#shoutout to one of my favorite shows of all time for being so timeless and iconic years later

[kitsunecrows]

"you know, on my first day here, if you asked me what i wanted, i would have said adventure, mystery, true friends - but looking here at all of you, i realized that every wish came true."

happy (belated) birthday mystery twins!

[ordinaryschmuck]

Why I (Want to) Love Rise of the Teenage Mutant Ninja Turtles

Salutations, random people on the internet who most certainly won’t read this! I’m an Ordinary Schmuck. I write stories and reviews and draw comics and cartoons. I also LOVE the Teenage Mutant Ninja Turtles.

Whether as a kid, or an adult pretending to be a kid, this franchise is one that I’ll always revisit no matter how old I get. So when I heard that a new version of the series was coming out in 2018, titled as Rise of the Teenage Mutant Ninja Turtles, I was excited about it. Then I watched the series...and most of that excitement went down the sewer drain. 

Don’t get me wrong, there were some elements that seemed like there was some definite promise for a good series, but other aspects...I’ll have to explain. 

But keep in mind, I am going to be spoiling a lot about the series. So if you haven't watched it yet, I highly recommend you do so to form your own opinions. Because while it may not have grabbed me as much, that doesn’t mean the same can’t be said for you. With that out of the way, let's get started with--

WHAT I LIKE

The Animation: If anybody ever tells you that Rise of the Teenage Mutant Ninja Turtles has awful animation, they are objectively wrong. Rise of the TMNT has some of the best, if not the best, animated fight scenes I've seen from any action series in recent memory. Probably because the show understands the number one rule of action animation: Good animation is a requirement. Not an exception.

For an action-oriented animated series, the audience needs to feel the impact whenever characters punch, block, or dodge in each fight. Yes, even dodge. Because if you can feel even the tiniest gust of wind that passes by a character's face after a punch, then you know the animators are doing something right. And trust me when I say that is present in the majority of most fights in Rise of the Teenage Mutant Ninja Turtles. Are there moments when the movements are slow and rigid? Yes...during the dialogue and comedic scenes. Moments where good and quality animation isn't really all that necessary. You see this same technique in most modern anime: The animation is rigid and cheap for the dialogue-heavy scenes so the animators can give extra attention to the epic action set pieces. Not a single person complains about this happening in their favorite anime of the week. But when Rise of the Teenage Mutant Ninja Turtles does this, apparently it's a bad thing? Explain that logic to me!

The animation is phenomenal in this show. Don't let anybody tell you otherwise because those people are either blind or insanely stupid. Either works.

It’s Pretty Funny: And that's about it. It's nowhere near one of the funniest shows I have seen, and previous iterations of the franchise did a much better job at balancing humor and heart, but Rise of the Teenage Mutant Ninja Turtles did a great job at getting a laugh out of me from time to time. It has a very random sense of humor that works well with its manic energy, similar to what Star vs. the Forces of Evil did early on in its first season. Even if one joke fails, about ten more take its place, most of them funnier than the others. There may be an occasional issue where a joke spoils a dramatic moment, but Rise of the TMNT is one of the few shows where that issue doesn't happen often. Besides, the series sets itself up as more of a comedy than other reboots and reiterations, so it wouldn't look good if it wasn't funny. Thankfully, it is, and in a way, the show is a success because of it.

It Tries to be Something New: This is what I respect most about the series. The downside about a reboot is that writers have to find a way to tell the same story but with adjustments that make it seem different. That's the same way Teenage Mutant Ninja Turtles operates as a franchise. The original concepts of the stories and characters are always iconic, and I'll love them with my whole heart, but I will admit, there's a point where the same thing over and over again can be a little tiring. Then there's Rise of the Teenage Mutant Ninja Turtles, which makes changes where other shows would ask "why," this is the one that asks "why not?"

Why not change the personality and backstories of characters that still fit with the spirit of the original?

Why not change the genders, races, and possibly sexualities of these iconic characters?

Why not make something new?

Now, some have argued that the show is a little too new. Which I can kind of see the point of. After all, what's the point of changing characters and concepts so drastically when you could just make an original series? But even then, most of the changes are pretty clever, that I think it’s worth remembering for future iterations. Like making Casey Jones a female. Casey is a gender-neutral name, and I legitimately thought this series would do it for that reason alone. So I feel bad that the writers never got a chance to allow the series to reach its full potential with ideas like this due to Nickelodeon screwing them over (Seriously, never pitch a show to Nickelodeon. It rarely ever works out, and it's not worth the risk). I can see how these ideas could result in an incredible show that might cement the series as one of the best iterations of the franchise. But I can't base a story on potential. I can only judge what I see, and what I see are brilliant changes that impress me from time to time.

The Creators Are Still Fans: Despite making something completely different, you can tell that everyone working on this show loves TMNT as the rest of the fans do. There are dozens of references to previous versions littered throughout the series. Whether it's shoutouts to the 90s cartoon to bringing back voice actors from the last one, there are moments where the crew behind the series emphasizes how much they care about the franchise. There are also times when a reference has such a deep cut to it. For example, the series has the previous VA for Splinter to voice the current version of Shredder. I shouldn't have to explain how that is a brilliant idea, especially given Shredder's relationship with Karai...which I can't fully explain due to it spoiling TMNT (2012). This might be a whole new experience, but it is clear that history is not ignored when it comes to Rise of the Teenage Mutant Ninja Turtles.

The Cast is Colorful: It's not precisely a diversity win to have half the Turtles voiced by black VAs, but it is unquestionably some good sign of progress. The Teenage Mutant Ninja Turtles are...accurately what they are called. So they are not defined by the skin tone of the VAs themselves. So having half of them be voiced by people of color makes me hopeful that maybe future reboots would consider more colorful castings. Hell, maybe one day we'll have a Teenage Mutant Ninja Turtles reboot where all of them are POCs, to the point that we'll have an all-Asian casting for these timeless heroes (which makes way too much sense to me).

And it's not just the casting of the turtles that impresses me. Because the series making April O'neil black is an idea that I'm more than ok with. It's implied that she's black in the original comics by Keven Eastman and Peter Laird, so it works as another deep-cut reference that proves how big of fans the crew is. Plus, who cares? I mean, if we're still having issues of changing the race of a character who was originally white, all I can say is grow the hell up. You can complain if they don't grab you, but if the issue is because of one decision that shouldn't negatively affect anybody, I don't see the problem. Besides, at this point, a character being white is basically the base plate for someone in the future to change their race at another time.

Also, let’s give the people behind the casting a pat on the back for casting Asian VAs for characters who are, well, Asian. It’s the bare minimum of common courtesy and avoids the trouble of having white VAs do asian accents that have become quite culturally insensitive nowadays. So it’s a pretty cool decision if you ask me.

Diversity is never an issue, especially since representation always matters for people who demand to be heard. It's definitive proof that anybody can be anything, whether it's a hero in fiction or the voice of that hero behind the scenes. And you can't really do that when everyone is so white that it's blinding.

Donatello: This is the best character in the series. Not only because Donatello has the most consistent personality (more on that later), but also because I'm a sucker for the cynical super-geniuses. These types of characters always have a quick and dry wit that never fails to get a laugh out of me, and this version of Donatello became my favorite just for that factor alone. Most of the credit goes to Josh Brener, who does a phenomenal job at his performance and comedic delivery. As for the emotional bits, he's...fine, but the drama isn't the show's best strength anyway, so it doesn't matter as much. Because the fact that it's Donatello who earns the spot as best character in a Teenage Mutant Ninja Turtles reboot is an impressive feat in itself that any criticism offered for him is moot in the process.

WHAT I DISLIKE

Leonardo: I'm willing to make half of this a personal issue because I have grown to despise Ben Schwarts in the last four years. No offense to the guy, I'm sure he's a really great person in real life...but he has done nothing but play the same character in FOURS YEARS! Whether he's Leonardo, Dewey Duck, Sonic the Hedgehog, or even M.O.D.O.K.'s son (yes, that's a thing), Ben Schwarts has practically played the exact same character each time. The highly energized, dimwitted, and egotistical character who slowly tries to learn to be a better person in the end. AND SOMETIMES, NOT EVEN THAT! I'm sick of it, as it always breaks the immersion of the series as all I hear is Ben Schwarts and not the character he's voicing. But it's not just the voice behind Leonardo that frustrates me. Because the thing is, I can see how this version of him can be incredible.

It doesn't take a genius to know that this version of Leonardo is meant to be more childlike and carefree so he can morph into the more mature leader we all know and respect him as. The issue is that the writers barely do anything with that idea. Sure some episodes make this Leonardo more like, well, Leonardo, but they're far and few between the ones where he's the same Ben Schwarts character that I've grown to hate. Even when he is at his most Leo-like, as seen in the episode "Man vs. Sewer," it's so drastically different from how he usually acts that it feels less like character development and more like inconsistency. It's a shame too because I really love this idea. With a little more polish, it could work out. As is, it's just a huge chunk of wasted potential.

Raph’s Too Good of a Leader: This is a similar issue to what I've mentioned about Leonardo. Because, again, I love this idea. Raphael, in multiple iterations, complained about how he should be the leader and just as frequently learns why the job rightly belongs to Leo instead. So starting with this role reversal should be a well-executed idea that gives Raph what he wants while eventually giving the fans what they want. And it would be if not for the fact that Raph seems to be too good at his job.

I get it. If Raphael was too incompetent, the turtles would have gotten nothing done, and it would get too tiring too quick as Leonardo constantly proves why he should lead and why Raph should follow. This actually happens from time to time, and it is already tiresom. The issue is that the intention was to make Leonardo the leader in the end. So why spend so much time showing how Raphael is capable at the job and barely any time showing why Leonardo is a better fit? There are even times when Raphael seems like he really is a better leader than Leo, which I feel as though it is contradictory to the point the writers are trying to get across. In the end, it's nothing more than another really great idea met with insanely poor execution.

Master Splinter (Early Season One): ...Did anybody like this version of Master Splinter in the first half of season one? Because this character was atrocious, especially compared to the previous Splinter from TMNT (2012). We went from what is easily the best interpretation of the character to what was, at the time, the worst. He was lazy, selfish, and emotionally distant with his sons to the point where he only acknowledges them by the color of their bandannas. I understand that the writers needed a more comedic version of the character due to leaning extra hard into comedy, but I don't think I laughed once with his antics in the first half of season one. Thankfully, he's been gifted with a softcore reboot during the second half and onward. This Splinter is awesome, serious, he works well as a straight man, and he has a backstory that's easy to follow while still being kind of heartbreaking. It's a tremendous improvement from what we've been given, but it still doesn't change how downright painful he initially was. I won't complain about the results, but I do have the right to complain about what we got beforehand.

Characters are Inconsistent: A common complaint you'll hear about Rise of the Teenage Mutant Ninja Turtles is that the main characters are the same. That's not true because there are definite differences that separate each one apart from the other...the issue is that the writers are not consistent with those changes. I've touched upon it with Leo, but the truth is, everyone in the main cast suffers from inconsistency with their personalities. If Raph is supposed to be the meathead with a good heart, why are there times when he acts like the smart one who occasionally enjoys violence? If April is supposed to be as wild and carefree as the rest of the guys, why are there episodes where she seems to be the sane one? If Mikey is supposed to be kind yet somewhat stupid, why are there episodes where he's selfish and more intelligent than Leonardo? Even Donatello, who is the most consistent out of the whole cast, still suffers through moments when he isn't as clever and cynical as he usually is. These inconsistencies are annoying, and at times, it feels like their personalities are dependent on what the writers need for a joke or for the episode. Characters are the most essential aspect of any story for any medium. If audiences don't care about the characters, they'll find it hard to care about anything else. And how can we care about anyone if we're not one hundred percent sure what their personalities are in the first place?

The Pacing: I sort of expected this when it was announced that this reboot was swapping the franchise's usual half-hour runtime for a ten-minute one, but in all honesty, it isn't that bad. It is slightly fast at times, but that's just as quick to get used to. However, there is one strange phenomenon about this show that I can't let go of.

You see, this series somehow has worse pacing with extended episodes and specials than it does with its usual ten minutes. I don't know how this is possible either. Because despite having as much time as the writers want to establish each plot point, it still feels like they fly through them a little too fast than they regularly would. It makes no sense, but it's constant in every extended episode, especially the series finale (which, to be fair, is partially Nickelodeon's fault. AGAIN!). So keep that in mind when watching.

The Characters Are TOO Overpowered: It feels weird complaining about this. Because making the characters capable of doing anything and surviving much more leads to some of the most epic action sequences in animation history, not just the series or the TMNT franchise as a whole. Despite that, though, there is one crucial thing that is always missing from those fight scenes anyways: Tension.

To fully explain why tension is required in action, I'll have to use Samurai Jack as an example. You see, the titular character can, at times, be just as invincible as these versions of the Turtles and survive even worse. But regardless of him being victorious after nearly every episode, no matter how high the deck is stacked against him, there was always a sense that he fought hard, literally and figuratively, for those victories in the first place. Jack losing articles of clothing or getting cut up gives the illusion that he might not win in the end. He still does, and he always does, but showing the audience that he can and will get hurt makes seeing that victory feel earned. The only times the Turtles, April, or Splinter get hurt is either for comedic slapstick or because the story says so. This is why I consider Shredder destroying the lair is the best fight scene in the entire series. The second he starts destroying their weapons, it gives the tension required to believe maybe, just maybe, not everyone will make it out alive this time. Because if the characters aren't careful, they will face intense consequences as a result. Thus making an adrenaline-pounding moment in the process. Unfortunately, this is the one and only fight scene where that happens. Every action set piece is still epic, don't get me wrong. But there's a reason why writers make even Superman seem less invincible than typical in a fight.

Baron Draxum: THIS is the biggest issue that I have with the series.

As a villain, I didn't give a s**t about Baron Draxum. He was a dull antagonist with a generic evil plot, but other than that, he was perfectly serviceable for a series like this. Even getting a few chuckles now and again...but then the writers decided to make him REDEEMABLE!?

This guy?

The maniac who wanted to commit genocide on human beings, all because of insufficient proof that they'll do it to his species first?

Didn't we already learn how that's awful reasoning after Steven Universe?

Actually, that's not fair...because Steven Universe has a better explanation behind wanting to redeem the Diamonds than Rise of the Teenage Mutant Ninja Turtles does about Baron Draxum! And I'm not kidding! For Steven Universe, the characters believe that it's better to end things peacefully than killing anyone, even if they're the worst criminals. It's a flawed mentality, sure, but it's one you can grasp and understand. What's the reason for redeeming Baron Draxum? It's because he's the reason why Splinter and the turtles are a family...F**k all the physical torture Splinter went through on top of the social ostracization he experienced because of it. No, no, it totally validates the decision to forgive and forget...Oh, wait, no, it doesn't. BECAUSE THAT WOULD BE INSANE!

Who in the f**k honest to goodness thought that would be a good idea? I'm all for finding silver linings in a bad situation, but that is just flat-out lunacy! Because it's the equivalent of saying, "Yeah, this person was a complete a-hole, but they're still the a-hole that made you who you are today." But that is a very dangerous lesson to preach to kids. Because here's the--Hey *snaps fingers* Here's the thing: If a person treats you like garbage, you don't owe them anything for who you are. It's one thing if a person inspired you or cheered you on, but if someone basically ruined your life and physically harmed you and others, don't forgive them. They don't deserve it. ‘Cause f**k Baron Draxum. And whoever thought this was a good idea, you seriously need some help.

Man, is this how it feels to be Lily Orchard? IT SUCKS!

IN CONCLUSION

And that's what I think about Rise of the Teenage Mutant Ninja Turtles. 

It's a fantastic series! I just like everything except for the execution of ideas, most of the characters, and the overall pacing of it...that means it's not a good series, is it?

Yeah, it's a real shame that I don't like this. Because I want to. I really want to. The pieces are there, and I can see how this could be a great and memorable version of a series I loved since I was a tater-tot myself. But I don't. I'm sorry, but I just don't consider this to be an A+ series. It's a solid C, for sure, because it's mostly just style with very little substance. I still respect the amount of effort everyone put into this reboot, but for me, it just never had its chance to fully rise to the occasion.

[summer-in-cadiz]

On the Move!

Our final couple days in Cadiz allowed me to say goodbye to the city in the way I truly wanted to. It is a place that will always be so special to me... my first time in Europe, my first time living abroad, my first time taking the kind of risk I always dreamed of, and I could not ask for a better newfound home away from home.

I stopped by Mama Carmen’s house to say a final goodbye, and our conversation reflecting about my experience was wonderful. It is funny to think about how intimidated I was that first night at dinner in contrast to our last greeting of me shouting ‘Ay, guapa!’ and her grinning, turning side to side to show me a new haircut. So much comfort grew from where we started as strangers. When I was leaving, Carmen used a phrase that I had not heard before, she said “Hasta Siempre,” instead of ‘Adios.’ This goodbye meant that while we may not see each other for a while, we will always remember one another and hopefully one day reunite. She promised that I’ll always have a room of my own at her place in Cadiz (so long as I keep her updated on Whatsapp!) and I will definitely take her up on that offer in years to come!

While I miss being able to walk the cobblestone streets with ease, there is a surprising silver lining in that I have taken more Spanish taxis now than I ever expected. Now more confident with my Spanish, I love to practice with the drivers, and I have had some of my favorite conversations with locals as I ride through the city in their backseats. These drivers are often incredibly friendly, and every single one I have spoken to has lived in Cadiz his whole life and holds a deep admiration for the city. Be it learning about local food, life among tourists, or the drivers’ personal histories, I am thrilled to feel like I’m finally reaching a point with my Spanish where I can connect with others in conversation easily, even joking around the same way I would in the States. 

A few highlights from my taxi cab chats:

- The several drivers that named Cadiz the greatest city in the world... I love how much they love and appreciate their home.

- Me explaining JF’s visit to a driver and him pointing to JF insisting that this Spanish boy could not be my brother... we got some laughs over how obvious it is that I *may* not be from Cadiz :)

- Another awesome driver complimented me on my accent! He said he had spoken with lots of tourists but had no idea where I was from because I spoke with the Cadiz accent so well... ego boost!!

- One of my very last drivers (on a solo ride) shared much of his culture and asked me about my opinions on Spanish life. By the end of the drive we had covered enough ground and shared enough laughs that he asked my name (shoutout to Juan!) and shook my hand. You can find friendly souls everywhere.

I never would have had these conversations or opportunities to practice my speaking skills without my broken foot!

After leaving Carmen’s apartment for that last time, I decided to fulfill a personal goal and crutch my way to the Cathedral. As I slowly made my way, stopping often to take in the ocean view and memorize every moment I could, I felt a deep sense of satisfaction. This was the goodbye I had longed for, a moment alone on the path so freshly familiar to me, feeling a whirlwind of emotions come full circle. When I got to the Cathedral, I sat down and people watched until I noticed an interaction that felt like the perfect lasting impression.

There was a little boy and his mom by the steps of the Cathedral, and the mom was being so wonderful and goofy with her son... making funny noises and voices and jumping around with him. Her son had the biggest grin on his face, and he would jump up two steps and look at her in shock and pride, waiting for her excited applause. This historic, incredible Cathedral was the little kid’s playground for uninhibited joy, and I suddenly started to recall all the moments when I had felt so joyful like that in Cadiz, too.

I think the difference between visiting a place (especially abroad) and living there is that you get comfortable enough to play around. While I recognized how amazing these timeless sites around me were, I am happy that I got to know Cadiz well enough to become relaxed and silly and vibrant in the face of all that awe-inspiration... that I was not so caught up in the idea of taking it in that I did not live it. 

After waving goodbye to the little boy and goodbye to my days in Cadiz, I hopped into another taxi and greeted my brother at a hotel. The next morning we came to Sevilla which we are enjoying exploring now, and each day we add new stories to our friendship. More updates to come! 

Hasta Siempre.

[t100ficrecsblog]

an interview with @changingthefairy-tale​

What are you working on right now? Right now, I’m focused on BellarkeFic-for-BLM (I just got an amazing canon prompt I’m really excited to finish). I’ve also been participating in this round of the Chopped Challenge, which has been fun and challenging. In between prompts, I’ve got two WIPs that I’m slowly cranking through. Shoutout to every single reader who’s been incredibly patient while I’ve been so slow on those updates — though, reminder that you can donate to a BLM organization (even a $3 donation works) and request an update to get those higher on my prio list while I’m focused on that initiative.

What’s something you’d like to write one day? My absolute dream job and the ultimate goal is to become a showrunner for a prime time TV show. I love TV shows — I love the way actors and directors and crew take a script and breath life into it, I love how you take a general idea for a story and mold it into something amazing as you go, I love how a series gives a story more time to be fleshed out and explored, I love the concept of a writers room and collaborating on a story. It’s a different ballgame from fic writing (which I do for fun) and travel writing (which I do for a living), but I’m determined to make it happen. JRoth, I’m coming for your job, babe. 😉

What is the fanwork you’re most proud of? I’m still really new to fic writing, especially compared to some of the powerhouse writers in this fandom. And I’m sure one of my WIPs (when finished) will probably supersede this. BUT, my one-shot about Madi calling Bellamy on The Ring (She called you for 2,199 days) is something I’m really proud of. I’m a long-winded writer, so one-shots have never come naturally to me. This one just…clicked. It’s got some good lines in there that I’m proud of, and based on the feedback I’ve gotten, it really made readers feel something and connect to the story. It’s not my longest story or my most thought-out. But it shows my growth as a writer these past few months, and I’m proud of that.

Why did you first start writing fic? I started writing fic as a creative outlet for my writing. My day job is writing about travel and credit cards. And while I enjoy that, it’s just not as creative. My dream is to write for a TV show though, and I was craving a way to flex my creative writing muscles in a low-stress way. I started watching The 100 when it first came out, but I didn’t really get into the fandom until I came back to the show during the S5/6 hiatus. That’s when I started reading fics and reblogging stuff about the show on Tumblr. During the S6/7 hiatus, I had this idea for a Greys Anatomy AU, and my sister (who is also a major fan of the show) was like, “You literally write things for a living. If you want to write a Grey’s AU for t100, there is absolutely nothing stopping you.” I published my first chapter on that The Choices We Make in Dec. 2019, and the rest is history.

What frustrates you most about fic writing? For me, I think that the most frustrating thing isn’t even about fic writing itself; it’s the fact that it’s a side-hobby and not something I can dedicate my full attention to. When you write all day for your day job, then do some for your freelance gig, and then turn around and try to write for a few hours every night for fic… that gets hard sometimes — especially since starting quarantine where I’m not traveling, going out with friends, getting a break from it, etc. Fic writing is a creative release for me, and I absolutely love crafting and writing these stories that involve some of my favorite fictional characters. And I love interacting with other writers and fic readers, I love talking about ideas and exchanging headcanons and fangirling over my favorite writers’ works. But (because there’s always a but), sometimes I just don’t have the mental energy or capacity to write at the end of the day when I’ve turned in 3 deadlines for work. I’ve got all these ideas floating in my head, but only so much time and mental energy I can dedicate to it.

What are your top five songs right now? Oh boy. So I live alone, which means I’ve got either music or Netflix on in the background 24/7 because ya girl doesn’t like silence. I have a different playlist for different moods. I’ll share my fav song from each of those playlists. Lol Fvck Somebody by The Wrecks (On my “Summer state of mind” playlist for when I wanna dance it out in my kitchen like an idiot)

Don Quixote by Drapht (On @talistheintrovert​’s “My Good Bitch Murphy” playlist for when I’m feeling *edgy*)

that way by Tate McRae (On my “Pandemic Jams” playlist bc I like angsty music and this song is a Bellarke MOOD)

Washington on Your Side from Hamilton (On my “Feeding my Broadway Obsession” playlist for when I wanna sing show tunes and plot overthrowing the government)

Tea by Noah Davis (Shameless plug for Noah bc it’s a bop and I literally dated Noah’s older brother in junior high — so proud of this kid for making his dreams a reality)

What are your inspirations (books, songs, other fic, really good cake)? All of the above, except I like pie more than cake. lol But really, I kind of use everything around me for inspiration. “The Choices We Make” is inspired by my love of Grey’s Anatomy. “Intertwining your soul (with somebody else)” is inspired my the first draft of my YA novel (though the setting was adapted to a grounder canonverse AU). “The Day He Shut That Rocket Door” and “She called you for 2,199 days” were inspired by @historyofbellarke‘s headcanons that were brought up in S7 speccing conversations (shoutout to her for enabling my angsty ass). My most recent WIP “There are some things written in the stars” that I started as part of Chopped (but will continue because I’m obsessed with the idea) is inspired by my love of Timeless. And I have an entire Notion database filled with fic ideas — some one-shots and some multi-chapter fics — that are inspired by quotes, songs, conversations with friends, books I love, shows I adore, random HCs that pop into my head while I watch, my own life experiences, etc. I take inspiration in any form it decides to come in. 💕

What first attracted you to Bellarke? What attracts you now? I’m a ho for enemies to lovers — the idea that you can put your worst foot forward and show someone all the ugly parts of you… and that they’ll see that and somehow look past it to see the good stuff too, falling in love with your whole self instead of just the pretty parts. Yeah, it’s my favorite romance trope. And that tension is what originally drew me to Bellarke. Now, it’s a combination of things. I love each of these characters in their own right. I relate to Clarke in a lot of ways, and I aspire to be her level of badass. I straight adore Bellamy Blake (flaws, stupid decisions, and all) and would marry him in a heartbeat if he were real — I’m not even kidding. lol But I also love their dynamic. They are partners, best friends, perfect compliments to the other. They see each other in a way no one else does, and they are the one person the other constantly risks everything for. They are both so driven by their responsibilities to their people, yet that all typically goes out the window the moment the other is at risk. I don’t believe in soulmates in real life, but it’s nice to get to believe in this fictional world that they are just made for each other.

BESIDES Bellarke, what character or pairing do you like best on t100? My favorite character besides Bellarke is John Murphy. His arc has been BY FAR the best on this show, going from that little shit in S1 to this “asshole we love” in the middle to now a true hero in this final season. And through it all Richard Harmon has been amazing to watch on screen.

My favorite pairing besides Bellarke is Linctavia. Yes, that ship is problematic in a lot of ways, but I still loved their dynamic. Lincoln helped Octavia navigate this new world that she was so desperate to be apart of while being mindful of her safety. And I thought they were a good match — he helped tame her fire without putting it out, and she helped challenge the way he was raised. Given time, I think they could have become one of the most stable and loving relationships on t100. Of course, that couldn’t happen because Jason needed Bell’s actions in 3A to have heartbreaking consequences, O to spiral for her own character journey, and whatever mess happened off-screen between Ricky and him. But they still remain my favorite ship aside from Bellarke.

Why did you decide to start writing for bellarkefic-for-blm? The second I saw that Sam was planning on doing this, I reached out to ask how I could help/write/be involved. The BLM movement is so important, and this is an amazing way for me to contribute while pursuing my passions. It’s a way for the fandom to get involved and do something good. And ultimately, this helps organizations that need donations. Shameless plug for everyone to please go check out the Bellarke Fic for BLM page — check out the many amazing writers and artists we have participating, and send in prompts. Most of us are allowing WIP chapter update requests, and there are a number of us (myself included) who are matching donations made! No donation is too small, and you’ll be supporting a movement that is a necessity in the U.S. and beyond.

What’s your writing process like? My mind is literal chaos, so I plan and outline like hell in order to make sense of everything. When I get an idea for a fic, it goes on my Notion database. Within Notion, I write down my inspiration for the idea, and a pretty in-depth summary of where I want the fic to go — dialogue ideas, any feelings/emotions I want to invoke, literally just a brain dump of all my ideas. From there, I’ll arrange that brain dumb into an outline. If it’s a one-shot, I’ll generally write the whole thing in the Notion doc. But multi-chapter fics will get a checklist within Notion for me to keep track of progress, and I’ll actually write the fic in Google Docs. I generally start writing from the beginning of a story, but if I get stuck or have an idea for a later scene, the fact that I’ve outlined heavily allows me to jump around as ideas come to me. I’ll read each one-shot or chapter after I’m done to make sure it flows before publishing. I post chapters for my WIPs as I write them, which I should really stop doing. lol For my readers’ sakes, I should work ahead and publish on a schedule rather than making them wait for my slow ass to finish chapter to chapter. But right now, that’s my process!

What are some things you’d like to recommend? Oh goodness, too many fics to possibly name. Instead, I’ll link to my AO3 rec bookmarks (which isn’t all-inclusive of the amazing fics I’ve read in this fandom, but it’s got some good favs in there) and shout out all of our awesome Bellarke Fic for BLM writers. Y’all should check out their work (and send in prompts)!

Where’s the best place to find you (twitter? tumblr?) I’m @changingthefairy-tale on Tumblr and @changingthefairy_tale on AO3! My ask box is always open for anyone who wants to scream about the show, ask about specs, talk about my fics, etc. Come say hey!

[adelyn-talks-vgm]

OST #1 - Super Mario 64

Super Mario 64 Developer: Nintendo EAD Publisher: Nintendo Composer: Koji Kondo Released June 23, 1996

playlist

oh, where to begin with this one...

this game is renowned globally as an absolute classic, an innovative title that essentially changed 3D platforming as we knew it to be, but who cares about any of that, how’s the music? most would call it excellent, being one of the most iconic soundtracks of the era, something everyone knows, but might it be overrated? has it aged well since 1996? let’s take another listen and find out!

(note to self: tumblr only allows 5 video embeds at a time, so i can only share 5 songs easily. oops!)

the soundtrack starts off with one of the cooler remixes of the classic SMB1 ground theme, with relatively simple instrumentation but absolutely mental drums, already setting the tone for everything to come and making it very clear that this is something new.

next we have one of the single most iconic pieces of video game music ever written and what is widely considered the main theme of the game, bob-omb battlefield! this song in and of itself is very well-written, a good example of what sound the N64 can produce, and above all, extremely catchy. it didn’t get its critical acclaim from nothing, it’s certainly a jam.

we also have the slide music, the next most iconic piece of video game music. i’m really glad koji kondo invented ska just for this game (i don’t think this is actually ska but i don’t know what else to call it lmao). it’s also a very interesting spin on the main theme, completely restructing the melody and chord progressions while still staying recognizable in a sense, and in general it’s really fun to listen to.

can’t talk about this game without giving credit to the pioneer of chill mario bangers, dire dire docks! i’m so glad video game composers collectively decided that water levels meant ballad-type pieces, because this stuff is sublime. i love the way the 6-bar phrasing makes the piece feel, it’s something i can’t particularly describe. OH one more thing about this is that it’s the first to show off midi channel fading, where individual channels can fade in and out at the game’s command, and in the case of the game, it does so as the player explores different areas, giving a very dynamic aspect to the levels it’s featured in that adds an extra layer of goodness to the song itself.

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a few more mentions before i wrap this up with the last song: - snow mountain is among the most jolly music i’ve ever heard and i can’t get enough of it. - lethal lava land is a really cool song, with multiple parts interacting with each other in really cool ways - the percussion going a mile a minute at its own pulse with all these other really cool and distinct sounding instruments overlaying it makes for a very interesting sound that fits the stages well. - haunted house isn’t called that for no reason, it sounds genuinely haunting and has a really cool sound to it in general. i think it also has channels that come in at different points of the mansion like dire dire docks did, like that marimba sounding instrument. - cave dungeon is probably one of my favorite takes on the SMB1 underground theme ever made, up there with 3D world’s. no idea why the OST version doesn’t have the choir in the beginning like it does in-game, which is lame because that’s a high point for me, but the song is still excellent. i especially love the part where it’s just the choir and percussion when you’re in the deepest part of the cave where you find the metal portal. great track - powerful mario: it may be a short loop but i LOVE the instrumentation and sound of it, really cool remix of a really cool remix of the starman theme - metallic mario:

also short but MAN does koji know how to make these short power-up songs sound sick as heck koopa’s road: when listening to this just now i literally just discovered the horn hits in the background at 0:18 so that should tell you how good this song is bowser theme: my man koji was really in da booth making bowser sound absolutely dastardly ultimate koopa: my man koji was really in da booth making bowser sound absolutely evil. the sounds and setting of this final boss fight have resonated with me for years, and of all the video game music i’ve heard (a LOT) this actually somehow remains one of my favorite final boss themes of all time.

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as i said before, i only have so much room to add videos so i gotta skip to the end here. this credits song still hits hard after all these years, standing its ground as one of the most melancholy yet equally cheerful pieces of music in the franchise. it shows off the diversity of the game’s instrumentation wonderfully - not bound by the limits of gameplay sounds, it can use a lot more channel real estate, and it takes plenty advantage of it. also it may sound cheesy but that key change at the end still touches my soul in such a special way after all this time, and that IV - iv - I is just the icing on the cake (shoutouts to you if you know what that even means).

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so is mario 64′s soundtrack any good? of course! i’d even say it hasn’t aged a day since it was released. sure, music nowadays is far more capable of producing good sounds than games back in 1996, but there’s something so nice about these old sounds that i just cannot let go of. i’ve always been in love with these really old instruments for whatever reason, their sound is just so charming to me, and it’s stuff like that that made me want to begin this project anyway.

back to the matter at hand though. mario 64′s soundtrack is honestly timeless - i’m of the belief that good compositions never age, and this game is hard proof. i actually never realized just how much i actually love this soundtrack until relistening to it in its entirety, and i’m glad i could start this project off on such a tremendous note as this one.

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thank you so much for reading! if you have any questions or feedback, send me a message and i’ll try to get to it as soon as i can. check back here in a bit for pilotwings 64! see you then!!

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RESULTS:

Top 3 Tracks: 1. Staff Roll 2. Ultimate Koopa 3. Lethal Lava Land

FINAL SCORE: 9.5/10

[maryelisechavez]

🚨🚨🚨 THIS weekend! Manhattan’s amazing @thevintageshow is happening ~ sadly I won’t make it this year after a 6 year streak but here are a few of my treasured favorites to make sure to check out, true originals that really celebrate the art of vintage 💕 Zingara ~ Beyond being an absolutely lovely and generous person, Erin is an incredible Tastemaker, continually introducing her community (shoutout to our Tuesday night IGTV fam) to considered collections she’s curated for years; 🌟 her latest Terrycloth Collection is launching this weekend exclusively at MVS, represents a phenomenal assortment of land to sea pieces and sets ~ terrykini’s, jackets, robes, pants and waist-wrap pouches, she’s at Booth 1, don’t miss it; I’m obsessed with Indian gauze dresses thx to her 💕 Prizes for Arla ~ Beyond being an absolute angel, Nicki has helped me score so many gems including vintage coats I simply adore and reach for when I want that extra extra 💕 @gypsynationvintage ~ Martha is an incredible vintage collector and curator, with impeccable taste and inherent style, she has helped me acquire life-r pieces like my favorite Zandra Rhodes {cocoon perfectly pink} piece 💕 @lisavictoriavintage encapsulates timeless elegance, she’s introduced me to feather pieces from the 60s that are my go-to special occasion ensemble finish 💕 AMT Vintage ~ no show is complete without Meika, she’s a must-visit goldmine that has brought the most lovely vintage nightgowns, slips and marabou pieces into my life (she’s not showing at MVS this time but IS partaking in the always fab Virtual Affair via @acurrentaffair so check out the Insta Lives happening all weekend 👘 {here I am wearing a sweet Mexican dress found at @newoldsvintage at @eastsideflea in Vancouver} 🌺 Whether you’re new to vintage, or a connoisseur, vintage is not only the most sustainable option for dressing, but also most interesting, one-of-a-kind pieces that really empower you to develop your own personal style 💘✨👘 happy hunting dolls! (at Denver, Colorado) https://www.instagram.com/p/CQR-eB0jBiu/?utm_medium=tumblr

[thesinglesjukebox]

JAMES HYPE FT. KELLI-LEIGH - MORE THAN FRIENDS [5.38] Well, what is it gonna be?

Crystal Leww: Kelli-Leigh is one of my favorite house vocalists, and "More Than Friends" is such a great showcase. This pulses and thumps with equal parts pleading and drama, and her vocal feels timeless and referential all in one. One of my favorite moments is the way that she sings "heartbreaking" (twice!); it reminds me so much of the way that Martha Wash would have sung it in the 80s. Shoutout to James Hype's production work here, too; I especially appreciate how the vocals never get buried under the mix, a problem that even great pop-house tracks run into.  [8]

Alfred Soto: The source material is En Vogue's "Don't Let Go," still almighty twenty years after its release. I have no problem with house piano pumping up the pre-chorus. I've no problem with anyone having a go at it -- tear down statues in the park and all that. But the other effects are so pro forma that I'm surprised Biebs didn't drop in for patly sung passive aggression in exchange for songwriting credit. [2]

Joshua Minsoo Kim: A song like this is practically begging to be called superfluous. To its credit, though, the "I won't be satisfied till we're taking those vows" line has a vibrant energy to it now that it's replanted in a song with a higher BPM. I suppose the short runtime is a display of wise prudence, but it also just makes it easier to forget what I had just heard. I'd say that's a pretty bad problem to have when your song is already a quasi-cover. [3]

Thomas Inskeep: Kelli-Leigh Henry-Davila has sung on a shit-ton of UK house pop hits, including #1s for Duke Dumont and Secondcity back in 2014. I wonder if this clever-but-not-too reworking of En Vogue's "Don't Let Go (Love)" might join them as chart-toppers, because this is a damned smart record. James Hype (great name!) does just enough to strip the chassis from En Vogue's classic and rewire it as a hot-to-trot dancefloor jam that works just as well on the radio or streaming, and wisely brings in big-lunged Kelli-Leigh to handle the vocals, ensuring they stand up to his big four-on-the-floor beats and house pianos. And it's all done in 2:21! [7]

Claire Biddles: Liberal use of rave piano and "Don't Let Go" both rank in my top 10 pop things ever, but combining the two seems... unnecessary?  [5]

Maxwell Cavaseno: Kelli-Leigh's vocal mimicry makes for a fascinating career, as much of her value appears to come in the shape of duplicating that which has already occurred (here, En Vogue's Organized Noize produced "Don't Let Go") to avoid... sample clearance? Redoing it to the tempos of the intended dance grooves? It's a bit of a mystery. James Hype here curiously put some effect on her to give her a vibrato distortion that while I'm sure doesn't affect the record over speakers, in headphones makes her sound like a cassette approaching its end of days (and not in a good way). The track itself is about as run-of-the-mill as it comes and while her ability to mimic the classics is second to none, it rings hollow when everything about the record feels like crass cashing in on obvious methods to win. [3]

Jessica Doyle: In 2006 or so I saw Dawn Robinson performing solo; she had stuff to promote (although I think the then-significant other she was promoting with has since been banished to the ether) but most of her set list was En Vogue hits with a trio of anonymous-to-me backup singers. By standard calculations that was the cynical, valueless retread and "More Than Friends" has the benefit of time and additional imagination. But those benefits add up to so little that, as happy as I am to see Kelli-Leigh get a proper credit, I think I got the better end of the deal. [3]

Nortey Dowuona: Funky bassline, light sprinkling of piano, bouncy bass drums and Kelli-Leigh sings her heart out as the song swings dizzyingly around her. [8]

Scott Mildenhall: It was only a matter of time before this one got its perfunctory reanimation along with the rest of the Kisstory playlist, but it's also one lyric that is hard to divorce from its original setting. "Don't Let Go" is supremely dramatic. It offers lines like "if I could wear your clothes, I'd pretend I was you, and lose control," and gives them the space to sink in. "More Than Friends" makes the same line, along with all others but "hold me tight and don't let go," inconsequential. Full credit to Kelli-Leigh -- literally! -- for trying to inject some life into it, but while it thinks it's perky, it comes over flat. [5]

Tara Hillegeist: Kelli-Leigh's voice, always rich and full of real life no matter how much a producer might try to chew it up and obscure it, feels warm and comfortable here. Hype's sleek, simple bounce gives her plenty of room to build a plea upon it, kicking in with gently insistent pitch shifts and doubling: an emphasis that uplifts instead of overrides. I couldn't tell you who built the melody around who on this song, it's as much hers as his; I couldn't imagine a more enjoyable structural metaphor to underpin a song about taking a partnership to a more intimate level than that, either. The end result's a burbling ode to the potentially deep sincerity of a simple physical connection that's heady without being demanding. When you find a real good singer, letting her work with you as an equal collaborator on a track pays off; who knew?  [8]

Katherine St Asaph: Going from pumped-up Whitney and Toni covers to a pumped-up En Vogue cover isn't quite a career coup, but it isn't nothing. Neither are those old songs. [7]

Ashley John: James Hype and Kelli-Leigh inject an urgency that the original song by En Vogue created the framework for. The speed and thumping beats exaggerate the desperate plea of the lyrics, which oscillate between enforcing an ultimatum and showing vulnerability. Dancing to the line "if I could wear your clothes I'd pretend I was you/and lose control," should be distressing, but I can't think about it long enough in the space between beats.  [5]

Katie Gill: Eventually talented female vocalists will break their bonds and overthrow the boring one trick pony EDM men that the music industry seems to continually shackle them to. Unfortunately, with "More Than Friends," that time has not come yet. Which is a damn shame as Kelli-Leigh's slightly soul, pseudo Whitney era vocals are easily the most interesting part of the song. [6]

[Read, comment and vote on The Singles Jukebox ]