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smhalltheurlsaretaken · 4 years

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THE BOX IS NABOO

That’s it, I’m doing it, I’m writing that stupid meta I’ve had in the works for two and a half years, I’m sharing it with the world. I promised it for last Thursday, my poll was forever ago, but whatever! I’m writing that freaking thing.

(super duper long post, press j to skip)

Enter my rabbit hole.

First thing to establish: the Box makes no sense whatsoever in-universe.

((EDIT: Something I forgot to mention. IRL, the premise of a giant murder cube and the aesthetic - wall patterns, light designs, etc - of the episode come from the 1997 horror movie Cube, (see the episode’s wookieepedia page). However, while the two are very closely linked visually, the Box does not follow the movie structurally or narratively, as you can verify by simply reading the movie’s summary.))

Recap of the context for the "Box" episode (s4e17): Palpatine is planning his own kidnapping. It was never meant to succeed, and while the plan would obviously benefit him (making the Jedi look bad, pushing Anakin closer to the Dark Side, making Republic citizens more afraid -> more docile, etc...) his actual goal is never explained, and it’s weird that he’d go to such extreme lengths for results so minimal that we’re never told what they are.

So Palpatine asks Dooku to kidnap him at the Festival of Lights on Naboo. Dooku hires Moralo Eval to design a giant box-thingy to test bounty hunters to hire the best of them to kidnap Palpatine. Moralo then gets arrested to alert the Republic that something is afoot, and hires Cad Bane to break him out. Obi-Wan - undercover to learn Moralo’s plan - goes with them. They evade capture and go to Serenno, and Bane and Obi-Wan have to pass the box-thingy test. The level of brainkarked logic here... Truly on par with Megamind, Gru and Heinz Doofenshmirtz.

Setting aside the insane plot holes and utterly nonsensical behavior of the villains, the Box itself is moronic from a plot perspective. It’s insanely complex, obviously incredibly expensive and would have taken months (more like years but it’s a short war) to make when it’s not even needed for the dastardly plot! Just hire some guys who have already proven themselves against Jedi! Throw cash at Bane and Embo and a few others! Maybe attack them with your saber and see how they do!

And after all that, Dooku still ends up trying to kidnap Palpatine on his own. I can’t even...

So why does the Box exist? Well, apart from being a nerdy callback to Cube, giving us a good thrill and being generally awesome to look at, it has actual narrative purpose within the SW universe.

The box is Naboo.

What the Box lacks in plot relevance, it makes up for with its heavily symbolic meaning. It very closely follows Obi-Wan and Qui-Gon’s experiences on Naboo - but only certain parts, which I’ll explain later.

We start with clean, sterile environments, SW’s favored way of showing villainy.

Then we have the protagonists locked in a room as dioxis, a poison gas, pours in.

And then they escape... this way.

(Okay, here the shaft is down, not up. And it’s not a ventilation shaft per say, it’s the designed escape route. Same difference).

We then skip most of TPM (namely, Obi-Wan and Qui-Gon discovering the droid army, finding Padmé, leaving Naboo, landing on Tatooine, going to Coruscant, etc, etc) to come back to Naboo and go directly to the lightsabers and catwalks.

(Note: in both scenes, Obi-Wan has to propel himself from a catwalk.)

In TPM and TCW, the catwalks are immediately followed by ray shields

And we finally end with the last scenes. Now, they don’t look the same but they are structurally identical.

Obi-Wan is faced with a challenge unsuited for his abilities (facing Darth Maul // shooting three moving targets when he’s far more skilled with a blade than a blaster) on a narrow space above a melting pit/pit of fire.

He first watches someone die failing to complete the task...

... and has to do it himself, faring much better than expected (holding his own against Maul // shooting all the targets easily).

He then almost falls to his death and gets saved unexpectedly.

And then there’s the final showdown.

In both scenes, Obi-Wan is angry. And in TCW Dooku eggs him on, banking on his anger. (More on that later.) In both cases though, he centers himself and is able to overcome both his opponent and his own unbalance. But in TCW, he doesn’t go for the kill, because he doesn’t need to.

The Box, as a literal character-explorator ex-machina, thus shows us Obi-Wan’s growth.

In TPM, Obi-Wan follows Qui-Gon’s lead. In TCW, he is the leader. He identifies the gas, makes the plans. He doesn’t fall from catwalks anymore - he runs atop moving ones. He doesn’t stay stuck behind ray-shields, he finds the solution. (Btw, how did Moralo know what blood type Derrown the Exterminator was? There was a 50% chance of him dying - thus killing all of the bounty hunters. Was that an acceptable outcome? TCW I need answers!) He doesn’t slay his foes, because he’s become powerful enough, skilled enough and wise enough to survive (and win) without needing to kill.

He’s grown - and, even more interestingly, he’s also stayed the same. In the previous episodes, we see some of the dark aspects of Obi-Wan. How he - like all Force-wielders, all people - could lose himself if he stopped maintaining absolute control.

But in the Box, surrounded by the worst criminals of the Galaxy, the most ruthless, worthless people, he’s still kind and tries his best to keep them alive.

The Box is a reminder and a reassurance for the audience that Obi-Wan Kenobi is still there under Rako’s face. He hasn’t lost his compassion, his restrain. He’s still a Jedi. And he’s an awesome, badass one.

And now, for what it tells us about Dooku!

It’s much shorter, don’t worry. Basically, Dooku considers that the best way to pick “the best of the best” of the deadliest people in the Galaxy is making them go through what killed his Padawan. There, I’ve broken your hearts, you’re welcome.

More seriously, Dooku is a manipulative ass. It’s pretty clear that he knows Rako is Obi-Wan, or at the very least suspects it.

He has an interesting reaction upon learning Rako’s identity, he keeps praising him despite his usual distaste for low-lifes, he smirks secretively after Eval says “I’ll show you who’s weak” (not included there because it’s a close-up of Dooku’s lips and no one wants to see that) and he tells Rako he’s very disappointed when he doesn’t finish off Eval.

[Later]

(Look at this smug asshole - I can’t. YOUR GRANDSON IS THE BEST, WE KNOW, STOP ACTIVELY RUINING HIS LIFE ALREADY.)

(Dooku... why...)

Now obviously Dooku couldn’t have made the Box specifically for Obi-Wan, because it would have to have been designed months before the Council ever decided to send Obi-Wan undercover, but he has no qualms trying to use it to push Obi-Wan to the Dark Side. Ffs Dooku, making your spiritual grandson relive one of the most traumatic events of his life on the off chance that he’ll join you (and desecrate his Master’s memory in doing so) is not okay!

Final tidbits of analysis: I mentioned that not all of TPM is mirrored in the Box. What’s omitted is the droids (even though Obi-Wan and Qui-Gon fight B1′s and droidekas between the dioxis and the ventilation shafts) and anything pertaining to Sidious (all the political stuff on Coruscant). You’ll also note that the fake lightsabers are orange.

=> The Box distances itself from anything that connects Dooku to Naboo. Red lightsabers are the trademark of the Sith, so they’re not used. The bounty hunters will be facing Jedi, so logically the fake sabers should be green or blue - and yet they’re orange, the color closest to red without being red. It fits with Dooku’s special brand of dishonesty - he always tells bits of the real story but twists them just enough to absolve himself of any fault and to justify his choices.

(”We can destroy the Sith” -> could maybe destroy Sidious with Obi-Wan, but fails to mention he’s a Sith Lord himself; “the Viceroy came to me for help, that’s why I’m attacking the Republic” -> political idealism is a small part of it, but fails to mention he’s Sidious’ underling and is playing the Viceroy like a fiddle; “Qui-Gon would have joined me” -> maybe, still fails to mention he’s working for the man who ordered Qui-Gon’s death; “I told you everything you needed to know” -> debatable, never said that Palps was Sidious; “Sifo-Dyas understood, that’s why he helped me” -> partly true, doesn’t admit to killing Sifo-Dyas right after getting his help)

So we have a twisted version of Naboo, droid-free (as droids are now irrevocably associated with Dooku, even if that wasn’t the case in TPM) and with sabers that aren’t quite red. Keep in mind that Dooku had already fallen by TPM. (We know this because he killed Sifo-Dyas and created the Clone Army - part of Sidious’ plan - when Valorum was still Chancellor, as per the episode The Lost One.) That means Dooku was (in)directly complicit in Qui-Gon’s death. And the Box doesn’t (=refuses to?) acknowledge that.

(Also omitted in the Box are the Gungans and Tatooine. It makes sense, because Dooku probably wouldn’t have the full details regarding those parts of Qui-Gon and Obi-Wan’s missio as they weren’t as public, and would see them as irrelevant if he did. He utterly despises Anakin, and Gungans are the type of people he always dismisses out of hand).

Anyway, that’s my two cents about the Box. To quote Lucas...

“It’s like poetry. It rhymes.”

Thanks to @lethebantroubadour @impossiblybluebox @nonbinarywithaknife @ytoz and @kaitie85386 for voting for this one. Next up is a compilation of the Jedi being casually tactile with each other (because they’re a warm and affectionate culture, dammit).

Also thanks to @laciefuyu for giving me gifs I ended up not using ^^; you rock anyway!

#meta #my meta #the box #deception arc #rako hardeen #rako hardeen arc #naboo #obi-wan kenobi #count dooku #cad bane #moralo eval #darth sidious

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idw-sonic-fan-blog · 3 years

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The Mandates

Just wanted to share my thoughts on the pro-ported mandates because they cast a shadow on this comic.

“Game characters cannot have relatives unless they were estabilished in the game canon, i.e. Cream and her mother.”

This one is understandable and you can blame Penders for this. Mind you that most licensed comics of gaming franchises don’t actually delve too much in personal family relationships or expand on them. So this is expected and honestly Sega should have put the screws on Archie decades ago about this.

“Game characters can not die. There are workarounds for this, such as being Mistaken for Dying or "Mistaken For Dead”

Again. Yes. Not a big deal.

“Game characters cannot have wardrobe changes unless approved. Chao Races and Badnik Bases has some characters (mainly the female game characters) wear different clothes for extreme conditions. Male characters remain the same.”

This is a useless rule but whatever. I mean Sega, you are the ones putting bad wardrobe choices on the characters so again it’s whatever.

“Sonic can't be shown getting too emotional (i.e;cry)”

This is one that it complained about because it really wouldn’t matter unless it is called attention to. A lot of superheroes don’t cry. But that doesn’t prohibit them from expressing themselves. IDW Sonic has been sad. He has been pissed. He has been furious.

Is this not too emotional?

Is he not expressing himself appropriately?

I don’t even know why this is brought up. When in this comic has Sonic not been expressive or displaying the appropriate amount of emotion? When did Sonic needing to cry be necessary?

“Game characters cannot enter in a relationship.”

Oh GOD YES. Don’t threaten me with a good time.

“All major Character Development must be approved by SEGA.”

Yeah, of course. Let me remind you that Penders and Archie ruined any strand of trust Sega could have in comic media. They played loose at first and all of the sudden, they are involved in a lawsuit about characters in a Sonic comic that they didn’t even know about. They probably lost a video game business relationship because of it. If they want to be involved in the comics, fine. That means that they are now forced to World Build. They have to invest in it now and not just be like Lucas Films and let anybody do anything with their flagship title.

“Much like the post-reboot of the Archie comic, the words "Mobius" is banned—the planet is simply called "Sonic's World". Unlike the Post-Boot, which allowed the names "Mobian" and "Mobini", anything related to Mobius is banned in this comic.”

…Of course but how about you throw the writer’s a bone and I don’t know, name the fucking planet. If it is not Earth, give it a name.

“Sonic must always win at the end. Even if he and his friends are at the losing end in an overarching story (the Metal Virus arc, for example), they must come out on top when it concludes.”

I don’t even get this rule and the knee jerk hatred for it. Why even have it? Why even share the existence of this rule? Archie Sonic didn’t really lose too bad. It’s more on how you frame a victory. The fact of the matter is that Eggman is still actively trying to conquer the planet. Sonic stops him but Eggman still has control of land and has military installations all over.

This rule is offset by this. While Sonic can’t lose, Sonic can’t completely win.

“Characters and material from other licensed properties (Sonic the Comic, Sonic the Hedgehog (Archie Comics), Adventures of Sonic the Hedgehog, Sonic the Hedgehog (SatAM)', Sonic Underground, the OVA, Sonic X and the Paramount films cannot be used. This rule extends to characters and redesigns done by the current writers. The only exception is Sticks from Sonic Boom, and that's because she was created by SEGA themselves and showed up in non-Boom media, but any ideas regarding her use still need to be okayed by SEGA.”

First off I am glad that Sticks was spared by this rule and I look forward to her eventual inclusion. Second, again, this is not much of a big deal as it was expected. Sorry Freedom Fighter fans but honestly deal.

“Male characters, sans Eggman, can't wear pants, which was also a thing in the Post-Reboot, albeit never explicitly stated. The inverse is also true; female characters have to have some form of lower clothing.”

Okay this is a pedantic rule. It is so weird with how precise it is. Like…huh?

“Classic characters such as Mighty, Ray, Nack/Fang, Bean, and Bark won't appear in non-Classic issues, as Sega doesn't want Classic and Modern Sonic to mix.”

One of the most bullshit mandates fueled by the nostalgia boner fans created. Like this is stupid because Archie Modern Sonic has added more character and depth to all of these mentioned characters than any of the Sega Sonic games they appeared in which only amounts to 1 or 2 at most. Why neuter your own potential stories with this stupid limitation?

“According to Ian Flynn, a specific incident involving Shadow's characterization when he's exposed to the Zombot infection was written in a specific way because of Sega mandating that he be written as an "overconfident asshole rival" character, similar to Vegeta. He later followed up with an explanation that out of every character, Shadow has the most mandates and notes attached to how he's portrayed. According to the podcast, Sega says that Team Dark is no longer a thing. The three members are not a team and they have never worked for G.U.N.; Shadow also doesn't even consider them friends.”

This is my opinion is the worst rule. First it’s contradictory to the character Sega introduced us to. Stop trying to be like Dragon Ball for once and actually be your own thing. It’s one thing if we are changing it because Shadow was unpopular because of his personality. But no one likes this Shadow. People miss the somber but reserved Hedgehog that continued to fight in spite of the world betraying him. Hothead Shadow is a cheap Knuckles. And I don’t even understand why Shadow even has so many mandates when he wasn’t the most egregious offender. Knuckles was.

Also, Team Dark aren’t a thing and Shadow doesn’t even consider them to be his friends. First off that doesn’t even fly in your own games. Who outside of Sonic does Shadow interact the most? Rouge. They have teamed up and were a packaged duo since their inception. When Shadow appeared, Rouge appeared right next to him. If Rouge was in a game, so was Shadow.

Team Dark or just Rouge has fought alongside Shadow in every game they appeared in. Who else does Shadow talk to if not Rouge?

“Sega has stated to Flynn that only male hedgehogs are allowed to go Super with the Chaos Emeralds.”

Except in Sonic Mania.

“Ian isn't allowed to directly reference a game, since the comic is supposed to be its own thing.”

Okay. Not only is this rule stupid. But it’s untrue.

This references the end of Sonic Forces.

The first page of comic.

It has referenced Sonic Adventure, SA2, Sonic Generations , and Sonic Unleashed.

This referencing Shadow the Hedgehog.

I don’t believe this rule exists and even if it did, it is dumbest rule since the whole point of this comic is to base it off the games more. The dumbest rule.

“Knuckles is not allowed to leave Angel Island unless he has a very good reason to.”

For decades, people have complained that Knuckles routinely leaves the island. For decades. Now does this mean Sega is going to 1. Use Knuckles and 2. Amplify the importance of Angel Island and the Master Emerald? No. Again, this criticism should be levied at Sega because they often conveniently forget Knuckles purpose and just hand wave it instead of giving Knuckles more to do on the island like I don’t know, have other entities invested in attacking him.

In summary, here is what I think is going on. Do I think most of these mandates are real? Yes. Given what happened to Archie, I do think Sega is doing some brand alignment. I think they got the clamps on.

But what I think is going on is a Japanese cultural thing called Power Harassment. It is normalized abuse of power. Sega of Japan is normally laxxed about their brands. They don’t mind blatant rip-offs of their mascot nor do they get stiff about fandom creations or mods. The comic division, however, is getting tough love because not only did it cost them a publishing deal, but ruined a relationship with a high end developer. So the IDW writers and staff are being subjected to intentionally hypocritical rules and strict mandates that they know don’t make sense until they’ve shown to be obedient.

A lot of the mandates aren’t strict. But some are so asinine that I don’t think they aren’t aware with how stupid they sound imposing those rules. Like Shadow is the most narratively complete Sonic character and yet, Sega puts this tight mandate as if Archie Shadow was the most egregious thing. Archie Shadow was overpowered. He wasn’t out of character like Sonic, Knuckles, and Tails were. They can’t be that stupid or be that intentionally dense. So they want to see if the writing crew can follow orders. That’s it.

But that’s just my take.

#idw sonic #sonic the hedgehog

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the-ice-sculpture · 3 years

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I’m really tired of seeing thinly (or not so thinly) disguised insults towards anyone who has even a few criticisms of the Loki show. These insults often come with an air of self-believed intellectual superiority and condescension. Whether it’s intended or otherwise, there are underlying implications and insinuations in common arguments I’ve seen a lot of, which basically boils down to the following:

You can’t distinguish between your own personal headcanons and reality = you'll push your own idea of what something should be onto something so much you won’t even be aware of it and you’ll be frustrated when it doesn’t meet those expectations. You don’t have enough self-awareness to tell the difference between what exists in your imagination and what exists in reality (unlike me, who doesn’t need to push any ideas about what I’d like in terms of characterisation because I personally believe the show already happens to reflect that)

You don’t understand the nuance of it = you’re not intelligent enough to think in shades of grey and varying degrees of subtlety and interpret this (the same way I do). Your thinking is shallow and your ability to analyse lacks depth. Regardless of your justification, if you think there are OOC moments, then you’re just failing to pick up on the nuance. You need someone (such as me) to hold your hand and tell you what to think and how to see (what I claim) is really there

You don’t understand how storytelling works = you can’t recognise any devices used and why they’re used. (Unlike me, you’re not clever enough to understand what the show is doing and the purpose of why it’s doing it.) If you criticise some of the execution of the storytelling methods the show has adopted then it can only be from a lack of understanding on your end and nothing else

You just want the show to be like fanfiction = you’re incapable of wanting different things from fanfiction and canon and you don’t have the intelligence to recognise this. (I know this because I can recognise this and ‘diagnose’ it in other people)

Loki’s obviously acting to trick the TVA/people into underestimating him = it’s idiotic not to interpret this theory that’s currently unconfirmed in canon as of S01E03 the same as me. If you have doubts then you’re incapable of picking up on the clues that (I personally believe) are there

You’re determined to not like the show. You want to tear it apart = all of your opinions and arguments can and should be rendered invalid regardless of your justification. If you don’t like certain aspects then it’s because you never gave the show a fair go to begin with. Therefore, you’re narrowminded and it’s your own fault if you don’t like it/elements of it because you never wanted to like it in the first place. You want to be miserable

You’re all the same = you can’t think for yourself. Each one of you can be generalised to one hivemind-like entity with no variance in opinions or your justification of them and you’ll blindly follow each other without any critical thought. If you express criticism, you’re now an anti. It’s black and white: either you’re completely pro-show or anti-show and there’s no room for anything in between

You’re stuck in the past = if you’re not completely onboard with any tonal and character changes you find jarring then you’re incapable of accepting change. You just want something unimaginative and uncreative and boring (which I might imply reflects your personality)

It’s not until now that Loki’s finally shown in character = people who thought he was in character in previous movies are wrong and aren’t real fans if they don’t accept this. There’s no room for extrapolation from previous movies, and if you do that then you’re just using your own headcanons so you must be wrong about any perceived changes in his character. (But if I extrapolate from previous movies to justify some of the show’s choices with his characterisation, then that’s completely fine)

You’re making your mind up before the whole show is even released = you can’t have any opinions about the show so far until you’ve seen all the episodes. (Unless, like me, you’re happy with the show)

If you’re reading this and are agreeing with the takes on anyone who expresses so much as a few criticisms, then please read the rest of this post.

I want to emphasise that it’s only a fraction and far from all people who like the show who I’ve seen these kind of takes from, and I have nothing against people enjoying the show. It’s only when I see stuff like the claims listed above that I become frustrated.

People will have different takes and interpretations, it’s only natural. No one can call an interpretation of a character and/or how they’re presented objectively wrong or objectively right. But that doesn’t mean it’s acceptable for anyone to resort to insulting others (whether blatantly or through implication) who have opinions that differ to their own.

Just as a thought experiment, let’s try this the other way around, shall we? Let’s imagine that some of the people who aren’t enjoying aspects of the show start spreading posts about the people enjoying it. If this was to occur, there’d probably be posts about how anyone who thinks he’s in character will blindly go along with whatever show creators tell them, that they (the fans of the show) must have never understood the depth of Loki to begin with so they can’t be real fans, that they’re so determined to enjoy the show that they’ll twist the narrative to suit their own needs and desperately invent reasons to accept it...

I could think of more but I’m going to stop here because, ultimately, it’s not nice, is it? It comes across as a super shitty thing to do for a reason: it is super shitty.

I hope it goes without saying that I'm not claiming the examples I made up are true. No one should be claiming anything like the things I invented for my thought experiment are true in public, no matter where on the spectrum of opinions on the show they sit. It’s rude and insulting and would contribute greatly towards further fandom division and a toxic environment filled with feelings of hostility over something fictional to begin with.

No one is intellectually superior for their opinions on a TV show. People can and should feel however they feel about the show. In an ideal world, they should be able to express that without any harassment or being treated in a derogatory manner or made to feel like they have no place in fandom. This goes for negative opinions and positive opinions and anything in between.

I just really wish people would keep their opinions restricted to the content of the show itself rather than reactions to it sometimes for reasons like this. If groups of people can’t do it without feeling the need to make it out like they’re intellectually superior and anyone who expresses opinions that differ to theirs must be stupid then maybe they shouldn’t be doing it at all. Especially when the overwhelming majority of the more critical people go out of their way to tag their stuff so more positive people can avoid it if it gets them down. More critical people don’t have to do it, but the vast majority of the time they do it as a curtesy. It’d be nice if that curtesy wasn’t repaid by being so disrespected.

And please, before piling on someone’s post about how they’re just lacking a nuanced understanding or are applying their own headcanons, maybe consider that your own interpretation of someone’s opinion could be doing precisely the same thing.

One final thing I’m adding as a preventative measure: if your response to reading this is something along the lines of going ‘but some people really can’t distinguish their headcanons from reality!’ then you’ve really missed the point. The point of this post isn’t to debate whether or not every claim is valid (that would have to be a case by case analysis, and it would be so open to interpretation that you could never reach a definitive conclusion anyway, so it’d be pointless). The point is that it’s incredibly rude to publicly insult someone’s intelligence and make up a bunch of condescending assumptions about them based on their opinions. If you’re treating someone or a group of people in real life like that (and yes, if they’re from the internet then they’re still real people) then you’re doing something far worse than the people I’ve seen branded as toxic people for expressing criticisms of fiction.

*For the record, I’m not saying that anyone with criticisms has never said something along the lines of my thought experiment examples. I haven’t seen any of that myself, but I’m not all knowing. I’m just reflecting on what I have seen, and the vast majority of it has come from a fraction of people without (or with far fewer) criticisms of the show. But it’s irrelevant who it comes from, because my point remains the same: it’s shitty regardless of who says it

#loki series #my posts #fandom wank #I may regret posting this

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montagnarde1793 · 4 years

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Ribbons of Scarlet: A predictably terrible novel on the French Revolution (part 2)

In case you were wondering, that’s not actually the novel’s subtitle, which is really “A Novel of the French Revolution’s Women.” But like, only the famous ones. Ok, I’m done. Moving on...

Parts 1, 3, 4 and 5.

Structural Issues

While the choice of characters was a red flag for me (and not in a good way), choosing to structure the book the way they did was a mistake.

This is true for a number of reasons. (I’m sorry, btw, for all the comparisons to Marge Piercy’s novel, but the shared conceit kind of made it inevitable.) Piercy’s characters also only got an average of 80 pages each (though as the typeset was denser, they arguably had a little bit more space), but since the POVs were interspersed, they played off each other much more naturally and allowed the characters the time to develop. Even there it could feel underdeveloped, but here it seems like they’re rushing the undeserved character development so they have some kind of complete arc for each character before the next part starts.

Some chapters are clumsier at this than others. The absolute worst is Pauline Léon’s, which is unsurprising for a number of reasons, but notably because she has the fewest pages of anyone except Charlotte Corday, who doesn’t really get an arc: she shows up in the plot already wanting to assassinate Marat; she succeeds; she doesn’t regret her decision; she’s tried and executed. That’s it.

This choice also means that the main strength of this type of anthology goes largely untapped: namely, that we get different POVs on the same events. Since each protagonist is associated with a different period in time, we can only ever get their point of view on previous events through awkward flashbacks.

It probably also accounts for one of the worst, most artificial and amateurish aspects of the book: the way in any given section the other six point of view characters are shoehorned into the narrative, whether it makes any sense or not. The protagonists of the different sections have to have some (highly improbable) relationship with one another or be reflecting on each other’s lives in the most ham-fisted, author-soapbox way possible. We’ll circle back to that last part in a bit.

Possibly the most ludicrous example of this is Manon Roland’s inexplicable decision to take a random trip to Caen in mid to late August 1792 just so the author can have her run into Charlotte Corday. Like, do I even need to explain how little sense this makes? Apparently so. Look, first of all, going from Paris to Caen was not a trivial trip in the 18th century. Today you could make a day-trip of it and not be missed. It’s about 2 hours each way in the TGV. But in the 18th century, you’re looking at more like 2 days each way, minimum. Not the sort of trip you tend to make without an ostensible reason. Does Manon Roland have one, even as written? No, she does not. She’s going to Caen to flee the temptation of François Buzot’s advances. Which, ok, internal motivation for leaving Paris, but they don’t bother to give her a pretext. How is she going to explain to her husband her random absence of at least 4 days (not to mention the expense)? And why Caen (other than the external reason of the author’s wanting her to come across Corday)? She has no connections there. Does the author even know that the main person Manon Roland knows from the region is Buzot and that it’s therefore the last place she should flee to stop thinking about him? And she’s supposed to be a savvy politician: does she not care about the optics, as the interim Minister of the Interior’s wife, of fleeing in the opposite direction as the Austro-Prussian troops are advancing on Paris?

And I know what you’re thinking: I’m overthinking this. This wasn’t a book designed for specialists. But I think a reader can tell when a world they’re reading about doesn’t feel fully fleshed-out. In that sense, it’s less about accuracy than it is about how flat and artificial a reading experience it makes for. One of the most valuable things I was taught in school was that when making a presentation, you should always know more than you intend to say. I think the same goes for fiction: you should know more about the setting and the characters than appears on the page. In this book I consistently have the impression that the authors know less.

Moreover, the authors claim to have been striving for maximum consolidation of characters in order to reduce confusion, but it ends up coming across as both artificial and condescending. Trust your readers to be smart enough to work through their confusion. Otherwise you make it feel like there were a total of about 20 people in Paris during the Revolution, which, again, makes the setting feel completely artificial.

While I’m not sure anything but better research and writing could have salvaged it, this book would have already been 1000% better if the characters met or thought about each other only when it would actually make sense for them to do so and the narratives were interwoven.

The Authors are Desperate to Make Sure You Feel the Way They Want You to about Key Figures. They Also Think You’re Stupid

Don’t get me wrong. I’m not accusing them of supposing their readers to be ignorant about the French Revolution. You should always assume your reader to be ignorant of what you’re going to tell them. Ignorant, but intelligent. That’s the key. The problem is that the authors don’t trust their audience.

So we also get characters doing things like giving you a who’s who of the most famous (and only the most famous) authors, artists and activists of the time whether it makes sense for them to do so or not, like this is a textbook and we’ve got to make sure the reader is informed of the existence of all these figures (or maybe give them the chance to pat themselves on the back if they’ve already heard of some of them).

Or my least favorite French Revolution trope: having Robespierre ominously show up in 1789 to start plotting the “Terror” (here they have him spouting the apocryphal* quote “pity is treason” to an audience of Sophie de Grouchy, Condorcet and the Sainte-Amaranthe family sometime in May or June 1789) (p. 89).

*Presumably, it’s a corruption of declarations such as the one in his 5 November 1789 response to Louvet’s denunciation that “La sensibilité qui gémit presque exclusivement pour les ennemis de la liberté m’est suspecte.” (“I find the sensitivity that groans almost exclusively for the enemies of liberty suspect.”) or the one in his second speech on the judgment of Louis XVI of 28 December 1792: “la sensibilité qui sacrifie l’innocence au crime est une sensibilité cruelle ; la clémence qui compose avec la tyrannie est barbare” (“sensitivity that sacrifices innocence to crime is a cruel sensivity; clemency that compromises with tyranny is barbaric”).

Again, we see the same need for oversimplification. Robespierre is, as one of the authors’ notes puts it, one of the “dangerous men” (back matter, p. 18) that should have been prevented from ever having power so he’s not allowed to ever do or say anything sympathetic. (And yeah, I know, death of the author and all that, I shouldn’t count the authors’ notes, but they really only serve as explicit confirmation of what could be pretty transparently inferred from the text and this way no one can accuse me of reading things into it that aren’t there.)

Because of this, even real quotes are cited out of context to the same end: when Robespierre says “pity is treason” in 1789, Condorcet says his bit from the Chronique de Paris article from April 1792 to his wife — you know the one, about Robespierre’s being admired by women because he’s basically a cult leader (p. 90). There’s no reason to think Condorcet had any particular enmity toward Robespierre (or even that Robespierre would have been on his radar) just after the opening of the Estates-General, though certainly, contrary to what is portrayed here, Condorcet was not a democrat in 1789 and Robespierre was. But again, historical figures we’re not supposed to like must be set up early and often as stock villains — otherwise you run the risk of your readers thinking for themselves, I guess. Also the Chronique de Paris quote (which is from an unsigned article generally attributed to Condorcet) is pretty damn misogynistic, which given the book’s stated main theme, you would think would be addressed in some way, but nope!

Conversely, figures the authors like are liked by the characters — or they are at least forced to begrudgingly recognize their merit — whether it makes sense or not. One of the things Manon Roland is made to number among the things going “wrong” in August 1792 is “the hero Lafayette[’s being] forced into exile” (p. 261) and while it is the author of a different section who is a self-proclaimed La Fayette stan (thanks to Hamilton, of all things…) I think it’s fair to say from his portrayal in all the sections that we’re meant to admire him. But here’s the thing. I don’t really care what you think about La Fayette. That’s not the question. To Manon Roland in August 1792, La Fayette was a traitor who attempted to march his army against the Legislative Assembly and all her friends and allies in said Assembly voted to indict him. If you’re writing from her point of view, it should reflect that.

Likewise, they have Pauline Léon describe Olympe de Gouges like this in July of 1793: “A defender of women, of slaves, I wish I could have admired her, but having aligned herself to my enemies, I could look at her no other way.” (p. 353). Olympe de Gouges is far better known now than she ever was in her lifetime, so making sure every character has an opinion on her is, once again, pretty artificial, but even assuming Pauline Léon had heard of her, Olympe de Gouges’s brand of feminism was an elitist one that excluded women like Pauline Léon and her abolitionism went out the window when the slaves actually started to rise up, so Pauline Léon actually would have had reason to dislike her beyond the logic of ‘you’re with me or you’re my enemy’ (there is a quote where she’s made to think precisely that, but I can’t seem to find it now — or maybe it was Reine Audu; they’re characterized pretty similarly in that respect). Likewise, Pauline Léon is made to disapprove of Condorcet or the Rolands because they don’t “[get] things done,” not because of any actual ideological disagreement (p. 349).

Probably the worst bit of condescension comes once again from Manon Roland’s section, where she tells a fellow spectator in the gallery of the Convention, “‘Don’t bother trying to tell the different assemblies and conventions apart,’” which is pretty transparently just the authors directly talking (down) to the reader rather than a conversation people who were living through events (and invested enough to be attending the Convention) would plausibly have had.

If it sounds like I’m being particularly harsh on the Manon Roland section, btw, I actually think it’s one of the less poorly done, at least in terms of rendering an historical figure’s mentality, most likely because unlike for some of the other figures, we have her memoirs and correspondence. It helps that the figures she’s supposed to hate line up with the figures the authors want us to hate as well. She saw herself as a reasonable republican and her Montagnard enemies as demagogues and that’s also clearly the authors’ assessment of the situation, so there’s less of the strange cognitive dissonance you get in some of the other chapters where even what is supposedly characters’ own POV frames them as wrong.

Stay tuned for style issues and reflections on what it means to “write what you want to know”!

#en anglais #French Revolution #Révolution française

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matoitech · 3 years

Note

galo =] if u already got him then ed elric

i will do both! :3

galo

First impression

ok well first impression i saw him in a gifset like early 2019 maybe?? made from one of the trailers and i was like that character design is fun! i did not yet know who he was <3 but like first time i actually watched promare i just LOVED him. and it has not changed! i expected lio to be my favorite from trailers bc vaguely kurapika vibes and that was like, the 2 weeks in september 2019 that promare was KICKING on tumblr so everyone was comparing him to kurapika. ANYWAY THIS ISNT ABOUT LIO I LOVED GALO A LOT FROM THE 1ST TIME I WATCHED IT

Impression now

my love has only grown <3 like i generally have a character in something that i zero in on and decide is my favorite but galo is like literally my favorite character ever i adore him. hes a great character! still underrated (though lio deserves all the love he gets <3) i could talk about him for hours and i mean. technically i have if you count how much time ive spent writing about promare.

Favorite moment

oh man what to even pick. i love when he gives a powerpoint presentation in the middle of a fight

Idea for a story

someday im gonna write the anthrocon medic galo x fursuiter lio who passes out from heat exhaustion au

Unpopular opinion

i think most of my opinions about galo are unpopular opinions. that hes not stupid? thats a big one

Favorite relationship

him and lio :) that everything about the movie is set up to constantly remind you they are gay and falling in love is a fantastic experience i will never get over

Favorite headcanon

i mean i would say trans galo but thats canon

---

ed elric

First impression

im pretty sure i liked him a lot from the beginning but i dont remember very well? he was def one of my fave chars when i was an fma blog bc i wrote a lot of meta about him and had him as my icon lol. hes the only character i think looks ok w that hairstyle. the bangs? not sure what that part of the hair is called

Impression now

id need to rewatch fma but i like him hes a really good well written character!

Favorite moment

;-; man this is rly reminding me i need to rewatch. a lot of scenes i can think of r 03 scenes but theyre not His moments as much as i just think theyre narratively rly smart

Idea for a story

sometimes i think about revisiting service dog au...

Unpopular opinion

oh man i dont know.. that 03 ed is a good character? 03 ed and BH ed both start from the manga and BH stays on track w the manga mostly but 03 ed deviates a lot and i dont agree w ppl saying that that makes him a ‘worse’ character than manga/BH ed inherently. taking his character in a dif direction subtly at first but making that gap wider the further the story goes to ultimately get to a dif place is cool! i like that 03 really did its own thing i respect that. i like that 03 ed rly did start out at the same place but his experiences were different than manga ed so he had to make different choices and his character changed from that.

also he shouldve stayed short but thats probably not. unpopular idk

Favorite relationship

him and alphonse make me cry i love good sibling relationships

Favorite headcanon

i feel like yall know im gonna say Autism. its kind of my brand

#THANK YOU!!#cownanami #fess replies #long post

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alittlefrenchtree · 4 years

Note

I agree with you about their coming out but I also think why would their restrictive, heteronormative PR teams ever encourage either to be in an lgbt romance movie to begin with then? Like one sure fire way to have people assuming they’re not straight is to have them (very convincingly) play same sex lovers. And sure maybe because Tim was unknown it was different for him then but Armie had been famous/in Hollywood for over a decade when CMBYN came along. It’s not even the first lgbt character Armie has played. He would know there was a chance of sparking such rumours yet he said he recieved no warnings about taking on the role. I don’t know.

Sorry for letting your ask sit in my inbox for a couple of days. I was working, then out, then working again, then procrastinating but here I am now 😁

First of all, I can’t be comfortable in this ask without mentioning that I’m uncomfortable with the mention of a coming-out in this specific case without attaching any notion of hypothesis or theory to it. I’m very not for attributing a coming-out or a future coming out to anyone who potentially would never need one, or who will but isn’t ready to do it yet for whatever reasons that are 100% valid, not matter what they are. It’s nothing against you, Nonny, it just something really important for me to specify, especially on my blog.

That being said. Lots of things to unpack in your message.

I think one important thing to say is that being rumored as queer and being out are two very different things. In a marketing/business perspective, being rumored as + having a straight official narrative is, to simplify, like you can have the cake and you can eat it. Lgbtqi+ is a market. You only need to look at how many brands from the most cheap and random ones all the way through the priciest ones — many, many of them have developed collections that are pride-related or rainbow-related or anything that has been a symbol of the lgbtqi+ community-related. So reaching and touch that part of the market can be a goal/something at stake and something you can (partially) achieve when you’re linked in some ways to a community. Except since you’re straight, or supposed to be, you don’t get discriminated like someone who is out can be and is.

In the past, it was probably more difficult or tricky (for their career) for an actor to be attached to a lgbtqi+ movie than it is now. Which is, in a way, the hypocrisy of Hollywood and the world right now, in a sense than playing a queer person is way more accepted (if not awarded) than being an actual one.

It’s probably important to remember that CMBYN has become something way (waaaaaaay) bigger than what it was supposed to be. A queer and somehow European with a ridiculously low budget and Armie Hammer as the star billing isn’t supposed to become a pop culture reference or a cult movie or anything that generates 235K likes on a random comment between former co-stars three freaking years later. I don’t think anyone in any team could have predict that any ‘star (would) become an actor’ or than ‘any star would be born’ with it. So it’s not that like they really (or fully) knew the movie would have such a huge impact on their image on the long term.

So like you said, for Timmy that what mostly about getting a) a job, b) a lead role with real substance in it. I think it wasn’t really about seeking fame, but about getting himself out there. There’s something about the job of actor that is quite specific to them, is that they can work if nobody is thinking about them. The more you’re present in casting people and directors and studios people’s minds, the more they can think of calling you for something.

For Armie… Well it’s as we said before. Being rumored/assumed as queer when you have a very strong straight narrative isn’t that risky career wise, I guess. And having been married for several years to a woman with a kid (and then a pregnant wife)… You can’t really do more straight than that in a… public image limited perspective way. Even if it’s stupid since you can be a man in love and married to a woman and have children and still be bi, pan or whatever the fuck you want. Or straight. If you’re boring that way 😉

@ everyone: Please remember that I’m not talking about Armie and Timmy’s goals here, nor that I’m implying that everything they did was queer-bait, when I’m talking about reaching a market or what a career choice can do to their image. We’re talking about the questions handled by the people around them (on their team or on the movies they’re working on’s teams) because that exactly their job to do so.

So, yeah. Here are my thoughts on what you said. Of course I’m not an expert, nor that I am on either of their team so that just what they are: my thoughts. But I hope they help you somehow, or give you food for yours, at least. Thank you for stopping by and sharing with me 😘

#alft asks

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lizzybeth1986 · 4 years

Text

Quick Thoughts on The White People Waambulance, Chapters 18 and 19

• Sorry this QT is coming out so late, guys. I regret to say my heart wasn't really in this one...and it hasn't been with regards to my QTs for a while. This one might be my last, unless we count me finishing them off for the (not rewritten) Book 1. It's been two years since I began, and the last two books made the process honestly really exhausting.

• I clubbed the two finale chapters together because I really couldn't be bothered to do separate ones for both.

• In fact...I won't be doing any of what I have been doing for my QTs so far. I'll be honest to you: I usually do multiple replays, the last few in tandem with the other routes on YouTube. I go through the scenes one by one. I keep note of differences and variations and carefully choose screenshots that will reflect the gist of the scenes.

But I couldn't be bothered to do any of that this time. I pressed the "continue" and then the "end book" buttons as soon as I finished my first run of those chapters. I'm drained, guys. And I don't think I'll be coming back to the TRH series at least, not even for Liam or Hana or Kiara. Maybe my mind will change by the time the second book comes out (update from present-day Lizzy: no it didn't) but I'm not counting on it. And you'll probably know why by the time this QT ends.

• TW: Discussions on racism, both fandom racism and from within the narrative. The last section of this QT is going to be...pretty heavy, guys.

There's also going to be a lot of anti-Drake, anti-Olivia, anti-Madeleine and anti-Penelope content here, so if you like any of those characters...well, you've been warned.

The ensuing post is going to be LONG, and I know a lot of you have good reasons not to deal with long posts, so here's a tldr:

1. The TRR writing team stick to their weird obsession for jobless whiny white men.

2. Read this book once and you'll feel like you're drowning in an ocean of white tears.

3. WOC continue to get scraps from the writing team, even as they boast of being diverse and inclusive. In fact, they're regularly treated as mere tokens, exotic eye-candy or non-entities, while their behaviour is measured on standards that are very different from their white counterparts (this happens in other books as well).

...okay I wasn't expecting for the tldr to be long too 😅

• Me @ my QTs then:

Me @ my QTs now:

• I'll probably be finishing off my TRR Book 1 QT series when I'm a little less burnt out, but for now this is where it ends, I guess.

• So...here is to summarize the last two chapters: Accident happens. LIs mad. Paparazzi sad (but largely get away scot-free). MC and baby safe. At the Council meeting Kiara slam dunks the murderer of Liam's mother with the style and elegance this fandom still refuses to acknowledge her for. The MC is nice to her for like half a second. Last Apple Ball. New clothes for everyone as if they had a Diwali bumper sale the week before or something. Godfrey is somehow responsible for the security (who thought this was a good idea) and seeing the Auvernese Royal Guard outside our doors is SO not-creepy.

We get to see if we impressed our Auvernese and Monterriso allies enough. Bradshaw compliments Kiara for like half a second. Olivia sees the dude from the Q&A session (Jin) at the Ball and (if you pay) you get to see her catch, interrogate and lowkey flirt with him.

Leona and Bianca make it to the ball (where is Bartie Sr. Where are Xinghai and Lorelei. Where is Regina) and this time the narrative makes sure to shoehorn a plot element into their presence here: Leona is there so we can do something about the reveal that she constantly ratted us out to the press for money. ("oh look! Walker Ranch was plot related after all! We have a reason (albeit a flimsy, paper-thin one) to set 9 whole chapters in Texas. Even though we had to literally come up with this bit in the last minute, because really - all we wanted to do as a writing team was nut collectively over Drake Walker")

(I also can't believe that between the time I wrote this line and the time this QT finally came out - they literally found a way to re-fucking-write Book 1 so they could nut collectively over Drake Walker earlier)

• Why were we required to dress down in Texas for these assholes when they couldn't even bother to dig up their Sunday best for this ball??? Oh right, they're Walkers. Hypocrisy runs in the family.

• Good thing is you can choose to banish Leona if you want. She's angry about it for a second then accepts it and leaves. But like what is the point of banishing her when she hardly even bothers to come there in the first place? She's not going to be bawling her eyeballs out saying "boohoo, they threw me out of this country that I spent like five minutes in and never even wanted to visit in the first place".

• Bianca is present at the end of Chapter 18 mainly to deliver to us a plot point at the very last minute: a clue about where we could find proof about Queen Eleanor's murder. Bianca mentions conversations Jackson had with her, and a secret room somewhere. Her leaving the palace and abandoning her children is addressed, and the MC gets to berate her. It's...short.

• Why this important piece of information was given to Bianca when idk LEO could have pitched in and spoken about it, no one knows. Oh wait. I keep forgetting. Bianca is Drake's mother. That's why.

• Okay so Amalas valiantly found out about Leona's involvement in this and gave us tangible proof via photographs. But we're kiiiinda forgetting that the scrutiny and privacy invasions were happening even before we hauled ass to Walker Ranch? Who was responsible for those? Who was the "source" that the Chapter 17 paparazzo was referring to, the one that mentioned they would triple the price for more photos of the Queen/Mother of the Heir (Coz like why would she do that. She's already broke)? How did Amalas come by this information so easily and why was she really that invested? Why is no one asking these questions? Why isn't the group asking these questions? Why are they stupid. Jesus, they're all so stupid. HOW ARE YOU SO STUPID, SQUAD.

• Shortly after they get rid of Leona and Bianca, the rest of the group give the happy couple a choice of toys for the nursery - and that's our final nursery purchase. You can either go for the corgi - which is on brand for the series by now I think - or the lion, which is seen as very Cordonian.

• More party shenanigans. We're nice to Kiara for another half-second. Kiara arranges a photoshoot for us. The team can't pretend to give a fuck anymore about its fans so they will ask us to pay for an edit that I've seen millions of edit-creators in the fandom do wayyyy better. Like let's be honest - compare the engagement shoot pics (messy as they were) to the shoots we eventually got this book. You can see the difference. You can tell which one required more work.

• Anyway, if you choose this scene you wind up going back to the ballroom, dance with your spouse, aaaaand it's time for another diamond option. This time your spouse gives you something you've been craving (mousse parfait for the Liam MC, chocolate chip cookies for the Hana MC, handmade chocolates for the Maxwell MC and a choice between bacon and a veg version of it for the Drake MC. Damn, team TRR. Your favouritism is showing). The couple also writes a letter to the baby that the child can read growing up, in a bit of a parallel to Eleanor's letter to Liam that we see at the end of the chapter.

• After this, Liam reveals he has been pondering over what Bianca said, and wants to find out where they could find that secret room. Cue Liam's own flashback scene for free. Godfrey bringing to Queen the same goblet that the RoE MC found in a flea market in Book 2 for Regina (or perhaps just a similarish one). Liam and Eleanor reciting a rhyme that turns out to have clues for the secret room.

• To give the team credit, they seem to have (finally) put some thought into this. Like this actually feels like Liam's scene. Not one that delivers information about his family but is really about another character. They seem to incorporate all the things Eleanor seemed to be known for - things that were hardly addressed in the books when it came to talk of her. She is shown with a love for books given that books and poetry form an important part of the clues she leaves for Liam. One of the books is about foraging, which is unsurprising considering her love for gardens that was established in Book 1 of TRR.

• So...like...nice job but why was practically everything about Eleanor (including the way she'd stand up to Constantine, her displeasure at the sound of Godfrey and Bartie's names, her nature that Liam not only inherited but also learned) left only for your finale? Why no buildup? Why was I seeing you lot constantly pandering to Drake's family the entire time? Why do I know way, way more about Jackson than I do about Eleanor whose story this WAS? Why is she and her son suddenly getting this burst of attention at the tail end??

• They still manage to push young!Drake into a scene focusing on Liam and Eleanor, so we can see how Eleanor's teaching of how to be a responsible royal began to make inroads into Liam's way of thinking. It's the ultimate irony, that Liam took his mother's advice so much to heart that he lets Drake stay in his home, eat his food, and complain about those dastardly nobles to his heart's content for free.

Poor Eleanor in her grave is like

• Very fitting, how Constantine's proposal to Eleanor happens in the hedge maze, very much like Liam's first declaration of love in Book 1.

• If you're married to Liam, you get an extra letter that's addressed to Liam's future wife. She clearly knew her days were to be numbered by the time she gave birth to that second child at least.

• Lmao @ how the team somehow managed to remember that Eleanor would have been Leo's stepmother too. He's mentioned a couple of times. They didn't have enough time to develop a sprite for young!Leo but somehow had all the time and resources to make one for young!Savannah who had literally no purpose in Drake's flashback scene? Hmm. Hmm.

• They somehow manage to find the twin to the RoE MC's gifted goblet that Godfrey gave Eleanor the night she died, and Liam reveals that he's been obsessed with poisons enough to know that it wasn't the drink that was poisoned, it was the cup itself. Everyone is shook.

• Love that extra little detail about Liam's obsession with learning about poisons and how it's a sign of how deeply Eleanor's death affected him. But tell me honestly if you remember this plot point coming up even once before in any significant way. Even during the one time a person is poisoned in the previous book (by the laws of karma, the victim in this instance is Godfrey's only daughter) Liam shows very few signs of this "obsession". At a time when he has also lost a father. Convenient how something that could have added more depth to Liam is kept aside until there's a scene where his knowledge is required. Convenient indeed.

• I kind of understand why Liam acts on impulse, okay. The man just discovered who murdered his mum, at least some amount of irrationality is allowed (esp considering he hardly got to express ANYTHING when his goddamn father died). But you'd think Liam's friends would hold him back and help him think this through? Convince him that there are more effective ways to confront and get a confession out of Godfrey who after is in charge of security at the moment? You seriously think charging into the ballroom and suddenly stripping this man of his titles is going to actually work??? You couldn't figure out how to make him vulnerable instead so that he wouldn't be able to escape???

• I mean like, sure, one could always rationalize it all as "well see Lizzy, they needed a dramatic end to this story and they needed to wrap this mystery up quick". But there were other ways they could have spread it out than make it all sound so...so random. And you bet we all know why the narrative had to scramble around last minute to solve this. It's because we spend half the damn book in a dilapidated ranch with a shit family!

• Anyway, Godfrey escapes...and the MC tells her spouse that she's going into labour after...two contractions? Um. Okay.

• So. That ends Book 1 of this new series. And with it my QTs, for this series at least. My QTs for Book 1 (the OG, not the rewrite) might continue, but I'd need to repeat my failplay again because I lost most of those screenshots 😭

General Thoughts on the Book:

• So far, this is what I can see as happening in the next book:

- The birth, obviously

- Any extra perks from our purchases (ie. the nursery and the garden)

- Subplots involving the LIs' conflicts regarding parenthood and their own childhoods

- The mystery behind Eleanor's death isn't quite over yet, nor is the truth behind the constant paparazzi presence in TRH. Leona was the scapegoat this time around, but how did Amalas get all this information so quickly?

- Where is Eleanor's other child? Olivia's investigations may or may not lead to that answer. I'm pretty sure Jin might be involved as well.

- Another possibility is that Madeleine may give us important information since she was potentially aware that Eleanor was pregnant at the time.

- The mystery behind Jackson's death and what he knew regarding Eleanor's condition.

- What part did Bartie Sr have to play in all this? How involved was Constantine in the murder (if in fact he was)? What more dark secrets will we learn about Constantine, Godfrey and Bartie Sr during this time? What ultimately caused the breakdown in Constantine and Jackson's relationship, since Drake mentions Jackson being around when Regina was Queen as well?

- Speaking of Regina, how involved was she in any of this? We know she was Godfrey's cousin-in-law and Bartie Sr made a comment on her during the announcement about the heir, and that she married Constantine a couple years after Eleanor's death, but was she aware of any of this or was she largely out of the major plot and brought in later to cement Godfrey's position and power?

- I'd mention the possibility that Lorelai could know something, but they didn't really give anyone connected to Hana any time at all, so I have my doubts.

- Operation Swan, and possibly a visit to Monterisso. Liam's younger sibling must be in one of these places but my guess is on Monterisso.

- I'm guessing the team will write a nice wedding for Penelope and Ezekiel next book, while Kiara continues to get scraps from the same team.

- Drake and Olivia will continue to eat into the plot. Madeleine will join this unholy trinity as well because they've set the stage for her to have plenty of angst.

With that over, these were my thoughts once this book was finished:

WHERE ARE THE DUCHESSES?

Remember how, back in Book 3, we all marvelled at the number of women in this country who were in positions of power? Adeleide and Emmeline were powerful duchesses while their husbands were secondary figures, and Joelle though married into a noble family is an influential artist and - according to Liam - the embodiment of King Fabian's values. It seemed like, despite the underlying sexism and racism in the story, women were at least at the forefront of Cordonian politics.

This is virtually gone in TRH1. Godfrey (who wasn't even interested in Krona in the first place, much less Cordonia) and Landon (whose only concern seemed to be Penelope, leaving Emmeline to manage the duchy) have a seat in the Council. In fact we never even see either of these woman in the book. I can maybe understand the logic behind not appointing Adeleide, but the fact that Emmeline is passed over for her far-less -qualified husband is a mystery to me!

Also, has anyone noticed how white-male-centered the whole Eleanor story is? Notice how we never see Eleanor's friends, besides Jackson? We never see any of the courtly ladies of that era? She's the Queen. She'd have her own court. I find it impossible that Eleanor would have no interactions of importance among her own goddamned court, that Joelle, Emmeline or Adeleide wouldn't even be mentioned in her story thus far. It's fascinating that forget being part of her story - these women are largely forgotten in the book itself.

(Note: It's also important to add that none of Kiara's family - besides Zeke - makes an appearance this book. At all. One member of Penelope's family and one member of Madeleine's family is in the council, but we never really see or hear anything from Kiara's, even though Hakim was Constantine's old friend and Joelle could have easily been connected to Eleanor, given that Eleanor was exactly the kind of ruler Joelle would have loved and respected.

While we're on that subject, Lorelai could have been connected to Eleanor as well - considering that we know next to nothing about her years in Shanghai. There were ways Hana's story could have been tied into the overall plot as well that were largely ignored. The fact that both the main and secondary WOCs presented opportunities for better plot and story, and despite that they were largely ignored in the books...I think that says a lot. But I will get into more of that in detail in a different section).

LI SPACE AND STORY

• Now...as we all know, The TRR/TRH series is primarily a romance-focused book first, with an underlying plot about royalty and politics. So it makes sense to evaluate the book based on what it gives its love interests. That includes the number of scenes they get, and the kind of focus their story is given. So...here's the rundown of how that goes in TRH Book 1:

Liam: Overall, not too bad. He gets one individual scene, a free and paywalled childhood scene (though the free one is essential for the group's realization of who killed Eleanor). The letter his mother writes to Liam includes an extra section towards the end, meant for the MC who marries him. However, we must note that a lot of this "attention" was thrust into the very final chapter of this book, and 99% of the same book didn't exactly make an attempt to explore his inner thoughts on anything - his mother's death, the dealings with the foreign countries, his political activities. Eleanor being pregnant came from a scene that made Olivia the center of attention, the MC had the opportunity to ask him how he was feeling only once or twice, and most of the time the narrative relegated it all to "the matter is still being investigated". It's a slight improvement from the absolute lack of concern the MC and the narrative showed about Liam's emotional state post his father's death in Book 3, but not much.

Variations wise, the team did step up on the basic ones for most of the LIs, so clearly we've moved past the days of seeing cut-paste scenes and the likes of Liam and Hana saying "I'm so dumb in love with you". However, in playthroughs where the MC is Liam's wife and Queen of Cordonia, her lack of genuine concern for her country and lack of curiosity about the place she's ruling, sticks out like a sore thumb. The fandom loves to highlight how the plot is "written for Liam" or is "easier in Liam's playthrough", but besides his own child being the heir, nothing else from Book 3 onwards seems like it was particularly written with him in mind.

Drake: Hoo boy. So 2019 was clearly the year that many people didn't believe me about Drake eating up space, and the year they had to eat their words because in TRH it was too obvious to be ignored. On an overall scale you cannot avoid the extra perks even his LI scenes got - his Valtoria scene in Chapter 4 was longer, set in a different place and he was allowed to expand on his decision to say yes to Liam's request in a way Hana and Maxwell never were. We learned way more about his familial relationships and dynamics than all the LIs combined. His childhood scene was the first to be given variants depending on whether the MC was his wife or not. His sister's wedding takes up almost half the book, leaving little to no space for either the intrigue, or even the pregnancy that was supposed to be THE most important part of the book.

An insane amount of retconning was done to emphasize strongly on the "marshmallow" part of his personality, having him state time and again that for the MC he can even "sport a tutu if you said you had a thing for the Sugar Fairy". Part of these changes could be attributed to the backlash the team got for having him call a pink cake "girly".

There is a strong possibility that Jackson might be explored further in the second book, and it's no surprise considering that he's the one parent that is most talked about in the series. The book looks like it was truly written with Drake in mind, with a heavy dose of Olivia, and everyone else was added as a bit of an afterthought.

Maxwell: Pretty awful treatment for a character that the head writer of the team claims to like. He has no individual character scenes, and one childhood scene where his older brother Bertrand is given more focus. Ironically, Maxwell was more wary of Bartie Sr in TRR Book 2 than Bertrand was, but somehow they changed this little detail so that Maxwell could be written out of his own story.

His LI scenes were also not given much effort - some were badly written, and some scenes (like the free ones) showed little to no variations between the friendly and romantic playthroughs. One that comes to mind is the baby announcement photoshoot, which was so poorly done it added nothing of value to the character or the relationship.

Like the last book, Maxwell isn't allowed much development in TRH1, and he's still forced into a largely "court jester" role in the story. This reflects very poorly on him in certain situations, such as the chapter where we finally get glimpses of his book. The aim was to be humourous and light about the events of the series, but he comes out of it sounding thoroughly insensitive towards his friends, none of whose consent he took to write this self-centered pile of garbage.

However, there is hope that they might do things a bit better for him next book, if the rewrite of him in TRR 2.0 was anything to go by. However, it would be awful if they tried to do a better job of him and then left out Hana. Speaking of which...

Hana: I'm going to begin this section with a comparison to another character, someone who should have been treated as a secondary character - Olivia.

Olivia in this book has 2 character scenes (they're very plot driven, but they also explore her outside of her friendship with the MC and dynamic with the group). The spy scene with Auvernese royalty, and the scene with Jin, the Auvernese spy. An entire chapter is spent in her duchy (by now we've seen Lythikos four times and I'm now sick of the place), and she winds up taking over Maxwell's Q&A scene as well.

So that's technically 2.5 scenes AND a childhood scene that revolves around her even though it's about Liam's mother. In addition to this, Olivia also gets her own mini-book, The Royal Holiday, that revolves (again) around her duchy and has the group clamouring to give her attention when no one else wants to.

Here are the stats for Hana, who by virtue of being an LI, is also a potential co-protagonist in the series:

Nothing.

Zilch. Zip. Zero. Nada. Nothing.

She has one childhood scene that is part of the group's scenes - a beautiful, heartbreaking one that serves as a slap in the face to anyone who'd dared to be dismissive of what she went through earlier - but none after that, and no individual scenes either. The team - in one of their most offensive choices this book - force a storyline where she has fertility issues just so the MC can be the one carrying the child, and the same MC can opt(!!) to ask about her well-being after two days. The same MC has the chance to whine about not getting pregnant soon enough in front of Hana.

There have been a few efforts made to make the MC appear more caring towards Hana: she can angrily defend Hana against Isabella's jibes, and she can make Hana relax for once during the baby shower (unlike the wedding reception where the same MC treated her like a bridesmaid). The MC even gets to tell her wife that she should never consider herself secondary or unimportant.

All of these are nice, but at the end of the day they're all scraps. I'd equate it to how we're allowed to give Kiara compliments on the final two chapters, but the white women around her still get a far bigger chunk of space, story and attention dedicated to them. The team have a pattern of adding these tiny tidbits that will temporarily satisfy stans while still maintaining the status quo, and that's precisely what's happening here. Its important for us to understand this. Underneath all this surface concern and all these scraps, Hana is still getting dust in place of actual story and characterization. And given that they made ZERO major changes to Hana's scenes in TRR 2.0, I'm not expecting that to change.

As for the book in general...I don't have to go into why this book is a mess, do I? We all know. We've all witnessed how disproportionate the writing has been and while I'm glad more and more people recognize what I've been seeing since Book 3, it's sad that it took 9 whole chapters in Walker Ranch for so many to understand exactly how much space Drake has been eating up for no good reason.

BLACK HOLES AND WHITE TEARS

I'll begin this section by talking about Drake Walker. He's the most prominent sign of the larger problem.

Drake Walker is what I call a Black Hole LI. And yes I mean black hole as in the one that exists in space (Beckett from TE also fits into this category). He is the kind of LI that sucks up everything. Love. Light. Joy. Common sense. Other characters' spaces.

He is the kind of love interest that will have Liam's traumatic experience centered around him. The kind of love interest for whose problems - largely created by his mammoth ego - we have to resolve in Shanghai, the home of the lone female LI. While that same female LI gets nothing, and then disappears in a subsequent chapter. The kind of love interest whose love confession can take precedence even over the MC's own issues (remember the Beaumont House chapter in Book 1? The one that took place the day after Tariq nonconsensually kissed the MC? 98% of the dialogue revolved around Drake's feelings. Not about the faulty lock, not the possibility that the MC's security had been tampered with - Drake's feelings). The kind of love interest that was given an entire extra wedding and artwork for his mother in Book 3 itself - none of which were given to any other LI.

A Black Hole LI is totally the kind of LI that would get 9 whole chapters in their home while we have never even visited the homes of the others since the early books of the previous series.

This wasn't something that began just this book. It's been a constant since Book 2, and you can even see signs of his story gaining way more importance in Book 1. It's also not something we can - in all honesty - blame simply on finances and fan popularity: the writers confirmed Drake to be one of their favourites, and attempts to give his scenes additional perks (eg plot elements pushed into both the Whiskey scene and the Beaumont Office scene) happened long before they could make any conclusions about his popularity. I bought the Beaumont Office scene to find out more about that family. I bought the Marshmallow scene so I could find out more about Liam and Hana's conversation post Coronation (remember - Hana was never even allowed to speak about her return to Cordonia because that scene was given to Drake). I bought the Italian Restaurant scene to learn more about Liam's assassination. The funny thing about all these three is that these were their stories to tell, yet Drake is the focus. Quite a few of Drake's initial scenes sold because the team consistently made the effort, consistently ensured that the information from his scenes would benefit us in the long run. The narrative allowed for Drake to have his own story, and additionally let aspects of his story overshadow that of the other LIs' (see the examples I've given above). Even though he has very little of value to contribute to the larger story (no job, his friendships are shallower than a wash-basin, and no genuine communication with any commoner in the story - only endless whining).

The treatment Drake gets that no other LI does, is a problem in itself, but it also is a small part of an even bigger issue. He isn't the only white character who gets this sort of attention and detail to his story.

Take Olivia, for example. Started out as a rival to the MC, before her sad sad childhood and her genuine love for Liam was revealed in the Book 1 finale. Over the course of the story, her role changed from petty rival to Warrior Duchess to reluctant bff. Over the course of the original series, Olivia became one of the most prominent characters in the story, on par with the male LIs. I'm not sure how many people realize that Lythikos is the ONLY duchy in the kingdom we've seen thrice (four times if you count Holiday). To give you an idea of how big a deal that is, here's how many times we've visited other duchies besides the capital and Applewood:

Fydelia - 2

Portavira - 1

Castelserraillian - 1

Ramsford (the home of our sponsors!) - 1

Hana's mother's home - Never.

Lythikos has a detailed familial and cultural history, and I wouldn't be lying if I said we know more about this one region than we know about the entire country of Cordonia. And honestly for me, the obsession with this one duchy has reached saturation point. Lythikos is not Cordonia. Lythikos is not all there is to Cordonia or even the only place that should matter. Yet it seems the team is more than eager to flog that horse until there's nothing of interest left.

Olivia is the only character who gets an entire mini book that revolves around comforting her and making her feel better about her background and origins. I don't think we've ever given Hana this much attention when she left her home for us. Or when she was being bullied by Madeleine. Or when she was the other bride in that grand wedding. Or when we received the news that carrying a child to term would be dangerous for her body. Or --

We were given an entire mini-book to comfort Olivia - the woman who continued to call Hana "damaged goods" and " a failure" for not marrying a man, while Hana's friend/wife stood by and watched. The woman who didn't have to think twice before making snide remarks about an equally skilled courtier who never did her any harm, only because she could get away with it. Istg when I heard that most of the court snubbed her during that first event in Holiday, this was my reaction:

Like girl I feel bad for you but at least now you know how it feels to be held responsible for shit beyond your control!

Hana, in the meantime, is forced time and again into situations that would break most people - but with very little payoff. Her arc with her parents was given a resolution that confirmed that Hana could only be considered worthy if she was useful. She was made to interact time and again with the woman who harmed her with such glee in Book 2. The MC - as a friend or as a wife - is at best neglectful of her issues and at worst someone who uses and discards Hana as she sees fit. And now...in her romantic playthrough she's given a storyline that doesn't allow her to bear children easily, and the MC spends less than two minutes to actually check on her. Hana is one of the co-protagonists, yet a side character given the treatment she should be getting. One could technically blame finances for the way she's being treated too, but keep in mind that the bad treatment goes as far back as the Applewood chapters in Book 1. Technically a time when she was bringing in money.

I get it. Olivia is a fan favourite. Many in the fandom wanted her to be an LI, the writers didn't, so they carved out this middle path where she'd have a major portion of the story anyway. But keep in mind that a lot of this attention came - and is still coming - at the cost of Hana. The team pretty much gave Olivia what they'd been refusing to give Hana all along.

On a smaller scale, you see similar patterns with the secondary characters - especially the women of the court. Madeleine and Penelope had elaborate backstories designed to make people forgive and sympathize with them, and Kiara - even though her backstory in Book 1 was inherently tragic and deserved to be handled sensitively - was given validation with great reluctance from the team, and with no consequences if we treated her cruelly. Even now, the team has only tossed Kiara a couple of scraps in the final chapter, while already setting the stage for Madeleine to get her own tragic "patriotism" arc for TRH Book 2, and a possible wedding for Penelope in the near future.

The difference here doesn't just lie in who gets attention and who doesn't. It lies in how the MC is supposed to view these women as well. A lot more sympathy and understanding is automatically extended to the white women, and the MC faces consequences if she fails to acknowledge their pain. Far less sympathy is offered by default to the black and the Asian woman - the MC may be friends with Hana but a huge chunk of their relationship is mostly about the MC benefiting from Hana's skills without giving much in return.

Even though their misdeeds are acknowledged and spoken about, both Madeleine and Penelope are written in such a way that the problems they're currently facing matter more than anything they've ever done in the past. Hana is made to sweet-talk Madeleine despite being bullied by her in a previous book. The MC herself never gets ANY opportunity to directly address what Penelope put her through in Portavira, because what the MC went through matters less than Penelope's condition.

Compare this to the relatively small scale of Kiara's "misdeed" (being honest about not continuing with an alliance - I'm surprised people think this is an actual thing to be offended about!), and the way the MC is allowed to mistreat her sans consequences afterwards. We're even allowed to call Kiara a snob in the books - which isn't at all true if you look at any of her scenes in canon - and constantly make fun of her desire to learn (in fact, if anyone in the series could be called a snob, it would be Olivia). If I were to sum up how a woman of colour is spoken about in the books, vs a white woman - this screenshot would do the trick:

(Notice how none of the options to speak about Penelope allow us to speak rudely of her, yet in Kiara's case we're allowed to make judgements on her as a person. In Hana's case, while we don't exactly drag her the way we can drag Kiara - we get precious few opportunities to actually defend or support her when others talk rubbish about her).

When you explore the series overall, it's impossible to ignore the casual racism that makes disrespecting people of a certain race/colour easier than on another. It's impossible not to see where the narrative chooses to give consequences to an MC who treats a white woman badly, and where it allows the very same MC to suspect, and then (optionally) gaslight, a woman of colour a couple chapters later. It's impossible not to see which people are meant to be respected despite their bad behaviour, and which people can still be treated badly despite their better behaviour. It's impossible not to see a pattern emerging.

This is not even a problem that plagues only the TRR series. From TCaTF to ACOR to Platinum to even MoTY, there is an ongoing pattern of discrepancies between the way white people and people of colour - particularly women - are treated. Many POC characters are placed in situations where it's easier for them to suffer/die/be shown disrespect, than it is to show them kindness or mercy. MOC are regularly either exoticized (Prince Hamid is the most glaring example of this) or placed in very traumatic situations for which the payoff isn't always going to be that great (I know this happens to Dallas, but I don't know about the payoff for Syphax).

WOC particularly suffer quite a bit in a lot of PB novels, in comparison to their white counterparts. Rowan Thorne of TCaTF, as a character, didn't deserve for her death to be made easier than her survival (in contrast to Diavolos, who was given far more opportunities AND will live simply by virtue of allying with Kenna), any more than Kiara deserved to be interrogated by the people who should have been concerned for her safety or Xanthe deserved to be shipped to slavery. All this, while a Vanessa (who is in a position of power and who plays an active role in rendering the MOTY MC financially helpless) gets a diamond scene where she "explains" her situation and a Madeleine doesn't even have to hear about her bullying from her victims.

The fandom, too, has contributed to this on a number of occasions. Speaking specifically of TRR, how many times have we seen Hana being dragged on Olivia posts? (also, if we were really measuring Olivia by the impossible standards that we held for Hana's characterization, Olivia would appear pretty damn one-note too: after all, 80% of her characterization consists of knife jokes). How many times was Hana being looked at with disdain for either her niceness or the poor writing for her, while the same fandom would regularly coo over a nice-presenting Penelope (whose characterization is one of the most inconsistent in the series)? How many times have we seen Kiara being called a creep/obsessed for merely looking at a man, while almost no one judges Olivia for kissing a man without his consent? How many times have people forgiven a traitorous Penelope and hated on a far more innocent Kiara in the same breath? How often did the fandom hate on Liam for accepting the MC's advances after she rejected him, yet not say a word when Drake did the same thing? How many times has Maxwell been loved for his humour and childlike nature while people of colour with a similar personality (Lily from Bloodbound, for example) were hated on instantly? Clearly, there have been more instances of people in the fandom sympathizing automatically with the white character, than with characters of colour. Time and again, brown and black characters - particularly women - have been required to match up to impossible standards (if they're nice they're boring. If they don't like the MC they're <insert every gendered sexist insult you can think of here>). The standards are far more relaxed for white characters, and they're often given more breathing room and to most of what they want without the constant judgement that black and brown women get. The standards set up for both are grossly different.

Racism is a beast that assumes many forms - and not all forms of racism will appear obvious to some, especially when such stereotypes are so normalized in media and popular fiction that we almost accept it at first. Almost. To get to the root of why there's such an imbalance in this series - among others - we need to first acknowledge the sexism and racism that are such a vital part of its narrative, and that its fandom regularly buys into and (sometimes unwittingly) promotes.

At this point, it's important to understand that having queer characters or characters of colour simply exist in the books isn't enough. Token rep can be found in PB's books by the dozens, but at the end of the day it means nothing if there is a constant reluctance, over and over and over, to treat those characters with the same care and sensitivity that they treat their white ones (or their "exoticized brown" ones).

• Like I mentioned earlier, I won't be playing TRH from this point forward, but I do hope to finish my TRR QTs soon. I have a LOT of thoughts! If you'd like to be tagged on those, do tell me!

#long post #tw: racism from pb #tw: fandom racism #trh quick thoughts #trh qts #king liam #hana lee #maxwell beaumont #anti drake walker #anti olivia nevrakis #anti trr madeleine #anti trr penelope #trr kiara

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everydisneymovie · 4 years

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Review #36: Perri

Post #40

8/3/2020

Next up is 1957′s Perri

Enjoyment : [4]

Want to know if you have made a bad animal documentary? When the moments where there are no animals on screen are the best parts. This movie can actually be really lovely when it focuses on the scenery and the melancholy score. The scenes with the animals are hard to enjoy when they keep blatantly murdering the animals on screen over and over again. There is a layer of separation since they dropped the whole ‘documentary’ angle and just outright state that this is a fictional account using real life footage. I feel like this is probably the best of the ‘true life adventures’ but it is still boring and uncomfortable to watch as a whole.

Quality : [4]

This movie is rather sloppy. You can really easily see the seems where they slow down or even reverse footage to stretch out the run time. There is a really pathetic moment in the middle where they have a half animated ‘dream sequence’ that is 200% nothing but a time waster to stretch out the movie. They don’t try to teach us anything and the new fictional narrative aspect is very flimsy. For example, the narrator is waxing about how Perri is so in love with her new mate when the footage being shown is obviously two squirrels fighting. You can’t fool me Disney I grew up in a swamp I know what it looks like when two squirrels fight. The biggest issue with this movie is that I can no longer guess if this movie was filmed first and narrated second, or narrated first and then they went out and manufactured those shots to make the narration true.

Hold up : [3]

Narrator tiny dick returns yet again and he is only creepily projecting once or twice throughout the film so I guess that is an improvement. We see animals die on screen, and because of Disney’s meddling I guarantee you that none of the on screen deaths were incidental. To keep the movie ‘thrilling’ they obviously manufactured animal fights. During one scene I counted the same squirrel dying a minimum of four times on screen being switched out with a new squirrel between shots. The best way I can convey this, is that at one point Perri falls off a tree, and there is a 20+ second shot of Perri falling to the ground. It is not slowed down and clearly a real squirrel. There is an abrupt cut and suddenly a very visually different looking squirrel is thrown into a pile of leaves and the narrator says “Luckily Perri landed without a scratch.” Yeah a lot of animals were killed to make these shots, even more so that any previous ‘true life adventure’.

Risk : [2]

I have to say this movie is very low effort and very cheap. The narrative aspect feels more like a crutch than an artistic choice. I almost wonder if Disney chose to add the Perri plot line because their documentaries were already so hollow and plastic. Killing dozens of animals just to make a boring slog of a movie is actually kinda cowardly. There was also a minor moment that actively made me shout in disgust when it happened. It wasn’t actually that bad it just caught me off guard with its stupidity. For a split second a deer appears on camera, and in the deadest monotone possible the narrator says “Oh hey look kids, its Bambi here to pay us a visit.” I can’t really convey it through text alone but it is so jarring and like, lazily pandering it almost made me laugh. It felt like the first real attempt since Saludos Amigos Disney has made to push its brand in any movie so far. Just a limp and unemotional “hey kids look it’s that thing you like, but in another movie! That means you like this movie too right?”

Extra Credit : [1]

I like that SOME tension was built with the footage they had on hand, but its not much of a saving grace. I was actually more worried about the physical animals Disney put in danger instead of the ‘characters’ they were trying to create. Try harder next time Disney.

Final thoughts:

This movie kinda sucks. It is the most watchable of the ‘true life adventures’ but thats only because it isn’t horribly racist and the music is kinda nice. I feel like Bambi is actually a better documentary than this, since way less animals died while making it, and it conveys emotion far better through way more impactful framing. It actually gets kids to sympathize with everyday animals while keeping them simple animals. there is no possible way to get invested in the narrative of Perri since even a layman can see that the squirrel changes color, size and age in nearly every shot. You know from frame one that this is not the same squirrel and this is all just a transparent attempt to edit together unrelated footage into something that can trick audiences enough to steal their money. Skip this one and don’t ever give it a second thought.

Total Score: 14/50

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#Perri #Disney #every disney movie #I watched Every Disney Movie #reviewing every Disney movie #movie review #Movie Reviews #live action movie #movie theory #documentary #Nature documentary #tw: animal abuse #tw: animal death #Film Theory #late stage disney #capitalism #late stage capitalism #Rey Rapids #live action

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smokeybrandreviews · 4 years

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Binary

This started out as a whole thing about Brie Larson. She’s started a YouTube channel and i figured I'd follow it just for kicks. I’m not a huge fan of massive Hollywood stars invading more accessible spaces but, technically, they’re the “You” in YouTube, too. I can’t be too mad at that. Of course Google is going to cater more to their brand, mostly because they bring in the duckets and understand PR so they know ho not to cause an ADpocolypse, but it’s still mad sh*tty. Larson’s first post was just her being goofy, trying to figure out how to even be a YouTuber. You kind of see a side of her that i figured was there, but never really was able to confirm. Brie Larson is the poster child for Millennial geekdom and i find that adorable as f*ck. Which is why i don’t understand the MASSIVE waves of hate she’s getting from the community. Cats are reveling in her perceived failure, it’s actually insane.

Now, before we go any further, i just want to be clear; I am a fan of Brie Larson. I think she is excellent at her craft. Ma is from my hometown and it’s always great to see someone make it out of this cowtown. I believe she has every right to her opinions and the fact that she voices them from such a visible platform, makes her one of the most endearing and real celebrities in an industry maligned by the phony. Brie ain’t quite Russell Brand but she is very vocal about the unjust sh*t she sees and will totally let you know it. That, i think, is why she garners such vitriol. Look, I'm a black dude living in the US. If she gets on TV and says f*ck white dudes, I'm inclined to agree. But she didn’t say that. What she said was there needs to be more voices making film, different perspectives in the arts. White dudes dominate the industry and she’s tired of seeing that movie. I don’t understand how that’s a controversial statement. It’s true. We need more dynamic, more diverse, storytellers making films out in the wild. The thing is, that one statement earned her the ire of every entitled white boy with time and and the internet. These motherf*cker decided to take that personally and we were off to the races.

When Brie Larson was announced as Captain Marvel, i was okay with it. I thought Charlize Theron or Katee Sackhoff would have been a better look but i get it. Larson is young and can portray the character for years to come. Kind of how Florence Pugh is going to take over Black Widow duties from Scarlett Johansson. Pugh can be that character for close to a decade, as can Larson. Once again, however, the interwebs were set asunder with rage and malcontent over the Cap Marvel announcement. It was f*cking ridiculous to me. Sure, she didn’t look the part going into this but neither did Gal Gadot, the latter turned out to be the best thing going in that trainwreck DCEU. Larson grew into the part, put in the work to look the part, and is committed to the role. She did her research, consuming massive amounts of the comics, trying to find Carol’s head space, which was a goddamn feat. Captain Marvel is as controversial as Brie Larson, herself. And it’s just as stupid.

Look, i adore Captain Marvel. She’s my fifth favorite Marvel character after Spider-Man, Doctor Doom, Laura Kinney, and Illyana Rasputin. In that order. Captain Marvel grew on me during the whole Mighty Avengers and Disassembled story lines from years ago. I have no love-loss for Bendis but that cat did wonders for building up more obscure characters, Carol being one of them. I also like what he did for Luke Cage, too, but that’s not what this essay is about. I’ve been a fan of this character since the early 00s and have rode this Carol train for years. I jumped on bored when she was rocking her leotard, which i miss terribly, took my time to dig up the back issues where she was in the original red and blue digs and moonlighted as Warbird for a bit. Then, Marvel Now happened and f*cked it all up. Carol went from this attractive, uber-powered, mess of a woman to a cold, manly, aggressively stupid caricature of herself. The Carol Danvers i had grown to love, with all of her faults and trauma, became some sort of butch nightmare and the poster child for why Woke Marvel was failing. I don’t think that’s fair.

Comic Carol was on her way to becoming a real force in the Marvel universe. She had learned there was worth in her strength, one she had to drag out through deep introspection and an understanding of who she really is. No longer was she just a gender-swapped, copyright placeholder that no one knew what to do with. Now she had agency. Now she was a force. Now she was relevant. Now tore all of that away. After Marvel Now, all of that growth and nuance was thrown out of the window. She became the idealized version of what the SJWs thought a “Strong Woman” should be. Marvel gave her a massive push in an effort to cater to this burgeoning Tumblr dynamic and it failed miserably. Marvel wanted that Steven Universe crowd and they tried real hard to get it but that sh*t did not work. The changes to the universe weren’t extreme or feminist or PC enough. Courting a fanbase that had no longevity, Carol was sabotaged and thrown to the wolves. That’s the environment we were saturated in when Disney announced Larson as Carol for the MCU. It was a perfect storm of Nerdrage, one that has not died down in any capacity all these years later for either Brie or Carol.

I don’t think the feminist slant given to the Captain Marvel movie was actually such a big deal. I think the vitriol that flick faces stems from the combined maliciousness both the new version of Carol in the comics and Brie Larson, herself, garnered. It’s kind of crazy the massive tantrum everyone decided to throw over this movie. Cats were looking for this thing to fail as some sort of petulant schadenfreude ignoring the fact that this movie wasn’t made for them. As frustrated as i was with the ludicrous discourse, i knew this movie wasn't for me. his wasn’t my Carol and i was good with that. Unlike Marvel who pandered to the trend of PC nonsense, the MCU had a clear vision in mind for the audience they wanted; Young girls. They wanted a character who was strong enough to hang with Thor, stand equally with Iron Man, and have the respect of Captain America. Captain Marvel was the best option. She would be the tentpole hero of the MCU going forward and i accepted that. I went into the film with that understanding and, on my way out, i saw, firsthand, what this movie meant to the target audience. There was a little girl, about nine or so, gushing abut how cool Captain Marvel was. She as ecstatic to see a girl like her, kicking so much butt. In the face of that, every entitled argument you have against the character falls apart in my eyes. Captain Marvel is to young girls and woman, as Black Panther was to us black folk. It’s the same energy.

Do i think the film could have been better? F*ck yea, i do. I think the script should have had one more revision and the directors definitely felt out of place. They’re good at their jobs, they mostly make A24-esque fare, but a massive, multi-million dollar, space epic connected to the most popular film franchise in history? Nah, these cats were way out of their depth. I think Feige dropped the ball on this one, a rare miss. I think Kathryn Bigelow, Patty Jenkins, Lynne Ramsay, Claire Dennis, or Lorene Scafaria would have constructed a much better film, both visually and narrative wise. I think if the movie was better as a whole, a lot of the controversy and vitriol would have been neutered. Carol is written quite wooden and a little pretentious. The interactions between the supporting cast feels forced. The overall narrative is fine but definitely could have been embellished at parts. Captain Marvel is boring and i don’t know how that happened. You have one of the strongest characters in comics, with a distinct, visually appealing powerset, and you make her movie boring? Really? More than anything, though, is the absolute mistreatment of Sam Jackson and Nick Fury.

The writing reduces Nick Fury, the mind behind the entirety of the Avengers Initiative, to lap boy sidekick in an effort to up Carol’s own stature. That sh*t is poor writing and it’s mad frustrating to see. I hate narratives that have to job established characters, in an effort to push new additions. I just wrote a whole goddamn thing about that with Punchline, Joker’s new “partner”. It’s bogus, cheapening the character and opens up an avenue for bad-faith complaints. Rey Palpatine is another great example. Her entire character is built on the slow, methodical, violent, destruction of the Skywalker legacy. Interestingly enough, that character was launched in the same environment as New Carol so i understand why the movie is the way that it is. I don’t agree with it, but i know why. It was an incredibly poor choice to introduce Captain Marvel in this way, however, and she’s never recovered. Brie has never recovered. You want a 90s buddy-cop space opera? Lethal Weapon with Skrulls and starships? You need your Murtaugh and Riggs to stand on equal footing. That was not the case with this flick. Having Nick Fury job to Carol Danvers for two hours was the wrong way to go about all of this and i think a different creative team could have made something truly excellent.

It’s nuts to me that this is even a thing though. Brie’s personal controversy is so f*cking stupid, i choke every time i think about it. How are you mad she stand up for herself, her gender, and everyone else in a position of persecution? Don’t you want though with a platform speaking up about the inequities of our country? I feel like the same people who hate Brie for her vocal advocacy, are the same people who stan “All Lives Matter” when ever someone says Black Lives Matter. That sh*t feels like the same energy to me. I feel like the criticisms launched at comic Carol have real validity, even if most of them are just whiny man-children who miss the leotard. I miss the leotard, too, but come on? We’re passed that now. I do think, when written well, Carol can be a force in the books. Her run as part of the new Ultimates was pretty chill I think she needs that in order to be her true self, until we establish a true self for the character. It’s weird to say but Captain Marvel, Ms. Marvel previously, has been around for fifty years, and no one has any idea who she is as a character. I think Captain Marvel in the MCU, both the character and film, are hated for the wrong reasons. The fact that no one has any idea who this character is, makes for a lousy cinematic experience. The team put together in an effort to flesh this character out, didn’t have the creative capacity to do so and we were left with little more than PC tropes and Feminist agenda. The MCU let both Brie and Carol down in that regard.

Brie Larson isn’t a terrible person and she deserves more respect put on her name. She an accomplished actress with a bevy of awards and accolades to her name. She’s been in great films like Room and Scott Pilgrim, never once garnering a controversy. The fact that she speaks her truth, a truth the establishment doesn’t want to hear, should not disqualify her talent or the fact that she seems like a really chill person. Carol Danvers is a dope ass character with an amazing amount of potential. When she’s written well and not traded upon for trends, she can have real staying power. Her abilities open up a plethora of interesting, creatively fertile narratives yet to be written. Disregarding her just because Marvel decided to gamble on the pretentious third-wave feminism wave is shortsighted and makes you look like a childish brat. You’re entitled to feel however you want but let’s be clear; Brie Larson and Carol Danvers deserve so much better.

#Captain Marvel #Carol Danvers #Brie Larson #Marvel

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fae-fucker · 4 years

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Zenith: Chapter 52-55

Chapter 52

Valen interrogates Andi about his father’s decision to make her his rescuer, and instead of going “take that up with your dad because I don’t know his reasons for doing this,” Andi tries to be all apologetic about all the Kalee stuff and saying how she’s changed and Valen’s like nu-uh!

“It was a mistake,” Andi said again. “If I could take it back—”

Valen gritted his teeth. “Murder isn’t a mistake.”

Have I finally gone off the deep end or is this fucking funny?

“If I recall, you were the one who allowed your little sister and her friend to sneak out for a joyride on your father’s brand-new transport,” Andi replied. Her words were soft and casual, but her eyes were on fire.

“Spectre,” Valen said. “Spectre first, and always. You failed her as that.”

“Again,” Andi said, “it was a mistake. I’ve had to live with the cost of it.”

“Kalee didn’t!” Valen screamed. “She didn’t get to live, Androma!”

It’s honestly impressive that whenever I go into a chapter that’s relatively short and think it’s gonna be fine and I’ll just skim over it, Shinsay proves me wrong by including more bullshit that I just have to talk about. But hey, part of the reason I have this blog is so that people know what not to do and examining why certain things just don’t work, with the added bonus of having the context for it.

It’s also impressive how two women somehow keep making the wrong choice for the same one book, over and over and over. Every narrative choice in this book is wrong.

So, what’s wrong with this particular bit? Remember when Dex and Andi were having their stupid argument and Dex, right after trying to apologize for what he did and explain himself, turned around and started blaming Androma for it instead? Here it’s even more jarring, because Andi genuinely believes she was to blame for Kalee’s death and genuinely wants to atone (or she claims to want that, at least). So when she, out of nowhere, starts trying to defend herself and shift the blame onto Valen? That shit don’t make no sense, y’all.

I think this is a result of the book having too many pointless POVs. We’re in Valen’s right now, so obviously he needs emotional triggers to react to and start monologuing over. He needs to be provoked and damn logic and character consistency, he’s gonna get provoked! Andi’s words make no sense and will not be examined closer once we’re back in her POV, she just said this OOC shit for the sake of drama, yet given everyone’s awful characterization, even small things like these serve only to undermine the characters and their motivations even further.

Shinsay don’t understand that sometimes, no arguments is far more impactful than a dramatic verbal battle of cheap witticisms. Instead of this, Andi could’ve just sat there, quietly, letting Valen dunk on her because she feels she deserves it. Hell, this entire conversation could’ve been saved if only Andi’s blame-shifting line had been given to someone else! I didn’t even read it as her saying it at first and had to double-check and that’s when it fell apart to me.

God, I could go on like this forever. Feel free to send me asks if you want me to elaborate on dialogue and characterization, I guess? Let’s just move on.

The others try to figure out how Valen was taken and what happened when he was, asking him if he knows anything about Queen Nor, at which point Rage Unlocks Within Him, and he gets up and leaves.

I also want to mention that Valen talks about “things being tense after Kalee was gone,” but Kalee’s been dead for four years, while Valen was taken two years ago. Sooo uh ... huh? He makes it sound like it was two months after and not two years. He could’ve said things “changed” after her death and it would’ve sounded better. Idk just a preference I guess.

Also ... I just realized Valen’s been missing and tortured for two years. How he still talks normally is ... pretty bonkers, to say the least.

Chapter 53

Andi goes out to find Valen but finds Lon instead, his blue tiddies out.

Lon leads Andi to where Valen is, all while dropping hints that Lira has something to say to Andi and that Andi shouldn’t try to influence her decision. To her credit, Andi says she won’t, and that she loves Lira as her sister.

Andi and Valen sit around in nature for a bit and talk about Valen’s art. I don’t hate it?

“When I was locked up, I almost forgot what colors looked like,” [Valen] said, lazily brushing the stick back and forth against the mud. “Did you know that black is more than just a single shade?”

Anish Kapoor would like to know your location.

Valen says he can’t forgive Andi for what she did, but he can also not forgive himself for being part of those choices(????). Andi speculates that her accusation earlier must’ve struck him deep, but that’s all we get on that, no explanation as to why she accused him at all.

“In Lunamere, I had nothing to keep me company but my pain and my thoughts. I had lots of time to think about that night, and everything leading up to it. Time to realize that we were raised in a society where perfection is the only option. But that doesn’t mean it’s always possible. We all made bad choices that night, not just you. She got on that transport herself. And I chose to stay behind.”

Andi wanted to speak, but she feared it would shatter this strange, heart-wrenching moment they had somehow found themselves in.

Thanks for telling me it’s heart-wrenching, lest my idiot self got lost in all this emotion and forgot to realize what was happening.

Christ, even when Shinsay have a decent dramatic and emotional moment going, they just can’t keep their grubby little hands to themselves, huh? I know it’s your book but can you shut the fuck up for a moment and just let the prose stand on its own?

God, if only there had been an editor.

Both Andi and Valen admit they wish they’d died with Kalee and in any other more competent book this would’ve been quite touching.

“Without Kalee...” Andi began, finally voicing the realization she’d come to terms with these past few days. “Without Kalee, there wouldn’t have been a sentence for me to run from. And without that running, I never would have found Dex. And without him...”

“You wouldn’t be the Bloody Baroness,” Valen finished for her. “My father would not have hired you.”

It was a vicious cycle, one that Andi wished she could have undone before it had ever started. But it was her story. Her life.

Her life is a series of reactions to things outside of her control? Love that for a protagonist.

Listen, I know it’s supposed to be sad and stuff, but even Andi’s backstory reinforces her reactionary personality and the way the plot is driven by things completely outside of her control. It’s hard to feel invested in a character when they never make choices and instead only react to whatever happens to them.

Anyway, Valen and Andi seem to have gotten over their differences and go to the festival together. That was easy. I guess it’s to throw us off the scent and make it more surprising when he suddenly turns out to be evil? I’m honestly not sure. It’s pretty bad either way, but I don’t have to tell you that.

Chapter 54

We’re with Lira again and she’s staring off into the distance thinking about the festival. Lon appears again, tiddies still out, but now his muscles and “sculpted” chest feels kind of weird to comment on since we’re in Lira’s head? Whatever, maybe Adhirans are weird like that.

Lon says some cutesy shit about how technically Lira is this planet’s princess but she doesn’t reply or even think about how that would make him the prince? He just says he’s her brother and has to guard her. Maybe Adhirans also don’t let men have political power because that’s what Shinsay think feminism is.

Anyway, they join the other girls and head to the festival while Lira mopes about her decision and how she can’t have two families. Except you can. But whatever. Logic isn’t dramatic enough, I suppose.

“It’s time to let loose,” Breck said. “Lir, you look like you’ve just puked up a pound of Moon Chew.”

“Lira doesn’t puke,” Gilly said.

“That’s ridiculous. Everyone pukes,” Breck added.

“I’ve never seen her do it. And I spy on her, like, all the time.”

Lon chuckled beside Lira. “I see it,” he whispered. “What draws you to this crew.”

I don’t.

Also they’re in the same close space it seems, so I have no idea how they 1) don’t bother to ask Lira what’s going on and 2) don’t notice Lon being all whispery and shit. Convenient!

Gonna gloss over the spying bit as well, I see. Hey, they do have those eye implants that you don’t need consent to activate. Maybe Gilly’s been using it to perv on the rest of the crew.

Lira decides ... not to decide, and just fuckin party down for tonight. I guess in this universe it means she’s gonna get blackout wasted, because That’s What Adults Do. I should also mention that she decides not to decide and then never has to decide anyway because the plot intervenes and the choice is made for her. Love that for a character.

*sigh*

Chapter 55

We’re in Dex’s POV and we get some decent descriptions of how cool the festival is with more incidental aliens and traditions. Dex spots the crew and thinks about how they’re his crew now and realizes he’s bonded with them. I’m glad this is spelled out because I would not have noticed it myself, and frankly I both do and don’t mean it this time.

They’ve only been together for a couple of days, tops. I guess extreme situations make people bond faster but I really feel like we’re jumping the shark here. At the same time I can tell that Dex clearly fits into the crew pretty well, and this just feels forced and redundant. All in all, this comment is just unnecessary. Let the characters evolve and grow closer naturally, Shinsay. You don’t need to convince us they’re a crew, you can just show us and we’ll believe it!

Dex spots Valen and Andi and of course we get a horny description of how cool and sexy Andi is and how impressed Dex is that she and Valen are already friends. Then he decides to get drunk and eat some meat.

Frankly? Relatable. Chapter? Pointless.

#eff reads: zenith

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themagicianshea · 5 years

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From now until November, we’ll be spotlighting some of our MHHE registered authors. Want to make art for them? Go make a claim! Art claims are open through July 14th.

MHHE Author Spotlight: breathedout

What piece of work best represents your writing style, and how would you briefly describe it?

This is a difficult question to answer because none of the fics that are representative of my usual style are remotely similar to my MHHE story (or any MHHE story); I usually gravitate toward darker themes and, if not unhappy endings exactly, at least lack of clear resolution. I CAN do comedy and lighter fare, though. Probably the two stories closest in tone to my MHHE one are my ultra-domestic Arthie/Yoyo GLOW fic The mirage, and my wacky Vicky-POV Eleanor/Tahani Good Place story The Blind Circle.

That said, in The Magicians fandom, the fic genuinely most representative of my ~personal brand~ is unquestionably SHIT’S FUCKED: A POSITIVITY GUIDE, which is an extremely X-rated, reverse-chronological Zelda/Marina 23 story in which the two women run cons on each other across several timelines (conceived in response to the show’s narrative tease about Marina 23 getting back with the Timeline 40 version of her old girlfriend). I’ve written variations on this general theme of “mutually obsessive and secretive female characters fuck enthusiastically but antagonistically, with inadvertent moments of genuine human connection along the way” in MANY different fandoms. In this section of the opening scene, Marina has an opportunity to recreate her Timeline 23 meet-cute with Zelda in Timeline 40:

It would be different, Marina thought. It would be different this time, she could make sure it was different. She didn’t even have those stupid extra boxes in this timeline so there'd—she’d have to—fuck it, she could come up with a research project, that part was easy; and she could change, she could sacrifice, she could commit to—to all murder done strictly off-premises and this time definitely no admitting to blackmail: it could work. She’d make it work.

Zelda sputtered as she had; and then, as she had, she laughed. Marina’s heart was hammering and she leaned in: conspiratorial, because Zelda loved to be in on a secret as long as the secret was the right one. She already liked Marina: sitting here, right now, she already felt drawn to her. Marina knew it because Zelda mirrored her lean; and because a lifetime ago, panting, with her lipstick smeared all over Marina’s thighs she’d told her so; and because her beautiful fastidious little hand was coming up to toy with her necklace, and she was turning toward Marina, and smiling.

It would be good this time, Marina thought. She crossed her legs; reached out and touched Zelda’s arm. A perk of a second life: this time, they would be great.

What piece of work are you most proud of and why?

Not a Magicians story—and again, radically different in tone from the MHHE project—but the thing I’m proudest of is definitely my post-World War I Sherlock Holmes and Historical RPF novel, A hundred hours.

It’s the thing I’ve spent the longest getting right: revising, rewriting, thinking through the ramifications of various themes and character arcs/character motivations; finessing the tension in the non-chronological Part 2 until it worked correctly; making use of some difficult experiences of my own & turning them into fictional catharsis; really immersing myself in the complexity of the world. I think the richness and vividity of that experience comes through in the reading, and I’m also just incredibly proud of it on a prose level. Definitely mind the tags on this one, though; it contains LOTS of potential triggers.

‘Look, what really went on—,’ started John, at the same moment Sherlock heard himself say, 'Daniel seems to be—to be doing well.’

The restaurant flickered, vague and oceanic. John huffed a little; looked down at his bass.

'Yes,’ he said. 'He er. He does.’

He shook his head. Lifted another forkful into his mouth, and Sherlock, watching the working of John’s jaw, could almost feel the rubbery give of fish-flesh between his own teeth. He put down his fork with a clank. His cider tasted clean, and bright.

'Must have been strange,’ he said. His tongue heavy; unstoppable. 'Seeing him again, like that.’

'Yes,’ said John. 'You could say.’

Sherlock waited; nothing more. Nothing but John in the corner: tightening his mouth, tightening his shoulders. Hunching in on himself, away from Sherlock’s eyes. Sherlock drank, and thought himself towards him. Toward—how it must’ve been. John, trench-bound, with his back curled up. Tried to imagine. Sherlock had seen the zeppelin damage in London, of course; had traveled down with Mycroft from the house in Oxfordshire, and he remembered feeling—almost relieved; hadn’t he. Relieved, at the privilege. Relieved to escape the stifling commandeered study behind the stairs, just himself and his brother and the windowless deciphering of spycraft’s more numbing banalities. Barring two sets of proper equipment I refuse to work any longer with agent J18, and strapped for cash; have had to ensnare officer from Verdun; send 5k francs, painstakingly transcribed to the nagging background noise of the half-dozen black-coated men who came and went at all hours, whispering about Room Forty in phlegmy Continental rhotics. In London, Sherlock had been glad of the open air. Glad of the feast of unfamiliar faces; unknown details to be deduced. As to the possibility that he’d be damaged—or that Mycroft, of all people, might be harmed—well. It had seemed irrelevant. He’d been so young. But—but not as young, he thought now, as that boy in the café, shaking John’s hand.

What tropes can we look forward to in your MHHE fic?

Enemies to friends (with benefits); opposites attract; finding your genuine complement; there’s only one room at the inn; unexpected Feelings; reuniting after a fight.

Fuck, Marry, Kiss (under the mistletoe) with three Magicians characters of your choice!

Fuck: Zelda. Enter into a non-state-sanctioned companionate life partnership with: Kady. Kiss under the mistletoe: Margo.

#mhhe #mhhe author spotlight

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cosmosbunnies · 5 years

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How Fire Emblem Fates tried, and failed, to live up to Awakening.

Fire Emblem Awakening was a tonal and mechanical masterpiece. It set a new bar for Fire Emblem games and the like, so Fates had a lot to live up to. And boy, did it try. And fail. I've got about a million complaints about this game, but I'll list my top three here:

Setup

Fire emblem awakening's avatar, Robin, was relatable. Not in deep ways, but we could sympathize with their situation. They knew exactly what we knew about the world – nothing. They awoke with amnesia and were found by the royal family. Amnesia is a wrote plot point, but its popularity is not baseless. In games especially, dropping the player into the second act allows for swift action, and playing catchup in the story comes for naturally to a player who knows everything their character does, meaning dialogue and exposition can come across as being natural and not ham-fisted.

On the other hand, we have Fates. Mind you, I have only played Fire Emblem Fates: Conquest, but I believe these problems extend to Birthright as well; the setup is bad. Instead of giving our player character no knowledge of the world around them via amnesia, they use a different method; seclusion. Corrin as a character is locked away inside of the Nohrian castle throughout their entire childhood and is only allowed in the outside world during the rising action of the story. This, akin to Robin, gives them no knowledge of the world around them. There's one key distinction, however; the family. In Conquest, Corrin knows their family well, and there is an existing dynamic that was built up long before we, the player, entered the scene. So, while Corrin knows nothing of the war and the land, they know much of these characters – and we do not. This flows very poorly. The characters end up awkwardly barking out their relationship to our main character in expositional dialogue before we ever end up even fighting alongside them, instead of having those relationships grow in real-time as we play and allowing us, the player, to form a relationship with the cast based in mechanics while Corrin gets to know them in the narrative. Corrin already loves the cast, regardless of what we think, and we have no choice in the matter. Fates makes the erroneous assumption that the player's interest in the world around them exists in a vacuum, but in reality an average player is interested in how the world exists in relation to the established characters and mechanics, not in the Deep Lore. In fact, Deep Lore is called just that because players who desire knowledge of the world are willing to go to greater lengths to uncover it than players who do not care. This is what in-game history books are for.

Marriage

Fire Emblem Awakening introduced a new mechanic: marriage. Your characters' relationships would grow organically as they fought, and this would eventually lead to (straight) marriage, which would eventually lead to children. The plot of the game involved time travel, and thus a new system was born; the child soldiers. Children are born of your units, your units die in the future, and those children grow up alone and scared, learning to fight for themselves. Eventually, they all get together and use the fire emblem to go back in time. They meet their parents. They introduce themselves. They fight, as they always have, but this time with hope renewed. This created a fantastic dynamic; a younger solider in their prime, with a child they know they'll eventually have but are meeting for the first time. Throw in some well written, natural dialogue, a few fun time travel jokes, and you've got yourself a compelling personal story. It also tied into the main plot in a significant way, having Lucina be a product of this same time travel fiasco. Fire Emblem Fates takes a… different approach. Halfway through act II of the story, you enter an alternate universe. The place is strange, scary and full of mindless evil entities. You meet a character who had been presumed dead, and you fight your way out with him in tow. Upon leaving, you're informed that if any of your characters mention this alternate reality to anyone, they will cease to exist. The point is then dropped, and the unrelated story continues. This puzzled me… A lot. Why did this exists? Was is setting up a structure for a future plot point? Was it world building? I had no idea, I was completely confused.

And then Corrin married.

This was my first marriage in the game, as honestly, none of the characters (save for Niles/Odin, and Effie/Mozu) had what I saw as a real connection, so I waited some time. Corrin and Keaton got married. A popup appeared onscreen afterwords. “A baby was born. The baby is placed in an alternate reality to grow up safe from harm, but a side effect of this reality is that time flows differently, making the children grow up very quickly.” Ah. I see. It makes sense now – the alternate universe is a plot contrivance, created in service to the brand of “You can have children and fight alongside them.” So then you pluck these kiddos from their isolated homes one by one, skipping over the major plot hole of 'Corrin spent nine months fighting while pregnant and then had a baby in the middle of a war? How long did this war take?' and jumping right to “Let's recruit child soldiers.” And so you do. You recruit every child to fight, much to the apparent behest of the mother and father. There is no reasoning to explain why these sensible adults are asking young teenagers to fight in a deadly war. It's simply a fun mechanic, and the game does not expect us to think about it. Except it strips the system of its most important aspects: A) The children do not HAVE to fight to save a doomed world, and B) The parents and the children know one another well. This has removed both the believability of the plot point and the charm in the interactions, leaving us with strange relationships bland dialogue that has an overabundant use of the word “daddy,” which should be purged from every writer's page as it is written.

Incest

You can just. You can just marry your siblings in this game. And have children with them.

At first I though Camilla's apparent attraction to the player character was simply because she was explicitly designed for horny fans to drool over. While this is still true, it's not the only reason she shows an interest in her sibling, as she's more than willing to marry and have children with them. “Oh, it's fine!” You might say. “They're not siblings by blood, you see, so it's morally fine!” Which is the stance the game seems to take. I am not going to explain why incest bad. I will also not drone on about how in the game's counterpart, Birthright, your player is related by blood for plot purposes, but as not to miss out on banging your siblings, each sibling will explain just before marrying you that you're actually not related to them by blood either. Nope, definitely not going to touch that subject.

Small gripes:

I lied about only listing three things. Here are a few notable issues

-You can dress your characters up in stupid looking accessories that add nothing to the game and 95% of the time clip heavily inside the character's model. The characters ASK you to dress them up, and some of them even comment on how silly this is during a war.

-“A+” rank is a cop-out created in an attempt to appease the Queer community without alienating any fans, and the fact that they couldn't be bothered to write any dialogue for the A+ rank relationships shows their lack of interest in queer representation while they sit back and get praise of major publications for “progressivism”

-In the Japanese version you pet your friends on the face Pokemon-Amie style to get them to like you more. I am glad they removed this for the western release

-In the final cinematic, they paid a team of animators to animate your character's first-person experience as they run face-first into their sisters boobs, which joyfully go “Boioioing” and shake like maracas as you reel.

-Sometimes you walk in on your allies naked in the hot springs. You walk all the way in, sit down, relax and stare at the naked peer for seconds before they say “Hey I'm uh… Naked here.” As which point Corrin goes “Sorry!” and sprints out of the room with the speed of a cheetah. I do not know why this happens.

-Keaton is unreasonably erotic when you marry him. Fully voice-acted, he whispers sweet nothings into your ear as the screen fades to black. He is a furry's wet dream. This is not a complaint.

-The story toys with this “abusive father with a family of children who are closer for having a common enemy with whom they have a love/hate relationship” thing, but fails to say ANYTHING meaningful on the subject. It's just empty story dressing

-At one point, you have to choose to either kill or spare a person who just tried to kill you. If you spare him, he joins your party. This goes nowhere, and puzzles me as a narrative choice. He doesn't even bother to betray you or anything, he simply stops mattering.

-Nohr should be dark, gloomy, fun and interesting, and instead it fails to spark the imagination even slightly, instead being “Bland fantasy setting but some of the trees are dead.” Give me some purple and black in that color palette! C'mon!

-There are two wolfskin characters. They are different genders, different heights and weights, but use the same exact model in wolf form. Compare these to the bunny people in awakening who have my heart forever, and this is a major insult.

Thanks for reading

#this post is for NOBODY #video games #fire emblem #awakening #fates #conquest #critisicm

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