#one of the best screen adaptations i've ever seen

[artsekey]

Disney's Wish

Look, Disney's Wish has been universally panned across the internet, and for good reason.

It’s just…kind of okay.

 When we sit down to watch a Disney film—you know, from the company that dominated the animation industry from 1989 to (arguably) the mid 2010’s and defined the medium of animation for decades—we expect something magnificent. Now, I could sit here and tell you everything that I thought was wrong with Wish, but if you’re reading this review, then I imagine that you’ve already heard the most popular gripes from other users across the web. So, let me focus in:

The biggest problem with Wish—in fact, the only problem with Wish—is Magnifico.

Whoa, that’s crazy! There’re so many things about Wish that could’ve been better! The original concept was stronger! The music was bad--

I hear you, I do. But stay with me here, okay? Take my hand. I studied under artists from the Disney renaissance. I teach an adapted model of Disney’s story pipeline at a University level. I spent a ridiculous amount of time getting degrees in this, and I am about to dissect this character and the narrative to a stupid degree.

First, we need to understand that a good story doesn’t start and end with what we see on the screen. Characters aren’t just fictional people; when used well, characters are tools the author uses (or in this case, the director) to convey their message to the audience. Each character’s struggle should in some way engage with the story’s message, and consequently, the story’s theme. Similarly, when we look at our protagonist and our antagonist, we should see their characters and their journeys reflected in one-another.

So, what went wrong between Asha & Magnifico in terms of narrative structure?

Act I

In Wish, we’re introduced to our hero not long into the runtime—Asha. She’s ambitious, caring, and community-oriented; in fact, Asha is truly introduced to the audience through her love of Rosas (in “Welcome to Rosas”).  She’s surrounded by a colorful cast of friends who act as servants in the palace, furthering her connection with the idea of community but also telling us that she’s not of status, and then she makes her way to meet Magnifico for her chance to become his next apprentice.

Quick aside: I'm not going to harp on Asha as a character in the context of Disney's overall canon. Almost every review I've seen covers her as a new addition to Disney's ever-growing repertoire of "Cute Quirky Heroines", and I think to be fair to Asha as an actor in the narrative, it serves her best to be weighed within the context of the story she's part of.

As Asha heads upstairs for her interview, we're introduced to the man of the hour: Magnifico. He lives in a tower high above the population of Rosas, immediately showing us how he differs from Asha; he’s disconnected from his community. He lives above them. He has status. While the broader context of the narrative wants us to believe that this also represents a sense of superiority, I would argue that isn’t what Magnifico’s introduction conveys; he's isolated.

Despite this distance, he does connect with Asha in “At All Costs”. For a moment, their goals and values align. In fact, they align so well that Magnifico sees Asha as someone who cares as much about Rosas as he does, and almost offers her the position.

… Until she asks him to grant Saba’s wish.

This is framed by the narrative as a misstep. The resonance between their ideals snaps immediately, and Magnifico says something along the line of “Wow. Most people wait at least a year before asking for something.”

This disappointment isn't played as coming from a place of power or superiority. He was excited by the idea of working with someone who had the same values as he did, who viewed Rosas in the same way he does, and then learns that Asha’s motivations at least partially stem from a place of personal gain.

Well, wait, is that really Asha's goal?

While it's not wholistically her goal, it's very explicitly stated & implied that getting Saba's wish granted is at least a part of it. The audience learns (through Asha's conversation with her friends before the interview) that every apprentice Magnifico has ever had gets not only their wish granted, but the wishes of their family, too!  Asha doesn’t deny that this is a perk that she’s interested in, and I don't think this is a bad thing.

So, Is Asha’s commitment to Saba selfless, or selfish? I’m sure the director wanted it to seem selfless, wherein she believes her family member has waited long enough and deserves his wish granted, but we can’t ignore the broader context of Asha essentially trying to… skip the line.

Then, we get our first point of tension. Magnifico reveals his “true colors” in snapping at Asha, telling her that he “decides what people deserve”. This is supposed to be the great motivator, it’s meant to incite anger in the audience—after all, no one gets to decide what you deserve, right? But unfortunately for the integrity of the film and the audience's suspension of disbelief, at least part of Magnifico’s argument is a little too sound to ignore:

Some wishes are too vague and dangerous to grant. Now, there’s visual irony here; he says this after looking at a 100 old man playing the lute. The idea that something so innocuous could be dangerous is absurd, and the audience is meant to agree.

... But we’ve also seen plenty of other wishes that might be chaotic—flying on a rocket to space, anyone? The use of the word vague is important, too—this implies wording matters, and that a wish can be misinterpreted or evolve into something that is dangerous even if the original intent was innocuous. His reasoning for people forgetting their wish (protecting them from the sadness of being unable to attain their dreams) is much weaker, but still justifiable (in the way an antagonist’s flawed views can be justified). The film even introduces a facet of Magnifico’s backstory that implies he has personal experience with the grief of losing a dream (in the destruction of his home), but that thread is never touched on again.

              What is the audience supposed to take from this encounter? If we’re looking at the director’s intent, I’d argue that we’ve been introduced to a well-meaning young girl and a king who’s locked away everyone’s greatest aspiration because he believes he deserves to have the power to decide who gets to be happy.

              But what are we shown? Our heroine, backed by her friends, strives to be Magnifico’s apprentice because she loves the city but also would really like to see her family's wishes granted. When this request is denied and she loses the opportunity to be his apprentice, she deems Magnifico’s judgement unfair & thus begins her journey to free the dreams of Rosas’ people.

              In fairness, Magnifico doesn’t exhibit sound judgement or kindness through this act of the film. He’s shown to be fickle, and once his composure cracks, he can be vindictive and sharp. He's not a good guy, but I'd argue he's not outright evil. He's just got the makings of a good villain, and those spikes of volatility do give us a foundation to work off of as he spirals, but as we’ll discuss in a bit, the foreshadowing established here isn’t used to the ends it implies.

              While I was watching this film, I was sure Magnifico was going to be a redeemable villain. He can’t connect with people because he's sure they value what he provides more than they value him (as seen in “At All Costs” and the aftermath), and Asha’s asking for more was going to be framed as a mistake. His flaw was keeping his people too safe and never giving them the chance to sink or swim, and he's too far removed from his citizens to see that he is appreciated. Asha does identify this, and the culmination of her journey is giving people the right to choose their path, but the way Magnifico becomes the “true” villain and his motivations for doing so are strangely divorced from what we’re shown in Act I.  

Act II:

His song, “This is the Thanks I Get!?” furthers the idea that Magnifico’s ire—and tipping point—is the fact that he thinks the people he’s built a kingdom for still want more. Over the course of this 3:14 song, we suddenly learn that Magnifico sends other people to help his community and doesn’t personally get involved (we never see this outside of this song), and that he’s incredibly vain/narcissistic (he's definitely a narcissist). I think feeling under-appreciated is actually a very strong motivation for Magnifico as a character-turning-villain, and it works very well. It’s justified based on what we’ve seen on screen so far: he feels under-appreciated (even though he’s decidedly not—the town adores him), he snaps and acts irrationally under stress (as seen with his outburst with Asha), and he’s frustrated that people seem to want more from him (again, as seen with his conversation with Asha in Act I).

              But then… he opens the book.

Ah, the book. As an object on screen, we know that it's filled with ancient and evil magic, well-known to be cursed by every relevant character in the film, and kept well-secured under lock and key. But what does it stand for in the context of the narrative's structure? A quick path to power? We're never told that it has any redeeming qualities; Magnifico himself doesn't seem to know what he's looking for when he opens it. It feels... convenient.

I think it's also worth noting that he only turns to the book when he's alone; once again, the idea of connection and community rears it's ugly head! Earlier in the film, Amaya-- his wife-- is present and turns him away from taking that path. In her absence, he makes the wrong choice.

This decision could make sense; it contains powerful magic, and if it were framed in such a way that the people of Rosas were losing faith in Magnifico’s magic, as if what he can do might not be enough anymore after what they felt from Star, going for the book that we know contains spells that go above and beyond what he can already do would be logical. Along the lines of, “If they’re not happy with what I do for them, fine. I, ever the “martyr”, will do the unthinkable for you, because you want more.”

            It would keeps with the idea that Magnifico believes he's still trying to help people, but his motivation has taken his self-imposed pity party and turned it into resentment and spite.

 But, that’s not the case. Instead he talks about reversing that “light”, which has had no real negative or tangible consequences on Rosas. Everyone had a warm feeling for a few seconds. Again, it’s meant to paint him as a vain control freak, but… he hasn’t lost any power. The citizens of Rosas even assume the great showing of magic was Magnifico.

Act III

              Then, we get to the consequences of opening the book (and perhaps my biggest qualm with this film). The book is established as being cursed. Magnifico knows it, Asha knows it, and Amaya—who is introduced as loyal-- knows it. The characters understand his behavior is a direct result of the book, and search for a way to save him. This is only the focus of the film for a few seconds, but if you think about it, the fact that his own wife cannot find a way to free him of the curse he’s been put under is unbelievably tragic. Worse still, upon discovering there is no way to reverse the curse, Magnifico—the king who built the city & “protected it” in his own flawed way for what seems to be centuries—is thrown out by his wife. You know, the wife who's stood loyal at his side for years?

              It’s played for laughs, but there’s something unsettling about a character who’s clearly and explicitly under the influence of a malevolent entity being left… unsaved. If you follow the idea of Magnifico being disconnected from community being a driving force behind his arc, the end of the film sees him in a worse situation he was in at the start: truly, fully alone.

              They bring in so many opportunities for Magnifico to be sympathetic and act as a foil for Asha; he’s jaded, she’s not. He’s overly cautious (even paranoid), she’s a risk-taker. He turns to power/magic at his lowest point, Asha turns to her friends at her lowest point. Because this dichotomy isn’t present, and Magnifico—who should be redeemable—isn’t, the film is so much weaker than it could’ve been. The lack of a strong core dynamic between the protagonist and antagonist echoes through every facet of the film from the music to the characterization to the pacing, and I believe if Magnifico had been more consistent, the film would’ve greatly improved across the board.

I mean, come on! Imagine if at the end of the film, Asha—who, if you remember, did resonate with Magnifico’s values at the start of the film—recognizes that he's twisted his original ideals and urges him to see the value in the people he’s helped, in their ingenuity, in their gratitude, & that what he was able to do before was enough. Going further, asking what his wish is or was—likely something he’s never been asked— and showing empathy! We’d come full circle to the start of the film where Asha asks him to grant her wish.

Pushing that further, if Magnifico’s wish is to see Rosas flourish or to be a good/beloved king, he'd have the the opportunity to see the value in failing and how pursuing the dream is its own complex and valuable journey, and how not even he is perfect.

 The curse and the book (which, for the purposes of this adjustment, would need to be established as representing the idea of stepping on others to further your own goals/the fast way to success), then serve as the final antagonist, that same curse taking root in the people of Rosas who’ve had their dreams destroyed, and Asha works with the community to quell it. Asha’s learned her lesson, so has Magnifico, and the true source of evil in the film—the book—is handled independently. Magnifico steps back from his role as King, Amaya still ends up as Queen, and Asha takes her place as the new wish-granter.

This route could even give us the true “Disney villain” everyone’s craving; giving the book sentience and having it lure Magnifico in during “This is the Thanks I Get!?” leaves it as its own chaotic evil entity.

All in all, Magnifico's introduction paved a road to redemption that the rest of the film aggressively refused to deliver on, instead doubling down on weaker motivations that seem to appear out of thin air. Once the audience thinks, hey, that bad guy might have a point, the protagonist has to do a little more heavy lifting to convince us they're wrong.

Look at the big-bad-greats from Disney's library. There isn't a point in the Lion King where we pause and think, "Wait a second, maybe Scar should be the guy who rules the Pridelands." Ursula from the Little Mermaid, though motivated by her banishment from King Triton's Seas, never seems to be the right gal for the throne. Maybe Maleficent doesn't get invited to the princess's birthday party, but we don't watch her curse a baby and think, Yeah, go curse that baby, that's a reasonable response to getting left out.

What do they all have in common? Their motivation is simple, their goal is clear, and they don't care who they hurt in pursuit of what they want.

Magnifico simply doesn't fall into that category. He's motivated by the idea of losing power, which is never a clear or impactful threat. His goal at the start seems to be to protect Rosas, then it turns into protecting his own power, and then-- once he's corrupted-- he wants to capture Star. The problem is, there's no objective to put this power toward. Power for power's sake is useless. Scar craves power because he feels robbed of status. Ursula believes the throne is rightfully hers. Maleficent wanted to make a statement. Magnifico... well, I'm not really sure.

[hotvintagepoll]

LAST POLL OF ROUND 4

Propaganda

Anouk Aimée (La Dolce Vita, Lola)—I went to look at pictures of Anouk Aimée to inspire me to write some propaganda, but then I got too distracted by how pretty she was, forgot what I was doing and just kept on looking at more pictures with no thoughts going through my mind except "wow....women beautiful.." But I will say that Anouk Aimée is one of the most stunning actresses I've ever seen. I mean, her eyebrows, her nose, her charming smile, her cheekbones... I'm sorry I got distracted looking at pictures of her again. Anyway, she's so pretty and captivating on screen!!!! Vote for her!!!!!!

Pearl Bailey (Carmen Jones, St. Louis Blues, Porgy and Bess)—vintage crush of all time, the most beautiful woman I've ever seen, and my GOD the PIPES! She wasn't in nearly enough movies, but every time I see her I'm aghast all over with what a gorgeous woman she was. Vote Pearl for diva glamor like no one else! (also....she was on the Muppet Show!)

This is round 4 of the tournament. All other polls in this bracket can be found here. Please reblog with further support of your beloved hot sexy vintage woman.

[additional propaganda submitted under the cut.]

Pearl Bailey propaganda:

"Pearl Bailey was an absolute POWERHOUSE! She's best known for her career in music and theater (she's a DIVINE singer, and very funny). But she also did several feature films, including a controversial adaptation of Porgy and Bess (controversial because of the story; the actors were pretty much coerced into it). She's got a style all her own, you can recognize it from a mile away. She's got you chuckling and crying from one phrase to the next. I love her <3"

"Cheekbones to die for"

Anouk Aimée:

Linked gifset

[oddfoggy]

Oops I forgot to share this ode to one of my favorite shows! Heartstopper is one if my main comfort shows, and one of the best page to screen adaptations I've ever seen. I could gush about it for ages, and the second season got me inspired to finally draw some proper fanart.

🍃🍂Print available soon! Link to my Etsy shop is in my bio🍂🍃

[dayscapism]

My Thoughts on the Percy Jackson TV Show (was not a fan):

Months have passed but, I guess I like to throw wood to embers to make fires again. Honestly, I would have abandoned it after episode 3 if it weren't one of my favourite book series ever and I wanted so bad to be hopeful and pleasantly surprised.

I don't think it's a terrible adaptation, but I think it's boring, badly edited, with character inconsistencies, has first-draft-level writing and just missed potential. I'm happy it's been working for so many others, but I've also seen a lot of people being so reluctant to negatively criticise anything about it. Which is weird, it makes me feel like we're watching two different shows and I'm the problem (am I the drama? perhaps. I don't care.)

It's not been an easy time to watch for me; it's a sustained, painful, physical effort to pay attention to this show, especially during dialogue scenes. Like how do you make a show about a bunch of ADHD kids and make it so NOT ADHD-friendly to watch?? (The writers and editors should watch EEAAO, that's how an ADHD brain approaches visual media). The pacing, the terrible exposition, it's the static and uninteresting camera work, the lack of a campy hyping music/soundtrack, the lack of stylization, the lazy editing, the actors stopping to chat in a static shot every other minute, no running during urgent situations, etc. Nothing is engaging! It's such a boring show! There's always exactly 1 thing happening on screen and nothing else around it, no hidden meanings, no mystery, nothing that could be layered storytelling, which is such an important thing in a TV show where you only have 8 episodes to tell your story! Spekaing of, ADHD and dyslexia don't seem to be shown or discussed again after it's mentioned that Percy has has it in episodes 1-2. I was hoping for bolder representation with that. (Why didn't they include the little dialogue where neither Percy of Annabeth can't figure out the sign at the emporium because of dyslexia, and Grover has to tell them! These little moments count so much for representation of this kind.)

The dialogue paired with the pacing/humour is not landing. It truly feels unpolished, like a first draft. Like technically it serves its purpose, but it's an ineffective, unengaging manner to write a tv script. They should have done more flashbacks too, to give context and exposition. But instead, everything is given to us like you would in a book. (And this is coming from someone who read the books years ago so I NEED this exposition because I don't remember a lot of details, but the exposition isn't even helpful and the writing doesn't keep me engaged enough for me to even pay attention to the exposition!) The actors are doing the best with the material they have, they're all really precious, but this writing and directing is hurting their acting so bad. The dialogue and scenes are so awkward, which hurts the chemistry between the characters too (I expand on my issues with the characters later).

A lot of the tone and pacing issues could just be a book-to-tv adaptation thing because we're no longer in Percy's head with his funny sarcastic remarks and long paragraphs that can give us context. But then why didn't they include narration? Why didn't they keep it up after the intro in episode 1?? Why did they even include that bit if they weren't going to keep it up?? We have 4th-wall narration in lots of things these days (from the top of my head, Fleabag and Deadpool), usually done for comedic and style effect. This would help so much with the pacing and tone! the lost potential is so frustrating. Many movies/shows don't need narration; this one could have benefitted so much from it.

The show is not funny whatsoever when the books are hilarious. At no point did I laugh out loud here. Such a crime. I hate to be one of THOSE but the movies at least got the unserious and funny beats right. Like why is the music in this show just an epic forgettable MCU-like soundtrack but with a serious tone? Why didn't they include modern or campy songs? They should have taken clues from the Umbrella Academy's first seasons. And they could have included Greek music in it too! How could would that have been? It's not a bad soundtrack by any means, but if nothing else is used in a very strange manner in some scenes because it sometimes cuts the action or doesn't match the energy or vibe of the scenes. The visuals and settings are pretty good, I admit, but these are underserviced by the entire production's lack of style and music and tone are a big part of that.

Some people have said the action scenes are bad, but I feel the problem is there's no sense of urgency, of danger (no layered storytelling here either). The fights with the monsters are okay, great even, the problem is this lack of excitement. The problem is the setups to the action: the lack of tension and then rushed resolutions. For example, they dragged the scenes with Medusa and Equidna talking that it lost all suspense. Equidna literally says instead of just jumping to it, showing what she would do to them kids. (Ok the chimera is cool tho, looks really cool. I want it as a pet 😊 And the editing when Percy falls from the arch is pretty cool too, rare exception.)

But most feels so underwhelming. These kids should also be running everywhere, not calmy walking (bad directing!) This makes the monsters not feel as menacing, because they always have time for a calm exposition break long conversations in the middle of what are supposed to be life-or-death encounters with ancient Greek monsters. And mind you, these pauses for conversation aren't even layered, they're often shot with a static camera, with dull dialogue no 12 yo would speak. They could be having these conversations while running, while hiding, while doing something else! Mix dialogue and action! Layered storytelling, it's about themes and characters but also about how you present the scenes themselves.

An adjacent problem is also the actualization of the myths for a modern audience is a bit surface-level (like with Medusa). They could have done so much more here.

Now, issues with characterization:

Characters can really make or break a story. Here we have a lot of character inconsistencies, or rather, a lack of definition of the characters. It's not about the show being exactly accurate to the book here, it's the show wasting perfectly good character and plot moments from the show, while not being true to tone and to the core of the characters. Change in adaptations can be good, to consolidate or make things clearer and work for the new medium, but they character work here was very ineffective and inefficient.

Percy is supposed to be cunning, smart but not knowledgeable about the Greek world. The show has this being reversed many times. Grover is perceptive and has more life experience but he is reduced to nothing. Like I'm wondering why is he even here? Also, Annabeth and Percy get sincere with each other really quickly after like 1 day of knowing each other, no layered storytelling or emotional reactions to them baring their deepest fears and darkest backstories either. (Poor kids are doing their best with mediocre adaptation, though Walker is carrying the show at this point, tbh.)

And Annabeth... Oh. Annabeth is a hard character to portray and write, tbh, it's easy to make her unlikable and straightforward, can very easily come off as annoying, pedantic perhaps, though I am all for unlikeable female heroines. But this is such a baffling iteration of her character. She comes off as a stalker in the first episodes, then she's bossy yet she doesn't seem to actually plan or have good strategies (all is deferred to Percy really), then she sort of uses "the power of friendship" to resolve things but never her growing wisdom in too. Yes, she could be weird and caring and smart but they didn't nailed any of those traits. But my biggest gripe is that they didn't make Annabeth nerdy enough! Annabeth recalls a lot of facts during the show to look smart I suppose, but she rarely gets to problem solve or truly nerd out neurodivergent kid style, which I think is a huge missed opportunity.

An example, which might be very niche but it shows mu issue with her characterization and I have to talk about it cause I'm a physics nerd (literally, it's my major), the part in the ST Louis Arch in episode 4 where she tells Percy and Grover stuff about the construction is so... basic. Like she just read it out of a tourist pamphlet or something. She just says how tall and wide the arch is and that it's symmetrical. That's it. Right...

Why didn't she mention what type of arch it is?? (A catenary arch, more specifically one that follows a weighted catenary curve. It isn't just held by "symmetry" it's tension! It's cool math!) Maybe she even mentions that it's a hyperbolic function and Percy and Grover can be like omg what are you even talking about, and she keeps going on and on about calculus and architecture, like a neurodivergent kid would about their interests. I mean, sure she's like 12, but she's supposed to be like a gifted kid, daughter of Athena, right? She probably knows some of the science and engineering behind the arch. Missed opportunity. Or maybe it's just that I see so much of myself in Annabeth and it hits too close when they can't make her justice. Idk. Like having a true nerdy, brilliant, neurodivergent, bossy but caring, black Annabeth would have been amazing. I guess the world wasn't ready for that.

This was episode 4 and the episodes are getting better...

Annabeth and Luke's relationship also suffers a lot from telling and no showing. Why don't we have flashbacks?? Such a missed opportunity for a show. As a rule, showing isn't superior to telling, but these two techniques need to be balanced in the writing, they can be combined too to serve the story during a specific scene or passage. In this case, telling was the wrong way.

For Luke, if they want his arc to have the emotional hit it has in the book, they really needed to build his character more and give him more screen time! Which could have been done with flashbacks. Because with Annabeth's stoic acting, too, we don't really get the emotional reactions appropriate to the events she recounts. So how are we going to feel with the betrayal since the relationship hasn't been built strongly so far? Nothing. We'll feel nothing.

Annabeth's actress is doing her best with what she's given she portrays her like she's in a Disney Channel kids sitcom from the 90s, deadpan but snarky, which is not a flavour of acting that helps this adaptation. This might be a larger directing issue, though, because Percy barely reacts when he sees his mother "die" in front of him.

Anyway, Flashbacks and narration could have saved this series alone, tbh. We don't even know how Thalia looks like! How are we gonna know it's her at the end of the book with the fleece reveal??

Ok, disclaimer, I didn't finish the show. I got distracted and bored and couldn't be bothered. I think I stopped after the Underworld episode (episode 7 I think.) I couldn't be bothered to watch the finale even with Toby Stephens in it. That's how enthusiastic I am about this.

Also a bit of a nitpick but why isn't it explained why are Percy and Sally are stuck with Gabe in the first place? About his scent? Why is the abuse so... sanitized too? Like yeah, we could have a more psychological and verbal form of abuse situation, of course, but we also didn't get that? Gabe was just unpleasant and a bit of a jerk, pathetic, but that was basically all. Also, no explanation for the blue food?? When it's such insight into Percy's relationship with his mom?? So much EXPOSITION in this series yet they missed many of the important parts!

Disney watered down Sally too. They really did. Her makeup is nice though.

So... yeah, they could be doing so much more with all the characters.

Concluding thoughts:

I don't hate the show (the visuals are great and Walker Scobell's acting is amazing, such a young talent!), but every time I finish watching an episode, I'm just bored and underwhelmed and wished I had done something else with my time.

I know it's frustrating that in previous decades usually had 20+ episodes, plus season 1 and 2 being shot side by side so we didn't even have to wait and fear of cancellation after so little; shows really don't have to be perfect from season 1, they need room to grow, but they have to have SOMETHING to pull the viewer in from the beginning, to make them stay. Anything! This show is giving me nothing to work with. I do hope the show gets better in season 2, and I understand that the 8-episode-season model is a constraint for writers, but I still think it could have done much better with the resources it did have.

For example, Black Sails had an infamous first season, but then it grew to be what imo is the best show ever put to TV. And yes, it took a while for it to find its perfect footing, but it was like a delicious cake that maybe has some bad frosting but the foundation is there, it just needs polishing and a few changes. But this PJO show doesn't live up to its potential and it's just so frustrating because I wanted to love this show so much but I'm finding it difficult to think of anything that I truly loved about it other than Walker Scobell's acting and course Toby Stephens (but I already love him from his previous work so it hardly counts).

Honestly, I'm a little bit tired of discourse going around saying that critiquing a show from season 1 is not acceptable because the show hasn't finished growing and we want a second season, we don't want the criticism to affect a season 2. But this is irrelevant and that's not how media criticism works. People can get very on board with good shoes from 1 season alone. That's no excuse. There are genuinely good book adaptations out there that make changes for the better and get a good foothold from the get-go! Look at Lockwood & Co, OPLA or Anne with an E. It can totally be done. The criticisms we have are precisely because we love the books, because we wanted this adaptation to succeed, because we wanted to love it, but it disappointed us. And we are allowed to voice that, as long as is done in good faith.

I'm happy this show got renewed because of the fans who enjoyed it, love the Percy Jackson series, it is truly dear to my heart, but would I be sad if the show was cancelled? Honestly, no. I couldn't care less what happens to this show at this point. Why should I? I was given no reason to care, aside from my already existing love for the books. I'm not intrigued about how they're going to adapt book 2, I didn't connect with the characters, I wasn't having fun. Nothing. And sure, I want young kids to be introduced to Percy Jackson, great if it's through this show, I want younger generations to love this series too, but I don't know any gen alpha who would enjoy such a show. (Hell, I really wanted my audience-age-appropriate niece to love it, but she couldn't care less about it and jeez, I wonder why...) Kids deserve better shows than this.

Will I watch season 2? Idk. Maybe? I can put it in the background while doing something else perhaps. I do hope they improve stuff but I don't have my hopes up. Will I watch episode 8? No. Life's too short. I already read the books so why bother (hehe)

[saintmachina]

trying to encourage my budding love of gothic well everything so far i’ve seen a few things like the movie rebecca (1940) and i’ve read the phantom of the opera , carmilla, and frankenstein but i’d like to read and watch more (even music if it’s out there?) and so i am shamelessly asking for any and all recommendations you have classic/modern/romance/horror i’ll take it all (i don’t know if much of it is queer but ill take queer recs as well if they exist)

thank you i’m a big fan of your work

I'll take any opportunity at all to yell about UNDER THE PENDULUM SUN by Jeanette Ng! This is a Capital G gothic with all the twists and trappings that still surprises, delights, and unsettles. The book followers a young Victorian woman on her quest to find her missionary brother, who has disappeared into faeryland for his own shadowy reasons, and about the secrets and the fey queen who torment them both. It runs CIRCLES around any other book that has every tried to do theology and faeries at the same time, and the prose is lovely and the suspense is tight. Crimson Peak enjoyers, this is for you in more ways than one. (I will go ahead and say tw: incest here but it's more complicated than you think and hey, it's a Gothic tragedy, what did you expect?)

Other than that, if you want to watch a TRULY WILD but enjoyable film, try Gothic! It's a 1986 film about Mary Shelley and the gang cooking up stories (and drama, and infidelity, and drug-induced hallucinations, and ghosts) during the infamous year without a summer. Also you must, you MUST watch AMC's Interview With The Vampire television series. It is hands down the best vampire story I've ever seen on screen, pitch-perfect down to the writing, acting, staging, and storytelling devises. That adaptation is thoroughly and unapologetically queer.

You've already read some of the ultimate classics, but have you tried Wuthering Heights? It's a bit of a slow start but UGH, what a family saga, what a moody atmosphere, what a brutally eternal love! It's one of my forever favorites.

Enjoy!

[firstkanaphans]

Helloooo, can you tell us more about the differences you spotted in The Eclipse novel vs the show? How is Ayan, specifically? I read somewhere that he's way hornier haha

So, overall, the two are very similar. P'Golf and P'Yokee should be very proud of themselves because The Eclipse series is one of the best on-screen adaptations I've ever seen. P'Golf had tried to gain the rights to this story even prior to learning that GMMTV already owned it and you can see their passion for the source material in the final product.

The biggest difference between the novel and the series that I've found so far is that Thua isn't the one who outs Akk as gay—Jumnan, the leader of The World Remembers gang, does. And while that's still an incredibly shitty thing to do, Akk did literally try to murder him and his friends, so it's not like it was entirely unjustified.

Thua does, however, still out Akk as being the one behind the curse. He is a lot more manipulative in the novel and there is even some suggestion that he pursued his relationship with Kan simply to get more information on Akk.

As for Aye's horniness level, I would say it's about on par with the series. If anything, Akk is the one that's hornier, but that's to be expected since the majority of the novel is in his POV. Starting about halfway through the book, Akk literally cannot be in Aye's presence without popping a boner.

That being said, I've only got one chapter left to translate and the two of them still haven't actually kissed, so I'm very doubtful there's any kind of sex scene in the first book. (Which means I'm going to have to translate the second one, too 🫠). Despite that, there is one particularly memorable incident where Akk pins Aye against a wall and finds the whole situation so arousing that he comes fully clothed and completely untouched in the middle of the school hallway. Because that's just who he is as a person, apparently.

I've managed to procure a shiny new AO3 account in the past week, so my plan is to start posting my translation as soon as I finish. I didn't want to post it on my usual account because I know there's a chance it might get nuked. If for some reason the translation gets taken down before I can post the full thing, I can put it in a Google doc for you guys. It's really a great book and it has only enhanced my enjoyment of the series.

[firelxdykatara]

idk i just feel like the more pressing matter with sokka is the fact he’s been played by a white dude than whether or not he still hates women or whatever. and it’s so weird too because the casting for everyone is pretty spot on at least broadly speaking and then you get to sokka and it’s just (karen smith voice) if you’re from the water tribe, why are you white?

Well, for starters, we don't actually know that he is white.

I'm reluctant to relitigate this at this juncture, since there's been a lot of speculation with very little evidence, and frankly, even if he is white, the cast is still a damn sight more diverse than any installment we've ever had. The original main cast of the show was white--with the exception of Zuko and Iroh--as was the main cast of the movie adaptation (again with the exception of Zuko and Iroh, funnily enough), AND the creators were white AND all of the writers were white (and almost all of them were men), which means that there were approximately zero poc with storytelling authority involved with the show. Even if Ian Ousley is white (which is still an if! and I'm not gonna be out here demanding his 23andme results), that's one flub against an entire cast of Asian&indigenous actors, showrunners, writers, and directors (of which there are also considerably more women than the original could boast).

I'm not willing to throw that baby out with the bathwater, so to speak, and I'm going to err on the side of if the rest of the cast is ok with his presence, then it shouldn't bother me too badly. They have excellent chemistry in interviews and on screen, and, from what I've seen, seem to be friends, and that's good enough for me.

Also, I just want to take this moment to point out that trying to rely on looks to determine who is or isn't a poc is problematic at best--and I think that, without bias, Ian doesn't look out of place next to Kia, Dallas, and Gordon. It's not like he's Jackson Rathbone, guys.

[astoundingbeyondbelief]

Kaiju Week in Review (September 3-9, 2023)

I was a bit nervous about GAMERA -Rebirth-; the animation looked dodgy and Netflix has a shaky track record with kaiju shows. I'm pleased to report this is the best entry in the genre that they've put their name on. Good characters, great action (brutal as always), and actual episodic storytelling that effortlessly weaves in elements from the Showa films beyond all the returning kaiju. Watch it immediately.

Tie-ins abound for GAMERA -Rebirth-: a two-part novelization, a manga adaptation, and a prequel manga that sheds some light on [UNBELIEVABLY MASSIVE SPOILERS]. That prequel manga (GAMERA -Rebirth- code thyrsos) is being published online for free in both Japanese and English. You can read the first chapter here.

In unofficial translation news, English subtitles for GAMERA.1999 (1999) and yokaipedia (2022) are now available. The former is Hideaki Anno's making-of documentary for Gamera 3: Revenge of Iris; the latter is a fun, child-friendly fantasy from Godzilla Minus One director Takashi Yamazaki with a big ol' centipede-dragon at the end. (It's also maybe the first Japanese kaiju film I've ever seen with a major Black character.) I haven't gotten to GAMERA.1999 yet, though from scrubbing through it, it seems like a lot of dialogue was just ignored by the translator. Shame, as that's one I've wanted for a long time.

We have a teaser for Monarch: Legacy of Monsters, as well as a premiere date for the first two (out of ten) episodes: November 17. (I am being showered with Media for my 30th birthday.) The big news from this trailer is that John Goodman is reprising his role as Bill Randa from Kong: Skull Island. I assume that's going to be through flashbacks and old recordings only, since he was eaten by a Skullcrawler in that one. We also catch glimpses of two new creatures, a dragon and a crab from what I can tell. The latter looks to be fighting a Mother Longlegs.

Fandango and AMC have added mostly-empty listings for Godzilla 2000 on November 1. Fathom Events screened Godzilla Against Mechagodzilla on November 3 last year; despite randomly showing Tokyo SOS back in March, I gather they're making a tradition out of Godzilla Day. Note that the listed runtime is longer than the film itself. Predictions for the program: another message from Keiji Ota, the 2022 Godzilla vs. Gigan short, and the Japanese version of G2K. Interesting that they're running the last Toho Godzilla film to receive a wide release in the U.S. exactly a month before Godzilla Minus One has a wide release of its own here.

Gamera isn't a meta-defining Godzilla Battle Line unit... but he's Gamera in a Godzilla game, so I've been using him in every match since I unlocked him. He's gearing towards demolishing flying units, with fireballs that deal more damage against them and knock them back. A pity that he's arriving well after those units were at their most dominant.

Godzilla: Here There Be Dragons #3 still isn't giving me much to write home about, but the kaiju cult creeping to the forefront intrigues. Also cool to see Ebirah in a starring role.

Marubeni, one of Japan's biggest general trading companies, put out a bizarre commercial featuring samurai, zombies, a meteor, and a refurbished GMK King Ghidorah. The ad now has English subtitles, and you can watch a Ghidorah-centric behind-the-scenes video here.

I cannot believe I have more Cleopatra Entertainment fuckery to report on with regards to their Shin Ultraman releases, but they're truly trying to take the "Worst Film Company of 2023" title from the members of the AMPTP. Their third attempt at a barebones disc is starting to reach customers... but the ones who already received the initial replacement disc are being told no more will be sent. @starestream is trying to figure out if they'll be selling the third edition on their site, since it seems buying it anywhere else is a gamble. (Physically, the third edition looks almost the same as the first two, set apart only by the "SUBTITLED" text on the disc.) Either way, it's another blow to a movie that truly doesn't deserve this.

[love-little-lotte]

A Look Into My New Guilty Pleasure: Poldark (2015 Series)

My biggest weakness is period dramas — especially period dramas with a talented cast, sweeping romance, terrific scenes (preferably set in some kind of country/provincial side), and lots and lots and lots of just sitting around and talking.

That's probably why Poldark has captured my heart. As a big fan of Outlander, it's no surprise that I fell in love with this show. Outlander and Poldark have so many similarities that I may make a lengthy post about it, but for today, let me just rant about my new guilty pleasure. I'm so obsessed with this show that I actually finished watching the entire five seasons in one week!

Poldark is based on Winston Graham's novels and adapted by Debbie Horsfield. I was so excited to start this show, with a male protagonist originally written by a man, created and written for a series by a woman. I haven't read Graham's novels (I'm going to one of these days, I swear!), so I'm not sure how well Debbie's adaption worked. I've read many Reddit threads, though, and some fans of the novel are not that impressed with how she omitted and added details to the show (will get back to this once I've read the books or at least the seven ones that were used in the show). The show has also been adapted in the 70s, so this was not the first time Graham's novels were seen onscreen!

Despite not having read the books, I fell in love with the story, the characters, and the cast! The show follows Ross Poldark returning to Cornwall after fighting in the American War in the 1780s. He looks forward to marrying his childhood sweetheart Elizabeth but, believing him to be dead, is now engaged to his cousin Francis. He then tries to resurrect his family's mining business and hires a young girl Demelza to be his kitchen maid (whom he eventually marries) while also crossing paths with the villain George Warleggan, a corrupted banker who stops at nothing to ruin Ross's prospects and personal life. As the show progresses, we also meet other characters, including Prudie and Jud, Ross's servants, Verity, Ross's cousin and Francis's sister; Ross's friend Dr. Dwight Enys and his love interest Caroline Penvenen; Sam and Drake Carne, Demelza's brothers, and Morwenna Chynoweth, Drake's love interest.

Yes, this show has a large ensemble cast, and trust me, there always comes a point when you hate or love them. Especially our protagonist Ross Poldark. Ross... is an interesting character. He's terribly, terribly flawed and many times times, I'm so infuriated with him to the point that I want him to suffer. I swear, you cannot go through this series without screaming at Ross. (When that moment came up in Season 2, I swear I had my middle finger ready every time Ross showed up on my screen from then on.)

But my favorite character in the show is Demelza, Ross's wife who started as his kitchen maid. She's the heart of the show, the voice of reason, and even though she makes questionable decisions along the way, you can't help but get on her side no matter what. She's the perfect fiery yet gentle match to Ross's stubbornness. He treats her like shit many times in this show, which makes me angry to no end, but they eventually grow to be understanding, loving partners.

And it also helps that Aidan Turner and Eleanor Tomlinson have one of the best romantic chemistries I've ever seen. They're terrific actors as well and they bring the characters to life so effortlessly. They just seem like they have the best time shooting this show. I kind of want to rewatch Loving Vincent now just because they're in that movie, even just in supporting roles.

Poldark is a roller coaster, with so many ups and downs (mostly downs, to be honest, please give Demelza a break!) My favorite season has got to be Season 1. Season 1 had the best Ross and I loved the early stages of his relationship with Demelza. It also has my favorite episode: Season 1, Episode 8. That episode broke me so much, thanks to Aidan and Eleanor's perfect performances. It's the only time I ever cried watching this show. I usually cry in period dramas (I've cried countless times in Outlander and Downton Abbey), but for some reason, I only cried once in Poldark. Most of the time, I'm annoyed and infuriated (hahaha but I still love it!)

The romance in Poldark is also quite unique, something I haven't seen before. Ross and Demelza emotionally hurt each other many times in this show, and they don't have the best communication. It's not an ideal marriage, but that's what makes it so raw and real. It hurts when Ross sleeps with his first love Elizabeth or when Demelza falls for the much-sensitive Hugh Armitage, but these are challenges people face all the time, and it's interesting to view it in characters and circumstances through 18th-century lenses. Plus, it can be very tiring to see perfect couples onscreen all the time. So watching Ross and Demelza's relationship thrive, suffer, and reconcile is very refreshing to me.

Nevertheless, Ross and Demelza are still able to work together. Seasons 2 and 3 showcase the worst moments of their marriage, from infidelities to insecurity, but the love between them still perseveres and they learn to forgive. In the end, they realize that they belong together.

And despite the unconventional marriage, Poldark is not a stranger to grand romantic gestures. Two of my favorite Ross and Demelza moments occur in Season 2:

A real funny, old-married-couple type of bicker in The Beach Scene:

And of course, showing all intimacy in The Stocking Scene:

(Let's just not talk about what happened 2 episodes after this!)

The romance in Poldark not only ends with Ross and Demelza. We also got two really good couples in the series: Dwight and Caroline and Drake and Morwenna.

And these love stories don't just happen! They're fleshed-out characters with proper backgrounds and their own problems, especially Drake and Morwenna's relationship. Morwenna is one of my favorite characters, and she doesn't deserve all the shit thrown at her. The last season of Poldark is not the best (bordering on bad, actually, especially the last two episodes), but watching Drake and Morwenna get their happy ending is worth it.

Finishing all five seasons is bittersweet. I enjoyed most of the story and fell in love with different characters. I kind of regret watching everything in one week haha. But what can I say? As soon as I finish each episode, I'm so tempted to start another episode. I think the last time I stayed up until 5 AM the next morning to watch TV shows was Yellowjackets. Poldark's just too good to binge! It's one of my favorite TV shows now. Maybe I'll watch Sanditon next...

I want to write more about Poldark soon, maybe a comparison with Outlander or maybe just a post about each character. I realized I hadn't talked much about Elizabeth, Francis, and George in this post; I was too preoccupied with the love story aspects and Ross and Demelza. We'll see!

[bettsfic]

Hi Betts,

Thanks for continuously posting helpful advice.

I just wanted to know— how does someone go about getting to the point in their writing where they are not so precious with words in hopes of taking off the pressure when drafting?(in reference to a previous post)

i remember a few years ago, there was this very well known and popular fanartist whose name i won't give because they're no longer on tumblr or even going by their handle anymore. they received an ask much like this one in which they said something to the effect of, they could spend hundreds of hours on a piece of art and be willing to throw it away, because (and this is from memory because i can't find the original post) there will always be more art.

i remember being aghast about that. how could you spend so much time working on something and just...not do anything with it? scrap it and start over? maybe even delete the file?

and more importantly, i remember wondering how an artist could even reach that point.

maybe everyone gets there in a different way, but for me it was the emergence of a bigger picture, that i don't write to be read or seen or understood, but so i can explore things that can't otherwise be explored, and live experiences that can't be lived. for me, the value is in the process, not the product. and, to the artist's point, there will always be more words.

more concretely, it was also spending an entire year working on a novel, only to realize that what i wanted it to be was not what fit in the market, and that to make it marketable i would've had to have made revisions that would've changed the thing i wanted it to be. so i realized publication isn't endgame; it's happenstance. a few things i write may be marketable, but probably only a fraction of them, and only if what i write overlaps with what is being sold. a venn diagram of "stories that will be published" and "stories that i enjoy writing" are often two circles about a mile apart. whether or not a story is marketable doesn't affect my personal opinion of it.

the same is true for fanfic. if i finish a fic, i post it for the sake of archiving it. i don't pay much attention to traffic (but i do read comments), and it's been a long time since i've written consistently in a popular fandom. in fact the last fic i posted only had one other fic in the ship tag. the point of writing fic, for me, is to get it out of my brain and onto a page, and if someone eventually comes upon it and enjoys it, great.

i'm definitely not at the point where i can just straight-up delete work, but i can write something for a very long time and be satisfied even if no one ever looks at it. it does bum me out when i care about something so much and nobody else does or will, but that's the nature of writing, and art in general. nobody cares as much as you do, and even if you write something that's wildly successful, read and loved by millions, award-winning, adapted to screen--still, all those people will have their individual, private relationship with the thing you wrote, will perceive it in their own unique way, and even if it changes their life, the story can never give them what it gave you.

i don't mean for that to be depressing or deterring. what i hope you take from it is that your feelings toward your work are more important than anyone else's feelings toward it, and not everything has to be seen and admired in order to be worthy enough to exist. sometimes you have to take the risk of being unseen to create your best work.

[flanaganfilm]

hello Mr. Flanagan,

My name is Anthony. Just want to start off by saying that I love everything you've made. There's something I can relate to in every one of your projects and I eagerly await your next works.

I'm in the process of rewatching the Haunting of Hill House because I want to write something for a website that's doing a month of articles centered around siblings. As someone who is very close with their siblings, Hill House has always had a special place in my heart. I cry multiple times per episode. The way you blend the feeling of the purity of childhood joy when you're around your siblings with the bitterness of adulthood baggage and how difficult it is to get out of your own way makes me feel so seen. I've been curious about the original novel and how there wasn't a family at the center of the story there. Did you know you wanted a family and talk about the relationships between siblings when you were going to adapt this story? You have talked about it before but I was wondering if you'd expand a little about your thought process behind that decision and why it was important to you that Hill House was about a family.

Side note, my mother is equally close to her five siblings. Recently the first sibling of the family passed and it's been a haunting experience. Your show is the first time I've felt that weight fully since the funeral and I feel so grateful. As you say in the show, a ghost is a wish and I know this grief I feel can be a gift as well. Thank you for putting your heart on the page and the screen like this.

With great admiration,

Anthony

Hi Anthony,

Ambling first approached me for HILL HOUSE, they had the television rights and were asking people for takes. I felt that the book had already been adapted perfectly by Robert Wise in 1963, and that there was little point in doing a direct adaption of the source material. It would need a lot of expansion to fit the long format (the book fits neatly into a 90 minute movie, and we needed 10 hours). The sibling dynamic is one that is fascinating and important to me. Each of my parents is the oldest of six kids, and so I grew up watching those complex sibling dynamics at work. I'd really enjoyed exploring the sibling dynamics in OCULUS, and this seemed like an opportunity to take that much further. I pitched Amblin on a take that repurposed the existing characters of the novel into a family unit, and expanded it with other fun references (Shirley is named after Shirley Jackson; Steven is named after Spielberg, etc). I think SIX FEET UNDER is one of the greatest works of art ever created, and I thought the way they used the long format to examine such a beautiful and bittersweet tapestry of family is something I've long aspired to emulate. So my intention was always to do THE HAUNTING by way of SIX FEET UNDER and OCULUS, and luckily for me they liked that idea a lot. My mother's family had suffered a devastating loss several years prior, and so a lot of the series became a way to process what I'd felt and witnessed in my family as she and her siblings dealt with the loss of one of their own. As long as the show was about family, grief, loss and living after the loss, I felt like we had something special. It just happened to also have ghosts. But we were aligned from the start that HILL HOUSE wasn't a show about ghosts - it was a show about family, and the rest fell into place. I'm sorry for the loss in your family as well, and thanks for reaching out. Best wishes to you and yours.

[tavina-writes]

I've watched Word of Honor, Who Rules The World, and Mysterious Lotus Casebook(I'm also not sure if the Untamed is wuxia or xianxia or something inbetween?) I don't think I mind longer shows but over...60 episodes is probably a harder sell. I like recognizing actors from project to project but I also don't know all that many so I'm happy to see fresh faces. I haven't seen any older cdramas so I can't say for sure, though I watch us shows from the 90s sometimes? I've paid for iQiyi in the past though I've let my subscription lapse. Does that help?

HELLOOOO sorry I got so busy and couldn't answer earlier Nonny!

I think based off of this, I would suggest you watch Legend of the Condor Heroes (2017) first. (It has Meng Ziyi in it!) This one can be found on iQIYI with good subtitles -- you'll need an account though sadly :( -- it's 52 episodes long (so on the longer side for a contemporary cdrama but pretty average sized for cdramas overall). And it was made for introducing a new generation to LOCH so it doesn't go at as fast a clip as LOCH 2024 (came out this year, beautifully done, goes really fast and does assume you know the general storyline even if you haven't seen it since you were 8). I do think 2017 assumes you know some genre trends also so having seen other wuxias is a good thing!

@autumnslantern also wrote a great writeup of our journey through the various LOCHes here.

Below find some general thoughts on all of the LOCHes I've seen, copy pasted from a discord ask I got a few days before your ask!

my childhood favorite LOCH is the 1983 TVB Jade version, which is very noncanonical to the book but So Much Fun <-- may not be your cup of tea if you don't enjoy that special 1980s charm :dogkek: It has, however, my absolute hands down favorite version of the Huangs (this IS the writer room where the Huangs were their special little meow meows and Kenneth Tsang personally created at least two generations of Huang Yaoshi apologists so) but yeah I love this version for how well it understands the characters, not how much it follows the plot.

I was not as fond of LOCH 1995 TVB reboot version (there were some interesting plot issues, but imo the biggest problem is that KangCi is played by 30 year olds and JingRong by 20 somethings, increasing the dynamics that in this universe KangCi are twice divorced 30 somethings trying to make this work again for the 3rd time as though they're stuck in a timeloop, the actors gave it their all and it was very good! just! perchance, suspension of disbelief interesting.) I would rate this one as a pretty solid adaptation overall though, my minor quibbles aside, just not my personal fave

I enjoyed LOCH 03, I think it has the best Mongolia 1 and 2 that I have ever seen adapted to screen, and really does a good job on this front. The Temujin Corruption Arc here has me by the THROAT. and this also has the best ever Tuolei. (Fun Fact! all the Mongolian Characters in this adaptation are played by Mongolian Actors, and it did pretty well on Mongolian traditional clothing also!) Unfortunately, it was also made for the whole 5 LOCH Mongolia Arch enjoyers in the world so the ratings are terrible. this one has interesting CGI choices, some pacing issues towards the end, and tbf in my personal opinion Li Yapeng did a better Linghu Chong than Guo Jing, but the Guo Jing characterization choices felt purposeful? JingRong is delightful together but Li Yapeng Guo Jing is a bit flat when he's by himself. Zhou Xun was Jin Yong's favorite Huang Rong, overall I enjoyed 03 but I can see why almost no one else did

LOCH 08: my personal nemesis, I would delete my memory of LOCH 08 if I could but then I might watch it and reintroduce myself

LOCH 2017: for a LOCH made with couch cushion money this is really a smashing adaptation. Minor quibbles on them making Huang Rong less problematic, kind of character assassinating Huazheng, giving Temujin the world's best skincare products known to man, and somehow taking a blowdryer to Huang Yaoshi for the sake of coolness, but I forgive them. There's lovely fight scenes in this version, and Chen Xingxu acted his socks off as Yang Kang

LOCH 2024: You can tell this one was made by people who idolized LOCH growing up. I love love love the production and color palette of this one, it reminds me of an updated late 90s early 00s Wuxia vibe with all the new tech that makes wuxia so cool in this decade. Hands down, Ci Sha quickly became my favorite Guo Jing of all time, and I think they really get what makes JingRong click. Some very interesting backstory connotations, I really hope they air the prequels so I can see this in the order they wanted it to be shown in. This loch also suffers from pacing issues, and will assume you already know the story esp bc at 30 episodes for the main story, it's the shortest of all the LOCH tv adaptations and that trims a lot of the extra side quests that make LOCH LOCH.

[arimiadev]

visual novels I finished in 2023

I played quite a few visual novels in 2023, most of which are indie, and I want to share some highlights from that list. these are all VNs that I played all the way through and loved, so treat this also as a recommendation for each of these.

mahoyo

In the mansion on the hill, there lived two witches... It is the late 1980s—the twilight of an era of beauty and vigor. A boy moves to the city, barely missing two witches living in modern times. The boy leads a completely ordinary life. She carries herself with gallant pride. The girl lives a sleepy, hidden life. Each walks a starlit path. One would never expect their paths to cross. The story of how these three disparate people came together is soon to be told.

I've ranted a ton about mahoyo here and how much I love it. it truly is one of the best looking visual novels I've ever seen and one of my all-time favorites. I'll never be able to approach game direction the same after playing this. please do yourself a favor and play it, it's finally on steam.

model employee

Model Employee is a corporate horror visual novel where players take control of  the latest individual amongst millions to start working in one of Tethys' online shopping labyrinthine warehouses. Just discharged from the hospital and massively in debt for their life-saving cybernetics, the player-character must adapt to the "extreme" work-life balance of a Tethys Team Member- but they have help.  Penny, the artificial personality that controls all security, waste disposal, and employee surveillance in the facility, specializes in reinforcing an especially cutthroat variety  of workplace culture- and she's taken an interest in you.  With a vibrant cast, PC-98 inspired visuals and multiple endings, Model Employee is a modern horror story that'll stick with you long after you've clocked out of your shift. If you want to get ahead in your career, you gotta be willing to take some risks.

model employee is such a tightly structured visual novel for being made in just one month, making full use of everything while surprising you at every corner. every part of this game was so well planned and thought out- dystopian corporate satire isn't my cup of tea (we're living it) but the way they present everything in this game makes it feel so much more intense.

itch.io

beary the hatchet

It's Halloween 199X, and you killed someone during your morning shift. Honestly it's inconvenient. This job was imperfect, sure, but you got to wear a mask with no questions asked and the pay was livable. But now you'll have to keep the body in the backrooms till your shift is done. Bummer. "You're... the absolutely WICKED and AWESOME Bearwater Grizzly Killer, aren't you?!" ...and now enters the dreaded true crime fan.

beary the hatchet is such a uniquely lovely game to look at, even if the subject matter is grim. I love the color palette and tones in this, I love the 2.5D graphics, I love how expressive all of the designs are. it's a game oozing with style.

itch.io

disconnect

Late at night, a phone call from a friend keeps disconnecting from you... On and off, on and off, constantly... ...What would you do if you realized your friend wasn't who you thought they were? And how would you react when the truth was finally revealed? ("̷̢̑W̸̨̊o̸̫͊u̷̱͝ḽ̸͛d̴͉̐ ̵̚ͅy̵̜̽o̸̥͗u̷̮̎ ̷̜̏s̶̤̄t̸̥͐i̴̻̕l̸̰͝l̸͉̓ ̷͕́ȁ̸̩c̸̡̓t̵̜̊ ̵͓̈t̶̙̄h̶̦͂e̸̩͠ ̸̩̅s̶̘̏a̷̪͛m̵̮͒e̴͖͑ ̸̭́w̷̨̚á̴̱y̵̯̑?̶͎̌"̷͈̆) Find out what happened to our scaredy-cat protagonist, Indie－a famous horror storyteller on the H-T-M (Horror, Tales, and Mystery) forum. What would she do when she unintentionally uncovered a mystery hidden deep within her own home?

I love the style of disconnect and the unorthodox way of getting to the truth of the matter. I'm not normally one to play furry VNs, but the designs are adorable and I love the presentation of the game, it has a lot of animation in it. there's also one moment not too far in on this screen that made me scream...

itch.io

curse of the juniper tree

Curse of the Juniper tree is a tale of two siblings, a cursed tree and an isolated village. It is a short kinetic visual novel featuring 2d exploration. Walk around the snowy village and talk to its inhabitants! Story is loosely based off the fairytale called The Juniper Tree by the Brothers Grimm in Grimm's Fairy Tales in 1812.

this is a lovely and short story about two siblings living in a frozen land together. it's a very atmospheric story with so many beautiful blues and detailed character designs. the controls were a bit hard to figure out at times but it's worth your time.

itch.io

reaplaced

Grea Perrim is a reaper of souls, and it's her duty to bring the deceased to the other side. But in the world of reapers, death isn't any kind of equalizer. The value of a soul is directly tied to the peculiarity of its death. Grea's supernatural senses bring her to a Halloween house party with three costumed guests. She soon finds the most valuable kind of soul: the victim of a locked-room murder. In order to reap the soul, Grea must unravel the identity of its killer and explain its death in full. Is this the work of a human? A witch? Or something else entirely...?

reaplaced is a fun little whodunnit set on Halloween about a grim reaper out on the hunt who finds herself in the middle of a murder mystery. it's much more indepth than I was expecting and the soundtrack is wonderful—there's a lot of small touches to it that make it great.

itch.io

dual chroma [demo]

A gilded king, a powerful sorceress, and a malevolent figure governing a foul legion of beasts in a ruthless war against the Light.  For centuries, the Galens Empire has thrived upon the ancient tragedy that formed its foundations. No more than a fading past inked upon the pages of history, the Empire reigned in relative peace—until the monsters returned.  As the newest advisor to the Second Prince, you find yourself at the heart of a captivating saga, where mystery, magic, terror, and romance intertwine. Your choices in this narrative will determine not only the Empire's destiny, but also the fate of your heart. But take heed, for the path you tread may shatter the shackles of doomed love or repeat the ruin of Galens' past.

I don't play many otome demos but I played several that were submitted to otome jam this year, with dual chroma being one of them. I was surprised by the amount of care and attention put into the demo- it feels very solid with a lot of polish put into easing the player into this high fantasy world. I think I had an issue with how the tooltips would be shown (probably the frequency of them, as the in-line tooltips are very helpful) but it's been months since then.

itch.io

we know the devil

Anyone can kill the devil; that's why they always make teens the vampire slayers, the magical girls. But some kids can't even get that right; and that's why meangirl Neptune, tomboy Jupiter, and shy shy Venus have to endure one more week of summer camp and each other, singing boring songs about jesus, doing busywork for adults, and hoping god's radio can't hear them. Before they can leave the summer scouts, they've got to spend twelve hours in the loneliest cabin in the woods and wait for the devil to come and live through the night--or not. You know.

we know the devil didn't release this year but I finally got around to playing it. it's a visceral experience, something that feels foreign and familiar at the same time. I love the direction for it, the sketchy monochrome sprites against the colored photos- parts when there aren't any characters on screen feel that much more real, like you're watching found footage because of how tense everything is.

itch.io

doppelganger

The story is set in an alternate universe where the player is struggling with the memories of what they know to be TEMPUS and the mysterious look-alikes who pull them every which way. Can the player figure out the truth about this twisted world and return to the guild?

okay this is a bit of a weird one to end on, I just wanted to talk about it. doppelganger is a game made by holostars staff, i.e. the staff for the vtubing company cover corporation. I went into it expecting very, very little but I was presently surprised by how competently it was made. a lot of "bad" visual novels aren't fun to play, because they're overly long, extremely wordy, and aren't fun to read. I'd say doppelganger is "so bad it's good", which is a rarity for VNs- it's campy at times and over the top but doesn't overstay it's welcome, the pacing is remarkably good for what seem to be first time devs.

I cannot recommend this though if you're not already a fan of holostars tempus, as this is essentially just merch for them- think of it like a higher production voice pack or art pack. if you don't know each of the boys then you'll be lost, but if you do then grab another friend and play it, it took me about 4 hours to finish it with friends.

itch.io

[opinions-about-tiaras]

I think it's okay for people to be disappointed and feel misled and maybe even a little upset Scott Pilgrim Takes Off wasn't a more straightforward adaptation.

It's a masterwork as a piece of media, of course; a AU-that's-also-a-sequel based on both the movie AND the graphic novels, in dialogue with both, telling a tight, near-flawless story with immaculate animation and voice acting that, quite frankly, often makes the 2010 movie look poorly directed. (Tony Oliver is getting a LOT more out of these people in the booth than Edgar Wright managed to in front of the camera, frankly.)

And that's part of the problem, I think.

Scott Pilgrim vs. The World oozed charm out of every shot; it's beloved by everyone who worked on it, which is always a good sign. But as an adaptation it was flawed in ways that were inevitable. Sacrifices had to be made to fit all six graphic novels that are deliberately messy and are meant as separate narrative arcs into something that runs on the big screen in less than two hours.

That meant a lot had to go missing. The original graphic novels were often leisurely rom-coms where they weren't stark, raw looks at emotional dysfunction, and a big part of their structure was the secondary and supporting cast. A lot of that had to go. Knives entire arc was cut to the bone. Stephen Stills being a hot mess and his weird and hilarious offscreen gay awakening went into the trash. The heart of Volume Four (still the best volume FIGHT ME), Lisa Miller's instigating presence, junked. Roxie Richter and the Katayanagi Twins are reduced basically to jokes. Envy Adams is given just enough to be a villain but none of what she needed to be a real person, which is a big deal in the comics. Even Gideon gets short shrift; the emotional violations and the dark, stinking, malign weaponization of emotional headspace that make him work in the comics are thrown aside in favor of him being a more straightforward supervillain using mind control chips.

And of course the biggest person to get shanked was Kim Pine. Kim had a storyline of quiet desperation, of seeking intimacy while being desperately terrified of it, romantic and sexual awakenings she isn't equipped to handle, deep and personal betrayals almost every volume that she nonetheless perseveres through. That had to go as well.

When I heard there was an animated adaptation coming, I was thrilled that I would finally get to see all of that rendered onto the screen. Scott Pilgrim was born to be an animated series more than it ever was live-action (and it's been proven multiple times over the past five years especially that animation can produce something wildly special when adapting a comic source handled properly) and it was finally going to have the breathing space to do it RIGHT.

Only it isn't that at all.

I wouldn't trade Scott Pilgrim Takes Off for the more straightforward adaptation we were expecting. The series has sunk its hooks deep into my brain, it's like I'm 29 again, driving my terrible, jank-ass car five hours to Toronto to attend the release party of the final volume. There's so much special about it; Knives and Kim's beautiful love duet is one of the most tender, pure things I've ever seen. The League of Evil Exes as a bumbling cadre of weirdos. Everything to do with Roxie Richter.

But it also means that we're probably deeply unlikely to get that more straightforward adaptation anytime soon. And that makes me feel like something has been lost.

And I respect the feelings of those who are disappointed and upset by it. Especially given that the marketing for Scott Pilgrim Takes Off was deliberately deceptive. I think that's a valid way to feel.

[secretgamergirl]

Does anyone actually like the whole "this total loser is the chosen one" thing?

You start playing some new game. Immediately, you are introduced to the protagonist. He's a total deadbeat loser idiot who has no greater ambition in life beyond playing games/becoming a cool rock star somehow without learning to play an instrument or form a band/watching some TV show. But through just the absolute sheer dumb luck of being in the right place at the right time, he gets The Thing, that lets him do main character in a video game stuff. Much to the frustration of this cool competent badass woman who's actively invested in saving the world and has a concrete plan to do it. Our accidental hero can't be bothered to care about any of that, and any time she's talking he either tunes out completely or sexually harasses her. Then once she eventually gives up trying to explain him he says something like "now here's the part where I do my thing!" and you jump into the action of doing 3 hit combos to enemies or whatever.

I hate that character. I can't stand him. His presence makes me not even want to touch a game, which is a real shame because I swear the paragraph above describes like... half of them. Also most shonen anime come to think, the bulk of superhero media, and a surprising amount of fantasy stuff.

Now, I understand why we have that guy. The thinking is, he's "relatable." We're making a not particularly challenging piece of escapist media, we're assuming most people who are going to be interested are losers who just sit on their couch all day, and we're also assuming they're at-least-mildly-creepy dudes even when demographic info suggests a given genre/medium appeals primarily to women.

Does anyone actually want that, though? I'm not some pathetic dude on a couch, so I probably wouldn't get the "he's just like me!" factor regardless, but like, I remember being a small child and having media constantly cram some annoying piece of garbage kid into everything for me to "relate to" and I was never able to stand any of them either.

Like if I'm watching Transformers the Movie as a kid, I am just rolling my eyes every time we have the dorky little kid going fishing or trying to use power armor, and for that matter as an adult I'm not too big on the pink girly one playing babysitter and being flirty. I'd be cool just giving all that screen time over to Kupp and Grimlock thanks.

And really, it always seems like a huge insult to whoever you're trying to give a relatable stand-in to. Some deadbeat loser who'd just be sitting on the couch watching TV if he didn't get a magic yo-yo or whatever isn't exactly an aspirational sort of character. Even if that's where you'd picture yourself at the start of the cool action narrative, if it were you, you'd want to get your act together and live up to the heroic role you fell into, right?

Like, recently I've been marathoning through Farscape for like the 5th time because a friend had never seen it, and there's a show where the protagonist is just a big fish out of water nerd in a crazy setting constantly making obscure pop culture references that absolutely nobody else is possibly going to have the context for, and I can sure as hell personally relate to that! But the key difference is, he doesn't suck. He does his best to adapt to situations and show compassion and actually learn how stuff he doesn't get works, so he's, you know, likeable. He's not some complete loser who only gets by because he has the spoon of destiny or whatever.

Actually come to think of it, I'm really combining two separate media trends I can't stand here. Loser protagonists get on my nerves even when they aren't the chosen one, and even when they aren't a total loser, I kinda hate chosen one narratives too.

Like... have you ever played a Bethesda game? They always want to do this whole bit where you come from the humblest of roots and go on to save the world or whatever, but they just cannot for the life of them wait until you've actually started accomplishing cool stuff before everyone starts in with the totally over the top hero worship. Just, "behold! This stranger to our lands has picked up the empty soda can and tossed it in the recycling bin! Truly such a feat of heroics means this is no mere mortal before us, but the great one foretold in legend!"

Like, can we please just have narratives where the protagonist is a decent person, who accomplishes things by virtue of actual competence and/or determination, and any respect or admiration they might receive is actually properly earned? Is that too much to ask? And if that IS too much to ask from a protagonist, can we at least stop treating members of the supporting cast who pick the slack up like total garbage?

And speaking of getting treated like garbage/the concept of supporting, I still don't know how I'm going to get through the winter with a roof over my head.

[scarred-serafina-fan]

Willa TV Project – Robert Beatty Books

I was avoiding posting about this until I saw something a little more official but it's a whole page on his official website so I guess that's as official as it gets

But basically they are finally adapting his books to the screen the company that he is teamed up is surprisingly entertainment one not disney who owns the rights also it's just willa that's being adapted not serafina for reasons I'm not very clear on

Anyways this whole thing is just odd even beyond the whole serafina is not being adapted they're straight cutting to book four of the series and disney doesn't seem to have much if anything to do with it

For a little context in the south within a certain vicinity of ashville (like reaching into other states) the serafina series was marketed HARD everyone knew about it and was supporting it this whole tv show deal tho has been very quiet I've only really seen rumblings of it from the far corners of the internet

They also said in that link above filming locations are not determined yet and this is just me speculating but it does not sound like they are planning on filming it in the smoky mountains again odd that whole area is pretty popular for film projects even hunger games filmed in the Appalachian Mountains so I hope they're gonna film there but idk again I haven't heard ANYTHING

But finally I want to talk about the group that's making it Entertainment One with Amy Adam's Bond Group Entertainment

Entertainment One is kinda interesting when I started looking into them they have things like Peppa Pig dungeons and dragons and insidious they apparently started as a music distributing company that made the switch to movie distribution a few years later and in 2016 a British tv broadcaster ITV plc offered to buy them out for $1.3 bill which they rejected because it was "fundamentally undervalued" the whole time they are pretty much acquiring different other smaller companies left and right and they have a large investment in Quibi I guess? But in mid 2019 Hasbro brought announced that they were apparently acquiring Entertainment one for $4 bill (according to Wikipedia) when hasbro obtained them tho it seems they started making plenty of cuts like laying 10% of it's film and television staff (again number is from Wikipedia) and many branches of the company were straight up closed and by 2022 has brought announced they were planning on selling the company to lionsgate but by the time deal closed last December Entertainment one had already closed its distributing branches in most countries including England and lionsgate bought their assets for $500 mill so safe to say is a dying company that probably won't even last long enough for this project to happen (they were also split into three different separate companies)

Amy Adam's Bond Group Entertainment on the other hand is interesting in a different way according to deadline the company will work mostly with best selling book ip yeah "WILL" seems like this company has not done a whole lot yet the company was only even first launched in 2019 deadline also lists off willa of the wood as one of the things they have in development yeah the show that has basically no buzz is named as one of the biggest things they have in development the company has also very obvious been relying on the name of Amy Adam's so far I mean there's a whole paragraph about her specifically in link to Robert beattys website above

Idk just seems like they have these two companies one that's standing on its last leg and another that's just starting and they're starting halfway through the series it's just odd I'm not letting my hopes up yet because honestly I'll just be happy if it ever even comes out I first heard about this thing a WHILE ago and it's been pretty quite so who knows