#the pacing is masterful and the tension excellent

[spite-and-waffles]

Chapters: 7/? Fandom: DCU (Comics), Batman (Comics) Rating: Teen And Up Audiences Warnings: No Archive Warnings Apply Relationships: Talia al Ghul & Damian Wayne, Ra's al Ghul & Talia al Ghul, Ra's al Ghul & Damian Wayne Characters: Talia al Ghul, Damian Wayne, Ra's al Ghul Additional Tags: pre Morrison Talia, LoA Damian, The League of Assassins (DCU) Summary:

Talia al Ghul, who believes she left the world of her father and the League of Shadows behind, discovers that her father has been raising her son she believed died in infancy as an assassin.

Damian al Ghul, who has never met his parents before, is baffled when he finds his mother is nothing like he expected her to be.

[lkaruss]

An extensive KFP 4 rant (spoiler heavy)

So, Kung Fu Panda 4 was… an experience. It took about 3 glasses of whiskey to get through it.

There is so much wrong with this movie, from the pacing to lore breaking issues. However, this is an attempt at trying to formulate my opinions regarding the film, and explain why certain story decisions were detrimental.

My live reaction to the film:

The movie makes it clear right from the start that it was made for very young children. It’s filled to the brim with jokes. If there is a chance to make a joke, then there is a joke. Regardless if it's appropriate or if it hurts the story/lore/characters. In normal circumstances, this would be offset by the fact that the jokes are creative and unpredictable, but they aren’t. I would say most of them can be seen either from a mile away, or they just fall flat. I think I only managed to laugh once or twice when Po’s dads were doing something, but outside of that, the film couldn’t get a chuckle out of me. On the contrary, I found many to be cringe, and some even made me uncomfortable.

But why am I talking so much about the jokes? In the previous Kung Fu Panda films, the jokes were used to break tension. The way the seriousness of the story and the jokes were in harmony is what made those films so memorable and impactful. The story (and films) took itself seriously, but it would sprinkle in jokes that fit the universe, the situation, and most importantly originated from the scene themselves. 

Compared to this, the jokes in KFP 4 are, unoriginal, forced, and usually can be traced back to pop-culture. The last one being important as the original Kung Fu Panda films stayed away from referencing pop-culture as it would break the immersion and authenticity of the setting.

This ties into the ERA that these films depict.

Setting

Based on my limited understanding, the original films have done an excellent job at depicting a world that is supposedly set in an authentic ancient China. From the way names are handled, to symbolisms, everything was well done.

The same cannot be said about Kung Fu Panda 4.

I’m not an expert on chinese culture, but from what chinese friends have told me, „Juniper” city doesn’t sound Chinese at all, or has a meaning in Chinese. It’s essentially a Latin word for a common plant that can be found all over the globe.

The architecture of the city is also questionable. It’s trying to give off a metropolitan feel, which doesn’t fit the ERA. Additionally, the architecture of the buildings is odd. It’s like a mesh of the architecture of several Asian cultures.

Then there are some of the names. „Steve” and „Scott” to be specific. These are the names of some masters and I don’t think I need to explain why these don’t fit the setting at all.

I was constantly questioning what movie I was watching as it was hard to believe this is Kung Fu Panda.

Identity crysis

What made me question the film’s identity the most however is the story.

This 4th film felt like a 1st installment rather than a sequel. It conveniently disregards everything from the previous movies that would contradict its plot and world.

The film immediately starts with Shifu coming out of nowhere and saying Po has to choose a new Dragon Warrior at that very moment. Not only did this feel incredibly random, but it’s also thematically incorrect.

First off, why is Shifu saying this? Why would he want Po to pass on his „title” if it's destiny? Why would he want him to do it now? Why did he not even consider ANYONE FROM THE FIVE and instead got 5 randos as candidates out of the blue?

The issue with the whole premise is incredibly flawed. Let me explain…

Po was chosen as the dragon warrior in the first film. There he proved his worth as such. The key to this is that he is the chosen one because it’s his destiny to deal with threats that no one else can. 

This doesn’t necessarily mean that he is the best. He is the guy who is and will be in the right place at the right time, with the right tools to deal with threats that no one else can deal with. But I digress, it's a different topic.

The point is that Po’s role as the Dragon Warrior is his destiny. The „title” merely represents that role in the world. So you can pass the title to anyone you want, but that does not change the fact that due to destiny, it’s still going to be Po’s role.

This is not just a coincidence though. Po has shown many times that he has a very open view of the world. This is then combined with his traits of being is warm, outgoing, energetic, friendly, goofy, and unorthodox. He represents the Dragon, Yang in the Yin Yang.

All of this is important to understanding why there is only 1 dragon warrior, and that is Po. End of the story.

The film however completely throws all of this out the window and goes with the new Dragon Warrior plot anyway.

That means the new Dragon Warrior is literally right there next to him. Master Tigress.

Now you might be asking why that would be the case.

This film, although throws out all the symbolisms of the previous films, still shouldn’t disregard the other characters that are around Po.

The 2 characters work like the 2 sides of the Yin-Yang, as complementary forces. They are opposite forces that need each other in order to create balance. 

Her influence is extremely necessary throughout the three films, particularly the second and third. It is her companionship, her support, and her constant push against Po’s natural instincts that lead to the best outcome.

Po has achieved a lot of spiritual enlightenment and character development. A lot of it through his own means, but without Tigress he wouldn't be where he is right now.

The Yang is the strongest when it contains the Yin, and the Yin is the strongest when it contains the Yang.

But this dynamic goes both ways. Although we mostly see the effects of this relationship on Po as the films focus on him, it has also changed Tigress. This leads to her opening up more and being more expressive as the films went on, giving us glimpses into the compassionate person she truly is.

While symbolically she is not the dragon, the 4th film establishes that it doesn’t care about the symbolisms or anything that the previous films have established. So naturally a character that compliments Po this well,  should be put into the spotlight and get the character development that she deserves. A character that went through serious changes, but is still left incomplete. You might as well make her the new Dragon Warrior then.

She - altough deserved the title the most even in the first film - lacked the ability to see the world from a perspective that's required to handle certain situations. The Dragon Warrior is way more than just being the perfect warrior. Po's presence was necessary for her to change her attitude. Leading to her slowly becoming her best self. Knowing all of this, it's not such a wild thought that if there has to be a new person who takes over that role, then Tigress would be a great choice for that.

But what is there for her to learn from Po? Spirituality.

Tigress has always been a grounded, by-the-book character. This can be mostly attributed to her upbringing. Her changing and becoming more open, seeing things differently would have been something interesting to explore, and this would also take care of the issue of the „new trilogy” copying the original trilogy’s main character development.

However, the film completely ignores her existence, and the new Dragon Warrior is instead a random Zootopia fox.

The (new) deuteragonist

There is so little to say about Zhen. The best thing I could compare her to is an untreated wooden board. 

It’s rough, full of splinter, and there are many like it. Probably one of the most cliché characters I have seen in a very long time.

She is generic, has an overused „misunderstood fox thief” trope, and a character arc that is so predictable that we all knew what was going to happen just from reading the film’s synopsis at the beginning of 2023.

Her backstory is a copy of Tigress’ except if Shifu was evil. An orphan who is taken in by a master who emotionally neglects her. Said orphan doing what her master wants in order to be loved/accepted by said master. Except that Zhen doesn’t seem to have any attachment or loyalty to the Chameleon. So the „Sad backstory” fails to garner any sympathy towards the character.

Her dynamic with Po is non-existent, which is why their „friendship” is forced. The creators tried so hard to make the two bond, that they forgot to give them time, shared experiences, or anything that would resemble an emotional connection between them. They just quickly went over everything that they have in common in a dialogue and that’s it. There was no prerequisite completed that would make Po care about Zhen or vice versa.

Furthermore, Zhen doesn’t fit the traits that the dragon has, she is not spiritual either or has an open view of the world. So why is she the new one then?

And I wanted to avoid talking about this, but the character is a textbook Mary Sue.

per wikipedia

Zhen is more than capable in a fight to keep up with Po, even though it was not shown why she is so good at fighting. One thing is for sure, she shouldn’t know Kung Fu as she certainly didn’t learn it from her „master” the Chameleon if the film’s plot has any consistency.

She is not only able to manipulate Chi, but also to use Po’s staff without knowing anything about either of those.

A previous character’s role being retconned so that she can take it for herself (See the rant about the Dragon Warrior title above)

She always gets along with characters that matter, getting what she wants. 

No real character drawbacks.

A throwaway character like this, should be a minor support character, not the new main protagonist for crying out loud.

Her inadequacies are so blatant as a character, that no wonder they didn’t even want to have at the very least Tigress in the film as Zhen would immediately become irrelevant to the audience. They put all the spotlight they could on her, at the expense of the story, and in the end achieved nothing in return.

Tell me with a straight face that a character that has an entire movie focusing on them - who still remains a generic, boring character by the end, without any story potential - should be the new main protagonist. The fact that most people don’t even refer to the character by her name, but by the actress’ name Awkwafina should tell you everything about how memorable she is.

Most new characters and animal designs don’t fit the KFP art style.

A good example of this is Zhen.

This is how a fox would look like in Nico Marlet’s KFP style:

And this is what we got:

Sorry, wrong picture. I meant this:

Now, I’m not a character designer, or a professional artist, I only draw a couple of his characters, but I can see that this is way too far off from his work. If not from personal experience, then from the interviews that Nico Marlet himself gave.

The same issue applies to the villain of the film, the chameleon, but atleast with her they tried (somewhat).

The Villain

They say a film is as good, as its villain. This seems to be true in the case of this film too.

The Chameleon sucks.

She has no connection to anyone from the cast. She has no emotional leverage or pressure on the cast. She is not scary or powerful enough to make the audience care about the cast. Her motivation is so terrible, it might be one of the reasons why the Five was kept out of the film because their mere existence single-handedly demolishes her reason for breaking bad.

Outside of this, the character is unoriginal and uninspired. She basically can “lick” people and steal their Kung Fu? I honestly don't know how to put this into words because it doesnt make any lick of sense (I did the funny). If anything it's a budget version of Kai.

They didn’t even bother to give her a name.

What I will say though is that Viola Davis did what she could with what she was given. I found it amusing that she managed to give the chameleon those serious villainous vibes, while at the same time, the character is a joke. If that’s not a testament to the voice actor’s abilities then I don’t know what is. She was definitely wasted on this role.

As for the “returning villains”. I knew they were only there for cash-grab from the moment they said that all of them would return. Shen, is dead. He is not a Kung Fu master, he doesn’t have any connection with Chi, and he hasn’t been banished to the spirit realm. Then there is Kai, whose soul/spirit doesn’t exist anymore.

The only one that could ever return was Tai Lung. However, due to the gravity of his character, if he does return it has to be done perfectly regardless of what direction his character takes.

Now, many of us knew from the start that whatever they were gonna do with him would be bad (I mean there is a massive beef between Tigress and him, and yet she is not even in the film), but I think I speak for all of us when I say that they managed to somehow lowball it even worse than expected.

Basically, the Chameleon brings him back from the spirit realm, licks the Kung Fu out of him, he says like 3-4 lines, and returns to the spirit realm…. what the actual f*ck.

I’m sure I don’t need to go into a 10-paragraph rant on how much storytelling potential was wasted with this, because everyone knows. From reconciling with his dad, to her little sister having a crazy beef with him, to having to accept all the wrongs he did, accepting that he is not the Dragon warrior etc. etc. etc…

There was always only 1 chance of bringing him back. If he came back in a new film or show (again) it wouldn’t have anywhere near the same impact as it should, and it would also feel weird to the audience.

DreamWorks, you had 1 chance to bring this guy back, and you wasted it all on this film.

The non-existent magic system.

Or rather, how this film didn’t care about it at all.

Kung Fu Panda has a relatively grounded world. It’s animals that do Kung Fu based on their natural abilities. The closest thing we got to supernatural was Chi, but it was well handled in the 3rd film in my opinion.

Chi is life force and not magic. This means if you use it, you are exhausting your own life force. This means you would only use it in certain situations, such as healing someone who is mortally wounded, or perhaps to enhance an attack in a desperate fight.

The film doesn’t care about this and handles it as just a regular, inexhaustible force of energy. This can mostly be seen with Po as he uses it whenever he feels like it.

The other type of magic is what the Chameleon is using. It’s not explained, or shown how it works. It’s just there to further progress the plot so that the character can take the Kung Fu from others. (Seriously, how does that work?)

The Kung Fu action

The fight scenes were also a downgrade compared to the previous films.

In KFP 4 they felt less energetic, less grounded, and overall too cartoonish. As an example, Po can jump ridiculously high because… I don’t know, I guess the film just ignores the fact that he is Panda who sometimes even struggles to pull himself up to a rooftop. 

The previous films incorporated the strengths and weaknesses of the animals that fought. Po is not very mobile, but he is very durable, and his fighting style compliments this. However, when he really needs to get somewhere, his lack of mobility is then offset by his friends, the Furious Five.

The Furious Five

Their absence can be severely felt throughout the movie. That is because in their place was a generic character that had forced interactions with Po.

They have great synergy with him, that cannot be replicated, however minor their role might be sometimes. They serve as a great way to fill in those empty spots in the story, and to elevate the villain. Additionally, their fight scenes are entertaining and help to spice up the choreography.

Although they are great companions, if the film really doesn’t have the time to spare for them, then it's understandable if they aren’t around. However the same cannot be said about Tigress.

A Kung Fu Panda film has to have Po and Tigress interact, due to the reasons already explained above regarding her, and also because of the following:

They are direct opposites, which is why their relationship is so entertaining, regardless if you look at them as platonic best friends, or as a potential couple. 

Po is warm, outgoing, brash, energetic, friendly, goofy, and unorthodox, however, he is also serious when needed. While Tigress is introverted, calm, calculated, passive, and intuitive, but deep down she is also a very compassionate and conflicted person that we rarely see. This is then in conjunction with the emotional bond that the previous films have built up between them. These are the reasons why just putting these two in a room is enough to create entertaining scenarios. They add a lot of fun, heartfelt, and emotional moments to every film.

Whenever Po is facing a problem, she is right there to help him through it, whether by talking it through or by beating some sense into him (literally).

She has always been quintessential in Po’s development and motivations.

Memberberries, Memberberries everywhere…

It was jarring to see the film disregarding the existence of the previous movies to justify its plot, but at the same time heavily relied on tropes, and scenes from said films. I’m not kidding when I say that there were moments that were ripped straight out of them.

One of those moments is the standoff between Po and Zhen before the final fight. Zhen wants to stop Po to avoid him getting hurt, but the fight ends with her hugging Po….

Yeah… it was a blatant copy of the prison scene from the 2nd film. However, I think the 2 scenes here perfectly encapsulate why the previous films worked, and why the 4th film doesn’t.

The prison scene in the 2nd film was essentially an emotionally unstable Po being held back by a caring Tigress. Po is so focused on getting to the truth that he forgets the reason they are there, and would put his and his friends’ lives in jeopardy to know what happened to him and his parents. So much so that Po was ready to get beaten to a pulp by Tigress instead of staying down there and waiting until the Five finished the task.

But instead of that happening, Tigress saw how lost Po was, and realized she needed to calm him down to help him understand their situation. And so the person who has always been portrayed as an unfeeling, hardcore, essentially perfect warrior gave Po an unexpected hug and told him he is too important for her to lose him.

This moment has gravity and weight, because of how she is perceived, because of how Po views her, and because Tigress was forced out of her comfort zone to emotionally connect with Po, to help him. It’s a moment of pure comradery and care towards each other that ascends the situation they are in. It’s a moment that in many ways defined their relationship going forward.

In comparison to this, the scene that copied this in the 4th film has none of the emotional underlinings that I discussed, and so it falls flat and feels cringe rather than heartfelt and warm. This is mainly due to Po and Zhen having no connection, bond, or reason to care about each other. But then there is the other element that I discussed when talking about the villain. Po is in no real danger, and it never felt like he was.

Production

From the early leaks, it was blatantly obvious that the production of this film was rushed. Between the artificially forced plot, the generic character designs, the non-existence of the Five, the lack of time, money, commitment, and care was apparent.

However, due to an interview that the Co-director did with some folks on the subreddit discord, light was shed on the nightmare that was the production. I won’t go into details, as everyone should read the Q&A for themselves, but I’ll touch upon a point that was brought up as an excuse for this film turning out the way it did.

(this is a real concept art from the production btw)

Some are saying the reason the film turned like this was due to the budget restriction. That they simply didn’t have the money to have characters like Tigress return due to Angelina Jolie costing a ridiculous amount of money.

But then I have to ask: They had the budget for characters like Shifu (Dustin Hoffman), Po’s dads (James Hong & Bryan Cranston), Tai Lung (Ian McShane), who in the end turned out to be completely irrelevant to the story, but not at the very least for Tigress (Angelina Jolie)?

I’m not saying that you cannot make a story with these characters, because you obviously could make a great one. What I’m trying to point out is if you have such a limited budget, are you really going to blow it all on actors who play characters that essentially add nothing to the story? This is why I call bullshit on them not getting at least Angelina Jolie back to play Tigress. 

Let’s not even mention how you could always recast these characters anyway (although it's clear that the execs are the ones forcing the use of A-list actors).

So for the sake of the argument, let’s come up with a story, that has a reason to exist, has characters that you can do something with, and fits the budget that you are given.

For me - considering that this film was essentially a buddy adventure film - it's an easy task. Just have Po help Tigress explore her origins. I know it's cheesy and basic, but at the very least you have what’s needed for a decent story that would be able to expand on a beloved character, and even help develop Po into a spiritual leader as he has to aid her best friend.

Another idea is what my friend and I had come up with. Have Po bring Lei Lei (now much older, and is a student under him and Tigress) on an adventure. You wouldn’t even need Tigress to appear in the film, because these characters would reference her many times. Lei Lei is a copy of Po in the sense that she wanted to do Kung Fu because she puts Tigress on a pedestal. Because of how influential she was in her life, Lei Lei’s personality is a copy of Tigress’.

I’m just shooting ideas here, but at least these wouldn’t ruin the continuity of the franchise and would be able to navigate the studio limitations that the creators had to face. (from the ones we know of).

"Limitation is the mother of creativity"

KFP 4 was a shallow, artificial story that didn't add anything to the franchise, only degraded it and stripped it of it's remaining value. It's missing the foundations of a KFP film, such as the heart, artistry, and warmth. It's not unexpected as none of the original brains worked on this film.

So what can be expected from this franchise going forward?

Well, not much honestly. It was a weak attempt by DreamWorks to continue the main storyline, not for the sake of the story, but to milk as much money out of it as they can. Even though with a little bit of effort they really could have at least made a good film in the end. However, between the incompetence of the decision makers, the rushed production, and the new people not knowing much about the franchise, that was never going to happen.

The only thing that we can hope for is a spinoff (which is about a decade late at this point), that focuses on Tigress. It’s the only way I see anything for this franchise going forward and hopefully, this film served as a wakeup call for the executives.

Thank you to those who had the patience to read through my inessential rant. Let me know what you guys think about the film.

[linkspooky]

Hi! I love your meta btw, your recent posts reminded me that yu gi oh exist lol i used to watch it as a kid but I don't remember anything so I wanted to ask you what's the best watch order and (maybe) your general opinion about the various spinoff

Yu-Gi-Oh! Duel Monsters: I'd recommend watching this one first because every spin-off after this one either recycles archetypes, or subverts tropes from the original so it'll enhance your viewing experience.

Afterwards, the simplest is release order. GX -> 5DS are in the same continuity as Duel Monsters, and they have a crossover Film Bonds Beyond Time.

Zexal's basically a standalone it has no connection to the previous, but I'd reccomend watching it after Duel Monsters because there are a lot of references in plot and tropes to the original.

You need to have watched GX, 5DS, and Zexal to understand Arc-V because they reference settings and characters from the original series. It's basically every single Yu-Gi-Oh! Series fights in a Denny's Parkinglot.

You don't need to see any previous series to watch Vrains.

You need to watch Sevens before Go!Rush because the main character of Sevens shows up in Go!Rush, and Go!Rush is a prequel sort of kind of.

As for my general opinions and reccomendations, below the cut:

Duel Monsters is the original and sets the standard. I think the manga is better on this one because it acknowledges Death-T, which I think is crucial for Kaiba's development. He did more than just steal one of Yugi's Grandpas cards. The arc of the main characters Yugi and Yami with Yugi learning confidence and Yami unlearning arrogance is really good, especially in the manga where Yami starts out as a lowkey serial killer. Battle City and Duelist Kingdom are also two really good tournament arcs, Battle City in particular is probably the best Tournament Arc in the Series.

Yu-Gi-Oh GX! Is my personal favorite but it's a mess. I've once heard it described as "GX is two seasons of absurdist nonsense, and then a complete emotional breakdown." In my opinion there's a lot of good foreshadowing and buildup for what will happen in Season 3, and Season 3 is one of the best shonen deconstruction arcs especially of it's main protagonist in anything ever.

Honestly the worst part of Season 1 and 2 for me isn't even the pacing, it's that it recycles plot points from Yu-Gi-Oh! but less good. The Seven Shadow riders just do shadow duels because they did that in original Yu-Gi-Oh, there are three super powerful cards like the Egyptian God Cards. In season 2 there's a villain with a split personality like Marik, and the Genex tournament is really bad plotless meandering tournament arc compared to Battle City.

Season 3 is also masterful at utilizing things that were foreshadowed in the past 3 seasons, especially in regards to Judai's flaws which have been swept under the rug until now.

I think YGO GX is one of the best casts, and also one of the best at balancing screentime of its cast so characters show up when they're relevant and disappear when they're not relevant, and every major character has an arc. However, it's very much the Judai show, and if you're invested in a character that's not Judai you'll likely think your fave didn't get used to their fullest potential.

Yu-Gi-Oh 5DS has one of the best beginnings of any Yu-Gi-Oh series and it's excellent at building Fortune Cup -> Dark Signer and jacking up tension. Dark Signer, Barian Arc and Gx Season 3 are probably my top 3 arcs. I won't talk about it much because I don't want to spoil.

Season 2 is still good, and the ending is excellent as well as the villains, but the pacing becomes abysmal due to production issues. Carly and Aki are probably the two best female characters in all of Yu-Gi-Oh, and all their screentime and relevance gets erased. If you watch Yu-Gi-Oh for the duels, the relay duels suck and last 3 whole seasons and nobody gets to win a duel if they're not Yusei Fudo. As someone who really enjoyed Yusei in season 1, him becoming a perfect hero who always saves the day and never makes mistakes and never gets challenged signifcantly by the narrative because he's always right makes him super uninteresting. I want to clarify I think Yusei is still a character with depth and character flaws, but the narrative doesn't challenge him on this flaws. Aporia and Z-One do a lot to redeem Season 2 though and it ends on a real highpoint.

Yu-Gi-Oh Zexal is probably the highest quality Yu-Gi-Oh series overall, especially since there's no drop in quality ever it ends on it's highest point. Shark is probably the single best written character in all of Yu-Gi-Oh! and Vector is the best written villain.

I actually don't have much to say on Zexal because I don't want to spoil what's good about it. My only complaint is that it's cast is padded with way too many characters who do nothing. You could cut Yuma's entire friend group and lose absolutely nothing. The female characters in Zexal are abysmal too, the worst in any series. The characters with arcs though are all good and iconic.

It's also the only show that manages the ambiguity where none of the villains are actually villains, almost every single character has a sympathetic reason for what they're doing even the ones that are wrapped up in revenge plots. It gives a really interesting challenge to Yuma the pacifist protagonist who doesn't want to pick sides. Yuma's up there with Judai too in top ten protagonists.

Arc-V.... I think you can still have fun with Arc-V, but the Z-arc plotline just was not a good idea and it makes the show fundamentally flawed because everything from episode 20 onwards is built around the Z-Arc plotline.

Vrains has some solid ideas and themes. I especially love the emergent ai ideas that are present with the ignis and bohmann it's one of my favorite topics in science fiction. I've got two main problems number. I enjoy playmaker as a character, but much like Yusei I feel like over time he's not as challenged as character by his narrative. THough, the final season does a lot to rectify that.

Vrains second and biggest problem is that it plays it really safe after the production disaster that was Arc-V. Which means the first two seasons while enjoyable enough feel kind of by the numbers at times. The third season is amazing though, but it suffers from the series being cut short so it's only about 20 episodes. Still ending on a high note is always a good thing.

Sevens is kind of the closest to a slice-of-life Yu-Gi-Oh which makes it hard to compare to the other series. I do enjoy the main cast of characters, but to be honest it's really hard to get invested for me personally, when every arc is just "I hate Rush Duels. I'm going to try to destroy Rush Duels. Nevermind, Rush duels are awesome actually." Every. Single. Arc.

I'm only 16 episodes into Go-Rush and it's not finished yet, but my main take so far is: Yudias! Yudias! Yudias!

[romanceyourdemons]

it’s been a while since i enjoyed a film as much as i enjoyed let the bullets fly (2010). written, directed by, and starring jiang wen, the film follows the good, the bad, the weird (2008) in superimposing the spaghetti western genre onto the warlord era in the early 20th century through a black comedy lens. as in the earlier film, this film takes the fluidity of identity implicit in the figure of “the man with no name” and expands it to the center of the film’s psychological complexity and tension. the theme of what is real, what is false, and what is illusory but can still definitely kill you weaves throughout the film: virtually every character impersonates another character or is impersonated themself at some point. whether or not the impersonation is picture-perfect is irrelevant. identities—that of bandit, of warlord, of governor, of virtuous wife—are bought with gold or with blood, and the only way to maintain them is to hold up a watertight display of power through schemes and mind games. the film’s star-studded cast could not be more perfectly suited to the task. jiang wen, chow yun-fat, ge you, and carina lau’s masterful performances are the highlight of the film, as desperate, grinning liars whose honor or lack thereof is swathed deep in illusion but whose guns are unmistakably real. but not only were the performances excellent: the richly-toned, dynamic cinematography draws on the quiet yet fast-paced drama of spaghetti westerns, while the script presents an absolutely hilarious narrative shot through with open cynicism about the likewise illusory and opportunistic nature of revolutionary spirit, as well as ironic yet apt references back to the romanticized, dirty warlord times of liu bang and zhuge liang. limited in scope but vast in scale, ironic yet deeply moving, let the bullets fly (2010) is one of my favorite films i have recently seen, and i would highly recommend it

[sitp-recs]

Meddling, Menswear, and Magic - by @writcraft

Harry/Draco (2022, Mature, 18.7k)

Draco Malfoy is working in a job he hates and avoiding the magical world entirely, but he really is fine. When a bequest from Severus Snape brings Draco back to a much-changed magical world, he must find his place within it and navigate his growing attraction to Harry Potter in the process.

“Being unhappy seems like a good enough reason,” Harry says.

“Maybe I deserved to be unhappy for a while.” Draco meets Harry’s gaze and there’s a raw, open intimacy in it that makes Draco’s stomach flip.

I can’t believe I got obsessed fell in love with another fic as soon as I posted my 2022 wrap up, what is even my life 💀 I haven’t written a proper rec in 84 years and actually felt a bit anxious posting this but whatever, you only live once (or until Jan 3rd when I get back to work) etc etc. As a general rule I prefer not to rec ongoing Fest fics but I guess every rule needs an exception, right? I just didn’t want people to waste any time before checking this and closing the year with a single rec feels quite auspicious :) and maybe this will prompt MA to reveal themselves to me because I’m ready to kiss the ground they walk on

I’ve said before that my reccing process comes in waves and requires the kind of passionate frenzy that urges me to write while reading the fic, which I happen to experience very rarely nowadays. This only shows how much this story has affected me. Muggle Draco, found family, meddling Snape friends, coworkers to lovers, karaoke nights (!!!), master chef Harry, this fic has everything I adore and delivers every single detail masterfully, with heart and intent. Simply put, I am blown away. Not only by MA’s singular ability to reach inside my mind and tick my every box, but also by their build up and characterization skills, coming up with charming, fleshed-out characters and a delicious brand of playful banter that made my heart beat outside of my chest from their very first interaction at the Ministry. The unrelenting banter was so excellent and entertaining I could cry - I surprised myself giggling so many times imagining their faces while delivering those lines. Gotta love a sassy couple, peak romance!

The premise itself is unpretentious yet brilliant, bringing Snape back from the dead to articulate things and push the boys plot together. His presence is clever and powerful not only from a plot perspective, but also to help us understand a bit more about post-war Harry and Draco, as they take the responsibility for his legacy by continuing his research work. There’s a lot to unpack between Draco’s fierce loyalty and Harry’s resigned determination to see this through. But despite all the emotional depth, the vignette style, smooth pacing and light tone make it hard to believe this is almost 20k; it feels both longer and shorter, I’ve read it in one breath and was left aching for more.

The characters voices are also delight - this still snarky but also civil, restrained Draco offers a fabulous POV, and learning about Greg & Luna and about “new, older Harry” as perceived by him was an absolute joy. I’m desperate to know more about this Harry with his mellow and jaded persona, a tad mysterious and off-kilt but still lovely and lovable. I found him both charming and intriguing, in Draco’s own (again, top notch) assessment, a peculiar man indeed. And Draco is so thirst for him I could barely hold my excitement omg the tux fitting scenes are so deliciously laced with sexual tension! Their chemistry is off the charts and I melted alongside Draco at Harry’s intensity and single-minded focus. Trust me when I say the M rating is sexy enough!!!

On that note, something unique that I particularly loved about this story is how organically everyone interacts, characters often breaking tension at awkward moments with incredibly perceptive gestures or lines (e.g. the conversation with Ron or when Harry helps out in the kitchen on their first date). That made me feel even more immersed and close to the characters. Something about the way they see each other, open and tentative, gives the otherwise simple exchange an interesting nuance of tenderness and intimacy. Masterful writing 😔🤌🏼

Ugh, I can’t believe I found yet another 2022 favorite on the very last day of the year. I wish MA could have seen my face as I read their fic because I am certain the feeling of pure joy and wonder was written all over it. I haven’t felt this bubbly about a fic in a long time, it was the kind of story that gave me renewed hope to see 2023 as an open canvas, a year full of possibilities. Writing this rec took me over 45 min and nothing was able to wipe the smile from my face. I can’t thank you enough, my dear MA, for giving me such a special experience today of all days. This fic will always hold a special spot in my heart for it. Happy New Year!

Read on AO3

[black-arcana]

Every Lacuna Coil album ranked from worst to best

(Image credit: Cunene)

9. Shallow Life (2009)

Lacuna Coil’s fifth album was meant to be a critique on superficiality, but it fell flat musically. Missing the nu metal crunch of predecessor Karmacode and stripped of the opulence that characterised the band’s earlier material, Shallow Life meanders. Though it’s not a complete car crash (Spellbound is an obvious standout), it’s slim pickings.

8. Dark Adrenaline (2012)

Dark Adrenaline isn’t a terrible album; it’s just an unremarkable one. Meaty opener Trip The Darkness and a cinematic Intoxicated provide the highpoints amongst more generic, forgettable fare. There’s still little here we haven’t heard from the band before, however – plus that truly horrible cover of R.E.M.’s Losing My Religion misses the mark in every way. 

7. Broken Crown Halo (2014)

By the time Lacuna Coil released their seventh album, it felt like they had made the same statement at least three times in a row. The last release to feature the long-term members Cristiano “Pizza” Migliore  (guitars) and Cristiano “Criz” Mozzati (drums), Broken Crown Halo packs more grit and punch than predecessor Dark Adrenaline (Cybersleep and frequent set-closer Nothing Stands In Our Way are the highlights). Yet, there’s still no doubt by this point: the band were treading water. 

6. In A Reverie (1999)

Dreamy, doomy and gothic, Lacuna Coil’s debut has aged very well. Circle, To Myself I Turned and Glass Veins have lost none of their majesty and, while the Italians’ approach at this point is clearly indebted to Paradise Lost and The Gathering’s 1995 album Mandylion, Cristina and Andrea’s serene/raw vocal attack set this bunch apart right from the start. A promising beginning.

5. Karmacode (2006)

By the mid-2000s, Lacuna Coil had nailed their ethereal goth ways. So, it was a surprise when they changed gears with fourth album Karmacode, introducing a more mainstream, chunky, nu metal-flavoured sound with focus on melody. The move sacrificed much of their splendour and atmospherics, and tracks like The Game and Closer feel a tad too simplistic, but elsewhere, the band proved they had mastered a hook. Their excellent cover of Depeche Mode’s Enjoy The Silence broke them to an even bigger audience, too.

4. Unleashed Memories (2001)

Lacuna Coil’s second album is an elegant, slow-burning gem. You need to work a little harder to get under the surface of these songs, but once you do, there’s an abundance of gorgeous charms to discover. From the sumptuous and dignified Heir Of A Dying Day to a towering To Live Is To Hide, the still very Paradise Lost-influenced When A Dead Man Walks to the ornate Cold Heritage, the band were evolving at pace.

3. Delirium (2016)

In their post-Karmacode period, Lacuna Coil had settled into a safe, predictable groove. Then, with eighth album Delirium, they changed their methodology once again. On its release, tracks like Broken Things and Blood, Tears, Dust were dark and dripping with claustrophobic tension. They were startlingly heavy as well, helped in no small part by vocalist Andrea Ferro putting in some of his best guttural vocals to date. Foreboding, haunted and cold, it was the sound of a band renewed.  

2. Black Anima (2019)

Lacuna Coil’s most recent album finds them in fantastic form. Picking up where Delirium left off, the band have only continued to get heavier, leaving the generic, featherlight melodies of their mid-career slump far behind. Packed with atmosphere and highlights in Sword Of Anger and Layers Of Time, it’s not as stark as its predecessor, while the Exorcist vibes of Veneficium are definitely something they should lean into in the future. Whereas Cristina’s piercing vocals are dependably great, pushing her voice to new height on Reckless, the biggest surprise is Andrea,: unrecognisable from the band’s early days, his bowel-rattling vocals takes the band’s stylings to an ever more twisted realm.

1. Comalies (2002)

Comalies is the moment everything came together for Lacuna Coil in terms of aesthetics and sound, but also songwriting, which took everything up a notch. It was led by two excellent singles: the celestial Swamped and Heaven’s A Lie – which marries an earworm chorus with glossy, apocalyptic grandeur – and broke the band on MTV.

The opus is also a trove of emotionally-charged gems, with Daylight Dancer, Humane, Tight Rope and Entwined all deserving a place on a countdown of the band’s best songs. In 2022, Lacuna Coil celebrated the album’s 20th anniversary by rearranging and re-recording it for a retrospective, Comalies XX, adding a heavier, more ferocious slant to the tracklist. It couldn’t hold a candle to the original, though, which remains a goth metal classic – not to mention the band’s undisputed masterpiece. 

[redinbluee]

The development of Chainsaw Man and Tatsuki Fujimoto's writing (part 1)

Tatsuki Fujimoto is an talented mangaka who has written some of the most amazing works I have ever seen. A lot of people seem to undermine the complexity and seriousness of part one, most likely due to the fact that the story itself contains a lot of straightfoward humour and questionable sexual content that is difficult to be taken seriously... and also how a large portion of his audience are horny emotional trainwrecks who only read his manga to see Makima's ass.

Fujimoto is unafraid to be true and completely honest in his works, creating complex characters and a plot that defies typical shonen stereotypes. The general idea of Chainsaw Man is undoubtedly very shonen, but he has managed to warp his story into something that resembles more of a character drama which I think is refreshing and influential. I sometimes like to think that Fujimoto forced himself to insert the action into Chainsaw Man just to please the majority of the younger manga community while also labelling it as Shonen so it could be published onto a magazine as influential as Jump to recieve worldwide attention. But personally, I feel like Fujimoto does not excel at creating a plot that revolves mostly around fighting, action and adventure which are some of the typical shonen elements that are highly appreciated. In fact, I feel like the pacing and panelling in some early Chainsaw Man chapters weren't executed well. I especially have minor issues with the overly rapid pacing of, for instance- the beginning of Bomb devil arc (where I personally believe that Reze could have become a more fleshed out character despite the fact that she was putting on a facade for most of the arc- extending the period before her reveal by increasing the amount of interactions between Denji and her would heighten the tension even further, allowing her character reveal to be more dramatic and shocking. Not only this, although I love the idea behind the International Assasins arc - it wasn't executed as well as it could have been. It was just too chaotic and fast paced in my opinion, it leaves the reader very confused on their first read due to the lack of explanation and the constantly shifting of perspective in the panelling. Some of the earlier fight scenes in csm were also drawn messily, making it difficult for the reader to visually understand the ongoing action. Finally, I also think that some of the characters were just killed way too early, so early to the point where possible character development was unable to be executed.)

Despite these minor setbacks, Chainsaw Man part one remains to be one of my favourite mangas, not because it is flawless, perfect or anything like that. It was because of the characters. Makima and Aki were remarkable characters that are three dimensional and complex, and was- in my opinion, the characters that were the most interesting and fleshed out. Denji is a character who was meant to be laughed at, but underneath this lies a boy who has lived such a tragic life, you can't help but sympathise with him. I love Chainsaw Man because I have formed a deep emotional connection with it, a feeling completely separate from liking a story due to it's masterful writing and art. Writing characters is an area that Fujimoto excels at, he creates addicting, relatable, beautifully written characters that you simply fall in love with. This is an area that is in desperate need for improvement in works that fall under the shonen demographic. Fujimoto writes great female characters, he surely loves writing women haha. A lot of Shonen works have terribly written female characters who were only made to please the male gaze and add "diversity' to the cast- while female characters in Chainsaw Man are portrayed in a realistic manner, actually driving the story forwards and making impact. After Chainsaw Man part one, the popularity of this manga just continued to skyrocket. Fujimoto went on hiatus, producing Look Back and Sayonara Eri in the process. Below is a section of what Fujimoto wrote in his author's notes in "before csm" addressing his feelings while writing Look Back along with noting down some details explaining his struggles in pursuing art during his early years after the 2011 Tohoku earthquake.

"I went back to volunteer one more time after that. Then I stopped. This was because I was doing oil painting, which gets expensive, and I had to draw manga in order to pay for it. From age 17, that sense of powerlessness has always been following me around. Every time there was another tragedy, my sense that my pursuits serve no purpose at all grew bigger"

"Recently, I drew a manga called Look Back to try and finally vent those feelings. Oddly enough, once I drew it, I think I was able to process them a bit. Looking at this collection of one-shots now, In that state of mind, I remembered a lot of things. Not just that I would draw while feeling powerless, but also that I would draw while really hungry, and how I was always practicing art with my friends. It brought back memories so fun that I have to wonder why I'd only been remembering the dark things. Now I feel glad that I got to have not just Look Back collected in a book, but these one-shots too."

I assume that Look back and Sayonara Eri are works that Fujimoto have always wanted to write- stories that he wrote for himself, not to please his audience anymore (after his immense success in csm, there was no need for him to gain further attention) I'm so proud of him lmao. Part 1 of Chainsaw Man is influential, iconic and an amazing piece of work- but did Fujimoto really like his story? Did he force himself to write Chainsaw man? Part 1 felt rushed, a lot of the story was improvised and messy at times as a result of his crazy work schedule. I sometimes like to think whether the end result of Chainsaw Man was really something Fujimoto wanted to create? What would have happened if he didn't have to please his audience and work under this terrible schedule that influenced his ability to fully express his best work? Fire Punch was a less successful piece that is quite different from Chainsaw Man (which actually appears to be more conventional when comparing it to the obscurity of Fire Punch). Did he try to create a piece of work that appeared to be shonen just so it could be attractive?

"All mangaka wanted to do this job because they love sharing stories and drawing, but when you actually become a mangaka, you realize you need to handle everything alone. When working for weekly magazine, you just don't have enough time. The schedule is too intense, and you need to work as fast as possible. I always end up improvising some things during the inking phase to save time. I'd like to do both the characters and backgrounds myself, but this is so difficult I need to ask my assistants to handle the backgrounds".

This was what Fujimoto said when someone asked whether the suffering of Chainsaw Man's characters actually reflect his feelings:

"I never thought about it, but it's all definitely inspired by my own feelings. It might be the reflection of my daily routine. I work alone for a weekly magazine. It's incredibly difficult, and I don't want my series to get canceled, so I work non-stop".

After Chainsaw Man part 1, we had the opportunity to see two oneshots that were not created under the pressures of time and success. Works that once again, had such lovable, remarkable and raw characters that reflected Fujimoto's talent in character writing along with art that was noticeably more refined, clean and beautiful. In my opinion, these two oneshots exceeded the quality of the entire first part of Chainsaw Man, you don't have to agree- but Fujimoto's development as a mangaka surely is prominent.

This is all for now, follow me for more content like this, I'll upload a part 2 to this where I begin talking about Chainsaw Man part 2!

[rruhlreviews]

Book Review - The Shining by Stephen King

This is the first Stephen King novel I’ve read, and fittingly, I read it during the largest snowstorm I’ve seen in a few years—though not nearly as severe as the blizzards that entrap the Torrance family in the Overlook. It was an excellent introduction to his body of work. Since I write gothic horror, reading The Shining has helped me to learn more about the broader canon of the subgenre, especially since my experience thus far has primarily been the foundational stories of the nineteenth century, such as Carmilla and the works of Edgar Allan Poe. The Shining, written and set in 1977, enhanced my horror experience as I had a closer cultural connection to the fears explored in the story. Small details down to the sad song Seasons in the Sun on the radio made the threats feel close to home. I believe this is why it had such mass appeal, as a reinvigorated take on a classic subgenre. Divorce, generational trauma, economic depression, and the undercurrent of racial relations are easy for the contemporary reader to connect with, and this is still true almost fifty years later in 2024.

Regardless of the year of setting, The Shining contains the hallmark elements of gothic horror: an isolated location, missed opportunities for escape, loss of sanity, and haunting. The characters not only physically trapped in the Overlook, but emotionally trapped with each other, and it’s the latter that makes the story captivating. Jack fears becoming his father, Wendy fears becoming her mother, and both fear upsetting their son with a divorce, which keep them entangled in their failing marriage. Through the narrative, their resentment for each other is as palpable as the steam building up in the boiler, a ticking time bomb. This is what I consider to be the most masterful element of the novel and the reason it remains so popular: a sense of subtle, creeping dread and psychological tension.

The first 250 pages were difficult for me to remain interested in, if I’ll be honest, but I kept reading because of the little hints. I could not put the book down for the last 200 pages. My own gothic novel has a slower pace, and something I had been recently struggling with was feeling like I needed more glamour and action to convey dread, but The Shining is titillatingly creepy with a thousand little threads that weave together in a web to ensnare the reader’s curiosity. The introduction of the story teases a climax that is paid off in full at the end. In addition to the main suspense around “redrum,” the recurring symbol of the wasps stood out to me. The first major supernatural occurrence at the Overlook was the resurrection of the hive, Jack connects the wasp nest with his abusive father and the cycle of trauma, and the entity dying at the end is compared to a swarm. The novel is neatly bookended, starting with Wendy and Danny together in a normal day, and ending with Wendy and Danny together in a new type of normal. I do personally prefer horror stories with hope at the end.

After gaining experience with formulaic mysteries and thrillers—which I do enjoy, don’t get me wrong—I love a suspenseful novel that is not predictable. Despite knowing nothing was going to allow the family to leave the Overlook, there were times I had hope Jack would snap out of it, and I really thought it wouldn’t be possible—but then he did at the very end to complete his goal of saving his family. I could not predict if Dick was going to make it to Colorado and survive to the end of the novel, and that perilous journey up the Rockies in a blizzard may be one of the most harrowing things I’ve ever read—and he fought not only the winter, but racial profiling. Another touch of realism to bring the fear home. I was convinced Wendy and Jack were going to kill each other, but Jack was the only one not to escape the Overlook. The novel kept me guessing and I felt real fear and disgust, especially when the dead woman in the tub was first revealed and when Jack was hunting Wendy in the scene made famous by the movie. A successful horror story indeed. My hope for my own writing is to make a reader feel such raw emotion and concern for a character.

As for criticism, I’m unsure how I felt about the third person omniscient point of view. I believe we needed all the viewpoints offered to get a full picture of the story told, but at times, the perspective seemed to shift midsentence and the style wasn’t the most readable. From a gender lens, something I could’ve gone without was how the novel paused to mention what every woman’s chest felt or looked like. It’s not unexpected for a male author in the seventies but it did take me out of the narrative. If I had a shot every time the word “nipple” appeared, I probably would have about five shots, which is, in my humble opinion, too many for a story without a romantic focus.

If The Shining was written by an unknown author in 2024, I feel like it wouldn’t have been allowed to have such a slow start or have a length of 500 pages. The market has changed since 1977 for an audience with a much shorter attention span. The first page is Jack’s dislike for his new boss. It doesn’t have the hook demanded by modern readers. Yet the first chapter foreshadows the rest of the novel, and right away, we know Jack will try to kill his family like the former caretaker. The narrative may meander at times like a mountain road, but it delivers. King keeps his promises to the audience in The Shining, which is what makes the book and him as an author so successful.

[theresattrpgforthat]

THEME: The Sea Calls

This week’s recommendations are aquatic adventures of all kinds!

Stoneshore, by Stoneshore. 

Enter a coastal realm of sea-goblins, nymphs, crab-like shellfellows and human fisherpeople ekeing a living from the mostly pleasant, sometimes strange, occasionally dangerous Stoneshore region. 

A simple, narrative-led tabletop role-playing game, the Stoneshore Micro RPG is a pleasant change of pace for seasoned players, or a good introduction to the world of roleplaying for those less familiar with the format. This tabletop role-playing game requires a twelve-sided dice (d12), six-sided dice (d6) and ten-sided dice (d10), pens and paper, and a couple of friends. This is a simple game to pick up and play, with tools to create quick improvised stories.

Rising Tide, by cosmic beagle.

In Rising Tide, you are a member of a crew fighting for ecojustice. You live your life aboard a ship, in a near-future Earth where the oceans have risen, destroying many coastal areas. Corporations and corrupt governments continue abusing the ecosystem, too dependent on the resources or too inept to break old habits.

In the story, your crew’s aim is to perform missions to take down the people and organizations continuing to exploit the Earth’s ecosystem. As you complete missions, you live up to ideologies, retiring when you’ve completed one ideology. Rising Tide deals with environmental disasters, injustice, and violence. There may be tension between the crew as they debate the ethical, moral, and appropriate actions to take.

This game uses the Paragon System by John Harper and Sean Nittner. It's an excellent system option for folks who want self-contained stories, and who want the space to determine whether or not they succeed before they narrate what it is exactly that they do. Your character will grow as you play, but some of that growth is determined by your teammates.

Jellyfish Felonies, by Penguin King Games.

Jellyfish. Few would suspect that these fragile bags of transparent goo are the most dangerous thing in the ocean – and that's just the way you like it. Take advantage of your unassuming appearance and the hidden wisdom of the depths to lie, cheat, swindle, defraud, embezzle, and prove that you don't need a brain to be a criminal mastermind!

Jellyfish Felonies is a semi-competitive tabletop roleplaying game for three to five players, plus an optional Game master. You will start with three stats: Drift Aimlessly, Philosophize, and Commit Fraud. Take turns swimming into the spotlight to accrue your Ill-Gotten Gains without increasing your Entanglement, Contemplation, or Liability. If you’re not careful, you’ll be eaten by a whale!

Emerge, by Jake Gollub.

Down in the ocean depths of a post-apocalyptic world, The Surface City is a symbol of hope to any human who can make it there, but the question is… will you be human by the time you reach it? Embark on an oceanic adventure for survival with your crew-mates as you stare down every danger thrown your way, whether it be mutant, mech, or something more ancient…

Emerge is a table-top RPG designed for 3-6 players with minimal prep time, dynamic story-telling opportunities, and flexible session length. Your characters are spending a number of days in the ocean, going through a number of phases in an attempt to keep your submarine running while facing numerous obstacles. The game uses Yahtzee rolls to determine what it is your characters will have to overcome. 

Emerge is built so that you can determine how long you want to play for, whether it be for only two hours, or a full 4-hour session. It encourages players to take control over what exactly they’ll face when their bodies undergo changes, whether those changes be mechanical or mutative, and it’s absolutely free!

Bones Deep, by Technical Grimoire Games

Bones Deep is a tabletop RPG of skeletons exploring the ocean floor.

Emergent adventures. Every random encounter in Bones Deep aims to draw you deeper into the setting. Warring factions, clues to hidden treasure, terrible foes, cute pets, and nefarious mysteries all compete for your attention. The book includes 5 detailed quests to kick off your campaign. 

This setting is wonderfully original and unique: bones don’t float, so your characters will travel along the ocean floor. There’s a mix of foes both real and imagined, from the devious cephalopods to the ridiculously wonderful Sharkball. On top of an intriguing setting, Bones Deep has one of the best set of hyperlinks I’ve ever seen. Every single page has a small index at the top and bottom that allows you to navigate between player options, locations, and foes. You need the Troika rulebook in order to know how to play this game, as it doesn’t explain the rules system in detail. However, this also makes it 100% compatible with your Troika game.

Requires Troika, by Melsonian Arts Council

Bro, is it Gay to Dock? by Nguyen Conditions

In every bay is booty waiting to be dug up. On every port an Imperial waiting to bind you. Coin is cursed with more than avarice. The sea, while you love it, does not always love you back as gently. Out there is a charge & cutlass with your name on it, waiting to meet you at your final destination. Which is all well and good! But, you're here for him. Your swashbuckling hero, 

...The Legend. 

Bro, Is It Gay To Dock? is a rules light tabletop rpg for a GM and 1-4 players interested in queer high seas adventure. 

Players take on the role of novice pirates who're saved and companioned by a Pirate Legend. Play mixes swashbuckling adventure with romantic tension between pirates. In short... You meet a gay pirate. You are a gay pirate. You gay pirate together.  Be Gay! Go Pirate!

This game is built off of the What’s So Cool About Outer Space rule system, by Jared Sinclair. It has quick, descriptive character creation, just enough of a setting to get you started, and a simple success metric that can be learned in one session. Check this game out if you like the idea of playing gay pirates, and you don’t want to learn a complicated system in order to do so. 

Seemannsgarn, by Max Kämmerer

It is the golden age of piracy. The night has been long - or is it day already? - and you have been drinking heavily, sitting around one of the tables of the shady, dirty, and loud interior of your favorite watering hole, sharing tales from the high seas, each larger and more unlikely than the last. Tales of grandeur and ridicule. Tales of the Kraken, the wildest storms, and improbable feats. The sea is your one true love, be it as a pirate, a trader, a soldier, or a fisher. It is an unhealthy relationship of stiff winds, burned skin, and salty water, but you love her nonetheless.

In "Seemannsgarn" you take turns telling tall tales from the seas, your character claims to have experienced. You draw cards, which offer you prompts, weave a tale from those prompts and make a roll. Depending on the result of your roll the tale is true, exaggerated or completely made up. Other players may then decide which parts of the story are made up and tell the true story. During the game you draw symbols on a map that represent the tales you told.

[2chaotic-2snazzy]

"Eclipse" - a review

"Eclipse" by Mijan

Fandom: Harry Potter

Pairing: Harry Potter/Draco Malfoy

Rating: T

Tags: Adventure, Slow Build, Hogwarts Sixth Year, Dark Magic, Slash, Plotty, Male Bonding

Word count: 287,239

Summary:

"You're dead, Potter... I'm going to make you pay..."

Draco swore his revenge on Harry for Lucius's imprisonment, and Harry all but laughed at him. But Draco is planning more than schoolyard pranks this time. The old rivalry turns deadly when Draco abducts Harry for Voldemort. It's the perfect plan, guaranteeing revenge, power, and prestige, all in one blow. But when Draco's world turns upside down, the fight to save himself and Harry begins, and the battle will take them both through hell and back. If they come back.

~~~~~~~~~

Written in the mid-2000s, Eclipse is a popular Drarry classic. To new Drarry fans in particular: this fanfiction is for you.

I can't talk about Eclipse without getting personal, so I won't try to avoid it. Before I was a Drarry fan, I was a dedicated Dramione fan; I couldn't imagine a pairing between Draco Malfoy and Harry Potter. Eclipse changed my mind. Each chapter beautifully illustrated the conflict between Draco and Harry, baring each of their possible points of conflict and thoroughly exploring them. The realistic portrayal of their relationship sold me for Drarry. As a seasoned Drarry reader, hashing through the conflict between the two is much less profound, but the first time reading it allowed me to sincerely believe in the possibility of this pairing. It's special to me in that way.

Additionally, the psychological implications of a relationship between Draco and Harry, especially approaching a time of war between the Death Eaters and the Order, are absolutely thrilling. Although the entire story is brilliant, my favorite part is the very beginning, where Draco first grapples with the complications of his Pureblood ideologies. It's stunning to read, and further allows a relationship between Draco and Harry to seem feasible. Eclipse is rich and thorough, both in character development and plot, bringing this story of Draco and Harry to life.

Eclipse definitely isn't perfect. It has its flaws, discrepancies, and cliches (although maybe this fic is old enough to have been written before cliches were even cliches). In terms of craft, Eclipse isn't a literary masterpiece. However, Mijan proves himself to be a master storyteller. Eclipse is an adventure, refreshingly keeping up a near-constant narrative over a relatively short period of time rather than skipping around over long time intervals. A strong plot pushes the story forward, and the pacing and tension are excellent.

One quaint and lovely aspect of Eclipse is its age. Reading Eclipse is like stepping into a time machine. The story is an AU in the truest sense — it was written, for the most part, before the release of The Half Blood Prince. Additionally, the fanfiction.net version (the original) has the authentic author's notes along with every chapter. They're charming to read.

Eclipse is the fanfiction that got me back into fanfiction. I would absolutely recommend this to anyone who has read or watched Harry Potter. Although Mijan unfortunately recently passed away, his story lives on in the Drarry community. It's worth a read for everyone.

~~~~~~~~

Disclaimer: As much as we love Harry Potter, we do not love J. K. Rowling. Trans rights are human rights.

- Snazz

[the-gladiolus]

After years of restraint, the desperation for Hannibal season 4 finally consumed the last tatters of my dignity and got me to read fan fiction, and my my, the dark side is fruitful (and fruity). I’ve only just tiptoed into the dungeons, but here are my favorite post-fall, canon compliant stories so far, plus my long winded spoiler free description of what I liked especially. Enjoy, hedonists.

Completed. Damn good characterization - realistic dialogue, slow burn without being frustrating, eventually things pick up both murder-wise and husband-wise. Soul-searching, jaded Will, and mildly entertained, smitten, and groggy Hannibal. Great exchanges with supporting characters, masterful development of tension and danger. I laughed, gritted my teeth, and felt butterflies in my stomach every single chapter. Minimal smut, kinda just okay (you’ll know when you get there so you can steer clear if you like.) They take an escape road-trip while in the process of healing. Great work, please speak at my funeral, thank you goodnight

Completed. Mystery story with a fascinating plot, romantic and well written, slow but steady burn. Good characterization: getting-settled, generally peaceful Will; unreadable but terribly likable Hannibal. Awesome composition and foreshadowing - satisfying payoffs of plot threads and characters. Genuinely funny and touching at many points. Bits of prose poetry in places, consistent writing style: I was so immersed I tried to press “pause” on my computer a few times when I took breaks. Great development of main characters’ interactions and relationship. Minimal smut, positively excellent if I do say so myself, you’ll know when you get there.

Completed. Goddamn delightful. Domestic fun while still working through some residual unsureness while living together, mutual pining, little gifts and jokes, eventual cuteness and a bit of smut (good quality.) They’re professors at a university in Ireland and it’s super cool - simple but rich plot and exploration of characters in new situations. Confident, clever and adorable Will; doting, relatable, and on just the right side of reprehensible Hannibal. Dancing, art, music, sharing space. I had a pleasant smile on my face most of the time, and the rest of the time the smile was exuberant. There is a dog.

Incomplete: beware. Great writing, pacing, characterization, and dialogue. Enjoyable plot points and moods: at multiple points I pumped my fist internally and muttered “hell yeah.” Just a joy. Getting settled, recovering, not too slow or too fast, learning trust and sharing space. Both mains extra likable: hot, sassy, but soft will, and cunning, dashing, and sincere Hannibal. Not precisely slow burn because it’s satisfying from the beginning, with a gradual build to more than canon provided. Plans to murder enemies and make a life together. Excellent scene construction that warranted fanart multiple times.

So yeah there ya go. What can I say, the dark side is a fun place to indulge oneself. Please feel free to send me your recommendations, I like reading people’s takes on what happened post-fall. I’m not into much canon divergence or any AUs, and I generally prefer full stories but one shots are awesome too :)

[beantothemax]

"She's late."

For ten minutes, the scholar had been pacing around the entire house. She could be lost, beaten to a pulp or in detention!

Anyone who was heartless enough to hurt such a precious girl would not live to see another day, Osvald would make sure of that.

"She's fine," Rita laughed.

"You don't know that! If she acts anything like I did on my first day of school then she's gonna come home with a bloody nose and rose thorns in her arms! And she does act just like me!" Osvald argued.

Rita stood. She took his hands in her own with a smile.

"Listen darling, if anything happens then we can homeschool her," she said, "but she'll be fine, I'm friends with most of her classmates' parents and they're all lovely people with well behaved kids."

"Gods, I hope you're right," Osvald muttered.

"And if anyone hurts her, I'll make them regret ever even approaching her. They didn't call me the queen of Montwise arena for nothing!" she laughed.

Osvald chuckled at the thought.

The tension left his shoulders as Rita lit the stove. She certainly wasn't a master, but she knew enough fire magic that she never had to ask Osvald for help while cooking. Setting a kettle to boil, she sat across from him.

"Really, what's the worst that could happen to Elena? It's the first day, no one has any long lasting resentment towards her, at least not yet," Rita smiled.

Osvald thought of how he'd come home with a bruised face and broken arm on his first day of school. His parents were furious with the teachers, and decided that from then on, he'd be homeschooled. The tutor they hired was an excellent teacher, but it resulted in his social skills leaving something to be desired.

He dismissed the thought. Kids were worse back then. Nowadays, parents taught their kids to be kind practically straight out of the womb!

"I suppose that's true," he said.

They talked a while longer, until Rita noticed the high pitched scream of the kettle. She added two tea bags before setting it on the table, along with tea cups and saucers.

She poured a cup of tea for each of them. Osvald blowed on his cup, before carefully taking a sip.

Gods, Rita's homemade tea was divine.

He drank more, quickly downing the cup.

As they made their way through the pot, the door opened.

"Bye Sara!" Elena yelled.

"Bye Elena!" a girl yelled back.

Elena entered the housing, carefully shutting the door behind her. She put her backpack away, before joining her parents at the table.

In an instant, all of Osvald's anxieties returned.

"So? How was it?" he desperately asked.

"It was amazing! We had to paint our hands then stamp them on a big piece of paper. Mine was blue and red, I didn't get all the paint off my hand though," Elena spoke quickly.

She always spoke quickly and stumbled over her words when she was excited.

She showed her hand, and sure enough, there were some spots of dried paint.

"And? Who was that girl you were talking to?" Osvald asked.

"Oh yeah! That's Sara, she's my friend. We were making flower crowns!" Elena ran back to her room, and returned with several poorly braided dandelions, "mine isn't done yet. I don't know how to finish it. She was helping me, but she had to go home."

"I know that pattern, I can help," Rita answered.

"Really?"

"Of course, but we need a few more flowers."

In not time, they had their shoes on, and headed out the door.

"We'll be back soon, but dinner might be a bit late today," Rita said.

"No, you two have fun, I'll cook," Osvald replied.

She gave him a quick kiss, "thank you darling."

She left, Elena following close behind.

Osvald smiled as he heard them laugh and yell, muffled by the walls. He considered himself lucky to have people in his life as perfect as them.

AAAAAAAAA PIE THIS IS SO SWEET,,,, MY HEART,,,,,,

love rita very casually insinuating that she’ll kill anyone who so much as hurst Elena. love the mercenary!rita au because it means she gets to kill

also elena talking too fast and stumbling over her words because she’s excited… she’s just like me fr

pie this is lovely and I like it a lot!!!!! now go to bed!!!!!

[kyle-reviews]

The Shawshank Redemption

How do you talk about a movie that's been praised as much as Frank Darabont's The Shawshank Redemption? Well, there's always more to say, especially for a film that leaves you in awe every time you watch it. For those who haven't seen it, they might think of it as "that prison movie with Tim Robbins and Morgan Freeman." Trust me, you're missing out if that's all you know. This isn't just another prison flick; it's a deeply emotional and thought-provoking masterpiece that explores the human spirit's resilience. The movie starts with the wrongful conviction of banker Andy Dufresne (Tim Robbins) for the murder of his wife and her lover. He's sent to Shawshank State Penitentiary, where he meets Red (Morgan Freeman), a long-time inmate who "knows how to get things." Together, they form a strong friendship that anchors the film. The choices they make and the relationships they forge create a rich tapestry of character development, making us care about their fate deeply. Darabont's direction and screenplay, adapted from Stephen King's novella, are top-notch. The pacing is excellent, allowing us to experience both the passage of time and the character's growth. The cinematography by Roger Deakins is absolutely breathtaking, with its moody, dark tones and excellent use of shadows, creating a stark contrast between the bleakness of prison life and the hope that lies within the characters. The acting in this movie is truly exceptional. Tim Robbins delivers a powerful performance as Andy, a man who never gives up hope despite his dire circumstances. Morgan Freeman's portrayal of Red is nothing short of iconic, with his smooth, soothing voice narrating the story and providing insight into life at Shawshank. The supporting cast, including Bob Gunton as the tyrannical Warden Norton and Clancy Brown as the brutal Captain Hadley, bring depth and nuance to their roles. The film is filled with memorable moments that showcase a range of filmmaking techniques. The iconic scene where Andy plays Mozart's "The Marriage of Figaro" over the prison's PA system is an excellent example of the power of music in cinema. It's a brief moment of beauty and freedom in an otherwise oppressive environment, and the choice to use this particular piece of music is a testament to Darabont's understanding of storytelling. Another standout scene is when Andy reveals his escape plan to Red. The sequence is cleverly constructed, with Darabont using editing, sound design, and visual storytelling to reveal the details of Andy's ingenious scheme. This moment adds a layer of excitement and tension, making the audience root for Andy even more. What makes The Shawshank Redemption stand out is its ability to blend drama, emotion, and hope in a seemingly hopeless situation. It's a beautiful exploration of friendship, redemption, and the power of the human spirit. The film's conclusion is a masterful piece of storytelling that leaves the viewer with a sense of satisfaction and the belief that good can triumph even in the darkest of times. Whether you love or hate prison movies, The Shawshank Redemption is a must-watch. It transcends its genre and offers something for everyone – a powerful story, outstanding performances, and expert filmmaking. This movie has rightfully earned its place in the annals of cinema history, and I highly recommend it to anyone looking for a film that will touch their heart and leave them feeling inspired.

A feel-good masterpiece, 9/10 :)

[denimbex1986]

'Plot Overview

"Ripley" centers around the enigmatic character, Tom Ripley, a skilled con man whose talent for imitation and deception leads him into a web of intrigue and danger. Ripley's manipulative prowess is his greatest asset and most perilous liability as he navigates a world filled with wealthy elites and criminal underbellies.

Cast Highlights

Andrew Scott performs compellingly, often creepily, as Tom Ripley, bringing depth and complexity to the role. His portrayal captures the charm and menace of the character, making it a standout in his already impressive career.

Behind The Scenes

Andrew Scott, fresh from his role in the recent LGBTQ-themed "All of Us Strangers" alongside Clair Foyle, brings a nuanced understanding of complex characters to this series. His experience enriches his portrayal of Ripley, adding layers of intrigue and humanity.

Commentary

While "Ripley" is not the first adaptation of Patricia Highsmith's novels—previous versions starred notable actors like Matt Damon and John Malkovich—this rendition stands out. Filmed in stunning black and white, the visual style adds a timeless, spellbinding quality to the series. Although the plot sometimes stretches believability, it remains a fascinating exploration of deception and identity. The fact is that people really do achieve these high levels of deception.

Wrap-up and Rating

"Ripley" is a riveting series that hooks viewers from the start and is a must-watch on Netflix. It excels in every aspect, from storyline and screenplay to acting, direction, and character arcs, earning it a rare 5-star rating.

Storyline: 5/5

The storyline is intriguing and well-crafted, providing a complex web of deceit and identity that keeps viewers engaged throughout.

Screenplay: 5/5

The screenplay is sharp and sophisticated, effectively translating Patricia Highsmith's novel to the screen with dialogue and scenarios that build tension and develop character depth.

Acting: 5/5

The acting is exceptional, particularly Andrew Scott’s portrayal of Tom Ripley, which adds layers of nuance to an already compelling character. The supporting cast also delivers strong performances that complement the lead.

Directing: 5/5

The directing is masterful, utilizing a black and white aesthetic that enhances the mood and suspense of the narrative. The choice of shots and the pacing are meticulously handled to maintain intrigue and emotion.

Character Arcs: 5/5

The character development is outstanding, with each character undergoing significant transformations that are believable and impactful. Ripley’s evolution, in particular, is both fascinating and unsettling, making for a compelling watch.'

[genyukandojo]

Unlocking the Mind-Body Connection: The Role of Martial Arts in Mental Wellness

In today's fast-paced world, the quest for mental wellness has become more important than ever. As stress levels rise and anxiety becomes increasingly prevalent, people are seeking holistic approaches to improve their mental health and well-being. One such approach that has gained popularity in recent years is the practice of martial arts. Beyond its physical benefits, martial arts offer a unique opportunity to unlock the mind-body connection, fostering mental resilience, emotional balance, and inner peace. In this article, we delve into the profound role of martial arts in promoting mental wellness, exploring its psychological effects, therapeutic benefits, and transformative potential.

The Mind-Body Connection:

At its core, martial arts is more than just a physical discipline—it is a practice that integrates the mind, body, and spirit. By cultivating mindfulness, discipline, and self-awareness, practitioners learn to harness the power of their thoughts and emotions, fostering a deeper connection between mind and body. This mind-body connection lies at the heart of martial arts training, serving as a foundation for personal growth, emotional resilience, and holistic well-being.

Stress Relief and Emotional Regulation:

One of the most immediate benefits of martial arts training is its ability to alleviate stress and promote emotional regulation. Through focused breathing exercises, meditation techniques, and repetitive movements, practitioners learn to quiet the mind, release tension, and center themselves in the present moment. This mindfulness practice not only reduces stress levels but also enhances emotional resilience, allowing individuals to navigate life's challenges with greater ease and equanimity.

Self-Confidence and Empowerment:

Martial arts training instills a sense of self-confidence and empowerment that extends beyond the dojo. As practitioners progress in their training, mastering new techniques and overcoming obstacles, they develop a strong sense of self-efficacy and belief in their abilities. This newfound confidence translates into all aspects of life, empowering individuals to pursue their goals, assert themselves in challenging situations, and navigate adversity with grace and resilience.

Discipline and Focus:

The disciplined nature of martial arts training cultivates a focused mind and disciplined spirit. Through rigorous practice and adherence to a structured curriculum, practitioners learn the value of perseverance, dedication, and self-discipline. This mental fortitude not only enhances their performance in martial arts but also carries over into other areas of life, such as work, academics, and personal relationships. By honing their ability to stay focused and disciplined, practitioners become better equipped to achieve their goals and realize their full potential.

Emotional Resilience and Mental Toughness:

Martial arts training challenges practitioners both physically and mentally, fostering resilience and mental toughness in the face of adversity. Whether sparring with an opponent, enduring grueling workouts, or overcoming setbacks and injuries, practitioners learn to embrace discomfort, push past their limits, and persevere in the pursuit of excellence. This resilience-building process not only strengthens their resolve but also equips them with valuable coping skills that can be applied to navigate life's ups and downs with grace and resilience.

Self-Reflection and Personal Growth:

Martial arts training provides a platform for self-reflection and personal growth, inviting practitioners to embark on a journey of self-discovery and self-improvement. Through regular practice, individuals confront their fears, insecurities, and limitations, gaining insight into their strengths and weaknesses. This process of self-awareness and introspection fosters personal growth, allowing practitioners to evolve not only as martial artists but also as individuals. By embracing the challenges and opportunities for growth that martial arts offer, practitioners cultivate a deeper understanding of themselves and their place in the world.

Community and Connection:

Beyond its individual benefits, martial arts fosters a sense of community and connection among practitioners. Whether training in a traditional dojo, sparring with teammates, or competing in tournaments, practitioners form bonds forged through shared experiences, mutual respect, and camaraderie. This sense of belonging provides a support network that extends beyond the confines of the dojo, offering encouragement, friendship, and a sense of belonging that enhances mental well-being and social connectedness.

Conclusion:

In an age where the mind-body connection is increasingly recognized as essential for holistic well-being, martial arts offers a powerful pathway to unlock this synergy. Through its emphasis on mindfulness, discipline, resilience, and self-awareness, martial arts, Shotokan Karate New York training provides a transformative journey of personal growth and self-discovery. By cultivating mental wellness, emotional balance, and inner peace, martial arts empowers individuals to navigate life's challenges with grace, resilience, and confidence. Whether seeking stress relief, emotional regulation, personal growth, or community connection, martial arts offers a holistic approach to mental wellness that transcends the physical realm, unlocking the full potential of mind, body, and spirit.

[usman-147]

WHY DEATH NOTE IS A MASTER PIECE ?

In the vast landscape of anime and manga, few works have achieved the revered status of a masterpiece quite like Death Note. Created by Tsugumi Ohba and illustrated by Takeshi Obata, this psychological thriller has captivated audiences worldwide since its debut. But what exactly makes Death Note a masterstroke of storytelling? Let's delve into its myriad layers to uncover the brilliance that lies within.

First and foremost, Death Note excels in its intricate plotline and masterful pacing. From the very first episode, viewers are thrust into a high-stakes game of cat and mouse between the enigmatic genius Light Yagami and the equally cunning detective known only as L. The tension builds steadily as each move and countermove is executed with precision, keeping audiences on the edge of their seats until the very end.

Moreover, Death Note is a masterclass in character development. The complex personalities of Light and L are meticulously crafted, with both characters constantly evolving and challenging each other's beliefs and ideologies. As viewers witness their intellectual duel unfold, they are forced to confront profound questions about justice, morality, and the nature of power.

But perhaps what truly sets Death Note apart is its exploration of the human psyche. Through its gripping narrative and thought-provoking themes, the series delves into the darkest depths of the human soul, exposing the inherent flaws and vulnerabilities that lie within us all. Whether it's the corrupting influence of absolute power or the relentless pursuit of justice at any cost, Death Note forces viewers to confront uncomfortable truths about themselves and the world around them.

In addition to its compelling storytelling and rich character development, Death Note boasts stunning visuals and a hauntingly beautiful soundtrack that further enhance the overall experience. From the striking animation to the haunting melodies that underscore pivotal moments, every aspect of the series is meticulously crafted to immerse viewers in its dark and enigmatic world.

Ultimately, Death Note transcends the confines of its genre to become a true masterpiece of modern storytelling. Its gripping narrative, complex characters, and profound themes resonate with audiences on a profound level, cementing its status as a timeless classic that will continue to captivate viewers for generations to come. Whether you're a seasoned anime aficionado or a newcomer to the medium, Death Note is an essential watch that deserves a place of honor in any discerning viewer's collection.