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gregorygrim · 3 years

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Dragon Prince Hot Takes

!!! Full Spoiler For “The Dragon Prince” Seasons 1-3!!!

So I finally got around to watching The Dragon Prince. Timely, I know, but better late than never i guess. I’m not completely caught up yet as I only got as far as S3E7 “Hearts of Cinder” in this first sitting. Considering I haven’t binged any series in almost two years, I think that’s pretty respectable. This means I won’t discuss the last few episodes here, except for a couple of things I was unfortunately spoiled for already, hence full spoilers.

These are basically my first thoughts and opinions after the binge and a good night’s sleep. It’s gonna be a lot so if you don’t care or don’t want spoilers…

TL;DR: 7½/10. Generally enjoyable, there are some aspects I’m not exactly fan of, but no dealbreakers

Firstly to everyone who told me that this was the new ATLA: you all need to rewatch Avatar stat! Like seriously. There are definitely parallels and given the cast and crew I think that’s what they were going for too (which is why I think it’s fair to compare the two), but still, no.

Secondly I love most of the worldbuilding and love that the series at least tries to give it to us in a bit of a non-linear fashion, even if it is kind of clumsy at times. I know some people are put off by expository dialogue and flashbacks, but I’m an epic fantasy nerd, I need that sweet, sweet lore to live as much as you mortals need food.

I like that there was clearly an effort made to integrate the worldbuilding in more subtle ways. For example you may initially find it kind of weird that all these different human ethnicities are existing perfectly integrated in what looks like a medieval society, until you remember from the opening monologue that the Human Kingdoms are the result of a massive diaspora following the human exodus from Xadia, so obviously people got all mixed up everywhere. It’s representation with an excellent in-world reason and that just brings me joy.

I also love the magic system(s) even though we haven’t really gone into that just yet. it really feels like there was a genuine effort made to create underlying mechanics for the magic rather than just making each spell a vaguely elemental themed ability. I really hope we’ll dive deeper into that in coming seasons.

I also like the little nods to other works of fantasy: Ezran’s ability to talk with animals is a reference to Tolkien’s world where some royal bloodlines had the ability to speak with animals, specifically birds; Primal Magic and its spells being cast with Ancient Draconic runes and words might be reminiscent of the Ancient Language from the Inheritance Cycle etc.

Thirdly the main cast is great. Callum, Ezran and Rayla are all interesting and relatable characters in their own right and as a group. I’m not going into each of them individually here, but while I think the series as a whole falls short of ATLA, as protagonist parties go I dare say this one is nearly on nearly on par with the gAang.¹

And yes, I love Bait, which I really did not expect following the first few episodes. I love his weird pug-toad-chameleon design, I love that he works like a flashbang whenever somebody says a quote from Scarface (I wish they hadn’t dropped that later on) and I love how done he is with everything and everyone at all times. I’ve only had him for 25 episodes, but if anything happened to him I would kill all of my followers and then myself.

On top of that, and speaking as someone who god knows is really not into shipping, I love Rayla and Callum’s relationship. It’s believable, it’s refreshing and it brings out the best in both characters without changing basically anything about them. Just two good friends who fell in love. A++, maybe even S tier.

Unfortunately though I can’t sing the same kind of praises about the villains. None of them are terrible (as in terribly written, most of them are pretty awful people), but with one exception they just don’t stand up to the protagonists in quality.

I could simply not take Viren seriously. Even now that is probably the single most powerful magic user in the world, he just has such strong Karen energy, every time he finishes a speech I am overcome with the urge to say “Sir, this is a Wendy’s” and it does not help the mood. I’m not even sure why. It might’ve been the voice because the guy who did Viren (Jason Simpson) also does a lot of kinda slimy characters in various anime dubs, it might be that over-the-top walking stick, idk.

What I’m saying is that as a primary antagonist he simply did not work for me. Which is doubly a shame because this kind of tarnishes the real “Big Bad” of this story by proxy. Aaravos, even as an invisible ghost, with his voice coming out of a caterpillar and next to no info on his backstory, has more style and gravity than all the human antagonists combined. It helps that he is by far the best designed character and Erik Dellums has the voice of a young god, but I’d argue even without that unfair advantage he has the potential to be a top tier villain. While he is stuck as Viren’s “little bug-pal” though he is just being dragged down.

(I’m aware that as of the final episode the caterpillar familiar is undergoing metamorphosis, probably to create a new body for Aaravos’ spirit to inhabit outside of the magic mirror, so I’m definitely hyped for more of him in the coming seasons.)

As for Soren and Claudia, I’ve got mixed feelings. This was one more aspect of the show that a lot of people compared to Avatar and while I see the parallels to Zuko & Azula, they are still very different, at least where Claudia is concerned. I’d also just like to mention that a lot of people told me that they thought the direction in which their storylines went were really surprising and I can’t disagree more. I predicted that Soren would defect to the protagonists on episode 5 right after Viren told him to kill the princes and I knew Claudia was going to stick with her father from episode 12 onward. My point is, it didn’t feel like some kind of plot twist, the way some people made it out to be, and which I don’t think was the intent.

I definitely got the sense that Soren was at least a Zuko-type character, though still not a Zuko clone, and as with Zuko I was consistently able to empathise and sympathise with him and his predicaments. I also appreciated that his dilemma is the result of his convictions and not him being kind of dense, which would’ve been all to easy and probably would’ve ruined his character for me. As it stands he is extremely milktoast, but perfectly functional for his purpose in the story and I can definitely see him evolving further and getting more interesting as we go on.

Claudia is where it gets complicated. Again, I can see the Azula parallels. But unlike that character, who is her father’s animal 110%, Claudia doesn’t strike me as a victim of Viren’s manipulation the way Soren undoubtably is. The way she talks about and uses Dark Magic, how she talks down to Soren and how even Viren finds it difficult to communicate with her, tells me as an audience member that she is an independent person. Which tells me that the cruelty and enthusiasm for causing harm she regularly displays is her own will. And that was before she straight up leads Callum on to manipulate him.

On the other hand I can absolutely relate to her devotion to her family, her big sister role (even though she is younger than Soren) and the way both the separation of her parents before the story and Soren’s injury in episode 16 must’ve affected her because of this. I know that, if my brother had become paralysed from the neck down and I knew a way to heal him, I would not have hesitated to kill that fawn either. Then again her relationship with her father is very different from parental relationships I am familiar with, so I can’t really say I see why she is so devoted to him, other than she promised her mother to stay with him years ago? ¯\(o_Ō)/¯

So basically Claudia falls into an emotional grey space for me. I can’t really tell how to feel about her either way and I’ll just have to see where she goes from here, which, while fine, isn’t necessarily great for an end of season cliffhanger imo.

Seeing as I’ve already talked about some of the show’s shortcomings, I think it’s time to dive into some of the what I would consider flaws.

Firstly this show needed at least 12 episode seasons. I have never made a secret out of my dislike for the modern short seasons and while I recognise that in the current climate in the industry giving everything full 25 episode seasons isn’t really doable, the pacing of this show, especially for the first season is just outright bad at times. It works as of the second season, but the first season alternately feels like it’s either rushing through or crawling along the whole way through.

The believability of Rayla’s and the princes’ relationship really suffers from this the most. It comes a bit out of nowhere on the boat ride and is then taken for granted way to quickly. Like Callum, seriously, this girl tried to kill you and your brother not even a day ago and you are currently cut off from all allies you have ever had until now. A little skepticism isn’t misplaced here. I also wold’ve liked if we’d just gotten a bit more of a sense of movement with the characters. I get that this is not the kind of show where we can just make an entire episode about the characters travelling and camping, intercut with plots centred around a more expansive supporting cast, but still I really would’ve preferred if Xadia didn’t feel quite so around the corner.

Another issue is with setup and payoff, which I think is partially a consequence of the pacing as well. A lot of smaller plot points are set up within the same episode as the payoff just wreak havoc on the narrative structure. A good example is the episode where they ride down the river in a boat and Bait tires to go into the water, but is saved by Ezran, who then explains the story behind Glowtoads and how they are pefect bait for large water predators. Then Bait falls into the water and is attacked by a massive water monster. This happens within five minutes of one episode and never comes up again. To me that looks like sign of rushed editing, which is probably not entirely the crew’s fault, given that they are on a schedule from Netflix, but it’s still a point of critique.

It unfortunately also manifests in the occasional line of horribly forced dialogue, often for things we can literally see happening on screen. Again, this is mostly the case in the earlier episodes, but it never completely goes away.

Finally, and this is where i get into serious issues that made me want to write this, we gotta talk about representation in this show.

First: disabled representation, meaning Amaya. Why is Amaya deaf? Because it’s good to have disabled representation.

Why is Amaya deaf and a high-ranking military officer? Because they didn’t think it through.

I know this may be a contentious opinion, but it is my belief that the purpose of representation, particularly of disabilities characters may suffer from, in fiction is to, y’know, represent people as they are in life. That includes especially the struggles they face and have to overcome, sometimes their whole life. This is not just me talking out of my ass either. A couple years ago I discussed this with several people that are disabled, specifically blind or otherwise severely visually impaired, in a different context obviously, and the general consensus was that it’s better to have representation that shows their life and their abilities as they are, rather than how they might wish they could be.

A mute or deaf person cannot be a medieval fantasy army general, no matter how good they might be in melee combat or who’s sister they are, because at the end of the day, they’re not able to give commands while they are holding a sword and shield. That such a massive logical oversight, especially in comparison to the extremely well done example of representation I mentioned above, and has so little impact on the plot that it leads me to believe, this aspect of Amaya’s character was tacked on in the last minute without being given any thought for the sole reason of the story having a disabled person in it. All this does is necessitate the existence of two otherwise entirely unnecessary characters, Gren and Kazi, both of which achieve nothing, aside from sometimes being literal set dressing.

That is where representation ends and tokenism begins.

And unfortunately this generally lacklustre attitude also extends to the LGBT+ representation on the show.

As of S3E7 “Hearts of Cinder” we have had two onscreen gay couples on the show (onscreen in the sense that both partners were onscreen and they were somehow confirmed to be in a relationship on the show). One of these, the queens of Duren, literally die in the same flashback they are introduced in, which incidentally also features them invading a foreign nation to poach a rare animal and subsequently starting the conflict at the series’ core. Not a great look.

Aside from serving as a tragic backstory for their daughter, the most impact they had on my viewing experience was that they made wonder how the fuck royal succession works in Duren. (People who know me are rolling their eyes right now because I’m bringing anarchism into this Dragon Prince review, but I’m telling you, this why fantasy monarchies aren’t compatible with LGBT+ politics in the same setting. Dynastic governments are inherently bigoted, you can’t have it both ways.)

The other couple are Runaan and Ethari, Rayla’s caretakers, although if I’m being honest you wouldn’t be able tell based on Runaan’s treatment of Rayla in the first episode. By the time we actually meet Ethari and find out about their relationship with Rayla, Runaan is suffering “a fate worse than death” (direct quote from the show) trapped in a gold coin.

I mean come on. That’s about as “technically not ‘bury your gays’” as it gets.

I think I need to reiterate here that my point is not that this show or its creators are somehow malicious. As i stated in the TL;DR: I don’t think this is a dealbreaker for liking this show. But it does demonstrate that they are prone to slipping to some potentially harmful tropes and this needs to be criticised and pointed out to them.

In conclusion, I really love this show. It’s not ATLA, it never will be, nothing else will ever be ATLA no matter how badly (and terribly) Netflix tries. But it does and should not have to be.

What it has to do though is improve. A lot of the building blocks are already there, such as Aaravos or Claudia’s development, Callum’s father, the origin of Ezran’s ability, the purpose of the “Key of Aaravos”, the true fate of King Harrow (we all know his soul is in the bird, right?) etc. Some things like the treatment of Amaya’s disability unfortunately won’t be fixable as far as I can tell, but if they at least manage to fix the gay representation I can make my peace with that.

¹ I know I said I wouldn’t go into each of the characters individually, but a) you should never trust a stranger on the internet and b) I really want to talk a bit about Callum. Specifically the “mystery” of why the hell he is connected to the Sky Primal. I write “mystery” because I think it’s fairly obvious from whence this talent came: there is only one humanoid species we know of with innate access to the Sky Arcanum and one of Callum’s parent’s is unidentified, presumed dead. 2+2=4. Callum’s father was a Skywing Elf. That’s why he recognised Nyx’s boomerang weapon. He remembered one like it either from his very early childhood (remember that he has photographic memory) or Sarai kept one and he found it at some point.

On top of that the name “Callum” or at least the pronunciation is clearly derived from Latin “caelum” meaning “sky” or “weather” and I already mentioned that Ancient Draconic is just bad Latin. It’s not very subtle. Unless they pull a complete 180 concerning the lore about Primal Magic he’s definitely going to be a half-elf, which would also just so happen to make him the perfect mediator between the Human Kingdoms and Xadia. Hmm, it’s almost as if they are planning ahead.

My question: How the fuck did that happen? Or rather: how did that fuck happen? I don’t think even Harrow knew or he probably would’ve a) paid more attention when Sarai advised against poaching the Magma Titan, because obviously she’s gotten around Xadia more than him, if y’know what i’m sayin’ ( ͡° ͜ʖ ͡°) or at least b) put it in his final letter to Callum. Unfortunately we know basically nothing about Sarai except that she was a soldier alongside Amaya and already had Callum before marrying Harrow. So does Amaya know? This is probably the most interesting plot thread in the whole story and as far as my friends told me it’s not going to be touched on anymore in the last two episodes than it already has thus far, which is basically not at all.

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project-paranoia · 3 years

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Live Watch: Guardian Episode One, Part One

It's Guardian! The show that got me interested in this genre! I love spooky things and I love mysteries and fantasy! I simply adore it so much! When I can't sleep I just put on a playlist of Guardian in the background. I was aware of censorship before - every country has some version of it, but to some degree this was my first deep dive into how it might effect a piece of media. Guardian is exceptionally acted and incredibly written, as well as suffering from obvious dubs where the dubbing voice actor sounds nothing like the previous actor and odd cuts that are disrupted. In some ways it's the little drama that could fighting its way past their studio going bankrupt while they were filming, reshoots, and being taken down and altered several times.

In some ways Guardian's struggle fits the spirit and aesthetic of the show. Worn in like an old pair of jeans but still making an effort. Putting emphasis where things count and hoping the kindness of the universe will make allowances for the rest. Attention to detail where the story really matters. It has the charm of a community production put on out of love with actors and crew who would not be anywhere else in the world for any amount of money. That feeling of love comes through, and whether or not I'm barely literate I have so many words to share.

Part of why I love it as well is it has that feeling of 80s and 90s fantasy, like Moomin, Xena or Condor Heroes. Everything feels lived in, nothing's been spit shined except for Shen Wei's suits. It's an old city street of a show, it has history and character built in.

*After all that I don't know that I have a tonne to say about the intro. It's very good but it's also full of spoilers. I think having the intro song be in English does make a difference in making it appealing to English speaking audiences as well as standing out as different and interesting, which the show is. Speaking of Spoilers! Spoilers below!

* The obligatory beginning narration is beautifully animated, I have another post that will be done some time before the heat-death of the universe talking about the fascinating world building options. Unlike some Make It SciFi plots, this one has legs and implications.

* Remakes rarely are able to meet the original on equal ground - and I struggle to believe the actors would Fit as well - but part of me really wants to have a chance to have the Dixingren worldbuilding really leaned into. The writing is good enough we get implication but no real follow through. I want fifty episodes of how Dixing functions, give me more pseudo-science behind the mutations, what are the biological differences. I'm hungry for more!

* I love the cameos of later characters, and the way there was some effort to be discrete with spoilers.

* It's Ya Boy! I love Shen Wei. With that music cue and that sinister turn around they really set him up as dubious. I wish they went with something a little different with the intro so his character wasn't spoiled. The writing, directing, and acting was so good and spoiling who Shen Wei is kind of took the teeth out of that.

* Also cheers to the costume designer who outfitted Zhu Yilong so well and made him look jacked with the fit of those clothes.

* Also you can tell this is a real university because the staff has to sit in tiny student chairs. I'm not joking, please be warned if you're going into academia. Unless you have tenure life is An Adventure - and even then.

* Also shout out to Shen Wei's Prized Cabbage and the Queen of our hearts, Li Qian. Why is this actress not in more things? She has such an expressive and lovely face and she really goes all the way in with her acting. I respect an artist that acts from their chest. Also that windbreaker, white skirt combo is chic and fun all at once, it draws the eye and makes her melt into the background all at once - perfect for the character. I love her so much.

* Here's another one of Shen Wei's coats, it's a lovely color for him but it also is so thin that it looks like it crinkled up just from being worn.

* I'm being distracted by details and missing plot stuff.

* Story of my life.

* I love Li Qian hovering along behind Shen Wei like a duckling following their mother. A) Mood and B) it quietly informs their dynamic. Shen Wei has like one person he can trust but no one he can really confide in and it's the same for Li Qian. A ship will find a port in a storm and Shen Wei has Big Da-ge Energy. My fanfic heart hopes they found comfort in the pseudo familial relationship with each other while it lasted.

* Even in episode one we receive foreshadowing, we love and respect some excellent writing. For those of you who missed it - Professor Ouyang is talking about Lin Jing who I love partially because he's so outrageous large but has the total opposite of intimidating energy.

* What did they feed you Lin Jing? He is so tall and wide, but they do a lot with camera work to try to make him not quite as big. Side note, I would really love to see the actor who plays Lin Jing (Liu Minting) both in more dramas but more specifically in a role where he was like a minister or scholar - someone intellectual. I think the combination of being such a big gentleman and also someone who like plots or plans would be really dynamic if it was written well.

* Also I like the exchange where without a word Professor Ouyang indicates he has one last thing to say, it's private and that he would like Shen Wei to ask Li Qian to leave. That's What You Can Do With Good Actors!

* Li Qian is just so pretty and the actress emotes so well!

* Shen Wei totally understanding what's going on with this shady research immediately and wanting to stay as far away as possible. We see one of the first examples of him being aggressively polite to remove himself from a situation.

* "i'M jUST aN oRDINARY sCHOLAR." No one buys it Shen Wei.

* Angy Thinking Face

* One thing the show is really good at is using establishing shots really well so you always know where everything is and everything is going

* Guo Changcheng, all around good boy and angel. We stan a nervous legend

* Zhou Yunlan Arriving. Why is everyone on this show an Absolute Legend

* Guo Changcheng protecting himself with his certificate is too cute. This young man is trying his best and I support him.

* Also that coat is Young, Pure, Stylish; I love it

* Zhao Yunlan, what's wrong with you? You are amazing!

* His irreverent style and disregard of usual policy makes him fit in really well with his band of misfits and special cases

* Guo Changcheng's OO face is too good, elastic face

* Da Qing my love!

* Jin Ling, I think he has an all seeing eye on his hoodie thing. Illuminati Confirmed.

* Also they filmed the shots so well, so you always know where everyone is in relation to everyone else

* Our Prized Cabbage! I love her!

* Great handheld work: shaky and unhinged, but not migraine inducing

* Foreshadowing in the form of a shadow and reaching for the necklace

* Da Qing's cat behaviours. I really want behind the scenes of the actor discussing how cat was he going to cat

* We get our first real example of how Zhao Yunlan doesn't feel safe emoting negatively and so he uses a super sunny mask to hide his feelings, except with Da Qing who he lets his anger show with because he trusts him.

* I'm not even halfway through and I've written so much, peace and blessings to the readers of this.

* Zhao Yunlan's swagger, after his childhood having a little power must feel comforting and good

* I love how Da Qing is talking as a cat less than a meter from the medical examiner. Does the examiner not care or does he know? Is he deaf?

* Harassing Guo Changcheng is the new team sport

* Zhao Yunlan Realises Something Music

* Also, Lollipop Measurement

* It's nice to see Zhao Yunlan just being himself with Da Qing, he's able to really be honest and genuine with him

* Slow Look Moment

* This moment is so fascinating! Shen Wei doesn't know what's going on yet. He just sees an old friend who winces when he sees him and disappears. We mostly see things from Zhao Yunlan's point of view, but from Shen Wei's perspective this is a first part of just some Odd and Confusing Happenings

* This cat though! I love him!

* The delicate way they’re both feeling each other out. This must be so confusing and startling for Shen Wei and Zhao Yunlan is trying to figure out if this teacher is going to bust him or what.

* He forgot to let go, way to set off Zhao Yunlan’s suspicions

* “Mark Stewart” Is he though? Who picked out that English name?

* Li Qian! I love her and I love that striped blouse. Fashion. Got to look good when you’re resisting a mental break. *Also she hears a meow and looks around at eye level, I love that for her.

* Zhao Yunlan! You can’t take pictures of young ladies without their permission. What is wrong with you!

* I love Da Qing’s very cat attitude of I Will Have Vengeance for These Wrongs

* Two for one! Shen Wei meets two faces from his past.

* Also, I get a little frustrated about people making a big deal about the 10,000 years versus 1,000 years age thing with Da Qing. a) He has amnesia and b) the thousand years refers to the amount of time needed to cultivate to a certain stage in Chinese mythology - usually by absorbing energy from the sun, moon, or depending on the animal other sources.

* I feel so bad for Shen Wei, who knows what he thinks. Were his friends brainwashed? Did they forget? Can they not say for some reason? What is happening?

This review is getting a little long, so join in tomorrow for Part Two~~!

#Guardian #watchthrough

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tsuki-sennin · 3 years

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Mina-san, bonne lecture~! (Tsuki recaps his feelings about Kamen Rider Saber, a personal essay.)

So, Saber... what a wild ride it's been, huh? Just a quick heads up, this is very long and rambling, and also contains spoilers for everything in Saber. It's fine if you don't wanna read all this, but I just wanted to get my thoughts out there.

TL:DR, Kamen Rider Saber's an undercooked hot mess I absolutely adore, warts and all.

Speaking as objectively as possible, it's a 6/10. Probably closer to a 5 than a 7... it's not great: All the different plot elements are cluttered and weirdly paced; character focus is disjointed and clearly biased toward certain characters, leaving great ones like Kento and Ogami, interesting ones like Kamijo and Hayato, and underdeveloped ones like Sophia and especially the Shindais in the dust; not to mention its balance of comedy and drama is off, and while both are very effective, there's a lot of mood whiplash that can take you out of the story. I also feel like a lot of the easily avoidable character conflict could've been easily resolved, even in universe, by simple conversations. Be careful Fukuda, I think Inoue might sue you if he finds out you've been biting his style and doing it worse.

Rider shows have a very frustrating tendency to drop cool form ideas and not do anything with them, and I don't think it's ever been more the case than with Saber. There's a similar argument to be made with the majority of Heisei Phase 2 after Gaim, but wow. The suits are expensive to make without just straight up recycling everything, I get that, but man, I really wanted to see more Wonder Rider forms. How come Touma got all the fun, eh? Of note are the Blades King of Arthur forms (which look amazing by the way), Espada's Jaaku Dragon forms (one of which I even drew last night), even the non-elemental random Wonder Ride Books all have awesome design elements that go tragically unused. Even if the other Swordsmen just kinda have the ones they do get to use slapped onto them, that's at least something. Touma also just straight up only uses Diago Speedy twice and never again. You have cool props guys, don't waste them like that!

Speaking of waste, Espada, goddamn. Since most of the Wonder Ride Books are Story Type and he needs one very specific Story Book to transform, he doesn't get much of... anything, really! No Wonder Rider forms like Blades, Lamp Do Cerberus being exclusive to Ganbarizing, only getting to use the Ride Gatriker like once, he even spends the second and third arcs as a completely different Rider, then once he comes back he doesn't get a King of Arthur-granted upgrade or even a Necrom Espada form. ...at least, not yet anyway. I'm holding out hope for Espada x Necrom and the eventual Saber V-Cinemas. Extra Rider stans, we will be well respected someday.

The Unreal Engine CGI used for fights in early Chapters was pretty good but wow it feels disconnected and they really drop it quick. I feel like if the animators had more freedom to use as many forms as they want, we'd have gotten a lot more mileage out of the books beyond... decoration basically. I actually really liked the CGI sequences, they felt creative and were fun to follow along with.

The soundtrack is pretty great on its own and conveys what it needs to, but they seriously overplay the orchestral themes. It honestly feels kind of... stock at times. I think my favorite parts of the score are when it winds down, since it feels a lot more natural and lets the cinematographers and actors speak for themselves.

As awesome as I think Falchion's design and the Mumeiken Kyomu are, The Phoenix Swordsman and the Book of Ruin comes up short as its own standalone thing. You'd think 30 or so minutes of non-stop action would be awesome, and it almost is? It's as good as a typical episode of the series with a higher action budget, but it kinda drags on a bit too long; and although I think Emotional Dragon looks cool, it feels a bit tacked on. Coming off of the incredible Zero-One REAL×TIME, it doesn't give you much room to breathe, which Rider films are typically great at handling. I also thought the resolution for the kid's subplot was kinda forced. He does an okay job at acting considering his age and doesn't overstay his welcome, but I really don't see how 20 minutes of violence and action is enough to convince him to be brave enough to go play with the other kids. 5/10, it's closer to a 4 than a 6 and I think that maybe Zero-One should've stood on its own if they really had to push back Kiramager Bee-Bop Dream because of the pandemic.

Alright, with all that said... As imperfect and undercooked Saber was, like Ghost I can consider it a personal favorite, 10/10. Call it a guilty pleasure if you want, but holy hell it's just the show I needed. Takuro Fukuda has a talent for creating fun, wonderful characters and utterly fascinating worldbuilding and concepts. It's a shame he doesn't utilize them fully, but hey!

The action and fight choreography are pretty top notch as usual. Lots of beautiful shot composition and set pieces, and plenty of great angles to help keep up with the extra busy action. I love watching the suit actors perform and they deserve all the respect in the world for their hard work in those hot, sweaty, and heavy costumes. Their visual design is also top notch, with lots of unique and fascinating forms and cool weapons I desperately want to play with despite being broke, all with spectacular finishers and hype jingles with the voice of Akio motherfucking Ohtsuka calling them out. A real feast for the eyes. Not a single bad suit among them, yeah I said it, fight me.

The crossover specials are soooo good too.

-I went over my feelings on the Zenkaiger crossover episodes in a separate post (good luck finding that btw), but to sum it up, they were great character moments for Zox and the Shindai siblings with lots of great screwball comedy and some good old fashioned meta humor.

-The Ghost crossovers are great little side stories all about how Daitenku Temple somehow had the Ghost Ijunroku Wonder Ride Book? I genuinely have no idea why it was there, or how Makoto had the Specter Gekikou Senki, and as far as I remember neither of their origins are explained. Did Luna or Tassel hand them off to them and told them to wait for a sword guy? And why do these generic French Revolution Gamma villains working for Danton get their asses handed to them so easily by Kanon, who literally just became a Rider? I thought that Makoto deciding to adopt all the Kanon clones into his family was both hilarious and adorable though; considering all the crap they went through, I think it was a good ending to this plot. Gimme Espada x Necrom already Toei/Bandai/Fukuda/whoever I need to yell at, give Kento things to do, I beg you.

-I haven't actually seen Super Hero Senki since it's not available for subbing yet, but apparently there's a Journey to the West plot starring the Taros and Ohma Zi-O and I want to see that so badly.

Tokyo Ska Paradise Orchestra? Yoohei Kawakami? A match made in heaven, that's what they are. All of their themes are absolute bangers. All of them. Almighty, Kamen Rider Saber, Sparks, Taju Rokou, all excellent and empowering pieces. Rewrite the Story, Will Save Us, and The Story Never Ends are all amazing inserts done by the cast, and it makes me wish we had even more of them to help break up the monotony of the score.

The characters are what easily make this show such a great watch though. For the most part, they have great personalities and chemistry, consistently fun and interesting scenes, well acted and... sometimes well-written development, and deeply investing personal stakes.

Narrating it all is the delightfully eccentric Tassel/Viktor, portrayed by Romanesque Ishitobi "TOBI" of the Paris-based Les Romanesques. I was utterly confused by his presence at first, wondering why there needed to be a narrator when the story would've been perfectly fine without it. He even got a special spot in the opening despite having no stake in the plot despite seeming to live in Wonderworld, who the hell is this guy? But then I thought "OH MY GOD, HE'S THE MAIN VILLAIN USING TOUMA AS THE HERO IN HIS OWN TWISTED STORY, THE BASTARD". I thought it'd be some subversion of expectations, true form, "That Was His Mistake!" shit. Trust me, it made a lot more sense in my head. I'm very happy that they didn't do that, as I grew to love having male Yuuka Kazami as my narrator, and when he was shown to be actually important by being friends with Yuri my mind was blown. And doubly so when I realized just how deeply necessary to the plot he really is.

Rintaro/Blades is up there as one of my all time favorite secondary Riders, since his curiosity is always consistently funny and adorable, his forms are all gorgeous and impressively designed, his relationships with Mei and Touma are absolutely sweet and compelling to see unfold, and his arcs about becoming willing to call out those he views as family and coming to terms with his feelings of inadequacy and both moving past and using them to strengthen himself are always great lessons to pass on to kids. ...even if they took like 10 goddamn episodes to be conveyed in what could've been 5, but hey, Takaya Yamaguchi does a stand-up job all throughout. Rider veteran Eitoku's refined, almost logical movements with the Suiseiken Nagare absolutely beautiful to see in action, and his final form having the same white and blue color scheme as Zooous's base form is an amazing touch I don't see appreciated enough.

Mei Sudo's also absolutely wonderful, serving as the perfect emotional core of the story, responsible for most of the funniest lines, sweetest character moments, and some of the most deceptively compelling drama. Asuka Kawazu brings the perfect energy for such a dynamic and well rounded character, and absolutely nails her scenes of quiet turmoil. As much as I would've loved her to become a Rider, I don't think she really needed to. She's already done so much to help, and as cool as it would've been to see her pick up a sword and fight alongside them as Espada, Calibur, or Falchion she's already endeared herself to me as one of my favorite supporting characters in the whole franchise.

I can't get enough of my homeboy Kento Fukamiya/Espada. Like Rintaro and everyone else for that matter, he also suffers from Saber's pacing issues; and like his predecessor Valkyrie from Zero-One, he doesn't get a proper upgrade aside from his Wonder Combo, instead becoming an anti-villain using a completely different powerset and shifting the Raimeiken Ikazuchi out of focus for the Ankokuken Kurayami, and I feel there's a serious missed opportunity to see him use Jaaku Dragon with Alangina. However, Ryo Aoki's performance is probably among the most easily praiseworthy in the whole cast, managing to convey both Kento's kind and knightly stoicism as Espada and his emotionally unstable despair as Calibur perfectly, in conjunction with Yuji Nakata's experienced and expressive stuntwork.

Ren Akamichi/Kenzan's a dark horse favorite for sure. I remember back when Saber was first picking up, people hated this breezy mad lad for being such a simple character at first. Overly concerned with strength? Black and white world view? Annoyingly energetic? Agh, real-feeling character flaws, I hate them, get him away from me! But then y'all came crawling back. Eiji Togashi's apparently a bit of a rookie actor, and it really shows with some stilted delivery and the way he sometimes bobs his head when giving his lines, but man he improves dramatically as the series goes on. His inexperience ironically ends up really selling his character development, and his unexpectedly beautiful relationship with Desast is special evidence of that. The Fuusouken Hayate's three modes and Satoshi Fujita putting them to excellent use through his stellar acrobatic movements are also really cool.

Why did Luna have to be a child for so long? Does Wonderworld not age whoever inherits its power? Well since Luna randomly becomes an adult in Super Hero Senki and some of the final episodes, I guess so? Miku Okamoto does a fine job for a kid actor, but she's basically done all the heavy lifting for the whole series and doesn't give Mayuu Yokota enough time to get a feel for her character as an adult. How did she choose Touma to inherit the power anyway? Does she just subconsciously decide to trust him with it upon seeing how kind and passionate about storytelling he is? Well if that's the case, why didn't Kento get at least some of that power too? He's just as important to the merchan- I mean Luna-chan, isn't he? Why did Tassel pick her over someone who isn't a literal child who'd be understandably terrified about basically becoming an embodiment of storytelling?

Sophia also kinda suffers from the same problems. Rina Chinen's voice is very pleasant to listen to, but she doesn't really do much beyond serving as a source of exposition and support. I think her dynamic with Mei's adorable, and given her kindness I can certainly understand the respect Northern Base has for her, but she doesn't really contribute a whole lot. If she could use the Kurayami and become Calibur all this time, then why didn't she take it from Kento and Yuri and do so earlier when Kento decided to go back to being Espada? I know she's not much of a fighter and as the closet thing the Sword of Logos has to a leader after Isaac's death I'd understand not wanting to put her at risk, but considering Storious is destroying the world, and she's very evidently kicking a lot of ass in the first part of the final battle even in the basic Jaaku Dragon form, I think it would've helped a lot, just sayin'. Tassel at least has the excuse of being unable to interact with the real world, but Sophia obviously didn't just be put in charge of Northern Base just because she's a pawn in Isaac's plans right?

Ryou Ogami/Buster is also a victim of the disjointed character focus. I have no problem believing he's an excellent father and fighter thanks to Yuki Ikushima and Jiro Okamoto, respectively, but he feels a bit flat and simple in comparison. His rivalry with Desast is randomly dropped, his wife doesn't even show up until the final episodes, he's kinda sidelined in terms of action a whole lot. I imagine that must've sucked for the Rider Dads out there. He does get to star in his own manga, and that was pretty good, so I guess I can't be too mad.

Tetsuo Daishinji/Slash fares better though. Hiroaki Oka, being a Kamen Rider fanboy himself, manages to make him among the most relatable characters in the series. Not only are his hyperfixation on swordsmithing and anxiety played surprisingly believably, Hirotsugu Mori letting him cut loose is extremely cathartic and hilarious, and you really feel for him when the Onjuuken Suzune becomes the first victim of Calibur!Kento's sword sealing.

Yuri/Saikou's another dark horse favorite, for me at least. "Oh great, Avalon guy's got even more merchandise to sell, I wonder what his Sword of Light is- it's himself. Well... that's different." I admit, I didn't like him at first. He felt like he was there to fill out character dynamics in the absence of both Rintaro and Kento, I thought his gimmick was too silly even if his design and jingles were bangers, I didn't particularly care for his power set. But then XSwordman came around I totally got it. He's an endearing, hard-working man trying his best to catch up on all the cool shit he missed, unafraid of experimentation, ready to throw down at a moment's notice, serving as a wonderful bit of consistent support for our heroes, a truly knightly individual, an absolute Chad. and goddamn does he make me worry. Tomohiro Ichikawa, I salute you good sir.

Even if they fall short compared to the rest of the cast, the Shindai siblings are at least cool enough to not wanna write out entirely. They kinda devolve into comic relief after they become allies, something that villainous Riders from Chase onwards are very prone to doing, and it's especially awkward in their case because I think that they kinda get off scot-free for obeying the obviously sinister and crazy Isaac for so long, as well as driving a wedge between a lot of people and threatening children in Reika's case. I think their sibling dynamic is nice though, even if Fukuda recycled it from Makoto and Kanon and has some... questionable possessive undertones as a result. It's cool how they're basically foils to Touma and Rintaro though. The dispassionate and methodical Reika/Sabela is beautifully played by Angela Mei and her moments of emotional depth are fascinating to watch. Her Rider form is a thing of beauty, and its use of literal the Eneiken Noroshi's smokescreens and Yuki Miyazawa's precise and deadly stinging strikes are a joy to watch. And while Ken Shonozaki's not given the best direction as the undercooked plate of 7-Eleven fried fish that is Ryoga/Durendal, he manages to sell him as an experienced and hardened warrior with an awkward side that's especially evident in the Zenkaiger specials. His goddamn RWBY weapon that is the Jikokuken Kaiji is absolutely sick, I'm a sucker for transforming weapons and its combination of time and water powers is really cool, especially with Yasuhiko Amai's deliberate and forceful acting in the suit.

Daichi Kamijo/the Second Calibur, for as brief as his story was, was a pretty cool starter villain. Hiroyuki Hirayama brings this poor bastard to life in a genuinely touching way. I love how as Calibur he goes full force on his creative use of Wonder Ride Books for attacks, and his debut as Jaou Dragon got my blood pumping. His end is also deeply tragic, and I really felt for him when he realized just how badly he fucked up. Hayato Fukamiya also does wonders for the backstory, and while he also doesn't get much to work with, Mitsuru Karahashi makes his regrets and love for Kento feel genuine.

Legeiel and Zooous are both very intimidating and entertaining villains. On top of being just the right balance of goofy and threatening, Kairu Takano and Koji Saikawa's stage presences are both very strong, and their mixture of camaraderie and in-fighting is extremely believable. Zooous's rivalry with Rintaro feels incredible to see through to the end, and although Legeiel doesn't get quite the same treatment, Elemental Dragon had such a cool debut that it more than makes up for it. Their final fights are also absolute spectacles. I don't think their sympathetic angle works even close to as well as it does with MetsubouJinrai or even the Gamma, but I get it, power corrupts, and you probably feel a lot of sadness and regret for things you've done when you die unless you're a right bastard.

Isaac/Master Logos/Solomon is kinda generic. As wonderful as Keisuke Soma is, he doesn't get much dimension to work with. The result of that is while he nails being as smug and punchable as possible, he feels almost... comically generic. Genta Umemori from Shinkenger was full of personality! He was also basically some guy, but he was fun, he felt connected to the rest of the cast! Meanwhile the only real time we get to see Isaac's depth is when we see him crying over his failures. I almost appreciate him being unapologetically evil though, since I've seen way too many shows where redeemed villains get off scot free for way worse things, and some where they outright demand you to sympathize with them despite them doing nothing to warrant it.

Bahato/Falchion surprises me by not just being a movie villain whose actions affect the main plot, but also being a movie villain who actually gets to appear in series as a recurring threat! ...and it's not a particularly great showing on his part, sadly. Masashi Taniguchi does a wonderful job with what he's given, but his character feels like a retread of Eternal without any of what made Katsumi Daido a compelling and frightening villain. I'd like to believe Yuri when he says that he used to be a good person and a hero to the people, but I can only hear so many anime villain monologues about the pointlessness of life and the beauty of destruction before I can never take them seriously again. ...I think that's his biggest problem, actually. I thought he was an overall uninteresting and generic villain in the movie, and the cartoon nihilist he's shown to be in series is only a small step up. He still feels like filler. If only there were a far better written and much cooler villain who takes on the Mumeiken Kyomu after his de--

Desast is probably one of the finest anti-villains I've ever seen in recent years. On top of an absolutely badass character design and the excellent combination of Kazuya Okada/Danki Sakae's suit work and Koki Uchiyama's stellar voice acting, his story being so thoroughly intertwined with Ren's makes their shared journey and bromance a borderline Shakespearean tragedy. His struggle for identity despite Storious treating him as nothing more than a failed experiment and the Sword of Logos treating him as a mere monster really gripped me, and the way he uses what little time he has left to encourage Ren into blossoming on his own is absolutely beautiful. I think his enmity with Ogami is criminally underexplored in series, considering he killed several of the previous Riders and how Ogami's in desperate need of screentime.

Then there's our main villain, Kamen Rider Storious. Robin Furuya brings an incredible amount of charisma to this character, expertly portrayed as both a sinister, manipulative bastard , and as a lonely, tragic figure that arguably makes him feel even more villainous. Speaking as a struggling writer myself, it's easy to feel stuck in the idea of "fuck it, who cares, maybe everything is predestined", but I can't imagine what it's like to know that as the truth and carry it with you for all that time. All of your grand ideas have roots from your experiences, and you're not the only one who even could have those experiences. It's easy to just fall into despair and give up trying, but would that make you happy? Sure, Storious is sadistic, he may be fulfilling his goals, he may be ungodly powerful... but it's not enough for him, is it? All of his friends are gone, one of them even at his own hand, he probably doesn't have any idea what to do after he destroys all the world's stories, Touma even reached his full power before he did, and his downfall is so predictable that even a blind person could see it. He even seems to welcome it, what's up with that? But then I realized... OH MY GOD, HE'S THE MAIN VILLAIN USING TOUMA AS THE HERO IN HIS OWN TWISTED STORY, THE BASTARD. He's so far gone, he's so desperate to stick it to the Almighty Book, he's willing to twist the archetype of the Hero's Journey so hard, it snaps in two. What I think is interesting is that he's ironically trying to chase the trend of "edgy superhero story" that became super popular in the 21st century. The Boys, Brightburn, Kamen Rider Amazons, The Sentry, No More Heroes, Magical Girl Site, even mainstream comics from DC and Marvel... Surely Storious must've seen the cruelty and tragedy these stories are filled with, but he chooses to go through with trying to force the world into this direction anyway. Did they, along with seeing the ever-popular tragedies of legendary playwrights and bleak satire of the twentieth century fuel his despair?

And yet... there's one who stands in determination against his ideals.

Our hero, Touma Kamiyama, the titular Kamen Rider portrayed by Syuichiro Naito and Kousuke Asai, he speaks to me on a personal level. There're plenty of jokes to be made about his procrastination in early chapters, his godless fashion sense, and him doing the funny run up the slope, that's all fine and dandy, but I rarely feel so connected to a character the way I did Touma. The struggle to create, find companionship, live your life, reach out to others... these're things a lot of people struggle with, and of course you see them depicted a lot in media about creators, but Saber gets to the root of what the greatest thing about storytelling really is. Giving people hope, while using the pain of the past as fuel for the future. Sure, Storious may be right about how every story has been done as far back as human civilization gets, he may even be right about how any spin or creativity humanity has is outright predestined. It should be pointless to even try, right? That's where Touma Kamiyama disagrees. He didn't spend all that time fighting and creating just to give up at the idea of predestination. His novel writing-fueled creativity in his early training, his devotion to his friends that let him surpass Kamijo as Dragonic Knight, his compassion for the Primitive Dragon that let him combine their powers to destroy Legeiel as Elemental Dragon, his resolve that let Xross Saber dethrone Solomon, and his passion for the craft of storytelling that let our heroes channel their wishes into Wonder Almighty... all stemming from the belief imparted onto him by his predecessor that "Hope lies beyond your resolution." And that you decide how your story ends. He may not be the greatest Rider to some, he may be as lame as others think he is, he may not even be my favorite, but I have no issue calling Touma Kamiyama... Kamen Rider Saber, one of the all time greatest carriers of the Kamen Rider name.

The final chapter's definitely not as great as some other Rider finales, but goddamn. Primitive Dragon consciously choosing to save Touma is so sweet and such a great emotional payoff, I loved jamming out to the opening theme while our boys lay the smackdown on Storious. Wonder Almighty's a fitting final bit to close the main series out with, if not exactly a great one. I think the cover is great, and the book's body is a lovely shade of candy apple red, but I really don't like how its pages are just the covers of the other books copy-pasted onto onto the pages, that feels lazy. Maybe if it were a panorama of all the books' characters, I'd like it a lot more as a symbol of how unified the Swordsmen are, but eh, what can you do? On a related note, does this mean all the "last episode extra final forms" of the Reiwa Era are gonna be named after their series's opening? That's a neat idea.

I felt a lot of feelings seeing all those video messages of Rider fans all across Japan talking about their favorite stories, and how their passion and fond memories help reshape the world. Mei's monologue at the ceremony about is also really touching and- IS THAT A HUMAGEAR!? :O

Y-yeah dude, it is! Wow, where have you guys been for the past 48 episodes?! Are you guys doing okay? How come you're like... the only one here? Is the technology of Hiden Intelligence only really that prevalent in that very specific metropolitan part of Japan and they're just not coming around much over here? Is it like Dragon Ball where anthropomorphic animals are just vibin' with humans while the heroes are off kicking ass? Apparently he's played by Hasegawa Keiichi, who wrote this episode and had the award ceremony named after him. ...is Hasegawa Keiichi a HumaGear in this universe then? Did he set up this award ceremony in Touma's honor? If so, why is it named after him? Did reading one of Touma's books lead to his Singularity? I know this is just a cameo, but... god, I have so many questions that probably will never be satisfactorily answered.

Overall, if I had to compare Saber to anything, it'd probably be Sam Reimi's Spider-Man trilogy. It's awkward, stupid, overwrought, undercooked, illogically written, scattershot, cheesy as fuck, and has a tendency to squander its otherwise fine execution; but the sheer passion for storytelling, sense of spectacle, deeply fascinating characters, and belief in the ideals set forth by the cast, crew, and fans are absolutely admirable. Improvements would certainly make it an overall better experience, to be sure, but there's something deeply captivating about how wonky this series is. Seeing everybody get their happy ending after all they've been through felt extremely gratifying though, and I may have to wait another for the epilogue to and then wait for Revice, but... man. I'm hella proud of our awkwardly-emoting, fashion disaster novelist and all of his heavily flawed friends for carrying the Kamen Rider name on to the future. Here's hoping Revice will keep it going.

Alright, that's everything I wanted to talk about. Sorry this was so long and ramble-y, I had a lot to say. I'll probably be liveblogging Revice as episodes of that come out, so... look forward to that, I guess. See ya.

#kamen rider saber #long post #tsuki talks #personal #kamen rider #whew #ok bye have a nice day

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hapuriainen · 3 years

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Hapuriainen's Animation & Comics & Games of 2020

It is again time for the annual compilation!

Manga:

Attack on Titan

I'm so sad this is so close to end... It's been my main thing for a few years now. Eren definitely didn't take the route I expected but I still find this consistent with his character and a bold and interesting move from the author.

(My notes say I also finished the jr high spin-off manga but it's not worth talking about)

Awards given: Best Side Girl (I still like Gabi, haters gonna hate), Best Boy (ditto Eren)

One Piece, My Hero Academia My interest in OP is still at an all-time low and I'm just waiting for the arc to end. There are so many characters and I have little idea what their deal is, Carrot hasn't been interesting in ages and currently Yamato is the only character I care for. Same for HeroAca; at least the excruciatingly long action scene is finally over.

Undead Unluck New Jump series! I think the main duo have a really good dynamic, but they're pretty much the only thing I care about and I'm very lost with what the plot is actually supposed to be about.

Majin Tantei Nougami Neuro

I like detective stories so here's one from the Assassination Classroom creator! The detective stuff itself could get rather nonsensical and as the story progressed more and more fantasy elements were added, but the titular character was entertaining enough to keep me interested. The viewpoint character was refreshingly (for a Jump series) a girl and her dynamic with Neuro (an ordinary schoolgirl and an arrogant amoral troll demon) was great.

Awards given: Best non-romantic relationship (Neuro & Yako)

Spy x Family

Super fun and the characters are cute! The main couple has such great chemistry and in general I enjoy following characters who are really competent at their job. Not surprised that this has become hugely popular.

Awards given: Best romance (it is rare to get me to ship anything but the main couple here is just so cute)

Delicious in Dungeon

This manga has amazing character design and the author clearly loves to play around with it, like by drawing each character as each other's races, or making clones of everyone but each clone is a little different so you can guess which is the real one with the characters, and there's so much thought put to the outfits too. And then there's of course all the worldbuilding around how an RPG dungeon and the creatures in it could work, but it's presented simply enough that the story is still easy to follow. I also like the upbeat atmosphere; maybe I could get a bit more emotionally involved if there was more drama, but I still really like this as it is.

Awards given: Best character designs

Yokohama Kaidashi Kikou

Reread one of my favourite manga ever and it's still just as good. I love how the manga still has a positive vibe to it, under it there is the quiet melancholy of a world that is close to ending. And it's wonderful how uninterested the story is answering any of the worldbuilding questions it sets up.

Beastars

This was incredibly interesting in how it presented an animal society where the carnivore-herbivore differences couldn't be just explained away with "the differences don't really exist", and the story looks at this from so many different angles. Pairs really well with Zootopia for a completely different approach. Louis was a really interesting character with how he publicly managed to appear as if he was a good candidate to be the next ambassador for the peace between the animals but was actually very cold and broken inside, and I really liked his breakdown moment. The ending was pretty meh though.

Awards given: Best Side Boy (Louis)

Kannagi

This one has really cute character designs but apart from that it's a pretty generic harem story. Except for the twist that the main girl already had been involved with a boy which caused otaku to shred their manga or whatever. I believe I would have enjoyed this more if it finished back when it went to hiatus since at this point it didn't do much for me.

Witch Hat Atelier

The main girl is the kind of heroic, friendly, plucky goody-two-shoes protagonist I really don't like but apart from that this is a great manga. I love the art, and the way the magic works is really well set up but also easy to understand. Great outfits too!

Anime:

This year I learned that in order to clear stuff from your anime watch list you need to actually watch anime. So unexpectedly I think I watched a lot more different series than usual.

Attack on Titan

It was my plan to watch seasons 1-3 before jumping on board with the last one, and of course I dragged my feet for the entire year and had to marathon the whole thing in autumn. I still prefer the manga, but the anime does have great colours, soundtrack and voice acting and some of the action scenes were amazing. But I really hate what they did to Historia in season 3... The final season has been excellent so far and I can't wait for the big scene in the next episode.

Awards given: Best OP (all the Linked Horizon ones)

Ouran High School Host Club

Haruhi continues to be one of the best girls in the anime and manga industry ever with her confident and no-nonsense attitude, and Tamaki's oblivious and overflowing friendliness makes for a great counterpart to her. And the opening theme is so darn catchy.

Awards given: Best Girl (Haruhi)

Tengen Toppa Gurren Lagann Finally managed to watch this. I love the iconic character designs and all the chaotic energy. Kamina for best bro. I've never cared for mecha, the girls were nice but the writing around them sucked and the second half wasn't as strong as the first one, but still a good package overall.

Awards given: Best ED (don't care for the song that much but Simon looks somehow really cool in the second ending)

Haibane Renmei

Another one that had been on the watch list for years. A lovely quiet and contemplative show. Visuals were rather dull though but maybe it's better for a show like this that the characters didn't have bubblegum pink hair.

Digimon Adventure 2020

This started promising but has since lost steam. I really like how different the story is from the original Digimon Adventure, and compared to Precure it's super nice how not every episode has the exact same structure, and the cast has different roles and regularly gets split up instead of shoehorning everyone into every conflict. But on the other hand the characters feel way more samey and flat, and the original "kids want to return to their home from the Digital World" plot was a lot more personal than the current one about global crises and prophecy jargon. And some of the action scenes last way too long.

Awards given: Worst side boy (Agumon and his evolutions, it is of course expected that he'd get a lot of screen time but I'm so over how much he's constantly pushed in your face in the franchise)

Shuumatsu Nani Shitemasu ka? Isogashii Desu ka? Sukutte Moratte Ii Desu ka?

This wasn't afwul but still left me kind of cold. I think the character designs were a problem here, in general I'm used to brightly coloured anime characters but this was trying to be a very serious story about child soldiers who know they're going to die young. But when they were colour-coded and always wore the same clothes (and mostly had pretty generic animu girl personalities) they felt so artificial which made it harder to get into the drama. Nice OP song.

Yashahime

Inuyasha was my first show after really getting into anime so I was super hyped for any kind of new content. So far this has unfortunately been rather dull since I'm not particularly interested in either of Sesshoumaru's daughters, and the way the show treats the absence of the old cast is annoying. Just either show them or make it clear we're not supposed to care about them, now it's just annoying how their disappearance is treated as a mystery but the three heroines know barely anything about their heritage and don't even seem interested in learning either. But I'll watch this to the end for Moroha.

Kaitou Tenshi Twin Angels, Twin Angel Break, Pretear, Happy Seven, Healin' Good Precure

Watched a lot of magical girl stuff this year too, these being shows that play the tropes straight. The Twin Angel seasons had different flaws but were otherwise watchable aside from the awful Twin Angel Break heroine. Pretear had surprisingly nice character writing and I feel I would really have liked this if I saw it at an earlier part of my anime hobby experience but now it doesn't feel so special any more. Healin' Good Precure has been rather dull.

I also watched a bunch of Precure movies, out of which only the Star Twinkle Precure one was actually good, and the Spring Carnival crossover movie was also good in an absurd way, while the rest ranged from awful to somewhat decent.

Awards given: Worst girl (Meguru - Twin Angel Break), Biggest WTF (Happy Seven suddenly going from monster of the week shenaningans to alien mass destruction weapons)

Concrete Revolutio, Myriad Colors Phantom World, Re:Creators

Also some anime where the magical girl was a side character. Concrete Revolutio was an unpleasant mess with nice visuals, Myriad Colors was a pretty boring otaku high school harem thing and the magical girl episode was also rather bland, and Re:Creators had a lot of potential with the "anime characters come to our world" setting but the result was somewhat uneven. Re:Creators had the best magical girl out of these three.

Awards given: Worst non-romantic relationship, Worst side girl (Setsuna from Re:creators, with the main boy) not really an awful character on her own, but the writing around her was pretty bad, let's also give Worst Boy for the said main boy

Nausicaa

I watched the first half of the movie over a decade ago and didn't manage to finish until now. After seeing so many other Ghibli movies this didn't do much for me, but the animation and nature were still beautiful.

Western:

Most Popular Girls in School

The newer seasons didn't reach the heights of the earlier ones but there's still something entertaining about a very raunchy Barbie doll stop motion show. Also pairs well with the Barbie Life in the Dreamhouse for a fun but more child friendly Barbie experience.

Frozen 2

I'm wondering if these really are the only Western piece of media I consumed this year? I certainly didn't go to movies after March. Anyway, like the previous film I had major problems with the plot and characters (I don't think Elsa's story was set up properly, Kristoff's sub-plot feels like an afterthought when he doesn't factor to Anna's sub-plot at all, Olaf is annoying, too much Lore) but ultimately I still had a good time. I like the costume design, the idea for Elsa's arc is fine, the songs are great and there were plenty of good scenes too, and the lullaby was beautiful. I'd say that like the original Frozen this was patched together from perfectly serviceable pieces that didn't quite work combined.

Awards given: Worst romance (not the pairing itself but the way Kristoff x Anna was written)

Games:

Animal Crossing Pocket Camp

Early this year I just decided not to open this app for the daily money-grubbing grind and haven't touched it since. I'm free!

Animal Crossing New Horizons

However the daily grind continues here! It's been way more enjoyable, primarily due to lacking the microtransactions/limited time item angle and also for being so much more customisable. And the nature is so pretty... But I've reached a point where even this has started to feel kind of stale.

Super Mario Odyssey

My first Mario game since Super Mario World so of course I'm blown away by everything. I like how colourful and welcoming the worlds were, Cappy was a surprisingly enjoyable sidekick/mascot and also the game was easy enough and had a simple linear plot so it was far easier to approach than Zelda BotW which is still on hold.

Plans for 2021

Actually play Zelda BotW

Maybe finally Evangelion?

Finally finish the mostly disappointing Digimon Adventure tri

Various magical girl sequels and remakes

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eldritch-elrics · 4 years

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this summer, me and my brother watched four whole shows. at long last, here is my comprehensive review of all of them!

in the order we watched them, these shows were:

avatar the last airbender (ATLA)

mob psycho 100 (MP100)

demon slayer / kimetsu no yaiba (KNY)

fullmetal alchemist: brotherhood (FMAB)

they were all very very good!

i’m not going to try to rank them, but, as is probably obvious by the state of my blog, my favorite was FMAB :) if i had to pick a least favorite, then, it would probably be KNY—not by any fault of its own, but just because it didn’t appeal to me quite as much as the others. still a very good show!

i will review each show by:

giving a quick plot-based pitch discussing the show’s hook or appeal

discussing one element that i believe it does better than any other show on this list—in other words, a quality that i think it stands out for

discussing one element that didn’t appeal to me or that i had issues with—a criticism

putting forth my favorite character and favorite episode or arc, just for funsies

including various other commentary. mostly positive, as, again, i did really like all of these!

(i’ve tried to make this whole thing free of specific spoilers, but if you’re planning on watching any of these shows and want to go in more-or-less blind, it might be best not to read this.)

first of all, i’d just like to discuss all four of these shows as a whole! it was definitely interesting watching one after another and noting similarities between them.

all of them have siblings in them! which is, perhaps, fitting, as i watched them with my brother

two include a pair of siblings in which one has powers and one doesn’t (at least at first), and part of the narrative involves getting better at using those powers (ATLA, MP100)

two include a narrative centered around a pair of siblings and something tragic that happens to them, resulting in the older one being traumatized and forced to train to become a soldier, and the younger one turning into something (arguably) inhuman. the protagonist’s major goal is to return his younger sibling to the way they were before (KNY, FMAB)

ATLA and FMAB are both fantasy political dramas, which is rapidly becoming a favorite genre of mine

most of these are historical, or historically inspired in some way, which is interesting!

all of these shows are really really good at character building. all the main characters are interesting and complex, and the relationships between those characters are similarly nuanced and very well written. they make you really care about both the protagonists and the side characters!

avatar: the last airbender

pitch: as the ever-growing imperial force of the fire nation threatens the earth and water nations, a kid from the long-lost air nation turns up and it turns out he can control all four elements and he has to save the world and all that. sorry i tried to write this pitch like five times and realized that well at this point i think everyone reading this will know the plot of avatar

stands out for: avatar has possibly the best worldbuilding i have ever seen in a show—it takes the time to introduce us to so many places and aspects of its world, both explicitly and subtly. the main highlight of this is the magic system. by creating a magic system based in body movement, the process of using magic and learning to use/control it better becomes immediately obvious to the viewer. combine that with the philosophy behind each type of bending and the way that characters take bending inspiration from types different than their own, and you’ve got a system that is complex, flexible, believable, internally consistent, and just plain fun! it makes action sequences a blast. i especially liked the moments when bending was stretched to its limits in totally logical ways (metalbending, bloodbending). not to mention the way that bending is seamlessly integrated into the world of avatar! the example that comes to mind is the earthbending-powered transport system of omashu. a whole essay could be written on that topic alone!

criticism: i know this is a sentiment shared by many people, but the first season was kind of boring to me. some of the humor and the plots felt hit-or-miss. of course, it needed to take that time to establish the world, and it does a great job of doing that. it just didn’t hook me until the second season.

favorite character: i love toph she’s so much fun :) iroh is a close second! and zuko is great, too, of course

favorite arc: i loved ba sing se a ton, especially the episode when they get there and everything feels off. it felt so resonant with real life, in a very fun way. there’s a reason “there is no war in ba sing se” is a meme…

other commentary: what can i say? it’s a classic for a damn good reason. the plot is tight, and it does a great job raising tension and introducing new elements and twists. i also love the care put into the antagonists, especially azula, who has a fascinating arc.

mob psycho 100

pitch: a middle schooler and a charismatic con artist team up to smite ghosts using extrasensory powers. thing is, only the middle schooler actually has ESP, and it happens to be really, really powerful. can he navigate the difficult world of middle school while also getting a better grip on his powers—and his bottled-up emotions?

stands out for: the way that MP100 uses animation is excellent. it takes a little getting used to but it’s just so fun, combining all sorts of different techniques to create an experience rich with drama and emotion. it’s playfully exaggerated and self-parodying, adding to the show’s fantastic sense of humor as well as its truly emotional moments.

criticism: the way that ESP works makes suspension of disbelief tricky. it’s a great feat to introduce a character who is essentially all-powerful and still make them interesting (even in fight scenes), but at times (especially the second season finale) it felt like a magic system with too much breadth and too few limitations. this might just be my bias for hard magic systems talking, though.

favorite character: other than mob and reigen? probably teru. he’s loads of fun AND all the season 1 episodes he’s in slap hard

favorite episode: the one where the girl asks mob out on a date as a dare.. it’s super cute

other commentary: thank you mp100 for being the leftist propaganda we all deserve <3

in all seriousness though, this show is a blast!! it does a great job switching between silly and serious in the blink of an eye. i also really appreciate the way that it balances comically huge stakes with much smaller, more personal stories. for example, the conflict between mob and reigen in season 2 is especially well-done. in general the emotions just feel so real? characters whose emotions tie into their powers are an excellent trope, and mob is a wonderful protagonist who exemplifies this really well.

finally, on a more critical note—there are so many characters in this show! and it feels like only a handful are fleshed out? however, this may be due to the fact that it’s not an adaptation of the entire manga (which i haven’t read). there’s a lot more to go! more characters to dive into! so i probably shouldn’t try to critique it in the same way as a finished work.

demon slayer / kimetsu no yaiba

pitch: demons kill a boy’s family and turn his sister into a demon, so he decides to try and figure out a way to turn his sister back into a human. what follows is a demon-killing adventure that’s in equal parts harrowing, poignant, and hilarious.

stands out for: there’s not much i can say about this other than “please just take a look” but the art and design is phenomenal. it does a much better job of integrating 2D and 3D than a lot of other animated series, and overall it is just so so pretty! all the character designs are complex, memorable, and fit the characters perfectly. the color choices are interesting and satisfying. i also really like the sound design? not often that i notice that in a show. i’ve watched so many KNY amvs by now lol it’s just amazing animation

criticism: the narration style leans too heavily towards tell instead of show. this is mostly an issue with the first few episodes, but i got super annoyed by how much the show would narrate every single one of tanjirou’s thoughts instead of letting us infer those thoughts through his actions and reactions—the latter, i think, would have been more emotionally impactful. sometimes silence speaks louder than words! tanjirou was also not the world’s most compelling protagonist in my opinion, though i think that mostly has to do with my own tastes.

favorite character: *holds up zenitsu* I Just Think He’s Neat. i actually kind of lost it when he first used his powers, like… damn i love characters with weird relationships with their magic like that. i also think the narrative about how having a solid foundation is sometimes more important than knowing a ton of different moves was really powerful. and he’s just funny! pathetic boy i love him

favorite arc: really just the whole spider arc. fucked up man… i love it. they pulled off that last twist so well, and all the family stuff was so weird and complex and emotional…

other commentary: it’s just a really solid and very well-written show! the team of tanjirou, zenitsu, and inosuke is so much fun… bro bonding :) i also quite like the horror elements; it’s fucked up but in a good way. finally, this is very specific, but the demon that can alter buildings/rooms through drumbeats? appealed to me very much. it’s a cool and unique power!

fullmetal alchemist: brotherhood

pitch: two kids do some fucked up alchemy and end up getting parts of their body stolen by god. now they’re on a quest to get their bodies back, but find themselves wrapped up in crazy government conspiracies and alchemy more powerful than they ever could’ve imagined…

stands out for: plot. by this i mean less overall concept (though the overall concept is pretty great too), and more that the pacing and progression of the story is extraordinarily tight. for the most part (the first few episodes are a little weak but i’ll let it slide), it does an excellent job establishing its premise and building on it logically, adding layers and layers that extend naturally from what we already know. everything has a reason for happening; everything is revealed in good time and all the twists are super satisfying. there’s great balance between exciting moments and quiet moments. it’s just very good at being a story!

(fun fact: i’m reading the manga right now and so far it’s even better paced than the show, which is super interesting! it’s especially good at how it lays out pieces of the backstory and then fills everything in later in a really satisfying way.)

criticism: this is incredibly specific but it’s what comes to mind as something that bothered me: winry’s character arc was really disappointing. for most of the series she’s a pretty strong character, but in the end it feels like she gets pushed aside, defined only by her relationship with ed. what happened to her wanting to take action more? that was a specific desire she expressed—wanting to be less passive! since she’s such an important character, i wish she could have had more presence in the last season other than as a sounding board for the elric bros’ emotions. (even though her one scene in the last episode was really good and emotional…)

favorite character: other than the elric bros, absolutely ling. he fits into multiple of my favorite character archetypes (fun, silly, bastard, gets possessed…) and he’s just overall a delight. plus his relationship with greed is really really good. bro bonding at its peak!! (my other favorite is pride. i will not say why because spoilers. but if you know me.. you know)

favorite episode: this is really really hard to choose but i’m gonna go with envy’s death because. holy shit.

other commentary: i’m a really big fan of the complex and nuanced way in which FMAB breaks down militaristic, imperial regimes from the inside. many of the characters have done awful things, and the story forces them to grapple with that and accept that all they can do now is be better in the future. the moral complexity is just really good! characters with flaws—we love to see it!

finally, parts of this story seem so so catered to Me Specifically that it’s no wonder i got so into it. like just the entire premise? the way that so much of the conflict is built out of identity crisis and exploring the nature of consciousness and human vs inhuman? beautiful. i love ed and al so much

if you made it all the way to the end, thank you so much for reading!! glad to have finally gotten this done (3 months late…) and put all my thoughts down. i hope this inspires someone to try watching one of the shows i discussed!

#avatar the last airbender #mob psycho 100 #kimetsu no yaiba #fullmetal alchemist #my post #long post #then for my own tagging purposes..#atla #mp100 #kny #fmab #i really hope some people read this! i put a lot of thought into it

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the-golden-ghost · 4 years

Note

what are some opinions you have on atla

I have Lots but here are just a few:

I’m glad that the fandom has (mostly) left the Bad Takes on the characters in the past (such as “Sokka is dumb,” “Katara is annoying and whiny,” “Aang is childish and lame” etc.) and instead appreciate them and their excellence as characters

Granted Aang IS childish but that is because AANG IS 12

And also they’re ALL childish at some point cause they’re CHILDREN

Zukka is an amazing phenomenon and I’m here for it but I feel like in all this; Suki should be respected and not forgotten because Dang

Sokka was REALLY close to being out of his league when he got her

I’m glad everyone has finally realized that Bato and Hakoda are in fact married because they are

Pakku marrying Kanna, on the other hand, was the dumbest thing ever and she should have just married Yugoda instead. OR Hama after she gets a redemption arc and stops kidnapping random people

S/o to that one guy in the Freedom Fighters who everyone just... forgot existed? Including the writers? I think his name was Sneers? He didn’t have any LINES (but neither did Longshot) and then every other character got a followup so we could see how they’re doing but Sneers just... vanished. :( No trace of him

OH I’m also glad everyone has realized Piandao is gay cause he’s basically the living embodiment of “while you were being heterosexual, I studied the blade” and I love it

Everyone hates the canyon episode but imo I actually don’t mind that one if only because of the funky animation style switches. Like that’s neat and they never do it again. The worst episode in my opinion is “The Fortune Teller” cause not only does nothing of interest happen, but it’s also Aggressively Heterosexual for no reason

Granted the canyon episode is still not very good but it’s not the WORST

Tyro’s a DILF

Ying is an extremely underrated badass for hiking across a 20 mile winding rock face and getting attacked by a Fire Navy ship AND going underwater AND outrunning a sea serpent all while having no battle training and while 9 months pregnant. We stan a legend

The messenger hawks were cool as fuck and I’m mad that they only show up in like 3 episodes

Bumi should have made Toph his heir cause it would have been funny and also in character for the both of them

I know Zuko taking the throne kinda had to happen for Thematic Character Arc Reasons but tbh Iroh would have made WAY more sense as Fire Lord since he not only had ACTUAL leadership training (along with not being... y’know a teen) but he WAS the next in line to be Fire Lord before Ozai (and by Ozai I mean Ursa) pulled a coup so

As much as the worldbuilding on this show is incredibly rich and detailed and beautiful there’s also stuff that just... makes no sense. Why are there no adult warriors on Kyoshi Island? Where are all the adult women? If healing is an ancient and sacred art in the Water Tribe how come the only healers up in the NWT are an elderly woman and a bunch of eight year olds?

For that matter, how did the Fire Nation manage to be competent enough to take over anything if their most elite admiral can’t seem to win a battle against a 12 year old and/or an untrained emo teen?

And finally: Appa is the Pinnacle of Good Character Design because he just radiates Good Boy Energy from every hair. I’ve seen people who don’t even know what show Appa is from look at an image of him and go “what a good baby I want 20″ and that’s the Correct Response

#a:tla #okay so I lied about 'just a few'#but it's still not an exhaustive list

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letmemendthepast · 4 years

Note

what is captain harlock and how do i look into it 😳

ALRIGHT. so he's space pirate captain harlock, and, believe it or not, he's a pirate... and he's also in space. this is my only interest i feel like i can actually discuss to some degree of accuracy so here goes!!

tl;dr harlock is a space pirate captain, popularized by anime and manga released in the late 70s and early 80s, who fights for his ideals, rebels against the government, and saves the world a few times. no big deal

i'm mostly familiar with harlock anime, but you could start with the original series space pirate captain harlock (42 eps) or you could watch endless orbit ssx (22 eps).

space pirate captain harlock is the main character of the eponymous 1977 manga by leiji matsumoto. he looks like this lol:

i still haven’t read the original manga, but the first harlock anime, also called space pirate captain harlock, was adapted from it! it was the first harlock media i consumed, and it is 42 episodes of PURE space opera. UNADULTERATED galactic drama. set some time in the distant future, an alien race seeks to claim earth as their own. with an apathetic populace and a government that refuses to acknowledge the threat, earth is fucked. or it WOULD be, were it not for captain harlock and the crew of the arcadia. the motley band of space pirates gains a new member at the beginning of the story, and the audience learns about the arcadia's mission along with him.

i personally thought it started off strong, like in the first few episodes it absolutely intrigued me, but others have said it starts off very slowly and has a lot of filler eps. a lot of blatant worldbuilding happens at the beginning, but once the setting is well established things start to pick up. if you're not interested by maybe episode 3 or 4, it's probably not your thing. which it very well may not be, i guess it might be what you would expect from the 70s!!

i think you’ll be able to tell right off the bat whether or not you can handle watching the animation. some of the space backgrounds are very pretty though, and the old tech art is an aesthetic of its own.

i’d have to do a rewatch to list more specific triggers, but there’s some violence and death, nothing too graphic. some, maybe most, of the fighting is done in space though, so there are spaceships exploding and that kind of thing. there are also a few instances of nudity (just tits out i’m pretty sure).

BEYOND THE ORIGINAL SERIES, there's a movie and another, shorter series from the early 80s.

arcadia of my youth is the prequel to this second series and tells harlock's origin story. i should say ONE of his origin stories because there are quite a few variations of literally everything regarding harlock. and ok this is going to sound fucking horrible but. i paid absolutely no attention to the movie when i watched it. i don’t remember this movie at all. i honestly can’t tell you whether that’s due to me just being an idiot or the movie just not being any good. (will update you when i watch it again?)

anyways. you don’t have to watch the movie (you probably should, i just forgot everything that happens in it because i’m built different), but it sets up for the plot of endless orbit ssx. this second series, at 22 episodes, is much shorter than the original series; it was supposed to be around 40 episodes as well, but it had to be cut short because cultural focus had shifted from this type of romanticized space drama to shows like gundam (which is why i have yet to touch any gundam stuff—i hold a slight grudge against the mecha genre in general for this lol). i was expecting a really shitty ending due to that, but as a whole the show is still very enjoyable and the ending is fine, if clearly rushed.

endless orbit ssx was i think a bit heavier than the main series. earth has fallen under control of aliens, so this time harlock & co’s goal is to find arcadia, the mythical planet where they can all just live in peace and whatnot (a change of pace from the original series, i guess they know there’s no chance of saving earth this time around?), but along the way, as you can guess, they're opposed by the reigning alien race.

admittedly, i'm VERY biased when it comes to how good ssx is, simply because tochiro gets a lot of spotlight in the show. you should recognize him from somewhere ;)

he is just a fantastic little guy, i adore him, and his design in ssx is very very good (he just looks like a weird little man in some other media. full offense). he's smart, impulsive, and has a sense of humor, which makes him an excellent complement to harlock, who is often shown as the stoic, emotionless hero. they're best friends, like they have this bond where they’re pursuing their shared dream and all that. pretty cool i think :)

even aside from tochiro, ssx is still very good. in terms of writing and plot, i think it’s about on par with (or maybe better than) the original series, and there’s less room for filler. also, things get going much faster, so i’d say you could only give it an episode or two before you decide whether to keep going or drop it.

ALRIGHT SO. that's what i have to say about harlock, condensed as much as i could manage (and hopefully put in words a normal person might use). there are plenty of gaps in my knowledge, and a few shows and movies i haven't even bothered to watch myself. obviously the harlock stuff isn't for everyone, so. good luck i guess

you can find everything i’ve discussed here on 9anime.to!

#i only just started gun frontier #which is from idk early 2000s #and i can't recommend it. it's about tochiro so i was obviously hoping it would be really good #but the weird casual racism and sexism is offputting #that kind of thing was NOT prevalent in the other series which is why i can say they were good #anyways. smiling through the pain #also i have yet to touch the 2013 movie it looks. somewhat uncomfortable #not too bad though. i'll get around to watching it someday #anyways. Aaron i already said this but you're such an enabler. i love you #asks #jezzo #captain harlock #space pirate captain harlock #leijiverse #wait this probably wont show up in the tags bc links... oh well #i've edited this like 50 times since i first posted it help

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avaantares · 4 years

Text

FFVII:REMAKE - A Review

So I beat the game two weeks ago and started writing down my thoughts while they were fresh in my mind, but I didn’t post anything then because my one IRL friend who is also playing it hadn’t finished it yet and I didn’t want to risk posting anything spoiler-y. But the extra time has allowed me to play through the game again on Hard difficulty, which has allowed me to reconsider and elaborate on some of my thoughts. And frankly at this point I just need to dump my Very Big Opinions somewhere, so... here ya go.

I discuss visuals, gameplay, character and story below. I’ve tried to keep spoilers minimal up front, though obviously if you want to go into the game totally cold, don’t read this. All major spoilers are clearly tagged. All of it is below a cut to spare your dash.

Also, there are pretty pictures, because why not?

First, my background with this franchise: I played through the original FFVII multiple times; I’ve watched and rewatched Advent Children and Last Order, played Crisis Core, gave up on Dirge of Cerberus despite my deep love for Vincent Valentine (sorry, VV, but your game was just a mess), and lamented that Before Crisis wasn’t available in my country. I even played (and own!) Ehrgeiz, the obscure fighting game that featured the main cast. (Still bitter that they didn’t keep Miki Shinichirou as the voice of Sephiroth. He’s one of my faves.)

^ Ehrgeiz, a mediocre fighting game that forever endeared itself to me by including Turks!Vincent Valentine as a playable character. 💖

In short, I’ve been waiting for this game for DECADES.

So. Here we go. My thoughts on Final Fantasy VII: REMAKE.

The good:

The character models are very pretty. With individual pores, threads and scuffs visible, they’re so detailed that it’s almost impossible to reconcile them with the mouthless sprites from the original game – even more so than Advent Children (and dear goodness, that was over a decade ago now, wasn’t it?). Still, they’ve kept the costume details and absurd proportions largely intact (Barret’s fists are literally larger than Tifa’s entire head, yet somehow it works visually), so it’s not too much of a departure from the familiar.

They’ve kept the aesthetic. I was afraid the game would try to update the iconic world of Midgar, but by and large, it’s full of visually-arresting designs that preserve the gritty-industrial look and feel of the original.

Japanese version is included. BLESS YOU, Square Enix, for including the Japanese voices and character animations. Not only is it impossible for me to hear Cloud in anything other than Sakurai Takahiro’s voice, but the Japanese script is a bit nicer to the characters. I’m not really keen on the English dub… but more on that below.

They fixed the spelling of Aerith’s name. This may seem like a minor point, but considering it’s been 20 years and I’m still bitter that Devil May Cry still hasn’t corrected “Nelo Angelo,” it’s a small victory.

Improved combat. Admittedly, I wasn’t sold on the new combat system at first, but after playing through the game twice, I’ve come to really like it. It has a few rough edges and can get chaotic in some battles, but it does a decent job of blending the feel of an action game with turn-based strategy. The fact that you can switch to a more traditional turn-based system if you prefer is also nice. (I haven’t tried Classic mode yet, though.)

Weapon customization. The Skill Points system allows you to upgrade your loadout instead of acquiring new gear. The tutorial was somewhat lacking (I didn’t quite figure out the multiple-core-unlock thing right away), but I appreciated the ability to add materia slots or stat buffs rather than just cycling through a dozen swords that Cloud apparently keeps in his back pocket.

Background dialogue management. On the whole, the conversations as you run through town enhance the story without slogging down the gameplay; you don’t have to stop and talk to every single resident, because snatches of their conversation reach you (and your on-screen chatlog) as you pass. You can stop and listen for more detail if you want, or you can just keep moving. The extra worldbuilding is really nice.

The music. The orchestrated versions of the original themes are excellent (and some of those music cues gave me goosebumps… Did I spend way too many hours immersed in the original game? Probably). I can take or leave some of the collectible jukebox tunes, but the background music in general is good. (But did I earn that Disc Jockey trophy? Yes, yes I did.)

Supporting character development. Jessie, Biggs and Wedge actually have characters! And personalities! Clichéd ones, admittedly, but it’s an improvement over the original game killing them all off within the first few minutes. The game also does justice to the Turks, and actually surprised me with how much depth of character it gave Reno and Rude in particular (perhaps setting them up for a mini redemption arc so players forgive them for dropping a plate on tens of thousands of slum residents?). Their moments of concern for each other and (brief) crises of conscience made them more than the stock villains they were in the original game, more in line with their temporarily good-aligned characters in Advent Children. Tseng, likewise, was on point. However, I do have to qualify all this with one irate question: Where the heck is Elena?! Seems like the female characters are always getting left out… /sigh/

Improved plot devices. REMAKE cleans up some of the more questionable and outdated content from the original. As you likely already know from the demo, the new game somewhat exonerates the protagonists by having Shinra blow up their own mako reactor to turn public opinion against AVALANCHE (possibly because someone finally realized that it’s hard to sympathize with characters who are willing to melt down an entire reactor and kill a bunch of innocent civilians). AVALANCHE are still eco-terrorists, but they’re… terrorists with a conscience? I dunno, at least they feel bad when people die now… Likewise, the weird and uncomfortable Honey Bee Inn segment of the original game has been reborn as an amazing dance extravaganza. Less voyeurism/prostitution, more Vegas floor show (complete with minigame choreography) and makeover. The whole Don Corneo scenario is still hella creepy, but frankly, there’s nothing that can fix that.

Series references. Fans of the original will appreciate all the inside jokes and direct references to the original game and other franchise entries: One-off comments about Chocobo racing; a broken console in Wall Market that shoots at you; a framed picture of the original 32-bit Seventh Heaven; ads for Banora apple juice; side mentions of characters and plot devices from spinoff games; PHS communication… The game definitely pays tribute to its history. They even recreate the original loading screen and several of Cloud’s iconic poses/animations throughout the game:

The neutral:

Recycled gags. Look, I know Advent Children was the ultimate evolution of FFVII for a while, and admittedly, it did some things very well. The running gag with Rude’s sunglasses and the victory fanfare being used as a ringtone are some of the best moments in the film, in part because they were so unexpected. But as much as I enjoyed the repeated nods to AC in this game, they felt a little desperate, like there were no new jokes to insert so they had to double down on the ones they’d used the last time this franchise had a renaissance. (See Rude’s broken sunglasses, below.) And fitting into the series as a whole, it feels a little weird. Why is Rude’s ringtone the same as the clones’ from Advent Children? Does Barret really need to sing the victory fanfare over and over when he defeats an enemy? Is there supposed to be some history behind that song that was left out of the worldbuilding? It just feels too meta.

Arbitrary localization of names. I don’t really grasp why it was necessary to rename so many items and characters for the English market. Some changes make sense for localization (e.g. Whack-a-Box certainly works better for an American audience than Crash Box), but others seem arbitrary, like changing Aniyan Kunyan to Andrea Rhodea or Mugi to Oates (a play on the meaning of his name in Japanese, but... does it matter?). And then… well, I don’t want to spoil A Major Plot Element, but there’s another thing that changes names from one English word (in the Japanese track) to a different English word. Why? No idea. It doesn’t affect gameplay, and it’s not really a problem, but listening to the Japanese track, I found it jarring to have the subtitles contradict what I was hearing.

Underutilized characters. While the whole gamut of original FFVII characters make appearances, several of them aren’t used to full effect, or aren’t used at all to advance the story. Rufus Shinra’s bossfight is a decent challenge, but while his character was vital to both the original FFVII and Advent Children, his presence in this game is little more than a cameo. His fight could be cut or swapped out with any other boss, and it would have zero effect on the plot. Similarly, while Hojo is a key player in the full story (which this game doesn’t cover, since it’s only a fraction of the original timeline), he’s largely wasted here, except as a means of extending play time by making you wander through corridors and fight a bunch of monsters for “research.” (I have no idea what his motivation is; you’d think he’d be more interested in recapturing Aerith or Cloud, but instead he just... opens an elevator and lets them leave? after they beat up some midbosses.) Reeve Tuesti actually has a solid presence in this game, but since he’s ONLY ever active as himself, there’s no explanation for the random Cait Sith cameo in one scene (players new to the franchise probably have no idea why a random cartoon cat showed up for a few seconds and was never mentioned again). Obviously the plot arcs have to change when the game is covering only a few days’ time in a much longer story, and the major players need to be introduced at some point if they’re going to feature in later games in the series, but from a narrative standpoint, there are an awful lot of superfluous characters doing things for no reason in this installment.

The bad:

THE PADDING. Dear goodness, there is so much padding to make this a standalone game instead of just the first chapter of a longer adventure. I got really, really sick of running literally from one end of the map to the other on side quests – and that’s me, an avowed trophy hunter who spends hours scouring dark corners for collectible items in other games, saying that. So much of this game felt like time fill that didn’t really advance the story. It’s also full of unnecessary new characters with improbable Squeenix hair, like Roche the super-annoying motorcycle SOLDIER (below), or Leslie, Don Corneo’s doorman who somehow merits his own backstory and side quest. (Though in fairness, every FFVII sequel has added superfluous characters, with Crisis Core possibly being the worst offender.) But it just felt really drawn-out and bloated for a game of this generation. If this game had been as compact and tightly-written as the other games I typically play, it probably only would have taken me 15 hours to beat instead of 50. (I don’t actually know how many hours I spent on it the first time through, as I didn’t check the play clock before restarting on Hard difficulty. I do know it took me over 110 hours total to complete the game on both modes, though much of the second run was spent dying repeatedly on a handful of nasty fights. Hard mode removes items and MP replenishment, and if you run out of MP at any point during a chapter, you’re going to die. A lot.)

The pacing. Related to the above... the Midgar portion of the original game was just the setup for a larger story. It wasn’t meant to have its own complete dramatic arc so much as to introduce you to the world and the major players. Consequently, there are some really odd beats in this story, as well as a total lack of urgency in your mission. There are no natural places to slot in the side quests and minigames, so they’re shoehorned awkwardly between plot sequences. “Quick, our friend is in mortal peril and needs our help!” "Okay, cool, we’ll go rescue her after we spend ten hours running around town doing random errands for townspeople and playing games with the local kids.” Uh... what?

The graphics just aren’t as good as they should be. While the character models are gorgeous, there are a lot of low-res background textures and weird polygons that don’t quite match up with other components. Most egregious are the Shinra logos, which frequently get close-ups as part of the fixed camera work and, frankly, look like lossy JPEGs. (See image below, screencapped from a PS4 Pro. Those jagged edges on the logo are present throughout the entire game.) There are weird clipping errors and artifacted images and reflective surfaces that don’t reflect, making the game look more like something from the PS3 era than a 4K late-gen PS4 game. (And it’s not that we don’t have the technology: Uncharted 4 was released back in 2016, and the rendering of its vast world was twice as pretty. Devil May Cry 5, released in early 2019, has far more realistic textures and object interaction. Granted, those are different types of games with fewer NPCs to render, but I feel like there’s no excuse for a game this big to look this mediocre.)

The HUD could be better. The lower-corners concept is okay, though it took me a while to train my eyes to travel between both sides of the screen and track the fight action. But for a long time, I didn’t even notice the commands in the upper left corner of the screen, and after playing through the game twice I still have no idea what they say because I couldn’t focus on the tiny text long enough to read them while trying not to die in combat. (I just looked it up; apparently they’re combat control shortcuts? Huh, that would have been useful to know.) It wasn’t until my second time through that I realized there even WERE separate controls on screen during the motorcycle minigames; I had resorted to panicked button mashing to figure it out the first time through because there was no tutorial (you’re just dropped into the action) and, having ignored the small text for the previous hundred combats, I had no reason to look for on-screen instructions there. Not that it would have helped, since on many backgrounds the text in the upper left is really difficult to read (see below). It’s worth noting that I have better than 20/20 vision and played this game on a large TV screen and still had trouble reading some things; on a smaller TV, or for someone with less acute vision (like my sister, who is blind in one eye), I think even the basic menu controls would be difficult to see. While you can resize the font for subtitles, my cursory glance through the menu did not uncover an option to increase the size of the HUD.

Inter-fight menu mechanics. Specifically, the inability to save (or save loadout settings) between fights in a multi-part sequence. There are several back-to-back fights in which it is necessary to switch characters or change gear between bosses. The game treats them as one continuous fight, though it does allows you to access the equipment menu by holding square during key cutscenes. Which is good, if you only have one of a particular materia or accessory that you need to switch between characters, and in most cases when you die the game lets you restart just before your current fight instead of restarting the whole sequence -- also good, since some multi-stage bosses can easily take 20-30 minutes to beat, and if several of those are strung together in sequence, you’re in for a long play session to get past them. But since it’s treated as one fight, you can’t save between bosses (more than once, I had to leave my PS4 running in Rest Mode overnight and just hoped we didn’t have a power glitch), and if you happen to get killed and need to restart the fight, your loadouts reset. Which means if you’re, say, fighting the end boss on Hard difficulty and get killed in the first two minutes -- which happened to me a lot -- by the time you restart the fight, sit through the unskippable cutscene, access the menu and rearrange all the materia and accessories you need, you’re spending five or six minutes gearing up for two minutes of play, and then doing that over and over again every time you die. It gets really old.

The English dub script. *deep breath* Okay, look, I know I can be a bit elitist about translations, but I really do not like the English adaptation of this game. It makes Cloud come across as less socially-awkward and far more of a deliberate jerk, Aerith is mouthy and even swears (which is not accurate to her original character), and it downplays some of the symbolism that’s more obvious in the Japanese script. One quick example: When Aerith gives Cloud a flower, she says (in Japanese), “In the language of flowers, this means ‘reunion.’” It’s subbed/dubbed in English, “Lovers used to give these when they were reunited.” That’s a subtle difference, but since the concept of “reunion” is a freakin’ huge part of the FFVII plot, and since Sephiroth was on screen literally seconds before that line is delivered, my brain automatically went, “OMG REUNION!!!” while I’m guessing people listening in English only picked up on the romantic subtext. It’s a pretty minor thing, and of course translation is always a complex balancing act between literal meaning and local market understanding, but the English version just seemed to me to have a different vibe overall. (Unfortunately, the English subtitles are the same as the dub, so unless you can understand the Japanese audio you’re kind of stuck with that dialogue.)

[WARNING: SPOILERS BELOW THIS POINT]

- …And my #1 complaint about Final Fantasy VII: REMAKE is…

…it’s not actually a remake.

Sure, the game starts out the same way and covers a lot of the same events, but fundamentally, it’s a sequel, not a retelling. It’s evident from Cloud’s future-oriented visions throughout the game that something else is going on, and the ending MAKES NO SENSE if you don’t already know the story. Heck, even the rest of the game doesn’t really make sense if you don’t know the story -- Sephiroth’s presence is never explained; Zack isn’t even introduced, just shows up randomly at the end; Cloud’s flashbacks of Tifa and her dead father in Nibelheim are left as a complete mystery (and since she evidently remembers the burning of her town, judging by her dialogue outside Aerith’s house, why doesn’t she even react when Sephiroth shows up?).

The core elements of the plot – the Feelers (Whispers) preserving a specific fate; the three entities from the future (whose weapon types just happen to correspond to certain named characters) defending their timeline; the return of post-Advent Children Sephiroth (the only time we’ve seen him in human form with one black wing), who has inhabited the Lifestream since his death and promised that he would never truly disappear, who in the end appeals to Cloud directly for an alliance rather than attempting to control him, because he knows now that Cloud is strong enough to defy the Reunion instinct; the change in the outcome of story events in which Biggs (and, unconfirmed as to which timeline he’s actually in, but quite possibly Zack) now survives his intended death -- all point toward Sephiroth trying to manipulate destiny into an alternate outcome in which he is victorious, and using this naive version of Cloud to facilitate it. That means this game is taking place in an alternate or splinter universe, created at some point after the events of the original Final Fantasy VII, and possibly even after the events of Advent Children.

All of that is fine from an overall continuing-story perspective – it opens up a lot of interesting possibilities, like the fact that Aerith might survive now that Cloud has seen prescient flashes of her death (among other events), and there are opportunities for more story twists and changes from what players might expect. But touting this as a remake of the original game has the potential to confuse players who are new to the franchise. FFVII was groundbreaking back in 1997, and it defined JRPGs for an entire generation of Western gamers. But that was more than two decades ago, and a lot of current gamers weren’t even born then, so while they’ve probably heard of the classic game, they aren’t necessarily steeped in its lore. FFVII:R relies heavily on prior knowledge of the series to carry its twist ending, so it largely fails as a standalone game.

Also, speaking as a longtime fan of the franchise… I honestly found the ending rather lackluster. It was a twist, of sorts, but not the sort of shocking, mind-bending revelation that made the first game so iconic. Granted, it’s hard to follow an act like revealing that your protagonist’s entire identity is a lie, not to mention killing off one of your main characters a third of the way into the story! But when the surprise ending is just, Surprise! We’re going to change things up a bit this time around so you aren’t entirely sure what’s coming! Also, here’s a gratuitous Sephiroth fight because everyone expects that, even though it doesn’t serve the main story at all nor resolve any conflicts previously established within this game! it smacks of Different for the sake of Being Different, not for the sake of a really amazing storyline they’re hiding up their sleeve. It’s a bit of a let-down, and I find that I... just... don’t really care that much. Which, for someone who’s been a fan of the series for nearly a quarter of a century, means there’s a Big Freaking Problem somewhere. If you’re not keeping the attention of your die-hard fans, how do you hope to build a fanbase of players new to the franchise?

Given the pacing and story issues inherent in this game, I’m not convinced that the following game(s) in the franchise are going to be structured any better. Considering the amount of pure side-quest padding they did in Midgar, I have no idea how they’ll maintain that same tone on something the scale of the World Map portion of the original game, unless they just completely eliminate things like Fort Condor and the submarine and the spaceship side quests. I have a feeling the Gold Saucer is going to be reduced to a Jessie flashback, a Chocobo race (probably to win a key item), and a battle arena run like the coliseum in Wall Market in this game. If they include all the story elements and side characters from the original, this series is going to be a dozen games long.

Still, on the whole this game was enjoyable, and I’m glad I played it. It wasn’t as good as I’d hoped, but they haven’t completely killed off my interest, so I’ll probably continue with the series whenever the next game comes out. Though I’m not really sure if the higher-priced edition I pre-ordered was worth the extra money, so I may wait and see how the next game is shaping up before deciding which version to get...

But if they don’t give me a really pretty (playable) Vincent Valentine in the next installment, I may riot. I do have priorities.

#final fantasy vii #final fantasy vii: remake #ff7:r #final fantasy 7: remake #ff7 remake #video games #long post #review

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howdoyousayghibli · 5 years

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Tales from Earthsea Can’t Survive Broken Promises

I really didn’t think it would come to this, folks, but Tales from Earthsea (2006) is not a good movie.

There have been a couple movies I’ve reviewed so far that weren’t my cup of tea — I didn’t find Only Yesterday or My Neighbors the Yamadas to be very satisfying, for example. This movie goes far beyond that; I can confidently say that this isn’t a matter of my personal taste. Tales from Earthsea has its moments, but they are totally outweighed by its failings.

Now that you know what you’re in for, let’s back up a bit. Tales from Earthsea was the first of two movies directed by Hayao Miyazaki’s son, Gorō. It is (very) loosely based on the Earthsea series of novels by acclaimed sci-fi/fantasy author Ursula K. Le Guin. Le Guin’s novels often trade in the same kind of subversion of typical Western storytelling that Studio Ghibli’s movies do, which makes this movie all the more tragic.

Taking place in the magical world of Earthsea, the plot concerns a young prince on the run and a seasoned wizard searching for the cause of a series of worldwide calamities. The plot is also the source of this movie’s troubles. The casting, animation, and writing are all much less problematic, so let’s start with those.

According to something I read somewhere, Goro Miyazaki was hired to write and direct Earthsea based on the strength of the storyboards he’d drawn for it; while the decision to have him in those particular roles didn’t pan out, it’s easy to see how his storyboards could’ve instilled such confidence. The opening sequence, set on boats amidst a storm, is especially memorable and striking, and the designs for the dragons, alien and metallic, set them apart from the dragons of many other fantasy worlds.

The casting is also well done. As Sparrowhawk, the wizard searching for the source of the world’s troubles, Timothy Dalton brings a sense of wisdom and experience that is easy to believe in. It’s crucial to the thrust of this story that Sparrowhawk be a much more down-to-earth wizard than your standard Dumbledores or Merlins, and Dalton gets that across.

Equally up to her task is Mariska Hargitay — from Law & Order: SVU — as Tenar, Sparrowhawk’s … important … person? The nature of their relationship is left vague, but the important thing is that Tenar delivers several lines that efficiently hint at a lot of unspoken backstory, which does wonders for the film’s worldbuilding. Hargitay makes these lines sound natural when they could’ve easily come of as stilted, and she and Dalton bring great chemistry and history that makes the second act of Tales from Earthsea its best. The rest of the cast is less effective, but they get the job done.

Almost disappointingly, there’s some good writing hidden in this movie as well. Before it goes completely off the rails, and even a little after, there are interesting conversations about death, and how it gives meaning to life. For a moment, you’re willing to forgive a few oddities and believe that this movie really understood the books it adapted, with its deliberate pace, meditative feel, and pragmatic wizards.

Then the climax kicks into motion, and everything falls apart.

If, against my recommendation, you plan on watching this movie, here’s the no-spoilers version. The movie sets up a lot of questions in the first two acts, and even in the third — what is the shadow person plaguing Prince Arren? Why did Prince Arren murder his father? Where did Therru get her scar? Who even is Therru? What’s up with Arren’s sword? What was up with those two dragons fighting in the opening scene? Why does Cob want Arren’s true name? What does knowing someone’s true name even mean, in a practical sense?

Dear reader, literally none of these questions are answered in any kind of coherent fashion. I want to make it clear that I’m not complaining about not getting answers; answers come, but they are the ravings of madmen. Answers and revelations and problems and solutions either come completely out of the blue, or else fly in the face of things we were just told minutes ago.

As I watched, I continued to hold out hope that soon, something would happen to elucidate the madness I was watching. Surely, soon there would be a revelation that would snap everything into place, justifying my investment in this film and its story. Instead, the nonsense continues right up until the credits.

In his excellent Movies with Mikey episode on The Lost World, Mikey Neumann asks if one utterly stupid moment can ruin an otherwise good movie. Maybe one moment can’t, but an utterly stupid ending can. Whatever talent or joy exists in the first hour and change of Tales from Earthsea is completely tainted by its disastrous ending. The beginning of any story is a promise, and the middle prepares us for the fulfillment of that promise. A movie can survive a botched beginning or middle if it makes good on its promises — Rogue One is a great example of this. But no movie can survive a failure, on the most basic level, to keep the promises it made.

If you’ve experienced the frustration and betrayal of watching Tales from Earthsea, you might enjoy commiserating with my very spoiler-y and not particularly coherent notes on the ending:

The opening scenes are very cool! Dragon fights, magic not working, plagues etc., a king’s demand to get to the bottom of it, his assassination! Exciting!

Then ………… Patricide Lad and a Very Boring Wizard go for a very long walk

Bad Decisions are made

Oh hey, things are getting interesting! A plot is happening! Dastardly schemes and getting to know our characters! The villain is pretty creepy actually!

But then …. everything stops even trying to make sense

Nothing about Cob needing prince’s true name makes sense (the drug callback is nice though)

True name gives Cob power over Princeling until it doesn’t

Sword stops Cob’s power, until it doesn’t

Actually cutting off Cob’s hand unleashes his True Power, you idiot, duh

Girl Zuko was a dragon?????

Sparrowhawk is freed! Except …. he’s just gonna watch, i guess

Oh, now dragon girl is a human girl again, i guess

Why did Arren kill his dad??? Where did the shadow boy come from????? Why was the shadow good at the end????????

Arren talks about his inner darkness or whatever but like, why?? What made you so sad/mad/existential that you spawned Shadow Arren?

There’s definitely some interesting stuff in here about how death is what gives meaning to life, no shadow without light etc., but it just throws it all in the garbage with that ending

Just …………………. Dumb.

Alternate Titles:

Patricide Lad and the Very Boring Wizard

More like FAILS from Earthsea, GOT EM

Tales from Earthsea: Good, then Boring, then Good, then Very, Very Bad

Up Next:

Technically, the next film Studio Ghibli made was the adorable Ponyo, but that was actually the first movie I reviewed in this series. So instead, I’ll be watching Arrietty — I know literally nothing about it, but it can’t possibly be worse than Tales from Earthsea was! See you then!

#tales from earthsea #earthsea #studio ghibli #ghibli

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gunnerpalace · 5 years

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Hyperchlorate: How I’d Rewrite Bleach (Part I)

Okay, this is it, kids. This is gonna be—as best as I’m able to manage—the ultimate synthesis of all my scattered discourse on Bleach, combined with a condensation of what I’d do about it all. Buckle up, because these posts are going to be long, and I’m not putting it behind a spoiler. I’d apologize for destroying your dashboard, but I put in the work.

WHAT’S UP WITH THE NAME?

What's referred to as (liquid) bleach is usually a solution of sodium hypochlorite (NaClO) in water. Sodium hydroxide (NaOH) is usually added to slow the decomposition of bleach into sodium chlorate (NaClO3), and sodium chloride (NaCl)—that is to say, common salt. (How appropriate!)

Sodium perchlorate (NaClO4) is a perchlorate salt which is very closely related to the above and, when treated hydrochloric acid (HCl), makes perchloric acid (HClO4) and common salt. The former is very nasty in and of itself and is mostly used to make other, worse things.

In the context of chemistry, the prefix hypo- means one less oxygen atom than something suffixed -ite, while the prefix per- means one more oxygen than something suffixed -ate. (See here for a chart if you want.) The prefix hyper- isn't used in chemistry, but I think it sounds better.

tl;dr: It's a weird chemistry not-joke used as a code name for this project.

WHAT’S THE PITCH?

The short version of the pitch is: Most people who liked Bleach as a thing liked the initial Karakura and Soul Society arcs, and interest gradually dropped off after that.

Therefore, if you wanted to rewrite Bleach, you’d want to focus on that time period and expand on it and develop it further. You would also want to rework whatever came after, and more thoroughly integrate it with that time period in tone, focus, and perspective.

To do that, you first need to understand how it was structured and what made it work in the first place.

OKAY, WHAT’S THE LONGER VERSION?

The longer version of the pitch is: Bleach was supposedly a shōnen. One of the Big Three shōnen, in fact (in Western thinking). But understanding Bleach and why it worked (and why it fell apart) requires debunking that idea.

You see, the thing is that Bleach was never particularly good at being a shōnen, at least as most people think of such a thing. When people think of shōnen, they tend to think of four (4) things: 1. A Certain Kind of Protagonist, 2. Worldbuilding, 3. Plot, and 4. Fights. Bleach doesn’t really fit the pattern when it comes to these elements. I’ve been over these before, to a certain extent (many times), but I’ll reiterate them here:

A Certain Kind of Protagonist: Goku. Luffy. Naruto. Natsu. Kenshin. Yusuke. I don’t have to name their anime or manga; you already know who they are and what they’re from. Ichigo is certainly a kind of protagonist, but as Sera (@hashtagartistlife) once pointed out, he’s very different from what one normally thinks of when they consider the genre. Ichigo is a punk with a heart of gold (a la Yusuke) but he lacks the inner drive and confidence of all those other protagonists. He is, in fact depressive at the start of the series; he’s at best listless and nihilistic, and at worst suicidal. He’s something of an outcast loner with a tsundere personality he developed as a kind of mental armor. He’s deliberately mediocre at and unengaged with things. That changes (and the story starts) when Rukia enters his life and gives him the ability to act on his desires to do good and protect people. In other words: his confidence comes from outside of himself. Indeed, it’s a recurring plot-point that the longer he’s separated from Rukia, the more his confidence wavers. In addition to all the other things that were noted as marking him out, this one is crucial, because the average shōnen protagonist is possessed of unwavering confidence. Having Ichigo’s confidence (and his animating ethos) externalized to Rukia essentially splits the traditional protagonist role in two. (Indeed, you could readily say Ichigo and Rukia are deuteragonists, despite the story focusing on Ichigo—he eclipses her visually, but her gravity is unmistakably present and dominant.) This by itself tells you that you are dealing with a different kind of story than usual. This fits in with one of the reasons people tend to like Bleach, specifically the first.

Worldbuilding: Few shōnen rival Game of Thrones or Lord of the Rings in sophistication and detail, but they usually have well-developed worlds where whatever is going on substantiates—and ideally enhances—the plot and the journey of the protagonist. Think of the world of One Piece, which is excellent at this, or those of Naruto or Fairy Tale, which still sufficiently sell that there is a living, breathing setting in which the story is taking place. Bleach is something more like Plato’s Allegory of the Cave: it holds up on its own if you accept its premises at face value, but if you start to investigate more carefully, things stop really making all that much sense. My own personal go-to example is the identity of the two unrevealed Great Noble Houses which presumably wielded power in Central 46. (I don’t consider Can’t Fear Your Own World a satisfactory answer for this, or other questions, and notably it has only revealed one of them.) Another example is the history of the Great Noble Houses, or Soul Society in general, or the Soul King. All of these (and much more) were things that were shoved into data books or follow-on novels, if they were ever addressed at all. The more one inspects the worldbuilding of Bleach, the more it feels like it’s flat or significant sections of it were missing—like it’s a movie set instead of an actual place. Most fiction strives to present, as much as possible, a kind of simulated world that you could imagine existing. Bleach, perversely, rather brazenly gives us a set of stages with clearly defined borders instead. This ties into the third and fifth reason people tend to like Bleach.

Plot: In academic circles, you will be told that what distinguishes literary fiction from genre fiction is the former is about characters (i.e., how events impact them), and the latter is about plot (i.e., what happens). For example, White Noise by Don DeLillo is not about “The Airborne Toxic Event,” it is about what that catalyzes in the protagonist’s life. Something like One Piece is very much a genre story about adventure. Things happen to the characters, sure, but they don’t really change all that much over time. They’re all following their dreams, and those dreams are (for the protagonists) often immutable. Bleach doesn’t really follow that structure. Ichigo and Rukia have an ethical viewpoint, but they’re not really on a journey to implement it. Things largely just kind of happen to them. In this regard, Bleach is much more like a literary work than a genre one. It also features, as Sera pointed out in an earlier post, a depiction of Joseph Campbell’s monomyth within the Karakura and Soul Society arcs: we see Ichigo and Rukia go through the process of “becoming a hero.” Protagonists like Luffy or Goku already are the heroes, it’s just that nobody else knows it yet. The plots that unfold are thus very different. Furthermore, Bleach is also often a symbolic work. For example, the Karakura II, Hueco Mundo and Fake Karakura arcs are a sort of inverse deconstruction of the earlier Karakura and Soul Society arcs; they function as an anti-monomyth and refutation of it (think of it as being like “how a hero can fail”), a la how Bloodborne subverts the monomyth to incorporate Lovecraftian mythos: they are designed to cast down the achievements of the protagonists and demoralize the reader, rather than being triumphant and uplifting. Bleach also frequently prioritizes thematic elements over verisimilitude. One example is the association of romance with death (Isshin and Masaki, Ryuuken and Kanae, Kaien and Miyako, Rangiku and Gin, and so on). Another is loneliness (no one ever seems to really hang out or have many friendships), especially when it comes to parents (Isshin and Ryūken have strained relationships with Ichigo and Uryū, Ikumi is a single mother, Chad parents are dead, Orihime’s were reverse-abandoned, Keigo and Mizuiro’s are absent, Tatsuki’s are never seen, and so on). Bleach absolutely prioritizes characters and themes over traditional plot or plausibility—that is to say, how things feel is often much more important than how exciting or realistic they are, which ties into the second and third reasons people like Bleach.

Fights: Bleach’s fights tend to suck. There are some exceptions, sure, but the power of those exceptions usually stems from the emotional content and personal nature of them. Something like Ichigo vs. Byakuya, Uryū vs. Mayuri, or Rukia vs. Aaroniero (to name a later example) are very emotionally charged fights. That said, even fights that aren’t particularly interesting, like Ikkaku vs. Edrad, tend to be more about showing us aspects of the characters’ personalities more so than about the fight itself. In fiction, one is encouraged to show rather than tell, and more extreme situations (which violent confrontations are one example of) allow one to show deeper and more extreme aspects of a character than slice-of-life situations usually do. This is what Bleach’s fights are often in service of. This is evident from how uninteresting the average Bleach fight is. There’s a lot of sword-pressing, a lot of ineffectual diagonal slashes, a lot of appearing behind someone to their surprise, a lot of losing an arm as a serious injury, a lot of no-selling attacks, and whoever reveals how their powers work first usually loses. The fighting quickly boils down to shikai and bankai, or their equivalents, with the other aspects of fighting, like kidō (and the rest of zankensoki) being discarded except when they reflect some matter of character (for example, Byakuya or Uryū’s more analytical and technical approach to things). Combat in Bleach isn’t about a robust combat system or consistency, nor is it about what looks cool—it is about what shows off the character in question. This is unusual for a shōnen and ties directly into the second reason people like Bleach.

I’ve talked a lot about why Bleach is liked, and it’s now prudent to get into that. In my opinion, the reasons that early Bleach was well-liked and well-received can be boiled down to five (5) things: 1. Deuteragonists, 2. Character Designs, 3. Mystery, 4. Contrast, and 5. Urban Fantasy Setting. I’ve been over most of these before, but they also bear repeating.

Deuteragonists: I have explored this concept in quite some detail (see: 1, 2, 3) before, so I’m not going to go too deeply into its mechanics here. The most obvious selling point here is that splitting the role of the protagonist into two mutually supporting halves that are fallible in their own ways is A. relatively unique, and B. humanizing. Ichigo and Rukia are by no means either the first example of this (consider Sherlock Holmes and John Watson) or the last (I've not seen Psycho-Pass, but Shinya Kogami and Akane Tsunemori seem to have much the same relationship), but I am unaware of any (supposed) shōnen prior to Bleach that attempted it. (That’s not to say that it doesn’t exist, but rather, that its obscurity if it does simply reinforces the point.) That made it unique for its time. That Rukia is a (competent and independent, but still vulnerable and feminine) woman only makes it even more unique, especially given the medium and how women tend to be treated within it. It also allowed for both Ichigo and Rukia to have problems as characters, and to largely grow beyond those problems over the course of the series, rather than there being yet another immutable and unchanging rock of a protagonist like so many other shōnen feature. When coupled with their interpersonal banter and dynamics, they formed a major draw together simply because their sharing of the role was so unusual and well-executed.

Character Designs: Bleach suffers from a dizzying overabundance of characters. Many of them are only present for a few chapters, at most, and yet even characters who appeared very briefly have any number of adherents out there among the readership or viewership. Consider characters like Starrk, Bambietta, or Bazz B., who have little to no establishment, and little panel time relative to the series, but who nonetheless gained resolute fans. Sometimes they have backstories shoehorned in to help sell them (as in the case of Starrk and Bazz B.; the most hilarious example is probably Giriko being given a flashback several chapters after he was already dead), but often they succeeded without them. They also often succeed despite their personalities largely being remixes of existing characters. How? Because of their character design and attitudes. Bleach was enormously successful in delivering characters that appealed to somebody, even at almost only a glance. The characters almost radiate a sense of mie purely through their designs. This sort of visual imminence routinely overcame all other character shortfalls.

Mystery: The anime of Bleach began airing on October 5, 2004. Coincidentally, Lost started airing on September 22, 2004. They began at almost exactly the same time. What does one have to do with the other? Nothing, except for the fact that they both relied heavily on mystery and both capitalized on it (in different markets) at almost exactly the same time. The bulk of Bleach is predicated on inculcating a sense of mystery. This is why basic facts that would often be mentioned in passing are kept tightly wrapped secrets until the end of the series and beyond. (Token examples, great and small: Who are the other two Great Noble Houses? Where’s Yoruichi’s zanpakutō and why can she turn into a cat? What’s the deal with the Soul King? Why is there a fox-man like Sajin around, and is he a yōkai or what? What was the Final Getsuga Tenshō?) Even things that were resolved, like Ichigo’s parentage, what was going on with his “inner Hollow” and zanpakutō, and so on, were kicked down the road as long as possible to create an air of mystery. The most obvious manifestation of this was all the guessing about the bankai of various characters that the series egged on. This sense of mystery and a desire for closure kept quite a lot of people invested when their patience for the rest of the series ran out.

Contrast: While lots of anime and manga frequently leaven their drama with comedy, or vice-versa, Bleach was unique for the means in which it did so. It’s worthwhile to draw a contrast with something very close to its opposite: Gintama. Gintama is particularly notable because of its odd mix of different elements; it has a fantastical alternate history setting and can go from irreverent comedy (running the gamut from pop-culture puns to crude toilet humor) to deadly serious drama in just a few pages. However, Gintama’s default mode is comedy. Bleach is a relatively grounded secret history with a default mode that is dramatic. In this regard, they are equal but opposite. Early Bleach was a very dark and grim, almost Lovecraftian setting, and often had elements of horror or was just plain gross, but was lightened up through the way in which it approached that and its frequent inclusion of humor. This contrast is also heightened by the relative lack of fighting in the early manga; when fighting does occur, it’s all the more notable because the focus is largely upon slice-of-life elements. As the series progressed, this element of contrast was lost as it became relentlessly serious (in the process, becoming desensitized to its own sense of horror, great or small) and tried to become a battle manga.

Urban Fantasy Setting: Although Bleach ultimately goes on to visit rather fantastical places, it started out in a very grounded and realistic fashion. The sleepy (fictional) suburb of Karakura in Western Tokyo is just the right mix of urban and rural to be relatable to almost anyone. Simply by virtue of being based on a real area (the region around Tama), Karakura feels lived-in and well-developed, despite the fact that we see very little of it. (This is especially true compared to Soul Society [be it the Seireitei or Rukongai] or Hueco Mundo, both of which are very sterile and fantastical in a bad way [especially since the former is really just a stylized representation of the Heian period in Japan]. There is a very old parody of DBZ featuring the line "We need to go to some place that's completely desolate and... that would never be in real life at all, and it's huge, and it's a bajillion miles wide and it's nowhere to be found on earth—but it's right over there!" and that accurately describes both Soul Society and Hueco Mundo. I’ll get into this more in the next post.) The initial focus on day-to-day high school life also gave it a solid grounding for the age bracket of its intended audience. In this capacity, it exactly nailed the setting of teen-focused urban fantasy. The interesting thing is it did so before a lot of the most prominent novels in that genre were written. In other words, Bleach was a market-leader in urban fantasy for teens, and beat many of its peers to the punch. Just as deuteragonists were a major selling point out of their sheer novelty, so was the setting.

As an aside at this junction, I’d like to direct your attention to something from the Wikipedia page on urban fantasy, regarding the distinction between urban fantasy and supernatural romance:

The two share 90% of their genre DNA. However, the main differences are this: Urban fantasy focuses on an issue outside of a romantic relationship between two characters. Paranormal romance focuses on a romantic relationship between two characters and how outside forces affect that relationship. The best litmus test to determine if a story is urban fantasy or paranormal romance is to ask the following question: 'If the romance between Character A and Character B were removed, would the plot still stand as a viable storyline?' If the answer is 'yes,' chances are good it's urban fantasy. If the answer is 'no,' it's most likely paranormal romance.

Now, whether you think the relationship between Ichigo and Rukia is romantic or not, I would note two things. The first is that if their relationship was removed, the plot would not “still stand as a viable storyline.” The second is that the events of the Karakura and Soul Society arcs are very much about “how outside forces affect [their] relationship.” (As were all subsequent events involving them, really.) In short, I would argue that it’s impossible to suggest that early Bleach doesn’t sit somewhere that very closely approximates paranormal romance, if not being one outright. In this regard, Sera’s assertion that Bleach is a shōjo is a lot closer to the mark than you might think, as is my own that it was on the path to becoming either a battle shōjo or a couple shōnen.

HOLY SHIT, GIVE ME AN EXECUTIVE SUMMARY SO FAR?

To summarize, Bleach started off as a pseudo-paranormal romance (if not an actual one) that succeeded on the basis of being—on the one hand—grounded, characterful, and novel, while—on the other—also being mysterious, emotive, and meaningful. Bleach was, at the start, not necessarily trying to sell itself as an unbiased account of “things that happened in this fictional world,” or create an expansive universe. It was instead a rather intimate story set in a particular place, focusing very much on its characters and on conjuring up emotions.

Even when it went to Soul Society, you might still just as easily think it as something like an off-beat Kabuki play rather than a traditional shōnen. (Perhaps making it not so surprising that it was so easily adapted into a musical play.)

I feel that Bleach is also notable for embracing the aesthetic principles of Japanese art and culture that other traditional shōnen usually do not heavily emphasize; it features elements of not just Kawaii (of course), but Jo-ha-kyū, Geidō, Miyabi, Iki, Ensō, Shibui, Yūgen, and Wabi-sabi. (Indeed, I would say that an over-attachment to those last four is a major component of why it ultimately failed.) This also gave it a unique flair.

I think it was ultimately so successful to begin with because it was a unique melange of elements.

BUT I LIKED BLEACH BECAUSE OF SOME PARTICULAR THING YOU DISMISSED AS ANCILLARY!

There’s no accounting for taste. I’m just telling you what Bleach’s focus was and why it was initially exciting and good at what it did.

OKAY, FINE, WHAT DOES THIS HAVE TO DO WITH REWRITING IT?

Like I said, I think it’s important to first understand what worked and why. Then, it’s important to understand why things went wrong. (And boy, did things go wrong...) Only then can you reasonably propose solutions to fix things.

Next time, we’ll go into what went wrong, which involves a mixture of poor planning, shifting priorities, inflexibility, overindulgence, and hubris. But for that story, you’ll have to stay tuned for Part II!

#Bleach #Hyperchlorate #Meta #Analysis

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ninthfeather · 5 years

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I went exploring in MangaPlus and found some pretty neat stuff

Shueisha has released a free manga-reading site/app called MangaPlus. It simul-publishes chapters and generally gives people outside of Japan more access to manga. It’s designed to combat pirating and personally, I’m willing to wait for a day after the pirate sites for better scans with better translations from an official source.

One of the big advantages of MangaPlus is that it also gives the world access to super-new, internet-only SJ manga--the kind of stuff that doesn’t get translated officially until later in its run and sometimes never even gets popular outside of Japan at all. Some of it...frankly isn’t good enough to sell very well in print and may well get cancelled. But other things are worth sharing and trying to hype up with other English speakers! So, having roamed the app a bit, here are my recommendations so far:

Spy x Family

Spy x Family is exactly what it says on the tin—a masterful combination of the spy fiction genre with found family tropes—and yet so much more. Tatsuya Endo’s manga about a spy and a contract killer agreeing to get fake-married and co-parent a psychic child has a premise bursting with potential, and it delivers. It’s listed as an action/comedy, and so far it’s delivered on both counts, balancing a deliciously absurd premise with well-rendered fight scenes. The characters are extremely likable, the dialogue is hilarious, and the comedy is seasoned with a few excellent, well-rendered moments of drama. The art is pretty excellent too—there’s been one or two panels with minor issues, but the facial expressions and use of shading more than make up for them. Really, the problem with this manga is that it’s really hard to express how wonderful it is without spoiling nearly all the good bits. So just trust me, ok? This thing deserves years of serialization, a U.S. print release, and an anime, at the very least.

Heart Gear

This is the newest offering from Takaki Tsuyoshi (known for Black Torch, a very excellent but very cancelled shounen action series that was seriously popular in some circles). Heart Gear is post-apocalyptic sci-fi about a girl who lives surrounded by droids, some friendly and some literally out of control. Takaki’s art is always beautiful, even if the girls really don’t need to be sexualized like they are, but the plot is still taking shape. The characters are endearing, if perhaps not as developed as they could be. I will say that I look forward to seeing Ru get angry or frustrated at some point. Mostly, I’m still here because there’s been seriously interesting hints of worldbuilding regarding the nature of droid consciousness. Regardless, it’s worth checking out for the post-apocalyptic landscapes and intricate robots rendered in delicate, sketchy ink.

The Sign of Abyss

Drawn by Takamura Maya, this manga is set in an intricate fantasy world. The main character, a prince whose magic destroyed an entire city when he was a child, spends his days researching a way to restore the city, until he finds his life disrupted by a magic-user with rare abilities who broke into his house. The worldbuilding is fantastic, the series just keeps throwing ethical questions at you, and the magic system is splendidly inventive. The art is reminiscent of classic shoujo manga—the clean yet flowing lines (and the soft inking on color pages) really made me think of Takemiya Keiko, but the eyes and faces have a lot in common with other artists influenced by the Year 24 Group/Magnificent Forty-Niners who were working later on, even into the early 90s. It does unfortunately take some of its cues on attitudes toward gender from manga of those eras, defaulting to the shoujo trope of “princely” women rather than actually dealing with questions about gender identity. Still, it’s gorgeous, the plot is engaging, and the characters are extremely likable.

Two extra reasons to like this series: the main female character’s name is Meme (pronounced Meh-meh, but still), and the artist has an easy-to-find pixiv frull of bonus sketches.

Bonus: Dr. Stone

This is a bonus because it’s not available in full on MangaPlus—you’ve gotta buy the Shounen Jump app if you want to read something other than the first 3 chapters and the 3 most recent chapters. If you don’t want to or can’t, that’s fine, the anime’s coming out soon. If you’d like to board the hype train early, this is your invitation, because I’m 80% sure that after the first few episodes of the anime, Tumblr will be flooded in reaction gifs of the main character. Dr. Stone is another post-apocalyptic series, written by Inagaki Riichiro and drawn by Boichi (best known in the West for Sun-Ken Rock). What sets it apart is that it’s basically about one man’s quest to rebuild society from scratch by convincing everyone around him (and the reader) that science is basically a bunch of elaborate, stacked fetchquests interspersed with occasional skill-grinding. The fun part is that it works. To, like, a ridiculous degree. It’s like reading the comic version of MacGyver but Senkuu is much weirder and proud of that fact. At the same time, though, there’s a nice central conflict between him and a character who’s got very specific ideas about who should and shouldn’t get to survive the apocalypse. In the end, the fact that Senkuu’s eccentricity is founded on an honest love of discovery and a firm belief that science is meant to help people is what carries the narrative. The art is lovely, though frankly Boichi didn’t have to draw the women like that and he must know it. I will warn you that it takes a few chapters to find its footing, but if you can get through those chapters, you won’t regret reading it.

#mangaplus #manga recommendation #dr. stone #spy x family #heart gear #yoru no kagi #manga #please read these and join me in enjoying them!!

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anansislibrary · 4 years

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All of my thoughts on RWBY: taken from one of my videos here

If you haven’t watched RWBY yet... I honestly don’t know what to tell you. The show is genuinely one of my favorite anime of all time. It’s got an amazing cast of interesting characters, great writing, an amazing world to get immersed in. Every character you meet sticks with you, many of the fights are fast paced and memorable, and being a lore buff like me pays off in this world.

But RWBY isn’t... perfect, and having finished the newest season and rewatched the show from the beginning... I have some issues.

Don’t get me wrong, the new season had some excellent parts. The fight between Blake and Adam was literally perfect, and side note, idk why fans are saying Adam got nerfed for this fight or made weaker, when some of his only notable feats happen during this fight. The man lands hits like mortal kombat combos.

Anyway, I don’t want to just crap on the show so before I go into what I didn’t like, I’ll get into what I did. But before then, I’ll have to give you a brief rundown of the show. But before THEN I gotta give my obligatory plug

So make sure you like and subscribe if you enjoy this video and want to see more like it, and consider donating to my Ko-fi if you’re able to to help support my channel and help me make better content.

Without further ado

Here’s RWBY

Quick basic spoiler full rundown of the show.

Rwby takes place in a world callled remnant, with a shattered moon. Why is the moon shattered you ask? Satan threw a temper tantrum

Anyway

There’s monsters

Schools for people to fight monsters

Except no Because the main character’s school gets blown up by this BITCH NAMED CINDER, SCREW YOU CINDER.

Prompting Ruby and her Gucci gang to go on an adventure.

Got it? Good.

So here’s everything I love about the series.

I really like the character designs. Every single character has an excellent design and I could really do a video on how character design helps develop character and tell a story just using this show. Every person in the show has an interesting and cool design that helps you to remember and understand them.

An easy example is Weiss. She dresses like an actual princess, her color scheme and weapons are all very elegant looking and it hints at her high class status without even having to spell it out for you.

Plus I love how characters names are based off of fairy tales or mythology. For example, Sun, Sage, and the ironically named Neptune. The motif of fairy tales is fun too, for example Ruby being Little Red Riding hood, Ozpin and Glenda Goodwich being wizard of oz references, ironwood being the tin man and Leo being the lion, Qrow and scarecrows and all of that. Weiss and Winter both have names very directly based on snow.

Every name in this show was very clearly thought out, and even abilities too.

Sun can make clones of himself just like in the myth, Blake has issues with running from her problems, so she can make clones, yang has anger issues and can go super saiyan, almost everyone’s power has something to do with their personality.

Salem is such a fun villain. I wish she could do more because she’s really sinister and scary. She’s such a fun villain to watch but she doesn’t do shit.

I also love the fight scenes, I love how bombastic and fast paced they are, and it’s really cool how every character has their own unique style of movement and fighting that vary between them. The fights in this show are quick and stick in your mind, and there’s an emphasis put often on how much a character can move in a short amount of time.

Cinder as much as I hate her is also a great villain, and that’s why I hate her.

Roman Torchwick is also a GREAT villain and The way he dies is satisfying as hell, and seeing Neo again made me scream.

The worldbuilding is my favorite aspect of the show. Now I’m weird and I like info dumps and that’s why I enjoy those World Of Remnant videos that expand on the worldbuilding so as not to bog down story with info dumps. The world is really fun to learn about, how humanity has evolved in terms of technology is fun to speculate on, for example since Grimm attacks are common and destructive, towns outside of major cities are less technologically advance because they often don’t have time to explore that and have to move from town to town quickly in an emergency.

The Grimm are excellent monsters with varying abilities that make them scary. I love the Apathy from the most recent season, and how it doesn’t just attack you like a Beowulf, Ursa, or Nevermore, but it drains away your will to fight back at all.

This show also has my favorite trope of all time MIXED TIMELINES

YOU GOT TRADITIONAL CHINESE CLOTHING AND DRESS AND ASIAN ARCHITECTURE ON TOP OF CELL PHONES TOWERS AND ALL OF THAT

this trope is so fun because it really makes a world feel unique.

The world of Naruto has all kinds of modern stuff, but until Boruto it was mixed with older tech and tradition, really selling how this is not our world.

Another thing I love: every weapon is a gun. That is SO fun.

Now as good as the show is, it does have problems. That’s inevitable though, all shows, movies, and books have problems, nothing is perfect.

Except Avatar. Avatar is flawless.

Me pointing out the issues I have with this show is by no means to say it’s bad, just to point them out.

I truly do have love for this series and I still cry about Phyrra and her death.

I love you baby.

But that being said, pointing out the issues a show has can be important for both understanding the pitfalls to avoid in our own writing, and helping creators fix issues later on.

A lot of hard work goes into making this show and I would just be an asshole if I did nothing but shit on the show.

No matter how many issues it has, I can tell the people making it love what they’re doing, and that always shines through a series no matter how many issues it has, just like a show or movie can do everything conventionally right and still be a soulless shit show.

Looking at you call of duty black ops 3.

So here’s the issues

Fight scenes

I love the fight scenes. I’ve said that, they really can be so fun to view and I find myself coming back to them a lot.

But I have issues.

Lemme just say first that I don’t like complaining against animation. Animators go through enough crap already and it feels mean to criticize them at times, but this needs to be said.

One, I hate how people throw punches in this show.

They swing so wide it’s annoying.

Okay listen. If you swing at someone with a punch this wide, and they know how to fight, it will not land. They will block or dodge. I know this because as my subscribers know, I am a martial artist. I know jujitsu and boxing, and I took taeqwondo.

This is a bad punch.

My theory is that they do it to emphasize the impact of a bit, but that’s not necessary. There are other ways to do that.

You could say “they’re animators they don’t know how fighting works.”

But Naruto exists and those animators get martial arts stuff down PAT.

Hell, avatar the last airbender depends on its animators being able to animate fights with consistent accuracy, and those characters use styles most people have never heard of like Baguazhang.

And I know this doesn’t seem like a big deal, but it is. It’s hard to really get behind fight scenes at times when the characters can’t throw a simple punch right.

And again it’s not like it’s impossible for animation to animate a fight.

There’s a scene during a fight in Naruto where Obito Uchiha kicks Kakashi, and Kakashi uses his foot to redirect the kick and pull obito off balance.

This is a real move, that people do, and it’s done accurately, but RWBY seems to struggle with accuracy in their fights. Which is fine when a character’s weapon looks like this, but not in hand to hand.

This issue comes up in sword fights too. The way Weiss fights annoys me because her sword is a rapier, and the most important characteristic of a rapier is that often times they don’t have blades, they have points, and when they do have blades, they aren’t meant for slashing. Rapiers were made to exploit the gaps in someone’s armor by stabbing them, and thus it is a thrusting sword, not a slashing one. A sword like a Katana or Khopesh would be good for slashing. Roman gladius can kind of do both, but not as good as either one.

The point is that if they’re gonna give Wiess a rapier, they need to stop animating her slashing with it. Especially when her rapier doesn’t appear to have a sharp edge.

My next complaint is wasted characters.

It’s very frustrating when RWBY takes times to show us a character, but then never uses them.

I didn’t even know sun had a full team sometimes because you never see them.

And furthermore it’s annoying when a fight scene will just stop so that a character can do a cool thing.

Oh no this robot is so hard to beat, how will we beat this dangerous and powerful robot

Oh wait, this character can solo it because the plot needs to pause so she can be cool then promptly never be seen again.

It is so frustrating and it makes it hard to actually know when a character is in danger.

It takes 20 hits to kill a Grimm in one scene, then like two in another.

And the reason for that is because the plot is being pushed aside for the sake of spectacle.

A character’s abilities will be made inconsistent for a chance to make them seem cool.

Like this scene where Tyrion is fighting qrow, he uses his tail to block bullets.

But why?

He has his Aura up, the bullets wouldn’t hurt him anyway! Then when he gets shot later after he looses his aura his tail comes off.

If he was fast enough to use his tail to block bullets he wasn’t even paying attention to, why can’t he do it now!

There is no internal consistency.

Like why are Grimm so strong if they don’t have auras? That’s not explained because they Grimm rarely serve the plot, they spectacle. Adam putting 20 kombo hits into yang to beat her makes sense. He has to wear down her aura to actually hurt her.

But 20 hits to kill a grim that then gets solo’d by a character later on?

No.

Then there’s hazel.

He annoys me.

His villainous motivation is that his sister joined a school for trained soldiers, then died because it was dangerous and now he hates Ozpin.

Dude what?

Like I get why he’s mad, but she knew the risk and someone had to sign off on her getting in for her to be able to go to beacon at all. A child can’t just register for a school especially one where it’s a known risk you could die.

Also another thing I hate is how characters will overreact to stuff in annoying ways.

This is mostly in the most recent season.

Spoiler alert here

But everyone finds out the history of Ozpin and Salem’s relationship from Djinn

And then they just all hate and distrust Ozpin.

Here’s my reaction to finding out about ozpins relationship

It’s just... not that big a deal.

Okay so he was pipping the villain at one point

Nigga so was dumbldore!

It’s just annoying how Ozpin didn’t really do anything but he still was treated like he was just a bad person when he wasn’t.

That whole plot point feels empty, and I found myself more annoyed with the characters for being mad at him and wasting time, than mad at Ozpin for wanting to get laid.

My next complaint on this nitpick fest is

Shit what was I gonna say again?

Oh yea, that annoying ass military lady and her whole reason for not letting the heroes into atlas.

That was so annoying and pointless. She really had no reason not to let them through, and her getting into a giant mecha to fight them pulled me so far away from the story because it was just too ridiculous.

The mecha is for fighting Kaiju grim but it’s taken down by like five kids and their drunk grandpa.

Which like... fine but I hate it.

I hate that whole sequence.

It didn’t have to happen like that, it was another fight purely for spectacle.

It made me mad.

Plus I really really hate mecha anime and mecha fights in general.

God I hate them.

I skipped almost every mecha fight in Voltron because I hate them.

Look the point is that rwby is definitely a good show and I love almost every part of it, but these issues really pull me away from the story at times and you can really sense how much of the story is less about progression and more about increasing drama like the Ozpin thing, or looking cool.

Please watch rwby it really is worth your time, just be aware of the issues it has.

#rwby #ruby rose #yang xiao long #rwby season 7 #rwby spoilers

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