#though again i am not saying / implying i think the intention was / is an allegory

[plagasitize]

[oldadastra]

Letter to Lucasfilm

So, I’ve written a letter to Lucasfilm. It could be better, but this is what came out this afternoon. I hope others who are writing will share what they are putting into the mail. I was trying to be concise, but it still ran to several pages. Find it in its entirety below the cut:

***

Lucasfilm, Ltd. Attn: Fan Mail PO Box 29901 San Francisco, CA 94129-0901

December 30, 2019

Lucasfilm/Disney:

I am writing to express my anger, shock, disappointment and deep sadness with the final installment of the Star Wars saga, Episode IX: The Rise of Skywalker.

I was ten in 1977 when the original film was released and have loved Star Wars ever since. I was thrilled by the reopening of the saga in The Force Awakens, and delighted by the excellent script, rich visual storytelling, nuanced character development, and thematic direction of Rian Johnson’s The Last Jedi.

Disney took on a sacred trust when it acquired Lucasfilm. Star Wars is deeply important to many people, and if you couldn’t do justice to the characters and themes of the saga, I’d argue that you had no business being involved in these stories. There is so much Disney/Lucasfilm got wrong in Rise of Skywalker, I’m struggling to gather my thoughts or express them coherently, but here goes:

Ben Solo. You created the most compelling character in the new trilogy by destroying the happy ending of the original trilogy. I was willing to go along on the ride Abrams and Kasdan began in The Force Awakens, because the fate of Ben Solo felt like it mattered. The questions raised in the new films: the nature of good and evil, the degree to which one’s family legacy defines a person, whether a one can atone for past sins; all of it felt alive and urgent in the person of Ben, a character I loved like one of my own children from the moment we so traumatically met him in The Force Awakens. His story was the beating heart of the new trilogy. His story is the one that mattered. His life was the one to be saved.

Ben solo was never an exposition device, cool villain, or disposable baddie to me. He was Han and Leia’s only child; loved, targeted, broken, lost.

The Rise of Skywalker redeems Ben Solo in the final act of the film, only to destroy him. Was it always your plan to kill the last Skywalker in the final installment of this story, to render the overarching message of all nine films as tragedy? If so, I wish I’d known this was your intent; I would never have engaged with these stories and made an emotional investment in them. If tragedy was your goal, that was certainly your choice to make, but I’d argue that you owed it to the audience and the cast to do a better job of it.

For example: You give us evidence that Han and Leia’s child was targeted by evil old men from before his birth. It’s a disturbingly explicit allegory of grooming and child abuse.

You give Ben Solo a backstory which implies he is guilty of vile, Anakin-style crimes against other young people, coding him as a school shooter, and then chose to exonerate him of this crime in a comic book, where the general audience will never know he was innocent. It’s a form of character assassination.

You consigned Ben Solo to the darkness for almost the entirety of three films, then denied him his voice in the final acts of his own story. “Ow?” The only words the redeemed Ben Solo will ever speak. Apalling.

You brought back Palpatine for this film (arguably rendering the message of the first six films meaningless), identified the Emperor as Ben’s tormentor all along, then denied Ben the opportunity to fight his enemy in the final act of the film.  Rise of Skywalker literally throws Ben Solo into a pit, and forces him to climb out alone and unaided while Rey is whispered to by “all the jedi,” offering her words of encouragement. It’s grotesque.

I’m getting lost in rage and sadness again here, so let me just say that even if you inexplicably didn’t care about the last Skywalker in the Skywalker saga, you have done a grave disservice to Adam Driver in your treatment of his character in this these films.  Perhaps you’ve heard of Driver’s non-profit organization, Arts in the Armed Forces? He’s deeply committed to the importance of stories as a way to make meaning out of the inexpressible. Did he really sign on to this project thinking that the final message of his character would be to say that even if you are able to come back from the darkness, your final act must be to die? That imperfect children don’t deserve compassion, forgiveness, life? You owe Mr. Driver an apology, but you can never really atone for what you’ve done to him.  

You ended a nine-film, forty-two year saga with all the Skywalkers dead, and a Palpatine the last one standing. You spent three films tormenting Han and Leia’s child, only to kill him in the final act.  What you did to Ben Solo (and frankly to us, who loved him) feels more like a horror story than anything else. In my dreams, I walk right into your offices and flip over tables.

There’s a lot more I could accuse Rise of Skywalker of bungling, but I assume you are hearing this feedback from others besides me, so I will summarize:

Rey Palpatine. Was is all about the midiclorians after all? By making her Palpatine’s granddaughter, you deny Rey everything that made her special; you deny her agency, and you negate the beautiful message I thought you were trying to communicate in the first two films with Rey Nobody: that the force belongs to us all, and that anyone can be a hero

The erasure of Rose Tico. It’s difficult to interpret this as anything but a capitulation to a loud, racist, and misogynist element of the fandom. It’s a very bad look, Disney. Please pay attention to the message you are sending.

Character development in general and a truly horrible ending: Rey goes back into her child-like costume, Ben Solo spent much of the film forced back into his stupid mask. Ben disappears at the end with no one to mourn him. Rey ends the film alone in a desert wasteland.

Rise of Skywalker is the most bleak, hopeless, and depressing Star Wars film ever made. As days go by, it’s becoming clear that it was also poorly written and edited. These stories matter to us, and we pay close attention to them. Disrespect us at your peril.

I don’t expect anyone will ever read this missive, or care at all about what an old shepherd on a mountainside thought about the execution of your multi-billion dollar movies. This is a personal exercise in catharsis as much as anything.

But here are a few notes in a language you might understand. I made some quick calculations about how much money I’ve spent on Star Wars over the past four years, and I’m sharing that with you now.

Movie tickets:  I’m one of those people who sees movies I love more than once (I saw Empire Strikes Back eighty-one times in the theater!). I saw The Force Awakens and The Last Jedi at least ten times each. I’m not counting the cost of tickets for my extended family, whom I brought along to a number of screenings, or tickets for birthday party guests we treated to these movies. My teenaged daughter came along for all the screenings I am including, so I calculate I spent about $360 on tickets. We also bought tickets to Rogue One and Solo, so it was actually more, but you get the idea.

Books, tie-ins, DVDs, merchandise: I invested in The Art of the Force Awakens and The Art of the Last Jedi books, as well as at least one SW Visual Dictionary. I bought DVDs of the films of course, and CDs of John Williams’ beautiful scores. I bought and read a number of books; Boodline and the Leia novel, The Force Awakens novelization and Junior novelization, Aftermath, and a couple others whose titles escape me. At least seven action figures. Toy light sabers for me and my daughter. Posters. T Shirts. I know I’m not remembering everything, but it adds up to an expenditure of at least $347 in books and other Star Wars merchandise.

Star Wars Celebration: I splurged on passes for my daughter and I to attend Star Wars Celebration in Chicago this past spring. It cost me about $400, and a last-minute family emergency meant we were unable to attend, but the tickets were non-refundable, so it was money I spent on Star Wars nonetheless.

Total: $1,107

A laughably small amount to you guys, I’m sure. Perhaps a contrast is useful:

Total amount I have spent (tickets for my daughter and I on opening night) on Rise of Skywalker: $22.

Total amount I plan to spend on Disney Lucasfilm merchandise in the future: $0

I invested quite a lot of my time in Star Wars over the past four years. I’ve written thousands of words in essays, appreciations and analyses (mostly on Tumblr), where I amassed a modest following of just over a thousand people. I’m sure I occasionally bored my friends and family by going on and on about Star Wars. This kind of ‘work’ has no dollar value of course. I will say that it was great fun while it lasted, though I feel foolish in retrospect, remembering all the times I came to your defense, arguing that the saga was in good hands, that you had a plan; that you were going to tell a good story.

Sadly, I don’t think you can fix the damage you’ve done to the Galaxy Far Far Away with The Rise of Skywalker. You made this film, made your choices, and put it out into the world. I have no control over where you go from here, but as a person who has loved Star Wars since I was a child, I beg you to take some time to reflect before making another Star Wars film.

You’ve broken so many hearts. Mine was one.

Andrea ____

...my full name and address, blah blah, I live in Vermont

[lia-nikiforov]

Winter 2018 Anime Final Review

Why yes, pretty much all the Spring premieres are done (don’t even remind me haha I’m so far behind) and this is horribly late, I had a busy couple of weeks ;---; and am still struggling to catch up, but here’s my final rundown of this long slow winter! Worst to best, as always.

Dropped

Basilisk Ouka Ninpou Chou: Although I’d said I’d keep watching for the Nobunaga twist, given the onslaught of new stuff for Spring, it’s unsustainable to keep watching something so mediocre I don’t even find anything to say about it. Also Nobunaga hasn’t been mentioned in three episodes.

DUMPSTER FIRE

Darling in the Franxx: So we’re halfway through the show and still feels nothing of importance has happened, except we learned “lesbians are not viable, what a relief” and also KOKORO REALLY WANTS TO MAKE BABIES. The whole Kokoro business is very unsavory because on the one hand the writing is a dick to Walking Fat Joke Futoshi, but on the other hand Futoshi is an entitled Nice Guy who acts like Kokoro has some obligation to return his feelings, so basically everyone sucks lmao. Btw, does anyone know what happened with episode 13? I went to watch it but what I got instead was a Deadman Wonderland episode, complete with the story of Palurdo meeting Lab Experiment-turned-Beast Waifu as children and making a promise that would subsequently be forgotten until they meet again in their teenage years. Jesus, does Womenz are Beastz: The Anime have a single original idea?

How am I supposed to measure my own disinterest and contempt

This basically means I didn’t care for these shows. I don’t hate them but I was aggressively unengaged in them and I can’t really rank them from worst to best because that would imply me having any measurable emotional reaction to them

Violet Evergarden: I don’t think I have much to add about this one that I haven’t said before. Tryhard Sad Anime Girl stories rehashing old clichés with little novelty to them,  with a bonus of a super poorly explained and thought out child super soldier tragic backstory that still has me ?????? The final episode has the addendum of trying to redeem That One Asshole in a “he treats her bad because he’s sad about his brother dying sob sob sob he’s totally not a jerk” and i was very annoyed by that.

Koi wa Ameagari no You ni: It’s complicated to talk about this show. I really liked the first episode, hated the 4-6, then was mostly bored by the rest of it. The whole romance angle was completely dropped in the latter half, but I’m not even sure if that’s a good thing given how tastelessly it was being handled in some moments, or a bad one given how bland everything else was. It felt like Akira’s crush on Kondo turned out to be insignificant in the grand scheme of things. It also felt like Akira was profoundly underdeveloped, and it bothered me because Kondo was developed properly. His character felt more fully realized than hers. Like idk, I just cared so little for the last few episodes and it didn’t feel like Akira’s emotional progression was very connected with the first half of the show. 

Fate/Extra Last Encore: I don’t even have a screenshot. Apparently the reason the show started so late into the season is that it took a long time to produce, and apparently there are two more episodes that will be released at some point in July. But really, what matters is that I have no idea of what this show was trying to accomplish. The characters were a bunch of pieces of cardboard spouting pseudo nihilistic philosophical nonsense and I don’t even know how to describe the plot. It was generic in its Boss of the Week approach but the execution was often very flat. Definitely none of the fun from Apocrypha’s cool characters was to be had in this iteration of the franchise.

Too much iyashikei

This season we had too much iyashikei and I’m burned out. Here are the ones I didn’t hate but also wasn’t super in love with.

Miira no Kaikata: I think this show would’ve worked better as 3-minute vignettes. 20 minutes of it was a bit too much and I struggled to pay attention. I also felt the dragon and MukuMuku had very tangential roles. I don’t have a whole lot to say. It’s cute, if cute is your jam this show is for you. Connie is best smol monster.

Hakumei to Mikochi: Another cute show that gains extra points for its somewhat unique setting, beautiful color palette and picture book aesthetic and because the two main girls are great characters. I particularly liked the first and last episodes. It’s a relaxing, fun little show

Sanrio Danshi: The harbinger of feminism made into a toy commercial, while not quite iyashikei, is still a slice of life that just occassionally indulged in too much melodrama. It was nonetheless a fun little thing that managed to turn cynical consumerism into a positive message for boys: it’s okay to like non-traditionally-masculine things. One of the details I liked most was that none of the boys had to give up on their previous groups of friends even after “coming out”, Kouta’s friends and Shuu’s team were supportive of them and even participated in their dumbass musical play. Some may even read this show as a not-so-subtle allegory on homosexuality and while I don’t think this was Sanrio’s intent (their intent is to broaden their market, plain and simple) the fact that it works so well with that reading is honestly great. I had very minimal expectations for this show and I’m happy it turned out better than those.

Classicaloid 2: Classicaloid isn’t quite iyashikei either but it fits in the “didn’t love it, didn’t hate it” category. I’m a huge fan of season one, but unfortunately a big part of S2 failed to capture the magic. I think most of it was restored in the second cour, specially with brilliant episodes such as the one where Dovo-chan becomes a super-realistic painting of himself, and the last three episodes really captured what made Classicaloid great. I’ve really come to love this cast, so I wouldn’t complain if we got more seasons (please do Vivaldi!!!)

Shonen is a Good Genre, Actually

Shonen as a genre/demographic is much reviled for its repetitive clichés and childish stories, but I think we live at a time in which we can have well-executed shonen anime that, although falling for the same old clichés, have enough heart and sincerity that makes them enjoyable. This part also isn’t necessarily ranked, since my favorite one will change depending on which day you ask me

Nanatsu no Taizai: Imashime no Fukkatsu: As I have mentioned before, this second season seems to be the polar opposite of the first one’s rapid pace. It’s been a while since I read the manga, but I feel like it took a lot less to get to the mid-season cutoff point there than this anime would lead you to believe, especially the training part felt excruciatingly long. NanaTai has other various flaws including its 1000% not funny harrassment jokes and the dumb introduction of quantified “power levels” (why Suzuki), but characters like Diane, King and Ban give the show a unique flavor. And I’m not even gonna pretend to be unbiased, I just love everything involving Ban, even the weird and questionable choice of bringing Elaine back. I’m excited that we’re finally approaching Escanor’s arrival.

Yowapeda Glory Road: I also forgot to grab a screenshot lmao. Yowapeda is a very particular beast, and with its episode count already in the hundreds, it’s not something I’d reccommend unless you’re super into dragged out ridiculous sports anime. This second season of Onoda’s second year has not been without its flaws either, starting with the, imho absurd persistence in making Sohoku look like underdogs even though they’re reigning champions. It’s made a lot of the first two days of the Interhigh feel a lot grimmer than this cheerful show ought to. Kaburagi is still an insufferable character, and the fact that he drags the team down doesn’t help him either, and I just wish the writers would let Best Boy Teshima win anything. I hope the second day ends on a lighter note, because the gloom and doom is making this a less enjoyable watch than it should be

Mahoutsukai no Yome: I feel a little better about this one knowing the final was anime-original, but at the same time I’m beyond livid with how it was wrapped up. I loved the second half of the series because of how well-written and emotional Chise’s growth was, and everything up to her embracing of Cartaphilus’s curse was a beautiful display of her strength and will to live. What I’m not here for is that asspull wedding whatever that makes no sense in the context of the previous events, especially because after the fact, Elias’s attempt to kill Stella is swept under the rug. This could’ve been my favorite show of the season without that bullshit ending and while I don’t regret watching it, it leaves me with a sad feeling of what could have been

Best of the season

Hakata Tonkotsu Ramens: It had a slow start, but with its endearing cast and well-developed character relationships, HTR won me over, especially the last quarter. The animation was veeery barebones, but Lin and Bamba’s charisma and their organically developed relationship carried the show to be one of the most enjoyable of the season. I also really appreciate the fact that the series includes a gay couple with an adopted daughter and that Lin’s crossdressing is never used as a joke or treated as a character flaw or a “phase”. I love stories about found families and I’d love to see more of this gang fighting crime and doing shady business in their city of assassins.

Garo: Vanishing Line: This iteration of Garo had a somewhat slow start, but boy did it pick up steam in the second half. The action was great -the final fight against King had some incredible stylistic choices, the characters’ journeys felt complete and very human and the story was interesting and different enough from other Garo to not feel repetitive, yet with enough Garoisms that made it feel connected to everything else. Like I said, I love stories about found families, so the way Sophie found a home with Gina, Luke and Sword by the end was very touching. Watching Sophie’s journey has been a treat, and I’m immensely happy that this wasn’t a Guren no Tsuki disaster, but was more in line with the excellence of Honoo no Kokuin.

Gakuen Babysitters: This was the huge surprise of the season for me, I almost expected it to be pretty dull. Instead it turned out to be super cute and extremely heartwarming. It had a couple of duds here and there, mostly the not-actually-a-pedophile joke character and the early love triangle skits, but the former disappeared and the latter was vastly improved in the second half of the show. I wish Ryuichi’s grief had been dealt with a bit more, but I think what they did show was very well executed and empathetic. And the portrayal of the kids felt very realistic, including both children’s most adorable and most obnoxious behaviors. KIRIN IS BEST GIRL

Card Captor Sakura Clear Card arc: I have expressed some complaints and dissatisfactions with this sequel all through the season. Mostly in regards to the new cards and how the old ones seem to have been forgotten (also the lazy designs of the new cards). In spite of that, Sakura hasn’t lost any of its heart in these 20 years, the characters are still the kids we grew up with. It is an overwhelmingly cheerful and positive show, from Sakura and Syaoran’s shyly developing relationship, to the hopefulness of Sakura’s magic and just the simple day to day life of Sakura and her friends. In spite of all its flaws, Sakura is still my favorite show of the season and I’m happy we get to spend one more season with these characters. Just please give me more Yue??? 

Ooooof, finally I’m done with this! PLEASE LET’S NOT TALK ABOUT THE 20+ SHOWS I’M SAMPLING FOR SPRING AHAHAHAHA. There’s too much anime. Anime must be stopped, immediately. Don’t hesitate to send me your thoughts about the winter season, even if it seems I’m losing my mind a little Dx TOO MUCH ANIME

[niartnithoughts]

Blade Runner 2049 (spoiler-free) review

When I heard they were making a sequel to Blade Runner (1982), I was sure that they would just be making a typical bland special effects-filled action movie, just using the name of some ‘80s sci-fi property to capitalize on a bit of nostalgia. See Total Recall and Robocop’s ‘reboots’ in the past 5 years for examples. They did not do that for Blade Runner 2049. They really made a direct sequel, not just a retread, continuing the original’s bleak environmental and technological outlook, with some new variations tying it more closely to present day concerns, continuing to explore cyberpunk themes, and never prioritizing action over long shots of Ryan Gosling’s face as he reacts to or ponders things. It often captures the original’s aesthetic, the 80s-style synth leads in the soundtrack are extremely well-paired with it. This is a dystopian future, with occasional bursts of violent, repulsive evil balanced out by... almost nothing. That doesn’t necessarily make it an amazing movie, but I really do admire it for that, for being a long, bleak movie.

It’s directed by Denis Villeneuve with cinematography by Roger Deakins, who I know only really from their team up for the bleak Sicario (2015). Deakins is a guy who is nominated for best cinematography almost every year (13 times so far!) but never wins. 

Humorously/infuriatingly, I saw a review severely criticizing its length and willingness to dwell in times when no action is happening, pointing to this year’s Ghost In The Shell as a superior cyberpunk movie for having consistent action sequences and a shorter run time. (I still haven’t seen that one.) I do think the original Blade Runner is very long and not always pleasant and engaging to be sitting through in every moment (true of a lot of movies pre-~1985), but this one is more aggressively paced, constantly moving along and spelling things out for the audience much more explicitly than the original. There is a balance to be struck that I think this movie does well. I might prefer a little more ambiguity, but with the aim of leaving things open-ended rather than outright confusing. The movie definitely didn’t need more action sequences, it had a good level of occasional brief bursts of violence.

It really is unusual, to make a nearly 3-hour big budget R-rated sci-fi movie that really mostly isn’t an action movie, and I’m very glad they did. I also think it’s really a sequel in that I don’t know if it would work well as a standalone movie, I think if you saw it without knowing about the first one it would be confusing, which was also a bold move.

It’s definitely not perfect. I didn’t mind during the movie, but I have seen multiple reviews that praise its style, aesthetics, cinematography, but call the plot Blade Runner fan fiction. And they’re right. It is extremely fan fiction-y. And while they successfully resisted the urge to make it an action movie with a world-ending destruction-beam from the sky or anything, there are times when the script tries to tell the audience that we should be invested in the story because it has big, world-altering potential, instead of being invested because of the characters. This is a thing in sequels that I dislike, so when it occasionally tries to butt in it was less interesting to me than the parts of the movie without it. In this case I was interested enough in Ryan Gosling’s character’s experience without needing outside stakes, so that’s good.

There also need to be way more Asian people in it. I was pleased that they continued on the original’s setting that this is a world where Japan’s technological and manufacturing dominance only continued its ‘80s ascendancy, to the point where in this movie all LAPD official documents and stuff were in English and Japanese. But the main cast are mostly white, and while there is some limited diversity among minor characters, there are really extremely few Asian characters, and certainly this film’s vision of LA has fewer Asians than our present does, despite the presence of other asian/south asian scripts as well as Japanese around the set design. There is a possible in-universe explanation in that much of the movie takes place in, and much of Earth is implied to be, a giant, horrible slum, with the better-off living in luxury in off-world colonies (made possible by replicant slaves). So the most charitable excuse is that we’re mostly seeing a non-Asian underclass. But no, I’m prettty sure the people making the movie just had white people in mind while they were coming up with ideas for the movie, and then cast it that way.

The special effects are very good and do exactly what they need to do, serving the story well. I loved the set/production design for a lot of the movie from the bleakness of Southern California’s coastline to pretty much everything about Las Vegas. The design of the technology is great, being more advanced than the first but still in some sense based on that ‘80s vision of the future, rather than the present. So visually no designs inspired by iPads, no emphasis/reliance on enormous borderless ultra-thin touchscreens. And to ‘confirm’ that this is an ‘80s-divergent timeline, the now-defunct corporate giants of the day featured in the original like Pan Am are still around in 2049 LA’s advertising. The progression of digital assistants like Siri or Alexa or Cortana or Google Now or whatever others there are, and an example of the Silicon Valley tech company founder type of guy is definitely in there though, so they are thinking about/addressing contemporary stuff even with that ‘80s inspired aesthetic.

Then there’s also this explicitly plainly addressed slavery/second class citizen allegory that again we’re seeing from the perspective of a bunch of white male creators and white male lead actors. I don’t necessarily mind the intentional sexualization/commodification of women and cruelty and disposability of some characters in this setting because it’s supposed to be a bleak horrible dystopia, and the movie is portraying these scenes as a sick, disgusting one. But I also think, as with the casting, the creators are also making unintentional choices that might not be the greatest.

Ryan Gosling is very good, and has to be since he’s in 90% of the scenes, Robin Wright is great, Sylvia Hoeks does a great job, and Harrison Ford also does well, which was nice, since I felt his acting in The Force Awakens wasn’t the greatest.

It’s not a perfect movie, but it is good, and that’s a pleasant surprise. They committed to their vision, and a big part of that vision was a bleak future with bits of exploration of cyberpunk themes, plus a little fanfiction and great, great production design. And with the people I saw it with, we kept discussing it for a couple hours afterwards, which is always a good sign. They probably liked it more than I did, with some of them saying they loved it and that it was the best movie they’d seen in years.