#she doesn’t even know. she doesn’t know the tragic friends dream sequence. but I do (haunted)

[couchtaro]

Do you get together with your friends once a week to imagine best friends you made up holding and getting held in desperation and terror as one of them rapidly turns to stone, the other flooding her with his literal life force, which manifests as a visceral compulsion to survive, in the hopes that it will somehow help her resist, offering “the closest thing to a prayer he has” as he begs his warlock patron to do anything at all, telling said patron “you don’t know her, but she’s everything” and pleading for her to live while watching her literal actual light gradually extinguish as the petrification overtakes her, all the while she is using what little mobility she still has to hurl lasers at the monsters attacking their friends who are defending them so he can focus his energy on saving her. Or are you normal

@justabitscrewy used every single one of her turns in a session-long combat to hold Phaela and RP her guts out and like. My word. I have to lay down. Let them hug. They’re goin thru it

ID and slightly more context below the cut

Image 1: a roughly sketched digital drawing of two D&D characters. Izen, a drider, is shown in his form of dread, a defensive state designed to frighten off attackers. In this form his face is bare skull, with four pairs of hollow eye sockets and purple mandibles on either side of his jaw. Tears run down the stark bone of his face. He is wearing the bracers that Phaela decorated for him by wrapping them in ribbon. With both hands, he holds Phaela’s face. She is a tiefling woman who looks up at him with wide eyes. Izen’s prized possession, a talisman secured by a ring of straps, is wrapped around her shoulders. Her chin is tilted up as if the stone spreading up her body is a rising tide she is trying to stay afloat in. She is petrified up to her neck with only her head and extended left arm free. Both are suffused by a starry blue glow, which is no longer present in the dull stone overtaking her. She holds starlight in her free hand that she has been trying to defend them with. Her expression is a mixture of desperation, determination, fear, and guilt.

Images 2 and 3: a roughly sketched comic. 1) Izen faces us. Phaela wraps her arms around him with her back to us, her head pressed into his chest and shoulders hunched. His hands rest on her back. 2) Izen bends down to hug Phaela properly, wrapping his arms around her and resting his head on her shoulder. His pedipalps also wrap around her for extra huggage. 3) Izen straightens and lifts Phaela up off the ground, his pedipalps forming a sort of platform that she sits on. 4) Phaela curls into Izen like a child, tail hanging limply down. One of his hands securely circles her back, the other rests on the back of her neck. He rests his head on her shoulder and one of his spider legs comes forward to hold her as well. Maximizing points of contact here. 5) Phaela wildshapes into a cat just to get super extra held. She is nestled in his arms, tucked under his chin, being gently stroked. Her face is still not visible.

End image ID.

[kcrabb88]

Queer Movies/Books/TV Shows for Pride Month!

Happy Pride everyone!! For your viewing/reading pleasure I have made a (non-exhaustive) list of queer media that I have enjoyed! 

Movies/Documentaries

Pride (2014): An old tried and true favorite, which meets at the intersection of queer and workers’ rights. A group of queer activists support the 1985 miners’ strike in Wales (complete with a sing-through of Bread and Roses + Power in a Union)

Portrait of a Lady on Fire: On an isolated island in Brittany at the end of the eighteenth century, a female painter is obliged to paint a wedding portrait of a young woman (or, two young lesbians fall in love by the sea, and you cry)

God’s Own Country: Young farmer Johnny Saxby numbs his daily frustrations with binge drinking and casual sex, until the arrival of a Romanian migrant worker for lambing season ignites an intense relationship that sets Johnny on a new path (Seriously this movie is GREAT and doesn’t get enough love, watch it! It’s rough but ends happily)

The Half of It:  When smart but cash-strapped teen Ellie Chu agrees to write a love letter for a jock, she doesn't expect to become his friend - or fall for his crush (as in she falls for his crush who is another girl. This movie was so good, and really friendship focused!) 

Saving Face:  A Chinese-American lesbian and her traditionalist mother are reluctant to go public with secret loves that clash against cultural expectations (this is an oldie and a goodie, with a happy ending!)

Moonlight:  A young African-American man grapples with his identity and sexuality while experiencing the everyday struggles of childhood, adolescence, and burgeoning adulthood (featuring gay men of color!)

Carol:  An aspiring photographer develops an intimate relationship with an older woman in 1950s New York (everyone’s seen this I think, but I couldn’t not have it here)

Milk: The story of Harvey Milk and his struggles as an American gay activist who fought for gay rights and became California's first openly gay elected official (the speech at the end of this made me cry. Warning, of course, for death, if you don’t know about Harvey Milk)

Pride (Hulu Documentary):  A six-part documentary series chronicling the fight for LGBTQ civil rights in America (they go by decade from the 50s-2000s, and there is a lot of great trans inclusion in this)

Paris is Burning (Documentary): A 1990s documentary about the African American and Latinx ballroom scene. Available on Youtube!

A New York Christmas Wedding:  As her Christmas Eve wedding draws near, Jennifer is visited by an angel and shown what could have been if she hadn't denied her true feelings for her childhood best friend (this movie is SO CUTE. It’s really only nominally a Christmas movie and easily watched anytime. Features an interracial sapphic couple!) 

TV Shows 

Love, Victor: Victor is a new student at Creekwood High School on his own journey of self-discovery, facing challenges at home, adjusting to a new city, and struggling with his sexual orientation (this is a spin-off of Love, Simon, and it’s very sweet and well done! Featuring a young gay man of color)

Sex Education:  A teenage boy with a sex therapist mother teams up with a high school classmate to set up an underground sex therapy clinic at school (this has multiple queer characters, including a featured young Black gay man and also in season 2 there is a side ace character!) 

Black Sails: I mean, do I even need to put a summary here? If you follow me you know that Black Sails is full of queer pirates, just queers everywhere.

Gentleman Jack:  A dramatization of the life of LGBTQ+ trailblazer, voracious learner and cryptic diarist Anne Lister, who returns to Halifax, West Yorkshire in 1832, determined to transform the fate of her faded ancestral home Shibden Hall (Period drama lesbians!!! A title sequence  that will make you gay just by watching!) 

Tales of the City (2019):  A middle-aged Mary Ann returns to San Francisco and reunites with the eccentric friends she left behind. "Tales of the City" focuses primarily on the people who live in a boardinghouse turned apartment complex owned by Anna Madrigal at 28 Barbary Lane, all of whom quickly become part of what Maupin coined a "logical family". It's no longer a secret that Mrs. Madrigal is transgender. Instead, she is haunted by something from her past that has long been too painful to share (this is based on a book series and it’s got lots of great inter-generational queer relationships!) 

The Haunting of Bly Manor:  After an au pair’s tragic death, Henry hires a young American nanny to care for his orphaned niece and nephew who reside at Bly Manor with the chef Owen, groundskeeper Jamie and housekeeper, Mrs. Grose (sweet, tender, wonderful lesbians. A bittersweet ending but this show is so so wonderful)

Sense8: A group of people around the world are suddenly linked mentally, and must find a way to survive being hunted by those who see them as a threat to the world's order (queers just EVERYWHERE in this show, of all kinds)

Books

Loveless by Alice Oseman:  Georgia has never been in love, never kissed anyone, never even had a crush – but as a fanfic-obsessed romantic she’s sure she’ll find her person one day. This wise, warm and witty story of identity and self-acceptance sees Alice Oseman on towering form as Georgia and her friends discover that true love isn’t limited to romance (don’t be turned off by this title, it’s tongue-in-cheek. This is a book about an aroace college girl discovering herself and centers the importance and power of platonic relationships! I have it on my TBR and have heard great things)

Detransition, Baby by Torrey Peters: Reese almost had it all: a loving relationship with Amy, an apartment in New York City, a job she didn't hate. She had scraped together what previous generations of trans women could only dream of: a life of mundane, bourgeois comforts. The only thing missing was a child. But then her girlfriend, Amy, detransitioned and became Ames, and everything fell apart. Now Reese is caught in a self-destructive pattern: avoiding her loneliness by sleeping with married men.Ames isn't happy either. He thought detransitioning to live as a man would make life easier, but that decision cost him his relationship with Reese—and losing her meant losing his only family. Even though their romance is over, he longs to find a way back to her. When Ames's boss and lover, Katrina, reveals that she's pregnant with his baby—and that she's not sure whether she wants to keep it—Ames wonders if this is the chance he's been waiting for. Could the three of them form some kind of unconventional family—and raise the baby together?This provocative debut is about what happens at the emotional, messy, vulnerable corners of womanhood that platitudes and good intentions can't reach. Torrey Peters brilliantly and fearlessly navigates the most dangerous taboos around gender, sex, and relationships, gifting us a thrillingly original, witty, and deeply moving novel (again, don’t be thrown off by the title, it too, is tongue-in-cheek. This book was GREAT, and written by a trans women with a queer-and especially trans--audience in mind)

A Tip for the Hangman by Allison Epstein: A gay Christopher Marlowe, at Cambridge and trying to become England’s best new playwright, finds himself wrapped up in royal espionage schemes while also falling in love (this book is by a Twitter friend of mine, and it is a wonderful historical thriller with a gay man at the center).

Creatures of Will and Temper by Molly Tanzer: a very very queer remix of The Picture of Dorian Gray (which was already quite queer), featuring amazing female characters, a gay Basil, and a much happier ending than the original. 

Red, White, and Royal Blue by Casey McQuiston: The gay prince of England and the bisexual, biracial first son of the president fall in love (think an AU of 2016 where a woman becomes president). Featuring a fantastic discovery of bisexuality, ruminations on grief, and just a truly astonishing book. One of my favorites!

One Last Stop by Casey McQuiston:  For cynical twenty-three-year-old August, moving to New York City is supposed to prove her right: that things like magic and cinematic love stories don’t exist, and the only smart way to go through life is alone. She can’t imagine how waiting tables at a 24-hour pancake diner and moving in with too many weird roommates could possibly change that. And there’s certainly no chance of her subway commute being anything more than a daily trudge through boredom and electrical failures. But then, there’s this gorgeous girl on the train (This is Casey McQuiston’s brand new novel featuring time-travel, queer women, and I absolutely cannot WAIT to read it)

The Heiress by Molly Greely: Set in the Pride and Prejudice universe, this takes on Anne de Bourg (Lady Catherine’s daughter), and makes her queer! 

Tipping the Velvet by Sarah Waters:  Nan King, an oyster girl, is captivated by the music hall phenomenon Kitty Butler, a male impersonator extraordinaire treading the boards in Canterbury. Through a friend at the box office, Nan manages to visit all her shows and finally meet her heroine. Soon after, she becomes Kitty's dresser and the two head for the bright lights of Leicester Square where they begin a glittering career as music-hall stars in an all-singing and dancing double act. At the same time, behind closed doors, they admit their attraction to each other and their affair begins (Sarah Waters is the queen of historical lesbians. All of her books are good, and they’re all gay! The Paying Guests is another great one)

(On a side note re: queer books, there are MANY, these are just ones I’ve read more recently. Also there are a lot of indie/self-published writers doing great work writing queer books, so definitely support your local indie authors!) 

[multimetaverse]

Riverdale 5x04 Recap

Reggie getting lines is the first sign this must be a dream sequence

The Saving Private Archie sequence was well done. The twist where Hiram shoots Archie was a good one I’ll give RAS that

When discussing Archie in the army with some friends last week I said that they would only refer to Archie having been in a war and would only refer to the enemy as the enemy and lo and behold

Archie reading a book is already the most unrealistic thing abut this ep

Archie reading a Farewell to Arms is in keeping with the writer’s usual subtlety 

The Second World War style army uniforms work great with the show’s aesthetic 

Toni’s pregnant! And the White Wyrm is Pop’s basement!

RAS said we’d probably find out who Toni’s baby daddy is in 5x08. Presumably it’s someone we know which doesn’t leave a long list of potential father: Reggie or Sweetpea would be at the top of the list

Pop Tate better not be dead

Trash bag killer sounds nice!

A Fargo name drop

Is Betty sleeping with her instructor? That’s so unethical

Oh god they’re going full Silence of the Lambs with Betty having been kept in a pit by the trash bag killer

So the Trash bag killer captured an FBI agent and instead of killing her he held her captive for 2 weeks until she either escaped or was rescued or was let go? Unless there’s gonna be some big twist that really doesn’t sound likely to me

That serial killer brother (along with her serial killer dad) is exactly why Betty would never have been let into the real FBI

Chadwick is such a douchey name ( and he lowkey dresses like Hiram). He wants kids after just a year of marriage and wants Veronica to work less? Lotta red flags already

I’m going to quote an interview RAS did with E News regarding the timeline:

"Yeah, we're definitely in a time paradox," he says. "I think it would have been less jarring if we'd had the organic season break. But yes...the show's timeless so that's what we're hanging on to, to be honest. Like yes if you if you really, if you really analyze it it's like we're either in 2028, or we've been seven years in the past...there's a discrepancy there for sure." And yes, he also acknowledges that Veronica claimed post-jump that it is still 2021."Yes, she says it's 2021," he agrees. "But I think in the graduation episode it was also 2020...there's a discrepancy there for sure."

I have extremely low expectations for the Riverdale writers but fucking around with the timeline you’ve already established is just a slap in the face to the audience. Better shows than Riverdale have botched their timelines and it’s always a symptom of big problems in the writers room when they can’t even handle that basic task. Not to mention the contempt it shows to the audience 

Graduation was in 2020 so it should be 2027 now. Even if they didn’t graduate in 2020, Fred’s tombstone said he died in 2019 so how does that math add up? If  it’s now 2021 and the kids graduated back in 2014 then that would mean that Riverdale High’s first graduating class was in 1939 rather than 1945 which would mean that those classmates who inspired Archie to join the army were enlisting months before the Second World War broke out and two and a half years before the attack on Pearl Harbour caused the USA to enter to war

All strong marriages are built on deception (was that a reference to Katy Keene from the now cancelled Katy Keene show?). This accident better have really been serious if they keep bringing it up

Nice to see Hermione again

They look fine for surviving a helicopter crash

Chadwick collects faberge eggs just like Hiram... and Veronica decided to sell it... methinks Chadronica is not gonna last

Ah yes Fitzgerald and Hemmingway, two writers known for their happy lives and  peaceful deaths of old age, really good examples to live by Jughead

Lmao! Only Jughead would be seduced by a chick wanting him to read her book

Good on Kangs for staying together this whole time

Cheryl is straight up living in the 19th century and I’m here for it. Thank god Nana Rose is alive

Reggie working for Hiram is an interesting twist

Kinda weird that Toni is trying to get back together with Cheryl when she’s pregnant with some dude’s kid. Honestly it makes perfect sense that Cheryl would believe that she’s cursed

Omg is Cheryl gonna get into art forgery?? That would actually be so great

Of fucking course we’re circling back to Hiram’s real estate deals

Thank god Pop Tate is alive

Man how stupid do you have to be to hitch hike nowadays especially when the truck that pulls up has a fucking skeleton on the front!

Once more I’ll quote RAS on the serial killer plot:

"As that mystery unfolds, it starts enveloping all of our characters," Aguirre-Sacasa says. "And in some ways tragically, including a character we've known and loved since season one."

That’s a vague statement that something bad will happen but if he means that a character we’ve known and loved since S1 is dying then it won’t be any of the mains. Sheriff Keller would be a good tragic death, the last of the good dads left in Riverdale

In another interview focusing on the ships RAS mentioned that Bughead would still have a lot of trauma from the Barchie kiss to work through, that Barchie would have a deep connection, and that Varchie still have a spark but Archie wouldn’t make a move on Ronnie while she’s still married

I would be surprised if Chadwick doesn’t meet a violent death at some point so I don’t think he’s a long term obstacle. If Hiram is the big bad for the remainder of the series then there’s a path to get Varchie back together as they team up to take him down

RAS also mentioned how nice it was to not always have to write couple scenes, to be able to have Betty scenes without Jughead and Veronica scenes without Archie and vice versa. An odd statement to make as no one was forcing him to keep those couples together. The writers could easily have broken up Varchie after Hiram’s numerous attempts to kill Archie or used the fact that Bughead had a shared half brother and their parents were living together in a romantic relationship to sink them

Well until next Riverdalers

[mariaantonnietta]

Okay, the promised is debt.let"s talk about Gintaka moments!!!

I said a long time ago I was gonna do a compilation of Gintaka/Takagin moments. And I will deliver right now! (op skimmed the jp twitter and is excited/can’t wait to see the movie )

Ok, no, this will be mostly my disorganized headcanons, moments where I can see the ship with my shipper googles on, some paralels? Haha, honestly just to show the ship some love!!!

It’s also my perspective on why I love this ship!!

Of course, I'm going to talk about all the series and go back and fort, so there’s going to be spoilers all around, so if you have not seen the manga end, best skip it.

The rest is under the cut, let’s go!!!!!

So, I started shipping  Gintaka/Takagin  after the Shougun Assasination arc, best  strangled friends story I have ever seen.  I like a lot of Gintoki ships, but it became my favourite really fast. Then, looking back, I noticed these haha:

the first meeting in the show (ep 17). I know it was threatening, but watching it again the fireworks exploded over their heads as they met.Isn’t that  a romantic troupe? (and also in this scene makes Takasugi face scarier, haha). And also how Gintoki stopped Takasugi blade, so obvious for point one that they knew each other.(the interactions here are so painful in retrospective 'When his father saw his son's head, imagine the rage he felt?😭')

(and then there’s also , in the extra episode where the yoroyuza go to China, they help a poor dude with his first date with a girl, and Gintoki comments how the first date  should have fireworks, haha, at the time there were some images on pixiv of child Gintoki and child Takasugi seeing the fireworks together, it was so lovely, good headcanon!)

There's the Senbonsakura arc, and Takasugi appearing at the reunion scene looking at the moon, woah (there's also them crossing paths, but that's more dramatic of the ideologies maybe, still this a shipping post so ' them crossing paths there, the athmosphere of fated (rivals) people!!!')

( ‘They both had sad eyes’)

I like how even as they are different their core is the same, even if not these character are so raw together in their feelings

Let's talk about the movies for a moment: in the movie version of the Benizakura arc, Gintoki dreams with Takasugi, and IDK, but for how haunting it is, it also feels intimate, and that makes it hurt most.

About the second movie when we saw it we didn't know what the hell happened to Takasugi, but looking back he's dead by that time....maybe. (why didn't you give us a clear answer at the end sorachi).Okay but for practical purposes of what the cast knows he's dead (maybe...ahhh let's says it's like that) and well, haha, gintoki of the future dying looking at the sunset haha don't think of him daydreaming things.(When I saw the movie I had the impression that takasugi was dead, for both katsura clothes that are not called as a joke, and future gintoki 'the only one that can kill me is me', if takasugi was alive, he wouldn't let gintoki claim that so hypotrically, that's what I believed.)

There's the mini arc of the underseas dragon palace, (I remembered this one because of takasugi 'monster' form) I'm just gonna said that even if I read too much into ot there are some interesting paralels maaaaaybe, this one is a strech.

Talking about far fetched things, you people remember the Love Chorris arc? The one with the virtual girlfriends game? I think I am not the first person to point this out, but if you analyze Gintoki girl:

Gintoki selects her and (accidentally)kills her son.After that, she is bend of killing him in return in revenge. With his son corpse at her back to haunt him too.

She later confesses to him that she knew he wasn't at fault for her sons death, and that she focused on blaming him to be able to handle the pain, that she's grateful of Gintoki for understanding this.

The spirit of her son aproves their relashionship.

Now tell me this doesn't remain you of someone in particular and his relashionship with gintoki. And this is gintoki mind perspective and hopes, and fears.

(Well it probably isn't that deep, its the chorris arc, but still)

The way you can see Sakamoto’ jokes as a friend teasing because he knows they like each other. The fight when they to a red district gaining another lining.

The rajuko arc, when they exchanged blades to save the other newfound friends/family. The fucking red string of blood that they form together.

In the manga there was the famous saying attributted to takasugi historical counterpart :

'I want to kill all crows in the three thousand world, and sleep in with my heart's master'

This if I remember correctly because crows caw mark the morning, and in a brothel you have to leave.

So the meaning is ' I want to kill all crows in three thousand worlds(so that morning never comes) and sleep/stay in (forever) with my heart' master'

(Of course this could refer to shouyo, but it could be about gintoki, they go directly to meet the other)

It's a famous saying used in songs, I believe.

The part when he doesn’t want to see more rain, its of course because seeing gintoki's crying was imprinted in his mind for so long and influenced how he thinks. He is so important to him!!

And of course the final arc, where they are more open to each other,(the strangled friends are so happy to be together again) both Takasugi who finally let go of that 'burn the world down' and of Gintoki that walks besides him. The way Gintoki looks at Takasugi with a soft expression on his eyes. Matako ' I have never seen before Shinsuke sama with those eyes, I couldn't stop them'

The Glorious Days ending, that's when one (me) realises, 'oh ... this two care about each other and want to save the other' and while it isnt surprising for Gin, it was for Takasugi at the time.Rewatch the openings and endings in general, and see Takasugi place in them. IDK, he is usually the last alone waiting under the moon. And it gets me...cant really explain that.

The radio call, how we couldn’t see gintoki's initial reaction as Takasugi talked to him, gintoki even pretending not knowing (painfully bad) he didn’t know the other voice.

And of course the myriad moments in the final arc, Gintoki promply saying he is the one he wants to protect, the death sequence 'maybe we were just born under that kind of (tragic) star'

Gintoki teading takasugi that his parents would cry if they see the delincuent he is bringing home 🤣🤣.

Fuck, in the spin off Takasugi as a student novel, when he and Gintoki meet they can't keep the skit up, they talk directly to each other.

Also about the special episode, there's another...uh this is more of a paralel, and purely a headcanon, but here it goes: the yorozuya meet with kamui while trying to help a woman about her mother setting her up in blind dates, and in one moment she starts mothering both kamui and kagura and they get, well their eyes are animated different in that moment, and then they start listening to her. They were probably remainded of their own mother. And then I realised that I have seen Kamui make those eyes before (I will look for a pic, it's a very distintive shift), when talking to Takasugi. Is in one op too.

Of course the childhood friends dynamic. Regardless of nature, nobdy can deny the deep connection these two have.

(Here's the image from the op, is less obvios in the ep I think...or I'm overthinking, that's more possible)

Here’s Kamui and Kagura’s eyes when tehy get scold by the mother:

(I’m not crazy, they are similar XD Maybe XD)

I remember thinking to myself at the time 'woah, Kamui shows a admiring expression with takasugi somentimes' and now I fully believe is a childlike more like expression because takasugi reminds him of his mother(subconsiously). I can see the resemblance, especially towards the end of the series. As Gintoki and Umibozuo paralel too(both of them act like Kagura's dads) I just....haha parallel things.

There's a hundred things more, I'm sure I'm forgetting some (may add in a reblog after). All their fucking dialogue with each other is so intense. I I just love this ship sooo much

Totally up to talk about this ship if someone wants to!!

[grainjew]

Random ask time! Care to name ten fics, any fandom, that you have or plan to reread? (Not necessarily your top ten because top ten is hard but ten that you genuinely enjoy.)

hi lynse i can’t believe you slightly switched the ask subject from what you were contemplating sending in dms. yes i do care to do this!!! fics follow

these are arranged in literally no order whatsoever except vaguely the order I remembered they existed and tragically they will mostly not be readable for you lynse on account of us sharing fandoms basically never. but in any case!!! let’s go!!!!

A Professor and a Student - LeDiz - Pokemon Anime (Alola) - multichap, complete - Professor Kukui’s pov outsider on Ash, through interstitial set during the first season of Alola anime. This fic is the fic that got me into pokeani in the first place, and I have reread it all the way through at least once and specific chapters genuinely so many times. it’s good! it’s got so many fun reveals! it’s even got a surprise plot! if someone is in pokeani fandom though there’s like a 95% chance they’ve already read it, so it’s kind of pointless to recommend

Broken Rules and Consequences - Redring 91 - Doctor Who (All Eras) - series, ongoing i think - This is one that i’m planning to reread rather than one i’ve already reread: I first read it back when i was originally into dw, in like 2013, and honestly lynse the timing was probably right for me to have recced it to you back then. in any case i have a friend who vouches for its continued quality, and it was straight-up the only dw fic i kept up with for several years after i first fell out of the dw fandom. it’s a really excellent exploration of all the times the doctor has met their past and future selves, and i highly recommend it. it’s also very long, so watch out!

An Unexpected Greeting - kimirice​ - Pokemon Anime (Alola) - threeshot, ongoing - it’s a fic in the “cynthia runs into ash in alola and dumbfounds his entire class” genre and it’s a good one. my favorite one. i reread it whenever i want to feel serotonin in my bones. serotonin does not go in bones. whatever, this fic is such a joy, it’s pretty short, please read it if you too want serotonin in your bones on account of revealssssss

Phone A Friend - TheBigCat - Doctor Who (Seventh Doctor Era / Gallifrey Audios Era) - oneshot - this is another “reread when i want serotonin in my bones” fic. it really is amazing just how much joy can be stored in a single 1K oneshot, it makes me so happy, that’s ace’s space dad........... wahhh the au - everything’s fine tag on this one really carries it right into my heart

dreamt you a kinder future - Sixteenthdays - Dream SMP - multichap, ongoing - my FRIENDS forcibly got me into the damn MINECRAFT RP. this is all you will see of it on this blog ever because i do have SOME dignity left but if you HAVE gotten bodily dragged into caring about the block men yourself please do enjoy this time travel fixit about pre-plot Dream getting dropped into post-Doomsday era canon and dealing with the fact that his future self is evil and ruined all his relationships. its very good i reread the ranboo chapter regularly

The Red Coast - Maldoror_Chant - One Piece - oneshot - genuinely hilarious pov outsider on post-skypiea straw hats via some idiot bounty hunters who think they‘re easy prey. it’s a lot of fun and it took me three entire rereads to catch the punchline, which i am still mad about. please read this fic i am shaking my fist at it

Though She Be But Little, She Is Fierce - Izzyaro - Pokemon Anime (Kalos Era) - multichap, abandoned(?) - a few years after the kalos crisis, Bonnie sets out on her own pokemon journey. told through the eyes of her very alarmed traveling companion, who so incredibly doesn’t know what to make of her. yes, it only has two chapters and hasnt updated in years. i do not care. the chapters stand alone as oneshots and this fic has done so much for me. its like 90% of the reason i write bonnie the way i do its such a joy

Keeping a Welcome - Gramarye (ao3 | ffn) - The Dark is Rising Sequence - oneshot - did you ever wonder, gee, zeph, why do you write so much loyalty content? and why is it all Like That? well, the answer is that i read this fic at a formative age and imprinted on it like a baby bird, and then subconsciously was shaped by it for the next decade. genuinely it is SO good. it’s so good guys. guys it’s so good im going to cry just thinking about it. o a t h s ,,,  wahhhhhhh gramarye is probably my favorite fic author ever i love their stuff SO much. so much. i am going to cry im telling you!!!!!! (also while I'm here I also recommend everything else theyve ever written, especially the Eirias Triad, which i have reread probably as many times as there are fingers in my house, and which is only not on an entry on this list on account of me wanting to keep it at one rec per author)

Nah - soomin - One Piece - oneshot - the straw hats have been stuck in a time loop of their entire lives for many, many years, and boy are they having a good time causing chaos. this is one of the only op time travels that i feel like accurately captures what would actually happen if luffy did a time travel, and i love it. they’re having so much! infinite retries for the best adventure ever!

Insomnia - tikitikirevenge - The Legend of Zelda (Majora’s Mask) - multichap, abandoned(?) - novelization of majora’s mask with a twist: instead of resetting the three day loop every time, link gets exactly 5 cycles, and the whole thing is a stable time loop. its true it hasnt updated since 2015, but it was my favorite zelda fic back in middle school and i still reread it every few years to confirm that it’s just as good as i remember: it somehow always is. and every time, i forget just how agonizing (complimentary) the link&tatl friendship slowburn is like dear lord does this author know how to write a slowly developing relationship hh i wish more people would read this fic it’s really just very good ok dont mind that its abandoned just before the snowpeak temple

[stillness-in-green]

Idk if anyone told you but the MVA OST leaked, with themes for both the League and the MLA. If you haven't listened to it yet, please do! And if you have, what are your thoughts? I think Mine Woman and RE-DESTRO slap for 2 characters that got shafted hard by canon so I appreciate them a lot.

I have listened to them, and I like several of them! I feel like I need to lead with that, because I'm about to add some criticism about my previous responses to BNHA's score for context, so it's important to know that I genuinely do enjoy quite a few of these.

So, I haven't listened to a lot of Yuki Hayashi's scores, but he's definitely done work I've liked! He composed the music for several of the more recent PreCure shows, including their movies; I particularly loved his finale for the 15th anniversary film, which prominently featured a truly delightful medley of every team's opening theme. I'm also very fond of some of his pieces for Kiznaiver and Welcome to the Ballroom.

His BNHA work, though, I feel like suffers from two main problems: the tracks are too short to work up a good head, and yet, despite that short length, they sometimes feel exhaustingly over the top. (Did Shigaraki's theme really need crying children to get across the point that he's bad news?) I've long felt that the BNHA anime wants me to feel like everything is way more Epic and Stirring and Dramatic than I actually find the material to be, so curiously, the music winds up having a distancing effect rather than drawing me in. This is frequently compounded by placement choices that feel so staggeringly poor that I'm often left wondering whether the staff chose the music out of a hat! (Seriously, why does a fairly rote test of character in Nighteye's office warrant doom choirs?)

As to the MVA tracks specifically, I wish there could have been tracks that sounded a bit more fun or heroic, given that the League in MVA really are the heroes for the arc, complete with Shigaraki suddenly having access to Shonen Nakama Tropes and getting all these little comedic reaction takes. It'd be nice if the music could cue in and let the League have some aural triumph without being all doom all the time ("Oh, no! The villains are winning!" Yes, they are; let them have this for one arc, would you?)

But that said, I do rather like most of these! There are some that I do suspect will fall prey to the This Is Too Much Drama, Would You Please Ratchet Back? problem, but there are also some that I can imagine playing better in the context of the show than they do in isolation, and some that feel like they could even be exactly what I was dreaming about, if they go where I hope they will. For some individual thoughts, see below:

The Mission of the Stealth Hawks: A reasonable enough little tense atmospheric piece. Doesn't jump out at me.

Different Ability Liberation Army: I always approach the MLA as styling themselves as an army, but in reality being more of a sect--far more cult than militia-- I appreciate that if they can't have a good dramatic march despite having Army, like, right there in the title, I'm glad I could get church bells instead. On the whole, though, this is a good example of the first problem I mentioned having with Hayashi's work for BNHA--his pieces tend to be pretty short, and it takes them so long to land on a melody that by the time they find one, there's hardly any time to develop it before the song ends. Even a lot of the hero pieces are like that, and the villain songs, even more so. That said, I do like the horror strings that creep in around the 1.25 mark, blossom at 1.45, and float on through 2.10. I just wish they went on longer. Admittedly, "erratic church bells and horror strings" is still not the choice I would have made for the MLA's main theme. I really would have preferred something with a more militant air; as it is, this sort of feels like it scores a creepy prologue that plays before the opening credits kick in and then the episode proper starts. Which isn't a bad description for the way the dinner scene played in the manga, but thanks to the anime's decision to reshuffle everything, I don't think that dinner scene's going to maintain that feeling of "prologue" when we finally get to it.

My Villain Academia: Better on the melodic front; I enjoy the drama at .43, the dancing tension at 1.05, and particularly the minor strings from 1.25 that just keep climbing until everything else drops out around 2.10. I do wish it found a better place to end rather than noodling on for a further thirty seconds, but the melody will get a more central, and more bombastic, treatment in the final track, so it's probably okay for it to trail off here. (It's also apparently a reprise of a villain theme from the very first season's OST, which is rad. More on that in the Track 11 blurb.)

Second Coming: This is a bizarre one because, while I complained that Hayashi's BNHA tracks are usually short, this one is a full six and a half minutes--except that it falls clearly into movements of about a minute each, with clear lulls in between. I wish it was twelve minutes and everything was twice as long! As it is, I'm highly doubtful that we're going to hear this one played in its entirety anywhere, since I can't imagine what scenes would require this specific sequence of musical passages at this length. 0.00 - 1.01: I love that the song kicks in comparatively quickly; the first minute's passage has a great, thrumming drive that very nearly hits major key towards the end. 1.02 - 1.53: The drive picks up pace in the second minute before the chorus arrives, and for once, I am very prepared to love a BNHA choir piece. I hope this is what plays when Deika's going up in ash. 1.54 - 3.01: I love the melodic line being carried by the intentionally hard to distinguish violin and whatever brass instrument the violin's trading off with in the third minute. It's bit out of place with the rest of the track, but I like it quite a bit on its own, and it does have a similar sound as some of the "dirty" brass in RE-DESTRO and Mine Woman. It's probably too long for RD's childhood flashback, but I wonder if it'll play for an MLA character somewhere? 3.02 - 4.07: The fourth minute has some very fun drums, but otherwise doesn't jump out at me as much of the rest of the track. I'm very curious to know when this will play, though. 4.08 - 5.32: The fifth minute, god bless, has some proper march drums--I like this passage a lot, particularly when it come back in the sixth minute accompanied by the choir. I like this because the key is minor but it's not "oooo scaaaary" minor; it's more dramatic, a bit tragic, but triumphant too--pretty much perfect for Re-Destro, Spinner and Machia's moment of revelation in the crater. I wish it were longer. 5.33 - 6.36: And here for the end we're back to the driving guitar and some fun low-thrum strings and percussive chain sounds. Like the fourth passage, it's fun, but jumps out at me less, particularly as the song's finale.

Gigantomachia: This is an extremely boss kaiju song. Seriously, that brass in the opening could come right out of a Toho flick. Extremely good walking calamity number, love that distorted synth stuff towards the end. It's going to sound great when (if) it plays over Machia leaving the villa, the hand rising up through the floor behind Toga, Momo and the other students surveying the desolation left in his wake, and so on. (I know that's all Season Six material, shhhh. I hope they use this piece there.)

Mine Woman: This is so fun. And so extremely superior that that awful Christmas insert song! I'm glad Curious got this at least, and I love the moment the beat drops at the one-minute mark, and that interwoven sax. So good. It's hard to imagine the fight between Toga and Curious being paced to this song, mind, but it's real good, anyway.

TOGA's Nature: This one showcases the other problem I have with Hayashi's BNHA work, especially his stuff for the villains: it feels very on the nose in a way that tips over into being Too Much. The birdsong, I think, is on the nose but in an effective, playful way, with the natural beauty of the birds undercut by the lovely but ominous piano/synth melody. I am considerably less kindly disposed to the creepy child laughter, which just feels on the nose in a thuddingly obvious way--though I do like the way it slides in when the birdsong fades. I like, too, the sort of cloudy roaring reprise of the melodic line that kicks in around the 1.10 mark. It feels like an effective echo of Toga--cute but creepy as a young girl, and then, after she snaps, creepy in the same way but now you can't ignore it.

Symbol of Fear: The beginning doesn't do much for me, but I enjoy the howl that gives way to the organs at 1.15; while it's too action-heavy to be Tenko, the transition does still put me in mind of Tenko wandering the streets, internally crying for anyone to help him, and the person who finally does is--well. I like that the organ nurtures that howl into something considerably more dire, though you still get a return to that guttural cry periodically. While it is, again, difficult to imagine this scoring the scenes between AFO and Tenko's first meeting and Tenko being formally named Tomura--it's much too bombastic--it does still feel like an excellent representation of AFO sculpting Tomura's formless, aimless rage into something that really could tear down the world.

I Don't Kill My Friends: It would have been really nice if they'd let the most significant, unadulterated personal triumph of the arc sound actually fun. Why does the Sad Man's Parade song sound so upset?? @aysall predicts that it'll play over Twice's confrontation with Hawks and death scene, and I can see it working extremely well there, but it's a pretty weird call for the Dead Man's Parade bit, if that is indeed what this is intended to evoke. Quibbling about the title aside, I do like the way this pulses and throbs, something like an exposed wound, which is not a bad description of poor Jin's mentality. I still hope this isn't what scores his breakthrough, though. As I said previously, the villains are the heroes for just this one arc, and it'd be nice if the score could reflect that at least a little.

RE-DESTRO: I like this one a lot. I love the interwoven layers of that dirty sax and the Big and Dramatic orchestral strings + brass, but both of them undercut with that regular, machine beeping that could almost be a heart monitor, but mostly isn't--right up until the long beep at 1.52/1.53. It feels like a strong illustration of the titular character's different personas--his attempts at casual, friendly villainy (like menacing Giran or chatting with Shigaraki on the phone), him when he's thundering full-volume about the weight of his legacy at people (THE BLOOD OF DESTRO FLOWS THROUGH THESE VEINS I AM RE-DESTRO), and, beneath it all, the constant little thread of stress that Rikiya can never escape (right up until Shigaraki). I probably wouldn't love it so much in isolation, but I'm easy to win over with the right character association. XD

Paranormal Liberation Front: Very fun grubby guitar intro. It also has much the clearest melodic throughline, which inclines me towards it. What inclines me to it even more is the knowledge (per @aysall again) that it's the same main melody as the track Villains Theme from the very first season's OST. That track already having used its allotted Doom Choir quotient, this track makes do with less synth and a lot more orchestra and chunky bass backing, which is much to its benefit, I feel. I do wish it had any of the MLA's theme in it, to represent the merger, but admittedly, it'd be hard to make that very audible when the MLA theme has…next to no central melody, percussive rhythm, etc. Still, as an evolution of the League to something bigger, classier, and far more dangerous, it's real good--just long enough to develop into itself and explore its central leitmotif. Probably my favorite track simply on its own merits.

Thanks for the ask, anon! I'd listened to the tracks once driving around for work, but sitting down with them properly gave me a greater appreciation for them, and now I'll definitely have an ear out for them when we get to this material in the anime…

….whenever that winds up being. *sob*

[scrawnytreedemon]

Cid Highwind and/or Vincent V!

Oooohhh!!! Bringing in The Boys? SNkkkkk, I’d expect nothing less of you, Enide <3 I’m not that well-versed in them as I’d like, buT!!! here’s trying!!!! Love a good challenge :)) 

Cid:

First impression: Grumpy tea DILF that swears his ass off. For some reason I keep forgetting Cid is a lancer and not a gunman because??? Usually it’s the gunmen that get depicted all vulgar and rugged, with stubble and cigarettes.

Impression now: Grumpy tea DILF that swears his ass off. Lmao, nothing much has changed, but there’s certainly a free-spiritedness to him; makes sense, the man is a pilot and would’ve been(got to be?) an astronaut. He’s very tough-love in a way that both meshes and manages to be distinct from Barret’s flavour-- I think they’d be good bros :) One thing that sours his character a bit for me is how he verbally abuses Shera :( I’d normally chalk it up to his usual tough-love, but with the major plotpoint of him blaming her for his crushed dreams and how she essentially fulfills the role of an abused wife... I, I’m not so sure. Overall, I like Cid, but it’s a shame.

Favorite moment: Ohh!!! I have a few, such as the way he joins the party, him calling Vinny back to their room, his return to the final fight-- But my favourite has to be on the Materia train hijacking sequence and the dialogue that follows if you pick Yuffie and Vincent as your party members. The dialogue is downright hilarious and you really get the sense that they’ve gotten to know each other behind the scenes(love that about FFVII <3) :)))

Idea for a story: To STEAL an idea from my bud @alunchboxofsushifries she had while we were whinging about DoC, but having the game’s storyline entirely revamped so that it’s Vincent, Cid and Yuffie doing it all together. We don’t know the finer details(and DoC being DoC quite frankly I’m scared of knowing just w h a t might we be changing), but I love the idea alot!!!!! Again, this is my friend Vee’s idea, so major credit to them!!!!

Unpopular opinion: Lmao I don’t think I have enough opinions on him to really have an unpopular one??? Dont get me wrong-- Love the man to bits, however as of yet my focus has been all over the other party members(Barret, Nanaki, ect.) and so I’m not as well-versed in what is the common fanon of this man-- Most I could say is I wished they handled his resentment towards Shera better :(

Favorite relationship: I think him and Vince are such a fun dynamic-- I lean heavily platonic, but I’m sure you know I’m cool with a more romantic connotation. Vince calling him chief and being this affectionately dry almost-sidekick to Cid is the absolute best and its what made me love the train sequence along with Yuffie calling him old man lmaooo-- Adding onto that, I think him and Yuffie could have a snarky grumpy old dad and snide-teenager dynamic where he gives her lectures and she goes “yeah okay, paps”.

Favorite headcanon: Sadly I don’t have really any(I am NOT giving you good food today, am I, Enide? :( ), but I personally think that he’s got the only functioning airship on the Planet. I headcanon Gaia to be roughly the size of our moon, so large enough to hold a fair amount of people but also small so everything’s just a stone’s throw away-- Hell, they only have one major ocean! How wild is that???

Now!!!!! Onto Vince :))))) I have alot more to say(hopefully lmaooo)

First impression: Cool edgy gunman who stands in a corner and mumbles huskily. Drinks only black coffee, if he even drinks at all. Desperately needs a hairbrush.

Impression now: This man is??? SO awkward I???? I lOVE HIM???? He’s also got such a sweetness in my eyes and it’shdfjkjhkjhjg!!!! Like mAN, he’s an outwardly chill if slightly skittish older friend who keeps to the sidelines most of the times but when he does chip in it’s a l w a y s good and very Wise. The man is a bit of a sod, though, sometimes to the point of debilitating self-pity. First thing this guy did was tell you to fuck off and go back to sleep. He rags on himself heavily for his sins and I want to!!! Give the poor fucker a hug because lord knows he hasn’t had one in 27~ years :((( All around, swell guy, WOULD love to have a chill garden-bonfire chat with him :) Still needs a hairbrush, lmao. Also g o l d - p l a t e d  c l o w n s h o e s .

Favorite moment: I must, again, bring up the train scene for reasons mentioned in Cid’s section-- But to get onto another that caught my eye, was when he returned, and Cloud was surprised, having got the feeling that Vince was cold an detached. It’s both sweet, and sad. Vince cares deeply about all of this, about all of them, but because he’s a bit of a poker-faced recluse he doesn’t express it very much. I wonder how he felt, hearing that.

Idea for a story: OF COURSE, once again, Vee’s DoC rewrite(even more so because Vince is the main character), but I think a Seph adoption!AU, whether pre or postgame where in the former he takes Seph in and they’re constantly on the run together, constantly awaiting Shinra’s wolves like stalked deer, or the latter where there’s a tender, redemptive atmosphere but also a psychological, almost-horror element where he loves his Lucrecia’s son so much but also has to serve as his warden lest he be unleashed once more.

Unpopular opinion: I don’t think he’s Sephiroth’s biological father, and, with the nigh-omnipresence of this theory, I’ll be honest and say I find it a little grating? I think it weakens Hojo’s character and makes Vince this Real Fix-It Parent Who’d Never Hurt You :) -- And I understand the appeal, of that, but honest to God it really feels like most of this comes down to Hojo Stinky Baf adn UGLIIII!!! Vimce Good adn Sweete adn Pwetty :333 Facetiousness aside, I can appreciate this being done well, as with anything! Just wish it wasn’t taken as almost canon in fandom spaces :(

Favorite relationship: The man is SO fun to platonically pair up with everyone it’s INSANE, though I don’t think I have a favourite ship??? Like yeah, sure him and Lucrecia had a thing once, but that whole ordeal was more of a human rights crisis and just generally a painful, tragic mess. I don’t think Vincent could really love like that again, not for many years. He aches, even in places he forgets aren’t meant to ache. Especially those. I think he gives everyone a little love in the help he hands out. Vincent’s heart is big and broken, and he fears that if he fills it too much, it’ll burst, and he’ll be left a beast. He needs to learn that he is worthy, but that is a task he must undertake.

Favorite headcanon: Can’t really think of any, as despite his mysterious nature, Vince doesn’t leave too many loose threads in areas of My ConcernTM-- Though if I’m gonna make one up, him, Barret and Cid get together on Saturday nights to hang out around a fire with some beers and have some good Dad Talks-- Peak DILF solidarity, tbh. 

But yeah!!!! Took awhile to write out, hopefully these are sufficient enough for you, O’ Valenwind Extraordinaire beloved! Again, as always, feel free to tack on any further thoughts of your own! Love a good discussion <3 Makes this little corner of the fandom feel warmer.

[yourdesertsunflower]

Analysis/Opinion, Boruto Episode 178

Cause when they do something right that is worth watching I got to give them credit. 

Okay, okay, okay.  What the hell did just happen? Boruto almost made me tear up? Yes, almost.  I know I’m late (way too late, and I haven’t seen this weeks episode to be honest) but I needed to speak about this episode because, causing me to almost tear up is somthing that both OG Naruto and Naruto Shippuden only did in other occasion which, uncoincidentally, involving the same two characters. But well, we get more into it later but before starting with the analysis, which will be done in chronological order, I will just warn you: SPOILERS! Now yes, let’s get into it. 

At the beginning of the chapter I already knew this was going to be good. Like, really good. The first shot showing Shikadai tying up his hairs lacks of subtlety yet is a very good symbol and a clear indicator of what will come up next. Nara’s pineapple hair is quite a staple for the clan, it show us the tradition passed down from generation to generation. It’s, also, something that connects, both in a visual but also symbolical level, all three grandfather, father and son. Having Shikadai tie up his hair at the beginning of the chapter just was a sneak peak of all to come, how in some moment Shikamaru will have to do the same as his father and entrust everything of Shikadai knowing that he’ll be able to make things right. Really short and sweet. 

The “breakfast scene”, that’s how I called it. Well, this is the only moment we actively was Temari which is sad because I’m craving for moments with her and actually thought this was a good opportunity to do so. Yet, I respect the decision that Studio Pierrot made to focus primarily on Shikamaru and secondarily on Ino, though I would have loved to see a little bit more of the later but I’ll talk about that later. 

I think the gesture of Temari talking to Shikadai before hand about everything is very telling of Temari as a character and her relationship with Shikamaru. It does not only show a deep bond between the couple, created through a deep comprehension of and care for each other which is nice. Both Temari and Shikamaru know about loss and it’s really nice that they know what each other need during the times of grieving. She doing the dishes, talking to Shikadai or giving him the space during that day feels fitting as Shikamaru is known to be someone who needs to process things on his own. However, Temari always is there, and through little acts she shows it (even I liked the strict parenting that it was displayed here, is more of what I’ll imagine Temari doing). But, yes there is no need of flashy displays she just does it everyday which, is beautiful.

I got no particular dislike of Shikadai not remembering the date. He is almost a teenager born and raised in a period of peace and it shows. Probably he had other things in his head but, boy, you are supposedly a quick thinker! If you saw not only your father unusually late at home but both your parents are dressed all in black. I really don’t think that connecting the dots was so difficult. Still, it was passable since it gave the excuse for Temari to talk (which though sad, it’s true). 

Shikamaru in this scene is anticipating what will happen through the chapter. This is an important date not only to them but the whole of the villages but, also the change between the sequences to the monument of those who died in the line of duty, the Will of Fire also sujested the grate importance that it has to him even though he doesn’t like to admit it that openly. There is something that kept ruminating in his mind since that day; something that makes that day even more than a commemoration day towards his father.

Okay now, having finished with that opening scene, let’s get into the second scene. Before entering into the more detailed thing let’s get through this first. I know people were pissed about Hinata not being part of the group while being present at the commemoration ceremony. I find this to be understandable in terms that Hinata is no longer a active jonin, and that all the once that were up in the stage were people who thought at the Fourth Great Ninja War for Konoha and still are active ninja. Does this justifies it? No, but it gives us some sort of explanation. I personally was way more focused on having Hinata bringing Neji’s portrait. I found this enduring and a really nice gesture that just makes me want to have seen more of their relationship and development in Naruto Shippuden. In the same manner though I was pissed of that Choji wasn’t that present I understand the necessity to fill a story in a 22 minute timelapse so, even though I think Choji could be easily added better within the chapter, I understand the decision to not involve him that much. In the same manner it would have been nice to see Yoshino and Choza within the people of Konoha, a real missed opportunity.

Shikamaru looking above to the sky is a lovely gesture that carries a lot through it. I often talk about how beautifully written is Shikamaru’s arc through Naruto. He is the pivotal character that I would put a focus if a coming of age story is what you are looking for. And this character arc left us with one solid idea in my opinion, sometimes what you always wanted won’t be what is given or what is needed from you. Growing up is about taking responsibilities about following the path you consider to be right and not the easiest. However in this little moment we can see a really human Shikamaru that, is not only looking up into the sky towards his lost father but his lost dreams. There is almost a melancholic tint to all this scene, because we all have times in which we wish we could be kids again and really don’t care. It’s really humanising and it is done with such a subtlety that it surprised me.

Ao coming back is still something I don’t end up getting used to, even with two rewatches of the episode. But I got to say it, even though I find it quite convenient, he fufills the role that is needed from him in this chapter being the only person that can answer the question that’ll bring peace to Ino and Shikamaru so, even though a little bit crappy in its execution I really don’t mind he survived.

Shikamaru and Ino and their talk was really fresh and something I never knew I needed. As I always said, I love Team 10 and their dynamic. There is an undying love, support and care for each team member to the others that is so wholesmome and sweet. And in this scene they were able to replicate this perfectly. The friendship between Ino and Shikamaru was always a beautiful element within the narrative because they are, in my opinion, a really good representation of a female-male friendship. And no, this doesn’t mean that you can’t ship them (I mean you do you) but it means that I think that it was a really nice scene between two friends, one a woman and the other a man, that care about each other like family and that I am sure would do anything for each other and I think that is beautiful. Friendships between men and women should be normalised on screen and I think that Ino and Shikamaru, beyond the Ino-Shika-Cho as a whole, are a really true example of what a healthy friendship can be. They joke around with each other but also don’t shy of being vulnerable and supportive.

Here enters the well known “Survivor Syndrome”, also called Survivor Guilt, something that all three main characters within the chapter have, meaning, Shikamaru, Ao and Ino. This is a mental condition that occurs when a person believes they have done something wrong by surviving a traumatic or tragic event when others did not, often feeling self-guilt. Obviously all characters show it in different degrees; for someone like Ao that guilt is turned into the inspiration to move foward with his rehabilitation in order to live for those who died but in the case of Shikamaru and Ino it is explored completely diffeng through one element, key for this chapter.

The Recurrent Question, is basically a lovely way to introduce us to syche of this two characters and better understand the weight this two characters carry beyond the leadership of their clans. Their parents died at a fairly young age and their kids were inexperienced as it regards a war of this magnitude beyond being basically teenagers. Taking all this into account, beyond Shikamaru’s characterisation which goes alonb with it, it really isn’t weird the question they have. It fairly logical, give the situation they found themselves in years ago but also nowadays as parents to the next generation. It is really a ver humanising question as it reminds us that, before being incredibly talented ninjas they are people. This is something they need to understand for personal reasons: both as son and daughter but also as parents. Compeleting that piece of the puzzle is what something will give them a much needed peace and, also the key to move foward as it’ll be gaining a better understanding of, not only their parents, but themselves

The Next Generations, is a theme that was always reinforced through all the series but specially in Team 10. This is not only given the importance the Will of Fire had for the characters that conform it but also in the genesis of the team itself. The formation of the Ino-Shika-Cho is a strategic one that is built and reinforced through tradition. Hence the strong bonds between the different he generations of these clans because, by the passing of the torch they are entrusting there lives and legacy to the following in line. They importance of trust and time become apparent as they show us the new generation of the Ino-Shika-Cho as Shikamaru says that one day they’ll entrust everything to them, unknowingly, providing him with the answer to they question he asks. But, why he doesn’t notice this? Because he had to hear it himself, showing the respect and admiration they had as shinobi. As Ino said they were heroes, real shinobi till the very end, but is that really so? I don’t think so.

Then we go to the sequence in which Ao leaves a flower to greet farewell to Inoichi and Shikaku which I think is a really nice yet simple moment. He also had the weight of never having said goodbye to them and through this gesture he is finally coming together and giving himself a much needed peace; he finally forgave himself for being the sole survivor of that division and of the destruction.

“You look just like your father”  Well that hit me on a personal level. All people since I can remember always told me I look exactly like my mother. And, as many people that also where told so may know is not something you particularly like to hear when you are a child. You want to your own individual unbound of you parents and their lives but, when you grow and loss that special someone, well it hits differently. I can imagine what those words would mean for Shikamaru, probably some needed words that we all saw coming. It’s the idea that, somehow, he is able to keep with his father’s legacy which transcends the looks. It’s nice and sweet.

And here the question comes. Since Ao was introduced it was obvious he’ll fufill this role; answer the question. It was so brave for Shikamaru to ask it, knowing the answer may not be what he may wanted. The fact he says he “sometimes” thinks about this, shows us that the question tormented him for quite some while, fifteen years. It’s really sad if you think about the uncertainty that covered this vital part of his life that would go on to affect everything, his role as an advisor, as a Shinobi and as a father. But the answer was definitely something way needed for this two, and deserved. Seeing Ino and Shikamaru (well Shikamaru almost) cry made me almost tear up. And that’s what I said previously, Inoichi and Shikamaru as so many pointed out weren’t shinobi in their last breaths but fathers. And great ones, that entrusted without doubt and absolute trust everything to Ino and Shikamaru. It was a really beautiful moment that really felt gained and I couldn’t help but smile, though it always been obvious to me, I still was nice to hear it.

I would have loved to see more of Ino and her point of view through the chapter. I think we followed Shikamaru all through it, and don’t get me wrong I am a sucker for any Shikamaru-centric episode, but it would have been lovely to see the other side of the coin, the complete story and view. So yes, my main complain with this chapter as a whole would be that.

And we get to the ending. First of all we see Shikamaru watching the clouds as he used to do when he was a child, for me a clear indicator that a big weight had been taken away from him. It’s a lovely remainder that we can still dream and recall the child we once were.

Temari sending Shikadai to find Shikamaru is really fitting and a good gesture of Temari to be honest. I think she knew he’ll need Shikadai, as I said before this two know each other so much, so I doubt this was arbitrary.

Shikamaru and Shikdai are really such great father-son duo, I really like their interactions and how Shikamaru is able to reflect himself in Shikadai, hoping that one day his son can learn something from him as he did with his father and knowing he’ll be able to entrust everything when the time comes. And, who I am lying saying that the time will come? Some people say that this was a the anime anticipating Shikamaru’s death but, to be honest, that’s something I already knew since nothing of his dream come true. He never had two children and the first was a boy, he married a stunning and troublesome woman he truly loves, he is the Hokage’s advisor and one of the most important figures in the Shinobi world. Besides, Asuma’s and Shikau’s death I think showed Shikamaru that there is a way more fitting way for a shinobi, but even more importantly for a human, to die than peacefully which will be protecting what he loves. Yes, that moment will probably break my heart but, if done correctly, it’ll be a perfect end for this character.

The only thing I got left to say, because I won’t analyse the last scene cause (being honest) I was completely taken by surprise is, what happened to Temari? I got to say, that wasn’t really nice of Shikamaru and neither of Shikadai. Shikadai was looking for Shikamaru in order to go home to Temari, who was waiting for them. I just gonna set this clear - now Studio Pierrot owes us a Nara Family Moment/ShikaTema for doing dirty at last second lmao.

Well this is my opinion/analysis of this episode of Boruto. I hope I didn’t bore you that much when reading my opinion and that you enjoyed the episode as much as I did. Have a nice day! ❤️

[bwprowl]

Me vs. The Mitchells vs. The Machines

The Mitchells vs. The Machines is a really cool movie. Seriously! It’s the Spider-Verse crew continuing to be at the top of their game, doing their damnedest to elevate and evolve 3D film animation in a way apart from the ongoing Disneyfied edge-sanding seen elsewhere. Several sequences, especially the final fight scene at the end, are absolutely jaw-dropping. A lot of the writing of the movie is also genuinely clever, with some cool tricks of weaving in Chekov’s Guns that you don’t even realize WERE Chekov’s Guns until they’re deployed, but then make perfect sense. And I also just have to say there’s something oddly heartening about a movie that does a lot to target Millenials in terms of nostalgia, but not so much via our shows and movies and music the way other project might go about, but specifically by tapping the internet meme culture of the early-00’s that’s so media-unique to that emergent generation. There’s some genuine heart visible in so many of the levels of how this thing was made that I can understand its touting as an instant classic and the waves of praise and popularity that have followed its release.

Unfortunately, I can’t so unilaterally praise this movie, mostly because I can NOT stop thinking about how poorly-implemented and mis-framed its central familial conflict is.

Oh yeah spoilers for this movie I guess

So I’ll need to detour at first and talk about A Goofy Movie, which isn’t much of an issue for me since I fucking love A Goofy Movie. And watching The Mitchells vs. The Machines my initial takeaway was a pleasant observation that someone had basically grafted A Goofy Movie to The World’s End, which could have made for an extremely fun time for me. A Goofy Movie, so it goes, centers on the conflict between a father and child trying to understand each other, spurred on by the father conscripting the child into an impromptu road-trip which the child initially resents but eventually leans into as a vehicle for understanding as the family members open up to each other and end with a greater appreciation for their familial bond as well as healthier, more open lines of communication. There are comical misunderstandings, dramatic misunderstandings, and escalating Wacky Adventures that keep the trip feeling suitably cinematic in scope. And as The Mitchells vs. The Machines continued on, I kept finding myself rounding back to that comparison and asking “Why am I not getting into this as much as I do A Goofy Movie?”

It turns out to be a point of motivation, actually. In A Goofy Movie, Goofy dragooning Max into the cross-country fishing trip is immediately borne out of his (however misinformed) desire to keep his son from going down a wrong, potentially delinquent or criminal path. Goofy has concerns about the lessened connection and communication with Max, sure, but that’s a symptom of his inability to communicate his actual worries about Max’s behavior to him, not the sum total of the problem he feels needs fixing. Goofy is under the impression there are genuine problems Max is going through, and while he’s got the actual particulars wrong, he’s not really that far off, since Max still IS the kind of kid to elaborately hijack a school function or make up extravagant lies to get attention from the girl he likes rather than just talking to her and asking her out like a normal human-dog-person. Goofy’s objective is firmly centered on helping Max for Max’s sake, and he’s only taking up a few weeks out of Max’s summer and causing him to miss a single party in order to do it.

I lay all that out so you can try to understand my headspace coming at critiquing The Mitchells vs. The Machines and negatively viewing its own take on a plot concept I ostensibly love by default. The problem, as said, is one of motivation. In The Mitchells, Rick’s dissatisfaction with his relationship with his daughter Katie is purely that: Dissatisfaction with their relationship. Katie herself is, by all accounts, doing spectacularly. She’s got a healthy relationship with friends and other family members, she’s gotten accepted into a prestigious film school, and her YouTube account seems to pull pretty keen numbers (With all the tech jokes in this movie it’s a wonder there’s never a riff on her shilling NordVPN or Raid Shadow Legends). The conflict between father and daughter is purely a case of them growing apart in her teen years demonstrably because Rick has no understanding of her current passions and makes no effort to do so, which leads to him having consistently questioned and doubted her ability to succeed in her field. The film frames the impromptu road-trip as his attempt to ‘fix’ the issues between them, but the only thing broken by the presentation of the story is Rick’s approach to parenting in the first place. He could easily have made Katie warm to him on the way out by replacing or paying for the laptop he broke and throwing her a subscription to her YouTube channel, but then the movie would be shorter and we wouldn’t be able to pretend the conflict was anything other than his own pursuit of self-centered actualization.

That’s the other issue, of course, the way The Mitchells vs. The Machines consistently rounds back to the point that Katie is somehow shouldering half the responsibility for the father/daughter communication breakdown. But as stated above, it really has hardly anything to do with her. Katie’s succeeding on her own terms, and the only outreach she would theoretically need to do to her dad would be to make HIM feel better, something he could do himself if he’d only actually pay attention to the cool videos she keeps trying to show him and not constantly deciding that HE knows that SHE will fail. It’s a fundamentally one-sided conflict from what we’re shown, and yet the other members of the Mitchell family continuously treat Katie like she needs to accommodate her father’s personal whims and not hurt his feelings despite the fact that he’s the one who went behind her back and canceled her flight, even forcing her to miss her first week of college (!) simply because he felt sorry for himself that they didn’t like the same things anymore. Again, Katie’s doing great, it’s Rick that decides to make his problem the entire family’s problem, and while I’m going to hesitate to refer to this behavior as out-and-out abusive, it is still absurdly selfish and pointedly poor parenting. 

The movie seems to nominally strive for balance in the conflict, not making it entirely Katie’s job to fix her dad’s hurt feelings, and indeed having a whole sequence where he realizes what a Big Jerk he’s been about not trying to understand or support her passions, and resolving to actually Make An Effort moving forward. The problem is that this is still framed as one half of the equation, as Katie supposedly gets to understand where her dad is coming from, which...makes her feel better about all the times he said she would fail and so she should rely on and appreciate him more? And the reason that’s a fundamental issue is annoying, because it means we have to talk about Rick’s Stupid Fucking Cabin.

Look, I hate doing this. I personally try very hard to keep in the mindset that stories are stories and things happen in them because they are stories. I am loathe to attempt picking apart the points of particular plot points, but the problem is that this Stupid Fucking Cabin is positioned as the heart of the humanity of the entire movie, yet it hinges on a sequence of decisions that no actual human being would ever come by. First off, do you have any idea how long it takes to BUILD a home like that, let alone as one guy apparently doing it himself? Rick spent the better part of his twenties building this big Fucking Stupid Cabin to fulfill his lifelong dream of ‘Living in the woods’, only for his wife to get pregnant once it was finished, leading to him just dropping like that? Was there no planning in this family? Was Katie an accident that Rick immediately was this endeared to? I mean, he totally seems like a pro-lifer. But then why do they need to sell the Stupid Fucking Cabin on account of a kid coming along? How were Rick and Linda planning on living out their lives there if not with resources that could support them as well as a kid or two? Rick could have just raised his kids in the woods in his Stupid Fucking Cabin and they would have stood a better chance at turning out like little duplicates of himself and his own interests like he clearly wanted. That’s to say nothing of this sequence of events being framed as a ‘failure’, despite that fact that Rick handily succeeded at what he set out to do, only to turn around and abandon the thing he succeeded at himself on seemingly the same sort of impulsive whim that leads to him dragging his whole family on a road trip because he doesn’t understand YouTube. There are motivating factors to these decisions he made that could inform the whole context of this supposedly tragic backstory, but we aren’t privy to anything resembling them, and the result is a plot point that seemingly only exists to make Katie (and the audience) feel bad for Rick in the third act of the movie.

The real answer is the ultimate assertion of this thing by the finale, that Katie should be ‘grateful’ to Rick for his ‘sacrifice’ of his dream that supposedly allowed her to be in the place she is now. Except Katie had no part in Rick’s bizarre impulsive choice to build a Stupid Fucking Cabin then sell it as soon as a kid popped out so he, I guess, could feel some sense of important familial contribution. That’s to say nothing of the point about parental figures who make grand, sweeping gestures nominally for the good of their kids, but are effectively and emotionally unavailable in the day-to-day engagements of their lives. Because unlike Goofy in A Goofy Movie, Rick isn’t actually doing what he’s doing for Katie’s sake. Her motivation for most of the movie is to move away from home and go to college, a completely normal-ass thing that children do. Any of Rick’s outreach or efforts to ‘fix’ relationships and situations are purely for the sake of his own hurt feelings, and the way Katie’s mother and brother consistently push her into going along with them only highlights the overt way this whole family’s problems are hung up on the insecurities of of this single stubborn jerk. But then, that’s my other major misgiving with The Mitchells vs. The Machines: Its expected exaltation of the default biological family as some hallowed unit for which it is a tragedy to fall into any degree of dysfunction. This is with pointed dismissal towards the idea of Found Family, seen as a distraction, an obstacle to Katie realizing who her TRUE people are, and coming around to a sense of fulfillment because she managed to massage her dad’s ego for long enough that he stopped being totally dismissive of the things that brought her joy. You see, Found Families are fun, but they aren’t REAL or SPECIAL because they already accept and appreciate you for who you are, unlike these people you’re biologically obligated to share living space with for 18+ years whom you have to forge bonds with through varying degrees of communication breakdowns and compromises in self-agency.

With all that in mind, it highlights some of the smaller issues in the movie’s setup as well. This is perhaps petty, but jeez was I annoyed with the film’s framing of The Mitchells as this ~craaaazy~ ~weeeeiiiird~ family which included such outlandish quirks as ‘Dad who doesn’t understand technology’ and ‘Young boy who really likes dinosaurs’. And the wishy-washy tone of the familial conflict is echoed in the ‘The Machines’ part of the plot, which mostly led to me sitting on edge throughout the whole film as I wondered how it was going to come down on the subject of those kids and their darn smartphones. It ultimately doesn’t go full anti-technology, which makes sense given how much of Katie’s character revolves around using the stuff, to say nothing of the predilections of the people who actually, uh, made this movie. But the most it can manage is a halfhearted “Maybe unregulated big tech bad?” which even then is undercut, mostly I assume because of the various big tech companies involved in producing and streaming this thing. Don’t get me wrong, I’m overall glad it doesn’t go full "durr hburr technology is bad fire is scary and thomas edison was a witch", but a lack of any insight or ideas on that front means that the familial relationship element is the only conceptual element it really has to stand on, and I just spent over 1800 words breaking down why that fundamentally didn’t work!

It’s an aggravating situation, because lord did I want to love The Mitchells vs. The Machines. It’s gorgeous, it’s got some clever bits in the writing, and it can honestly sling a punchline like nobody’s business, there are some KILLER jokes in there. But it just became impossible all the way through the end for me to engage with the heart of the movie, its central connective conflict, on the terms it wanted me to. Now it’s admittedly possible that, perhaps like Rick Mitchell, that’s my problem. I’ve seen a lot of love for this movie from my peers, and it does make me question my own projections: I don’t want to get TOO personal on main, but I admit that it’s entirely possible that people who’ve enjoyed an actually functional fatherly relationship would better engage with the emotive connections this movie wants you to make. But even with that caveat, I was able to find my own way to resonate with the similar stakes of A Goofy Movie just thanks to the more effective way that one was framed, so if this one couldn’t hook me, maybe it was The Mitchells vs. The Machines’ fault after all.

[nimbostrxtus]

Since the subject of Tifa’s character has come up once again, I felt like throwing in my two pence because I had a similar conversation with a friend a while back about why the internet adores Aerith but far too often shoves Tifa to the side.

I appreciate Square Enix turning Tifa into a role model. She is the most heroic character out of the rosta; with Cloud only being in it for the money, Barret being blinded by his hatred for ShinRa and hiding behind the excuse he's fighting for the planet, and Aerith who is dealing with her own issues at the moment and is the damsel in distress in later chapters. Tifa is the only one whose moral compass never sways and she is a pillar of support for the other characters to lean on. She knows what the right thing to do is and will not compromise her morals, even for the greater good.

Tifa as a character is fine, she's one of the best in both the original and remake, her role as "Team Mum" keeping the party together and her friendship with Aerith and eventual grief over losing her best friend is just as tragic as Cloud's loss.

The only reason fans seem to take issue with Tifa as a character and put Aerith on a pedestal is because Tifa does not have a backstory. Let me re-phrase that. Tifa does not have a backstory that belongs to her and her alone. Tifa’s entire character revolves around her relationship with other people and supporting their character arcs. Every other character in the party is dealing with baggage that is unique to them. Aerith is the last of the Cetra and the only one who can stop Sephiroth, Barret lost his home town and had to raise his best friend's daughter by himself while becoming an eco-terrorist, Nanaki was experimented on by Hojo, is the last of his species and has issues with his father, Cait Sith is a ShinRa employee who wants to help the people in Midgar but feels trapped, Cid never got to fulfil his life long dream of going into space before Shinra cut the space program budget, Vincent has an entire backstory revolving around Lucretia and shines some light on Sephiroth's own backstory, and Yuffie's home of Wutai is a major factor in the game's lore since the very beginning. In comparison, Tifa doesn't have a backstory that belongs to her and her alone.

Now, Tifa obviously has a history, but the problem is her backstory is Cloud's backstory. Tifa's loss over her mother, Cloud leaving her, her father dying at Sephiroth's hands and her hometown burning to the ground isn't given as much weight as it deserves, because we only see it from Cloud's perspective and we're meant to feel his pain over the events, not hers. A lot of fans seem to forget Tifa knows Sephiroth and has just as much grudge against him as Cloud does. It just takes a backseat over Cloud's rivalry with Sephiroth.

You can take Tifa out of Cloud's backstory, but you can't take Cloud out of Tifa's backstory. Cloud still exists without Tifa. We still have his friendship with Zack and the damage Zack's death left on Cloud's fragile psyche and shaped him into the person we see at the beginning of the game, as well as his hero-worshipping over Sephiroth and the eventual betrayal he feels when Sephiroth kills his mother and burns Nibleheim. You don't really need to know anything about Nibleheim to understand Cloud as a character.

Tifa, in contrast, lost her mother at a young age and went into the mountains to go and be with her, leading to her and Cloud falling off the bridge. But this backstory only exists to further push the idea into Cloud's head that had he been stronger he would have saved Tifa. Tifa’s own turmoil about her mother is never brought up again after that flashback. Even her martial arts instructor, Zangan, we only ever see in a flashback sequence and is only brought up again when you find a letter he left Tifa in her piano. He only exists to explain to the audience why Tifa fights monsters with only her fists.

And that is very disappointing because there is a lot to work with here. The game never flat out states whether Tifa was feeling suicidal or genuinely thought her mother was waiting for her in the mountains, but her perspective of events after her friends abandoned her on the bridge and the bullied outcast was the only one who tried to rescue her would have been interesting. Tifa wanting to get close to this kid who proved to be her only friend and feeling lonely after he leaves would have been good motivation for her to become stronger too. Perhaps she meant for their promise to go both ways, Cloud will come help her when she needs him and she'll do the same for him. Maybe that was the motivation behind her learning martial arts, so she can become strong enough to protect the people she loves so she'll never have to worry about them leaving her.

I really hope the remake delves deeper into Tifa's time without Cloud and how she became her own person, her relationship with her mother, the strain between her and father,  and her time training under Zangan.

[picturejasper20]

Malachite Character Analysis

(Warning: Mention and analysis of a very toxic relationship.)

¨These two are really bad for each other. Malachite was formed through extortion and deception and held together out of revenge. Malachite is the worst relationship imaginable.¨

Malachite was a character that was introduced in Season 1 finale "Jailbreak" after Jasper and Lapis Lazuli decided to fuse together to defeat the Crystal gems.

In this post i'm going to examine Malachite as a fusion and what she tells us about Jasper and Lapis and their relationship.

Lapis Lazuli´s and Jasper´s backstory:

First let's talk a bit about Jasper's and Lapis´ past:

Steven first found Lapis trapped in a Gem mirror, after spending some time with her, he decided to free her and later healed her gem so she could return to Homeworld by using her magic water wings.

In the episode ¨Same Old World¨ (Season 3) Lapis tells to Steven her backstory about how she got trapped in that mirror.

¨It was thousands of years ago. I was only meant to visit for a short time, but I got caught in the middle of the war. It was awful. I tried to run, but... I was picked up by a Homeworld soldier and confused for a Crystal Gem, and used as a tool.¨

Lapis talks about what happened to her as it was an accident, a terrible tragedy in which there´s not only one person she can blame for all her problems. In a way, she´s potrayed as victim of the Gem war, she was on Earth for a visit and then she was meant to leave.

She was treated as a prisoner from gems who were supposed to be on her side, used as a tool and left behind on Earth like her life was nothing.

¨It soon became clear that there was no hope in stopping the rebellion. All of the Homeworld Gems fled, and all the panic of escaping Earth, I was left behind. And there I stayed. Freedom in my sight, but out of reach for ages, until I was found.¨

Then she spend thousands of year trapped in that mirror, alone, with no one to talk to, with her gem cracked on top of that. Anyone stuck in that situation who quickly became insane and would definely not be the same person that used to be before the traumatic event.

It´s not suprising Lapis was so angry when Steven free her from that mirror. While she didn´t want to get revenge on the Crystal gems she still had a lot of anger and frustration buried deep inside her.

As for Jasper, her backstory differs greatly from Lapis´:

Jasper was born in the middle of the gem war in the Beta Kindergarten, in less than a few hours she took more than 80+ Crystal gems impressing many Homeworld gems due to her strengh.

She was considered a gem role model in Homeworld, she was an example of what a quartz soldier should be. The issue was that depiste being highly respected by her peers, she couldn´t get out of her mind that she still was a gem that came from the worst kindergarten on Earth.

According to Peridot on ¨Beta¨ most gems born in the Beta Kirdengarten came out flawed or defective in some way. This was because Homeworld rushed the place during the war to get more gems. 

Jasper was one of the few gems that came out ¨right¨ to the point she could be considered a superquartz soldier by Homeworld´s standards.

However not matter how much praised she got, Jasper thought there was something with her because of her origins. This made her develop an  obsession with proving her power and getting more and more self-destructive as time passed.

¨Jasper is a bully in the truest sense. Deep down, she's afraid there's something wrong with her, so she has to feed her ego. She has to put other Gems down to stay on top. Who she is and where she's from gnaws at her all the time. She has a fantastic reputation, she's considered the greatest Quartz soldier produced on Earth, and that might impress other Gems, but it will never be good enough for her.¨

¨Because she loves honor, fighting, making her mark, and winning the battle, she'll actually go against her programming a little bit just to be the winner. So she can be self-destructive at times. She is tragically obsessed with proving her superiority.¨

Why is all this important? Well, it´s essential to know where these characters are coming from to understand why they decided to be Malachite in first place and why they were a recipe for disaster the moment that Jasper asked Lapis to fuse with her.

On one hand you have a gem that was spent thousands of years trapped against her will and carries a lot on anger and trauma inside her. On the other hand the other gem also has war trauma, it's very self-destructive and thinks she's horrible. Mix these two together and what you get is a unstable fusion made of hate and revenge.

Malachite as a metaphor for Jasper´s and Lapis´ relationship

Now that i have talked about their past. I going examine the scene in which they fuse into Malachite in "Jailbreak" and what the fusion tells us about their relationship.

After being defeated by Garnet (a fusion) Jasper decides to find someone she could also fuse with to win against the Crystal gems.

She spot Lapis Lazuli and grabs her before she can escape flying. She convinces Lapis to fuse with her to get revenge on Crystal gems. She reminds her how they used her and how they are traitors to Homeworld.

¨These Gems, they're traitors to their Homeworld. They kept you prisoner. They used you.¨

It's worth of pointing out that Jasper never tries to "force" Lapis into fusing with her in this scene. She tries using her, true, but she waits until Lapis accepts and gives her hand.

Now, Jasper could care less about Lapis in this scene. For her, she was only just a tool to get revenge on the Crystal gems and Rose Quartz. There wasn't any "trust" between the two.

As for Lapis, she tried escaping from Jasper first but after realising that she was about to being used again by someone who had kept her prisoner in the ship she snapped and decided to stop being treated like an object for once.

Moments later after they fused into Malachite, Lapis took control of the fusion's water powers and chained her down, dragging her into the bottow of the ocean.

¨I'm done being everyone's prisoner. Now you're my prisoner! And I'm never letting you go! Let's stay on this miserable planet... together!¨

As Lapis stated, she was done of being everyone's prisioner, she was tired of being treated like a tool by everyone. Control in her own life was something was constanly taken away from her. So by trapping Malachite (and herself) meant that was able to make choices again.

As for Jasper, i already mentioned that she only wanted Lapis to become more powerful. Jasper is a gem that shown to be obssesed with winning and fighting. She doesn't accept defeat easily and the more she loses, more self-destructive she gets.

In "Chilled tid" Steven gets a glimpse of what Malachite's mind looked like: Lapis and Jasper were fighting over the control of the fusion. They both were completely exhausted and beaten.

There's a visual methaphor about how they are both chained to Malachite in this dream sequence. This is very much like how it's really difficult to get out of a toxic/codependent relationship and how one feels trapped with no hope of getting out of it.

Another interesting detail is when Jasper takes control, all she's able to say is "YOU! YOU! YOU!¨ to Steven. It shows how crazy she gets when can't win a battle and how her mind deteriorates in the process.

The episode "Alone at the Sea" explores their relationship even further by showing which their main motivations were and how it affect them both.

First of all, the reason of why Lapis didn't want to be near the ocean again it's because it remind her of time she used to be fused with Jasper:

"Look, Lapis, I know you spent a really long time fused with Jasper at the bottom of the ocean, but you're not Malachite anymore.And water is a part of who you are. You can't let one bad experience take that away from you."

During the boat trip Lapis keeps blaming herself for the events of Ocean gem and Malachite:

"It's my fault. I'm the one to blame."

"I'm terrible! I did horrible things! I-I broke your dad's leg. I stole Earth's ocean! Go on! Tell me I'm wrong!"

She describes herself as "terrible". She thinks she don't deserve the kindness that Steven has giving her during all this time.

Lapis is a character who usually stuggles with change in the series. She thinks she won't be able to revover from her trauma, that she can't grow and become a better person.

She also mentions to him how she can't help but think of when she used to be Malachite.

"I'm really trying to enjoy it out here, but... I can't stop thinking about being fused as Malachite, how I used all my strength to hold her down in the ocean, and how I was always battling against Jasper to keep her bound to me."

"But it's not like that anymore. You don't have to be with Jasper."

"That's not it. I... I miss her."

"What?!"

"We were fused for so long."

This implies that after spending so much together Jasper and Lapis became codependent of each other. Steven, who was still a teenager in this scene, couldn't fully get grasp of why his friend who missed being in a terrible situation like that.

And Lapis was not the only one that felt like this.

When Jasper shows up, she shows she has been missing Lapis as well and she has been tracking her to find her.

In a very rare moment that would look out of character for her Jasper kneels down and begs for Lapis to be Malachite again.

¨Let's be Malachite again.¨  

Keep in mind that until know Jasper has always been potrayed as someone who would do anything it takes to win. She's tough gem soldier who isn't afraid of her enemies. She's strong,cocky and agressive. So why did she ask to be Malachite again?

"I was wrong about fusion. You made me understand! Malachite was bigger and stronger than both of us! We could fly!"

She emphazises Malachite's power when they were fused. How strong and powerful she was.

This makes sense considering the factthat Jasper thinks of herself as "horrible" and "defective". She has a huge inferiority complex that comes from how Earth gems are perceived on Homeworld.

So, being Malachite made her feel "complete" and cover up her insecurities and personal issues.

"It'll be better this time. I've changed. You've changed me. I'm the only one who can handle your kind of power."

She tries to convince Lapis by saying how she's the only one that can "handle" her powers. This shows again how self-destructive Jasper can be as she was willing to go through that pain again just to feel powerful.

Another reason, i think, it's because she partially blames herself for Pink Diamond'd shattering. She probably wanted to be punished for her "failure" or wanted someone who she could follow again much like she started calling Steven "My diamond" in "Homeworld Bound".

As for Lapis, there are a few reasons she had her doubts of being Malachite again:

1) The fusion was a way for her to gain control back on her own life. She was tired of being tricked and used by everyone that she wanted to take her anger on someone.

"I was terrible to you. I liked taking everything out on you. I needed to, I-I hated you. It was bad!"

Lapis wanted someone to go through the same pain she had to endure for thousands of years. And that someone could have anyone. She choosed Jasper as she was the closest one to her in "Jailbreak".

When she was separated, she felt she suddenly lost that great amount of power that the fusion gave to her. She lost that "control" she had.

2) During "Alone at the sea" she describes herself many times as terrible and how she doesn't deserve the boat trip. She keeps blaming herself from her actions and how she can't get better.

Jasper even calls Lapis a monster in a moment, stating they very much alike:

"You can't lie to me. I've seen what you're capable of. I thought I was a brute, but you... you're a monster."

Lapis wanted to go back to be Malachite since she thought it was what someone as terrible as her deserved. She thought she couldn't grow into good person. Gems terrible as her and Jasper were meant to be together.

But Lapis knew better than getting trapped in that fusion again.

"NO! ""What we had wasn't healthy. I never want to feel like I felt with you. Never again! So just, go!"

In the end she refused to fuse with Jasper and realised how toxic their relationship was. It was a terrible experience and something she didn't want to take part in ever again.

Malachite as a character

Being fusion who is supposed to represent an very toxic relationship, Malachite is potrayed as very agressive, unstable and sadistic. She´s quite unpredictable since her actitude depends of who it´s taking control of her.

When her eyes are ¨cat shaped¨ it usually means that Jasper is the one controlling her. If her eyes are wide and open, it indicates Lapis is the one in control.

It´s difficult to affirm Malachite ever had her own personality at all,as her components were always fighting over her power and she was a mere tool from the moment she was ¨born¨.

¨A fusion like theirs is unstable, bound together by anger and mistrust. If that bond snaps, their anger will take over, and destroy.¨  

She ends up being a pretty tragic character as her whole existence was filled by hatred and suffering to the point she didn´t know anything else. Unlike other characters from Steven universe she wasn´t given the chance to redeem herself.

It´s interesting how Malachite in ¨Super Watermelon Island¨ kept exchaching between ¨we¨ and ¨I¨ to talk about herself. This indicates again that she wasn´t fully her own person.

If Lapis and Jasper were to fuse again after having worked through their issues, Malachite would be a more stable and less agressive fusion. But that´s very unlikely to happen since it was a terrifying experience for both of them.

In conclusion: Malachite is character with tons of metaphors that talks a lot about Lapis and Jasper and who they are as people. She serves to show how toxic some relationships can get when there is a lack of basic trust and understanding and is created by mutual hatred. It´s an example of how complicated relationships can be and how a person it´s really more complex they appear to be.

[lydias--stiles]

Review of WORK IT, starring Sabrina Carpenter, Jordan Fisher and Liza Koshy

When Quinn Ackerman's admission to the college of her dreams depends on her performance at a dance competition, she forms a ragtag group of dancers to take on the best squad in school... now she just needs to learn how to dance. (imdb)

So I was really excited for this movie. For one, I’m a dancer myself and therefore am permitted to watch every single dance movie out there. Secondly, it starred Jordan Fisher and I am a sucker for anything Jordan Fisher. 

Overall, it was a cute movie. 

What this movie is suffering of, is very tired tropes. Which is unfortunate, because the actors are quite good. 

Sabrina Carpenter plays Quinn, the quintessential Netflix coming-of-age protagonist that will do anything to get into the college of their dreams but falls flat since they don’t have that “spark” those colleges are looking for. We saw it in Sierra Burgess, The Perfect Date, and probably countless others I’m forgetting.

Her best friend is Jas (Liza Koshy) who is on the famous school dance team The Thunderbirds. Jas is loud, opinionated, unapologetically herself and would do anything for Quinn, somehow placing herself second for most of the movie despite the fact that she is outspoken and a talented dancer. Jas is just the typical friend character we’ve seen countless times before and I wished she was more, that she wanted more. It also didn’t make sense how she got into a dance program in NYC when she only showcased hiphop at the final dance competition, when literally every university-level dance program prefers contemporary and ballet. Hiphop is an elective, not the thing that gets you in. 

(I’m not degrading hiphop, it just doesn’t make sense that this was the style that got her accepted.) 

Isaiah (Keiynan Lonsdale) even said it: Juilliard didn’t accept him because of his style of dance, which is commerical. Speaking of Keiynan, he was amazing as the overdramatic, nearly caricatural depiction of an ambitious dancer/Ru Paul wannabe. I wish we saw more of him though, a little depth would’ve done him well. 

Jordan Fisher was a joy to watch. He basically played himself under the name of Jake Taylor. He was the starlet of the dance community until he tore his ACL (also a classic) and now teaches dance to children at a studio. Jordan and Sabrina have great chemistry and amazing dance sequences together. I wonder if it was a nod to Baby and Johnny from Dirty Dancing, as he taught her to dance and some of the moves he was teaching her were sometimes a bit provocative. While their chemistry is great, I did have some concerns about the ages? He should be about 21 years, whereas she is 17 or 18. If she’s 18: fine, but I did find it concerning how they never mentioned his age. He’s at least 21, could be older.

The movie kind of meandered in the middle, not really going anywhere and just developing the relationship between Quinn and Jake. While that was cute, the entire dance team they created (TBD) is underdeveloped. You have the Goth Girl, Indian Girl, a DJ hiphopper, Nerdy Kid and Jock. If I forgot someone, that means they were that insignificant. I wasn’t surprised they were stereotypes, as this is typical for a dance troupe movie, but even movies like Step Up gave them some flavour. Jas, meanwhile, was being horny for a matress shop worker. There were a few other edgy jokes sprinkled in that were... interesting (boner jokes), but the delivery of said jokes were mostly good, so it’s okay.

I was very peeved by the final dance (because of many technicalities and that they just shoud not have won) but we’re going to gloss over that and just call it “movie magic”. Sure. 

It sounds like I didn’t like the movie, but I did! The tragical third act moment where it all falls apart is well-done and logical for our characters and Jas had every right to be mad. I’m surprised she came back in the end! I love how they showcased and highlighted how amazing disabled dancers were! I love Quinn and Jas’ friendship, Jas’ quips and jabs, and all the dance montages Jake got to have. I enjoyed the cinematography and lighting (!!), the soundtrack, Michelle Buteau gracing us with her presense, and I respect how Sabrina had to pretend she didn’t know how to dance. 

Like I said: it was a cute movie. It’s a mindless watch without any deeper meaning other than to let yourself go every once in a while and to go to the beat of your own drum. I wish coming-of-age dance movies would find the balance between generic dance movie with -insert trendy actors- and the overly pretentious John Green-esque movies. I’d suggest talking to dancers and observing an actual dancer’s life. I'm also wondering if this film would’ve been better set in college or a dance club outside of high school, but I’ll have to think about that more. 

Will it go down in dance movie history like Step Up, Dirty Dancing or Footloose? To Be Determined. 

3/5 

[ashes-in-a-jar]

Tma relisten Episodes 11-15

So this round already has two other posts out of it about Oliver because he Bae.

These have alot of ideas regarding entities changing around reality, controlling non victims to set the stage, and turning around what people love most to their worst fear. Also insane abilities of the crew to obtain hard to access info and evidence! And some more Jon sass. Enjoy!

11 dreamer

Wow this episode had alot. I made a separate post with a theory about Oliver's statement here and a realization regarding him and Jane Prentiss here. They are alot to unpack

Oliver is so. Freaking. Relatable! Learned economics and hated it. Nearly had a breakdown like him because of it. "going to stay with some of the few friends that had survived my year of stress-fuelled outbursts and constantly cancelled plans." yep. That.

Boyfriend Graham ey? You notebook eating Graham?? Wow that guy is full of surprises.

I love the dream sequences and their descriptions it's a really beautiful thing to try and picture.

Its interesting how he went from passive to desparate to passive again about death. He tries but can't help. I wonder when the dreams started to bother him so much he sought after the silence of point Nemo. Was it when they became so full of red because of the apocalypse coming closer? Hmmm

Another person named John. I guess that makes sense it's a common name. But I forgot how many people are fully named in this podcast. Hundreds of names to come up with! Jonny I'm quite impressed!

He worked with Jane Prentiss in the magic shop! I can't believe I forgot about that! Wow small avatar world indeed.

"It led me to a room, the label of which was still visible, and read “Archive”. I entered to see walls covered with shelves and cabinets stretching off into the distance. These shelves were coated in a sticky black tar, which I knew at that moment was the thickened, pulpy blood that pumped through each and every one of those veins." everything that has to do with the Fears I bet. Full of death and destruction and stolen from the veins to be out on display for the Eye's pleasure.

Yo Jon is scared of this he's seriously considering going to Elias for advice

" I had Tim look into it, as I don’t entirely trust the others not to have written it as a practical joke" wait. He trusts TIM? Not to do a practical joke? How. Why. Eh?

"died in the line of duty" fuck you Jonah.

Now Jon will get every new statement immediately when it's made. Perhaps this was Elias' intention all along. To scare him into making sure he does not miss any paranormal activity recorded by the institute.

12 first aid

I'm not immune to more Gerry badassery, hell yeah

And we get polish Martin which hell yeah! Even if Jon doesn't believe it. I'm sure he's repressing the fact that he's thoroughly impressed.

I think it's really interesting the effect entities have on people who are decidedly not their victims. Everyone leaving no questions so the entity can set the scene for the scare. Like with Gillespie how no one lived in the apartment building he was in etc. Alot of work into a handful of people being genuinely scared.

Gerry's burns stopped at the neck? How did he manage that. Also it's hilarious to imagine that he's like "yes burn all of me but please. not my goth makeup"

Zippo lighter with eye design!! And Jon has web design! They are brothers (joke but still really interesting)

Liquids were boiling around her and she didn't feel the heat. Also an interesting effect just for the scare.

Gerry got eye superpowers like Jon if he can function while injure and filled with painkillers.

“Yes. For you, better beholding than the lightless flame.” Gerry knew she'd be haunted by a Fear from that day on and realised that perhaps being watched would be easier for her specifically to deal with than the Desolation. I guess that's a way of assessing people. Which fear would least bother you.

Jon is already enamoured with Gerry you can tell. He can't wait to hear more from him. Just you wait Jon.

They really can access alot of information huh. CCTV Interviews files. Pretty impressive for a non-research team. They're so good at it they'd rather do that than actual archiving.

13 alone

The sound editing in this episode is not that great it was a bit to get used to.

We get a glimpse at the Lukases which is... Ugh

Jon is actually trying to be nice. Granted it's not working and she is a bit of a standoffish person herself who just went through a bad time but alot of her reactions are not his fault. He was trying to be considerate giving her space to record but he did stay when she asked.

She had already leaned into the Lonely before the incident it's interesting to see how some of these statements start with a person actually liking the aspect that later turns to fear. Same happens in lost johns' cave.

Evan Lukas sounds like an avatar of the exact opposite of the Lonely. At least to her. That's a really interesting effect from someone, especially a Lukas.

But maybe dying wasn't his family killing him but him not feeding his patron which he tried to leave. Really tragic.

She was in Martin's domain eyyy!

It's got a bit of buried aspects to it with the grave stuff and all.

"My fingers dug into the soft cemetery dirt as I looked around desperately for anything I could use to save myself, and my hand closed upon that heavy piece of headstone. It took all my self-control to keep a grip on that anchor, as I slowly dragged myself away from the edge of my lonely grave." The headstone was her anchor? But it said forgotten. I wonder how it helped her pull away. It probably had to go together with Evan's voice. Like the rib and the tape recorders having to work together! I just wonder what meaning the stone had for her.

"I’d be tempted to chalk this one up to a hallucination from stress and trauma, if it wasn’t for the fact... " God he does believe her heavens. He's not a skeptic!

This is when Jon's dreams start which... Good luck Jon.

14 piecemeal

Rentoul is terrifying sonofabitch and I would never want to meet him irl

I remembered them talking about how he was supposed to be a person who cursed alot and they couldn't do it because of sensor and I have to agree this could have been much better for the story. I tried imagining curses in some places.

LOL Jon reading this is funny. Trying to voice act the bad boy. Doesn't sound right on his voice.

With these kinds of statements happening alot where the person does something bad, the institute has to be in touch with police over them. The nda has to include that.

Hello Angela! I really wonder what her deal is. She scared the bid bully so she gotta have creepy vibes to the extreme.

Another lighter! Hmm do I have to start following the lighter motiff in this podcast. This one has a topless woman on it. Flesh lighter?

Salesa's also appearing that's cool! Noriega was probably looking for an artifact to reverse the curse. Didn't work tho since they left with the crate. The buried crate perhaps?

I'm wondering. Was this written? Because the statement sounds like he's talking. If so, Where's the recording?

Oh Jon your attitude towards Martin is so bad. He works so hard and it's not even in what he's good at, sorting and filing like he knows how to do from the library. God.

What's the deal with all the furniture gone? Did he think it'll help not get injured? He's not that smart if he thought that would help him.

15 lost Johns' cave

Ack a bad statement she was not a good person all around

Another example of the entities setting the stage by controlling others not to interfere with the victim's experience.

Also another example of the person liking the subject (cave exploration in this case. And the dark for that matter) only for it to turn against them.

Not much to say about this one other than its one of the scarier ones for sure. And her recording in the end is really the cherry on top. There is alot of discrepancy between what she believed happened and what actually did which shows how much the fear plays with and changes around reality. That's also how she manages to lie in a statement to Beholding. It wasn't a lie. It was her version of reality and she did not remember saying those awful words.

Taught me alot about cave diving and how much I will never do it in my life.

The Dark was mixed into this as well so it wasn't purely Buried.

Btw Where did she get the candles she was found with?

It feels like she made a choice. Didn't want to spend her last moments with her sister and then didn't want to die. She chose her sister to be taken over her. Her sister called for help and the candle coming closer might have been her! But she just shut her eyes.

How did Tim gain access to the recording?? Wow that's some prime evidence.

Martin is claustrophobic amongst other things huh? Live how Jon just dismisses this as an excuse not to work. At least he didn't push it.

[anhed-nia]

BLOGTOBER 10/17/2020: SPOOKIES

What do we watch, when we watch movies? This question was sparked by my SOV experience with the very different, and differently interesting BLOODY MUSCLE BODYBUILDER FROM HELL and HORROR HOUSE ON HIGHWAY 5. Within the Shot On Video category, one can find inventive homemade features that are driven entirely by blood, sweat, and the creators' feeling of personal satisfaction. The results are sometimes fascinating, in their total alienation from the conventions and techniques of mainstream filmmaking, and after all, one rarely sees anything whose primary motivation is passion, here in the late stages of capitalism. But, all this talk about what goes on behind the camera points to a discrepancy in how we consume different kinds of production. The typical mode of consumption is internal to the movie: What happens in it? Do you relate to the characters? Are you able to suspend your disbelief, to experience the story on a vicarious level? One hardly needs to come up with examples of films that invite this style of viewing. Alternatively, we can experience the movie as a record of a time and place in which real people defied conventions and sometimes broke laws in order to produce a work of art. SOV production is usually viewed through this lens, where the primary interest is not the illusory content, but the filmmakers' sheer determination to create. We find some overlap in movies like EVIL DEAD, which simultaneously presents a terrifying narrative, and evidence of what a truly driven team can create without the aid of a studio, or any real money to speak of. See also, Larry Cohen's New York City-based horror films, in which a compelling drama with great acting can exist side by side with phony but beautiful effects, and exciting stories of stolen footage that would be dangerous or impossible to attempt today. I'm thinking about these different modes of consumption now because I just watched SPOOKIES, a legitimately cursed-seeming film whose harrowing production history has superseded whatever people think about what it shows on the screen. The lovingly composed blu-ray from Vinegar Syndrome includes a feature-length documentary that attempts to explain the making of the film--which is accompanied by its own feature length commentary track by documentarists Michael Gingold and Glen Baisley. The very existence of this artifact suggests a lot about the nature of this movie, in and of itself. The truth behind its existence is as funny as it is tragic.

I'm not going to do a whole breakdown of the tortured origins of SPOOKIES, which is much better told by the aforementioned documentary. To summarize: Once upon a time in the mid 1980s, filmmakers Brendan Faulkner, Thomas Doran and Frank Farel conspired to make a fun, flamboyant rubber monsterpiece called TWISTED SOULS. It was wild, ridiculous, and transparently fake-looking, but it was loved by its hard-working creators; as a viewer, that soulful sense of joy can rescue many a "bad" movie from its various foibles. Then, inevitably, sleazoid producer Michael Lee stepped in--a man who thought you could cut random frames out of the middle of scenes to improve a movie's pace--and ruined it with extreme prejudice. Carefully crafted special effects sequences were cut, relatively functional scenes were re-edited into oblivion, and the seeds of hatred were sown between the filmmakers and the producer. Ultimately, everyone who once cared for TWISTED SOULS was forced to abandon ship, and first time director Eugenie Joseph stepped in to help mutilate the picture beyond all recognition. Thus SPOOKIES was born, a mangled, unloved mutation that would curse many of its original parents to unemployability. For the audience, it is intriguingly insane, often insulting, and hard to tear your eyes off of--but in spite of whatever actually wound up on the screen, it's impossible to forget its horrifying origin story as it unspools.

As far as what's on the screen goes: A group of "friends", including a middle-aged businessman and his wife, a vinyl-clad punk rock bully and his moll, two new wave-y in-betweeners, and...a guy with a hand puppet are somehow all leaving the same party, and all ready to break into a vacant funeral home for their afterparty. Well, this happens after a 13 year old runaway inexplicably wanders in to a "birthday party" in there, that looks like it was thrown for him by Pennywise, and he has the nerve to act surprised when he is attacked by a severed head and a piratey-looking cat-man who straight up purrs and meows throughout the picture. Anyway, separately of that, which is unrelated to anything, the island of misfit friends finds a nearly unrecognizable "ouija board" in the old dark house. Actually this thing is kind of fun-looking, having been made by one of the fun-havers on the production before the day that fun died, and I wonder if anyone has considered trying to make a real board game out of it...but I digress. Naturally, the board unleashes evil forces, including a zombie uprising in the cemetery outside, a plague of Ghoulie-like ankle-biters, an evil asian spider-lady (accompanied by kyoto flutes), muck-men that fart prodigiously until they melt in a puddle of wine (?), and uh...I know I'm forgetting stuff. One of the reasons I'm forgetting is because of this whole side story about a tuxedo-wearing vampire in the basement (or somewhere?) who has entrapped a beautiful young bride by cursing her with immortality. That part is a little confusing, not only because it doesn't intersect with the rest of the movie, but because sometimes it seems contemporary--as the bride struggles to survive the zombie plague--and sometimes it seems like a flashback, as our heroes find what looks like the mummified corpse of the dracula guy, complete with his signet ring. So, I don't know what to tell you really. Those are just some of the things that happen in the movie.

Some people like this a lot, and have supported its ascendance to cult status, which is a huge relief when you know what everyone went through to make this movie, only to have it ripped away from them and used against them. I found SPOOKIES a little hard to take, for all the reasons that the cast and crew express in the documentary. It holds a certain amount of visual fascination, whatever you think of it; something of its original creativity remains evident in the movie's colorful, exaggerated look, and its steady parade of unconvincing but inventive creature effects. But then, you have to deal with the farting muck-men. What was once a scene of terror starring REGULAR muck-men, that sounded incredibly laborious to pull off, became a scene of confusing "comedy" when producer Michael Lee insisted that the creatures be accompanied by a barrage of scatalogical noises. Apparently this was Lee's dream come true, as a guy who insisted everyone pull his finger all the time, and who once tried to call the movie "BOWEL ERUPTOR". But, of all the deformations SPOOKIES endured, the fart sounds dealt a mortal injury to the filmmakers' feelings, and even without knowing that, it's hard to enjoy yourself while that's happening.

Actually, all the farts forced me to ask myself: Is this...a comedy? Like for real, as its main thing? As the movie slogged on, I had to decide that it wasn't, but I was distracted by the notion for around 40 minutes. I was only released from this nagging suspicion when the bride makes her long marathon run through throngs of slavering zombies who swarm her, grope her, and tear off her clothes, before she narrowly escapes to an even worse fate. The lengthy scene is strangely gripping, and sleazy for a movie that sometimes feels like low rent children's entertainment. Part of the sequence’s success lies in its simplicity; it is unburdened by the convoluted complications of the rest of the movie, whose esoteric parts never fall together, so it seems to take on a sustained, intensifying focus. The action itself is unnerving, as the delicate and frankly gorgeous Maria Pechuka is molested and stripped nearly-bare by her undead bachelors, running from one drooling mob to another as the horde nearly engulfs her time and again. Actually, it feels a lot like a certain genre of SOV production in which, for the right price, any old creepy nerd can pay a small crew-for-hire to tape a version of his private fantasy, whether it's women being consumed by slime, or women being consumed by quicksand, or...generally, women being consumed by something. I wish I could describe this form of production in more specific or official terms, because I genuinely think it's wonderful that people do this. Anyway, Pechuka's interminable zombie run feels a little like that, and a little like a grim italian gutmuncher, and a little like an actual nightmare. Perhaps it only stands out against its dubious surroundings, but I kind of love it--and I'm happy to love it, because apparently the late Ms. Pechuka truly loved making SPOOKIES, and wanted other people to love it, too.

Which brings me to the uncomfortable place where I land with this movie. On the one hand...I think it's bad. It's so incoherent, and so insists on its impoverished form of comedy, that it's hard to be as charmed by it as I am by plenty of FX-heavy, no-budget oddities. Perhaps the lingering odor of misery drowns out the sweet joy that the crew once felt in the early days of creation--which is still evident, somehow, in its zany special effects, created by the likes of Gabe Bartalos and other folks whose work you definitely already know and love. But I feel ambivalent, about all of this. On the one hand, I can be a snob, and shit on people for failing to make a movie that meets conventional standards of success. On the other hand, I can be a DIFFERENT kind of snob--a more voyeuristic or even sadistic one--and celebrate the painful failures that produced a movie that is most interesting for its tormented history and its amusing ineptitude. I'm not really sure where I would prefer to settle with SPOOKIES, and movies like it. (As if anything is really "like" SPOOKIES) With all that said, I was left with one soothing thought by castmember Anthony Valbiro in the documentary. At some point, he tells us how ROSEMARY'S BABY is his personal cinematic comfort food; he can put it on at night, after an exhausting day, and drift to sleep, enveloped in its warm, glowing aura. He then says that he hopes there are people out there for whom his movie serves that same purpose, that some of us can have our "milk and cookies moment" with SPOOKIES. Honestly, I choke up just thinking about that.

[mistbornthefinal]

Madoka Magica Aniversery Analysis: Part1

 Prologue In Heaven

(just in case this is a retrospective of a 10 years old anime, there gonna be spoilers. If you’re for some reason interested in this post and haven’t see Madoka watch it first than come back)

Puella Magi Madoka Magica begins with our titular character running through a surrealist checkerboard hallway until she finds an exit. That exit opens onto a balcony which overlooks a destroyed Mitakihara.

Cue Magia as we are shown half-glimpses of Walpurgisnact. Against this devastated backdrop stands a single girl who we will later in the episode will learn is Akemi Homura. Unfortunately she is clearly outmatched by the forces arrayed against her.

Needless to say Madoka is distressed by the carnage. A strangely calm voice cut’s in which is quickly revealed to be everyone’s least favorite bunnycat Kyubey. Kyubey states that not only is this situation too much for Homura but that she knew that before coming here. After being slammed into the giant eldritch tree by one of Walpurgisnact’s attacks Homura notices Madoka and attempts to call out to her but whatever she has to say is lost in the distance.

Kubey then tells Madoka that she has the power to change all this, the power to change fate, to banish all this unavoidable carnage and sorrow. All she needs to do is make a contract with him... 

Madoka finds it hard to believe that such power exists within her but she seems to be earnestly considering his offer. Before we get a solid answer we cut to Madoka awakening in her bed, turns out it was all a dream. (Or was it? cue Connect!)

The common narrative about Madoka is that the first two episodes are basically bait. That they present a happy façade meant to lure in the unsuspecting only for them to be slapped upside the head by Episode 3′s big twist. If I have any big thesis for this particular essay it’s that this is not the case at all, and this opening sequence is exhibit A.

This whole sequence is basically is basically the core of PMMM boiled to it’s bare essentials. Madoka beholds the horror’s of Kyubey’s system. Kyubey’s tempts her to become part of that system with the possibility of changing things while Homura struggles to avert Madoka’s contract and thus her tragic fate by solving things without her. Right here in EP1 scene 1 Madoka lays it’s cards on the table and tells us what it’s all about. Indeed in EP12 Kyubey’s offer here will prove to be far more valid than he likely intended. 

The rest of the show is about brining us back to the point where the “dream” left off and explaining how exactly we got there. (which makes sense since we will later find out the dream is the end of Timeline 4, and our series opens at the start of Timeline 5) Given that our secondary protagonist is a time looper it shouldn’t be that much of a surprise that our narrative is a little circular. 

In our next scene we meet Madoka’s family. Madoka checks in with her dad(Kaname Tomohisa) and then helps her adorable baby brother(Kaname Tatsuya) wake up her rad as heck mom (Kaname Junko).  As Madoka and her mom get ready for the day together Ms. Kaname press her daughter for the latest gossip. 

(the only acceptable Madoka Magica waifu, seriously everyone else is like 14)

We get two other characters namedropped here both Hitomi and Kazuko, Madoka’s teacher who viewers familar with Japanese social conventions will instantly assume Junko knows since she refers to her by first name. We learn that Hitomi got another love letter and that Kazuko and her boyfriend are nearing what Junko believes is a critical point in their relationship.

Madoka is then faced with a choice between 2 types of hair ribbons. Junko urges her to go with the red ones telling her that her secret admirers will love them. Madoka protests that she doesn’t have secret admirers (Homura would disagree) to which Junko replies that they secret to being attractive is believing so regardless We then get a brief scene at the breakfast table but Madoka realizes she’s late and bursts out the door with her obligatory anime toast.

(obligatory)

On the way to school she meets up with her friends the aforementioned Shizuki Hitomi and Miki Sayaka. They discuss Hitomi’s love letter situation and Sayaka notices the new ribbons and then teases Madoka about getting dating  advice from her mom.

At homeroom we learn that Junko was eerily prescient re:Sensei love life. Madoka’s teacher (Saotome Kazuko) just broke up with her boyfriend due to a dispute over breakfast preparation, and she decided share her feels about the matter with the class to hilarious effect. After exhorting the Girls not associate with Men who demand the  Kazuko announces they have a new transfer student.

Before we tackle Homura’s introduction let’s quickly go over what’s being done in this last sequence, because this isn’t just mindless fluff. First and most obvious we’re getting introduced to almost all our secondary characters, but we’re also introduced in a subtle way to some of the themes we’re going to be dealing with. Take note in the first scene we get with Sayaka the conversation revolves around unrequited love, and then the very next scene is about a relationship that failed because the parties involved didn’t communicate their expectations of each other.  This sequence also flows very well because the first conversation between Madoka and her mom sets up both her later conversation with her friends and Kazuko’s rant.

Now that we’re done with that, enter Akemi Homura. To Madoka’s shock and our lack of shock it’s the girl from Madoka’s dream. While to whole class is fascinated by the cool and beautiful transfer student Homura only has eyes for Madoka, asking her show her to the nurses office. On the way Madoka attempts to make conversation but is thrown off by how Homura seems to already know the route. When Madoka calls Homura by her family name she visibly reacts and then tells Madoka to just use her first name.

(Madoka’s school is all glass all the time, the architecture in this show is cursed)

Homura then spins around and gives her out of nowhere cryptic ultimatum. “Don’t change who you are or else you will lose everything and everyone dear to you.” While a first time viewer is likely to be as baffled by this as Madoka it still sort of works to establish stakes. It sort of works because we just got those fluffy slice of life which establish how blissful Madoka’s daily life is and thus how much she has to lose. 

Then we get a montage of Homura being the best at everything before we cut to afterschool as Madoka is sharing her strange conversation with Homura with Sayaka and Hitomi. Neither are sure what to make of her words or Madoka’s claim to have met her in a dream. After Hitomi begs off due prior engagements Madoka and Sayaka head over to the CD store, with Madoka namedropping Kamijou as the person Sayaka is shopping with. 

We then get a intercut of Kyubey running from Homura who is shooting purple bolts of magic at him. At the CD store Madoka hear voice begging for help she follows it into an area that’s under construction. A heavily damaged Kyube than fall out of the ceiling in front of Madoka. Suddenly Homura is there demanding she get away from “that thing” but unfortunately it’s not in Madoka’s nature to abandon injured fluffy things. The two of them are at an impasse before Sayaka interrupts things with a fire extinguisher. 

The two of them book it with Kyubey in tow while Homura is distracted but she quickly dispels the cloud of fire extinguisher gas. She moves to give chase but before she can things get weird. The world is overwritten by a surrealist mosaic something that upsets but does not seem to surprise Homura.

What we will later learn is a witches barrier engulfs Sayaka and Madoka as well. Which means this as now a good time as any to discuss the aesthetic of witches and their labyrinths in a bit more detail. While the strange mixed media collage used to represent witches and their workings was and is a trip for a lot of new viewers of the series, this wasn’t a new thing for Studio Shaft who produced the series. 

(If you we’re familiar with the studio when this show was airing this sort of thing would be par for the course)

Even in 2011 Studio Shaft had built a reputation on having a weird house style that the brought to their productions. Indeed the blending of photographs of real objects into the animation is something they did before in Hidamari Sketch. Sill it cannot be denied that Inu Curry took Shaft’s house style to a new height of weird. 

Back at the plot Madoka and Sayaka are being menaced with scissors by cotton balls with butterfly wings. We also get a more prominent appearance of the witch runes (they were in the opening title card as well) these are a cypher that was surprisingly quickly decoded by the fandom. In this case the Anthonies (that’s what the cotton ball monsters are called) are talking about how Madoka and Sayaka are “unknown flowers” and thus shall go to the guillotine.

Before Gertrude’s familiars can make good on that, a new character appears. She wears the same uniform as Madoka so it’s quickly established that she a senpai at their school but before introducing herself she transforms into her magical girl form and blows away the Anthonies. All while her theme Credens Justitiam plays of course. 

The destruction of the familiars causes the labyrinth to recede and Homura quickly catches up to everyone. Homura and Mami have a tense exchange where Mami offers to let her hunt the witch and then no-so-subtly threatens her. Homura elects to back down for now.

With Homura gone Mami heals Kyubey’s injuries and the bunnycat get’s right back to his business. “Hey kids wanna become meguca?” Cue Mata Ashita (if you’re watching the blueray version).

Now that we’ve gone over the first episode in detail let’s talk a bit more in terms of how it fits into the overall structure. Like I said before the first two episodes are not just a false front to lure people into watching the “real” show. Were that true the show would have sucked and I wouldn’t be talking about it 10 years later. 

Not only is the visual tone of the series present from the word go, but the first two episodes set a baseline without which the twists and revelations of the later episodes wouldn’t be meaningful.  This episode in particular gives us a surface level introduction to all but two of our named characters. It also leaves us with a lot of questions, some of which prime us for the big exposition dump in the next episode while others will run for most of the series.