#so... yeah. it reminded me that my build is actually incredibly OP. but also that armor in this game is so fucking shit.

[racke7]

Huh. I actually managed to finish Divinity 2 for once.

[adriwatchestoku]

Gavv ep14

alright time to let chapter 2 simmer a bit before writing more

yes i got the kamen rider buddy tax

oh no, short recap and intro before op. i know what this means. I've seen ex-aid and build

pain dayo

sachika angry shouma's not there to eat the cake he made with her immediately into worry because that's not like him. good big sis

the menace friend and i spent a lot of time talking about the W dna in gavv yesterday while watching episodes 1-3, and man, sachika has so much Akiko in her

oh fuck shouma's been down there a good while

oh shit and it's almost out of power

ah kamen rider. taking something that brought joy and turning it into a desperate survival method. never change

well… technically… hanto isn't… wrong

shouma thinking of everyone but himself. hey eiji had to learn to be selfish, so you do too

sachika is so cute

i have so many feelings about what I've named "mundane magic." I know that's a term that isn't used how I will, but the way I use it is there is magic in mundane creations. Making art. Making tools. Food. There's a magic in it, creating something that only existed as a concept before. Shouma is taking part in mundane magic, creating something from scattered ingredients to create something simple yet wonderous. Something mundane, yet magical. And he's learning the joy in the simplicity of creation

I have a lot of feelings about what creativity and creation has done for me. There's joy and magic from putting together raw ingredients and making lunch. Poking a piece of fabric with thread and needle until it becomes a coat. touching a screen with a pen until a drawing is made. I've found so much meaning in it. and i'm glad shouma has been able to experience that feeling and meaning

A bejeweled bat is… honestly I don't know where it ranks next to Akiko's chancla. She can do some major damage with it, but the chancla is powerful

I know I'm comparing sachika and Akiko a lot, and i'm not paying a lot of attention to the fact hanto and Shotaro also are pretty similar, but i like Sachika and Akiko a lot too and I like how brave the non-riders are

ah fuck right both Hanto and Shotaro are dork and failcringe but they're also smart and actually incredible at what they do. when Hanto thinks things through instead of jumping in headfirst (yeah he has a lot of banjou's dna in him too doesn't he) he can put a lot together

Gavv: W version 3.0. 2.0 being Build, of course

"they're the ones that killed my mom" wait is he talking his family did it, or is he saying Shiita and Jeebh are directly responsible, because I am not really able to remember if they showed exactly who pressed his mom

(chronic migraines suck and this is day two of mine)

okay I was about to say Suga put those down but uh. that also goes for you, nyelv, but uh. what are you doing here

oh the stomach family was just a bundle of abuse and neglect huh. even the twins.

this is heartbreaking. they weren't actually loved. They were just… family, and they took it out on someone innocent. Cycle of abuse continues…

they only found someone that cared about them in each other… and blamed shouma for it. but even if shouma didn't exist, nothing would have changed for them…

I love villains like this, tragic, but a lot of that tragedy also comes from the fact the moment they could be stopped and given the love and care they needed has long past, and the only thing they can do now is kill them. They're not redeemable anymore. They've gone way past that, and can't see it past their own hurt and hatred. All of this could have been avoided if even just one of their older siblings showed care, but we're long past avoiding and the only thing we can do is stop

(yeah I love Emet-Selch)

oh no, hanto knows who is making these things now, and… oh noooooooooooooooooooooo

mundane magic, the power of creation, food and love combined to create something more powerful than you could imagine

oh that form is fucking sick

something about it reminds me of Kiva's emperor form, but that might be because I've seen people talk about the kiva dna it has too

(thankfully not the inoue-isms part)

so that form has a charm ability. never something I could take advantage of in games like hades but charming enemies is always fun even if you suck at keeping it going

okay these charmed minions are hilarious

oh

oh…

oh no

fuck

i'm glad you're best big sis, sachika. because shouma needs it

oh jeebh's lost it at his sister's death

oh fuck

…………………………………………… SUGA. NYELV. EXPLAIN. DON'T HIDE BEHIND THE END OF THE EPISODE

i was right. pain dayo

[thesimperiuscurse]

08.04

It’s The Kingston Legacy’s sixth anniversary, so here’s a throwback post to celebrate! Last month I forced myself to reread the entire legacy, and while I stopped, clicked off the tab, and emitted a soundless scream of pure cringe numerous times (I wish I was kidding)—the past generations are actually not as terrible as I remember. I think enough time has passed for me to detach myself from the childish storytelling and look back in nostalgia. 

Thank you to my fellow Wordpress writers who have come along the journey, some for many years now, through every high and low. It’s astounding how much has changed in the legacy from when I was 15, and 21. Follow me down the (very) long memory lane, as I reminiscence about each story and my perspective on them now ❤

Generation 1 — Fern (2015)

To my shock, I found myself genuinely enjoying Fern’s story. I think this was because the first generation was purely me commentating on gameplay, and not trying to write a story (that’s when the cringe began). I was inspired by one of the original stories, Alice and Kev, to make a homeless sim and document her struggle for a better life: Fern, a snobby aspiring writer. Reading this, a huge wave of nostalgia hit me, and it reminded me of how wonderful Sims 3 gameplay is. Although I’m long past it now, there’s real heart and life in the design. I think it speaks about the rich personalities and quirks that I could write a whole life story off it. It was super fun making Fern camp out at Old Pier Beach, stealing from townie picnics and roasting apples on the fire, finding little ways to scrounge money, giving her a makeover in the salon, watching the townie dramas unfold around her. Although she faced homelessness two times and a shitty first husband (yeah, fuck off, Xander), Fern grew into a strong and independent yet sweet and gentle character, in love with the ocean like her great-granddaughter comes to be.  

I never actually addressed this, but she (and her love Christopher) passed away in the story between the end of Gen 3 and start of Gen 4. It just felt weird to make it a big deal because they never died in game—still ‘alive’ and well, scattered across different backup saves and the bin.  

Generation 2 — Briar (2015)

Briar’s story was strange, because it was half gameplay and half story, which meant that there were things that just did not... make... sense. She was quite an ‘unreliable’ character to follow because of her Insane trait. The plot revolved around her as a fresh detective, investigating supernatural phenomena in Sunset Valley. Her character arc was almost the opposite to her mother’s: a naive, optimistic, silly girl hardening through trauma into a cold and ruthless police chief. Ash’s death was the one moment I felt true sadness in this legacy, because he did really die. Imagine me actually getting emotional over my characters, lmao. Wild. 

Also, Max is OP. To this day he is one of the best male characters in my legacy, a healthy and supportive best friend (to husband) in stark contrast to the following generation. 

Fallen Angels — Cherry (2016-2019)

Yes. It’s this generation. Square the fuck up, Cherry. I will fight her any day. Old readers will know of my pure hatred for this story. It’s been about two years since it thankfully ended. My verdict now?

It’s not quite as horrifically shitty, Gabriel and Lilith being a lot nicer than I remembered (Gabriel’s only a bit of a dick at the start), but it still has glaring problems, such as the pacing and clumsy handling of sensitive topics. The story would have been far nicer if it focused less on Cherry and Luc’s relationship and their respective issues, more on the found family and her relationship with Gabriel (which was rushed due to me despising the story by that point). During the first chapters, I was cringing spectacularly at the combination of Luc’s initial jackass behaviour and Cherry’s whining. Toxic as FUCK. I had to skip 3.8 and 3.9 entirely. These two (because of my own shameful mistake) tainted the generation in my eyes, and even though all of the characters grew from their toxicity, I can’t really see past that guilt to the better parts of the story. 

Jade has been telling me for years that this story isn’t all bad, and upon forcing myself to reread, I can see what you mean. I’m sorry LOL. Something that pleasantly surprised me was the writing quality (just the prose, not the actual story mechanics... lmfao), and Raphael, who made me smile every time he appeared. Every single careless, sarcastic line of his was a banger. The pictures are something else I like, too. Many of them stand up to the best ones in En Pointe—the fiery, gritty, industrial tones of Bridgeport just hits different. The world was rich and immersive, which is missing at the moment in En Pointe because of me being too lazy to build a proper Los Angeles world, but Act III is set in Boroughsburg so I’m excited to get back into the city scenes. 17 year old me wasn’t mature enough to tackle dark themes, but at least the visuals for them were nice, I guess. The atmosphere of the story I really enjoy. It’s just the toxic characters and way-too-angsty moments that ruin the whole thing for me. 

En Pointe — Evangeline (2019-)

And here we are now! The early chapters are kinda painful to read because 1) Mako looked so ugly and 2) the dialogue was so clumsy and generic. I sighed in relief when Chapter 5 came around, because it was then both of those aspects really began to improve. Eva’s voice was simple, with her punchy remarks, much less romantic and descriptive than Cherry, so it was interesting to see her voice becoming more complex and layered as I more understood her character. Also, me visibly struggling with the natural lighting and only getting a handle on it 7 chapters later has me shaking my head. 

I’m already beginning to identify issues with the story, mostly with character arcs and pacing. It’s a strange combination of fast pacing (spanning half a year in 8 chapters) and Eva becoming surprisingly comfortable with Mako’s touch due to their unusual pas de deux circumstances. It’s curious how real life time actually played into the pacing of the story—because of the slow publishing schedule, less time has passed in the story as real life, so it’s almost as if the time jumps were made up by real life time, making the jumps feel not too strange. Reading consecutively, however, Evako’s relationship growth doesn’t feel slow burn... a little underdeveloped, in a way, despite their lengthy conversations. I think that’s because of Mako being such a reserved and mysterious character, and that I’ve unconsciously come to rely on Tumblr to give more depth to the characters/relationships. Luckily, pretty much everyone who comments on the story also follows me here, so this dual-platform storytelling is okay, I suppose. I want to post more of #Mishako since there just isn’t enough time to explore their bromance in the story!

At the moment I’m not happy with the story, but it’s fine. I’m learning. There’s more than half the story to go, which means plenty of time to reflect upon the issues and improve. I’m really looking forward to Eva and Mako’s character arcs in Act III. At the moment their relationship is based on their natural chemistry and respect for each other, and since they are yet to face trials their bond isn’t super deep, but Evako are still my favourite couple in the legacy thus far, and feel much more real than any character I’ve written before. It’s been very interesting for my aro ass (and being way more logical than emotional) to figure out a dynamic that is actually compelling to me, because most of the time when I look at romance I’m just like 😐🤨 I’m liking it so far but we shall see how everything unfolds, because I have barely any idea what’s going to happen beyond Act II, lmfao. 

That’s it for my incredibly long throwback! I hope it was at least nice for the OG readers, and interesting for anyone else who managed to battle through this essay, haha. This family has been an integral part of me growing up, as a person and writer and artist (what I’ve developed in visuals I apply to architecture), learning a great deal of awareness about real life through story research, which is pretty cool now that I think about it. I’m aiming to finish En Pointe by the end of 2022. I’m excited for what unexpected changes are to come!

[vibrant-leaf]

Therapy is Manly

Part two.

🧡 ~KiriBaku Fic~ ❤️

Summary: The happy ending to part one of this breakup/makeup fic! Many months later, Bakugou finally tries again. The link to the song that inspired me to write this whole thing is at the bottom. And here is a link to part one if you haven't read that yet. Enjoy!

Word Count: 4032

Warnings: cursing, very little angst, suggestive tones but nothing explicit

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

10 months later…

No way. There is absolutely no fucking way that Bakugou’s going to let anyone lay a single finger on Kirishima if he’s there to help it. He understands Kirishima’s strength and knows he can take care of himself easily. But he also knows that Kirishima doesn’t have eyes in the back of his head. So when some dumbass villain decides it’s a brilliant idea to try and go for Red Riot’s back when he’s already busy with another villain, Dynamight’s eyes instantly lock onto his target before he’s charging and yelling at him and proceeds to blow the villain back a solid one hundred- ope no he’s still going- two hundred yards. Sure, he could’ve held back just a tad but that’s what the fucker gets so, oh well.

Kirishima‘s able to look over in the direction of the poor soul who’s knocked out in the next town over when he finally gets a hold of the villain in front of him, and his mouth hangs open as his eyes grow wide. “Damn… that was manly.”

The fight in the streets finally comes to a close and a random reporter tracks down the great up-and-coming hero, Dynamight, before he’s able to escape the scene. Kirishima can see Bakugou roll his eyes before he faces the reporter with an unamused look on his face. And just like the press, the smile that spreads across Kirishima’s face is unavoidable.

“Hey, Dynamight!” Kirishima feels nervous but he forces himself to walk up to Bakugou after the reporter disappears to go talk to another hero.

It’s been ten whole months since Kirishima last talked to his ex-boyfriend. Graduation was eight months ago, which was the last time he saw him in person. He thinks back to that happy day when the whole class was gathered in the yard in front of U.A., just freshly graduated, and two pairs of red eyes meet within the joyful chaos that was surrounding them. They didn’t look away, they held their gaze, and they smiled at each other. Graduation was a day of celebration, a day to feel hopeful about the future, and at that moment, they both felt a small spark of hope ignite for their future together.

Kirishima is brought back to the present when he looks at Bakugou’s arms, and he wonders if his muscles were that big before because damn… those look manly.

Bakugou hears the familiar, cheery voice call out to him and he instantly realizes that hearing that voice in person is a lot better than hearing it through his phone when he watches interviews of Red Riot. Yes, he realizes that he’s indulging in what he absolutely hates, but those interviews serve as necessary reminders of what he’s going to therapy for alright? He has found that they especially help right after a tough session when he’s feeling like shit.

The scowl on Bakugou’s face relaxes when Kirishima walks up next to him.

“Thanks again for the save back there! That was… really manly, even though you probably didn’t have to blast him that far!” Kirishima laughs a little awkwardly.

“Just be more careful next time, Eij- Shitty-Hair. And that asshole deserved it.”

“Whatever you say, man!” After a couple of tense and silent seconds pass by, Kirishima glances off to the side and his hand reaches up to rub the back of his neck. “Sooo… how have you been doing?”

Bakugou knows what he’s really asking him, and he wants to tell him. He wants to tell him everything, pour out all of the contents of his heart onto this gorgeous man standing in front of him, but there were still people around them. “Fan-fuckin-tastic.” Kirishima’s faint chuckle makes Bakugou’s heart stir. This opportunity was really being handed to him on a silver platter, wasn’t it? For a few weeks, he’s been thinking about reaching out to Kirishima but had no clue how to go about it. He wasn’t exactly comfortable with texting him out of the blue after so long but right here was a golden opportunity for him. So, in sheer fuck it fashion he gets straight to the point, “are you seeing anyone right now?”

Kirishima is taken aback by the sudden question. “Uh.. no. No, I’m not.” A few people have asked him out over the past ten months and he’s told them all no. Saying that he wasn’t exactly emotionally available at the moment. While Kirishima did in fact heal from what happened between him and his love so many months ago, he was still holding onto the hope of getting back together with him. Sure, he could have tried to go out on a couple of dates but it wouldn’t have been fair to the other person if he was just wishing he was with Bakugou the whole time.

Kirishima’s heartbeat starts to quicken. Why the hell did Bakugou ask him if he was seeing anyone? Was he finally ready? Was he going to ask him if he wanted to try again? Kirishima was holding his breath now, waiting for Bakugou to say something.

Bakugou keeps tapping his thumb on his thigh. What if Kirishima says no? What if he’s completely over him and realizes he doesn’t want him anymore? He shakes his head a little to get rid of the thoughts that are trying to poison his brain. Bakugou looks at Kirishima square in the eyes. “Do you want to come over to my place for dinner tonight?”

A wide, closed-lip smile spreads across Kirishima’s face and Bakugou wonders how a simple smile like that can be so full of light.

“I’d love to.”

Bakugou feels like screaming in victory, but of course, he keeps his cool. “Great. Seven o’clock. I’ll text you my address.”

“Okay!” Excitement sparkles in Kirishima’s eyes and Bakugou’s really starting to have trouble keeping calm.

“Okay.. see ya then.” Bakugou chews on the inside of his cheek. “Gotta blast-” and he did just that; stepping back and blasting up into the air… as well as immediately regretting those last two words. Gotta blast? GOTTA BLAST?! What the fuck?! When he lands on top of a building, the embarrassment fizzles out of his body, and instead, he feels so incredibly excited that he can’t help but scream at the top of his lungs. “FUCK YEAH!”

Apparently, Bakugou didn’t fly far enough away because Kirishima could clearly hear his mini-celebration off in the distance. His chest flutters and heat rises to his face as he lifts his hand to the back of his neck again and lets out an embarrassing little giggle.

Seven o’clock approaches way too fast but also way too slow at the same time. It’s really fucking weird how time passes when you’re incredibly anxious about something.

Bakugou is plating their dinner as Kirishima is riding the elevator to the top floor of the apartment complex. They’re both sweaty and feel like their hearts are about to burst out of their chest at any given moment, and Bakugou’s almost does when he hears a knock on his door. He takes a deep, centering breath through his nose before walking over to let Kirishima inside.

The door opens and both men look at each other.

Kirishima’s hair is a little longer than it was ten months ago, and with it down it just easily goes past his shoulders, and Bakugou can easily see the black roots that are starting to grow in. His shitty hair is really throwing Bakugou through a loop right now. He wants to run his hands through it and pul- nope, nope, no. Pure thoughts. Pure thoughts only. Then, suddenly, Bakugou is hyperaware of his presence because, holy shit, Kirishima is here, he’s here for Bakugou, at Bakugou’s apartment.

Kirishima on the other hand isn’t doing super swell either. He wasn’t prepared for the navy blue dress shirt and dark grey pants Bakugou is currently wearing and gets a small sense of embarrassment from only wearing jeans and a striped button-up. “Uh.. sorry I didn’t dress up more,” he smiles awkwardly.

Bakugou smirks and cocks his head. “You think I’m not used to the way you dress Shitty-Hair?” Kirishima hums a laugh. “It looks nice, by the way.”

Kirishima’s eyebrows lift slightly. “Huh? What does?”

“You hair. The length. Your roots growing in. I don’t know, it looks nice or whatever.”

“Oh! Thanks! I’m trying to grow it out longer actually! I think it would look badass if it was really long, especially if I go Unbreakable!” The embarrassment vanishes from Kirishima, and Bakugou relaxes as he steps aside to let Kirishima in. They continue to talk about his hair, about the roots being a pain to redye, Bakugou reminding Kirishima that he’s willing to help him with that process, and Kirishima being so relieved at the offer because it really was easier and faster with Bakugou’s help after all.

Dinner goes on just like that. Talking and laughing about anything and everything: from good days on patrol to not-so-good days on patrol, raises, promotions, where Kirishima lives now, health issues…

“I think the hearing in my right ear is going to shit.” Bakugou picks at the remnants of his food he’s trying to stuff down.

“Oh really? You should probably get that checked out.”

“Nah, I’ll be fine. It’s just a pain in the ass sometimes.”

“Katsuki.” It’s the first time Kirishima uses his first name after all this time and it comes out so naturally. Bakugou has a faint blush on his cheeks from hearing it.

“...Fine. Whatever.”

“No, not whatever. You should really call a doctor so it doesn’t get worse-” Kirishima is ready to go on a long rant about how one should take care of their body and listen to any signs of trouble.

But Bakugou cuts him off. “If I say I’ll call them tomorrow will you drop it?”

“-body is a templ- oh… Only if you promise!” Kirishima is surprised at how easy it was to convince him with something like this since he used to hate going to Recovery Girl’s office at U.A.

Bakugou rolls his eyes. “I promise. And if you’re gonna say shit like ‘your body is a temple,’’’ he says mockingly, “then eat all the damn veggies I made you.”

Kirishima pretends to look offended and lets out an overly dramatic scoff. “The audacity you have to assume that I wasn’t going to!” He then proceeds to shovel all of the steamed vegetables that are leftover on his plate (which was about ninety percent of what he had to begin with and was the only thing on his plate at this point) into his mouth. Bakugou chuckles as he shakes his head at him.

They then go on to talk about more hero stuff and soon they’re comparing how many people and kids have asked them for their autographs. Kirishima has two more than Bakugou and even though he hates any prolonged interactions with fans he’s still kind of pissed.

“What?! Bullshit!”

“Nope. Not bullshit. Maybe if you didn’t look so mean and yell at everyone then more people would ask for your autograph.” Kirishima gives him a smug look.

Bakugou scoffs and crosses his arms. A weird silence falls upon them. “I’m… I’m getting better at that, by the way.” Kirishima’s eyebrows raise.

“Oh? Really?”

“Yeah, really. I better be at least, or else I would’ve been wasting my damn money on my therapist.”

“Well, that’s good to hear.” Kirishima smiles at him. “Are you still going?”

Bakugou gets up from the table, gathers their dishes, then walks to the sink. Kirishima understands, it’s tough, talking about this stuff, but isn’t that why he’s here in the first place? Then again, it’s Bakugou talking here, so he’ll give him all the time he needs. What’re a few more minutes compared to almost a year anyway? He walks over to the sink next to Bakugou. “I wash, you dry?”

“Sure.”

And they do just that. Washing, drying, and putting away the dishes with nothing but the sound of running water and clinking of dishes filling the air. They’re comfortable next to each other.

Once they’re done, Kirishima looks at the clock on the stove. It’s starting to get late already. They were talking for so long that now they didn’t have much time to talk about… that. Kirishima loved how easy and normal it felt to talk to Bakugou again but he needs to address the more important topic here. He doesn’t want this to be just a random visit and then they go back to not talking for another long of period time. But he also doesn’t want Bakugou to feel like he’s pushing him too much if it’s still too early yet. “I should probably head out soon.”

Bakugou can hear the sadness in his voice even if it is barely there from Kirishima trying to hide it, but nevertheless, he recognizes that tone. “I’m still going.” He sees Kirishima perk up a little. “It’s just… fucking hard. Who knew I’d be so damn difficult to fix. I’m better, I think, at least that’s what my therapist says. Even my parents noticed.” They’re both leaning back against the countertop in the kitchen with Bakugou’s arms crossed and Kirishima’s forearms resting on the countertop. In his peripheral, Bakugou sees Kirishima looking at him intently. He chews on the inside of his cheek. “But I’m still... Or I still... You know.”

“Yeah, I get it. You still have your moments. I’m the same way.” Kirishima continues when Bakugou looks gives him a confused look. “I started going too… figured my self-esteem and sense of self-worth could use some help. And just like you said, I’m doing a lot better, but I’ll still have my moments. I’ll have this voice in the back of my head trying to make me doubt myself again. Or when I got that promotion at Fat Gum’s agency I started feeling a little guilty. Thought someone else probably deserved it more than me-”

“Tch, like who?”

Kirishima shrugs. “Anyone, really. I know, I know, it’s dumb, but I definitely don’t think that way now. And… I realize… back when we were together in school… I shouldn’t have let you off the hook so easy after the way you’d treat me. I was just afraid you would see me as weak if I were to get too upset over something you said and then you’d dump me because you’d realize you didn’t want to be with someone who was weak.”

“I could never see you as weak, Eijirou. You are one of the strongest people I know if not, the strongest. I could see the look on your face when I said those things to you and it terrified me. I thought that if I could make you out of all people feel like shit, then I really was a fucking terrible human being… I was scared of myself... And I was scared of what I was doing to you.”

Bakugou is looking directly into Kirishima’s eyes as he lets the words fall out of his mouth. He’s thought about what exactly he would say to Kirishima when they would talk about this. But what he’s saying now isn’t like any of the rehearsed lines he’s gone over multiple times in his head, he’s simply letting his heart speak for him. It was so easy too. With Kirishima talking about his thought process from back then first, it felt natural to follow his lead and open up about what he was thinking back then too.

Bakugou takes a deep breath. “I… I truly believe I’m better now, despite having the rare occasional outburst. But it’s not almost every single day that I’ll lash out at people. I’m still me, but I’ve gotten better at apologizing, learning after I make a mistake, and not being so fucking stubborn all the time. So… I know that this time, I’ll be able to love you the right way. The way you deserve to be loved.”

Kirishima swallows the lump in his throat that’s starting to form. He’s so fucking proud of Bakugou and he’s even proud of his own progress he’s made. Kirishima can see the determination on Bakugou’s face.

Bakugou shifts a little to face him more as he looks up at him. “Eijirou… If you want to and if you’re a hundred percent sure about it… I want to try this again. Try us again. I can’t promise I won’t mess up from time to time but I can promise that I’ll never call you useless again. Fuck, I’m still sorry about that. I regretted it the second it came out of my mouth, I don’t know why-”

“Katsuki.” Bakugou stops his rambling when Kirishima touches his shoulder. “I forgive you.”

Bakugou’s shoulders relax from the tension that was building up from remembering his mistake that caused everything to go down the way it did.

Kirishima continues to speak. “And, yes, I want to try again too.” Kirishima can actually see Bakugou’s face light up and it’s the cutest damn thing to him and he really wants to kiss him right now.

“You’re a hundred percent sure?”

“Yes, a hundred percent. I want it more than anything in the world. I want you back in my life.”

A hint of worry falls back onto Bakugou’s face. “I’d be lying if I said I wasn’t the least bit scared. I don’t want to hurt you again.”

“Katsuki. I’m not made of glass bones and paper skin. I can handle a slip-up from time to time, okay? And I promise that I’ll be better at holding you more accountable.”

“Punch me in the fucking face if you have to.”

“Um, no. I’d rather not end up like that villain today when you blasted him into next week.”

Bakugou laughs proudly at the mention of the scum bag that tried to hurt his beloved earlier that day.

Kirishima smiles back at Bakugou and pulls him in for a hug. He really can’t help himself, he needs to touch him again.

Their hug starts off light but it quickly morphs into the type of embrace that makes them grasp onto each other like a lifeline. Kirishima’s arms are wrapped around Bakugou’s neck as his face is buried into the side of his hair. Bakugou is squeezing Kirishima’s torso and his face is digging into his shoulder. They breathe in each other’s scents. The hug and the nostalgic smell of each other are immensely relieving. This is where they belong. Together. In each other’s arms. And it feels like home.

For a while, they stay like this. Simply enjoying every second of being physically and emotionally connected again.

“I missed you so fucking much,” Bakugou breathes out against Kirishima’s shoulder.

Kirishima wants to talk but his throat is starting to burn and his lips are wobbling, so he just nods first to collect himself before replying, “I missed you too.”

Bakugou squeezes him even tighter. “It’ll be better this time, I promise. I fucking swear, okay Eijirou?” He lifts his head to look into Krishima’s glistening eyes.

Kirishima nods again and lets out a shaky, “okay.”

“And I’m never letting you go, ever again…” Bakugou glances off to the side with a look of guilt and pain, “cause that was fucking terrible.”

“Yeah…” Kirishima takes a deep breath, blinks back the tears that almost spilled out of his eyes, and swallows the lump in his throat. “Longest ten months of my life.” He can see the look of shame fall heavier in Bakugou’s eyes. “But, we both needed it. So… thank you for being strong enough to let us go so we could work on ourselves for a bit.” Bakugou still doesn’t look as relaxed as Kirishima wants him to be, so he places a hand on the side of Bakugou’s face and it makes him look directly at Kirishima. “It still might be difficult from time to time, but growing together is just as important too.” Kirishima softly smiles down at the man he would do anything for.

A blush grows quickly on Bakugou’s cheeks as his eyebrows finally relax. He’s transfixed by the way Kirishima is looking at him so he can only answer with a simple nod. And Kirishima must have a vendetta against him because this gorgeous fucker makes his brain malfunction even more by leaning down to lightly press his lips against Bakugou’s. If butterflies were fluttering in his stomach before, then they were setting off explosions now.

It feels like their first kiss all over again. How is that possible? Neither of them know, but neither of them question it. Instead, they relish in the familiar touch of the other’s lips against their own and they both gain a sense of confidence that they’re going to be just fine.

Once they separate, they slowly open their eyes before pressing their foreheads together. A moment of peaceful silence falls upon them.

In the softest voice he can manage, as if any other tone would ruin the moment between them, Kirishima reluctantly utters, “it’s getting a little late… you want to meet up again tomorrow?” Bakugou affirms him with a nod before letting go and walking him to the door. Kirishima puts a hand on Bakugou’s hip and they exchange one more sweet peck. And then Kirishima gets a smug look on his face.

“Well, gotta blast, Katsuki!” Kirishima waves as he walks out the door.

“Oh my god, shut up!” Bakugou slams the door loud enough that it most likely annoys some of his neighbors.

Kirishima laughs and is about to walk away when he hears the door reopen along with a faint, “Oi.” He turns his head to gaze upon a red-faced Bakugou.

“....I love you, Eijirou.” Bakugou worries that he said it too grumbly before Kirishima instantly blinds him with one of his signature toothy grins.

“I love you too, Katsuki!” No one, absolutely no one, can compete with the amount of happiness Kirishima is full of now. The love of his life, declaring his love for him once again, sparks so much joy in Kirishima’s heart, he’s tempted to go on the roof of a building to scream, FUCK YEAH!

Bakugou allows a little smile to slip on his face and he closes the door once more. The smile grows even wider as he leans back against his door, and that’s when he feels it again: the magnetic force that’s pulling him to his favorite person in the entire world. And for the second time today he thinks, “fuck it,” swings his door open yet again, and marches right over to the redhead before he can reach the stairs.

Kirishima turns around in part surprise and part worry, and he’s about to question Bakugou until his hand is being snatched up and he’s being pulled into the apartment. “Uh- Ka-Kats- I’d love to stay longer but I have to wake up early tomorrow.” He might be protesting but he easily follows Bakugou’s lead as they cross the threshold of the door and Kirishima lets himself be pushed against the wall.

“So stay over.” Simple as that right? Bakugou thinks so at least. He intertwines both his hands into Kirishima’s and stares daringly into his eyes. It’s Kirishima’s turn to be flustered and Bakugou is pleased.

“But my stuff- uh- my hero costume is back at my apartment.” Kirishima’s heart is hammering in his chest as excitement starts filling in the pit of his stomach.

Bakugou tilts his head and smirks. “Then I’ll just go get it for you if your ass can’t get up early enough.”

Kirishima quirks an eyebrow. Okay, two can play at this game. “Hmm.. that’s if your ass is even able to move at all tomorrow morning,” Kirishima smirks back down at Bakugou before he grabs the back of his head and crashes their lips together in a heated kiss.

And what those two men, who were so deeply in love with each other, do for the rest of the evening... is classified information.

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

I hope you liked the ending! This was the longest fic I’ve ever written and I’m actually quite proud of it. Thank you so much for reading! 🙏🏻

The song that inspired me to write this fic > 🎶🎶

Also…… if you caught that Sponegbob reference… I love you. I wrote it as a joke but ended up keeping it hehehe.

[takerfoxx]

Here, have some more of the WN girls watch The Rebellion Story, this time stretching from Moemura turning back into classic Homura while monologuing to herself to when she shoots herself in the head!

Yes, this is the one with the gunfight.

Reminder:

G=Gretchen

H=Homulilly

Op=Ophelia

Ok=Oktavia

Ca=Candeloro/Mami

Ch=Charlotte

...

Op: Dramatic transformation!

H: All I did was take off my glasses and ribbons.

Op: And you did so dramatically! Complete with a slo-mo hair flick while framed by the full moon!

Ch: Which is apparently about to crash into the city, given how close it is.

Ok: “This is a witch’s labyrinth.” Gee, yah think?!

…

Ok: Okay, where exactly are you headed?

H: Deep into the bowels of the earth, apparently.

Op: Quick! To the Homu-Cave!

G: So, uh, can you see all those windows with the witches, or…?

H: Probably not. It probably still looks normal to me.

Op: Now that just sucks! If you’re going to monologue dramatically you at least ought to be able to appreciate the accompanying visuals!

Ch: “Previously, on Homura Magica…”

G: We probably should have watched the show first. Maybe then all of this would make sense.

Ch: I sincerely doubt it.

…

Ch: Why do all of my scenes have me looking like some brand of idiot?

Ok: Have you seen yourself whenever you get within sniffing distance of a piece of mozzarella? If anything, the doll you is way more composed!

Ch: Oh, so I stick teacups on top of my head, is that what you’re saying?

Op: No, usually you smash them and anything else that’s between you and that sweet, sweet cheesy goodness.

…

Ok: Oh, exposition!

Ch: About my idiot counterpart. I really hope I am the villain and this is all some kind of clever ruse, because otherwise, my God.

G: This is really cute, though. And at least you two are close in this universe too!

Ch: I’m basically a pet.

Ca: Well, if I must have a pet, I’m glad that it’s you.

Ch: Woof-woof.

=from outside, Cheese starts screeching=

Che: Bitch-ass cayennnnnne!

Ca: Whoops. He heard.

…

Ch: …Candy? Are you okay?

Ca: I’m…fine. Just memories.

G: You mean it was really like that?

Ca: Well, Charlotte obviously wasn’t a doll, we weren’t trapped in a bizarre facsimile of the city, and there were no Nightmares, but yes. It was a lonely time.

Op: Because of me, wasn’t it?

Ca: Ophelia, you had literally just lost your family, and I…wasn’t as sympathetic as I ought to have been. So no. It wasn’t because of you. Besides, we did make up later. Had a long conversation and everything. There were even tears.

Op: Well, that’s good to hear.

Ca: Actually, it was pretty close to how it is in the movie, once everyone had shown up. The five of us spending all our time together. Fighting together, training together, celebrating together, and just being girls together. For me, it was probably the happiest I had ever been.

Ok: Right up until my love life went sour.

Ca: Oh, there was so much more to it than just that. Besides, it was all just a temporary thing, a staving off the inevitable. What we have now might be much less exciting but is so much better.

Op: I dunno. Fighting demonic teddy-bears every night sounds like my idea of a good time.

Ca: We didn’t have teddy-bears, remember?

Op: Well, we should have.

…

Ok: Um…Homulilly?

H: Well, this has gotten interesting.

Op: You know, there are a lot of jokes I could be making about you freezing time right next to your crush, but I won’t.

H: Thank you.

G: I don’t get it...Actually, I do. Never mind.

Ok: Shoot the rat! He’s right there!

Ch: Oh, no. She’s going after me. Huh.

H: Huh indeed.

=Charlotte and Homulilly shoot each other an odd look=

Op: So…are we gonna get Homulilly vs. Charlotte?

H: More of Homura vs. Bebe, it seems.

Ch: So…I am the villain.

Op: If you’re lucky, you’ll get an overly dramatic and campy solo number, complete with a pipe organ!

…

G: This is getting a little hard to watch.

Ch: It’s not me.

G: It kind ofis.

H: Charlotte, I would like to take this moment to say that you are a dear friend of mine, and the actions of my counterpart do not reflect my feelings.

Ch: Thanks. Same.

=pause=

Ch: Though could your other self please stop choking me? It is getting kind of weird.

…

Op: Okay, that cinches it! Homura can definitely see the weird!

Ok: How do you figure?

Op: The fact that she’s leaping from dessert tray on a stick to dessert tray on a stick! Why would she be doing that unless she could see them?

Ok: I don’t know. Maybe they just look like telephone poles to her.

H: No, the illusion has clearly dropped, at least for me.

Ch: I’m about to get executed and that’s what you choose to focus on?

Op: For all you know you’re about to snap and bite Homura’s head off.

Ch: I…seriously doubt that. I mean, she is kind of the main character.

Ok: Though hey, wouldn’t that be such a wicked twist? To build up someone as a super-important character only to kill them off like a quarter of the way through?

=Candeloro frowns, a puzzled look on her face=

…

Op: Erm…

H: Well, this is certainly condescending.

Ca: It’s not inaccurate, though. I did struggle with many doubts and insecurities, and often found it difficult to put on a brave face.

Ch: That’s just called being human, babe.

Op: Most humans never went through what we went through.

Ca: That’s also true. Like I said, Homura isn’t wrong. I often felt like I was on the edge of cracking. There was more than one time when one of you would get hurt during a fight, and I would make a big show of being calm and unbothered. I’d encourage you and maybe lightly scold you for letting your guard down, and when you were all healed up I’d reassure everyone that I knew everything would be fine and try my best to carry on as normal. And then, when everyone was gone, I’d spend the rest of the night crying. You were right to assume I would react badly if you accused my close companion of being some kind of nefarious villain.

=long, uncomfortable pause=

H: Maybe so, but I think that my other self here wasn’t in the habit of giving people the benefit of the doubt. I think that her frequent failures might cause her to assume the worst of everyone, and act accordingly. I don’t think that she is giving you a fair shake.

Ca: That’s sweet of you to say so, Homulilly. But realistically speaking, she had reason not to trust me with this information.

…

Ch: Yeesh.

H: It’s okay. You can say it.

Ch: Say what?

H: That this alternate version of myself is kind of…shall we say…

Ok: Incredibly terrifying?

H: Just a little psychotic, yes.

G: Well, I mean, considering what she went through. You were lucky to stop after four loops. How many times did she have to relive my death over and over?

Ch: Still doesn’t make watching me get shoved up against a wall and the life choked out of me any more fun to watch.

…

Ch: Hold up!

Op: Well, hey! Wife to the rescue!

Ca: But…how…?

G: Oh. That is…a long ribbon.

Op: Did you have that attached to her foot the whole time?

Ca: I mean, I guess…

Ok: How did she even know you were up to something?

Ca: Intuition, I suppose. Maybe the lack of glasses and the new hairstyle tipped me off?

Ok: Why would that-

Ca: I don’t know, I’m just throwing guesses out.

H: Well, consider me impressed. Clearly, this other me underestimated you.

Ca: Thank you.

Ch: OKAY! If having my stupid doll face on every billboard in town doesn’t tip you off, then nothing will!

G: Homura’s probably the only one that can see it like that. Mami probably just sees a shoe advertisement or something.

Ch: You know what? That’s actually kind of a relief.

…

Ok: Oh, shit!

Ch: Could you stop trying to kill me? Please?

H: Believe me, if I could stop me, I would.

Op, suddenly sitting up straighter: Hold on, is this going where I think it’s going?

Ok: I think it is! I think it is!

Ca: Oh, here we go.

G: What?

Ok: Homura and Mami are going to fight!

G: Oh. Oh!

H: Candeloro, just like I said with Charlotte, the actions and beliefs of this alternate self of mine-

Ca: Homulilly, relax. It’s fine. These other versions of ourselves took different paths than we did. I don’t hold any of this against you.

H: Likewise.

Ca: Good.

=pause=

Op: Fifty talents on Mami.

Ch: Oh, good Lord.

Ok: You’re on! Time stop, Fee! That’s so overpowered!

Op: Which our girl neutralized without Little Miss Sleuth even knowing.

H: Is this really-

Op: Plus Mami’s the veteran fighter, remember? The tanky heavy?

Ok: Uh, Homura’s got multiple timeloops of experience, okay. That trumps Mami’s couple of years.

Ca: It was more like three…

G: I’m in! I’m betting on Lilly!

H: On Homura. I’m not fighting anyone.

Ok: Same diff! You better win, though. We’ve got money riding on this.

Ch: Well, I’m joining Fee and betting on Mami. I think you’ll find her more of a handful than you’re bargaining for.

Ca: Out of all the childish-

Ch: Buck up! You’ve got fifty talents to win me!

=Homulilly extends her hand across the couch=

H: Hey. May the best fighter win.

=pause, then Candeloro sighs and shakes her hand=

Ca: Oh, why not. You’re on!

…

Ch: Well, that ribbon ain’t going nowhere. Time stop, still neutralized.

Op: Ha! What I say?

Ca: My Bebe’s life is in danger. My will is resolute.

Ch: You are not turning Bebe into a pet name.

Ok: Come on, come on. Get with the fighting already!

=long pause as Mami and Homura have their staredown, and then they leap…=

Op: Oh, yeah! Here we go!

…

Op: Holy shit!

Ok: Go! Go!

G: Wow. That is a lot of guns.

…

Ch: Come on, babe. You can do this.

Ok: THIS! IS! SO! FREAKING! COOL!

G: Look at their faces! They still don’t want to hurt each other.

Ch: Oh, come on, doll-me! Get out of there already!

…

Op and Ch: Let’s go, Mami!

Ok and G: Ho-Mu-Ra!

Op: Let’s go, Mami!

Ok and G: Ho-Mu-Ra!

H: This is easily the weirdest thing we’ve ever done.

Ok: Oh, what? The thing with the sea-monster wasn’t weirder?

H: That was just…messy! We’re watching me and Candeloro’s alternate future selves in a fight to the death and you four are treating it like a pro-wrestling event!

Ca: Yeah. And I’m going to win.

=pause=

H: Did I say you could stop chanting?

Ok and G: Ho-Mu-Ra!

…

Op: Downtown is getting fuuuucked uuuup!

Ch: Just wait until she unfreezes time.

G: Jeez, I can’t tell if you’re both terrible shots or just extremely good at dodging!

H: Definitely the second.

Ok: And now we come to the stand-off.

Op: Nowhere to go, barely any room to breathe. Hey, Lilly, is the kinetic force of those bullets maintained?

H: What?

Op: I know they’re stuck in time, but can you just pluck them out of the air, or would you still be damaged by the heat and contained momentum?

H: I…have no idea.

Op: Best not to touch them then.

H: Probably smart.

…

Op: And time starts up…now.

G: Oh, that looks so unsafe.

Ok: Yeah! I mean, sure, if they hold still they won’t get hit with the bullets right next to them. But the freaking air was full of them! What’s keeping a spray of bullets from raining down from above and turning their heads into swiss cheese? Oh, sorry Char.

Ch: Y’know, unlike my moronic counterpart, I can hear the word “cheese” without freaking out.

Op: And that’s not getting into ricochets. They ought to be perforated right now.

Ca: My bullets were magic. They only ricocheted when I wanted them to. Most times they’d either pierce right through or exploded on impact.

Op: Homura’s aren’t.

Ca: True.

…

Ok: So much for your surroundings. Where the hell are you guys anyway?

H: Looks like some kind of cathedral. Only a very…eccentric one.

Ok: City’s getting weirder by the minute.

G: It could be symbolic for something. Like, I don’t know, violence in a place of sanctuary or…something?

Ch: Or gothic architecture just makes for an awesome place to stage an action scene and the animators and directors know it.

Ok: Stop killing the magic!

Op: Though, hell, speaking of which, would they actually die if they got shot? I mean, I know it would hurt, but…

Ca: Hypothetically? No. So long as the soul gem itself was unharmed, any damage would eventually heal.

G: Like we do?

Ca: Er, sort of, but not in the same way. Their bodies are still flesh and blood. Injuries back then tended to be…messy. And healing used up magic, and if those injuries were too great…

Ok: Witch time?

Ca: Bingo.

…

Ch: “Not getting anywhere.” Now there’s the understatement of the year.

G: So who won? Was it a draw?

Ca: So far, but I don’t think it’s over yet.

H: Indeed. I seem to be…up to something.

Op: Okay, if none of those big honkin’ rifles and machine-guns weren’t working, what good is that little peashooter, gonna…hold on!

=Homura puts the gun to her head. Half-a-second of stunned silence, and then everyone starts yelling at once=

G: Oh, no. Oh, no.

Ch: Oh, my God. They are going there.

Op: Okay. OKAY!

Ok: What the hell is she doing?!

Ca: No, no, no, no, no, no, no…

H: What is wrong with you?! Why are you like this?!

=bang=

=collective scream=

[inventors-fair]

Lessons Unlearned: Short Story Commentary and Reflection

Well. 21 entries isn’t exactly a 50+ commander extravaganza, but that’s where we’re at. This contest made a lot of sense to me, in my own head, and I think I got lost in the concept without considering the full execution, or that Other People Might Not Think Quite Exactly Like Me. 

Still, I would say that almost all the entries created their own unique worlds, some plane-based, some personal, and it made for great and creative reading. I feel that something more concrete would help a contest like this in the future, like... Well, I’ll have to save that for another time.

Onto the commentary!

@abzanhero — Captain Morgan the Vengeful

The Card: It’s interesting design space you’re playing with here, and I’m actually a fan. You could pump him up to a 2/2 for a little battlefield presence, but it’s not out of the question. The fact that there’s not consistent graveyard tutelage means that he’s not as overpowered as he could be, and it’s only one counter, which... Admittedly, it’s powerful, but there are a few moving parts to make this less than incredibly overpowered. I’d rather the trigger happen at the end step for that��“final fate” feel, personally. Minor templating: “shuffle it into your library” (only planeswalkers get personal pronouns), and I think contemporary design supports “when you do” as a trigger to respond to instead of “if you do.” 

The Story: Ha, it rhymes! ... And yeah, it doesn’t precisely explain the ins and outs of the curse, but it’s swashbuckling as hell. It’s one degree off-kilter to have a rhyme that isn’t part of a meta-tale, but I like it, so. I can imagine younger players doing their best pirate voice as they shuffle him (the character, not the card, I know, pedantry) into their library. Arr.

@dimestoretajic — Eternal Bond

The Card: I had to go through the Zendikar image gallery to make sure, but yeah, “party members” isn’t a term. I believe this card would read “Exile two target creatures in a party. (reminder text)” And it would be “combined” toughness, right? Either way, this is a hyperspecific and expensive removal spell, at rare, with a modest amount of lifegain. That simply doesn’t feel good, and I’m not getting a feeling of a “bond” out of, well, a removal spell. Let’s move on.

The Story: So, a kind of love story, framed around a removal spell? That already doesn’t make a lot of sense. I don’t have anything positive to say about the writing itself, so for Magic critique, I’ll say that it doesn’t feel like a Magic card or part of a Magic world, absolutely not Zendikar. There’s a time and place for those kinds of cards, such as Cathartic Reunion and Planewide Celebration. But Magic doesn’t need single-card love stories, unless they’re remarkably well-written.

@fractured-infinity — Baddon, Rivstalt’s End

The Card: Okay, that IS a real town in Innistrad. Had to check that. Anyway, man, someone would love to make a commander out of this bad boy. Kinda eh that he doesn’t do anything specific on his own, but the death effect is cool as-is, I suppose. The only issue is that HOO BOY you are going to have a LOT of memory issues with all your Zombie tokens capital Z. It’s flavorful and I think it would be worth doing, but the second part... Nah, keep it simple. 3UB, no protection, just Zombies, and you’re golden.

The Story: I’m having a really hard time parsing your writing. It took a couple reads to understand that he’s talking about... Well, actually, I don’t know. What do emotional bonds have to do with taking the town, or damaging the bodies? How does that work? Do we get that anywhere else in the story? Hate to say it, but this little snippet doesn’t really make much sense in or out of context, without heavy inference about the world that we don’t really get.

@gollumni — Tempest Serpent

The Card: I love the idea of off-color emerge! Emerge was a fantastic mechanic and I feel that it could come back again. It creates some really neat draft ideas that unfortunately may bend a lot of the pie rules. But also. A three mana 3/3 flying hexproof? That’s OP at uncommon, no question, good lord. Small templating note: Flying comes before hexproof, and the second should be lowercase.

The Story: I can just see the art of a guy on a boat cowering as the ship snaps in half and a massive stormy elemental electric snake monster BLOWS UP outta the ocean ready to eat him. It’s cool how it’s not about the serpent itself, but rather the human/NPC interacting with the serpent. It’s not Hemingway, but you conveyed something great! I liked this story.

@i-am-the-one-who-wololoes — Gravedigger of the Order

The Card: I don’t get how all these parts come together. Pro zombies, sure, she’s a zombie caller. The blocking/blocked trigger, uh, I don’t see that coming up a lot considering that she’s only a 2/2 with no significant combat-oriented keywords. And the last ability implies a strong return mechanic that I’ll admit makes a lot of cool sense with your flavor but doesn’t translate to perfect gameplay. I don’t know, maybe I just don’t grok this card, but it feels like there was cohesion sacrificed in favor of flavor.

The Story: Well, this sure as heck ain’t Innistrad. I’m curious about where this would take place, and what kind of world you’re going for here. Let’s try looking at it from an isolated perspective. It’s an alright macabre story, so I’ll give you that. But the name. What is the “Order?” Is she part of it? Do all members of the order whisper to bones like her? I don’t understand her goals and motivations, what “kindness” she whispers, why the dead are coming back at all.

@ignorantturtlegaming — Demonic Mentor

The Card: It feels unplayable and yet extremely playable at the same time. It’s expensive and creates some really crazy shenanigans in Commander with surplus life. Oh my goodness, Oloro would LOVE this card, good GOD. It’s unfortunate that it does have to be costed this way and that it makes sense for a tutor. I believe the wording could be adjusted to one chunk of text: (using Covetous Urge and Thief of Sanity as references)

“Search target player’s library for up to X cards and exile them, then that player shuffles their library and you lose X life. You may cast those cards for as long as they remain exiled and you may spend mana as though it were mana of any color to cast those spells.”

The Story: I don’t get it. What does having  a demonic mentor have to do with brother rescue? I assume this is part of a larger story, but we don’t have that story for context, and mentorship doesn’t have to do with rescue. This is a card about tutelage and power and losing life, not losing a mind. The library is so often represented as the mind, and you’re not losing that, you’re saving part of it. Really iffy on this one, despite the coolness of the card. Also, watch out - you switched tenses in the second sentence. 

@macaroni-and-squeez — The Iroan Race

The Card: RRR for haste, sure, whatever, that’s fine in this day and age, if a little color-heavy. But this card isn’t meant for limited. This is a build-around-me if I ever saw one. “Four instances of haste”?? I don’t want to call that brilliant because it frustrates my sensibilities, but dammitall, it’s...it works. For those of you doubting me, the Zendikar Rising release notes for Attended Healer states “Multiple instances of lifelink on the same creature are redundant.” So, if that is to be believed, this card is designed for some combo player to go nuts with haste nonsense. Or maybe I’m just reading it wrong. Either way, I like this card. But I would make it win the game for you, not anyone else.

The Story: Sure, I’m into it. A guy running a race for Iroas checks out. I would have condensed it a little, but in general, yeah, it fits the world and makes a neat little story. I’m really hung up on the name “Kris.” That...doesn’t feel like a fantasy name as much. I mean, we have things like Gideon, and Judith, etc. but Kris? I can’t help but feel that it’s a smidge too out of touch with Theros worldbuilding. Yay, nitpicks.

@milkandraspberry — Burn Down the Library

The Card: Conceptually, this card is pretty cool. Very strange. It’s a different take on anti-blueness in red, and I can go for it. Sorry about MSE and fonts. Reinstallation is a pain but it’s possible. Anyway. I wouldn’t call this card a breakout all-star, but it would be...fun, I suppose. A good combat trick enchantment thing. Shame it doesn’t do much if you have an empty hand. With wording: Use “can’t” instead of “cannot cannot.” Use “cast blue spells” instead of “play;” that’s been phased out for a while. You also can’t discard spells, but you can discard blue CARDS. Question: what if you couldn’t cast blue spells from your hand? Eh? Eh? Flashback and madness? Ehhhhhh?

The Story: This time, I’ll give an example of how this could be shortened. “After years of fruitless study, the young scholar found a better use for her teacher’s wisdom.” Maybe “frustrated young scholar,” or something to give her motivation. Why is she burning down the library? That’s the most important question to ask. “Because she felt like it” is the obvious answer, but that’s not motivation, that’s not intrigue. We have to ask “why,” always. Your story makes sense, but it’s just on the brink of great characterization.

@nine-effing-hells — Arch-Evoker’s Capstone

The Card: I want to like it, and I probably do. I don’t know what kind of deck would play it, as it feels like a Commander card for sure, but yeah, I think I do like it. It’s got powerful stuff attached to it with very red sensibilities. The land destruction is pretty wild, but it’s expensive as hell. Or is it? Five mana to destroy two lands... That’s actually, hm. That’s actually really, really, super strong if this were to see any limited play. You may even have to make it XXRR to get around that if you want to keep that effect. Land destruction is unfun. (I <3 Ponza though, so)

The Story: With this specific card, I wouldn’t have recommended also adding three lines of flavor text on top of four paragraphs of rules text. Additionally, um, I don’t get that last line. “It wasn’t every day the horizon was on fire for a week straight”? It’s exerting too much effort without a strong effect on the reader. Edit and save for a card without as much rules text.

@partlycloudy-partlyfuckoff — Spiraling Depression

The Card: Buries? What opponent? Is this targeting? Is this an edict effect? Least power among creature they control, I assume? I legitimately don’t know what you’re trying to do with this card. Wretched Banquet-esque?

The Story: Instead of attempting to give this flavor text legitimate critique, I would instead advise you that referencing real-world conditions such as “spiraling depression” without a critical lens might appear as insensitive to individuals legitimately suffering from those conditions.

@reaperfromtheabyss — Blazing Sacrifice

The Card: I really love this card, actually. The choice to do CMC over power I would argue requires playtesting, and I would prefer power to compare to other cards in the family such as the lovely Fling, but I can see the argument against it. Yeah, not much to critique or add onto that front. You made a really great card mechanically.

The Story: And then the story lost me entirely. “monsters that would surely go on to destroy everything he loved” is clunky to say the least. “Surrounded by monsters” is fine, it’s decent, it gets the job done. Monsters are monsters, that’s that. But that last line. That’s...a D&D reference, right? I can’t take that seriously, I just can’t. It’s verging on cliche, and it makes sense on a rudimentary level but adds nothing to the Magic world. I’ll be the first to say that yes, it’s personal bias and that some players would appreciate the memetic qualities, but it simply doesn’t do it for me.

@scavenger98 — Walking Stick

The Card: It...is a stick. You know, I think I like this one, and frankly I would consider it for constructed play. I’m a Krenko guy, what can I say. But yeah, it’s fun, it’s fragile, it’s got good equip synergy, and I might actually be underestimating its power. I don’t know, is there some crazy combo that you could do with it? This stick is made for walking, not fighting. Heh. Good flavor tie.

The Story: And there it is, right? It’s kinda funny how it’s implied that the whole story about this thing is that this piece of equipment is breaking. And that’s kinda what makes me on the fence about it. Like, if you had a creature, and the text was about the creature dying, that wouldn’t make a lot of sense, right? Maybe if the text was about Bredik fearing the day when he WOULD face a sword? Eh, I’m just being picky here. I think that it’s still pretty good. I like Bredik. He’s not a fighter, but he walks very fast.

@tmstage — Rocks Fall, Everyone Dies

The Card: Yeah, once again, looking at Zendy Risey, I think the wording would be different than “full party.” I’ve been sitting here and I can’t come up with a better way to word it, but it still doesn’t mesh well even if it groks. And it’s a situational card that’s either going to do literally nothing or it’s going to destroy four creatures for one mana. That’s...not great. Hey. I understand if you don’t like a specific mechanic, but I’ve seen some really great ideas from your neck of the woods. Let’s keep going.

The Story: Technically, uh, this does not fit the criteria. Who was praying to the vengeful god? Was it the creatures in the other party? Is there a god of making rocks fall down? What’s up with the name, anyway? There’s a strong sense of disconnect and many questions that go unanswered. But considering all the factors that are going into this card, I have a feeling they aren’t really asking to be answered anyway.

@walker-of-the-yellow-path​ — Marathon of Mogis

The Card: Wow, I wasn’t expecting two Theros-themed God-themed enchantments that gave a number of creatures haste. Great minds and all. So, this card. I don’t think you need to reference the active player. The whole thing can be toned down a little. “At the beginning of each player’s combat (or end?) step, that player sacrifices all creatures they control that didn’t deal combat damage to a player this turn.” Keeping it simple. Honestly, though, I...am not sure I like it for four mana. It feels like a game-ender kind of card. Frankly, I would make it six. And I know that’s a lot and I know that it might be too much, but to be honest, this would be an unfun card otherwise, in my opinion. It’s really, REALLY powerful for a clock.

The story: Is that Mogis’ deal? Does he make people run? I checked the wiki and read through it all and I don’t understand why Mogis would get pleasure out of people not dying. The point of the stampedes and the destruction is to invoke slaughter and sacrifice, not to run humans to the bone. The ferocity of minotaurs is not sadistic. This feels like a Rakdos card — the cult, not the color combo. I feel that there was a misunderstanding.

@wolkemesser​ — Otherskin Scarecrow

The Card: I’ll go out on a limb and say that you could make this a little more Horizons-y and give this card Changeling instead of just saying it has all creature types. Could that make it a shapeshifter? Hm, what if, because it wears clothing from characters in the past, it also has the creature types of all creatures in graveyards? But I digress. Anyway, this card. It’s not bad! It’s not making me super excited, but it’s not bad. You meant for this to have a Reaper King vibe, right? Or at least to work well with it? I think you succeeded. 

The Story: Love the first sentence, don’t quite understand the second one. My interpretation is that it’s taking skin from others, right? Well! Um! That’s actually scary and makes me miss the world of Lorwynmoor even moor. Er, more. It’s unfortunate that the mechanics of the card don’t necessarily depict “skinning intruders alive and taking their identity in a grotesque fashion” as much as I’d personally like. Still, that’s a risk, and you know what, the implications aren’t super strong but it’s enough for me to grok.

Once again, thank y’all for your entries. New contest tomorrow. Be prepared. Be scared. Be....ard. 

-@abelzumi

[nights-lament]

RWBY Volume 8, Chapter 1 Thoughts and Opinions

HELLO, INTERWEBS!!! At long last, we are back with more RWBY, and with it, more RWBY Thoughts and Opinions! After the absolute roller coaster that was Volume 7's cliffhanger finale, I can not imagine the insanity that awaits us this Volume. So, without further ado, here are my various thoughts and opinions on Chapter 1 of RWBY Volume 8, "Divide"

SPOILERS BELOW:

Hmm, starting off with a mysterious woman scrubbing floors, and...wait, is that...no...

I really like the way they juxtapose Cinder scrubbing with her scratching the chair. Very symbolic.

Yick, something about organic architecture just gives me the willies. I mean, is the whale aware that they double as a building complex? Can they feel the diabolical ongoings of it's rib cage? Creepy stuff.

Oof, outright taking credit for grabbing the relic, Cinder? Yeah, no way that's going to bite you in the ass.

Oh my. Mercury, Emerald, AND Hazel have new looks this season. I'm sure I'll warm up to them eventually, but right now Emerald's and Hazel's aren't really doing this. For Hazel, the outfit is all right, but the hair is a bit boring compared to his originals. Mercury's is ok, but is it just me, or is he basically wearing Yang's V4-6 outfit? I mean, it works, but still.

"Without you, I am nothing." That...didn't sound like the first time she's said that. It almost sounds like something Salem's drilled into her head for years. Cinder may be irredeemable in my opinion, but I do love a good tragic backstory.

You know, I guess would make sense for the crater to be the slums area. Can't imagine living directly under a floating landmass would be considered prime real estate.

Ooh, this old man has badger paws. I don't think we've seen that kind of Faunus trait yet.

D'aaww, Nora gave Oscar a soft hug rather than her usual glomp. So cute ^-^

I'm interested in how Oscar not telling them about Oz is going to play out.

Ok, their is a lot going on in this bar-base worth talking about, but for some reason I am fascinated by the picture of (i'm assuming) the founders in the background. What interesting designs they have. I feel like they have a story, and I would like to hear it.

Penny's dejected demeanor is giving me all of the feels Q_Q

Not sure how I feel about the rift forming between RWBYJNRO, though I guess we'll have to see where it goes. At least we have people like Jaune playing mediator.

I will say, though, I look forward to seeing Ren and Nora apart. As much as I love them as a couple, I'd very much like to see them operate as individuals.

God, Ironwood trying to manipulate Penny like that.

And there it is. Ironwood has truly revealed his true feelings, and his motivation for his attempt to launch Atlas. He isn't making a tactical retreat in order to form a new plan altogether. He's abandoning the fight altogether, leaving Remnant to die so that he and Atlas can live. It's funny, he wanted to avoid becoming Lionheart, but he was a coward too.

"Everything that follows will be on your hands". That motherf-

You know, we don't see a lot of corpses on this show, do we? Penny got better, Amber's screentime ended as she died, Roman got eaten, Pyrrha got an express viking funeral, etc, and a lot of others were only corpses for seconds before we never saw them again. They did a good job selling how proper dead Clover is here.

Ok, I don't know squat about Hospital layouts. Is it normal to have the morgue right outside of an emergency room? I mean, I guess it saves some travel time should things go wrong, but still, seems like a great anxiety generator for the patient, especially with both rooms having windows. "That's where I'll be going next."

I like the new metal arm. The fact that you can see all of the internal stuff makes it feel like it was quickly put together for the sake of urgency, while still looking cool.

Man, that rendition of "Hero" in the background. Chilling.

Is Winter getting a new look already? I must say. I like the look of the braces, and the ponytail is a vast improvement over the bun.

JESUS H CHRIST IRONWOOD!!! I THOUGHT HE WAS GOING OUT THERE TO ARREST THEM!!! THAT WOULD HAVE BEEN A PRETTY BIG FASCIST MOVE, RIGHT!? HE JUST SHOT CHAD JAMES IN THE FACE!!!

What really interests me is everyone's reactions. Elm and Marrow are incredibly shocked, Harriet and Winter share their little look of doubt, and then there's Vine who just...doesn't react at all. Either that or it's all in his eyes, which we can't really see from here. Either way, not a huge reaction from him. Methinks the Ace-Ops and Winter might be starting to doubt the horse they bet on.

I find it interesting that Salem doesn't know how the Relic works, but then I suppose it makes sense, seeing as Oz probably placed them into the vaults almost immediately after finding them, so this is probably the first time she's even seen one in person..

Ok, OP time, and buckle up, guys, gals, and nonbinary pals, because this one is going to be a doozy.

-First off, the song sounds pretty good, but it seems like it's going to go through the same cycle as the rest where it doesn't do too much for me at first, but has me headbanging like a metalhead by the end of the volume

- Mantle glitching out between peaceful and wartorn is a wonderful effect. Definitely fills you with a sense of dread.

-The individual shots of Team RWBY are absolutely gorgeous. Conceptually, it's the standard "where we started and where we're at", but the composition is worthy of a chef's kiss. I think I've found my new wallpaper.

-The Ace-Ops appearing on Clover's pin is nice, but what I find interesting is Harriet and Qrow appearing back to back, especially with Harriet looking so angry. Is Harriet going to double down on her loyalty to Ironwood and go after Qrow?

- It seems Robyn is going to be Qrow's main source of support this season, though the bars seem to suggest they might be in custody for a while.

-Oscar seems to be in Salem's stronghold, which doesn't bode well for our farmboy, also, WHY DOES SALEM HAVE DEMON WINGS!? Emerald's Volume 5 illusion wasn't this scary looking!

-I feel like their's symbolism showing Team RWBY's weapons paired together like that, but I feel like it's too early to say what of. Looks pretty, though

-Ren and Nora standing so far apart. It hurts my soul! Interesting how, while Ren looks away, Nora actually turns towards him.

-I didn't notice Winter's change of expression/outfit before passing by Weiss. She went from looking confident and slightly condescending to full with doubt.

-Not a lot to say about the quick shots of Whitley and Willow other then the fact that they both look worried. The image of the Schnee Snowflake shattering, however, is VERY interesting.

-I'm always a sucker for some good ol' chess symbolism. I find it interesting that while Salem's pieces dissolve into creatures of Grimm, Ironwood's simply dissolve, leaving him alone. Perhaps shooting a fellow councilman in the face right in front of his inner circle doesn't play out as well for him as well as he thought it would.

- Speaking of the classics, also gotta love me some reflection artwork. Watts seems to be working behind Pietro's back while Pietro (presumably) works to get Amity running, while secretly worrying about Penny, whose reflection cracks, possibly symbolizing her resolve. I worry for her.

- The snowflake turning into a flower petal in Ren's hand, while a similar petal passes Nora by. I don't know what this means, but I'm intrigued.

- It seems Ruby and Yang won't be completely be at odds, judging by the look they give each other before going into the action shot.

- Hmm, while Cinder pulls a Za Warudo on the fight scene, you can see a dejected Emerald and a pissed off Neo, still moving, among the heroes. Interesting...

-Almost as interesting as Cinder grasping her Grimm arm before being engulfed in flames. Perhaps Salem pulled a Wormtail's Silver Hand with that arm.

-Is this the first time we've seen the Staff of Creation in it's entirety? I remember wanting to include it and the Lamp in my RWBY Vol 7 spritesheet, but couldn't find any images of it's bottom half. I like the little jewel on the bottom.

-Wow, CRWBY went full Kingdom Hearts with the heroes falling through the ice, and I absolutely LOVE IT! This op has some of the most gorgeous visuals the series has ever seen.

-HAPPY EVER AFTER HAPPY? NEVER AGAIN Daaaaaaamn, that's awesome. It kind of reminds me of a line from Red Like Roses Part II, "This bedtime story ends with Misery Ever After". It's incredibly haunting.

-Almost as haunting as the sketchy art style that flashes in between the words, particularly the part that shows Penny's eyes going red before the rest of her does. Did we predict Watts hacking Penny a volume too early?

-The final shot of Crescent Rose alone stuck in the snow. Damn. The theme of this op seems to be "foreboding as all hell"

Damn. Damn! DAMN! This was, without question, the best OP RWBY has ever had. By, like, a lot. The visuals were some of the best the show has ever had to offer, the foreboding is through the roof, and the symbolism is incredibly clever. I don't envy them when it comes time to make Volume 9's, because this will be a very tough act to beat. I am so happy to have RWBY back, and I am both excited and terrified to see what this show is going to do next.

[shadows-twilight]

RWBY Volume 8, Chapter 1 Thoughts and Opinions

HELLO, INTERWEBS!!! At long last, we are back with more RWBY, and with it, more RWBY Thoughts and Opinions! After the absolute roller coaster that was Volume 7's cliffhanger finale, I can not imagine the insanity that awaits us this Volume. So, without further ado, here are my various thoughts and opinions on Chapter 1 of RWBY Volume 8, "Divide"

SPOILERS BELOW:

Hmm, starting off with a mysterious woman scrubbing floors, and...wait, is that...no...

I really like the way they juxtapose Cinder scrubbing with her scratching the chair. Very symbolic.

Yick, something about organic architecture just gives me the willies. I mean, is the whale aware that they double as a building complex? Can they feel the diabolical ongoings of it's rib cage? Creepy stuff.

Oof, outright taking credit for grabbing the relic, Cinder? Yeah, no way that's going to bite you in the ass.

Oh my. Mercury, Emerald, AND Hazel have new looks this season. I'm sure I'll warm up to them eventually, but right now Emerald's and Hazel's aren't really doing this. For Hazel, the outfit is all right, but the hair is a bit boring compared to his originals. Mercury's is ok, but is it just me, or is he basically wearing Yang's V4-6 outfit? I mean, it works, but still.

"Without you, I am nothing." That...didn't sound like the first time she's said that. It almost sounds like something Salem's drilled into her head for years. Cinder may be irredeemable in my opinion, but I do love a good tragic backstory.

You know, I guess would make sense for the crater to be the slums area. Can't imagine living directly under a floating landmass would be considered prime real estate.

Ooh, this old man has badger paws. I don't think we've seen that kind of Faunus trait yet.

D'aaww, Nora gave Oscar a soft hug rather than her usual glomp. So cute ^-^

I'm interested in how Oscar not telling them about Oz is going to play out.

Ok, their is a lot going on in this bar-base worth talking about, but for some reason I am fascinated by the picture of (i'm assuming) the founders in the background. What interesting designs they have. I feel like they have a story, and I would like to hear it.

Penny's dejected demeanor is giving me all of the feels Q_Q

Not sure how I feel about the rift forming between RWBYJNRO, though I guess we'll have to see where it goes. At least we have people like Jaune playing mediator.

I will say, though, I look forward to seeing Ren and Nora apart. As much as I love them as a couple, I'd very much like to see them operate as individuals.

God, Ironwood trying to manipulate Penny like that.

And there it is. Ironwood has truly revealed his true feelings, and his motivation for his attempt to launch Atlas. He isn't making a tactical retreat in order to form a new plan altogether. He's abandoning the fight altogether, leaving Remnant to die so that he and Atlas can live. It's funny, he wanted to avoid becoming Lionheart, but he was a coward too.

"Everything that follows will be on your hands". That motherf-

You know, we don't see a lot of corpses on this show, do we? Penny got better, Amber's screentime ended as she died, Roman got eaten, Pyrrha got an express viking funeral, etc, and a lot of others were only corpses for seconds before we never saw them again. They did a good job selling how proper dead Clover is here.

Ok, I don't know squat about Hospital layouts. Is it normal to have the morgue right outside of an emergency room? I mean, I guess it saves some travel time should things go wrong, but still, seems like a great anxiety generator for the patient, especially with both rooms having windows. "That's where I'll be going next."

I like the new metal arm. The fact that you can see all of the internal stuff makes it feel like it was quickly put together for the sake of urgency, while still looking cool.

Man, that rendition of "Hero" in the background. Chilling.

Is Winter getting a new look already? I must say. I like the look of the braces, and the ponytail is a vast improvement over the bun.

JESUS H CHRIST IRONWOOD!!! I THOUGHT HE WAS GOING OUT THERE TO ARREST THEM!!! THAT WOULD HAVE BEEN A PRETTY BIG FASCIST MOVE, RIGHT!? HE JUST SHOT CHAD JAMES IN THE FACE!!!

What really interests me is everyone's reactions. Elm and Marrow are incredibly shocked, Harriet and Winter share their little look of doubt, and then there's Vine who just...doesn't react at all. Either that or it's all in his eyes, which we can't really see from here. Either way, not a huge reaction from him. Methinks the Ace-Ops and Winter might be starting to doubt the horse they bet on.

I find it interesting that Salem doesn't know how the Relic works, but then I suppose it makes sense, seeing as Oz probably placed them into the vaults almost immediately after finding them, so this is probably the first time she's even seen one in person..

Ok, OP time, and buckle up, guys, gals, and nonbinary pals, because this one is going to be a doozy.

-First off, the song sounds pretty good, but it seems like it's going to go through the same cycle as the rest where it doesn't do too much for me at first, but has me headbanging like a metalhead by the end of the volume

- Mantle glitching out between peaceful and wartorn is a wonderful effect. Definitely fills you with a sense of dread.

-The individual shots of Team RWBY are absolutely gorgeous. Conceptually, it's the standard "where we started and where we're at", but the composition is worthy of a chef's kiss. I think I've found my new wallpaper.

-The Ace-Ops appearing on Clover's pin is nice, but what I find interesting is Harriet and Qrow appearing back to back, especially with Harriet looking so angry. Is Harriet going to double down on her loyalty to Ironwood and go after Qrow?

- It seems Robyn is going to be Qrow's main source of support this season, though the bars seem to suggest they might be in custody for a while.

-Oscar seems to be in Salem's stronghold, which doesn't bode well for our farmboy, also, WHY DOES SALEM HAVE DEMON WINGS!? Emerald's Volume 5 illusion wasn't this scary looking!

-I feel like their's symbolism showing Team RWBY's weapons paired together like that, but I feel like it's too early to say what of. Looks pretty, though

-Ren and Nora standing so far apart. It hurts my soul! Interesting how, while Ren looks away, Nora actually turns towards him.

-I didn't notice Winter's change of expression/outfit before passing by Weiss. She went from looking confident and slightly condescending to full with doubt.

-Not a lot to say about the quick shots of Whitley and Willow other then the fact that they both look worried. The image of the Schnee Snowflake shattering, however, is VERY interesting.

-I'm always a sucker for some good ol' chess symbolism. I find it interesting that while Salem's pieces dissolve into creatures of Grimm, Ironwood's simply dissolve, leaving him alone. Perhaps shooting a fellow councilman in the face right in front of his inner circle doesn't play out as well for him as well as he thought it would.

- Speaking of the classics, also gotta love me some reflection artwork. Watts seems to be working behind Pietro's back while Pietro (presumably) works to get Amity running, while secretly worrying about Penny, whose reflection cracks, possibly symbolizing her resolve. I worry for her.

- The snowflake turning into a flower petal in Ren's hand, while a similar petal passes Nora by. I don't know what this means, but I'm intrigued.

- It seems Ruby and Yang won't be completely be at odds, judging by the look they give each other before going into the action shot.

- Hmm, while Cinder pulls a Za Warudo on the fight scene, you can see a dejected Emerald and a pissed off Neo, still moving, among the heroes. Interesting...

-Almost as interesting as Cinder grasping her Grimm arm before being engulfed in flames. Perhaps Salem pulled a Wormtail's Silver Hand with that arm.

-Is this the first time we've seen the Staff of Creation in it's entirety? I remember wanting to include it and the Lamp in my RWBY Vol 7 spritesheet, but couldn't find any images of it's bottom half. I like the little jewel on the bottom.

-Wow, CRWBY went full Kingdom Hearts with the heroes falling through the ice, and I absolutely LOVE IT! This op has some of the most gorgeous visuals the series has ever seen.

-HAPPY EVER AFTER HAPPY? NEVER AGAIN Daaaaaaamn, that's awesome. It kind of reminds me of a line from Red Like Roses Part II, "This bedtime story ends with Misery Ever After". It's incredibly haunting.

-Almost as haunting as the sketchy art style that flashes in between the words, particularly the part that shows Penny's eyes going red before the rest of her does. Did we predict Watts hacking Penny a volume too early?

-The final shot of Crescent Rose alone stuck in the snow. Damn. The theme of this op seems to be "foreboding as all hell"

Damn. Damn! DAMN! This was, without question, the best OP RWBY has ever had. By, like, a lot. The visuals were some of the best the show has ever had to offer, the foreboding is through the roof, and the symbolism is incredibly clever. I don't envy them when it comes time to make Volume 9's, because this will be a very tough act to beat. I am so happy to have RWBY back, and I am both excited and terrified to see what this show is going to do next.

[curestardust]

if you want: just...Dorohedoro: gore, whacky, unique, weird and strangely addicting

Dorohedoro, huh. Where do you even start with this one?

Well, let’s address the thing that made me intially ignore this anime: the trailer. Or more specifically, the 3DCG models. CGI has a really bad rep in anime, for a good reason I might add, so when I saw that hideous talking animation of some dude who had a lizard head I was like aight, nope. But it’s actually FAR better than expected. The character models are rendered in a style that makes them look like they were drawn by hand. Hair movement, lipsync and a few scenes are the only ones where you are reminded that the models are CGI. Or rather, you’re reminded of the flaws of the animation style. This is unfortunately, the most obvious with Caiman (the lizard dude) whose giant mouth makes the lipsync issue really noticable. But otherwise, the style really shouldn’t turn you away if the story looks interesting.

Dorohedoro does something that I love, takes overused tropes and turns them inside and out until they become something completely new. The basic set-up might sound common: there are humans and there are sorcerers. The sorcerers use the humans to practice their magic on and as expected, the humans don’t quite fancy them for this reason. However, here comes the sprinkle of spice and everything whacky and nice. The sorcerers wear really weird masks, their magic is black powder that’s effect is specific to the sorcerer, they actually have a physical tube in their body where the powder comes from (I loved this one), sorcerers sign contracts with others and work in pairs, sorcerers can also train to be devils, the highest beings in the sorcerer world and etc. you get it. The humans aren’t that different but where they live is. It’s called “The Hole” and bears the signs of a post-apocalyptic, incredibly run-down city just without the neon lights and shit which makes it feel like our own world at the moment which makes a bigger impact imo. 

The story is probably the weakest for me at the moment. Caiman has a lizard head because a sorcerer practiced on him(?). However, he has lost all his memories and unless the sorcerer dies or undoes the spell, he will stay like this forever. Thus he and our other main protagonist, Nikaido, are going around “checking if it’s the right sorcerer” (I’m not gonna spoil how they do that cause that scene really sets the tone of the show) and if not, they kill them. Cue some plot twists (not very shocking ones imo) and more and more confusing revelations to an initially simple goal. 

Really, Dorohedoro is worth it for its atmoshpere and whacky world building. It’s incredibly gore-y, bloody and violent and yet it doesn’t feel forced. The humour is its own kind as well, the characters are somehow interesting even if you barely know them and it’s just all so....Dorohedoro. And that’s the best thing about it. When there are words you can really use to describe something and someone actually needs to experience it for themselves, that’s when you know you made something that’s one of a kind.

Oh, right, the music is AMAZING. I urge everyone to listen to all the EDs and the OP.

(NOTE: I know the manga is finished but the anime didn’t cover the whole thing and was kind of left on a cliffhanger. I’ll be boosting my score to a 9 when/if a 2nd season is announced.)

[8/10] (x)

Recommend: HELL Yeah! | Yes | Eh??? | Nope | This anime killed my parents

[bananaofswifts]

Around this time of year, the Taylor Swift anniversaries come at you thick and fast.

Nine years since her third album, Speak Now, every note of which was written entirely by Swift, hit the shelves. Five years since she released her mould-breaking pop album, 1989, and went from the world’s biggest country star to the world’s biggest pop star overnight. Two years since her Reputation record saw her become the only musician to post four successive million-plus debut sales weeks in the United States. And so on.

But today, Swift’s mind is drawn further back, to the 13th anniversary of her debut, self-titled record, and the days when her album releases weren’t automatically accompanied by mountains of hype and enough think-pieces to sink a battleship. Her journal entries from the time – helpfully reprinted as part of the deluxe editions of her new album, Lover – reveal her as an excited, optimistic teenager, but also one with a grasp of marketing strategies and label politics way beyond her years, even if she was reluctant to actually take credit for her ideas.

“It always was and it always will be an interesting dance being a young woman in the music industry,” she smiles ruefully. “We don’t have a lot of female executives, we’re working on getting more female engineers and producers but, while we are such a drastic gender minority, it’s interesting to try and figure out how to be.”

And, of course, when Swift started out she was, as she points out, “an actual kid”.

“I was planning the release of my first album when I was 15 years old,” she reminisces. “And I was a fully gangly 15, I reminded everyone of their niece! I was in this industry in Nashville and country music, where I was making album marketing calls, but I never wanted to stand up and say, ‘Yeah, that promotions plan you just complimented my label on, I thought of that! Me and my Mom thought of that!’

“When you’re a new artist you wonder how much space you can take up and, as a woman, you wonder how much space you can take up pretty much your whole period of growing up,” she continues. “For me, growing up and knowing that I was an adult was realising that I was allowed to take up space from a marketing perspective, from a business perspective, from an opinionated perspective. And that feels a lot better than constantly trying to wonder if I’m allowed to be here.”

In the intervening years, Taylor Swift has released six further, brilliant albums, growing from country starlet to all-conquering pop behemoth along the way. She takes up “more space”, as she would put it, than any other musician on the planet: a sales and now – having belatedly embraced the format with Lover – streaming phenomenon; a powerhouse stadium performer; an award-garlanded songwriter for herself and others; and a social media giant with a combined 278 million followers across Instagram, Twitter and Facebook (which would make the Taylor Nation the fourth most populous one on earth, after China, India and the US).

But her influence on music and the music industry doesn’t end there. Because, over the years, Swift has also become a leading advocate for artists’ and songwriters’ rights, in a digital landscape that doesn’t always have such matters as a priority.

In 2015, she stood up to Apple Music over its plans to not pay artist royalties during subscribers’ three-month free trials (Apple backed down immediately). She pulled her entire catalogue from Spotify in 2014 in protest that its free tier was devaluing music, sending Daniel Ek scrambling to justify his business model. When she returned in 2017, it was a crucial fillip for the streaming service’s IPO plans.

More recently, her ground-breaking new record deal with Republic Records contained clauses not only guaranteeing her ownership of her future masters, but also ensuring Universal Music will share the spoils of its Spotify shares with its artists, without any payments counting against unrecouped balances. And when her long-time former label boss Scott Borchetta sold Big Machine to Scooter Braun’s Ithaca Holdings, taking Swift’s first six albums with him, the star publicly called out what she saw as her “worst-case scenario” and stressed: “You deserve to own the art you make”. She may yet re-record her old songs in protest.

In short, Swift has, for a long time now, been unafraid to use her voice on industry matters, whether they pertain to her own stellar career or the thousands of other artists out there struggling to make a living.

All of which makes Swift not just the greatest star of our age, but perhaps the most important to the future development of the industry as a more artist-centric, songwriter-friendly business. Hers is still the life of the pop phenomenon – she spent today in Los Angeles doing promotion and photoshoots (or, in her words, “having people put make-up on me”) as Lover continues to build on huge critical acclaim and even huger initial sales. But now, she’s kicking back with her cats – one of whom seems determined to disrupt Music Week’s interview by “stampeding” through at every opportunity – and ready to talk business.

And for Swift, business is good. The impact of her joining streaming, and the decline of traditional album sales, may have prevented her from posting a fifth successive one million-plus sales debut, but Lover still sold more US copies (867,000) in its first week than any record since her own Reputation. It’s sold 117,513 copies to date in the UK, according to the Official Charts Company.

Even better, while Reputation – a record forged in the white heat of a social media snakestorm over her on-going feud with Kanye West – was plenty of show and rather less grow, Lover continues to reveal hidden depths. Reputation struck a sometimes curious contrast between the unrepentant warrior Swift she was showing to the outside world and the love story with British actor Joe Alwyn that was quietly developing behind closed doors, but Lover is the sort of versatile, cohesive album that the streaming age was supposed to kill off.

It contains more than its fair share of pop bangers (You Need To Calm Down, Me!), but also some gorgeously-crafted acoustic tracks (Lover, Cornelia Street), some pithy political commentary (The Man, Miss America & The Heartbreak Prince) and the sort of musical diversions (Paper Rings’ irresistible rockabilly stomp, the childlike oddity of It’s Nice To Have A Friend) that no other pop superstar would have the sheer musical chops to attempt, let alone pull off.

“Taylor’s creative instincts as an artist and songwriter are brilliant,” says Monte Lipman, founder and CEO of Swift’s US label, Republic. “Our partnership represents a strategic alliance built on mutual respect, trust, and complete transparency. Her vision is extraordinary as she sets the tone for every campaign and initiative.”

No wonder David Joseph, chairman/CEO of her long-time UK label Virgin EMI’s parent company Universal Music UK, is thrilled with how things are going.

“Love Story was a fitting first single release for Taylor here – she’s loved the UK from day one and has engaged so much with her fans and teams,” says Joseph. “She really respects and values what’s going on here creatively. To see her go from playing the Students’ Union at King’s College to Wembley Stadium has been extraordinary. Taylor is an artist constantly striving for perfection, and with Lover – from my personal point of view, her most accomplished work to date – her songwriting has gone to a new level. I adore working with her and whilst it’s been more than 10 years this still feels like the start.”

And today, Swift is keen to concentrate on the present and future. She has a starring role in Cats coming up (and a new song on the soundtrack, Beautiful Ghosts, co-written with Andrew Lloyd Webber) and, after a spectacularly intimate Paris launch show in September, festival dates and her own LoverFest to plan (UK shows will be revealed soon). Time, then, to tell the cats to calm down and sit down with Music Week to talk streaming, contracts and why she’s “obsessed” with the music industry…

Unlike with Reputation, most of the discussion around Lover seems to have been focused on the music…

“Absolutely! One of the ideas I had about this record, and something I’ve implemented into my life in the last couple of years is that I don’t like distractions. And, for a while, it felt like my life had to come with distractions from the music, whether it was tabloid fascination with my personal life or my friendships or what I was wearing. I realised in the last couple of years that, if I don’t give a window into distraction, people can’t try to look in and see something other than the music. I love that, if you really pour yourself into the idea that an album is still important and try really hard to make something that is worth people’s attention span, time and energy, that can still come across. Because we are living in an industry right now where everyone’s rushing towards taking us into a singles industry and, in some cases, it has become that. But there are still some cases where clearly the album is important to people.”

Does it matter that some new artists won’t get to make albums the way you always have?

“It’s interesting. Five years ago I wrote an op-ed in the Wall Street Journal and said, maybe in the next five years, we would see artists releasing music the way that they want to. I thought that each artist would start to curate what is important to them, not just from an artistic standpoint but from a marketing standpoint. It’s really interesting to see different release plans, if you look at what Drake did and then what Beyoncé does, incredible artists who have really curated what it is to drop music in their own way. We all do it differently, which is cool. As long as people dropping just singles want to be doing that, then I’m fine with it, but if it feels like a big general wave that’s being pressured by people in power, their teams or their labels, that’s not cool. But I do really hope that in the future artists have more of a say over strategy. We’re not just supposed to make art and then hand it to a team that masterminds it.”

Were you worried about putting an album on streaming on release day for the first time?

“Well, there are ways that streaming services could really promote the [whole] album in a more incentivised way. We could have album charts on streaming. The industry follows where they can get prizes. So you have a singles chart on streaming services which is great but, if you split things up into genre charts for example, that would really incentivise people. It’s important that we keep trying to strive to make the experience better for users but also make it more interesting for artists to keep wanting to achieve. But I really did love the experience of putting the album on streaming. I loved the immediacy, I loved that people who maybe weren’t a huge diehard fan were curious and saying, ‘I wonder what this is like’ and listening to it and deciding that they liked it.”

You’d resisted streaming for a long time. Have you changed your mind about the format now?

“I always knew that I would enjoy the aspects of streaming that make [your music] so immediately available to so many people. That’s the part of it that I unequivocally always felt really sad I was missing out on. There wasn’t ever a day when I woke up and I was like, ‘Oh, I’m really glad that multitudes of people don’t have access to my music!’ So I always knew that streaming was an incredible mechanism and model for the future but I still don’t think we have the royalties and compensation system worked out. That’s between the labels and their artists and I realised that me, to use a gross word, ‘leveraging’ what I can bring to cut a better deal for the artists at my record label was really important for me.”

How big a factor were things like that in you signing to Republic/Universal?

“That’s important to me because that means they’re adopting some of my ideas. If they take me on as an artist that means they really thought it through. Because with me, come opinions about how we can better our industry. I’m one of the only people in the artist realm who can be loud about it. People who are on their fifth, sixth or seventh album, we’re the only ones who can speak out, because new artists and producers and writers need to work. They need to be endearing and likeable and available to their labels and streaming services at all times. It’s up to the artists who have been around for a second to say, ‘Hey guys, the producers and the writers and the artists are the ones who are making music what it is’. And we’re in a great place in music right now thanks to them. They should be going to their mailbox and feeling like they’ve got a pension plan, rather than feeling like, ‘Oh yay, I can pay half my rent this month after this No.1 song’.”

Did you have more creative freedom making Lover than on your previous albums?

“In my previous situation, there were creative constraints, issues that we had over the years. I’ve always given 100% to projects, I always over-delivered, thinking that that generosity would be returned to me. But I ended up finding that generosity in a new situation with a new label that understands that I deserve to own what I make. That meant so much to me because it was given over to me so freely. When someone just looks at you and says ‘Yes, you deserve what you want’, after a decade or more of being told, ‘I’m not sure you deserve what you want’ – there’s a freedom that comes with that. It’s like when people find ‘the one’ they’re like, ‘It was easy, I just knew and I felt free’. All of a sudden you’re being told you’re worth exactly, no, more than what you thought you were worth. And that made me feel I could make an album that was exactly what I wanted to make. There’s an eclectic side to Lover, a confessional side, it varies from acoustic to really poppy pop, but that’s what I like to do. And, while you would never make something artistic based on something so unromantic as a contract, it was more than that. It was a group of people saying, ‘We believe in what you’re making, go make what you want to make and you deserve to own it too’.”

You’re obviously not happy about what’s happened at Big Machine since you left. But will the attention mean artists don’t find themselves in this situation in the future?

“I hope so. That’s the only reason that I speak out about things. The fans don’t understand these things, the public isn’t being made aware. This generation has so much information available to them so I thought it was important that the fans knew what I was going through, because I knew it was going to affect every aspect of my life and I wanted them to be the first to know. And in and amongst that group, I know there are people that want to make music some day. It involves every new artist that is reading that and going, ‘Wait, that’s what I’m signing?’ They don’t have to sign stuff that’s unfair to them. If you don’t ask the right questions and you sit in front of the wrong desk in front of the wrong person, they can take everything from you.”

Songwriters are in dispute with Spotify in the US over its decision to appeal the Copyright Board decision to boost songwriting royalties. Do writers need more respect?

“Absolutely. In terms of the power structure, the songwriters, the producers, the engineers, the people who are breathing magic into our industry, need to be listened to. They’re not being greedy. This is legitimately an industry where people are having trouble paying their bills and they’re the most talented people we have. This isn’t them sitting in their mansions going, ‘I wish this mansion was bigger and I would like a yacht please’. This is actually people who are going to work every single day. I got into writing when I was in Nashville and it was very much like what I read about the Brill Building. You would write every day, whether you were inspired or not, and in the process I met artists and writers. Somebody would walk in and someone would say, ‘Oh, he’s still getting mailbox money from that Faith Hill cut a couple of years ago, he’s set’. That’s not a thing anymore. Mailbox money is a thing of the past and we need to remember that these are the people that create the heartbeat that we’re all dancing to or crying to.”

You were clearly aware of music industry machinations from a young age…

“Reading back on the journal entries, I forgot how obsessed I was with the industry as a teenager. I was so fascinated by how it works and how it was changing. Every part of it was interesting to me. I had drawn the stages for most of my tours a year before I went on them. That really was fun for me as a teenager! A lot of people who start out very young in music, either don’t have a say or don’t have the will to do the business side of it, but weirdly that was so much fun for me to try and learn. I had a lot of energy when I was 16!”

Are you doing similar drawings for next year’s LoverFest?

“Definitely. And that’s why it’s still fun for me to take on a challenge like, ‘Oh, let’s just plan our own festival’. Let’s create a bill of artists and try and make it as fun as possible for the fans. I’m so intrigued by what that’s going to be like.”

Finally, when we last did an interview in 2015, you said in five years’ time you wanted to be “finding complexity in happiness”. How has that worked out?

“That’s exactly what’s happened with this album! I think a lot of writers have the fear of stability, emotional health and happiness. Our whole careers, people make jokes about how, ‘Just wait until you meet someone nice, you’ll run out of stuff to write about’. I was talking to [Cats director] Tom Hooper about this because he said one thing his mother taught him was, ‘Don’t ever let people tell you that you can’t make art if you’re happy’. I thought that was so amazing. He’s a creator in a completely different medium but he has been subjected to that same joke over and over again that we must be miserable to create. Lover is important to me in so many ways, but it’s so imperative for me as a human being that songwriting is not tied to my own personal misery. It’s good to know that, it really is!”

[hail-dondus]

If you had the choice, what names would you give the nightlights?

Hi, so funny story - I started to answer this months ago in an Uber to work but then arrived at work before I could finish, so I saved it in my drafts. Then things got so busy and well...it got buried in my drafts. I’m really sorry about that!

I know that the Night Light babies have names now, but I thought I’d answer this anyway just because it’s fun!

I’ve been thinking ever since I got this ask as to what I would personally name them - I have two sets of Build a Bear night lights and so I’m hoping to name the second set with my own names (because I’m extra like that) while the first set I bought are more the canon night lights + their names (it makes sense to me even if it makes sense to no one else)

In the end, I decided to just answer with what names I’m considering giving to the second batch of Night Lights, just for fun! I’ve tried to look at Norse/Viking names as well as names I just generally like from fantasy stories, so that’s fun! Quite a few are also names I wrote down in my little notebook whilst looking for names for dragons/dragon species in my original novel - I used a generator for those and liked the results!

Blue-eyed Night Light/Dart - Skyspear

So I actually saw someone else come up with the name “Skyspear” (I think it was @saieras) for this Nightlight, and I love it! (I hope that’s okay, OP!) I thought it was fitting because it kind of reminded me of Astrid naming her dragon Stormfly in a way (Storm + Fly / Sky + Spear), and Furies are incredibly fast dragons - we could probably assume that the Night Lights are pretty fast too, especially when they fully grow up, and so I can picture her flying through the air like a spear: streamlined, focused on the target.

Alternate Names: I’m a huge His Dark Materials fan, as well as a fan of stars (literally - my sister is moon, I am stars) and Lyra is the name of a constellation as well as the name of Lyra Silvertongue from HDM. When I think of Lyra, I think of an adventurous spirit, someone who changes the course of destiny perhaps, and I thought that would be cute since I strongly headcanon that the blue eyed Night Light is a parallel to Zephyr, aka the future Chieftess of Berk after Hiccup.

Some other alternate names I’ve considered are “Nyx”, because it means “night”, and “Nova”. I also like the name “Runa”, which I first heard in Skyrim. I kind of also like “Midnight” as a name too actually! Other names I liked were Echo, Stardust and Starflight. Astra is another potential one, but ultimately I vetoed it because it was kind of a little too similar to Astrid! “Glownose” is a nice one, and accurate because of her little white nose!

Green-eyed mostly-black Night Light/Ruffrunner - Littletooth 

I don’t know why, but I find it so much harder to come up with names for the male Nightlight babies for some reason! So out of the three babies, this one probably takes the most after Toothless, I’d say - which is why I felt “Littletooth” was an absolutely perfect name for him! I don’t really know what else to say about this name except for what I’ve already said! I suppose “Littletooth” could be short for “Little Toothless”, in a way, even though he obviously does have some white scales/white feet that’s from the Light Fury side of the family!

Alternate Names: “Soot”, obviously because he’s mostly black-scaled! One I came up with was “Dusktongue” - obviously “dusk” is one of those day/night related names, which are fitting because the Night Lights are the result of a Night Fury father and a Light Fury mother. “Shadowdancer” would be another cute one, again because he’s mostly black-scaled and Furies are quick!

Green eyed white Night Light/Pouncer - Lighthorn

Again, I’m less sure on what to call the two boys! I found Lighthorn on a dragon name generator and thought it was pretty cute! Out of the three babies, this one looks the most like their mother, the Light Fury, and so I thought it would fit him best. He’s obviously got lighter scales (white) like his mother, and when I think of thorns, I think of like... “a thorn in your side”. Something small but noticable maybe? Thorns are sharp, and I think that the Night Lights are like their parents in that they’ll have sharp reflexes, be able to shoot their blasts accurately etc. I have no idea if that makes any sense, but I like it!

I was originally going to go for something a little more silly, because obviously this Night Light kind of parallels little Nuffink Haddock (really, Hiccup, Nuffink? Astrid let you name your kid that? XD), but then I thought “Hey, Nuff would probably know better than to name the dragon something dumb”, so...yeah!

Alternate Names: Frostbite is obvious - he’s mostly white like snow! I think, for similar reasons, Snowflake would be a cute name for him too! Arvid is a name derived from Old Norse, and it means “forest of eagles” or “eagle wood”, which I thought was fitting because, you know, dragons fly and so do eagles (lol, I’m dumb, please ignore that last part). 

If you had the choice, what names would you give the nightlights?

[mysterylover123]

BNHA Rewatch: Episode 27 “Bizarre! Gran Torino Appears!”

mysterylover123

The Internship arc starts off with a bang! Let’s see that Full Cowl, Deku! 

SORA NI UTAEBA! While the song in this intro is kinda meh to me, the visuals are amazing. I love the symbolism for all the events of the ep - tho not gonna lie, this core’s ED is better than the OP. Anyway tho, go punch that wall Deku!

We start with Gran Torino pretending to be crazy. I’ll admit, I’m kinda eh on this bit, though I love  Gran. It’s probably because I found it annoying when Yoda did it, so I find it annoying here as well. (It’s really just my inner fangirl talking. Nobody makes Deku unhappy except Kacchan. Who can get away with it.)

But actually, this sets up an interesting difference between Deku and Luke, though admittedly situation isn’t the same because Deku knows Gran is Gran. But Deku’s response to this is to call All Might to tell him Gran’s gone senile. He’s so empathetic Deku why aren’t you real? (no shade at Luke there,e I love him too. Just not as much).

“I don’t have time to mess around.” Deku did not come to play.

New costume! It’s incredible how much better it is than the old one. Like, not even funny how much better. Day-um, Deku. 

Pfh Gran knows exactly how to piss off Deku: Insult All Might. You clever little scoundrel.

So onto Deku’s character flaws: 1. He’s overly analytical. Deku doesn’t know how to act quickly, partially due to circumstance, but partially that’s just how he is. Hesitant. Over-cautious, over-thinks things. He needs to learn how to take action - and in this arc, he does indeed do so without hesitation, and saves Iida’s life by so-doing. Box 1 checked off.

2. Deku admires All Might too much. Like every MC in BNHA, his Imitation is the Sincerest Form of Tragedy (insert me telling you to read that essay again). It’s a problem because he doesn’t believe in himself. So he needs to learn not to imitate All Might and be his own hero. That one doesn’t really sink in until the PLE arc. But check.

3. Deku is insecure. He has a massive inferiority complex (which fits nicely into his foil’s inf-sup complex,  wouldn’t-cha-know) and doesn’t believe in himself. So he needs to learn to be more confident. (Is it wrong that I want this to end with him breaking through Instrumentality to a chorus of his friends saying ‘Congratulations’?)

Gran is my favorite Teacher, as a teacher, in BNHA. I’m a teaching-major, and I kinda aspire to his techniques. What I love the most is helping students figure it out themselves. Just telling someone the answer doesn’t help them. It’s so satisfying seeing a student make that breakthrough thanks to your guidance.

Now we’re cutting away to Iida’s internship to remind you Iida Wants Revenge. This is a little exposition-y, let’s cut somewhere else.

OK good, the villains! Right off the bat, we’ve got some great Parallels with the Heroes, as Tomura decides to basically Intern with a Pro-Villain. He even calls Stain a pro. Tho Tomura really needs to work on his recruitment strategy. “Stain join us. Cause.” “Bakugou. Join us. Cause”.

I want Deku and Tomura to build a grand Hero-Villain rivalry. Tomura basically hates him for no real reason right now, and I want there to be a good reason. Other than “He’s All Might’s successor”. I want them to be the Joker and Batman of BNHA with a real complex hero-villain rivalry, where one reflects the other. They’re getting there but I want more.

“Bloodlust without conviction is meaningless.” Ooh I love me some Stain. He really elevated this series’ philosophical side with his ramblings on heroism and villainy.

OK am I creeped out by the fact that All for One just said the same thing I did about learning? A little.

Deku is so brilliant and such a fast learner tho. It doesn’t take him long to put it all together. And Gran actually really admires him for that - I enjoy their mentor dynamic a lot, since Gran has some real respect for Midoriya in a different way from All Might.

Bakugou with Best Jeanist! OMG the comedy gold of this. Though I just want to take a sec to gripe about a change from the manga to the anime: Manga! Bakugou does not charge at Best Jeanist and yell at him. He’s not dumb enough to try that on the #4 Pro Hero and his teacher. He sits still and listens to Jeanist’s lecture. The only Bakugo line here that’s from the manga is “Didn’t you make an offer for me?” This completely changes the way we perceive Bakugo in this scene, and in general. Bad change.

 But in Good Storytelling-ville, I like the continuing parallels between the Wonder duo this creates: Izuku interns in a rundown neighborhood with an unlisted hero, Bakugo in Tokyo with a top pro. Izuku needs to learn to control his power and believe in himself. Katsuki needs to learn to be kinder and more humble. Izuku learns his lesson her, Katsuki doesn’t. Parallels!

Kirishima and Tetsutetsu again! 4th kind is ok. He’s probably the least memorable of the internship pros, since his gimmick is simple and his design kinda dull.

Uraraka and Gunhead! I love how well they get along. He’s kawaii and she’s a hardcore badass. Don’t you forget it!

Now for more of Momo’s arc. The Uwabami internship is usually dismissed by fans as Just Fanservice, but think about it in context, and it becomes really interesting. One, the Hero Killer arc is about Stain protesting the commercialization of heroism, so we do need to have a Pro-Hero demonstrate the problematic nature of that commercialism. Uwabami does just that. Two, we need to have Momo’s internship be unfulfilling to her, to complete her downward trajectory (before the Final Exam arc can bring her back up), so it’s useful for further embarrassing and developing her character. 3, it sets up Momo and Kendo’s future rivalry.

I’ll take more about it in future eps where it appears.

Izuku practicing and constantly hitting his face on the wall is one of those things that makes me wonder if either a) he has a secret endurance quirk or b) OFA just naturally ups your durability. How does he still have a face after that.

Here’s a hot take: Izuku with his face smashed up from spending a night with no sleep training in garbage all night is still prettier than any other guy in this series.

One of the reviewers I follow made the comparison between All Might vs Deku’s using of OFA and Korra vs Aang’s role as the Avatar. You know, All Might and Korra, both master the power pretty quickly so they get to be strong fast but lose out on the spiritual connection a bit, while Deku and Aang take their time learning ofa/the four elements, but get as a tradeoff more of the spirit-y side...(ATLA & BNHA. My 2 favorite shows, alongside FMA. I swear these are like, three sides of the same show).

While I’m watching in the Sub this time around, i wanted to note a dub-ism in this scene: it’s localized to ‘hot pastries’ instead of taiyaki. There’s a lot of bits like that, where they take Japanese food and translate it for us dumb Americans. But well, maybe that made sense in the 90s, when there maybe wasn’t as much cultural crossover, but...even I knew what mochi were before watching BNHA (Uraraka’s fave, and the dub always localizes it to ‘sweets’) and everyone has google if they’re confused so why not just say ‘Taiyaki?’ Ah well, it’s a stupid nitpick but still.

Gran’s metaphor here is so great. As a teacher I aspire to learn from this man. Teach me your teaching ways.

“THIS TAIYAKI IS ME!!!!!” Another dub-ism has him say “I’m not really a dessert” I saw a reactor once comment on this ‘Yeah, but you are a snacc, Deku.’ I wholeheartedly agree.

FULL COWLLLLLLL!!!!!!! FYEAH!!!!!

OK so there are a lot of reasons I love Full Cowl. it’s one of the series’ finest moments, emblematic of what makes it cool. And what makes Deku cool. He’s smart, and has to work his way around problems, and this solution was just...it was there, for us and Izuku the whole time, to finally sit up and take notice of. It’s about applying power in a different way. About taking what you can do and doing the best you can with what you’ve got. A big central theme for the series.  

Also dayum that slow pan up Deku’s entire body as he activates it...he just looks good in this arc. Actually, post-cavalry battle Deku in the sports festival arc always looks weird and odd (because he’s beat up and in pain, duh) and prior to that he was mainly just adorable...this arc, however, is his official transition into Best Boy for Reals. He’s just...swoony. and also really cool, smart, and all sorts of great fangirl-y things. 

We end on a confident Deku smile and Daiki’s adorable ‘hai.’ Basically, i really enjoy this episode. A little slow at the beginning, maybe. But that conclusion is amazing and so worth the payoff. It’s even got this amazing rhyme and rhythm to it, cutting back and forth between the different students and teachers and just having themes echo between each other like poetry. It love it.

To close off: ED4, AKA BEST ED EVER!!!! This is seriously, no sarcasm, best ED. So for those of you who don’t know, the story behind ED4 Datte Atashi no Hero is, 1: The Fantasy AU theme comes from the second popularity poll, which came out around Chapter 120/Episode 61 (yes, THAT one) and for which Horikoshi drew the top 10 in fantasy garb. 2: The Song was written by LiSa and was explicitly stated by her to be effectively about Izuku’s feelings towards Kacchan. I wrote a post analyzing it. It is, basically, the anthem for...

BKDK CORNER

“Loose…” Guess who the first person Deku thinks of to create Full Cowling is? If you sad Kacchan, ding-ding-ding!

On an analytical note, I think it’s very, very significant that the first real breakthrough Deku makes in handling his power comes by observing Kacchan and imitating him. This is one of my Top 20 Favorite BKDK moments, even though it’s completely indirect, because of how important that is in the long-run. But what about the Imitation theme? Why is it OK for Izuku to imitate Katsuki, but not All Might? Well, first of all, he does use Gran Torino’s moves as well, but mainly, I think the series is saying with this distinction that it’s OK to imitate someone if you see their flaws and acknowledge them, but if you hero-worship them and see them as perfect, you’re only going to screw yourself over.  This is why Iida imitating Ingenium, Shoto imitating his mom, Deku and Kacchan imitating All Might, and yes, Uraraka imitating Deku, are all so bad for them. If you see someone as perfect, and want to imitate them, you’ll never achieve that in your mind, because you already view yourself as imperfect. So Deku can imitate Katsuki because he thinks he’s a jerk, but also an amazing fighter, and Gran because he thinks he’s weird, but tough.

Also Deku just automatically thinking of Kacchan first is so damn shippy.

BEST GIRL OF THE EPISODE: Uwabami!

RANKER: Ranking the Internship Pros, least helpful to most.

10. Uwabami

9. Mt. Lady

8. 4th Kind

7. Endeavor

6. Death Arms

5. Manual

4. Selkie and Sirius (anime only)

3. Gunhead

2. Best Jeanist

1. Gran Torino! (Deku lucked out)

[nomadicism]

Be careful about having high expectations for Gen Lock. The series is created by Rooster Teeth Productions, who tend be to hit and miss. They created great series like Camp Camp, but they also created RWBY, which has a rep for having terrible writing in the later seasons. Characters are unlikable or Mary Sues; the plot is poorly structured and it made a lot of questionable choices. At this point, it could be either or. Only time will tell if it's the next Camp Camp or RWBY.

and

“I would be careful about having high expectations for Gen Lock if I were you. Gen Lock is created by Roaster Teeth Productions, who are also the creators of RWBY. That series went down hill after the 3rd season. Granted some of it had to do with the creator dying, but the writing dipped in quality. After watching the first and second ep, it reminds me a lot of VLD, including the humour. Reviewers said it didn’t dive into character motivation or any of the world building by the 5 ep point.”

Hi Anon, thank you for the Asks!

Given the wording of both of these, I assume they are both from you.

I’m going to try to reign in my salt here, but you happened to hit more than a few buttons with your Ask. Gonna keep this as brief as I can to focus on the core of my answer. I promise I’m not grumpy.

The opening sentence in both of these Asks does not come across well. I can give the benefit of the doubt b/c this is the Internet, but uh…yeah.

RWBY continues to enjoy great popularity and comes up frequently on my dash. I’ve never seen it, it’s definitely not my thing, but it’s still selling to someone, and my VLD mutuals that love it are still talking it up so I’m glad that they have another show to entertain them. I see merch everywhere, it’s got a Japanese dub and a manga adaptation and that’s pretty damn good for a web cartoon that came out of the U.S. Must not be that terrible as whole to merit all of that.

“Mary Sue” is a phrase that means absolutely nothing because everyone overuses it to mean any number of things about competent and powerful female characters, and most of them are incredibly subjective, and rarely ever applied to male characters who meet the same kinds of subjective goal-post shifting criteria.

Perhaps gen:LOCK will simply be the “first gen:LOCK” and not the “next anything.”

I didn’t find the humor in gen:LOCK to be like VLD at all.

Reviewers can eat my asshole.

And on that note:

Not every story benefits from a deep dive, or even a superficial exploration of character motivation or world-building.

Such things are very genre and plot dependent, and the perception of such is subjective.

Some of the greatest short stories, or even long-form novels don’t even bother with much of either if they are not necessary to advance the plot. Not everything needs to be Lord of the Rings or Ulysses.

Who had better “character motivation”, Frodo Baggins from the LotR trilogy or Ripely from Alien? What would “better” even mean for either of those genres? LotR and Alien are worlds apart, and yet, at the end of the day, the protagonists are fighting for survival against an unspeakable horror. The “journey” of their survival differs greatly, and those journeys are the point, the character motivations are really minimal and don’t require a lot of exploration.

Frodo’s character motivation can be summed up as: “save the fucking Shire by destroying a cursed evil ring” and a little bit of “Uncle Bilbo ruined me for the simple Hobbit life with his crazy stories.” While Ripley’s motivation is: “kill the xenomorphs before they kill me and my cat.” That’s it. Don’t even need in-character exposition or a flashback to describe Ripley’s. The genre hands it to you on a blood-soaked silver platter.

I don’t know what those reviewers were watching but the “character motivation” of the main characters that I saw in the pilot episode alone was pretty fucking obvious: HOLD THE LINE in a dystopian world were “freedom” hangs by a thread. They are trying to survive. That’s all it needs to be.

I don’t care why they joined the Vanguard. I have plenty of friends and family within various armed forces and their motivations range from complex to simple, but most of them are a variation on “I want to serve my country and my people.” That’s it, and that’s okay.

Additionally, Julian Chase’s backstory and motivation was made clear in the first 10 minutes through the positioning of him before the wall with his dead father’s memorial flag, and the conversation between the three most important people in his life: mother, sister, and fellow comrade-soldier/girlfriend (Miranda, great symbolism by the way in that name).

That pilot episode is Julian’s “super hero/science fiction origin story”. His Big Damn Hero moment is fueled by his “character motivation” to protect his loved ones, and inspired by the verses from his dead hero father’s favorite song: “Let the Good Times Roll.”

Any hyper-critical reviewer that missed that is full of shit.

And those verses?

“You only live once / But when you’re dead you’re gone / So let the good times roll”

That was clever and poignant foreshadowing, b/c GENRE. It also wasn’t super deep…and it didn’t have to be. It only needed to connect the threads of Julian’s introduction, who he is, something special that he shares with his mother, father, and girlfriend, and what his role will be in the show, and the nature of his being from here on out.

At the bare minimum, someone in the writers’ room is aware (even if only in passing) of the some of the most enduring questions that science-fiction (especially cyberpunk) has asked and navel-gazed over regarding the role of technology in extending human life, and what exactly defines “life” when one has left the meat-space. I’m not expecting gen:LOCK to be an exploration into the ethics and details of transhumanism/post-humanism/singularity philosophies and futurist dreams for humanity. It doesn’t have to be. They’ve already touched on the concepts and anyone who loves that sort of thing will notice.

My expectations for gen:LOCK are that—at worst—it will be as entertaining and to-the-point as the GI Joe cartoon in the 80s. I enjoyed GI Joe (pro-military propaganda aside), it was a regular thing for me to make the effort to watch. I didn’t love it like I did The Adventures of the Galaxy Rangers, or Robotech, or Voltron DotU, or Silverhawks, or Jem and the Holograms, but it was still fun and entertaining and it still is.

GI Joe didn’t waste time with a full exploration of Cobra Commander’s backstory or his motivations, nor did it do so with most of the Joes. The basics were all that was needed. GI Joe wasn’t about complexity and it didn’t need to be in order to tell an entertaining story while selling toys. Yes, sometimes you’d get some really interesting episodes that added dimension in between the more obvious filler. Shit, it took like 50+ episodes to get to a Destro-focused episode. I certainly wasn’t watching GI Joe for character motivations and world-building. I was watching because nearly every character had an interesting design and they all did unique things, and Cobra Commander was hilarious. I watched to see what they would come up with next.

Did I really need a compelling story behind Zartan, Zandar, and Zarana? Nope. They were fun villains that gave the heroes hell and spoke with shitty Australian accents. In the 80s, the Aussie accent was all the rage for edgy characters (oh Stingray…).

Do people remember anything about Scarlett other than she was the hot redhead?

I loved Scarlett, she was my She-Ra, and one of the main reasons why I watched GI Joe. But only the most hardcore GI Joe fans remember her stats and abilities. She was actually one of the most highly qualified and skilled Joes. From Scarlett’s Wikipedia article:

“Her primary specialty for the team is counter intelligence. Scarlett is additionally skilled in martial arts and acrobatics. She started training at age 9 with her father and three brothers, who were all instructors, and she earned her first black belt at age 15. Scarlett also graduated summa cum laude, and passed her Bar Exams to practice law, before moving into the military. She graduated from Advanced Infantry Training and Ranger School, and received special education in Covert Ops School, Marine Sniper School, Special Air Service School, and Marine Tae Kwon Do Symposium. Although she is as adept with standard weapons as any of her comrades, her weapon of choice is the XK-1 power crossbow, which fires various bolts with specialized functions. Scarlett is also a qualified expert with the M-14, M-16, M1911A1 Auto Pistol, M79 grenade launcher, M-3A1, M-700 Remington sniper rifle, MAC-10, throwing stars, garotte and KA-BAR (Combat Knife)”

Wow. Beautiful and striking appearance. High intelligence. Great martial prowess. Top shelf military training.What a goddamned Mary Sue.

So, if you’re still with me Anon, my point is that if gen:LOCK can be a “good enough” futuristic-cyberpunk-ish version of GI Joe that gives me fun and interesting-but-not-complex characters in command of infantry mechs, configurable jets, and a color coordinated team of save-the-day-big-damn-hero-style mecha who fight against a sinister force that has weaponized nanotech and colossal mechas that look like War of the Worlds meets Eldritch Horrors then I’ll be pretty fucking happy with it. The bar ain’t exactly high here.

[redheadnamedabigail13]

Taylor Swift: Music Week Magazine

November 4, 2019

Around this time of year, the Taylor Swift anniversaries come at you thick and fast.

Nine years since her third album, Speak Now, every note of which was written entirely by Swift, hit the shelves. Five years since she released her mould-breaking pop album, 1989, and went from the world’s biggest country star to the world’s biggest pop star overnight. Two years since her Reputation record saw her become the only musician to post four successive million-plus debut sales weeks in the United States. And so on.

But today, Swift’s mind is drawn further back, to the 13th anniversary of her debut, self-titled record, and the days when her album releases weren’t automatically accompanied by mountains of hype and enough think-pieces to sink a battleship. Her journal entries from the time – helpfully reprinted as part of the deluxe editions of her new album, Lover – reveal her as an excited, optimistic teenager, but also one with a grasp of marketing strategies and label politics way beyond her years, even if she was reluctant to actually take credit for her ideas.

“It always was and it always will be an interesting dance being a young woman in the music industry,” she smiles ruefully. “We don’t have a lot of female executives, we’re working on getting more female engineers and producers but, while we are such a drastic gender minority, it’s interesting to try and figure out how to be.”

And, of course, when Swift started out she was, as she points out, “an actual kid”.

“I was planning the release of my first album when I was 15 years old,” she reminisces. “And I was a fully gangly 15, I reminded everyone of their niece! I was in this industry in Nashville and country music, where I was making album marketing calls, but I never wanted to stand up and say, ‘Yeah, that promotions plan you just complimented my label on, I thought of that! Me and my Mom thought of that!’

“When you’re a new artist you wonder how much space you can take up and, as a woman, you wonder how much space you can take up pretty much your whole period of growing up,” she continues. “For me, growing up and knowing that I was an adult was realising that I was allowed to take up space from a marketing perspective, from a business perspective, from an opinionated perspective. And that feels a lot better than constantly trying to wonder if I’m allowed to be here.”

In the intervening years, Taylor Swift has released six further, brilliant albums, growing from country starlet to all-conquering pop behemoth along the way. She takes up “more space”, as she would put it, than any other musician on the planet: a sales and now – having belatedly embraced the format with Lover – streaming phenomenon; a powerhouse stadium performer; an award-garlanded songwriter for herself and others; and a social media giant with a combined 278 million followers across Instagram, Twitter and Facebook (which would make the Taylor Nation the fourth most populous one on earth, after China, India and the US).

But her influence on music and the music industry doesn’t end there. Because, over the years, Swift has also become a leading advocate for artists’ and songwriters’ rights, in a digital landscape that doesn’t always have such matters as a priority.

In 2015, she stood up to Apple Music over its plans to not pay artist royalties during subscribers’ three-month free trials (Apple backed down immediately). She pulled her entire catalogue from Spotify in 2014 in protest that its free tier was devaluing music, sending Daniel Ek scrambling to justify his business model. When she returned in 2017, it was a crucial fillip for the streaming service’s IPO plans.

More recently, her ground-breaking new record deal with Republic Records contained clauses not only guaranteeing her ownership of her future masters, but also ensuring Universal Music will share the spoils of its Spotify shares with its artists, without any payments counting against unrecouped balances. And when her long-time former label boss Scott Borchetta sold Big Machine to Scooter Braun’s Ithaca Holdings, taking Swift’s first six albums with him, the star publicly called out what she saw as her “worst-case scenario” and stressed: “You deserve to own the art you make”. She may yet re-record her old songs in protest.

In short, Swift has, for a long time now, been unafraid to use her voice on industry matters, whether they pertain to her own stellar career or the thousands of other artists out there struggling to make a living.

All of which makes Swift not just the greatest star of our age, but perhaps the most important to the future development of the industry as a more artist-centric, songwriter-friendly business. Hers is still the life of the pop phenomenon – she spent today in Los Angeles doing promotion and photoshoots (or, in her words, “having people put make-up on me”) as Lover continues to build on huge critical acclaim and even huger initial sales. But now, she’s kicking back with her cats – one of whom seems determined to disrupt Music Week’s interview by “stampeding” through at every opportunity – and ready to talk business.

And for Swift, business is good. The impact of her joining streaming, and the decline of traditional album sales, may have prevented her from posting a fifth successive one million-plus sales debut, but Lover still sold more US copies (867,000) in its first week than any record since her own Reputation. It’s sold 117,513 copies to date in the UK, according to the Official Charts Company.

Even better, while Reputation – a record forged in the white heat of a social media snakestorm over her on-going feud with Kanye West – was plenty of show and rather less grow, Lover continues to reveal hidden depths. Reputation struck a sometimes curious contrast between the unrepentant warrior Swift she was showing to the outside world and the love story with British actor Joe Alwyn that was quietly developing behind closed doors, but Lover is the sort of versatile, cohesive album that the streaming age was supposed to kill off.

It contains more than its fair share of pop bangers (You Need To Calm Down, Me!), but also some gorgeously-crafted acoustic tracks (Lover, Cornelia Street), some pithy political commentary (The Man, Miss America & The Heartbreak Prince) and the sort of musical diversions (Paper Rings’ irresistible rockabilly stomp, the childlike oddity of It’s Nice To Have A Friend) that no other pop superstar would have the sheer musical chops to attempt, let alone pull off.

“Taylor’s creative instincts as an artist and songwriter are brilliant,” says Monte Lipman, founder and CEO of Swift’s US label, Republic. “Our partnership represents a strategic alliance built on mutual respect, trust, and complete transparency. Her vision is extraordinary as she sets the tone for every campaign and initiative.”

No wonder David Joseph, chairman/CEO of her long-time UK label Virgin EMI’s parent company Universal Music UK, is thrilled with how things are going.

“Love Story was a fitting first single release for Taylor here – she’s loved the UK from day one and has engaged so much with her fans and teams,” says Joseph. “She really respects and values what’s going on here creatively. To see her go from playing the Students’ Union at King’s College to Wembley Stadium has been extraordinary. Taylor is an artist constantly striving for perfection, and with Lover – from my personal point of view, her most accomplished work to date – her songwriting has gone to a new level. I adore working with her and whilst it’s been more than 10 years this still feels like the start.”

And today, Swift is keen to concentrate on the present and future. She has a starring role in Cats coming up (and a new song on the soundtrack, Beautiful Ghosts, co-written with Andrew Lloyd Webber) and, after a spectacularly intimate Paris launch show in September, festival dates and her own LoverFest to plan (UK shows will be revealed soon). Time, then, to tell the cats to calm down and sit down with Music Week to talk streaming, contracts and why she’s “obsessed” with the music industry…

Unlike with Reputation, most of the discussion around Lover seems to have been focused on the music…

“Absolutely! One of the ideas I had about this record, and something I’ve implemented into my life in the last couple of years is that I don’t like distractions. And, for a while, it felt like my life had to come with distractions from the music, whether it was tabloid fascination with my personal life or my friendships or what I was wearing. I realised in the last couple of years that, if I don’t give a window into distraction, people can’t try to look in and see something other than the music. I love that, if you really pour yourself into the idea that an album is still important and try really hard to make something that is worth people’s attention span, time and energy, that can still come across. Because we are living in an industry right now where everyone’s rushing towards taking us into a singles industry and, in some cases, it has become that. But there are still some cases where clearly the album is important to people.”

Does it matter that some new artists won’t get to make albums the way you always have?

“It’s interesting. Five years ago I wrote an op-ed in the Wall Street Journal and said, maybe in the next five years, we would see artists releasing music the way that they want to. I thought that each artist would start to curate what is important to them, not just from an artistic standpoint but from a marketing standpoint. It’s really interesting to see different release plans, if you look at what Drake did and then what Beyoncé does, incredible artists who have really curated what it is to drop music in their own way. We all do it differently, which is cool. As long as people dropping just singles want to be doing that, then I’m fine with it, but if it feels like a big general wave that’s being pressured by people in power, their teams or their labels, that’s not cool. But I do really hope that in the future artists have more of a say over strategy. We’re not just supposed to make art and then hand it to a team that masterminds it.”

Were you worried about putting an album on streaming on release day for the first time?

“Well, there are ways that streaming services could really promote the [whole] album in a more incentivised way. We could have album charts on streaming. The industry follows where they can get prizes. So you have a singles chart on streaming services which is great but, if you split things up into genre charts for example, that would really incentivise people. It’s important that we keep trying to strive to make the experience better for users but also make it more interesting for artists to keep wanting to achieve. But I really did love the experience of putting the album on streaming. I loved the immediacy, I loved that people who maybe weren’t a huge diehard fan were curious and saying, ‘I wonder what this is like’ and listening to it and deciding that they liked it.”

You’d resisted streaming for a long time. Have you changed your mind about the format now?

“I always knew that I would enjoy the aspects of streaming that make [your music] so immediately available to so many people. That’s the part of it that I unequivocally always felt really sad I was missing out on. There wasn’t ever a day when I woke up and I was like, ‘Oh, I’m really glad that multitudes of people don’t have access to my music!’ So I always knew that streaming was an incredible mechanism and model for the future but I still don’t think we have the royalties and compensation system worked out. That’s between the labels and their artists and I realised that me, to use a gross word, ‘leveraging’ what I can bring to cut a better deal for the artists at my record label was really important for me.”

How big a factor were things like that in you signing to Republic/Universal?

“That’s important to me because that means they’re adopting some of my ideas. If they take me on as an artist that means they really thought it through. Because with me, come opinions about how we can better our industry. I’m one of the only people in the artist realm who can be loud about it. People who are on their fifth, sixth or seventh album, we’re the only ones who can speak out, because new artists and producers and writers need to work. They need to be endearing and likeable and available to their labels and streaming services at all times. It’s up to the artists who have been around for a second to say, ‘Hey guys, the producers and the writers and the artists are the ones who are making music what it is’. And we’re in a great place in music right now thanks to them. They should be going to their mailbox and feeling like they’ve got a pension plan, rather than feeling like, ‘Oh yay, I can pay half my rent this month after this No.1 song’.”

Did you have more creative freedom making Lover than on your previous albums?

“In my previous situation, there were creative constraints, issues that we had over the years. I’ve always given 100% to projects, I always over-delivered, thinking that that generosity would be returned to me. But I ended up finding that generosity in a new situation with a new label that understands that I deserve to own what I make. That meant so much to me because it was given over to me so freely. When someone just looks at you and says ‘Yes, you deserve what you want’, after a decade or more of being told, ‘I’m not sure you deserve what you want’ – there’s a freedom that comes with that. It’s like when people find ‘the one’ they’re like, ‘It was easy, I just knew and I felt free’. All of a sudden you’re being told you’re worth exactly, no, more than what you thought you were worth. And that made me feel I could make an album that was exactly what I wanted to make. There’s an eclectic side to Lover, a confessional side, it varies from acoustic to really poppy pop, but that’s what I like to do. And, while you would never make something artistic based on something so unromantic as a contract, it was more than that. It was a group of people saying, ‘We believe in what you’re making, go make what you want to make and you deserve to own it too’.”

You’re obviously not happy about what’s happened at Big Machine since you left. But will the attention mean artists don’t find themselves in this situation in the future?

“I hope so. That’s the only reason that I speak out about things. The fans don’t understand these things, the public isn’t being made aware. This generation has so much information available to them so I thought it was important that the fans knew what I was going through, because I knew it was going to affect every aspect of my life and I wanted them to be the first to know. And in and amongst that group, I know there are people that want to make music some day. It involves every new artist that is reading that and going, ‘Wait, that’s what I’m signing?’ They don’t have to sign stuff that’s unfair to them. If you don’t ask the right questions and you sit in front of the wrong desk in front of the wrong person, they can take everything from you.”

Songwriters are in dispute with Spotify in the US over its decision to appeal the Copyright Board decision to boost songwriting royalties. Do writers need more respect?

“Absolutely. In terms of the power structure, the songwriters, the producers, the engineers, the people who are breathing magic into our industry, need to be listened to. They’re not being greedy. This is legitimately an industry where people are having trouble paying their bills and they’re the most talented people we have. This isn’t them sitting in their mansions going, ‘I wish this mansion was bigger and I would like a yacht please’. This is actually people who are going to work every single day. I got into writing when I was in Nashville and it was very much like what I read about the Brill Building. You would write every day, whether you were inspired or not, and in the process I met artists and writers. Somebody would walk in and someone would say, ‘Oh, he’s still getting mailbox money from that Faith Hill cut a couple of years ago, he’s set’. That’s not a thing anymore. Mailbox money is a thing of the past and we need to remember that these are the people that create the heartbeat that we’re all dancing to or crying to.”

You were clearly aware of music industry machinations from a young age…

“Reading back on the journal entries, I forgot how obsessed I was with the industry as a teenager. I was so fascinated by how it works and how it was changing. Every part of it was interesting to me. I had drawn the stages for most of my tours a year before I went on them. That really was fun for me as a teenager! A lot of people who start out very young in music, either don’t have a say or don’t have the will to do the business side of it, but weirdly that was so much fun for me to try and learn. I had a lot of energy when I was 16!”

Are you doing similar drawings for next year’s LoverFest?

“Definitely. And that’s why it’s still fun for me to take on a challenge like, ‘Oh, let’s just plan our own festival’. Let’s create a bill of artists and try and make it as fun as possible for the fans. I’m so intrigued by what that’s going to be like.”

Finally, when we last did an interview in 2015, you said in five years’ time you wanted to be “finding complexity in happiness”. How has that worked out?

“That’s exactly what’s happened with this album! I think a lot of writers have the fear of stability, emotional health and happiness. Our whole careers, people make jokes about how, ‘Just wait until you meet someone nice, you’ll run out of stuff to write about’. I was talking to [Cats director] Tom Hooper about this because he said one thing his mother taught him was, ‘Don’t ever let people tell you that you can’t make art if you’re happy’. I thought that was so amazing. He’s a creator in a completely different medium but he has been subjected to that same joke over and over again that we must be miserable to create. Lover is important to me in so many ways, but it’s so imperative for me as a human being that songwriting is not tied to my own personal misery. It’s good to know that, it really is!”

@taylorswift @taylornation

[toutorii]

Various Honoka HCS

Cause Im self indulgent 😌

⁃ So when Noka was a baby, neither her dad, Shirou or Daiki knew what the hell to do with her wings.

⁃ Her first word was "Daiai" which was exposed to be "Daiki"

⁃ Daiki would call Noka "baby bird" and mo one will tell me otherwise

⁃ He also called Shirou "buddy"

⁃ She would fly around and their dad would make Shirou chase her down. Cause by this point, Daiki had already “joined” AfO.

⁃ When Shirou and Noka were taken in by their uncle, he just slept and let her do whatever.

⁃ Their uncle, also known as Eraserhead, was a very kind guardian

⁃ He went to each of Shirou's ballet concerts, and did Noka's hair for picture day

⁃ If you looked through his search history it would be filled with "how to do a braid for beginners"

⁃ Aizawa bought Noka various art supplies and bought Shirou new shoes whenever they needed them

⁃ He also worried for his nephew, who went missing right before Noka and Shirou ended up in his custody

⁃ Didnt want Noka or Shirou to become heroes

⁃ Cause he didnt want to see the two children he practically raised to be hurt

⁃ But because of their ties to All for One, the government forced both of them to become heros to "prove" that they had severed their bonds with All for One

⁃ Shirou's dream was to become a professional dancer and Noka's was to become a professional artist

⁃ And Aizawa was not happy that the two lights in his life were torn from their dreams

⁃ And so Shirou got accepted into the hero program, in class 1-A

⁃ He chose the hero name Shifter

⁃ Cause he could shift into any organic form

⁃ When he got 3rd place at the sports festival, Noka ran around her uncle's apartment screaming with joy

⁃ Noka is literally his biggest fan

⁃ Noka's first friend was a small purple haired boy name Hitoshi Shinsou

⁃ So naturally, she called him Toshi

⁃ And she refused to call him anything else all throughout middle and high school

⁃ Shinsou and Noka have sleepovers all the time and you can't tell me otherwise

⁃ When people would tell Shinsou that his quirk was villainous, Noka would always speak up cause she knew Shinsou wouldnt contradict them

⁃ Noka is always like that

⁃ Speaking up for others and herself. And her smart mouth tends to get her in trouble

⁃ Shinsou would fuss over Noka's wings. Like if they were dirty or a few feathers were out of place, Shinsou would sit her down and fix her wings.

⁃ "Toshi, your inner mom is showing"

⁃ "Its not my fault you cant take proper care of your wings"

⁃ When she told Shinsou about her acceptance into U.A's med course, he couldn't have been prouder

⁃ Noka is actually the one who encouraged Shinsou to train with her uncle.

⁃ But before that lets talk about Noka's time at U.A. so far

⁃ She was first introduced to class 1-A during the first combat training

⁃ Healed everyone who got very minor injuries

⁃ At the USJ attack, Shigiraki deteriorated part of Noka's hip. But her extremely enhanced natural healing abilities stopped the deterioration

⁃ So she has this big ass scar on the back side of her left hip

⁃ She wanted to absolutely murder Shigiraki for letting the Nomu loose on her uncle

⁃ But she doesnt have any damaging fire power

⁃ So she just tried to heal her uncle's wounds the best she could

⁃ Nearly gets herself killed many times with her smart assery

⁃ And gives everyone around her a heart attack in the process

⁃ During the sports festival, she helped RG heal all the students

⁃ Reprimanded Deku for overusing OfA

⁃ Oh yeah, she learned about AfO and OfA from her time with All for One (A/N: please dont kill me im trying to not make her too op 😭😭)

⁃ Is kind of like to Deku like Recovery Girl is to All Might

⁃ So fast foward to the internships

⁃ She interns with another oc of mine, Snow

⁃ Who is a healer but with incredible attack powers

⁃ Coincidentally, Noka was patrolling Hosu when the nomus hit

⁃ She recieved Deku's distress signal and ran to the scene

⁃ She didnt attack the hero killer, but ran to help Native and made sure he didnt bleed out

⁃ The hero killer didnt bat a single eye at her, deeming her not a threat

⁃ In the end, she didnt harm Stain so her hero guardian? didnt have to take any blame for her actions

⁃ Noka however did get nearly ripped in half by a nomu, so she had to stay in the hospital with Todo and Deku

⁃ So— Summer training arc

⁃ She just looked at her class and said "fuck this" and flew over the whole forest

⁃ She actually beat the wild wild pussycats back to the camp

⁃ She got to know Kota, telling him how she never wanted to become a hero

⁃ Kota may or may not have developed a kiddie crush on her 😳

⁃ But anyways, when everyone else saw her all nice and refreshed, needless to say they were upset

⁃ Some more than others

⁃ *remembers Bakugou nearly blowing off Noka's face because she cheated*

⁃ Aizawa just smirking at his niece cause shes so much like her mother

⁃ "DAMMIT TAKAHASHI. YOU BETTER GET YOUR ASS OVER HERE YOU CHEATER"

⁃ "They said to use our quirks. Its not my fault your quirk is too grounded"

⁃ "WHAT— YOU WANNA FIGHT—"

⁃ "No I wanna eat, goodbye—"

⁃ Focuses on her attack and the healing capabilities of her quirk

⁃ Let me set the scene

⁃ At the beginning of UA, our Noka could barely heal up a small cut

⁃ But now, she can close up major wound with little to no effort

⁃ P r o g r e s s people

⁃ N e ways

⁃ So when they do the haunted quirk thingy

⁃ Hairi and Noka are paired up, to their delight

⁃ But they aren't able to go into the forest before the attack happens

⁃ Apparently, the league came for Bakugou and Noka

⁃ Cause the "master" wanted his first nomu to return to him

⁃ But all Deku knew was "they are after Kacchan and the master's first Nomu"

⁃ Nobody knew who the first nomu was except for Noka

⁃ See, AfO took and gave Noka various quirks, eventually ending up with her current quirk(s)

⁃ He did this to Shirou and Daiki as well

⁃ But Shirou's body wasnt able to handle as many quirks, so AfO discarded him

⁃ Daiki was not aware that Noka was a target, Shigiraki knew he would object and purposely left him out of the loop

⁃ Eventually, Noka is cornered by Dabi

⁃ His fire power vastly out matches hers

⁃ But she puts up one hell of a fight

⁃ And Kurogiri took her before she woke up and fought back even more

⁃ So everyone was panicking when they couldnt find Noka

⁃ Aizawa was panicking them most

⁃ His precious niece was missing, no, taken by the league

⁃ The students had never seen their teacher so frazzled

⁃ The thing that broke Aizawa more was the look on Shirou's face when he told him that his baby sister was missing

⁃ His precious baby sister

⁃ His whole world

⁃ Shirou didnt go out of his room for days

⁃ He was there when they were to save Bakugou and Noka

⁃ All Might fought AfO, and won

⁃ But there was no sign of Noka

⁃ Shirou nearly tackled Bakugou, demanding, no, more like pleading for him to tell him where she was

⁃ Bakugou merely said "She's gone, and I dont know where she went"

⁃ The whole class was in a panic

⁃ Where was Noka? Was she hurt? Was she scared? Was she in danger?

⁃ And the question that hung on everyone's mind the most was

⁃ Is she alive?

⁃ The emptiness of Noka's desk was deafening

⁃ Their smart ass classmate was nowhere to be found

⁃ And they all felt guilty

⁃ But none more than Bakugou

⁃ For he was the last to see her alive so to speak

⁃ And her last words to him were "Forget about me ya big oaf, you hear me? I don't want you sulking, or I'll personally beat your ass."

⁃ Forget about her? How could he do that?

⁃ Noka was the only person who didn't put up with his bullshit

⁃ From day one she put him in his place

⁃ And honestly shes the closest thing to a sister he has

⁃ During the hero license exam, all of class 1-A decided that Noka would be really upset if they all sulked and failed their exams

⁃ But the fact that only Todoroki and Bakugou failed would make her fall into hysterics

⁃ When class 1-A met the big three, Mirio told them that Noka was strong and stubborn to a fault, so they shouldnt worry about things that arent in their control

⁃ To which they asked how he knew her

⁃ Apparently Shirou, Amajiki, and Mirio have all been friends since elementary school

⁃ So Amajiki and Mirio had been there a lot for many crucial parts of Noka's childhood

⁃ When the work studies started, Deku went on patrol with Mirio and Shirou, AKA Lemillion and Shifter

⁃ Shirou couldnt help but feel so much guilt crushing him when Eri jumped out of Deku's arms

⁃ Cause Eri reminded him of his little sister

⁃ Speaking of little sister

⁃ She refused to return to the league, so Shigiraki sold her to giran, who then took her to Overhaul

⁃ For the last 2 months, Noka had been experimented on by Kai Chisaki

⁃ In the mean time trying to protect Eri and building a loving friendship with the young girl

⁃ Ill talk about this another time

⁃ So skipping to when they save her

⁃ It was a total shock for them

⁃ To see this wingless, pale, frail, bandage wrapped girl

⁃ And even more so when she spoke

⁃ Not having that bite that their Noka had

⁃ But a softer, more broken voice replaced her normally boisterous and confident voice

⁃ In the big battle agains Chisaki, Noka got slammed against a wall

⁃ Which in normal circumstances would be fine, but with her body in such a week state it immediately cracked her ribs and spine

⁃ Ochako helped get her friend to the ambulance as quick as she could

⁃ Shirou saw a fluff of pale pink hair out of the corner of his eye

⁃ He immediately turned to run towards the medical stretcher, but was stopped

⁃ He kicked and screamed something along the lines of "THATS MY BABY SISTER. PLEASE LET ME SEE HER"

⁃ In the most broken voice you would ever hear

⁃ In the hospital, after Sir. Nighteye had passed, Deku, Kirishima, Amajiki, Shirou, Ochako, Tsu and Aizawa were all waiting anxiously for Noka's surgery

⁃ When all of a sudden the door explodes open and the nurses and doctors are shoved out by an invisible force of heat

⁃ Noka was using her ability to set herself aflame and be healed in the ashes

⁃ But no one knew wtf was going on cause she learned the trick at the Hassaiki hideout

⁃ So p a n i k

⁃ But after the doctors confirmed her stablility, they all went back to school

⁃ The whole class bursted into tears when they told them about Noka

⁃ Jirou, Kaminari, Momo and Mina all being the most emotionally impacted

⁃ Bakugou was almost crying witb relief but he disnt show jt

⁃ They weren't allowed to see Noka for a whole month

⁃ Only family were allowed

⁃ She was hard at work recovering and going through therapy and they didnt want to disturb her

⁃ But when they (Kirishima, Deku, Ochako, and Tsu) did visit, they were shocked

⁃ There was this soft spoken, trembling, woman, and this was after a month of intense therapy

⁃ They hadnt event started physcial therapy yet, they wanted to get her tk the point she could be around others without going into a panic mode

⁃ But what really shocked them was how her wings hadnt grown back.

⁃ They were then told that they would never grow back, since the bone in them were completely ripped out.

⁃ Thus she needs a wheelchair while she recovers

⁃ Daiki sometimes visits her during the night

⁃ He apologizes to her over and over again for not being there when she was taken

⁃ But also to apologize for abandoning her and Shirou

⁃ She just cupped his wet cheek and said

⁃ "Daiki, I know you had a damn good reason to do what you did. Also you're my big brother. I dont care if you work for All for One, youre still my brother. And you'll always have a home with us. Shouta Shirou and I will welcome you back with open arms."

⁃ Needless to say Daiki just bursted into more tears

⁃ Anyways—

⁃ By the time the school festival comes around, Noka still needs a wheelchair, and isnt the strongest mentally, but she has made tremendous progress.

⁃ After the 1-A concert, Eri sat on Noka's lap the whole time. Except during the beauty pageant, in which Deku held Eri, and Mirio held Noka (cause shes a smol baby)

⁃ Noka was in charge of tesching Eri the basics while she recovered, since the young girl felt most comfortable with her

⁃ When the dual training session came around, Noka still couldnt do much moving around without draining her energy quickly. So she stuck with enhancing her quirk while she built up her physical strength.

⁃ Meaning she healed any and all injuries after the matches were concluded

⁃ Monoma made the mistake of saying something about her not making any progress, and Bakugou was t h i s close to murdering him 😌

⁃ Ever since Noka got back from the hospital, Bakugou has been v e r y protective of his honourary sister—

⁃ But Kendou smacked the blonde before Bakugou could do anything

⁃ Shinsou would totally go like "Noka are you okay? Are you sure you should be out here? How are you feeling? Do you feel sick?"

⁃ Cause Shinsou is a mom

Anyways I have a bunch more hcs but i dont wanna completely bore you. But I was thinking of doing this for Daiki Shirou and Noka as children. Or maybe for Phoebe 😳😳😳　

Comment or send an ask if i should

[ramajmedia]

All Of Once Upon A Time In Hollywood Controversies Explained

Warning: SPOILERS ahead for Once Upon a Time in Hollywood.

Here’s a complete breakdown of every Once Upon a Time in Hollywood controversy. Directed by Quentin Tarantino, the 161-minute film uses real people and celebrities from the 1960s to drive a storyline about two fictional characters, actor Rick Dalton (Leonardo DiCaprio) and stuntman Cliff Booth (Brad Pitt). The overall mashup of reality and fantasy has rubbed some people the wrong way for various reasons.

Tarantino has been one of cinema’s most controversial filmmakers for nearly 30 years. His 1992 feature debut, Reservoir Dogs, breaks from traditional storytelling and stylizes the inherent violence. With Pulp Fiction, Tarantino’s 1994 follow-up, he pushed harder across the board via more violence, more cinematic style, and more challenging dialogue. Over the years, Tarantino’s trademark style has continuously polarized viewers, as some people love his creative vision and cinematic references, while others take offense to what they see on the surface, and also for what the subtext appears to imply. 

Related: The Real Actors Leonardo DiCaprio’s Rick Dalton Is Based On

When news first broke about Once Upon a Time in Hollywood’s storyline, rumors created a false narrative about how Charles Manson would be incorporated. Since then, Tarantino has often stated that filmmakers should be free to follow their creative vision, rather than focusing on what modern moviegoers expect and want. Here’s a timeline for all the Once Upon a Time in Hollywood controversies. 

Cannes Backlash And Sharon Tate Representation

In May 2019, Once Upon a Time in Hollywood premiered at the Cannes Film Festival. Early reviews praised the film, but some critics questioned Margot Robbie’s lack of screen time as Sharon Tate, who - in real life - was murdered by Manson Family members in August 1969. When questioned about Robbie’s role, or lack thereof, Tarantino said that he rejected the reporter's “hypothesis.” Unsurprisingly, this news spread quickly on social media, which made Tarantino appear like he was more interested in telling stories about fictional men rather than highlighting the tragic tale of a real-life female actress and murder victim. At this point, only a select group of people had actually seen Once Upon a Time in Hollywood.  

When Once Upon a Time in Hollywood released to the masses in July 2019, American moviegoers received clarity about the storyline. The film isn’t about the Manson Family murders, nor does the film re-create Tate’s death. Instead, Tarantino uses Los Angeles as a backdrop for a commentary about Old Hollywood ideals and the rise of the counterculture movement. Both Rick and Cliff try to find their place in Hollywood as trends change. Still, the Robbie controversy didn’t fade away, though Tarantino did indeed add two extra minutes of screen time for the actress.

Explaining Robbie's role in the movie, Tarantino said that he wanted to celebrate Tate existing in the world, just living her life as a young Hollywood starlet:

“I thought it would both be touching and pleasurable and also sad and melancholy to just spend a little time with her, just existing. I didn't come up with a big story and have her work into the story so now she has to talk to other characters and move a story along. It was just a day in the life. It's a day in the life of all three of them, that Saturday in February. A day in the life, driving around, running errands, doing this, doing that, and just being with her. I thought that could be special and meaningful. I wanted you to see Sharon a lot, see her living life. Not following some story, just see her living, see her being.”

More: What Happens After Once Upon A Time In Hollywood's Ending?

The Twist Ending And Manson Family Portrayal

Tarantino subverts expectations with Once Upon a Time in Hollywood’s ending. Most viewers know what transpired on Cielo Drive during the late hours of August 8, 1969. The Manson Family murdered Tate and four others. But in Tarantino’s alternate history, the Manson Family members are killed by Rick and Cliff (mostly by the latter character). The film builds towards the real-life Cielo Drive tragedy and then refuses to provide audiences with the dark ending they expected.

The Manson Family members target Rick’s home because they identify him as the former star of “Bounty Law” (a fictional TV show), and decide to kill the man who introduced them to violence. Their plan backfires, and Old Hollywood essentially wins. Rick and Cliff save the ‘60s lifestyle. Meanwhile, Tate remains next door, free from harm, and she invites Rick over for a drink. The title card then appears, reminding viewers that what they’ve just seen is indeed a fairy tale: “Once Upon a Time… in Hollywood.”

The main criticism of the movie's ending has been that Once Upon a Time in Hollywood has a lot of fun showing Rick and Cliff kill the female members of the Manson Family - similar to the gratuitously gory death of Hitler in Inglourious Basterds. The Hollywood Reporter published an op-ed on a pattern of violence against women being used as a "punchline" in Tarantino movies, making the case that the "so-called Manson girls had been brainwashed by a madman," and that it "seems short-sighted to mark them strictly as villains worthy of slaughter."

More: How Many Films Has Quentin Tarantino Made (& Why Does He Count It Wrong)?

The Bruce Lee Depiction

In Once Upon a Time in Hollywood, the iconic Bruce Lee appears during a flashback sequence, portrayed by Mike Moh. On the set of The Green Hornet, an ABC television series that aired from 1966-1967, Lee displays his famous bravado prior to a friendly fight with Cliff, who doesn't seem impressed by the actor's heightened sense of self. For historical context, the scene in question takes place before Lee's most iconic films like Fist of Fury (1972) and Enter the Dragon (1975). Overall, Lee comes across as incredibly arrogant, and his mannerisms are used as a source of comedy, evidenced by a moment when Cliff mimics a sound made by Lee.

One aspect of the fictional Lee's portrayal that sparked a particular backlash was his boast that he could "cripple" Muhammad Ali. Lee's protégé, Dan Inosanto, told Variety, "Bruce Lee would have never said anything derogatory about Muhammad Ali because he worshipped the ground Muhammad Ali walked on." Lee's daughter, Shannon Lee, was also unhappy with Tarantino's interpretation of her father:

“I have always suspected that [Tarantino] is a fan of the kung-fu genre and a fan of things that kick ass in cool and stylish ways, which my father certainly did. But whether he really knows anything about Bruce Lee as a human being, whether he’s interested in who Bruce Lee was as a human being, whether he admires who Bruce Lee was as a human being, I’m not really sure that I have any evidence to support that that would be true... [Lee] was continuously marginalized and treated like kind of a nuisance of a human being by white Hollywood, which is how he’s treated in the film by Quentin Tarantino."

On Twitter, film critic Walter Chaw posted an extensive thread about the portrayal of Lee in Once Upon a Time in Hollywood, stating "If it's a 'white boy fantasy' that a white guy could best Bruce Lee, it's the same kind of fantasy that would posit Lee as the ultimate test of fighting ability for a fictional white guy. Your racism is either bigoted or paternalistic. Who would win? Bruce or imaginary guy?" Just days later, Chaw further addressed Tarantino's version of Lee with a Vulture essay entitled "Why Are You Laughing at Bruce Lee?":

"Growing up as a Chinese kid in a predominantly white area, one of the most common ways people mocked me was by mimicking the noises Lee made. The reaction to Moh’s performance — the chuckles that followed his impression of Lee — felt like a similarly racist gesture. In truth, until very recently, the vast majority of appearances by Asian characters in mainstream American films carried with them the same potential for unintended, racially motivated laughter."

From Tarantino's perspective, he believes that his depiction of Lee wasn't inaccurate. He addressed the controversy at a press junket in Moscow, as reported by Variety:

“The way he was talking, I didn’t just make a lot of that up. I heard him say things like that, to that effect. If people are saying, ‘Well he never said he could beat up Muhammad Ali,’ well yeah, he did. Not only did he say that, but his wife, Linda Lee, said that in her first biography I ever read. She absolutely said that."

The Cliff Booth Mystery

Moviegoers can have wildly different viewing experiences based on their interpretation of Cliff. Here are the facts: he’s an aging stuntman who’s loyal to Rick. The two men drive around Hollywood together, and Cliff mostly appears pleasant, calm, and balanced. By himself, Cliff appears a little more prickly: he beats up a hippie at Spahn Ranch, he beats up Bruce Lee during a flashback sequence, and he ultimately kills Manson Family members while tripping on acid. From the beginning in Once Upon a Time in Hollywood, Tarantino sets a narrative hook for the audience: Cliff may be a bad dude, and he just might've killed his wife. 

But, no - Cliff did not kill his wife, at least there’s no evidence of that in Once Upon a Time in Hollywood. It’s a brilliant strategic move by Tarantino, one that was clearly inspired by the mystery surround Natalie Wood’s tragic death in 1981. Once again, Tarantino uses Hollywood lore to keep the audience off-kilter. He creates a myth through character dialogue, and then subverts expectations by not showing what viewers expect. Cliff never kills his wife in Once Upon a Time in Hollywood.

More: Once Upon A Time In Hollywood: Luke Perry's Cameo Explained

A brief Twitter search reveals that many people fully believe that Cliff is a wife-killer, which fundamentally changes how one views Once Upon a Time in Hollywood. Through Tarantino’s cinematic magic, people believe that they saw a murder take place. But here’s what actually happens: Cliff remembers being on a boat, and his wife complaining. There’s a harpoon gun on his lap, and it seems that he’s contemplating, well, homicide. But Tarantino then cuts away. In terms of storytelling, the moment represents another Cliff memory. And the narrative implications are directly connected to a famous Hollywood myth.

In November 1981, the aforementioned Wood drowned off the coast of Catalina Island near Los Angeles. Earlier that night, she’d been drinking heavily with husband Robert Wagner and actor Christopher Walken. All three were on board Wagner's yacht when Wood suddenly disappeared and was ultimately found dead. For years, people have speculated that Wagner killed Wood. At this point, it doesn’t necessarily matter why (drunken rage, jealousy, an accident), but rather that people simply believe that Wagner did indeed kill his wife. As for Once Upon a Time in Hollywood, the speculation is what’s crucial. Nobody is right or wrong, because nobody can know for sure what happened. It’s simply more Hollywood lore, courtesy of Tarantino, designed to keep viewers discussing the film.

Boots Riley's Criticism 

In August 2019, director Boots Riley criticized Once Upon a Time a Hollywood on Twitter. Whereas some viewers don't like Tarantino's portrayal of hippies, the Sorry to Bother You filmmaker believes that Tarantino badly misrepresented Charles Manson and his clan:

“The Manson Family were overt white supremacists who tried to start a race war with the goal of killing black folks… They weren’t ‘hippies’ spouting left critiques of media. They were rightwingers. This fact flips Tarantino’s allegory on its head.”

Manson did indeed reportedly plan to start a race war, and was known to be a manipulative individual who used drugs and slick rhetoric to influence vulnerable young men and women. Because of this, there has been debate over the extent to which the Manson Family killers Tex Watson, Susan Atkins, and Patricia Krenwinkel should be blamed for their terrible crimes, and how much responsibility should be laid at Manson's feet for brainwashing them. This controversial topic was also raised in the second season of Mindhunter, and interestingly actor Damon Herriman played Manson both in Mindhunter and Once Upon a Time in Hollywood.

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Though the movie received overwhelmingly positive reviews, Once Upon a Time in Hollywood has already proven to be one of the most divisive issues of the year when it comes to its take on 1960s Hollywood and real-life personalities who were around at the time. Still, it's not the first time that a Tarantino movie has been the topic of fierce discussion, and it probably won't be the last.

Next: Once Upon A Time In Hollywood Breaks Tarantino Formula (& That's Why It's Great)

source https://screenrant.com/upon-time-hollywood-controversies-explained/