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duhragonball · 4 years

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Hellsing Liveblog Ch. 68-69 (nice)

This is the “Castlevania” arc. It’s only two parts, but I want to slow down and take my time with this one.

Okay, so in the last chapter, Alucard was fighting Alexander Anderson, who used one of the nails from the True Cross to pierce his own heart, which transformed Anderson into some sort of miraculous creature made of thorny tendrils. Then he struck a heavy blow on Alucard’s head, and just sort of kept on going down his neck and chest.

And as far as we call tell, this is the most danger Alucard’s been in since the story began. Anderson lopped off his head in their first encounter, and even that didn’t stop him. Now, in this “holy monster” form, Anderson can grow back body parts just as easily as Alucard, and he seems to be able to hurt Alucard a lot more than ever before. The irony is that Alucard might have been honored to lose to Anderson, but only when he was a human foe. Now that Anderson has used the Nail of Helena to become something inhuman, Alucard feels that it diminishes their fight.

Regardless, Alucard is in serious danger, or so it seems. Even his horde of familiars are bursting into flames all around him, which I assume is a side-effect of Anderson’s attack. As this happens, Alucard appears to lose consciousness, and flashes back to his childhood.

This whole flashback seemed like a nonsequitur to me when I watched the Hellsing Ultimate OVA, but I think it makes a bit more sense this time around. As a boy in the 1440′s, Vlad Tepes was something of a religious fantatic, much like Father Anderson in 1999. He pledged to never ask God for anything, which I don’t think is theologically sound, but let’s run with it. The point here seems to be that Vlad felt it was more pious to endure hardship while keeping his faith in God.

For example, in this scene, we see Vlad being dragged away to be raped, and he grabs the cross he wears around his neck for solace. He doesn’t beg God for mercy or deliverance, but simply clings to his faith to see him through.

I’m assuming the man in shadow is Sultan Murad II of the Ottoman Empire. In 1442, Murad summoned Vlad’s father to Gallipoli, and he went there with Vlad and his brother Ruda. The Sultane then imprisoned all three of them, and eventually released Vlad’s father, but kep the boys as hostages to ensure the fahter’s loyalty. There was a period when Vlad’s father sided against the Ottomans, and he presumed his sons had been killed, but in fact they survived and eventually returned to Wallachia. So maybe Kouta Hirano is taking some creative license here, and suggesting that Murad II took out his anger on Vlad in other ways.

Eventually, Vlad became the Voivoide of Wallachia, and in this flashback we find that he considers fighting to be a form of prayer. Not for mercy, because Vlad refuses to ask for that. Instead, he seems to believe that if you just keep fighting hard enough, God will descend from the heavens. None of this made sense to me the first time around, but once you start interpreting this in the context of Vlad as a religious extremist, it starts to add up. Anderson’s fellows in the Iscariot Organization were literally blowing themselves up to help Anderson defeat Alucard, and they were happy to do it, because they saw it as a holy mission. Anderson himself was eager to use the Nail to make himself into a monster, because he craved to be a single-minded instrument of God’s will. A righteous bludgeon to smite the wicked. Vlad Tepes’ “bloodlust” seems to have been inspired by a similar zealotry, at least as Hirano sees it.

But in the end, did God descend to respond to Vlad’s “prayers”? The image of the modern Alucard is all the answer we need. Of course that didn’t happen.

I’m just cribbing from the Vlad the Impaler page on Wikipedia, but from what I gather about Vlad’s final years, he was fighting for the office of Voivoide of Wallachia against Basarab Laiotă , who had support from the Ottoman Empire. Vlad fought and lost, probably dying in battle in December 1476/Janury 1477. The story goes that his corpse was cut into pieces, and his head sent to Ottoman Sultan Mehmed II.

So Kouta Hirano depicts Vlad’s final moments with him being captured and executed. This is certainly plausible, and it gives Vlad a chance to reflect on his failure before he meets his fate. He fought and killed so many people, daring to resist the Ottomans even as he ruled a state that was basically controlled by the Ottomans, and I guess he must have known how impossible that would be, which is why he counted on God to deliver him, so long as he fought hard enough.

But in that final moment, just as the axe comes down on his neck, he still has his cross... but instead of taking solace in that, he reaches out instead for the puddle of blood in front of him. The axe comes down and shatters the cross, just as Vlad Tepes forsakes his humanity.

So maybe all of this is a way of Alucard accepting defeat. Defeated and humbled, no longer a servant of God or a leader of men, no longer even a man, he renounced his faith and became the vampire Dracula, and eventually Alucard. But now Anderson seems to have the upper hand, so maybe, after 523 years, Vlad Tepes is back where he started, facing an inevitable death.

And you know, maybe Anderson’s monster form represents the divine intervention he was waiting for back in the 15th Century. After all these centuries of battle, you might say that God finally did descend from heaven to respond to Alucard. So maybe this is a fitting swan song for the guy. He wanted to die at the hands of a human adversary, but maybe this works too, right?

But then he hears someone calling out to him, and...

Hey, it’s Seras!

So yeah, we’re back to the real world, and Anderson’s well on his way to chopping Alucard in half and burning him with holy fire or something...

And Alucard’s still out of it...

And then Seras jumps in to save his ass! Cool!

The only problem is that this was killing Alucard, and Seras is less powerful than Alucard, so she’s probably not going to be able to do a lot of good here. For that matter, this might just get both of them killed.

And this is why I think this moment is cool. When Team Four Star did their Abridged parody of Hellsing, they sort of skipped this whole “Seras jumps in” part of the fight. Instead, they did a whole thing where Alucard has a near-death experience and talks to God. Then he rejects God’s offer of forgiveness and goes on to defeat Anderson by himself. I don’t care much for that, because Seras is my favorite character, and I find the whole routine of “Well maybe I don’t need your forgiveness, God!” kind of stale and limp. Can something be stale and limp at the same time?

Like, I think I get that a lot of atheists are sore at the whole “organized religion” thing, but it seems kind of silly to write a whole bit where the premise is that God is real, but only so we can all tell him to get lost. Like, I’m a Christian, so I can’t really relate, but if I thought God didn’t exist, I wouldn’t spend all day writing angry text messages to God to remind him of how fake he is.

But mostly, I just really like Seras, and this is a cool Seras scene, and I think that deserves attention, so here we are.

The Alucard-Seras relationship is complex by design. With Integra and Alucard, there’s not much to it. She literally addresses him as “slave” at one point, and he repeatedly talks about himself like a weapon that she has to point at her target. There’s something kind of like that with Al and Seras. In one of their first missions together, he sends her to take out a bunch of ghouls just so he won’t be bothered, and it’s almost like he’s weilding her as a weapon. But he also never leans on that too hard. For one thing, there’s not a whole lot of thngs Seras can do for him that he can’t do more easily himself.

It feels a lot more like a Master/Apprentice relationship, which may not strictly be a vampire thing, because he’s teaching her how to hunt vampires and how to be a vampire at the same time. I think Seras has the same sort of devotion to her master as he does for Integra, but that’s mostly overshadowed by a more down-to-earth respect and admiration. She sees him like a superior officer and a mentor, but she also knows that he has this strange charm over her that she can’t explain or resist.

One of the things I can’t stand about he Gonzoverse Hellsing Anime is how after a while they just started having Seras say “Master...!” over and over. I get it, there’s some power in the way she says it. It means a lot of things to her. I wouldn’t be shocked to find out that “Castlevania part 2″ inspired some of that, but I don’t know what chapter of the manga was published when the anime wrapped up. But it annoyed me that they just used “Master...!” over and over again as a shorthand for Seras’s feelings. You have to do something with it. Demonstrate it, like we’re seeing here with Seras trying to remove a blessed bayonet from Alucard’s torso. She has to help him, even if it means risking her own neck, because he means so much to her, and she wouldn’t be here without him. And yeah, she’s his vampire servant, so this seems like something a loyal servant should be doing. Stickin’ together is what good waffles do.

Let me pause here to note that this marks the destruction of whatever remained of Dandyman and Rip van Winkle, the only “name” characters featured in Alucard’s menagerie of absorbed souls. Whatever Anderson is doing to Alucard, it’s destroying them, irrevocably.

So it occurred to me one day, what if Seras has to save Alucard, not out of slavish devotion or plucky heroism, or even righteous loyalty? Way back in Chapter 1, Integra explained vampires to the local authorities, and said that when you kill a vampire, you also destroy all the ghouls and servant vampires that were created by that first vampire. In other words, if Alucard were to be destroyed, Seras ought to die with him. So maybe her efforts here could be nothing more than self-preservation. I’m not wild about that idea. Maybe, after drinking Pip’s blood, Seras “graduated” from that lowly status, and she no longer depends upon Alucard in this way.

But I think the point remains either way. They’re in this together. Alucard called the two of them a family, and it wasn’t just creepy vampire talk. There’s a bond between them, and it matters to both of them. And that’s why Seras’ intervention here is what brings Alucard back from the brink. By rushing in to help him, Seras has placed herself in danger, and now they have to rescue each other.

I like this part where he puts his hand on hers as they pull out the bayonet together. It’s like the moment when Seras reached out to Alucard in Cheddar and he took her hand then. Well, that was only in the OVA, but still.

Alucard tells Anderson that he might have welcomed a death like this, maybe back when he was about to get beheaded in 1476, but now, he refuses to be defeated. 523 years ago, he was at his lowest ebb. He had nothing. Today, he has Seras.

And... yeah, he has Integra too. I don’t want to dismiss the importance of that relationship. But Integra could find a way to get by without him if she needed to. He has a responsibility to Seras, though, and Seras’s loyalty trumps whatever death-fantasies he might have on his mind.

Then Al turns into this form, which I guess is the same outfit he was wearing back in 1989, when Integra found him in the basement. Not sure if that’s supposed to mean anything, though.

Oh, and I guess there’s still a few familiars that didn’t burn up from before? This is the last time we see them though, so maybe this final attack finishes them off.

As Alucard strikes the final blow on Anderson, Integra flashes back to her father, who taught her about the vampires’ inner psyche. Arthur Hellsing suggested that vampires don’t have a whole lot to show for their immortality. They crave conflict, not for its own sake, but becuse they long for death. Not just any ol’ death, but a kind of death that they could take some solace in. We’ve already seen this in Alucard, as he seems to relish the idea of being killed by a human like Anderson, or van Helsing. If all he wanted was death, he could have let that Ottoman headsman finish the job 523 years ago. Instead, he lost everything, and he’s spent centuries with nothing to take comfort in. And that probably explains why Alucard is so happy with his service to Integra. At least she gives him a purpose, a duty, a cause to fight for.

And finally, Alucard rips out Anderson’s heart, with the Holy Nail still in it.

And he crushes it, which I guess it enough to neutralize the Nail’s effect? Well, cool enough then.

But Al takes no pleasure in this victory. He sees in Anderson a reflection of himself, back when he was a human. The fanaticism, the failure, the rejection of humanity to become a monster, and then failure again.

And then Anderson, or whats’ left of him, consoles Alucard before he dies.

#2021hellsingliveblog #hellsing #alucard #seras victoria #alexander anderson #sir integra hellsing #arthur hellsing #walter c dornez #murad ii

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rachelbethhines · 3 years

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Robin Hood and His Merry Band

list of characters for an original series I’m working on

Alan-a-Dale - the gloomy and cynical bard, the grumpy voice of reason who doesn’t give a fuck, wonders why he hangs out with these crazies, knows it’s cause they’re family to him but won’t admit it out loud, besties with Friar Tuck even though they never agree on anything, is clearly a bi disaster

The Archdeacon of Canterbury - The aging head cleric of the church of England. He supports King Richard but is becoming increasingly impotent because of his failing health. Still holds a lot of political power because of his title though.

The Azure Assassin - A deadly mercenary and rival to Robin Hood. Orphaned at a young age Azure had to steal to survive. She stowed away on a pirate ship at the age of ten and has spent the pass eight years studying fighting techniques the world over. They call her the Azure Assassin because her blue eyes are the last thing you’ll see before dying. She’s gained a modest fortune and fame as a spy and assassin, however she can never stay in one play too long due to her reputation getting out. Prince John has offered her a pardon and a place in high society if she brings in Robin Hood’s head. Shame she’s fallen in love with his brother Will Scarlet, as that complicates matters.

The Bishop of Hereford - Conservative asshole who supports Prince John’s rule and shares his beliefs on ‘bringing order to the kingdom’. Wants to usurp the Archdeacon as the head of the church. Is Friar Tuck’s and Sister Clara’s arch nemesis.

Dame Brianna DuBois - Also known as the The Black Knight, DuBois is loyal to the throne of England and whoever sits upon it. She’s Prince John’s personal bodyguard and unbeknownst to all a double agent for King Richard who is in hiding. However she is conflicted when her duty places her lover Yua in jeopardy. Yes, she’s totally a butch lesbian.

The Duke of Essex - Prince John’s adviser and right hand man. He only cares for power for power’s sake but is sneaky and conniving and willing to play the long game to get it. He prefers poison to swords, but is surprisingly good at hand to hand combat when cornered. Has a pet snake. It’s the only living thing that he loves.

Elenore of England - Prince John and King Richard’s sister and Maid Marian’s mother. She died when negotiations during a worker dispute turned violent. Unable to quell the people’s rage, she was stuck down during a riot. Richard, blaming himself for losing his temper and causing things to escalate has since tried to follow in her footsteps and become peacemaker. Prince John went the opposite route and blamed the ungrateful peasants (criminals in his mind) and resented Richard for even bothering to negotiating in the first place.

Friar Tuck - The jovial and optimistic heart of the team. He tries to keep everyone’s spirits up and believes that helping people is the ultimate expression of god’s love. Is a hopeless romantic and also very, very gay. He butts heads with more traditional leaders of the church often. He also has a not so secret crush on his best friend Alan.

Guy of Gisbourne - From pauper to nobleman, Guy is Robin’s opposite in everyway. He crawled up from the bottom rung by using and stepping on others and he’s always looking for the opportunity to climb the ranks. Don’t let his foppish ways fool you though, he is both a cunning and ruthless foe and isn’t afraid to get his hands dirty. His latest scheme however is to marry Maid Maiden and become next in line for the throne as Prince John has no other heirs save his ward.

King Richard - Good Richard the Lionhearted is no longer a bloodthirsty crusader in this alternate universe but a peacemaker. He wishes to end wars, not start them, however his more abrasive, uncouth, and impulsive nature can often clash with his loftier goals. Many feel the king would do better to stay at home and tend to domestic matters instead of concerning himself with the conflicts of other far off lands. At the start of the story he has disappeared on one of his diplomatic visits. In reality Prince John has stuck a deal with the king’s enemies and he is currently on the run.

Lady Tiffany - Little John’s little wife and the daughter of the Sherriff of Nottingham. She acts as the gang’s ‘man on the inside’ helping Robin Hood sneak in and out of places and feeding the team needed information. She’s stubborn and spoiled but also very kind hearted. She usually can get her father to give into her demands with just a pout and when that doesn’t work a full on tantum will do. She a woman who knows what she wants and what she wants is her man. Unfortunately daddy dreariest would never approve of their union and so Friar Tuck marries them in secret.

Little John - Robin’s best friend and right hand man. He’s a simple man who loves life’s simple pleasures, good food, good friends, and a good brawl from time to time. He adores his partner, Tiffany and would like nothing more than to marry her for real, in a real church, in front of the whole world. However their relationship must remained hidden from her father, the Sheriff, since the violent lawman would sooner see him hanged then have a thief for a son-in-law.

Lord Locksley - Robin’s and Will’s father. He is arrested for ‘not paying taxes’ but in reality it’s for supporting King Richard and secretly helping the displaced monarch. His arrest leads to Robin and Will becoming outlaws and the series kicks off two years later.

Maid Marian - Prince John’s ward and niece. Her mother died when she was young and her beloved uncle adopted her. Prince John is the only parent she’s ever known and she at first believes him to be a kind and just man. She’s completely oblivious of Prince’s John’s underhanded dealings and oppression of the poor and at first is skeptical of Robin Hood. However as the two grow closer, Marian learns how harsh the real world is and just how much her father figure has lied to her.

Miss Yua - Maid Marian’s lady-in-waiting and best friend. She’s the daughter of Sir Ivanhoe and longs to be a knight as well. She’s a stickler for rules and doesn’t trust Robin Hood and his gang of thieves. At first anyways, over time she too learns of Prince John’s cruelty and even becomes a victim of the tyrant’s schemes. Which puts her in direct conflict with her love, Brianna DuBois.

Much the Miller's Son - born as Midge the miller’s daughter, the young Much longs to be accepted as a boy. As such he’s ditched his dresses, cut his hair, and ran away to Sherwood Forrest in order to be free from society’s expectations. The rest of the merry band accepts Much for who he really is, but at only 13 won’t let him join their gang. He still winds up caught up in their misadventures anyways due to his refusal to listen to anybody, and his determination to get away from his overbearing mother.

Nurse Agnes - Maid Marian’s wet nurse and the closest thing to a mother that she has. Agnes believes in the ‘old ways’ and is very superstitious. She’s also very critical of royalty in general, but is smart enough not to say so out loud. She’s tried to raise Marian into a better person than Prince John, but eventually was dismissed once Marian had come of age. Since leaving the court Agnes has become the witch of the woods and a healer for the poor.

Prince John - The main antagonist. Prince John believes that he needs to bring order to the kingdom of England and feels like his brother King Richard has neglected his duties as ruler and placed the kingdom in danger. He'll do whatever it takes to protect the country including subjecting it’s undesirables.

Robin Hood - Leader of the Merry Band and archer extraordinaire, Robin Hood had to go on the lam when his father was arrest for ‘treason’. While his first priority was to keep his baby brother, Will, safe, the two of them met other outcasts in need over the years have built up an underwound network of rebels who fight against Prince John’s rule. Seemingly suave and cool at first, Robin is actually a bundle of nerves as he tries desperately to keep his friends and family safe...even if it’s mostly from themselves. His world is turned upside down though when he meets the lovely Maid Marian.

Sheriff of Nottingham - The spiteful and cruel sheriff tries to keep the small town of Nottingham under his thumb. He hates Robin Hood and his Merry Band with a passion and sees their continued exitance as a personal insult. The only thing that will deter him from his goal of putting those outlaws in their place is his devotion to his beloved daughters Tiffany. Who distracts him with her seemingly impulsive and shallow whims.

Sir Ivanhoe - A respected knight who once served under King Richard has returned home only to find that his king has not made the journey back as planned. He suspects that Prince John is up to no good, but is afraid to make any risky moves so long as his daughter Yua lives among the court. Her safety is the most important thing in the world to him.

Sister Clara - The resident nerd of Sherwood Forrest and the brains of the team. Clara had joined a convent in order to receive an education and to study science, however her experiments were frowned upon by more traditional leaders of the church, like the Bishop of Hereford. She’s since renounced her monastic vows and has joined Robin Hood’s Merry Band in the pursuit of science! She’s allowed free rein on the sole condition that she doesn’t blow up the camp. She still manages to blow up the camp, at least once a month. Still her inventions are invaluable to the team and she’s absolutely feral with her chim-bombs.

The Trapper - A mysterious hermit who sometimes visits the local pub. He’ll often corner patrons with crazy drunken ramblings and loves to give Robin cryptic prophecies and disjoined ‘clues’ whenever they run into each other. (turns out this is an act and he’s really a spy for King Richard)

Will Scarlett - Robin’s younger brother. Will was 15 when they lost their father and now at 17 wants revenge. He’s a hothead and is constantly picking fights with everyone and anyone. While he is dismissive of Robin’s overprotectiveness, he both loves and admires his brother. Even tries to emulate him in some ways. He also would like to think of himself as a smooth talking clever con artist and ladies man but more often then not his temper gets the better of him. Like most teens he’s obsessed with the latest fashion tends and loves to wear fancy clothes (that he’s usually stolen) He’s favorite article of clothing is his impractical red feathered hat. He’s in love with Azure and is best friends with Much.

#robin hood #robin hood and his merry band

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mk-wizard · 3 years

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Optimus Prime is always the hero...?

Hello, fans. If you recall, a while ago, I brought up that in the IDW comics, Megatron tried to stay on the straight and narrow, and actually succeeded at it. So much so that even burying the hatchet with Optimus was on the table. In short, we have seen in the comics and in War for Cybertron that Megatron has what it takes to be a good guy because he is complex and not black or white.

In the midst of that, I got asked by a random person a while ago in a passing comment that I feel I still need to answer because it was just that interesting and worth giving thought. I warn you that this question may seem controversial and the type of thing that you would only expect to happen in wish fulfilment fanfiction, alternate universe or the Shattered Glass series, but trust me when I say it does merit thought because Transformers has become a very vast universe over the years and the characters have become very complicated. If it is possible for Megatron to go good, then is it possible for Optimus Prime to go bad?

I admit that if you asked me this question five years ago, I would have flatly told you “no�� and kept it at that, but after writing an adaptation of Jekyll and Hyde my way that delves into the complexities of morality and how it affects our actions for better or for worse, it got me seriously thinking how it could possibly play out. After giving it some thought, I have come to the conclusion that it is not only possible for Optimus Prime to be an antagonist in a story, but a very compelling one.

To understand this, you need to be aware that an antagonist is not necessarily a villain or malicious. In fact, some of the most iconic and possibly destructive antagonists meant well, but did terrible damage either because their vision became an obsession that blinded them or because they had unresolved issues that caught up with them. In the case of Optimus, as good as gold as he is, it would be a bit of both. In both Prime and War for Cybertron, we see a very serious flaw in him that is too great to be ignored. Optimus is both incredibly stubborn and very set in his beliefs which can has proven to be both a disadvantage and a danger to those around him. He has a lot of trouble accepting facts if they conflict with his ideals or morals of how he believes things should be. It is a flaw that Wonder Woman also struggled with except unlike her, he is not as flexible when it comes to accepting that he is wrong. Optimus is so stubborn to the point where he will burn himself with up to ten packs before finally accepting even only the possibility that maybe he should stop playing with matches. This also reveals that Optimus has an egotistical side and while it is one that is with good intent in that he wants everyone to be happy and safe, but he is not willing to admit his vision just doesn’t work and in fact, hurts people.

For example, he believes Cybertron and its solar system would be a happier and more peaceful place if all Transformers were Autobots which I think everyone can agree with me when I say that this vision is not realistic nor true. Being an Autobot will not automatically make you a safer person to be around and swearing allegiance to the Prime doesn’t mean you will actually live by your oath. Also, for a lot of bots, the Autobot lifestyle was the source of a lot of pain and hardships such as for the slaves, gladiators or poor. To them, switching to another faction was their salvation. You cannot expect to go back to being Autobots when another lifestyle was how they got out of the hole. Another thing to consider is that some Transformers are law abiding and good, but just don’t want to be Autobots because honestly, why should you stop being who you are in order to prove you’re a law abiding citizen? Imagine going to a new place, having a clean record and wanting only a quiet life, but you’re denied entry simply because you refuse to renounce the faction you were born, raised and created an identity behind. This is essentially what Optimus did to the youngling Wedge who was initially a Deceptcon and while Wedge was too young to realize it then so he did without seeing the gravity of what he was asked to do, but imagine what is going to sink into his head when he realizes what he’s done.

Then you’ve got Transformers like Junkions, Maximals, Predacons, Insecticons (more recently), Pretenders and possibly more where being the faction they are is rooted into their CNA (Cybertronian DNA). They can ONLY be what they are and even they change a symbol, everyone will still see that these bots are not Autobots and will inevitably have an impact on society. Not to mention it is pretty darn cruel for the law to command someone to wear a mask or pretend to be something when their own biology screams that they are something else. The implications and oppression behind such a notion is just harrowing. Before I digress any further, the point is that Optimus’ spark is in the right place and on paper, it sounds like the ultimate Utopia where nobody feels the urge to conquer anyone because everyone thinks, looks, acts and believes the same, but... that is not the way the real world works. In the real world, evil is not an event you can just prevent. It exists everywhere even within the Autobot faction and being different is not just a basic right of all people it is nature and evidently, the will of Primus. This makes Optimus Prime famous quote “freedom is the right of all sentient beings” all the more ironic because deep down, his own view of the free world isn’t really free at all.

This brings us to the next point which also has a huge influence on Optimus that we have to consider and how it opens up the possibility can you could play an antagonist role in general. He is very traumatized by the war and this comes up subtly in Prime and in the Rescue Bots. Optimus uses the term “Decepticon” as another word for “evil” and he isn’t the only bot who has been through the war to do this. It is a realistic type of trauma that even the noblest of heroes will exhibit and just the fact that he would not even welcome a child like Wedge into a loving home unless he converted to Autobot is telling at how extensive this trauma is. This means that Optimus has a stigma towards Decepticons that is so severe that affects his judgement and even his actions. Chances are, it has also affected the way he sees factions and Decepticons. I highly doubt he would be willing to be friends with one even if they were harmless which is something that does get explored in the IDW comics a little. It is also only a matter of time before he starts having other episodes, PTSD and other things that will set off his paranoia further. This has nothing to do with him being good or bad. Optimus is a good person, but he isn’t perfect and war changes a person.

As the evidence and character development suggests, I think Optimus can make a very good antagonist for the right story and maybe, just maybe, there should be a series where is. Keep in mind, I say antagonist not bad guy. Optimus should never be painted as a bad guy not even when he makes bad decisions. He is not Unicron who has malicious intent and he isn’t Megatron who solves everything with hostility. Optimus Prime is a guy who has been scarred emotionally and physically, and doesn’t want that to happen to others to the point where he will inevitably go too far at times. That is normal and actually, to be expected. However, unlike most TF antagonists, he would eventually listen to reason and want to make a compromise, but not without some conflict. After all, learning to adapt after the war and remake Cybertron is a battle within itself and it is only now that Optimus along with other bots have a chance to finally begin healing. That will take time and work.

Since Hasbro is doing a prequel series, it is possible that they will do an epilogue series that deals with this and I don’t think it is a bad thing to show kids that war leaves scars. Learning to stop reacting to every bit stress with hostility is a real struggle for veterans.

Anyway, all of this is just my opinion and I would like to know what yours is. Do you think Optimus Prime being an antagonist could be possible?

Thank you for reading and as always, stay safe.

#transformers fandom #transformers fanfiction #transformers optimus prime #optimus prime #fan theory #transformers #war for cybertron #megatron #good #evil #morals #trauma #after the war #antagonist #faction #cybertron

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ratplagues · 3 years

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🔥 any dishonored thing of ur choosing -deathoftheoutsider

wah okay!! i will talk a bit about the outsider and void then..i dont really wanna frame it as a Hot Take bc i have no interest in starting shit or whatever like ill interact with whatever i want to in this fandom and ignore the rest and everyone else is free to do the same but.

I do not think The Outsider is a “character” in the conventional sense, much less that it does his character or the allegory he wields any justice to be shipped with anyone in the series (at least without seriously considering the implications and framing it in a way that completes the allegory. more on this later)

the outsider and his void are an allegory for Otherness; i’m namely gonna frame it as queerness and neurodiversity, but really anything could fit as long as it’s about you feeling seen as a marginalized and othered person. he is written to represent this allegory, not to be a person with a satisfying narrative arc or dimensions. this is why some people feel that he lacks depth-- he’s not supposed to have depth compared to others in the series, he’s mostly a vehicle for what he represents, and is supposed to be easy to identify with or recognize.

he was born to a life of hardship, suffered at the hands of the rich and powerful, was ignored, cast out, etc. etc. a familiar story. poor, queer, nd, really whatever you wanna frame it as. he was a nobody outcast. in comes the envisioned, they pick him to serve as their martyr and idol without his permission. he then had his name cut away and forgotten, and was thrust onto a pedestal to spend the rest of eternity being worshipped by other outcasts who had suffered at the same hands he had. he has something greatly in common with those who worship him, including the very people who stripped his mortality from him in the first place, but because of this shared hardship (and nothing else), his own autonomous personhood was disregarded completely in favor of The Community needing someone Just Like Them to idolize. if this sounds familiar, that’s because it should!!

his humanity was taken from him, and in his place, an idol was created. his human body is frozen in stone in the center of the void-- retired. out of commission. no longer needed. he was immortalized, transcended. this is traditionally desired, although dishonored is trying to convince you that it is not actually desirable. in the age of internet content creation, you can be immortalized without even being present, without knowing about it. you become what you can do for other people, and what you cannot. people fall in love with an idea of you, the idea of you being like them, and other people come to hate you deeply without even knowing you. people came to hate the outsider more deeply than he ever had been when he was human-- he wasn’t seen when he was human. a pedestal only helps you to be seen. the outsider had the choice made for him to achieve immortality in exchange for the simple joys of being un-known.

he spends all of doto trying to convey this idea to billie through the hollows:

"There is freedom in being hated. There is license in being cast out. Some learn this lesson a little too well." "These people lay their thoughts, their petty wants, their murderous desires in front of me to witness. I cannot turn away." "We carry what was done to us through the rest of our endless days. No one asked if we wanted it." (i like this one. he speaks for the community-- this is a shared experience, one everyone can recognize. however, as a Queer Figure, he never asked for this. he never asked to be immortalized. i like the double meaning here)

not to mention, the entire extent of the outsider’s Sole ability and influence on the real world is to “choose” people and give them untold power over others. this is a fun ironic twist on what marginalized groups endure from powerful people, (dishonored is largely about power imbalances and socioeconomic hierarchies) but it’s also fun to think about in the context of the role model/fan framing-- so many worshippers give their lives to be “chosen” by him. it’s easily framed as an exaggeration of otherwise very real power imbalances and often the flagrant breaching of boundaries existing between creators and fans.

and on the subject of the VOID...ohht he void.....

the void should be a haven for queer folks. for nd folks. it’s wanted by so many to be a safe space, it should be, it’s the Other World! it’s renounced by the abbey, crusaded against, even. but it isn’t. it’s just this limitless, eons-old horizon that hungers and starves for something to fill it. if the outsider is the lament of queer idolatry, the void is the lament of queer Hunger. it is roaming, and restless. it does not belong to the outsider; the outsider cannot survive without it. it’s the desire to belong, not a place of belonging.

the void craves this idol, this outsider-- i, for one, have often experienced hunger for a truly moral and just role model, someone to make the world Right, and i know this is another shared feeling. those who worship the outsider, who drive themselves mad trying to see him or be chosen by him, are suffering from this idol hunger. you see this in a lot of queer and nd kids and young adults. i grew up just having my life and interests like, punctuated by different fixations on different people that i didn’t know at all, only fell in love with the idea of. it happens a lot.

there’s a couple more doto quotes that really highlight this for me:

"They carve my mark into the old bones bleached by the sun. They carve my mark into their skin. They learn true hunger in the Void." "All these charms, these runes and fetid offerings on shrines made for me, will be nothing more than objects worn of meaning. Bones and dead things, thrown into the dirt."

“They learn true hunger in the Void.” is something that i wanna touch on real quick. people can spend their lives obsessing over the idea of what they think the void will cure for them, will fix in their lives, only to find out that it’s just a hollow manifestation of the emptiness they’ve felt all their lives. it’s not the needs met, but the need itself. you have to make the home, it doesn’t already exist and you can’t fucking run to it. it is heartbreaking, frustrating, one of the bleakest messages i’ve ever encountered in a game, but i’ve never felt more seen. by submitting to these ideas, the idea of a perfect unhuman human and the idea of a perfect otherworldly home, you are surrendering your humanity. you’re not only being transformed by the powers gained (if they are gained), you’re essentially dissolving with hunger after never having these needs met. you see so many people in these games whittling themselves down to nothing but base need. empty apartments occupied only by shrines, sometimes containing their corpses. journals of people dedicating their lives to the worship of the outsider, always ending darkly. "I will find this empty place. Somehow the key to open the Void will fall into my hands. In time, I will learn the secret and he will call to me as he called to her."

not to mention The New Envisioned-- prolonged exposure to the void will always, without fail, turn a human into silver void stone. these creatures can no longer interact with or acknowledge the mortal world. they have surrendered themselves to hunger, and cannot be saved. this is celebrated by the cult, honored by them, even. i honestly like....i pity them, and i hate them, and i recognize that i’ve been those people, lmao. when i was at my worst as a teenager, i wasnt so much a person as i was just a shell full of hunger and heartbreak. my personality was defined by who i was a fan of. i think i definitely was Less Human then. the cult of the outsider is a universal experience!!

dishonored, at its core, is a celebration of humanity. it asks you to celebrate human emotion and weakness despite greed and bigotry. the powers are not to be wanted, they are to be ignored, refused. it is human to hunger, but it is Queer and Divergent to make hunger your life’s meaning, to need to learn the secret, find the key, be chosen and loved and cherished, to be made whole by some perfect thing. to find your humanity in something un-human. dishonored sees all that, mourns it with you, and then asks you to find humanity in each other !! love the spine of your lover, the blood draining down the docks, the pause to stretch languidly in the sun of a work day.

and finally...on the topic of outsider shipping....i dont think that, in his god form, it does him much justice to be shipped with anyone. he’s not much of a person, just a projection of his former self and a vehicle for his allegory as discussed-- im sure he could be shipped like this, but it just isn’t satisfying to me in any way. however, let’s talk a bit about his lethal and nonlethal ending. DOTO asks you to make a choice. is it better to give him an abrupt and merciful ending, after deciding that the fury he’s endured at the hands of others’ famine is too much trauma for any mortal to live with? or will you decide that it’s only fair to give him a chance to live the life he never got to, to return his humanity that was taken without his consent? if you choose to free him from the void, i think you can very very easily make the argument that he can be shipped with corvo, or anyone else that can easily be shipped w/ ppl. he’s finally free to live his life as a queer man, can explore the simple and complex joys of being human with other people, navigate the hills and valleys he never got to before. corvo’s just a nice pick bc 1) experienced human/inexperienced human is good, 2) they know each other, but they don’t. this is a good setup. 3) corvo is an older queer man and uhh you cant convince me otherwise lol! and older queer/younger queer is a self indulgence for me. also corvo is just nice. i think he would enjoy helping the outsider navigate his new humanity.

just some thoughts i have running through my head all hours of the day :) this is really long cuz its a combination of a lot of infodumps from discord lmfao

#m #doto #death of the outsider #dishonored #Anonymous #long post

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silverducks · 3 years

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Game of Thrones - Jaime Lannister

A rambling character study of Jaime Lannister from Game of Thrones.

Part 1a – Jaime’s Character Arc

This post is going to look at my thoughts on exactly how I see Jaime’s character arc in Game of Thrones, based on just the show. But it’s also to set up my future posts where I explain why I find it so darn hard to understand why he had the ending they gave him. At least beside the obvious - because the writers wanted to.

Yeah I know; I’m late to the GoT train wreck of a final series. But I have a lot of thoughts and hence why I’m here typing away.

(And this is where I start to really go all English Lit exam analysis on you, so a warning for anyone who actually might be reading this post, LOL!)

My Intro to this series of posts btw, is here.

So, spoilers be below.

Ok, so to help explain why Jaime’s ending makes no sense, I firstly need to explain what exactly his character arc is in the show, or at least how I perceive it. As mentioned in a previous post on honour vs loyalty, for Jaime I see his character arc being about two, interconnected things – redemption and identity.

In series 1 and 2, he’s not a nice character – he’s a self-righteous, proud, full of himself, snob. He’s arrogant and cocky and says pretty cruel, snide things to characters we do like. And as we see him through the PoV of characters like *Mr Honourable Eddard Stark, Jaime is pretty despicable to say the least. And that is before we even get started on the whole pushing a boy out of a window because he caught Jaime having sex with his own twin sister. Oh and just as an FYI, Jaime is also called the Kingslayer because he killed the King he was sworn to protect. So yeah, most people watching the show don’t like him at the start, and neither do most of the other show characters we do like.

And from a story telling perspective, Jaime’s character can either get worse, better or stay the same as the show goes on. And in this story, he gets better, with a few slip ups along the way, and it’s fascinating and glorious!!

Like, I can think of nothing that even comes close to the amazing way Jaime Lannister’s character develops in Game of Thrones and how we as a viewer change in our perception of him.

But that only makes his ending so much more frustrating and disappointing…

Before I start rambling away though, just as a point to note; I’m using terms like good and better person and right and wrong quite loosely here. Obviously the world, even in a fictional world, isn’t all that simple. As that would be a whole other massive thematic and philosophical thesis, and it’s not really that relevant, just take the “general” meaning of the ideas, but with the understanding I know it’s a bit more complicated. Where I think it does become more relevant, I’ll expand on the ideas in that particular context. If I sound a bit flippant at times, it’s because of the whole black vs white vs grey, and how there are “rules” in storytelling that wouldn’t necessary apply to our own, real life reality. There are things that we need to take into account when we analyse characters in stories vs actual, real people. And on a side note, this is one of my favourite things about Game of Thrones, the complexity and moral ambiguity of both its characters and its story themes. But yeah, that’s a whole thesis in its own right.)

Redemption Arc

So, redemption. In order for us to start to like this character, and see him as a good guy, he has to go through a redemption arc. Like pretty much rule number 1 of storytelling. That means we have to watch him and believe in him becoming a better person. Conversations like the whole oath vs oath issue, or his chat with his father about his nicknames in series 1 makes us take notice of a character, maybe even be more invested in a character and their shades of grey, but it’s not really redemption. And considering how far in debt he is in the good vs bad guy department, he has a lot of work to do.

And my goodness, he does it. Like, I mean, this guys’ redemption arc is astonishing! He goes through so much, rethinks and challenges everything he once thought/knew about himself and his world, faces all his past wrongs and bad character traits and becomes not even a better person, but a hero! He goes from a bad villain who kills kings and pushes kids from windows, to becoming one of the main heroes we’re rooting for by the end of the story.

(A quick disclaimer here, like I’m not saying Jaime is ever, or ever will be perfect, heck, he’s human and this is Game of Thrones and Jaime’s more messed up than most. But when you think back from where he started and where he’s been, it sure is impressive – if we ignore his actual ending that is, LOL!)

And his glorious redemption arc all pretty much starts around the time he starts his fun road trip with Brienne in series 3.

So, just to give a few of his finer redemption points (and just remember his series 1 and 2 actions and our opinion of him in contrast):

He stops Brienne from being raped and gets his hand cut off for the trouble (Ouch! But suffering, especially from doing something good, gives lots of redemption points.)

He risks his life to save Brienne from being mauled to death by a bear. Like, he’s recently lost his sword fighting hand and has no weapon, but he jumps in the bear pit anyway and puts himself between the bear and Brienne. He then helps Brienne out of the bear pit first and then only just makes it out alive himself. Oh and if that wasn’t enough, he basically tells the bad guys that he’s leaving with Brienne, or they will have to kill him. Like he says this to the guy who not so long ago chopped his hand off. (Just think on that one a minute ok.)

He keeps to his promise/oath to Catelyn Stark and continues to help her daughters by giving Brienne a priceless sword and some stunning armour so she can find and help them. (This also helps Brienne, because he knows she’s not safe in Kings Landing, and gives her a purpose, because he knows that’s what she needs.)

Firstly offers to sacrifice his own life needs and goals and those vows he’s now starting to hold more dear to save his brother. When said brother then screws up that opportunity, Jaime then also helps said brother escape from being killed, going against his sister and father, who want his brother dead. (Yeah, the Lannisters are an interesting family… And you wonder why Jaime is a little messed up?)

Takes RiverRun without any bloodshed. (Like pulls off the perfect bluff in GoT siege history so that he can make sure his army succeeds, but no one is killed. (I don’t count the Blackfish, who chose to fight to the death rather than escape/get taken prisoner.)

Joins the fight for the battle against the dead, even if it also means renouncing his entire house and lineage and putting himself at the mercy and judgement of pretty much all his enemies and all he has wronged. (One of which has a habit of roasting her enemies alive with Dragon fire)

Oh and also risks his life in above mentioned battle against the dead.

A pretty impressive list imho, lots of redemption points there and that’s not even including everything else he does. Following the general storytelling themes of forgiveness and redemption, Jaime basically ticks all the boxes by all the good deeds he’s now done. And that’s one of the major reasons why we as viewers now love him so much as a character.

But that’s not all, of course. As we discover also in series 3 (a pretty important series for our Jaime), it’s not even just about him doing good things, but we realise as an audience we’ve (intentionally by the show) completely misunderstood him! Yes, he did kill the King he was sworn to protect, but only because said King was mad and was about to blow up the entire capital city where hundreds of thousands of innocent people live. And not only did he do this incredible honourable thing, but because it did go against his vow as a Kings Guard, he’s ever since been derided as the Kingslayer, Oathbreaker, Man without honour. A horrible set of nicknames that he’s borne, because he doesn’t think people would care or understand anyway. (Of course, I want to add in here that it’s partly the negative trait of pride too, thinking himself as the Lannister Lion, above having to explain himself to the sheep.)

Anyway, all this has worn him down a lot over the years and it’s messed him up good and proper. It kinda makes your own initial dislike of Jaime through *Mr Honourable Eddard Stark’s eyes seem a little unfair. Especially when the guy was barely more than a kid at the time (16 or 17 I think). And his defence mechanism to deal with this is one of the reason’s he is so cocky and arrogant – he uses his dry, often cruel humour, to mask that he does actually still care. In fact, it’s worked so well, I think at the start of the show, Jaime believes it himself; that he is a horrible, hateful person. But he did have that honour inside of him once; he did care and try to do what was right. And when you think back to his scenes in series 1 and 2, they take on new meaning now. He’s no longer such an evil arrogant, cocky knight we all pretty much immediately hated.

And as this revelation happens around the same time as he starts doing all those good deeds, it all helps work together to make us re-evaluate Jaime and grow to love him and become invested in his redemption arc even more.

(*I feel the need to add a disclaimer here, I do like Ned Stark a lot as a character. But it is interesting that as the show goes on, he almost does the opposite to Jaime – we see he actually isn’t always as good as we thought, that perhaps honour tripped into bitterness and prejudice a few times. That perhaps Ned, as much as we like him, is less full white and more speckled in shades of grey after all...(which makes him a more interesting and nuanced character imho, so rather than undermine him, it makes him more human.))

And when I rethink Jaime’s scene with Robb Stark when he’s captured, where he gives Robb the choice of ending the war if Robb can beat him in single combat, well, it adds even more depth to his character. Of course, Jaime knew he would likely win, as did Robb, so Robb refused. And as a viewer who was all Stark=Good, Lannister=Evil (except Tyrion) at the time, I was glad Robb wasn’t stupid or arrogant enough, like the Kingslayer Mr Jaime Lannister, to fall for that.

But then I remember the parallel in series 6, when Jon Snow (Stark=Good) gives exactly the same choice to Ramsay Bolton (Bolton=Spawn of Satan). Ramsay can either fight Jon in single combat, or they can all send their troops to die in their war. And as a viewer now, NOW! I think Ramsay is weak and awful for not agreeing (because he knows he can’t win too) and so sending all these soldiers to an early grave. Which is like 100% opposite for pretty much the same scenario of its series 2 counterpart. Of course, we HATE Ramsay and he has no, I mean literary NO! redeeming qualities, unlike Jaime, who we never, ever hated in the same way. But it does make you think about the whole idea of perception as well as actual deeds here. And that actually Jaime, you could argue, was doing the honourable thing by asking Robb for single combat, to spare the lives of both of their armies… I mean, obviously he wants to win the war, but maybe, he also wanted to spare as many lives as he could, too – like Jon in the series 6 equivalent. Maybe not so arrogant a request from our Jaime after all…

And another point to add in here, which further adds up to Jaime’s redemption arc, is Lady Brienne of Tarth. Yes, I’ve saved her to last for a reason, as she is, imho, THE catalyst for this amazing change we see in Jaime. If you’ll notice, a lot of Jaime’s good deeds involve Brienne and start happening around the time the two characters meet. And that very fact further proves that Jaime was and can be a better person.

He does not like her at first and she’s not quite your typical maiden. Not only is she a “beast” (to quote Jaime), but she’s a fighter, full of honour, self-sacrifice and steadfast in her purpose, and more than a match for him. Oh and she’s also his captor, dragging him to Kings Landing with a rope around his hands so they can trade him for the Stark girls.

So yeah, not the most cordial of first meetings. He pokes fun at her, trying to get her to snap, to prove she’s not as good as she seems. But she doesn’t, because she is that person, she is true to herself and not pretending. Unlike so many people Jaime knows, she is genuine.

And he’s impressed by her skill and courage as a fighter as well. She is able to best him in the sword fight (granted when his hands are tied and he’s been sat in a cage for over a year, but he is like renowned for being one of the best sword fighters in the entire realm). Also when she fought the men who had murdered the women they found hung along the road – both as justice and to give the murdered woman a proper burial. She isn’t all talk, she can, and does fight. I bet Jaime wasn’t expecting that! And as sword fights are his thing, what he pretty much defines himself by and is most proud of, that’s a pretty big for tick from Jaime for Brienne right there.

Basically, she is a) an honourable person b) sticks to her oaths c) also able to fight (and therefore protect people) and d) refuses to let him get the better of her. The perfect, chivalrous embodiment of a brave, honourable Knight. A true Knight in all but name, whilst Jaime is now a Knight in nothing but name.

Now, I’ll discuss this more in the identity arc bit, but basically all this challenges Jaime, makes him rethink his own bitter images of himself and his world. She reminds him of his younger self, when he wanted to be that honourable Knight. And seeing this reflection of his younger, naïve and less world weary version of himself in Brienne, it helps to trigger this change in Jaime. It makes him remember who he once was, what he once stood for and believed in; that ideal that Jaime once believed is actually possible - of the brave, worthy Knight people sing songs about. And it started to make him want to be that person again. And this in turn, makes him want to start to do the right thing, to start to put honour first, which paves the way for his redemption arc very nicely.

I won’t talk too much more about Brienne here, because I think her relationship with and influence on Jaime deserves its own post. But I do think it is the specific personality of Brienne, together with the very fact that she is an ugly, “beast” of a woman, that triggers Jaime’s arc in just the right way and enables it to be so profound.

One last note on his redemption – I’ve said before it was partly his Lannister Lion pride that caused some of his suffering in relation to his nicknames. And indeed part of his arrogance is because he does think he’s better than everyone else (although not to the extent we first thought). He is the Lannister’s golden son after all and the Lannisters are basically the most powerful and wealthiest House in Westeros. It is a bad trait, yeah. But even this, even this! gets sorted out in series 8. From my list of redemption points, see the second to last point above – he faces judgement. Like a guy who had too much pride to admit he actually killed a King to help save hundreds of thousands of lives, actually, of his own volition, faces his enemies to be judged and to atone for what he has done wrong. Yeah, he also offers excuses at said trail, but if I’m honest, they do sound quite genuine to me. Is it any worse than what your typical soldier would do in a time of war? Fight in a battle and kill people? Try to capture the person (Ned) who’s wife captured your brother to avert a war? And we already know now he was justified in his killing of the mad King.

So, all in all, with this new insight into Jaime’s character, especially also seeing him through the increasingly positive eyes of Brienne (more on that later), who we know really is good and honourable, we have both a better understanding of his past actions, see his ongoing internal struggles and conflicts as he strives to do what is right and along with all his good deeds as the show goes on, we see him slowly (with lots of unfortunate set backs as well) become a better person. So come series 8, his redemption arc up to THAT scene, is glorious and basically complete.

And then there’s his identity arc. The other side of his character development, which is just as important for me and very much interconnected with his redemption.

(Like, seriously, there’s so much going on with this character that I could write essays, no a whole thesis I bet! I seriously can’t wait until I get to read him and Brienne’s chapters in the books and discover even more sides and shades to this character.)

But I’ve rambled on for far longer than I intended on his redemption arc, so I’ll save his identity arc for another day. (And hopefully it won’t be as long). Then we can get into the fun stuff like that hand he lost, that famous bath scene and his, how to put this, interesting relationship with his sister…

#If you were brave enough to get this far #Thanks for reading #And hope this made sense #Just my rambling thoughts #Yeah, I have a lot

#Game of Thrones #Jaime Lannister #Brienne x Jaime

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popculturebuffet · 4 years

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Wonder Woman 1984 Review “The Monkey’s Paw Wish of Superhero Movies”

Before we dig in, I just want to properly frame how much of a fucking disapointment this film was to me. It was thanks to the first film that I became the massive Wonder Woman fan I am today. Thanks to that movie and it’s accompanying sale, as Comixology likes to put sales on to tie into things as you’d expect, I tried Greg Rucka’s run on the title.. and quickly bought the second volume and will buy the third which didn’t exist yet at some point, as it’s easily one of my faviorite comics of all time, one i’ll undoubtly cover, and one that throughly sold me on the amazon princess, and throughly defined what she is to me: a compasionate warrior. Someone who WILL fight, who will take on the bad guys without hesitation, and who WILL kill if she has to.. but also someone whose compationate. Who will genuinely try to reform foes, who only kills as a last resort and not as a first option like some adaptations and the new 52 seem to think. She’s someone who in said run went out of her way to help her old friend and currently brainwashed foe Vanessa Kapetlis get cured of being the silver swan. She’s someone whose wholhe purpose for writing a book wasn’t money but simply to spread her people and her gods teachings. Someone whose , kind, noble, badass, smart and easily every bit the pure soul superman is. The run sold me on the character throughly and made me a fan to this day, one currently pouring thorugh both Rucka’s second run, and George Perez’ equally good run and one who hopes the upcoming dc relaunch means she’ll stop swapping writers every few months and get the run she deserves. I just wanted to sell how much I treasured the character now thanks to the first movie and thus how hyped beyond hype I was for this movie. It had a great cast, a great setting, cool trailers.. sure they didn’t show off the plot but it had to be good right? This couldn’t be say.. a giant, overly long mess of tangled plots, padding, terrible pacing, unfortunate implications and pedro pascal devouring the scenery in a manner galactus would be proud of right?

Well that’s what we got. After a year of hoping it’d come out some way this year, after having it delayed and after a year where MANY projects I loved were necessarily delayed due to covid... I got what I wanted. I got the movie i’d been hoping to see for months and months and months... and just like the wishes in the movie itself... it went horribly, horribly wrong. What I expected was something great as the other recent DC Movies.. what I got was a huge disapointing mess capping off a huge disapointing mess of a year. So while i’m a bit late due to contracting Covid and all the “FUN” that comes with that, I still felt like tearing into this film to figure out why I didn’t like it, what good parts it did have, and what the hell went wrong here. Spoilers and full review after the cut.

The Plot: Unlike my usual summaries I do, i’m keeping this one short and susicnt for those who haven’t seen the film: After a cold open flashback to diana’s childhood that was an omen of the boring padding to come, we get our main plot: It’s 1984 and Diana is acting in semi secret and helping out where she can. After some artifact thefts she takes a job at a museum and meets meek nerdy nerdy and office punching bag Barbra Minerva. The two strike up a kind of friendship, with Barbra wishing she could be as cool as diana especially after Diana saves her from being assaulted by a creepy random asshole.

Diana hasn’t moved on from Steve Trevor’s death in the previous film, and thus when encountering a mysterious stone wishes for him to come back. Barbra likewise wishes fto be just like diana. Meanwhile Maxwell Lord, a conman who has sold a bunch of bogus oil plots, plots to steal the stone himself and does so by seducing Barbra, and instead of wishing for more wishes, wishes to GRANT THEM instead, thus overnight making his buisness a sucess and using the inevitible monkey’s paw consequences of said wishes to benifit himself. Meanwhile Diana is reunited with Steve who for some reason has hyjacked someone elses body, and even has sex with Diana in it which is all kinds of creepy and wrong that we’ll get into soon enough. Meanwhile everyone now notices Barbara.. and she’s also gaining Diana’s powers but slowly loosing her empathy. Diana eventually finds out with Barba’s help that the stone is dangerous and it’s wishes backfire horribly, while Max continues to gain power with his as Diana chases after him, slowly loosing her own power as her consequence for the wish. You know instead of the fact her lover took someone elses body and life and they have to live with that. Eventually Max gets the power of a soverign nation and the satilte codes off the president, and plans to broadcast himslef the the world to offset his own wish consequence, his body slowly failing, by taking other people’s health. Steve urges Diana to renounce her wish and give him up to get her power back, she reluctnantly and painfully does so, and then goes after Max. Barbra however has sided with max and has him give her even more power turning her into a cat person as you’d expect. Wonder woman and the now fully cat Cheetah battle, it’s really cool looking, but Diana barely wins. We do get a decent climax with Diana not fighting max, not that she can with how powerful she’s become, but using the lasso of truth to get him to see the damage he’s done, give up and go back to his son. The world is saved Diana is moving on and also Linda Carter is there for some reason.

So now you have general idea of what happens, I can dig into the films faults, and it’s one or two strengths, one at a time, ONE AT A TIME. First off the film’s biggest issue by far and one that wouldn’t come through in the recap Padding and Pacing: THIS FILM DID NOT NEED TO BE 2 hrs 41 min

I said it once before but it bears repeating now:

THIS FILM DID NOT NEED TO BE 2 HOURS AND 41 MINUTES LONG

I am a firm belivier a film should be as long or short as it needs to be. If it’s under the standard 90 minutes, that’s cool, if it’s say three hours like avengers endgame that’s cool too. After the theater it’s easy enough to watch it in chunks, and sometimes a film just NEEDS that space and scope.

This film.. did not need that. This is not the cumilation of 10 years of storytelling, as slapdashidly planned as it was till phase 3, this is a film that feels painfully long to watch due to how padded it is. You could’ve cut those 40 mintues from this film EASILY and while you wouldn’t of had a good film, sadly, you would’ve had a way more enjoyable cheesy superhero movie. I”m tackling this one first because it just.. oozes all over the film. For every great and memorable bit in the movie and every questionable one we’ll get to, for every gloriously so bad it’s good moment... there’s about 10 minutes of scene that did not need to be there. It slows down the film to a crawl and given the original had pitch perfect pacing I do not get how Patty Jenkins screwed this up.

I do think Patty Jenkins is a good director. I did like the first movie, I do think a lions share of the credit goes to her writing and direction for that one. And a LOT of the sequences in this film are utterly goregously shot and fun to watch. I also, even if I don’t like this film, am extastic she forced the stuido to pay her more money to work on the film, as she deserves as much as any male director, it’s bullshit they tried to short change her, and again she was the reason the first film was so good. She deserved equal fucking pay for making Warner money hand over fist.

But I also say this because i’m disapointed in HER. She CAN do better, she already did the first time and the only real down spot, the spotty cgi climax, was not her fault. And hell here she did get the climax she wanted, and wrote one hell of one. I”ll go into it more later but the finale of this movie from the pitch perfect fight with cheetah, dodgy face work nonwithstanding, to the final speech to the world is just gorgeous to watch. Even in this mess of a film there are some really good really tightly shot sequences that i’ll get to.. but their broken up by padding and padding nad more padding. This film is bloated, it needed to be edited down but she clearly REFUSED TO, gunshy after the whole Ares thing last time... and thus shot herself in the foot repeadtly. I sitll have some hope for the next movie and Rogue Squadron, but Jenkins rightfully lost any blind faith I had in her this film would be good just as the directors of it chapter 2 lost it by.. making a terrible sequel to a great movie. Given this happened in the span of a year you’d THINK i’d of prepared myself for that.. but no. Sadly.. no.

But back to the point of this section: the film is just really padded. A lot of it is just scenes going on longer than they need to but there are some specific bits, some recurring others all in one go, that just really get tedious and pad things out. Let’s rattle em off shall we? The Opening: Now the opening is gorgeously shot, and it is nice to see Thymesicra again.. but the sequence is twiece as long as it needed to be, often just devolves into frantic shots of running.. and really dosen’t need to be here. I love Thymesicra, I love Hipolita, I love this damn beautiful island.. but we did not need it for this one. I THOUGHT it was there because the climax would be Max and Barbra invading the island or something.. but no. It has nothing to do with the main plot other than selling the film’s message “Nothing good comes from lies and shortcuts” which is a good message.. but the film already conveys that well. For all it’s flaws it well conveys the fact that the easy way to get what you want ALWAYS comes with a cost. That you can’t always get what you want, but if you try sometimes you just might find you get what you need. So we didn’t need 10 minutes of amazons running around just to make a point that the film already makes and it wreaks of Warner wanting to put the amazons in the film because “that’s what people expect.”

Steve Trevor Dinking Around for 20 Minutes: I will admit as dumb as it was.. I really loved the Steve Trevor 80′s fashion show. Oh it was dumb.. beyond belieif.. but it’s REALLY hard to hate a good 5 minutes of chris pine putting on stupid 80′s outfits. I do think like a lot of this film it was longer than it needed to be and it defintely needed a good catchy 80′s tune alongside it, just go full bollocks if your doing this, but otherwise it’s just hard not to joy, even if in a so bad it’s good kind of way, this kind of lunacy in a major stuido film

That goodwill died quckily as the next 15 goddamn minutes, 5 for the fashion show which while i liked it did not need to be in the film as long as it was, were just steve getting used to the new world of the 80′s. While I like the idea of Steve now in Diana’s roll as stranger in a strange land, instead of using it cleverly or having him ruminate over all his friends being dead Captain America style or .. a billion other things we could’ve used this time for if you really needed it, we instead just get Steve and Diana farting around for 20 minutes and Chris Pine making stupid faces. Chris Pine deserved better than this. He seems to be a steerling person in his personal life and I seriously doubt he’s done any movie bad enough to have earned this.. I mean he did do Star Trek: Into Darkness but NONE of those films problems were his fault. It’s just really, REALLY terrible, and even more boring in padded in places than this film but without the good bits or the haminess of pedro pascal to make it even remotely watchable. Point is i’m doing a blind look, and this is blind I just came up with tihs bit while I was writing and have not looked at chris pine’s filmography before, to see if there’s anything really bad enough to justify him being put through this buffonery.

Turns out .. yeah yeah he did. Two films in fact are just bad enough that he did in fact sign on to something bad enough to justify this. There were one or two other contenders but Princess Diaries 2 was earlier in his career, Into The Woods much like Into Darkness was not his fault and honestly if I were offered a part in a glitzy hollywood adaptation of a beloved musical i’d sign on too without heistation, and while Wrinke in Time is kind of a mess, Chris Pine is easily one of the best parts of it. No the two films that make him DESERVE the goofy terrible fish out of water stuff are this means war, a film I saw throughly savaged by Matthew “Film Brain” Buck, which is about two douchey cia agents competing over a woman without thinking that MAYBE the choice is hers, and also setting up CONSTNAT SURVILENCE over her and basically stalking her to sabatoge each others dates. And while I did mention that review, because it did give context.. even from the trailer I could tell this was sexist, bro douchey, and stupid and wanted no part of it. So yeah signing on this this, post star trek’s success where he had his pick of projects and was at the hight of his fame.. is inexcusable. The other is just... the kind of embarassing dtv film a person does before they get famous but is so horrendously premised that I still can’t give it to him. Like I get needing work, I do comissions 10 for movies now and 5 for tv show episodes and issues of comics if you were curious, so I understand that.. but even at his most desperate... why would you possibly take... this?

.. wait is that Stephen Tobowsky in the credits? Good god his career is depressing some time.. but at least unlike chris I GET him being in this as he needs money and despite his long and storied career, has to take what he can get. Wheras Chris was a promsing young star who while needing a break, CAN’T of thought this would be remotely sucessful and can’t of paid that well. But since the poster might not convey the premise.. the premise is Chris is a Blind Man looking for love set up on BLIND DATES.

It sounds like a fucking Adam Sandler film premise. I’m honestly suprised he hasn’t remade this film with himself, david spade, or rob schinder, whose apparently on good terms with him again, god help us all. And DON’T. TELL. HIM. He still hasn’t made that worst film imaginable he promised for getting Snubbed for Uncut Gems. Yes I know, Hubie Halloween came out but that was in production long before the promise and not that bad. Not great, pretty average, but not terrible. Point is do not tempt Adam Sandler to remake this film. He still owes us the worst film he can muster INTENTIONALLY, as Pixels, Rediculous Six, That’s My Boy? That was all him trying to make GOOD movie. Be afraid be VERY afraid. The other point is this premise is just really bad, REALLY offensive to blind people to make being blind into a stupid punchline, and I.. will probably watch this at some point because i’m bafflingly curious about this terrible terrible thing Chris Pine probably wanted us all to forget about, but will now never have that luxury as long as I live. The Fireworks Scene: This one is just..really dumb. Like really dumb. Every bit of this scene was dumb and we could’ve just.. had them get on a plane to egypt like normal people or steal a jet off screen. So to get to Egypt, Diana and Steve steal a jet which Steve can somehow fly despite decades of progress in how planes work at this point and him not knowing what radar is. He also gets shot ot at because Diana FORGOT, somehow, that radar exists and didn’t tell him. They also steal a jet instead of just taking an airliner or her calling in a favor since while it’s been a good few decades and Etta is sadly long dead, the candy family probably knows and loves her well enough and probably still has some military personal who could pull some strings and bring a jet over from london. It’s a stretch.. but not much more than “let’s steal a plane and hope we don’t die. “

Why this is in the padding section is because we then get a way too long bit of the two flying through a field of fireworks.. which also apparently existed LONG before steve was even born, so I donn’t quite get why he’s so shocked. And while i’ts not a bad CONCEPT for a scene the fact the two are being persued by the military for stealing a jet AND have to get to egypt so urgently they had to steal the jet in the first place lest Max do something horrible, which he ends up doing anyway... to take 10 minutes to gaze at the pretty fireworks. It’s just.. a waste of time in a movie that wasted already too much time.

Some of the barbra scenes: We’ll dive more into Barbra in a bit, and this is easily the least offesnive on this list, but a lot of the scnees of her discovering her new power could’ve been compressed. There are seperate scenes of her discovering she dosen’t need glasses anymore and picking up a ton of weight at the gym, while in 80′s workout clothes because of course she is. Both of those could’ve been one, either having her pick up something heavy like nothing casually or just having her glasses fall and break at the gym, have some cute guy help her up to help sell the wish making her feel noticed, and realize she don’t need em. It’s minor in comparison, but a good chunk of her plot badly needed to be streamlined.

And those are just the main offenders. The film’s pacing in general is just attrocious. It takes half an hour for the plot to move along most of the time.. there’ ssome good character stufff but they could’ve better weaved it into the plot and in some Barbra scenes and most of Max’s they DID. It’s just for the most part there’s a lot of repttition of stuff we already knew and figured out and it takes forever for the plot to move to the next phase until the last half hour. And by then my niece was already in the kitchen playing with her new slime having enitrely checked out, my mom was asleep and my brother just wanted this film over already and both of us were only hanging in out of obligation. This film blows most of what little potetial it has taking too damn long to get to the point. As I said it’s fine for a film to be long.. but while Endgame had laggy sections and some of it’s own problems.. it USED the huge runtime effectivey, using the first hour to both show our heroes had truly lost, then to set up the post-time skip world and just what had become of our heroes and their arcs for the movies. The second hour is mostly the time heist, a fun tour through the mcu’s history that also helps progress arcs and the final act is basically one MASSIVE glorious battle featuring every single hero who hadn’t suffered a non-snap related death in one of the best big action scnenes i’ve ever seen. It was well crafted and it’s slower moments were for character stuff and not because they felt the film needed to feel as long as the rest of the year had felt. But while it was the film’s main flaw and the main reason i’ts bad instead of mediocre..there’s one other massive flaw that utterly sinks the damn film and robs of it of a lot of it’s emotional weight The Character Assassination of Diana Prince:

Now we get to the part that really pisses me off one that was already kinda bad while watching but just got worse the more I thought about it: Diana’s Charcterization here. Despite being flawless in the first film.. here it’s just bad. It’s bad and it should feel bad. I can’t fathom how Jenkins lost touch so badly with the character, and I don’t think the Co-Writer Remotley helped. The Co-Writer for this film was Geoff Johns, a dc wunderkind whose reinvented the flash, green lantern, the justice society of america and aquaman, all brilliantly. The last one was even largely the basis for his damn fun movie. I have a lot of respect for the man... but like a lot of creators he’s not immune to screwing up and has made a LOT of mistakes, the biggest being forcing Cyborg away from the titans and into the justice league not for diversity’s sake like he probably claims.. but really because he didn’t want to use John Stewart instead of Hal Jordan, who he has an odd obession with i’ve never gotten, something the incoming writer of Green Lantern, Geoffry Throne, turns out to have complained about for years, as well as apparnetly giving out about Jordan SO MANY TIMES, that an entire artcle was made revealing this... and I’m perfectly fine with that as it should be clear I don’t like Hal Jordan all that much and while he’s been in some good runs, the other earth lanterns are FAR more intersting than him and far more unique. Thankfully the new series seems to be focusing on multiple of them and while hal seems to be getting some focus, Simon and Jessica are the main stars of modern day. So hell yeah to that. Let’s get back to the actual point.

The point being that one of his weaknesses as a writer.. is he really dosen’t get Wonder Woman. He just dosen’t. During Justice League he wrote her as a violent warrior and during Infinite Crisis, as expertly pointed out by LInkara during his review of it a few years back, he had her “not understand what being human is” .. despite this being at the SAME TIME as that Greg Rucka run I mentioned, meaning at the time of Inifnite Crisis, she had her own embassy for her people set up, had written a book, and had just spent a good chunk of that run trying to free an old friend who’d been brainwashed into a psychotic killing machine from her mechanical inhancments killing her and driving her insane. She willingly blinded herself with fucking snake venom to save the world from Medusa’s gaze and avenge a child THEN went on a long and arduous quest for the gods simiply to ressurect said child, with no intent of getting her sight back and only getting it back because Athena willingly gave hers up for being so noble. She is someone who is compatsionate, empathetic and noble. Not a kill happy warrior who loves fighting and blood. She fights because she has to, she does not hesitate and she does kill when needed.. but she is not some weird enigma to humanity. She’s throughly human despite being made of clay and not raised among regular humans. She’s a person, and Geoff just dosen’t get that. He get Superman, the flash, batman, other heroes just fine. He redefined aquaman well like I said. But for some damn reason he just dosen’t get Diana and can’t get a good grasp on her and while a good choice of co writer for practically any other dc movie and a good choice to right the ship for the dceu, he was the second possible worst choice to handle this character and likely is at least partially responsible for her character taking such a nosedive. By the way just in case you think better of him for only being second worst.. this is the worst.

Yes that actually happened.. thankfully not in the main canon and likely because Frank Miller really REALLY needs to get some help.

Point is he was a bad choice and while I still give Patty Jenkins some discredit for helping with this, I do feel Geoff easily could’ve agreed with or came up with some of the worse ideas here without really thinking them through because this simply isn’t a character he cares about what happens to her or knows that well. Things START fine: in present day we get a pretty fun action sequence in a mall with what my brother called Dollar Store Micheal Keaton.. but because Max was already perfectly cast, there wasn’t room for this screen legend. Plus he was probably busy shooting Morbius for.. whatever his role is there. I hope it’s the vulture. My point is DSMK is delightfully hammy and weird and helps kick up an already fun mall sequence.. while I was apparnetly the ONLY one who enjoyed this cheesy but awesome sequence in my family aside from my niece, she hadn’t rightfully checked out at this point, I still love it. It does bring up the slight problem of Diana being active years before... but given The Suicide Squad with it’s vast colorful cast of supervillians and the fact the freaking Justice Society are getting introdcued and given their gimmick even if WWII isn’t involed this time they had to have been active for some time before they presumibly vanished. My point is the whole Zack Snyder thing of “Metahumans are new and you should fear them” has been quitely retconned out and this will all likely be explained with the whole flashpoint thing... (Shudders).. not the retcon the DCEU needs a good coat of paint and unlike the XCU I dont think their going to waste a second chance, I just want a flash film that’s actually about barry and not another adaptation of a storyline few people liked ot start with. Point is that’s not really a huge issue and I prefer DIana being active than the implication she did nothing and her doing small bits of heroisim, like saving a woman from getting hit by a car or resucing pets and bigger ones like the mall just .. fell like Diana. It’s all downhill from there though. For starters there’s Barbra. It starts well: Diana is the only person to not only notice Barbra but treat her nice, and the two strike up a friendship.. which I honeslty wish was more as there was a lot of potetial there and both have great chemistry, not to mention showing Diana’s bisexuality on screen would be a really damn good move forward for representation, but that’s more on me and given how homophobic big companies can be, i’m unsuprised Warner wouldn’t let Patty take that route.

Point is it starts well enough.. but instead of the two actually having a deep freindship and possible relationship that is heartbreaking when it’s broken.. Diana just sort of forgets about her except when she needs her for the plot, and thus what should’ve been an emotionally breaking subplot leading to an utterly heartbreaking fight at the climax.. was just Diana being a dick, taking advantage of someone, and then getting a bit self righteous when the person you basically abandoned and didn’t notice made a wish till it was too late wants to keep the one thing that’s ever made her feel special.

It dosen’t help the comics did this whole thing better and is likely where Jenkins got the inspiration: During Rebirth Barbara Minvera was converted from a vicious ruthless bitch and a half, if still a brilliant character, to a tragic figure: one who while a bit cold and standofish, was genuinely diana’s friend, tricked into thinking she was abandoned, then became the bride of a horrifying god who punsiheed her for the “crime”.. of not being a virgin. While removing the whole cat god thing is understandable.. they removed pretty much everything that made that intresting and Rucka worked hard to make for a cliche “Nerd becomes evil” plot that’s been done a milion times nad makes dsiana look horrible. But while this is bad.. it PALES in comparisoin to the elephant in the room here.

No no elephant sweetie not wild pig. No.. it’s once Diana makes her wish on the magical wishing stone form the trickster god.. and brings steve back. See her bringing him back only for her to have to give him up to save the world.. that’s not bad. It’s a great way to bring chris pine back, ratchet up tension and ultimately give her proper closure for steve so she can move on. The problem.. is HOW steve comes back and how the movie handles that. Steve comes back.. by possesing some random guy. That itself is not a bad idea, as while it’s weird, A) I’m a weirdo and proud of it so i’mf ine with weird and B) it gives us a price to the wish like the other wishes: steve comes back.. but he has to take someone else’s life to do so. Diana has to sacrifice an innocent man she dosen’t know anything about in order to get her happy ending. That could’ve lead to some great drama, with Diana realizing how wrong this is and forcing herself to give him up with Steve’s blessing, as Steve would likewise not feel right about this. He could’ve had family or a girlfriend or something that were jeaporadzied if Diana kept Steve. The problem.. is they handled it horribly. really horribly. Diana and Steve.. almost NEVER mention the fact that he’s basically taken a life. They don’t ask if the guy is dead, they don’t ask who he was and they don’t try to find a way to get him a new body or a dying one or some other ghost can’t do it style shenanigan. And the fact i’m comparing this subplot to ghost can’t do it should tell you this is very bad. And it gets worse as the two have sex.. and whiel I dind’t think about it while watching the movie... afterwords? Yeah.. that’s.. that’s rape. The guy didn’t consent to letting them use his body. Now granted if Steve could leave the body at willand the guy was like “Sure why not” then that’d be fine.. but he has no way of consenting. Sure STEVE did.. but this ain’t his property. This isn’t his body to decide who he fucks. It’s random guy whose body he stole. Hell they didn’t even stop to consider if this guy might be gay which given Diana is bisexual makes no goddamn sense. So that’s another possible layer of wrong on this sundae of what the actual hell. I mean.. how do you bungle writing so bad your main character ends up as a rapist? That’s a special kind of incompetence in 2020 I tell you.

It just turns Diana from a kind noble woman who looks out for everyone.. into a creepy asshole who willingly sacrifices some guy she dosen’t know, something a well written Diana would NEVER do, to get what she wants. This is not diana prince. This is “out of the way sperm bank” levels of charactera assasination” and the fact steve has to talk her into letting him go just makes it worst. Diana here is selifhs, unsympathetic and terrible and it brings the whole film down despite Gal Godot’s best efforts to try and make this work. She fails.. but it’s not on her as an actress, she’s terrific, but on the writing for Diana being so bad. She just comes off as selfish and irredemible and i’ts horrifying to see. As one last note Steve is reduced to more of a cutout this time, so any possible emotinal weight not already destroyed by the rape is entirley missing. Just good god they did Diana dirty for this one. And it dosen’t help her villians.. are done much better. Speaking of..

Barbra: A Mixed Cat Out of a Mixed Bag As the title should make clear Barbra is kind of a mixed bag. On the one hand.. Kristin Wiig is fantastic. Like holy crap I had some small doubts about her being cast in the role but she nailed both the sweet put upon nerd at the start and the ruthless individual desperate to stay special at the end really well and the reason her scenes aren’t as draggy despite a lot being padding are Wiig just really sells the transformation, going from being giddy at a sudden influx of attention to feeling powerful.. to feeling dangerous and being deseprate to do whatever it takes to hold onto her power and being furious when she looses it. The problem is.. it’s all in the acting. Writing wise the story is horribly cliche. It’s why her having feelings for Diana was a suggestion that popped into my head: that’s actually intresting. A put upon nerd who envy’s a hero but ends up instead resenting them and wanting to kill them isn’t new. Amazing Spider-Man 2, which I thankfully haven’t seen but has that plot, Incredibles, and the one that the movie steals from the most.. Batman Returns. While wanting to kill the hero wasn’t part of that one, the whole “blonde whose still attractive even before the makeover has some supernatural thing happen to her and turns into an extrovert with a cat motif who is determined to take what she wants despite the cost.” While i’ts not 1 for 1, mostly becasue Catwoman actually had a romantic relationship with the hero, it’s REALLY hard to ignore just how much it seems to curb from Returns. And I haven’t even seen the movie the whole way through, just about half, really need to, not the point. Point is, it just feels like a rehash of a better done version of the plot. And the sad part is the comics GAVE Patty and Geoff two much better versions that could’ve followed the same path. Pre-Rebirth/Flashpoint, she was a ruthless woman from the getgo and simply could’ve been that, being friends with Diana.. but being too selfish and envious to truly let her in and thus relishing in her new power and showing off who she really was. The other, and better option for the narrative is the previously mentioned rebirth one: A sarcastic and hard but likeable woman who has had to scrape and claw to do what she loves, which is archelogy, despite her father being vastly against it because he’s a dick. Someone who through tragic misunderstanding becomes a tragic monster. That latter version would’ve fit in perfectly, having her like diana and just want to be her.. but a combination of her own inseucrites and the stone strip away her empathy and increase her jealousy and Diana neglecting her could’ve been a concious choice: Diana being too busy with steve and stopping max to see what was happening and thus be heartbroken to fight her true friend. Instead we just get.. catwoman but less good. Wiig tries her best and often succeeds but even she can’t really fix this. It also dosen’t help that selfishness aside.. Barbra is far more sympathetic. She’s contantly put upon and ignored by her cowowkres nad even her boss, who oftne forgets she works there, and finally meets someone who seems to care.. onlyf or that person to ignore her and go off and have adventures and really horribly implicated sex. So she wishes to be like this person, to be confident and loved and able to walk in heels and strong and gets it and slowly looses who she was to it. Hell the moment where she apparently CROSSES THE LINE by possibly killing some guy.. is entirely ruined by picking the wrong target. Instead of it being her boss or one of her co workers who mockeda nd humilated her.. i’ts the same guy who tried to assault her out for revenge. She’s beating up.. a bad person. She’s doing what Diana would do in a good way..

Sure she does take a turn for the evil, after hearing about the wishing stone destroying civilizations.. she sides with max.. but she’s still more sympathetic. Her resintment of Diana which should just be the meta commentary Jenkins intended on relationships between women where it becomes competitive due to societal bullshit, instead comes off justifed. Diana abandoned her, Diana is also being selfish with her wish, diana raped a man, Diana wants Max to stop.. but has to be TALKED into letting her wish go. While Diana is trying to save the world you can’t fault Barbra for not trusting her. For someone who preaches honesty, all Diana is to Barbra is a liar. While she does side with Max who earlier manipualted her by seducing her and stealing the stone... she KNOWS he’s not a great person, and this time instead of being the used, she’s the user. She knows he can make her even STRONGER, knows he can let her keep being who she wants to be if not BETTER, and knows he needs someone on his side.. and knows he won’t screw her over with her wish since he needs Diana off his back to become powerful enough to face her. Barbra comes off as cunning, manipulative and way more likeable than the hero, instead of the tragic villian she was inteded as. If nothing else, if she shows up in the sequel I will watch it even after this one was pretty damn bad and hopefully sh’ell be better written next time to match Wiig’s hard work. Now.. i’ve saved the best for last as while i’ve compalined a lot.. there is ONE aspect of the film that is genuinely good and while I get not everyone liked it.. Is urea s hell did

Maxwell Lord: Perdo Pascal Saves this film by eating the set whole like galactus.

Maxwell Lord.. is the best part of this movie. Easily. Unlike the other main characters, he’s written well, acted well if hammy as all hell, and is true to the comics. Part of this I freely admit is that when I heard Max was a villian here I expected none of his JLI version to survivie. I should explain.. in the comics Max is defined by two diffrent phases of how he was written; The first was in Giffen and Demattis run on justice league, which was more of an action comedy with emphasis on the comedy> There was still serious stuff and villians to face, it’s just our heroes were a bunch of likeable misfits and b-list heroes doing their best while cracking jokes and disfunctionally clashing with one another. It’s good stuff. Max was the heart of that: a selfish manipulative buisness man who grew to like the league and rebelled against the robot intellegence that got him that far, earning him a fair spot on the team. Sure he was a sleazy, shady 80′s buisness man, but he has a good heart underneath the opprotunsitic nature.

Come the run up to infinite crisis despite being a metahuman, he started irationally hating metahumans, claimed to have always hated them, and set up a vast conspriacty to kill em all. He also hyjacked superman, which lead to Wonder Woman being forced to snap his neck and being booed for it by superman despite the fact you know.. she was trying to stop him from killing batman and had no other cohice. The rest of the world got the clip out of context.. but even then she’d already killed months ago for the medusa thing I mentioned before, and despite Medusa only speeking ancient greek, the world, which tihs was broadcast too hence the danger of medusa killing trillions of viewers watching at home, they got the context that Wonder Woman was the good guy and was killing for good reason. It was just.. kind of stupid even if Rucka did his best with it is what i’m saying.

Point is there were two maxes: the sleazy and manipulative but well meaning buisness man and semi-con man and the manipulative but well intentioned master mind. So the movie.. combined both beautifully. He’s a manipulator as always, having set up a ponzi scheme and getitng called out on it by what turned out to be Simon Stagg.. who for some reason is the virtious if assholish buisness man here despite in the comcis being an utterly corrupt asshole constnatly ttrying to prevent his daughter from marrying this guy

This is Metamorpho, the element man, archelogist Rex Mason who thanks to the orb of Ra turned into this guy, an embodiment of the elments who can transmute his body into anything on the perodic table. Why HE hasn’t been in a movie yet his nemisis now has been is beyond me and there are better dc businessmen to have used.

Point is this Max is shady, ambitious and sleazy.. and badly failing his scheme falling around him. But his reason for wanting to be a rich, powerful man after growing up a poor immigrant.. is utterly symapthetic. He has a son in this adaptation and wants to make him proud. I’ts CLEARLY not his only motivation, he also just wants to be proud and the finale reveals hsi father was abusive, and his classmmates alienated him for being an immigrant. He has a chip on his shoulder due to having a rough life and just wanting his moment in the sun. It makes Max relatable: His actions are NOT okay but we get why he merges with the wishing stone: because this is his shot. And most of the people he fucks over with his wishes.. are bad people. he cons some good people sure but Stagg is an asshole and the prince he cons wants to kick foreigners out of his homeland. Max, like Barbra, while not a GOOD person still is more likeable than diana. He just.. feels like Max. He’s what Max could’ve been if he gave into the power instead of fighting against it. If he'd teamed up with the alien robot thing to take over the world instead of resiting it. So while he’s a bad guy like he’s been sadly turned into in the comics.. he feels like a CONVINCING version of Max as a bad guy. Like he genuinely turned evil of his own will and his own ambition.

It also helps he’s written compitently. Unlike Diana, whose entirely miswritten to a point NO amount of good acting and no amount of Gal Godot’s talents could save, and Barbra, whose great but only because her character had too little to be great but just enough to give Kristin Wiig room to work with Gal simply did not have. Seriously I feel terrible for Gal Godot, she’s a genuinely talented actress and a genuinely kind and great person whose a LOT like Diana herself when written properly. But Pedro Pascal? Since his character isn’t too badly written, and he has room to work.. he’s allowed to just be awesome. Since I haven’t watched the Mandolorian yet, I know, I KNOW, trust me.. I KNOWWW. But since I hadn’t this was my first proper exposure to Pedro Pascal..and his talent speaks for himself. In a weak movie, he is the shining star. He’s also hammy as shit, but it WORKS because the film is redicouls. The Wishin Rock plot line and Max merging with it.. it’s bonkers. But he has just the right mix of bonkers hammy acting that’s fun to watch, and actual character work in the ham. He’s eating the scenery hand over fist, utterly devouring it.. but it fits the character as while Max was more of a subtle ham, a guy who just radiated smug and who more got into histornics when things went tits up like the time Blue Beetle and Booster Gold took the JLU’s funds to build an island resort on an island that turned out to be sentient and didn’t like that much and yes, all of that happened and it was as funny as it sounds. Point is being a showman whose always on, always talking and always got a plan.. that’s Maxwell Fucking Lord, and Pascal’s over the top acting fits that kind of character like a glove.

It also fits the film well: the film comes off more like a 2000′s superhero film, one that takes itself super seriously.. but is really, REALLY goofy in places. It honest to god feels like one of the Sam rami spider-man films, ones I REALLY need to revisit and the results of that you’ll likely see, but without the self awarness rami had.. for the first two I mean by the third with the whole saturday night fever sequence, he’d really lost it. Love the guy though, still need to watch Army of Darkness and yes you may boo me. Point is the film is bonkers and cheesy and dosne’t realize it but Pascal does so he just.. has fun with it. His haminess when asking someone for a wish, his great ways of reversing those wishes so he benifits from the consequences, taking them off the board while furthring his own goals. Max is just.. awesome, and so is pascal. He got a life long fan in me from this performance. And of all people he took his inspriation from Nick Cage which is a perfect fit as Cage is fucking great at acting absolutely batshit while still acting his ass off. Pascal really deserves full credit for this film for more than just being lovingly over the top. He’s genuinely good.

And that shines through greatly in the climax. First off the final fight between Cheetah and Wonder Woman is awesome.. just one of the best superhero fights i’ve seen on film and i’ve seen some whoppers. Great back and forth, great coreography and brutal intensitiy the whole way through with Diana being forced to possibly kill Barbra despite not wanting to hurt her. Just a hell of one. But the real centerpice is the wish vortex. Pascal just drops all pretense and goes ultra instinct ham, just letting it all hang out as he ascneds to god hood... but how he’s beaten.. is easily the most brilliant part of the film and one of the few times Gal Godot genuinely gets to show off her talent in this one: Wonder Woman defeats the bad guy not with brute force, not that she can, or some cool fight.. though we did get the cool fight too so that’s nice.. she simply uses her head and her heart. She uses her head by taking advantage of the fact max is broadcasting to the world, as villians tend to, and giving his bogus offers to whoevers listneting. So Diana counters this.. by simply speakking from the heart, enrouging those watching not to give in and to renounce the wish.. so the consequences can be renounced too. Even if it’s hard, even if it costs you.. what your doing will cost others so much more. And she finsihses this by using the Lasso of Truth on max, making him tear down his delusions about himself and see that his actions, which have caused world war III by the way as he maniupated the president.. who for some reason was not Regan. While Regan was a bastard.. that’s exactly the reason I wanted hi mthere as this film would’ve been better had one of the parts of the climax been Diana fighting a 50 foot tall rouge ronald regan. Admit it you’d see that in theaters if it was safe to go.

POint is max sees he’s only HURTING his son, that this is for HIM not for his boy.. and that if he dosen’t let this power go, if he dosen’t just accept a peaceful life and let the world spin the way it’s supposed to and not emplode jus tso he can be a god... his son will be gone. So he gives it up and goes back to his boy in a touching moment. Though for some reason his son somehow got from Max’s office to the middle of a fucking highway. How is he not dead? I dunno we’re almost done here. Point is max is easily the highlight of the film and the reason it’s not ALL horrible along with Barbra. Final Thoughts: Wonder Woman 1984.. is a disapointment. What I thought would be an easy film of the year contender.. instead ended up being an ungodly mess with unfortunate implications, a messy slapped together plot and WAYYYYY too much filler. As I said it had it’ sbright spots especially max and barbra.. but hte ultimate product is WAYYYY less than Patty Jenkins is capable of and since a third film is apparently inevitible, I can only hope next time she learns from this and does better. Also get Pedro Pascal his own Justice League international series as Max’s grandson or something YESTERDAY. Seriously even people who didn’t like this film would love it and it’s not like he can’t do this between seasons of Mando. He did We Can Be Heroes for god’s sake.. which was somehow a better film than this one. I guess 2020 had to disapoint me one last time huh? Well we’re in a new year now... and hopefully the Suicide Squad won’t also be a huge diapointment. If you enjoyed this lnog rant on a movie from a week or two ago, follow me for more. I’m currently doing retrospectives on the life and times of scrooge mcduck, scott pilgrim, grant morrisons new x-men, and i’m soon going to finish up a Darkwing Duck one focusing on Just us Justice ducks. And once they come back this year I plan on reguarlly covering Ducktales, Loud House, Owl House, Amphibia, and Final Space. So keep an eye out for that and until then, Goodbye Goodbye Goodbye.

#wonder woman #wonder woman 1984 #pedro pascal #gal godot #kristin wiig #chris pine #diana prince #cheetah #barbra minerva #maxwell lord #justice league international #dc comics #dc extended universe #hbo max #patty jenkins #steve trevor

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sistersblack · 4 years

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tomjr replied to your post

“i’m in a ‘i am going to cause problems on purpose’ mood and it is...”

Do you have a post on why you like Lucius? As someone who, admittedly, isn't a massive fan, I'd love to read why! :)

okay.. i have to admit my reasons for loving lucius aren’t really as serious as my reasons for loving snape. his character hasn’t had any profound impact on me, i mostly just think he’s fun & has a lot of unexplored potential.

as a preface, i’m team ‘fictional preferences aren’t a reliable indicator of real-world morals.’ also this is probably going to be a bit of a mess. it got much longer than intended and turned into a more meta than anything else but anyway--

i’ve always been partial to villains (my fave hp character has been snape since i picked up the first book, and back then it was because he was such a bastard) so lucius being a bad guy doesn’t bother me. a lot of the criticisms of his character are variations of “but he’s a death eater!!!” which just makes me go …and? it’s like saying you can’t like bellatrix because she’s a voldy-fanatic or that you can’t like voldemort because he’s.. voldemort. i know people actually do say those things but to me it doesn’t make sense. a character being a de or in the order has no bearing on whether i like them or not.

i’m not going to argue against lucius being a bad guy, but i do think he’s kind of terrible at it, at least compared to his cohort. i don’t think he’s sadistic like other death eaters or as fanatic, either (which i think comes to light in his dh arc). to me, he’s the ‘order people around, then stand back and watch as they do your bidding’ kind of villain. i’d even argue that this line

“Lucius, my slippery friend,’ he whispered, halting before him. ‘I am told that you have not renounced the old ways, though to the world you present a respectable face. You are still ready to take the lead in a spot of Muggle-torture, I believe?” (GOF, ch. 33)

is a reference to it. he doesn’t delight or participate, he leads. i do think he’s killed and tortured (he probably got some kicks out of it, too) but i’ve always interpreted him as a character whose usefulness comes from his connections (and if we want to talk headcanons, i think he’s got a good strategic eye). we know the second war differs greatly from the first; from what little information we get about the first war, it seems that death eaters were making a much more controlled and effective effort that resulted in actual changes to wizarding society. (to digress a little, i think that’s what a lot of death eaters actually signed up for, not the killing/torture and harry potter business, otherwise voldemort’s numbers in the first war don’t really make sense.) but in that context, lucius is a valuable player to have because he’s got the connections, diplomacy, and resources to infiltrate places like the ministry and encourage the right parties to support voldemort’s plans. it might not exactly make him likable, but it’s something i like to think about.

the above quote touches on some other things that make me interested in him. while definitely a blood-supremacist, i’d argue that lucius’ loyalty to his family/to himself far outweighs his loyalty to voldemort. i’ll talk about the malfoys in a bit, but on the topic of choosing to become a death eater, i think he was swayed by what voldemort was selling—a society of only purebloods, where he’s promised glory. joining voldemort is perfectly aligned with his own goals, but when that’s no longer the case, he’s got no issue dropping voldy and claiming he was coerced; he doesn’t scream his loyalty like bella and willingly ruin his life (and his family’s life) to serve his lordship. as to why that makes me like him, i kind of just always like the self-preserving prick character. it’s a big part of why i love narcissa, too. (and why i think they’re perfectly matched, but more on that here).

also, what i mean when i say he’s fun is like… okay so lucius is the kind of person where if i met him irl, i’d spend every second in his presence thinking about how much i want to punch him in the face. he’s that rich, snooty asshole who knows he’s above the consequences us mere mortals have to worry about, but it makes him fun to write. he can do whatever he wants because he knows he can get away with it and i always have a good time when i write him in fic (even when I’m torturing him).

the other thing is that i think lucius’ character is a bit like snape’s in the sense that it’s been warped by fanon (jason’s portrayal is part of it too, though i do love it). my biggest pet peeve about the discussion around lucius is how most of it revolves around draco, and how the people who want to defend/woobify/redeem draco immediately jump to ‘lucius was an abusive father.’ i always sort of want to ask why they think that, but i know it’s not really worth the effort.

(there’s the argument that raising a child with extremist views, even with good intentions, constitutes abuse on its own. but imo that’s a different conversation & not really relevant bc people don’t tend to use that as an example of lucius being a bad father, they jump right to him being verbally/physically/emotionally abusive.)

anyway, my point is

“My father’s next door buying my books and mother’s up the street looking at wands. […] I think I’ll bully father into getting me one and I’ll smuggle it in somehow. […] Father says it’s a crime if I’m not picked to play for my house, and I must say, I agree.” PS, ch. 5.

that book!lucius

“My Lord,” said a voice, desperate and cracked. He turned: there was Lucius Malfoy sitting in the darkest corner, ragged and still bearing the marks of the punishment he had received after the boy’s last escape. One of his eyes remained closed and puffy. “My Lord … please … my son …” DH, ch. 32.

doesn’t really

“Wouldn’t it be … forgive me … more prudent to call off this battle, enter the castle and seek him y – yourself?”

“Do not pretend, Lucius. You wish the battle to cease so that you can discover what has happened to your son.” DH, ch. 32.

support the fanon

“[…] Lucius and Narcissa Malfoy running through the crowd, not even attempting to fight, screaming for their son.” DH, ch. 36.

there’s a bunch of other little moments that give us an insight into the malfoy family dynamic (like the fact that lucius actually listens to draco’s rambling; eg. “… everyone thinks he’s so smart, wonderful potter with his scar and his broomstick —” / “you have told me this at least a dozen times already.” – or his reaction to buckbeak; “father’s not very happy about my injury- […] he’s complained to the school governors. and to the ministry of magic.” - or the fact that draco constantly defends him). i don’t think it’s enough to suggest that the malfoys were a happy-go-lucky family, but everything put together paints a picture, and it’s not one of a cold, abusive household. i won’t bother pulling apart the ~lucius abused narcissa~ fanon, because i do that a bit on my narcissa post and it essentially boils down the same thing.

basically i think lucius is unfairly lumped into the category of death eaters who are incapable of anything ‘good.’ like, yes, he’s terrible, but that doesn’t mean he doesn’t or can’t love his family. to say so directly contradicts a lot of his canon material (looking @ you, cursed child). but anyway, my interpretation of the malfoy family dynamic is a large part of why i love lucius as a whole (bad guy who loves one (1) thing is a good trope and that is a hill i will die on) and i think the way his loyalty to the cause™ battles with his loyalty to narcissa and draco creates some interesting scenarios to consider. overall i think there’s a lot of unexplored potential with him.

i’m ending it here bc i can feel my attention span starting to slip, but tl;dr

also one last obligatory reason: he’s sexy (and i’m saying this as a lesbian)

#tomjr #lucius #meta #mine #lucius malfoy #a thousand words later...#i've missed stuff but i'm tired now so

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itsybitsylemonsqueezy · 4 years

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Hey, it’s me again! ^_^ I hope I don’t bother you too much with my requests, but your posts are so cool I just can’t help it. Upon completing Yakuza 4 I’ve had a lot of thoughts and feels about Daigo and how his character was handled across the series. To be honest, at first I didn’t like him much, because he seemed pretty bland (and his screen time leaves much to be desired), but soon enough he’s really grown on me. What is your opinion on him if you don’t mind me asking?

I definitely do not mind requests! Meta is my bread and butter c: I’ve just been busy for a few days, sorry ^^; And... my opinions on Daigo are not going to be as mindblowing or exciting as my opinions on Kiryu, I’ll be real ^^; And there’s a big advantage in Kiryu being the protag, All of the content is about him ^^; I do love Daigo, I think he’s a super interesting character, but his tragedy is just what you pointed out, he’s underutilized. And he isn’t set up very well to have the position he holds.

But, so saying, let’s get into my essay on Daigo ^^;

So, we meet Daigo properly in game 2. There’s little side stories with baby Daigo in Zero which helps build Daigo’s and Kiryu’s relationship and set up for what would later happen, but we don’t really know him until game 2. And game 2 is a LOT about Daigo and his arc and what he’s meant to be! There’s a tumblr text post meme somewhere with a pic of Daigo depressed in his little puffy white coat that says “And I’ll probably become the next chairman of the Tojo Clan. Things like that just happens to guys like me.” and that is totally accurate! Like, it’s a funny thing to complain about, but that’s obviously the struggle Daigo’s having, understanding from a young age that it was obviously his destiny to succeed Sohei, the only problem is uh... well... Kiryu.

I don’t know if you’ve noticed, but Dojima Sohei never became chairman of the Tojo Clan. And that’s really wild thinking back to Zero and how powerful he was, he was all but a shoo in for chairman. But then, uh... Kiryu. Kiryu happened. Kiryu, and Majima I should say, are the reason Sera becomes chairman, not Sohei. Forever upsetting the wheels of fate. Given where we see Sohei next, I can’t imagine that he ever really recovered from that upset ^^; And I’m SURE it made him bitter towards Kiryu the rest of his life. And considering, again, where we see him next, I think the canon supports this ^^;

So what becomes of Daigo’s destiny then? His father had victory snatched away, destiny denied, and everything he had slowly crumbles over time, leaving his son with less and less to inherit, but still with the ideology that he should take this over. That’s an awkward position to be in.

And then Sera dies. Ooh, golly, I wonder who the next chairman’s gonna- it’s Kiryu. Of course it’s fucking Kiryu, how could it not be? It OBVIOUSLY should be Kiryu. He’s the strongest, the bravest, and who inspires the most loyalty. It doesn’t matter that Kiryu’s never been in leadership before, he TURNS people. Kiryu could get anyone on his side through sheer force of personality, which is hilarious to say about a guy with maybe 3 facial expressions. But tell me I’m wrong. I cannot count the number of part-time antagonists who turned on a dime because Kiryu beat their ass. And anyone who can do that can rule the world. Kiryu was absolutely the best pick for chairman and I will fight the world on this.

(Abbreviated for length, this is a LONG post)

But... then Kiryu makes the stupidest decision of his entire fucking life and renounces the chairmanship. And he has his reasons, feeling unworthy, traumatized from the events of Kiwami 1, unsure if he even wants to stay in the yakuza or if there’s maybe something else he wants to do with his life... he’s going through a lot of intense self-reflection and self-doubt and, I hate to harp on it, but fucking trauma. His brother blew himself up in front of him in a bid for redemption after all but telling Kiryu that all of his mistakes are Kiryu’s fault. Yeah, no, I’m sure Kiryu’s doing FINE with that. So, like, I can see why Kiryu said no, but it was still... fucking nuts. And it irrevocably changed the trajectory of everyone in this universe. Which Kiwami 2 goes out of its way to explore. Kiryu’s leaving? Majima fucking retires, Terada’s suspect, there aren’t any old, loyal hands left to lead the families, and we see how vulnerable the Tojo clan is on every side because Kiryu just up and fucked off.

(I have A LOT of feelings about Kiryu being chairman and someday I will have the strength to write the AU we all deserve where Kiryu stays as chairman)

So... the wheel of fate turns and oh yeah remember Daigo? Dojima Sohei’s son Daigo? The kid who’s been raised his whole life to take over the clan only to be denied at every turn? How’s he doing? Not great! It turns out, not great! Kiryu, his father figure, killed his ACTUAL father, but didn’t really, took the blame for some other weird guy, leaving Daigo with one badass mother and very little direction in life. Daigo’s been brought up thinking he’ll take over a great kingdom but all that’s left now is a broken wreck about to be demolished and picked apart by scavengers. Great, yeah, just what any kid wants to inherit. And he wasn’t trained to fix this, it’s kinda shitty to saddle him with destiny and then not train him for the thing that actually has to be done and then do it anyway. It’s real shitty actually. And not many people help Daigo.

Daigo couldn’t have taken the chairmanship directly from Sera, he was still just a teenager then. But it probably would have been nice if Kiryu checked in with him even fucking once since getting out of jail. But no, we never explain on screen to Daigo what happened as far as I can remember. Which, I feel, is a pretty fucking big oversight. How the fuck is Daigo supposed to trust you Kiryu? Or we’re supposed to believe he just figured it out off screen and holds no grudges? Like, I’m sure knowing Kiryu didn’t kill Sohei helps, but he couldn’t fucking tell you that himself? He couldn’t trust you with that information or that conversation? Fuck this. Very understandably, Daigo has his own crisis of faith about the yakuza, very much in parallel to Kiryu’s. Why the fuck SHOULD he go to bat for a crumbling organization that has only proven itself to be a dog chasing its own tail, willing to devour itself at the slightest provocation? It took his father, both his fathers, and he didn’t really get either of them back. Why the fuck should he try to fix that?

And to its credit, Kiwami 2 does a decent job of articulating Daigo’s motivations there. I could have done with even more, but I think they do him credit in showing him as disenfranchised and lost. And I think it’s refreshing to see someone have to confront the consequences of what’s happened since Kiryu left. Because the games don’t do a good job of showing that this is Kiryu’s direct fault. They never like to make Kiryu’s decisions have consequence, which is poor use of a protag. Rightly or wrongly, their decisions ALWAYS have consequence, or they’re not the protag. You can’t have it both ways. If this person is going to matter then, guess what, their consequences matter. Kiryu turned away. Rightly or wrongly, he did that. Daigo will never get that opportunity. Child of destiny. Not only was he bred and raised for this, he doesn’t know how to do anything else either. He doesn’t have other options the way Kiryu does. And we’re in a terrible vacuum of power. Terada’s namely in charge, but no one’s loyal to him. Even if he wasn’t deliberately fostering this, the Tojo Clan can’t survive without faith in their leader. Daigo, by fact of being his fathers’ son, can bind what’s left. And he has to because Kiryu won’t. Which is... really shitty. So either Daigo does this, or we all hang. And we never quite articulate that this is on Kiryu’s say so. Kiryu could still take over now and fix it he just... won’t.

And on top of this already comfortably stressful situation... we set Daigo up to come into a stable situation of power, where his transition would be smooth. We didn’t give him the tools to know how to salvage. He’s not practiced negotiating with hostile entities or even just people who will resent him because he’s young. And he’s lost a lot of faith, without even charisma and willpower on his side, this is a massively uphill battle. If he doesn’t believe, who else will believe him? Daigo knows this. And we watch that struggle go on, all while Kiryu just cheerleads. He hasn’t decided yet if he’s gonna stay in the yakuza either and he’s lowkey depressed after Kiwami 1. Lowkey he’s just suffering depression and can’t do as much as he normally would. Not an excuse, but I think an important way to read how tired and reluctant he is. Some therapy would really fucking help.

Anyway, we manage to get through Kiwami 2 and install Daigo as chairman, at which point Kiryu fucks off for good. Now, he kinda/sorta leaves some supports for Daigo, in Majima specifically, but also in Kashiwagi and I wanna believe in Daigo’s mom too. She was so cool and then we just... never talked about her again ^^; Laaaame *sigh* So, I guess, Kiryu did try to fulfill his remaining responsibilities as Daigo’s living father, but mostly it was just an excuse for him to leave and not feel guilty. Mostly it was him foisting off his duties onto someone else. He didn’t stay to teach Daigo everything he knew about the people Daigo would have to control. He didn’t teach Daigo and Majima how to talk to each other, a thing which REPEATEDLY comes back to bite us in the ass. He’s not there for Daigo to ask advice and help. Kiryu is full of confidence for Daigo, he’s not TRYING to make him fail, but Kiryu’s so caught up in his own need to leave, he neglects to people who need him.

And Daigo, to his everlasting credit, does his best to get by without Kiryu’s help. As much as possible, he never calls to ask Kiryu for help. And he does grow into a quite competent chairman! He does successfully rehabilitate the Tojo Clan, he makes them profitable again, he insists on respect and people don’t run amok under him. He does it, he salvages a dying organization. And he may not even really believe in it, but he has such a sense of responsibility, he does it anyway. He knows there’s no one else. He knows if he goes to Kiryu and says I don’t want this, Kiryu won’t help him. Kiryu didn’t mean for it to happen this way, he didn’t mean to be selfish and put others in a bad position. But he wasn’t there to listen. And I think Kiryu eventually comes to rue that.

The very unfortunate thing about Kiryu is... he is a dragon. Even though he is kind and generous and not greedy in a conventional sense, he is greedy. As much as Kiryu is a powerhouse because come hell or high water, he does what he thinks is right... this also makes him extremely selfish. He can be blind to other people’s needs and refused to be tied down. Again, for the best of reasons, because he’s trying to raise a family, because this environment is triggering for him, but he just hauls off and does things instead of talking to anyone which... makes him impossible to have a working relationship with. He has to learn to talk and to listen and that he can’t make all of the decisions by himself. The great irony being, Kiryu never wants to, but he doesn’t know how to ask for help. He’s so used to have everything put on him, he doesn’t realize it doesn’t have to be that way... but anyway, I’m getting caught up ^^; The point is, he thinks because he ditched the Tojo Clan they no longer care about him. Which is... naive at best. Of course people still care about you dumbass. Which makes Kiryu a massive vulnerability to the Tojo. In 3 and 4, Daigo makes stupid calls trying to protect Kiryu and trying to protect his interests. And because Kiryu hasn’t left open an avenue for them to talk, Daigo has to make these decisions on his own with bad information and he does his fucking best. But... he doesn’t know how to make the best of what he has, not like Kiryu would, and he fucks up sometimes.

I really, really love game 4 for that reason. Daigo’s fuck up is SO understandable, SO reasonable. It sounded like a good idea, it sounded like peace and harmony. And he was left without a leg to stand on before he knew it. In many ways, it wasn’t his fault. Kiryu himself says as much. And I may never forgive the end of 4 for letting Kiryu REALIZE he defaulted on his responsibilities but then, instead of changing his behavior in any way, he fucks off back to Okinawa. God... *siiiigh* ANYWAY.

And this struggle, this lack of communication, but unstated loyalty, comes full circle in game 5. When Daigo is literally drowning, literally knows he’s going to fail this time and there’s nothing he can do, and even when he’s with Kiryu, he can’t bring himself to ask for help. He knows Kiryu won’t or can’t. Instead he asks for absolution. He tries to tell his dad he’s just been doing his best and... he’s sorry for the terrible things that are about to happen. How gutting that Daigo can only see himself as a failure because... he’s not Kiryu. No one’s Kiryu. Even Kiryu refuses to be Kiryu. But Daigo knows if he was just Kiryu, things would be better. He’s not a legend. He’s not a god. He’s not all-powerful or crazy or impossible. He’s just a guy, doing his best because he had to. Because there was no one else. And some days Daigo does great, but a lot of days, he doesn’t measure up. And that eats at Daigo like mold. Kiryu would NEVER look at Daigo this way. Heck, most people at that point would never compare them. It’s in Daigo’s head, but it still hurts. He’s still, even now, looking up to Kiryu and he’ll just... never quite get there.

This is the only good thing I will ever say about game 6, and it was still 2 or 3 games too late, but Kiryu finally acknowledging Daigo as his son was good. Kiryu saying he was proud and saying he was grateful was good. Again, several games late, but... it still mattered. It still mattered that, in the end, Kiryu recognized his legacy in Daigo. That he understood so much of what Daigo did and does and is and was is for him. That mattered.

Daigo is a great chairman who takes care of his clan. But he was robbed of his relationship with his father. The games never work on the relationships that exist, strong relationships, for reasons I will never understand. Games 3, 4, and 5 would have been SO much more interesting if we had just like Kiryu talk to his fucking friends. Two would have been SO much easier if Kiryu had just been fucking chairman like he was fucking supposed to be and the transition of power to Daigo came later and smoother, with Kiryu helping to make it. Daigo tries his hardest every day and he’s an incredible negotiator and savior after all the shit he’s had to pull the Tojo Clan through, kicking and screaming and fighting to tear itself apart every damn day. The generation above him is all legends, Majima and Saejima and Kiryu. Daigo isn’t one of them. But he’s better because he was here and because he tries and because he succeeds. We need Daigo. We deserve him.

#Dojima Daigo #Yakuza #I don't even know spoilers for... all of the games #Games 2 and 4 especially?#The beginning of 5 #and the end of 6 #I mean... a little #you wouldn't know what happens in 6 if you read this #floweysky

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bentenharuki · 3 years

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When I read HQ, I decided to research a little on volleyball but of course, my knowledge is just a tad bit better than a novice. There are players who are short, the shortest is only 5' and a half? Can you explain why there would be no Hinata or Hoshiumi in real life?

Hi!

I will try to answer everything, hopefully in a comprehensible way.

There are many questions you've asked beside this one so I will try to put it all together, if you don't mind (you remember your asks anyway...so it should work).

For the part where you quote one of my posts where I tell the Horrible Greedy Mangaka (the author whose name I despise) said like he renounced at developing Lord Kags more, it's from one of his final interviews explaining the future careers (?) of all the players he put in the National Team. He said basically regarding the player who should have been the most talented since the start "he's already great, so what else was there to add"? - which is IDIOTIC because no matter how great of a talent/player you are you NEED to best yourself every day. The more talent you have, the higher is the climb you are destined to have (instead Furudate basically let him stay the same or almost the same as he was at 15 years old: IDIOTIC, as I said.

Furudate has no real perception of the greatness in sport so that was just a way to say "I can't understand a thing about superiorly skilled players, so I cannot say anything more about the character I was meant to refer at as a great talent, and therefore let's leave him in the dust and create a protagonist with zero realism and make people (who cannot understand the sport nor appreciate it fully) identify with him. It will bring me way more money than be truthful, and it's gonna work way better than try to understand the real dynamic of a sport."

This is something that I will never EVER forgive him for. He vilified real volleyball and created fake suggestive ideas about it in people who basically have never ever seen a real match and worse, who have never ever PLAYED it for real at decent level. All of this smells so fake to me, it makes me angry STILL to this day if I rethink about it.

About the height of players, (hoshiumi, Hinata, both under 1.80 by far) sorry, but in no real team of male volley players at ANY good or great level you find people short the way midgets Furudate loves to boast are. This because in modern volley power is the most important quality. It's not even debatable. Shorties are deficient in elevation, weight, strength, power. They will simply get blocked in series, no matter how fast or jumpy they can be. Just take a look at any CEV game, and judge for yourself. In the past 15 years, the heights of team roasters have constantly grown. It's a basic rule which is followed because IT WORKS INFINITELY BETTER AND MORE than any other asset.

Just take a look at the beast roasters in National Teams or in the best volley Leagues in the world (I am Italian, I watch the best players play every year here) and midgets are nowhere to be seen. The more volley develops, the more height and power do count and amount.

Furudate tried to tell a fairy tale: but sport is not a fairy tale: sport is a real path of real, quite heroic and symbolic life.

To play is one thing, if you are short. To play at the greatest levels is another thing. Furudate has so little knowledge of real volley he dared to claim a beach volley training can best your skills. FALSE to the highest. Beach volley is a funny thing, it's an athletic circus, but there are NO connections with the depth and the complexity of indoor volleyball there. Strategy, which is a vital part of indoor volleyball, and which exists because you have MANY players and possible way to make them interact, disappear fatally in outside volley. And this makes the two games like night and day.

Schemes in beach volley are dire at best, and although it is a funny and entertaining thing to play and watch, the ball, the court/ball/net dimensions, the rules are DIFFERENT and there is NO way a real top volley player would ever switch between there and the beach, or viceversa. They are two different sports with little in common, and maybe some help in training there can be found for female players (slower and less athletic than their male counterparts and by definition less powerful and strong), but in male volleyball the skills you can hone by training in beach are virtually ZERO. Especially when you are a top player. You can relax and have fun with beach volley, but it's like having a drink in the heat when you wanna relax. It's nothing like the real thing you wanna do, it's just a break you get some fun in.

Furudate then put everybody and their sisters in the National team, at the end of his AWFUL "final arc" (as i call it, the Fairy Tale Midgets Arc). PATHETIC. It was also blatantly absurd to have as many players as he had become pro. Even in smallest leagues the percentage of players who transition from high school playing to pro are like 1,02%.

In HQ there would be like 20% or something, even around 25% if you count smallest and foreign leagues. It's all part of the fairy tale I despise.

If you want to create a para-sport manga then create a fake sport: one like Blue Lock or Prince of Stride: or you start by putting alienating elements like superpowers (like in Kuroko No Basket, which is clear is only inspired by basket, then it goes for the superpower route but OPENLY), and you stop trying to fake realism in your opera.

They are all valid choices: all, ban the one The Greedy Mangaka did: pursue the money of delusional, not educated readers honing them into believing what they are following and reading avidly is somehow REAL and near to reality of the sport the manga had to depiction and describe.

I call this lying to the incapacitated and I will forever despise ALL of the way HQ became after Inarizaki arc (the best arc of the series, the one that gave me hopes before everything turned out impossibly wrong).

I won't even mention the hate I felt when one of my top characters became even a Country Traitor just to keep having 1264322 setters around.

In NO Country more than Japan to have one of the best characters become a foreigner would have felt wrong and fake.

Japan has a strong, very strong Country Pride and to ditch it to play a sport instead than fight INSIDE your Country to become a valid choice is like calling yourself weak, scared and hypocrite.

And Furudate The As*s dared to make Oikawa (my Oikawa!!!!! The Prideful, talented Oikawa) THIS kind of loser, ditching his roots because he didn't feel he could have reached National Team in Japan??????

PATHETIC.

Fake, Offensive, Pathetic.

No real Japanese would have ever ditched his Nationality to play. Not a single one (because in Japan to become a foreign citizen you RENOUNCE to your first Nationality and this is more or like a capital sin in Japanese mentality. And Oikawa became THAT kind of traitor. Unbelievable. Such a beautiful, deep character trashed to become a belittling loser so into his own world and frustration he couldn't manage to fight for his own place in his own home country. All this is so profoundly anti- sport I can't even detail it. It's just a void of real sport spirit and again it makes me angry any time I think of it.)

Ok... I think I wrote a lot (sorry... I didn't expect this to be this long but it's above than me. If I start to think about this all, I still as bitter and angry and disappointed as ever...).

I hope some of your questions were answered and I hope in a readable way... I am sure I filled this with typos and mistakes but I always write in a rush and it's not easy when this is my third language ... sigh!

Have a nice time and hopefully I made myself clear and cleared your doubts on this all.

Hugs, K.

#my asks #haikyuu!!#questions #furudate haruichi #the lord #the annoying midget #volleyball #oikawa #kageyama #personal vent

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blue-eyed-korra · 4 years

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Is Dylan really Kieran? A Theory Dissection:

So I’ve taken the time to process everything that’s happened in the amazing season finale of Purple Hyacinth because I didn’t want to rush into posting about it and I really wanted to let my thoughts about it simmer for a bit. I also decided to reread the entire season over the course of a couple days to get the best idea of how it worked as a whole. Once again if you haven’t read this yet please do yourself a favour and check it out it’s really phenomenal.

I’ll probably make a few posts about PH over the next couple weeks as we wait for season 2. However I won’t post an analysis of the finale mainly because Lanxyuu already did an amazing job of that already. Check it out if you’ve got the time, it’s 10000 words of pure analytical gold. Writing about any of that would be redundant. That being said the first thing I’m gonna talk about is the whole ‘Is Kieran actually Dylan’ theory that’s the new hot thing in the fandom, mainly because I’ve received a lot of requests to discuss it and also because I feel like I can add my own points to the debate.

So let’s just get it out of the way: do I think Kieran is Dylan? As of right now the answer is no. I just don’t think we have enough evidence to prove it, and what’s there is more circumstantial. That doesn’t mean I don’t enjoy theorizing about it. I’ve found that discussing and sharing theories and ideas is one of my favourite ways to interact with a fandom. So I’m gonna put all of the evidence that I’ve observed in the entire first season both in favour of and against this theory and show why I think we can’t say that Kieran is Dylan. I’m not telling you to not believe it. Believe what you want! Like I said it’s fun to do this. I’ve just been specifically asked my opinion and I want to be able to justify it through what I’ve seen in the comic itself.

For more of my posts about Purple Hyacinth check out my ‘ph posts’ tag!

So with all of that out of the way, let’s get started!

Evidence in favour of Kieran being Dylan:

One of the things I think most of us can agree on is that Dylan probably isn’t really dead. In general if I’m not shown a body, I don’t believe they’re dead. I’ve seen far too many movies and TV shows and have read far too many novels to be fooled by that. As of right now, in my head, Dylan is alive, or at least wasn’t killed in the bombing. So obviously if he isn’t dead then that frees him up to show up in the plot at some point or maybe he was there all along...?

This kind of ties into my next point: what happened to him then? His hat was found at the scene, so he must have lost it at some point before the explosion. This is all speculative, but he could have been snatched up by Tim and the driver in Lauren’s parents car. We heard Tim mention that children were in the car so it’s somewhat plausible that Dylan could have been kidnapped. Maybe he saw something suspicious and snooped around a bit which lead to him being snatched up or something. From there he’s tortured and broken and made into an assassin for the PS. Only he isn’t broken. He steels his resolve and does as he’s told because he’s now set on biding his time and getting revenge on those who robbed him of his life and humanity. It makes for a pretty compelling character arc.

The tragedy of his character arc could also be supplemented by the fact that when he was young, he wanted to be a doctor and save lives, but they made him into an assassin who takes lives. Brutally. Violently. Painfully. All of this would emphasize why he views himself as such a monster. The person he is now goes against everything the person he once was values. It’s this dichotomy that reinforces his ‘monster’ persona and allows him to justify this view of himself.

Another point is that this could explain why Kieran hesitated when he could have killed Lauren way back in episode 3. Of course he would hesitate to kill someone who was his close friend. Most of his murders were of people he either didn’t know or didn’t know very well. If he’d had a close friendship with her in childhood, it would obviously make him stop for a moment when he realizes who she is, just like he does in that episode. We even see Lauren say that if she knew why he hesitated then ‘everything would be different’. Obviously if she found out that he was her-long-lost-thought-to-be-dead friend, the person who symbolized her guilt for not stopping the bombing, the plot would be waaaaaay different. Just like the line about being the most blind of all in the prologue, the implications of this line are going to play a major role in the story, and this theory could explain that.

Then there’s those god damned purple hyacinths. Obviously Dylan’s knowledge of these flowers, both in their cultivation and meaning, are things that Kieran must know too. We pretty much know that they’re his signature for both their royal symbolism and their use in mourning, and that Kieran must have a stash of them growing somewhere. There’s also the fact that Lauren, who we know is very intelligent and well educated even at 12, doesn’t know the meaning of purple hyacinths other than their use as a symbol by the royal family. This tells me that their symbolism outshines their meaning in the traditional sense within the pop culture. Honestly, I didn’t even know the meanings of most flowers except for roses until I started reading this Webtoon. I’m not saying that people don’t know the meaning at all, I’m just saying it may not be common knowledge.

The final point I wanna talk about in favour of this theory is their appearances, since that will bleed nicely into the points against it for obvious reasons. So many people, myself included, have noticed that if you switch Dylan’s hair and eye colouring for Kieran’s, he’d basically look like little Kieran, and yes, I see it too. You could say that he could be dying his hair, it’s not crazy to believe hair dye exists in this world. How else does Belladonna have pink hair if they didn’t have access to dye? Unless it’s just stains from the blood of her victims… Actually that could be a theory lol but that’s not the point. Point is Kieran could theoretically have his hair dyed black, but it’s a bit of a stretch, as I explain in...

Evidence against Kieran being Dylan:

While he maaaaay be able to change his hair colour from light blond to black, there’s no way for him to change his eye colour from grey to blue. If rectangular glasses don’t even exist in this world yet (thank you Soph for this justification for why you gave him Harry Potter glasses), there’s no way that they’d have access to contact lenses yet. The other argument is that his eye colour changed with age but that feels a bit too... convenient for my taste. Odds are our boy Kieran is sporting the look he was born with. Additionally, with everything going on in his life and his priorities, when would he have the time to constntly maintain this look, and why would he feel the need to disguise himself in the first place? He already operates in the shadows of the night and none of the authorities, other than Lauren, were able to get close enough to describe his appearance. There would simply be no need for all of that extra disguising.

Speaking of his appearance, we’ve seen one of his victims recognize him before he murders them. He says something interesting: ‘You were that boy’. Now this whole thing is one of my favourite mysteries of the series, so you best believe I am jumping on this shit the second we get more info about it. But for now, I want to use it to show that this aristocrat, who were loyal to the crown and presumably hadn’t seen him in years, took one look at Kieran’s face and immediately recognized him from when he was a child. If this man knew he had these same features as a boy, then it’s safe to assume that he’s always looked like this. This also links him to the aristocracy, since there’s no reason why this man of high status in opposition the PS would know anything about him unless he knew him before he entered the PS. Dylan, on the other hand, was the son of a gardener. He was friends with Lauren sure, but he clearly was of a lower station in society than someone like Lauren or the other aristocratic families. It’s doubtful that he’d leave such an impression on this high society man.

On top of all of that, if he were really Dylan and this man really did see through his change in appearance, why wouldn’t Lauren see through it too? She was one of his best friends and thinks about him constantly. If this man was able to recognize him in a single moment but she still doesn’t recognize him after months, then odds are he just isn’t Dylan.

There’s also the fact that Kieran doesn’t lie when he tells Lauren his name. It’s the same name that people like Belladonna know him by and it’s the name he uses when he becomes the archivist in Lauren’s precinct. Like he said before: there’s no need for him to hide his identity. He’s protected by his reputation and the PS itself. I can see an argument where he could have ‘renounced’ his old name because the person he once was is dead and only the monster remains, which is again a cool theory , or you could say it’s to keep people from knowing that he’s actually alive. But there would be no real need for him to change his name. He could have two names just like the hyacinths have two meanings. I will say that this theory about ‘Kieran White’ not being his true name could also work in favour for him not being Dylan too as, if he was an aristocrat, the PS could have changed his name to hide him from his family as well, but that’s neither here nor there, just something to consider. For now we know that he really is Kieran White and there’s no evidence to disprove that (yet).

Finally, many of the points listed in favour of the theory; the motive, the character arc, the knowledge of flowers, it’s all circumstantial. For all we know, Kieran could be Dylan Rosenthal, or he could be some boy connected to the aristocracy or even the royal family. He could be Dylan Rosenthal, or he could be his own character with his own arc yet to be fully revealed who’s connected to Lauren somehow. The meaning of purple hyacinths could come from Dylan’s prior knowledge, or they could common knowledge and Kieran just bought ‘Gardening for Dummies’ or some shit to make sure he didn’t kill them. Any number of different things could really be at play that we simply don’t know yet. But we do know that a man recognized him at a glance while Lauren, Dylan’s best friend, didn’t recognize him whatsoever. We do know that there’s no proof that hair and especially eye colour can be changed in this world. We do know that we still have quite a ways to go in this story and that the answers aren’t what we expect.

Eph and Soph have done an amazing job of revealing the story to us in disjointed pieces so that when we finally get that one piece that fits, may of them fall into place too. How many of us realized it was her parents’ car in the picture before it was revealed in episode 49? Or thought that Harvey was a spy all along? I don’t think we know nearly enough about him to prove he’s Dylan, but what we do have at this moment is enough to disprove it. What we have now is primarily speculation versus hard physical evidence. We need to accept that we don’t have all the pieces to the puzzle yet and that we’ll only receive new ones little by little.

So, until we learn more about Kieran’s past or until we see ‘changing-eye-colour’ join ‘lie-detecting’ as a new supernatural ability, I’m afraid that I can’t fully get behind this theory. Again, this doesn’t mean I’m telling you not to believe it. Thinking about all the implications of Kieran being Dylan is a lot of fun, just like thinking about Kieran’s backstory and motives is fun. And I could be wrong about all of this, who knows? Writing this just got me really excited to see where his arc will lead us and even more excited for season 2!

Thanks again to everyone who wanted me to discuss this! I had a lot of fun writing it and would love to hear feedback from you guys about any thing you may want to contribute that I may not have mentioned. This post was born of a sleepless night into morning and a need to get all my thoughts out of my brain so it could finally turn off and let me sleep. I already have an idea about what I’m gonna write next so stay tuned and thanks again for all the support!!

#purple hyacinth #webtoon #kieran white #lauren sinclair #my thoughts #ephemerys #sophism #ph posts

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maxgrayarchived · 5 years

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Learning How to Write a Redemption Arc from Avatar: The Last Airbender

Zuko in Avatar: The Last Airbender is a legend in redemption arcs, and the first example many people think of. He went from being the Avatar’s enemy, his biggest goal being to capture the Avatar and deliver him directly to the Fire Nation’s most vile tyrant, to being the Avatar’s good friend and ally. He makes plenty of mistakes along the way, but he atones to them and becomes a better person.

Today we’re going to be talking about Zuko, and what makes his redemption arc so effective.

For those who don’t know anything about the series, the show’s intro for the first episode tells you all you need to know:

“Water. Earth. Fire. Air. My grandmother used to tell me stories about the old days, a time of peace, when the Avatar kept balance between the Water Tribe, Earth Kingdom, Fire Nation, and Air Nomads- But that all changed when the Fire Nation attacked. Only the Avatar, master of all four elements, only he could stop the ruthless fire benders, but when the world needed him most, he vanished. A hundred years have passed and the Fire Nation is nearing victory in the war. Two years ago, my father and the men of my tribe journeyed to the Earth Kingdom to help fight against the Fire Nation, leaving me and my brother to look after our tribe. Some people believe that the Avatar was never reborn into the Air Nomads, and that the cycle is broken, but I haven’t lost hope. I still believe that somehow, the Avatar will return to save the world.”

The show follows Avatar Aang and his two friends, Katara and Sokka, as he learns the four styles of bending to defeat Fire Lord Ozai. Let’s break down Zuko’s general demeanor in each book (season) to get an overview of what his arc looks like.

Zuko, Book One

In Book One, Zuko is, irrefutably, our enemy. We may have some sympathy for him at times, but it doesn’t change the fact that his goal is to capture the Avatar, and ours is to keep him free and kicking so he can save the world.

He doesn’t have much hope for redemption in this book. He’s a total asshole, he doesn’t treat his crew well, and he’s selfish. However, we have his uncle Iroh, a man who is impossible not to love and happens to love Zuko very much.

Zuko, Book Two

This is the main part of Zuko’s struggle. He’s faced with many hard decisions, and tends to go back and forth with his morality. He makes tons of mistakes and takes several steps backwards, and he’s drowning in anger and confusion. It’s the most critical part of his arc.

Zuko, Book Three

Book Three is our payoff, and the peak of Zuko’s redemption. He finally knows what he really wants in life, and has faith in his destiny- His real destiny, the one he chose for himself. He joins the Avatar and his group, and earns their forgiveness and trust.

Motivations

Zuko’s main motivation, and more importantly, why, was clear from almost episode one. Yes, he wanted to capture the Avatar, but the why was something we could sympathize with. When a child thinks the reason their parents don't love them is their fault, especially when they think they did once have their parents’ unconditional love, they will put themselves through hell to get it back.

Avatar gave us all the ugly details, as well. When Zuko stands up and speaks against a plan that would end up with the intentional deaths of new Fire Nation soldiers that he believes to be innocent, his father demands Zuko to an agni kai, or a firebending duel. Zuko originally misunderstands and agrees to fight the general he disrespected, only to be faced with his own father. He refuses to fight, dropping to his knees in respect and pleading for his father’s forgiveness, only for Ozai to severely burn the left side of his face and banish him from the Fire Nation. He told Zuko that he could only return home if he returned with the Avatar, something that was thought to be impossible by almost everyone in the Four Nations.

To make it even harder to watch, his Uncle Iroh is the one telling this story, and as Zuko screams in agony while his father burns him, Iroh is so distraught that he has to look away. (There’s another thing to be said about how Iroh, a respected war general, drops everything to go with Zuko when he himself could remain safe and free in the Fire Nation, but that’s a different topic).

Afterwards, one of Zuko’s crewmembers says,

“So that’s why he’s so obsessed. Capturing the Avatar is the only chance he has of things returning to normal.”

His motivations don’t justify all the shitty things he does, not by a longshot, but the simple, humanizing act of saying exactly why he does what he does goes a long way. He’s not just an angry kid being needlessly cruel. He’s not an evil person, and we knew that from the beginning.

Mistakes

Mistakes are one of the most important parts of a redemption arc, because they’re what humanizes everything and makes the transformation believable. It’s impossible for a person to get better in a straight line. They will make mistakes, and they’ll backtrack.

But be careful: There are some things you can’t come back from. Don’t overdo it.

In the Crystal Catacombs in Book Two, Zuko makes a HUGE mistake. He has to choose between Azula (his sister), his father, and his nation… And his uncle. He chooses Azula, and attacks the Avatar (directly after trying to convince Katara that he’s changed lmaoooo). He’s so caught up in the idea of getting his father’s love ‘back’ and regaining his title that he ignores how much his uncle loves him and all that he’s done for Zuko.

There was also an episode, way early in Book Two, where Zuko splits up from Iroh entirely, because they had “nothing left to gain from traveling together.” He hurts Iroh’s feelings and makes himself more vulnerable for… What? Some teen angst? That’s the kind of shit I did in high school, and still sometimes now but come on.

He made a lot of mistakes with Iroh, in fact. He was constantly mean to him and taking out his anger on him. In “The Storm,” one of Zuko’s crewmembers says this,

“What do you know about respect? The way you talk to everyone around here, from your hard-working crew, to your esteemed uncle, shows you know NOTHING about respect! You don’t care about anyone but yourself! Then again, what should I expect from a spoiled prince?”

He made the mistake of trusting Azula MULTIPLE times! When Azula comes to Zuko after two years of his banishment, in the beginning of Book Two, she claims that Ozai had changed his mind and wanted Zuko home. He believes her, even though there’s not a single trustworthy thing about her. After she leaves them to talk it over, Iroh and Zuko have this conversation:

“He cares about me!”

“I care about you! And if Ozai wants you back, well, I think it may not be for the reasons you imagine.”

“You don’t know how my father feels about me. You don’t know ANYTHING!”

“Zuko, I only meant that in our family, things are not always what they seem.”

“I think you are EXACTLY what you seem: A lazy, mistrustful, SHALLOW old man who’s always been jealous of your brother!”

Finally, the last one that bears mentioning, happens at the start of Book Three. Zuko goes up to the Gaang and tries to convince them that he’s a good person now and should teach Aang firebending. They yell at him and tell him to leave, but after he does, Toph insists that Zuko is right and they should try to get along. She sneaks out later to talk to him, but she came in the dead of the night and Zuko is now an enemy to pretty much all four nations, so when he hears someone moving, he makes an intimidating ring of fire around his camp. However, Toph is blind, and she accidentally steps back onto the fire.

Zuko shouts apologies and tries to help her, but she’s panicking and hurries back home.

This is part of one of Zuko’s main arcs: Him learning how to control his firebending enough to not hurt innocent people.

Significant Steps

Like I mentioned: Don’t overdo it. Characters undergoing a redemption arc need to take positive steps in the right direction, but a lot of writers (me) get caught up in the mistakes part and lose all the redemption.

Among the many little hints and glimpses of hope you have, there should be a couple of major decisions that show your character’s progress- And the decision part is important.

In the first season, Zuko has a choice between saving his kidnapped uncle, and chasing the Avatar. He chooses his uncle, and good thing, too, because if he was mere seconds later, Iroh would have lost his hands. This also happens in a later episode, “The Storm,” when Zuko and his crew are caught in a typhoon. Zuko sees Appa, Aang’s bison, flying overhead and the crewmember who previously disrespected him and politely asked what Zuko wants to do.

He hesitates, before saying, “Let him go. We need to get this ship to safety.” He also apologizes to his uncle, who immediately accepts it.

Zuko is given the option several times to put his search for the Avatar over the safety of his family and crew, and he never takes it. Moments like this keep him from being completely irredeemable.

There’s another scene, at the beginning of the phenomenal episode “Zuko Alone,” where we see Zuko barely conscious, stumbling along on his ostrich-horse, presumably days without food. He passes a couple who’s cooking food on the road. He reaches for his broadswords to indulge in his newfound kleptomania, but stops as he realizes the girl is pregnant.

There’s also the very critical moment in Book Two, after the Gaang had been separated from Appa and were frantically looking for him. Zuko finds Appa, ends up letting him go, and evens drops his vigilante “Blue Spirit” mask into Lake Laogai, renouncing his search for Avatar. Iroh finds him, about to steal Appa, and yells at him, saying that it’s time for him to look in and ask himself the big questions- “Who are you, and what do you want?”

Dropping his search for the Avatar means abandoning a destiny that had been forced on him for two or three years (which is a long time for a 16 year old). It’s so scary and uncomfortable at first that he falls into a harsh sickness, but when he comes out of it, he feels much better. We see him smile for maybe the first time in the entire show!

There are also the moments that solidify his redemption, during and after the Gaang accepts him as one of their own. He goes with Sokka to The Boiling Rock to try and rescue his father, a prison where no one has ever escaped from, and goes with Katara to confront the man who killed her and Sokka’s mother. During the final battle, he sacrifices himself to save Katara and almost dies! It’s impossible to still hate him after that.

Sympathy & Humility

We should care about these characters the moment you start their arc, starting slowly and building as their redemption does.

Avatar starts early, with Commander Zhao. We definitely don’t like Zuko at this point, but we meet him and then we meet Zhao and they’re enemies and Zhao is so much more of an asshole that we find ourselves rooting for Zuko. After Zhao, a grown ass man, demeans Zuko, insults him, and pokes at his banishment- little reminder that Zuko is fucking sixteen years old -Zuko challenges Zhao to an agni kai. Zuko wins this, but as he’s walking away, Zhao attacks him from behind! Iroh steps him and says this:

“So this is how the great Commander Zhao acts in defeat? Disgraceful. Even in exile, my nephew is more honourable than you.”

And he’s got a point.

Zhao ends up going from a minor headache to a big fucking problem in that book, and even though we know if Zuko wins, he’ll have a chance to capture the Avatar, we’d rather take our chances there than have Zhao around one moment longer. I mean, he tried to kill the moon, for fuck’s sake.

When we meet Azula for the first time and she tells Zuko that Ozia regretted his banishment, an important but understated part of that scene is how goddamn happy Zuko is. We see all his excitement and relief, and then all his pain and anger surge back up when it’s revealed that Azula was taking them home as prisoners.

After Zhao died and Zuko was huddling in a cave during a snowstorm with a captured Aang, he talks about his homelife, specifically mentioning something his father said: That Azula was born lucky, and Zuko was lucky to be born. We see countless flashbacks, especially in “Zuko Alone,” of Zuko as a little boy just trying to win his father’s approval.

We root for Zuko countless times in that episode, actually, and this is before his redemption. “Zuko Alone” is such an important episode because it’s Zuko’s very first, real look at the war and what it does to people. After Zuko finds out that the family he is staying with has a son fighting in the war with a very real chance of dying soon, he makes a decision that he had purely good intentions with, but he’s so ignorant and naive to how the war works that he almost causes their only other child to be put in the war as well, and has to go rescue him.

In the episode “Crossroads of Destiny,” Zuko and Katara have a moment in the Crystal Catacombs of old Ba Sing Se, and it’s, like “Zuko Alone,” one of the first times he can actually put a face and a name to the victories of The Fire Nation- When Katara tells him about her mom. He doesn’t have any excuses here, and is forced to admit that the Fire Nation hurt him, too.

In “The Ember Island Players,” when the Gaang is watching a play that… Kind of, tells the story so far, Zuko says this:

“It takes every mistake I’ve ever made in my life and shoves them back in my face.”

He talks about his greatest regret- Betraying Iroh -and his he’s afraid he’ll never get to redeem himself. Later, Zuko and Iroh reunite, and Iroh says that he was never angry, he was just sad because he thought Zuko had lost his way. Zuko admits that he did lose his way, but he found it again.

We see Zuko struggle so much throughout the show with his morality and making the right decisions, so when he finally does, it’s a huge relief. He makes mistake after mistake, but nobody wants him to fail, not because we want another good guy, but because we see that he has good in him and we see how much Iroh believes in him.

Glimpses into the Future

It’s important that we have an idea of where this character is going to end up. We want something to look forward to so that we can push through the annoying stuff.

In the episode “The Blue Spirit,” the first time we see Zuko in his anonymous vigilante alter ego, we see what a great team he and Aang make when he rescues Aang from Zhao. They have a great battle chemistry and communicate well without Zuko needing to speak, then after Zuko is knocked out and Aang finds out his identity, he saves Zuko because Zuko saved him.

In “The Storm,” when Iroh is telling the crew how he got his scar and the conditions of his banishment, Iroh tells us, the audience, exactly what’s going to happen later in the series.

When the crew member says that Zuko finding the Avatar is the only chance he has for things returning to normal, Iroh says,

“Things will never return to normal. But the important thing is: The Avatar gives Zuko hope.”

Iroh recognizes that the kind of love Ozai would give him, if any, isn’t the kind that Zuko craves. Zuko only realizes this himself in Book Three, when he's back in the palace, back with his girlfriend Mai, and he’s won his father’s and people’s respect back. He admits to both Azula and Mai that something is wrong and he’s still not happy.

A Good Mentor

Most of the show, we see Iroh and his infinite patience trying to guide Zuko away from the same mistakes he made when he was younger. Before the start of the show, Iroh was a greatly respected, and feared, war general. This is referenced countless times throughout the series. He was so successful and respected that even leaving the Fire Nation to follow the banished prince couldn’t tarnish his reputation. Iroh had fallen into the same trap most of the Fire Nation did, that to be a man meant you had to be powerful, to be hurtful, and angry, and violent. He lost his only son to this ideology and was terrified of losing Zuko to it as well. At the end of Book One, before he and Zuko split up, Iroh’s begging him to be careful and admits that ever since he lost Lu Ten, he sees Zuko as a son of his own.

After Zuko’s betrayal in Ba Sing Se, Iroh leaves Zuko and forces him to make his own choices, which is when Zuko finally steps up (after some struggle).

Iroh made it very easy to care about Zuko, alongside Zuko’s moments of humility and glimpses of hope.

Summary

In short, Zuko is such a legendary character because he was well-rounded, and humanized. He never overstepped to the point where he couldn’t be redeemed, and even when he was at his worst, we knew who he could be, and that he does have good in him.

#atla #avatar: the last airbender #avatar the last airbender #avatar #avatar aang #atla zuko #zuko #amwriting #writeblr #writing #i love writing #writeblr advice #writing advice #redemption arcs

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cherryblossomshadow · 4 years

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Wonder Woman 1984 review

Long, rambly, and spoilery. You’ve been warned.

I saw WW84. I had thoughts. Let's talk about it.

I want to preface with the fact that it's amazing that we have another female-led superhero film! I loved Patti Jenkins' work with the first Wonder Woman (and this one too) and I'm so glad she's back for this one. There's obviously a lot to pick through, but first, a couple reminders.

No film will ever be "perfect."

Not every film is made specifically for you.

It is okay to vibe or disvibe with something. But that does not make it trash.

Also, please, keep in mind, what I'm expressing are my opinions. I'm entitled to mine as you are entitled to yours. I hope you have a lovely time on the internet, and I hope you wish the same for everyone you interact with.

Oh, and spoilers obviously.

Okay, with all that out of the way, let's dig in.

My overall experience with the film is positive! I had a great time watching it, it got me emotional, and I definitely want to watch it again. That said, I don't think it's better than the first one (although that would have been quite a feat), and that's ok. It's a continuation of a story we've already started, and it doesn't need to outshine the first.

Okay, after all the hyping up and disclaiming I've done, let's dig into what I didn't like about the film.

Number one is pacing. The storyline felt very erratic to me? Part of that, I feel, is because we have three (four?) main characters, and we jump between them pretty abruptly.

Number two is the themes. Now I do like the themes of WW84 (truth and sacrifice), I just don't think they were worked into the film as cohesively as I would have liked?

Number three is perceived character changes to Diana. And really, some of this is kinda circumstantial, I just thought it deserved its own bullet point. You'll see what I mean.

So, on Pacing.

We jump between Diana (and Steve), Barbara, and Maxwell pretty frequently. And before I talk about that, I have to talk about my view on the characters.

a. Now, I love the Mandalorian, but I was not personally invested in Maxwell's arc at all. Again, this is my take, and I know people disagree. Many people feel like Pedro Pascal carried the film on his shoulders. That's cool. He's a great actor. I'm glad he was in it. I just kinda checked out of every scene he was in (when he wasn't with his kid) because I wasn't invested in him. He played a sleazeball on purpose, and it worked. I was sleazed. So the movie kinda dragged for me whenever the camera panned to him.

b. I loved the focus on Barbara. I don't know Cheetah from the comics, so this is from a movie-only perspective. But I know one of the criticisms of the first film was that Diana didn't really talk to women after she left Themyscira (even though there was a perfectly good villainess sitting right there for her to converse with and have morality debates/fights with! Even Steve Trevor got to talk to Dr Poison!), so I thought it was great that 1) they set up a villainess for her to fight and 2) it was a villainess that she knew, she had talked to, she had formed a relationship with. It honestly surprised me that Barbara was helpful for so long (bc I had seen the trailer and got spoiled that she would become a villain), but I love that she genuinely did want to help Diana, up until she hit her hard limit (giving up her powers). Now, that being said, the Nerd Girl Makeover has been done a thousand times. I knew what her vague trajectory would be from the second she appeared on screen with frizzy hair. I did like that her motivation was not solely "pretty people are mean to me, and I want revenge and/or for this hot guy to like me," but specifically, "I want to be like this really cool girl" and then "I don’t want to be like anyone else; I want to be the best/number one" for myself." But I felt like the absolute inattention that she was shown at the beginning and the absolute worship Diana and later Barbara would get was ... highly exaggerated? And I know this was another criticism of the first film, that yeah "Diana did so well in the real world because SHE'S HOT and that's actually not empowering to women" or something. But like. Watching that part made me uncomfortable instead of seen. Pandered to, instead of impacted. Showing how looks change how society treats you is important, but not to this caricaturized degree.

c. (and d?) And lastly, Diana and Steve. Or more accurately, Diana and Steve's soul or memories or ??? that has been transplanted into some random man's body with absolutely no one's consent (I don't believe that Diana "consented" when making the wish, because she didn't know 1. That it would even work or 2. HOW it would work.). So ... Yeah. The first problem with this (chronologically, not by importance) is that it's really unclear what's going on? Some rando is reciting Steve's lines from the first film, then all of a sudden he turns into Chris Pine? (Fun fact: my aunt actually recognized the actor from Hallmark 😂 Could you imagine being the guy who gets replaced by Chris Pine for half the movie? Like "yeah, I played Steve Trevor, but they had Chris Pine do all the important parts" 😂😂😂). So, Diana and Steve finally figure out that he's inhabiting some engineer's body because of the wish she made. And then they bang. Or do they bang before they figure it out? Either way, yikes 😬. Not a good look.

To be clear, the yikes part is that Steve is inhabiting Engineer Dude's body without their consent (without his own either tho so that part's not really his fault), but then he chooses to do things sexually with that body that Engineer Dude didn't consent to (because he's like, literally not home. Whether he's been subsumed into Chris Pine or taken out or dormant or whatever). Oh, and then like, probably doing death-defying stunts with his body is also yikes. I'm not really sure what the rules around body possession are. Cuz you know.

Anyway, that is a huge issue that is literally not addressed. At all.

Again, I think they may have been trying to address some criticisms from the first film about Diana "getting rid of the dreaded V-card so quickly in Wonder Woman and then pining after Chris Pine (lol) for the rest of her long life" and how that sets back female sexuality and stuff. Which I get. They actually lampshaded it in WW84, how Chris Pine wants her to move on because "the world deserves her." Which I know what they were going for in the scene, but I feel like they didn't flesh out the journey from Hippolyta's "the world doesn't deserve you Diana" to Steve's "the world deserves you (to date them)" enough. But I digress.

I'm gonna talk a little bit more about the possession and that "the world deserves/doesn't deserve you" line in my Themes section, but honestly? From the previews, I assumed that Chris Pine was revived from the dead via time travel or something. Body possession was NOT in the the trailers. I think the Dreamstone could have created a body for him out of nothing. Or like "time-traveled" him into the future. So like. Why didn't they? Why introduce body possession at all? So they could make fun of the dude's clothes?

Okay, back to the pacing part of the pacing section. These three (four?) characters have completely different things going on in their lives (I actually forgot to talk about Maxwell, but he wants to "be the best," and he's gonna do it by giving people what they think they want (maybe) and then taking from them whatever he wants. Yeah idk). And all three do interact at the beginning (brownie points) even if the attempted seduction of Barbara by Maxwell makes me want to throw up. But the themes aren't worked in as cohesively as I would have liked, and the tone changes were jarring, as the film switched between them all.

Another facet of the movie is that the Dreamstone is kind of a mystery. And that was a deliberate Choice™, not a mistake. We're guessing at what the rock is doing and how and why and by who and all that stuff, and that's on purpose, but that makes for a confusing experience. Their approach is to throw something confusing at you and then explain it later. Which is great for worldbuilding. But not always for the Movie-Watching Experience™. So to recap, we're switching tracks and characters with their own separate stories while also setting up several confusing plot points that take a while to unravel. This all contributes to the Experience™, good or bad.

Honestly, I wonder how much Covid affected this movie? My dad felt like a lot of scenes probably got cut for various reasons, and it probably affected the flow of the movie. If so, it could have affected thematic coherence, too. Speaking of...

So, Themes.

The themes that I got out of this film were Truth and Sacrifice. Maybe I missed some; I'm not an experienced Media Critic™. But these are the ones I noticed.

And actually, these themes are really strong. Universally applicable, and used in all three character arcs. It's just tied in a bit ... erratically?

So working backward, knowing that the Dreamstone is giving you a lie, you need to renounce your wish and accept the Truth™. This is echoed in Diana's flashback, where she needed to accept that she didn't win.

Working backward again, Sacrifice was a big part of the story for all three characters because Diana was willing to sacrifice her power to keep Steve, but he wanted her to sacrifice him so she could save the world. Barbara was willing to sacrifice her "humanity" or "empathy" or whatever she lost for the power and influence she got by emulating Diana, and she was unwilling to sacrifice that to save the world. Maxwell was willing to sacrifice time with his son to "become the best," but he did sacrifice that to save his son's life.

And then, full circle, he confessed to his son that he wasn't the best, he's actually a filthy liar. Which, yes, kudos for the themes, be honest with your children, but you can still sanitize it a bit. That speech alone would have traumatized the kid.

Speaking of speeches, Antiope's speech confused me in a similar way? Like, she stops Diana from "winning" the tournament after cheating, and goes on this weird rambly rant which goes from "accept that you're not a winner" to "cheating is bad and so is lying." Which yes, cheating is bad, but it's weird that she wouldn't have been disqualified at this point for not shooting that last target? Like, did she need to be tackled? Idk, I felt like they came up with the line they wanted Antiope to say first, and then just made her say it. (And also, in other stories, Diana would have been praised for being "clever" and "never giving up without a fight." So like, I needed a bit more preparation for which take they were going for, because the anti-cheating spiel felt jarring to me.)

And again, I wonder if this is a response to a criticism of this first film. (Warning: WW17 rant gearing up)

When Diana has her big motivational flashback during her fight with Ares, she thinks about Steve, this dude she just met a week ago, saying he loved her. When she could have been thinking about literally any of the women who had raised her. I personally think it would have been cool to hear some of Antiope's words at that point. Since they set up Hippolyta and Antiope to have conflicting ideas over whether Diana should fulfill her humanity-saving destiny, it might have been cool to see her saying something about humans and how they need her or how she should help them or something. They could even have done the whole thing with not being able to hear Steve's last words, but with Antiope since she dies earlier in the film and doesn't finish speaking. I also think it would have been cool for them to expand Hippolyta's earlier line about "They don't deserve you, Diana," here to like "They need you, Diana," or something. And then Steve's line in WW84 could have been something like "They're with you, Diana," or "They could get to know you, Diana," and her character arc could have been about actually living among society and maybe getting to know these humans that she's saved so many times (which they kind of alluded to when she and Barbara had their little date at the beginning of the film). But I digress.

So, yeah, I found both of these speeches to be ... Not great? Like I can tell what they're going for and how they tie into the themes, but they're so heavy-handed and they don't actually fit in too well to the moment they happen in. Like as soon as the speech starts, you realize that they started going meta on you. The character isn't really speaking to the other character, they're speaking to us, and they're telling us how this scene ties into the greater themes of the film.

Oh and they have this great quote from Antiope "greatness is not what you think" and then Maxwell's son wishes for him to be "great." And they do nothing with it :(

As promised, I want to talk about the body possession a little bit more. So again, one of the recurring themes is Truth™. Which is a great choice for Wonder Woman, what with her Lasso of Truth.

But it's tied in a bit haphazardly. They force it into a conversation about cheating in a flashback at the beginning of the film. And then they talk about how you need to accept the Truth™ in order to defeat the Dreamstone. I already talked about the cheating, and how the "accept that you're not a winner" was kind of a weird path to take to get your point across to a ten year old girl.

But the Dreamstone. Oh, the Dreamstone. I said before that the movie is a mystery. It shows you things but doesn't explain them. Well, this is a bit of a problem. Because they never actually explain that the Dreamstone is giving you lies. To my eyes, the Dreamstone is changing reality. Steve is back, Barbara is powerful, and Maxwell is doing whatever he wants with the powers of the Dreamstone. THIS DOES NOT LOOK LIKE A LIE TO ME. THERE IS NO "TRUTH" TO ACCEPT, JUST YOUR NEW REALITY. And that made the film less thematically strong (to my eyes, anyway. Other people probably picked up on stuff I didn't). But I feel like this might have been an easy fix? Like you already have Chris Pine in someone else's body (oh! So that's why they chose body possession! Because he's a Lie™! ... Still don't like it) I still think he should have manifested his own body or something but whatever. Barbara's appearance hardly changed at first. If they had people reacting to her as if she was hot when she really looked the same as she always does, then I would have bought your "but the Dreamstone only gives you lies." Instead, Barbara gained the power to walk in heels and then hotness and then the literal power of a God™ (a la Diana) which makes me think the Dreamstone is changing reality. Not bringing lies.

Oh, also, they could have had Diana's Lasso of Truth stop working for her. I thought that's what they were going for at first, but it turns out that Diana is just losing her powers. They also started with "the Dreamstone will give you what you want most," but then Maxwell started using it to clear traffic? Which by the way, is NOT an illusion. That is reality-bending.

There were just so many ways to make it obvious that "the Dreamstone is giving you lies," but they didn't use them. Or at the very least, they didn't commit. I felt like they used a little bit of "be careful what you wish for" (mostly on randos that Maxwell is duping), a little bit of "what are you willing to sacrifice," and a little of "you can have what you want, but it won't be real." All of which are valid ways to take a Dreamstone kind of story, but if they wanted to rely so heavily on Truth™ as the main theme, then I feel like more of the wishes should have been showcasing that. Instead, it felt like a jumble of all the kinds of messages we're used to seeing with Wish-Granting Objects, with no emphasis on specifically the "it's all a lie" part.

Ugh, I'm actually mad now, because I'm trying to think of a story I've heard where this magical thing is granting wishes but they're Explicitly Not Real. Like all the money gets turned back to leaves or whatever (kinda like Cinderella's pumpkin lol). Oh, Aladdin does this, too, because yeah Genie is granting wishes and changing reality, but not permanently? Like, almost all of the stuff he uses magic to do dissolves as soon as we're looking away from it or gets fixed by the end of the movie? And the film is very very clear on the fact that Aladdin is not factually a Prince.

But this film doesn't do that. They make it seem like the Dreamstone can change reality, then berate the characters for not Accepting the Truth™ about themselves. Maybe if they had made a bigger deal out of Steve coming back in someone else's body, it would have been 1) less confusing, 2) less icky (provided they don't do the sex in Engineer Dude's body), and 3) more thematically coherent.

Lastly, Diana's perceived character changes.

This one is probably the most subjective. Diana, as a character, in the first film was very morally grounded and motivated. The Diana in this film felt ... different. Again. Subjective. And also circumstantial.

Diana is still morally grounded in this film. But she's also willing to sacrifice the world to keep Steve Trevor around. Which feels like a jarring change from her characterization in the first film. She was so idealistic and optimistic in that first film, I couldn't imagine her making that choice. It just felt like such a tone change for her character. How did we go from "Who will I be if I stay?" to "Why, for once, can't I just have this one thing, Steve? ... I can't give you up. I can't. So I won't."

Also, her motivation in this film seemed to center around her loss of Steve Trevor and wanting him, and less around "save the world." Which, to be fair, I'm all for women being selfish in film. Give me women of all motivations and desires. I don't want Diana to be Perfect™. I just want her to be consistent. And I didn't think this characterization was as consistent as I expected. Was her life so terrible without Steve (even though they only knew each other for a short time)? Not to say this couldn't be a valid take on Diana (reminder: I haven't read any comics, so maybe it's not in character at all 🤷‍♀️), but if that's what they were going for, they should have developed the journey from naive idealist to jaded romantic more in order to justify this character change.

Also, the body possession thing. She's really okay with her boyfriend possessing somebody else's body. I did like the "All I See Is You" line, since it's romantic, but up until that point, we as viewers aren't really sure why Chris Pine and Hallmark Dude are both playing this guy. Then we find out in a romantic line that Chris Pine is just Wonder Woman's view of him. He still looks like Engineer Dude because he is Engineer Dude. At first, I thought that they used a different guy for the first meeting because Diana didn't recognize him. That this was her perception of him until she realized who it was. (I thought this was supported by Chris Pine's more rugged look in this film. But actually they were probably matching him to the body he was inhabiting, since the character really didn't look like himself). Leverage does a similar thing in the Rashomon Job. All the characters saw each other at the same event, but they didn't know each other back then, so they had different actors play their parts until it's slowly revealed that actually the random people at the event were the characters we know and love. It's great. Anyway, that's not what they're going for here, and the ambiguous framing along with Diana and Steve's chemistry is supposed to make you forget that he is possessing someone else’s body! Against their will! (Again, Steve and Diana didn't consent to the initial possession either, but they absolutely consented to what they did together. Engineer Dude did not.)

Yikes 😬

I will say, she didn't kill innocents this time. One of my critiques of the first movie was that she was so willing to kill Germans. And I get it, Nazis are usually an "acceptable" target in American media. But as a character, she believed that they were innocents who had been manipulated by Ares. And yet, she was slaughtering them en masse. But, in this movie, they're really careful to make sure that she's nonlethal.

And yeah, that's it.

Asteria was of course awesome. That bonus credit scene was 👌

I'm glad they got Linda Hemming back for costuming after the disaster of Justice League. Unfortunately, being set in the 80's, the outfits are not quite so modest as the first movie. But the important thing was the lack of male gaze in those shots.

The movie definitely hit me in my emotions. I cried three times: first during the tournament, watching the Amazon's being awesome. Then during Diana and Steve's fight, and when Steve convinced Diana to let him go. 😭

As I said, I definitely plan on rewatching. It makes me sad to see how much negative press that the movie is getting when it's one of so few female-led blockbusters. A lot of people are comparing it to the original or to the comics or TV show, when those are just not valuable comparisons. Comic books and TV shows are completely different mediums. And a successful sequel CONTINUES a story, instead of rehashing it. And also, not all films are created specifically for YOU. A lot of the 80's references went over my head, but that's ok. They weren't for me. I don't begrudge their existence just because I don't vibe with them.

Again, no film is perfect! I think I talked through a lot of its weaknesses pretty thoroughly, but I still think it's a strong film, and I want it to succeed.

Anyhoo, I hope you had fun watching the movie (even though it's not perfect) and I hope you had fun reading my commentary.

(Fun fact: I actually ran out of space in my notes app and had to stretch it across two notes)

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missabnormal · 4 years

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Alright, so I watched Wonder Woman 1984...

[MAJOR SPOILERS UNDER THE CUT]

So, in no particular order:

1) I get where Jenkins and the writers are coming from: they needed a lot of time to develop the characters--establish their stories and their personal lives, especially where they are at emotionally. I just think they needed to find a better balance between the action and that development. That is to say, I think the movie suffers from the 2014 Godzilla movie problem, in which it took a hell of a long time to get to the action parts in a movie that was marketed as showcasing a lot of action.

It’s... agh, I’m conflicted, but I’m leaning towards there should have been more action. It just needed better balance of it all, even when Diana doesn’t have her powers. After the first movie had a (mostly) nice balance of action and development (for plot and characters)--and frankly better action--it’s hard to then see this movie and not see... less.

I also feel like the movie thought because it was taking place in the 1980s, it needed the nostalgic tone to it; that is, it’s weird for Diana to be, at her final scene with Max to be talking about how beautiful the world already was without the lies that the wishes create, but I feel like she would know that the world wasn’t... that. We’re at the height of the Cold War and the nuclear arms race, racism is still rampant, the President (not sure if he was supposed to be Reagan or an analogy to him) in real-world history was defunding a lot of things including mental health treatment, and so on. The movie definitely establishes the Cold War, the conflicts in the Middle East, and at least anti-Irish sentiment from the English, but it all feels... not quite surface-level, but also not quite explored in depth. I don’t know, did Jenkins/the writers just not want to explore the same themes as the first movie? Maybe they thought it would be too similar? It could be, but... there could have been better ways of handling it, you know?

Of course, there was also the topic of racism with Max. Let me tell you, Max’s arc in this movie was so far and beyond what I expected. I thought, from the interviews from the cast and crew, that the movie was going to go full on Max-as-Trump-analogy. To show him as a Latin American immigrant who suffered from racism and poverty is a lot to adjust to. I like JLI Max Lord, but he was also the epitome of born-wealthy white man corporate capitalist privilege--he just had the opportunity to be fully developed by DeMatteis and Griffin as a character and not just be left as a cardboard cutout and personification of 1980s corporate America.

Also, Max’s development is reminiscent to who he was in the very early days of the JLI, in terms of goals and--at the end of the day--care for like... not destroying the world and all that. The difference is that instead of an alien computer manipulating him (to an extent), the movie had Max use a wishing-stone. Also, he has a son for whom he cares about which, again, I was not expecting.

2) It feels bizarre and so wrong that neither Diana nor Steve asked themselves 1) why Steve reappeared in some random 1980s guy’s body instead of appearing as himself, 2) the moral/ethical questions of Steve inhabiting random guy’s body without consent and just doing whatever with it (especially after it’s implied that Diana and Steve had sex, which HELLO??? That’s not his body???). Like, it’s the kind of plot point that would probably happen in an actual ‘80s movie, no questions asked, but just because the movie is taking place in the 1980s doesn’t mean it should have the same values as the ‘80s. Like, it feels like the “trick” of the wish should have been Steve taking this random guy’s body and life and not just Diana’s powers.

Anyway, how the movie handled this particular aspect of the plot is all kinds of wrong and baffling to see it coming from a Wonder Woman movie in the year 2020.

3) Flying aircraft from the 1910s would be drastically different from aircraft from the 1940s and on. Pretty hard to believe that Steve would just know how to fly a future military airplane without even a few pointers.

4) The movie has a tendency of randomly showing objects or characters when it’s convenient instead of actually establishing them in a cohesive manner within the narrative. For example, the Eagle Armor appears just when its convenient to talk about it. The movie could have established sometime in the first act of the movie; i.e. it could have, say, had used the dinner scene to show Barbara asking Diana something like “What made you pursue anthropology?” and Diana answering with a “Oh, I wanted to explore my Greek ancestry” and then shown a brief moment when Diana is at her apartment of her checking the monitors and a brief panning over the ~mysterious~ object under the sheets.

Another example is Diana using invisibility powers on the jet. I could have lived without an invisible jet in the movie, but if it was gun-to-the-head-there-MUST-be-an-invisible-jet, then I would have tried to also establish those powers before hand. For example, the movie could have shown Diana casually practicing using her powers on random objects once or twice before having her use them on the jet. That way, viewers could have understood that this power is a thing that actually exists within the movie and not just something that comes up when its convenient.

5) It feels like Diana didn’t get as much development in this movie as in the last one. If anything, it feels like a lot of it was given to Max and Barbara, which on one hand I understand because they are new characters within the DCEU; but on the other hand, it’s supposed to be a Wonder Woman movie with the central character being Diana. She and Steve did have many scenes together, but the Max and Barbara scenes outshone theirs.

6) Barbara... well, she borderline falls into the “powerful woman becomes evil” trope that is saved from falling into it full-on by the wishes having traps to them. However, things get complicated, narrative-wise, after Diana makes her speech about the world already being beautiful and all that. Sure, in terms of Barbara herself, she was already a kind, if awkward woman; but her coworkers and random men were shitty to her. They treated her like she barely existed, taunted her or attempted to assault her. Barbara became power-hungry, sure, but are the other people who had been shitty to her not wrong, too? There’s something fundamentally wrong with how society treats certain people (like how white Americans treated young Max Lord, or how that English woman treated the Irish man) and the movie can’t show it and then not address it in-depth, especially when the suffering that people have gone through is what lead many of them to make rash wishes (although, to be fair, the grand majority of them didn’t know what the wishes actually entailed).

The movie doesn’t say if after everyone renounced their wishes everything became better or just went back to how things were. Although this movie is vaguely within the DCEU, it is still in it, to it’s fair to say that the world didn’t become better after people realized the destruction they were bringing upon the world with their wishes. However, to then say that everything went back to how things were is not a good ending, either. Does Barbara have to suffer through people’s indifference to her, if not outright assault, again? Is the Cold War and the threat of a nuclear apocalypse still going to continue? Are Irish people going to continue to suffer through discriminatory English sentiments towards them? Is unchecked exploitative corporate America just going to continue existing, especially those that deal with oil? Are people just going to continue to be racist? Because here’s the thing: Max may have said “life is good, but it can be better” but of course things weren’t great and the movie taps into that; yet, it’s just that, tapping into it. It presents the problems, but it doesn’t present the solution. If it’s not wishes, then what? Because going back to how things were is, you know, not great.

Any story that presents the existence of complex conflicts has the responsibility of dealing with those in a satisfying way, and I’ve seen many stories that want to be complex, but don’t want to give it a complex solution. No story, or movie, is perfect (and none will ever be), but WW84 could have at least tried a bit more.

7) I don’t mind Diana grieving so much over Steve, but her reluctance to renounce her wish to regain her powers could have been better handled, along with her grief. The movie briefly established that pretty much everyone she met in the first movie (except maybe Chief?) is dead. Yet, it’s so brief compared to the rest of the movie. To truly understand the depth of Diana’s desperation to keep Steve alive, the movie could have emphasized how pretty much everyone she ever cared about--on an interpersonal level--is dead or on an island that she can never return to. She’s not only alone in terms of romance, she’s alone in almost every emotionally conceivable way. And as time passes, she will remain young, but all the people she meets will grow old and die around her. The movie could have emphasized how Diana is emotionally clinging to those people she met when she first arrived in Man’s World and she can’t take being emotionally close to others again because she fears it will be too painful to see these new people die around her. It’s doubly hard when Diana also loves humanity: she wants to help them in any way she can, but that also means she can never separate herself from them. It’s love and pain interwoven, but the truth is that’s life. You lose people and doors close on you, but others open and new people come through. Everyone wishes to have everything they ever wanted, but part of being human is learning what that “everything” actually means to one’s personal life.

The movie could have tried of uniting these ideas: Diana’s grief over Steve, Diana’s loneliness, Diana’s love for the world, the state of the world in the 1980s, human desire and fallacy, what it means to truly love and be loved, and what is it that we can do with our lives, and that of others, in an imperfect world. I can almost see some of these ideas floating on air throughout the movie, but they’re just that: floating, not quite coming together in a cohesive manner; a draft that never got that final and needed revision.

*I might have missed a few things to talk about, but this is what comes to mind for now.

#Wonder Woman 1984 #Wonder Woman 1984 spoilers #WW84 #WW84 spoilers #DC #ramblings

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