#why do characters constantly reference events that never happened on screen

[andessence]

so cruel to be stricken with blorbotions for a character in a mediocre source material. i love u ma'am but ur covered in bad writing grime!! idk if there's anything i can do for u....

[lisamona1503]

SPIDER MAN INTO THE SPIDER-VERSE REVIEW

Ah yes, In this day of constant remakes and revisions of old stories. It can be hard to find good media, luckily Spiderverse wasn’t one of them.

Here I’ll be talking about the movie in depth, if you want avoid spoilers just go the very bottom to see my recommendation and number rating .

PRAISE

As per usual, the animation was fantastic with the mix of 2-D graphics and 3-D, alongside other great features of styles like paper cut outs and even stop motion. Every character has a great design, and the music was incredible! Specifically for Miguel who has a digital sounding horns, I find it cool that it almost sounds like a mariachi band but in the future which makes sense considering Miguel is Spanish descent and also from a sci-fi background.

The story is also pretty solid no big plot holes, in fact there was a solid conflict in the narrative of saving people. In the movie miles wants to save certain people but can’t due to events call “canon events” this a reference to canon which is what is real in a story. In spider-man universe every character has certain emotional events they need to happen in order to keep they’re universe in tact. If one doesn’t let certain events happen than it could lead to the entire death of a universe- miles in specific has to go through his father dying, or else the universe of his own could collapse. Miles’s universe is specifically important due to the fact he was a first “glitch” in the system meaning he was the one who started the process of connecting different universes which potentially means that if he messes up his canon event it could mess up the entire web universes altogether.

This conflict is great and understandable, while you can see why Miguel does what he does, it doesn’t mean we think that miles is a idiotic in his actions. Almost any teenager would probably have a hard time understanding or even thinking about losing a father, this is especially seen in how he is shown to have father issues so having him die suddenly would make his lost hurt more. Never being able to tell he is Spider-Man or that he could make it up to his dad before his death would be devastating.

I also liked the characters in this one as well, we got at least 3 new main spider-man London spider-man, a punk rocker who looks like a magazine cut out. Indian Spider-Man which is probably the newest member only doing 6 months of super work, and lastly holographic spider-women a girl who is a tech genius but she doesn’t get that much screen time.

After those characters we have recurring ones as well, Peter b Parker, or brunette Spider-Man. Turned into a dad and has a baby daughter, and gwen who comes back from the last movie. All do pretty great but I must say that gwen takes up too much screen time even if she is my favorite character. She is probably the second main protagonist in this movie, I can see the reason why though as she does some things that could be seen as very disagreeable like lying to miles constantly about important issues. Showing her perspective can help us understand her intentions of why she did so she doesn’t look too villainous and she is also heavily implied as the love interest.

Now with my long praise I will have to say my critique of this movie and talk about any pet peeves I have

CRITICISM

now people on the right are probably wondering “it might be good but isn’t it filled with political fluff?” I would definitely say yes, there is certain Easter eggs and dialogue that can definitely seem SJW and make it clear where a majority of the artist in the movie lean towards. Examples would probably include, a lot of BLM pins and trans flag in Gwen’s room and pretty much all of spider-punk’s character. Now while this might be in the movie, that doesn’t feel like a big reason to not watch it, I highly disagree on the stances that BLM and what Gwen’s flag says. (I’m a nun after all) Yet that doesn’t mean I won’t watch it, because these political and real life issues are quite literally in the background of the story and trying to convince me to agree with the stances. I know a what a person said about SJW that I highly agree with “you can have SJW artist and character and even writer, but all of those can be done good. As long as it isn’t a SJW story” This quote is pretty good in saying how they’ll always be artists and writers who lean toward a certain political angle and even characters themselves but as long as those characters are in a story that can enjoyed than it’s a story worth telling. I agree, one can highly disagree with one’s political viewpoint and still enjoy they’re work if it’s good.

I will also say that it isn’t all SJW propaganda, in the story both Gwen and miles have father figures who are policemen and are seen and looked up to in the story. Fatherhood is actually shown a lot in the story which I love as we don’t see many father and child stories as much anymore. There’s also at least a some better justification for being so left-leaning, spider-punk is a rocker who is an loves anarchy and going away from authority so it makes sense he would be be radical and all social Justice like- this goes with Gwen as well, as she’s a girl that probably is all rock band like and hangs with hobie so will probably have a similar viewpoint as him.

Now with those political fluff explained, I will talk about aspects I dislike. First Peter B Parker bringing his baby around is a bit annoying to me, why bring a baby you love so much to a battle? The movie even points out how this pretty bad parenting, it’s the same for the pregnant spider women who I don’t even know the name of. Because she was in the movie for so little, both are equally silly as I really don’t get putting you’re child in danger like that. Peter B Parker is probably much more annoying as it’s also clear his wife didn’t want him to go with the baby either. The only reason I feel it put here was because of that seen where he says “I made her because of you” or another is that in the comics there has been an ongoing frustration with Peter Parker not being happy at all and fans wanting him to just have a family finally and start his life as spider-dad. So maybe this is a fan service for comic readers who are tired of a cesspool of Spider-Man suffering.

The movie is also 2 hours and ends on cliffhanger, it’s been ongoing trend of movies doubling runtime to 2-3 hours on average and making it a part 1 or 2. Likely to have more justifiable reason to come to theaters but doesn’t make it any less annoying, I like movies that have a story that can be finished up in a whole movie. The only reason I let this movie slide is because it’s animated and it’s rare for a runtime of 2 hours for this kind of medium.

Lastly this is a nitpick, but I am a bit disappointed at how we didn’t see the other spider people from the last movie. Penni Parker was a nice edition and people know I love Nicolas Cage as noir. So seeing them only at the end of across the spider verse makes me a bit disappointed. 

CONCLUSION

Overall spiderverse was a good break from the MCU and Disney in general. Showing how superheroes can never go out style with a good story and visuals as a cherry on top. I recommend this to everyone. For families I will say that 10-17 is a better age group for Spider-Man across the spiderverse but if you’re more loose on ratings than it’s not too bad if younger kids watch it.

I will say that there are a lot of bright colors and lights so for those who have sensory issues, test out with a few YouTube clips before you go to theaters as it is flashy. Overall 8.5/10 a good sequel.

[mint-yooxgi]

Can you pls do yandere actor taeyong struggling to hide his tendancies for long

The drama had started off without a hitch. After the first episode had aired, it was all anyone could talk about. Everyone could see the chemistry between the two leads, you and Taeyong, and you worked so well together both on and off the screen. Really, the two of you were perfect together.

So when the biggest gossip outlets named you both the next potential 'It' couple, Taeyong could not be happier. Of course, it was only a matter of time that others would see what he already knew: the two of you are meant to be.

Filming with him was easy, he was always respectful and kind, encouraging you and all of your cast mates to do their best. You liked him; he was easy to talk to. Until you started noticing some things.

In the show, his character was meant to be the sweet, charming type. In fact, not all that much different to his in real life personality, or at least, that's what the staff had been joking about. And he was, until you came along.

You had noticed early on that Taeyong enjoyed spending time with you, both on and off set. You had thought noting of it, the fact that he kept appearing around you often enough, especially when around other actors on set. It's common for that to happen, anyways. Only, you noticed him beginning to stand a little too close for comfort to you, especially around certain costars of yours who have admitted to admiring you in some way, shape, or form.

Suddenly, Taeyong had an excuse to constantly be by your side, claiming it was so he could work on his character's chemistry with yours whenever the two of you had time.

"The more time we spend together, the better we'll get to know each other."

At least, that's what he kept saying. You always thought he was referring to your characters. Oh, how wrong you were.

Soon, the line blurred between Taeyong on and off the screen. Certain traits his character wasn't meant to have kept appearing in scenes with your secondary love interest. When you would walk away, he would grab your hand and ask you to stay with him. His eyes would narrow at whoever you interacted with in different scenes, and he would always get praised for showcasing his character's jealousy. Except, his jealousy ran deeper than that.

Behind the scenes, he would bring you food and drinks, even going so far as to offer you his own snacks. Snacks which you know that he never offers to share with anyone else.

Taeyong would also become more touchy around you, always needing to wrap his arm around you to show how close the two of you are with each other. There are even sometimes where he'd just hold your hand, dragging you around set with him so he could keep his eye on you.

Which is exactly how the rumour of the two of you dating started. The network thought it was a great turn of events since the news boosted the show's ratings, so they pushed the idea, neither confirming nor denying it. Taeyong could not have been happier, but you didn't seem so pleased.

Why weren't you excited at the thought of dating him like he was of dating you? Did you not like him? Or worse. Was there someone else?

No. There couldn't be. He wouldn't let that happen, not in a million years. You're his; you're meant to be, and everyone can see that. It's time that you accepted it, too.

The very next day, he went to the executives. He knew what he had to do.

As soon as you walked into the briefing room to see the producers and Taeyong sitting around the table, your heart had stopped in your chest. Already, you assumed the worst, and you couldn't have been more correct.

Two weeks later, at the premiere of the final episode, you announce your relationship to the world.

Taeyong had everything that he ever wanted, that he could have ever hoped for. Now, the world finally knew. At long last, he had you.

[musclesandhammering]

Every Single Issue I Have With S*lki (It’s Not Just The Selfcest)

Here goes. I threatened to post this a few days ago and never did, but I just saw a s*lki stan Twitter account claim that Loki caring about Sylvie more than the whole multiverse was a Good And Romantic thing and it pushed me over the fucking edge, so now you all have to read this. I’ve divided it into categories cause there’s just THAT much.

OOC Bullshit

• First and foremost, no amount of mental gymnastics you do will ever make me believe that this specific Loki- the one that just invaded New York, that just came off a year of Thanos Torture, that just got done being influenced by the sceptre, that was literally in the middle of a crisis already, and then on top of that went through all the trauma of Ep 1- would even be worried about a romantic relationship. That would be the furthest thing from his mind. Go back and watch how he acted in Avengers- you think that guy would abandon his previous mission to become a snivelling simp for a girl he’d just met 3 days prior? Yeah, there’s no universe in which that makes sense.

• “It’s very in character for Loki to fall in love with himself lololol-“ NO, it’s literally not. Out of all the characters in the mcu, I don’t think I can think of anyone that genuinely hates themselves more than Loki. He even referred to all his other male variants as “monsters” and said meeting them was “a nightmare” in this series. He’s got so much self-loathing, plus the fact that he genuinely thinks himself to be an evil backstabbing scourge- so there’s no evidence at all suggesting that he would ever develop a fondness for, or even be inclined to trust, another version of himself, after only knowing them for 3 days.

• Building on that, the whole concept of Loki falling in love with a version of himself just feeds into the annoying ass misconception that he’s a narcissist. No matter which way you stack it, he’s not. If you’re referring to NPD, he doesn’t fit the criteria, and if you’re saying “narcissist” just as a slang term meaning “selfish and arrogant”, that still doesn’t accurately describe him. But when creators like Waldron and Herron do things like having him fall in love with himself, it makes it so much easier for casual viewers to think that he is.

Shitty LGBT Rep

• It’s kinda sus that Loki’s are allegedly genderfluid and yet the only female-presenting variant we see (and apparently the only female-presenting variant there is, cause the male Loki’s all seemed unfamiliar with the concept) is treated as some kind of mind-bogglingly special paradox. Also very sus that, out of all the Loki variants, the one our Loki falls in love with just so happens to be the only female one. What a coincidence.

• The fact that the creators of the show went around bragging about Loki’s bisexuality and Marvel purposefully (lbr) allowed stories about Loki possibly having a male love interest to circulate, specifically enticing queer viewers to watch the show (you know, the definition of queerbaiting), and then instead of having a male love interest (Loki was the first queer main character, so it was the perfect opportunity) they gave us *gestures to this dumpster fire* this… it’s just a middle finger to LGBT fans. The fact that they would rather have this relationship with all its myriad of problems than have a gay relationship is just……. Very telling.

• While him being with a woman obviously doesn’t refute his bisexuality, the fact that they showed/talked about him being interested in 3 different women (flight attendant, Sylvie, Sif) and never even hinted at him being attracted to a man, definitely makes it seem like they were trying to cover up his bisexuality to smooth things over with the more homophobic viewers. You know? It’s like “I know you’re pissed that we sorta confirmed Loki as bi, so we promise we’ll never mention it again! Or even hint at it! As a matter of fact, we’ll give him lots of female lovies and make him seem as straight as possible! That’ll take your mind off of that horrible crumb of queer rep, right? Please please please keep giving us your money!!!”

• Aside from all the other issues, at its core, the biggest reason why I think I’m so irritated with s*lki is that it took one of the most interesting, complex, and diverse characters in cinema atm and squished him into a tired ass unnecessary heteronormative subplot…. Like literally every. single. other. protagonist. ever. Loki is such a unique character, and it’s so so so incredibly disappointing that they stuck him into that same boring cookie cutter romance that happens to every other character in every other movie I’ve ever seen. It’s a disservice, and it’s honestly just not compelling or entertaining at all.

Thematic Issues Galore

• His arc didn’t need a romance. With anyone. It was unnecessary and it didn’t make sense plot-wise. In fact, one of the reasons he was my fav prior to this was because he was the only big-name mcu character whose story wasn’t muddied-up by a romance that didn’t need to be there. So much for that.

• He wasn’t emotionally ready for a romantic relationship with anyone. Hell, just a genuine friendship would’ve been pushing it for him at this point. He was in such a bad state that any relationship he got into would’ve been toxic and unhealthy for both him and the other person, and it doesn’t make sense why the writers would want to put him in one when there were so many cons and essentially no pros (other than “Uwu aren’t they cute together”).

• Sylvie’s character in general was unnecessary and Loki’s character was robbed just by her being there. The whole show became about her post-Ep 2. They spent most of the time giving her backstory, building her up, telling us how awesome she is, trying to convince us to like her, etc when what they really needed to be doing was building Loki up- cause I gotta say, if I had to describe TVA!Loki in a few words, they would be Flat, Boring, and Weak.

• The romance overtakes the plot. They spend time portraying their supposed connection that could’ve been spent adding depth and complexity to literally any of the characters. They make the big Nexus Event them giving each other googly eyes on Lamentis when it could’ve been so many other way more profound things that speak to the fundamental nature of Loki’s. They have the climax of the finale be “oh no she betrayed him to kill He Who Remains” when it could’ve been something way more compelling (Loki having a moral crisis over whether or not to kill HWR, Loki contemplating the state of the multiverse and weighing the pros and cons of freedom vs order, Loki looking into some What If situations and getting emotional about what could’ve been regarding his family, Loki realising the gravity of HWR’s offer and finally coming to terms with how important he is to the universal cycle, etc etc). The entire plot suffered in favour of a romance that half of us didn’t even want.

• It essentially reduced all of Loki’s potential character growth down to “He did it for his crush.” He seemed to at least have some motivations of his own in Ep 1-2 (feeble as they were) but after Sylvie showed up in Ep 3, literally every action he took was just him being a simp for her. Why did he lie in the interrogation? To try to protect Sylvie. Why did he fight the minutemen and Timekeepers? To survive kinda, but mostly cause it was important to Sylvie. Why did he get pruned? Cause he got distracted trying to confess his crush to Sylvie. Why did he try to get out of The Void? Cause he thought Sylvie needed him. Why did he stay in The Void? Cause Sylvie was staying. Why did he try to enchant Alioth? Cause Sylvie told him to. Why did the multiverse get cracked open, leading to an infinite number of Kangs waging war on all of existence? Cause Loki didn’t wanna hurt Sylvie in their fight at the Citadel and then get distracted by her kissing him. It’s uninteresting and honestly pretty embarrassing.

• Throughout their “relationship arc” the writers do their absolute damndest to convince us that we should like Sylvie more than Loki. And you know what? It’s the most hypocritical shit I’ve ever seen. They preach and preach about how Sylvie’s life has been so difficult/we should feel bad for her/she had it so bad/poor poor sylvie/she had it SO much worse than pampered prince Loki…. But then they never even touch on any of Loki’s trauma of hardships (the ones that have been ignored for literally 3 movies now). They frame Sylvie as a good person and a Freedom Fighter after she spent literal decades/centuries mass-murdering brainwashed TVA agents and showing exactly zero remorse for it….. but then they make it their mission to constantly remind us that Loki is a terrible person and constantly put him in situations where he’s forced to acknowledge his wrongdoings/show remorse/admit to how “evil” he is for being a mass murderer for like 2 years. They show him on-screen having a wider range of powers than her, and perpetuate his whole shtick of being a “master manipulator” or whatever….. But then they make Sylvie “the brawn” more competent, intelligent, and physically capable than him. Tell me how it’s a good thing for a ship to be so narratively biased toward one character.

Missed Opportunities

• If they absolutely had to have a romance subplot, then they could’ve paired Loki with one of the characters that have already been established OR one of the characters that were a big part of the whole TVA storyline anyway. It would’ve been so interesting if they’d revealed that Loki had a history with some of the players from previous films (Sif and Fandral both come to mind). It also would’ve been really interesting if they’d given Loki a love interest that actually had some allegiance to the TVA as a whole (Mobius maybe, but not necessarily. It also could’ve been Renslayer or B-15). Hell, imo it would’ve been cool if they’d followed through with that “See you again someday” line that he said to the flight attendant in Ep 1. ALL of these characters have way more chemistry with him than Sylvie, and they were also already relevant to the plot without wasting half the show to give background info on them.

• If they absolutely had to have a hetero-presenting love story involving an enchantress-type figure, then there’s a whole Enchantress (Amora) that was actually Loki’s love interest in the comics. Plus, fans have been screaming for Amora to appear in the mcu for years. Plus, Tom literally pitched an Amora/Loki storyline way back in 2012-13. Also, Lorelei (another enchantress) is also one of Loki’s love interests in the comics, and she already exists in the mcu (she was on Agents of SHIELD). There were several different established characters for them to choose from. Creating a whole knew amalgamation of a character and going with the “she’s a Loki variant” storyline was just completely unnecessary and made no sense.

• They completely robbed us of a Chaos Twins dynamic. Had they handled Sylvie better and not forced her and Loki to smooch, the two of them could’ve had a really really complex and interesting sibling relationship. Loki could’ve stepped into Thor’s shoes and sort of used that new role to gain some self importance, and Sylvie could’ve finally had somebody to look out for her/teach her magic/be there for her. It would’ve been very aesthetically pleasing, the vibes would’ve been out of this world, it would’ve been way more profound than this bs, and frankly it would’ve been much more entertaining to watch.

• Loki’s relationship (read: obsession) with Sylvie completely overshadows all Loki’s other relationships in the show. Loki and Mobius were literally the focal point of the series in Ep 1-2, but after Sylvie showed up in Ep 3, they barely had any interactions with each other, and Mobius pretty much faded to the background entirely. Loki had the beginnings of a pretty interesting antagonistic relationship with Renslayer (with her wanting him pruned, then arguing with Mobius that he couldn’t be trusted), but after Sylvie showed up the dynamic shifted to focus on the history between her and Ravonna. Loki and B-15 started off very badly and openly disliked each other throughout Ep 1-2, and then in the end of Ep 2, Loki showed a little bit of concern for her when she was possessed, hinting that they might be inching toward a reconciliation- especially considering how obvious it was that Loki was gonna uncover the TVA’s sins eventually. There was so much potential for him to be the one to give her her memories back and convince her to change sides, but no, of course that honor went to Sylvie. In fact, after Sylvie showed up, Loki and B-15 never even spoke to each other again.

Various S*lki Fails

• If they were trying to convince us that this affection was mutual, they completely failed. There’s nothing I’ve seen that even hints at Sylvie feeling the same way about Loki that he does about her. At most, I’d say she has a slight endearment to him. She finds him likeable and she’s grudgingly fond of him, but she definitely isn’t in love with the guy. Maybe she thinks he’s cute and hopes that he gets out of this mess alright, but her mission obviously comes before him- whereas, it’s been confirmed multiple times that Loki cares about her above anything else. She doesn’t trust him, she looks at him like he’s an incompetent fool half the time, she shows little to no reaction during most of his confession moments, and she kissed him as a means to distract him so that she could get him out of her way. Look, all I’m saying is, when you get into a relationship where one of you is way more invested than the other, it never ends well.

• This goes without saying for a lot of us, but the selfcest is just straight up odd and cringey. If you’re cool with that sort of thing, fine! People can ship what they want! But don’t pretend it’s not at least a little bit uncomfortable. Yes, I know they’re not technically siblings so it’s not technically incest, and they’re also not technically the exact same person, but they’re similar enough that it makes things weird. And yes I know selfcest can’t happen in real life, so there’s no way to judge it morally, but neither can most of the other stuff that happens in these shows/movies (the Snap, Loki destroying jotunheim, superhero with powers being held accountable, mind control) and yet we still find ways to judge their morality, because they all mirror real-world events. (The snap= genocide; Loki destroying Jotunheim= bombing other countries; superhero accountability= weapons accountability; mind control= grooming and coercion). And lbr the closest real-world mirror to two versions of the same person (who may or may not share DNA, family, backgrounds, physical and emotion characteristics) being romantically involved with one another is incest. And you can be ok with that if you want- that’s your prerogative- but don’t get pissy just cause a lot of us are squicked out by it.

• The whole mirror metaphor (learning self love via each other) thing just fell completely flat. First of all, having Loki learn to love himself by looking at someone who mirrors him did not, in any way shape or form, require them to be romantically involved. But they were. Of course. Secondly, the creators have contradicted themselves so many times on whether Loki and Sylvie are the same or not, that it doesn’t even really register to the viewer that the mirroring thing was what they were going for. Finally, Loki and Sylvie are shown to have so little in common- and to have only the most bare minimum of similarities personality-wise- that it doesn’t even make sense that Loki would “learn to love himself through loving her”. Like? They’re nothing alike. So how would he make the connection that he himself is actually pretty cool, based on her alone? There’s virtually nothing in her that reflects him.

• I know the objective of the entire show was to convince us of how awesome and unique Sylvie is, but honestly her relationship with Loki just did the opposite. A hallmark of a Mary Sue is having her constantly upstage the male lead, and then having him instantly fall madly in love with her anyway. And that’s.. exactly what happened here. Everything they’re doing to try to force her character to be more stan-able is really just forcing her to look more like their self-insert OC. Which is exactly what she is. It would’ve been so much more satisfying if she didn’t have to try so hard to look cool, if they didn’t have to try so hard to make her backstory tear-inducing, if they didn’t have to turn our protagonist into a snivelling simp just to prove how incredible she supposedly is. Very much #GirlBoss energy and we all know how performative and cheap that is.

• The entire thing was too rushed, there was too little build-up, and it was nowhere near believable. As stated above, it’s ridiculously unlikely that Loki would canonically even be interested in Sylvie, and this show did nothing to explain why he was. He just suddenly was. There was nothing they showed us as viewers that would justify a guy as closed-off and preoccupied as Loki falling head-over-heels for a girl he just met. Their was no explanation, no big revelation, no reasoning, it just… kinda happened. And I’m also severely skeptical of any love story that has the characters go in this deep after only 3 45-minute episodes of exposition.

I’m sure there’s other stuff, so if anyone thinks of anything, let me know and I’ll be more than happy to add it. Tagging @janetsnakehole02 @raifenlf @natures-marvel and @brightredsunset800 for expressing interest. This is all your faults.

[pale-silver-comb]

So I know absolutely nothing about Leverage except what I've been seeing you post lately and I have to admit you're making it look tempting to watch! Can I ask what are some of your favorite things about the show/reasons you would suggest people watch it? And is there really a poly relationship that is canon?

Okay. Okay, okay, okay, okay, okay. I am going to do my best not to just “asdfghkjl” at you and answer coherently.

In a nutshell, Leverage is about 5 people. 4 are criminals (Parker, Hardison, Eliot and Sophie) with different and unique skill-sets and 1 is an ex-insurance investigator (Nate) who, at one point or another in his career, has tracked down (or at least attempted to) the other 4. The whole show is essentially: man reluctantly reforms 4 criminals to use their criminal powers for good and 4 criminals move into man’s life and stubbornly refuse to leave because, goddammit, now they have morals. 

I’ve got a lot of favourite things about the show but the main ones are as follows:

1. Found family. And I’m not talking about loners who come together to fight crime and happen to co-exist to the point where they realise they happen to have found themselves a family. I mean, Nate and Sophie are the Drunk Uncle and Wine Aunt who somehow become Mom and Dad to 3 beautiful criminal children. Mom and Dad love their criminal babies and the kids love them (as well as each other, but we’ll come to that in a moment). You get amazing family moments such as: Mom and Dad packing the kids lunch before sending them out to kick corporate greed’s ass; Mom and Dad giving the kids ridiculously expensive and personal Christmas presents causing their most Grumpy Kid to go very very quiet and soft as he runs off to gleefully play with his new murder toy; the kids interrupting Mom and Dad’s big Movie Style Kiss to ask if they can please keep their new underground layer and huffing and puffing when Dad tells them no.

2. Found family: the OT3 edition. To answer your question, the OT3 is indeed canon, confirmed by the creator. Now, usually, “confirmed by the creator” infuriates me because most of the time it’s a way for a creator to be seen as “progressive” without doing anything to actually be progressive. That isn’t the case here. The OT3 are built up carefully and while it is obvious the creators didn’t originally intend for all 3 of them to become a relationship in the romantic sense, by mid-season 5 we are given a very clear picture of where Parker, Hardison and Eliot are heading in their relationship. There aren’t any kisses at the end to signal this but there are solid marriage vows in not only one but two episodes. (And by marriage vows I mean literal equivalents of marriage vows: “for better or worse” and “’til death do us part”. I’m not even exaggerating). The OT3 also doesn’t need explicit romantic narratives to convey how much they love each other. Their love is laced through the whole show, from the way they teach each other things to the way they respond to each other and work as a unit. The way they fiercely protect and admire each other. Like someone once said, if you need characters to kiss or say I love you to let the audience know they love each other, you are writing them wrong. 

Aside from that, each of the parings in the OT3 are just. Gah. They are so well done, with friendship being the solid basis for them all. The creators never expect the audience to assume anything about them or fill in the gaps. They give us their relationships on screen and reference many things off-screen to show us how these relationships continue to build in between episodes.

Hardison and Parker are a canon couple and date in the show: it’s approached slowly and they are so goddamned sweet. They are basically every fluffy slow-burn trope with a healthy dash of mutual pining in the mix. They are basically that quote “love is patient, love is kind”. (I would like to add their romance never becomes the focus of the show or overrides the importance of any other relationship they have with the other characters, especially Eliot.)

Hardison and Eliot are the Old Married Couple and from day one are already bickering and looking at each other/making comments that are found in every UST fic ever (not to mention Hardison has a very good knack for making Eliot grin like a little kid, when usually he’s basically an Angry Little Chef Man). They argue, they play, and love each other plain as day. 

Parker and Eliot are more subtle but every bit as wonderful. They have an unspoken connection and understand each other on a level no-one else can. Parker and Eliot are not good with giving themselves over to affection for different reasons (and Hardison plays a central role in helping them realise it’s okay to want it and have it- that boy has endless patience) but there is something so beautiful in the way the two of them come together on their own and develop their own special bond that works for them. Parker and Eliot are that trope where the characters don’t need to speak to understand each other perfectly. They just do. Their love language is a lot of the time non-verbal but speaks volumes. (Parker also likes to annoy the hell out of Eliot and Eliot....just.....lets...her. Because he’s soft. The softest, grumpiest boy.) 

I could go into so much depth for each pairing and their dynamics as a 3 but that's for another post.

3. Subverting stereotypes. There is the occasional hiccup in the show regarding stereotypes but ultimately, Leverage gets an A+ when it comes to writing characters and making them 3 dimensional people who are not defined by certain characteristics or events. Nate could so easily fall into the White Man Pain trope where he uses the trauma of losing his kid as a reason as to why he is entitled to act like a dick. Nate is a dick but he doesn’t use his pain to excuse it and I appreciate that. Hardison is a black man who is soft and nurturing. Easily the most empathetic and patient of the group. He’s nerdy, an actual genius, and has the biggest heart of all the characters. Nate is maybe the glue but Hardison is definitely the heart. Media’s usual aggressive, amongst other, racist stereotypes can fuck right off. Parker is canonically autistic (I am sure this was confirmed by one of the creators) and she is not defined by it. It’s not written as some kind of singular personality trait. It’s part of what makes up Parker but it’s only one facet of who she is and not once is her actions, thoughts or feelings treated like a joke. Sometimes people don’t understand why she does and says the things she does but it’s met with patience and fondness over the course of the show. Equally, it’s not met with over-caution. Parker is just Parker. No-one tries to change her. The other nice thing is Hardison, who always makes sure Parker knows she’s amazing because of who she is and not in spite of it. Finally, Sophie is in her 40s. She’s not treated like she’s past her prime. Ever. She’s sexy, smart and never is she pitted against or compared to Parker (who is younger) for anything. Sophie is amazing and there’s never even a conversation of “I may be older but I am still *insert adjective typically associated with younger women here*”. Sophie is possibly the first female character I’ve ever seen who isn’t just unapologetic about her age but has never had to apologise for her age. It’s a non-issue and that’s that. The women on the show are written so well, right down to secondary characters and it’s beyond refreshing.  

4.) It’s just fun. The show has a “monster of the week” type format. Except instead of a ghoul or a ghost, the monster is some corrupt wealthy and powerful individual or organisation. The show draws on real-life individuals to do this and therefore closely parallels real-life people and events. It addresses important political, economical, social and environmental issues while at the same time remaining fun and light-hearted. The characters constantly get the chance to play dress up and by GOD do they have fun with it. You get to watch Eliot beat up bad guys in the most delightful of ways, usually after a witty non-sequitur and with a weapon you’d never think could be a weapon. The dialogue and back and forth between the characters is everything. And finally - my favourite thing- the team can never resist striking a dramatic pose after they’ve taken down the bad guy, making sure the bad guy sees them. I mean, they COULD just walk away, satisfied they’ve taken the person down, but nope. They gotta be dramatic bitches 24/7 and pose like they are models for every single month of this year’s Criminal Calendar.  

5.) Competence Porn. So. Much. Competence Porn.  

Honestly, I could list a thousand reasons for why Leverage is amazing but to list them would to be spoiling so many amazing moments you’d get to discover for the first time on your own if you do choose to watch it. It’s the kind of show you can watch with an eagle-eye and sink your teeth into. But it’s also the kind of show if, you would prefer, put on in the background for something entertaining while you do something else. Each episode is about the job at hand but it’s made up of so many moments between the characters that show how much the creators and writers care about them. You’ll laugh, you’ll cry, you’ll do whatever it is you do when something Soft and Wonderful happens that makes your heart melt. I am so beyond grateful for Leverage. It’s everything I always wanted in a show. Nearly every show I’ve watched in the past 10 years has disappointed me in some way, usually either because the writers run out of steam or characters who I love are treated poorly or given some kind of unnecessary “shock value” arc. Leverage doesn’t do that. Leverage is what it says on the bottle. Fandom isn’t something I joined because I needed canon fix-its. Fandom only enhances and celebrates an already excellent canon. 

[gb-patch]

Ask Answers: May 15th Part 2

And here’s the next part of the long answer set of the day!

When will OL: N&F take place? Beginnings and Always took place during summer breaks, will now and forever take place during a fall break or will the characters be going to school at the time of the events we play through? 

It takes place over all of the fall season, so school will be happening in OL2. Some events do take place in school, though many times events only start after school is already out for the day, haha.

Hey!! I have kind of a weird question?? I’m sorry if it’s been answered before and I just haven’t seen it but is OL 2 taking place during the same years as OL 1? I’m just curious, thank you for such amazing games!!! 

It’s a similar time frame, but not 100% exactly same.

Do you have any idea when the demo for now and forever will be available? 

Hopefully this fall! But that’s not a guarantee.

Okay the crime show in Step 2: Growing up. Long blonde hair, police station, crime series? Was it The Closer? Because I’m the same age as MC and Cove and my mom was constantly watching that when I was 13. 😂 

Haha, yeah! The Closer and, to a lesser degree, Medium were the kind of shows I was referencing there. My mom also used to watch those back in the day.

Hey um this might be an odd question but if the setting of OL: N&F is  fall/autumn, what country or city will it take because my mind tells me it is either Poland or Canada. Also I can't wait for the game I am hyped 

It’s set in the USA again. We’d like to be able to have cameos and that’s easiest to do if the OL games take place in the same country.

Is it possible for the PC of OL to have non-seriously dated other people in the in between years even if they’ve had a consistent crush on Cove? 

You can causally date Baxter in Step 3 if you get his DLC and then ultimately choose Cove in Step 4. If you mean off-screen people, it doesn’t really come up, but you can certainly headcanon that. The game never says Cove is the only partner you’ve ever had.

Is there going to be a Kickstarter for Now and Forever as well? For like voiced names and stuff again? Didn’t find B&A until after it was released and I’d really love the opportunity to hear my name in the game 🥺 

Yeah, we are gonna have a Kickstarter with getting a voiced name as a reward! Though, it will be more expensive than it was for OL1. I feel bad to raise the price but we realized too late the first time around that it was being super undersold for the amount of work it took, aha.

Do you know how much the remaining DLC for OL will cost? (Step 4, Derek, Baxter) 

Step 4: Free

Wedding DLC: $2.99USD

Derek DLC: $4.99USD

 Baxter DLC: $4.99USD

Has an artist for the new position been picked yet?! I'm super excited for the new game! 

We did fill that spot. Thank you so much for taking the time to apply!

hmmm what would it take to get each of the XOXO jerk squad to feel the need to hug you? 

They’d have to first like you a fair amount, otherwise the most you’d get is maybe a pat on the shoulder. If they were attached, they might hug you if you broke down crying or if you gave them super good news.

Unless it’s Shiloh, of course. If you want a hug you only have to ask!

May i ask how the Derek DLC will work? I believe that there aren’t any memories in step 4 and doesnt derek’s dlc take place during that step? So will the dlc add memories? Thank you! 

Derek’s DLC will add five Moments to Step 2 (a new page will appear on that screen if you get the DLC). Then in Step 4 you’ll have to choose between playing the default epilogue or going through the Derek romance story.

Is the pc version on itch,io different from the steam version? Like an offline one or something? 

Steam has achievements, but that’s about it. Both can be played offline, if you prefer.

I've been wondering this for awhile, what determines if cove winds up with a ponytail in step 3? I've done multiple runs with different MCs with varying hairstyles. Or does it have to do with a particular moment in step 2? 

I’m afraid I can’t say exact choices that determine things. But generally it’s preference based options in the Step before that decide those things.

Any Floret Bond updates? 

No, the artist had to leave the project and it’s been on-hold. I’m not sure if I want to try working just with what we have or replacing it all entirely. The design is a bit too specific for us to easily find someone who could mimic it. Hopefully we’ll work things out later, though.

In step 3 is Cove's plan always to stay in sunset bird? 

Yeah. He is never ready at 18-years-old to make a big life change.

I love your content! If it's alright to ask, you answered in a previous ask about how Jeremy was too particular with what he likes his types to be romanceable with just any MC and it's sort of got me wondering.. What /are/ his types and/or preferences and such? Sorry if it's a lot! 

Jeremy likes stubborn jerks and will not date someone who’s sweet or even generally a decent person, haha.

uh, excuse me if you said this somewhere before, but how will step 4 be actually? Will it he like an actual step and have moments and dlc and all? Or will it be more like a long epilogue of some sort?

Will the step 4, the wedding and extra routes dlcs be paid too? Im just confused, sorry if im asking too much

Step 4 is only an epilogue, so it’s just a long series of scenes one after the other rather than a collection of Moments you can choose from.

The Step 4 epilogue is free, the wedding DLC, Derek DLC, and Baxter DLC cost money.

i’m not sure how much of the wedding dlc you have planned already, or if this would be to spoilery, but what kind of wedding traditions will be included? i keep thinking about how flustered cove would get over a garter toss & was wondering if we’d see a scene like that haha. obviously no worries if it’s not included, i’ll enjoy literally anything cove related 

I don’t know for sure yet, haha. Right now we’re focused on the parts before the big day. We’ll see how many scene alterations we can include for the wedding itself later on.

Hello! Firstly, thank you for creating such an amazing game like OL, and I couldn’t be more excited for OL2! Out of curiosity, are you looking for any writers to come on for OL2 or are you all pretty much set in that department? Just thought I’d shoot my shot haha but I’m still excited regardless ^^! 

We will be hiring writers for OL2 later this year! Thank you for the interest.

Will we be blessed with a spin-off Yandere Cove, like XOXO Blood Droplets? 

Sadly, no. It’s a shame but there’s not enough time to keep making OL1 bonus/spin-off content.

How is Q pronounced?

I’m afraid Q’s full name hasn’t been publicly announced yet so I can’t answer here (Q and T are the first letters of the names for the new LIs in Our Life: Now & Forever).

Question; is the steam version getting a Mac update?  I purchased the dlc there thinking it had Mac support without realizing it and just wondered if I’d need to refund it to purchase on itch.io 😭 

I’m really sorry, you will need to get a refund from Steam. We do hope to have it there for Steam eventually, but have no idea of when it’ll happen. Apple requires special notarization to be an officially accepted app for their devices. We don’t have that. Steam requires having that, Itch will let you release it as an non-notarized third party app. That’s why Itch is the only place that has the Mac version right now.

would you mind posting outfit sheets for Cove in every step? it would make things a lot easier for us artists. it would save a lot of time spent looking for references 

I think we did do the earlier steps when they were finished way back in 2019 (this game took a long time to make, aha), but we can probably repost them sometime!

In our life n&f, will we be able to get into qprs/will there be more options in regards to having deep platonic relationships with the love interests? Because as an aroace individual, it would be great if there could also be emphasis on platonic love so that it's more aspec inclusive. 

It’s a little hard to say at this point. There may not be things like a wedding DLC for OL2 and so the relationship for platonic and romantic feelings might not go as far as it did in the first game. We’ll kind of have to see how much we can do based on timeframe/budget constraints that will only be set near the end of the year. But we will be keeping things like that in mind at least.

hi! i really really like your game and im absolutely in love with it! i cant wait to try your other games like xoxo droplet and future OL NF :))

during the step 3 erands moment i got curious, which fudge flavor is his favorite? it seems like he likes all of them, but which 4 do you think he would like best?

also i noticed that in some playthroughs cove would let me give him a piggy back ride, and in some he wouldn't, how come?

how does your choices affect cove's interests or looks? i replayed the game without changing any choices but i got cove to look different, is it just random?

thank you!

Cove’s favorite flavors are ones with nuts and that are fruity! But he appreciates them all. Whether or not you can give him a piggyback ride depends on if your MC is fit/large enough to hold a muscular 6-foot-tall beach boy, haha.

Cove’s appearance does depend on choices and it’s generally tied to choices that are preference based rather than emotion/action based, such as which key chain you pick in Step 1.

Is it possible for cove to reject MC's proposal at the end of step 3? 

Nope. He’ll always accept.

hi! i was wondering how heavily the side characters will be featured in the our life wedding dlc? obviously it'll be cove & mc focused, but i was thinking it'd be sweet if we could take lizzie dress / suit shopping or dance with cliff at the wedding or something. 

The side characters are there about as often as they are in normal events. So, it’s clearly focused on Cove but he’s not the only person you have any meaningful moments with.

When will responses be sent out to applicants? 

I’m afraid we don’t send responses out to all applications, only ones we’re interested in offering the position to. Not everyone likes rejection emails and the amount of applications is too high to contact them all to say we’re not hiring them. We post updates on the job page when a position has news. Right now we’ve filled every role that was open.

Is there also going to be the option to keep your relationships with the love interests platonic in Our Life: Now and Forever? That's something I really appreciate in Our Life: Beginnings and Always

Yeah! OL will never force you to end up in a romantic relationship with someone.

I was wondering, in the Step 3 Happiness moment, what are the different fishes Cove can compare MC to? I got "you'd be a paradise fish, because being with you is paradise," but my friend got "you'd be an angelfish." Are there more variations? 

He says paradise fish if you’re a couple, angelfish if he’s just crushing, and then a royal dottyback/queenfish/emperor tetra (based on your gender) if he likes the MC platonicly.

Hello! So, in one of the Step 3 DLCs, Cove's arm was gone. I think it was to show him putting his arm behind his back. But if that wasn't the case, did it get yeeted? 

Thanks for letting us know. That was an error we tried to fix a little while back. When did you make the save file you were playing? If it was older that might be why it happened. Or maybe the error wasn’t fully fixed after all.

Asking for your opinion, but do you think Cove would at all be into ABBA? Because all I could imagine during the car trip in step 3 was him and the MC belting to Mamma Mia. 

Haha, yeah, there’d definitely be some ABBA songs he was into.

So throughout the game, Cove can develop different interests depending on the player’s choices; does this mean that he can have different careers in Step 4? Or his is line of work in adulthood never mentioned at all? 

He can have different career paths in Step 4!

Hi!! I'm so so sorry if this has been asked before but I just acquired knowledge about the so famous nsfw dlc for OL and nearly chocked on my bubblegum 💀💀💀 So, my real inquiry is if that specific moment will have any kind of impact at some point of the fourth step OR if it will just be treated as a side-story-ish “what if” scenario.Also, is there any chance there'll be something similar for Step 4? Haha jk,,, unless 😳Questions apart let me thank you profoundly for making the best visual novel I've ever played 😭 Really really looking forward the epilogue and OL2 💕 Have a nice day 

It’s just a bonus side story that’s fully separate from the main game.

It would be nice to have one for Step 4 too, but I sadly don’t see us having time to actually do it. I don’t know, if people are still asking for more OL1 content several months from now it might be doable and worth doing.

I'd just like to ask, when is Baxter's birthday :0 -- I'm really curious esp with their zodiac signs so ;w; 

I don’t know, haha. Maybe I’ll come up with one someday.

Please help!! I bought the Step 3 DLC but I still have no idea how to get to where you can propose to Cove - any tips? 

&

How do I get the option to propose to Cove at the end of the game?

You can click HERE for a discussion on that.

I love that Miranda and Terry are getting together! I'm curious if you have canon sexualities for them? Also just wanted to say how much I love OL and how much joy it brings me everytime I play it <3 

Terry likes ladies and Miranda likes dudes!

ngl Step 4 Terry's design reads like y'all see trans guys as their assigned gender more than you see them as men to me (a trans guy)... like maybe if he isn't heavily dysphoric, I could see it, but everything you've said about him doesn't line up with that. Even then, immediate warning bells go off in my head looking at him. I wouldn't have touched the game if I saw him ahead of time.

I’m sorry you aren’t comfortable with the way the design looks. The situation with Terry is that he’s now open about who he is, but the body he was born with is still physically the same. He only came out recently as an adult and hasn’t gone through any treatments/procedures yet (his chest is flatter because he wears a binder). However, even though his body hasn’t transitioned at the point Step 4 happens, no one treats him as anything other than the guy he is. Having a trans character who’s identity is supported/respected from the start is what we’re going for in this case. But what we’re doing with Terry isn’t the only trans content we’ve ever had/ever will have in the future.

how would baxter react to bae pyoun and vice versa? and can you please detailly explain both love interests personalities from our life 2: now and forever? i was just curious, sorry for dumb question!! 

I imagine it’d be pretty opposite experiences, haha. Bae would initially think Baxter is pushy and thoughtless, but would quickly realize, oh, he’s instead a soft, considerate boy. Very cute. Baxter would first be struck with the impression that Bae is charming and gentlemanly, but then would realize that, no, he’s a sarcastic asshole. And I’m afraid we can’t reveal the personalities for the next game yet.

Sorry if you've already answered this, but I have a question about the patreon exclusive moment you're working on. I was wondering if it's mainly going to be CGs or if it's mostly character sprites + backgrounds with some CGs.

Either way, thank you for doing the Lord's work and not only making Cove, but making this bonus moment as well 😌😌😌

It’s mostly sprites/backgrounds with two CGs!

—– —– —– —–

Thank you again for the interesting questions everyone :D

We released a new FAQ! It answers common questions and we’ll keep adding more to it. Please check there before sending an ask. FAQ   Also, if you prefer to just see the main posts without all the asks/reblogs, feel free to follow our side account instead: GB Patch Updates Blog

[justfandomtings]

Character study of William murderface

Cw: child abuse, ptsd, trauma, internalized homopobia,ect.

Throughout the show, murderface has been presented as a shitty person that is untalented, leeches off of his friends/ fame, and honestly just seem to have gotten lucky when getting into dethklok.

Which is true, but I want to look in a little deeper why he's like this. (Note:this might be kinda head cannonish. I have some examples from the actual show but since we never got a deep backstory for murderface or get many murderface centric episodes I'll be filling in some empty spaces.)

Murderface in the show

Murderface is extremely self loathing and has had moments where he just goes so hard in on himself.

Season 1 episode 1

We see this in the very beginning when he refers to himself as the 'fat one.'

It could've been played off as a simple joke, which it was in the show for the audience watching. But in the show's universe and for the character, this will be an occurring thing.

This continues in

Season 1 episode 3

It's murderface's birthday and the boys throw murderface a party. During his party murderface is shown complaining and being stand-offish. You would think the last thing he would want is a party, yet he still sends out invites to his bandmates. (Note: noticed how the invites were sent right after murderface left the room? Idk it just seemed like he was embarrassed or scared his bandmates would laugh at him for wanting a birthday party. He even tried to act non chalant when the invite said "come if you want, who gives a piss." when they did throw him a party he still came)

When the boys pulled a little, kinda mean but harmless prank on him, literally giving him the gift of nothing. Murderface was fucking hurt, like genuine tears almost left this man's eyes when he come into his room to get his thing's and 'run away'.

Of course the boys did give murderface an actual gift, which honestly had a lot of thought and effort put into it. This makes murderface cry a tear. (Of blood but you know still a tear)

This is the example of the boy's showing they care for murderface. But even after this big gesture murderface will continue to believe the opposite.

The show continues and we get the first and honestly only backstory for murderface.

Season 1 episode 6

When the boys get a band therapist, we find out the tragic murder/suicide of murderface's parents. His father killing his mother then himself with a chainsaw, this whole thing happens while murderface as a baby sits in his highchair unaware while eating his cereal. This flashback makes murderface kinda sit there in shock as he pisses his pants.

(Note: murderface has said in the show that his appearance was the reason his parents are dead. If that really was the case, why didn't his father kill him or at least killed him after he killed his mother? Why did his father just kill his wife and himself? Never laying a single hand on murderface? Will get back to that later.)

Season 1 episode 9

Bringing up this episode may be confusing to some for bringing this up since it doesn't focus solely on murderface. He doesn't even get that much screen time this episode. But I would like to point out his actions in that episode.

In this episode the boys adopt a young teen boy they name fatty ding dong and raise him as their son for probably couple of weeks. While the boys all had their...interesting way of raising him. Murderface had the most physical fights with fatty ding dong. Mostly when we misbehaved. Like hitting him, shocking him non stop with a tazer, beating him for eating his civil war boots ect.

I just like to point out that murderface was raised by his grandparents. We'll come back to more of that later in the post.

Season 1 episode 11

The band gets reunited with their families and what we see from murderface and his family is that they are very violent towards each other. Murderface tries to choke his grandmother when looking in at her mouth as she chewed. Pickles and Nathan had to snap himself out of it, murderface apologized saying it was his fault for looking to deeply.

Like that was some kind of trigger from his past that made him black out and get violent.

He was also highly against buying his grandfather a wheelchair, only doing so because the boys agreed to be nice towards their family to get them to leave.

Even when they were spending time with each other, they never touched each other William kept his distance. Only ever touching if it was fight related.

In the same episode we see why, Stella was so physically abusive towards murderface, spraying fucking pepper spray into his eyes when he did..nothing? He wasn't aggressive or was even part of the issue. She just attacks him because she had to change his diapers?

This belittlement and physical abuse continues everytime they are together on screen.

So to bring back up season 1 episode 9. With how murderface treated fatty ding dong we can assume that's how we was being treated while under the care of his grandparents. Children soak up things like a sponge. Whether you think they remember it or not. Many psychological reports has shown that children will mimick and repeat behaviors and actions their caretakers do. If it's right or not, children will do things because that's what this adult dose. That's what they see at home. It's normal to them if that is the environment they grow in. Even if the child feels like something is off or wrong. They won't know exactly what is wrong or why because it's all they know.

So if this is how murderface was raised, which highly may be the case since we see Stella physically abuse murderface even as an adult. He might have actually thought this is how you raise a child, this is what you do to a child when they misbehaved. Nobody in his life has corrected murderface or explain to him that this way of discipline isn't ok or even discipline to begin with, it is abuse.

So, we are to believe with the information we have now. Is that murderface was most likely abused as a child, probably all the way up till he was able to get away from them and join dethklok.

With this information we can apply this to his behavior in the show. A side effect from child abuse is suicidal behavior. Throughout the show Murderface would now and then casually commit about hurting or killing himself.

Season 1 episode 2

Murderface casually states if it'll be brutal enough for him to just take his life after Nathan deltes another record. Or when the boys kindly ask him to stop eating beans, he gets oddly emotional and says he'll just starve to death then.

Another effect from child abuse is eating disorders and obesity.

You already know this a big part of murderface's character. There are times where he's seen constantly eating junk food, to eating nothing and just drinking coffee, to the doctor pointing out the back of his teeth are decaying. And murderface informs him it's from throwing up his food.

He also gets teased for his weight being called chubby and fat, ect. Murderface has a hard time with his weight, his excessive eating may even be seen as an unhealthy coping mechanism.

Other effects such as aggressive behavior, low self esteem, dissociation, ect. Is also shown within the show.

Season 1 episode 15

Murderface gets into a motorcycle accident and is sent into the hospital. This near death experience gets him on a religious journey. Maybe to find answers to certain questions or possibly wondering where he was going to go if he did die? Is he a good person, why do certain things happen to people, what's the meaning of life?

He asked the guys if he really deserved to live. Does he really deserve to be brought onto this world, being a part of a pretty good and rare type of life.

The boys being emotionally closed off don't really answer his question. They honestly brush it off but they do go along with murderface on his spiritual journey.

He eventually chooses no religion, but I feel that near death experience stuck with him. He either decided that life was too short so might as well live it, or a more cynical view on life. That it's meaningless then who cares if he died?

Season 2 episode 11

This is probably an episode where murderface was the most sad and self loathing. (This and another episode I can't wait to get to) after his concert, he felt pretty shitty with the outcome and had lead him to feel that he does not deserve the life he has now and wonders why he even shows his face. Just wanting the spot light for one.

Which is really interesting. Because comparing season 1 with the other 3. Murderface in season one had...fans. There were people who genuinely liked him. The prime example is his birthday episode.

When he had a solo, just like in season 2 episode 11. People were cheering his name. Practically screaming at the rooftops for him. So what happened?

We already know that murderface is the least liked member of the band, but even then he still had fans. Hell people committed terrorists attacks just for him on his birthday.

Maybe it was just a loud minority? Who knows, but if in the show as time went on less and less people had him as his favorite or even just liked him would probably get him really insecure.

After the concert failure, Charles let's him host a Nas car event. Which I'd think would've gone actually well if you know, the dethklok curse wasn't a thing.

Also as murderface was planning the event people around him didn't really support him or help him out. Which is mostly murderface's fault, he has a lack of focus and doesn't really plan things through. This is a good reason for partners and others outside wanting to work with dethklok not want to work with murderface. It costs money and a lot of time to do all the things related to dethklok. And murderface's flakeyness is a valid reason for business and others to not have faith in him when related to these things.

BUT! (This is a little bit of projection here) as someone who also has a lack of focus and hard time to get things done. That doesn't mean I don't want to do said thing, that doesn't mean I want to waste others time. I simply have a hard time focusing, I need structure and that little reminder to get things done. But the difference between me and murderface is that I'm not a billionaire.

I am not apart of a popular metal band, with all the money in the world, with a manager that will clean up every little mess I make.

I have more risk, whatever I fuck up will effect me. I will suffer the consequences. Murderface won't. (Also he's a fictional character..so reality won't have any affect on him lol)

But yea, I believe if murderface would suffer from his consequences then he'd be a bit more on things. Also I feel murderface's mental health issues play a huge role in things.

His fear that he's not good enough, eating disorders, ect. Can really mess up your focus.

So, now to the infamous episode. Dethvanity.

Season 4 episode 8

In this episode Murderface in nominated for the most brutal looking award and this. Fucks. Him. Up.

So much so that he actually hallucinates his bandmates and Charles calling him ugly and other things that they never even said.

When he goes to the plastic surgeon, he tells him. A complete stranger, that he hates himself. For murderface to actually admit this deep issue that he's been keeping deep down. For him to show vulnerability to a stranger is pretty sad.

When he goes to Nathan to borrow money, he tells a story of a 'boy' that was so ugly that he's driven his parents to murder suicide. Again he's calling himself ugly and blaming himself for his parents death. (Were going to get back to that too.)

After murderface gets the surgery he days dream about what would happen if he was beautiful. Finally being accepted and able to say fuck you to all those that were shit to him.

Of course, it doesn't end like that. He's face gets infected and is even more ugly than before.

This episode was pretty messed up. Murderface didn't get what he thought would give him validation, he looks down on himself more, and he is humiliated front of 100s of people.

This whole shit show probably validated all the negative thoughts he had for himself.

Next we'll talk about his internalized homopobia. Murderface...is definitely..not straight. He's not gay either he does have sexual attraction to women but his uncomfortably and very interesting moments and visions say he might like more than just that.

Season 2 episode 5

Murderface has a weird thing with eating 'penis' shaped objects or watching other eating said shaped objects.

He has a lot of weird moments where he gets really close to one of his bandmates and just whispers something in their ear. Specifically Pickles and Skwisgaar.

He just said fuck it and tried to bang toki while they were in the submarine.

Had hallucinations of cutting between women, men, animals, even his own grandmother and was distraught when he had a small moment of admitting he way gay.

There's no real specific reason why or how murderface is this scared of being gay. But I feel it may also be with how he grew up. He was probably been told it was wrong to be gay and how immoral it was to like men and you'll burn in hell if you do. Also being gay wouldn't be 'brutal' or 'manly'.

And not to shit on metal heads but you know. They're not the...most..exclusive group of people.

I think murderface is scared to accept he's gay because his grandparents made him feel he would be a bad person if he was or get kicked out of the band if he was.

So, after all I laid on the table, let's wrap this up. Back to the blaming himself of his parents deth. I believe, Williams parents didn't kill/murder themselves because he has ugly. I like to think the opposite, I believe his parents actually dearly cared for him. I think his father had some serious mental issues or something else pushed him over the edge.

It could be anything really, maybe his dad was crazy, maybe it had something to do with the curse. I like to think they both cared for him his dad just..idk snapped.

I'm assuming murderface's grandparents are his dads parents. And seeing how they treated murderface they most definitely treated his dad the same.

Or, it wasn't murder/suicide at all. Buckle in because it's all tv theory over here. I have a hard time to believe that murderface remembered, in such detail in fact. How his parents died, in the flashback he looks to be 7 to 8 months? Traumatic event yes, but there's no way a baby can remember such a thing.

I think, Stella lied to murderface about how his parents died. I think it was just some evil twisted thing she said to make murderface feel terrible about himself. His parents probably unfortunately died in say a car accident or health related issues. But the main thing is how guilty murderface feels, how terrible he feels that he thinks he was the reason he killed his parents when that's far from the truth.

It was either an unfortunate accident or his father killing themselves. But it is not murderface's fault.

The physical abuse from his grandparents, the guilt of believing he's the reason for his parents death, his aggressive internalized homopobia, lack of support, the bullying from his bandmates, body issues/eating disorder, and it just keeps going.

It's no fucking wonder why the man is like this. Don't get me wrong, murderface is an asshole and is responsible for most of his actions.

But that's still a lot of shit for someone to go through.

That's all I have, this is really long. But I hoped you like this little thread. There's still more to his character but this is long enough.

[ahundredtimesover]

Like a Thief in the Night (FNTO 3)

What were you both trying to prove? That two people can remain just friends?

Pairing: Jungkook x (f.) Reader

Genre/Tags: strangers to friends to lovers, popstar/idol!jk, fluff, angst, future smut; this is a dialogue-heavy series so read if you’re into that! 

Warnings: foul language, these characters talk alot bc I talk alot, eventual smut

Word count: 4,800

Series summary: You meet pop star/idol Jeon Jungkook at the café, you get close, and as Hyejin says, you’re like friends with benefits without the sex. But you’re bad at feelings and so is he.

series masterlist

A/N: JK gets some sense knocked into him thanks to Seokjin and Jimin bc I am a jinminkook stan. Italicized parts refer to past events. Listen to Home by 1D to prep you for part 4! 

#

Jungkook covers his face with his hands, elbows leaning on the table, right leg shaking constantly. He’s been listening to the track over and over again; the hook sounded good yesterday but why does it seem lacking today? 

“Fuck, I’m not gonna get this done in time,” he curses to himself. It has been a few days since he arrived in L.A. and had met with the producer he reached out to just as he planned. 

He’s been staying holed up in his hotel room though, his daily gym visits being the only other thing, aside from the concerts, that he looks forward to, given the old couple and father-and-son duos he’s been seeing there everyday. The guys and the rest of the team won’t arrive until a few days later, and he hasn’t had any motivation to go around the city.

He plays the track one more time. Maybe this time he’ll figure out what’s missing; is it in the melody? The lyrics? But unsurprisingly, he doesn’t. It sounds just like it did a minute ago, yesterday, 2 days ago. 

You won’t get any more productive being cooped up in here, he’d told you that Saturday when he dragged you out of your apartment for a little excursion. 

It’s been over a week since then. He’d told you the words you always tell him when he’s groaning in frustration to you over the phone because of a certain pitch he can’t get right, or over words that don’t seem to capture what he wants to say. 

He closes his eyes, head thrown over the desk chair and he lets out another grunt. Artists need to go out for inspiration and you don’t seem like you’re getting it here. 

He closes his laptop, wears a cap over his head, and readies himself to go out. “Damn it, Y/N, you win. You always do,” he says to himself, and walks out the door. 

#

It’s quite windy for a summer day in August in L.A., but the sun is still high up enough, slightly blinding Jungkook. The skies are clear, and he thinks it’s a good enough day as any to finally take a trip to the Griffith Observatory. 

He didn’t do much, just stared out at the city below him and enjoyed the fresh air he’d finally allowed himself to breathe. He could see the clouds so clearly from here, all soft and puffy. 

I’d eat those, you’d said not long ago when you were having brunch on your terrace, the warm summer air of Seoul hitting your faces. Of course, you’d eat anything, he’d answered back, earning a smack from you. That makes both of us, you’d said. 

He lets out a low groan. You again. “It’s just clouds, for fuck’s sake,” he says to himself. Somehow this seemed to signal to him that it was time to go.

A hotdog sandwich and soda later, Jungkook finds himself in Hancock Park, the sun slowly dipping down the horizon, making it a good time to just lay on the sprawling greens by the perfectly lined palm trees. 

With hands behind his head, he thinks that it's been a good day. Why you’d said that L.A. isn’t your cup of tea, he never found out. The city seems so dynamic, interesting; it has a little something for everyone, especially the food. He should ask you some time. 

Jungkook pauses his thoughts. Ask you? Why should he? He basically shunned you away, ghosted you for a week and convinced the company to allow him to leave early so he could meet with the producer he could very easily meet in between shows, just so he could get away from you as quickly as possible. 

The confused, pleading, and then defeated look on your face bore into his mind, unwillingly etched there along with the happier images of you - eating your favorite red bean ice cream, laughing so hard that no sound comes out of your mouth, your scrunched up face when drinking sodas, furrowed eyebrows when working, and finally, your sleeping figure bunched up underneath a thick fleece blanket, soft snores escaping you. 

That last one will always be his favorite, had been since that first time you’d asked him to sleep next to you. 

He woke up earlier than you that Sunday, the day after your little trip, body already used to their early morning wake up calls. You were both under the covers, with you taking up most of the blanket, as always. He softly laughed at this when he realized that half of his body was exposed, but this gave him a reason to scoot closer to you and feel your warmth, so he wasn’t complaining. 

You looked so peaceful, so soft, even with slightly furrowed brows as you were engulfed in your dream. A loose strand of hair fell on your face, which he’d tucked gently behind your ear. A smile befell him, thinking of the way his heart was currently beating slow and fast at the same time. How was that even possible? 

But he didn’t mind it, didn’t even think to find an answer. He’d already given up on finding reasons for what you’d been doing to him, what you’d been making him feel. 

He decided right then and there that he will no longer run from what he’s feeling for you, that he will no longer play this up as something that just happened. 

He’s a firm believer of destiny anyway, and yesterday, this moment right now, he feels like he’d dreamt it all before. He’s meant to be here with you, just as he was meant to be at your aunt’s cafe that September day last year to run into you, or that night out last New Year's when Chaewon had lost her car key and was too preoccupied to take care of you so he did, leading to that fateful morning of you in your underwear almost stabbing him - you both did agree that experience solidified your friendship, after all. 

Every other moment after that with you felt real, and more than anything, it felt right. He fell asleep again not long after, your steady breathing lulling him to sleep. His last thought was of the next time he’d wake up next to you like this again, and his heart softens at the thought.

He shakes his head, anger and frustration building up again, not at you but at himself. He was deliberate in his avoidance of you that whole week before he left.

He’d missed you when you were busy and he somehow felt empty. He crashed your Saturday and took you on a little trip - he remembers how fast his heart would beat whenever you’d lean on him, butterflies in his stomach suddenly having grown in size.

After you’d thanked him for being such a great friend - he winces at the word - he felt his heart shatter slowly, and then all at once. 

It wasn’t out of the ordinary because you thank him constantly. He thinks it’s because you feel he could be doing something else other than spend time with you because time for him is a luxury; wealthy as he is, it’s something he can not afford. He never told you though that spending time with you is one of the things he looks forward to, sort of an escape but also a taste of normalcy he’s barely afforded. 

But after a while, your expression of gratitude became more specific - it wasn’t just time you were thanking him for, it was his attention, his care, his thoughtfulness… his friendship. 

Fate was playing a game with him, he thinks, that at the moment he’d decided what he wanted from you and what he could give you - his time, his world, his love at some point - you’d decided to define him, as your friend. How cruel, he whispers to himself. 

He tries to think as you do. You’d probably call him silly for his musings because you never believed in fate or destiny, always thought that things happen as they do, because they do - no grand plan, no specific reason, just a reason, and that was enough for you. 

He goes home from his sightseeing and allows himself to think about you again that night, and the night after. He thinks about your plump lips, soft against his chapped ones. He thinks about how it felt with you close to him, your arms wrapped around his; fingertips just slightly brushing. He’s glad you’d never lay your head on his chest when you sleep, at least he doesn’t know what that feels like - what you don’t know can’t hurt you, after all. 

He let the sound of your laughter and your out of tune singing sing him to sleep, over and over playing in his head. He tortures himself like this. It’s all he could do to get back at himself on your behalf, he thinks. You hurt him without knowing, and he hurt you right back. 

#

“Mind sharing what’s interesting about that text message, Jungkook?” Yoongi calls out from across the table. 

The guys are finally in the U.S., the morning of rehearsal having just wrapped up and everyone is backstage for a lunch break. 

Hoseok shoots Yoongi a look, as if to tell him to talk about it only when Jungkook brings it up first. The older man only shrugs. 

Jungkook picks this up, though; he picks up everything. He knows his hyungs as much as they know him. The questions about the meeting with the producer, how the mixtape is going, any sights he’d seen, new food he’d tried. They’re trying, he figures. 

He could sense the glances everyone is giving each other but him, the topic-change when the conversation is heading to the topic of you, the clearing of throats, the awkward silences. 

“Y/N texted,” Jungkook says after one of those awkward silences. He stares at the screen, as he’s been doing since last night when, just as he was about to finally doze off at 3AM, his phone lights up. You probably thought he was already asleep, not knowing the agony he was putting himself through.

Everyone falls silent but looks at him softly. Seokjin turns to Yoongi, as if telling him to say something and finish what he started, but Namjoin gets to it first.

“You can talk about it, or not. Depends on what you think will help you be ready for the next 2 nights of shows,” the leader says. “Just let us know.”

Jungkook sighs. “I hate myself enough just thinking about her. I don’t know what I’d be if I start talking,” he says. 

“We’ve got time after tomorrow,” he resigns. Everyone nods in agreement. “I need to be at my best for these two nights,” Jungkook says, and proceeds to keep his phone in his pocket and heads out.

#

Y/N: There’s no proper way to say this but I’m so sorry, Jungkook. I thought I had it all figured out. I wanted too many things from you but couldn’t commit to anything. I was selfish and unfair. I hate myself for hurting you the way I did and you didn’t deserve any of that. I’m so sorry.

Jungkook reads the text over and over again, as if doing so will clarify things for him. Wanted too many things? Couldn’t commit to anything? What did you mean? He called you selfish and unfair that day when you showed up at his place, and he hates himself for it, he hopes more than you hate yourself for hurting him. 

“I’m sorry, Jungkook, I told her about you leaving early,” Jimin starts. “I probably should’ve picked up that something was wrong when you seemed off that whole day after you got back from her place and should’ve kept my mouth shut.” 

“Nothing to be sorry about, hyung,” he responds. “If I hadn’t been an idiot and ghosted her for a week, we could’ve settled it properly instead of dragging you guys into this,” Jungkook says, looking up from his phone. 

He figures you’d eventually reach out to one of the guys about him. Seokjin had likewise reached out to you the other day, asking what was going on, that much he’s said.

“She also didn’t say much when I asked,” Seokjin says from across the table, beer bottle in hand. 

The guys are in a new city and have the next day just for rehearsals. He and Jimin had knocked on Jungkook’s hotel room, in hopes that the younger would be willing to talk. 

“But she did sound pretty out of it,” the elder continues. “What happened, Kook? Everything seemed to be going so well with you two. Unless it’s what we think it is.”

“What do you mean?” Jungkook shoots both of them a confused look.

Jimin sighs. “Who fell first?” He questions. Jungkook’s eyes go wide, but then again, that’s what always happens right? He’s been in denial long enough that you and he were going to go down that route, but his hyungs weren’t. 

Jungkook shuts his eyes before taking a deep breath. 

“I did, at that moment,” he says, referring to that Sunday morning. “I mean, I think I’d felt something before then, but it felt faint, like something fleeting, something abstract, like a thought.” Jungkook drifts a bit, eyes glowing to the memory of you under the blankets.

“But I woke up that morning next to her and I don’t know, for the first time it felt different from all the other mornings. It felt tangible, like something I could hold onto and touch and feel and savor, not just an abstract idea of a person or a feeling,” he looks at his hyungs, eyes shining before they turn downcast. “But she thanked me for being a great friend.”

“Ouch,” Seokjin quips. “No wonder you’ve been moping.”

“I’ve been doing worse,” Jungkook responds. “I’ve been torturing myself, playing that morning, and that day at my house before I left, over and over again.”

“Why are you punishing yourself?” Jimin asks. 

“Because I lashed out on her. I called her selfish and unfair. I told her I wanted to get away from her, that she’s the problem.” 

At this, the two older men look at him, shock painted on their faces at the reveal. This doesn’t sound like their sweet little Kookie, expressing such anger that way.

“I didn’t talk to her for days and she stood there looking worried and sad and I lashed out. I essentially blamed her for the feelings I couldn’t control. She looked at me like I was the one breaking her heart.” 

“Maybe you were, too. Breaking her heart, I mean.” Seokjin quips. At this, Jungkook sighs. “Maybe not in the way you think but… did you even hear her out?”

“No…” Jungkook responds. He didn’t give you a chance. You stood there, demanding an explanation, and he blew you off. 

“Well, I doubt she’d say much. She didn’t know how you were feeling before then, did you really expect anything more? What happened to talking it out? You two always did that,” Jimin asks. 

“Yeah but not about this, not about feelings.”

“What kind of people flirt, kiss, sleep next to each other, and not talk about feelings?” Jimin continues.

“Idiots, cowards, naive people…” Seokjin answers, looking upset. The other two men could’ve easily missed the bitter tone of his voice.

“Yoongi hyung is that you?” Jungkook asks, a laugh almost escaping his lips.

“He’s rubbing off on me but the point is, that’s what you both are. What were you both trying to prove? That two people can remain just friends? She hadn’t let anyone in since her breakup, and you…” Seokjin gesticulates, trying to find the right words for Jungkook. “You are you, Jungkook. You don’t willingly make time just for anyone because you, we, don’t have enough of it. But you always, always make time for her. Both of you kept doing what you were doing, whatever it was, and did you really think staying in the gray area was sustainable? Look what happened!” Seokjin is out of breath, clearly this means a lot to him too. 

“I thought you’d learned enough from me,” he emphasizes the last word, pointing to himself. 

Jungkook and Jimin both soften at the elder, almost forgetting that he knows a thing or two about staying in the gray area, too afraid of crossing invisible lines, too naive to think that good things stay. 

“I teased along with everyone else because you two were enjoying yourselves, seemingly mature enough to roll with the punches and laugh along without it being awkward, and I’m not gonna lie, you guys were pretty cute too, but so many times I wanted to smack your head to knock some sense into you,” he continues. 

“You can never be too complacent about these things, Jungkook. You can never just resign into thinking that the person who makes you feel this happy, this right, can be kept at a distance and just stay there.” 

Jungkook feels it’s cathartic to Seokjin as much as it is for him. He’s right. Both of you should’ve talked about it at some point, perhaps after that first and second kiss, perhaps when it became routine to do that whenever he slept over, perhaps when it started to feel so right having your lips onto his. You were both being naive, thinking that things would remain as good as it was as time went on. 

He should’ve said something earlier, or perhaps talked to you right after that day instead of avoiding you. But more importantly, he shouldn’t have lashed out on you the way he did. His anger was misplaced. Perhaps he was angry at himself for letting it get as far as it did, for letting it affect him as much as it did. 

He let you sneak in his heart just like that, like a thief in the night you crawled in and took from him, and he let you, he always let you. And he never complained because he wanted it too. He wanted you, in whatever way he could have you, but he let his own cowardice get the best of him that day at his house. He lashed out because he was scared, more than anything, that you didn’t feel the same way. 

“I’m sorry, I just…” Seokjin says after a long silence has engulfed the three men, everyone finding a spot in the room to focus on, letting the words sink in. 

“We could all tell how happy she makes you and how soft you are for her. I mean, you let her give you shit for thinking that Ironman is the best Avenger and you never complain when she wears your clothes,” he continues, a smile forming on his lips. 

Seokjin, like the rest of the guys, feel very protective of the youngest. They feel they’ve done their part in raising him and want nothing more than for him to be happy, seeing the amount of pressure he puts on himself. 

“You don’t find that person just anywhere, Jungkook, especially not with the kind of life we live. I would’ve hoped you understood that and made you sure you wouldn’t lose her,” he continues.

“Yah, don’t get ahead of yourself, hyung. He hasn’t lost her yet,” Jimin says, looking at Jungkook to confirm. 

Jungkook buries his face on his hands. “I don’t know, I hope not. But I said hurtful things to her and I can’t take them back. And I’m thousands of miles away and I can’t just fix things from here.”

“Do you even know what you want now? After everything that’s happened?” Seokjin asks.

“I don’t know, depends on what she wants too, I guess,” Jungkook responds.

“Well, you didn’t even give her a chance to say anything so how would you know,” Jimin states the obvious. 

Jungkook lets out a low growl. Of course he didn’t give you a chance to say anything because he left you hanging, all messages unopened, all calls unanswered. And then he left. He felt so brave walking on this undefined territory with you but chickened out the moment things got serious. 

“Look, just… give both of yourselves time. You can’t do much from here anyway, and you’re both too out of it right now to know what to do next,” Seokjin advises. He knows better than anyone that giving yourself time is most important.

“But what if she decides she doesn’t want any of this anymore? That she doesn’t wanna talk to me or have anything to do with me when I get back?”

“Yah! Give yourselves more credit. I know it’s hard but you need to have faith in your friendship, at least,” Jimin reprimands the younger boy. “We’ve still got over a month into this leg of the tour and that’s enough time to figure yourself out.”

Jungkook comforts himself with this thought. But can he manage spending all this time away from you, knowing he left things on a bad note? He can’t fault himself enough for how he left things, and now he has to put faith in your shared friendship that things were going to be okay. 

If you’re meant to be together, it’ll happen; that should be enough, right? He’ll go home soon, and he’ll see you at some point, that’s if you still want to see him. He just has less than 2 months to figure out what he wants, and moreso, what he could give. 

#

It’s been 6 weeks since that day at Jungkook’s house when he implied he had feelings for you. 

You know what else is nice? Calling me to come over on Friday nights when you didn't feel like being out, asking me to stay the night and having me sleep next to you, kissing me and saying you liked waking up next to me then telling me that ‘this feels nice and comfortable and fun’ and that I really am a great friend, he told you then. You were an idiot, that much you’ve figured out.

Other than busying you with a trip to the carnival, baseball nights, arcade Saturdays, and gallons of Baskin Robbins, your friends have done their part in helping you process your feelings and figure out exactly what you feel for the doe-eyed boy. 

They helped you backtrack, as if your story was some sort of mystery that needed clues that would eventually point to what you were looking for - the moment it all changed, for you and maybe for him, too. 

But you realized it wasn’t exactly a moment, it was a series of them - the first time he took you home when you were drunk, that night he came over when you were crying over your ex, when he sang to you over the phone because the thunder was scaring you, when you cried together after rewatching Avengers: Endgame for the nth time… when you first kissed and he tasted of beer and his strawberry chapstick, when you kissed the second time and he didn’t pull away. 

You let yourself drown in those little kisses more than you care to admit. It was all you could give him and you felt it was all he could give in return. You both never went past that act; on your end it was because you knew that anything beyond that would lead to wanting more, something you knew he couldn’t give, something you told yourself not to expect. 

He’d come over whenever he could when you asked, he’d stay over when it was okay to do so. You ask once and nothing more, nothing more than a peck on the lips, nothing more than a Friday evening or a Sunday morning, nothing more than a quick hug, nothing more than a “thank you.”

You knew all this, hence, why you conditioned yourself to think that what you both were was all that you could ever be. He told you once that relationships tend to get messy and he already has enough crazy to deal with. That stuck with you, and perhaps that’s when your mind made the decision to not look at him as anything more. 

But you still kept pushing it, subconsciously you think, knowing there was still an invisible line you shouldn’t cross. You kept doing what you wanted, just waiting for him to say no, but he never did. He never does. He’s always quick to make it up to you when he turns you down. 

This thought suddenly makes you angry. Why didn’t he just say no? That would’ve been better, you think. He could’ve just rejected you instead of coaxing you into this unfamiliar and undefined territory. Now you’re both stuck, unsure of what to do next. You carved this out though, you remind yourself. 

Anything “more” with him was definitely not an option, so you created your own path towards something that isn’t “more,” just something short of it. 

You look over the last communication you had with him. You sent him a message, a few days after he left when you’d had some sense knocked into you, apologizing. That’s all you could’ve given him then, an apology. Not an acceptable explanation, not a promise, not a solution or a way out; just an apology, in hopes that it would be enough.

You sent him a “Happy birthday, I hope you enjoy today!” greeting coupled with a photo of a cupcake with a candle you’d bought just for him on that first week of September. He replied but a “Thank you.” Nothing more.

Seokjin and Jimin reached out to you too, in the days following Jungkook’s departure. They’re letting him deal with it in whatever way works for him, they said. The priority is making sure he’s at his best for the shows, for the fans. You understood this, of course. The stage is where he’s at his happiest. You’re glad he’ll always have that. 

The guys will be resting at least a week after they get back before preparing for the final 3 days of the tour in Seoul. You don’t have long before then. 

The day after Jungkook left, you had that epiphany moment with Hyejin where she told you that perhaps you’d just done whatever you wanted because you wanted everything and nothing at the same time but couldn’t commit to either. You thought you had everything figured out without realizing that in fact, you didn’t. You had 2 months to figure your shit out, and you did.

It was that one afternoon when you absentmindedly picked up banana milk at the supermarket when you intended to just get chocolate milk at the dairy section. It baffled you when you opened your eco bag to see the yellow box, as if the universe was playing a trick on you. You stared at it like it had grown eyes or something, until you realized the other items in your refrigerator, your pantry, your counter that was all for him. 

His favorite cereals on the top shelf, his Nutella and banana beside your peanut butter, his favorite biscuits in the cabinet, the mint chocolate chip ice cream in the freezer. Even his favorite toothpaste is in your bathroom. 

And you smiled. You smiled at how silly you seemed. It’s not just that you couldn’t get the thought of him off you, it’s that you didn’t want to. You’d willingly let him be a part of your life, of your everyday. 

You miss him so much, more than you thought you ever could. All you want to do is talk to him even if you’re hurt and angry and upset. You just want him, even if things are confusing. You just want him even if you don’t know what he’s feeling after everything. 

You want it to work, no matter what it takes. You won’t walk away from this if it doesn’t work out the way you normally do. You’ll stay and try until it does, hoping to all that is good that he feels the same way.

#

As the end of September rolls in, the feelings of fear, anxiety, and excitement start to engulf you. They’ll be back soon, and Jimin had said he’ll message once they arrive. You’d given each other time; the two months felt like two years. That should be enough. 

You’re lounging at your terrace, Sunday night in full swing for those with interesting and put-together lives unlike you. And then your phone beeps, signaling a message.

JM: Hi, Y/N. We’re home!

##

part 2 drabble <<>> part 4

series masterlist

[alirhi]

Loki ranting

Okay. I had this thought in my head of like just compiling links of all the Loki shit I've posted/reblogged so far so that when I get into a conversation about the show and how it fucking disgusted me, I can just be like "here. here's this masterlist post, go read all this shit. This is my entire argument, and not only mine, but a lot of stuff posted by people far more intelligent and level-headed and eloquent than I am, whom I happen to agree with." Because the alternative is constantly getting fired up all over again, and that is exhausting.

BUT! I'm stupid and don't know how tumblr works. Apparently I can't just be like "give me all the Loki-tagged shit I've got" I can only search all the Loki-tagged shit on all of tumblr. And I'm not scrolling back through all of my posts. I talk too fucking much for that shit 😂

So, I'll try to remember all of my grievances with how the MCU has treated Loki, and all of the excellent posts made by other, equally upset fans, and put it all together here under this nice, neat little cut for everyone else's sanity and scrolling convenience...

For people who actually read my shit fairly regularly - bless you, you crazy, patient people. I love you! - this is going to be a lot of repetition of shit you've already read. Probably at least twice. I'm passionate and I have a terrible memory lol. Sorry.

Anyway, first, for those who don't know me and haven't been following my explosions of rage for the past couple of months, some quick background: I do not read comic books, so Loki's Marvel comic canon means nothing to me. I know almost nothing about it. The reason I'm so in love with the character in the MCU is because I am an eclectic witch and the deity I've actively loved and worshiped the longest in my life (literally for as long as I can remember) is Loki. So when he was mentioned in The Mask, I squeed. When they named Matt Damon's character after him in Dogma, I cheered.

When Thor came out in 2011, I just about died from happiness. I was hungry for any representation of this underappreciated god, no matter what it was. I didn't even bitch about how underpowered he was, because at least he was there. But I'm getting slightly ahead of myself.

I can hear anyone reading this going "Why Loki? Isn't he, like, evil? Like basically the Norse version of The Devil?" Because I heard all this shit irl all the fucking time. And no. So let me give you a quick rundown of who Loki actually is.

Loki is a Trickster God. He's often referred to as the God of Mischief. He is not and never was evil, simply chaotic and hedonistic. Loki Laufeyjarson was the son of Laufey (that's mama; they changed her to a man for some reason in the movie) and Fárbauti. Right from the start, from his name, we get a sign of how Loki goes against traditional norms of the time, because in Norse culture, families were patrilineal, and surnames were "son/daughter of father" (which would have made him Loki Fárbautitason), not the mother. But Loki's surname is matrilineal. Feminist icon woo! lol

Though he's a Jotunn, Loki is counted among the Gods (Aesir) in Norse tradition. Depending on his mood, he is alternately helpful or disruptive to the other Gods. I'm not gonna sit and teach a whole text class on him lol but I'll use my favorite example of Misunderstood Loki - the conception of Sleipnir!

So, get this shit. This is also part of why I DO NOT follow Odin and never fucking will (a very small part, but still part of the reason). So, the other Norse Gods are petty motherfuckers, and they wanted some shit built but didn't want to pay the dude doing the building. So they were like "okay, if you can get it done in X amount of time, we'll pay you, but if you can't manage it NO MATTER WHAT, this whole thing is free." And they made sure he had NO help, nothing but him, his materials, and his Very Good Horsey. And this guy and his horse were fucking BAMFs. So it was looking like he was definitely gonna get it done in time, and Odin was like "nah, fuck that shit. I'm cheap." and so he sent Loki to distract the work horse. Loki transformed into a mare and lured the horse away, got fucked, got pregnant, gave birth to the 8-legged (for some reason) horse Sleipnir. Odin rides Loki's son into battle. Um. Kay.

So Loki helped Odin be a petty mf, and Odin got himself a new pet out of the deal.

Oh, also, because he's smart af and a shapeshifter and a master magician and genderfluid, Loki "fails" to fit the super fucking toxic and narrow Norse/Aesir view of "a real man". He prefers intelligence and manipulation to solve problems rather than violence, he's not afraid to behave like a clown if it gets shit done, and that grosses the Aesir out, so they constantly ridicule him for being "less than a man".

Loki is the God of the outcast and the misunderstood. The marginalized people from all walks of life. He is the God of the LGBT community. In modern terms, he's pansexual, polyamorous (married to Sigyn and they are deeply in love, but boy gets around and I've never seen any indication that Sigyn gives a shit) and genderfluid.

Okay. Focus, Ali. This is part of why I usually post multiple rants instead of one big long one XD The longer I ramble, the more I get sidetracked and forget the original point.

So. Loki's awesome, and being a Trickster, is powerful as all fucking hell. There's not much he can't do.

And now we come to Thor (the movie, not the deity). Loki's there! 24-year-old Ali is spazzing! All is right with the world!

Oh lord, they've actually done him justice?! Amazing! He's complex and nuanced and emotional, just like the real Loki! I loved this movie. Loved. It. The climactic thing with trying to blow up Jotunheim never really made much sense to me until someone made an excellent point the other day about Loki being raised in a racist society that was racist against his own race, he just didn't know it yet, poor child. Baby Thor was never corrected when he pledged to commit mass genocide, so Baby Loki probably absorbed the lesson then that Jotunns=evil and killing them all will win his father's love. Anyway, 2011 Loki was a beautiful, heartbreaking portrayal of the God I've loved all my life and spent 24 years longing to see depicted on the big screen.

Then The Avengers happened. And I saw another Loki very close to Norse mythology - mainly, how he's treated. In the beginning of the movie, he's sick, exhausted, and in pain. He can hardly stand, he stumbles and needs help when he walks. He was very obviously tortured, and the sickly blue light of the scepter's control is in his eyes. That gets less and less pronounced as the movie goes on, showing Loki working his way free of it, but in the beginning, he's a mess. Because he was tortured and used by Thanos. Marvel directly confirmed this, and that he was under the scepter's/Mind Stone's control. Loki's actions are not his own in The Avengers. He's under both threat and Thanos' direct control. The movie actually shows The Other directly threatening him to keep him on task, because this is not Loki's plan. It is not what he wants. He's being used and villainized... Just like in real life. It hurt to see this done to him, but the accuracy was too beautiful to ignore.

Thor: The Dark World comes out. I've heard people complain that this movie is the weak link in the Thor trilogy. I disagree. I think that's Ragnarok, for a bunch of reasons, but we'll get there. (And for the record, I loved Ragnarok, too. It was a funny movie. Infinity War and the Disney+ series are the only portrayals of Loki in the MCU that I truly fucking hated.) Anyway, good, fun movie. Had its faults, as all movies do, but it still followed Loki's real-life arc in a way. How? By having Loki dragged back to Asgard in chains and imprisoned underground. Again, not super happy that this happened to my love, and having to see it on screen was painful, but at least in the MCU he's not chained to a rock with venom dripping on his face for eternity, so there's that. (poor Sigyn. how tired do her arms get, holding up that bowl? best wife ever, amirite?)

In TDW, we're shown Loki's love for Frigga, who favored him and taught him magic as a child. We see his bravado; his attempts to mask his true feelings, especially grief. We see him slowly coming back to himself after the events of The Avengers, and slowly mending his relationship with his brother. He accepts that Odin will likely never love him, but Thor just might, because they were close when they were young. "I didn't do it for him." No, no my sweet, you did it for your brother, and a little out of guilt for what happened to your mother.

At the end, Loki fakes his death and escapes, taking the throne, and I have mixed feelings about this. Not the writer's choices here; I love that completely! A natural progression in Loki's story. But my joy is tainted by how closely they're following the Eddas now. Because Loki's escape from his prison heralds the beginning of Ragnarok. And Loki will die in Ragnarok. I don't want to see that play out in front of my face. I won't be able to handle the grief (spoiler alert! IW broke me. I almost walked out of the theater. Loki's death was legitimately fucking traumatic for me. I don't even care how pathetic that is. That grief was real, it was intense, and I still shake and cry when I think about it.)

Marvel announces that Thor 3 will be called Ragnarok. The internet treats this as a shocking revelation. I roll my eyes and mumble "duh" to myself and move on XD

Then they say Ragnarok will be a buddy comedy. I throw up a little in my mouth and no longer want to live on this planet. If they're going to make something called Ragnarok, could they at least treat it with even a fraction of the respect they've shown these characters thusfar? Jfc. I mean, I'll see it anyway, because I'm a whore for Tom Hiddleston lol. But come on, people!

I hated that they made Hel the long-lost older sister and Fenrir her fucking pet/attack dog. Those are my favorites of Loki's children! Hel is such an incredible badass that the early Christians named their dimension of eternal torture after her! They were terrified of her, to the point of naming the place that terrified them most after her. That's awesome! And Fenrir's just the best. I love wolves. Those two details, and Odin's retcon of "we're not Gods! ...lol, except your sister. she's totally a Goddess. and def gonna kill literally everything, so... good luck! byyyeeeee" pissed me off royally.

The rest was great. I genuinely liked this movie. Still do. And they finally used The Immigrant Song! That was pretty cool. If they'd thrown in Bring the Hammer Down and Thunderstruck, I might've called this movie perfect. XD

I wasn't totally in love with their portrayal of Loki in Ragnarok. Yes, the falling for 30 minutes line was funny, as was "I have to get off this planet" and "YES! That's how it feels!" And "Get Help" was funny as hell. But also, like... There is no way Loki would have been the dumb one in that first encounter with Hela. Also, he can teleport and project copies of himself and shit, so... He would not have been that desperate to go straight back to Asgard and bring her right along with them. Loki's not stupid. But whatever. Movie's gotta movie.

What I did love was seeing the slow mending of his relationship with Thor continuing, and the badass fighting on the bridge. I also loved that, like Real Loki, Movie Loki helped when help was needed, was quick and clever, and while he was carrying out the main plan, he was also planning ahead and grabbing the Tesseract. Yes, that drew Thanos right to them, but that's a whole other thing. Loki never would have left that thing on Asgard to be destroyed or lost.

And now Infinity War. Hooooly fucking shit. You know what? No. I'm not going into this. He was killed, years of character growth were erased forever, my heart fucking shattered. The end.

Endgame. IW hurt me so bad I didn't see Endgame until this year. I actually watched Civil War first (for context: I had actively avoided all Cap movies until this year because I fucking hate Steve Rogers. I find him insufferable. Did not realize what I was denying myself until I watched CW and finally saw the charms of Bucky. When he appeared in IW, I was so lost. XD I was like "...who dis? Murder Jesus?" also I just... didn't care. I was numb by then from crying through most of the movie over Loki)

So, anyway. Endgame. Loki picks up the Tesseract in alternate 2012, escapes, fans go "yay! he didn't actually die!" I go "yes he fucking did. Five years of his life, gone. Five years of growth and change, erased. Loki is dead. This will not be the same."

I was more right than I could have predicted. Now we come to the point of this rant. Sorry it took so long, but you were warned lol.

The Loki series makes me so angry I actually get sick to my stomach. It was fucking TRASH. When I praised Marvel for following Norse mythology so faithfully earlier? Yeah. I DID NOT MEAN TREAT HIM THE WAY THE OTHER GODS DID. I did not mean paint him as a pitiful clown, a joke, a caricature of who he truly was, with his pain and suffering played for LAUGHS.

This is supposed to be 2012 Loki, newly freed from Thanos' control. The Loki we saw in the beginning of TDW - snarky, exhausted, nihilistic. The Loki who rolled his eyes and said "get on with it" expecting to be killed.

The bumbling clown flipping on a dime from posturing to calling himself weak is not 2012 Loki. That is not ANY Loki. That is Tom Hiddleston in a black wig doing what he's told by a shitty writer who had no fucking idea what he was doing and was salty about his (bad) original script (for something totally fucking unrelated) getting killed.

In Episode 1, Loki is mocked, imprisoned, stripped against his will, tormented, belittled, and given a flippant summary of all the trauma Actual MCU Loki suffered that this one skipped out on, with no context, no acknowledgement of the trauma he's already lived quite fucking recently, and with the narrative twisted to not only erase all the abuse he's suffered, but to make it all his fault. And this is supposed to make him want to help these people?

And worse, IT FUCKING WORKS. WHAT?! I CAN'T- FUCKING WHAT?! Remember when I said LOKI IS NOT FUCKING STUPID?! So why is he STUPID?

Episode 2, he's a child. Mentally, this Loki is a fucking child. Now we've erased all the growth and development of his entire adult life. He's dopey, impatient, impulsive, desperate for a pat on the back and actually shows it. Yes, abused and neglected children crave the positive attention we never received, and we often grow up to be a bit emotionally stunted. But not all of us, and not Loki. Not as we've seen him EVER in the rest of the MCU. Playful and a bit callous at times? Absolutely! But not a big dumb fucking puppy.

Episode 3, a ray of hope, despite Sylvie! (I hate Sylvie) Loki casually admits he's pan/bi; labels never come up, but he admits to being with both men and women! He sings! Not really relevant to whether I approve of his portrayal or not lol but Tom has a beautiful voice, Norwegian ("Asgardian" lol) is a gorgeous, entrancing language, and I could watch that one bit on loop for eternity and never get bored. And then, finally, we see a glimpse - a glimpse - of Loki's power! He stops a falling building and pushes it right back up! Are we finally getting to see what he can really do? Will the next episode bring us Loki in all his glory?

Nope. 4 and 5 we see him mocked and pushed around and utterly irrelevant. Again. We see tiny reflections of what he could maybe theoretically do in other random Loki variants, but the "main" (lawl. main. it was the Sylvie and Mobius show. Loki was never the main anything.) Loki? Nothing. He wears his heart on his sleeve for no reason, bonds with the man who imprisoned, taunted, and gaslit him, is killed, and continues to be a moron and a joke. Always the clown. Always the dumb one. The one with the bad ideas. The inferior Loki.

Don't even get me started on that finale. I can't. This already took so much out of me. Fuck Marvel. Fuck this fucking show. I just... I'm done.

[shihalyfie]

A meta and analysis on Hurricane Touchdown

Hurricane Touchdown sure is one of the Digimon entries that’s really difficult to describe. Often said to be “confusing” and “like an acid trip” (for pretty good reason, honestly), it somehow also manages to have a lot of hold in public memory, partially due to being one of the three movies that got widespread international distribution via Digimon: The Movie. Moreover, its relevance has started to re-emerge thanks to Kizuna, the director of which has stated Hurricane Touchdown to be his favorite movie (multiple times). Rather recently, there was even an editorial written by a journalist who had been covering Kizuna, professing that he had watched Hurricane Touchdown as a kid and hated it, only to rewatch it as an adult and appreciate it much better.

With all that, plus the fact that the movie recently got a new translation, it’s probably a good time to go back over the movie and analyze it! Despite what popular sentiment may have you believe, the plot of the movie isn’t that fundamentally incomprehensible, just buried under some rather unusual production and execution decisions. But there’s a lot to be said about the themes and story of the movie, so let’s dig in!

(All screenshots and quotations from the movie are based off the Hudie translation.)

Hurricane Touchdown in meta franchise terms

The full title of the movie isn’t technically Hurricane Touchdown by itself, but rather “Digimon Hurricane Touchdown!!/Transcendent Evolution!! The Golden Digimentals”. (The Japanese fanbase tends to shorten it to “Digimon Hurricane”, or, for even more shortening, “dejihari”.) The double-titling there is because of how it was originally screened; it was the 02 “summer movie”, screening in July (between the airings of 02 episodes 14 and 15). Functionally, the franchise has thereafter treated it like a single movie, but at the time, the fact it was technically “two” movies gave it the longest running time of any Digimon theatrical movie, clocking in at a little over an hour. (The tri. movies are officially considered OVAs and not theatrical movies due to their limited-screening nature, so as of this writing Kizuna, at 95 minutes, is the only theatrical movie to break this record.)

The movie itself has a pretty fascinating development history – for one, Akiyama Ryou was originally planned to be the starring character instead of Wallace. It’s also the first Digimon movie to be in “questionable canonicity” territory – this is very normal for Toei tie-in movies, since development for these kinds of movies usually starts at the same time or even before the TV series itself, making it hard to reconcile canon, but unusual at the time for Adventure, which had both its first and second movies be plot-relevant to Adventure and 02 respectively. It is generally understood that the movie takes place in “summer” – possibly between episodes 14 and 15, at the same position it screened in real-life – but, interestingly, the Western and Japanese fanbases’ opinions on why it’s questionably canon tend to differ: in the West it’s usually based on the appearance of Tailmon and Patamon’s higher-level evolutionary forms (which shouldn’t be possible as per 02 episode 27), but in the Japanese fanbase it’s based on Wallace’s existence posing a timeline contradiction (according to Adventure episode 45, there shouldn’t be any Chosen Children before 1995, but the movie states that Wallace had been one before then). Add to that The Door to Summer, which seemingly contradicts the ending of the movie (in which Wallace and Gumimon find what’s implied to be Chocomon’s egg, whereas The Door to Summer has the line “Chocomon isn’t here anymore”), and everything is just a tangled mess.

Despite that, it’s pretty remarkable how lasting the movie has been in public memory. Even with all of the factors working against it – the fact it’s often accused of being confusing (or, by many a Japanese kid, boring and slow) or an acid trip – Wallace is a very popular character, more so than you’d expect for a “guest” character in a one-off movie, especially one so controversial. 02 fans often even consider him an honorary seventh member of the 02 group. His article on the Pixiv dictionary wiki is pretty surprisingly thorough, at that. Questionable canonicity aside, the fact The Door to Summer even exists is pretty significant – how many one-off questionably canon movies have you seen getting an actual sequel?

As an aside, Hurricane Touchdown has a bit of an interesting relationship with Ojamajo Doremi, which is in some sense classic Digimon’s sister series (it aired at around the same time as Adventure through Frontier, and was also headed by their producer, Seki Hiromi). Wallace was voiced by Miyahara Nami, a voice actress who grew up in an international school in Austria and thus speaks fluent German and English, thus often putting her in roles that require speaking one of those. (If you listen to Wallace’s Japanese speech through the movie, it has a very heavy accent, which is deliberately affected on Miyahara’s part.) A year later, Miyahara would be cast as major character Momoko in Motto! Ojamajo Doremi, and The Door to Summer would prominently feature Nat-chan, a girl voiced by Shishido Rumi, who voiced Ojamajo’s Onpu (who is generally agreed to be Doremi’s most popular character, and Shishido’s most famous role). Coincidence? Opportunistic casting? Who knows.

The movie itself

But that’s enough beating around the bush. Let’s get to the movie itself!

I’m not going to dwell on this too much because I’m going to be going more in detail about it below, but our story starts off in Wallace’s hometown of Summer Memory, a fictional rural village in Colorado, in 1995. (As mentioned earlier, this is a bit of a timeline contradiction; Adventure episode 45 establishes that “the one who wishes for stability” and the Agents didn’t get the idea of human Chosen Children until 1995, whereas the events of Hurricane Touchdown imply he’d been one before then.) Chocomon suddenly vanishes, and a gust of wind is left behind, implying that he must have been kidnapped. It’s not exactly said by what he was taken by (Digimon: The Movie ties it into Our War Game! by having both be traced to a “virus”, but no mention of such is made in the original Japanese version).

The mystery of what it is that took Chocomon away is never fully elaborated in the course of the movie, but as it goes on, it becomes increasingly apparent that it doesn’t actually matter. Why? Well, stay tuned.

So, timeskip to 2002!

As Takeru and Hikari are visiting Mimi in New York, Hikari, who is known to have a bit of an empathic connection to Digimon, senses that there’s a “crying Digimon” (this will be important later), and Mimi suddenly vanishes – as do the other Chosen Children.

I think part of the reason this movie is often pinned as feeling like an acid trip is that the demeanor and attitude the 02 kids express in this movie feels a little too laid-back for the very urgent situation of their seniors having suddenly up and vanished (which is also not helped by the movie’s overall soundtrack being a lot more laid-back than the events on screen should suggest). This is especially odd because it’s absolutely not like the kids aren’t worried about their seniors at all! Rather to the contrary; “getting Taichi and the others back” is the major motive driving the whole group for the rest of it, and it’s constantly brought up as their goal in dialogue, shaping their actions throughout the rest of the movie. The execution of the dialogue and the overall direction create a bit of a tonal mismatch, but on its face, the actual storytelling checks.

Shortly after, Chocomon – now evolved and corrupted into something – appears, and Wallace and Gumimon confront him.

The fact that Wallace refers to his partners by their Baby-level names (Chocomon and Gumimon) even after they’ve clearly evolved brings up a lot of interesting implications. One is that, not having been privy to any great adventure in the Digital World before, Wallace doesn’t have a lot of awareness of names changing after evolution the same way his Japanese peers do. But another important thing that comes out here is that, through the course of this movie, Wallace primarily sees his partners the same way he did as a young child. A lot of this movie’s story centers around Wallace’s difficulty in moving on from the past and accepting that things aren’t the same way that they are anymore – and so, just like how he has a hard time swallowing that the circumstances have changed, he has difficulty seeing his own partners as having changed, and calls them by the same names despite everything.

Takeru and Hikari catch on, and Hikari’s psychic sense catches on that something’s happened to her brother, too.

Oh, and incidentally, said seniors aren’t in a pleasant place to be in at all.

The fact that the older kids are clearly Not Having a Good Time in the realm they’ve been kidnapped to – it’s depicted as cold, lonely, full of negative emotions, and eating away at their ability to even bodily function – is very heavily connected to what we later learn about what’s been going on with Chocomon through the last seven years. Moreover, the one truly coherent thing Taichi and Yamato can spit out at this stage is concern for their siblings – i.e., love. Keep that in mind for later!

Wallace drops a line to his family (”Amy” presumably being his sister) saying that he’s going to head to Summer Memory, and skips town. Repeat: Summer Memory is in Colorado – he’s doing something as drastic as going out of state to follow Chocomon, which naturally does not amuse his mom very much (as we find out later in the movie). Patamon eavesdrops on the conversation and relays the information to Takeru and Hikari, who contact Daisuke in turn.

So the remaining three kids nyoom all the way to the US using frequent flyer miles (which makes you really wonder whose those are, or what on earth they told their parents to allow three elementary school kids go around unassisted in another country) to go save their seniors, which apparently doesn’t fund their trip all the way to Colorado, forcing them to hitchhike from New York.

(We also get a quick scene implying that Daisuke has better proficiency in English than Iori and Miyako, as he translates some of the statements for the guy they take a ride from. This is pretty surprising, given that Daisuke hasn’t really been portrayed as particularly book smart…but then again, language skills sometimes just happen to come naturally to some people regardless of skill in books, and hey, it might just come in useful for his future ramen chef career in New York…)

We get our first major scene of dialogue between Gumimon and Wallace, and we learn quite a bit about their characters in the process. Gumimon has a similar laid-back attitude to the more prominent Terriermon in Tamers, but beyond that (and a shared voice actress), it’s important to note that they have very different personalities otherwise. In this scene, Wallace and Gumimon get in an argument over how to handle Chocomon, with Wallace insisting that they shouldn’t have attacked him and that they should have just “talked” about it – even though, as Gumimon correctly points out, he was pretty obviously trying to physically attack Wallace.

In fact, at this part of the story, Wallace is being extremely irrational and in denial. You don’t even have to watch the rest of the movie to see that Gumimon’s very practical stance on the matter is reasonable – Chocomon was very much trying to attack Wallace, and getting caught in the fight was pretty much all he could do for Wallace’s safety. But Wallace, still stuck in the past, can’t accept that at this point in the movie, and, honestly, is being a bit of a brat about it too – he’s engaging in progressively more self-destructive behavior over the course of the movie (ditching his family to set off by himself in order to hitchhike to Colorado, for one). We later find out that Wallace is specifically obsessed with going back to the flower field where he lost Chocomon, having independently come up with the idea that this would somehow let everything go back to what it was before – even though there was really no sign this would actually fix anything.

The Adventure universe generally runs on a concept that a Digimon partner is representative of part of the self, and so, tying that into Wallace and his two partners, it can be taken that Gumimon and Chocomon reflect the duality of Wallace as a character – Chocomon representing his desire to latch onto the past and hope that everything can be the same that it was before, and Gumimon as Wallace’s sense of reason, advising him about the reality of the situation and how to practically get through it (and, thus, to move on). In fact, Gumimon is the one constantly advising him about said self-destructive behavior (reminding him that his mom is probably worried about him, but also berating him for just ditching the train as a result instead of thinking about how that’d leave them without reliable transportation for the rest of it).

The symbolism is driven in even further when the only thing Gumimon has to say, in response to Wallace clinging further onto the idea that going to the flower field will fix things…is a cryptic statement that Chocomon didn’t like the heat, then suddenly offering to be a hat to provide Wallace shade. Because right now, Wallace and Chocomon are the same: clinging hopelessly to shards of the past.

The other 02 kids make their way to meet up in Colorado, but run into some snags when Daisuke, Miyako, and Iori end up missing the exit to Denver (Takeru is not amused), and Hikari and Takeru’s train ends up stranded thanks to Chocomon’s interference…

…and, making things worse, Daisuke, Miyako, and Iori try to take a plane back to Denver, only to overshoot it again. (Sorry, Taichi…your juniors are idiots.)

Fortunately, they get lucky by running into the very same boy they’re indirectly looking for on their way to hitchhiking. We learn that Wallace has never had exposure to other Chosen Children before to the extent of knowing there were any Digimon in Japan, nor has he ever been to the Digital World, so for all intents and purposes, his experiences with Chocomon and Gumimon are all he knows (i.e. he has no awareness of large-scale Digital World affairs). He also apparently speaks Japanese, which is convenient for this movie so that they don’t have to have a language barrier, but, amusingly, Wallace claims that it’s because he “had a Japanese girlfriend once”. (Gumimon, who is much more reliable of a source, says that he’d apparently put an honest effort into studying, so an interpretation that Wallace really likes anime or something is not out of the question.)

It’s also interesting to see how the others react to him, especially considering that it’s becoming increasingly apparent that he’s involved with the disappearance of their seniors. Miyako is as openly friendly as she generally always is, Iori presses him very calmly about questions relevant to the disappearances and Chocomon without even batting an eyelid (future lawyer in training here), and Daisuke is suspicious from the get-go…which is exacerbated when Wallace starts flirting with Miyako. The running gag of Daisuke getting angry about Wallace flirting with Miyako has a lot to unpack here – the most obvious standby is the shipping interpretation (or, at least, that Daisuke may be as protective of Miyako as he is Hikari), but there are other points to observe as well. Firstly, Daisuke is a rather abruptly straightforward and overly honest person, and it makes sense that he’d play badly with people who seem dishonest – after all, his suspicions of Wallace started even before he started flirting, and he also shows similar hostility around Takeru (also not a very straightforward person) when he suspects he’s being made fun of. But also, the Pixiv dictionary entry takes the interpretation that Wallace’s personality had gotten a bit “warped” by his experiences – or, in other words, he’d developed this penchant for acting like a flirt, wandering off on his own, and altogether being incredibly wishy-washy because of the trauma of losing Chocomon and his inability to get over it.

And as much as Daisuke’s being a prick about it (to the point that mocking Wallace for it gets him left there stranded with him), he’s absolutely right about the contradiction Wallace’s posing – he’s acting all high and mighty about trying to become an “adult” (meaning that going off on his own and flirting with girls presumably are part of his perception of what Mature Guys do), yet he’s being a total mama’s boy by constantly dropping everything to call her repeatedly through his trip. (It’s even worse than the subs here suggest; he calls her “mama”, the kind of super-affectionate language used by Mimi and Ken.) As Gumimon says, Wallace thinks he’s actually right, but he doesn’t actually have it together at all.

Another interesting thing to note here is that at this point of the movie, Wallace calls Daisuke “Daisuke-kun” (with honorific attached, slight distance). Remember this for later.

Chocomon appears to confront them again, but he seems to not properly recognize Wallace – because, as we later find out, he doesn’t see the current Wallace as “Wallace”, and will accept nothing less than a younger Wallace from exactly the way he was when they were separated. (It is later stated in the movie that this is why he kidnapped the seniors and turned them younger; since he can’t recognize “Wallace” the way he is now, he’s taking anyone he can find with a Digivice and de-aging them in the hopes that he’ll find “Wallace” among them.) Gumimon recognizes that Chocomon is beyond recognition, and tells Wallace to not see him as Chocomon, but Wallace refuses to accept this and continues to intervene in the fight, telling Chocomon that they’ll meet again in the flower field. Again, Wallace’s mentality isn’t that different from Chocomon’s at this point – he may not be delusional to the point he wants to literally turn back time, but he still thinks that reproducing the conditions of seven years prior will fix everything and make it all better again.

During this whole time, the older(?) kids are getting progressively younger, and it’s turning out to impact not only their physical bodies but also their mentalities. At this point, they’re starting to lose awareness of what’s happening to them, as they become more and more connected to Chocomon’s emotions.

Daisuke is smart enough to catch on that Wallace definitely knows what’s going on, and starts to interrogate him. Recall that Daisuke is completely within his rights to do so at this point – Wallace is not only acting incredibly shady, he’s also being dismissive and refusing to give Daisuke any concrete answers about something that most certainly involves him at this point. As the 02 kids keep reiterating, their seniors have been kidnapped, and it’s pretty clear to anyone that Wallace knows something about this, but he continues to blow them off.

Wallace also doesn’t seem to be very happy about the fact Gumimon had evolved during the battle – remember, Wallace is very resistant to changes in his status quo, and especially when it involves Gumimon evolving in a similar way to Chocomon.

Daisuke continues to pry into what’s going on with Wallace and Chocomon, and Gumimon, who understands that there’s no use in denying that this is a problem, tries to be straightforward about it – but Wallace, still stubbornly refusing to open up about it, won’t even let Gumimon tell Daisuke about the truth.

Daisuke realizes that they’re not going to make any territory as it is, so he decides to have Lighdramon take them to Summer Memory for the time being, bonding a bit more with Wallace in the process.

Once they reach Summer Memory, the kids learn about Takeru and Hikari getting stalled by Chocomon on the train, and the fact everyone else on it had disappeared – meaning that the responsibility that Wallace is carrying for not taking care of this problem begins to weigh further on him. Daisuke, Miyako, and Iori continue to interrogate him about what he knows.

But Wallace, still stubbornly, refuses to talk, and being in Summer Memory only drowns him in further memories of his past with Chocomon and Gumimon. We learn a bit more about Gumimon’s past, too – apparently, he was quite the crybaby…

And when Gumimon finally begins to spill the details of what’s going on – that Chocomon wants to see the younger Wallace and is kidnapping kids with his Digivice and turning them younger as a result – Wallace still continues to double down on his denial. Notice his wording – his specific insistence that things will go back to “how they used to be,” because it’s not just about getting Chocomon back, but also a fixation on recreating that happy childhood he had with him.

(There’s also a bit of a cute moment around here where Daisuke asks Wallace if he needs to call his mom – after having teased him for being a mama’s boy earlier, Daisuke really is starting to care about his welfare. It’s also amusingly mentioned that Daisuke, Miyako, and Iori are broke out of money until they meet up with Takeru and Hikari again…)

That night, Wallace tries to go off by himself to the flower field, not even bringing Gumimon with him – as he implies later, he doesn’t even want to get Gumimon involved with this because he was the closest to Chocomon – but Daisuke, having finally caught on to his suspicion that Chocomon is not only relevant to Wallace but also Wallace’s partner, confronts him about it. Wallace thus finally spills the details – that Gumimon and Chocomon were born from the same egg, that Wallace kept them from his mother and stuck with them during childhood, and that, seven years prior, Chocomon suddenly vanished while they were playing at the flower field.

Wallace: I’ve never been able to forget about Chocomon since then. Not even after moving to New York, not even once. We were such good friends…So why did Chocomon have to end up like that? Does he hate me for not being able to save him? Daisuke: So the enemy we’re fighting is actually your Digimon? Your most important friend?! Daisuke: Of course you’d never be okay with that…

Daisuke is in shock, even though he’d already started to suspect this.

I said, earlier, that Wallace is being extremely irrational and in denial. I did not say that his feelings aren’t valid. Wallace’s situation sucks, and Daisuke recognizes why this hurts for him so much, especially after putting himself in Wallace’s shoes (and in fact it’s even worse for Wallace; Daisuke’s only known V-mon for less than half a year, whereas Wallace is talking about his formative childhood friend).

Daisuke: I’d never be able to do it. If V-mon were to turn into something completely different…Even if he went on a horrible rampage…There’s no way I’d ever be able to bring V-mon down. Wallace: Daisuke… Daisuke: So then, what are we supposed to do? Wallace: It’s not something you need to be crying over. Daisuke: But…

This entire scene is an interesting one for many reasons, especially because of the position in which it aired – this was in the middle of the arc in 02 when everyone was getting their second Digimentals. Daisuke had, only a few episodes prior, expressed trepidation over “friendly fire” – fighting any friend who had become controlled by the Digimon Kaiser. This is consistent with that (and the 02 kids’ general bleeding hearts and difficulty with fighting friends), and it’s even worse – unlike before, when we were talking about evil mind control, Chocomon is pretty obviously a victim of his own madness. And although Wallace continues to insist that this isn’t Daisuke’s problem, Daisuke, for all he’s rough around the edges, is a genuinely kind person who thinks of others to the point he breaks down in genuine tears over the problem, and it’s consistent with not only his prior characterization of thinking about others’ feelings in 02 episode 8, but also how this eventually ties into his indignation over seeing others being hurt (episode 20) or their feelings being trampled on (episode 49).

Another interesting thing here is that at no point in the movie is “killing” ever brought up, but rather the word used is taosu, which literally means “defeat”. In 02 proper, its use is somewhat euphemistic – most famously, it was used in episode 44, when Miyako and Hawkmon have a crisis over killing LadyDevimon (so in short, there’s no illusions about the fact killing is in play here). But in this context, it’s not even really about killing. Wallace doesn’t even want to fight in the first place. The sheer action of physically beating up a beloved friend is painful, with killing as the ultimate unwanted outcome. Everything about this sucks. But Daisuke correctly points out that Taichi and the others’ welfare is on the line here, and everything feels like the wrong thing to do. “What are we supposed to do?”, indeed.

So that’s why Daisuke momentarily indulges in Wallace’s denial-induced pattern of thought, because it really does seem like the only out here. (Especially because, from Daisuke’s perspective, Wallace seems to understands this situation better than he does – even if he doesn’t actually.) If they go to the flower field, they won’t have to fight and everyone will be saved and it’ll be fine! Wallace is irrational and in denial, but you can’t blame him and Daisuke for really, really wanting to believe this.

And Daisuke drops this zinger of a line, too:

Daisuke: So don’t say you’re gonna go alone.

Daisuke’s characterization really is important here, because, again, this movie came out during the first arc of the series, before episode 21 and the second half that centered around Ichijouji Ken’s redemption. At this point in the series, Daisuke was still being extremely deferential to others, especially his seniors, in almost all cases, and although episode 8 was a momentary glimpse into the kind of resolve Daisuke could have when it involved something he really cared about, this movie is really the first major sneak peek into how supportive of a person Daisuke is going to develop into, especially when it comes to Ken.

And Gumimon reaffirms that he’s going to stick by Wallace no matter what – filling the traditional role of a partner that Chocomon won’t anymore.

So they go to the flower field, and everything…fails spectacularly.

Well, before that, we get a glimpse of how the older kids are doing (they’re barely even conscious now), and we finally get to see Chocomon “in his element” and not as a rampaging monster. Things really, really aren’t going great for Chocomon either. He desperately and sadly jumps among the kids, trying to find Wallace among them, and what he really, really wants is just to be with his partner again. But they’re all “wrong”…

At first it seems like Wallace is making headway – for a second, Chocomon even recognizes him as Wallace! – but he continues to insist that he wants Wallace to come “with him”, to where it’s “cold and lonely and no one is there”. The way he starts chanting that he wants to go back is represented by the young Chocomon’s voice getting progressively lost in the monster’s voice, and Wallace, starting to grasp how futile Chocomon’s clinging to the past is, makes his first statement of the movie’s core theme: you can’t go back to the past, the only thing you can do is look forward and think about what you can do from there.

So after witnessing very clearly, in front of his eyes, how Chocomon is not going to listen to reason and will accept nothing less than something he can’t have, to the point of evolving and distorting everything around him, Wallace’s denial finally hits its limits, and he accepts that fighting him will be the only option out. (Again, note the use of “defeat” here – it’s not really about beelining straight to euthanizing him as much as Wallace has finally gotten over his refusal to fight Chocomon at all.) And considering that the situation is clearly rapidly escalating, and that Chocomon himself is clearly not in sound mind and having a terrible time himself, it doesn’t take much to see why the bleeding-heart Daisuke would also end up conceding so quickly. There’s a limit to how much you can hold out with pacifism when that just happened right in front of you!

(Also, Wallace no longer uses the honorific on Daisuke. Friendship level up!)

Chocomon evolves further and further, and his personality starts to actually take a turn for the cruel as he starts toying with the Digimon. In fact, it’s made pretty apparent that they’re no match for him from the get-go – he keeps toying with reality and forcing the Digimon back and forth between forms. He ends up “altering the world” into something reflective of his own heart, and it’s repeatedly pointed out that it’s “cold and lonely” – in short, Chocomon is subjecting the world to feel the same pain and loneliness that he felt, the pain that was enough to drive him mad.

And Wallace finally has this to say:

Wallace: Like Daisuke said, I’m a big baby. But you’re not Chocomon anymore. No, you’re the one who did this to Chocomon…Chocomon was all by himself and lonely, and in that loneliness, he tried so hard…But you took his heart and locked it away somewhere! I’m going to fight. If I defeat you…If that means I can free Chocomon from you…Then I want to fight, too! I need strength…

Firstly, Wallace acknowledges that he’s been a brat – that he’s been philandering around and acting spoiled and stringing everyone around (character development!!). And secondly, Wallace finally acknowledges the truth of Chocomon no longer being recognizable anymore. The ending quarter of this movie focuses heavily on the idea that Chocomon has now become so distorted that he can no longer even be considered the same thing anymore – it’s ambiguous as to whether that “you” that Wallace refers to having taken Chocomon away is actually a separate supernatural entity, or whether Chocomon was drowning in his own loneliness to the point those negative feelings became their own entity and consumed him.

In actuality, though – it doesn’t really matter! 02 as a series would also go on to blur the boundaries between external interference and internal forces – Ken having the Dark Seed as an influence but also being personally responsible for his own emotions driving him over the edge, and having to take responsibility regardless, and Oikawa technically being possessed by Vamdemon but still being goaded on by his own fixation with the past (in fact, notice how all three of these cases have to do with a fixation on things that can’t be brought back). Right now, the only thing that matters is that Chocomon is no longer recognizable, the thing in front of Wallace is no longer the same friend he knew, and even being able to bring back Chocomon’s sense of self is something Wallace wants.

(Daisuke also throws in a more charitable interpretation of Wallace’s actions even when he’s being hard on himself, pointing out that he can’t really be called a “baby” when he also did have genuine determination to come all the way there to find Chocomon despite his age.)

Hikari and Takeru arrive on the scene, and after Daisuke loses his marbles a bit over his happiness at seeing Hikari-chan there, Hikari points out the same thing: “You’re not the Digimon that was crying.”

Chocomon starts turning the 02 kids younger too – and remember, it was established earlier that he was using the Digivice as a guide. That meant it made sense for him to target the older kids, since they had the same model of Digivice Wallace did. But Daisuke and the others have D-3s, and there’s no way to really mistake them for Wallace – so in other words, Chocomon has devolved to inflicting cruelty for no good reason, with the original motive having completely vanished.

In increasing desperation, Angewomon and Angemon decide to evolve, and…look, I don’t have an explanation either, but I have to admit I’m somewhat amused by the fact that even they don’t really seem to have an explanation beyond “well, we’re desperate and hopefully it’ll do something!”

So they evolve, and Chocomon oneshots them. But that’s okay, because they released some golden Digimentals for Daisuke and Wallace to use! So V-mon and Gumimon get shiny new golden forms –

– and Chocomon pretty much oneshots them, too. More specifically, he eats them…and within his body, Magnamon and Gumimon’s consciousness gets eaten apart to the point they start forgetting their partners. Wow, this situation just got worse.

Yeah, so, despite the movie being named after the golden Digimentals, the actual point being here is that power means absolutely nothing in this situation. Remember, I pointed out that even from the beginning Chocomon was straight-out warping reality – they really didn’t have a chance.

So basically, everything devolves into complete chaos. Everyone’s being turned into little kids, with the mentality to match. All the Digimon are being oneshotted and being tossed around like tissues. But the one constant through all of this is that the kids are constantly running after their partners.

Remember how, back when the older kids were first getting sucked into Chocomon’s world, the one thing that seemed to remain intact at first was “love”? That “love” is what reaches out to Magnamon and Gumimon inside Chocomon, and makes them remember their partners again.

And, more importantly, that “love” is what awakens Chocomon – the real Chocomon – inside his consciousness, and he wordlessly makes a gesture begging Magnamon and Gumimon to kill him. And so they do – with understanding and consent from all three involved.

So in the end, the most extreme conclusion was reached. Chocomon died, at the hands of Daisuke and Wallace’s partners. But in that moment before he died, Chocomon’s pain was relieved, and he was himself again – Gumimon says that “Chocomon was smiling”, even in spite of his usual personality being that of a crybaby. They may have failed in their struggle to prevent the inevitable conclusion of having to kill Chocomon, but they did, to some degree, “save” him – so all of it did mean something in the end. And Daisuke promises that this still doesn’t mean the end of everything – they may have not been able to bring back Chocomon, and especially not in the exact way that would make things “the way they were before”, but the future is still there for him to return someday.

So, we clean up loose ends. Taichi and the others are returned safely, and in the end, Wallace decides to still be a vagrant for a bit longer – and to flirt with Hikari and Miyako a bit before he leaves. In the end, Wallace still has a long way to go if he wants to really grow as a person. But as Miyako points out, he’s gotten a bit bolder than he was before – and he’s greeted with an egg in the end, as if opening up new possibilities.

The Door to Summer contradicts the finding of this egg, or at least opens up the possibility that this wasn’t actually Chocomon’s, so it’s ambiguous as to whether the frame of Terriermon and Lopmon at the end of the credits is meant to be taken literally, or if it’s just symbolic. But even in the case of the latter, Chocomon is seen as Lopmon, a form he never got to have in Wallace’s childhood – so, in the end, it’s about different possibilities opening up in the future, rather than replicating that of the past.

All right, let’s recap this movie for those doing a tl;dr! Or, more specifically, let’s recap the events in chronological order:

Sometime before 1995, an egg emerges from Wallace’s mother’s computer, and hatches into twin Digimon, Chocomon and Gumimon.

In 1995, while playing in a flower field in Summer Memory with Wallace and Gumimon, Chocomon disappears for unknown reasons.

For the next seven years, Chocomon is trapped in delirium, full of loneliness and pain from being unable to see Wallace, and starts to become obsessed with the idea of reuniting with him, but, in his madness, accepts only a version of that reunion that involves him being the same young child he was when they parted, as if nothing had changed since.

Wallace, likewise, develops a fixation with getting Chocomon back so that things can be like “the way they were before”, even after moving to New York.

In 2002, Chocomon begins to kidnap kids with the same model of Digivice that Wallace has, and starts to forcibly turn them younger and send them into delirium like his own, hoping that this will bring the “Wallace” he wants back. Wallace starts to chase after him and decides that returning to the flower field in Summer Memory will allow him to communicate with Chocomon and make him go back to the way he was before.

Takeru and Hikari, hoping to find a lead on their seniors’ disappearance, drop a line to Daisuke, Miyako, and Iori, who head to the United States, also hoping to find a lead in Summer Memory. On the way, they run into Wallace, who is evasive about his connection to Chocomon and the kidnapping incidents.

At Summer Memory, Daisuke confronts Wallace and learns about his story, emphasizing deeply with the difficulty in killing an important friend, and agreeing that they should reach out to Chocomon at the flower field.

Chocomon continues to fall deeper into madness at the flower field, and Wallace and the others realize that they have no choice but to fight him. As Chocomon becomes so distorted he’s no longer recognizable, Wallace declares an intent to at least save his consciousness.

As the fight carries on, the kids are de-aged by Chocomon in his madness, and Magnamon (V-mon) and Gumimon are swallowed by Chocomon. However, the kids’ love for their partners awakens Chocomon’s consciousness again, and he asks Magnamon and Gumimon to end his pain.

With everything settled, Wallace and Gumimon are able to face forward into the future in the hopes of meeting Chocomon again and starting anew from scratch.

The Door to Summer

Actually, there’s not much to really be said about Hurricane Touchdown’s spiritual sequel The Door to Summer, except that it revisits similar territory to the movie, observing it more in Daisuke’s context than it does Wallace’s. (The story is very much more Daisuke’s than it is Wallace or Mimi’s.) The short synopsis is that Daisuke, having had a pretty bad time recently, finds himself in contact with a mysterious “winter” (in the middle of summer!) that seems to reflect his own heart…and a mysterious amnesiac girl whom Mimi names Onpu “Nat-chan”, who immediately latches onto Daisuke. In the end, “Nat-chan” turns out to be “a Digimon who’s taken in a lot of evil data,” who goes on a rampage and forces the others to fight and eventually kill her.

Although the reason for Nat-chan going on a rampage is more concrete than what was given in Hurricane Touchdown (it’s portrayed as “data chips” that seem like fireflies), The Door to Summer also makes it very clear that it wasn’t just supernatural influence, but also Nat-chan’s loneliness, desire for a human partner, and jealousy of Daisuke and V-mon’s relationship. Daisuke, while showing immense hesitation about fighting her when she had befriended them, still manages to “save” her in some way, to the point she actually verbally thanks him as she dies. And in the end, Daisuke and the others decide to take her egg and find a partner for her – even if she can’t be Daisuke’s partner like she wanted, she can still start anew with someone else.

Wallace in Kizuna

Warning: The rest of this post contains spoilers for Kizuna.

As said before, Hurricane Touchdown has been said to be the favorite Digimon movie of the director of Kizuna – and certainly, while Kizuna references all four Adventure-series theatrical movies, Hurricane Touchdown’s references are the least subtle, with the plot point of de-aging kids lifted directly from it. (Except, in this case, it’s in the context of trapping oneself in blissful memories rather than being portrayed as the upfront listless torture it is in Hurricane Touchdown.) Moreover, the theme of warning against being fixated on the past is just as present in Kizuna as it was in Hurricane Touchdown, especially when Kizuna’s main antagonist (Menoa) also falls victim to something that’s part supernatural influence and part getting swallowed by her own negative feelings…so it’s only fitting that Wallace himself makes a cameo in the movie. Two cameos, in fact.

The fact that Wallace is established as canonically existing within the Adventure main timeline has thrown a lot of people for a loop, especially since recent franchise events have made it questionable as to how it’s possible for canon to even make sense anymore because consistency has just gone out the window, but the Pixiv dictionary’s chosen rationalization for this is that, at the very least, “(some version of) Wallace exists in the timeline of the main story”. I’m inclined to agree with this evaluation; the fact that people around the globe can agree that the movie is questionably canonical but can’t even agree on how, and the fact that certain franchise entries considered canon (Tag Tamers) have their own contradictions, plus the fact that it’s not like Hurricane Touchdown takes a complete knife to timeline and lore common sense and more that it has some contradictory minutiae that are really easy to sidestep, it’s not actually that hard to say that some timeline of events that reasonably resembled Hurricane Touchdown (with maybe only some minor timeline or evolution differences) happened during the summer of 2002, and thus that Wallace exists.

Assuming that the story of our canonical Wallace is mostly the same or similar to that of the story presented in Hurricane Touchdown, Kizuna provides us with quite a bit of interesting information. We’re treated to two shots relevant to him: one in the form of his name at the top of Koushirou’s list of kidnapping victims, and one where he appears in person at the very end. It’s hard to miss him; he’s wearing similar colors to the clothes he wore in Hurricane Touchdown so you can identify him even at a distance, and he’s also the only loser around here with two partners. That’s right, two! Two!! Chocomon is back – and as Lopmon, exactly like the end credits card of Hurricane Touchdown depicted him!

So it looks like that, one way or another (after Hurricane Touchdown, after The Door to Summer, whatever, make up your own story), Wallace did manage to reunite with Chocomon and start a new life with him. It looks like not all of his habits have died – he’s depicted in a place with palm trees, meaning he’s definitely not in New York or Colorado, so either he’s moved again, is still maintaining the vagrant lifestyle, or just happens to be on vacation.

The other interesting thing here is that Wallace is depicted as one of the Eosmon kidnapping victims. According to Menoa, kidnapping victims were ones who were entertaining thoughts of wanting to go back to the past and remain a child forever – something that should intuitively be against everything Wallace learned in Hurricane Touchdown. But it’s important to point out that Eosmon’s lure is depicted as working on a subconscious level – certainly, if the kidnapping victims in Kizuna were to be outright asked if they wanted to be kidnapped and de-aged and trapped in their childhoods forever, most of them would probably say “no!”, and Wallace is likely no exception! But even if he’s starting his life anew with Chocomon now, it’s not hard to believe that there would still be lingering subconscious regrets about everything he’d lost with Chocomon and the childhood they could never spend together, ones that Eosmon’s allure would end up connecting with, even if the events of Hurricane Touchdown had consciously taught him better. Alas, being a human is hard.

[hotdadslade]

Let’s Talk About White Rabbit

I’ve been stewing on a post like this for a while, but after a friend got a nasty message over on twitter about it, I wanted to elaborate over here, in a bit longer form.

A lot of people probably don’t know who White Rabbit is, and that’s fine! She’s a pretty obscure character by DC comics standards, but she’s a part of Prime Earth (That is, DC: Rebirth), and continues to show up here and there. A lot of people probably only recognize her by appearance, because it’s pretty distinct:

She’s also, without question, a terrible character. If you’re a huge fan of White Rabbit, probably best to move on. If you dislike her, have no opinion, or don’t yet know who she is... well, this post is for you.

So, without further ado, here’s an explanation of why White Rabbit is awful:

First, to get this out of the way: White Rabbit (WR from now on) has no connection to the Mad Hatter. The bunny-themed supervillainess who appears with him is the March Hare. WR only appears with him once (and once on an unexplained cover page), and it seems strongly to be an accident/case of mistaken identity.

So who is the White Rabbit?

WR first appeared in New 52′s Batman: The Dark Knight. She was actually the first major antagonist in the book, appearing in the first issue and being the primary antagonist for the whole first eight issues. She’s portrayed as (generally speaking) being a mercenary, although her actual motives are extremely unclear.

For the first seven issues, we bounce between Bruce dealing with various villains that are working with WR and Bruce’s suspicion that Jaina Hudson, the gorgeous (and boy does the comic tell you how hot she is) woman he’s seeing might be connected.

Which is weird, because White Rabbit is a white woman, and Jaina Hudson is most certainly not:

Jaina is introduced to us as a half-Indian, half (white) American socialite. She flirts with Bruce, he flirts back, and so on. It’s not until issue seven that we learn that WR and Jaina are the same person, because Jaina has the bizarre and completely unexplained superpower to...

Become a white woman.

Yeah.

Jaina is capable of splitting into two separate people, and one of those people is a white woman who runs around in high heels, bunny ears, and lingerie. I’d love to explain the dynamic at play here, but I really can’t: they appear to have two different personalities, but this is never explained or defined, because...

Jaina has never had an actual arc.

Jaina’s arc starts decently enough, or at least not terribly. Bruce is portrayed as being bizarrely sexist, and constantly refers to the White Rabbit, a supervillain who is literally working with the worst of the worst, as a ‘girl’. It’s implied he might have feelings for her (???). But there’s at least some sort of interesting dynamic as Bruce tries to work out how Jaina and WR are connected (They both use the same catchphrase, inviting Bruce/Batman to ‘catch them’).

The reveal that they’re the same person is... to say the least, a huge letdown. 

There are so many bizarre aspects to this. Is WR intended to be Jaina’s ideal self? Why does she spawn wearing lingerie? Does Jaina know what WR is doing while she’s away? 

And that’s not even touching on the racial issues. 

I don’t think it’s going to shock people to hear that DC comics (and really, comics in general) have had an issue with representing minorities. While there are absolutely groups that get an even shorter stick, the total representation for the more than a billion people in India (and that’s not counting those who have moved elsewhere) is... extremely underwhelming. Of all the Indian (or Indian-American) characters DC has, the one with the most issues since New 52 is Solstice, a character whose superpowers hide her appearance completely (more on this later), who was killed off during the events of Heroes in Crisis. 

Three of the top five were created with New 52 (one was created before, while one is a Rebirth era character). One is now dead, and one has stopped appearing in anything.

And Jaina—White Rabbit—is number five.

Despite having never had a full arc, Jaina continues to appear in comics. Her total issue count keeps going up. But it’s important to note that it’s not really Jaina appearing: It’s White Rabbit, who for all intents and purposes looks like a white woman. Jaina’s civilian form hasn’t appeared since they were first revealed to be the same person way back in 2011.

I think it’s important to recognize that there’s a strong trend of representing minority characters by not representing them. I’m sure everyone can think of one (or two, or three) non-white characters who spent the majority of their screen time changed in some way. Maybe they became an animal, or maybe they, like Solstice, had a special power that didn’t just empower them, but completely hid their appearance.

And when it just happens once, it’s not a huge deal. The problem is that when it becomes a trend (Disney was particularly bad about this), it’s important to think critically.

And Jaina’s case is particularly bad. It’s not just an Indian woman who spends most of her time disguised as an anthromorphic white rabbit: she’s an Indian woman who spends all of her time disguised as a white woman. Jaina hasn’t appeared outside her White Rabbit form since May 2012, but continues to cameo in almost every major ‘all the villains show up’ event. Any time a character can change their race it’s going to need to be handled with extreme delicacy. Jaina’s case isn’t. In fact, it’s literally not acknowledged at all, which makes Bruce’s suspicion of her slightly baffling. He’s already assuming she’s a meta who can shapeshift, so why does he never consider that she could be in two places at once? The fact is that nothing about Jaina’s story or situation even acknowledges that her race changes. The story remains exactly the same (in fact, it’s better, since it resolves Bruce’s suspicion) if she’s just a meta who can be in two places at once.

So why does this matter?

Jaina isn’t an old character. She’s not a DC touchstone who’s been around since the 50s and is being slowly, bit by bit, reimagined to be less problematic.

She was created in 2011. She’s not even a full decade old, so it’s not as if she’s a classic, and we could imagine that the creators didn’t think about the implications. At the same time, she’s also nine full years old, and despite having appeared in 19 issues, she’s never had any sort of character arc of her own. She appears, to be clear, to look sexy.

Specifically, to look sexy as a white woman who is dressed in high heels and garters.

There are a lot of characters with problems who have potential. Who can be tweaked and work perfectly well. But Jaina, despite the fact that DC keeps trotting her out, is not one of them.

DC really needs to just stop bringing her back: they need to let her fade into the existence and give her screen times to characters who don’t play into extremely uncomfortable (putting it lightly) tropes.

DC’s fifth most prominent Indian character shouldn’t be a white woman.

[bestworstcase]

my most controversial tangled opinion is that the sundrop/moonstone lore isn’t confusing, it’s just a soft magical system in a story that wanted a harder one.

what i mean by this is: there are zero theoretical limits on the powers of the sundrop and moonstone, but their actual established powers are nebulous and controlled by vague concepts (“faith” and “feelings”) without any hard explanation. this works as long as the magic is a mysterious quest object and its actual use is largely incidental, but once cass takes the moonstone, the magic becomes a central component of the plot and the system fails.

for those unfamiliar with the soft/hard magical system distinction, in the most general terms, a hard magical system is explained—it has defined rules and limitations so the audience can understand How It Works—while a soft magical system isn’t. neither is better than the other per se, but which type works best for a given story depends a lot on how the magic is used in the plot.

to give an example, bending in avatar: the last airbender falls into the “hard” category. bending is a martial art with a strong spiritual component; there are four types of bending, each tied to one of the four nations; with one exception, benders can only bend a single element, and the exception is explained and given his own set of rules, like the requirement that he must learn the four types of bending in a particular order. even the last-minute introduction of a fifth type bending is logical within the context of the universe: humans learned the other four types of bending from powerful magical creatures, so the lion-turtle’s ability to gift energy bending to aang follows the established rule for how humans acquired bending abilities in the first place; and aang himself has long been established as valuing and prioritizing the spiritual aspect of being the avatar, so it makes sense that when he entreats the spirits for a way to defeat ozai without killing him, the spirits basically go “sure, here.” 

and of course, we the audience need to understand these rules, because bending is integral to the plot and to the way characters solve problems. if the characters in atla were constantly pulling new powers out of their butts to deal with the problem of the week, would that be as satisfying a story? characters do discover new powers (katara’s healing, toph’s metalbending, iroh’s lightning redirection, hama’s bloodbending), but when that happens the series is quick to establish how those powers fit within the framework of what we already know. we see this happen in fanworks too, because the audience understands the underlying mechanics and we can extrapolate new powers that fit within the defined rules, eg: could a sufficiently skilled and motivated firebender manipulate the electrical signals of the brain? taking control of a pre-existing electrical discharge and manipulating elements inside the human body are both possible, so i don’t see why not.

now back to rta.

the magical system in the series is very soft. for the purpose of this discussion, we’re going to focus on the sundrop, moonstone, and zhan tiri, because those are the core pillars of the magical system—the assortment of enchanted artifacts that pop up are sort of tangential and irrelevant here. 

let’s start with what we know. 

the sundrop and moonstone are two halves of an ancient cosmic power (hereafter ACP). the ACP was destroyed by an unknown calamity, the two drops fell to the earth, and they have been longing to reunite ever since. 

whether this “longing” implies a degree of sapience or if it’s simply an attractive force like a pair of magnets is never specified, but based on the way the two forces behave i think the magnets explanation makes more sense.

the sundrop and moonstone are said to be inverses of each other. the sundrop heals, the moonstone harms. simple enough. 

...but the moonstone also has a secondary protective ability, which it gifts to rapunzel in the form of her unbreakable hair. and the moonstone has the black rocks, which seem to exhibit both the destructive and protective/invulnerable facets of the moonstone’s power. 

and the the sundrop also has a secondary destructive ability in that it. explodes.

so...

sundrop heals ↔ moonstone harms sundrop destroys ↔ moonstone protects

now this internally contradictory set of powers for the drops does make sense when you remember that they were originally just one thing. the ACP was theorized to have basically unlimited powers of destruction and creation, so it makes sense for its two halves to exhibit that duality within themselves as well.

if we consider the wording of the four incantations (and the events of BVA), we can kind of get a sense of what else the drops might be able to do: 

i think there’s a strong argument to be made for understanding the healing/decaying capabilities of the drops as temporal manipulation. the sundrop doesn’t “heal” so much as it reverses time so it’s like the damage never happened (“make the clock reverse!”)—which incidentally would explain how gothel stayed fertile for two thousand years a lot better than “healing”—and the moonstone’s decay does the same but in reverse, so fast forwarding rather than rewinding.

they both alter/manipulate fate (“change the fates’ design”/“end this destiny”). this may be a metaphorical reference to the temporal manipulation thing, or it could be that the tangled universe truly is deterministic and the drops powerful enough to literally change fate.

a case can be made for a third dichotomy of sundrop faith ↔ moonstone will. by which i mean that the sundrop runs on belief/faith while the moonstone runs on feelings/willpower. the sun incantation focuses on hope (“and let our hope ignite”) and eugene having faith in rapunzel in LAF is what allows her to activate the sundrop nuke even without the incantation. meanwhile, the moon incantation focuses on willpower (“bend it to my will”) and in BVA, the moonstone is shown to react intensely to cassandra’s feelings and is also able to manipulate the feelings of other people (meaning that, presumably, the sundrop could also inspire faith). 

...but notice, here, how much of this is postulation. very little of this is explicit textual information; instead, i’m drawing connections between the lore given in LAF and the things that we see the sundrop/moonstone do on screen in an attempt to line up what we see with the loose, vague framework of “two halves of a broken whole that are opposites/complements of each other.” 

and i really think this is what people mean when they say the sundrop/moonstone lore is “confusing.” unlike in a hard magical system like atla, the series dedicates no time to explaining how it all works. it’s just There, and while we can make some extrapolations based on what we see, it’s not really a system that is meant to hang together in a coherent, rules-based way. and—unpopular opinion—that is FINE. hard systems are not innately better than soft systems. 

do i personally have a preference for hard systems? yes. are hard systems in vogue in modern fantasy? also yes. does that make soft systems inferior to hard systems? no. can i suspend my disbelief enough to enjoy a fantasy story with a soft system? absolutely, yes, though no force on earth can stop me from picking over it with a fine-toothed comb to develop a personal theory on how it all works, or from breaking it down into its component parts and then building a hard system from scratch for my own fanworks like i did with bitter snow. 

but—the key thing is—it’s not confusing if you go into it with the understanding that the magical system is soft. the nebulous vague what you see is what you get thing is a feature, not a bug. 

the same goes for zhan tiri. i’ve already expounded at great length about her canon lore and i’m not going to get into it again, but suffice it to say: she’s some sort of powerful ancient shapeshifting demon with nature-based magic, a side helping of dream/mind-based magic, and a penchant for deceit and manipulation. and again, the underlying mechanics of any of this are not explored, because rta has a soft magical system.

but farran, you said rta needed a harder system, so why are you now saying that soft magical systems aren’t bad? 

i did say that, yes, but it’s not because soft systems are bad. it’s because soft and hard systems are different tools used to accomplish different things, and rta as a series tells a story that, ultimately, would have been better served by a hard system rather than a soft one.

let’s start with cassandra’s control over the moonstone. in RR, she uses its powers instinctively and effortlessly. then, she loses that ability, and zhan tiri tells her that it’s because she needs to focus on her rage because that’s what the moonstone responds to (this is an obvious lie ziti uses to get cass to wallow in her anger, but the basic principle that the moonstone responds to emotion appears to be sound). and then, in BVA, cassandra’s fear about attacking rapunzel causes her to spontaneously manifest a completely new ability that sends magical fear-empathy rocks all the way to corona where they start giving people nightmare visions and petrifying them. 

that’s huge! we had no idea the moonstone could do something like that. but then they go away and cass never uses them again. why? who knows!

next, zhan tiri (off screen -_-) evidently tells cass that it’s not actually a matter of trying harder to master the moonstone’s power, she needs to use the moon incantation to unlock it. this is inconsistent with what we’ve seen before (RR and BVA proved that she could access the full range of the moonstone’s power, she just doesn’t know how), and could be explained by zhan tiri lying again... except that when cass recites the incantation it works as-advertised. 

and “mastering the moonstone’s power” turns out to be... black rocks and lightning, but bigger and more elaborate. that’s it. there’s no expansion on the withering incantation, or the empathy-rocks or petrification abilities introduced in BVA, it’s just black rocks and a light show. and black rocks shaped like dogs that one time in plus est. 

the same thing happens with the sundrop. it glows and it blows things up and it heals things and that is all it does. it just does it... bigger, and flashier, after rapunzel recites the sun incantation. 

and when zhan tiri acquires both of the drops, something that we are told grants her the (undefined) “ultimate power,” she... uses them to make rocks, but they’re golden now. what do the golden rocks do? who knows! and she uses the decay incantation, which works exactly as it did when rapunzel used it except faster and bigger and not uncontrolled. 

and then she’s beaten by whacking her over the head with a frying pan and tricking her into clapping her hands together, which blows her up. and then rapunzel takes the unified drop and revives cass everyone before letting it fly off into space. yay!

but... do you see the problem here? why so many people felt so dissatisfied with the lore surrounding the drops and zhan tiri in season three? people say it’s “confusing,” but i think that describes a symptom, not the root of the problem. a good, well-utilized soft magical system doesn’t cause confusion; it blends into the story and doesn’t call attention to itself. it’s like... lighting. it’s just there and it just works and it enriches the story but we don’t question it. 

whereas a hard magical system is an actual component of the narrative, almost like a character in its own right in the sense that we understand what makes it tick. there are rules, and we understand the rules, and because we understand the rules we can make predictions about what influence or role the magic will have in the plot. to use atla as a very simple example again: when iroh teaches zuko how to redirect lightning, we can predict that this ability will become a vital form of defense against azula and ozai. atla sets up lightning bending, then sets up a defense against lightning bending, and we don’t need to wait around for it to happen to understand that this is going to become Very Important later.

now compare this to rta season three. a whole episode is dedicated to establishing that the moonstone is connected to cassandra’s emotions in a pretty significant way. after bva, there was a lot of speculation about how this fact would play out in the events to come; speculation about other types/colors of rocks and what effects they might have; speculation about how this would tie into cassandra’s emotional arc; speculation about how zhan tiri’s manipulation might interact with the moonstone’s emotion-based magic. and... absolutely none of that happened, because that was rules-based speculation built on the assumption that rta’s magical system had definitive rules. and that was an assumption made because, in s3, rta’s soft magical system started to behave as if it were a hard one. ie, it jumped into center stage and went “look at me! i’m important.” 

except it was still a soft magical system with no definitive rules, so any rules-based speculation was impossible and pointless. it is like trying to build a house out of beams of light. you can make a house shape, but if it rains you are still going to get wet. 

and i made this mistake, too! i also made the assumption, after BVA, that answers were coming and we could expect the magic to continue to develop into, if not a hard system, at least a hybrid one, and a lot of my speculation after that point came from a place of expecting answers (and trying to unravel the answers on my own before the series showed them to us). 

but rta’s magical system just was not built that way. it wasn’t set up to play this central role in the plot, it didn’t have definitive rules, it didn’t have a preexisting framework that could be used to expand and elaborate on characters’ abilities in a naturalistic, predictable way, so... as is often the case with mis-used soft systems, the magic just got vaguely Bigger whenever the narrative called for escalation, and the “ultimate power” ended up being completely underwhelming because it was just More Of The Same, But Make It Yellow. 

as... a point of comparison here, because i’m struggling to articulate what i’m driving at, let’s consider my take on the sundrop/moonstone lore—the hard magical system i created for bitter snow. 

1) magic is drawn from a powerful magical entities (deities, demons, spirits).

2) magical abilities are based on the abilities of the patron.

3) the sundrop and moonstone are artifacts belonging to/created by a solar deity (huma) and lunar deity (turul). they are basically teeny tiny shards of those deities that fell to earth when it was still a molten lump of raw material and then molded it into a world capable of supporting life. the drops themselves can serve as direct conduits to huma/turul, and both have extensive root systems; the sundrop’s roots support the outer crust of the earth, while the moonstone’s roots (the black rocks) form the inner core. 

4) the magic of the sundrop is restorative, and it also “casts” a shadow in the form of destructive magic. the restorative/destructive magics are always equal (hence the “shadow” metaphor). the restorative magic heals, creates and nourishes life, offers strength. the destructive magic is the opposite: it destroys, it kills, it weakens. 

5) the magic of the moonstone is transformative. it takes the sundrop’s “shadows” and refashions them into the black rocks. it adapts, it moves, it alters things. it is neutral, centered, and stable in comparison to the sundrop’s intense extremes. 

6) both huma and turul (and by extension the drops) are also connected to zhan tiri, as all three formed very early in the beginning of the cosmos. like huma and turul, zhan tiri’s magic is centered around change; hers is corruptive. zhan tiri’s magic manipulates strengths into weakness, and weakness into strength. it gives by taking away. it feeds.

7) to put these three types of magic into more concrete terms: let’s say alice, bob, and carol all break their arms. alice calls on the power of the sundrop to heal herself, and her arm is instantly and perfectly repaired, but some destructive, uncontrolled magic is unleashed into the world to balance the scales. bob, meanwhile, calls on the power of the moonstone, and it transforms the broken arm into solid stone; the pain is gone and the arm is no longer broken, but it is also no longer, strictly speaking, a human arm. and finally, carol entreats zhan tiri for healing, and zhan tiri sets the bone but also infuses it with her own magic, so it festers/grows into a well of power for carol.

now, if we apply these rules to a plus est en vous type of situation where zhan tiri claims both of the drops for herself, what does that look like? it’s the power to instantly unmake and re-make the entire cosmos. it’s the power to transform the entire world and everything on it into stone or ice. it’s the power to cure every disease and heal every injury suffered by every living thing on the planet instantaneously, and to inflict those same sufferings on everyone and everything with a snap of your fingers. it’s, literally, limitless. (it also fuses zhan tiri, huma, and turul into a single entity called jinarche but that is a little beside the point for the purpose of this discussion.)

and... how do you beat a creature like that? well. you sort of can’t, on paper, but in practice the overwhelming shock of the fusion of that much power into a single being would cause a few minutes of intense disorientation and that creates a window of opportunity to break the fused power apart again... but this isn’t a “win” scenario either, really, because when you do that it is going to cause an explosion of power violent enough to shred the entire cosmos so it is basically hitting the reboot button on the whole universe.

so, operating within the bitter snow magical system, the key to defeating a zhan tiri who wanted to acquire the sundrop and moonstone (and fuse with huma and turul in the process) would be to stop her before she gets her hands on both drops. because of the framework created by this hard system, the plot of this alternate plus est en vous is all about preventing zhan tiri from acquiring the drops, because the second both of them are in her possession it’s game over even if you manage to kill her. you either get an unkillable, omnipotent god or you get the entire universe self-destructing. the stakes are that high.

*deep breath*

with this in mind, let’s wrap this back around to canon. when zhan tiri takes both the sundrop and moonstone, what... are the stakes?

in TOTS, when zhan tiri revealed her plan to take both drops for herself, did the stakes feel high? we are told at several points that the drops have the potential to destroy the world, but does the stinger at the beginning of TOTS feel like an “oh, shit, the literal planet is at stake here” moment? 

does zhan tiri in plus est feel like a super-powered demon who has just acquired the ultimate power of creation and destruction? no! the golden rocks and turbo-charged decay incantation don’t even feel like an escalation over the cassandra vs rapunzel battles in CR and earlier in plus est—in fact, frankly, they feel like a downgrade by virtue of being less flashy!

the series has given us no frame of reference for what the ultimate power looks like while simultaneously providing no internal scaffolding on which to build that kind of escalation. this is the biggest downside of a soft magical system—it’s really damn hard to keep raising the stakes if you don’t have the basic framework of “here’s what the rules are, here’s the limitations.”

back to bitter snow: neither zhan tiri, turul/the moonstone, nor huma/the sundrop on their own are powerful enough to rip the whole universe apart. zhan tiri is the most individually powerful of the three, and while she could probably destroy the planet if she really put her mind to it, that would take centuries to come to fruition. it would be a matter of planting the right seeds, worming her magic into the right cracks, growing and feeding and hollowing it out from within, and then hitting the pressure points at just the right time. it is only in combination that these three become strong enough to just unmake the whole cosmos in the blink of an eye. this kind of escalation is possible because i know what the limits are. 

in a soft magical system version of bitter snow, it’d be more like “well zhan tiri is really powerful, the sundrop and moonstone are pretty powerful too, if you put them all together they’d all be... like, Really Really Really powerful.” because the whole point of a soft magical system is that it’s vague. it’s not supposed to have this level of clarity and precision in how it works. this doesn’t make escalation impossible, just super difficult, because it’s so easy for escalation or new powers to come across as plot contrivances (BVA) or deus ex machina or purely aesthetic in nature like the gorgeous and dramatic fight in CR or the golden rocks zhan tiri uses. and from an audience perspective, there is literally no way to guess what might happen next because there are No Rules. you can predict character beats and plot developments, of course, but you can’t make accurate assessments about the magic.

and when you’re using a soft magical system in this way, where escalating stakes based on magic use are integral to the plot, you are basically inviting your audience to go “hey, wait a minute, how does this work...?” for the same reason audiences try to analyze and understand why characters are acting the way they do. 

and that’s why rta’s magical system ultimately failed. not because it’s confusing, but because it was too soft for what the story wanted to do with it. 

[currywaifu]

𝐭𝐢𝐭𝐥𝐞: scouting dilemma 𝐬𝐡𝐢𝐩: hyodo juza/reader 𝐫𝐚𝐭𝐢𝐧𝐠: sfw 𝐰𝐜: 1.7k words

𝐚𝐧: guess who was inspired by the 2020 gem heist? wrote a dumb little thing dedicated to all my fallen comrades bc juza won’t come home to them after the reset- sorry to the requests I have yet to fulfill! year 2 ages btw~

This was the moment you’ve been waiting for. You managed to save up a massive amount of gems, waiting to be spent on a banner with your best boy in it. For months, your fingers itched to pull but you were loyal (with a few caving exceptions) to the character who got you into the game in the first place.

When the developers finally announced a banner with him in it, an SSR of best boy in a summer outfit no less, it was as if fate decided to tell you now was the moment to splurge strike.

9:58 pm.

Staring at your phone screen, you made sure everything was prepared before you could summon. You decided to do your first pull at 10 pm (his favourite number was 10), and surrounded your phone with a summon circle made entirely out of candies still in their wrappers.

9:59 pm.

You sent your prayers to the gacha gods, counting down the seconds until the clock struck-

10:00 pm.

With a shriek, you nearly ruined your summon circle formation of sweets as you scrambled to your phone, clicking the bright, shiny button that had tempted you endlessly.

“Yes, I’m sure I want to spend! Come home, come home, come home…” you chanted, unable to decide whether you should close your eyes until the final results or keep them wide open.

Choosing the latter, you gritted your teeth at the sequence of cards arriving.

R, Event R, R, R, Dupe SR, R, R, R, R, Event SR.

Suppressing the scream that wanted to escape your throat, you tried to laugh it off. At least you got two of the event cards…? Maybe it would have been better to wait until 10:10 pm?

An SNS notification popped up at the top of your screen, and from the little summary, you could tell you were gonna get upset at the contents. Checking the chat, your mutual quickly followed up her message with a screencap of your best boy. Coming home to her.

You quickly sent your response before promptly returning to the game, ‘asdfghjkl im happy for u but like also muting u rn :’< brb soon hopefully yeet need to retrieve my boi from the game’s clutches cya’

Despite your initial optimism, as the pulls kept going, the lower your gem count, the worse your mood became.

Should… should you stop right now? Banner really said no rights to best boy, huh? Sure you were able to fully merge a bunch of SRs and even the event R and SR cards, but not once did he come home? Even his sworn rival’s initial SSR came home if only to spite you or him or both.

Mentally exhausted, you decided to sleep. Maybe your luck would be better tomorrow?

When you walked into the room with a frown visible on your face, Juza immediately knew something was wrong.

From even before he got together with you, he was always sensitive to the different expressions you made, and by association your emotions— to the little smile on your face as you ate desserts together or the eyebrow furrow-pout combo you did when the professor said something you didn’t agree with. He’d never say how fun it was, seeing the different faces you’d make.

However, while those were cute, this just made him worry.

He’d really rather not fight anyone, but if he has to beat up someone…

Juza found himself distracted during class, unable to stop himself from constantly looking at you every few minutes. With a faint peach staining his cheeks, he slipped his hand underneath the desk to grasp your own.

“… you okay?” he said, voice low and quiet as to not catch anyone else’s attention. The look on your face turns a little softer, even throwing him a quick smile but he knows you well enough to spot the traces of sadness still present.

You don’t reply, squeezing his hand back as you finally tried to pay attention to the professor.

He sighed, slowly releasing your hand from beneath the table. He’ll find a way to make you feel better later, but for now, he had to take notes— for the both of you, it looked.

It’s not every day that Juza does most of the talking, but that just so happened to be the case today. He’s getting restless, stuck between actively wanting to help you out with whatever you needed or just sticking by you and letting you overcome whatever’s troubling you on your own.

You’ll talk when you want to, he knew that, but even still he wanted to be more useful to you. Do you want him to just keep talking to help you take your mind off things? Do you want to rant to him so he can listen? Do you want him to get you something? He’s not the best at giving advice, but if you needed it he’d do his best.

He doesn’t know what to do. You’re responding to him, but your mind is all the way elsewhere.

The next thing he knew, he’s getting a spoonful of his frozen dessert and pressing it against your lips.

You get startled from your thoughts when a sudden icy temperature meets your mouth. You opened your mouth, cringing slightly at the cool before finally enjoying the shaved ice dessert.

While it wasn’t uncommon for Juza to let you taste the food he ate and vice versa, he was usually more reserved, too shy to feed you in public.

‘He must have been worried,’ you thought to yourself if he had to do that just to catch your attention. You immediately shifted your thoughts from the game to Juza, already about to apologise for troubling him before he interrupted you.

“What’s wrong?” he asked, and even though he had a scowl on his face, he looked at you with tight and worried eyes.

He knew you played games on your phone, but it was still a bit embarrassing to admit that you were upset for such a long duration because of your best boy not coming home. However, Juza deserved to know, so you pushed away your hesitance before explaining the whole fiasco to him.

Juza doesn’t get it entirely. He’s bordering between relief and confusion— on one hand, at least no one wanted to hurt you or fight you or anything; on the other hand, a 2D guy got you upset?

The concept isn’t completely foreign to him, what with Itaru-san and even Settsu constantly gaming, but usually it was his roommate being irritating and gloating while the salaryman got frustrated, eventually passing his phone to Sakuya.

He’s honestly shell-shocked that you’re upset, so even though he doesn’t understand why it’s such a big deal he’ll do what he can to make you feel better. He’s not the best at comforting people, he can never find the right words… but he’s good at listening.

He placed his hand on top of yours, grateful you don’t point it out verbally or he might actually combust. He can only hope the two of you are seated secluded enough that no one comes by.

Something’s starting to bother him though. The more he listens to you, the more he’s conflicted— if you’re dedicating that much of your… gems (?) to this guy he gets why you’re upset. Another part of him wonders what’s so great about this specific guy.

He’s not upset nor is he jealous, he’s just… figuring out what specific traits you like in this guy. For future reference. Who knew, maybe he’d get to play a role similar to the character you like so much?

“Why do you like him so much, anyway?” He asked, staring intently at you.

Your attitude quickly changed from being upset to being excited to talk about your favourite character.

“He’s just so kind and thoughtful! A total gap moe, you wouldn’t expect him to be so family-oriented because of his appearance but he totally is!” you began, barely catching a break to breathe before continuing on, “plus he didn’t start off as the strongest? But he’s constantly trying his best you just want to root for him and care for him?”

Unexpectedly, Juza finds himself a little flustered, though he’s unsure of why when you’re only describing a character. Perhaps it was the look on your face while you talked?

“Plus, he looks a lot like you! Obviously, I need him to come home, right?” you exclaimed, hitting him straight in the heart with your crinkled eyes and a beautiful smile.

The hand that was comforting you a while ago and gently rubbing patterns onto your skin stilled. You noticed right away, hoping you didn’t say anything too weird during your rant.

“Juza?”

He’s silent for a while, unsure of what to do and ultimately deciding to say the first thing that popped up in his head.

“… then why’d you need him to come home if I’m already-“

When he heard you squeal he stopped himself from continuing whatever he was going to say. Did you hear him? Dumb question, of course, you did!

You covered your face with your hands, unsuccessfully hiding the strawberry red colouring your face, and screamed internally. You can’t see how Juza is reacting but you just heard a bang on the table?

‘Juza? Who told you to- istg I’ll have you arrested for-‘

After a few moments, you’re the one who ultimately breaks the silence, knowing neither of you had enough will to point out the warm flecks that still remained on both of your faces.

“We should get going. Our class is all the way in another building,” you said, slowly standing up from your seat.

“… ‘kay.”

You’re not holding hands while walking, but if he noticed the frequency of your hand grazing his he doesn’t let you know.

Reaching the midpoint between your classroom and his, you turn to face him before splitting off in the hallway. You look to see if the coast was clear, and to Juza’s surprise, you enveloped him into a warm embrace, quick but heartfelt. Neither of you saw each other’s expressions, but Juza wondered if your heart raced just as fast as his did.

“Thank you for making me feel better… I love you,” you whisper the last part, before untangling yourself from him and speed walking away to your classroom. You miss the way Juza looks back at you, body frozen but face a mixture of shock and longing and love.

want to order again?

[fly-pow-bye]

DuckTales 2017 - “The Lost Cargo of Kit Cloudkicker!”

Story by: Francisco Angones, Madison Bateman, Colleen Evanson, Christian Magalhaes, Ben Siemon, Bob Snow, Tanner Johnson

Written by: Colleen Evanson & Tanner Johnson

Storyboard by: Vince Aparo, Kristen Gish, Victoria Harris, Ben Holm

Directed by: Tanner Johnson

Spin it!

Before doing research when Don Karnage first came to the series, my knowledge of TaleSpin began and ended with me having that awful Genesis game as a kid. I do know that the show took place long before the modern day, which is when DuckTales 2017 takes place, and it appears that the events of TaleSpin in this universe still goes with that. Why do I know this? Because this episode does not start with Baloo piloting the Sea Duck...

...but a grown-up version of his surrogate son, Kit Cloudkicker, who is now running Higher for Hire by himself. However, while things have definitely changed for Higher for Hire since Baloo's apparent retirement, mostly for the worse, some things remained the same. Namely, he is still being tormented by the nefarious Sky Pirate of the Skies, the corsair of the air, Don Karnage. Or Dan, as he calls him much to Karnage's annoyance. The good news is that Kit is now an ace pilot who can easily fight off sky pirates like he did back in the glory days. The bad news is that he can still do what he did as a kid with a giant cargo plane. He even says it, and with most of his dialogue in this cold opening suggests this is going to make him look foolish.

Even worse news for the business is that the fragile box addressed to F.O.W.L. is just sitting in the center of the cargo bay with no security whatsoever aside from a caged chicken and a goat. After rocking back and forth due to Kit fending off against Don Karnage, the box breaks to reveal a rock with a blue lion carved into it, and when that aforementioned chicken and goat touch it, they both turn into some sort of chicken-goat hybrid that Kit has to fight. How is able to fight this goat-chicken while piloting the plane? Simple: he puts a crowbar in the steering wheel, just like Baloo did in the original. Here, the idea is played as silly as it would be to someone who had never heard of TaleSpin. It is doubly sad when one considers Kit treats this crowbar like his only crewmate, because it is.

I do like that this first scene introduces this show's version of Kit very well. He's obviously an incompetent pilot, and not one that is lovably incompetent like Launchpad, and this incompetence is pretty well known among his customers judging by this line:

Kit Cloudkicker: Who's the terrible pilot now, everyone?

He's surprisingly cheerful about that, which, again, makes him look foolish. Despite all of this foolishness, he does appear to still be competent at coming up with plans to defeat his enemies, whether they be sky pirates or mutated goat-chickens, even if those plans end up putting the cargo he was supposed to deliver into the water. This includes that lion stone. He looks onto this and says "my bad" in a way that shows that his business is definitely going to be in the red in a few years.

A few years later, we see that Della is taking Huey, Dewey, and nobody else to Cape Suzette, and she's even allowing Dewey to fly the plane along with her. It is easy to see why Huey is extra prepared even if Dewey is doing surprisingly well, as Huey is not only using extra seatbelts, but having a Safety Boy helmet as well. Huey's also prepared with the knowledge of that Lion Stone we saw go into the ocean in the previous scene, which, you guessed it, is a Missing Mystery of Isabella Finch. Specifically, it's the Stone Of What Was, which was described with the mysterious phrase "what was once two becomes a-new." Huey does not seem to figure that one out. The good news is that it was found, but the bad news was that it was found by F.O.W.L, but the better news is that they lost it, but the worse news was that the stone was made of potassium benzoate. Okay, that last one was made up. There's a few throwaway lines to fill in how Huey even knows F.O.W.L. had the stone in other scenes, and those plot holes are really not that important.

After nearing their destination, which we learn was based on a clue from an intercepted F.O.W.L. transmission from a throwaway line from Huey slightly later in the episode, Della has the bright idea to let Dewey land the plane. Letting a little kid fly a plane? Not a good idea. Letting a little kid land a plane? Also not a good idea. Telling that little kid that there's nothing wrong with a basic landing? May be a good idea in the off chance it could even come up, but definitely not a good idea when it comes to Dewey. To Della's credit, at least it was Huey that did that last one.

After the crash landing, and not a Launchpad-type one, they arrive at Higher for Hire, which shows an advertisement showing its legacy playing on a television screen with plenty of TaleSpin references. This includes one shot of Baloo and another shot of a younger Kit and Molly Cunningham riding on an airfoil done in the style of the original show. This is great for people who were not aware of TaleSpin, which the target audience for this show may not have seen unless they have Disney Plus. Kit, still shown to be the sole employee years later, assumes anyone knocking at his door is the bank demanding payments, but he's delighted to see one of his former classmates at pilot school. He constantly has to tell Della that he is an ace pilot now. Most likely, he's telling that to himself too, as we'll see in the next scene. He at least has reason to believe he's a better pilot than his former classmate, as it doesn't look like her plane is in good shape. Della could have explained that this state was because she let one of her less competent sons fly the plane...and that would have probably made her case about a thousand times worse.

That television commercial also inspires a sort of B-plot that also ties into Kit's character arc, as seeing young Kit cloudkicking makes him want to do it, too. Despite his failure at even mimicking it, Kit is happy to see a fellow cloudkicker and would be glad to teach him the ropes. Della is not too excited by this prospect, but ends up allowing it, because she doesn't want to be the mother that does not support her kid. They aboard the plane, which ends up being a very bumpy ride, and Della goes to investigate, only to find that Kit was in the bathroom, letting his only other employee, the crowbar, be his substitute.

Kit tries to stop what he calls "mutiny" by saying that he's the only one who knows where the cargo could be, only for the crowbar to slip and reveal that he's been keeping a map in the glove compartment. The map actually has some Xs and a circle on it, which suggests that Kit may have been trying to correct his previous mistake, but either never getting the motivation to go through with it, or, more likely, he isn't competent enough to deal with whatever is on that island he circled. Maybe I am thinking about this too hard, but I would say it would be fitting.

Kit decides to distract everyone from him getting kicked out of the pilot's chair by giving Dewey his airfoil and the cloudkicking rope for him to hold onto, and a shot of Dewey's excitement instantly cuts to Dewey screaming for his life, holding on for dear life as he can't seem to. The parallel between a former cloudkicking guy who isn't really a good pilot, and a kid who can actually fly a plane who isn't really a good cloudkicker is easy to notice, and the episode plays around with this. For starters, similar to Kit and his not-so-ace piloting skills, Dewey also tries his hardest to hide how terrified he is at the cool new thing he wanted to do. Of course, it is very possible that Kit is acting the way he does because he's in a certain someone's shadow. Dewey just does it because that's how he is.

Despite that difference, this parallel is enhanced even more when they get attacked by the Sky Pirates, and Kit has to intervene and show that he, at the very least, can get Dewey out of the danger that Kit himself has caused. And yes, Don Karnage's Sky Pirates are now working for the very organization that they indirectly harmed years before by attacking that cargo plane and making them lose that precious stone. That does not come up at all, not even as a throwaway line. What does come up is that Don Karnage is delighted that one of the people after the Stone of What Was is his new arch-nemesis, Dewey. It's a long story that started all the way back in Don's debut in Season 1. It's neat to see these old references. After they all make a landing on the circled island, some more safe than others, they get to meet the wildlife of the island. Let's say there's a good reason why this island was circled, and why Kit could not handle it by himself.

It's a rhino and a gorilla crossed together, either a rhinosorilla or a gorillanoceros depending on whether one likes Dewey's word for it or Kit's. Clearly, this is the result of the Stone of What Was...what was...Wuz...Wuzzles! Admittedly, the Wuzzle was also not a show I grew up with, though that could be because it lasted only a season. In fact, I just now notice the lion carved into the Stone of What Was happens to have bumblebee wings. These animals are a little more realistic here, as they don't talk, and they're not cute or fuzzy like the original Wuzzles were. In fact, the character this gorillanoceros was based on was actually a monkey-rhino. There is a difference, even if they are very similar species genetically!

They eventually get to the stone, only to see that Don Karnage and his crewmates have found the stone first. Hiding, they see Don Karnage command Hardtack Hattie, his strongest crewmember, to lift it up. Unfortunately, she happened to lift it as a bunch of ants were crawling on it, turning her into an ant centaur to her and Don's horror. Despite that horror, and fitting for someone who just wants to finish his mission, he tries to get some of the other crew members to lift it...

...leading to these freaks of nature, which is what Don Karnage actually calls them. DuckTales 2017 isn't too afraid to show the horrifying nature of some of these fusions, continuing with the theme of how they portray the Wuzzles as these monstrous beasts. I would not call it nightmare fuel, but I would not be surprised if it already has an entry on TV Tropes. What makes these even worse is that there is no way for these guys to revert back to their normal forms. There's no "if the stone feels like it, it'll separate you" clause here, that snail-dog is permanently a snail-dog, and that pirate will have to live with a hand for his head for the rest of his days. These guys just end up getting forgotten.

Della tries to sneak by climbing around this horrific scene, only to be caught on some sort of sticky rock. Dewey decides to try to save her with his airfoil-riding skills, much to Huey's disagreement. Dewey's got to Dewey it! Oh yeah, I forgot, Dewey ends up doing "Dewey" puns for most of the episode. It's not funny, but I have a feeling it wasn't meant to be funny, and it's certainly not funny when he ends up falling down near the pirates. Face to face with someone who considers him his arch-nemesis, he tries to save face when he notices Kit stole Don Karnage's plane...which he immediately crashes into a rock.

As for the rock that Della was stuck on, it turns out it wasn't a rock. Nor was it a rock lobster, either!

It hatches into another classic Wuzzle character: the Butterbear, or the Bear-terfly as Don Karnage calls it. They never quite match the original Wuzzle names, and it is not like they would know them. There is one part of this where Kit and the Bear-terfly cross paths, and it almost seems like they're going to bond because they happen to be a similar race. Then, it instantly cuts to Kit running away from a rampaging Bear-terfly. How are they going to continue from this? Have the Bear-terfly get caught in some rope, and have it run in a way that ties up the stone, and have it fly away with Della still on its back. It is a bit convoluted, but it works in the end as it is a way for the stone to travel without it mutating even more people. Whether any of these fusions can use the stone to combine into other fusions is left unanswered, which is for the best.

One may notice I didn't talk a whole lot about what Huey did, and that's because he really didn't do much for most of the episode. He delivered the exposition, he tries to stop Dewey from "Deweying it", and that's about it. However, he does have a major part in the episode: he gets to take part in the scene where the two bumbling fools realize what they have been doing was foolish. Namely, they needed to realize that they should do what they were good at: Kit should cloudkick and Dewey should fly the plane. It is a good lesson that had some good buildup. Sure, they were pretty much failing throughout the episode, but there were scenes where they were surprisingly competent, like the scene where Kit rescued Dewey with his Cloudkicking skills, and Dewey managing to fly the plane in the beginning before he decided to "Dewey it" and crash it. It does not come out of nowhere. Speaking of which...

Dewey: Okay, let's do it.

What would be an unremarkable line actually works really well here, mainly because he decided not to make a pun on his own name, which he did way too much. It does show development, as if this fun-loving showboater is actually learning his lesson throughout the episode. I expect this from DuckTales 2017, and there are certainly cartoons where I don't.

Fittingly for a TaleSpin episode, this all ends with a flight chase scene. No, not the usual DuckTales 2017 fight scene, though there are some fights here and there, especially with Kit and Don Karnage, armed with that crow bar and sword, respectively. The scene actually manages to make Dewey keeping the plane steady an action packed scene, as he has to save his Mom while trying not to let the stone fall into the ocean and make an octopus-fish-squid hybrid that would rival the Eldritch horrors. Again, whether any of these fusions can use the stone to combine into other fusions is left unanswered, which is for the best.

It's not really a spoiler to say the good guys win, but I will say the TaleSpin part of the plot is very much all tied up in the end. If Kit only makes a minor appearance in the finale, and I'd actually be surprised if he didn't appear considering how packed the clips were, it would be completely understandable. Also, there's a cliffhanger and we finally get to hear Don Karnage sing another song, if a very short one. It seemed like he just couldn't do it in his other appearances.

How does it stack up?

With the genius way of using not just one Disney show's legacy, but another Disney show as well, there's a lot to love about this episode, though I wouldn't say it's among the absolute best. Four Scrooges.

Next, Scrooge gets indicted.

← Beaks In The Shell! 🦆 The Life and Crimes of Scrooge McDuck! →

[rachelbethhines]

Tangled Salt Marathon - Painter’s Block

Once again, we have a decent episode that winds up falling apart in context of the wider story arc. 

Summary:  Traumatized after the previous events, Rapunzel is feeling out of sorts, even having trouble painting again, and starts taking a class with a mysterious new art instructor. The other members of the class disappear one by one to a mysterious location by the sea, apparently painting an old, withered tree. The instructor is revealed to actually be an old witch serving Zhan Tiri (the monster who released the blizzard), released after the use of the weather machine and wishing to release her master as well. It’s up to Eugene and Cassandra to rescue Rapunzel. 

Tonal Dissonance Is a Problem

We start this episode with a recap of Queen for a Day and then we jump straight into yet another festival. 

Ok, ignoring that clearly a lot of time has past and no one hasn’t done anything to help Varian nor even mentions helping him; it’s just aggravating to switch from a serious storyline back to a supposedly low stakes situation without resolving the first arc properly. Yes, levity is needed to break up tension, but not in a way that distracts entirely from the narrative. 

Rapunzel Doesn’t Even Bother To Think About Varian When She’s Having Her PTSD Flashback  

Its a minor thing, but throughout the episode Rapunzel keeps having dissociative moments as she constantly hears voices in her head as she remembers the storm. Now I actually do appreciate what the writers are trying to do here. As some who also struggles with Complex-PTSD and dissociation, it's nice to see it represented here in some way. However, the fact that they leave out the key part of her trauma, letting down Varian, undermines these moments. Especially when they had no problem using Varian’s voice clip of “You promised!” earlier in the recap. It’s one of those things you may not notice it at first, but once you do it winds up distracting from the scene. 

What an Odd Place to Make This Reference 

Sugarby is quoting Ursula here, but I honestly don't know why. Ursula’s actual VA, Pat Carroll, does appear in this episode but she plays Old Lady Crowley instead. Sugarby’s VA is Ellen Greene, of Little Shop of Horrors fame. (and Rock-A-Doodle) You’d think a quote from that movie would be more apt. Also Rapunzel was admiring everyone elses work right before this, not talking about tough choices. 

Yet Again Cassandra Gains What She Wants, But the Narrative Refuses To Remember It

Cassandra’s beef in seasons two and three is apparently no one notices her or gives her credit for what she does, yet in season one she gets tons of recognition. Like here for instance, when her dad gives her a detective assignment on a missing persons case. To her specifically. He doesn’t ask anybody else first and isn’t running low on troops. 

You can’t have one of the main characters achieve their goal on screen several times and then act like they had never achieved it in later seasons. The audience isn’t dumb. We’re going to remember what happened and it’s insulting to the viewers for the narrative to pretend like what we’ve seen just didn’t happen. 

Friedborg is Wasted Here

I’ve talked about it before, but Friedborg is an unnecessary addition to the cast. However I bring it up again because this episode could have been the perfect set up for making her plot relevant. There’s tons of unintentional moments within the episode that could have easily served as foreshadowing that could have connected her to Zan Tiri, more so than any of the other characters. 

Trauma is an Explanation, Not an Excuse

This episode presents the idea that Rapunzel is procrastinating helping Varian because she’s reluctant to face her trauma. Which isn’t excusable. It gives reasons for her actions but those reasons are still ultimately selfish. 

Now, had the show owned up to this mistake, I would have no problem with using it as a point of conflict, yet the show constantly excuses Rapunzel’s behavior here. In fact the show excuses the behavior of several characters with the idea that so long that they had a traumatic backstory, they’re justified in their horrible actions. All but Varian, which a big double standard. 

However, and I can’t stress this enough, trauma is never an excuse for harming others. Especially people who've never done you wrong. 

Rapunzel spends several episodes ignoring Varian’s problem, long past the point of acceptability. And if viewed in the intended production order, the amount of episodes doubles. Varian is left alone for months, given the timeline of the show, and yet Rapunzel, the supposed adult in this situation, is never held accountable for neglecting a child.  

Xavier isn’t Tied Into the Plot Properly 

Xavier just so happens to have a convenient spell book that also just so happens to have all the exposition on the big bad that’s needed. It’s never explained how he got this book, why he has it, nor is it ever used outside of the first season. 

Xavier is plot important as the exposition fairy but the show never explorers him further than that and doesn’t tie him into the narrative properly, even though there’s plenty of reasons to do so. In fact Xavier will become just as useless as Monty by the time season three rolls around, even though he previously had the most connection to the ultimate villain. 

The Disciples Plot Goes Nowhere 

Ok, first off we get no real explanation as who these guys are, nor why they follow Zan Tiri to begin with. Why do they want Zan Tiri freed? What’s in it for them precisely? 

Second, what meminal backstory we get on these guys, contradicts what we’re told about them here. Xavier calls them evil spirits, but later we find out that they were actual real people who onced lived. You could call them ghosts if you want to, but that begs the original question of why they followed Zhan Tiri in the first place and why they continue to do so even in the afterlife. Simply being ‘evil’ no longer cuts it because real people aren’t just purely ‘evil’. They have goals and motivations. 

Finally, they accomplish nothing. They never wind up freeing their master. That happens through other means. They never connect back to Zhan Tiri’s own goals and motivations. They don’t add backstory to any of the other characters nor expand the mythos of the series. They’re just there to be a baddie of the week, and it’s is such a let down given what other hints we got for them. 

Sugarby Misgenders Her Master

So it’s clear that the writers did not fully figure out Zhan Tiri’s plot before they started making episodes. Given how animation works and how much pre-production time you’re given before you ever even start animating (which is several years btw), that’s a sign of mismanagement right there. 

Zhan Tiri is revealed to be a girl, but is referred to using male pronouns until that reveal, even by people who very well should know better, like her disciples. 

Also all these tree metaphors and hints come to nothing either, as Zhan Tiri is ultimately both freed and imprisoned without them. So what was the point here? 

Rapunzel Doesn’t Learn Her Lesson

This episode is suppose to be about Rapunzel learning to accept responsibility and owning up to her decisions even if it's hard. This should, sensibly, end with her taking upon her responsibility for Varian and following up with him. But no, we get a painting party instead. 

This isn’t Proper Foreshadowing 

So everyone acts like this painting of Cassandra in front of the moon is foreshadowing for her taking the moonstone, but it’s not. Not good foreshadowing, anyways. 

For starters, it’s not focused upon. Everyone is also painting stuff and crowding out what she’s doing so your eye isn’t lead to her

Nothing anybody else paints is a hint to anything later on, so why should the viewer pick up on this? It’s just a thing anybody could paint. If anything, Freidborg painting the void over there could have been some real foreshadowing cause that’s different and stands out, but it isn’t. 

It’s not on screen long enough to register for the audience. If you’re only going to notice something after the fact then it’s not a meaningful clue. Real foreshadowing has to be detectable and the audience needs to be able to plausibly figure out a twist before it happens or you’ve got a bad twist that’s not integrated into the story.   

There’s no other evidence to backup the twist. All we get is one framing shot of a mirror and that brief talk with Eugene in in the cell in Cassandra vs. Eugene. That’s not enough. And no, Chris claiming her ‘dress is blue’ as a hint is utter bullshit, cause there’s Freidborg right there wearing the exact same dress. 

If MoonCass was always a thing that the writers intended to happen, which we do have evidence for given released production artwork and Chris’s own discussions about the show’s development, then they needed to put more effort into establishing the character and setting up her arc. 

The very fact that viewers can easily pick out supposedly non-existent ‘hints’ with other characters like Freidborg and Varian, but not pick up on the actual twist, means that the writers failed to communicate clearly with their audience. That is on them and not the viewers, no matter what Chris says. 

Conclusion

This episode is frustrating. Much like the pilot, it offers up good ideas but then never properly follows up on them. To make matters worse, it winds up distracting from the plot that viewers actually care about rather than furthering. 

[ramblings-of-a-mad-cat]

A morbid thought hit me just now, how many romance sidequests do actually hold up? Like thinking on it I only love two of the six, and kinda like one. Over half of the romance sidequests have been duds! O__O

I don’t quite agree that they were all duds, but some of them were pretty bad, and others didn’t quite live up to expectations. Let me take a look-through: 

The Celestial Ball is probably my favorite overall, even to this day. It just holds up really well, and it doesn’t really have any problems that the other quests don’t have as well. (The recycled dialogue, for example.) I think the success of this one comes from the focus on the event, preparing and enjoying it with our friends. This one is the best TLSQ out of all of the others overall, but it’s not necessarily the best Dating TLSQ, if that makes any sense. Because it plays things more ambiguously. It stars Penny, but her inclusion makes sense for the character and the rest of the cast does get adequate screen-time. The only thing is that, once you’re at the Ball, you wind up spending most of the night with Penny except for one scene with your Love Interest. So it winds up feeling like you’re on a Date with Penny regardless of who you pick, but again, the lack of overt romantic themes make that easier to swallow. Andre being the Style Wizard is introduced here, and he comes up with three boss outfits. Not to mention, Rowan gets a bigger role, and their relationship with Ben comes into play. Bill x Rowan gets teasing, too! How could I not love this one?

The First Date TLSQ is much more steeped in romance. Not just in the sweet and wholesome moments, but also in the high school drama, alas. It was the quest to introduce cutting characters and it removed three of them, while only adding one in return. So it’s got that working against it. The whole premise of MC writing the note is just so damn silly. I can laugh at it, but it really doesn’t make sense, especially since half of the options aren’t even in their Potions class. Tonks and Charlie, for as much as I love them, really need to work on their social skills because guys, guys, guys. What were you thinking? Characters expressing sadness that you didn’t choose them is an interesting concept, I’m both relieved and a little disappointed that they never explored this more. The scene in the courtyard at night was nice enough to make everything else worth it, but the whole idea that MC’s love interest might not like them anymore is a bit hard to go along with. One final plus though, is that this quest has the best outfits to choose from, period. I know it’s subjective but damn, Andre really outdid himself this time.

Valentines Day I...oh boy. The culmination of so much I don’t like. This quest started the tradition of having all of the love interests needlessly confess to MC, taking up valuable time for a reveal that doesn’t matter if you don’t choose the character and makes things awkward...and also doesn’t matter if you do choose them because it removes all tension and  honestly? If the character is available, I already know they’re going to say yes. Penny acts like she’s drunk during the entire quest, and not in a charming way either. It really gets to the point of being out of character. And Gilderoy. Fucking. Lockhart. He is so annoying. Jam City got so caught up in featuring any canon character they could, that they never stopped to realize no one wanted to see this guy and watch him consume most of the screen time. He gets away with stealing MC’s story at the end, as well? Like, what? How? The Greenhouse scene is one of the most beautiful to be depicted thus far. It honestly makes the entire quest worth it...but it doesn’t save the quest, and I maintain that it comes out of nowhere. It’s a brilliant standalone scene...but it doesn’t make up for the final sin: Tulip is omitted for absolutely no given reason and as a major fan of hers, I am not happy about this. 

The Festival TLSQ: Better than First Date and Valentines I, but not as good as the Celestial Ball. The story is more fun, especially with the added feature of outside classes. I like the overall carnival feel of the event, but I kind of wish this game didn’t constantly centralize MC, Penny, and Merula. Especially in the dating quests, with the whole concept of the election. Why is MC on the ballot if they didn’t run? Why can they only vote for two of the potential love interests? I know it’s a personal thing and it really kind of started in Valentines, but Andre’s outfits appeal to me less and less as time goes on, and he’s making fewer of them. That being said, I much, much prefer the concept of a “Secret Admirer” to just having everyone confess to MC, and “I think about you gobs” still makes me laugh every time I hear it. Lockhart does show up again and his sequence absolutely frustrates me. Like, he doesn’t stay as long as he did the first time and we do get to kick his ass...but why would he even dare show his face again after the botched memory charm? Why is anyone even listening to him or letting him hog the spotlight? Why is he here? Damn it, just let me and my date play around with painting our faces! I whine, it’s true, but this one is still miles better than it’s predecessor. It adds new characters, quite a few of them, and it also stars Andre. He normally doesn’t get the spotlight, so these things really work to the quest’s favor. 

Valentines Day II: This one is far from being the best TLSQ we’ve ever had, but I actually do think that on the whole? It is the best Dating TLSQ we’ve had. It really captures the theme of falling in love, and the feeling of being a Valentines Day episode. The whole storyline about Pince and Filch? I really like that! The fairytale, storybook motif? It kinda really works! We once again have everyone outright confessing to MC, but I’m just gonna ignore it. The outfits look pretty damn good actually, but I am heartbroken that Luca can’t wear that skirt. Ah well, at least gals can wear the suit. The characters just work together well in this quest, there’s a sense of comradery in putting together the event and melting Pince’s frozen heart, right down to putting Filch in that hilarious outfit and dying Mrs. Norris pink. The whole plot being a reference to a rumor from the books is great. And yeah, MC’s date would have had absolutely no time to set up that whole set-piece in the library but what do I care? It was a really sweet moment. That’s just what works so well about this quest - it’s sweet. Between MC and their Date, between Filch and Pince...it was just a fun story to watch unfold, and at the end of it all, you get to celebrate with your love interest. 

Enchanted Kiss: This one had such a promising start. I love the whole concept of MC auditioning for a play, actually putting on a production, and being cast alongside their love interest to be the romantic leads. It’s not even a “dating” TLSQ technically since you don’t go on a date with your chosen character. But you get to choose them early on and ignore all of that confessing nonsense. You get to work toward putting on a play. You get to work toward saving it...but unfortunately, that’s when it all goes wrong. I’ve said my piece about why it was a terrible idea to make everything about MC, and that kind of infected the rest of the quest. There are no outfits for any of the dating options, nor does MC even get to choose between outfits this time. Little details like that combined with how quickly this one came out after the last one lead me to believe they were perhaps rushing to get it out and I don’t know why. They went to the trouble of coming up with that adorable animation for the enchanted kiss...and they couldn’t have put a lip kiss in it, at the very end? Come on Jam City, you know that’s what everyone really wants! It’s the same as how they tease the idea of MC and their Date saying “I love you” for the first time, but this doesn’t happen either. It just started so well and became very disappointing, but it was still fun overall.