#one thing i ​wish is that the show had spent more time establishing the parallels and differences between these two….

[maggiecheungs]

“Thus they moved along parallel lines; and parallel lines never meet—except in infinity.” (E. T. Fowler)

PEARWAH NICHAPHAT as PRAE in P.S. I HATE YOU ep.1 // PAT CHAYANIT as WANWAN in P.S. I HATE YOU ep.18

[accio-victuuri]

xiao zhan’s mfw interview clues, talismans and matching ads. 🎤

based from the ones released today: v magazine, tencent fashion, tod’s and mr. bags. nothing too big, just some connection/s to already established cpns. feel free to appreciate and enjoy the interviews for what they are even without clowning. 🫶🏼

* V Magazine China

when he talked about superpowers, he has changed his answer from being invisible, he just wishes that there will be no disputes in the world. tho the topic is really about what he wants a parallel world to be like. interesting answer. i’m gonna wait for wyb to have an interview with a similar question and see if they will match 😂😂😂

he also answered that his style is more casual and comfortable which is exactly the same as wyb answered a similar question. not that we ever doubted how similar their personal style is. they may choose or prefer different pieces, but it has the same feel. this is who they steal each other clothes and blend in when they want to.

how he answered the question what he learned about style is to subtract. which may mean less is more or something like that. it matches what wyb said he learned about a different thing — acting. so i see this as a similarity between them, they don’t do overdo things.

🎤: If you had two hours of free time, where would you like to spend it?

🐰: Just strolling around. A city-walk.

I hope he does this with WYB! We was this happen in a lot of ZZ’s vlogs.

🎤: What is the most surprising thing from Gucci 2024 Autumn/Winter Women’s Wear show?

🐰: I think the biggest surprise is the bag. I like it very much, the shape of the bag is very avant-grade and bold.

His interest in bags is here again 👀 In his 2019 interview for MFW, he was asked about what his favorite accessory and he answered bag. The CPN happened because WYB was asked in an interview of his promotion of a jewelry brand (Emphasis ) about what jewelry he will give to his loved one. he answered a bag. lol. the question is about a jewelry but he still answered something different. who is he thinking about? a certain someone who loves bags?

🎤: Do you have any unforgettable anecdotes during the Chinese New Year that you can share with everyone?

🐰: There seems to be no Chinese New Year because I spent the Chinese New Year with the crew.

A confirmation what we already know, that he spent CNY in HD. the thing we won’t ever know tho is if WYB was there. Tho some clues point to the answer being yes.

* Tencent Fashion interview

Not much here but he just repeated how he loves bags. Lol. && how his priority is to film. I imagine the same is true for WYB.

* Tod’s interview

I didn’t share the translation for that. sorry! here it is in all it’s glory. not much cpn tho because the questions are centered on his clothes and the show.

🎤: After watching the first show of Tod's new creative director Matteo, can you share with us your first impressions?

🐰: Excited! and then when I was watching the show, I have been taking pictures all the time. Because there are many coats which I like it very much, including the bags, and I think it’s a brand-new attempt. You can see the second show, which is very unique especially it is placed at the tram stop in Milan — I heard that this tram stop is still in active service, can still be used.

🎤: What are the highlights of today’s outfit? Can you introduce it to us?

🐰: Today’s outfit is a more elegant and low-key style. It is a design of the collar on this coat, in fact you can see that it is actually a leather material, this collar can stand up, then you can put it on here and put it on in another way. Then, include this pair of shoe which is also my favorite loafer and this belt, it is also has a very unique design, it has a hemp material and then combine it with leather.

🎤: If you were asked to recommend one of the most “Italian” items you saw on the show today, which one would you recommend?

🐰: Ah~ it’s so difficult! I think there is a lot of it — I think it’s leather, I think everything about leather, the coat including leather on it’s shoes and trousers.

🎤: What are the three must- have travel stuffs during fashion week?

🐰: phone, passport, also…also the (important) card.

🎤: In a series of film and television works, how do you think different costumes help shape the character’s image?

🐰: It does help yourself to get into the role better.

🎤: You have been to Milan Fashion Week many times. Compared with the first time, what changes do you feel this time?

🐰: This time I felt more relaxed and also more cordial. There is a feeling of going home, especially there is DDV Yeye ( Tod’s CEO ) just now, he always tell me how he always welcomed me back says “Welcome back!” I felt woah! that moment was very warm. Then, of course there is conscious lifestyles of Tods that can’t live without.

🎤: Not long ago, you sang “As You Wish” at the Beijing TV Spring Festival Gala. What kind of New Year wishes do you have for everyone?

🐰: (smooth and healthy) for everyone

* Interview with Mr. Bags

this is year 3 of his interview with him! it’s one i’m waiting for cause xz is comfortable with & i feel like he can get away with asking more personal questions.

🎤: Yes, then I saw your personal clothes later I did serious study and research of it on internet. I think our Xiao laoshi really have a personal style, is very good at dressing and I just found out that — for example you will wear some hats, then the scarf and then you will also wear some of these big coats?

XZ: That’s right.

🎤: It looks warm, it has a sense of youth.

XZ: In fact, I felt it safer and then it’s more comfortable because I’m actually myself, in terms of personal clothing I prefer not too many colors, It is mainly; gray, black series and white colors. Those that are comfortable to wear and can’t go wrong and also most effective.

same thing about his personal style and what colors he chooses which is very close to wyb’s.

🎤: I also heard that Xiao Zhan is actually a very homely person. If it weren’t for work then you would just stay at home so I wonder what you usually do when you are at home?

XZ: Actually, I can also play games, sometimes I will have fun, but for most of time I spend my time working out.

this matches some recent fake rumors. 😭😭😭 especially with the part about how xz prefers to stay-in. and then how he likes to play games! who does he play games with??? WYB. there are already a couple of fake rumors and interviews of them talking about the two playing! it’s so nice to hear it from xz.

THE ALLEGED TALISMAN. 💛

p1 is GG recently, from his flight back home and p2 is a not so clear photo of WYB’s phone during HB screening where you can see what looks like a yellow paper. I have no question that GG does this, we have seen it before. but i like the idea of WYB doing something similar, maybe GG even drawing one for him. and this may be the reason why they chose this type of card case.

Finally, the matching ads by Shu Uemura and Loreal. Two different brands and products but I can’t help but see the similarity with the ads 🥹🥹🥹

-END.

[tokiro07]

Cipher Academy ch.58 thoughts

[Thank You For Playing]

(Contents: Reflection)

I think it's pretty clear from this chapter that Nisio had a lot of other storylines planned, though I'm not sure how much attention each one would have gotten

Toshusai's mission to round up the Gun Eyes, Yosaimura's mission to dredge up the Unsinkable Aircraft Carrier, and of course Iroha's mission to save the Battlefield Dancer, all could well have been their own story arcs, but it's also possible that all but the latter would have been background events. Regardless, Nisio is telegraphing that there was more story to tell, and that we'll need to fill in the blanks on our own at this point

In a certain sense, I appreciate that Nisio is showing me what could have been. Being given breadcrumbs even after the story's conclusion allows me to continue creating the story in my heart, even if the canon is beyond my reach now. To borrow Nisio's wording, it feels less like the story has ended and more like it's stopped

Endings usually come in one of two flavors - wrap-ups or "our journey continues," but this one kind of feels like both in a way. It's demonstrating how the previous storylines wrapped up, but while also showing what new journeys started since then and which were never completed. It's a bit more realistic in that way, as people's lives aren't stories that can be bound neatly in the narrative of a book

That said, this is still a story, and some elements do need to be presented neatly. With the story concluding with every class working as a unit, I think it's fair to say that my take that this was, at its core, a Friendship story was correct. I wonder if perhaps every first-year class was made to treat the other classes as enemies or rivals specifically to build up to the point where they would be allies later? It would make sense for a military academy to lean into basic team-building structure like that, as the stages go as follows: Forming, Storming, Norming, and Performing. Every class is built from strangers, they're put at odds with each other to become acquainted, their dynamics normalize, and then they can operate efficiently with that familiarity. It makes sense for this to be repeated at every level, from intra- to inter-class relationships, and possibly even inter-school relations. In the end, I do wish that we could have spent more time exploring those relationships, as they were easily the most engaging part of this narrative

Oddly, the most reassuring thing about this ending was that it kind of gave me closure to a question I've had for over a decade now: was Medaka Box canceled? Based on this ending, I'm inclined to say no. There are so many parallels between these two endings - the timeskip, the where-are-they-now, the final shot of a group photo, the literal credits sequence. It was all so familiar that I recognized it pretty much immediately, but there was one key difference: while Medaka Box took us through the goings-on of the entire casts' lives, very little of it felt like story that could have drawn out the series' lifespan. I mean, sure, it could have, but none of it felt like it was meant to be story that we would have seen directly. It was everyone catching up and talking about what they've heard their friends have been up to, but with the exception of Munakata becoming an exorcist when ghosts or demons haven't been an established concept up to this point, all of it was just "oh, she's a baker now, he's a cop now, he's a politician now, she's a calligrapher now," etc. None of it was of any real consequence to the lives of the cast, it was just flavor text to reminisce on the events of the story and how far everyone has come

Here, I feel like we could have seen all of it and it would have been engaging. We're not just touching base with old friends here, we're waking up from a coma and learning that we missed all of the fun. It's such a vastly different feeling that I can't help but feel like this is how it would have felt if Medaka Box were canceled, therefore it most likely wasn't

I'm sure I could come up with more to wax poetic on with this series, but to be honest, I'm getting exhausted here. It's heartbreaking seeing one of my favorites get cut down like this, and as some of you may have heard, Martial Master Asumi has been canceled as well. I don't want to harp on this for much longer and make myself sadder, so I'll conclude on as positive a note as I can

I had a great time writing about this series. Being able to explore shonen tropes through Nisio's lens is always a delight and a bit of a trip, and getting the chance to share that experience with others was great fun. Iwasaki's art was fantastic, as evidenced by how many of these girls I absolutely fell in love with, and I'm glad I got to see so many parallels to Akira Akatsuki's style. I actually have to wonder if the styles of both series were directed by Nisio's vision or if perhaps Iwasaki is a fan of Akatsuki. Either way, this last year has given me the opportunity to relive my time with Medaka Box while also giving me something completely new at the same time. I'm so grateful that Nisio and Iwasaki at least got to make it this far, and I hope that we'll get to see both of them again in the near future

To everyone who read all 58 of my reviews for this series, thank you so much. To everyone who only read a few here and there, or even only read this one, thank you as well. I'm glad I got to spend time with you and I hope my little essays enriched your experience, even a little

Until next time

[mc-critical]

[2/2] i was reading one of your posts about dilruba & something about it made me wish dilruba had more screen time because she’s the only princesses who was extremely dutiful towards her mother & brother but also managed to achieve her own happiness through her marriage. also, one more thing which i wish was done with her character... so like we all know how safiye sultan practically worships hurrem, w/ always remembering her, showing her ring off etc. the way she talks about hurrem is very exaggerated, “hurrem sultan was head to toe power.” which is true but at the same time, the show really didn’t show her full & complete power like it was historically and we all know 2 seasons of hurrem went in being immature & not really regal or completely power [& she was still constantly overshadowed by the sultanas of blood]. however, hurrem was still almost like a goddess type figure in mc:k and despite safiye’s strained relations w/ nurbanu, she still praised her a lot. basically, the two figures of the sow & the ring holders from the first show are remember in the second show. but what about mihrimah? she was a vital figure in history & in mustafa’s downfall & in the last season of the show even though she didn’t receive the ring to signify her as a part of the sow. what i wished for is dilruba idolising mihrimah, aspiring to be a protector of her brother like she was & exaggerating her power like safiye did w/ hurrem. this way, mihrimah could also be remember. also, dilruba’s character was more of what i had imagined for mihrimah. i didn’t imagine her to love rustem like dilruba loved davut but i expected mihrimah to be more powerful & dutiful towards her mother [more compared to dilruba but ofc also not to the extent of wanting to kill kids who were part of the dynasty]. anyhow, dilruba could’ve really taken mihrimah as her idol imo as her, halime & davut were a parallel of mihrimah, hurrem & rustem. sorry for the long post! but this is something i wish mc:k had done. [worth nothing that rustem & davut were also similar villanish type guys who’s only redeeming qualities could be their toxic love for their sultanas & their loyalties towards hurrem & halime, though rustem did waver in his loyalty whilst halime sold davut like the dog he is lol]

Dilruba's character development was truly very condensed in these 9 episodes, so there was never going to be enough of her, from whichever angle you look at it. I kinda cut the writers slack, because I know the ratings played a considerable part in MCK's script and they had a lot to do and a lot to rush (whereas in MC they could practically do whatever they wanted, because their ratings were perfect, I guess that's why they had so many concubine arcs hehe), but I love Dilruba and I would've loved more screentime with her. The time we spent with her could feel so minimal to the point we get the impression that we got to know little Dilruba a bit more than the older Dilruba. (the opposite case of little Mihrimah, who was almost a completely different character with a different thematic set-up, her childish love for Bali Bey aside. The older Mihrimah went on a completely different path as a character.) This isn't a bad thing, per say, because little Dilruba had already set the foundation of the character as a whole and we didn't need much more context for her actions than what we already got, but this little amount of screentime could limit her role to a simple, a bit flanderized antagonist to Kösem, which is honestly a trend for all of Kösem's antagonists in S01.

{Safiye's cult for Hürrem is one of the most interesting things about her as a character, but it is over exaggerated for the reasons you mentioned just as it simply isn't real. Safiye has never met Hürrem in person and even if MCK didn't call back to that, Mihrimah actually played an important part in establishing that cult in her training of Safiye. Safiye knows of this powerful S04 Hürrem who makes everyone tremble before her and considers "survival of the fittest". (MCK Safiye shares the exact same philosophy) What she worships in Hürrem is rather a picture she has formed in her head, the figure from Mihrimah's stories. This aspect of Safiye's character is used to form her own path in the evolution of power in the SOW, so we could see symbolically how much of what Hürrem represents has she moulded to her own agenda, it's indeed not presented as the actual truth. It also brings the question and perspective of what fragment of Hürrem Mihrihah herself sets as an example for herself and others, knowing that she does not completely idealize her own mother in the show. She was perfectly able to call out Hürrem's own flaws as much as she could openly take Hürrem's judgement.}

That worshipping of Hürrem in MCK truly sounded far too ideal and almost god-like, but in reality, not so many people in the show actually practice it. The only person who actively does, is Safiye, a main antagonist. Ahmet only mentions Hürrem when he gave her crown to Kösem. The references to the MC characters and especially the SOW in MCK is fascinating because you can see how you get only the accomplishments of people you've only heard narratives on, but never their actual stories, their actual struggles. People who were actually around the worshipped people and knew them personally obviously have a clearer understanding of who they truly were, like how Safiye called Nurbanu the most beautiful but also the cruelest sultana she's ever known, which makes perfect sense, knowing their rivalry and enmity. Nurbanu is inspired by Hürrem, but still stood against her with all her might. The people who have heard only basic facts of the more unrealistically idealized sides of those they worship praise merely the symbols of these people, what they were known to represent. Ahmet wants to be as accomplished as Süleiman, but we, as audience, know of Süleiman's detrimental flaws as a person and a padişah and we see that, he isn't exactly a person to be praised, let alone worshipped. It's interesting how the SOW call each other back in different ways, but it's all the more interesting that neither Kösem, nor Turhan call back to their predecessors. Is it because they've known each other closer than any of the worship? Is it simply because their characters have a different purpose? Is it because the theme of letting go of the past reached its fullest peak? I definetly can't say for sure.

That said, MC Mihrimah isn't from the SOW in the show both symbolically and arc-wise, but having a character that is not from the SOW (Dilruba) worship another character from the other show that also isn't from the SOW (Mihrimah) would be intriguing, judging by their similarities. However, these exact similarities prevent me from assessing this idea entirely, because I don't think it would do the show many favors. It could add even more depth to Dilruba: her willingness to protect Mustafa at all costs would be even more understandable then, knowing how the person she worships did the exact same thing in her eyes - it would turn not into a necessity, but into an ideal to live by, something that not only she has to do, but considers as honorable to do and loves it. But Dilruba is close enough to Mihrimah along with the traits and conceptual differences that set both of them apart - having the parralel be "addressed" in-universe through a direct worship would remind the audience even more that Dilruba is similar to Mihrimah and that may prevent endearment to her character. There are people that consider MCK so similar to MC already, that would be the last nail of the coffin. It may have been a risky move because of the ratings? Safiye worships Hürrem, but Safiye has a different narrative role than Hürrem and a more distinct personality, while Dilruba is a more obvious and open parallel. Not to the point of repetition, of course, but it's still close enough for a possible worship for Mihrimah in the show itself to be a dealbreaker for some. I wouldn't mind such a thing for Dilruba at all, but I can see why it possibly wasn't the case.

I'm satisfied with what we got with MC Mihrimah, but I can understand why you would want more power and agency from her. She could be very clueless sometimes which contrasted with her moments of perceptiveness. That was a solid character flaw of hers, but it could be very annoying. But then again, I also get why Mihrimah was the way she was, because MC put the personal motives of a character before any kind of power (or a character wants power for personal motives). Dilruba was perhaps way more ruthless, because MCK itself was more ruthless and it built on the MC themes. Power was already for the sake of power, the time period was more ruthless, everything was happening instantly and there wasn't a place to breathe. While with Mihrimah we got a deeper exploration where we saw more vulnerable sides, Dilruba had both her screentime and this ruthlessness stopping her from developing more and letting her be who she is. I guess both characters had their reasons to be who they were thematically, but writing improvements could still be made, of course.

[sweetrupturedlight]

It’s been a while, but let’s talk about SCK. 

This season has been a rollercoaster. From the minute they announced the time jump, to the knowledge of Kiraz existing without Serkan’s knowledge… it’s been a minefield to navigate for those who love(d) the show, and those who are new to it. 

Firstly, I didn’t like the plot. I didn’t then and I don’t now. I’m not a fan of the “hide your kid for her own good” storyline, unless very well done. And because I have spent a year with these characters, there was really no way to make me believe that the characters I’ve come to love could do these sorts of things to each other. 

Secondly, I’m not really in the hail Ayşe writing camp. I think she is talented; I think she has great ideas, but I don’t believe she is well balanced. She has brought incredible symbolism and parallels to the show, but she struggles to make the narrative around it feel cohesive. This means that we tend to travel from one symbolic engagement to the other, without anything holding them together. The meaning is therefore diluted and feels hollow. The show had better writers who told great story, but then struggled with the moments that matter. Either way, with each set of writers, something always seemed to suffer. 

I came into Season 2 mad as hell. I hated what had been done to Serkan and I couldn’t believe there was any way Eda could justify hiding their daughter for 5 years. But because I love the characters so much, I made the decision to stick around and see how they would attempt to tell the story. Then episode 3 happened. 

After last night’s episode, I kind of found myself happy I decided to stick with this show. While I wish they went in a different direction, I appreciate the attempts made to try and show Eda’s position, as well as Serkan’s. In the hands of a better writer, it might have been better told, but because of the massive changes in writing teams, the history of the characters being OOC is well established. Based on that alone, I can accept that the Serkan I knew went through an incredibly traumatic health crisis and because of it, made decisions about his future. The consequences of that – whether I agree with it or not – proves newtons third law of motion. 

I appreciate that the writers took the time to show that Eda was torn about her decision. Hande was powerful in her scenes begging him to talk to her. I felt that. My God. Eda making some kind of journal for Serkan doesn’t absolve her, but it does show us that the decision not to tell him, wasn’t forgettable to her. Is it a cop out? Of course. But it’s the hand we are dealt. And I thought the scenes were really well done. 

The most frustrating thing about this season is that we get to spend no real time with Serkan. But then we do, during this episode. I really appreciated hearing more about his health, his associated trauma, and his reasons for wanting to remain detached. While I feel Serkan has grown as a character in the first season, I must leave room to allow for the fact that his health crisis did play a role in aiding his regression to his default state – being alone, afraid of abandonment, fearing the day Eda realises he isn’t worth it. I appreciate connecting these dots. They don’t come out of nowhere. Again, could it have been told in a better way? Yes. I appreciated this attempt, nonetheless. 

The reason this episode clicked for me though, was because it carried an arc. 

We start the episode with Serkan being against fatherhood. He’s afraid. 

He tells Eda why he feels this way – he’s communicating. 

Then realisation happens that he loves Eda and he already loves Kiraz – his perspective shifts. 

Finding his daughter alone, asking for her father to return to her is what tips him over the edge – he experiences acceptance. 

It’s not perfect, but I misted up. Beautiful. 

Finally, Serkan in the astronaut suit has been a rumour for weeks. So, we knew it was coming. What I loved about it is that Serkan Bolat, perfect, always groomed, is in a silly space suit that looks homemade. I LOVE that. It shows that he didn’t plan this, he didn’t have time to make it perfect and realistic. He went down to some store and bought the first thing he could find – a ridiculous costume that would make him look silly, but his daughter would be happy. Call me a fool, but I literally teared up. 

I get it. This isn’t the show we started out with. But this season has made an attempt to get back to the lighter tone – despite the heavier material. We faced Serkan’s father being responsible for Eda’s parents’ death in season 1 – so heavy material isn’t exactly exclusive to this season. 

Furthermore, Serkan and Kiraz are pretty much the main reason for even watching this season. Their interactions are so cute, it just elevates the entire show. That chemistry helps build the narrative – he is a good dad, even if he didn’t believe he would be. 

Now give me more of Serkan, continue having Eda and Serkan communicate, show us daddy Bolat, family bonding, as well as story arcs in episode and across the remaining episodes.

When this season started, I was not interested. 3 episodes in, I can’t believe I’m happy with the direction. It’s imperfect, but I’m excited to see where it goes. 

[sunnysaylorboy]

my opinion on/a surprisingly passionate defense of Mulan (2020) (SPOILERS)

I’ve seen a lot of ppl ragging on the new Mulan for so many reasons, so I will go over why these (mostly) are stupid reasons and why I love the new movie.

1. Liu Yifei supporting the Hong Kong police. Now this is not a stupid reason, this is valid. I am an East Asian studies major, and as much as I love Disney, when I first heard the news I knew I could not watch Mulan (2020) in good conscience. It went against everything I have learned in my studies, and everything I believe. However, now I am almost positive Liu Yifei was forced to make those comments- I've seen several sources saying so recently. You can look for these sources on your own, because this isn’t the whole point of my post, but I think it's true. A movie about a woman defying her government and social expectations of the time? Hong Kong citizens could absolutely use her as a symbol for protesting against China. It makes sense that the government would take preventative measures before this could happen. But anyways, I was not planning on watching Mulan (2020) until I found out that what she said was most likely fake/forced.

2. The removal of Mushu. Yes, I too miss Mushu but I completely understand why they did that. A lot of ppl make these sort of complaints about the live action remakes not using humor in the same way as the original, but that’s bc it doesn’t translate well. Humor in animated movies is exaggerated or silly, and it works in that medium but if you do the exact same in a live action film, it will come off as too slapstick. Think Will Ferrell in Elf (still a good movie). Mushu’s whole character is based off of this humor that appeals more to kids, and it would have really made the dialogue with him super cringey. and I know if they made him a more serious supportive character people would've complained about that too, so I understand why they did it.

3. The removal of Li Shang. I miss our bisexual boy too, but I actually think they did a really great job with the new guy Honghui. The directors removed Li Shang because he is in a sense, Mulan’s boss, and they felt that it was too much like the #MeToo movement, which I applaud. At first I was upset that supposedly this new character would be a jerk to Mulan until he found out she was a girl, but that's not what happened in the film fortunately. Honghui and Mulan start off on the wrong foot but they grow as comrades and sort-of friends, and Honghui is the first to stick by Mulan’s side when she reveals who she is. Even if there aren’t as many signals of him being bi, I think they progressed their relationship nicely. (I was sorta hoping for a kiss at the end though).

4. Mulan’s “chi.” Apparently people do not like that Mulan already has a sort of warrior streak inside of her already, as opposed to the 1998 version where she struggles to get used to the army. I think this is an overgeneralization. Mulan does struggle to become a soldier, as we can see in the training montage. Similar to the pole and the arrow at the top, she cannot reach the top of the mountain carrying the buckets with her arms outstretched like everyone else at first- then when she manages to do it, she knows she has proven herself. Plus, I like that they gave her more character. We don’t see any of Mulan’s childhood years in the original, so it is a little hard to understand why she is such an outcast. She only had one incident with the matchmaker and suddenly she is questioning her identity. But the 2020 version establishes that Mulan has been different from the start and everyone has known it since then. It makes it more believable that she brings dishonor on her family so easily. And just because she has strong chi doesn’t necessarily mean she is already a warrior. She is told to hide her chi as a child, and she does not tap into it easily- her commanding officers can sense something is holding her back. She is special, yes, but she isn’t “the chosen one.” She still works hard and she still relies a lot on her strategy instead of brute force just like in the animated version.

5. Lack of musical numbers. I do miss the musical numbers. But they did well with incorporating the musical themes from the original into the movie. The little “Honor to Us All” theme playing while she gets ready for the matchmaker? Perfect. The bit of “Reflection” playing when she reaches the top of mountain? Beautiful. And “Reflection” playing at the end when she is recognized as a hero? I was bawling. Also, this isn’t the first remake that Disney hasn’t made as a musical- the 2015 Cinderella did not include “A Dream is a Wish Your Heart Makes,” (except in the credits like Mulan did), or “Bibbidi-Bobbido-Boo,” or “So This is Love.” I know that Cinderella is an older movie and may not be as beloved to this generation as Mulan, but those song are still incredibly iconic to the Disney brand and I didn't see anyone complaining about those songs being removed. Idk, I don’t think it’s a big enough deal to be upset over it, especially because they included instrumentals of the songs for the live-action version.

6. The addition of the witch. I can’t believe people are complaining about the personification of the hawk from the first movie- seriously, watch the remake and you’ll see how great Xian Liang’s character is. I love the parallels drawn between her and Mulan. Despite fighting for opposite sides, she sees herself in Mulan, and Mulan sees how she might end up if she had chosen the route of evil. I think they did it wonderfully and I’m definitely not gay for Gong Li...

7. The cost. This one, I understand. $30 is a lot to pay for a movie, but I get it because they’re losing money from not going to theaters for a few months. I paid the $30 because I felt like I had waited long enough to see it, I was foaming at the mouth the night of its release, and I had $30 I was willing to spend on it. Ofc Disney is a multi-million dollar company, so I don’t begrudge anyone pirating it bc screw capitalism.

I just had to get this off my chest because so many criticisms of this film seem so unjustified, weak, or deliberately negative. I swear, not just with Mulan, I see so many people who hate the live-action remakes- it’s like they’re trying to find things to hate about them, and I'm frankly getting sick of it. Like damn bitch why you gotta be so negative about everything?? The acting is great, the music is phenomenal and timeless, the costumes are so extravagant, the action sequences make you hold your breath in anticipation... y'all will find anything to whine about and I'm TIRED. And it seems like some of y'all are purposefully ignoring WHY they made these changes. These changes were made to adhere to the Legend of Mulan more closely, to make up for some of the racial insensitivity/cultural inaccuracies in the original, and to appeal to their Asian audience. the 1998 version is a VERY Americanized way to tell they story- so stop complaining, you got “your version” that appeals to you.

Some things I loved were

1. Mulan’s sister. It’s not often we see Disney princesses with siblings. Even though she didn’t have much screen time, I loved Xiu and the relationship she had with Mulan.

2. The phoenix symbolism. In Mulan (1998), there is heavy dragon symbolism as Mulan is preparing to run away to the army. This insinuates that Mulan is the dragon, the protector of the family, and that is why the Great Stone Dragon doesn’t awaken later. In this version, she is instead guarded and represented by a phoenix. In Chinese mythology (correct me if I'm wrong), the phoenix stands for yin and yang, harmony and is often the female counterpart to the dragon. The wings specifically represent duty, which is why the wings of the phoenix spread behind Mulan when she saves the emperor singlehandedly. Though I don’t know if they intended this, in Greek mythology the phoenix is a symbol of death and rebirth. Mulan is reborn again as Hua Jun, but ultimately in this version she is not discovered as a girl, she chooses to fight as one. The moment she does, “Hua Jun died, and Mulan was born again,” as she sees the phoenix once more. Mulan is the phoenix, and she brings harmony after defeating the Rourans. It’s beautiful.

3. The avalanche scene. A lot of the battle scene was different, but I loved that they kept in the avalanche from the original. Mulan’s planning in this one shows how big her brain is, and how well her strategy works.

4. Xian Liang and Honghui. As I already mentioned, I really loved how they portrayed these characters.

5. The fight scenes. God they really got the perfect actress to play Mulan. Liu Yifei leaning back to avoid an arrow from a Rouran? Impeccable. Mulan’s display of her techniques when she and Honghui get into it when they’re supposed to be practicing? So cool. 

All in all, I loved this movie just like I love all of the other Disney princess live-action remakes. Disney obviously spent a lot of money on the action sequences, the costumes, the backgrounds, the historical accuracies, the casting, the storyline, everything is amazing. I will definitely be watching again.

[thejustmaiden]

Jaken = Rin's Dad?

Okay, is this how a daughter treats their so-called father?

Most definitely not.

Rin and Jaken's relationship clearly screams of your typical sibling rivalry punctuated with cute and silly moments of playful bickering.

Yes, Jaken may technically be her main provider, but that doesn't necessarily equate to him being more of a father than Sesshomaru. If anything, he demonstrates more of a brotherly love towards her. As we all know, parents (which Sesshomaru embodies more based on real life patterns and parallels) will leave their older more capable children in charge of looking after their younger brothers and sisters. In this case, that would mean making Jaken responsible for watching over Rin and protecting her if need be. Ah-Un offers protection, too. Think of it as Jaken as the big brother and Ah-Un as the family dog who are babysitting while Sesshomaru as the parent of the household is away at work or taking care of business. I mean, they literally fit that description to a tee and I'm dying at the accuracy of it all! 🤣👌

[Quick! Someone write up a modern au where Sesshomaru finally gets out to have a nice date night but everything goes wrong in the most spectacular way. Like maybe Rin and Jaken catch a ride on Ah-Un to go spy!]

I recently revisited some episodes from The Final Act, and I couldn't believe how many moments like this there were where Rin got after Jaken or when she would "put him in his place" so to speak. Obviously, all of it is mostly harmless. I was only surprised by how often it occurred, not to mention how Jaken would just stand there and take it. Towards a supposed father figure, Rin's behavior is downright unacceptable. There's a certain level of respect a child is expected to show their parents/guardians, and that's just not what I'm witnessing here between them. Like at all.

Rather their dynamic has the nature of some sibling relationships like I mentioned above. So I really wish fans would stop pretending otherwise, because based on what we know of father-daughter relationships- healthy ones at least- they don't appear anything like what Jaken and Rin have. If you could please provide me other examples of where we've seen similar portrayals in fiction or in real life, then perhaps I can get on board.

Look, that doesn't have to mean that because Jaken isn't her father then Sesshomaru must be. They can both be her caretakers without necessarily filling that traditional father role. I'm just saying that if we're going to start assigning titles to characters, let's make sure we are accurate and truthful in our assessments. If you're going to label anyone Rin's dad, then it needs to be Sesshomaru. Jaken doesn't have precedence over him in terms of fatherly attributes, that just wouldn't make sense.

After all, this isn't about what you want to see, this is about what Rin very likely sees. It's safe to assume that she views Sesshomaru more like a father than she does Jaken. She knows she's safe with him (broadly speaking lol) and that he'll come for her no matter what. That sense of security and comfort is what a child seeks and what they should always feel in a parent's presence. She trusts and even idolizes him, just as a young and innocent child tends to do with their parents. At that age, parents are perfect and could do no wrong in their child's eyes. Idk about you, but this describes perfectly how Rin is around Sesshomaru.

Rin adores him and will follow him anywhere- yes, even into danger! That's what the innocence and unconditional love of a child will bring them to do if necessary. Fortunately, at the end of The Final Act we learn Sesshomaru takes Kaede's advice when he realizes that leaving Rin with her in the village is in her best interests. That way she'd be able to lead a more normal and safer life alongside other humans. Remember, Sessrin shippers, that doesn't mean he wasn't still a part of her life and didn't witness her become a young woman over the years right before his very eyes. Therefore, if they eventually do become romantically involved, then most if not all of those gifts had intimate and seductive intentions and it essentially constitutes as child grooming.

I understand from a Sessrin shipper's point of view why it'd be so much easier to claim Jaken as the father. In doing so, they diminish Sesshomaru's role in her upbringing. By refusing to acknowledge the real role he had in helping raise Rin (short periods can be crucial and impressionable too esp. in a child's early years so yes they did assist in raising her not only Kaede), these shippers are better able to justify how their filial-like relationship evolved into a romantic one. So yeah, I get it, if I were a Sessrin shipper I'd probably do the same. It's one of the more plausible arguments available to them, after all. "Let's pin Jaken as the father to fend off antis!" is the best chance they've got, but even so, it's still not good enough. But if you insist Jaken is indeed like a father to Rin, then Sesshomaru is most certainly one too. Who says she can't have two fathers anyway?

The thing is however much you want to deny or downplay what Sesshomaru truly means to Rin and vice versa, nothing will ever change or hide the truth of the matter. Please, stop acting like they're only traveling companions and nothing more. Some of y'all even go so far as to say that they're like strangers. Knowing potentially little about a person is not equal to a lack of love and affection. Making big assumptions such as this to defend your ship is actually doing you more harm than good. Let me elaborate.

According to your reasoning, if that's all Rin ever was to him was a companion and Sesshomaru had no real attachment to her, then what precisely is the basis of your ship? Recall that Adult!Rin doesn't exist yet, thus we have no real idea what she will be like or if she's even alive. So how can you make comments like that but then go on later to say "they have such a unique and unbreakable bond" or "only Rin can be the mother because she's the only human he ever cared for" if all that time spent traveling together didn't amount to much in the first place like you claimed to believe beforehand? Do you see how your rationalizing is confusing?

Contrary to what some of you may think, I'm not just saying all this because I'm an anti and I'm obligated to disagree with you, or whatever other excuse you want to tell yourself. Believe it or not, I'm attempting to give as unbiased and objective of an analysis I can based on widely accepted interpretations of family dynamics, development, and any history we know of.

Of course I respect that at times fans will perceive things differently since that's bound to happen. What's hard for me to wrap my head around however is the unwillingness of some fans- not exclusively Sessrin shippers- to apply basic common sense and sound judgment to their observations and deductions.

Looking at all our facts, then taking the small handful of scenes Sesshomaru and Rin do share together into account, one can logically conclude that their dynamic is akin to one found in a typical parent-child relationship. If you still fail to recognize Sesshomaru as a parent to Rin, then that's fine too. In the end, that won't really change the fact that he'd still take on a role resembling an adult figure overseeing a young child's care and protection. Be it as a vassal, guardian, what have you. Plus, nobody is saying here that Sesshomaru doesn't make mistakes regarding Rin's general well-being, but so do all parents. Overall, I think the majority of us agree that Rin is in good hands. Whether it's in his direct company or in his occasional supervision from his frequent visits to the village.

In other words, it doesn't really matter what exact title you assign him in relation to Rin, as the distribution of power is all inherently the same with any and all adult-child relationships. That bond never changes once you've established it either, seeing as it's a special kind of connection one can only form with a child and a child alone.

I was a teacher for a few years, and speaking from personal experience, you don't need to be a parent, per se, to take on a role of authority in a child's life. I know without a doubt that I could never and will never view any of those kids I taught in a sexual/romantic light later down the road; yes, not even once they become grown-ups who are independent and more than capable of making their own decisions. Those of you who disagree are usually missing the whole point though, because we're not trying to dictate what Adult!Rin can and cannot do like many tend to accuse of us doing. This isn't a question of taking away from her autonomy nor does it fall under "purity culture," which is why people shouldn't continue jumping to these outrageous conclusions and really listen for a change. You're deflecting from the real issue here when you choose to misinterpret what we're saying by ignoring the problem we're actually referring to. You cannot present a valid counter-argument if you persist in twisting our words.

Bottom line: once these kids become old enough to pursue a sexual/romantic relationship, of course they have that right if they're ready. All we're trying to say is you guys ought to stop pushing forward this it's-completely-normal-to-want-to-bang-your-adoptive-dad-since-you're-an-adult-and-can-do-as-you-please agenda and not expect backlash. Ship it if you want, but please stop acting like their romance would be the epitome of a pure and healthy relationship.

Sesshomaru may not wear his heart on his sleeve, but it's foolish to presume he didn't actually care about Rin during their whole time together just because he didn't openly express his feelings until the very end. Surely everybody can comprehend that people handle and process their emotions differently. The way Sesshomaru chooses to is completely valid for the most part, so let's cut him some slack regarding this already.

What I'm trying to get at is that any child whose life you played an influential role in will always be a kid in a lot ways to you even when they're old and wrinkly. Just as they will always picture you as the loved one who guided and protected them when they were most vulnerable and couldn't always fend for themselves. Can't we relate this to children we know personally and apply it accordingly?

Finally, I want to end on this note. Could you kindly take a look at these two images below for a second?

The reason I ask is because of something I recently read that's relevant to the topic. There was this pro-sessrin tweet I saw that stated Rin trying to take care of Sesshomaru when they first met is what a mom would do for a child, which in their opinion, translates to Rin being more like a mother than a daughter if anything.

First off: are you freaking kidding me????

Seriously, so now children aren't allowed to tend to their sick or injured parents?! Parents are apparently superhuman and shouldn't be offered a helping hand from a child, even if they mean well and want to help their parent who's in pain?? Now this Twitter user was mostly being a smartass, but at the same time, it was evident they genuinely thought they offered a valid enough point that warranted no further explanation or clarification.

Secondly, by saying this Sessrin fans don't seem to realize that in actuality they're contradicting themselves and proving the point we've been trying to make all along. Glancing at the first picture and moving down to the second, the role of the one being cared for and the caretaker is reversed. So then by their own logic, Sesshomaru IS in fact like a father to Rin.

What it comes down to is the names you give to the roles these characters play aren't as crucial as the dynamic they share. The specific characteristics of that dynamic are what define the importance of said role, not so much the name in the role itself. So real father or not, Sesshomaru and Rin clearly mean a lot to each other. Close relationships are defined and solidified by the devotion and belonging they have to one another, not solely by the duration of time spent together and their proximity.

Well, that's a wrap! I hope you guys got something outta this blog, and that you enjoyed or found some portions of it interesting. I would love to hear your thoughts on the subject from this fandom, but only engage in conversation if you plan to be respectful. Thank you!

[petekaos]

the chanonpom rooftop scene; an analysis

so. what a proposal scene that was, huh?

like always, i’ll be breaking down the major chanonpom scene we got this episode. this scene was given so much meaning by both the things they said and the things they didn’t, as well as the parallels to other characters that have already been established, and scene framing and composition in general.

strap in, folks. chanonpom won, and so did we.

a quick comment on the flashback before pom walks onto the roof - i think this bit is so incredibly important. first of all, chanon looks so terrified and lost here. he clearly hasn’t thought his plan through - all he does is hold a knife to the director’s neck with trembling hands, a half-baked idea of revenge brewing in his head. doesn’t this say something so clear about chanon’s perception of pom and how much he means to him? he remembered out of nowhere that he was subjected to this torture and was forced to live without his memories for years. and yet he never even blamed pom - not for a second. this is the chanon we know, the chanon that was ready to give everything up for pom, who put his own name on that document so that pom could have his future. this echoes in something pom says later as well but either way, chanon’s first instinct is to exact some sort of revenge on the director.

supot, as he does, immediately manipulates him into thinking pom is the one who he should blame and take revenge on - and i fervently believe that supot used his power on him here. he grips his shoulder, the music goes quiet as the camera focuses on supot’s face: all clear signs pointing towards the fact that supot put him under his control. like it was established in this analysis, chanon never would have ever done anything done against pom willingly, considering the fact that he was ready to give his life up for him when he was just seventeen. but him being manipulated into taking revenge against pom is completely believable, especially when supot is the one behind it - as he has been with all of it. chanon was so impressionable and hurt and lost, and he took clear advantage of it.

the composition and framing of this scene is beyond gorgeous. we start out with a shot of chanon on a rooftop, alone. as it has been established with pangwave, the rooftop is a place for vulnerability, for confessions, for the spark of love, and that’s exactly what happens here. just like for pangwave, chanon and pom’s safe space also appears to be a rooftop. moreover, we see chanon from the back, alone as he looks out over the city - the city that has housed him for all these years and that he has gone through without even knowing who he was, having lost everything remaining of him. we, the viewer, are removed from him in this moment as we see him from the back, through glass - because this is his moment. he starts off alone, like he has been for ten years now with nobody to reach out to, his only life force being to take revenge on his pom - a manipulated goal.

then we see pom walk in. chanon doesn’t look at him, doesn’t acknowledge him until the editors cut in with this wide shot again, directly following the last one where chanon was alone. this framing follows their reconciliation process in such a subtle and yet unconsciously noticeable way. pom has just moved into the shot, standing with his hands in his pockets and open, vulnerable towards chanon. his entire body is angled towards chanon, whereas chanon is angled away from pom - but still looking, still having turned his head. they start off on opposite sides.

the care these two lines demonstrate is truly unreal. pom has just been stabbed in the neck with a virus that he’ll now have to deal with and take medication for his entire life, and still he loves chanon so much as to find him and go after him because he knows, in his heart of hearts, that he’s the only one who’s able to stop him in any way. chanon doesn’t expect this obviously, still not looking at him because he can’t bear the thought of what he’s done to pom, but pom doesn’t take his eyes off of chanon here once. it’s worth noting that chanon looks up at pom clearly, levelling his eyes with his for the first time, when he hears that pom has come to stop him from doing anything stupid. this is where he, too, realises, how much pom cares for him. even after all these years, even after everything they’ve done to each other, even after they’ve forgotten and remembered again. they meet in a new life.

again, this is a parallel to the pangwave scene in episode 11, where wave stops pang from doing anything to himself. both of these couples are incredibly romantically coded - what with their rooftops, their subtle ways of taking care of each other, and their utter devotion that shines through their actions. in chanon and pom’s case, the way pom comes to stop him here, the way chanon is ready to give everything up for him. 

pom takes a couple of seconds to say this, clearing his throat and looking out to the city - the same place chanon looks when he’s contemplating or doesn’t know what to say - because this is forgiveness. this is him forgiving chanon. he doesn’t say it in the same words, but he says it in the way his eyes flicker down to the floor and then up to chanon, staying there for the remainder for the time until the next wide shot, like he’s waiting for a response. the magnitude of this does not go unmissed - as mentioned already, pom forgives him, even after chanon had injected a virus into him, whether through his own will or not. he clears this up for chanon, to make sure he knows that he could never be mad at him. again, it is very much worth noting that chanon doesn’t take his eyes off of pom once during his little speech here.

this is merely a continuation of pom’s forgiveness - but now it provides chanon with a choice. while he is saying that they could be hostile to one another forever, he is also presenting him with a question. pom is also saying: it is your choice now, what becomes of us. you can choose whether we stay like this, or if we reunite, if we work together. he appeals to chanon here to see things his way, to forgive him too. this also clearly expresses what pom wishes himself - that he and chanon reunite and become themselves again, because pom has spent so long without chanon that it hurts to live longer without him, knowing that he is alive.

chanon looks away for a second, and then back out at the city, contemplating what pom has just asked him. he could have done anything now - moved away, gone through with what he was planning to go through with in the first place... absolutely anything. but he drags his fingers across the balcony, and moves closer to him. this is the part in the reconciliation process where chanon makes the choice to be closer to pom, both emotionally and physically, where he accepts pom’s olive branch and starts to forgive him.

chanon continues with his side of the story here - how revenge against pom (that he was probably manipulated into by the director) was the only driving force in his life. but still - wasn’t it pom he lived for during his darkest times, whatever way it was? while that isn’t completely healthy, they’re building it back up. they’re getting back to where they used to be. chanon says he feels bad, and there we see a glimpse of seventeen year old chanon again, chanon from the gifted, the chanon who was so devoted to pom and the unfurling of his potential and his happiness. we see what he truly feels in this moment. what he doesn’t say here but means is: i’m sorry. i feel bad. please, let’s try again. 

it’s here we see the true extent of pom’s feelings about chanon, in whatever way they are. when chanon says he feels bad in that small voice, his apology to what he’s done to pom, pom’s first reaction is to sniffle, looking away from him in order to not cry. what he says next seals his forgiveness, his desire to have chanon back in his life in whatever way possible, because he has been lonely for so long. they both have. he says he doesn’t blame him. even though chanon has injected this virus into him that could potentially kill him, he doesn’t blame him. he doesn’t even need an explicit apology from him - rather he tells him to forget about it because he doesn’t want him to hurt any more than he already does. the way he immediately throws it to the wayside... that’s the devotion and the pure love pom holds for chanon. he’s saying, essentially, with this: i forgive you. it’s okay. let’s forget about it - let’s try again.

chanon turns away from him again, as if he can’t forget it, can’t forget what he did to pom like pom can’t forget what he did to chanon. but pom looks down, and moves even closer to him, as if he’s sealing the deal. he knows that he forgave chanon the minute it happened, and he needs chanon to know the same. this is the last step in their reconciliation process for now - chanon and pom having started out alone and at opposite ends of the rooftop, now meeting in the middle and finding themselves tentatively together again.

here we see more chanon and pang parallels, calling back to when pang said that maybe everything would be better if he died. these are two boys whose childhood was stolen from them, and who had to deal with the consequences with that mostly alone - chanon because he had no-one, and pang because he takes all responsibility onto his shoulder. chanon is almost like a future pang, someone that pang could become if he weren’t careful - hopeless and defeated, more than he already is. but through this scene, the show makes clear that you are never alone nor is it time to give up, through both pom here and wave in pang’s scene.

pom barely allows chanon to finish his sentence before he shoots out an “it’s not.” he cannot imagine his life without chanon in it, not anymore and not again. he needs to have him in it, cannot even let him believe for a second that he is better off dead. and this is where the wedding vow part of this scene comes through: “if i’m still alive, you must be as well.”

with this pom is saying: “as long as i am alive, i will be by your side.” with this, he is saying: “if i am still breathing, you must be breathing with me.” with this, he is saying: “i will go to the ends of the earth to make sure we are alive and together.” with this, he is saying: “i am devoted to you. we will make it together. we will work together. we will see the end of this together.” with this, he is saying: “you’re not allowed to die before i do.” with this, he is saying: “you and i are the same, our hearts are the same.” with this, he is saying: “i cannot fathom my life without you.”

of course, after this they decide to work together, having reconciled and reunited, and they smile at each other and stay close for the rest of the episode. in the preview, we see them with the gifted kids, working side by side as they always should have. it may have been ten or fifteen years too late, a long time coming, but chanon and pom have finally found each other again. 

our khu pom and p’chanon - together at last.

[the-beskar-alchemist]

Here we go again with my recap ramblings! Had to do a bit of nip/tuck for this one, it’s a bit lengthy.

My opinions, as I've stated before, are based on my limited knowledge of the Star Wars universe. I have NOT seen anything outside of the movie franchise, so please bear with me...

- First off I would like to express my appreciation for this episode going balls-to-the-wall with Ashoka, instead of spending an unnecessary amount of time working towards her introduction. Considering we spent two episodes just GETTING to her, the fact that it was like "BAM! There she is!" was very refreshing.

- Also I would like to thank Filoni for establishing her badassery UP FRONT, instead of having her do some sort of "Surprise! These are my special skills!" maneuver. The concept hit home on the first try, and it hit HARD.

- I know people are iffy with Rosario Dawson (I'm not that caught up on her to know the details myself), but she does bring a certain......presence, I guess......to this episode, but just as the character, not really HER specifically.  She seems more powerful when she's silent, versus when she speaks, her portrayal of the dialogue seems kinda monotone for my taste honestly. (I think it's worth mentioning that, while I understand people wish for Ashley, it would involve "black face" makeup on some levels to achieve Ashoka's skin-tone, I don't think it would've worked, no matter how skilled the makeup artists are)

- The ghastly forest makes me think of the lighting technique they used for The Half Blood Prince film

- As I've said, I have not seen the Clone Wars series, so I'm not familiar with Ashoka's animated fighting techniques, but I do love how practical she is with the lightsabers in a dark setting, turning them off to avoid too much attention, and only turning them back on right when she's ready to attack to really take her enemies off guard

- Din narrating to the baby has me in my feels a bit, this dude is really going through the motions isn't he? He's trying so hard to keep it together, acting like he's fine that his whole world is about to change in a way he's not fully prepared to handle.

- Can we take a moment to discuss how observant the baby is? He may not know about circuitry to help with ship maintenance, but he has the wherewithal to know when he's headed to a place that's potentially harmful. Episode 7 in season 1, when Din mentions going back to Nevarro? The baby immediately tries to adjust the ships trajectory to avoid going to a place of which his only memories consist of him being experimented on and possibly almost killed. And NOW? Now he recognizes that the name of the planet Din is taking him to will be where they separate, so OF COURSE his first instinct is to, not only avoid leaving Din's side at the pilot's seat, but to also seek out one of the few tangible objects that brings him comfort: THE METAL BALL FROM THE LEVER........baby boi is so smart, we do not give him enough credit

- Baby REALLY didn't want to leave his papa.......also DIN LET HIM KEEP THE BALL PLS

- Din walking through the town reminded me of the Two Towers when the party arrived at Rohan and Gimli was like "You'll find more cheer in a graveyard"

- I have to wonder what was going through Din's mind upon seeing the prisoners in the electric cages. I'm sure he was disgusted, but everything presented in this series is VERY deliberate, ergo Din was meant to see this to IMMEDIATELY establish that this magistrate was someone he wouldn't want to be allied with, a feat that could've been established with the intro into the town alone, but it seems that the best way to really drive home just how terrible these people are is voyeurism.

- The town versus inside the magistrates gated home? Night and day. The contrast is intriguing, how "dead" the town looks but inside the second gate there's life, somewhat flourishing.

- If Din KNEW that the magistrate was referring to Ashoka, than he basically tricked her into helping him find her under the guise of making a deal. If not, than he figured it out during their first fight upon seeing how she maneuvered around him. Either way, we stan one smart cookie.

- Lang reminds me of Number Two from the Austin Powers series

- BATU BATU BATU BATU

- I love the fact that Din is including the baby in his bounty hunting process, not just telling him they've reached the coordinates, but also letting him know to start looking, IT'S BRING YOUR SON TO WORK DAY......(but like EVERYday for him tho.....)

- Okay but like LOGICALLY I KNEW THAT BESKAR CANNOT BE DAMAGED BY A LIGHTSABER BUT MY HEART STOPPED FOR A SECOND

- DIN PACING LIKE A NERVOUS DAD IN THE DOCTORS OFFICE, POOR BABY

- I have to wonder how the baby "talks" via the Force, is it full "sentences"? Clipped "sentences"? Or is it kinda like Renesmee from Twilight where she "inserted" visuals into another person's head? I know they can "feel" each other's thoughts, but I've always wondered exactly HOW they "feel" them...

- I understand people are a little put-off by the lekku, and that cosplayers have done it "better", but we have to remember that cosplayers aren't doing (multiple) fight scenes, the head-piece has to be practical in its design, as well as authentic. There are stunt-doubles, and having to create multiple versions that not only can withstand constant movement, but also won't break easily. Not to mention when you try to do a live-action based off an animated series, it almost ALWAYS looks "wrong" on some levels (live-action anime? it's awkward af, no matter how hard you try...)

- About the Grogu controversy: I'm on the fence, but will most likely come to love/appreciate the name. Is it within the realm of what I was expecting? Nope. Is it possible that we are ALL projecting our own ideas of what name the baby "should" have had, so much so that almost ANY name they would've given him would've sounded "wrong"? VERY distinctive possibility......this is Star Wars after all, names are meant to sound "weird".  Grogu sounds like a Star Wars kind of name, in fact it's kinda fitting for a species that looks reptilian-ish

- THE BABY HEARING DIN SAY HIS NAME FOR THE FIRST TIME, THE WHIPLASH IN THAT HEAD-TURN, BUT LIKE.....I love the slight parallels to Grogu's and Din's name-arc: They both went DECADES without hearing their own names, and the reveal's are so contrasting, Din hears his name during a time when he's in danger, the baby hears his while having a heart-to-heart. I'm curious about how Din was feeling in this moment, thinking about how long Grogu must've gone without hearing his own name, and how Din longs to have someone say HIS name with an almost reverent tone

- YODA NAME-DROP.....but also Grogu looked at Ashoka when she said the name, I wonder if he knew Yoda

- Some people have mentioned Ashoka's lekku not being long enough for her age, I'm wondering if they compensated with the "wrinkles" in it? Can lekku have wrinkles?

- Grogu trying to be good for his papa, but also NOT wanting to use his powers because he KNOWS it would mean that papa has to leave him (and Din's little head tilt to get him to cooperate) I JUST....I CAN'T

- Ashoka telling Din to connect with Grogu, and Din shifting around all like "LOOK ITS BAD ENOUGH I HAVE TO LEAVE MY SON WITH YOU, CAN YOU NOT MAKE THIS HARDER FOR ME???"

- FATHER AND SON GAME OF CATCH AND DIN'S EXCITEMENT WHEN GROGU CAUGHT THE METAL BALL, MY OVARIES CANNOT TAKE THIS MUCH FLUFF

- Subtle Anakin reference, given what happened to the younglings after he went dark, it's a good thing Grogu was taken.......but by WHO???

- Din calling the lightsabers "laser swords" and Ashoka's little grin like, she WANTED to correct him, but she was enjoying Din's dorkyness???

- Din trusted her enough to let her borrow his pauldron??? I HAD A MOMENT

- DIN GUNSLINGER DJARIN

- Did my eyes fucking DECEIVE ME?? DID ASHOKA CUT THE SPEAR IN HALF????? Like this is the second time I'm watching this, the first time I noticed it I was like "No fucking WAY", but I'm seeing it AGAIN, IT WASN'T A TRICK OF THE EYE....so beskar is only lightsaber RESISTANT??

- Lang vs Din was like Johnny Ringo vs Doc Holliday, "You're no daisy!"

- More name-dropping. Did Ashoka kill Elsbeth? They never show her after the exchange.

- Din could've jetpacked his way back to the ship, but chose to walk instead. The way he avoids actually waking up Grogu at first, holding him for a bit, then taking the time to get him ready. Din baby who are you fooling? You're not ready, and you never will be.

- DIN STICKING HIS FINGERS OUT TO LET GROGU HOLD HIS HAND

- Ashoka knows okay?? She KNOWS that Din and Grogu are meant to stay together

- Din calling out Ashoka for trying to weasel out of the deal vs calling out Bo-Katan for changing the deal: No malice in his voice, he barely put up a fight, then sounded relieved after she gave him an alternative, one that could lead to the baby deciding NOT to become like the Jedi and instead choosing to remain with this buir

[guyinlovewitheremika]

Watching the episode again I just can’t help but once more feel disappointed that a lot of the marley cast ended up really not having much to do later on in the manga. This applies to a bunch but I most strongly feel it about Colt, who was back when 91 came out and still is right now my favorite character during the battle for fort slava. 

He cares greatly for his brother and wants to protect him, he’s being groomed for leadership while still maintaining a lot of compassion for the other Eldian soldiers. Despite immediately resorting to the Eldian/Marleyan differentiation, Magath actually does listen to his suggestions and observations (there’s more lines abt this in the manga that were cut here unfortunately), showing off Colt’s military knowledge. On top of that, he does actually have a “semi” close relationship with Zeke? at least, as close as you can get to Zeke, anyways. And he’s got the familial background of wanting to become a warrior to clear his family’s name after being stained by the eldia restorationists. And he instinctively and immediately tries to protect the other warrior kidlets as soon as Eren’s mayhem begins. 

Honestly, Colt was a really cool character, and one who felt quite different from Isayama’s usual cast mould. I cant say he’s explicitely similar to anyone specific from Paradis, even tho most of that cast strongly parallels the warriors. 

But then after the liberio raid, he vanishes from the manga for a while, and when he comes back during marley’s counter attack, he’s basically just a foot soldier looking for Falco. The whole, grooming for leadership thing? gone completely. He finds Falco and they have a really short reunion, he does get to learn a tiny bit about “hey the enemies aren’t really the bad guys” when encountering Nile.

But his choice to bring Falco to Zeke, thinking he’ll appeal to his humanity, it just. I mean, I don’t hate it, there always was a naivete to him, and he was somewhat close to Zeke, and he did have some lines about the meaningless of the conflict, but honestly, bringing Falco to the very center of the conflict was just a bad, bad idea, and Falco didnt even want to anymore at that point. Furthermore, his sacrifice, while well meaning and sweet, really didn’t have any meaning at all, as he probably would’ve lived had he just stayed away from Falco (who would’ve been controlled by Zeke anyway) and who wound up becoming a shifter. Yeah Colt couldnt tell the future, but like, really, there was an easy solution here, I mean Gabi was just a few meters away and she lived just fine.

It’s just unfortunate that Isayama didn’t have that big a plan for much of the marely crew outside of marley, and just ended up leavng them out of the story for a whole while, only to then quickly bring them back without much introduction and start killing them. The idea of a young trainee military leader figure making his way through this situation was just really cool, especially already having relationships with other mainstay characters like Zeke and Falco. Imagine if he’d gotten to interact with other sort of training leadership figures, like Armin or Jean. Instead that whole aspect of the character gets ignored,  he dies a tragic raise the stakes death, that’s it. For someone who had so much panel space in his introduction, it’s just unfortunate. I feel similarly about Porco, he really didnt get much to do at all once returning to Paradis, despite infiltrating together with Pieck, whom he was close with, and they do not interact once after the marley arc ends, what the heck. 

I do love this manga and I do love the majority of the post timeskip stuff, but man, after Isayama spent such a huuuge amount of time establishing this new cast, I sure do wish he actually had done more with them : / 

[mediaevalmusereads]

Wicked and the Wallflower. By Sarah MacLean. New York: Avon, 2018.

Rating: 4/5 stars

Genre: historical romance

Part of a Series? Yes, Bareknuckle Bastards #1

Summary: When a mysterious stranger finds his way into her bedchamber and offers his help in landing a duke, Lady Felicity Faircloth agrees—on one condition. She's seen enough of the world to believe in passion, and won't accept a marriage without it. Bastard son of a duke and king of London's dark streets, Devil has spent a lifetime wielding power and seizing opportunity, and the spinster wallflower is everything he needs to exact a revenge years in the making. All he must do is turn the plain little mouse into an irresistible temptress, set his trap, and destroy his enemy. But there's nothing plain about Felicity Faircloth, who quickly decides she'd rather have Devil than another. Soon, Devil's carefully laid plans are in chaos, and he must choose between everything he's ever wanted...and the only thing he's ever desired.

***Full review under the cut.***

Content Warnings: explicit sexual content, blood, violence, threat of sexual assault, references to child abuse and disfiguring

Overview: I wasn’t a fan of MacLean’s A Rogue By Any Other Name, but I figured I’d give the author another shot and read something a little more recent. While I didn’t enjoy everything about this book, I did like it much better, and most of my complaints are probably personal preferences (rather than anything MacLean did wrong). I’m primarily giving this book 4 stars because I think MacLean did a good job making the romance more substantive and the plot more high-stakes, but I refrain from awarding it 5 stars because the hero was a bit too edge lord for my tastes.

Writing: MacLean’s prose is quick and to-the-point, which I think many romance readers will appreciate. It is easy to get through and sets the scene pretty well, and there weren’t really any moments where I felt like I needed more context or more support to understand what was going on.

Despite not having a clever structure like the use of epistles to break up the narrative, I have to give MacLean credit for using her themes well. At one point, the hero tells the heroine the story of Janus and a lover named Cardea, and I felt like the themes of past, present, and future were paralleled really well in the way the romance ended up going down. I also really liked the way Felicity’s lockpicks acted as a metaphor for a lot of social phenomena, and the way darkness and light enhanced the implications of some of the action.

I think the only complaints I have concern the prologue and the pace of the first 100 pages or so, and even these are minor. First, the prologue: the prologue sets the stage for the entirety of the Bareknuckle Bastards series, which is fine, in itself. After describing the birth of 3 bastard male offspring and 1 legitimate female offspring to a powerful duke desperate for an heir, MacLean focuses on the daughter’s power from infancy to womanhood for about a paragraph before she turns away from her and says “hers is a story for another time. This story begins with the boys.” I thought it was strange to set up the novel as “there’s this really powerful woman... but we’re ignoring her for now to focus on the boys.” It felt odd, and felt like a privileging of male stories over female ones.

Second, the pace. It took a little while for the plot proper to get going, in mu opinion, because the first 100 pages or so were filled with a lot of conversations. Granted, some of these conversations establish character relationships, which is fine, but there were points where I felt like the pace could have been sped up. The heroine’s first lengthy conversation with her mother and brother, for example, felt drawn out, and some of the initial conversations between Devil and Felicity could have been condensed. But that’s just my opinion - I’m sure others will disagree.

Plot: Aside from the romance, most of the plot of this book involves a number of complex schemes. The summary, in my opinion, doesn’t quite paint an accurate picture. Felicity, an aging, plain-looking, semi-outcast spinster, struggles to find a husband after being caught up in a number of minor scandals. As a result of these scandals, her “friends” have deserted her and distanced themselves from her by calling her names and belittling her (often to her face). In a fit of anger and frustration, Felicity tells them she is engaged to the Duke of Marwick - a man she has never met, but is the ton’s most eligible bachelor at the moment. Gossip quickly spreads, and Felicity realizes she has risked permanent ruination if the duke publicly denies their engagement.

Marwick, however, happens to be one of the 3 male bastard offspring of the previous duke, but no one (not even Felicity) knows that. He’s in the market for a wife so he can produce heirs and solidify his hold on his title. Devil, Marwick’s bastard brother, wants to get revenge on him, not just because Marwick took the title and did nothing to help his siblings, but because of a number of things from their past (which I won’t spoil). Upon finding Felicity by chance, Devil strikes a bargain with her: Devil will convince Marwick to marry her in exchange for a favor, which he will cash in at some point in the future. Felicity agrees, but Devil never intends for Felicity and Marwick to marry; his plan is to instead use Felicity to humiliate his brother, primarily by seducing and ruining her before the wedding. Doing so will send the message that Devil will always be the one with the power to undercut his brother’s happiness. It’s a little petty, but there it is.

All that being said, Devil doesn’t so much teach Felicity to be a temptress as he does engage in a power struggle using Felicity as a pawn. While it’s true that Felicity demands that her union with Marwick be not just a marriage of convenience, but one where Marwick burns with passion for her, Devil is less of an instructor and more of a person who pulls strings behind the scenes. Unbeknownst to Felicity, Marwick has already agreed to marry her without Devil’s influence, in part because he doesn’t care for the women of the ton; he’s only after a marriage of convenience. When he learns that Devil intends to meddle in his affairs, he becomes set on marrying Felicity for no other reason than to show his brother who is more powerful. Devil, on the other hand, falls for Felicity and has to choose between his personal happiness and ruining his brother.

It feels complicated and petty, and it kind of is, but I honestly felt there was enough conflict there to avoid thinking that the only barrier to the main couple’s union was personal reservations. Felicity had enough social pressure on her (from society and from her family) to try to make an advantageous match, and Devil was questionable enough in character where a union with him would put Felicity and her family’s reputation (further) at risk. Devil also had enough of a conflict between his own wishes and his vendettas for the angst to be interesting.

Characters: Felicity, our heroine, is a witty, stubborn woman who displays exceptional lockpicking skills. At first, I wasn’t sure I would like her, but I think MacLean does a good job ensuring that Felicity is constantly pushing Devil and constantly insisting on her own agency, instead of just buckling at the first hint of arousal. I also felt that the lockpicking would be some kind of empty quirk at first, like an empty gesture to female agency, but I actually though MacLean ended up using it well, having it be a commentary on female societal constraints as well as the saving grace in the final showdown.

Devil, our hero, was complex enough to be interesting, but a little too edgy for my personal taste. While I liked that he had a past that informed his actions in the present, and he was ruthless without being cruel, he did have some moments that turned me off. His jealousy, for one, was mostly fine because he never acted on it, but I still disliked that his first thought was violence whenever another man so much as looked at Felicity. I also think he was a bit too self-hating, as he constantly brought up the fact that he was “raised in darkness” or whatever, and while fine sometimes, it got old and repetitive. And finally, there were moments where he tried to control Felicity’s actions, and while I understand that some of them were born out of concern for her safety, I still hated how constantly he would yell about her not being where she should be. I will praise MacLean, though, for making Devil a character who put Felicity’s emotions and desires ahead of his own (to a point). One of the big problems I had with Bourne in A Rogue By Any Other Name was his selfishness, and I feel like Devil was a good mixture of selfish (by way of his desire for revenge) and selfless (by way of his love for Felicity).

I also really liked that we got to see Devil at work in his smuggling business. Too often, I feel like I’m told that a character is bad or a criminal, and I don’t really get to see them hard at work or their business playing an important role in their lives. Unlike Bourne, who seemed ashamed of his business to some extent, Devil is really invested, and I liked that Felicity was able to find good things about the smuggling operation, such as loyalty between the workers and the money it brought to poor neighborhoods.

Side characters also felt way more interesting and complex. Felicity’s family, for example, were flawed without being evil, and I liked the arc where her family had to come to terms with all the pressure they put on her. Devil’s siblings were also fairly well-developed, with thoughts and opinions on the romance that enriched the story rather than distracted from it. I also liked that Marwick was “evil” without being a caricature, and I almost felt like I understood and could possibly forgive his actions up until the final showdown. All in all, I think most characters worked, and nothing felt too empty or shallow.

Romance: When all’s said and done, I feel like Devil and Felicity had good chemistry, and MacLean handled their romance very well. In part, I think I took to this romance so well because MacLean emphasized emotion over sexual attraction. I generally dislike it when romances treat sexual attraction as the main driver of the romance, so they lay it on thick in a way that feels ridiculous. Though there was some sexual attraction in this book, MacLean put more weight behind the emotional connection by showing a lot of banter. Felicity’s and Devil’s banter not only showed off their personalities, but showed how Felicity was able to hold her own and keep surprising Devil. While I did feel that Devil could be a little controlling at times, I ultimately think MacLean did enough work to show Felicity rejecting his influence and consistently pushing boundaries (in a way that wasn’t problematic), thereby establishing them as equals.

I also really liked that both characters enriched the other’s emotional lives, and their arcs mirrored one another. Felicity is extremely insecure about her plainness, and Devil is fairly insecure about his criminality and lack of good social standing. Together, they help one another realize that they are worth something and are good enough, just the way they are. I really love it when romances do this because it shows that the romance is based on something other than physical attraction or the fact that a hero was nice once.

And as a side note, I also loved that Devil insisted on Felicity’s consent whenever they engaged in sexual activity. I never got the feeling that either partner was pushing the other to do things that they weren’t 100% into. The only thing that came relatively close was the scene when Felicity asked Devil to have penetrative sex with her, and he initially refuses because he doesn’t want to ruin her. She does push the issue a little, but I read that more as her making the decision for herself about whether or not to be “ruined,” not as her making Devil do something he was reluctant on doing for personal reasons.

TL;DR: Despite featuring a fairly edgy hero, Wicked and the Wallflower is an emotionally-satisfying romance with a clever use of thematic elements, such as past/present/future, light/dark, and locked doors/lockpicking.

[aspiestvmusings]

ZEP SPOILER PREDICTION?

POSSIBLE SPOILERS AHEAD, SO BEWARE...

BASED ON EPISODE 1x01 - 1x10 + MY PREDICTIONS FOR 1x11 - 1x12

LONG & RANTY POST. NOT SO “POSITIVE” THOUGHTS, SO BEWARE: 

So... I’ve had this “feeling” since the Pilot & I kinda got confirmation for my theory in this weeks episode. And if I combine it with the s1 finale (1x12) episode summary, then it could fit, because “Zoey tries to stop something bad from happening” according to the description. 

Everyone thinks that that’s related to her dad, but... ever since that spoiler came out, I’ve suspected it’s related to someone & something else (even though it is pretty certain her dad will be gone at the end of ep 1x11 or early 1x12). I think that’s a reference to something Simon related instead. 

Zoey’s first “real” interaction with Simon was in the Pilot episode, when she heard him sing “Mad World”. In the latest episode, 1x10 he sang the same song again. And I am predicting that the song MIGHT even be heard the third time during the season...in the finale. (or maybe she’ll just come to realize why she heard him sing that again.. in 1x10)

We’ve seen how Simon has been unable to deal with his grief, to move on, to let go. We’ve seen how it has destroyed him, his relationships... everything. And if we listen to the lyrics (original song by “Tears for Fears”, the extra sad newer version by Gary Jules), and think of Simon’s behaviour (he really is the great pretender”!...as demonstated well in many little scenes in 1x02 & 1x03...for example), I think it’s possible he’s gonna try to go down the same path his dad did. And that’s the “bad thing” Zoey is trying to stop in the s1 finale. 

On this note: I can’t believe that Zoey still hasn’t figured out why Simon was put in her path..at this time. She’s not just supposed to help him, he’s supposed to help her. She’s supposed to learn from him and not make the same mistakes (since she’s not figured that out yet, she’s going down the same path as he is). Simon has been avoiding his grief, and it has made him a mess. He’s not talked with anyone about it..really, he’s not talked about it with his loved ones, and it lead to destroying himself, and his relationships. 

And guess what Zoey has been doing...ever since we met her? She’s avoiding dealing with “her daddy issues”, and it has made her a mess, and ruined many of her relationships (best friends, relatives...). Until she realizes that she’s not supposed to make the same mistakes, and she’s supposed to learn from him, it’s not good. She’s ignored or forgotten (by the next day) all good advice from her friends and family...on this.. and she can’t take it all on her own..she needs to share the grief with people who care about her... to be able to deal...with it all... 

Yet...

                      *************************************************

This weeks episode (1x10) did what I expected, and I know that the show is trying to claim everything Zoey is doing is affected by her grief...and that’s why she’s a mess, and that’s why... all... but I still can’t believe that (even if it’s the “anger” phase of her grief) she still hasn’t figured out that the lyrics of the songs that people sing tell her how she must help them. And she still, to this day, has not helped Simon with his grief. And according to the rules Mo wrote down...that’s “no good” - she must help the person singing...with the “problem” they have. She might’ve not wanted the power & it might not be fair to have to help people...especially at a time when she’s losing her dad... but they established that she must... in order to make all good. 

She can “hear” (thanks to her power) how Simon feels, and yet she hasn’t actively helped him with his grief. And I know the writers are trying to say that it’s because of her own grief (and going through the stages herself), but it has just surprised me how she focuses all her energy on pursuing the engaged (until recently) man...romantically... (obsessively, so), instead of helping him (and instead of focusing on the #1 man in her life..her dad... and I still can’t believe she’s avoided that til now... cause she’s wasted so much precious time... til the very last minute... and she now has so little time left with him...cause she’s been focusing all her energy on trying to repeat her past relationship mistakes... -- and go for the complicated, exhausting for everyone... option,-- ). She’s spent so much energy on obsessing over the engaged (til 4 days ago) man, while claiming she has no time for any romance... (her words & actions don’t match!). 

Her heart song to him in 1x08  also said “didn’t I see you crying?”, so she is (deep down) aware that that’s the emotional state she was him in, and yet they have not had a real, proper, discussion on how to deal with the grief! And hearing him sing the same song again in 1x10 should’ve told her that the man is still “stuck”...still... and that means she didn’t really help him...yet. Which means she must try to help him...again...til it works. (and in helping him she’ll help herself... and learn from his mistakes..and not repeat them..)

Also looking forward to the day when Zoey realizes that the thing that bothers her about Simon is what bothers Max about her: She doesn’t like that Max is pursuing her & yet she is pursuing Simon the same way....at a time when she claims she needs to focus on her dad. She doesn’t like that Simon has no clarity (doesn’t return her feelings... doesn’t want to start anything), but she doesn’t understand that she’s doing the same thing herself...to Max - she has no clarity herself. And if she’s allowed to not like how Simon doesn’t give her an answer & be upset that he doesn’t like her back...then it should be OK for Max to not like how she doesn’t give him/her BFF an answer & be upset that she doesn’t seem to like him back. 

The moment when she realizes tha parallels..is what I'm looking forward to. For her (and some of the viewers) to realize how the things that bother her about Max’s behaviour are parallel how she herself has behaved. (fans claim “Max is pushing Zoey to love him back & going after her...strong”, but what has she done all season? “Zoey has been pushing Simon to love her back & going after him...strong”) The two storylines are exactly the same. And that’s done on purpose on the show. 

She claims she has no time to focus on romance, cause she’s so caught up with her dad & grief, so it’s not the right time to pursue romance, yet she spends much of her screentime actively wishing for & pursuing a romace with Simon. She has the time to go to dinner with him (at a time when I expected her to practically move in with her parents...for the last few weeks), yet she doesn’t take time to actually get her BFF a “congrats on the promotion” gift...when in contrast she gets the “just-broke-up-his-engagement” man a housewarming gift... (she had 4 days to buy that pen/mouse... but she didn’t, but she got the plant for the same night. Same with telling Mo how she’s upset about the Simon news...while not even a mention of Max’s news - move to 6th floor. It’s like they really never were friends...cause she voices no concerns about losing a good programmer & friend...only “worrying” about her office crush...). #WhyAreTheyWritingHerLikeThat  #SheCanGoThroghTheAngerPhaseWithoutBeingExtraRude

To me..that shows just how much she really “cares”. And she might be grieving & a mess..but right now...she does not “deserve” Max...as her BFF (even though she needs her BFF...at this time) Until she’s done processing her grief & done some therapy, and focused on herself... she should do as she says, and focus on her dad, her family, herself. Make her words match her actions. (and yes, this latest ep provided that “turn” ..for her...and all the characters... as the sun will shine again...after the storm... but not before another “storm cloud” passes)

Or...in other news: I LOVED!!! how everyone told their truths to Zoey in this episode. She might be grieving & going through the stages of grief (but so are a lot of people around her....and they don’t create conflicts over this), but that doesn’t make it OK how she sometimes behaves. (Just like Simon grieving does not excuse any of his behaviour...where he was emotionally cheating on his fiancee, and kissing other women while still enaged... etc) So... the scenes where everyone told her the harsh truth...were some of my faves in this episode: Mo, her mom, (even Joan...through looks), Simon, and especially Max!) IMO she really needed to hear all of it! (and more) 

And this makes me sad that I am saying this, but... I wish Max/Zoey wasn’t the endgame...after all this. But it’s a fact that they are. But Max is a much better person than I am. And unlike me (I see the world in black & white only...and while I know it’s very human & all.. I am not a fan of “messy human feelings” -  it’s all just too irrational for my taste), he sees all the colours. And mostly...he loves her..unconditionally, so he’ll “forgive her”. But for me her indecisivness, “1 step forward, 2 steps back” w. Simon (”we’re done, this is over, no more” claims... which she takes back/forgets the very next moment/episode... because... -- she won’t be doing this no more.. but then she finds out his engagement ended...so she’s back obsessing over pursuing him...even though she just made a promise to herself to not do just that --) behaviour, and all that.. cannot be “excused” or “explained” with grief. It hasn’t worked...on screen...for me. But it has allowed some TOP acting from Jane, and Skylar, and John, and Alex...and everyone else. This  cast just keeps being amazing!

But no matter how much I’ll “fangirl” over the S1 finale M/Z moments and possible future M/Z endgame... for me it’s not the payoff... anymore (due to how S1 was written) ..it’s gonna be the unfortunate end result. Some people love TV drama, I just aren’t a fan of such messy drama... I’m simply too rational to get irrational behaviour (what writers & people call “very human” & “this is what grief & hurt does to a person”). I get the intent & get the reasons behind it, but it’s too irrational for me to like it. (cheating is cheating, you can’t take back what you’ve said/done...especially if you make the same mistake again...) #hurtpeoplehurtpeople

I’ve expressed some of these every thoughts in my previous tags and online comments... and now I just have confirmation from the ep that they did really take the exact route I did not ever want the show to take (once is a mistake, twice/three times is a pattern...). But nonetheless... M&Z is endgame. So...my only hope & wish is that there will be a S2, so we would see REALLY work on earning back her BFF (Max’s) trust and friendship. She has to work for it IMO. And she must be compleely honest with him...as she promised...and this now includes telling himall about her grief, “the triangle”, her moments with the engaged/just broken up man... That is the one thing that is a must. 

(And no, Max isn’t that much hurt because she didn’t ask him to stay or petty cause she doesn’t return the feelings, he’s upset cause no-one even came to say “good luck”, and his best friend didn’t even bother to get him the “good luck gift” - to him it’s like confirmation that they don’t care or appreciate him as a co-worker. It’s like his peer reviews... He’s said why he’s upset. And he’s not upset cause she doesn’t return his feelings, cause through her heart song he knows for a fact that she has romantic feelings for him + he noticed how she checked his body out (Mo’s makeover)...and that “she’s his”. He’s upset that even though she has feelings for him, she avoids them & him. And that she’s pursuing the engaged man, making him her second choice & no one wants to be the “other/second (wo)man””. She claims she can’t do more than friendship right now...cause of everything related to her dad & yet... she is pursuing more than friendship with the other guy... so once again she wasn’t honest with him... and that’s gotta hurt cause they’ve been BFFs forever...)

This latest episode, once again, used parallels...lots of them. 

Z: “You should know...what you did yesterday was really rough.”

M: “I was just..taking care of me. It wasnt personal.” 

Z: “When I told you aboout my powers, I also told you I was gonna be 100% honest with you, do you remember that? OK, so here’s the truth: I think it is personal. I think youre mad at me. Youre mad at me for not saying what you wanted to hear. And now youre trying to teach me some kind of a lesson.” 

M: “Oh, is that what you’re think?” 

Z: “That’s what I think. Why else would you take the 6th floor side? You’ve been there wor whoppin 2 days.”

M: “I dont know. Maybe because people actually like me on the 6th Floor. Do you know that Ava has said to me mor ein those 2 days than Joan  has in the last 5 years? Oh and it’s also a huge opportunity for me and my career. have you ever thought about that?” 

Z: “So you’re just gonna leave behind everybody that helped you get there? Is that the idea?” 

M: “See it how you wanna see it.” 

Z: “Nobody down here understands why Ava wanted you in the first place. Just FYI.” #ThisWasLowAndTotallyCruelThingsToSay

M: “Maybe it’s becase I’m a good person.” 

Z: “...or a very selfish one.” 

M: “YOU are calling ME selfish? Look... I have spent far too much time worrying about other peoples happiness more than my own. Especially yours. And I think that its finally time I focus on my own happiness for a change.” 

Once again the use dialogue about one relationship to parallel another relationship. If we change the words a bit & apply it in reverse, we get: 

M: “You should know...what you did yesterday was really rough.” [their 1x07/1x08 conforntation - her revealing she has feelings for him...but then taking back the words & running to another man... while claiming your focus has to be only on your dad]

Z: “I was just..taking care of me. It wasn’t personal.”

M: “When you told me about your powers, you also told me you were gonna be 100% honest with me do you remember that (Think back... have you really been that?)? OK, so here’s the truth: I think it is personal. I think you’re mad at Simon. You’re mad at Simon for not saying what you wanted to hear. And now youre trying to teach me/him some kind of a lesson.”

Z: “Oh, is that what you’re think?”

M: “That’s what I think. Why else would you avoid your best friend & obsess over an engaged man...while claiming you can’t deal with romance at this time when you should focus all your energy on your dad? You’ve known the new guy for a whopping 2+ months...compared to your best friend of 5 years.”

Z: “I dont know...:” 

M: “So you’re just gonna leave behind everybody that helped you get here (ditch your best friend, end your traditional movie nights together, dive into yet another overly complicated-exhausting for everyone-not good relationship with an engaged & grieving man...? You’re avoiding the most important man in our life = your dad, & dealing with your grief, you’re pushing away your best friend, whose always been there for you. And you’re opening up to a stranger instead of your best friend...and saying that’s a positive behaviour. Is that the idea?”

Z: “See it how you wanna see it.”

And Max’s decision in 1x09 & 1x10 was explained by Zoey's speech in 1x09..once again the two storylines are parallels as I already mentioned after last ep: 

Z: “I will never be “the other woman”. Nonetheless..I care about you. A lot. We have a chemistry & a bond that’s undeniable. And I guess I was hoping that after the kiss you’d have some clarity... about all of it. Clarity ... you still don’t have. And maybe never will. So... I have to make a change.... instead of just sitting around, and waiting...and hoping for something to happen...So..this is me...saying to you...officially... I can’t, and I won’t do this anymore. 

If we change the words a bit & apply that to M/Z, we get  why Max made his decision & what he’s really saying to her: 

M: “I will never be “the second choice (when youre my first...but clearly I am only 2nd choice for you)”. Nonetheless..I care about you. A lot. We have a chemistry & a bond that’s undeniable. And I guess I was hoping that after the heart song you’d have some clarity... about all of it. Clarity ... you still don’t have. And maybe never will. So... I have to make a change [move to 6th floor, putting distance between us].... instead of just sitting around, and waiting...and hoping for something to happen...that might never happen. So..this is me...saying to you...officially... I can’t, and I won’t do this anymore.”    

She is a complete mess & she still doesn’t realize the parallels. How what bothers her about Max’s behaviour (towards her) is exactly what bothers Max about her behaviour. If she feels she “has the right” to be upset with Simon over these things (no clarity, not telling her he likes her back), then she has to realize that her BFF also “has the right” to be upset with her...over the same things. And she keep projecting...her own fears and denial..into others. And I get what the writers wanted to say, but for me personally... it’s made me dislike the character, and the writing, and all, because I don’t really “understand” why she/writers would “excuse” it all with her grief making her “act crazy”. She keeps avoiding her best friend & her dad’s situation.

We know that it’s because with Max she’s got a lot to lose (the connection is deeper, there’s more to lose), while with Simon it feels “easy” and theres nothing to lose, cause they don’t have that deep connection. Just grief bond....which she keeps mixing with something other. And she doesn’t listen to reason from her friends: Mo, Max... and they can’t help her get through this all if she won’t let them in... 

And in the next eps...when THE DAY she’s been most scared of..arrives (her dad), shes gonna need her best friend, Max. And he’ll need her, cause he was close to Mitch, too. So they’re both gonna acively grieve. But before that they needed/need to “have hard conversations” and be completely honest with each other. The 1x10 “fight” was the turning point, now they just need time to figure things out...separately (as individuals, not as a duo) and realize...things. 

[whocalledhimannux]

TBATD Chapter 21 Note

~spoilers abound~

So here’s the thing about this ending:

I’ve had it planned from, essentially, the moment I came up with this AU.

I’ve been second-guessing it since that moment.

My personal struggle with this chapter (and, to some extent, the previous three) is because the focus of the plot shifts somewhat--for most of the fic we’ve been firmly with Katara, on how she adjusts to her life in the Fire Nation and her relationship with Zuko. And now the culmination of the plot is essentially on Zuko becoming Fire Lord and Aang becoming the Avatar--which, to be fair, is what happens in canon, too. In my version, Katara also doesn’t technically win her fight with Azula. And up until literally five hours ago, she didn’t fight Azula, because I assumed that Aang would go into the Avatar state in a rage the moment Katara was threatened with lightning, and I was concerned that reducing Katara to a healing role was kinda sexist. Then my dumb ass remembered that I established earlier in the fic that Aang actually does have legit control over the Avatar state in my fic because he’s been working on it for ~two years and it’s totally fine for Katara and Azula to have more back-and-forth until Aang decides to step in.

SO. My worries about internalized sexism have been somewhat assuaged, but I had already written out a shit-ton of meta about this ending so I’m just going to keep at it. Basically I dithered over this for months, but the fundamental ending never actually changed. Every time I tried to think of alternate endings, I came back to the real catalyst for this fic, which is Iroh’s insight from The Old Masters: 

Even if I did defeat Ozai--and I don’t know that I could--it would be the wrong way to end the war. History would see it as just more senseless violence, a brother killing a brother to grab power. The only way for this war to end peacefully is for the Avatar to defeat the Fire Lord…Someone new must take the throne. An idealist with a pure heart and unquestionable honor.

I mentioned this way back in my first chapter note; when I sat down to write this fic, I decided I wanted to change the established world as little as possible. I wanted Katara and Zuko to have all of the issues with each other they had in canon. I wanted the essential position of the Fire Nation and the South Pole to be the same. I wanted their friendships and familial relationships to be the same. I even tried to keep Zuko’s field trips! And I wanted Iroh to still be right about the politics of this slightly altered world.

Throughout the fic, I’ve touched on the ramifications of Iroh’s decision to kill his brother, in his relationship with Zuko, in Azula’s response (albeit hidden until like… now), in the Earth Kingdom and Water Tribes’ perception of the Fire Nation, and a little bit in the Fire Nation’s perception of him as a ruler. Basically, he’s not trusted, nationally or internationally. And while Katara is, in my canon, very very well-liked, there are still some political limitations for her as a princess. So she can’t fix it until she’s Fire Lady--and she can’t be Fire Lady until her husband is the Fire Lord. Hence, Zuko becoming the Fire Lord takes a little bit of the focus in these later chapters.

Annnnnd then we get to the other part of Iroh’s statement, which is that the Avatar needs to be the one to end the war. Yeah. I think, if anything, that’s even more true in my fic than in canon. Think about it from the POV of, say, an Earth Kingdom general: “So, you’re telling me that they’ve had five Fire Lords in the last ~10 years, the first one died under mysterious circumstances after conveniently elevating his second son to the throne, the second one was killed extrajudicially by his brother, the third one was also accused of killing his nephew and abdicated to the fourth, who was then accused of being behind aforementioned assassination and was then usurped by the fifth one in a brawl that’s apparently totally legal by their standards… and I’m supposed to trust these people to be my friends?”

Somehow, I can’t see that working out. But the Avatar stabilizes things. The Avatar brings balance to the world, and is a neutral third party who can truly broker the peace… if and only if the people recognize his authority. Aang, in the world of this fic, disappeared for a hundred years, came back, died, came back again, and has been dicking around for two years while the adults solved all the problems. In canon, the world needed Zuko to be a good Fire Lord and Aang to be a fully realized and respected Avatar in order to achieve a true peace, and I felt that this fic needed those two things too.

I know that, since Aang didn’t appear for a big chunk of this fic, it might seem like a bit of a cop-out, but… I always felt energybending was a bit of a cop-out in canon, too. Sure, it makes sense when you know the broader context, but there was verrrrry little foreshadowing in the show itself prior to the series finale–and least for this fic you had the foreshadowing of canon!

Yes, that does mean that Katara doesn’t WIN-win the agni kai in this fic, but tbh I don’t know if she has to? Something I appreciate about Katara’s growth in the show is that, in Book One, her waterbending abilities and her access to combat instruction are really her main hangups… and then they’re not. From Book Two on, she is recognized as an unquestionable waterbending master and one of the most competent benders in the world, and she feels comfortable in that role--her conflict in the remainder of the show is more about her personal relationships and her “dark side,” so to speak.

The agni kai is a fitting end for her storyline in canon because it happens during the comet, when she should be at a massive disadvantage. Take that away, and like… yeah, Katara beat somebody. What else is new? I don’t think she has to prove her worth in this universe. She’s been living in the Fire Nation, which is comfortable with female fighters and doesn’t assume she’s weak… and she’s been earning a reputation as a total BAMF for the last couple of months.

Katara’s conflicts in this fic have been on those other insecurities: whether bloodbending is wrong, if her anger or resentment are justified, how she fits into this new home, how she connects with her old one, her relationship with Zuko. So the fact that she has showed up, that she’s publicly defended the nation, that she risked her life to save Zuko, those are all things she gets “credit” towards and things that wrap up her main character growth. Katara ending this fic as an incredibly popular Fire Lady with a strong, stable marriage is a win from my perspective.

BONUS: this was my favorite ending for Azula.. I am working on a follow-up fic that will follow Azula. I’ll be upfront with y’all in saying that it is not finished and will not be up for a few months, at LEAST. (The reason I was able to update this fic every two/three days is because I spent four months writing it w/o posting a word.) I always kind of wished we’d seen Azula’s breakdown drawn out a little more in canon, and I was reeeeaaaaally pissed when I saw how Azula was treated in the beginning of The Search. When I considered Azula’s end in this fic (and how she might progress in a follow-up fic), I thought long and hard about what rock bottom would really look like for her, specifically what kind of issues she might be dealing with instead of the generic “craziness” that is treated pretty terribly in the comics, and what recovery would look like.

I think being without her firebending is unquestionably Azula’s rock bottom. Her identity as a prodigy means everything to her. From her perspective, she’s never really been loved by her mother or her uncle or Zuko–it’s all been Ozai, and his love has been predicated on her success. In canon, she got a glimpse of how easily Ozai would turn his back on her, and that’s her real breaking point; in this fic, she never got that, so while she has been dealing with grief in a pretty terrible, unhealthy way, her real breaking point is the loss of The Thing that ties her to her father.

But I think that also offers her the best chance for true recovery and redemption, because it strips her of the delusion that she is perfect and untouchable and doesn’t actually need love. Azula defines herself by her success, and what is she without success? She would say nothing; Katara, Zuko, et al, would say you’re still a person, actually, still a human being deserving of respect and love and forgiveness. My version of energybending and recovery is going to be a bit different than how it plays out in LoK, because Selective Death of the Author, and I think her recovery of her bending in my way will parallel her recovery in general quite nicely.

So. that’s a lot of meta for an ending I changed halfway through. I have spent so much time thinking about this fic and it’s truly been a joy, even when it’s been a pain in the ass. Thank you all so much for sticking with me.

[like-twilight]

The Last of Us 2 thoughts eyyy longgg and spoilers

This is my opinion before hearing anybody else’s opinion about it.

I only want to discuss the story as it is the only thing I can really speak of since I didn’t play it for myself. All I can say is I wish I could’ve and I’ll always regret not being able to because I really wish that could’ve been my experience as it was with the first game that I could play myself. It’s also probably noteworthy that the first game was the first video game I’ve played in my life so I’m probably biased.

So I’ll go all over the place because why not.

The false advertisement is extremely scummy and I don’t really know what to do with it, I blame it all on the No Spoilers Culture we currently have going. I don’t think anybody would’ve watched any of the promotional stuff a better marketing team could’ve put together and said “ah you can’t see old Joel in action, I bet he dies early in the game, I won’t fucking play this”. There was plenty of buzz around the game and there was no reason whatsoever to falsely market it. That part’s bullshit and I condemn the company for this.

From the story side though, Joel dying was honestly not that huge of a surprise or shock to me. TLOU is a game that has you watch a kid die in the first section of it then does more than enough to establish itself as a game without taboos. Now whether that’s something you like or not is not important, what cannot be said about the game is that it didn’t establish itself as a game that would do this.

I also think arguments like “Joel wouldn’t go out like a bitch” are silly. The beginning told me Joel, the badass and smart survivor he is, was very quick to adjust back to a small town life with a now pretty much surrogate daughter. I’m not saying that excuses the unceremonious death but to me Joel is not a gun-blazing badass hero, not even an anti-hero. He’s just a dude. He got overpowered and then he died.

See this is where the game could never win. If you leave Joel alive and he’s in the story then it’s just a repetition of the first game. If you leave him alive but he’s not in the game much then you underutilise him and people miss him. Also if you leave him alive then people will just say you’re a little bitch because it’s fanservice that Joel is technically invincible because he’s the face of the game. But if he dies, people riot. The creators couldn’t win either way and so I’m glad they made up their mind and stuck to it. It’s also very useful to get people talking.

Before I tie that into the rest of the story, I also have to mention that one of the few things I heard about the game was the expression “torture porn” and maybe I’m just desansitised but I didn’t feel like it was that overwhelming or unjustified. I didn’t watch too much of the promotional material but I saw what I think was the gameplay reveal where the devs said in this game enemies would call each other by name when you kill someone or they find someone dead. And I think that’s a neat detail but I think it also has a lot to do with what the game is... about.

That the hundreds of faceless people you slaughter during the game all have a video game or more worth of story behind them. They are people with their own twenty plus years of survival in a world gone to hell whose story ends the way Joel’s did. By meeting a person who just... wins the fight over them.

So that the deaths are really personal and intimate in that way feels justified. You also have this crazy technology that allows them to animate people very realistically. This is the last big game for the PS4 and they really just brought the technology to its limits, I feel. For them to then say “oh a sledgehammer to the face doesn’t look that bad” or “we just won’t add more types of weapons and have one type of death animation just cause we don’t want to overdo it” is just. It’s not gonna happen.

I never felt like those were glorified, I think they all added to that feeling that bubbled to the surface towards the end of Ellie’s first stretch of the story where I just couldn’t stop shaking my head, going Ellie... Ellie, what are you doing, look at yourself... look at what you’re doing. So to me that wasn’t really an issue.

I can imagine some people, maybe even most people would play the first stretch of the game in revenge mode. You know, let’s get this bitch. But in the same time, I also couldn’t really deny that Abby was like... kinda right to want revenge. I’m not saying I’m glad she killed Joel I’m just saying she had a reason to. (On that sidenote, Abby being that surgeon’s daughter did nothing to enhance this feeling. I could’ve imagined Abby in a settlement much like Jacksonville where they’re all hopeful because they found a surgeon who’s leading research about the cordyceps, maybe he’s a super good leader, inspires the Fireflies to keep up their spirits, all that. Maybe Abby’s group could’ve been his super close-knit group of soldiers taking care of him and running errands for him, even then the rage would’ve been justified.

I get they wanted to draw the parallel between Joel-Ellie, surgeon-Abby, dad-daughter relationships but that added nothing to the story for me. It didn’t take anything away either, I just kinda rolled my eyes like okay, whatever.)

So when Ellie was on her revenge quest, I liked that she and Dina were in Tommy’s footsteps, I thought that was a nice touch and kinda foreshadowed another section of the story where we would meet up with Tommy eventually. 

Now, Dina and Jesse, I found nothing wrong with Dina or her being pregnant (except that it reminded me of Aniara and I hate that movie with my whole being). I thought it was a good enough source of conflict and I really liked Jesse being around. When he shows up and they’re just saying they’ll get Tommy and then get the fuck outta there you can already tell Ellie is obsessed but you’re still holding out hope that Dina will be enough to get her mind off of it but she’s just too far gone.

So the shift to Abby and the scars.

Jacksepticeye said it while he was playing that Abby’s part should’ve been like a DLC or something but I honestly don’t agree. I mean I don’t disagree but I think it worked the way it was. I definitely think most problems people have with this switch that doesn’t stem from the fact that people disliked Abby or that they can’t admit to themselves that they were caught off guard by the changed narrative style, could’ve been solved with different pacing. Now I don’t know if they would’ve had to constantly switch between Ellie and Abby for it to work or figure some other way out because I’m no expert but still. 

I liked the beginning when it switched to Abby, the whole atmosphere was so eerie like you could tell they were on a collision course and it was going to get ugly. Maybe something like that could’ve worked but it could’ve just been either too suspenseful and tense the whole way through that it draws the attention from the gameplay or it would’ve been even more on the nose than it already was with the parallels between Abby’s group and Ellie’s group.

Now I honestly really liked that Abby’s story was so different because when she returns to the stadium, the part of her story that involved Joel is over. She got her revenge then she goes on with her life. She had a life before Joel entered it, she has one after she killed him. And it just so happens to be a good opportunity for the game to showcase some of the shit that goes on outside of what we’ve known so far and what Ellie knows.

I didn’t mind the religious aspect, I think it makes sense, like enough time passed since the apocalypse that the then grown up generation is distant enough from their old lives, and the generations after them are growing up in the ruins of the old society, that a messiah figure like that lady could emerge. That it just had to be transphobic and shit sucks of course and I do understand the frustration with it. I can imagine better writers coming up with a way to make the Scars despicable without them having our current society’s problems. They could still have the trans and the Asian characters still of course, but without them having to face the struggles trans characters do in our current world.

So that Abby only realises Ellie’s just one step behind her when she still has the climax of her individual story to get through was just. To me it worked so well. Like here we play as Ellie for half the game, this girl is consumed with rage and then Abby’s just fucking off and doing something entirely different because that’s... how little... it affected her. Or at least she personally got her closure and is ready to move on.

I personally liked the conflicts she had in her group, it was believable, it felt reasonable for the kind of life they lived. Of course we already spent one full game with Ellie so Abby was never going to catch up, but if you’re thinking like me then by less than half of Abby’s story you already don’t want Ellie to kill her.

The confrontation in the theatre was messy but since it’s not the end of the story I sort of don’t mind. I know some people don’t like how Jesse died or how little time we have to process certain deaths and story beats and of course it can just be bad pacing but that was again something that to me just brought the player’s world on the same level as an NPC’s world. That for one enhanced the experience for me.

Okay. Let’s talk about the last part that starts with Dina almost dying at Abby’s hands, especially after she says “good” when Ellie tells her she’s pregnant. Of course there’s the callback to dead Mel. But I liked that Lev was there and his presence sort of switched Abby’s role. Up to that point Abby had been Ellie. But then when she has Lev, and she acknowledges him as “her people”, she becomes Joel. And then she becomes a better version of him. Or at least a version of Joel that has mercy.

And you’d think being this close to losing Dina is where Ellie would snap back to it. And she does, for a while.

Here’s when I admit the pacing definitely needed some work regardless of anything. Up until that point we go through three days, albeit twice, but three days. Then suddenly we’re nine plus months later and the setting is different and we don’t get enough time here before Tommy shows up with the end of the story...rope... we got cut in half in the theatre.

I’ll take some time here to genuinely express my what the fuck at Tommy here.

My memory is a little fuzzy here but wasn’t Tommy on board with returning to Jacksonville when they return to the theatre? I actually just checked, Tommy says “they got what they deserved” to which Ellie says “but she (Abby) gets to live” and Tommy says “yeah”. And then when he visits Ellie and Dina suddenly he’s a dick about it saying Ellie made a promise? Is that something that was supposed to happen off-screen or a plot hole? Did that conversation in the theatre have more versions they went through and the wrong reaction got included? Maybe I just didn’t pay enough attention but it felt out of the blue for me and I can safely say that’s the character moment I’m disappointed in the most, especially because we never see Tommy again.

One could argue that the choppiness of time is supposed to symbolise the dissociation and out-of-body experience you can have when you’re living with trauma but I truly just have it down to bad pacing here. I get that they wanted to show the baby but I truly believe with enough polishing they could’ve come up with a scenario that works better and flows better.

I truly could’ve had Ellie maybe leave with Dina and Tommy and then have her turn back before they leave Seattle and then they have the conversation with Dina and then Ellie starts tracking Abby. Here we could’ve had more of what was in the beginning of the story, sort of switching between the two, maybe slightly altered gameplay, etc. Even though the last level as Ellie was really cool and once again I liked how we just barely got a glimpse of how other people live, you know. Those prisoners in those cells have a hell of a 25 years behind them and being freed by this stranger might be the best thing that will have ever happened to them, but to Ellie they’re just a background noise to her mission.

I truly liked those parts.

I could imagine Ellie being kidnapped similarly to Abby but they are treated differently and somehow still end up escaping together, maybe even helping each other the way Ellie almost did with cutting Abby down and letting her get Lev to the boat. And then you’d have Ellie still be consumed by her rage.

The whole time I wanted her so much to just scream everything at Abby. Because look, life for these people is a whole ass trauma. Some people like Dina might handle it differently, or it’s easier with a community around you, but Ellie’s life has been very strange, with her immunity, with the realisation that Joel killed and lied for her, all that. She would need a fucking good therapist. I wanted that catharsis, for her to scream at Abby, to sob until she can’t even breathe, for Abby to do the same, except she realises she got her closure while Ellie never did, and then maybe for Abby to give some sort of... forgiveness to Ellie. For her life not having meant anything in the end.

I don’t know, I wanted that for her.

If there never is a last fight, if Ellie never so much as punches Abby, that would’ve been fine for me.

Two more things that I liked were that Ellie actually started down a path of forgiveness before Joel died. You know, when we see the scene where Ellie tells Joel off you’re like “oh that’s the last thing she said to him, no wonder she feels so guilty” and then you realise, oh no wait, they were actually eventually going to be alright. They just never got the time. To me that hit so much, that was a good scene.

The other thing I liked is Dina leaving. Once again this could’ve been something like, Ellie goes back to Jacksonville and there they tell her Dina left or sum shit idk how that could’ve worked, I’m just saying that losing that farm life didn’t really make me feel anything because we didn’t get the time to grow attached to it.

So Dina leaves, and suddenly you’re back in the room with Sam in the first game when this bitten boy asks Ellie what she’s most afraid of, and she says she’s scared of ending up alone. And this immune girl Joel killed and lied and died for, eventually ends up alone.

So I understand that a lot of TLOU’s fanbase that belongs to a marginalised group, especially those part of the LGBT+ community would be hurt by this ending. By this interpretation. The LGBT+ community, as far as I know, at least a huge part of it, seeks to heal. We use fiction as escapism in a way people who don’t know, who can’t know our struggles will never be able to sympathise with. And as such, we as a community in a large part, have moved on from stories of pain. Not necessarily in that we turn a blind eye on it or anything, but I think it’s a mostly universally agreed thing that after so much suffering we’re ready to see ourselves, and people like us end up happy. And as such the demand from this community towards creators have shifted to not necessarily fully happy endings, but some sort of relief. And as such, this ending is cruel.

It is heartbreaking. My heart breaks for Ellie because I can practically feel the weight in my chest that she carries around when she walks away. She lost everything and she never got the closure. She never got that relief and neither did we.

Once again, if you personally have a problem with this ending and it ruined the game for you, I understand it completely. That’s your own experience with the story, and even though I feel much of the same things, I’m once again left here thinking this is the way the creators wanted to do this and that they did it like this makes sense. It makes sense for the story, the characters, it just does. If it had happened differently in a way that also makes sense, I would not think “oh this should’ve had a heartbreaking ending, this is bullshit” but I do think the ending makes sense.

Overall, I’m pretty much pleased with most everything, except fuck false advertising, fuck Tommy, and fuck uhhh, I’m pretty sure I mentioned something else too. Oh yeah, pacing. Jack actually offered a really great alternative to the beginning, where the museum scene of Ellie’s birthday should’ve been the first scene, and then you could’ve had Ellie wake up four years later at the end of the countdown. That Joel told Tommy about the hospital could’ve been implied through dialogue and interactions.

I also don’t think Joseph Anderson’s theory is hurt by this, he said personal decisions and morality aside, the Fireflies were fucking idiots and they couldn’t have come up with a cure even if they had given Ellie the chance to say yes, because of how unprofessional they’d been and how much they rushed into the surgery. Just because Abby’s dad was a good dude and a good surgeon doesn’t mean shit when you’re dealing with something you’ve not seen before, such as Ellie’s immunity. And I think knowing that wouldn’t have mattered to Ellie either to change her mind about forgiving Joel. And this is what I’ve always said. Like the Fireflies or not, believe in them or not, taking a choice like this away from Ellie because you can’t stand losing your daughter again (and that is why Joel kills the Fireflies, not because he shares Joseph’s opinion) is objectively wrong and borders on the same obsession we see consume Ellie. Joel is just as unhinged by that point as Ellie is, he’s just more... mature about it, I guess.

That could’ve been even more painful, sort of, to not have Abby be the surgeon’s daughter but just for her and her group believe in this doctor that might just be talking out of his ass so much that them avenging his death sets off this terrible cycle of vengeance. I think that could’Ve been very “gritty” and shit, that would’ve hurt because it’s even more pointless. People killing over lost hope.

So, pacing, Tommy, false advertising, bad points, everything else, yeah alright. 7/10 sounds good to me. I will play this one day >)

[fmbishop]

*  I'VE   GOT   MY   VEINS   ALL   TANGLED   CLOSE . 

                       *      ╰         chicago’s   very   own  𝐞𝐥𝐢𝐣𝐚𝐡 𝐛𝐢𝐬𝐡𝐨𝐩  has   been   spotted   on   madison   avenue   driving   a   1960   vintage   jeep   bronco   ,   welcome   !   your   resemblance   to   𝒈𝒓𝒂𝒚𝒔𝒐𝒏   𝒅𝒐𝒍𝒂𝒏   is   unreal   .   according   to   tmz   ,   you   just   had   your   twenty   -   first      birthday   bash   .   your   chance   of   surviving   new   york   is   uncertain   because   you’re            𝒄𝒉𝒖𝒓𝒍𝒊𝒔𝒉   ,   but   being   𝒔𝒕𝒆𝒂𝒅𝒇𝒂𝒔𝒕   might   help   you   .   i   think   being   a   taurus   explains   that   .      3   things   that   would   paint      a      better   picture   of   you   would   be         𝒑𝒆𝒆𝒍𝒆𝒅   𝒔𝒌𝒂𝒕𝒆𝒃𝒐𝒂𝒓𝒅   𝒈𝒓𝒊𝒑   𝒕𝒂𝒑𝒆   ,   𝒅𝒂𝒓𝒌   𝒄𝒊𝒓𝒄𝒍𝒆𝒔   𝒃𝒆𝒏𝒆𝒂𝒕𝒉   𝒕𝒊𝒓𝒆𝒅   𝒆𝒚𝒆𝒔   ,   &   𝒌𝒏𝒆𝒆𝒔   𝒂𝒏𝒅   𝒑𝒂𝒍𝒎𝒔   𝒓𝒖𝒃𝒃𝒆𝒅   𝒓𝒂𝒘   .            (   i   cut   ties   with   my   best   friend   and   collaborator   because   i   was   secretly   in   love   with   her   ,   but   our   publicist   had   her   date   my   brother   instead   .   )      &   (   cis   male   +   he   /   him   )   +   (   ruby   ,   18+   ,   she   /   her   ,   pst   )


𝒊       .        𝒔𝒕𝒂𝒕𝒔       .

𝒏𝒂𝒎𝒆   :   elijah   alexander   bishop 𝒏𝒊𝒄𝒌𝒏𝒂𝒎𝒆𝒔   :      eli   ,   e   .   from   his   loved   ones   ,   he   recieves   variations   on   ellie   ,   ugly   ass   mustache   head   ,   tony   hawk   ,   and   zumiez   employee   of   the   month   . 𝒂𝒈𝒆   :      twenny   -   won 𝒛𝒐𝒅𝒊𝒂𝒄   :   taurus 𝒐𝒄𝒄𝒖𝒑𝒂𝒕𝒊𝒐𝒏   :   professional   skateboarder   and   youngest   x   games   gold   medalist   in   history   ,   brand   ambassador   for   several   skate   fashion   brands   ,   established   youtube   vlogger   ,   and   aspiring   filmmaker   . 𝒈𝒆𝒏𝒅𝒆𝒓   𝒊𝒅𝒆𝒏𝒕𝒊𝒕𝒚   /   𝒑𝒓𝒐𝒏𝒐𝒖𝒏𝒔   :   cis   male   /   he   him   his 𝒐𝒓𝒊𝒆𝒏𝒕𝒂𝒕𝒊𝒐𝒏   :   heterosexual   ,   heteroromantic 𝒉𝒆𝒊𝒈𝒉𝒕   :   5’11 𝒍𝒂𝒃𝒆𝒍𝒔   :   the   black   sheep   ,   the   despondent   ,   the   fallen   angel   ,   the   isolato   ,   the   intangible   concept   ,   the   dirtbag   ,   the   doryphore 𝒌𝒆𝒚         𝒕𝒓𝒂𝒊𝒕𝒔      :      -   churlish   ,   emotionally   reserved   ,   hesitant   ,   resentful   ,   self   -   sabotaging +   steadfast   ,   benevolent   ,   chivalrous   ,   reliable   ,   down   to   earth   𝒉𝒐𝒈𝒘𝒂𝒓𝒕𝒔   𝒉𝒐𝒖𝒔𝒆   :      hufflepuff 𝒔𝒐𝒏𝒈   𝒊𝒏𝒔𝒑𝒐𝒔   :   that’s   on   me   -   mac   miller   /   obstacle   1   -   interpol   /   just   my   luck   -   marc   e   bassy   &   blackbear   /   EARFQUAKE   -   tyler   the   creator /   superfast   jellyfish   -   gorillaz   /   here   comes   a   feeling   -   louis   the   child   /   horseshoes   and   handgrenades   -   green   day  /   boys   don’t   cry   -   the   cure   /   SUGAR   -   brockhampton  /   slow   dancing   in   the   dark   -   joji   /   come   back   to   earth   -   mac   miller   /   swing   ,   swing   -   the   all   american   rejects  

𝒊𝒊       .    𝒃𝒂𝒄𝒌𝒔𝒕𝒐𝒓𝒚    .

harold   and   lillian   bishop   welcome   the   heirs   to   the   bishop   throne   on   an   early   may   morning   .   ceo   of   the   multi-billion   dollar   bishop   industries   construction   empire   ,   and   partner   of   the   bishop   &   franklin   international   law   firm   respectively   ,   the   boys   enter   into   the   shadow   of   a   last   name   prepared   to   build   onto   its   own   legacy   .   eli   comes   into   the   light   moments   after   his   brother   ,   a   hand   firmly   grasped   onto   the   ankle   of   his   twin   ,   victorious   to   emerge   into   the   world   first   .   parallel   to   the   biblical   brothers   jacob   and   esau   ,   his   nurse   notes   ,   but   his   parents   pay   no   mind   .   on   the   whim   of   a   meaningless   sequence   ,   the   elder   twin   is   delegated   as   the   champion   of   the   bishop   legacy   ,   to   bear   the   weight   of   their   family   empire   and   its   subsequent   legacy   on   his   shoulders   with   pride   .

elijah   ,   on   the   heel   of   his   brother   ,      isaiah   ,   by   a   mere   fraction   of   a   second   ,   bears   the   weight   of   his   second-coming   due   to   such   a   christening   for   the   rest   of   his   upbringing   .

the   black   sheep   is   perhaps   too   delicate   of   a   phrasing   to   explain   the   conflict   stirring   daily   in   the   bishop   household   ,   a   family   of   perfection   —   and   elijah   ,   the   foil   to   them   all   ,   a   failure   by   definition   ,   perhaps   crafted   simply   to   emphasize   the   feats   of   his   twin   brother   .   he’s   smaller   ,   scrawnier   ,   slower   to   pick   up   school   work   and   requiring   relentless   tutoring   and   support   throughout   his   elementary   school   years   .   sensitive   and   introverted   ,   he   spends   the   first   decade   of   his   life   cowering   behind   isaiah   as   a   shield   ,   receiving   constant   critiques   of   not   enough   ,   not   good   enough   ,   not   close   enough   to   —

he   tries   not   to   focus   on   his   shortcomings   ,   as   plentiful   as   his   parents   may   convince   him   that   there   may   be   .   any   expression   other   than   a   stoic   compliance   is   seen   as   contumacious   ,   swiftly   corrected   with   a   ‘   i   wish   you   would   be   more   like   your   brother   .   ’      eli   withers   into   himself   shortly   after   his   12th   birthday   ,   the   onset   of   puberty   and   a   discovery   for   a   natural   athletic   inclination   giving   him   some   semblance   of   musculature   ,   his   jaw   sharpening   and   gaze   taking   a   similar   harshness   .   his   body   becomes   a   fortress   ,   the   only   protection   he   can   implement   as   his   brother   begins   to   split   from   him   ,   taking   on   more   responsibility   as   the   twins   are   brought   increasingly   into   the   spotlight   of   their   family   name   and   fortune   .

each   moment   harboring   a   critique   only   stokes   resentment   behind   each   clenched   jaw   and   tight   lipped   smile   eli   has   to   fake   .   he   knows   its   all   for   show   ,   his   brother   is   the   only   true   heir   written   into   their   legacy   regardless   of   what   path   he   chooses   to   take   .   bearing   the   weight   of   a   whole   family   tree   of   disappointment   ,   eli   takes   on   odd   hobbies   and   begins   to   compose   bits   and   pieces   of   himself   as   the   him   he   wants   to   be   ,   dismantling   the   illusion   composed   by   expectations   to   mirror   his   infallible   brother   .   by   13   ,   his   secretive   hobby   becomes   an   increasingly   viable   career   in   skateboarding   ,   by   17   ,   he’s   hired   his   own   agent   and   moves   out   on   his   own   to   escape   the   increasing   burdens   of   being   the   bishop   legacy   disappointment   .   his   parents   all   but   excommunicate   him   ,   and   he   spends   spans   of   month-long   silences   between   them   with   only   his   brother   to   bridge   such   gaps   .   eli   is   gnarled   and   hidden   away   from   the   glitz   and   glamour   he   had   grown   so   comfortable   with   ,   navigating   his   shattered   self-image   and   desire   to   amount   to   something   entirely   on   his   own —   but   at   the   very   least   ,   he’s   free   .

it’s   a   tabloid’s   dream   ,   the   black   sheep   of   the   bishop   family   ,   reuniting   with   his   herd   for   their   move   to   new   york   .   eli   is   resentful   and   bitter   at   the   idea   of   uprooting   himself   ,   but   it’s   his   brother’s   impassioned   pleas   of   a   reunion   that   soften   eli’s   resolve   and   cause   the   young   skateboarding   sensation   to   follow   the   rest   of   his   distant   family   to   new   york   .   his   brother   assures   him   with   honeyed   promises   of   a   family   reunited   ,   a   change   of   heart   of   their   parents’      callousness   ,   a   desire   to   see   the   bishops   as   one   .     their   father’s   upcoming   retirement   and   a   supposed   reflection   on   the   cruelty   imposed   on   his   brother   are   all   cited   as   reasons   why   eli   should   just   come   with   them   .      and   eli   ,   hardened   and   bitter   to   all   but   the   implorations   of   his   brother   (   and   perhaps   a   gnawing   desire   for   some   sort   of   familial   validation   after   a   lifetime   of   being   dubbed   the   disappointment   ,   )   begrudgingly   follows   through   .

their   parents   do   not   .

it   awakens   a   particular   emotion   within   eli   to   see   his   parents   for   the   first   time   in   nearly   2   years   and   be   received   with   the   same   coldness   he   had   been   seen   off   with   at   their   last   meeting   .   backhanded   compliments   follow   fronthanded   insults   and   it   ends   with   eli   and   his   father   in   a   screaming   match   ,   fingers   jabbed   dangerously   into   chests   and   tempers   on   full   blare   .   the   betrayal   comes   not   from   a   set   of   parents   who   didn’t   want   him   —   eli   knew   it   was   entirely   too   good   to   be   true   to   be   taken   as   the   prodigal   son   .   the   betrayal   ,   he   laments   ,   is   in   the   falsities   told   by   his   brother   ,   the   one   person   who   had   spent   so   long   protecting   him   and   had   now   allowed   him   to   walk   without   guard   into   the   lion’s   den   .   eli   knows   his   brother   had   nothing   but   the   best   of   intentions   and   keeps   him   as   the   sole   bishop   contact   :   this   is   the   last   he   talks   to   his   parents   after   years   of   torment   .

they   stay   in   new   york   together   and   fill   their   time   with   work   and   the   occasional   youtube   video   at   the   behest   of   their   management   ,   random   vlogs   that   surprisingly   take   off   .   the   bishop   twins   become   something   of   an   internet   sensation   —   isaiah   a   charming   and   composed   law   student   ,   eli   a   brooding   and   unkempt   skater   boy   ,   with   a   dynamic   that   viewers   are   quick   to   fall   in   love   with   .   they   turn   out   content   on   a   regular   basis   ,   building   a �� fanbase   through   their   vlogs   that   begs   for   collaborations   and   ‘   linking   up   .   ‘   they   go   through   the   motions   of   collabs   until   one   particular   set   of   youtubers   have   a   chemistry   with   the   twins   that   their   fans   eat   up   .   quickly   hired   to   the   same   management   team   ,   the   bishops   create   a   mini   vlog   squad   with   their   friends   ,   a   dynamic   that   finds   eli   more   emotionally   invested   than   he’d   care   to   admit   .   but   forever   the   self   -   saboteur   ,   he   keeps   himself   from   admitting   these   feelings   to   their   collaborator   ,   repressing   them   until   an   email   from   their   publicist   reveals   plans   to   have   her   date   isaiah   for   the   sake   of   views   .

eli   ,   despite   having   kept   his   feelings   from   practically   everyone   in   his   life   ,   takes   the   move   personally   and   cuts   off   all   work   with   their   collaborator   ,   the   ensuing   drama   being   enough   to   keep   his   publicist   happy   despite   whatever   happens   between   her   and   his   brother   .   their   group   goes   back   to   being   a   duo   ,   a   secret   for   eli   to   keep   perhaps   to   his   grave   ,   and   he   pushes   to   forge   on   with   creating   a   name   for   himself   out   of   the   shadow   of   his   family   .

(   um   for   context   slash   anyone   who   knew   version   one   of   eli   we’re   gonna   say   he   got   sick   of   the   celeb   world   and   went   backpacking   through   southern   asia   w   no   phone   n   no   outside   contacts   ,   just   recently   returned   to   ny   after   the   past   2   months   of   isolation   !   )

𝒊𝒊𝒊       .       𝒅𝒊𝒔𝒑𝒐𝒔𝒊𝒕𝒊𝒐𝒏

i’m   so   excited   to   bring   eli   back   .   …      i   love   wealthy   sm   lemme   give   y’all   a   few   bullets   for   the   rundown   of   the   uglie   mean   sk8r   boi   that   u   should   all   say   ‘   see   u   l8r   boi   ‘

as   the   bio   implies   ,   he   had   a   really   tough   upbringing   in   the   shadow   of   his   perfect   brother   .   a   lot   of   his   parents’   cruelty   resulted   in   the   personality   he   has   now   .

eli   is   most   known   for   his   resentment   of   wealth   and   fame   .   in   the   celeb   world   ,   he’s   always   known   as   the   one   who’s   just   a   normal   guy   .   super   down   to   earth   and   constantly   critiquing   ppl   who   let   the   fame   get   to   their   head

in   a   way   ,   he   gets   this   weird   sense   of   superiority   that’s   super   hypocritical   ?   like   he   thinks   he’s   better   than   the   rich   ppl   bc   he   doesn’t   act   boujie   ..   .   .   .   but   ?   he’s   rich   too   ?   just   bc   ur   chinos   r   ripped   doesnt   make   u   better   than   anyone   else   u   dumb   bitch

super   ,   and   i   cannot   emphasize   this   enough   ,   SUPER   emotionally   constipated   .   he   acts   like   he’s   above   it   all   to   serve   as   his   defense   mechanism   bc   on   the   real   he’s   terrified   of   being   rejected   by   people   the   way   his   own   parents   rejected   him   .   his   solution   ?   if   u   act   like   u   don’t   give   a   shit   ,   nobody   can   hurt   u   .

if   he’s   not   angry   ranting   ,   he’s   honestly   p   stoic   .   nobody   knows   what   he’s   thinkin   or   feelin   which   is   how   he   likes   it   .   it   gets   real   annoying   when   he   keeps   playing   the   cool   disconnected   guy   n   ur   like   ‘   what   do   u   want   for   lunch   ‘   n   he’s   like   ‘   i   dont   give   a   fuck   ‘   n   ur   like   ‘   we   know   dumbass   edgelord   we   still   gotta   EAT   tho   ‘

on   that   ranting   note   ,   he’s   usually   pretty   reserved   and   calm   during   things   like   interviews   or   talking   to   fans   .   when   he’s   in   touchier   situations   ,   his   defense   mechanism   is   to   switch   to   his   hairpin   trigger   hostility   .

ig   he   feels   like   he   has   something   to   prove   by   being   the   tough   guy   so   he   just   ?   gets   mad   super   easily   instead   of   processing   his   feelings   like   a   normal   person   ?   he   detaches   himself   from   his   emotions   bc   he   has   a   really   fucked   sense   of   self   -   worth   and   has   an   eternal   belief   he’s   not   worthy   of   happiness   so   he’ll   sabotage   himself   to   no   end

shockingly   sensitive   and   will   hold   onto   his   pain   as   if   to   fuel   him   .   he   takes   disloyalty   personally   and   will   often   hold   onto   abandonment   or   slights   that   happened   years   ago   because   they   genuinely   affected   him   ,   even   if   he   didn’t   show   so   at   the   time   .

in   terms   of   the   celeb   life   :   he’s   p   low   key   .   isn’t   much   of   a   partier   bc   he   has   social   anxiety   sdfsd   but   he’s   comfy   sipping   a   beer   on   the   patio   as   long   as   everyone   else   stays   inside   lmao   .   he’s   cool   w   hookups   but   isn’t   actively   sleeping   around   ?   like   he   could   prob   live   like   a   fuckboy   but   rlly   surprises   u   when   he   doesn’t   do   the   fuckboy   thing   ..   …   .   it’s   the   sensitive   boy   in   him   or   somethin   idk..   .   ..   mayb   he   just   can’t   care   enough   ..   ..      it’s   the   apathy   …   .

when   he’s   not   seeing   red   ,   he’s   rational   man   meant   to   BUST   everyone’s   stupidity   .   usually   the   only   mfer   w   common   sense   in   the   squad   to   plan   ahead   n   shit   but   if   someone   pushes   his   homies   ?   eli   comes   out   SWINGING   n   then   avoids   all   the   tabloids   about   him   sloppy   fighting   in   the   club   like   he’s   mariah   carey   n   can’t   read   or   somethin

cannot   flirt   for   the   life   of   him   ,   says   dumb   shit   like   ‘   u   smell   nice   ‘   and   hopes   his   muscles   do   all   the   talking   lmao   fuckin   BEEFCAKE

on   the   real   ,   when   he’s   calm   n   collected   he   can   be   surprisingly   sweet   and   this   is   when   the   down   to   earth   comes   in   .   doesn’t   get   attached   to   many   but   to   the   few   he   does   ,   he   defends   to   the   end   and   is   the   type   to   sacrifice   whatever   it   is   to   protect   them   .   this   mans   LOVES   his   friends   and   ppl   are   surprised   to   see   how   kind   he   can   b   bc   he’s   usually   masking   his   kindness   with   his   brutishness   lmao   .      

he’s   also   ?   surprisingly   funny   ?   we’ll   see   abt   that   tho   bc   most   of   his   shit   is   deadpan

most   of   the   time   :   just   fuckin   .   mean   as   hell   sdfsdf

anarchist   mfer   !   he   said   FUCK   the   system   ,   it’s   a   big   skate   energy   and   he   tries   to   be   as   creative   and   undefined   as   possible   .   follows   random   whims   as   he   learns   to   be   less   self   conscious   bc   now   he’s   his   own   brand   and   doesn’t   have   to   always   think   about   ‘   whats   best   for   the   family   ’   and   all   that   bs   !   he’s   rlly   passionate   abt   skate   culture   and   originality   and   is   a   really   big   outspoken   feminist  /  social   activist    bc   what’s   more   punk   than   dismantling   the   patriarchy  and  other  oppressive  power   structures  ?

on   that   note   .   lowkey   .   a   simp   KWHRJWE   he   acts   hard   and   won’t   let   any   man   come   after   him   but   he’s   afraid   2   be   mean   to   girls   n   lets   most   of   his   female   friends   bully   him   while   he   does   the   office   stare   in2   the   camera   .

i   always   stick   random   blurbs   downhere   but   the   mans   is   vegan   ,   cares   more   about   his   car   than   anything   ,   spends   most   of   his   time   in   his   ratty   skate   clothes   that   barely   get   washed   bc   they   ‘   hold   the   energy   better   ’   (   nastie   )   ,   if   it   aint   sk8   shoes   its   socks   w   sandals   n   he   doesn’t   get   whats   wrong   w   that   ,   he’s   a   hufflepuff   n   a   ISTJ-T   myers   briggs  (  The  Logistician  )   ,   n   tbh   he   really   just   appreciates   the   little   things   in   life   ?   thats   eli   my   lil   meat   head   .

[jurassicparkpodcast]

Velociraptors, Dilophosaurs and a Fallen Kingdom: A follow-up On The Canon Of Jurassic World Aftermath

Recently, we published an article exploring how we thought Jurassic World Aftermath may fit into the wider canon – with lots of speculation as to the role that characters like Dr Wu would play within the story. Now, we can follow-up on that article with some facts pulled straight from a session spent with the new VR Game. The footage to accompany this video can be found on our YouTube channel, and is courtesy of fellow Jurassic fan Brent Kappel, who actually appeared in Jurassic World as an extra!

Without any further ado, let’s break down some of the most interesting pieces of lore introduced within Jurassic World Aftermath. Spoilers ahead for anyone planning to play the game themselves.

The key thing on everyone’s mind is obvious – how are there more Velociraptors on the island? We learn, in Jurassic World Fallen Kingdom, that Blue is supposedly the last of her kind – which makes her an invaluable asset for Doctor Wu and Eli Mills to obtain. Naturally, you may think that the inclusion of Velociraptors here in Aftermath takes away from this – but careful consideration has been made to think about where they slot into the story. The N.M.S Centre was an off-the-grid facility so to speak, in terms of the fact that the work they did at the facility was not well known by the other operatives working on Isla Nublar. In fact, mention of Owen Grady and Vic Hoskins is made at one point – acknowledging that neither of them knew about the existence of the programme. This suggests that the work being conducted at the N.M.S Centre was different to the work being conducted by Project IBRIS – and therefore was kept relatively quiet in comparison to InGen’s other project. 

But, you may be asking, why was there a need for a second Velociraptor project?

The answer boils down to the science and genetics of Jurassic World. We know that genetic modification has been a key story point for the latter films, and this is no different in Aftermath, with the work at the N.M.S Centre proving vital in allowing the geneticists at Jurassic World to continue to enhance how much they can augment the code of their dinosaurs. The NMS Centre, in particular, was working on the Velociraptor Genome, and was experimenting with areas like elevated social hormones, suggesting that they were taking the work which IBRIS had done, and seeing if they could tailor-make a Raptor which is more able to respond to commands – aka the latter Indoraptor. We also learn that work had been done to get the raptors to respond to audio prompts so they could come for feeding – again, building upon the idea of these being Raptors who can be more effectively trained and controlled. The way Wu is communicated throughout here as a narcissistic and egotistical character is very interesting, too, as it helps to sell his character as someone who is purely invested in his work without any of the ethical confines which may have otherwise held him back. The mission to recover the Velociraptor Genome ultimately takes a change of pace when, at the end of the game, it is revealed that we need to recover Blue’s DNA. Indeed, in this moment we learn that Blue’s creation seemed to be an accident. Wu was experimenting with monitor lizard polymer raised to promote parthenogenesis (asexual reproduction) when Blue was born – implying that she may be able to reproduce naturally in the current Jurassic World Dominion timeline.

So, how does all of this tie directly into Jurassic World Fallen Kingdom, and the birth of the Indoraptor? Well, as we already know from the film, the mission to recover Blue is an important stepping stone in creating the Indoraptor. Therefore it is natural for us to assume that the events of this game are taking place parallel to the development of the first Indoraptor prototype we later see in the film – implying that the work and research recovered here factors in to the eventual creation of that animal. We get more concrete comparison of this being tied together through the fact that Mia and Sam actually have a direct link with Lockwood Manor in the latter part of the game – showing that Wu is indeed working with Mills at this point. It sounds as if Mills is in charge of the operation at this point in time, as Wu mentions him as overseeing the operations at several points. This suggests that the mission to Isla Nublar we see in FK’s opening is perhaps the climax of a long string of missions to recover different pieces of technology which were ultimately needed to continue Wu’s hybridisation work. The most interesting piece of lore here is that we learn that InGen had emergency backup systems connected on the mainland to Nublar – with Lockwood Manor being the emergency backup for the facility. This implies that rather than being a rogue faction, Mills and Wu may have still had some affiliation with InGen during the events of JWFK, although it could equally be implied that the connection existed from the Jurassic Park days when Lockwood was still involved in the parks.

There are a couple of other interesting bits of information strewn throughout the game. The first is that Wu begins to freak out when the character of Emelia (the geneticist helping with the in-game mission)  has a meeting with Simon Masrani in May of 2015. This allegation is taking to the InGen Board, with Wu pulling her up for insubordination towards a superior. This is interesting as Wu becomes very defensive and suggests that she may damage the work of both him and the board – implying that rogue elements inside of InGen may be working against the wishes of Masrani this whole time. Whilst this isn’t anything new per-say, it does provide interesting insight as to where people like Hoskins may have fit into a much larger game being played in the shadows by other entities in InGen. Of note, also, is the way Wu presents his work throughout these audio logs – implying that he is working on multiple projects which will change man’s understanding of the natural world. Much like we saw hinted within Camp Cretaceous, the implication here seems to be that Wu may have worked on many more projects than those we simply see on screen.

A couple of final bits of interesting information we wanted to highlight is to do with specific details inside the story. Firstly, we learn that Isla Nublar’s Jurassic World did, indeed, use a Geothermal Plant – and that the Dilophosaurus can be found nested in there. Whilst this game does take place two years after the titular film, it is entirely possible that they have been nested in them for some time – which may explain the lack of encounters with this particular dinosaur so far in Camp Cretaceous. In addition to this, we also learn that Nublar is under a UN Quarantine following the events of the Jurassic World incident – meaning that we are in a similar situation to that which we find in JPIII. The fact the characters only have one hour on the island suggests this may be more stringent, however. Another fun detail comes in a mention of the Monorail – with it being revealed that the Indominus tore through the monorail track at some point before the main street battle, explaining some of the damage and devastation inflicted upon Nublar between the incident and JWFK. There are also a few other moments scattered throughout – including a fun visual nod to the Jurassic Park Visitors Centre.

All of this comes together to make a piece of Jurassic media which is much broader and deeper in terms of canonical scope than I think any of us expected going into it. Whilst we remain hesitant about whether this will be a ‘canonical’ story or not, I think that there has been some great work here to build on core Jurassic concepts. The character of Wu is developed incredibly well, and the ties to Lockwood Manor and Mills are executed well, too – making enough sense when considered alongside the events of Fallen Kingdom. Overall, Jurassic World Aftermath appears to have a lot of value in building up some pre-established areas of the canon, whilst also building to the future. As mentioned in the article, the idea of asexual reproduction in Blue poses an interesting question for Jurassic World Dominion. A recorded speech from Ian Malcolm present in the game also talks about a course correction after we have meddled with science to this point – setting the perfect precedent for what we are expecting to see in the upcoming sequel.

What do you think? Are you surprised about how much lore is packed into Jurassic World Aftermath? Let us know in the comments below, and stay tuned for plenty more on all things Jurassic Park and Jurassic World here on The Jurassic Park Podcast. 

Written by: Tom Fishenden