#the difference between a sympathetic backstory and a sympathetic person

[justatalkingface]

Can I vent one thing? I kind hate the hipocrisy of some (a big number here) fans on regards Izu and Endeavour.

Like it goes more or less like this:

Fans:😒look at Izu defending Endeavour even through Dabi told how abusive he is.

Me: what you want Izu to do punch Endeavour and praise Dabi? A fucking villain who killed and has no remorse?

The hipocrisy here is how they blame Izu for "siding with an abuser" but Shot befriend BK is cute.

Following that logic, they should hate Shoto too as he is Bk's friends...somehow. BK for all his many flaws, I say this, he is honest in his hate for Izu. Never tried to mask.

As for the other ask I sent and yoy answer. Look, Hori just hates Izu and at this point is just easier to say he is a bad writer (feels lazy but I swear this is the easiest and real explanation here) we dont know why Izu wants to be a hero or anything about his family. His complex of martyr makes no sense (does AM have the same thing? It also makes no sense ....bc we know 0 about AM)

There is so much cognitive dissonance baked into Bakugou and how much people love him, there really is; he hits Izuku and there are Bakugou fans that basiclly say Izuku should thank him for the privilege.

Relatedly, a lot of people apparently find him attractive which... I don't get. But hot people do get away with a lot more than unattractive people, so I could see some unconscious biases on the fact that they think he looks hot, and is therefore more tolerable than if he looked like Mineta but acted like he does in canon.

To be fair, a lot of it is ultimately on Hori himself and the writing; no matter how bad I find his character arc at times, Endeavour's abuse and behaviour was never treated like a joke. Brushed over, sure, but it was never funny. Meanwhile, we passed a point in the story, long before Endeavour's redemption kicked in, and suddenly every abusive thing that Bakugou had been doing, bad things which were Serious Problems he was supposed to deal with, was nothing but a joke, even while Endeavour was still on and off being given shit for being an abuser; it's annoying, but I don't find it surprising people don't take Bakugou's behavior seriously if the story itself doesn't.

Meanwhile, while people's interest in Izuku has died to some extent because of how bad his writing got, I've seen people saying (and I'm not completely disagreeing with them) that Dabi has been carrying a lot of Post War, with all the focus on him and his tragic backstory being something that's actually interesting, and how much character he's allowed to have compared to everyone else, which, ironically enough, is probably enough to make him a more sympathetic victim to a lot of people over Izuku, who isn't even allowed to think about his past abuse with how much his traumatic backstory is being suppressed by the writing.

Granted, it feels like a lot of that was altered to make Endeavour (and Dabi) more tolerable to the readers, and while Dabi is supposed to be a villain with sympathetic origins, some people forget he's very much an unsympathetic person at this point, by his own design, and that would probably be insulted by some of the nicer takes on him.

Ultimately, what Endeavour did was worse than Bakugou, yeah, and I see people say that for why Bakugou is more defensible, but it's not a matter of degree; Endeavour doing shitty things doesn't excuse Bakugou doing shitty things, though there's also the fact that abusive fathers are more universally loathed than bullies, especially with all the extra stuff going on with Bakugou to try and mitigate him.

On the other thing....

Izuku is easy. Izuku wants to be a hero because: societal brainwashing about the heroic system as a whole making the system popular to the people, wanting to help people, and wanting acceptance from others. Being a hero, for him, is wrapped up with all three of those causes.

On All Might... Well. It's been awhile, but back when All Might was allowed to be a character, it was pointed out multiple times that Izuku is, in fact, exactly like All Might (seriously, if we look at what we know about Young!All Might, and it sounds like he's basically taller, more muscular, and to some degree more confident Izuku from the start of the story. He's basiclly Izuku if Izuku never had Bakugou in his life, constantly knocking him down, and maybe had an extra foot or two in height), and while Izuku liked being like his idol, everyone else in the know was worried because All Might went exactly down this road Izuku's going down.

That is to say, All Might is now a lonely old man, scarred and broken, without a life of his own, and the fact he's still alive means this is the good ending for him, compared to him getting himself killed.

(looks at the newer manga chapters meaningfully)

The Izuku and All Might self-destruction parallels is something that came up within the first couple of chapters; it was a very deliberate choice, and it seemed clear, at some point, that All Might was supposed to help Izuku be better than him, temper his natural martyr tendencies, and not get himself killed or horribly maimed, a process that would help the both of them grow past these tendencies.

And yes, we know little about All Might, but after a certain point his development stopped and... in all honesty, as much as Hori seems to hate Izuku, he seems to hate All Might just as much, if not more (or at least All Might isn't mandated to be strong and victorious, anyways, in ways that give Izuku some protections). All Might took this scrawny little boy to the beach and over the course of a summer bulked him up to the point where he could host OFA; he's not this horribly incompetent person that the later parts of the story seem to want us to see him as.

And yet, the more he's developed the more Hori just adds flaw upon flaw to the poor man, starting with being completely incapable of helping Izuku in pretty much any way all of a sudden ('clench your butt' my ass) and turning more and more pathetic over time as his powers waned, and he never got to grow as a character to filled the void in his characterization.

Presumably, mixed with the part where he was meant to teach Izuku... literally anything, All Might's backstory (beyond being basiclly tall Izuku, anyways) was probably going to be organically expanded on over time as their mentor and mentee based relationship developed, but that never happened, and so we have a character whose defining traits are largely having super powers, who no longer has those super powers.

[danganronpusassholefactory]

If you like Emet Selch get the fuck off my dash I've had enough of yall

[cheeseanonioncrisps]

I really want the show to go into more detail about Husk's backstory as an overlord, partly because I feel like it's something the fandom is kinda glossing over and partly because it's lowkey one of the biggest obstacles that a Husk/Angel relationship would have into overcome.

'Loser Baby' emphasises the similarities between Angel and Husk's situations, but it also (probably deliberately, since Husk is the one leading it) brushes aside one of the most major differences between them.

Namely that when Husk tells Angel that he's not the only one who sold his soul, he's not just singing about himself.

Husk sold his soul to Alastor, yeah (or lost it at least, which amounts to the same thing), but he also traded in souls. He was that “psychopathic freak”, and was operating fro long enough to achieve Overlord status.

And, honestly? Having your soul owned by Husker back in the day probably sucked.

The one benefit of soul contracts for the person selling their soul is that they seem to get a fair amount of say in how the contract is written.

Angel's contract, for example, apparently has a clause stating that he's only under Valentino's jurisdiction when he's in the studio. (Which, btw, puts a whole other spin on why Val is so pissed when he moves out of studio accommodation and into the Hotel.) And Val is apparently bound to that. Even though he's pissed off and actively wants to put Angel in his place, he can't make any moves against him in the club.

Equally, since most overlords seem to be associated with a specific location/industry, you can generally choose who your working for and therefore roughly what kind of stuff you're gonna be doing.

In practice there seems to be a lot of manipulation and coercion going on on the part of the Overlords making these contracts— they're not fair by any means— but the sinners signing them are theoretically at least guaranteed the right to a (somewhat) informed choice and some control over the deals they make.

Having an Overlord who uses human souls to pay his gambling debts, however, completely undermines all that.

Imagine going into work for your job running the roulette games at the casino only to be told that the boss played a bad hand in a game with Valentino, and so you're a sex worker now.

Or being traded to someone who has you fighting turf wars for them, and realising that your contract doesn't have any clauses to protect your personal safety because you only signed up to be a bartender.

Or selling your soul for a job near your home and family so you can guarantee their protection, only to be traded to someone whose territory is on the other side of the pentagram.

Husk is a victim of his own addiction, yeah, which is one of the reasons why Angel relates to him. But his backstory implies that there must be a significant number of people out there who were also victims of Husk's addiction, and may not be as sympathetic. Dude basically owned other people as property (… we have a word for that) and then literally played games with their lives.

And like, I'm not saying he hasn't changed. He seems more empathetic on the show than his backstory would imply, and apart from anything else, he's had a pretty clear object lesson about what it's like to be on the receiving end of that sort of thing. (Ngl, I'm pretty sure one of the reasons Alastor keeps him around is because he's the type to find the irony amusing.)

But like, he's in this place where he can relate to Angel Dust's situation, while at the same time probably also being able to relate to Valentino and Alastor's perspectives (although I doubt he was quite as bad as Val to work for).

And I'm curious as to what would happen, later in the series, if the gang met someone who had sold their soul to Husk at one point. Someone who would also be able to relate to Angel's situation, but with Husk as their version of Valentino.

[writingwithcolor]

What Makes an Ethnic Villain "Ethnic" or "Villainous?" How Do You Offset it?

anonymous asked:

Hello WWC! I have a question about the antagonist of my story. She is (currently) Japanese, and I want to make sure I’m writing her in a way that doesn’t associates [sic] her being Asian with being villainous.  The story is set in modern day USA, this character is effectively immortal. She was a samurai who lost loved ones due to failure in combat, and this becomes her character[sic] motivation (portrayed sympathetically to the audience). This story explores many different time periods and how women have shown valor throughout history. The age of the samurai (and the real and legendary female warriors from it) have interested me the most, which is why I want her to be from this period.  The outfit she wears while fighting is based on samurai armor, and she wears modern and traditional Japanese fashion depending on the occasion. She acts pretty similar to modern day people, though more cynical and obsessed with her loss. She’s been able to adapt with the times but still highly values and cherishes her past.  She is the only Asian main character, but I plan to make a supportive Japanese side character. She’s a history teacher who knows about the villain and gives the protagonists information to help them, but isn’t involved in the main plot otherwise.  Are the way I’m writing this villain and the inclusion of a non-antagonist Japanese character enough to prevent a harmful reading of the story, or is there more I should do?

Why Does Your Villain Exist?

This makes me feel old because David Anders plays a villain with this kind of backstory in the series Heroes starring Masi Oka. 

I think you want to think about what you mean when you say: 

Villainous (In what way? To whom? To what end?)

Harmful (What tropes, narratives and implications are present?)

I’m relatively infamous in the mod circle for not caring too much about dimensions of “harm”. The concept is relative and varies widely between people and cultures. I don’t see much value in framing motivations around “What is less harmful?” I think for me, what matters more is: 

“What is more true?” 

“Are characteristics viewed as intrinsic to background, or the product of experiences and personal autonomy?”

“Will your portrayal resonate with a large audience?”

“What will resonate with the members of the audience who share the backgrounds your characters have?” 

This post offers additional questions you could ask yourself instead of “is this okay/not okay/harmful.” 

You could write a story where your antagonist is sly, sadistic, violent and cold-blooded. It may not be an interpretation that will make many Japanese from combat backgrounds feel seen or heard, but it’s not without precedent. These tropes have been weaponized against people of Japanese descent (Like Nikkei Japanese interned during World War II), but Japan also brutalized a good chunk of Asia during World War II. See Herge’s Tintin and The Blue Lotus for an example of a comic that accurately showcases the brutality of Japan’s colonization of Manchuria, but also is racist in terms of how Japanese characters are portrayed (CW: genocide, war, imperialism, racism).

You could also write a story where your character’s grief gives way to despair, and fuels their combat such that they are seen as calculating, frigid and deeply driven by revenge/ violence. This might make sense. It’s also been done to death for Japanese female warriors, though (See “Lady Snowblood” by Kazuo Koike and Kazuo Kamimura here, CW: sexual assault, violence, murder and a host of other dark things you’d expect in a revenge story). 

You could further write a story where your antagonist is not necessarily villainous, but the perceived harm comes from fetishizing/ exoticizing elements in how her appearance is presented or how she is sexualized, which is a common problem for Japanese female characters. 

My vote always goes to the most interesting story or character. I don’t see any benefit to writing from a defensive position. This is where I'll point out that, culturally, I can't picture a Japanese character viewing immortality as anything other than a curse. Many cultures in Japan are largely defined by transience and the understanding that many things naturally decay, die, and change form.

There are a lot of ways you could conceivably cause harm, but I’d rather hear about what the point of this character is given the dilemma of their position. 

What is her purpose for the plot? 

How is she designed to make the reader feel? 

What literary devices are relevant to her portrayal?

(Arbitrarily, you can always add more than 1 extra Japanese character. I think you might put less pressure on yourself with this character’s portrayal if you have more Japanese characters to practice with in general.) 

- Marika. 

When Off-Setting: Aim for Average

Seconding the above with regards to this villainess’s story and your motivations for this character, but regardless of her story I think it’s also important to look specifically at how the Japanese teacher character provides contrast. 

I agree with the choice to make her a regular person and not a superhero. Otherwise, your one Asian character is aggressively Asian-themed in a stereotypical Cool Japan way (particularly if her villain suit is samurai-themed & she wears wafu clothing every so often). Adding a chill person who happens to be Japanese and doesn’t have some kind of ninja or kitsune motif will be a breath of fresh air (well, more like a sigh of relief) for Japanese readers. 

A note on characterization—while our standard advice for “offset” characters is to give your offset character the opposite of the personality trait you’re trying to balance, in this case you might want to avoid opposites. You have a villainess who is a cold, tough “don’t need no man” type. Making the teacher mild-mannered, helpful, and accomodating would balance out the villainess’s traits, but you’ll end up swinging to the other side of the pendulum towards the Submissive Asian stereotype depending on execution. If avoiding stereotypes is a concern, I suggest picking something outside of that spectrum of gentleness to violence and making her really boring or really weird or really nerdy or a jock gym teacher or…something. You’re the author.

Similarly, while the villainess is very traditionally Japanese in her motifs and backstory, don’t make the teacher go aggressively in either direction—give her a nice balance of modern vs. traditional, Japanese vs. Western sensibilities as far as her looks, dress, interests, values, etc. Because at the end of the day, that’s most modern Japanese people. 

Sometimes, the most difficult representation of a character of color is making a character who is really average, typical, modern, and boring. 

- Rina

[frenchgremlim1808]

Why Midori is such a breath of fresh air or how to actually write a Villain.

So the awaited essay, the winner of the FrenchGremlin polls of laziness finally has come! It took some time but it’s finally over. If your choice didn’t get chosen that’s okay! I’ll repost a new poll with old and newer options. Please reblog this one i put a lot of time in it, it's like, five pages long over a silly goose. Also sorry for the grammar i sucks and i'm not native. So let’s begin:

(also here is the link to the video format)

So first let’s make things clear, What IS a villain?

“A villain is a character whose evil actions or motives are important to the plot.” That is why I do want to make a difference between a villain and an antagonist, an antagonist is a character who are a plot devices that creates obstruction to the protagonist. That means that a villain is forced to be an antagonist while an antagonist is not forced to be a villain. For example shin is an antagonist but not a villain, he is driven by selfish desires which are themselves fueled by fear anger and loss, he is the protagonist of his own story and is a sympathetic character despite it all, and Midori is just a bitch. Midori falls under multiple stereotypes of villains. Such as “the mastermind”, “evil incarnate” (lmao),”related to the protagonist” etc. Midori is evil, there is no denying in this, he is purely evil, and he doesn’t have a sad weepy backstory, he doesn’t feel empathy towards other, he is a despicable piece of shit who ruined so many lives. I won’t list everything but here is a list of his crimes, murder, assault, domestic abuse, grooming, verbal abuse, and torture, crimes against humanity lmao, stalking, violent crimes, and participation in a cult. And his worst crime is being a pussy bitch of course. So now that we have put the bases up let’s really begin.

Hollywood has a hate boner against villains and I hate them for that.

Recently Hollywood decided that pure evil bad guys is actually a bad thing, so now they decided to do stupid side story with them, to give them ”””depth””” since I guess how could we like those villains since they are bad. A great example of this is the Disney remakes which I loathe so much oh god I hate them. So first they did a maleficient it was okay honestly, then they did a freaking cruella movie where her mom gets killed by Dalmatians, that’s not a joke, in the peter and wendy movie that nobody saw they decided to have made the captain hook be a lost boy who was abandoned by the lost boys and peter, oh also they decided that PETER CUT HIS HANDS OFF AND LEFT HIM TO DIE BECAUSE HOOK WANTED TO SEE HIS FAMILY. They are going to do a freaking mufasa movie, in no time I can’t wait to have a Ursula movie where it’s discovered that ariel killed all of her family in cold blood or something’s. So you might say what’s the problem? I mean isn’t that supposed to make the story more interesting. No, no it doesn’t, because first they take all of the character personality traits and throw them in the bin, second they are supposed to be the vilain in a musical animated movies, I am not against complex villain, I love them, but by doing this, the original character doesn’t exist anymore. Just create original content with new interesting characters instead of doing stuff like this. Also it’s kind of funny than in all of those interpretation they take all the fun and sucks it out, what do I mean by fun, the gayness, Disney vilain are fun because they are camp, they are fabulous extravagant extra in all the ways possible, and that’s the reason we liked them. Not every character needs something super deep, like “my family was burned down at the stake and my dog was eaten by my ex”, sometimes we just like bad fun people, they are the story, and Hollywood hating them so bad just bothers me a lot. Also now the new thing is to not have a villain at all which can works in some narrative but not all of them, it gets boring after a while. In the past people were angry that villains are bland, but now I kind of miss it. While I will critique villains who have no purpose outside of being evil that’s dumb, like for example Voldemort is bland like white bread because his only motivation is being evil, but evil people do exist compared to what some Hollywood writers think, they should know. So that’s why I will put a difference between evil villains and villains whose only purpose is being evil; we loved Disney villains but they still had motivations, goals, reasons that to them a least were worth everything. World domination isn’t enough, why do you want world domination, what is the true reason deep in your heart, is it an inferiority complex, is it a savior complex fuelled by xenophobic beliefs.

That is how to write a pure evil villain, evil people exist all over the world, but I have never seen one who doesn’t have they own reasons to be so bad, it doesn’t excuse their actions nor really explains them. We do not want justifications we want explanations. If you are justifying evil behavior then do it, but don’t claim that it is a pure evil character. A pure evil character can be fun, can be interesting, he can be deep, it’s all about balancing all of their traits to truly make them greats. Which is why midori succeeds while current villains fail. Current stupid remake/spin off try to justify the behavior because they feel like this is what the audience wants, but it’s not what we need. So I will defend to the grave evil villains.

Creating an evil villain doesn’t make them boring guys.

Why the heck does big budget movies have either the blandest protagonist or the blandest villains sometimes both, like I said evil people do exist but comically evil character only works in satire not in a serious multiple millions of dollar movie. Example that boring ass avatar movie, the one with blue people, none of the characters are interesting the villain is one note. The lords of the rings also suffers from that, but I don’t care because the protagonist are so awesome that sauron being personality less doesn’t matter. Also sauron is more of a force of nature villains so it’s not the same. The recent kingsman movie has a bland one note villain, there is nothing entertaining, funny, about him he’s just evil, borrrrring. Every Disney remakes depiction of the characters are boring. I just feel bored out of my mind. Atla one of my favorite shows of all time has a main villain that’s kinda one note, Ozai, but he is actually intimidating guy, azula is the superior character, but I wouldn’t consider her a villain she is an antagonist though. I honestly don’t get why Hollywood thinks that just creating a character with no personality and whose only goals is to be evil is good.

So back to midori for a second, here is my question, when midori was on screen did you ever feel bored? Never right! Because despite midori being an evil character he has an actual personality, he’s fun, you want to punch him in the balls. Because midori has other personality traits than evil, midori is petty, childish, extremely intelligent, controlling, a natural manipulator, he is a trickster, he doesn’t seem to get some social norms, he is narcissistic, easily angry, and fears death etc See how I counted a lot of traits, traits that in other character would works, midori has positive traits, and I think that is the best thing nankidai could have ever done, midori has traits that a regular person could have. Which is why if I put midori in any settings his character would work.

Example, instead of a death game the cast is under the sea to discover the insane wildlife and supernatural stuff happening, what would midori do in this situation? Well he would very passionate about finding all of what’s happening, he’ll do anything to find out, even sometime sacrificing others, not only will he try to find what’s happening, but he is also going to try to find a way to make this discovery favour him in the end. Or let’s imagine it’s a vampire situation, where a vampire attacks  the city, midori would try to stop it, not because he cares, but to experiment on them to get their biology and finds the real secret of immortality since he fears death.

Here is my second advice, after creating your character try to imagine them in another completely different situation, like normal life, or a fantasy world, ask yourself the question what would they do in that environment? If you can find a real complete explanation of their actions then yes your character has multiples dimensions if not try thinking about it again. Some example of questions I do want to point out are some like “if my character had all the power in the world what would they do first or”, “if my character had only a day left to live what would they do”

Why is Current media incapable of creating good threats like bruhhhh.

Okay so first of all let’s talk about stakes in a story, let’s say you are watching a slasher movie, slowly the cast gets slimmed down and people die in horrible ways, that should set stakes right ? Well if the villain is an absolute buffoon who makes the stupidest actions and decisions in the world, you wouldn’t feel intimidated at all because despite what the filmmaker might try to say the plot armor will NEVER make a character intimidating. It’s just like a detective character who just seems to know everything without a thought, well you won’t really fear the character failing. Worse is the the final girl, who is for some reason always escaping the slasher guy by pure luck every time, she is shown as incompetent but still she survives, which make the villain seem completely incapable so now you feel nothing.

To avoid this filmmaker often use techniques such has unpredictability, I mean good I mean good ones, for example instead of immediately seeing whose going to survive because the black guys always dies first and the virgin white woman is the last survivor, change the status quo, make us think that this character is obviously safe while they actually aren’t at all. Or actually make them menacing by SHOWING to the audience how horrible dangerous they can be. Which is why SHOW DON’T TELL is so important, telling us how dangerous someone can be only to see them get beaten to death at the end of the movie makes us feel nothing.

Midori felt like a impossible person to beat, he is smart, had twenty plans in advance, even in situation where the cast felt like they might have a chance he was always armed, just like the gun he promised to use or the rocket punch. When they felt like they were finally advancing, he put obstacle in their ways, such as the collar game or the moment he put the collar on explode mode for  ranmaru. The entire point in the murder game was to make time pass, it took a long time for the cast top realize that this whole time they were losing precious time not realizing that the dummies were the real problem. The characters that made you feel the most hopeless were the dummies, if you won by killing midori they would die, but if you lost you might lose people you love (keiji or gin). It felt hopeless because they were no solutions in the end. That creates tension so that creates stakes. If we were told how dangerous unpredictable sou was then it wouldn’t hit the same, we are shown that he is that terrible. There is a scene ingame where bbg shin ai tells us that midori tortured and like to destroy people. That’s exposition so TELL, but do you why it works, because we are SHOWN before his behavior. Midori felt unbeatable, so the fact that we were shown his weakness such has his petty behavior, hatred of minors, and fear of death, for the first time it feels like there is a chance that we might survive this. And still after he isn’t shown has an incompetent buffoon, he is one, but the narrative doesn’t show us that he is.

What is also consider is good to make the audience feel actual stakes is to first really develop well the main characters, how can we feel worry for a character if we don’t know them, the audience need to feels emotional connection to the main cast to actually care. You can use things such has moments where there is nothing special happening just character talking getting to know them. Make us feel why we need to care about them possibly losing, instead of being indifferent. Or I don’t know maybe make an entire spin off game where we get to have the cast talk to each other and seeing dynamics between character that died early to get them a chance to shine and make their death even more tragic, or even make mini episodes of characters who only got a single chapter to show off their characteristic, to get us to know them better? But that’s just a silly idea of course, wink, and wink.

My favorite thing about Midori is that he is actually pathetic, like really pathetic, but weirdly realistic?

Midori is the most pathetic character in the cast, yes more than shin, shin is leagues less pathetic. No I’m not saying that midori is not intimidating or scary, I would piss myself if I saw him. He’s a scary guy. But if you look at him more closely you can see that he is a baby brat in a big boy suit.

So let’s start by something clear, Sou Hiyori clearly displays antisocial behavior, or in common terms he is a psychopath/sociopath, this illness is very badly seen in medias, I am not saying that people who lacks empathy like him are inherently bad, he is, a lot of people with antisocial behavior actually suffers a lot and have a difficult life. Sou real issues is not his antisocial behavior, it’s his narcissism and god complex. Sou feels the need to HAVE CONTROL over others, he like the feeling of being in power, he sees the rest of the world has beneath him, toys for his pleasure. He says that he “really like humans” because despite it all he seems to put himself in a different categories than regular people, they are beneath him. When he loses control his calm and cool behavior disappears and we see his true face, a grown man who has throws a tantrum like a baby. One of the best representation of this is midori views on the cast:

Midori hates kanna, like no jokes he has beef with her, a fourteen years old, actually he has beef with a lot of people in the cast. Midori views emotional people has weak, people who are loving optimistic as beneath him and useless. He preferred when sara was cruel and horrible, that’s what he loved about her, he liked seeing her scary emotionless side. But Kanna, kanna is everything he hates. A crybaby who not only puts the group in harmony, is a source of hope in general, is the reason he near got to have closure with shin (killing him), he views kanna as “not fun shin”. We have many proofs for this, if you type the word kanna kizuchi he says this: “Poor Kanna'd weep! I think a more worthless name would be better for someone like me” He mocks her, but also himself (I’lll come back on this later), he calls her worthless. Also in the electric charge minigame, when he can choose who to shocks he chooses two people in particular, kanna who he hates and hinako who ruined his fun by giving the cast a chance in saving ranmaru. But he does also says mean spirited stuff to other people, qtaro and gin. He also says some sarcastic comments about nao and joe, saying that it’s such a shame that they died so young. But you might say why kanna especially? Because he is a petty baby who is jealous of kanna, Yes jealous, of kanna, a fourteen years old. Because he feels like she stole his hubby wubby shin away from him…. God I hate him. And you know what that make him a pathetic idiot, after the scene where kanna beats his ass, he’s all mad and like “uhh I’m going to pout I wanted you to cry like a lot, now I’m gonna cry”. An that’s actually god, because it humanize him, he wants need thoughts, he isn’t one note, and that’s the most important!

Sou is a villain but before that he is a character, a fully developed character, and THAT’S WHAT MAKE HIM GREAT, Sou works because he works realistically, I mean if you forget the robot part, it’s easy to imagine a narcissist man child who needs to feel in power towards other, so his main prey are young vulnerable people.Which leads me to my next point:

Sou is a failure like really, and we aren’t sad for him.

Sou failed everything he worked on, he failed to get the paper from alice, he failed whith shin since he had to leave earlier than he thought he would leave, because of his mistake he lost his position in the death game, then he failed to kill gin or keiji, and then he died like an idiot losing his cool and acting like a toddler. And he knows it that why he is a bit self-hating (he should be). And yet none of us feel any sympathy towards him, why? Because sou is one of the most despicable guy in existence. He is a disgusting pervert, sadistic asshole, and abusive narcissistic cunt who thinks he is better than everyone. From the bottom of my heart I hate him sooooo much he is literally the character I hate the most in existence. He abused shin, ruined keiji’s life, traumatized the entire cast, literally assaulted sara like he physically assaulted her. He mocked nao and joe and kugie life as useless. He is an obsessive jerk AND I HATE HIM. And you know what…… It’s good. Like I actually feel a lot of emotions when I think about him, he fuels me with anger and disgust, and if your characters can make me feel that much rage then you did it, you created an actual perfect character. Hiyori is such a shit person that I think about him a lot, writers shouldn’t be scared to make a character such hittable assholes, example bojack horseman in bojack horseman is the vilest man on earth and I love it, because I genuinely hate him. Just like I genuinely love kanna, like really I really love her, I in the same time despise midori so bad. We hate him because he is horrible to good people that WE KNOW AND CARE ABOUT, not random npcs. There is a lot of… disgusting implications in his story with shin that I will not talk about it makes me really uncomfortable right now. SO HERE IS A VERY TACKY TRANSITION TO TALK ABOUT WHY I HATE JUNKO FROM DANGANRONPA.

Junko is boring, that’s it, she is boring, not funny not interesting, she is a fetish, she is the biggest Mary sue on earth, she is a gross character made to make fun of people with disabilities and queer people. Her only traits is being crazy, that’s it. I wouldn’t call midori that crazy actually, he’s methodical calculated, and precise. Crazyness is a term for people who aren’t in control of their actions and delusional about reality, sou is not crazy, he knows what he is doing, he is in full control, while characters like shin should actually be consider crazy, like shin is actually crazy but sou isn’t.

Conclusion:

Sou is a breath of fresh air, because nankidai had the balls to write an actually interesting deep and threatening character AND make him a villain. He didn’t fall into the trap of making him have a sad backstory or good motives, sou is just selfish, that’s all he is. He make him a fun entertaining guy who you absolutely hates, he made him threatening and at the same time a complete doofus. He made him humane and pathetic.

But the thing that make me love nankidai the most is this

The fact that he actually killed him that takes courage as a writer to just end a character THAT WAY, which is why midori will never come back alive he is forever dead. And that take a lot of talents as a writer to just take one of the most important characters and just get him drilled to death in the anus, like dammn nankidai you are a savage. That fact alone makes him one of the best characters in game, I hate him as a person, but has a character he is a masterpiece.

Though Kanna could solo him

this was posted as a video on my blog this is mainly so people who don't want to stay there reading a 24 minute video of my stuttering can have a bit of quiet

[ape-apocalypse]

There's been a lot of talk about Mae since Kingdom's release and she seems to be the character most people are split on, especially with the ending. After much pondering, here are my own thoughts about her, the alternate ending that almost was, and her path in upcoming movies. Spoilers ahead!

Straight to the point, I liked her character. In a lot of ways, she reminded me of Caesar. Her entire goal is focused on protecting humans no matter the cost to apes, much like what Caesar did to protect apes from humans. She has a no-nonsense determination to complete her mission and she doesn't trust apes, even Noa who she spends the majority of the film with. I watched Kingdom thinking it was odd that there was no real bond between Noa and Mae but I think that was on purpose. Though they both rely on each other to complete their individual missions and they concur that Proximus should not have access to what is in the vault, they don't fully trust each other. I know some people are upset that she brought a gun to her final meeting with Noa. Honestly, I don't blame her because they don't trust each other! 

Freya Allan revealed in a recent interview that the goodbye scene between her and the chimp was originally filmed differently. "In the scene that I shot, Mae was going there to kill him because he scares her. His intelligence scares her. Mae doesn't want to kill him, but she feels she has to... Originally, you actually see her pull the gun on Noa, but his back is turned to her. And so you think, 'Oh my God, is she about to shoot him?' Mae is crying as she's doing it... and then she doesn't. The minute he mentions Raka's name, she puts the gun down. But then in the edit, they wanted it to feel more subtle, and I honestly way prefer what they've done with it. It's so much smarter and really allows you to think more... so it becomes a very emotional goodbye, one with tragic, lingering doom."

I'm really relieved that they changed the ending. If she had actually drawn the gun on Noa, especially when his back was turned, I would have been pissed. But the ending we received, with an almost old school Western stand-off between two opponents, with them actually debating if this town - this planet - is big enough for the both of them, I think it perfectly sets up the tension between humans and apes heading into the next movie. 

Now I do wish they had done something to make her a little more sympathetic to hating the apes. There is the briefest mention that Proximus' apes killed the other humans she was traveling with but it's really glossed over. I wish when she and Noa were making the plan, Mae had mentioned the group again. Maybe that someone she cared about was killed or just how vicious the attack was and she saw terrible things. First, this would have connected Noa and Mae more because of the attack on Eagle Clan and the death of Koro, which Freya Allan confirms: "Proximus' apes killed her camp, similarly to Noa's, which is what's so bizarre about it". Second, it would have made Mae have some personal stake in the downfall of Proximus. This clearly was the intention because Allan says in defense of her character's actions, "She's gone through so much, she's lost all the people she cares about, which was a large part of how I justified everything she did." The backstory was there but a few extra lines would have made her thoughts clear and perhaps gotten more of the audience on her side. Allan elaborates that she even "...created a backstory that her parents had also gone off and tried to do the same mission, but they never came back and presumably died". I'm not sure if they were worried about the already long length of the movie that they felt the need to leave this out but I really wish they had added in even a few lines that would have allowed people to empathize with her.

Regardless of how she was portrayed in this movie, I'm already starting to theorize for the next film (with the hopes that Disney will announce its approval soon!). I think the next movie will have Mae fully on the side of the humans in her base/bunker and whoever they connected with. She completed her mission in Kingdom and there will be a new mission to recover the planet for humans that she'll be part of. She will be fully invested in it but something will change by the end of the film that will make her want peace between apes and humans. Then she'll spend the third film in the trilogy helping Noa to find a way to end bloodshed between the two species. 

There is a little part of me that wouldn't mind a female bad guy, because there hasn't been one in any of these films, even back to the originals. But honestly, I do want to see Mae and Noa reconcile and become friends and partners. Who knows, maybe Dichen Lachman's character Korina (the human in the hazmat suit who comes out to greet Mae at the end, who I adore in the TV show Dollhouse) will be the leader of the humans and the main villain of the next film, satisfying my wish for a female baddie? That would leave Mae free to have a redemption story where she helps Noa and works with him to protect apes from whatever the humans are plotting.

[prying-pandora666]

On the Disconnect Between ATLA and LOK: Or Why Reactionary Centrism Ruins Everything

I’ve made it no secret that I’m no fan of LOK’s writing for a number of reasons. But today I want to focus on only one issue: its politics.

I am baffled as to why LOK is seen as being the more “woke” story. Just because the protagonist is a buff brown woman with a female love interest (only implied until the comics, really)? This is such an incredibly shallow reading focusing only on aesthetics and ignores the actual content and philosophies LOK espouses.

But let’s not get into religion, iconography, the effects of colonialism and westernization etc, or we’ll be here forever.

Instead let’s just focus on the politics.

The Forge

Part of the disconnect between ATLA and LOK are the cultural conditions in the USA when both were made. The forge from whence they came was quite different.

Avatar: The Last Airbender

ATLA criticized imperialism.

If this show had been made during the height of Manifest Destiny, or during our super fun times illegally annexing territories (like Hawaii), it would’ve likely struggled to tell its story as well as it did. It would’ve been far more controversial and likely would’ve needed to take a more “centrist” approach, making it seem like imperialism isn’t “all that bad”.

It might have even come out and said that it isn’t imperialism itself that is the problem, but that Sozin to Ozai were big mean dictators that did it the wrong way!

But because ATLA came out in the 2000s—during a time in which the world had widely come around to thinking imperialism is kinda some super villain schtick—it was easy for the story to focus on the perspective of the victims of such campaigns and tell it from this point of view.

We don’t get long segments of feeling sorry for Ozai, now do we? The closest we get is Azula, who herself serves as a victim of this war that has consumed her childhood and deprived her of a safe, loving environment in which to grow and develop, instead having been groomed into a living weapon for her father and nation’s war machine.

So now let’s compare this to LOK.

The Legend of Korra

What does the first season of LOK cover? Collectivism, social activism, civil disobedience escalating to acts of violent defiance against the state.

What was going on in the USA in 2012 when LOK came out?

Occupy Wallstreet.

Socialism vs capitalism, the 99% versus the 1%, civil rights and equality; these are all issues we are still grappling with today. They’re highly politicized and divisive. There is no universal agreement about them.

And so LOK had no “safe” villain or “evil” ideology to combat. Instead it had a complicated and widely divisive topic to tackle that was contentious then and continues to be today.

As a result? Too much time is wasted equivocating.

Both Sides Are The Same! (But Not Really)

We get some soft worldbuilding early on in Book 1 of LOK showing how the infrastructure of this city is built to benefit benders and box out non-benders, but this is never given real focus. We SEE how the trains and police are dominated by earth/metal benders, we SEE how factory jobs employ lightning benders, while non-benders live in the slums which subject them to violence. But none of this is ever the focus or the point.

Almost as if the show is afraid to make a real critique from the perspective of the working class or an oppressed minority group.

Instead the story quickly falls off a cliffside as every tired old pejorative thrown at communists is recycled for Amon.

His sympathetic backstory is a complete fabrication meant to hide that he is actually part of the oppressor class.

They pretend to be the powerless oppressed group, and yet have the funding of the richest industrialist in the city?

The rich industrialist is a member of this supposedly oppressed class but really he’s just a secret villain looking to change the world for his own personal reasons and not to protect his fellow nonbenders (these same accusations are thrown at Jewish people re: Marxism).

There are no sincere attempts to communicate their grievances sympathetically or build a coalition or garner public support. Instead The Equalists only use violence, fear, and other oppressive silencing tactics.

The desire to make everyone equal by “stealing” people’s individuality. (The old “make everyone equal heights by cutting tall people’s legs down” chestnut).

And more!

This is kinda bonkers propaganda if you’re looking at it from a left-wing perspective, right?

And it seems weirdly incoherent if you’re trying to look at it from a right-wing perspective, especially with Tarrlok standing in as the villain “on the other side”.

But it makes PERFECT sense as an enlightened centrist horseshoe-theory piece that can’t commit to either side and has to warp and undermine its own story to fit a “both sides are wrong” message. Heck, it’s so heavy handed it even made Amon and Tarrlok brothers!

This is the problem that plagues all of LOK.

Look at the other villains too!

Amon: Civil Rights Activist or Bad Faith Opportunist?

Amon

Pretends to be: A civil rights activist for an oppressed minority group.

Is actually: A bad faith actor whipping up a small or non-issue into a much bigger one and convincing people to turn on each other for his own personal gain/revenge. Once defeated, the problem disappears.

Electing a non-bender somehow makes everyone happy and the problem is never addressed again. Just like electing Obama ended racism! Oh wait…

Unalaq: Spiritual Environmentalist or Environmental Satanist?

Unalaq

Pretends to be: A spiritualist concerned about the environment and the spirits. Basically Al Gore meets Tenzin Gyatso but willing to start a civil war over it.

Is actually: An occultist weirdo who wants to fuse with LITERALLY SATAN and usher in 10,000 years of darkness or something, and willing to start a war over it.

In an attempt to make a spiritual foil for Korra, who struggled with the spiritual parts of being the Avatar, the story took a weird turn and made a choice widely regarded as “fanfiction on crack” by having Unalaq aspire to become “The Dark Avatar”.

But it’s okay, you see, because while Unalaq’s criticisms of waning spirituality and lack of protection of holy sites could be seen as a knock against environmentalism, by the end Korra recognizes that Unalaq had a point and that the spirit portals should be left open.

So why exactly did Unalaq want to be the Dark Avatar and usher in an era of darkness? How was that supposed to resolve the problem he presented and Korra ended up agreeing with?

It doesn’t, and once again we are left with a contradictory centrist message of “protecting the environment is good but you should be suspicious of anyone that actually advocates for it”.

Also thanks for demystifying the origin of the Avatar and ruining the original lore for where bending came from with your Prometheus/Christian allegory. Ugh.

Zaheer: Spiritual Guru Fighting Against Modernity or A Charismatic Dummy Who Learned Everything About Anarchy From a Prager U Coloring Book

Zaheer

Pretends to be: An anarchist seeking to bring down oppressive regimes, therefor resetting the world to a more egalitarian time

Is actually: An idiot who doesn’t even know the difference between an ancom and an ancap and has no coherent ideology. He just wants chaos, I guess, which isn’t whah anarchy or anything is about.

Perhaps realizing they messed up so badly with Unalaq that even the creators were unhappy with the results, they attempted the spiritual foil idea again with Zaheer.

This time they actually had a writing staff which makes this season the agreed upon best of LOK.

But the tip-toeing around making any actual criticisms and falling back on the “both sides are bad” cop-out are only exacerbated by how uninformed and nonsensical Zaheer’s actions are. Not unlike Amon, he takes none of the steps an actual activist would take. He never even speaks to the people of Ba Sing Se to find out what they need or want. He just kills their leader, announces it, refuses to elaborate, then bounces and lets the city tear itself apart in the power vacuum.

It’s an entertaining spectacle! Just like his later torture of Korra is visceral. But none of it has any real substance to support it and so the horrific acts he commits feel like senseless edgelord tantrums.

Even Bolin knows it. Once Zaheer is defeated, Bolin shoves a sock in his mouth, therefor cementing Bolin as my favorite of the Krew for all time.

Kuvira: Literal Nazi or Literal Nazi but she didn’t mean it!

Kuvira

Pretends to be: A fascist, putting people in labor camps and uses the equivalent of an atom bomb to crush her enemies under heel in the name of unifying the continent under her control.

Is actually: All of those things but she had good intentions! She just went too far! Give her a slap on the wrists because her and Korra aren’t so different, you see!

Perhaps the most bizarre writing choice was to make the fascist the only truly sympathetic villain of this series. The reasons become quite clear, however, when we recognize one thing.

Yes, she’s styled after the Nazis.

Yes, her actions in modern day are more reminiscent of Russia.

But who is the only nation to have ever used a weapon of mass destruction on the level of the atom bomb? The USA.

And here is where the unwillingness to make a bold criticism or take a hard controversial stance is the most apparent.

Kuvira acts like a fascist and has a lot of Nazi-vibes, but she is also a grim reminder of the USA’s own imperial history. Of our flippant use of a horrifying technology that still continues to have consequences for the descendants of the victims even today. It is one of the worst violations of human rights and decency in history. And the USA is the only nation to have ever actually used one.

So if you ever feel it’s weird that Kuvira was arguably the worst of the villains but got off with only house arrest and a happy ending with hugs from her family? You’re not alone. Kuvira has to be “not that bad” or else you’re critiquing the USA itself. And that is a level of controversy this franchise doesn’t seem interested in dipping it’s toes into.

It’s the reason they equivocate and justify by having the Earth Prince step down and choose democracy. This isn’t an East Asian ideal. This wouldn’t have been a popular or virtuous choice in that time period. Many would’ve regarded it as tyranny of the majority, or a disorganized chaos without a consistent central authority.

It’s only seen as the perfect solution in the Democratic West. So you see, it’s not so bad, because at least we have democracy! We aren’t as bad as Kuvira who really isn’t all that bad either! Or so the narrative tries to apologize for itself.

And this is even more apparent with everyone’s problematic fav!

Varrick: How Elon Musk Wants Us To View Him vs What Elon Musk Wishes He Was

Varrick!

Is presented as: A quirky, funny, Tony Stark-esque genius who made a mistake and deserves a redemption!

Is actually: A war-profiteer willing to escalate tensions and shed the blood of his own people with no remorse to make money. Also he builds the equivalent of the atom bomb for Kuvira and her allegorical Nazis. But he gets a happy ending with a weirdly westernized wedding anyway!

Isn’t it telling that the villain who is written to be the most loveable and sympathetic is, in fact, the capitalist industrialist?

And not like that yucky evil industrialist Hiroshi Sato funding the Equalists and their civil rights movement.

No, no! Varrick is the good kind of industrialist! The kind that is non-political and mostly cares about money and inventions! After all, he only built a weapon of mass destruction for the Nazis, not the civil rights protestors!

Which brings us to…

Our Civilized Poverty vs their Savage Poverty!

And hey, that’s fair because look at the differences between Republic City and Ba Sing Se!

Sure, both had destitute populations starving and without proper shelter due to the disconnected elite leaders who didn’t care about their plight.

But the homeless people of Republic City are presented as jolly and helpful and never state a single grievance even as they live in a tent city underground! Everyone knows that democratic poverty is better! Therefor Sato was totally unjustified in funding an equality movement!

The poor people of BSS, on the other hand, are victims of that mean old non-democratic Earth Queen and later of the power vacuum left by her assassination, therefor their plight is ACTUALLY horrific. Kuvira may have been bad but she and Varrick are justified because of the unAmerican conditions!

Looking at it this way, so many of LOK’s problems fall into place. It perhaps serves as lesson in not tackling complex problems with the intention of a clean solution unless you’re willing to take a controversial stance and stick to your convictions.

I don’t think the creators intended to make a libertarian criticism of every social movement and apologia for capitalism and fascism. It’s just a sad reflection of what is and isn’t controversial in our current society. Divorced from actual morality or perspective.

What a waste.

This Post Brought To You By: Viewers Like You! (or: Check out this thing I made)

All that said, if you want a well-written and more adult take on the ATLA universe, check out the Kyoshi and Yangchen novels! F. C. Yee doesn’t pull any punches and perfectly balanced the darker, more visceral elements an adult story can have, with expert worldbuilding and humanized characters that feel believable even when they’re in fantastical situations.

Or if you want more ATLA instead, kindly check out @book4air: A project creating a pseudo Book 4 using both the official comics and original materials, fully dubbed, orchestrated, and partially animated by industry pros who happen to be fans!

Some comics are getting rewrites too, so whether you love the comics and want a fresh take, or hate the comics and want a change, we are doing our best to make this accessible for everyone including people with disabilities who may not be able to enjoy the originals.

Check out our first episode here!

If you can afford to, consider supporting us on Patreon! Every episode is expensive to produce and we are a bunch of broke artists. Some which don’t even have consistent or reliable housing. Any little bit helps.

If you can’t, no worries! You can still help by spreading the word so our videos can overcome the YouTube algorithm.

With all my love for this franchise and its fandom, I hope you all continue to enjoy your favs regardless of my criticisms.

[corvusalbus93]

Wish Rewrite

Once a year my aunt and her family come to visit the rest of us and we do something together. Her little daughter really wanted to see the new Disney movie, so we all went with. I have thoughts, but everything that needs to be said, probably has somewhere and that’s not why I’m here.

Just for fun I started to come up with two complete rewrites, however. One is committing to Magnifico as a sympathetic antagonist, by fleshing out his backstory and motivations more. The other is him being a more classic villain, along with the earlier concept of his wife being evil as well. Still working out the classic villain version, besides there are already several rewrites based on that premise from what I’ve seen, so that version I upload some other time, if I find the time to write it down.

One other thing to note, I feel Asha should have been a princess; of all the callbacks to classic Disney movies that would not have felt shoehorned in, how was she not a literal princess. Her family is half Iberian, half North African? Okay, Magnifico is from Iberia, we change Amaya’s design a little and have her be from Northern Africa, done. Now we can cut out grandpa and mum, who really didn’t do much in the movie, the conflict gets even more personal and we have a bit more time to flesh out the characters.

Wish with a Sympathetic Antagonist

Let’s start with the backstory:

Once upon a time, a region on the Iberian Peninsula suffered under a horrible drought. The citizens begged for rain, until one night a star fell from the skies, to which the people felt drawn to. It seemed like their prayers had been answered, as even their deepest wishes began to manifest in close enough proximity and people figured out, the star’s power could also make them come true. But not all wishes were benign. Some people were suddenly forced against their will to love another, others became incurably sick as if cursed, others yet wished for power and soon fought those with the same ambitions. Or to claim the star for themselves.

A young Magnifico left to find a way to stop this madness and save his home, but when he returned a sorcerer his country had already gone up in flames and was completely devastated, all but abandoned. He trapped the star in a crystal, vowing to safeguard it until he found a way to be rid of it for good. Since the star is sentient, he was unwilling to simply destroy it (that’s more of a last option), but people were literally going mad over this power, so something had to be done, or other kingdoms would suffer the same fate. He moved to an island in the Mediterranean, but people found their way there, feeling drawn to the place, because the star’s powers were not completely concealed, it’s too powerful, more so than Magnifico actually, and even wishes still manifested as the orbs we’ve seen in the movie.

Magnifico kept the star itself a secret, and decided to collect the wishes, carefully granting only those he deemed safe, without dooming the island, haunted by what had happened to his home. It borders a bit on paranoia, like when seeing a wish, his first thought is “how can this be harmful?” and more often than not, he comes up with a scenario in his head, where even a benign seeming wish has some horrible consequence. He honestly doesn’t like fulfilling them, as a selection process is usually unfair in some way or another, aside from being time-consuming, while granting everything or the wrong thing could lead to disaster. Plus, he only has very limited control on how the star fulfills the wish, which means that in some cases the star acts like a monkey’s paw. Like you wish for money, but there is a difference between finding some hidden treasure in your backyard or your parents suddenly dying and leaving it to you in their will.

The star isn’t a malicious spirit though; it simply does its thing, granting the wish, but just like water, seeking the way of least resistance. It doesn’t have an understanding of good and evil. Best Magnifico can do is find specific enough wishes, or use his own magic to make them specific enough, so the star has less room for catastrophic interpretations. When granting wishes he does it as a show, and he knows how to put one on, to keep the people happy/content, so they let him continue his work in peace, rather than beg for every little thing, and pretends like it’s his magic doing it, to preserve order. He’s worried that if he loses control, or others learn of the star, everyone will go mad over this power again.

Still, he loves the adoration he receives. He was too late to save his home country, he failed in what he set out to do, when he first became a sorcerer, but here not only does he get to use his powers for their intended purpose, but is also celebrated for it.

However he needed help. After all, now there was a country to run; not his area of expertise, so Magnifico reached out to the nearest realms. He eventually made friends with a king/sultan in northern Africa, who helped him build his island into a proper kingdom and soon Magnifico fell in love with the sultan’s daughter, Amaya. Lucky for him she was also quickly smitten with him and after one of his visits returned with him to the island as his wife. Rosas soon thrived, developing into a trading hub, Magnifico could focus more on the star again, even began collecting other dangerous artifacts for safekeeping. And eventually, the happy couple had a daughter, Asha.

Now to the real meat, the actual story:

Asha grew up quite happy, but with very busy parents. They run the country, her mother actually being quite involved as well, to give Magnifico more time to deal with any magical problems that arise (and I very much include mythical monsters in that list) and his studies around the star. They still love her (and of course each other) dearly, but their parenting leaves something to be desired, in some areas.

Her dad, who is afraid of what will happen if he himself messes up, can be a bit perfectionistic and thus has little patience for his own or other people’s mistakes. That, along with him not trusting people that much (aside from his wife), leads to him having a “I know best”-attitude and a bit of vanity. Her parents do also have somewhat high expectations, when it comes to their daughter, teaching her early on how to act proper and starting to prepare her for role as princess and future Queen.

Let’s cut down the number of close friends (two or three will probably suffice), animal side-kick optional, and have the rest of the supporting cast be adults, mostly members of the castle’s staff, some of which spent more time with Asha as a kid than her actual parents. Now, once Asha is old enough, her father begins to teach her a bit of magic, something she was always fascinated by and honestly she just wants to spend more time with him. But since she’s still a kid she uses it in more playful manners, like concealing herself during hide-&-seek-games, which would also be a great opportunity to show Magnifico’s sillier and caring side. A scene to really show us that he loves his daughter and spending time with her, when he isn’t preoccupied with ten other things.

Once Asha becomes a teenager (still younger than she is in the movie), she’s ready to learn more and her father shows her what he’s been working on all these years. A spell that will banish the star back to the heavens. His work is almost completed; he only needs to figure out the final lines of the spell he’s been creating, one capable of overpowering the star, which has been able to resist his magic so far. Remember, he trapped it using a crystal, not via spell. He tells her what the star does, enticing people when they sense its presence, drawing out the deepest wishes to the surface until they manifest as one of those whish-orbs. Only then you can use the star’s power directly to make the wish within come true, though it’s not always certain how it comes true or if there will be a consequence, which finally explains to her why her father doesn’t make more wishes come true, something that had always bothered her as a kid.

The orbs are also the reason why most adults in the kingdom seem complacent, as many are simply waiting for theirs to come true during one of the ceremonies. They haven’t forgotten their wishes though, just lack the drive to pursue them, but returning them to the people is fruitless anyway, as soon enough the wish only gets drawn out again. So, they need to be kept save; destroy an orb and the wish within is destroyed as well, forever, and that’s when they forget. She now also understands why the star’s room was always so alluring, despite only know learning about it; until now, she, like the citizens, thought it was Magnifico’s own magic.

In addition he warns her to be careful, when she studies, as there are plenty of dangerous books that either hold unsafe spells, evil spirits, or harm those using or even just reading them. They are locked up in their own room for a reason, no touching, better yet, don’t even enter that section. Asha is certain she can hear something whispering, before he closes the door again, but hopes she’s imagining it. When she asks, why he keeps them in the first place, he explains that there are saver here, than out there in the wrong hands. He sees them as a similar threat to the star, so he collects any he finds. Unfortunately, destroying them would only unleash the powers held within, which could be devastating, so it’s a problem he can focus on, once the star has been dealt with. He tells/teaches her, in case he should not be able to finish his work in his lifetime and needs someone he can trust to continue in his stead. He doesn’t want to pass this burden on to her, but he has to prepare for that eventuality.

Asha is determined to meet all lofty expectations her parents have and continues studying, learning more spells and how her father managed to trap the star in the first place. Seeing her father continue to struggle with his research, even seeing him fail in sending the star back and literally losing sleep over it, Asha eventually gets the idea to wish for the star to return to the heavens (remember she younger in this version); surely such a simple wish won’t have consequences or will be fulfilled in a convoluted way. She also hopes that once the star is gone, her dad will finally be free from this burden, and maybe in the end both her parents will have more time to spend with their daughter…as a family. So, one night she sneaks out, to the room where her father keeps the trapped star, dispels the wards (using her father’s books/notes) and breaks in.

However, as she tries to draw out that one specific wish by force, so the star can fulfill it, she messes up. At first she draws out the wrong orb, as her deepest wish is technically her family being together, sending the star back is just a means to it. Which is also why she doesn’t use that orb; if the star fulfills that wish by making her father just forget or not care about the star, it would be bad for everyone.

Thus, she lets the orb float away for now, but as she tries harder, she accidently draws the star out of the crystal instead and it disappears into the night. Asha panics and is terrified to tell her parents, especially her father, as many kids are, when they mess up. Therefore, she gets her best friends to help instead and goes after the star, hoping to recapture it in another crystal before it can do any damage, or people go mad over it.

Magnifico of course is alerted about the break in and doesn’t suspect his daughter, because he can’t believe she would be that foolish (he hasn’t been around kids that much) and panics when not only the star is gone, but Asha as well. His conclusion is that someone, possibly another sorcerer, broke in, stole the star, and has his daughter as a hostage, because evil magic-wielders kidnapping princesses is kind of a thing in fairy tales. He begins his search, enforces a lockdown, so no one can come across the star or whoever stole it, and creates a spell-circle around the island, like a seal, so no one can enter or leave without his say-so. Amaya tries to calm him down, tells him how he’s rushing to the worst possible conclusions again, but he’s already having flashbacks to what happened in his home country, his family there, and now not just the kingdom is on the line, but his daughter…rational thinking is becoming difficult. He lost everything once already, and that was before he was a parent. He departs promising to get their daughter back and claiming that he would destroy the star before letting anything happen to her. Amaya flinches at that, since she also knows that the star is a sentient being, but knowing that in this state arguing with him won’t help, just reassures him in the calmest possible manner (despite her own worries/fears) that she trust him and has no doubt he’ll get Asha back safe.

Meanwhile, Asha and friends catch up with the star, which is granting wishes to random people in the countryside and it’s causing a bit of chaos. They even see what happens when an orb gets destroyed; one man grabs another’s wish and literally crushes it in a fit of anger, the other person suddenly collapsing, looking absolutely distraught, color draining from their face like they just lost a loved one. Asha uses some of the spells she knows to make them fall asleep, stopping them from fighting each other, hopefully until she can sort this mess out. But in trying to calm those people down, the star escapes again and the hunt continues. Her friends also suggest maybe just telling her father, because he is the expert in dealing with magical problems, but Asha is determined to handle this, to proof herself. And she’s still scared/ashamed for betraying his trust.

Magnifico arrives a bit later and wakes up the villagers, trying to get some information, but they can’t tell him much, other than the star passing through, and he has those altered by the wish-magic brought to the castle, so they can be fixed up at a later point. Right now he needs to find that star and his daughter. In the meantime, Amaya finds Asha’s wish orb floating in the corner of the star-room, and sees her daughter’s deepest wish, taken aback to see the three of them just united, though quickly admits to herself that they haven’t been the best/most attentive parents. And she starts to suspect that Asha was responsible for the break in, wondering how desperate she was.

Outside the cat-&-mouse game continues for a bit (probably a good place for a song & montage); star makes random wishes true, Asha fixes what she can, Magnifico arrives to see the aftermath. He’s getting ever more frustrated, because he can’t find the thief, the star or his daughter and he sees many rather selfish wishes having come true. There are also some actual positive wishes, like someone having recovered from a long illness, but since it hasn’t harmed anyone/is causing chaos, he doesn’t notice it.

Eventually, Asha catches the star and tries to get it back into a crystal she brought with her for just that purpose…but she can’t bring herself to do it, as during her pursuit she’s figured out the star isn’t merely some magical object, but a sentient, shape-shifting being, which is really happy to be moving freely again. Though as cute and friendly as it is, she’s certain it would be happier in the skies, not trapped and used by humans. Her friends by now are also convinced that the star is too dangerous to stay around, and they discuss how many of the good things it has done, could have been done without its magic. Still, Asha tries talking to the star and though it can’t talk back, it can communicate via shape shifting, and she finds out the star is actually scared of Magnifico, since he trapped it, and has always resented it.

Shortly after, Asha notices her father nearby, and uses her magic to hide them (call-back to the hide and seek games),because she feels so close to fixing this mess, and doesn’t want to confront him until she’s made up for her mistake. She’s surprised her spell was powerful enough, once he’s gone again, only to realize that the star helped her out. Asha now plans to sneak back into the castle and use her father’s spell herself, hoping the star trust her enough not to fight the magic like it did when her father attempted it.

Unfortunately, Magnifico becomes so desperate that he goes back to the castle, arriving first, and gets one of the really dangerous books out. He hesitates, but assures himself that the spirit bound within only demands a price from the person using it; better him than the entire kingdom and his family. Besides, it’s only for one night, if all goes as planned.

The spirit trapped within the pages demands to know what he wants, and Magnifico tells it that he needs the spells to summon the star stolen from him, and get rid of it. The spirit explains that this requires power; it will share its own with Magnifico, until the star is dealt with and as a price will take some of the sorcerers powers away. Magnifico hesitates for a moment, before glancing at a picture of his family that he keeps in his study and agrees. The spirit merges with him and they conduct a ritual, capable of overpowering and summoning the star. But it’s draining Magnifico both physically and mentally. His hair changes from greying to the pure white we saw in the concept art, and the spirit’s malicious side begins to poison his thoughts.

Since Asha is holding star, she gets dragged along with it, leaving her friends behind. Magnifico is shocked and disappointed, when he finds out his daughter is responsible for the whole mess and didn’t tell him, which then turns to anger, amplified by the spirit. Queen Amaya, who has been informed that Magnifico is back, joins the two, and noticing the change in her husband, tries her best to get through to him, getting between him and their daughter. Unfortunately, he locks them both up, before she has a chance to show him Asha’s wish, while he “fixes” everything, speaking with a voice that isn’t quite his own. The deal was to summon the star and then get rid of it, after all, and the spirit is intent on upholding its end of the bargain, acting very much like the metaphorical devil on Magnifico’s shoulder.

Locked in together mother and daughter have a much needed heart-to-heart, during which Asha apologizes for everything and explains why she did what she did. Her mother also apologizes for spending so little time with her and the pressure they put Asha under. Amaya shows her the orb she found and as they both hold it promises her daughter they will make this right together (hugs, tears, all the good stuff). Asha’s friends have made it back to the castle by then, free the two and together they go to get Magnifico back to his senses.

They find him in the library, where he’s preparing a spell that will destroy the star. At this point he’s so done with the star, with all of it, after wasting most of his life on that thing. It destroyed everything and everyone he cared about, when he was young, now its keeping him from his family, a constant threat that is stealing away his life, forcing him to deal with everyone’s wishes but his own (yes, he too has a wish orb, because he’s been closer to the star than anyone else and for longer…and different from the citizens he sees it daily, is constantly reminded of what he can’t have). He sacrificed everything to keep them all save and in return he constantly has to worry about people abusing the star, betraying him…even his own daughter. Magnifico doesn’t know what her true intentions were at this point and the spirit is whispering in his mind to keep him on track, also reasoning that destroying the star is the only way to make sure it can never cause harm again…and with all the resentments and trauma Magnifico has, he listens. It ends tonight.

 As he begins the spell, the star quivers and so do the wish orbs, causing the people they belong to (among them Asha herself) to experience pain. He does too, but fueled by the spirit he pushes through. Asha tries to reason with her father despite this, apologizing to him, reminding him how the star is a living being, but he’s dismissive, his voice even more alien to her and as she approaches he pushes her aside with magic, knocking her into one of the shelves. Her mum cries out, also trying to stop her husbands, but fares no better. He doesn’t even seem to care he’s hurting people, just coldly states that everything is better than have the whole kingdom burn down or worse countless others, should the star get loose ever again.

(You may have noticed the escalation of the “better x than y”-argumentation)

Amaya shouts to him that he’s hurting their daughter, which makes him hesitate just long enough to interrupt the spell. But it doesn’t last.

Meanwhile, a friend helps Asha back on her feet, but she notices one of the books she crashed into, the one containing the spell her father used to trap the star, which gives her an idea. At first she uses it to try to get the star into the crystal she still has, but Magnifico’s grip on it is too strong. So, desperate to save the people of Rosas, their wishes, the star, seeing her father so twisted that he’s hurting everyone he cares about, she heavy heartedly decides to trap him instead. She casts the spell, her mum hugs Magnifico, so he can’t raise his arms for a counter spell and a friend wrestles the staff from his hand.

Asha succeeds despite the pain she’s in and her father is now trapped in her crystal.

Asha tells the star that she will send it home now, not sure if it really understands, so gestures to the night sky to make her intentions clear. The star trusts her, thus doesn’t fight the spell as it did with Magnifico, and so, using her father’s staff, she sends it back to the heavens, reappearing in the night sky for all to see. This also causes the wish orbs to return to the people, as nothing is keeping them manifested any longer. Asha and Amaya also get to see Magnifico’s wish, before the orb merges with the crystal he’s trapped in…and it’s the exact same as Asha’s. The three of them together. Happy.

The people get their drive back, the kingdom turning into a much more vibrant place, in the weeks after, as people now strife to fulfill their dreams on their own. Asha keeps studying to help the people affected by the star’s magic and she vows to find a way to free her father from the corruptive spirit that has taken hold of him. Something she feels very much responsible for and due to the bargain the spirit won’t leave, since Magnifico wasn’t the one to deal with the star. Amaya is supporting her daughter, assuring her that this wasn’t all her fault, how all three of them allowed things to get to this point. Now it’s up to them to make their shared wish of a united family come true together.

It’s not an entirely happy ending, but sometimes actions have long lasting consequences. Sometimes it takes time to fix everything, you have to keep working on it and not give up. 

This would also keep the door open to a sequel, in which a now older Asha (pretty much movie Asha in age) could go travel, searching for a way to save her father and set him free.

[zepumpkineater]

And now my thoughts have fallen onto Hank. So many questions, where to begin? Who is he? Where did he come from? Why does he act so violently? Did he choose this path, or was it chosen for him?

All questions the Madness fandom has asked and, in many different ways, attempted to answer. Sad, angsty backstories of the loss of someone close, a rough upbringing or some kind of traumatic event.

And of course, we have the "canon" interpretation. The cold blooded murderer who has little to no regard for himself or others. No meaningful connections, no friends, loved ones, or goals to aspire to. Just a man who's really good at killing people.

And I will admit more often than not, I find myself using this interpretation for more Hank related or Hank-adjacent things, but that's not to say I haven't found myself exploring the deeper psyche of our dear protagonist, and wondering just what exactly makes him tick, so to speak.

There was a time I had actually subscribed to headcanons that made Hank more of a sympathetic character, someone to relate to and feel bad for, someone who cared for his friends and was simply bad at showing it. And while I do not challenge the validity of such headcanons, I find myself wanting to take a more...Ambiguous approach.

One of the more entertaining aspects of Madness Combat, at least to me, is the inherent ambiguity of many things. Project Nexus more or less confirmed a lot of the fandom's headcanons regarding several major characters, Hank being no exception. There have been a fair share of arguments regarding Hank's feelings to those who would otherwise be considered his friends and allies, namely Sanford and Deimos.

In a way, I enjoy how many people are discussing and debating just what Hank was thinking in the very moment he decided to betray the dynamic duo that we had just finished playing as for 1/3rd of the game, characters that we were able to easily establish an emotional connection to due to their bombastic personalities. Generally, the personalities of these two are largely uncontested across the greater fandom, but Hank's is always the topic of debate.

I enjoy this because well, it's kind of always been like this. Even in the earliest years of the fandom, there were arguments in forums and in newgrounds comments sections about whether or not Hank was the "good guy", and the debate rages on. It's endearing, much like Hank himself and the series he belongs to.

It reminds me of an idea I had, in regards to if I were in charge of a Madness Combat movie. Hank in particular is a character I would be eager to depict on the screen, to have the chance to depict his emotional ambiguity to an audience who had previously never experienced the character and his violent escapades.

I would intentionally create scenes that leave the viewer asking just how much of a consciousness Wimbleton truly has. A scene where he picks up a stuffed bear, battered and worn by years of neglect and exposure to the elements. He stops and stares at it for a moment, as if in some kind of somber reflection - before unceremoniously tearing the toy open to reveal a wad of bills inside, or some other useful item.

Was Wimbleton reflecting on a childhood lost, or perhaps the loss of innocence that now plagues his world? Or was he simply inspecting the toy in order to find the right place to tear it and extract his desired item?

I think if I were to depict the battle between Sanford, Deimos and Hank in the form of a film, I would have Hank fight in a specific way. Defensively, in order to introduce dual ideas. Does he fight defensively because he knows he's outnumbered, or does he not desire to maim and kill the duo as he does his usual victims?

Would he stab Sanford in the shoulder instead of the heart? A lucky miss, or perhaps a deliberate attack in order to avoid lethality? Is he truly fighting to kill, or does some deeper recess of his mind not desire to harm those he has fought alongside through the horrors of Project Nexus?

Would they notice it, would they see it that way, would Sanford and Deimos pick up on Hank's fighting style, or would the heat of the moment only allow them to view it as one thing: A desperate struggle for survival?

[gold-rhine]

about your ‘ppl saying to apologize to aventurine’ post. I’m glad you’re pointing out that everything he does with the ipc is the same as what topaz does—but she doesn’t get the same fandom treatment. I’d argue that she also has a tragic backstory since her home planet was destroyed, albeit it was all off-screen.

also, aventurine is not trying to do something heroic by revealing the truth of penacony/the family/the watchmaker. he is trying to destabilize penacony so the ipc can take it over. usual ipc business. topaz is slightly different by trying to do ipc business with kindness (that still is basically coercion) but the end result is essentially the same. we don’t need to ‘apologize’ to them at all.

I don’t even like topaz, but the double standard against her in this regard is really dumb :/

i personally thought topaz should be shot in the face in that belobog quest. and like. same for all of slaver amazon execs.

like "kindness"? where? she literally tries to do hostile takeover immediately, hijacking svarog and openly ready to fight the legitimate government. just bc she sent bronya her weepy letter about how it happened to her home planet too and bronya is an idiot enough to buy it, doesnt make her kind. like she doesn't tell bronya that failure rate of terraforming is like 40%. 40% chance planet will be made completely unlivable! she blackmails planets into slavery while selling them a dream of being saved, while this dream has 40% chance of failing! like! come on! thats fucking evil full stop

i agree that topaz doesn't get same woobifying treatment as aventurine where ppl demand u suck him off on your knees, but on the other hand, i never saw her get any hostility\questioning from either fans or narrative. at the belobog we can't question her really, she just makes friends with bronya like its okay and we're even supposed to feel bad for her bc she's so ~kind~ and she was demoted. like i don't think its a problem that topaz doesn't have fans demanding ppl kiss her feet.

i think hsr should not have touched heavy subjects like slavery at all, if this is how juvenile its gonna handle it. where like. slavery is bad when its done to our special boy, but its ok when he does it to actual planets, bc he's sad deep inside :( look at topaz piggy its so cute haha, ignore that she literally takes over planets. bc of the inherent contradiction between wanting to make antagonists bad and story have stakes, but also wanting to sell ppl these antagonists as hot and sympathetic you get absolutely insane mental gymnastics of like, ipc is evil but don't say it out loud, and also all slavers get sad backstories where they were once victims too, but we cannot directly confront them about what they're doing

[irenespring]

Rewatching both House and ER and I have been thinking about why I find House to be a far more sympathetic character than Robert Romano.

To be clear: I know House's behavior is horrible. He should have been fired. There is no moral justification for his actions. However, as my favorite history professor constantly says: "context is not justification."

Words vs. deeds: House says a lot of terrible things, but his actions paint a different picture. He says antisemitic nonsense, but it never alters his attitudes towards Taub, Wilson, and Cuddy. He says he will sexually harass Cameron and Chase, and definitely does sexually harass Cuddy--but he never touches them without permission, and doesn't want to date an employee even when Cameron really wants to date him. Romano, on the hand, engages in verbal sexual harassment, and then does act on it. He tries to get Elizabeth deported because she won't sleep with him. He tries to get any out lesbian fired.

Backstory: House is the main character of the show titled House. As such, though we don't learn a lot about him, we are provided insights into his past. A big part of helping viewers empathize with a character is helping them understand why he is like this. You get a sense of House's tragic backstory, and how that backstory forged him into the kind of person he is. Romano, on the hand, is never fully expanded on. All we really know about him is that he has a good relationship with his mother. There isn't enough data to understand, and thus connect, with his overall character. He was intended to be a villain, rather than an anti-hero.

Self-reflection: House is a terrible person, and he knows it. He hates it. When he talks about the world with patients (I've noticed this particularly in season 1) he sounds really fucking sad. He wants the world to be better, he wants to be better, but this is how the world works and therefore he can only present himself one way and stay safe. This self-knowledge makes him a more conflicted character, and shows he has empathy. He wants to change, but doesn't think he can. On the other hand, Romano is deeply arrogant, not superficially arrogant. He thinks he's the shit. He truly believes he is the world's greatest man and entitled to act however he wants to the "little people" as he calls them. This removes a certain depth from his character.

Show tone: House is a show about terrible people. Everyone is crazy in their own unique ways. The show is about looking at the good in those terrible people. In order to enjoy the show, you have to stop yourself from analyzing the morality of the characters' actions. ER, on the other hand, is at least supposed to be about good people (don't get me started about how the protagonists treat Kerry, and whether that actually makes them good people). People are supposed to be heroic. The characters face deep ethical dilemmas the audience is supposed to consider. This makes Romano's heinous actions stand out and force the viewer to analyze them.

Pain: House is in pain. He is in pain all the fucking time. When people are in pain, they are less patient, more likely to snap. There's a standard view that when people are in a huge amount of pain, they say things they don't mean. They try to hit people where it hurts because of how much they hurt. This doesn't excuse his actions, but does create further separation between House's words and his innate character.

Anyway both ER and House are good shows, but suffer from being from the early 2000s (or mid-late 1990s in ER's case). You should watch them! But yeah, Romano bothers me way more than House, who I think would be an interesting foil for Kerry.

[the-monkey-ruler]

Wouldn’t Wūzhīqí make a better dark counterpart/opposite to Wùkōng? Six-Eared Macaque seemed more like an evil What-If.

I do think there is a difference between a counterpart and an opposite. A counterpart is something that completes another person. and an opposite is a person or thing that is totally different from or the reverse of someone or something else.

Wuzhiqi sadly does not have a lot of lore around them to be a proper counterpart to Wukong, nor would it be fair to deprive them of their individuality for the sake of this story where the Six Ears is meant to be Wukong’s doppelgänger. Six Ears is an evil what if but that is what makes him the best counterpart to Wukong as well. Six Ears isn't meant to be the opposite of Wukong, he is meant to be his foil. Exactly like him in every way but choosing every wrong path to instill fear into Wukong of what he could be. Wuzhiqi rather is what Wukong could never be, which could be argued as a better 'opposite' would take away the impact of being a good counterpart.

Wuzhiqi is a great character but from what I have seen is more treated like a force of nature rather than a deliberate opponent. Wuzhiqi has a nature of chaos within them but it seems to be treated as a part of their nature rather than a conscious choice for them to wreak havoc due to any hubris or ego they might have. Not saying they that can't have that but it is just never explored enough to be anything concrete. It is very vague even on even what Wuzhiqi's crimes as they were mostly seen to cause flooding or bring trouble to sailers but it never seems to be out of malice but rather just in their nature as a water spirit.

Similarly, both Wuzhiqi and the Six Ears both do not have a connected past with Wukong. I think that there are too many disconnects to really hone in on how Wuzhiqi is supposed to be “evil” one, but rather I see that about is how Wuzhiqi could be seen as the “defeated” one. With Wuzhiqi, their story is set up that they were born to cause destruction while in the case with the Six Ears he is meant to show what Wukong would be if he kept choosing to be destructive.

This could lead to a different but still wonderful literary analysis about the difference between "born evil" and "becoming evil" and comparing how Wuzhiqi is framed to be a beast that is meant to be captured and contained and how this point of view is forced on Wukong in a similar manner. When Wukong commits a crime he is treated the same as Wuzhiqi where heaven's only goal is to capture and contain him. But where Wuzhiqi's story ends, Wukong's story is just beginning as he is given a second chance, proving that he isn't a mindless beast that needs to be caged but rather he is capable of self-reflection and understanding his actions have consequences. We get that deeper level of understanding and even humanity with Wukong.

Wuzhiqi isn't given a sympathetic viewpoint, but rather to be treated more as a flat character. While Six Ears isn't given a lot of backstory, we are given that he is a spiritual monkey. While he is undoubtedly mean to be Wukong's evil 'what if' he is still created in a frame that he is his own person, and thus has his own choices that he has made. He is meant to be seen to have the exact same tools as Wukong, and the same conscious awareness. He is meant to be the worst aspects of Wukong but only because he made those CHOICES to where he is. Six Ears is meant to show a Wukong that doesn't change his ways, and always chooses to do wrong when he knows better. Six Ears is unique in that he is always meant to show the worst parts of Wukong and while Wukong may NOT be like, he is it as a warning that he COULD be like that. That is what makes him a counterpart, showing all of Wukong's parts and he still is able to face the worst of himself.

Wuzhiqi could offer a different threat to Wukong but still in a similar way. The idea is that while Wukong isn't born "evil" such as the Wuzhiqi is described but rather that he has the choice to do evil. Wuzhiqi is never given an inner monologue or much of a backstory but we are given the idea that Wuzhiqi is a demon that was born out of nature and is doing what comes naturally, thus having Yu the Great having to come down to stop them. There is no hope for redemption for Wuzhiqi cannot change what they are, a flood demon.

Wukong on the other hand could be forced to face that he isn't the same. That he can't blame his nature for why he is what he is, and yes he is a yaoguai who grew up around other yaoguai, but he is still an intelligent and emotionally competent man who, in the end of the day, made his own choices that lead him to where he is. He chooses to be antagonistic and undermine heaven at every turn. Mostly done under impulsive choices where he didn't think it though, but he can't blame anyone else when he was the one that he didn't think his actions through. That is where Six Ears is meant to represent that side of Wukong that keeps choosing to make mistakes even when he knows better, but can't let go of his own ego or pride.

Wuzhiqi has the excuse that they are following their nature, but Wukong has to fight their impulses every day to do good. This could be a good point that Wuzhiqi could show what Wukong could never be, a mindless yaoguai who is a slave to their impulses and only looking for destruction. But because Wukong was never meant to be framed as such, as it would take away the impact of being a solid counterpart to Wukong. Rather he needed a foil character that is similar to him, another demon that is meant to represent Wukong's choices in life, rather than saying it was in his nature. To blame Wukong's nature for what he is would be taking away agency from his choices, and that is why Six Ears is meant to be a good counterpart by showing that 'what-if' side of himself.

At most the greatest similarity these two have is definitely how they are trapped under the mountain however, while Wukong was able to gain another chance and find redemption Wuzhiqi is still under the mountain and being guarded because they cannot change. It is because of that lack of agency that Wuzhiqi is given that they couldn't be utilized to the fullest extent to show Wukong's actions having consequences. They could offer a good insight into what a true mindless beast would be like and what stereotypes Wukong is forced to face with but there Six Ears offer more of that interpretation battle within Wukong of facing the worst aspects of himself that wouldn't be able to find within Wuzhiqi.

[solisaureus]

i’ll have to rewatch episode 6 cus i was so distracted hunting for di angelo easter eggs but i really liked it!! here are some impressions:

- (putting on bulletproof vest) lmm’s performance as hermes was fantastic. i was skeptical about the casting at first but he did a great job — i watched the ep with my brother, and he said he was worried that lin was going to “play as himself” and i think that was my concern too. but he didn’t! hermes was so interesting. he obviously knows way more than he’s letting on. he knows what’s going to happen to luke. watching the scenes with hermes with that knowledge in mind makes them hit so hard. so far hermes is the god who has shown the most love for their demigod child that we’ve seen so far, and that child is LUKE. this is in contrast to ares in the last episode who was talking about how much he hates his own kids, in contrast to athena who tried to have annabeth killed for embarrassing her, in contrast to poseidon who loves percy but has stayed away from him.

- it’s interesting that luke’s backstory and may castellan are being introduced so early. in the books you don’t find out about this until the last olympian. you (and percy) spend four books just absolutely hating luke for being an irredeemable scumbag, and THEN you (and percy) find out about his sympathetic backstory. but now we’re learning his sympathetic backstory before we even know he’s a traitor. this will change how we see luke’s character later on, and it will make sense why annabeth defends him so much when, from percy’s pov, he hasn’t given her much reason to. now percy will know what he’s been through, he will already be aware of the parallels between his life and luke’s. shrimpteresting

- the new added detail that it was poseidon who warned hermes to stay away from luke is FASCINATING to me. it greatly strengthens the foil character relationship between luke and percy. both poseidon and hermes had to watch their mortal children endure harsh and traumatizing home lives, and poseidon warned hermes that getting involved will make it worse. this explains so much about the gods “hands off” approach to parenting, and it seems like it’ll be reinforced when luke betrays olympus and percy doesn’t. luke met his father and will always hate him, percy has never met his father and is starting to come around on him. the fact that hermes TELLS PERCY ABOUT THIS is just. so much to handle

- percy trying to drive was very funny and the fact that he honked at the person in the garage killed me. he has inborn road rage, it’s in his new yorker blood

- i loved the way the iris message was visualized!!! it looked soooo cool

- okay don’t kill me but…i don’t think that the absence of the part where annabeth tells percy they’re friends in the zoo truck was that big of a deal. i was looking forward to seeing this scene at first, but honestly, in the context of where the show is now it wouldn’t hit as hard. episode 5 made it abundantly clear that annabeth considers percy a friend. they are already obviously loyal to each other. maybe it would’ve been nice to include that line in there as a nod for book fans, but in the context of the show it wouldn’t have been as big of a moment as it was in the books

- grover not giving a shit about the humans in las vegas was hysterical

- the fact that the solstice has already passed is an interesting development!!! i’m curious as to why they made that change. hopefully we’ll find out!

- overall i like how much plot and character development is being worked into the story along the way, instead it the side adventures just being wacky, “monster of the week” esque episodes. the waterland ep was very different from what it was in the books, but in my opinion it was much better. like i kept thinking that if the show scene had been in the books, and what’s in the books had been in the show, i would’ve been vastly disappointed. like if the books had annabeth realizing that sally jackson did so much to make percy compassionate, and that’s why he’s not like the cutthroat olympians, and she’d rather be like him than like them, and hephaestus empathizing with that message…and then the show cut out all of that just to make an awkward romantic atmosphere for percy and annabeth and just have annabeth scream about spiders…i would’ve been really disappointed. so yes it’s different from the books but in my opinion it’s inarguably better! and honestly maybe the spider thing will get worked in later 🤷

[clarythericebot]

How to Rewrite Wish

I made a chart! :) I'm not great at chart-making yet, but I wanted to make a visual description on the major decisions people who decide to rewrite Wish usually have to make and what those individual decisions connote. Mostly because I'm also thinking of making a Wish rewrite^^

Explanation of chart under the cut:

I think the most significant decision you make about a Wish rewrite is how happy the Kingdom of Rosas is at the beginning of the film, because that in turn limits the choices you have of the dynamic between Asha and Magnifico.

Here are the options:

The Kingdom of Rosas is genuinely happy - Asha is misguided and must correct her worldview - King Magnifico is a sympathetic antagonist. This would frame Magnifico's actions in the film as actually good (and there can be an argument about that - you're essentially trading your ambition for a lifetime of security and a *chance* to get your wish granted - even if you disagree with it) or, you'd have to shift the nature of wishes and Magnifico taking them to be less sinister in the film. This choice lowers the stakes and may paint Asha in a pretty bad light, considering that it'll be her actions that disturb the peace. However, this storyline arguably gives the most room for internal growth, and the stakes can be heightened in different ways (for example, the kingdom is happy, but the people dearest to Asha aren't). You can also make full use of Magnifico's tragic backstory here and what led up to the building of the city of Rosas in the first place.

The Kingdom of Rosas is a secret dystopia - Asha is correct and must find a way to correct other people's worldview - King Magnifico is a sympathetic antagonist. This is essentially the original's set-up, though it failed in its execution by never quite committing to its premise. I suggest, then, that people who select this choice double-down on it to avoid Disney's mistake. Make Rosas' dystopia-ness a secret, and not something someone could figure out if they thought about the kingdom's wish-granting system for more than ten minutes. Probably make it more sinister while you're at it--for example, one YouTuber added that taking away wishes drained your life force. Have Asha be determined to free all the wishes from the get-go, and to get people to rally behind her despite her doubts. And have King Magnifico follow through on his redeemable qualities (maybe pairing his need for control with his chaotic past). Also, Asha still needs to grow somehow. I think this is a good reason why many people seem to like making her personality shyer in their rewrites--her goal is to rally the people, and she just doesn't have the charisma of Magnifico. That's one example of a good internal and external obstacle for this plot line.

The Kingdom of Rosas is a secret dystopia - Asha is correct and must find a way to correct other people's worldview - King Magnifico is completely evil. The above, only this time, you make Magnifico an all-out villain who knows exactly what he's doing. The best way to do this is probably to cut out his implied tragic backstory, or to reveal later that he was lying about it the whole time. That way, you could lean into Magnifico's malevolence in a fun, classic Disney way without being hindered by the thought that he might actually have a point. You also now have the opportunity throw evil Amaya and their cat into the mix.

The Kingdom of Rosas is blatantly sad - Asha is correct and must find a way to correct other people's worldview - King Magnifico is completely evil. In this version, there is no chipper 'Kingdom of Rosas'--the sadness exists here without a facade, as a powerful sorcerer king forces everyone to give their wishes over by the age of eighteen to fuel his power and there's nothing anyone can do about it. It's a much sadder beginning, and you have Asha start in a position more similar to Cinderella and Snow White, but on a larger level. However, that could show her holding on to hope no matter what, and trying to save both herself and her people. I would also argue this is the version where having the Star Boy iteration of Star would make the most sense. While he's a definite possibility in all versions, in the other ones, the conflict is mostly focused on Asha and Magnifico. Because Magnifico in this case is a more flat character (in this case, all he has to do is be fun, like Ursula! Not much depth required in that) Star Boy can function as the character that challenges Asha the most--for example, how this Tumblr user suggests that Asha could've ultimately been pessimistic despite being desperate enough to wish on a star, and Star Boy coaxes hopefulness out of her. It would then be matter of working together to take down Magnifico.

I hope this helps somehow, if you're thinking of doing a Wish rewrite! I'm definitely not saying these are the only options--I just put this together as what I think would be the most logical conclusions depending on which Rosas you pick.

And if you're curious--

The iteration that appeals most to me is #1, mostly because At All Costs sold me on how Magnifico ultimately has good intentions (and the movie never takes that nor his tragic backstory back). I'd have his Asha be his and Amaya's daughter--who sees that the vibrant peace and prosperity of Rosas, the way people willingly give their burdens and their wishes to her father, and thinks, I want to do that. She, unfortunately, is not nearly as powerful as Magnifico (that's where Star Boy comes in). I'd have Asha and Magnifico then have twin desires for power, both with the best of intentions, and twin tendencies to be a touch arrogant. I'd also have Magnifico and Amaya be 100% devoted to each other--I know everyone is wishing for a Disney villain couple, but I for one would adore a good!couple that are in love years into their marriage. The book still plays a role in turning Magnfico evil, though it wouldn't be as permanent as the film. And I'd want the theme to be more blatantly the difference between wishing for yourself vs wishing collectively with others.

[11queensupreme11]

One thing that I adore about Sukuna and Hime’s bond was that from the minute these two met, this relationship was bound to end horribly. They were never supposed to have a good ending no matter how many times you try to look at it through different angles.

At first, it tricks you into thinking that they COULD have a hopeful future together if they evade the obstacles coming their way (ex: Junichiro, Suiten, the villagers, jujutsu society, etc.) so that they could be alone and finally be truly happy, making their own happy ending together.

But it just never happens.

The hard part to swallow here, is that it wasn’t even because of Junichiro that the pair wasn’t able to stay together and be meant for each other. It was Sukuna.

Bear with me here, let me explain.

Ever since I read the full backstory on Shisui back in the first book of “A Fish Out of Water”, I suspected that the relationship between Shisui and Sukuna seemed to act like a mirage.

I don’t know why, but it just struck me as fake no matter how many times I tried to reread the Shisui arc over and over again (I kept rereading to make sure I wasn’t actually overthinking).

Shisui was fine on her end. She acted like any good friend would do and was true to herself when she voluntarily stayed with Sukuna.

But that’s the problem. Unlike Shisui, Sukuna wasn’t acting like his true self.

And no, I’m not talking about the fact that he was being fake “sometimes” because he had his eating urges.

I’m talking about the fact that his humanity was never actually there to begin with.

We see his real self through some small glimpses LIKE the eating urges or when he had the sadistic idea to pour salt on his aunt’s soon-to-be lover when he was questioning him about the Uchiumi clan. Even the smallest things like stealing some snacks from some stands made him seem less sympathetic. His rude and uncaring demeanour wasn’t made up by the villagers’ cruel treatment to him. This guy just didn’t care from the start. Even when he was a kid, his aunt precisely stated that he wasn’t a normal kid. He learned quickly, he spoke correctly, he studied well and had control over his abilities which held a lot of potential for becoming a future jujutsu sorcerer. He did all of this when he was just a kid.

It always confused me how Shisui kept saying that Sukuna was kind-hearted and selfless, when he was none of those. None of his actions made him look like a possible good person but then again, this is Shisui we’re talking about. She speaks a lot with her heart and not with her head (like how she told him that she’ll still love him even if he was a curse).

So then, if Sukuna was never supposed to act like a real human despite being born as one, what made him act like one? Well that’s easy, it was because everyone around him was looking and acting like a human. (did u rly think I was gonna say Shisui??? omg that’s so cute-)

Shisui was the one who encouraged him to continue faking himself. That’s why his body was slightly physically different (ex: red hair, black claws, red eyes) but not too different to the point that he looked like a monster with four arms and eyes already. His body felt like it was stuck in the middle of his growth, not reaching his fullest potential but not being at his lowest either.

Ever since his birth, he was supposed to ascend and yet he didn’t because his growth got sidetracked by his aunt who tried showing him the rights and wrongs (basically taught him self-awareness and stuff that a parent should teach their child) of this world. Then, Shisui came and pushed that narrative of “showing sympathy and selflessness” in his agenda, slowing his growth process even more.

That’s why he still looked human enough back when he was a kid.

When he was older, that’s when things started to complicate for him. His body was sick of not receiving the food that he needed, so it began to retaliate and grow without his control (ex: the mouth that appeared on his stomach that one day). And after all that, Sukuna was still trying to keep it together. It was literally like dealing with a ticking time-bomb: you don’t know when it’ll set off but you just know that when it does, you better hide cuz that bitch will hurt.

That’s why Junichiro wasn’t the cause of Sukuna and Shisui’s downfall. He was only the one who discovered the bomb and underestimated it. Like a kid playing with a knife or a pair of scissors.

Sukuna secretly craves blood, fresh meat, and disorder. He doesn’t care about selflessness or caring. He only practises these two things with Shisui because “someone once said ‘If you love someone, you let them go.’”In the end, he was still pretending for the sake of pleasing Shisui, someone who has said she’ll love him unconditionally, someone who still wanted to be with him despite the fear and evil aura he emits around him, someone who has shown physical proof that he’ll still be loved without his human form when she started cooing at his stomach mouth, someone who he wants all for himself. He was acting like a selfless human because he thought that was what you were supposed to do.

Her death was the fire that set everything all up. Why keep pretending when the source of your pretending ceases to exist? Just let yourself go and grow up.

And that’s what Sukuna did. He literally grew up and reached his true form. There were no shackles or restraints anymore. He could do whatever he wanted without any restrictions or rules, HE was the one that ordered around.

He even said that he wished he would’ve ascended sooner in order to reach this form. (“WHO KNEW YOU WORTHLESS MEAT BAGS COULD TASTE SO GOOD?! I SHOULD’VE KILLED YOU ALL FROM THE START!”)

In the end, it didn’t even matter if Shisui had died on that day or not. He would have still eventually stopped himself from believing in his own crap and ascended. Because he secretly needed to AND wanted to.

When I finally read chapter 6 of Bloodflood and saw Hime distraught at the fact that she had truly lost Sukuna for good, I found it sad.

The old Sukuna would’ve understood her fears. He would’ve vowed to help set her free. He… he wouldn’t do this.

She finally got the message.

The Sukuna she loved was long gone.

When she died all those years ago, she had taken his heart with her.

Hime still does not understand that there was never even a sympathetic Sukuna to come back to. Sure, his human self is long gone, but it only grew to become an ascension. If Sukuna could do it all over again, he wouldn’t listen to her and try to set her free. Not at all. The thought wouldn’t even cross his mind.

Hime didn’t lose Sukuna. He’s right there still alive and breathing.

There never was a “selfless Sukuna”. It was all in Shisui’s head.

Her reaction felt like losing an imaginary friend.

there's so much i wanna say but i fear i run the risk of accidentally spilling something i shouldn't, so i'll just say this:

i REALLY love your asks, cocogum. they're always so deeply thought out and analytical.

i can tell just from this ask alone that you know my story well; you remind me a student prepping for a discussion for a book you're required to read for english class.

[piosplayhouse]

I don't have the capacity to read this whole article but I just discovered that for some reason it talks about CUM VILLAIN?!2?!)$! WHY DBWKDNK???

I'm just so baffled on why a. They chose scum villain when we're like . A single droplet in the fandom ocean. We have a fraction of a fraction of the influence of literally our next door most adjacent fandoms. The vast majority of people here are also fully grown adults with academic experience . This is not their first rodeo

b. SHEN JIU??? the guy who . NEVER is in a position to talk directly to the viewer because he fucking DIES BEFORE THE STORY STARTS???? This is especially funny to me because I'm not sure if they read the books at all but they mention Shen Yuan... You know ... Shen Jiu's biggest anti?? The guy who narrates the entire story and hates shen jiu's guts???? The one who is so explicitly clear on how much he hates the guy's child abuse that he literally rewrites a whole universe ??? That's the main plot?! Does. Does the author know that the Shen Qingqiu of scum villain's main story is quite literally an entirely different person than the "scum villain" Shen Qingqiu. This is. This is part of the main summary . You can't miss this. Shen Qingqiu is only ever portrayed as the hero because the one we follow is Shen Yuan.. Shen Jiu is most certainly not. How do you turn "this character had a sympathetic backstory literally 80% into the main story that was only fully elaborated on in the completely optional extras" into the audience eats up his child abuse ?!3)2;

c. WHY SCUM VILLAIN?? like .. the book that specifically forces its readers to think critically by blurring the lines between "villain" and "protagonist", doing everything it can to push people out of their surface level character analysis comfort zone that marks "protag" as "good" and "antag" as "bad"..? That to assign cookie cutter roles to complex characters is reductive and shows an arrogance that can lead you to completely misinterpreting a text?? Did you just pick it because it has villain in the title ?!)3 low hanging fruit???

Idk I didn't read the whole thing so maybe I'm wrong but I just saw this on the tl and thought it was baffling 😭 like why are we always misrepresented in journalism haven't we suffered enough after not having any official content for literally one of the main side characters for 7 entire years LMFAOO