#or said explanation is a reductive take on his arc

[ilynpilled]

I do not know if I like the label “identity arc” either when it concerns Jaime. Or at least how a lot of people define it in context of his arc, and how it is used in the whole ‘redemption’ discourse. One of the most integral aspects of Jaime’s story is the fact that he is so viscerally aware of certain aspects of who he is deep down. All of his chapters are labelled with his name. It is never Kingslayer or GHTJ. “Jaime. My name’s Jaime” is as clear of a declaration as one could get. Even if he does some self deluding, even if he represses his subconscious, his facade of cynicism enabling his behavior so he does not crumble under the weight of his self-concept, and even if he often plays into a fabricated persona. He is aware of who and what he is, specifically what he turned into. That is the problem. He knows who he is/was, and he hates it. Not just because how it is perceived by other people, but also because of how he perceives himself. I never understood this opinion that he has no guilt, there are so many instances of shame and self-hatred, and he is faced with a lot of his guilt in dreams (the subconscious communicating with the conscious). Not to mention his passive suicidal ideation. His arc is about redefining and transforming Jaime, and finally confronting Jaime, not necessarily about just realizing what Jaime was at his lowest. He knows he is a boy that dreamed of becoming Arthur Dayne but turned into the Smiling Knight instead. His arc did not end with him discovering this. It becomes an arc about the weighting of his values. It is about making choices and agency. The exploration of identity and redemption work hand in hand they are not diametrically opposing concepts at all here. He is who he is, and that means he is the one that can make choices to change. “…but the rest Jaime Lannister would need to write for himself. He could write whatever he chose, henceforth. Whatever he chose . . .”

[tonya-the-chicken]

I wrote this post some time ago as a reply to someone and now I somehow want to post it again with some changes lol

TW: mentions of murder, referenced canon abuse and swearing

Let’s talk about redemption arcs and people’s overwhelming desire to punish fictional characters for what they did... Inspired by Endeavor hate ngl... I mostly speak about fictional charcters in this post so pllease, don’t go dumb and understand that fictional characters and irl people should be treated differently

I think sometimes people don`t understand why punishment exists in our society at all. Like, why couldn`t we just forgive? Why punishment is needed? Oh, I would like to talk about behavioural psychology, but it is kinda creepy so instead let`s remember what my teacher of LAWS said(idk what you call it in your bitchass America)

Punishment basically serves two functions:

Preventative (show others and a person that they can’t just get away with their deeds). Like, if you knew that there are no negative consequences, wouldn`t you do it? Wouldn`t you kill the old lady?

Correction and all work with a person in general (for example, you can be forced to go through some psychological help)

Also, I lied there’s one more: compensation. Like, if you stole something, then bring money back, you little shit. Or pay for therapy for your victim

So when we put it into stories and so popular nowadays redemption arcs (which I fucking adore if they are done correctly) we have 4 points out of this 3 cause the first one can be put into two

Character is punished to show others that this is not something you should do (it’s a kinda societal thing and has nothing to do with character in particular. This point in general is not interesting because it doesn’t drives changes in person by itself)

Character is punished so he himself would think twice before doing this shit again (we can’t know if person’s remorse is genuine so it’s better to simply scare them. But I can allow skipping this point if person’s remorse is clealy shown to be genuine and we as readers understand that. That’s probably the big distinction we, as readers, should see: while irl we never know persons true motives, work of fiction can provide them to us clearly)

Character changes and understands what is wrong in what he has done (the part of redemption we all love and enjoy)

Characters work hard to correct or atone for their mistakes

As we can see first two bullets has nothing to do with character development and serve for the purpose of maintaining order. The third one IS a character development and the last one is what makes people actually forgive horrible actions and not go ape shit I guess. But for some of us nothing is enough, isn`t it?

And there is one more shit that is often in redemption arcs and that shit is great and I fucking love it

Explanation of the character’s behaviour, their reasoning and motivation

I truly enjoy reading about WHY characters behave a certain way but people, remember, SAD BACKSTORY IS NEVER AN EXCUSE FOR YOUR ACTIONS. Same goes to your mental problems and hard life situation. The fact that behaviour can be explained doesn’t mean shit. Like, behaviour also follows certain laws and despite the fact that it’s sometimes hard to understand all the details we still theoretically can explain ANY BEHAVIOUR. Does this mean we can excuse any behaviour? HELL NO

So remember folks, “They had their reasons to do this” means nothing most of the time. “I wanted to try how it feels” is actually a valid reason to kill someone, you know. Of course, if crimes is not severe, reasoning suddenly can be very important like we won`t punish harshly someone who stole bread cause he is starving or cause he has kleptomania (I mean as a literal disorder). But even in that case you must pay back money cause like stealing is bad but eat the rich

let`s talk examples from bnha cause why not

Endeavour

We have Enji oh my baby you have done so much stupid shit you dumbass. Sad backstory even if will be brought up in the future, currently is not a focus of redemption at all. Like, he even doesn`t explain his behaviour too much. “He want to be the strongest, so he decided that even if his genes will make it to the top it will be enough. As a result,  blinded by his goal,   he abused his family”. Basically, it`s all the explanation we have right now. And if Hori stops at it I will be fine with it. Honestly, as much as I want to learn more about Enji’s past if Horikoshi leaves everything at this I would give him nothing but mad respect cause... This kind of shows that your reasoning doesn’t matter that much if you did horrifying things

So 3 points to redeem someone

Enji didn’t suffer any punishment for his actions (nightmares are considered punishment only if you believe in God. Also, too weak, God, try harder... And same goes for High-End). When I think about him being punished I actually worry about society’s reaction cause, like, he is number 1 hero and the fact that he’s an abuser will be, like, very shocking to simple people.Trust in hero will fall harder than my will to live during 2020. And honestly, media would just turn this into a drama possibly hurting other members of his family, like.... Enji being legally punished for his action would be an interesting plotline but in general I am not a fan

We see his genuine remorse and character growth. We all agree that he even is drawn differently now changed and trying to become a better person, yeah? Clumsily at first, but he genuinely works hard to be a better peron, hero and father. I can respecct that

Compensation… Well, you can exactly “correct” trauma so he should pay up for psychologists for each child he probably should follow the path of atonement and try to give them something he robbed them from. Like, go to family dinners with Fuyumi even though every last one of them is a disaster and nobody is happy to be there. Or make everything possible to provide Rei calm life with her children (like building a new house, yes, this is an amazing thing) or at least become *reducted cause I wanna this post to be serious and SFW*... Tbh I have nothing to say, he himself says multiple times that he seeks nothing but atonment, not even forgiveness

So like you better work bitch to make your family happy bastard... [And tbh they seem so much better then when I first wrote this post, I am so proud of you, my garbage fire man]

Overhaul

In no way is he redeemed but somehow people put Overhaul and Endeavor stans in the same category so here he goes

Kai has something Enji doesn’t: very good and detailed explanation, a plan, a smart reasoning. His wrong deeds were basically for a better good he believed in. But we all collectively hate him for what he done to Eri despite his actions having r E A S o n S. Dude has some MOTIVATION. So like yeah bros. It makes him an interesting character and he is an amazing villain but dude deserves to rot in prisons. He shows no remorse and I am gonna bet he won`t even think about somehow helping others. Dude is a shitty person. And I fucking love him

So let’s go for our 3 bullets again

Punishment. Yes, he is punished, he is in jail with both his hands cut off. Would it make people forgive him? Nah

Personal growth. I would like to see it but as far we saw barely no growth... Though maybe being in jail without quirk will make his brain work

Atonement... Dude has a Messiah complex, I ain’t waiting for that anytime soon

So I asked myself if I had two men: one who spent a sentence in jail for child abuse but is more or less the same person and another who wasn’t punished for his abuse but feel genuine remorse and actively try to make things better who will I choose? Of course, I will choose Pikachu

But is it possible to redeem Overhaul? I wonder if there`s a force in this world strong enough to make him become a better person. Welp... I am a sucker for redemptions, justt letting you know

All for One

Oh, he is irredeemable (and this is sexy). Why is he here? Cause, well

Even if he is punished there`s no punishment severe enough to describe how horrifying his deeds are

Even if he is to feel remorse… he has like 500 years or something??? And he didn`t feel anything killing people??? So why would he change today?

Even if he atone for what he’s done… I am to believe he started at least a civil war. You can`t atone for that bitch. You crossed all fucking lines, all fucking lines

AfO is literally the most evvil man in bnha... I don’t want to see him redeemed cause I love characters that are pure evil and I love the despair of realizing you can’t fix what you have done. Though you are free to have a different opinion! Who knows, maybe Horikoshi will make a classy redemption for him and I will scream out of excitement? Cause I am that kind of bitch??? Who knows! I just love to think Doctor Ujiko is gay for him

Anyway, why do people like to make this characters suffer? Like, Endeavor, Minoru, Overhaul, many others? Is this part of the “punishment” to feel like person paid for their deeds? Or do people just like fictional violence and punishing “bad” characters make them feel good about themselves? Who knows

I have no idea what this post is about I want to sleep and I like Enji though if you dislike him this is fine. I hope it was interesting reading this, love you all bye

Don’t kill me for my controversial takes, I am depressed

[theangrypokemaniac]

Then Ambipom showed up, and the little miss wasn't half so bad in retrospect.

I never felt too keen on Aipom. It was okay but that inane grin possessed a sinister edge, like Tony Blair after the '97 election.

Bloody hell, what's that?

Yer tail's got more fingers than you!

Nasty thing this freak:

• Teeth like bathroom tiles.

• Grimace about as reassuring as an escaped mental patient peering in the window.

• Chevron nose implying a porcine snout.

• Tail ends like silicon knockers, each sporting a trio of red-raw teats.

• Screechy, gurgling cackle.

• Bobbing up and down, heaving, like a Steamboat Willie reject.

It's the voice mainly. The cheap attempt rolled out by The Pokémon Company ruins much of it for me.

Aipom began Sinnoh as Ash's Pokémon, but so enamoured was she of the whole Contest palaver, and with no chance of joining whilst still in his custody, the decision was made to trade her for Buizel.

I repeat: she left Ash, whom she clearly cared about, given the hat antics, because Contests were a wondrous jewel in her eyes.

It did then anyway. The boss-eyed ugliness is more of an issue now.

It was all going so swimmingly. Dawn and Ambipom made a grand team, sticking it to Ursula and Gabite good and proper.

That is, until she made the mistake of entering a table tennis event.

Really? To this we are reduced?

Remember that. It's important for later.

His name is O.

It is not. That's blatantly an alias for ulterior motives.

What's he up to, sneaking about under a pseudonym of evident fabrication?

O? Yer couldn't even think up a proper sobriquet for this devilish creep?

It's all Barry's fault, the bitch.

I consider folk who fanny hither and thither, referring to themselves by initials only, to be insufferably pretentious.

T.A.P. won't have it on this blog.

Dawn progresses with ease, thoroughly thrashing opponents, for Ambipom reveals herself to be quite the skilled operator.

With no fingers, no wrists, and no joints. Just the palms.

As if!

How can Shiftry be a champion? Look at it, man!

Alright, it's not so severe a drawback as Oddish, who had No Bloody Arms, but it ain't much of an improvement.

It's got no bloody hands!

Yet they come up against real competition at the close, for O and Shiftry are legends of the art.

It's a master ping-pong player... with No Bloody Hands?!

You're 'avin me on here!

What's it meant to do, slap away with a frond?

How?! There's no bloody bones in them there leaves!

Can't have a cup of tea with them, can yer?!

What a surprise, Dawn loses in the final.

Something else to fail at then?

Oh come on love, can't you do anything right?

Then O guilt trips her. Apparently the shrieking simian is a natural talent, but her deadweight presence is cramping its style.

Charming.

Ambipom is given the choice: spotlight and seals or bats and balls. She picks the latter.

Each time the ball approaches, either it'll just bend the foliage, or, when aflame, burn a hole right through, and Shiftry would go up like a woollen nightgown!

Of course she does. The compelling story arc of twenty minutes could lead only to this conclusion.

Aipom gives up entering Contests, a career she adored, in preference for a thing no one knew existed before this single episode, even if it means parting from all of her friends forever.

Perfectly logical thought process there.

Two options:

1. Contests are crap. They look all flash at a distance but it's a soulless procedure.

Ambipom twigged this early on, jumping ship at the first opportunity to escape a lifetime of feudal drudgery under Dawn's baronial whip hand.

O claims to run his own ping-pong school, because in these parts that's how people fill the empty hours waiting for death.

Bizarrely it's situated in Vermilion City.

I know. It's on a entirely different continent to Dawn, as if they don't want her visiting.

Back in day Ash and Brock almost died trying to reach said settlement. It ain't easy even for them.

Oh Vermilion City! Of course it is! I remember it so well now from Electric Shock Showdown.

Lieutenant Surge loves a game of ping-pong! Him and Raichu batter fragile Pidgey and Rattata all day then unwind with a bit of back-and-forth paddle-whacking.

He's at every hour under the sun with the Fishing Guru and Fan Club Chairman.

2. The writers responsible are baggy-arsed oafs and this is the most inept exit in the show.

Yeah, and I bet O's vehicle is the one hiding Mew.

Ah! That's the explanation I've waited for!

Disembarking from the Saint Anne? It's the first place you go when in town.

Captain, calm thy sick, and Sailors, put down those women of ill repute. There's pongs to be pinged.

A likely scenario as ever I did see.

Or is it?

Well, well, well. This tissue of lies is unravelling before me.

• Calls himself O?

• Has such a mundane, yet ludicrous profession?

• Works with a disabled Pokémon incapable of the very action for which it is famed?

• Professes to own an establishment we know from past experience isn't there?

• Enters the aforesaid competition, immediately targeting his favoured prey?

• Grooms Ambipom with flattery, adding a reduction in status by beating her, inspiring a useful hunger for better?

• Emotionally manipulates a young girl into surrendering her Pokémon?

• Shows no remorse in removing an animal from her family?

• Travels thousands of miles from home, keen to avoid recognition by fellow countrymen?

• Supposed base happens to be in a city difficult to access for Dawn?

• Oh, and a port town to boot, stamping ground of smugglers passing illegal goods, like exotic pets and contraband?

• Disappears on a bus, never to be seen again?

The evidence is piling up!

He ain't no ping-pong player! He's scouting for specimens for his animal research lab!

Ambipom's gonna get stuffed and placed in a cabinet for snotty students to study!

Hey, science man. Anything's justified in its name. The future's now thanks to it.

Thumbs up from Pope Clemont.

Could be worse. Could be talentless twat Damien Hirst picking up creatures to bisect in a vat of formaldehyde for the pleasure of a lot of beard-stroking bourgeoisie.

If I were Ash I'd be well aggrieved at the entire situation.

You give away yer best chimp, assuming it'll be safe with a friend, and she gifts it to the vivisectionist!

Oi bitch, yer wanna take the shirt off his back too?

You should've handed it to Jessie when asked. She never would've done such a thing.

She cares.

She just dumps all hers in the tender embrace of H.Q. and forgets.

Might be dead now. Much better.

What is it about Sinnoh? Chimchar gets grief, and Aipom's headed for China's cruelty-free wet markets.

From Poffin to coffin: aye-aye-aye.

Mmm-mmm: Mashed Ape coming to a dinner plate near you.

I tell yer, shameless spanking of monkeys going on all over.

But lo, the somewhat misnamed Galar region is set in Vermilion City!

Obviously Ambipom will be at Chloë's for a cup of tea and a banana on a regular basis.

Yep, definitely will happen. No doubt about it. We're due a remake of Diamond and Pearl after all.

Should that come to fruition, any old excuse to promote it on screen will do.

I'm handing yer that loose story strand, Game Freak!

Any time now. The first day Ash was in town he raced to the famous ping-pong school round the corner.

He couldn't resist, not when he hadn't bothered to visit in three previous generations.

It's coming. It will. Just wait a minute.

...

That's right, you wave goodbye. That's the last we'll be seeing of 'er outside of a packed lunch with mustard.

No? Again I give you two options:

1. What choo expecting canon coherence from this shower for?

I keep telling yer: when a new era begins it erases all that has gone before. That's why they explain the concept of Pokémon EVERY SINGLE BLOODY TIME.

2. It is consistent, and Ambipom can't return as her skin's decorating a fine Gucci handbag.

Plus the rest of her made a top-notch tin of dog food.

[hellzyeahwebwielingessays]

The Not-So-Amazing Mary Jane Part 2: No. Prizes vs. Craftsmanship

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In Part 1 I said:

…there are definitely ways for us to explain MJ’s actions in-universe. But that doesn’t mitigate problems in the writing craftsmanship of AMJ. And depending upon how the story plays out whether those explanations stand up to scrutiny is up in the air.

But that’s a subject for the next instalment.

Welcome to the next instalment.

Here I’m going to quickly lay down two examples of what I am talking about to provide some context regarding how I’m critiquing the series.

Essentially this all boils down to distinguishing good writing craftsmanship from individual readers reconciling a character’s actions (in this case Mary Jane’s) ourselves from an in-universe perspective.

In other words it’s about recognizing that just because there is a plausible explanation to be had in a story the writing is still flawed for not providing that explanation or creating the need  for an explanation in the first place.

A really clear example can be found in the classic ASM v2 #50. In this issue Peter and Mary Jane reconcile after being separated for a long time. During their reconciliation Mary Jane claims that the reason she left was because she felt that she was unable to help Peter in his life as Spider-Man.*

Regardless of how that line does or doesn’t make sense in the context of the issue itself, it does absolutely contradict the reason(s) MJ gives for leaving Peter in the abominable ASM Annual 2001. In that story MJ’s reasons are poorly communicated but they never even hint that she feels unable to help him.

Readers can easily reconcile these discrepancies by arguing Mary Jane’s original given reasons were misguided or dishonest due to her then recent experiences.

In the annual MJ had very recently been freed from being a prisoner for six months with little human contact, having developed PTSD and a level of claustrophobia as a result. As such her head was realistically going to be all over the place thus it’s not unreasonable for her to misinterpret things and then act upon the basis of those misinterpretations.  She may well have retroactively realized/believe that the real reason she left Peter was for entirely different reasons.

However that was obviously not  the intention of the authors. The reality is J. Michael Straczynski either forgot or simply outright ignored what Howard Mackie wrote. I’m not going to rake him over the coals for that given how awful the annual was but technically it was still a faux pas as far as the writing is concerned. Or, if we were to be generous, it was a retcon.

Let’s look at another example, this time from Peter’s POV. In ASM #182-183 Marv Wolfman had Peter propose to Mary Jane and get casually rejected by him. Putting aside how OOC this was on MJ’s part (until retcons sorted that out), Peter himself took the news far more casually than you’d imagine.

In the very next issue (set the very same day as the rejection) his mind began drifting towards Betty Brant as a potential romantic partner that very same day.

Given how long he and MJ had been together and how their relationship had really been forged in fire by that point, Peter taking the break up as well as he did was highly out of character. But we can reconcile that by arguing that, within the same story arc, Aunt May had major health scare that was partially Peter’s fault.

Realistically it’d not be unbelievable for Peter’s mind to be on Aunt May and/or messed up in general. As a result MJ’s rejection wasn’t going to hit him quite as hard at that very moment Similarly his gravitation towards Betty Brant could have been coming from a place of emotional vulnerability, something Betty was also feeling at the time.

The real life reason though was Marv Wolfman was just writing Peter and MJ badly because he had a reductive and old fashioned perception of their characters and relationship. The craftsmanship was lacking even if it’s not irreconcilable by utilizing context and continuity present within the story.

The issue though is that Straczynski and Wolfman themselves should’ve put that work in and/or not have made those mistakes in the first place. Similarly AMJ #1 (unless it’s setting up for a rug pull) represents Williams not putting the work in/making mistakes.

MJ’s actions could be explained any number of ways, but the underlying issue is that the comic book itself doesn’t provide those explanations.

And of course any explanations given or No. Prize attempts can still crumble under scrutiny.

Moving on, a lot of what we are going to talk about hinges upon Mysterio and his history. As such it’s important we explore that topic to properly contextualize our analysis of the story. But that’s for next time.

*It should be noted that this specific dialogue, in my observations, only exists in trade releases of the story. Regardless of the source, every scan I’ve seen of the original issue omits it. For the sake of argument though I am treating it as canonical.

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[thebastardofgloucester]

So...The Rise of Skywalker (Spoilers, obviously)

No Star Wars movie is anywhere close to perfect. Frankly, they all have serious flaws of logistics or plot logic or characterisation changes or deus ex machinas or lack of originality (which includes A New Hope when you look at its inspirations). It's pointless and silly to pretend otherwise. At its best, Star Wars overcomes that with captivating characters, glorious spectacle, and John Williams.

I think you'll all be familiar with how much I disliked The Last Jedi (and chafed at being lumped in for disliking the movie in with bigots, unimaginative fanboys, and the like).

I liked The Rise of Skywalker. A lot. It had more than enough to offset its major shortcomings, in my opinion. It was not 'soulless,' it was not a complete recreation of Return of the Jedi anymore than The Last Jedi was a rough retelling of The Empire Strikes Back, and it was not as bad or incoherent as Attack of the Clones, jfc are you high

There are certain areas where I am more sympathetic to that not being the case for some people than others. I don't think it completely junked The Last Jedi, but it did demonstrate a huge gap in creative visions, preferred plot structures, and other priorities. Blame for that should not lie with JJ Abrams (or Chris Terrio) or Rian Johnson, who did what they thought was best, and what they were hired to do, and what they thought audiences would enjoy. It should lie with the Lucasfilm story group and Kathleen Kennedy, who had every opportunity to make a trilogy with a united vision and simply declined to do so. (There are a set of different issues with Disney that I'll get to)

Anyway, here's my take on individual components.

Rey ‘Palpatine’

We might as well start with the single most contentious part of the film, and where it is perceived (wrongly, in my opinion) to clash the most with The Last Jedi: Rey being of the Palpatine bloodline.

Rey's arc was about pushing past her own past traumas and doubts and the repeated attempts of other people to define who she was to make her own identity. It is about the refutation of destiny, of genetic determinism. I'm not really sure how anyone really came away with a different impression. I understand being annoyed that Rey couldn't just come from nothing, but call me an annoying fanboy - I wanted some explanation for how Rey was a match for the grandson of literal Space Jesus. Anakin being the most powerful Jedi ever born (and how he was failed by those who were supposed to guide him to that destiny) is kind of central to the entire mythology of Star Wars. Is it reductive and elitist? I guess. I certainly enjoy having Jedi not born of the Skywalker bloodline in the old EU and the Clone Wars/Rebels story. I was frustrated by killing off all of Luke's students as part of resetting the universe in The Force Awakens, and never learning anything about them.

Honestly, as somebody who was in the Rey Skywalker camp (and wrote fanfiction to that effect!), I was glad to be wrong. This was better. It gave Rey more agency, and emphasized found family.

The exposition is weird and clunky. JJ clearly meant for Rey to have some kind of blood link to the previous mythology of the series - you cannot watch the sequence in Maz's castle and tell me otherwise. Rian didn't want to tell that story. JJ did. Kathleen Kennedy and Lucasfilm threw their hands up in the air and Disney raked in the cash. Looking at that Maz castle beat, there's a very good case to be made that Rey was supposed to be either a Skywalker or a Solo, and Palpatine was JJ's attempt to not completely throw out Rian's idea (that her parents went into hiding, becoming 'no one,' abandoning her and being killed somewhere else - their motivations in TLJ (drunks ditching her) are imputed by Kylo and Rey's own fears of abandonment, remember).

Weirdly, I think that of the outcomes, Palpatine was the best one. Explaining how Rey ends up alone on Jakku when she's related to either Luke or Leia is pretty hard without further damaging their characters. Palpatine having lovers, mistresses, whatever before Mace melted his face is gross but entirely plausible. The timeline is...confusing - I guess there's enough basis for Palpatine still having agents running around, chasing down Rey, that even years after his death Rey's parents would leave her behind in an attempt to protect her. It's a bit muddy, but so was Anakin being Luke and Leia's father before we had the prequels. A novel here would probably help if it is written competently)

The point is that Rey's arc refutes genetic destiny. Instead of being afraid of her, as the Jedi were of Anakin (and to an extent, the Skywalkers were of Ben) Luke and Leia (specifically Leia) allow her to grow into her own person, and ultimately she chooses to take the name Skywalker to honor them (and Ben's sacrifice). The problem in my mind is less that Rey is a Palpatine by blood or a Skywalker by choice, and more that she's the only Jedi standing at the end of the trilogy. Making Finn's absolutely obvious force sensitivity a bigger deal narratively in TROS would have helped a lot (more on that later). And we still have the important implications of Broom Boy! He's not erased from existence, there simply wasn't room for his story in these 2.5 hours.

The First Act (and a bit)

The first 30 minutes or so of The Rise of Skywalker are...nuts. They feel less like a movie and more like a series of trailers or a 'previously on' for a movie we never saw. It's about as well done as it could be at establishing plot threads, the situation of the Resistance v the First Order, and where characters are starting from, as you could reasonably expect, but it's like cramming the entirety of the Jabba's Palace segment of Return of the Jedi into about half its runtime, at most.

What it comes down to, and I said this at the time, is that The Last Jedi is a very bad sequel to The Force Awakens. That doesn't (REPEAT: DOES NOT) make it bad film, or even a bad Star Wars film. But in terms of what the middle movie of a planned trilogy should be. It is. Not Good. JJ had seeded hints of Rey's origins and opened a bunch of mysteries. You can contend that he never intended or was never capable of answering them, and I think that's entirely unfair and reducing JJ's opus to the unsatisfying ending of 'Lost' is stupid and lazy, but they were there. The Last Jedi threw all of that out with extreme prejudice. I deeply disliked that; other people didn't. Either way, you had a problem (and you would have had even more of a problem if Colin Trevorrow had directed Episode IX as planned - this could have been SO. MUCH. WORSE.). The Rise of Skywalker is a natural sequel to The Force Awakens, though Palpatine's return could have been foreshadowed much better (or at all, if we're honest?) and it really makes me wonder how much changed from the first drafts of The Force Awakens to the version of The Rise of Skywalker we saw on screen.

I saw some criticisms that we had to read the tie-in material (including a bit from Fortnite??) to understand all the specifics of what planets these were, who Kylo Ren was murdering, etc...I don’t really think any of that was particularly important. It actually opens up a ton of new storytelling opportunities and made the universe feel big again, which The Last Jedi didn’t, at least for me. Apparently the planet Kylo is fighting on is Mustafar. That...doesn’t make the slightest bit of sense (maybe we finally have a Star Wars world that isn’t a single biome?) but it wasn’t actually that important. We saw Kylo searching for the Sith Wayfinder and murdering anybody in his way, we saw Poe and Finn being pursued from one end of the universe to another, and we got the 16 hour deadline before the fleet was ready (which was...weird, admittedly, but not in the slightest less weird that the fleet running out of fuel on a slow-motion chase or needing to fly off to an entirely different system to find a ‘code breaker’ to counter a techo gadget thing that let you trace people through hyperspace.

And yeah, if you are going to forgive The Last Jedi the dumb codebreaker/fuel shit which led to the detached Canto Bight B plot, you have to just acknowledge the Wayfinder thing as a macguffin that gets the plot moving in a certain direction and gives a clear path from narrative point a to narrative point b. Rian is not ahead of JJ on this aspect.

The subsequent fetch quest is less about the macguffin and more about the character beats on the way. Kylo and his boy band pursue Rey, Rey realizes her powers are kinda scary and hella impressive (including the healing mechanic, which is entirely precedented in past canon), you get to see some brilliant, funny, and touching moments between the trio we were not allowed in The Last Jedi, Rey discovers hints about her past, and Lando shows up.

We also get to my least favorite part of the film.

Poe Dameron is Better Than This

I do not understand why they ret-conned Poe into having a past as a smuggler, or why Keri Russell’s character was even necessary. You could explain it as youthful rebellion, maybe after Poe’s mom Shara Bey died (both his parents were Rebel veterans - that’s a lot of pressure), but it fits awkwardly into the established timeline.

The one good thing that came out of it was a moment where Poe is tempted to leave the Resistance, but that only makes sense because of Poe’s terrible hotheaded, reckless characterization in The Last Jedi, neither of which at all fit with his portrayal in the Poe Dameron comics (which are excellent). Poe eventually gets where he needs to be, and the conversation with Lando after Leia passes is one of the best moments of the film, and justified bringing Lando all by itself. Oscar Isaac is apparently really frustrated with Poe’s character and I cannot blame him. Rian Johnson started this weirdness, and it is one of the greatest flaws of The Last Jedi and more people need to acknowledge how racist it was to reduce a 30-something brown-skinned veteran to an impulsive, out of control idiot who gets physically and verbally smacked around by two white women, and JJ didn’t really try to fix it. I guess his arc kinda works in a vacuum. I still deeply dislike it. Cutting that entire section down to the bare bones would have made more room for...

Finn and the Triad

The dynamic between Finn, Poe, and Rey was fantastic. There is abundant basis for Finn and Poe to be canon romantic interests, and I cannot conclude it was anything but Disney’s cowardice that prevented that from happening (and honestly, same for Finn and Rey). JJ is no more to blame than Rian - I genuinely believe this came from higher up. It sucks. A lot. What we do get is precious, and frankly makes Rian’s argument for separating them (that they would get along and it would be boring) kinda silly. They are also incredibly funny together - John, Isaac, and Daisy play off each other so damn well, and I was cackling when the Falcon was on fire and Poe was mad about BB-8.

Finn is absolutely force sensitive. It is apparently what he was trying to say to Rey, he has feelings that turn out to be correct like three times, he wielded a lightsaber with some proficiency in The Force Awakens. It’s canon. Why it isn’t explicit is a function of the Force User plot becoming divorced from Finn and Poe in The Last Jedi. JJ and Terrio also could have fixed that, and chose not to.

We got a tantalizing glimpse of what could have been with Janna and the other defectors. It was really good, but it wasn’t nearly enough, and I am Mad about it. To borrow from some great ideas on twitter, Janna could have revealed that her unit heard about Finn on Jakku and it inspired them to defect. They could have together swayed a bunch of reluctant stormtroopers to rebel (they were otherwise just treated as facist canon-fodder, which, not great when a lot of them are child soldiers!). It was perfectly set up from TFA and they just...dropped the ball.

Like I said, I’m Mad. TLJ did nothing with Finn as a defector or the child soldier thing in general, and TROS did the bare minimum. Huge, huge wasted opportunity. We got promises that we’d get to find out more about who Finn is and...we didn’t, or at least, not in the theatrical cut. TLJ had a scene of Finn and Phasma talking about his being a traitor/defector. Rian cut it down to a fight scene and the ‘Rebel Scum’ line. Writers jail for both of them, tbh, though JJ clearly cared about Finn (he’s why the character exists as he does, as why Boyega was cast, and maybe if TLJ doesn’t make Kylo into Rey’s co-protagonist we get something different. I'm not going to blame Rian for something JJ could have fixed if he cared to.

And least we got something, I guess.

Kylo Ben

I think the first time I actually cared about Ben Solo as a character was when Kylo symbolically ‘died,’ and Ben was saved by Rey’s healing abilities. That was excellent writing, even if it was not subtle. I liked Leia and Han (as part of Ben’s memories) have a role in helping him find some sort of redemption. I was frustrated and mad that Anakin Skywalker’s grandkid could be a straight up space fascist with even fewer redeeming qualities. He still deserved to die. He had no family to go back to and he was directly responsible for thousands of innocent deaths and closely linked to the death of trillions. Like Vader, you don’t just come back from that.

Like Anakin, Ben made his own choices. Was he manipulated by Snoke/Palpatine? Sure. He still had multiple occasions to chose differently and did not. It’s part of his flaws as a character. Han and Leia did their best as parents - we find out Leia even abandoned her Jedi training because she was afraid for her son. Ben’s inevitable fall (which mirrors that of Jacen Solo, a truly fascinating character who I will always be Mad about) soured the sequel trilogy from the start in some ways, but it is hard to envision it without Ben turning. I don’t know. I think without Ben being who he was we simply have a different set of movies.

The kiss is...I don’t even know. Rey clearly cared about Ben, and believed he could change, but also refused to compromise who she was in order to pull him back to the light. I would have vastly preferred a forehead kiss or something along those lines.

On balance I’m glad he got a Vader redemption. I think Palpatine came back in part because Ben simply was not a particularly captivating villain, and without him to provide contrast and make the stakes clear, Ben’s redemption is not possible, and that’s arguably an even worse outcome, especially given how he was manipulated so much at an impressionable age. I’m really glad Leia had a chance to influence his turn as her final act in this life (Carrie deserved a better ending but it was the best they could do after Carrie’s death imo).

Grandpa Palps

First, Palpatine finding a way to survive and setting up multiple contingency plans to return to power is completely in keeping with his portrayal in both the old and Nu EUs (a big part of the post-Endor stuff is Operation Cinder, where Palpatine posthumously ordered the scouring of dozens of Imperial loyalist worlds to spread fear and prevent the Empire from continuing without him). Palpatine also LOVES his superweapons - he built two Death Stars, ffs. A fleet of them is not exactly a stretch in terms of strategy. The Rise of Skywalker definitely felt like it owed a debt to one of the more divisive bits of the old Star Wars EU - the Dark Empire series of comics by Tom Veitch and Kevin J Anderson, which have cloned Palpatines, Luke turning to the Dark Side, an ungodly number of superweapons, and a planet where Palpatine hides and builds them after his defeat.

I don’t think his survival ruins Anakin’s arc - Anakin’s actions still destroyed Palpatine’s Empire (that he helped to build) and its 26 year reign of terror. The galaxy got 30 years of relative peace and then a war that was not nearly as destructive or large scale as the Galactic Civil War. People saying it makes Anakin’s arc irrelevant are just being silly.

Retconning Snoke to a cloned puppet (probably an unwitting one) is actually not a bad writing choice. It explains why he was such a cardboard cut-out villain, and why he was so easily defeated. Honestly, I’m far more okay with how he died in The Last Jedi now that I know this (even if the pacing and the placement of that scene is still utterly bizarre).

The new EU set up cults and fanatics around the Dark Side and its avatars in the emperor and Vader. None of that felt particularly implausible to me as a result.

Legacies in the Sequel Trilogy

I really loved the ‘thousand generations live in you’ conceit. I loved the power of the old Jedi, snuffed out by Palpatine, helping Rey defeat him one last time (including my girl Ahsoka, RIP, I'm sure you went out like a badass). These are legacies and powers that don’t require blood ties or dynasties, they just rely on the force spanning the whole of the GFFA.

Ben is offered the chance to either turn away from his grandfather’s dark path early enough to warrant redemption, or to follow it through until the end. He actually chooses to do neither. With Leia’s dying intercession, he ends up following Anakin’s path to an extent, but his story is ultimately about the tragedy of expectations, fears, and the immense weight of the Skywalker name and legacy. All of his family are caught up in it. Rey is mostly apart from it, and then explicitly subverts her destiny to be Palpatine’s heir, and faces her fear of ending up there, by intent or just fate. As Luke says, some things are stronger than blood. Rey’s story is the ultimate testament to that, and it’s a pretty powerful message.

Leia. Oh god. I was absolutely thrilled when we found out she trained as a Jedi, and then served as Rey’s Jedi Master after Luke failed Rey so badly (after failing Ben). I think Luke’s story from TLJ to TROS is easily the most consistent, honestly. He made mistakes, both with Ben, and then with Rey, and he recognized it. The Rise of Skywalker acknowledges that Luke wasn’t right in how he handled training Rey either, and that went a long way to making me better accept how Rian portrayed him as flippant and dismissive and cynical.

Carrie’s absence was so badly felt. As I’ve said previously, I think they did the best job they could with the footage they held back and Carrie’s recorded audio. They managed to give her a relatively coherent story and an effect on the plot which she didn’t really have in The Last Jedi. I’ve seen speculation that it was supposed to be Leia, not Luke, who gave Rey that pep talk on Ahch-To, and in some ways it might have made more sense. Selfishly, I’m still glad it was Luke, because it helped reconcile my feelings about him in The Last Jedi. But they really did a great job in a really, really tough situation.

Rose Tico

Let’s just get it out there: the film’s treatment of Rose Tico and Kelly Marie Tran was inexcusably bad. Whether her character was a great addition to the cast in the Last Jedi or not, KMT faced horrendous abuse from various bigots and assholes, and after making a lot of public promises they reduced her to barely a minute of screen-time and no real impact on the plot. It’s shitty, it’s bad, and JJ and Disney should feel bad.

Introducing a character like Rose mid-way through a trilogy is risky, and while it worked with Lando, JJ clearly had no idea what to do with her. It’s just a mess, it’s the biggest black mark on the film, and on the sequel trilogy more broadly. Nobody comes out looking good here, and Rose Tico needs a Disney + series of her own or something. Protect Kelly Marie Tran at all costs.

The Rest

- Lando was great. So great. I wish we’d gotten the line that his daughter had been stolen by the First Order (and thus was potentially Janna) - we’d better get a book or a film or something. Lando’s conversation with Poe salvaged his character arc. Billy Dee Williams did a damn good job getting in shape for the role. He came out as genderfluid recently. He’s an absolute treasure and thank god they didn’t waste him.

- I just wanted to reiterate how HAPPY I AM THAT JJ ABRAMS MADE LEIA A JEDI HOLY SHIT

- It was a blink and you’ll miss it moment for people who didn’t read Chuck Wendig’s Aftermath series, but the death of Temmin ‘Snap’ Wexley in a battle where his step-dad (Wedge Antilles) made a brief appearance was devastating and I still don’t know how to feel about it.

- The space battles were awesome. Lando and Chewie bringing in the cavalry was what we were so cruelly teased for in The Last Jedi, which I am still mad about. Forget the logistics, forget the story logic, it was awesome. Maybe in the future I’ll be more annoyed. I honestly doubt it.

- Hux lives (and dies) for drama. He’s the pettiest son of a bitch in the GFFA, he would absolutely turn informant to win his fight with Kylo Ren, especially if he suspected that Kylo had killed Snoke and then was an incompetent child. His dying shortly thereafter is honestly exactly what the character deserved.

- On the cavalry moment, and the galaxy rising to destroy the First Order - I loved it in Return of the Jedi’s special edition, I love it here. There’s a thematic resonance with our heroes overcoming their fear and the galaxy at large being stirred to action. I just wish we’d gotten a few ragtag forces to show up at Crait, but that was a choice Rian made. I’m glad JJ chose differently. It was incredibly Star Wars.

- The 3PO stuff was weird, especially given how emotionally centred it was in the final trailers. It was also tied up in the Poe stuff I disliked. I don’t really know what else to say. At least R2D2, BB-8, and him felt like characters, not purely plot devices.

- Chewie - his reaction to losing Leia was absolutely devastating, his relationship with the next gen trio was great, and his death fake-out was...weird. I could go either way with that - killing him would have been a huge risk I could have respected, on the other hand if he was going to go out he deserved better than that (like, say, a moon getting dropped on him saving the life of Han Solo's kid). His ‘death’ did set up a crucial character beat for Rey. And there were, in fact, two transports, I remember that.

TLDR;

It was a fun movie! It tried to do way too much because The Last Jedi was not an effective sequel to The Force Awakens, and that’s on Kennedy and the LFL story group more than anyone else. It nailed the broad strokes of the Jedi/Force plot in my opinion, including subverting genetic destiny and the power of blood ties over everything else. In the process, it let a number of characters down, who were unfortunately also the characters of color, which is: not great.

I found it rewarding as a fan. It rewarded my faith in the goodness of the denizens of the GFFA and the power of found family. I’ve loved Rey from the start and I’m thrilled with how her arc ended with her burying the Skywalker legacy and making a new start with her new family in Poe and Finn (and Rose, damn it). I’m glad it made me feel better about Luke Skywalker and finally made Leia a bona-fide lightsaber wielding Jedi. I was exhilarated coming out of it, instead of exhausted and frustrated like I was in The Last Jedi. It didn’t make me hate Star Wars. It had extreme Return of the Jedi energy, and that is literally all I needed out of this film.

Here’s to a load of more complex, nuanced, and adventurous storytelling that the Skywalker saga never really allowed. I’m still excited for the prospect of Rian working with his own characters in the universe. I think JJ should probably be done.

Chuck Wendig said that the Star Wars universe was junk. Fun, whimsical, exciting, but ultimately not really a well-crafted piece of art. I’m inclined to agree.

[morkaischosen]

Sage and Joan Gardener

Some More CMWGE Characters

The original idea here came from Wounded Angel, and the idea of doing mirror-image versions of the same character, where each was the other’s sealed-away Blasphemy monster form. Then I decided the version that’s slightly truer to the Nobilis half of the inspiration was better. I’m pretty sure wanting to use Prophet wasn’t even the main reason for that!

(Sage is, as you will likely notice, using standard-issue Fallen Angel arcs, while Joan is on the canonical Angel arcset, yes shut up Prophet is definitely an Angel arc and you can’t convince me otherwise.)

Sage Gardener, the Friend to All Weeds, is a foundling of mysterious parentage. He was raised by the Kichi family, whose sacred pools long ago prophesied his arrival; sealed away within him, the prophecy says, is an apocalypse of fire and brimstone that will bring ruin and destruction to the world. The only way to avert this doom is for him to live a peaceful, compassionate life; if he gives in to anger, the terrible forces he contains will escape into the world.

If anyone can raise him and keep him safe from that fate, it’s Fortitude’s shrine families - but adolescence will test even their tranquility.

Sage is a small, slight boy with a shaved head and a smile that ranges from calm to cheeky, depending on his mood - he almost never frowns. He has a kind word for absolutely everyone he meets; in Fortitude that’s not particularly surprising, but he shows the same polite respect to rampaging abominations of science, monsters, and even door-to-door salespeople.

The grass stains on his knees and the scratches on his hands somehow entirely fail to make him look messy - they seem as much a part of him as his clothes and skin.

Sage is one of those people who can have a conversation about anything someone finds interesting, but his personal passion is botany. He tends a small wildflower meadow not far from the Kichi shrine, full of plants most of his neighbours think of as weeds - Sage maintains that everyone else not wanting them in their gardens just means it’s even more important to make space for them here, and sometimes even transplants weeds to make sure they have somewhere to grow. He’s so used to the thorns, thistles and stings that he sometimes forgets to warn people, which can be a problem when he invites people to sit with him in the garden - it’s not that they don’t hurt him, it’s just part of life.

His unshakeable calm is starting to shake as puberty makes itself known, though. He’s starting to find his mood swinging more than he’s used to, particularly when people are judgemental towards those they don’t understand - he can’t stand that kind of behaviour, but it’s so much easier to be angry about it than anything else. He’s managed to keep it under control for now - despite a few forlorn patches of fresh ash in his garden - but he’s scared of what could happen if he’s not as good at that as his (consistently supportive) foster-parents and teachers think, and too worried about upsetting them to bring it up.

Sage Gardener, the Friend to All Weeds

Superior Holiness 2 (but Sage’s Holiness is entirely unsuited to scourging anything - he can heal people, inspire them, and calm wild animals with a word, but ghosts and monsters can tolerate his presence just fine.) Kindness 2 Meditation 1 Botany 3

If Joan also exists, Sage should have a Connection 1 to her, even if they’ve never met.

Wounded Angel 2:

Dramatic: Sage tends to turn up when people really need someone to talk to - as often for “ohmygod I just read this book and it’s AMAZING” as anything else.

Devices: herbal infusions and incenses with mystical properties, efficaciously channeling his Holiness.

Blasphemy: when Sage loses his last Divine Health Level, he flowers into a terrible mandala of fire, wings, and lidless eyes that scourges away all spiritually impure things - and most things are spiritually impure.

Empowered Wounds: handles everything from holy powers of peace and love through the corrupt powers of a malevolent spirit possessing him (because malevolent possessing spirits deserve somewhere to live!) to manifestations of the terrible doom of scourging flame he could become.

Creature of the Light 1:

Tireless: Sage has access to Miraculous Will while showing compassion and acceptance to the things others reject.

Well-Lit: Sage is a blessed and holy being, and the world shows him to the best of its ability.

The Auctoritas Magister

Appear: Plants often turn out to have been Sage (or have had a Sage sleeping underneath them) when he needs to be where they are.

Transfix: Sage’s calm motions hold people’s attention, bringing peace to the world.

Possible starting Empowered Wounds include nettle stings that mark him as a friend to weeds, allowing him to manipulate plant life and giving an Affliction of “My skin stings like a nettle,” as well as barely-controlled mood swings allowing him to summon fire, with some appropriate Affliction.

Perks: Affliction: “When I give in to anger, things burn.” (Tied to Wounded Angel - currently 2)

“It’s like a home to me” - Sage’s wildflower meadow gives a +1 Tool bonus to feeling at peace.

XP Emotion: Believing In You XP or D’awww XP are the two I’d be likely to hit.

Joan Gardener, the Foe to All Weeds, is a foundling orphan. Her adoptive family are a quiet Fortitude couple who’d already been looking to adopt when she was found, a baby, on their doorstep with a cryptic note explaining that young Joan Gardener needed a home. As she grew older, it started to become clear that she might not be an entirely normal child - nothing that would be that obvious on its own, but the coincidences are piling up.

Joan is a stocky girl with shoulder-length mousy hair, often tied up in a slightly messy ponytail. She spends a lot of time frowning, either in concentration or because someone’s said something she disagrees with - she’s a wilful sort, and her teachers very rapidly learned that it’s difficult to satisfy her with a partial explanation. She’s willing to back down if you can actually convince her she was wrong, but doing that isn’t easy.

She’s fond of most forms of art - a beautiful painting or a well-performed song always replaces her trademark frown of concentration with a surprisingly sweet smile - but she decided at an early age that her true love is gardening. As always, she committed, and every day when her lessons are done, she armours herself in her apron and her gloves, belts on her secateurs and the weed-killing blowtorch nobody will admit to having let a child get hold of, and sets forth to earn some pocket money. Her campaign against weeds is legendary - she fights them with zealous efficiency, often insisting on staying out late if the root system is more extensive than expected.

She’s often frustrated by grown-ups not believing her, especially when she can’t explain why she needs to do something; as puberty starts to make itself known, her parents are finding themselves at odds with her more often. She’s a good kid and she doesn’t like being disobedient, but more and more often, the alternative seems just as bad. It’s frustrating and confusing for everyone, but as ever the idea of backing down is far from her thoughts.

Joan Gardener, the Foe to All Weeds

Superior Holiness 2 (but Joan’s holiness is harsh-edged - she can inspire people, cure infections or drive back a ghost with a word, but when it comes to encouraging growth she’s better off using good compost and the right fertiliser.) Confidence 2 Making an Effort 1 Gardening 3 Flying 0 (she can jump about as effectively as a normal child who jumps a fairly normal amount but has no particular investment in this mode of transportation).

If Sage exists, Joan should have Connection 1 to him, even if they’ve never met.

Prophet 2:

Joan is the Prophet of Pruning, the cosmic principle of carefully cutting away imperfect or unwanted things to allow space for beauty to grow. It’s most deeply tied to gardening, but it can also be found in surgery and the like. Her enemies include Sage (whose message of acceptance refuses to allow the destructive side of pruning); other foes might be an industrial interest representing Productivity - where Pruning cuts away some stems of the bush to promote more flowers to grow, Productivity uproots the whole bush so it can build a factory.

Divine Guidance: Joan can allow the cosmic weight of Pruning to guide her towards what needs to be removed. If she sustains this for a whole chapter, some broader-scale beauty is given space to flower into the world.

Materialization of Possibility: Joan can call on Pruning to solve an immediate problem - coincidence and chance conspire to cut through the Gordian knot, or doubts and confusion are removed to make a chaotic mess suddenly simple and clear. Pruning is reductive - it’s well suited to removing obstacles and bringing clarity, but less adept at creating new things.

Inspiration: When performing the work of Pruning, Joan can escape the bonds of gravity to find the best angle to work from, using the Flight of Pruning; and her actions take on divine force, cutting through obstruction and indecision and removing her audience’s doubts when she moves and speaks with the Confidence of Pruning.

Vestments: Joan has a weed-killing blowtorch of flame. Nobody’s quite sure who let a 12-year-old girl get her hands on something that dangerous, but it’s definitely hers and taking it off her seems like a bad idea. The “of flame” seems a bit redundant, but omitting it feels like abbreviating the thing’s proper name. With this mighty weapon, Joan can burn weeds and purify away all manner of malign presences.

Hallow: given a few minutes to work, Joan can prepare a place for Pruning. This enshrines the region property that “Impure and unwanted things can be cut away to give beauty space to grow.”

Illumination: It can be hard to cut away the things that hold you back; when Joan listens to people’s struggles with what it means to give themselves the space to grow, it can be Foreshadowing or Sympathetic Action.

Keeper of Gardens 1:

The World, Like Clay: Joan Gardener is a gardener and Keeper of Gardens, and thus can garden her gardens with her Gardening skill. But, like, more than normal gardeners can.

Toxic: Joan has a Bond 2: “I make everything simple and straightforward.” Her confidence is infectious.

Land-Rule: The rules allow shifting some points into Superior Land-Rule, but I feel like the things of Joan’s gardens likely respond to Confidence and Holiness well enough that it’s not necessary.

The Great Magic: By wounding a Divine Health Level, Joan can shape the way her gardens grow, allowing them to develop into ever more beautiful forms.

Guide: Talking flowerbeds and sentient water features are possible, but - unsurprisingly - Joan’s most common Guides are created as topiary.

Perks: “It’s like a home to me” - Joan’s parents have let her take over the gardening at home, and the results are elegantly beautiful. (Both Prophet and Keeper of Gardens will allow her to claim more gardens in future).

The other perk slot is flexible if you have a good idea; if not, a second Bond: “I must eradicate weeds wherever they may be found!” should lead to Fun.

XP Emotion: Believing In You XP or Fist-Pump XP?

(If you’re running a martial arts version of CMWGE where everything is inexplicably bound up in martial arts tournaments, Sage is a student of baguazhang, true to his Airbender inspiration; Joan insists that European longsword styles are entirely valid martial arts and shows up in full armour.)

[mild-lunacy]

Sherlock, Irene and the Alien Girlfriend Trope

I don't wanna write this post... and the fact is, it's still not a natural reading of canon for me, but I think I like challenging myself to go deeper and deeper into the dark and the damp. As I said in my post-S4 meta on Sherlock's sexuality, I can't actually see Sherlock/Irene in the show even when I try to and suppose I should be able to, but I have to believe the intent was straightforward in the interviews about Irene, at least insofar as the acting. I'm thinking of the recent pre-S4 mention by Ben C, where he says Sherlock has a 'private life' with her to some degree. Given that I take Mofftiss' old interviews seriously (like I said recently), I suppose you could argue it follows we're meant to consider Sherlock ambiguously (but not really *romantically*) involved with Irene ever since ASiB-- in a very limited sense, anyway.

In other words, I imagine taking that texting reference in TLD seriously only makes sense if he'd texted her every now and then (not particularly often) but ever since the beginning. That would mean he'd done it in TSoT, for example, and that's why she showed up in his Mind Palace with all those other women he was intending to interview. So what do I think about that?

Like, remember that in ASiB, HLV and even TLD Sherlock thinks romantic entanglement isn't for him, and is 'human error', at least on the personal level. Any secret fluffy romance is out. So if any involvement exists, it's... maybe mildly sexually flavored teasing and a bit of chat, essentially much like what John was doing with Eurus. Oh, irony. Anyway, I still think it's weird, and almost completely unsupported. I don't even know how to respond (once I dissociate from my more intense emotions, I mean), because usually I need something to work with besides the suggestion there's something I don't know about, essentially. I mean, I think Sherlock respects her and finds her interesting... sexy would be a huge stretch. He's more likely to be flattered by the attention. However, I have to at least consider that Eurus asks that about him not being a virgin 'cause he's not... and it's related to the texting. Somehow.

Am I supposed to think about this so skeptically? I don't know, but considering that I like plenty of het couples, I can say with some confidence that I simply need something to work with before I find a romance or even attraction truly plausible for a character like Sherlock, and that's not asking for too much. This is *Sherlock*. You can't just hand-wave it or leave the audience to fill in the blanks when his very inscrutability and unsuitability for relationships has been a major refrain up to and including TLD. Anyway, note that I'm not suddenly accepting Ben C's statements as 'canon' -- I'm just taking them seriously and following the logical consequences to see where it leads. And seriously, it's hard to credit. If I force myself, I can imagine Sherlock's endless curiosity and bravado leading him to experiment once with Irene after he rescued her, and then texting. But with literally nothing to go on... and my conviction he's much more sentimental about other people than that, given he'd been a virgin *before* Irene, I can't do it. The main reason is my conviction we should be able to *tell*, because he would have changed his attitude or behavior somehow. After all, Sherlock's disconnection and its connection to romantic entanglement is a long-running theme, though we usually associate it with Johnlock, as most recently listed in @balancingprobability's post. You can't really resolve all that without consequences with Irene, either. So, I have to assume that he'd never consummated the relationship if it exists.

Besides that issue, I can't put a woman-- or The Woman-- into the box essentially reserved for Jim Kirk's 'alien planet only' girlfriend in Star Trek TOS. I mean that it seems unnatural to me to do out of any context, though I have to consider that the narrative may support it or indeed that could be the intent. That is, I have to imagine Irene Adler as a person who only really matters at all in a very narrow context, there and nowhere else. A brief vacation to carnal pleasure and/or ambiguously romantic interest, until it's time to go home to the Enterprise (and Spock-- or John, in this case). With Jim, at least it fits his personality; there's a reason Spock only did that when he lost his memory. It's not something you can casually insert for Spock, and so it never happened. Sherlock is much more like Spock than Jim Kirk, obviously. I don't really know how it works in Ben C's mind. The magic of heterosexuality at work?

This does appeal to me in one way, and that's just that I was never comfortable saying Irene's *only* function is metaphoric or representative of Sherlock's feelings. That sort of meta-only approach to characterization is just not very Mofftiss. Irene is a real person, so Sherlock has to have some actual relationship to her actual self and an actual explanation for her appearance(s) in his Mind Palace, no less so than any other character would need a reason. If you ask me, ultimately that reason isn't meta but neither is it meant to communicate the shape of any actual 'relationship'. No, what we have is the suggestion of one, much like Johnlock exists, between the lines. It's just... well, in this case, it's between the lines to preserve Sherlock's status, the legend and the mystery of 'Sherlock Holmes', I think. Even with het, they didn't want to go too far afield from focusing on Sherlock and John, or 'modern Sherlock Holmes and Dr Watson', perhaps. It's all about them, and their stories. In the stories, Sherlock is either with John or alone, and so he remains-- with Irene Adler more or less a recurrent theme or memory rather than a person. A narrative ghost, like Mary.

It may seem like that's going back to the meta level, but it's a different kind of meta. It's more of a Holmesian commentary, a sort of self-indulgent homage rather than a fully fledged aspect of characterization. This is meant to be a teaser that relies on heteronormativity, not an actual relationship that makes any difference in the story. This definitely bothers me, especially in context with the continuous focus on Sherlock's capacity for romantic feelings and the importance thereof. This subject is constantly teased, presented as important, but not taken *seriously* except in ASiB and TSoT, which are also the two queerest eps. Like, by *no* stretch of the imagination is ASiB about Sherlock's relationship with Irene, and it could've been-- just like TSoT could've been about John and Mary, and wasn't. The women seemingly exist just muddle the waters, but that's particularly true of the way Mofftiss wrote Irene. They both work as conduits for the male characters' emotional development. They're still just... not pivotal to Sherlock or John's emotional growth, even though in TSoT and TLD John *says* as much about Mary. It just doesn't ring *true*. With Sherlock, there's absolutely no attempt made to make the arc about anyone other than John (and in fact, Ben C even mentioned this in the same interview he mentioned his 'private life' with Irene). So John is the center of Sherlock's universe, undoubtedly... but then there's texting vacations, sort of like sex vacations without the sex.

Anyway, it certainly casts their conversation at the greenhouse in TAB in a different light, given Sherlock *was* hiding some juicy tidbits and/or hetero impulses from John and from himself... maybe because Redbeard and/or Eurus's trauma, 'cause he heard Redbeard/a dog bark? Except who in the world hides heterosexuality, trauma aside. I just... I don't think it's *beyond* Mofftiss, but it really stretches credulity to think Gatiss wrote Sherlock as a closeted straight man. That's just... a bit much. I mean, I assume Ben C doesn't think of it like that, but Gatiss would be aware of the subtext, and he almost certainly doesn't think of it in those terms. So... I'd say we can dismiss any reductive or straightforward reading of Sherlock's sexuality, regardless.

It's obviously intentionally ambiguous, there's no way around that. The text isn't clear by any means, regardless if Ben C's headcanons, which you can see 'cause Moffat's said Sherlock's not interested in women, point blank. Honestly, that is what makes the most sense-- he may be haunted by Irene, and I suppose he visits her room in his Mind Palace sometimes (really?), but he's *obsessed* with John to the point where various villains feel the need to remark on it and/or show their home videos on the subject. Sherlock's emotional intimacy is overwhelmingly with John... and to be fair, that's not unusual in depictions of heterosexual manly men in genre media. Jim and (to some extent) Spock are certainly like that. It's just... Jim Kirk respected women, and they knew where they stood with him. There was no need for secrecy, and he was always sincere. This is... not that.

This is more like a heterosexual male fantasy projected awkwardly and incompletely onto Sherlock Holmes, who hadn't even developed enough conscious awareness of himself in his romantic/sexual aspect to do anything with it, for most of the show. The man was completely oblivious of most things to do with feeling until at least TSoT, so any long-distance texting would have been very, very bare bones until the time of TST/TLD, when John left him for good, and I guess he reached out to anyone who'd let him (he'd even tried therapy, after all). However, my suspension of disbelief can only stretch so far; so... still gay or null, essentially, as I said. It definitely doesn't extend to straight!Sherlock. Sorry, Ben.

[modwyr]

I also do think that showing Obi-Wan having a family would be a good way of showing Obi-Wan as MORE of a multifaceted and flawed character than any of the movies or TV shows do so far, in a way that wouldn't butcher his character. Especially if detail and explanation was given, which something like Rebels could, since it's more long-form than a movie.

(cont.) I really expect Obi-Wan’s introduction into Rebels to build up towards explaining Rey’s parentage (although obviously not so much that people who only watch the movies and not the rest of the canon material wouldn’t understand). My personal fan speculation (which, of course, is all it is!) is that Rey is a Kenobi-Bridger.

(cont.)I also think Finn is related to the Skywalkers, although that’s even more speculative than the Rey parentage theories, so I think that leaves room for Rey to be related to somebody else. I also think claiming that her entire arc is based around her family is reductive, and could lead to a “propped up by a man” issue. I think her relation to a character who is important but not necessarily HUGELY significant would give her the chance to continue a legacy but also be important independently.

im pretty sure these are all from the same anon as before so im jsut going to continue.

like i just said trying to neatly bring in rebels/tcw into the main films for the casual audience would take way too much time and would be way too awkward for an action film and it would leave 0 time for any actual plot or development for any character outside of rey(sort of) and obi wan(who has been dead for like 30~ years) and trying to understand rey kenobi-bridger is giving me a headache and im familiar with all of these shows.

and idk about finn skywalker because surely a skywalker child being stolen at infancy would have been important enough to mention in the films and that the only real connection is the lightsaber, whereas with rey the lightsaber is only the tip of the iceberg. 

and claiming that reys arc is about family, in star wars, a film series about family, is pretty accurate imo. when we first meet her she is waiting on jakku for her family, when she leaves she is desperate to return in case she misses her family, everything maz says to her is about finding her ‘belonging’, so for most of the film a lot of what drives rey is her search for her family. it is only when finn is hurt that she picks up lukes lightsaber and seems to accept the belonging maz was talking about. 

[rhetoricandlogic]

Noumenon - Marina J. Lostetter

Sometimes, a book or song or movie will come along at just the right time and strike a resounding chord. Noumenon hit that sweet spot for me. On my blog, I’ve been thinking about generation ships. Suddenly, the stars aligned, and Harper Voyager gave me the opportunity to review Noumenon. It was SF love at first read. Seriously, halfway through chapter one, I knew this book would be at least an eight out of ten for me unless things went terribly, terribly wrong. Marina J. Lostetter, however, kept her bearings and delivered on the promises made in chapter one. Fans of The Long Way to a Small, Angry Planet should check out this debut. In Noumenon, a united Earth creates seven generation ship convoys for scientific missions. This book follows the final convoy, which is tasked to investigate a variable star a long, long way from Earth. Ms. Lostetter tells the tale of that journey in an impressive debut novel. Harper Voyager provided me an ARC in exchange for an honest review, and I came out the big winner in this deal. TL;DR: Entertaining mosaic novel filled with memorable characters will have you eagerly awaiting a sequel. Highly recommended. Comparisons to The Long Way to a Small, Angry Planet (LWSAP) are apt but also a bit reductive. Plot-wise, this book is relatively straight forward. A convoy of ships is built to travel to an object to investigate and learn. The plot is the journey, but it’s not the point. Exploring Big Questions about humanity confined to buildings flying through the void for centuries is the point. And if we are ever to actually attempt a generation ship project, these are questions that need to be asked. Covering subjective millennia on Earth and subjective centuries on the ship, the linear plot and mosaic structure reinforce the time span. As readers, we dip into significant moments along the way. Unlike LWSAP, the characters in Noumenon are not constant. Sort of. Since the ships’ journey lasts much longer than a single human lifetime, the characters that start the journey will not see the end. A significant amount of passengers’ entire lifespan take place between earth and the star. Therefore, if the reader wants to see the end of the journey, the author has to make a choice to have character lifetimes extended by some means or have different characters at the end of the novel from those at the beginning. Ms. Lostetter chose to use clones that stick with the name of their original but add a version number. There are excellent in-world explanations for this, and I loved that the author thought through these details. To care this much about world-building, the author shows her love for this story but runs a risk of world-building-itis. If you’re an SFF fan, I’m sure you’ve run across the author who is so much in love with his/her own world that everything else falls to the wayside. This is not the case with Noumenon. World-building serves the story, not vice versa. While the characters are not the same chapter to chapter, they are at once familiar enough to maintain continuity of the plot but distinct enough to be their own individual. They are genetic clones but not cloned personalities. The setting for most of the novel is interior of the ships. I didn’t get a clear view of the ships interior. Setting wasn’t a strong point for this story, but it doesn’t suffer for it. There are multiple ships in each convoy, but I couldn’t tell you the difference between them outside of their function. One of the distinct parts of the ship that I remember is that each passenger cabin has a window thanks to tubes and mirrors. This little bit of world building was a speed bump because it seems unnecessarily complicated for the ship’s engineers and builders, but also due to their mode of travel, it serves no purpose. They travel through inky blackness, no stars even. This led me to pay attention of the practicality of the ships, and they don’t seem entirely practical. Why multiple ships? It isn’t a redundancy because each ship serves a purpose. One is a storage ship; one is a medical ship; one is the biome ship; and one is where most of the living is done. I like the idea of multiple ships as a way to maintain the sanity of the crew because it gives them someplace to go. But the impracticality of unattached shuttles between the ships was a hitch. None of my concerns affect the story; nor do they stop me from enjoying it. In a time where grimdark fantasy is popular and somehow considered realistic, this novel goes against the flow in that it is inherently optimistic. We don’t get much about Earth during the time of launch, but it’s utopian. Multiple societies come together to create an amazing project dedicated to advancing scientific knowledge. As others have said, utopian doesn’t mean without conflict. Humans are still human, and drama, conflict, and misunderstanding are part of the whole deal. There’s plenty of that here to make a compelling read. For a novel with only one character that makes it from start to finish, the strength of Noumenon is the characters. Each part of the mosaic has to introduce, get the reader to connect to, and tell a story with new characters. Not an easy task, but add to the fact that each chapter has to add to and support the larger overall narrative. Noumenon does this. I cared about these characters, and I wanted to see them succeed on their mission. Their journey – in world – is one of advancing knowledge, but in our world, their journey is a thought experiment of a closed civilization evolving over the years. Both the best and the worst of humanity is present, which makes for great stories. I loved this book. Highly recommended.