

JAKE: John. JOHN: yeah? JAKE: Take my hand. JOHN: what? why?

Oh shit.  Are they going to be able to FIX some of this BS with some sort of hopey thing??? :D  Probably too much to hope for but still!

Being flung from Jake’s orbit of Hope and Change

Pffff.  Had to throw in an Obama didn’t you.

...Oh.  Oh wow.  Oh we get to figure out what the fuck was up with Roxy all this time.  Oh boy.

JAKE: So what if it doesnt change anything? Wont it matter to your family to see you care? JAKE: Wont it make you feel better to try?

:D

Heheh, Hope aspecty stuff.  The ability to believe that something matters even when you “know” it doesn’t.

==>

...Yeah, it’s pretty easy to relax on a dead Gamzee.

Oh cool.  These Vriskas are alike enough to bond!  New Vriska is still in her teenage unbalanced go-for-it stage, and old Vriska has been knocked down a peg by the clown incident, putting them on a close enough level to not want to instantly disown each other, unlike old Vriska and ghost Vriska.

VRISKA: The Mayor’s dead, dude.

HOW did the Mayor die?!??  Did I just FORGET that from the end of Homestuck or something??

(I mean, probably.)

Callback to the clouds in that first Jade dream John had.

(VRISKA): Or may8e the truth just makes me kind of nervous. VRISKA: What “Truth”? (VRISKA): Don’t tell him I said this, 8ut, I think John is just an extremely powerful 8eing. Even when he sucks. (VRISKA): And he certainly does appear to suck in this reality. (VRISKA): And yet, the uneasy feeling is there. (VRISKA): It’s a vague feeling I’ve had in the 8ack of my mind for a long time, 8ut it really hit me when I was talking to him earlier. (VRISKA): It’s distur8ing to think a8out that much power 8ottled up in one stupid nerd who’ll never understand it. VRISKA: What Power are you even talking a8out? VRISKA: Like, lame Wind Powers? (VRISKA): No, I mean... (VRISKA): The power to shape reality. Even without intending to.

FUCK did he really cause all this??? Even the Roxy shit?!???  D:  D:  D:

It’s being left vague but it IS sounding like John was actually RIGHT about all that stuff.  FUCK, if the “villain” who messed up Roxy is actually just John’s subconscious...  :C

Even if the epilogue ends right here, though, with John about to call Roxy, I can imagine it working out, though.  It’s on a right enough track there.

(VRISKA): I’ve spent so long caring so much a8out what other people thought of me. Mainly that they saw me as important, or making a “difference.”

Mhmm mhmm.  Light n stuff.

Yeah, realizing that importance isn’t ALL that’s “important” is really, um.  Important.  Ahem.

Hm, other Vriska, that smile had seven pairs of dots, not eight.  :?

(VRISKA): The POINT is, I was so mad at her. (VRISKA): That happy ghost version of myself, who was free of everything. (VRISKA): I was pro8a8ly mad 8ecause she got to 8e who she really was, without stressing a8out it, which is something I never felt like I was allowed to have.

Indeed.

(VRISKA): I guess I mean there’s someone specifically I fell out of touch with, who it feels like I’ll never see again.

Too bad, only ghost Vriska got her reunite with ‘Rezi.  :P

(VRISKA): On some level I knew she was right. She was happy and honest with herself. And that’s what made her... (VRISKA): A version of myself who was actually worthy of someone I cared a8out.

Yyyep.  As I said.  :)

VRISKA: You’re just talking a8out The Girl You 8linded that one time, aren’t you? (VRISKA): Ummmmmmmm.

Heheh.  Yeah, you’re not going to hide that sort of thing from your sharp near-clone.

Oh cool!  She gets to see all those messages and feel turboguilt or something.

...oh shit.  Is a message going to actually get to her?  It-- oh shit.  Didn’t Terezi have her phone buzzing in her pocket and ignored it in the end of Meat or something?  Or at SOMEONE did and I thought it conspicuous but it didn’t get addressed in that side of the story and-- FFFFuck is she eventually going to see it or??!  D:

She’s GOT to have seen it before running all the way off with villain Dirk, right?? D:

==>

Okay.  You seem to be thinking clearly, Roxy.  What’s going through your head? Give us some answers.  Don’t fuck this up too much, John.

but she knows by now that it’s not her job to make him happy. That was something she gave up on years ago. But wanting to? That feeling is still as fresh as it always was.

FUCK was this all just a placid feeling of obligation to make John happy for all he did to ensure victory or something??? D: D: D:

She’s still working through what she feels about distancing herself from Jane

Yesssss

If he’s truly about to be real with her for the first time in forever,

Gosh fucking DARNIT John, you could have fixed all this DECADES AGO if you had a real talk with her ONCE!!!!!

ROXY: the more i thought abt it the more i figured holdin on to that one thing made me lose out on some other shit ROXY: u might relate JOHN: haha, you got me there i guess.

:c

JOHN: i’ve been doing a lot of thinking about how things got to be like they are. JOHN: i guess i’ll just come out and say it. JOHN: i completed fucked up your entire life. JOHN: i’m not going to pretend like there are two sides here. it’s my bad, totally. JOHN: like, not just what happened to our marriage, though it’s also true that that’s completely my fault. JOHN: but even before that... JOHN: i think i fucked up on just this massive, fundamental level, and it’s what i did— JOHN: or, well, what i didn’t do— JOHN: that caused every stupid bullshit thing about the way this world is.

...Huh.

That may not actually be true, and Roxy might be about to prove how self-absorbedly reductive that is.

ROXY: oh nah ill stop u rite there my man

Okay YES.  If this wasn’t him, then SET HIM THE FUCK STRAIGHT.  :D

She knows more than he does, and she doesn’t need to hear it.

TELL US TELL US TELL US

YES TEAR INTO HIM he’s wanted that for so long stand up for yourself and tell us what the fuck happened and why

He’s been looking at her, really looking at her, and she doesn’t want to blink, just in case that shatters it.

Yes because he was looking for the real Roxy that would call out his BS

JOHN: i used to be so angry that you wouldn’t tell me what you really thought, before. JOHN: not like i wanted to FIGHT fight, but like. JOHN: i’m just not used to this flavor of roxy. ROXY: hm ROXY: sounds to me like u just disproved ur own hotshot theory then genius JOHN: huh? ROXY: you wished i was one way the whole time we were married ROXY: but i wasnt

YES!!! Yes his theory’s disproven!  He never WANTED Roxy to just act that way, he wasn’t the cause of this, I was hoping for that!  :D

ROXY: i was bad at standin up for myself then and im learnin to be good at it now

D:

That’s....... sad, if that’s the explanation.  But it’s better than mind control I guess.  :(

JOHN: but... JOHN: you were never like that before i... ROXY: dude ROXY: where tf do u get off trying to decide what is or isnt me being “like me” enuff ROXY: do u think ppl stay the same their whole damn lives or what

Oh wow.  Now Andrew’s slamming SLAMMING of fanfics.  He’s saying “who are you to know for SURE that they wouldn’t act that way”??  That’s pretty good.

ROXY: i like the way things turned out just fuckin fine ROXY: so maybe u could stop wastin precious eternity thinkin ur so special that its ur fault everyones not perfectly happy

:’)

Mhmm, and they’re free from the heroic design arcs or what have you.  Or... were, until Dirk tore them back in again.  Tossed aside their fucking victory with his selfish... ugh.

Mhmm, Roxy’s the perfect person to explain that not being in a canon, Light-filled timeline isn’t really a bad thing.

ROXY: i just do things the best way i think to do em and then shrug n hope it works out?

Roxy thinks about time and the spirals of choice that hang just outside her periphery, and the vertigo grows.

Good advice, and hm.  Maybe there’s some Void sight kind of playing into this as well, making it easy for her to get paralyzed by indecision and she’s had to learn to work through it.

...Ooh, that was a really cool non-binary gender diatribe in the narrative text.  That’s some nice stuff.  I felt like that was missing from the Meat side, glad we got it here at least.  :D

JOHN: there’s literally nothing to do but keep moving forward. JOHN: i may as well not be a big fucking downer about it if i don’t have to be.

Thank goodness.

YES, JOHN SHOWING HIMSELF STRAIGHT-BACKED FOR HIS SON!!! :D

Man, I wish my dad had done that instead of all the other shit he did.  At least he’s dead.  :)

(Here’s a hint in case you’re wondering why I was relieved when my Dad offed himself.)

But that’s off topic.  Let’s wrap up this epilogue already!!

==>

Page 39... only three or so pages left, right?

Pff, Karkat’s keeping them safe.

Heheh, more shitty Liberty statues.

Heheh, using them for weapons caches.

Gosh I hope they actually love each other and are mostly happy.  Jade seems happy, at least.  :(

Dammit, there go the doubts.  He wouldn’t have had those doubts with Karkat. :C

He’s standing in the Oval Office of the White House.

Oh heck yes.  Please tell me...

And over there... is something he doesn’t quite recognize. It doesn’t seem to fit in. He steps closer to investigate, wiping away at the layers of moss and dirt to reveal a surface he most certainly does recognize. It’s a transportalizer.

YES

Dave doesn’t waste any time. You don’t find something like this in the Oval Office and start agonizing over whether or not to use it. He steps on the platform, and in a blink his surroundings are completely different. The centuries of overgrowth are gone, and he appears to be in some sort of crypt, boxed in by walls of smooth, golden stone. At the far side of the room, something is hanging on the wall, encased in a sort of display. It’s a mounted god tier costume, about the size an adult male would wear. He recognizes the symbol. It’s the same one Jake used to wear when they were teens. It is the symbol for Hope.

HELL FUCKING YES

YES OBAMA

OBAMA: Hello, Mr. Strider. OBAMA: I’ve been waiting a long time for you to show up.

Dave’s jaw hangs open. The legends have been confirmed. As well as several key headcanons of his. Without thinking, he drops to one knee and bows his head.

DAVE: m... mr president DAVE: its an honor sir

Man, forget my past stomach clenching.  Forget my hesitations, my turbulent emotions, all the ups and downs the various facets of these Epilogue chapters have given me.  THIS is the best.  THIS makes it all worth it.  This is the best thing to have ever happened, and if I ever feel any regrets about ANYTHING that transpired in the Epilogues, I’ll feel infinitely better the moment I remember it gave us THIS.

The most beautiful scene I’ve ever witnessed.  All my liberal, economy-ranting hopes and dreams confirmed.  It’s glorious.

OBAMA: Come on now, Dave. We can’t be having that. OBAMA: I’m nobody’s king. I’m a democratically elected representative who took an oath to serve his country and his people. People like you, Dave. OBAMA: If anything, I should be the one bowing.

OBAMA.  I MISSED YOU OBAMA.  I CAN HEAR YOUR VOICE THROUGH YOUR TEXT AND ITS SO COMFORTING AND UPLIFTING

DAVE: mr president what i mean is im a huge fan of yours and i hope this doesnt sound fucked up but on some level i feel like ive been waiting my whole life for this moment?? OBAMA: I know, Dave.

Yes, yes you have.  Yes, we can.

OBAMA: Most people thought I was gone. But I was keeping an eye on events. OBAMA: Wouldn’t miss it for anything.

I, too, would like to have the feeling that Obama is still out there, keeping an eye on things.  Watching, smiling... providing some last background of Hope as things seem so temporarily sour.  That feeling would be amazing.

...I mean he’s still alive IRL, sure, but not Obama watermark smiling lovingly from the sky or anything like it should be.

Yes, back to reading.  Back to this glorious, definitely canon moment.  The moment we learned that Obama was with us the whole time.  :’)

DAVE: sorry if this is nosy but if you didnt die when you disappeared then how did you die OBAMA: Most of that is classified, Dave.

Pfffffff  :D

OBAMA: When I was a boy living in Hawaii, on my thirteenth birthday I was visited by a mysterious stranger. OBAMA: He was an older man with a mustache. Kind of a corny, old-fashioned, adventuring type. He tried to convince me we were related. Of course, I thought he was full of shit. OBAMA: To this day, I’m not sure about that. Maybe he was. I didn’t think much of his tall tale at the time, but what did pique my interest was his story. OBAMA: He was voyaging all over the Pacific looking for a mysterious island, which supposedly had all the answers he’d spent his whole life searching for. OBAMA: During his travels, he set up outposts all over the ocean to help with his search. Such as one near where I lived as a boy. The outpost had a laboratory, an archeological dig site, a network of underground tunnels, the works. OBAMA: One time, I snuck in there and did some exploration of my own. Somewhere in the maze of underground ruins, I found a transporter pad, just like the one that brought you here. OBAMA: It sent me to a new realm. A place they called the Medium.

Grandpa Jake of Earth A, thank you SO much for bringing us this gift.  The gift of Obama.

OBAMA: Hey, why don’t we take a walk. You’ll have a chance to collect yourself. And there’s something I’d like you to see.

:O :O :O

I am shivering with anticipation.

Ah, leave it to Obama to help Dave with the final steps of his character arc.

OBAMA: Are you sure that’s all he is, Dave?

FIX THINGS OBAMA!!!! :D :D :D

Wait, what if Obama can turn things into an actually legitimate DaveKatJade?  That would be a miracle only a god of Hope could pull off.

OBAMA: I’ve had my share of doubts about all that, just like any other man. OBAMA: And I’ve had plenty of the same kind of struggles as you, Dave. DAVE: wait DAVE: you...

Obama nods, smiles wistfully. Dave arches his eyebrows high above his shades. They stare at each other, and in the look they exchange, they seem to say all that needs to be said between two grown men on the matter.

:’)

OBAMA: Believing is the key to understanding the truth underlying the words, the truth underlying the ideas they represent, and the truth underlying who we are as individuals. OBAMA: The power of belief, the power of Hope, that’s what endows that which is intangible, ephemeral, or uncertain with a sense of reality. OBAMA: It brings focus to the insubstantial, the mirages of the mind, the multiplicity of what is possible, of what could be, and isolates it—concentrates it—to turn it into that which is. OBAMA: And the result of that, Dave, is what we call truth.

I didn’t think we’d be learning more about the Hope aspect straight from the mouth of Barack Obama.

OBAMA: He taught me about many things. Combat, philosophy, life, love... DAVE: love??? DAVE: hold on are you saying DAVE: that...

PFFFFFFFF :D :D :D

OBAMA: She’s settled happily into the specific. That’s her path now. OBAMA: All of you have embraced that life, in this safely sequestered version of planet Earth. OBAMA: All of you until now, Dave. OBAMA: This is why you’re here. OBAMA: I believe you’re ready to wake up. DAVE: ...

:O

...this is suddenly possibly going to be getting slightly sad isn’t it.  D:

--Oh shit, so THIS is where Davebot came from.

How is he going to break things off with Jade though???  D: D: D:

...Oh my GOSH he’s just going to suddenly vanish and abandon her isn’t he.  D:

...alright, merging with his other selves, et cetera...

It defers to its greatest knight, risen anew.

Yeah that’s nice but am I supposed to pretend you’re going to say goodbye to Jade offscreen or

--ah that’s why the bot didn’t have shades, gotta use the genuine Stiller ones

==>

Page 40, and the start of this sounds a lot like the Postscript.  But we’re getting more this time, thank god.

ARADIA: when i watched as everything broke apart ARADIA: and got swallowed up by the black hole ARADIA: which is where i ended up too ARADIA: that black hole... ARADIA: thats basically you right JADE: yes. ARADIA: and when you speak of your brother ARADIA: thats lord english JADE: yes. ARADIA: and hes dead JADE: not just yet.

Oh shit.  John’s final blow didn’t kill Lord English did it.  Alt!Callie is going to strike the very last killing blow herself isn’t she.

JADE: lesser beings have so much trouble perceiving divinity in the uncanny.

Divinity?  Like, Lollipop-style divinity?  I mean, I guess this IS the Candy branch...?  But what made this so “perfect” to begin with?

JADE: this world, unlike the canonical horrors from which it is hermetically insulated, will always fail to meet the combined criteria for truth, relevance, and essentiality that would endow this realm with any real gravity. JADE: its own naturally occurring supply of gravity, rather than the artificial supply i have given it. JADE: as such, what transpires here is characterized by experiential frivolity. JADE: physically, it is cordoned off by the black hole’s event horizon. it is safe. untouchable. JADE: inescapable. ARADIA: that sounds ominous

Oh.  So this outside-of-canon timeline-verse whatever that Candy takes place in is like a trap?  For Lord English to be trapped in forever, inside not just his OWN story like we thought before but into a place where he’ll be forever irrelevant, while, like... the “Prince” and others following him for pursuit or camaraderie reasons manage to escape somewhere even different?  --No wait those people are OUTSIDE this place, in the “real” timeline/universe of Earth C. So Dirk’s destination is somewhere completely different; oh, and alt!Callie is the only one with the power to escape the black hole, to bring Davebot and Aradia with her back to quote-unquote “canon” or the closest thing to it to bring bastard Dirkbro down.

Or... something.

JADE: one could describe it as a phantasmal projection confined within my horizon. JADE: it was created by a choice that made it possible for that horizon to expand infinitely, to consume infinitely. JADE: and since that choice could not coexist with canon events, this place manifested to here to support its consequences. JADE: if this world were capable of anything either essential, relevant, or true in some stable combination, then it would perpetuate a corrosive paradox. JADE: as such, insulation from what is out there, and the inescapable well it rests in, is what protects all it holds inside. JADE: and since i am the embodiment of the black hole in which it rests, JADE: i am the one protecting this world.

Oh huh.  So when we saw alt!Callie creating the black hole out of the Sun, she was actually using John’s “choice” and his timeline split to engineer the paradox that drove that singularity’s expansion?  And so she’s going to be the lord and safeguard of all that is Non-Canon, and also seek to guide the heroes trying to save what IS Canon?

Hm!

JADE: physical destruction is one thing. JADE: obliteration of the entire canvas for all of reality over a given cosmic span is another. JADE: and yet there are even more insidious forms of destruction and subversion of life to consider. JADE: methods that are difficult to grasp for those on your plane.

Yep, destroying Heart.  Destroying Soul.  Destroying the uniqueness that drives individual agency and choices, and suborning people completely to your will and ideals without their consent or choice.

Hmm....

JADE: but longer stories have the power to draw consciousness into them. they possess arresting and hypnotic qualities which can be used by their tellers to alter the awareness of the listener.

Yep, like a biased narrator with their claws on the > prompt for characters.

JADE: i brought to your attention that the story you were listening to had a speaker with a specific identity. JADE: and where there is an identity, there can also be an agenda.

Yep yep.  And by commandeering the story to his own agenda, Dirk’s been robbing everyone of a fundamental right to their own existences.

JADE: this is the sort of corruption i now must dedicate my existence in this new body to ending once and for all.

Heck Yes; returning the narrative to as objective a speakerless-ness as can be attained or simulated, and divesting the bias from agenda’d narrators that can wrest all control from the participants in a story, enslaving them and making them the author’s puppets instead of true to themselves as characters, people, etc.

--Oh my GOSH, was Dead!Jade eating the remains of Lord English at the end of that Postscript???  She was, wasn’t she?  :D :D :D

That’s pretty fucking awesome.  And a pretty fucking fair fate for him to get cannibalized by his sister.

JADE: consume his body. JADE: absorb his essence. JADE: and then using this host, i will generate enough power to move beyond the staggering pull of the event horizon encasing this world. JADE: a prison of my own making, which can be escaped only through the supreme unification with my other half. JADE: it is crucial to the cosmos that i succeed. JADE: the prince of heart has to be stopped.

:D :D :D :D :D

Pretty awesome!  A decent setup to a story that probably shouldn’t be told, the implied sequel that Meat invites up or whatever.  And... oh phew.

Oh PHEW.

OH FUCKING PHEW. HOLD ON.

So.  The very last line of the epilogue, the last bit:

The hole leaves behind an absence in the sky so calm that continuing to call it a sky wouldn’t seem to do it justice. It’s a perfectly neutral expanse into which anything one can imagine might be summoned. And for a while, anything was. But not anymore. Where the hole gaped just moments ago, there now exists an imaginary line.

Above this line resides all that matters. Below exists all else. Never again the twain shall meet.

Okay!  :D :D :D

So, when I read that last line, I was INCREDIBLY disheartened.  I thought that Andrew was declaring that canon would never interfere with anything again, that this was the FINAL WORD on Homestuck and everything to do with it as far as canon was concerned, and that Dirk’s crimes and such would forever go unresolved and left to the imagination.

But that’s not what the line meant.

What’s INSIDE the singularity, and thus “under” the imaginary line, is everything non-canon, all the possibility and fanfiction and dead ghosts and such who are trapped in this safeguarded realm alt!Callie created to protect them, away from the influence of any future plot danger beyond the mundane issues they create for themselves.

And what’s OUTSIDE the singularity, above the line, is canon.  A canon which actually continues, and which this line doesn’t necessarily cut short.

I don’t know if Andrew will ever continue this nonsense, maybe to show me a Rose who’s actually happy as a robot or something?  But... er, that’s not the point.  The point is that even though the story “isn’t over”, it’s left so it CAN continue, so that the final state of these ISN’T a permanent cliffhanger to be left forever unfulfilled intentionally.  I’ll still be traumatized by the state some of these characters are left in, until Andrew maybe possibly chooses to resolve some of this nonsense with later content, which he probably won’t.  Heck, this actually might be easier for him to create a new work with, given how much baggage has been left behind on old Earth and in the singularity, so all you have is a much relatively smaller cast of characters on a chase to wherever Dirk is planning to go?  But, like.  When I read that Postscript, I stopped believing anyone I saw suggesting we’d get anything after this.  Any sort of work of... you know... continuing, er, Homestuckiness from Andrew, no matter what it was.  But even just... leaving it open even if he isn’t going to DO anything about it, and having that final line NOT be an aggressive cutoff?  Is just nice.  Nicer, anyway.

And this singularity is kept safe for us to enjoy ALL of the old stuff, the multitude of possibility that the in-singularity version of Roxy glimpses out of the side of her eye.  That--

Oh my Gosh.  THAT’S also what the final line means.

Above this line resides all that matters. Below exists all else. Never again the twain shall meet.

Homestuck fanfiction is now COMPLETELY FREE FROM CANON.

Within this singularity, nothing has to stay true to absolutely every underpinning of the earlier comic.  Nothing has to make sense.  Nothing has to be narratively consistent with anything else, though it’s obviously more enjoyable if it is.  Truth, essentiality, and relevance may all be FLEXED as much as any individual fanfic writer needs to!  And... and earlier, before this epilogue.  When we would get Snapchat stuff of the story on Earth C.  And even before that when all we had was the ending flash.  There was still a FEAR on many parts that there was more to canon that Andrew wasn’t telling us, that whatever was in our imaginations about what may have happened was “wrong”, that any fanfic you wrote was liable to be disproven formally.  But that’s not the case anymore.  Because with that line, with alt!Callie sealing off this realm and taking just a last few soon-to-be canon-impactors out of one of its timelines, Andrew has left ALL of the earlier trappings of Homestuck, of Earth, of all these characters and ghosts and fragmented possibilities, permanently free from canon influence from the rest of time.  Meaning no Homestuck fanfic that takes place in this singularity-granted realm may EVER be busted by Andrew’s future work.  He’s done what he first aspired to do when he declared all fantrolls in existence canon.  He’s finally “killed the author”.  He’s made the very FACT of an author an enemy, to be pursued in its own canon story outside of all this.  He’s set EVERYTHING free.

Wow.  So that’s what all the point of all this was, huh?  :D

Let me read the last few pages of Candy anyway.  Where was I again?

Oh, about to click the last page.  ==>

Oh my GOD.  This Postscript is about the end of MEAT, where the Meat Postscript showed us the end of CANDY!!!  :D

Let’s hear where this shit is all going!  I’ve been wondering what realm Dirk is actually heading towards to try and start fucking up.  Reading...

...Oh, okay.  I thought I glimpsed someone mentioning something about Rose “doing Dirk’s laundry”, and I thought I just missed some narrative comment on laundry made when Dirk took Rose out of the apartment on that final trip out to Jake’s for a spaceship?  But I guess this was the scene they were talking about.  Fuck you, Dirk.

One of her more reckless shipmates chipped a tooth trying one, despite repeated warnings to stay away from the stuff.

So Terezi IS there?  And probably received that final message from Vriska to think about.

It’s a stray ruby slipper. The other is about ten feet away, down the hall. No sign of their owner anywhere.

Yep, that’s definitely Terezi.

...Oh cool, Rose’s body isn’t quite dead?  She could be returned to it or a souped-up version of it if she’s ever brought to her senses outside Dirk’s corrosive influence.

A new planet is within sensor range. She studies the millions of statistics all pouring in at once.

They’re heading for a planet?  Somewhere else in Universe C?

It’s an M-Class planet. The right size, right age, right distance from the sun. There’s no advanced life yet. It’s exactly what they’ve been looking for all these years.

Shit, a NEW planet?  For all this shit to go down on?  Maybe I don’t need to see what happens next, that sounds potentially a little boring.  The future adventure this story entails COULD just be implied and never followed up on.

Once the new race has established

What race??? Human, hybrid?? It’s not TROLL, y’all would have brought Aradia if that was the case, right?  Or is this why there are tons of trolls in Universe C that Caliborn and Calliope’s parent trolls got to incinerate ages later, seeded across planets by these assholes?

The ones who get the chance to play what will arguably be the most important session in the history of Sburb?

Ahhh.  Okay.  So this may INDEED be something interesting, something worth seeing.  A new session, one where Dirk is the villain, Rosebot is enthralled, and old heroes are on their way to help see him thwarted.  Along with the mystery participants of a session we’ve yet to see.

Enough time goes by that she begins to wonder if he’s asleep. But no. It’s just the irritated silence of a man who knows he isn’t currently dressed well enough to attend to something important.

DIRK: Are my fucking pantaloons ready yet?

Yeah, fuck you and your anime pantaloons straight in the Yaois, Dirk Smartass.

Okay!

So that’s the end of the epilogue.  BOTH epilogues.  And... I like it.

I don’t know why.  I mean it was all excellent before, and my stomach’s still a BIT clenchy, but I like it now.  I misinterpreted things from the Meat ending, and now everything... everything makes a little more sense.  Some things seem resolved, others earned...

And... in a way I feel like I could actually oddly accept, even if there’s never anything that touches on this ever again...

It doesn’t seem “over”.  :)

[tfrohock]

How to write strong male characters, or writing non-toxic heroes

Okay, that title is a tweak on all of the numerous blog posts I once read (and to be fair, wrote) about writing strong female characters. Remember those? Back a few years, you couldn’t swing a dead rat without knocking down a blog post on how to write a female character. I enjoyed those posts, not simply because what the authors were saying was true, but also because of the empowerment those essays gave to both the authors and the readers.

However, when I floated the idea on Twitter of writing a similar post about male characters, I was met with some snark, such as a recommendation to gender-flip everyone, or make all of the characters female. Frankly, the suggestion of gender-flipping the characters and suddenly all-is-well-with-the-world-and-bluebirds-sing as a solution tells me the individual in question hasn’t been around toxic women, which is another blog post altogether, but suffice to say that gender-flipping isn’t a cure and completely avoids the toxicity of some male characters.

Another individual advised me to write a gender-balanced novel, which tells me they haven’t read mine.

For the record: the male/female ratio from Where Oblivion Lives is 17 men and 15 women. This is a rough count from my style sheet and omits anyone who is/was an actual historical person.

With a bisexual protagonist married to his gay partner, I was highly conscious of the number of females and their roles as I wrote the story. Whenever possible, I made the supporting characters females in high-profile jobs (such as Sofia, who is the chief of Guillermo’s spy unit, and Carme, who is more badass than all the men put together) wherever and whenever possible. However, we’re not here to talk about them.

“TOXIC MASCULINITY" AND WHY I DISLIKE THE TERM

The term “toxic masculinity” is mutable, depending on the time period, who is defining it, and whether it is the product of popular jargon or actual gender studies. No one denies that male violence and sexism are issues that need to be addressed on a cultural level; however, the cause of those issues aren’t necessarily masculinity. Men do not burst from the womb loathing women and fighting the other babies in the nursery. Misogyny and violence are learned behaviors, and one of the many places where men learn those toxic behaviors is by reading books with characters who make misogyny and violence an acceptable part of being male.

Also, I’m not here to lead a discussion in gender studies, because I’m not qualified for that. I’m a writer and we’re here to talk about writing characters that provide positive role models not just for young men, but also for young women. So rather than “toxic masculinity,” I’ll be talking about the toxic behavior we normally ascribe to men, and how I avoided making the men in my novels behave in ways that would make violence and misogyny seem appealing.

I gave the toxic behavioral traits of glorifying violence and power-structures to my antagonists, Jordi and Karl. They believe they are “destined for greatness” and that by virtue of birthrights and poorly constructed ideals of male dominance, their place is assured. Stylistically, I approach these aspects of character through their actions and by what the other characters observe of Jordi’s and Karl’s behavior.

For example: we never go into Karl’s point-of-view, but we see him through Diago’s eyes as Diago walks through a drawing room, looking at pictures of Karl standing triumphantly over big game animals he has killed. Diago notes that “Karl likes killing things.” However, it’s not so much about killing as it is about Karl’s need for dominance over other creatures.

Does this mean that Guillermo and Miquel don’t possess toxic behaviors? No.

The difference between the Jordi/Karl and Guillermo/Miquel dynamic is that Jordi/Karl see nothing wrong with their behavior and make no efforts to change. Guillermo and Miquel, on the other hand, tend to listen when confronted about their behavior, and they do make sincere efforts to modify not just their actions, but also the thought processes that lead to those actions, thereby making an active effort to break the cycle of toxicity.

WRITING NONTOXIC HEROES

Is not as hard as it sounds; although it takes a lot more than just adding more women to the cast. The women have to be proactive and possess agency of their own, and the men need to respond to them as equals.

One of my favorite scenes from Where Oblivion Lives is the dinner scene, where Guillermo’s eight-year-old daughter, Ysabel, decides to make her stand for independence. Her mother, Juanita, is in full support of her daughter and coaching her from the sidelines. Guillermo’s behavior is toxic in that he wants to control the situation, and he uses manipulative means to do so. At the same time, this particular scene is the catalyst for some of the subsequent changes in Guillermo’s personality later on in the novel.

I’ve edited this scene down to its essential parts, but it all begins after dinner when Ysabel asks if she and Rafael and can go outside and play fútbol:

Guillermo traded a calculating look with Juanita. “I don’t see the harm in it.” Before Ysabel could move, he pointed at his jubilant daughter. “But it had better be fútbol and not that spy game you’ve started playing. No more of that. I don’t want you creeping around the compound listening under windows. Do you understand me?”

With her round face and thick auburn curls, she was an eight-year-old version of her father, right down to the way her face belied her guilt when caught flat-footed in a scheme. “How am I ever going to be a proper nefil if I don’t learn how to gather information?”

“If you want to be a proper nefil, you’ll follow orders and I’ve just given you one.”

Ysa showed no sign of letting the argument go, however. “You said you learned on the streets when you were younger than me.”

“That was a different time.”

“Not that different,” Juanita said.

Guillermo’s cheeks flushed pink. “Whose side are you on?”

As cool as her milk-pale skin, Juanita rested her chin on her hand and met her husband’s glare. “It’s not about sides. If she was a boy, you’d be complimenting her on her acumen.”

“That’s not fair,” Guillermo shot back. “I give my experienced female Guards the same respect and assignments as I do the males.”

Ysabel seized the opening. “How did they get their experience?” She didn’t give him a chance to answer. “By doing the work.”

“They weren’t eight years old.”

“I want to learn, Papá.”

Seeking to help his friend, Rafael said, “Ysa is really very good at it, Don Guillermo, and she is very careful.”

High praise indeed, given that Rafael spent his first six years on the streets. Nonetheless, Diago touched his son’s arm and whispered, “Be still.”

Guillermo ignored everyone but Ysabel. “This has nothing to do with your gender. You’re my daughter. If something happens to you, my heart will die.”

An appeal to the emotions. Nice save, Diago thought, taking mental notes in case Rafael developed a sudden interest in proving his value to the Inner Guard through espionage. Fortunately, his son seemed more intent on picking the almonds off his plate with his fingers.

Ysa stood her ground and retorted, “I’d be in a lot less danger with your guidance.”

And touché. Diago wondered what prompted her to challenge her father today. A quick glance at Juanita told him that whatever the reason, she supported Ysa’s cause, because she assessed her daughter’s attitude with the eye of a maestro watching her student deliver a master performance.

Juanita said, “She has your craving for knowledge, Guillermo, and she is ready to begin learning about the family business.”

Guillermo’s cheeks reddened again, but this time from chagrin rather than anger, because everyone at the table knew Juanita spoke the truth.

She continued, “Besides, she’s right: it’s better she work under your supervision rather than running amok on her own.”

* * *

Although I don’t actually state it, a couple of things can be noted from Guillermo’s behavior:

He doesn’t immediately deny Ysabel’s request and send her to her room. The closest he comes to an ultimatum is “If you want to be a proper nefil, you’ll follow orders and I’ve just given you one.” However, he doesn’t cut her off when she continues the argument. This shows he does respect his daughter’s opinion as well as her personal autonomy.

Nor does he treat her like a child. He tries to reason with her on an adult level, and even though he’s manipulative at one point, he knows in his heart of hearts that both of the women in his life are right. That much is evident from his actions. As much as he wants his little girl to stay a little girl forever, he recognizes the fact that she isn’t mortal and that he is going to have to eventually teach her the family business, ugly though it is.

As Guillermo’s character arc develops, we see him proactively working toward changing how he views his daughter and her place in Los Nefilim. Ysabel blossoms into a strong leader in the second novel, primarily because of her parents’ partnership and mutual respect for one another.

Any character (male or female) can certainly possess toxic behaviors—in this particular scene, it’s Guillermo wanting to be overprotective to the point of crippling Ysabel—but the key to making the character non-toxic is having them resist that impulse to lash out and exert dominance over others based on nothing more than the power dynamics of the relationship. Guillermo exhibits a willingness to listen, and subsequently, a willingness to change. These two points are what elevates him over his brother, Jordi.

GIVE THE TOXICITY TO YOUR ANTAGONISTS

As the antagonist, Jordi and Karl exhibit the classic toxicity often associated with male characters. They are abusive, violent, and in their reasoning, the world belongs to them. They feel justified in their excesses. And I deliberately give them those characteristics, because by showing toxic behavior in all its ugliness, I have the chance to contrast the two types of men.

WHY SADDLE THE WOMEN WITH THE RESPONSIBILITY OF SHOWING MEN THEIR TOXICITY?

Parenting is a partnership, where the spouses play to one another’s strengths and weaknesses. In this case, it just happened to be Juanita nudging Guillermo in the right direction. Later on in the same novel, Miquel has his own ideas of how to raise Rafael, which Diago ignores, so it’s not about women but about spouses.

It also just so happened that I needed a character arc for Guillermo and the issue of Ysabel’s upbringing fit his personality perfectly while showing that men make good parents. Which brings me to my final point …

WORDS HAVE POWER

… and our characters exist through our words, so they, too, have power. Writing a story requires being conscious of the world around us, but also of the world we want to see. In stories, we shape our worlds through our characters and their interactions, which often mirror our own. Fortunately, we don’t always have to show our readers the world as it is, but we can explore the world as we’d like to know it. Shifting the toxic behavior normally associated with men from the heroes to the antagonists gives us a chance to reshape our world.

[phantom-le6]

Episode Reviews - Star Trek: The Next Generation Season 2 (1 of 5)

With the first season of Star Trek TNG firmly and thankfully behind us, it’s now time to warp into the show’s second season, which although better overall still has a few horrid episodes.  Anyway, let’s warp to the first round of second season episodes without any further ado…

Episode 1: The Child

Plot (as adapted from Wikipedia):

The new Chief Medical Officer, Dr. Katherine Pulaski, is brought aboard the Enterprise as it prepares to travel to Aucdet IX in order to take on dangerous virus samples, which will be carried to a Starfleet Medical station hoping they will be able to devise a cure for a plague epidemic in the Rachelis System. After taking aboard the new doctor, the ship is traveling at sub light speed when a ball of energy passes in through the hull, eventually settling in the womb of Counsellor Deanna Troi. Captain Jean-Luc Picard wonders why the new doctor hadn't checked in with him, and locates her in the Ten Forward lounge, where the bartender, Guinan, works. Picard finds Doctor Pulaski talking with Troi about her unexpected pregnancy. The senior officers meet to discuss the pregnancy. The foetus is developing at an accelerated rate and would be fully developed in 36 hours. Troi does not know who the father is, but was aware of a "presence" entering her body the night before. Though the senior staff debate terminating the pregnancy, Troi decides she will carry the child to term.

 The Enterprise arrives at Aucdet IX to pick up the plague samples, which are stored in a highly secure storage vessel. Troi gives birth to an apparently normal boy, whom she names Ian Andrew after her father. Ian continues to develop rapidly; within a day, he appears as a four-year-old child with corresponding mental faculties, and later develops to the physical and mental equivalent of eight years old. When asked if he is ready to explain who or what he is, Ian responds "not yet." Having completed the transfer of the virus samples, the Enterprise heads for the Starfleet Medical station. En route, the crew finds one of the plague strains is growing inexplicably; should it continue growing, it will rupture the storage vessel and result in the catastrophic exposure of all on board.

 They discover that an unknown source of Eichner radiation is causing the growth. Ian confides to Troi that he is the source of the crew's problems and will have to leave. Troi realizes Ian is dying and calls for medical assistance. Ian dies in Troi's arms, and returns to his energy form. The energy being contacts Troi's mind, and explains that he impregnated her in order to discover what it was like to be human. With Ian gone, the plague sample returns to normal and the crew continues on their mission.

 As a subplot through the episode, Wesley Crusher is trying to cope with leaving the Enterprise to join his mother on Earth after her promotion to director of Starfleet Medical. After receiving guidance from Guinan, he decides he wants to remain on the Enterprise.

Review:

Within this episode, there are a number of noticeable shifts among the Enterprise crew.  First off, Worf, Geordi and Wesley have all undergone wardrobe changes, with Wesley’s top now a more serious plain grey in place of the one featuring a few colours in stripes across his chest from season 1, while Worf and Geordi are sporting yellow uniforms, and Worf’s sash is now a heavier silver metal rather than the gold we saw him wearing in season 1.  All of this appears to be symbolic of these characters maturing a bit, with Worf now full chief of security and tactical officer, Geordi now the ship’s chief engineer (which makes way more sense than the rotating chief engineers of season 1), and Wesley is now not tied to his mother’s apron strings.

 Speaking of Wesley’s mother, this season also has Gates McFadden dropped from the main cast, and according to behind-the-scenes features on the TNG boxed set, it seems this is mainly attributed to a writer insisting the actress be let go because she complained about sexism in his writing.  This is apparently supported by the fact that in season 3, the same writer left and McFadden came back, which just goes to show how bad TNG was at embodying the values of Roddenberry’s creation in their real-life conduct at the time.  Though Beverly Crusher is basically replaced for the duration of this second season by Dr Kate Pulaski, played by Diane Muldaur, the actress declined a main cast credit in favour of a special guest star one, and apparently, she was meant to be a kind of female analogue of Dr Leonard McCoy from the original series of Star Trek.  Another recurring guest star making their first appearance in the show is Whoopi Goldberg as Guinnan, a bartender who runs the Enterprise’s bar space known as Ten-Forward.  The final change of note is that Riker is now sporting a beard, something he does for most of the rest of the Next Generation franchise.

 Sadly, all these changes, as good and interesting as most of them are, land in an episode that is very much as abysmal as the worst of season 1.  Here we get an episode where Troi is effectively ‘raped’ by an energy being so that being can be reborn in human form, and the being’s rate of growth is phenomenally accelerated.  If this sounds like a familiar plot to some, then I’m guessing you’ve either read my film review for Captain Marvel from my Facebook-posting days, or you’re enough of a Marvel Comics buff to have read the horrendous David Michelinie-written story arc that some fans would refer to as ‘the Marcus incident’, but which I and many others would know as ‘the rape of Carol Danvers’.

 In the story I’m describing, Carol Danvers develops a pregnancy that takes days to come to term, giving birth to a child who then grows at an accelerated rate, only to turn out to be the human form of an extra-dimensional being who plucked Carol from our space-time continuum in order to essentially rape her, all so he could be born in a form compatible with our dimension.  In this, the Trek episode at hand is almost identical, even with the rapist’s human form causing a major sci-fi techno-babble disruption that has to be ended by said rapist leaving; the only difference is that where Ian chooses to effectively kill his human form to save the Enterprise, Marcus took Carol back to his home dimension.

 The key similarity between the two stories is there’s no effort by the main characters to consider how the character whose has been subjected to a sci-fi-twisted version rape feels.  There is no attempt to consider their emotional well-being, no investigation to seek and punish the culprit, and when the culprit is known, again nothing is done to penalise them.  Frankly, this episode is just Trek at its worst, and there’s not even any follow-up in later episodes regarding the impact on Deanna.  Add in Polaski’s stupid and out-of-place prejudice against Data, not to mention Data being very, very stupid in his question bombardment of Deanna during her labour, and it’s easy to see why most people hate the living guts out of this episode.  That’s before you factor in the meeting where Picard, Riker, Data and Worf all discuss this like they should have any say in the matter.  None of them are the father, the pregnancy is not happening to them, and their supposition of any authority in the matter makes me want to shove them out the nearest airlock.  This episode only gets 1 out of 10 for a few good scenes not otherwise connected with the title plot.

Episode 2: Where Silence Has Lease

Plot (as adapted from Wikipedia):

While on a charting mission, the Enterprise, discovers a zone of pure blackness in space; probes launched into the area simply disappear. As they study it further, the zone expands and soon envelops the Enterprise, leaving them in a black void with sensors reporting complete nothingness outside. Captain Picard orders the ship on a return course, but they find that they cannot escape; they leave a stationary beacon behind them, only to have it reappear ahead of them again.

 A Romulan Warbird suddenly decloaks in front of the ship and attacks, and Picard orders the crew to return fire; they destroy the Warbird, but Picard is suspicious of how easily this occurs. The crew then detect what appears to be their sister ship, the USS Yamato, approaching, but it does not respond to hails. Commander Riker and Lt. Worf beam over to search the ship, where they find it empty with various inconsistencies in its construction, including more seemingly impossible physical loops. The Enterprise then detects an exit from the darkness, but cannot lock onto the away team to retrieve them before the opening disappears. The Yamato begins to fade away, but the Enterprise is able to beam Riker and Worf back just in time. More openings appear in the blackness, each closing as soon as the Enterprise approaches them. Picard realizes that they are being manipulated, and orders a full stop.

 Suddenly, an entity with a distorted, almost childlike face as a result of it attempting to look humanoid, appears in the void, calling itself Nagilum. It announces its curiosity about humans and their "limited existence" and would like to test the limits of the human body. It causes Ensign Haskell to experience violent convulsions, and he then falls to the floor dead. Nagilum then states that it wants to know everything about death, asserting that it would take between a third and a half of the Enterprise's crew to complete its experiments. Picard decides to activate the ship's self-destruct sequence rather than to submit to Nagilum's whims.

 As the crew prepares for their end, Picard is tested again by Nagilum through peculiar behaviour displayed by doppelgangers of Counsellor Troi and Lt. Commander Data, both of whom question the self-destruct order. After these facsimiles are gone and the countdown nears zero, the void suddenly vanishes, leaving the Enterprise in normal space. Picard orders the ship to move away at high speed, and when he is finally satisfied that they are truly free, cancels the self-destruct sequence. As the Enterprise��continues on its mission, Picard is met by the face of Nagilum on his ready-room computer. Nagilum offers its evaluation of humanity, criticizing the species’ faults and claiming they have nothing in common with its kind. Picard disagrees, pointing out that their recent encounter shows that both species are curious, a logical statement to which Nagilum concedes before disappearing.

Review:

This episode is far better than this season’s opening episode, but at the same time it’s a bit confusing.  While with some episodes it’s easy to grasp their intention or confirm what you suspect it to be by checking a wiki site, such as Wikipedia itself or a Trek-specific site like Memory Alpha.  However, this time I’m not sure what we have there is right. The episode’s director claims it’s based on the idea of perspective and how people from different groups don’t necessarily perceive each other in the same light, but I fail to see why that idea would be explored through the idea of an alien being subjecting the Enterprise crew through experimentation.  To me, that whole idea of the Enterprise and its crew being proverbial ‘lab rats’ made the whole thing more of an attempt to show audiences why lab tests on live animals can be cruel and wrong.

 The fact that the episode is so confused is ultimately what makes it a fairly forgettable one among the lifetime of the TNG series. The writers should have made up their minds what the episode was meant to deal with and then deal with that exclusively in a way that wouldn’t confuse any prospective audiences.  As an autistic person, I believe in what I call the three C’s; be clear, be concise, be consistent.  Apparently, whoever wrote this episode couldn’t be clear if their life depended on it, otherwise we’d have a clear idea just from watching it what its intent was.  For this reason, I give this episode only 5 out of 10.

Episode 3: Elementary, Dear Data

Plot (as adapted from Wikipedia):

As the Enterprise waits to rendezvous with the USS Victory, Chief Engineer La Forge and Lt. Commander Data go to the Holodeck to recreate a Sherlock Holmes mystery. Data, playing Holmes, has memorized all of the Holmes stories, and recognizes and solves the mystery within minutes. Frustrated, Geordi leaves the holodeck, leaving Data confused. In Ten Forward, Geordi explains that the fun is in solving the unknown; Data does not understand. Overhearing their conversation, Chief Medical Officer Dr Pulaski asserts that Data is incapable of solving a mystery to which he does not already know the outcome. Data accepts Dr Pulaski's challenge and invites her to join them on the Holodeck. There, Geordi instructs the computer to create a unique Sherlock Holmes mystery with an adversary who is capable of defeating Data.

 In the new program, Dr Pulaski is kidnapped, and Data investigates. They soon discover that Professor Moriarty is responsible, but when they find him with Pulaski in his hideout, they are shocked when they learn that Moriarty is aware of the Holodeck program being a simulation, and is able to access the Holodeck computer, showing them a sketch he has drawn of the Enterprise, based on the computer's description. Data and Geordi leave the Holodeck to alert Captain Picard, and Geordi realizes that when he asked the computer to create the program, he had asked for an adversary who could defeat Data, not Sherlock Holmes. As a result, the computer gave the Holodeck character Professor Moriarty the intelligence, self-awareness and cunning needed to challenge Data, plus the ability to access the ship's computer. When Moriarty gains access to ship stabilizer controls, Data returns to the Holodeck with Captain Picard.

 Picard meets Moriarty, who demonstrates that he has evolved beyond his original programming and asks to continue to exist in the real world. Picard tells Moriarty that this would not be possible; instead, he saves the program and tells Moriarty that if they ever discover a way to convert Holodeck matter into a permanent form, they will bring him back. Picard discontinues the program and the USS Victory arrives, with La Forge preparing to present a model of the historic HMS Victory. Moriarty’s actions have damaged the model slightly, but Picard assures La Forge that she’ll soon be “ship-shape and Bristol fashion.”

Review:

Data impersonating Holmes briefly was a great bit in one of the season 1 episodes, and it’s brilliant seeing it fleshed out to be the subject of a full episode, which is made even better with guest actor Daniel Davis’ performance as Moriarty.  In fact, if Brent Spiner and Daniel Davis haven’t played Holmes and Moriarty somewhere at sometime outside of their Next Generation appearances, I have to wonder why on Earth not, because they’re too good in these roles not to have carried them on in another form of Holmes adaptation.

 Although the episode gets some praise around its focus on computers and artificial intelligence, these are just window-dressing for the real elements of the story.  Leaving aside the development of the friendship between Geordi and Data, and Polaski’s irksome Data-bashing, there are two key issues at play.  The first is the question of whether someone who learns by rote can be imaginative, whether they can show the invention and intuition necessary to solve something original.  Because Data has characteristics akin to autism, and because as a writer who is autistic, I have struggled to develop original concepts to write about, I don’t see Data’s struggles as a strictly AI question. Rather, it is a question that affects many humans and is just being explored through a character who happens to be an ‘artificial’ life-form.

 The second key issue is the power and importance of the words we choose.  In this episode, a single word makes a huge difference by giving a holodeck character sentience, something that in hindsight would pave the way for the Doctor on Star Trek: Voyager, Deep Space Nine’s Vic Fontaine and numerous other self-aware holographic characters within the overall Trek canon.  This is why the study of language is highly important, and why our freedom to express ourselves is a great power that demands the greatest responsibility in order to be wielded well.  We’ve seen only too well in recent times the damage that can be inflicted in real life through the misuse of words, and it’s a lesson we need to hammer home to people now more than ever.  Without doubt, this episode is some of the finest Trek going, and I give it the first top score in my reviews for episodes of this series; 10 out of 10.

Episode 4: The Outrageous Okana

Plot (as adapted from Wikipedia):

As the Enterprise passes through the Coalition of Madena, it detects a small cargo ship, under manual control by its single occupant. The crew makes contact with the pilot, Captain Thadiun Okona, and offer to repair a part on his ship. Captain Picard orders that the Enterprise tow Okona's ship while Okona is brought on board. The crew soon finds that Okona has taken a keen interest in the women on the ship, beginning with Transporter Chief Robinson, and is in no rush to effect repairs.

 Continuing through the sector, the Enterprise is set upon by ships from two different planets, each of which locks its weapons upon the Enterprise, though both are vastly outclassed, and pose no actual threat. Debin, from the planet Atlec, accuses Okona of impregnating his daughter Yanar, while Kushell from the planet Straleb asserts that Okona has stolen a state treasure, the Jewel of Thesia. The two leaders clearly know each other, and both demand that their own claim on Okona take priority. Okona denies both accusations but offers nothing to defend himself with. Picard offers to arbitrate the dispute, and brings Debin, Yanar, Kushell and Benzan, Kushell's son, aboard the Enterprise. Okona sits and quietly listens to both Debin and Kushell's arguments but does not offer any evidence to defend himself from both allegations.

 After much more arguing amongst the two leaders, Okona then declares that he is the father of Yanar's child, and offers to marry her. Benzan then declares that the Jewel of Thesia hasn't been stolen: it is revealed that Okona has been acting as a go-between for Yanar and Benzan, who are in love with each other, and that Yanar is pregnant with Benzan's child. Benzan has offered to marry Yanar, intending to present the Jewel of Thesia, which he asserts is rightly his, as a courting gift. Okona was carrying the jewel between the two planets when he got engine trouble, and he only falsely claimed to be the father to force the two lovers to reveal the truth. Embarrassed and frustrated with how her relationship with Benzan has caused such a crisis and the quarrelling of their parents, especially her father's pressuring her to marry out of honour, an exasperated Yanar declares that she is not marrying Benzan or Okona. Okona has a heart-to-heart conversation with Yanar about how she cannot throw away her relationship simply because their parents cannot "behave themselves". Yanar takes heed to Okona's advice, she and Benzan profess their love to each other in front of Debin and Kushell, who finally realize how happy their children are with each other. Picard cannot get involved in the internal political disputes between the two planets and allows Okona to go on his way once his ship is repaired, and Debin and Kushell are left to argue (in a friendly manner) about wedding details.

 Meanwhile, Lt. Commander Data is motivated to explore the concept of humour after meeting Okona. Prompted by Guinan, Data uses the holodeck to generate a comedy club setting and stand-up comic as his adviser, but when he performs in front of the holographic audience, he is dismayed to find that they are predisposed to laugh at anything he says or does. Guinan cheers Data up by explaining that being able to laugh or make people laugh is not the ‘be-all and end-all’ of being human; Data agrees, but points out that ‘there is nothing more uniquely human’. As the Enterprise parts with Okona, Data is able to unintentionally make the crew laugh, but does not at first understand the joke himself.

Review:

Observant fans of DC Comics-based TV shows will note that this episode features an uncredited appearance by guest actress Teri Hatcher, who would later appear as Lois Lane in Lois and Clark: The New Adventures of Superman during the 90’s, followed by a role as Daxamite Queen Rhea in the Supergirl TV show of the 2010’s.  However, her role in this late 80’s guest appearance is fairly minor, simply serving as the first among a number of ‘conquests’ made by the title guest character, the charming rogue that is Captain Okana (played by William O’Campbell).

 The title plot of the episode is a rare bit of fun for a Trek episode, though it lacks for much depth, and ends up verging on being a Romeo and Juliet in Space situation once we find out Okana has been playing go-between for this episode’s pair of star-faring lovers.  Luckily, Okana’s portrayal in the third act nicely fleshes the character out into the heroic outlaw definition of his characterisation as a rogue, and avoids the necessity of the traditional R&J suicide pact.  Frankly, I think it’s a wonder more Shakespeare adaptations don’t work in an Okana-like go-between and a Juliet-is-pregnant-by -Romeo plot to create a true romantic ending, as opposed to the original Shakespeare version that was just tragic in its entirety. Then again, what do you expect from someone how also wrote comedies that were actually romances and tragedies that were actually comedy?  If a great play-write like that can’t be accurate when categorising his plays, how can you expect him to really write well?

 The B-plot is a bit more of Trek’s stock-in-trade as Data tries to grasp the concept of humour, but Joe Piscopo makes for a lousy choice of holographic mentor, as his performances were so ridiculously silly, I just had to fast-forward them.  Likewise, as great as Whoopi Goldberg is as Guinnan, I don’t think she was necessarily coming at teaching Data from the right angle either. Leaving aside Data not being programmed with emotion, which is a key component in effective humour, the episode tried to throw our favourite android in right at the deep end, and therein lies the B-plot’s failure

 As I’ve noted before, Data is many ways not unlike an autistic person, and this includes some aspects of his misunderstandings around humour.  Now as a person with autism, there is very little that I have learned well by being thrust in at the deep end and having to adapt on my proverbial feet.  By my very nature, I’m someone who needs to take time to learn something new before putting it into practice, and I need to learn in a way that works best for me.  When I’ve been doing some research for my novel writing, for instance, reading books and making notes has been a key element of learning at least one key item being worked into the second novel in my trilogy.

 By the same token, Data doesn’t seek any non-interactive forms of information about humour or comedy first, which he perhaps should have done before seeking the advice of Guinnan or any holodeck comedians.  Unfortunately, the title plot crowds out the time he could have spent doing that, and so a great moment of character development just becomes so much cringe-worthy filler.  Overall score for this episode, 5 out of 10.

Episode 5: Loud as a Whisper

Plot (as adapted from Wikipedia):

The Enterprise is set to take aboard Riva, a renowned and successful negotiator, to help resolve a centuries-old war between two tribes on planet Solais V. Riva is deaf and mute due to a hereditary genetic deficiency, but travels with a "chorus", an entourage of three people in telepathic communication with him, who are able to enunciate his thoughts. Riva dismisses the Enterprise crew's briefing on the history of the conflict, explaining that the dispute has long since become personal, regardless of whatever tangible concerns that may have started it. When Riva, his chorus, and several Enterprise officers beam down for the meeting, a rebel member of one tribal delegate fires upon them, killing the chorus. The tribe's leader immediately brands him a traitor and executes him, begging for the talks to continue, but the away team has already begun emergency transport back to the Enterprise amid the chaos.

 Riva, frustrated and agitated, struggles to communicate with the crew, so Captain Picard orders Lt. Commander Data to find and learn Riva's sign language in order to act as a translator. Counsellor Troi offers to take Riva's place at the mediation, but Riva believes the Solaian tribes will only cooperate with him. Riva is prepared to abandon the peace process and return to his home planet, accepting his failure, but Troi inspires him to stay, suggesting that he turn his disadvantage into an advantage, recalling Riva's own negotiating tactic.

 Riva returns to the meeting spot on the planet, and to the crew's surprise, tells them that they should leave, and he will signal Starfleet when the negotiations are complete, as they may take several months. In order for the tribes to work with Riva, they will both be forced to learn sign language from Riva, which will create a shared experience between them. Thus, Riva is turning his disadvantage of being unable to communicate into an advantage. The crew leaves Riva to await the tribe representatives.

Review:

This episode is another great example of Star Trek doing a good job, for the most part.  According to the Wikipedia page for the episode, the show’s writers initially wanted the deaf character of Riva to gain the ability to speak after losing his interpreters, but the guest actor Howie Seago opposed this.  Seago was deaf himself, and felt that the concept would encourage a practice of forcing deaf children to speak aloud rather than through sign language, and the show amended the script accordingly.  Considering this show had fired a main cast actress for speaking up against sexism in the show’s writing, this kind of receptiveness from the show’s writing staff seems almost uncharacteristic.

 As a result, we get a great episode about accepting the differently abled for who they are, thought not perhaps a great as it could have been.  I find it strange, for instance, that if people with sensory deficits still exist in the future, sign language hasn’t been worked into the basic education of Federation cultures or into Starfleet. It is even stranger considering how Worf notes the usefulness of the non-vocal communication style while Data is learning it, because it only serves to highlight how useful learning sign is. Had more of the crew shown an ability to sign, maybe there might have been more of a push to work sign into national curriculums, especially considering that the children of most countries are more likely to encounter someone who is deaf than someone from another country.

 Even worse is Polaski having looked into prosthetics to give Riva the ability to hear and then offering something similar to Geordi.  It makes her the symbol of regularly abled arrogance, an arrogance that suggests everyone not fitting into the regularly abled average is somehow defective or lesser and somehow needs ‘fixing’.  That should have all been taken out because as Riva notes, we’re all special in our own way.  If someone is born deaf or blind and they can be their best self with that as part of their own normality, then that is fine, and it’s not them who need to change to fit the world.  The world needs to change to fit them, as it should for autistics, for the dyslexic, for the wheelchair-bound and everyone else outside of the narrow (and too often narrow-minded) scope of our societal default.  Except for Polaski, all the other main characters are at least trying to embody proper acceptance of people like Geordi and Riva, and we need much more of that kind of acceptance in real life.  Overall, I’d give this episode 8 out of 10.

[kyberled]

11. In what situation was your character the most afraid they’ve ever been? and 9 but instead of discussing his socioeconomic status while growing up, talk about the difference between how his upbringing with the jedi is different from his potential upbringing with his birthfather

Character Development Questions: Hard Mode

11. In what situation was your character the most afraid they’ve ever been?

See, here’s the thing that’s really giving me trouble with answering this question: Braig is letting me know that he’s been afraid a few times, but it’s different kinds of fear. He’s been faced with the fear of his own death a number of times, though the biggest times he’s been faced with this so far have been in the battle he fights alongside Finch, and probably Order 66, though how much mortal danger he himself was directly in depends on the verse (though it’s never exactly a good position for him to be in). He’s had to face the fear of failure/not being good enough, which was at its strongest when it was getting close to his thirteenth birthday, and he still hadn’t found a master. He also had to face the fear of abandonment and being alone, which was strongest during the period of time when Obi-Wan was ‘dead’, in the Deception arc.

He was confronted with a fear he didn’t even know he had when the Geonosian parasites happened - the fear of having his autonomy taken away. Not being in control of his movements or speech was absolutely terrifying for him– And, I have to say, I think this is why he hasn’t actually used the Jedi Mind trick over the course of this blog (That, and the fact that he has so far been able to charm his way out of any situation aside from those involving Fox)? I mean, I’m quite sure he’s been trained in its use, and he’s done it before, but it almost never crosses his mind as a solution to problems - and it’s always a last resort for him (just above killing). He knows what it’s like to have your agency ripped away, and he wouldn’t wish it upon his worst enemy.

So, yes, he’s faced utter terror a few times. He always comes away thinking it’s his fault.

9. Is your character’s current socioeconomic status different than it was when they were growing up? Tell Alex to break out the team jackets again folks

(WARNINGS FOR: Child abuse (verbal/emotional), suicide [Not graphic, just mentioned, but still], mentions of child death)

So I feel like the best way to really get the point across between how absolutely horrible his life under Eadric would be, is by comparing hypothetical scenarios to actual threads, headcanons, and interactions Rodi and I have done with Braig and Obi-Dad. It’s like night and day, really.

When Braig was a baby, Obi-Wan went out of his way to visit him. After long missions, Obi would make a beeline to go snuggle the bab as a way of therapy/cool-down, and has rushed through chores to get more smol time. Eadric, on the other hand, was barely around, even when Braig did live with him. He had a brand-new little son at home, and he spent most of his time either at work or shut away in his office at home. Braig didn’t even really have many memories of his father to lose when he came to the Jedi.

Adding on to that, Dadawan Obi would take Braig out of the nursery to go on little field trips relevant to kiddo’s interests, and go as far as to hide from nursery workers so as to not have to take Braig back before their field trip was properly completed. By the time Braig was still learning to walk and talk, and just getting the hang of toddling around, Obi knew Braig liked stars, and flowers, and being read to, and that one of the best ways to get him to sit still would be to read him a brand-new book he’d yet to see, and he knew what Braig was like with staff he didn’t like and the best way to get a grumpy bab to settle. He’d take Braig to the Temple gardens, to the archives to look at/play with holographic star charts, and has on at least one occasion sneaked the little one onto a starship so they could go stargazing without having to deal with the massive amounts of light pollution Coruscant puts out on the daily. When Braig was getting his first kyber crystals from Ilum, Obi made sure to comfort him before sending kiddo off to the caves and to wrap Braig in extra scarves and giving him a mug of tea to help him warm up. When Braig first made his sabers, Obi made time to give the kiddo a sparring match, though of course taking it easy. By the time Braig’s a teenager, Obi also knows that having his hair brushed/braided helps calm Braig down after  rough days/nights, and that when he gets anxious on missions or even just when they’re walking together it’s grounding for Braig to hold on to Obi’s sleeve, and there have even been times Obi will just hold his arm out to Braig cause he knows things are going south and Jedi or not this is a small child in very much not ideal conditions, so someone should probably make sure he’s at least a little bit okay for a change; He knows Braig likes riddles, and so will write them down in Braig’s journal for the kiddo to find and mull over on his off time; He knows Braig still likes flowers, and has taken the time on missions to let Braig look at, make notes on, and even find locals to ask if he can pick some flowers that they come across, though this is, of course, typically after missions where they haven’t been roughed up too badly and don’t need to rush back to Coruscant; He knows that Braig likes tea, and so will take him on trips to the tea shop to pick out a new flavour for them to try together…

The long and short of all of this is that Obi makes time to spend with Braig, and as a result knows what his interests are, and makes an effort to validate those interests. Those are two things that Eadric absolutely will not do. He comes home from work tired, irritated, and in a generally foul mood, and he does not have time to entertain every single flight of fancy his son happens to vomit in his direction. He’s actually said, to little, say, eight-year-old Braig that ‘[he’s] busy, and [has] far more important things to worry about than that– The Republic relies on [him], Braig. Open your eyes and stop being so selfish.’ And little Braig apologises with a mumbled ‘yes, sir, sorry, sir,’ and left; He’d wanted to show his father the flowers that had grown in some of the parks he saw on his way to school, but he can see why Eadric’s work would be more important than that (One of the nicer family droids asked, later, if Braig would like to go to the park with them, but he said no, and spent the rest of they day in his room. By the next day, the temperature had dropped, and the flowers were wilting, and he wondered if that, too, had something to do with his being selfish). Eadric and Braig hardly know each other, and when Braig gets older, they’ll go days, if not weeks, without speaking a single word to each other. Eadric doesn’t even know how Braig takes his caf in the morning (Doesn’t even know that Braig hates the taste of caf, but needs something to get him through the day). Braig, under Eadric, grows up learning to keep his eyes down and mouth shut, with literally no self-esteem and seeing Eadric as a terrifying stranger who just so happens to have complete control over Braig’s life.

Once, when Obi was brushing Braig’s hair to help him cool down from either a nightmare or a mission, I can’t remember which, he told Braig that he liked the length of his hair, and that it framed his face well and made him look ‘elegant and refined’. Braig’s hair is his favourite part of his appearance, hence why he grows it out, so he was quite pleased that Obi-dad thought it looked good, too. When Braig grows it out even longer (to the ridiculous length it is when he’s a grownup), in a verse where O66 never happened, Space Dad says that it not only suits Braig, but also reminds him of Qui-Gon, and goes on to say that he thinks Qui would be proud of Braig, too. And as you can imagine, kiddo (who was a grown man) was walking on air. He was thrilled.

When Braig, living under Eadric, started growing his hair out, he was told it made him look unkempt and ridiculous, and was made to sit while a droid shaved his head into a very close-cropped crew cut, so that he might ‘manage to be somewhat presentable’. Braig was absolutely miserable, he hated how it looked, it was awful and itchy and just another thing he’d managed to screw up. He wouldn’t grow it out again until he started rebelling for attention, and that just led to shouting matches and arguments and more forced-shavings (to the point where one droid would have to hold him down while another cut his hair - he got shaved nearly bald for that one). 

I actually posed this question to Rodi just for this ask, but I asked her, “If baby Braig told Obi-Wan all he wanted to do when he grew up was plant flowers, what would Obi say?” And she told me he’d ask what kind of flowers they’d be, and Braig said ‘I don’t know, pretty ones,’ and Obi replied that he was sure they’d be the prettiest flowers in the galaxy. 

When Braig said the same to Eadric, his father had said ‘Don’t be ridiculous, you’re going to be a soldier. Just like I am, just like my father was, and so on. We don’t need people to plant ‘flowers’, Braig - we have droids for that.’ And Braig had apologised as best he could, and thrown out the little cup of dirt he’d tried to plant a dandelion in.

Braig has absolutely zero problems coming to Obi-Wan with his problems, thoughts, or interests, because Obi-Dad has always made him feel safe and welcome to do so; Even as a teenager, he felt no shame in curling up next to Obi when nightmares get bad. He just feels safe with Dad. 

With Eadric, when nights get bad, Braig sleeps on a park bench. He doesn’t feel safe in his own house; He sneaks out at night and figures the Senate district is safe enough. If any of the Guard do tell him to move along, he might mumble out an apology, but he’ll go ‘loiter’ at a different park. He usually takes his time getting home, too, since he knows he’ll be in trouble when he gets home. He starts sleeping outside when he’s about thirteen/fourteen, starts getting kicked out of the house for ‘poor behaviour’ (the only way he can get any sort of sentient interaction, some days) when he’s late fourteen/fifteen. He has a pretty regular cycle of where he goes, but he always winds up going back home because he has nowhere else, nobody else, and no idea how to take care of himself. There are times he looks forward to sleeping in the park, just because sometimes one of the nicer clones will be on patrol and he can say hi to them without getting yelled at, and it’s pretty much the highlight of his week(s). If they tried to bring him back before he was ready, he’d bolt. Best he could, at least. He’s not in as good shape in any sense as he is in the canon verses, so they could probably catch him. 

(Speaking of lacking training, he’d be almost constantly overstimmed by the Force, since he would have no idea how to control it/throw up shields, and he’s probably gotten in trouble for accidental Force-mishaps before and just be very confused). 

if the guards found him after he bolted, and had to take him back by, say, airspeeder, when he’s older? He’d throw himself out. He’d rather become fast friends with the distant ground than be dragged back to Eadric. 

His ‘sweet sixteen’ with the Jedi/Obi-Wan involves waking up early to watch the sunrise with Space Dad, getting treated to some fancy tea, and then going about his day, perhaps getting well-wishes and even the odd gift from his friends/chosen family.

His sixteenth birthday with Eadric involves a closed coffin.

[pluckyredhead]

Daredevil 101: Born Again, Part 2

Last time I covered the first three issues of Frank Miller and David Mazzucchelli’s “Born Again.” Now it’s time for the second half of the story, which...honestly is kind of a mess. Oh well!

When last we left our hero, he had suffered a complete mental and physical collapse after losing his home, savings, girlfriend, and legal license due to Fisk’s maneuverings. He would have died were it not for the timely intervention of a mysterious nun, who brought him back to her church and nursed him back to health.

Meanwhile, Karen, still fleeing Fisk’s assassins, hooks up with a guy traveling to New York and trades him sexual favors for transportation and coke. Matt’s AWOL, what with his house blowing up and all, but she gets in touch with Foggy:

FOGGY COULDN’T KEEP MATT SAFE BUT HE’S SURE AS HELL GONNA KEEP KAREN SAFE. <3 <3 <3

Meanwhile, Matt slowly recuperates under the nuns’ care:

Matt connects Maggie with the mysterious nun who visited him as a child and realizes that she’s his mother. Though there’s never a scene where she’s like “Okay I lied I’m your mom,” after this it’s basically just out in the open between them (though she doesn’t appear very frequently).

Also, Matt with a full beard is [fire emoji] [fire emoji] [fire emoji]

Matt has work to do, so he puts his filthy garbage-bed clothes back on and checks in on his supporting cast. Ben has killed his story revealing that Matt was framed out of fear, but he eventually decides he needs to publish it. However, as soon as he attempts to, Nurse Lois tries to kill Doris:

Yes, that’s Matt’s arm coming in to knock Lois out in the bottom panel - he’s been following Ben. He hides in another room while Ben gets Doris down and then realizes he’s been saved - and Ben’s savvy, so he knows right away by whom.

Meanwhile, some of Fisk’s heavies have been trying to get Melvin Potter to make a replica Daredevil suit as part of a convoluted plot to draw Matt out of hiding. Melvin’s not sure what to do, so he calls Ben:

Ben’s even more terrified to talk now, of course.

Matt visits Melvin and tells him to make the suit - he’ll make sure no one gets hurt. (Like 10 people wind up dying. Great job, Matt.)

And here’s where everything converges: Karen’s ex-“boyfriend” tracks her to Foggy’s apartment to get her back. Meanwhile, Fisk has broken a violently insane criminal (again, this story isn’t the greatest with mental illness) out of an asylum and furnished him with a Daredevil suit. The idea is for him to brutally murder Foggy and thus discredit Daredevil as well as Matt, while simultaneously taking away one of Matt’s few remaining connections.

One thing I appreciate about the way Mazzucchelli draws Karen in this - and it’s ridiculous that I have to note this, but it’s comics - is that she’s never sexualized. She’s a porn actress and sort of an unofficial prostitute, but she’s never drawn to look “sexy.” She looks ill and malnourished and terrified all the time, because she is. Too many artists would have taken this as an opportunity to put her in fishnets; Mazz draws her like she’s dying.

(That’s Wesley driving the car in the bottom panel, btw. I think he might die in this scene? Almost everyone dies.)

Anyway, Foggy calls the cops, but Karen, desperate to save him, hits him over the head with a lamp to knock him out and goes downstairs to meet Paulo. They’re attacked by Fisk’s hitmen, who have been told to kill anyone who emerges from the building. The cops who’ve arrived on the scene fire back, as does Paulo, and the fake Daredevil starts for Foggy’s apartment.

And then Matt, who’s been following Wesley and the fake Daredevil since they picked up the suit at Melvin’s, steps in:

Matt has a hell of a memory for smells, apparently.

Anyway, the hitmen and the cops and Paulo all take each other out, going down in a hail of bullets, and Matt and Karen race into each other’s arms:

What a gorgeous page! What a beautiful catharsis! It’s not at all marred by the fact that Matt should honestly be totally baffled by Karen’s sudden presence there. Seriously, it works so well emotionally even though it doesn’t quite work logically.

And, well...the story should end there, honestly, but we have two more issues to go, and here’s where it kind of falls apart. Matt’s relatively okay again, so is Karen, they’re reunited, the threats are gone...we should be done, right? But we’re not.

We start with another beautiful splash page in bed, but this one’s very different:

Karen’s confession and Matt’s forgiveness happen off-panel, described in the narration boxes here, and Matt’s response is basically “Eh, no worries,” which...like. I love Karen. I love Matt and Karen together. But she sold his deepest secret for a fix and left him disbarred and homeless. He nearly died! She and Foggy and Ben and Doris nearly died! Glori and Maggie will nearly die! Dozens of other people have died and will die before this story is over! It’s lovely that Matt forgives her but considering the grudge he bears for Foggy after all of this for...undisclosed crimes??? it’s a little pat.

Also pat: Matt appears to basically hug Karen through withdrawal. I appreciate how raw and painful the art makes it look, and how steady and loving he is, but here’s where the timeline gets slippery, and makes you wonder about the earlier timeline. How long was Matt out of it? How long did it take Karen to drive from an undisclosed location in the enormous country of Mexico to New York City? How long does her recovery take? Part of what makes the first three issues of the story work so well is that they’re so rapid-fire and claustrophic, with both time and space compressed to tiny ranges. You give it too much room to breathe and the reader starts going “Wait. It’s not over? How much more is left?”

Anyway, Foggy, bless his soul, is still trying to clear Matt’s name, and so is Ben:

This always reminds me of that meme where Person A is complaining loudly about Person B while dropping dozens of photos of them. Seriously, though, why do you have those glossy Harrison Ford-looking 8 x 10s of Matt in your briefcase, Foggy?

Honestly Foggy’s emotional reaction here doesn’t make a ton of sense, when you look at the events: 1. Matt’s apartment gets blown up while Matt is in serious legal and financial trouble. 2. Matt disappears for...weeks? Months? Unclear. 3. Karen shows up with a drug addiction and an abusive boyfriend. 4. Karen knocks Foggy out. 5. Foggy wakes up to find Karen gone and like eight people dead in the street outside his house, including said abusive boyfriend. CONCLUSION: Work on Matt’s appeal? FOGGY. WHAT.

“Matt’s always been kind of high strung.” brb dying

Ben thinks Glori’s got what it takes to work for the Bugle, so he takes her with him to talk to Nurse Lois, now in jail for her attempt on Doris’s life. However, one of the other reporters is a plant by Fisk, there to kill her before she can testify against Fisk:

Lois is killed, but Ben saves Glori. They’re both pretty shaken up by it, but they’ve got some damning evidence now.

Meanwhile, Matt is working as a short order cook at a Hell’s Kitchen diner.

Yes, really:

HILARIOUS but also, how much time has passed here? This is too much downtime, it doesn’t work.

Fisk, enraged by Matt’s continued ability to evade him and stay off the grid, plays his final card: he calls in “Nuke,” a deranged super soldier whose violent killing moods are triggered by red pills. (This is who Simpson from Jessica Jones is based on, btw.) Nuke, convinced he’s back in Vietnam, starts shooting up Hell’s Kitchen:

Matt changes to Daredevil and just barely manages to take Nuke down, but then the Avengers show up:

This is great art, but you see what I mean? Now this is a story about the toll Vietnam took on young American men? (I mean, Miller’s a baby boomer, everything he writes is a little bit about that, but still.) There’s a super soldier blowing up the Kitchen? The Avengers are here? TOO MUCH, FRANK. I get that what’s happening here is that Fisk loses his temper and allows his perfect, subtle trap to fall apart as he attempts to swat a fly with a sledgehammer, but narratively it just feels like an excellent four-issue arc with a weird two-issue coda that shares none of the same themes.

That’s Glori in Steve’s arms, btw. She and Karen are both injured (but fine) and taken to Maggie’s church where their boyfriends can fuss over them:

This really isn’t a significant page but I couldn’t bring myself to cut Matt’s little smile there as Foggy rushes past him (presumably while “The Way We Were” plays in his mind - actually, he looks downright Redfordian there). IDK why Matt’s like “Alas, Foggy and I are No More” - it’s another emotional note that doesn’t make a whole lot of sense.

Meanwhile, Steve decides to investigate this whole Nuke thing and discovers that he was an attempt to replicate Captain America, of course. Again, see what I mean? Why is Steve a point of view character, suddenly? Why is this about a military conspiracy? WHAT HAPPENED TO MY CLAUSTROPHIC GRITTY NOIR?

Nuke breaks out and attacks Hell’s Kitchen again. The military deploys soldiers to stop him this time, and despite Steve and Matt trying to subdue Nuke non-fatally, one of the soldiers shoots him. Matt desperately tries to get Nuke to medical help before he dies so that he can testify:

No dice. Nuke dies...but his body is still evidence, so Matt takes it to someone who can do something about it:

The religious themes are mostly gone by now, but note that Nuke is in an inverted version of Matt’s pose from the beginning of #4. Matt was miraculously alive, though, while Nuke...well.

With this, plus Glori’s photos from Rikers and from Nuke’s attack on Hell’s Kitchen, Fisk’s empire starts to crumble:

He doesn’t go to jail, but his veneer of respectability is gone, and he becomes the most famous criminal in America. As appearances are very important to Fisk, he’s furious. His only consolation is that Matt must be equally miserable.

...Or is he?

Aw, they’re in love. There are still many threads left untied, mostly having to do with how Matt and Karen are unemployed and squatting in a Hell’s Kitchen tenement, but look how happy they are! Let’s call this a happy ending. Daredevil doesn’t get very many of them.

And that, my friends, is Born Again. Next up: Ann Nocenti and Typhoid Mary!

[kihocrystal]

Fall 2016 - Final Impressions

It’s a little after New Year’s, but here’s what I thought of the animes that I finished this past anime season! There’s 12 reviews here, which you can find under the cut! All of them are listed in alphabetical order for your convenience~

Ajin Season 2 - 8.5 / 10 (B+) YMMV on whether this season was weaker than S1, but this is still a very good continuation (& conclusion???) to this series~

animation: Yup, this show is still CGI animated (by Polygon Pictures), which is the thing that tends to drive people away from this show the most. I still don’t mind it, because it’s actually really good for anime CGI! Character expressions and models are still good, and the action (despite the low frame rate) also isn’t bad either! There’s good use of dark lighting and muted colors as well.

characters: The cast (on both sides of the conflict) are good this season as well. Kei and Tosaki team up this season, which allowed for interesting character interactions and situations. Satou is still crazy as ever and doing crazy shit (even when his goonies start defecting from him), making him one of the best (if not *the* best) anime villain in 2016. His attitude of treating countless killing like a game makes him very fun to watch. Poor Kaito got ignored for most of the season again, but at least he swoops in to save Kei in ep. 11(?). Izumi and Tosaki got some development this season (mostly for their relationship + Izumi’s backstory), including a mini-arc in the middle of the season. Even though said arc was debatably filler-ish story-wise, it did jumpstart a change in their relationship, which was good to see.

story: This season picked up where the last season left off, and quickly leads into Tosaki and Kei’s teams working together to put a stop to Satou’s schemes. The initial episodes had a lot of training segments for the new team, but outside of that, the plot progressed like a good thriller should. There were several tense moments (even when the hero team would watch things unfold on their TV) that were entertaining to watch unfold (especially when the hero team finally put their plan into action and *still* weren’t a match for Satou). By the end, though, it was good to see them finally take him down (along w/ Satou being unfazed even when his own men leave him). The finale has a good sense of conclusion to it, but is a bit more open-ended than I was expecting (which probably wasn’t a good idea, since this ending is anime original to begin with) :/  

This season was a good conclusion to a really good series, that’s one of 2016’s many highlights. If you like a good thriller (and can accept the CGI animation), you shouldn’t miss this one!

Bungou Stray Dogs S2 - 8.5 / 10 (B+)

I enjoyed this season more than season one! It’s a really fun & well-animated action spectacle!

animation: BONES did a great job with the visuals again this season (which is par for the course for them)! The realism-leaning art-style works well here again (along with its muted / darker color palette), and it still makes good use of comedic animation and deformed expressions (which utilizes thicker outlines as well). The animation itself is also very good, as action scenes have (for the most part) very good fluidity and special effects! The action and fights deliver quite well, and is one of this show’s strongest aspects.

characters: The main cast is still fun to watch, and all show off their badass qualities in one way or another! While not every character got much development this season, there were some notables that did, including Dazai, Atsushi, and even Akutagawa (to an extent)! The first four episodes gave a spotlight on Dazai’s past with the Port Mafia, plus had its own cool lead (Oda) that had a complete arc of his own. The other episodes gave the supporting cast some time to shine and show off their badassery too (from all three factions). Seeing all the different superpowers that come into play (including the new ones from the Western author-inspired Guild) was cool to see as well!

story: The first four episodes feature a prequel arc involving Dazai and two new characters (Oda and Ango), then the last eight episodes pick up where season one left off. The prequel had a notably darker feel to it, and also had a lot of dramatic weight to it. It definitely has a case towards being the best segment of the entire series! The remainder of the season is no slouch either; it may not be as heavy or dramatic (even though it does have its darker moments), but it has great action and shows off its large cast well. The final two episodes had a great climax too, as Atsushi and Akutagawa teamed up to beat the Guild’s leader (Fitzgerald) in an explosive fight, and even saw Kyouka FINALLY get her happiness in the end!

I had a really good time with this season, which was a notable improvement over its first! If you like action anime or are interested in its literature-inspired themes / characters, you should check this one out!

Flip Flappers - 8.5 / 10 (B+)

this is a really fun and crazy action magical-girl-esque show! Think magical girls meets FLCL :D

animation: Studio 3Hz is a relatively new studio, but they did a great job with the visuals! Everything looks bright and colorful, and they brought a lot of crazy worlds to life within Pure Illusion (snow world, horror film-esque boarding school, Mad Max-esque world, you name it!). The character’s large eyes and jagged-looking hair takes a little getting used to, but it comes out looking great anyway thanks to the awesome animation! Which, yeah, the animation is pretty great! Not every episode is a fluid masterpiece, but the action scenes overall have very fluid movements and smears! However, there were some fanservice-y moments that got kinda uncomfortable at times (I’m looking at you, robot episode…). Other than that, this show definitely had the most flashy and crazy visuals and animation out of any show this season~

characters: The main cast was very quirky, to put it simply! Cocona was the “straight-face” during all the chaotic adventures, and Papika was full of optimism and enjoyed the whole ride! I liked their relationship and how it grew over time, even though it was queerbait-y at times. I also liked Yayaka, and how she stayed by Cocona, even when she was working for the enemy. The other members of both factions didn’t really get much screen time (outside of the two twins Yayaka worked with), and the later-revealed Nyunyu, despite being touted as the Third Child, didn’t do much either. Dr. Salt (and Mimi later on) get some good backstory though, and play big roles in the climax. The final arc in general gives more depth to several characters (including the main duo), turning what we knew about them on its head!

story: The main premise starts out as the main duo going from world to world within the mysterious Pure Illusion dimension, in order to collect amorphous fragments. The first half of the show is mostly episodic, as each episode features a different creative setting that they must travel to (and most likely fight against Yayaka & the enemy faction). These episodes range from action spectacles to more grounded & atmospheric (it’s kinda like Alice in Wonderland!) The show’s second half takes a notably different approach (at least partially explained by a change in lead writer), as it becomes more story-driven with a big focus on exploring several main character’s backstories (& them coming to a head in the climax). Cocona’s mother reappears and acts as the villain in this final act, so the conflict feels more personal to them. I really liked seeing all the secrets being revealed, and watching the final battle play out! The final episode had some callbacks to the first episode, and helped brings things full circle, which was nice!

This was definitely one’s of the season’s best action and visually-impressive shows! If you like magical girl shows, or like “trippy” anime like FLCL or Space Dandy, you should check this out!

Fune wo Amu - 8.5 - 9.0 / 10 (A-)

A really good laid-back slice-of-life drama about making a dictionary! The premise *sounds* boring, but it made for one of the season’s best shows~

animation: ZEXCS hasn’t been around much lately, but they did a nice job here with the visuals! The art-style leans more towards realism, but leaves out enough details to keep that “anime” look. The backgrounds look nice as well, and the color palette as a whole makes good use of muted colors (it definitely gets the show’s overall feeling of realism across!). The animation is fine as well, though it’ll break out a nice & fluid walking sequence at times too (even if it’s a little clunky). The mid-episode sections involving the dictionary mascots were bright and colorful, and used thick lines (making it very distinct from the main show). The visual style overall is a nice complement to what’s happening in the story (and helps it be beautiful at times too).

characters: The main cast is not that large, but they’re all fun and laid-back; not to mention they’re ADULTS, which is great to see in anime. Majime is a good lead, as he starts out kinda socially-awkward but his passion for words breaks through (& he becomes more confldent over time too!). My favorite character was definitely Nishioka; I really liked his outgoing & suave personality who helped get things done in his own way (+ didn’t take shit from third party contributors either!). His VA performance by Hiroshi Kamiya also was a big contributing factor. The other co-workers were enjoyable as well (to the point where Matsumoto’s eventual death was an emotional moment ;~; ), and had a good group dynamic. Even though the main two significant others (Kaguya and Miyoshi) didn’t have tons of screentime, their personalities & how well they bounced off of their partners made up for it. Even the later addition of Midori to the team was good, as she learned to appreciate dictionary-making as well.  

story: The premise of following a group of people making a dictionary sounds kinda boring on paper (heh heh), but the execution more than makes up for it. The atmosphere and story-progression are very down-to-earth, and it does a good job showing how interesting words and definitions can be. The character arcs also add intrigue to the show, including Majime falling in love with Kaguya and Nishioka being transferred out of the dictionary department (that particular arc added a lot of depth to Nishioka’s character & was a great watch!). The mid-episode chibi-dictionary segments have little trivia bits about dictionaries, but they’re not that memorable otherwise. There’s a big time skip slightly later than halfway through the series; it takes a little time for the viewer to adjust, but it goes back to business as usual in no time. The final episodes show the last steps of finishing the titular dictionary, ending w/ a finale episode that wraps up everything really well in a poetic (& even kinda emotional) way.

This show is definitely underrated, and is one of the season’s best shows for sure! If you like laid-back slice-of-life shows (even if it’s about an unusual subject matter), then check this one out for sure!

Haikyuu: Karasuno vs Shiratorizawa - 9 / 10 (A)

(Note: this review is written in a different style from the others; I was initially gonna use this style for all my reviews like in past seasons, but I lost my notes for three reviews I wrote afterwards due to computer issues. I ended up switching to a different style when rewriting them, and it just kinda stuck for the others...)

Really good third season! it focused on just one match, but it was a big one!

animation:

Production I.G. hits it out of the park, as always

INCREDIBLY FLUID & DYNAMIC movements (spikes, quick movements, jumps, etc.)

gotta love those action lines & varying thicknesses of the outlines :D

not to mention the 3D camera in the final spike of the match!

just… an incredible action spectacle! a feast for the eyes~

characters:

this whole season is just seeing the team come together & show off their skills!

each character had their own moment of badassery along the way :’)

the star of the season (or… MVP, if you will :P) was *definitely* Tsukishima!

he finally got emotionally involved in his volleyball! (that fist pump ;~; )

plus he was a great strategist & was a huge asset to helping Karasuno win!

we also got introduced to Shiratorizawa’s players in detail!

each guy got a decent amount of backstory… just not a lot

the one who got the most focus (besides Ushijima) was definitely Tendou!

he was very much a “joker” character; always wanting to mess w/ his opponents

shout-out to coach Ukai, whose seiyuu passed away before the show started airing ;~;7

his old seiyuu’s final line was a great line to go off on ;A;

story:

the entire season was dedicated to just one final match!

it created good suspense too, just like a real sporting match!

especially since it came down to a deuce in the final set (out of FIVE)!

there was a lot of back-and-forth action too (i.e. quick changes in momentum)

while the story was simple, it had great execution and attention to detail!

the final moment when Karasuno won the match was great as well!

it has an open ending as well (since they still gotta go to nationals! plus Kageyama got a training camp invite!)

overall, this was a great continuation that kept up what this show is so good at delivering~

Hibike Euphonium 2 - 9 / 10 (A) a great conclusion to a really good show about a high school band!

animation: Kyoto Animation does a stellar job yet again! Muted color palette, shiny highlights & lighting (like they’re glowing!), great fluidity in the animation (like w/ walking, running, concert scenes), effective character animation (i.e. small movements). Character art-style is a good mix of moe and realistic characteristics. Just a great looking show all around!

characters: The group dynamic of the cast (i.e. the band itself) remains strong, but there were some characters that got good development this season! The first half had an arc involving Mizore and Nozomi, whom we didn’t really know previously! The second half was more centered around Asuka, who had a great character arc! Even Kumiko had good development in this half of the show (since she was dealing w/ the situation involving her sister Mamiko as well)! It was great seeing her take action after seeing her in an observer role for most of the show prior. We also got some insight into Taki-sensei’s past, which led to a small character arc for Reina as well (even though it still involves a relationship w/ a massive age difference :T).

story: This season covers the rest of the school year right from where S1 left off. Most of the plot is related to the previously mentioned character arcs, which were all executed wonderfully. Even though the drama isn’t focused as much on the band’s competition progression / preparation this time around, we do still get to see them compete on the big stage and even reach their goal of the Nationals! The finale also brings the show to a fitting conclusion, as the third-years graduate and the band starts anew. It’s nice to see a definitive ending in an anime~

I probably enjoyed this season even more than the last one, and it’s definitely one of the best shows of this season. If you like character dramas (and/or shows about orchestral bands), you should definitely check this out!

Magical Girl Raising Project - 7.0 / 10 ( C ) unfortunately, this was one of this season’s lowlights… it’s basically a bad madoka derivative :/

animation: This is one aspect of the show that I liked (done by Studio Lerche). The art-style is very rounded and cutesy (which is fitting for a magical girl show). What is *not* fitting is how much they try to pull off “sexy” character design elements, like skimpy outfits and big boobs / clevage; it just really clashes w/ the “moe” art-style. The character designs themselves have a mix of different tropes (witch / cowgirl / dog / goth lolita / etc.) too. Animation-wise, it was a mostly standard effort (not bad, but not good either). The fight scenes could’ve used more fluidity as well. Shout-out to the ending theme by Nano, whose one of my fav anisong artists!

characters: Just like the character designs, the group of personalities here is also a mix of different tropes that are played mostly straight. There were characters I really liked personality-wise (like Top Speed, La Pucelle, and Hardgore Alice), but there were also characters I really hated (I DISLIKED THE ANGELS FROM THE MOMENT THEY FIRST SHOWED UP; THEY’RE SO MEAN-SPIRITED!!!). Mostly though, I felt indifferent about a lot of them, which made their death scenes have little to no impact on me. Their backstories mostly tend to be shown in the same episode that they kicked the bucket, which also didn’t help matters. Said backstories in question also seemed to use every tragic backstory trope in the book, which just kinda made things ridiculous. Also, both Calamity Mary and Cranberry were built up as legitimate threats over the show’s run, but were defeated rather anti-climatically (especially the latter), which was kinda lame.

story: The premise is basically Battle Royale meets magical girls, as the cast is forced to kill each other to survive. At least, that’s how it starts, but then certain characters (like Swim Swim and Calamity Mary) start killing others just for kicks. I actually didn’t mind the first four episodes too much (outside of the mean-spirited antics of Ruler’s gang): the setup wasn’t bad and the death scenes of Ruler and Nemurin were executed (*ba dum tsh*) in a somewhat-interesting way. However, after that point the gore and EDGE goes into full force, as fight scenes and deaths are shown in such a dark (& even quick) manner that they don’t have the impact that they should have. (The lone exception to this is Hardgore Alice’s death scene, and not by much. Heck, I even fist-pumped when the two angels died...) They even tack on some purely-for-shock-value stuff at the end of some of these deaths (like Sister Nana’s piss trail after her hanging, or the reveal that Top Speed was pregnant after her death.) Lastly, the final episode makes the whole ordeal feel not worth it in the end, since Fav gets what he wants out of the killing game in the end (even though he himself gets killed), and it feels like the survivors are just worse off in the end.

This show joins Daybreak Illusion in the dubious “bad madoka ripoff club.” It’s hard to say which one of the two I dislike more, since they both are bad in different ways. Either way, this show is one that I would probably advise that you skip.

Occultic;Nine - 7.5 / 10 (C+)

An interesting story that is ultimately weighed down by its ridiculously fast pacing…

animation: A-1 Pictures made this show look quite good (and interesting)! The art-style makes good used of painted background, muted colors, dynamic lighting + shadows, and fuzzy / jagged outlines on characters! Certain characters (like the murdering minor) are drawn more realistically at times too. The visual direction had some interesting angles from time to time (but also made some scenes rotated for no real reason). Also, WHY ARE RYO-TAS’s BOOBS SO BIG??? THEY’RE IMPOSSIBLE BOOBS

characters: The main cast has a good mix of personalities; I liked seeing the characters bounce off each other. Shun in particular had a fun personality (which owes a lot to his VA’s performance), and I liked Asuna’s later introduction (since she was an alive detective who could talk with the dead to an extent). Gamon (and a couple others, like Sarai) could get kinda annoying at times, since he tends to say a lot without much pause. However, they don’t get a ton of development. Gamon at least gets some backstory involving his dad, and Aria has backstory involving his dead brother (said story is kinda messed up too). I also liked how Ryo-tas was revealed to have Aveline possessing her from time to time (which made her suspicious leading up to it).

story: There’s a lot going on in this supernatural sci-fi mystery; a bunch of mysterious events (including murders and a mass drowning) lead a group of teens to uncover a big conspiracy and put a stop to it. The story is definitely hard to follow at times, since they throw lots of info at you (not to mention a lot of technobabble). It gets more interesting once the twist at the end of episode 6 occurs (as most of the main cast is revealed to be dead / ghosts), along with more reveals. There’s a lot of interesting ideas here (not to mention the story has a definitive ending), but it’s really held back by how *fast* the pacing is. Episode 1 is infamous in how fast it goes (seemingly sped-up dialogue, little pauses in-between dialogue & other scenes, etc.), but even though it gets better after that, it’s still a big issue. I actually started adjusting the playback speed to 0.9x after seeing someone else suggest that on r/anime. The final episode is kinda bittersweet, as the organization is defeated and Gamon gets to see his dad again, but Gamon seems to still be stuck in the spirit realm (and the epilogue I felt was too short).

As a fan of the Sci;Adv series, I had a good time with this one, even though it’s far from the best show this season. If you’re a fan of other shows in that series (like Steins;Gate or Robotics;Notes), you’ll find something to like here. Just remember to adjust the playback to 0.9x speed for a better time :P

Show By Rock!! # - 7.5 / 10 (C+)

Not *as* good as season 1, but I still had a good time with it!

animation: BONES did good visuals this season too, as it has the same quality and style as season one. It’s very bright and colorful (and shiny!). Animation fluidity was mostly fine, with better fluidity during most performance sequences. The CGI returns (and is of the same quality as in season one, which is a good thing), but doesn’t show up as much.

characters: The main cast is fun to watch, just like in season one (and honestly, the cast is the biggest draw to this show)! Plasmagica got a few focus episodes that helped develop them slightly more (Retoree & Cyan). ShinganCrimsonZ definitely got more focus this season, as they played a role in the Arcareafact and Bud Virgin Logic arcs, along with learning more about Rom + Shuzo’s past, along with Aion’s past! The new villain Victorious was a simple evil villain, but I didn’t think she needed a dark backstory to justify her being evil (what’s wrong with her just simply being an deity of darkness?)

story: Plot progression was very simple this season, as most episodes revolved around character arcs (or focus episodes). There was an overarching plot introduced in episode one, but it didn’t have much relevance again until the last third of the season. I enjoyed the character-based episodes, as they either showed us more fun hijinks with the crazy fun cast, or helped flesh them out a bit more. The final episode particularly saw a decline in visual quality (ex: the big collab performance that was built up over the past two episodes was shown in sub-par 2D animation) and just had weird execution overall.

If you enjoyed season one, you’ll probably enjoy this one as well! Check this series out if you like fun characters and music performances~

Shuumatsu no Izetta (aka Izetta the Last Witch) - 8.0 / 10 (B)

This was a fun & enjoyable historical fantasy fiction show! Nothing mind-blowing, but I had a good time with it~

animation: This show had good visuals overall! The art-style for the characters is very similar to what I call the “A-1 Pictures” art style (as seen in shows like SAO). I liked the painterly backgrounds and muted color palette, which presented the historical WWII setting well. Animation-wise, the fluidity is really good, especially in the early episodes. The action looks great to start, but diminishes in quality over time (even though it’s still fine by the end). However, I did like how creative the action could be at times (like using trains and spears as aerial weapons!). Bonus mention to the great opening theme song by AKINO with bless4!

characters: The cast was fine overall, but the stars of the show were definitely Finé and Izetta. Finé is a strong leading lady who doesn’t flinch in the face of terror (which is fitting for royalty like her!), and Izetta is a good fighter in her own right w/ her magic! I also liked seeing their relationship play out, even though it has some queerbait-y moments. The side characters had fun personalities, but none of them were super-standout either (though some on both Elystadt and Germania sides got a little bit of focus / screentime. A good example of this was Muller, who at least had his character arc come full circle).  

story: The premise is based in an AU World War II, where a small country gains the help of a young witch to help fight off the looming superpower threat. The first few episodes started out relatively strong, with several good action scenes showcasing the two female leads and Elystadt’s main cast. The overall quality kind of dipped after that, but there were still some good moments there. I wish Sophie being a major player was foreshadowed a bit better, and the quick love(?) arc involving Ricelt could’ve been done better (or tied into the main story more). The finale didn’t quite go back to the early-episodes quality, but it still had fun story & action beats, and wrapped things up in a conclusive way.

Even though the rest of the show didn’t *quite* live up to those first few episodes, it’s still an enjoyable, action filled time. If you enjoy fantastical historical fiction shows, you’ll find something to like here.

Udon no Kuni no Kimiro Kemari (aka Poco’s Udon World) - 8.5 / 10 (B+)

This was a really sweet show about the themes of family! It’s easy to compare it with shows like Barakamon and Sweetness & Lightning, but it forges its own identity by the end~

animation: LIDENFILMS doesn’t have a *ton* of prior work, but they did a nice job with the visuals! The art-style is quite distinct; it has pretty watercolor backgrounds and a bright color palette (it looks kinda like a storybook in a way!). The characters have rounder-than-usual eyes (especially with the kid characters) and all have long, white highlights on their hair and bodies! The animation itself isn’t anything special, but it gets the job done for a cute slice-of-life show like this one.

characters: The main cast was very down-to-earth and enjoyable to watch! The main lead Souta got some great character development over the course of the show; I enjoyed seeing him re-discover his love for his hometown and for his family (including his deceased dad). Poco was also a really cute kid; him being a tanuki allowed for some good supernatural stuff towards the end of the show. The side characters were also really good! They all had fun personalities and had good interactions with Souta and Poco (Hiroshi falling in love with Rinko comes to mind); Rinko in particular got some good development towards the end (as she had uncertainties about being a mom, and Poco helped give her confidence!). I don’t have any comments about the Gaogao-chan segments & its characters, because I skipped them every episode ^^;

story: This show follows the daily life of Souta, who just returned to his hometown after time away, and Poco, a tanuki who meets South and starts spending time with him. A lot of the story progression involves small events with the main duo, like hanging out with Mai and her kids, or spending time with Nakajima or Rinko. The story’s main core though is learning about Souta’s situation (his falling out w/ his parents + hometown, him moving to Tokyo, his leg injury, etc.) and seeing how Poco changes his perception of all of these aspects over time (with the power of cuteness, family bonding, and even some supernatural flashbacks!). The show as a whole is really adorable to watch; not to mention quite heartfelt and emotional at times! It really gets the feeling of “family” down, especially with an atypical family like this one. The final episode definitely tugs on the heartstrings, as Poco shows Souta how much his father truly loved him, and the two have to go their separate ways ;~;  

This show was definitely the most pleasant surprise of the season for me, along with being one of the season’s most underrated shows (alongside Fune wo Amu)! If you like slice-of-life shows, or enjoyed Barakamon and/or Sweetness & Lightning, you should check this one out!

Yuri!! On Ice - 8.5 / 10 (B+)

A very enjoyable sports anime about ice skating, that also features one of the best examples of an LGBT couple in all of anime!

animation: MAPPA did a really nice job with the visuals! The art-style leans a bit more towards realism, but also makes good use of cartoon-y expressions + comedic animation. (I also get a kick out of how similar Yuri K. looks to Parasyte’s Shinichi, since both shows have the same character designer :P). Animation-wise, the fluidity is definitely above-average and the figure skating routines look great as well, especially considering it’s done in all 2D animation! (There are some routines later in the show by supporting characters that sacrifice staying on-model for consistent fluidity, though).

characters: The cast as a whole is fun to watch, and has a good mix of personalities. The standout characters for me were definitely Yuri K. and Victor; I liked how both had goofy and serious sides to their personalities. Seeing their relationship develop over time (and how it helped both characters learn and grow) was one of my favorite aspects of the show, as it never failed to put a smile on my face! (It also helps that it’s one of the best-portrayed LGBT couples in anime, period!) Yurio was also a good rival, who really showed growth in his character (and his respect for Yuri and his grandpa) over time! The other supporting characters (mainly the other skaters) were also enjoyable, even though they didn’t get much focus development-wise (besides JJ, kinda). They still had fun interactions with each other and the main cast (especially in episode 10), so I still definitely liked having them around.

story: The story follows Yuri who, after reaching a low point in his career, gets his idol Victor to coach him through the next ice skating season, in order to win gold! The main story progression takes Yuri through each of the competitions leading up to the Grand Prix Finals, just like most sports anime. While the drama and suspense coming from the competitions themselves isn’t as strong (in comparison to other sports anime like Haikyuu, anyway), the routines are still really good and the feeling of competition still gets across. (Besides, the most effective serious and triumphant moments for me came from the ups and downs of Yuri and Victor’s relationship, anyways :P). The episodes also kinda felt fast-paced at times (not nearly as bad as Occultic;Nine, though); perhaps a nitpick, but it was noticable. The final episode ended things on an open-ended but good note, as Yuri falls just short of Gold (and Yurio wins!) but is determined to win next time (plus Victor decides to un-retire and the two of them do a pair skate at the end!!! Yay!!!)

This was definitely one of the season’s best shows that will surely put a smile on your face! If you like sports anime or romance shows, you should go watch this for sure!

[woodardmiles1992]

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[urameshiy-blog]

This post is brought to you by characters with questionable motivations that will never be mentioned again.

Episode 7: Gouki and Kurama and 8: The Three Eyes of Hiei

In these two episodes, Yusuke gets his ass kicked. Hard.

This, along with the Power of Friendship and Love, will be a treasured theme of Togashi’s throughout the series. It’s honestly more of a surprise when Yusuke doesn’t get his ass kicked. Of course, this is a classic shonen anime trope: character gets beat down, picks himself up to get beat down again, and stumbles his way to victory. Watch Naruto: same thing. Bleach. One Piece. My Hero Academia (the... only contemporary shonen anime out of this list). Yet, Yusuke always does it with this odd combination of anger, determination, joy, and most importantly, a snappy one-liner, that I can’t help but love him best.

We pick up where we left off, with Gouki pounding Yusuke. Unfortunately for Yusuke, he used up his one shot of spirit energy earlier that day, and is stuck with only his fists. However, Gouki is much too strong, and knocks Yusuke out completely. It looks like this is the end of Yusuke’s brief second life. But with some quick thinking and deception, Botan saves Yusuke and brings him back home. She presents him with a second item: the concentration ring. Armed properly, and with Botan at his side, Yusuke faces off with Gouki again and promptly defeats him, with a few additional bruises added.

But Yusuke and Botan have no time to celebrate: waiting for them is the next demon, Kurama. Previously, a spirit fox, Kurama merged with the spirit of an unborn infant when he was injured, and has since been in hiding. Though he had planned on returning to the Demon World after recovering, his love for his mother grew, and he decided to stay instead. But when his mother fell ill, Kurama turned to other means to save her: the Forlorn Hope, which will take his life when it grants his request.

Yusuke, however, is a huge softie, and decides that Kurama doesn’t get to die that day. In the middle of Kurama’s request, Yusuke interrupts, and asks the Forlorn Hope to take Yusuke’s life instead (because the boy has zero consideration for his own life still). Luckily, the Forlorn Hope considered that noble, and decides both boys get to live! So Kurama’s mother is saved, Yusuke doesn’t die again, and he’s achieved the Forlorn Hope.

All’s well, end’s well?

and here’s Yusuke contemplating how "sad" Kurama's eyes are, like the protagonist of a YA novel

Wrong. Episode 8 comes crashing in, and Hiei promptly kidnaps Keiko to use as leverage against Yusuke. Yusuke tracks him down to a warehouse, where we find out that Hiei has cut her with the Demon Sword. If Yusuke doesn’t get the antidote from Hiei, Keiko will be turned into a mindless, demonic slave forever. Using her own healing energies, Botan focuses on keeping Keiko stabilized, while Yusuke goes after the antidote. Yusuke and Hiei proceed to fight, and Hiei gains the upper hand. Just as Hiei is about to deliver the finishing blow, Kurama intervenes, and takes the blow meant for Yusuke. Yusuke takes this moment to gather his wits, and faces Hiei again, angry and more determined. With a last ditch effort, Yusuke fires his Spirit Gun at the Forlorn Hope, which reflects the shot and strikes Hiei directly in the back.

Hiei finally defeated, the team heals Keiko, and laugh over Yusuke’s dumb luck, and Kurama’s masochistic tendencies. Just another day in the life of a Spirit Detective!

I decided to attack these two episodes at once, since it neatly wraps up the story arc begun in episode 6. I really appreciate how stream lined it is, and that the fight scenes don't take longer than a single episode. There's actually quite a bit more talking than fighting throughout all three episodes, which I almost find refreshing, since it really lets us spend time with the characters. Action wise, the fight scenes are still pretty slow, and I found myself a little bored during the Hiei/Yusuke fight scene.

Yusuke is on point in these two episodes: he’s determined to get back the artifacts, and he’s once again willing to put his life on the line to save these children’s souls. It’s surprising how consistent character wise Yusuke is in this aspect; as much as he was willing to throw himself in front of a car for a child in episode 1, he’s now willing to get beaten to death for them. And he does it all with a ready punchline. It almost makes me wonder how Spirit World screwed up so much in their reading of Yusuke. It’s not like he started caring for children after he died; this has always been a consistent character trait. Then again, I guess we can’t expect institutions to be correct all the time, amirite? (just go look at the news for reference)

Botan is also a DELIGHT, providing heavy support during the Gouki fight. She's unfortunately relegated to healer status in episode eight, but I'm glad she's still involved. Keiko, sadly, defaults to damsel in distress and the jealous girlfriend, and she will remain in this role for the rest of the series.  

In episode 5, I said we would later discuss the evolution of how Togashi depicts demons. With our introduction of our two favorite demon boys, this is the perfect time to do so.

Gouki is a pretty standard stock villain. He’s big, dumb, and wants to eat human souls. Compared to Hiei, he’s actually a better developed than villain, with an understandable motivation, and a character design that outright says “evil.” And when he transforms, he’s undeniably the most demonic out of the three. By combining both his motivation and character design, we know for certain that we’re not to trust him (oddly, we will not see demons actively try to eat humans for another nearly 100 episodes, and it’ll be the subject of some intense discussion).

Kurama, on the other hand, never looks anything other than human during his appearance. With wide green eyes and a human mother to boot, we are subconsciously prepped to sympathize with him.

As for Hiei, he falls somewhere in a gray area between Kurama and Gouki. He’s certainly no ogre creature like Gouki, but he’s most definitely an antagonist. His pupils are smaller than Kurama’s, and his third eye marks him as other. Not to mention, at the height of the battle between him and Yusuke, he transforms into a green goblin like creature, covered in eyes. This form comfortably places him in the “evil” category for viewers and enhances his predatory appearance. In some ways, all three of these demons’ character designs are reinforcing our ideas of what “good” and “evil” looks like. I won’t say that Togashi completely smashes these expectations later on, but we’ll continue to discuss the difference between what “relatable” and “evil” demons look like as the series goes on.

Before going further into their characterization, I do want to note that even during Hiei’s introduction, Togashi was not 100 percent certain how major a character Hiei would be. However, his character and design ended up being so popular, that Hiei ended up as one of our core four characters. As such, there are some funky inconsistencies with Hiei’s motivations and why he would even want to steal the demon sword. However! It’s there, so I’m going to treat his characterization here as canonical (for the time being), rather than a completely separate characterization.

As much as Kuwabara and Yusuke contrast each other (Kuwabara is the emotional and motivated one, Yusuke’s the repressed one), Hiei and Kurama are each others’ contrasts. Even their character design (at least in the anime) is directly in contrast with each other, with Kurama being bright red, feminine, tall, and seemingly trustworthy. Hiei, on the other hand, is clad head to toe in black, with spiky hair, beady demonic red eyes, and 4 feet and 11 inches of pure anger and edgelord punk style.

Their motivations are in direct opposition as well; Kurama’s a reformed demon, and acts a thief one last time to save a human life. Hiei, however, is incredibly cutthroat, and out to… build a demonic army from humans and take over Human World (maybe)? His motives are very unclear, but he’s a starter villain, so we don’t really need to know much. We do know he sees humans as inferior, and this is consistent, even later in the series.  

As the series goes on, we will see that the two slide into complementary roles, with Hiei as our Brute Force and Kurama as our Smart Guy. What will be more interesting is when Togashi begins to subvert their tropes, creating more complex and interesting characters as we go. Both characters will undergo immense change later on in the series, and I'm excited to come back to discuss that. However, we'll be saying goodbye to them for now, and instead venturing off into a completely other direction! (Genkai, we're coming for you).

Final Thoughts:

Kurama is the biggest drama queen in the history of the world, matched only by Yusuke Urameshi himself: “Did you know in some species the child eats its mother?” he says, as he proceeds to wax poetic about feeling like one of those “mother devourers.” Just. Chill, Kurama. CHILL.

Favorite line of the two episodes goes to Kurama again, with a 10/10 roast to Yusuke: “All the while we’ve been thinking you’re a brilliant strategist. You’re just a lucky fool… A strategist is a person who uses his brain.”

Yusuke making fun of Hiei monologuing is fantastic.

I never thought I would say this, but I miss Kuwabara? So much?

TL;DR?: These two episodes throws us straight into demon world, and provide some fun action scenes! Kurama and Hiei are startlingly different from their later characterization, but deliver some great moments and insults. However, upon rewatch, I find myself impatient to get to later episodes where the team is working together!