#and a lot of complicated dynamics comes with that and ITS A COMMON THEME NOW ... i respect it a lot
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Top 9 Newbie thoughts on Supernatural after Six Months of Madness
I started watching Supernatural a week before the series finale, and full disclosure, it was only because I heard about the gay angel. I loved me some Good Omens, so I decided to check out a series my only previous thoughts about had been, "Is that show still on?" In the past six months, I've watched about fifty percent of the episodes scattered across all fifteen seasons. I've also spent time following the bonkers-in-the-best-way fandom on Tumblr, and here is what I have learned:
1) Everyone who loves Supernatural also hates Supernatural
No one is capable of praising this show without also trashing it. Supernatural is as awful as it is awesome. Watching Supernatural is like hate-fucking your nemesis against a wall; you're totally conflicted about it, but it's enormously pleasurable and you know you're going to do it over and over again. No one has a pure, untainted love for this show. They only have complicated emotions. This is because…
2) The fact that the show needs to be fixed is an essential part of its appeal
Strangely, if this show were better, it wouldn't be as popular. If you love a show that is perfect, you watch it once or twice or thrice, make a bunch of memes, and move on with your life two years later when you find something else to hyper-fixate on. If you love a show that's broken, you spend the rest of your life obsessed with fixing it. It's the crooked photo hanging on the wall that yearns to be straightened (because, you know, this show is bad at making things straight). It's the stray dog you know would be adoptable if you fattened it up and socialized it with your other dogs, and just like some people can't stop rescuing animals, Supernatural fans can't stop thinking about how to fix a show that isn't great, but could be with a flea bath and a trip to the groomers. Supernatural fans are not fans of the actual show, but of the show they imagine it could be, one that only exists in an alternate universe. They are in love with the Platonic ideal of Supernatural. That's also the reason why…
3) The fans understand the characters and themes better than 95% of the people who worked on the show
The people who watch Supernatural have thought about it way, way, way, more than anyone who produced it. I have read complex essays about what the color of people's clothing imply and how the state of the Impala reflects the state of Dean's mental health and other things I'm certain this show did not do intentionally. People can find depth in the shallowest aspects of this series. Any random fan could explain the complicated dynamics of the Winchester family and the overriding themes of the series better than most of the people who worked on it. That includes the LGBTQ stuff, which leads to the fact that…
4) The show is simultaneously too gay and not gay enough
On one end of the spectrum are fans who are offended you would dare to suggest one of the Winchesters might like kissing a boy and they'll shove you in a locker and duct tape your butt cheeks together for it. On the other end of the spectrum are fans who think it's odd that every episode doesn't end with two attractive men dry humping in a dark corner of the bunker library. No one is happy with the level of gayness on this show. It's always got too much "No Homo" or too much queer subtext, which is why I've concluded that…
5) The audience this show wanted is not the audience they got and they are resentful of it
The original pitch for this show targeted a male demographic who’s into toxic masculinity in a non-ironic way. It was about bros and beers and muscle cars and shotguns and hot chicks who will be killed to further the man's storyline. However, when making that show, they accidentally created a show that attracted female viewers who liked speculating about the queer subtext of each scene while looking at pretty men with traumatic backstories fight back their man tears. The show depends on the unintended audience segment to survive, but is bitter about it, which they remind you of time and time again by killing the female and non-white characters and toying with endless queer-baiting. It's like the writers got a plane to Rome, ended up in a gay nightclub in Amsterdam instead, and even though the canals and tulips make it a lovely city to visit, they wanted to go to Rome, damnit, and they'll never let you forget it! I also suspect that…
6) The people who made this show were at constant war with each other
This show has such a split personality. Sometimes it leans into the gay stuff and other times it makes fun of it outright. Sometimes they'll introduce an interesting side character that could make the show more diverse and then they'll slaughter that person for practically no reason. Sometimes they praise free will and other times they force people down pre-destined paths. The writers feel like a dysfunctional family stuck at Thanksgiving dinner endlessly squabbling with each other—who then had to write a TV show together over dessert. That's why it's such a weird hot mess. The show's unevenness makes me think that…
7) Some people's attachment to the show can only be explained by the fact that it imprinted on them when they were young
Some fans have mentioned they started watching Supernatural when they were kids. It's a pretty common experience to go back and watch things you loved when you were a kid and realize they were…not so good. Your memories of them are far better than the reality of them, but you cling to them anyway. The shows you watch when you're young imprint on you in a way you never forget. Supernatural fans are like a baby duck who looks up at a cat and assumes it’s their mother. Then that cat slices open their poor little hearts, leaving them wounded but not dead, forever be toyed with in agony. The only relief is that…
8) The fandom is batshit insane in the best way
I started following the Supernatural fandom on Tumblr in November of 2020 and OMG, it was AH-MAZE-ING. It was total insanity. I didn't understand half of what was going on, but it was more fun than a yard full of puppies doing zoomies. People were posting detailed PowerPoint presentations theorizing how the series would end, citing extensive physical evidence like the background in Misha's hotel room. People learned election results through Supernatural memes. Destiel went canon every other week. When the Spanish dub was released, Tumblr literally crashed! Obama's Twitter was following a Destiel account. There was a Twitter wedding for Destiel on Valentine's Day, which made the one-month anniversary on Pi Day.
It's been a ride, y'all. I have no idea how you guys survived fifteen years of this. The fandom has been so much fun that I actually sat down and watched more than 100 hours of this show so I could understand everything better. It's like the show is an extension of the fandom instead of vice versa. If anything sums up Supernatural for me, that's it. It's all about the fandom and the show is secondary to that. It's like the fans willed the show into existence as part of some partially botched spell. And part of that twisted spell is that…
9) The show will never die until someone finds its bones and burns them
This show has been off the air for more than six months now and it keeps trending on Tumblr consistently. Misha recently trended on Twitter simply because he was at the Oscars. That was it! He didn't even do anything there, he just attended, and some people figured it out by the reflection in a photo posted by someone else! And just as I was proofreading this post, Destiel started trending again because John Cena is a stan or something? This fandom is crazy and unpredictable and I love it like Dean loves pie! If there ever does come a time when this show stops trending, that will be the moment when they decide to reboot it or revisit it.
There is a lot more I could say about this show, but these were the elements that seemed most unique and bizarre about it. I wouldn't say Supernatural is a ride-or-die fandom for me, and I have no intention of watching another 100 hours of this series, but it's been hella' fun to drop in for a while. The show is just as much a dysfunctional mess as the Winchester family and I guess that's why people love it, right?
#supernatural#spn#dean winchester#sam winchester#castiel#jensen ackles#jared padalecki#misha collins#destiel#the cw#tv#television
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Content Tag Game!
Thank you @yoongsisbae for tagging me! I love Handshakes of a Lifetime, by the way, it feeds my need for OT7 wonderfully 😫💜
1. what fandoms have you written for (but do not currently)?
Oh boy, okay: Twilight, Black Butler, Attack on Titan, My Hero Academia, Teen Wolf, Young Justice, Batman Arkham Knight (video game), Marvel, Once Upon A Time, Narnia, Doctor Who, Rise of The Guardians, HTTYD, Fable (video game series), Percy Jackson
2. what fandoms are you currently writing for?
BTS 💜
3. how long have you been writing?
Okay, this is kind of weird, I wrote my first fanfiction when I was nine but never published it, when I was twelve I began posting to Quotev and Wattpad so I would say...eight years? I refuse to look back at either accounts because my writing was horrendous...I was a child.
4. on which platforms do you post your stories?
At this point in time, Tumblr and ao3.
5. what is your favorite genre to write?
Dark / Yandere / Horror. Anything that would make you freaked out I guess 😅
6. are you a pantser or a planner?
Uh, a bit of both? I usually have an idea of what I want to happen in a story so I have a vague outline, but as I am writing I tend to add more things and branch out from the plan. When I first started writing and posting to Tumblr, I used automatic writing and was a full-fledged pantser.
7. one-shot or multi-chapter?
If I had to choose, one shot. I feel less tied down and not as pressured to write when it comes to a one-shot. I would like to make a multi-chapter story one day though!
8. what is the perfect chapter length in your opinion?
I like usually something longer, so anywhere from 6-10k is good for me.
9. what is your longest published story? is it complete?
Actually, 10 Seconds is my longest story because it has multiple chapters. At this point in time, it is 38,250k.
10. which story did you enjoy working on the most?
Hmmmmm, probably Predator. It was my first fic after the end of The Bouquet Series and I got to flex more of my creativity and relax with it. It was fun to play with more classic horror tropes as well.
11. favorite request you’ve written and why?
I don't really take requests, I did ask for help in writing Tae's fic for The Bouquet Series and I had two asks that suggested an actor element and that was how Cut was made! So, that 😂
12. are there reoccurring themes in your stories?
Hm, the concept of time is rather prevalent in a lot of my fics now that I think about it. Weather and location are reoccurring, I like to write scenes in forests or scenes with rain. I think another common theme is not to trust grandmothers as funny as that is, in two fics we have had grandmas with bad intentions! Also, references to good and evil, Hades and Persephone, Adam and Eve, temptation, as well as predator and prey dynamics.
13. current number of wips?
Three! One is currently being written, and the other two are in the planning phases.
14. three things you have noticed about your own writing?
(1) It's fucking long 😂. I always go in with a plan to write something shorter, 8k max, and I always end with a fucking monster of a story. I also tend to overexplain, I think. (2) A lot of my writing is describing an action, facial expressions, scenes, and inner monologue. I think that is my way of trying to immerse readers or make them see my exact vision. But it can be pretty tedious and probably boring to read. I need more dialogue too, I feel like I spend too much time showing instead of telling. (3) Sometimes I think I sound like a high and mighty asshole like I am trying too hard to be profound or something so I try to dial it back a bit.
15. a quote you like from a published story.
"He could tell she had injured her head as well, scarlet drops of blood had streamed down the contours of her face and a pool of blood had formed beneath her sprawled tresses. She looked like she had a crimson halo beneath her head, carving its way into the soft, white snow under her. She was ethereal, like an angel that he had found just after they had been dropped from heaven. Forever resting, forever beautiful, and forever young." (The Stranger)
16. a quote from an unpublished story.
"Loving you has been the one pain I always want to endure. Being with you sets my heart on fire, it makes my muscles ache, it makes my lungs burn, and everything so much more complicated. But it’s the best brand of pain I could ask for.”
17. a space for you to say something to your readers.
Hi! I hope you enjoyed learning more about me and my writing if you stopped by and read this! I have been having a tough time writing as of late, but doing little things like this has made me very happy and has made me want to write more often! I am still working on my next fic, progress is going a little slower though. School starts soon too and I am going to be working two jobs and hopefully going back to cheerleading. So let's spend as much time together as we can before I get busy again! I am still aiming to write during the school year so wish me luck! Thank you for reading 💜
I tag: @chummywchimmy @chimchimsauce @chaoticpuff17 @sinning-on-a-sunday @celestial-moonlight @unfurlingtwinklingstarx @scribblemetaetwo
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Third Language.
With her debut film Farewell Amor out now following a successful journey on the festival circuit, Tanzanian-American writer and director Ekwa Msangi tells Selome Hailu about the third language of music, growing up on knockoffs of the Rambo franchise, and her favorite African filmmakers.
There’s a subtle musicality central to the way Ekwa Msangi carries herself. She finds melodies in her words: “You hum the ‘m’,” she says when asked how to pronounce her last name. “Mmm-sangi.” And perhaps to a more subconscious degree, she speaks with rhythm, too: “I do think, and I know, and I can see…” she trails off, ruminating on how much hope she feels for the future of Black filmmaking. Naturally, this musical quality meanders into her work.
Farewell Amor is a quiet film, except for when it isn’t. Three Angolan immigrants revolve around each other in an awkward orbit, each trying to make sense of their dynamic now that they’ve left their home behind. Kept apart for seventeen years by the bureaucratic intricacies of war and paperwork, Walter (Ntare Guma Mbaho Mwine) is finally joined by his wife Esther (Zainab Jah) and daughter Sylvia (Jayme Lawson—soon to be seen as Bella Reál in The Batman) in New York City. But they don’t know each other anymore and spend much of their time in silence, until music and dance burst forward as a chance at common ground.
Msangi’s screenplay never dwells on the technicalities of the family’s struggle against the American immigration system. Instead, it plunges into softer, more personal after-effects of dreams deferred. Walter’s walls bear a faded calendar with Barack Obama’s face on it, even though his empty apartment complicates the “hope” the president promised people like him. When his family arrives at long last, Esther wears a silver cross pendant, having made sense of these years as a married-yet-single mother by drawing closer—almost too close—to religion. Sylvia barely speaks at all, caught between a faith that isn’t hers and a home that isn’t either.
Ntare Guma Mbaho Mwine and Nana Mensah in ‘Farewell Amor’. / Photo courtesy IFC Films
The film’s triptych structure emerged after Msangi spent months grappling with how to create a feature-length screenplay out of her original short film. “Having just come off of the short, I was focusing on Walter’s story. But [I] didn’t think that was the most original story I could tell,” she says. “And then, out of indecision between whether I should make it Walter’s or Sylvia’s story, I decided to just do both. Initially it was two perspectives that I was looking at. But I realized that Esther’s story was really the linchpin for both of their stories, and it wouldn’t make sense not to have hers.”
Giving Walter, Esther and Sylvia their own chapters makes Farewell Amor a stronger film than if it had followed a singular, traditional protagonist. Extreme conservatism in one chapter is revealed as a desire to avoid pain in another; one character’s cramped living room is another’s space to dance freely. Writing on Letterboxd, Tabby points out how the three-part narrative structure grants meaningful subjectivity to characters who deserve it: “It’s so easy for Westernized perspectives to steamroll over films that deal in cultural disparities and thematics, but Farewell Amor takes important steps in showing all sides of the story,” she writes. “It was refreshing to see [the characters] each given the space to exist.”
This layering of voices happens in the camerawork, too. Each section of the narrative is marked with a visual language of its own, complete with specific color palettes and cinematographic techniques. Msangi thinks fondly about the work she put in with cinematographer Bruce Francis Cole to make the chapters distinct. “For Walter’s, it’s sort of a slow cinema, where there’s a lot of still framing. It’s almost like he’s stuck, you know? Stuck in the frame between two surfaces, two hard surfaces, a window frame, a door frame. And in Sylvia’s, we wanted to have it reflect her livelihood, her restlessness. All handheld cameras, all movement. And then for Esther, she’s very observant. She’s been taking everything in, almost in an investigative style, but also a little bit romantic. She’s romanticized this setup, so a lot of close shots, a lot of soft lighting.”
Jayme Lawson as Sylvia in ‘Farewell Amor’. / Photo courtesy IFC Films
Music gives Farewell Amor a cohesion across the different storylines. “Music is, for these characters in particular, and for me, kind of a third language,” Msangi says. “It gives you a glimpse under the covers, what’s under the sheets.” The soundtrack underscores strong performances from Mwine, Jah and Lawson, lending depth to their quietude and vibrance to their movement. Msangi also notes how sound became a cornerstone of her collaboration with the actors: “As I was writing from different perspectives, in order to help me get into each character’s skin, I would listen to the music that they would be interested in.” She later shared these playlists with the actors, using the songs to communicate what words couldn’t.
Msangi has a good laugh as she tries to think about the major films that inspired her to become a filmmaker. “You know, I don’t have that. Well, I do have that, but not for the reasons that most of my film peers have,” she says. Growing up in East Africa in the ’80s and ’90s, little to none of the programming on television was local. What did kids watch instead? “We watched Rambo for probably ten years straight, and then Rambo knockoffs for another ten years after that. I decided to become a filmmaker because of horrible Rambo knockoff films.”
“I grew up surrounded by such colorful and delightful and interesting and funny people,” Msangi says. “And none of that was reflected anywhere in the media.” As she grew older, she sought out African films she couldn’t access in her youth. Now, they’re some of her highest recommendations. Ousmane Sembène is the first African director whose filmography she ever got the chance to dive into. Sembène’s 50-year career has garnered him the affectionate title of ‘Father of African film’ among many critics and scholars, who laud him for his dramas, including Black Girl and Camp de Thiaroye. Msangi, however, finds herself taken with his unique sense of humor. She has also been inspired by Safi Faye, another Senegalese director, who became the first sub-Saharan African woman to attain commercial distribution in 1975—and whose film Mossane portrays sexual intimacy with an openness Msangi hadn’t seen elsewhere.
Writer-director Ekwa Msangi. / Photo courtesy IFC Films
In Farewell Amor, Sylvia’s chapter reads like a compacted coming-of-age film. Msangi points to South African director Darrell James Roodt’s Sarafina! as an influence in that regard. “It was showing for two weeks in Nairobi, and I lined up for four hours to watch,” she says about the film, a drama about youth involvement in the 1976 Soweto uprising. “Even though it’s from a different part of the continent, I’d never seen young African teenagers on a screen before.” More recently, she has loved 2011 TIFF breakout and Oscar contender Death for Sale by Moroccan director Faouzi Bensaïdi, and Radha Blank’s The Forty-Year-Old Version is her favorite film of 2020. She’s hopeful about the future of Black American cinema: Ava DuVernay and Ryan Coogler are two of her favorite working directors.
Msangi’s selections are wide in range, but there’s still one thing holding them together: themes of vulnerability, community and celebration of identity, across different decades and genres. In fact, her approach to watching movies isn’t far off from the way she made her own—Farewell Amor maps concurrent experiences of disparate people, and Msangi’s tastes seem driven by the same balance of vastness and specificity.
“I’m a filmmaker who really abhors working on the same kind of story over and over again, the same genre, the same kinds of characters,” she says. “So I’m not going to make my career just telling stories about immigrants or about, you know, their wretched troubles,” she laughs. “I don’t want to do that.”
Msangi’s next project will be an African-American period piece; beyond that, she hopes to make films in several locations: the Caribbean, Europe and all over the African continent. “I really would like to just have a lot of fun with my career. You know? Because it’s a fun and magical industry that we work in! The work that we do in creating these stories and hopes and dreams—we create magic, so it should be fun.”
Related content
Adam Davie’s Black Life on Film list
Shachar’s 20 Films by Black Directors 2021 Challenge
Screenpaige’s list of Black Women in Film
Follow Selome on Letterboxd
‘Farewell Amor’ is out now in select theaters and on demand through IFC.
#ekwa msangi#jayme lawson#farewell amor#african cinema#black filmmaker#black director#directed by women#52 films by women#female director#black woman director#american film#drama#romance#dance film#angolan cinema#angola#letterboxd
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You said a while back that while Supergiant games (Bastion, Transistor, Hades) was mostly okay, you had some words about them. I was curious as to what those words were, since Hades' full release is soon.
okay. alright. ive been playing hades lately so i definitely want to give my two cents (or dollars by the size this is gonna get). but let’s go Step by Step
the good: i want to throw a whole Endorsement over supergiant games with the art direction and its characters, which is what keeps me coming back again and again, and what i can assume is that most people are attracted to.
gameplaywise, they have a Format they stick to which has become their staple, not to their detriment but to their advantage, like... gameplay tropes, so to speak, that they stick to (such as the addition of special conditions that give a disadvantage in exchange for more long-term rewards)
i fucking adore that they take one concept per game, go for it, and when they’re done they are Done; they don’t bother with sequels, they don’t want to run things to the ground and i fucking respect that. They have their themes, and they stick to them (to various degrees of success).
that said, like every piece of media, they are not perfect and this has to be analysed and spoken about
CONTENT WARNINGS: genocide and ethnic cleansing, antisemitism, misogyny, homophobia, suicide, and mentions of incest, and a general Spoilers warning
bastion: touches on ethnic cleansing, and not in a way i’d say is satisfactory. our narrator and one of our Sympathetic characters is one of the men who worked on a world-ending weapon meant to use against the Ura (a group of people coded as East Asian) which after a bit of googling is literally called “the final solution” if there was ever a war between the Ura and the Cael (who feel like rly tan white people to me). jesus fucking CHRIST.
we also meet more Ura other than our two named characters and we have to kill most of them. so that fucking blows.
the game tries for “being a genocidal monster will get you fucked up and blown up” which duh, but i feel we shouldn’t have had a person responsible for war crimes be one of our friends no matter how bad he feels about the whole thing, or the people victim of war crimes become villains in the latter half of the game. zia’s father could’ve taken ruck’s role ez pz.
transistor: the weakest of their games, imo; the lore and writing are fairly flimsy and i did not come out feeling Satisfied, especially because it had this rly good build-up that did not pay off. not to mention... their villains? 3/4 were gay people. lol. two married guys (not even explicit, you only realize by their shared last names) and the ps*cho lesbian trope (iirc she wanted to kill the protagonist’s lover or something). the female protagonist also ends up killing herself to live forever in a digital paradise with her dead lover. it’s. god.
very Aesthetic, GORGEOUS music, interesting gameplay; had potential, i do not feel like it lived up to it at least as far as the story goes.
pyre: now this one. this one’s BEEFY. where transistor felt flimsy, pyre is rich; lots to sink your teeth into, rich in lore and loveable characters, again w the beautiful music, themes of cooperation and togetherness. my favorite of the cast is volfred sandalwood, the only Black (or, well, Black-coded) revolutionary i’ve ever seen portrayed with this amount of sympathy.
onto the bad: they literally have a Class of character named “Savage”; there’s the “mystical mentally ill person” trope; there is an overwhelming amount of explicit m/f pairs (one of them being. a romance that formed in a single day and then both of the characters were somehow willing to risk it all for each other? PLEASE) while the only hints of gayness are... hints. especially when Jodariel (another of my favs) is teased to have feelings for the player regardless of gender then only gets an ending with a male character with whom she has nothing in common 🙃
hades: and now. this one. music: gorgeous. character designs: spectacular (aphrodite is straight up naked but it’s so... natural and casual, it doesn’t feel sexualized at all). voice acting amazing. character interactions charming and endearing. as a greek mythology nerd, it was nice to see them go for the obscure shit like Zagreus at all, NOT portray Persephone and Hades as a loving couple, AND portrayed the gods as the bunch of petty assholes (some more benevolent than others) that they are. imo they’re too generous with their portrayal of achilles but i’ll allow it.
and finally... it seems all those criticisms about having all the gay characters hidden in the shadows paid off, cuz we got (aside of patroclus and achilles) a bisexual polyamorous protag. Holy Shit! and it’s not even playersexual, romance whomever you want shit without the routes recognizing each other: he explicitly talks about how he’s thinking abt them both (though it’s like “yeah usually mortals take one lover but gods love many huh” polyamory is a human thing too bro!!!!!)
and this is where it all goes, well, at least vaguely downhill lol. ok so the incest warning i gave up there? well. it’s not... outright incestuous. but it has some ugly implications. i want to emphasize: the characters never refer to each other as siblings, nor do they treat each other as such (thanatos, in fact, only recognizes hypnos as his brother, and megaera only sees the other furies as her sisters), but they were all raised by the same woman, Nyx... zagreus and thanatos even grew up together (im assuming megaera didnt meet zagreus until he was fully grown).
this is complicated even worse by the fact that they tried to trick zagreus into believing Nyx was his mother. he realized pretty early on this was not true but like... adoptive mothers, anyone? granted i can believe that bc of the attempt at deception that probably ruptured any attempt at actual familial closeness, and it’s not like hypnos and thanatos saw zagreus as their brother at any point, so they were p much aware of the truth too. with the fact that thanatos even looks like goth miles edgeworth (im not kidding you can google him up right now its literally edgeworth in a cowl) i rly feel they were aiming for Childhood Friend Anime Rival Man than the “surprise kiss bc ur not actually related <3″ shit. zagreus never once refers to nyx as his mother in-game, and also refers to thanatos and hypnos as her sons, never his brothers.
so yeah, like. if one’s feeling generous, zagreus and thanatos are more of a “my father is emotionally closed off and neglects me so my best friend’s mother basically raised me” kind of situation... just pulled off in, perhaps, the worst way possible (why didnt they just say Zagreus was told Hekate was his mom, that’s such an easy fix? or that he was born of nobody other than Hades??? [gestures at athena])
but then, the gods. aaaaaaaahhhhahahahh the gods. demeter shows up! and she calls zeus, hades and poseidon... her foster-brothers. which somehow would make the persephone thing less fucking awful, apparently. they really. really really did not need to do that. she could’ve just said “my fellow gods” or whatever. or my “god-brothers” or something, to pretend it was just a weird god alliance thing??? i dont know but implying that foster family isn’t family is just... bro, the dynamics still exist.
Don’t Like That.
i even contacted supergiant games over this. they reassured me they were even trying to avoid the incest of the original myths bc they didn’t want to mess with such a heavy theme. i believe them... but i really think they didn’t think this through. compared to something like fire emblem fates this is nearly benign, but the implications don’t look good :/
tl;dr of the tl;drs: i admire their artistic philosophy and the heavy emphasis on fresh gameplay, characters and their relationships; i appreciate that it seems that they listen to criticism?; i don’t appreciate that they didn’t think to at LEAST talk to adoptees when making a game about family.
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Do you think if they ever reboot ATLA they would make Zutara canon? Reboots have changed quite a few things(the new She-Ra is vastly different from the original) especially with all the support Zutara got post-series
Hmmm, an interesting question. It depends on many things I think, not the least of which being who the showrunners are and the tone they want to set. We may get to see our reboot soon, actually, since there’s a live action Netflix series in the works (they haven’t started production yet though, so don’t get too excited). As far as I know, Bryke is at the forefront, and while that’s great news since it means another abomination hopefully won't happen, it does mean that a Zutara relationship probably isn’t likely since they’re big fans of the Katara/Aang relationship.
That being said, I think it would be a missed opportunity if they didn’t, and I’ll explain why. (Disclaimer for any non-Zutara fans reading this, being a Zutara shipper is not my main motivation for thinking or wanting it to be canon). First things first, the audience. I don’t know if post-series Zutara support would have much of an effect on Bryke, but it’s possible that the producers or Netflix would notice and try to factor it in. However, I don’t think pandering should be the reason they include Zutara--far from it. The original audience that watched Avatar has grown up at this point. Many of us are in our twenties, give or take. We’ve matured, and it would be foolish of the showrunners for ignoring this fact. If there’s a reboot of Avatar, live action or animation, the majority of the audience will be those that grew up with the show, not kids the same age as the audience of the animation. I think that’s evident enough with the release of Avatar on Netflix (notice how many people are rewatching and falling back into their love for the show?) and the comics. Ah, the comics. Some things they did well, others...not. What they did do well is writing the storytelling more maturely than the show. I don’t mean to bash the original show as it obviously had no problems including the dark effects of a war story in bite size, easy-to-swallow chunks for kids (a good thing). However, they treat the audience more seriously, knowing that not everything needs to be spelled out. You see the same in Korra. And to me, that’s part of what makes the Zutara relationship so captivating and intriguing--it’s mature. It’s not easy, and it has faults. It’s not “hero gets the girl after saving the world”. It’s complex.
I’ll say this now: there’s a difference between a relationship being canon and being endgame, and it’s an important difference. I definitely think Zutara should be canon, if not endgame, in any reboot they do.
Personally, I’m excited for a live action version if they ever get around to it. It brings many new factors to the table, and the majority of them have to do with adaptation. (I’ll mainly be talking about a live action version for a little bit, excuse the art student that shows). Adaptation, especially between mediums, is tricky to execute. You see many book-movie adaptations that succeed, and some that miserably fail, and others in between. This goes for other forms as well, ex: book to comic, book to animation, animation to film, etc. With any medium adaptation, the story will inherently change. You can't hear a character's inner dialogue or prose written in a book in a film, so changes have to be made or the filmmaker must write or use film language to substitute for it. With adaptation, changes must happen, that's a fact. To me, more often than not those adaptations succeed when the creator embraces that fact and uses the medium to their advantage. Sometimes this changes the story, and sometimes that change enhances it for the better. Take Game of Thrones or Harry Potter. The former deals with many characters and worldbuilding that is extremely complex, and they did an excellent job in getting you attached to those characters. However, they did have to change some things from the books, and while some weren’t as successful, others did remarkably. (Before anyone starts raging, I’m specifically talking about the seasons where they still had books to go off of). For Harry Potter, we have eight movies to analyze, which I will not be doing, but I will say that the weakest films storywise were the fifth and seventh, simply because they tried to do both too much and too little, if that makes sense.
How would this apply to a live action ATLA? Well, it wouldn’t be like the animation, most likely. It’s a medium adaptation, meaning that the approach they had in the animation won’t work the same in live action. Think about it--you don’t watch animation, especially 2d, the same way you watch live action, psychologically and subconsciously. There’s a separation there between their world and ours. It lessens with 3d animation, but it’s much much smaller when it’s live action since it looks like our world, more or less. Would GOT beheading and other violence (you know what I mean) have had the same effect if it were 2d animation? No, probably not. Yes, I know that anime has its fair share of gore that can be extremely realistic and gross, but it still doesn’t have the same impact it would if it appeared on your screen with quality vfx. Now, these are extreme examples. I really doubt that they’ll make the violence that intense or realistic in the show, as they’ll more than likely want to keep it family friendly (there’s still kids that watch the original). Another disclaimer (ik there’s a lot of them, but people can misunderstand this kind of critique as bashing, which it’s not): I am not saying that the original animation of ATLA is not impactful, absolutely not. I have no trouble getting attached to animated characters, laughing or crying with them, etc, especially if the writing is good. However, it was a kids show, and it was written with that in mind. This is apparent to me as I’m rewatching the show now. There’s some dark stuff that happens, as is the nature of a war story, and the animation handles it excellently. But think of how different it will be seeing the ruins of the Southern Air Temple, practically a garden of bones, Gyatso’s included, in live action. Show us all the nitty-gritty of the lower rings of Ba Sing Se, and the corruption up top. Let this affect the characters. Bring this moral ambiguity into light, as it was done in the show. I think that if they’re going to tackle a show in this way, not a movie or series of movies, it would be smart of them to lean into these darker themes, not shy away from them. Like I said earlier, the audience has matured, and there’s so much more to explore with these stories and themes. I’ll say with confidence that they’ll definitely do this, and possibly add a story or two. Otherwise, it will just be a rehashing of the original, word for word dialogue. Not that the original is bad (obv not), but I don’t think we should want that. There’s a lot of potential in a live action series, and I think they’ve learned lessons from the abomination that already tripped over itself. It was an example of adaptation done badly. However, you can change a story without destroying it, but it’s a delicate operation. That’s why having the original showrunners on gives me a bit more confidence. To be clear, I don’t think they’ll go full PG-13 or higher. It’s still possible to have family/kid friendly media without shying away from the darker parts. ATLA is a great example of that. If you want a live action example of a show that balances humor, heartache, and violence beautifully, look at Merlin (bbc).
I think you bring up an interesting point with She-Ra and it’s divergence from the original. I haven’t seen the original animation, but I can say that the new one was successful in telling a new and fresh story in the same universe. The act almost as parallel stories in that universe. How To Train Your Dragon is the same way--the book and movie have very very little in common story wise, but it’s a beautiful trilogy nonetheless. Would this work with ATLA? Possibly, though I doubt they’d want to stray away from the original’s core themes. Though, you can fight me on this, Zutara does align with those themes, but that’s another post (this one is long enough). However, it’s such a complicated question because it inherently considers countless possibilities, so there’s no definite answer. It’s a beloved show that’s already been butchered once, so how much would they be willing to change?
Now, how does Zutara factor in? (getting to the point now). For many of the reasons above, I think it should be canon. Their dynamic, their rocky relationship, the journey of trust and acceptance, the connection they have, all of it is ripe for exploration, especially in a revamped, inherently more mature story. Instead of a predictable relationship where there was never any real conflict (Katara was always loyal to Aang, and their fights were never truly consequential), you have a relationship coming from a difficult, seemingly impossible place, one that requires time to establish. Like I said, it’s not an easy relationship. Part of it is strengthened by Zuko’s wonderful redemption arc. He needs to build a foundation of trust before almost any of the Gaang trust him (Aang, the angel, is willing to give him a chance almost immediately in Book 1, and though she didn’t care one way or the other at first, he did accidentally burn Toph’s feet). What would a Book 4 have brought us? Despite what Bryke say about it being a false rumor, Ehasz, a co-producer, said that it was at least discussed, plus Book 3 definitely had more to give, so I take it with several grains of salt. Anyways, even wondering about it hypothetically produces interesting theories. We see at the end of Book 2 in the cave that Katara, once she overcomes her immediate, and warrented, repulsion of Zuko, she’s able to connect and see a bit of his heart underneath the layers and layers of angst and anguish obscuring it. This scene is popular in the Zutara fandom for a reason. However, I think that making changes to characters, especially in Zuko’s case should be done extremely selectively and purposefully. His arc is one of the most fantastic accomplishments of the show, and I think very little should be changed. For example, he should still make that doomed, yet inevitable choice in that cave to join Azula, but perhaps they’ll include his mother as a more forefront character, especially when he goes back to the Fire Nation. By all means, give Ty Lee and Mai more than just a conversation to supply their backstory. Thoroughly explore the swampbenders and the Freedom Fighters. Show more of the original airbenders in Aang’s memories! There’s room for exploration without dismantling the world or characters like the M. Night film did. For Zutara, I think that expanding Book 3 and giving the characters more time with each other would be invaluable. Think of how quickly Katara and Zuko grew close, from Katara threatening to off him first time he even hinted at being a threat, to becoming one of the most instinctual and formidable teams in the Gaang, to saving each other’s lives in the final battle. That’s not even mentioning the Southern Raiders. The conflict over the entire show as the backdrop for a relationship like that, romantic or platonic, is incredibly suitable for a reboot. If it was explored, the outcome would be so powerful.
I said before that there’s a difference between canon and endgame relationships. This just means that a relationship can be confirmed and explored without being the outcome. If Bryke include Zutara at all, that’s most likely how they’ll do it: adding a love triangle that ends up with Katara and Aang getting together. Honestly, it would be a method of making K/A a more interesting relationship and a way to have the characters grow a bit. However, this has the awful potential of just shitting on Zutara and turning it into a toxic relationship, which I’d rather not see.
But if it wasn’t Bryke running it? Absolutely, I think Zutara would, and should, be canon. Adaptation should take risks and be willing to explore, and I think Zutara is the type of dynamic we should see.
#zutara#atla#atla live action#avatar the last airbender#zuko#katara#sorry this got really long i have a lot of feelings
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Jona’s Top 10 Dramas of 2019
A couple words about how I do these lists. Firstly, I only count as “2019 dramas” shows that finished airing in 2019, therefore dramas that started airing in 2018 but finished in the early months of 2019 have been included in my process, but dramas that are currently airing and will finish in 2020 have not been included. Secondly, this list is more based on my subjective experience with each of these dramas than my objective assessment on things like acting, writing and production values, though naturally I take the latter into account when forming my opinions.
Also: Yay! This year I managed to write a full review on every drama that wound up in my top ten, so feel free to click the link on each title and check those out if you want to read my detailed thoughts.
10. Hotel Del Luna
I have a somewhat Stockholm Syndrome-y relationship with Hong Sisters dramas. Though a lot of them are not excellent, or stumble a bit in the execution, I can’t seem to stop watching them. And yes, I’ve seen them all. Something about their particular blend of fantasy, romance and camp just works for me. I do think Hotel Del Luna plays to their strengths. Somewhat like if they got to take a second run at Master’s Sun but with their dream budget, and it’s just fun. This drama is gorgeous to look at. However, it is Lee Ji Eun, aka IU, who carries the entire drama on her lovely shoulders with her mesmerizing presence as Jang Man Wol.
Bottom Line: It shouldn’t be this way, but it’s so rare to get a mainstream drama where the female lead is allowed to be truly dark and flawed, or for a drama to fully focus on its heroine’s journey through the whole run.
9. Encounter
I was somewhat disappointed by the ending of this drama, and I think that might have made me unduly harsh when I looked back at it earlier in the year. However, I got the chance to rewatch episodes with a friend and was reminded of the soft, romantic escapism of this drama. Ultimately that’s the reason this ended up in the list. I like that it plays the rich woman/poor man, noona-romance tropes entirely straight and I liked the quixotic fairy tale it was unapologetically trying to sell me. Park Bo Gum and Song Hye Gyo are a noona-romance dream team up that I’m glad I got to see at least once in my lifetime.
Bottom Line: If you don’t like your dramas slow-paced and highly sentimental then this might not be the show for you, but I can appreciate a drama that knows exactly what kind of show it is and tries to do one thing well.
8. The Light in Your Eyes
If there’s any common theme to these favorites lists in previous years, it’s that they usually include dramas that took me by surprise and did something I haven’t seen before. The Light In Your Eyes fits that description so well, not just because of oddly dark tone or the quirky premise it presents in the first episodes, but because it’s a drama dedicated to showcasing the talents of the veteran actress, Kim Hye Ja, with whom the lead character shares a name. Of the dramas on the list this one made me cry the hardest.
Bottom Line: The Light In Your Eyes is a drama that has a greater emotional coherence than it does logical sense. In fact, if you think about the plot too hard it falls apart entirely. But it feels true, and that’s why it hit me so hard.
7. Search WWW
In my review I called Search a “female power fantasy” and I still think that’s a good description. It’s also sexy romantic fantasy, twice a noona romance, and a corporate drama focused on the very contemporary issues of powerful search engine companies and how they affect the information we see and the way we view the world. I think any of those is an interesting enough angle to make a drama about, maybe several dramas. If this show has one major flaw, it might be trying to wear too many hats at once. But I salute the creators for trying to make us something different than the typical pretty boy chaebol story, and giving us not one but three female characters filling those typically male roles.
Bottom Line: I do believe this drama deserves more love and respect than it got from a fandom that at least in theory cares about women’s stories. But I also understand why a lot of people didn’t connect with the lead character or the business stuff. But for me there was something about the lead couple that rang true and resonated with me.
6. WATCHER
Every time I watch a thriller, I’m hoping for something like WATCHER. Something with deep, complex, gray characters and a story full of twists and turns that keeps me engaged and guessing from episode one until the finale. Add on top of that a powerful cast who can really do justice to these substantial characters, you’ve got a winning recipe. OCN produces a lot of dramas in this genre, and they seem to be more prone to produce sequels than most other networks. Unfortunately, that also means a lot of the dramas they make feel paint-by-numbers and empty on the inside. WATCHER is one of those shows that reminds me why I keep coming back to this network and this kind of story time and again.
Bottom Line: This is one of those dramas that has you second guessing yourself even when they come right out and give you the answer, keeping you in a perpetual state of distrust along with the characters. But it’s built on the strong backbone of complicated and dynamic character relationships, which is why it is one of this year’s best.
5. Be Melodramatic
The higher I get up this list the harder time I have boiling down my thoughts on these dramas to one pithy paragraph. Often even I don’t know what kind of dramas are going to steal my heart. I have a particular weakness for dramas that can make me both laugh and cry, and then laugh through the tears. Dramas like Go Back Couple and Matrimonial Chaos that have deep heartache folded into the shenanigans. I love a funny drama. I like to laugh, but that doesn’t count for much unless I really care about the characters and their lives at the end of the day. That’s what makes me go from liking a drama to loving it, and that’s ultimately what I’m going to remember about a drama when it’s over. Be Melodramatic is special for the way it deals with heavy subjects in a gentle and lighthearted way, and somehow without losing the emotional impact.
Bottom Line: Be Melodramatic is a drama with tongue firmly planted in cheek, lots of laughs, lots of clever dialogue as well as a meta look at the drama industry from the inside, but the reason it works so well is the vein of heart, love and loss that runs all through the story.
4. One Spring Night
It’s so gratifying when a drama delivers exactly the experience you hoped it would. One Spring Night was a drama that ended up on my radar on the strength of the previews and posters, which promised me understated, romantic slice-of-life. I’d really enjoyed Han Ji Min in The Light in Your Eyes and have been fond of Jung Hae In since While You Were Sleeping. The pairing immediately seemed to have potential, but because the drama was picked up by Netflix, in the US I had to wait until it finished airing before I could give it a shot. A lot of the time when that happens, I see enough of the drama through gifs and screencaps that my interest fades. In this case I was only more intrigued. I’ve still never watched Something In The Rain but watching this drama has made me consider that might have been an oversight on my part. And yet I worry that if I watched it now I wouldn’t be able to help unfavorably comparing it to One Spring Night. This drama is truly something special.
Bottom Line: Because of the restrained, faithful realism of this drama and the two leads who seamlessly embody their characters, this drama has the almost voyeuristic quality of peeking into something intimate and private. It’s a palpable and thoroughly involving love story.
3. Nokdu Flower
I can hardly recommend this underrated gem of a show enough. I know nearly every historical gets compared either favorably or otherwise to Six Flying Dragons, which is kind of the recent high-water mark of sageuks, and I’m going to do that again here because Nokdu Flower is really the first historical drama I’ve watched since SFD that is at the same level of quality. One thing that sticks out about my experience watching both dramas is getting actual shivers watching these charismatic leaders rally their followers around them, and understanding at least in some small part why someone would leave behind everything they knew, pick up arms, and risk their lives for an ideal. Nokdu Flower captures the fearful power of revolutionary ideas in the hands of common people, but doesn’t descend into mere jingoism or sand off the rough edges or try to white wash the dark parts of human nature while it’s at it.
Bottom Line: At its most basic level Nokdu Flower is a story of revolution, and one of flawed characters either finding their humanity or having it burned out of them in the crucible of war. As that description would suggest it’s not an easy watch, but it’s a good and worthwhile one and definitely one any sageuk fan should check out.
2. My Country: The New Age
Compared to the far more traditional and grounded Nokdu Flower, My Country is almost fantastical in tone and at times eschews logic and realism for set pieces, sword fights and close range shotgun blasts of pathos. That’s probably why I love it. The larger-than-life sensationalism of this drama is what pushes it higher on this list than the carefully crafted Nokdu Flower, because this drama appealed to me on a more primal way. It’s so unrestrained and epic in everything from the set design, the soundtrack, the cinematography to the characters themselves and the performances of the actors playing them. Lurid, melodramatic, passionate, intense, suspenseful, romantic, raw, angsty, dark...I’ve basically run out of new adjectives to use while describing this drama elsewhere on this site. Basically, My Country is my id on a plate. Bon appetit.
Bottom Line: While there are definitely misguided and flawed elements to the writing and execution in this drama, somehow all of that is swept away in the sheer pleasure of watching it. If it had been specifically designed to appeal to every narrative kink I have, they couldn’t have made a more perfect drama for my tastes.
1. Children of Nobody
I finished my favorite drama of 2019 back in January, and then got to wait around 11 and a half months to see if anything else I watched last year would knock Children of Nobody from the top spot. It’s a mixed blessing to peak that early in the year. On the one hand, there was nowhere to go but down from here. On the other, I’ve had a lot of time to digest this very heavy show, which is something I definitely needed. I mentioned in my original review of this drama that each of the characters is an iceberg, so much more going on beneath the surface than what we can see. And what I’ve realized over the course of the past year is that the whole drama is like that, in a way. It’s an iceberg of a story, and I was able to pour a lot of myself into it, to try to understand it, and that’s part of the reason it was such an emotional watch for me. I don’t know when or if I’m going to be able to rewatch Children of Nobody, but I hope I can do it some day because I feel certain I would appreciate it even more upon a second viewing. The fact that this is a murder mystery and a thriller is almost incidental to the emotional core of the story, which is deeper and more lingering than that. The secrets, once revealed, do not diminish the story but only turn it slightly so that you can see it from a different angle.
Bottom Line: This drama is certainly not going to be for everyone. I don’t know if I would say it was underrated so much as it’s niche. The difficult subject matter is naturally going to narrow its appeal. But I do think that dramas that require the most from me, mentally and emotionally, are often the ones that stick with me the longest and make me bend and grow as a person.
I sure hope you’ve enjoyed my top 10 list this year and I wish you joy, success and profound wellbeing in 2020. Thank you again--and thank you always--for following me. I’ve got great things planned for us this year.
Jona
#kdramas 2019#end of year reviews#top 10#children of nobody#my country#my country: the new age#nokdu flower#one spring night#be melodramatic#melo is my nature#WATCHER#search: www#the light in your eyes#encounter#boyfriend#hotel del luna
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The Team Dynamics of the Three Houses
Essay time! =D
Part One:
Team Makeup and Thematic Framework
Blue Lions
Overarching Theme: Classic basic fantasy archetypes but with a dark twist (We have Prince Charming/ Guilt-ridden softboy standard-issue JRPG protagonist, Handsome Lech/Idiot Friend, Standoffish Rival, Gentleman Thief, Lady Knight, Sweet nice healer, Adorable spellcaster Girl, the Gentle Giant etc. )
Composition: Has the most people with crests, and the one guy with a naturally occurring major crest. Foreshadows how the crest obsession is particularly bad here, due to Faerghus’ harsh environment and a society that’s both religious and has a serious element of hero worship
History: Notably the most tight-knit group. Everyone knows each other already. It’s basically Dimitri, Dimitri’s longtime best friends, the daughter of Dimitri’s former instructor who heard lots of stories about him and her super nice BFF who gets along with everyone... and Ashe, who didn’t know the others until the academy, but since he is a honest sweety who loves cooking and knight stories, he hits it off with the others right away.
Atmosphere: Everyone has kind of the same hobbies (cooking, handicrafts, weapons collecting, knight stuff) and a lot of history, some posters have remarked on missing the “family ambiente” in the other routes but since the bonds are stronger they’re also more charged, it’s also been said that it’s the group with the most inter-team drama, especially when you feature in their relatives - You have Dimitri’s whole character arc, all the family drama between the Fraldariuses and the Dominics, Ingrid’s hangups regarding poor Dedue etc.
As expected if you recruit any of them they’ll kinda have a hard time going after their old home, even the tsundere ones.
The Leader’s position: For all that Dimitri’s friends refuse to drop his honorifics they really are his friends. They’re just all kinda polite with the obvious exception of Felix, and he’s largely tsundere. Despite the afore mentioned drama we see plenty of Dimitri just hanging out with his friends and even coming to them for help, he’s really just one of the bunch .
Since Faerghus is in chaos everyone’s pinning a lot of hopes on Dimitri and it’s not like he’s completely unaware of that or doesn’t have the corresponding sense of duty, he’s always torn between that and his revenge plan which eventually just takes over. He pursues this entirely on his own, too, with not even Dedue knowing what he’s sneaking around the library for.
How this “flavors” part one: Gives it a very “personal” touch. Faerghus, it’s culture, recent past and current state of chaos are fleshed out a lot (we learn plenty about the Alliance and the Empire but Claude and Edelgard have greater scope plans) and since a lot of the part I missions concern the instabilities in the kingdom they affect the characters directly. Basically since they’re more “regular” fantasy protagonists we gotta hit em all with the Drama hammer to keep things fresh. And that’s how it continues - They follow Dimitri because of personal loyalty (both toward him specifically, and because it’s in their culture), and Dimitri just wants to protect (or avenge) the people he cares about.
How this Ties into The Themes: The Kingdom route eventually becomes very much a Power of Friendship story where they all stick it out with Dimitri in his time of need because he’s their friend and they want to be there for him and that makes a lot more sense if there was a big emphasis on friendship/ found family before that, and of course their friendship is what eventually helps him turn his life around.
How does Byleth fit into this: Dimitri, like Hubert and Leonie, can be filed into the box of those who aren’t immediately awed by their heroic charisma. He doesn’t really get people who aren’t as outwardly expressive as him (eg. Edelgard) But unlike, say, Leonie, Dimitri has no settings between crushkilldestroy and stilted politeness and seldom expresses or responds to overt hostility most of the time. On the one hand there’s a side to him that’s a bit judgemental and vindictive, but that extends to himself too so he’s very ashamed of his flaws and is afraid that he won’t be accepted, so he projects outward that same acceptance that he likes to receive.
So the end result is that he goes out of his way to befriend Byleth, he encourages everyone to speak with them in a familiar manner, insists that they join the victory celebrations etc. Then of course he gets to see that they’re actually quite supportive and so in time they become, as Dimitri puts it “the heart of the group”.
By the time they find out that Dimitri ever disliked them, that’s long past. He’s a very high-empathy, emotional person so once he likes you he really likes you and will regard your troubles like his own. Some ppl might say that maybe the bond feels more special since it took longer to “earn”. He’s practically ready to swear a blood oath with them once Jeralt dies. There’s an unappreciated Symmetry here like he goes through the trouble to ‘defrost’ them, and then they return the favor by supporting him through his difficult times when they perhaps get to see the ugliest side of him.
Further Dynamic Notes:
So you have a dynamic of working past/ understanding and accepting each other despite one’s flaws and differences. (whereas Claude and Edelgard are interested in Byleth right away, because they’re unusual, but in slightly different ways - Claude can kinda relate to the experience of sticking out itself but is still stumped by being unable to read them, whereas Edelgard sticks out in the same way so you’re actually on the same wavelenght to begin with)
“opposites attract” specifically in the way that they balance each other out. A cool steadfast leader type certainly has a grounding effect on Dimitri as a very reactive person, but he also pulls them into the ‘normal’ world a bit after they spend all this time just wandering the world like all places are the same to them. They basically put the magic destiny on the backburner to help him out. They still become archbishop and all to fit the standard fantasy look of it all but not like full messiah like on the church route
Even after the timeskip Byleth kinda plays the mentor role or at least that of the dominant person/ big spoon in the relationship (though Dimitri ends up waaay taler than them especially fem Byleth), “Excuse me this is my emotional support mercenary”
If you go the platonic route you very much stay at „mentor“, Byleth is basically the brains of the operation post timeskip ‘cause the old Mitya can‘t come to the phone right now and Gilbert and Rodrigue would follow him off a cliff
Plot wise, their contribution is to stop the revenge trip when it gets to be a too obvious kamikaze stunt, which they, as a relative outsider to Faerghus and experienced, pragmatic fighter, would do when someone like Gilbert would not
Character journey wise, they refuse to give up on Dimitri and still see the good in him so that he eventually comes to a point where he could envision his own redemption/ come to accept/forgive himself and learn that its okay to move on and live his own life
Byleth can be said to somewhat even out the flaws in everyone‘s leadership styles (while the house leaders help Byleth find their own direction – i didnt come up with this alone there was a brilliant post a while ago that i cant find rn) – In Dimitri‘s case, he has authority/credibility/integrity („Pathos“), being the rightful king with many loyal followers, and emotional/ personal leadership as an emphatetic person who inspired respect for his character („Ethos“) but is lacking in plans („Logos“)
Golden Deer
Overarching Theme: Ragtag Bunch of misfits /Unlikely Heroes (let’s see, we have trickster turned lying politician, upper-class twit turned opportunistic conservative, lazy rich girl, shy glasses boy and his best friend dumb muscle, cursed werewolf girl, stuckup teen genius and the mean money obsessed one )
Composition: Has the most honest-to-goodness commoners - and they largely got in on their own merits, too, while almost all the others had connections. You have a few peeps from the Alliance’s prominent merchant class and one completely ordinary village person whose father was a simple hunter.
History: Bar the two merchant kids none of them know each other and even they’ve been a little estranged since the demise of Rafael’s parents. There are a few backstory connections (Such as Lorenz’ dad basically having murdered everybody’s dead relatives, or Leonie’s village being in his territory) but they’re largely indirect. They come from a range of different backgrounds and life experiences. Even Claude just showed up the year before and doesn’t know anybody. Of course this is all so you can watch them grow into a team on-screen all leading up to Claude’s epic speech about how they got along despite being from different backgrounds (or be surprised if they show up as one post-timeskip)
Unlike Dedue or Hubert, Hilda can still be napped early on because she doesn’t really become Claude’s right-hand person until halfway through part oneIf you recruit any of the deer they’ll say that they didn’t have that much ties to their homeland anyways.
Atmosphere: These are definitely Garreg Magh’s party animals. Or like a bunch of theatre kids. They’re tremendous fun. “Less complicated” as Claude puts it though some have missed the intensity/drama of the other bunches. The Alliance itself might be full of political intrigues but this younger generation is fairly chill with the important exceptions that are Leonie and Lysithea but Leonie’s lack of chill is largely Byleth-specific, she’s plenty chill in her other supports, and though Lysithea probably donated all the extra chill for the other deer and hence doesn’t have any left, the others love her anyways wether she wants to or not because try as she might she can’t really get an argument out of them.
This certainly jives well with Claude’s “friendly surface level extrovert” gimmick they all get along on a surface level and you’ll be hard-pressed to find an ounce of social skills in the Black Eagle house, and the Lions have the Drama Moments, but some have also perceived the deer as not quite as open.
At the same time they’re not superficial. We have a large abundance of Artsy Ones, we have Ignatz, Claude and Lorenz both write poetry, Leonie isn’t good at it but she does draw etc There’s enough insightful ones for depht and insight to be a significant undercurrent in the group dynamics. They all have different sortts of insight - Hilda can read people well, Ignatz has this sort of intuuitive thoughtful understanding, Lysithea is observant and logically astute, Leonie has street smarts etc.
The Leader’s position: Precarious. No one knows him, no one trusts him. He just showed up one day, very suspicious timing, not long after his uncle dropped dead (that was Lorenz’ dad but it’s not like anyone knows) and then he’s a shifty weirdo who cannot help being slightly unnerving despite his friendly extroverted demeanor.
Still he’s a big believer in teamwork, appreciates the value in everyone’s perspective and he can do the friendly extroverted charm well enough to eventually win over most people based on that, though its not until waay after the timeskip that he even considers letting anyone past the soft outer layer. (In Recruited, Raphael remembers him mainly a lover of feats and merriment)
The longer the story goes on the more the Deer transition to being “Claude’s jolly detective bureau” in which he pulls on all their individual insight for maximum info collection.
How this “flavors” part one: It’s taken up largely by Claude’s search for information with the various events being seen in that light.
Claude’s first reaction is often to ask questions and be curious with the emotional response hitting him somewhat later, though it’s definitely also that he keeps up a cheerful face for the team.
Ironically he’s the only one who came to Garreg Magh for it’s intended purpose: To get a ruler’s education and do networking. Dimitri and Edelgard were already onto Thales courtesy of his having killed their families, him searching on his own, her making preparations for her takeover, and Claude doesn’t know - it’s probably a game balance thing because Claude is the smartest person in the game and if he started out with all the info there would be no plot.
How this Ties into The Themes: It all builds towards Claude’s big speech about people from different backgrounds coming together. It’s like a microcosm for what he wants to do with the world, to bring people from different places and backgrounds together and have them understand each other.
Lorenz takes until halfway through part II to come around, but come around he does. (markedly, this happens only on Claude’s route, otherwise he sticks with the empire out of self-preservation and opportunism, though he gladly jumps ship to join the kingdom. )
How does Byleth fit into this: Now I‘ve seen some people saying that Claude initially didn‘t like Byleth or just wanted to use them, but I don‘t think that‘s true. I do think he actually liked them, found them interesting and wanted to befriend them. But Claude, on principle, doesn‘t trust easily, and will in any interaction look at how he can use it.
It‘s a habit born out of both natural curiosity and intelligence (What the 12type eneagramm calls a „Mercury“ Personality type) and the need to survive in a hostile environment where people tried to kill him as a child, and as such it‘s automatic second nature. He has a strong overruling self-preservation instinct. Claude is suspicious and will interogate people completely independent of how much he likes them. No amount of like makes him trust implicitly.
He doesn‘t have a bad impression like Dimitri, but he doesn‘t immediately click like Edelgard and the curve is pretty nonlinear: With Dimitri we have a clear progression from dislike to like and then the reversal where Dimitri had defrosted Byleth and now Byleth must defrost Dimitri. With Edelgard she likes them immediately out of similarity (like Felix likes Byleth, or like Edelgard likes Lysithea and Petra), and the difficulty/drama only comes later when Byleth‘s connection to the church and Edelgard‘s plots become apparent, but mostly she‘s sad that she‘s „destined“ to be enemies with this person she likes, her level of like never goes down. Claude meanwhile – you might compare him with Dorothea. He‘s used to being able to charm people as well as read them, and Byleth is not only a brick wall, but remains one upon closer examination. They really don‘t know about their past – but Claude takes that as evasions and becomes more and more suspicious.
A big turning point here is the Jeralt situation, where Byleth finally opens up and tells him everything, and Claude realizes they‘re not hiding. And that‘s something I really love about their dynamic – Byleth tells him all and Claude is so interested in them and looks out for them.
Though you could assign each of the three a „turning point“ after which they open up - The diary for Claude (which shows him that Byleth really isn‘t hiding anything) Flayn‘s dissapearance for Dimitri (which convinces him that Byleth cares) and the holy tomb scene for Edelgard (which shows her that Byleth won‘t betray her)
Further Dynamic Notes:
Claude and Byleth relate because they both stick out, but it‘s notably about the experience of sticking out in and of itself, whereas in Edelgard‘s case they stick out in the same way. They’re also alike in that they only found out some secrets about themselves when they were already young adults, Byleth’s magical destiny, and Claude finding out he was related to the ruling house. From how he mentions “not being raised in the lap of luxury” and how his royal connections in Almyra are also “distant”, he might in fact have been raised in a normal village and not known he was the king’s bastard son for some time, though once the secret was out he definitely got some princely instruction like training with Nader.
The dynamic both interpersonally and as an action duo is very much a complementary one. Dimitri is very different and has that sorta morality chain dynamic going on. And though they each have their specialties that the other is lowkey jelly of Edelgard and Byleth actually fill a fairly similar niche as the charismatic superhumanly powerful field commander. Meanwhile with Claude there’s a division of labor: Claude’s the planner and Byleth’s the enforcer. He repeatedly observes that his plans would be way less effective without someone of Byleth’s caliber to carry them out.
Out of the three lords Claude is the only one where you get the sense that Byleth works for Claude post-timeskip or that Byleth becomes his subordinate. Dimitri’s lost without them, and while Edelgard offers them a formal position as royal advisor after the mock battle and gets this line about how they can’t yell orders at her in public now that she’s the emperor, but it’s phrased in such a way to suggest that she just wants them to yell orders at her discreetly. They certainly balance out Claude’s presentability/trustworthyness problem the way that Hubert quickly puts them in charge of morale to patch Edelgard’s PR shortcomings, but Hubert pretty much says this to Byleth’s face whereas Claude is the only one who knows where the ship is going for the majority of verdant wind. And in the end he’s like “Babysit fodlan for me while I finish world peace” He’s also the dominant one on an interpersonal level, he gives Byleth this speech about how they should use their position more confidently and promise to detective out their mysterious past for them. He also tries dropping hints that maybe Rhea’s not to be trusted though Byleth’s dialogue options are written to suggest that they bought her maternal act and want her back – some ppl said but this way really expositions that „well meaning deception“ aspect of Claude‘s character. He frequently steers ppl toward something they don‘t want but with the hope that they‘ll want it eventually. Perhaps he could be said to have a very fluid/dynamic view of things and people; The other two lords view them more as fixed, hence „I respectfully disagree… lets settle this by stabbing each other“
The platonic end result is your basic Epic Friendship, tell each other everything, very supportive, look out for each other, take down a zombie warrior together in an epic team attack, what more could you want I think I‘ve made a whole post about what a good friendo Claude is, initial ulterior motives nonwithstanding… He certainly had strategic advantages in the back of his mind but I don‘t think he ever faked liking Byleth
Plot wise, having The Messiah on his team gives Claude a bargaining chip to seize control of the church with its greater influence. On the other routes, he wisely refuses to touch that particular hot potato with a ten foot pole.
Character wise Byleth‘s influence largely serves to mitigate his jaded cynism. He starts to actually believe his far-flung dreams might happen, so he plays far less defensively than on the other routes.
Claude is smart and charismatic („Logos“ and „Ethos“), his main problem is that nobody trusts him. This is a bit more dimensional than just a flaw though, because he hides his real goals (though they are not truly sinister) both to avoid fights with people who would oppose these goals (contrast Edelgard who declares her intentions openly and deals with the fallout, so she has to fight the knights whereas claude manipulates them) and get the chance to gradually convince them and reveal the truth once ppl agree, also he‘s more a tactician than a strategist and often changes his plans in accordance with what he thinks is doable under the circumstances, and not telling what his plans are gives him the freedom to do that – either way, a downside of that is that no one trusts him. He lacks credibility and, having shown up out of nowhere, has less loyalty and support. Byleth, as a chrch-sanctioned charismatic figurehead, naturally mitigates that.
Black Eagles
Overarching Theme: Subverted Villain tropes. We have Emperor Evulz / mad science supersoldier, Black Mage classic, Seditious Chancellor Junior, Sexy Mage, Eccentric Scholar, Pretty Barbarian, Fighting Obsessed Blood Knight and Antisocial Sniper
Composition: It‘s nobles all the way down, even the one commoner used to be famous and is from the capital where all the wealthy ppl live (as opposed to the decentralied alliance and the very spartan kingdom nobles) – The capital‘s a heaven for culture and sophistication but you also see the evident elitism/corruption/inequality problem going on. In keeping with Adrestia being more secular, Ferdinand‘s the only one who‘s explicitly stated to be a believer (in the Marianne support) and he‘s not even super devout
One should also appreciate the irony that the side with the ‚saintly‘ crests is now against the church whereas Faerghus, ruled by the descendants of Nemesis‘ former allies and where he used to have his stronghold are now fighting for the church. But should you go with the church route it also makes a kind of sense as they‘d be goig back to the empire‘s distant origins in a sense.
History: They all vaguely know/ have heard of each other due to their parents being co-workers or living in the same town, many have at least met each other but at the same time they‘re not BFF like the Lions and many take a bit to warm up to each other.
Another thing of note is that while many of the Lions‘ families were also friends and have been associates since the days of Nemesis, many of the backstory connections for the adrestian studenrs would seem to predispose them to being foes rather than friends, half their dads‘ essentially dethroned Edelgard‘s and are various degrees of complicit in what happened to her siblings, Petra was basically taken hostage by the previous administration, Dorothea has good reason to have beef with the local rich people etc
Atmosphere: I‘ve seen some ppl who played the other routes first say things like how they were struck by how individualistic they are and how there‘s far less team cohesion, or how they „all seem to hate each other“ - I don‘t think that‘s correct assesment but they definitely are quirky, independent-minded or both. They scamper off in all directions when introduced and definitely don‘t bother with formal politeness or friendly facades, if they‘re annoyed with you most of them will probably say so. Even Bernie gives Ferdinand a lecture once XD They‘re basically goth. Though I do think it‘s sorely underappreciated that there definitely IS friendship and admiration between them esp. later in the story, admiration & appreciation being key factors especially since they‘re none too easily impressed.
Of course being independent minded makes it likely that they wouldn‘t blindly follow a leader who‘s up to no good, but it would make them just as suitable to participate in a rebellion
Another thing of note is that while the Kingdom nobles all learned to hold sharp objects in the nusery and many of the deer have street smarts or survival experience having had to live through tough circumstances most of the Eagles are complete greenhorns when you first deploy them – sure many have seen their share of effed up stuff but not in a warlike setting. And you have many of the sensitive/reluctant ones like Bernie, Linny and Dorothea. This of course could either make you think twice about the church sending them on missions or predispose you toward Flayns brand of pacifism.
Of course this just leads to Hubert and Edelgard (and to a lesser extent Petra) to clearly stand out as the experienced ones. El-chan and Hubie dear have most definitely killed a man before. The rest of them will definitely have to measure up to pick up the slack after the two of them leave.
The trajectory certainly goes differently, in CF they all return notably more confident after the timeskip (most notably with Bernie) perhaps in keeping with how Edelgard believes in & promotes self-reliance whereas in Silver Snow they never quite stop being like „AAAAA“ though I suppose the point is that they get their act together and do the deed regardless.
The Leader’s position: Absolute both in terms of power (sorry Ferdie) and dynamics. Definite ‚student council president‘ vibe, she largely interacts with them as a taskmaster/ to make them do their homework. She markedly doesn‘t like this and would like to be one of the bunch but genuinely finds it hard to step out of boss mode.
She does try her best to cultivate an equal atmosphere and for what it‘s worth most do drop the honorifics and tell her when they disagree.
How this “flavors” part one: The emphasis is certainly on expositioning how much everything in the setting sucks especially on the church‘s horribleness, I mean in the end if she‘s essentially like „We‘ve all seen it this past year“ but of course there‘s also definite foreshadowing that sHE is up to something, there‘s certainly peeps who picked her ‚cause she‘s pretty and she looked more put-together/less obviously dodgy than the others but then didn‘t personal taste wise jive with her character. The whole scene after Jeralt‘s death is definitely a point where you either decide you hate her or love her forever; You get both „WTF“ and „I get it“ type of dialogue options.
How this Ties into The Themes:
No matter what route yo pick you essentially get a story about going your own way and putting right what the previous generations done fucked up – wether they do this by leading Adrestia back to its holy origins, or by backing Edelgard‘s revolution.
On a political level they either go against their homeland or the previous administration, and personally they‘re all sorta expected to take over their parents‘s job and follow these expectations of proper nobility that they have no interest in and many of them renounce their titles or cut ties with their folks. Only Ferdinand particularly wants his fathers job and even them he means to do it very differently. The happy ending, for most of the eagles, is getting to choose their own paths
How does Byleth fit into this:
Mostly, they shift the team dynamics from Edelgard as the absolute leader in a lofty, distanced position to her coming closer to being „one of the group“ working under Byleth.
There‘s a reason she later names her elite troop the „Black Eagle Strike force“ in honor of their time at the academy. This is almost the bigger difference, because Byleth isn‘t there for the timeskip. The big change is caused by creating this situation where all the black eagles leave with Edelgard, so she knows she can trust them and having real allies needs the slithers less.
It‘s very hard for her to step out of boss mode for reasons ranging from her personality, backstory, monarch obligations and fear of vulnerability, but having Byleth be the boss for once helps. Some of her most formative experiences were a) Her family betrayed by almost all its allies including her own uncle b) being helplessly dragged around as a hostage. She wants to avoid being helpless ever again at all costs and thus grew to be a very proactive decisive adult which is mostly a good thing but can cause her tome come off blunt and unyielding at times. I mean when she‘s worried that Hubert, her best friend, is hiding some worrysome secret from her she‘s like „Tell me that‘s an order!“ and when he expertly sidesteps that (since he knows her well and understands that she wouldn‘t actually force it out of him) she‘s stumped and doesn‘t know how to tell him that she‘s worried about him – and this is a guy she knows since forever. With the other eagles she really looks out for them but can only really show it through her „leader“ persona, she has this one trick, and when it doesn‘t work (like with Caspar or Linhardt who don‘t really want anyone to boss them around or talk politics) she‘s stumped.
This is hugely mitigated when another person of her caliber shows up with whom she can share the responsibility or even leave it to them so she learns to allow herself to be soft and do stuff like admit her doubts, this starts with Byleth but also radiates into the other relationships. See Caspar and Linhard revising their bad first impressions of her later in the support chains
Further dynamics notes:
A recurring theme is being misunderstood (outright stated in the introduction and that one quote by ladislava – and also in the church route dialogues where Seteth says that „the people will never understand her ideals“ ) and finding someone who understands, which is different from Claude and Dimitri who ultimately want the world at large to understand and accept them. Edelgard has given up on that long ago - her version of the „pep talk“ scene implies she thinks its impossible to truly understand anothers sorrow – I like to think that after her siblings died she found great comfort in Hubert being „not much for condolences“ and talking plans rather than sympathies while everyone else was showing pity for something they couldnt understand. Dimitri is basically traumatized (he relates to Dedue about losing everything and thats why they‘re so tight knit), Claude is basically an outcast and relates to all that dont quite fit in, but Edelgard… yes her family‘s dead much like Dimitri‘s, but in addition to that, she has been through an indescribable science fiction fantasy thing that no one has any context for. She views herself as so altered that she considers herself a whole different person and her past self basically dead. Hence someone like Byleth or Lysithea who could relate to all that is very, very tempting to her – we‘re not told if that‘s the truth or just her perception though, Hubert doesn‘t note her being extremly different, and later on she kinda admids that she herself distanced herself from other people.
Likewise the ship dynamic is ‚birds of a feather‘. Edelgard tells you right away: She feels that she and Byleth are similar and is drawn to them because of that. It‘s not just the mad science background, both are stoic natural leaders with a bit of a dorky side. This goes both ways – While others are often mildly stumped by Byleth, she can read them pretty well and gets a lot of dialoue like „wow you‘re telling the truth“ or „I can tell you‘re lying“ - that happens so often that it‘s even used to hint that she‘s the flame emperor.
If you had to name a dominant person it would probably be Byleth but overall this combination is disntinguished by being relatively equal and balanced. She likes having Byleth‘s support but repeatedly mentions wanting to support Byleth as well - As she says after the big mock battle, „sometimes its better to have someone to rely on to support each other through the darkness“. Team dynamics wise they feel a similar niche – the abnormally powerful, stoic charismatic leader who inspires many followers and is a gifted field commander. When they‘re not allies they are foils after all. But as pointed out in their A support despite their similarities each of them have their own particular strenghts that the other envies – Byleth is a better tactician and ultimately better at moral support (though their time powers help). On the flipside, Edelgard is more proactive whereas Byleth struggles with that, and at least her 22 year old self probably has more raw strenght (judging by her stats total and how they‘re evenly matched in the church route reunion cinematic though she isn‘t using her preferred weapon)
If you don‘t marry her then the note the A support ends on would suggest that Byleth sorta gets adopted as a honorary big sister/brother with how El asks them to use her childhood nickname and just lampshading the sense of kinship between them – the platonic outcome is a family bond, which buils as much on similarity and alikeness as their romantic outcome
Plot wise, Byleth‘s presence gives Edelgard something that she wouldn‘t otherwise have: Reliable allies. This means not just Byleth themselves, but the other Black Eagles whom she feels are more firmly on her side as they never defended Garreg Mach from her assault. As she puts it when she tries to recruit you as the „Flame Emperor“, the slighterers will go around causinga strocities but with the sword of the creator on her side she could courttail that better and generally has less need to coorperate even for purely pragmatic reasons so she is free to weaken them ahead of time, kills Cornelia right away rather than work with her etc. Interestingly this is why the front lines are actually further back when Byleth returns than they are in the other routes, but then the war ends the quickest.
Character journey wise, Edelgard goes from being convinced that she has to give up everything to be a tough leader to allowing herself to just be a person, cummulating in the ending where she pulls a washington/cincinatus, abdicates and gets a normal life.
In terms of leadership style, Edelgard has „Logos“ and „Pathos“ to spare, she‘s described as a remarkable leader who inspires remarkable devotion and has a cause/ rationale – but she‘s got her weakness with inspiring loyalty on an interpersonal level. The followers are loyal to the cause – Edelgard herself is perceived as unapproachable and shady/unsavory, see Dimitri‘s rant about how she‘s „strong“, or statements by herself and Ladislava that people tend to misunderstand her. As a superhuman science experiment she is by definition not a „relatable“ leader. So once Byleth proves trustworthy Hubert immediately puts them in charge of morale and of support/pep talking the reluctant recruits.
(In part II we‘ll get into decision making processes but I think here we have to separate by route rather than house since it’s most evident post-timeskip and dependent on plot events.)
Team Dynamics and Decisionmaking
Empire Route
Here, there is a very clear distinction between inner circle and outer circle. Edelgard and Hubert have their own thing going on and once you prove loyal, you’re in, and you get to see a whole different side to both of them, Edelgard lets down her guard, Hubert acts polite and sympathetic where he was previously suspicious and mocking, and they basically tell Byleth everything, including the unsavory pursuits that they keep secret from everyone else – but overall the secrecy, maintained for realpolitik reasons, never truly stops. Basically those three make all the decisions.
Notable is that if you’ve recruited Lysithea she hovers on the threshold between inner and outer circle. She was fed the cover story of the nuke being a church weapon (though she did’t buy it) but WAS told about the secret assault on Arianrhod. This is prolly cause Edelgard likes her, she can become her main advisor in their paired ending.
Kingdom Route
Dimitri describes himself as as someone who thinks change should come from the people and that the leadership should serve them, for all that he prefers to uphold the basic order of society, and this is reflected in his leadership style – though this also reflects that he is a ‚people person‘ rather than a planner, so the plans are left to his advisors like Byleth, Gilbert and Rodrigue. He is more the emotional/ spiritual lynchpin than the mind or will of the group.
In Azure Moon, especially later on, the decisions are really made by the entire group and you see them considering their next step together. Dimitri spills the backstory as soon as it comes up, telling everyone about his relationship with Edelgard for example.
In early part 2 this is at an extreme in that Byleth, Rodrigue and Gilbert are de facto making the decisions and Dimitri is at best a grumpy figurehead that they‘re putting up because they need him as a symbol, but at the same time he doesn‘t really compromise on his revenge obsession and is just dragging the whole team along/ not really reacting to how they are making him the lynchpin for their hopes. (though it is important to note that he didn‘t ask him too either – they decide to follow him out of friendship or loyalty to his house) yet inwardly Dimitri too is blindly following what he believes are his obligations.
A huge turning point is when he returns after the whole rain conversation and Byleth gets to ask him some variety of „What do you want to do“ in which Dimitri makes a step toward both inner and outer self-directedness, but precisely because of that becomes are more complete/better consensus leader.
I also want to stress that Claude and Edelgard LOVE togetherness and cooperation and equality as concepts every bit as much as Dimitri does they want to be one of the team but they find it difficult. And of course Dimitri’s style has its own flaws too
Alliance Route
While the Blue Lions decide everything together and either variation of the Black Eagles setup has an „inner circle“ that makes the decisions, in the Golden Dear that inner circle is basically just Claude.
Even Byleth doesn‘t find out his plans until part two, and it‘s later still till he comes clear with the team (and still doesn‘t reveal all but points to Cyril as a stand-in) Hilda and Lysithea are discernable as preferred right hand people, and Byleth and Marianne as special confidants, but in the end Claude rarely shows his real self and only he knows the plan. If Hilda and Lysithea pick up alot about him and his true self it‘s because of how observant THEY are and how much Hilda is basically a lot like him.
Claude does all the thinking and motivates followers (from Lorenz to the random merchans who support him) by promising them things they want – because even if he can‘t trust peopöle, he can trust their self-interest.
Church Route
Since you are with the church that is ideally a sort of benevolent parental authority under the supposition that people need guidance and that‘s a good thing it is perhaps fitting that though Byleth winds up the nominal leader, this is actually the route where they are more of a follower. They do watch Seteth says, who is doing what he believes is his duty and mission, and we have Flayn as an innocent, pacifistic voice.
They lost their dad, and the Nabateans are a sort of surrogate family. (wether its one that youre born into or marry into, the wiord „family“ is stressed) – they are the „inner circle“ making the decision and the empire kids, ragtag misfits estranged from their homes, follow. On the one hand they‘re going against their home country on the other they have the saint‘s blood and Adrestia USED to be church aligned so it also makes a kind of sense.
Among the Adrestian kids themselves, Ferdinand and Petra get a chance to shine as the ostensible leaders. They are stalward, competent leader-like people in CF too , but there they are more overshadowed by the much more experienced Hubert and Edelgard. - Though when you think about it they are like „pure hero“ versions of them who were never forced to become as cold and pragmatic. Ferdinand, like Hubert, is a nobleman from a storied family who is proud of it but wants to fix its tarnished reputation from his corrupt father. Petra, like Edelgard, is a former political hostage who experienced hardship at a young age and worked her way up all on her own, being very serious and competent despite her young age. I prefer the version where they stay buds rly.
It‘s worth noting that Seteth, ‚Heir of Purpose‘, sees it as their families duty to protect Fodlan and is the only one really doing that – his brothers noped out, and Rhea, uneknowst to him, twisted „protect“ into „rule/subjugate“. One might question who gives him the right to decide things because his mom is magic but on the other hand he really is 100% benevolent and I see no sign that he has any greedy intentions especially in in Silver Snow, all the countries collapse and someone needs to keep order, he doesn‘t understand what the empire‘s doing and why just sees their agression and really is rising to the challenge of upholding peace because something needs to do something about the violence. He had withdrawn to protect his daughter but then in the end he‘s the last one who is really doing what Sothis would have wanted. He looks most like her too having the slightly darker, ‚spikier‘ hair.
Further Thoughts
I’m curious to see how Yuri, the Ashen Wolves, and Cindered Shadows compare/contrast to this and i theyll manage to make the dynamics sufficiently different so that its neither a carbon copy or a blabk mary sue ish superlative.
I mean the other routes are so interesting to dissect because its a tradeof and all have their own flavor so really CS would do better to try to be “different” or, better yet, “complementary” than “better” or “cooler”
#three houses#fire emblem: three houses#fire emblem three houses#fe3h#black eagles#blue lions#golden deer#three houses meta
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High-Rise Invasion Review: Bloody Anime is a Satisfying Character Study
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This review contains no spoilers and is based on all 12 episodes of High-Rise Invasion season 1.
“I refuse to die. I won’t lose to a world like this.”
There’s nothing quite like a good, heightened mystery, especially if it’s working in tandem with something like the horror genre. Audiences have become increasingly savvy towards and desensitized by even the most extreme examples of each genre, which pushes entertainment to go even further.
This isn’t always the right approach, but it can sometimes be just the right kind of crazy and High-Rise Invasion succeeds in finding that balance. The new Netflix anime initially feels like Rob Zombie’s animated take on The Most Dangerous Game or Battle Royale, but it soon becomes far more than a parade of blood, guts, and lunatics. High-Rise Invasion has a complex message that it wants to convey and the anime cuts much deeper than the simple flesh wounds that cover the cast of characters.
Yuri Honjo is a typical teenager who wakes up in an abstract prison reality that consists purely of the tops of skyscrapers and pits regular humans against deadly individuals in intimidating masks. It’s a lot like if John Wick’s assassins consisted purely from the serial killers in The Strangers. It’s a chilling scenario and Yuri is running for her life too quickly to be able to properly question what’s going on. Yuri learns that her brother, Rika, is also in this strange scenario and her goal becomes to reunite with her sibling and find an escape together.
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Upcoming Anime 2021: New and Returning Series to Watch
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Aesthetics are a major factor in anime and High-Rise Invasion tries its best to present visuals that are as engaging as central mystery and story. High-Rise Invasion comes from the more recent anime studio, Zero-G, but it’s definitely one of their most polished works. There’s a strong art direction here and the animation style even feels reminiscent of a grungy anime OVA from the ’80s. The anime’s soundtrack beautifully taps into this energy and it’s full of electric guitar rock riffs that honestly feel like they could be Queen tracks. They intensify and become more wild during the anime’s more chaotic moments.
At first it appears as if the objective in High-Rise Invasion is rather cut and dry, but Yuri learns something radically different each time that she digs deeper into her surroundings or the murderous individuals who wear masks. The anime does a good job with how it illustrates that the masked antagonists are victims in their own ways and that there’s an even higher power that’s using everyone as tools to fulfill a twisted game. The complications and layers behind the new “realm” that Yuri is stuck in are what give the anime such life and make it more than some edgy hack-and-slash action series.
The ideas that High-Rise Invasion poses turn the anime into a larger meditation on what humans will do to survive and how far they will sell their values in order to secure their safety. This isn’t exactly an original idea, especially with how some mysterious and shady benefactor is behind the whole operation, but the execution is at least very unique.
It becomes a creative character study that does manage to say something new on these themes. Some of the most entertaining material that’s tackled through this is Yuri’s struggle to find a way to survive, but to not become worse than the monsters that hunt her. It’s a struggle that’s present from the very first episode and High-Rise Invasion explores it in a pseudo-realistic manner that doesn’t feel overly rushed for Yuri’s development.
A major source of tension in the series stems from how Yuri is trusting and wants to see the bests in others, but this makes her a major liability in the process. This is a game where no one should be trusted and allies are collateral damage in the making, but Yuri finds a real sense of purpose and security when she meets another lost soul in this world, Mayuko Nise. Mayuko’s aggressive personality is quite the contrast to Yuri, but there’s immediately a palpable chemistry between them.
Mayuko gets introduced as an ally for Yuri, but Sniper Mask gets brought in just as quickly as a formidable opponent. He’s treated as a parallel figure to Yuri who also wants to figure out the basics of this world, but he comes at it from a different angle than Yuri and Mayuko’s necessity for survival. Sniper Mask ultimately becomes the most fascinating of High-Rise Invasion’s characters since he exists in this fractured state where he has some level of awareness that allows him to question the rules that govern this realm.
High-Rise Invasion unpacks this larger mystery with three separate series of events between Yuri’s party, Rika’s group, and Sniper Mask’s team. These three narratives all cover different aspects of this universe and it’s an effective strategy that builds real excitement once these disparate objectives get to align and come together. It all helps contribute another layer to how the true goal of this situation may not be to escape and that there’s actually something more appealing to those within the universe.
People will likely come into High-Rise Invasion for the murder and trippy concept, but they’ll leave talking about the friendship between Yuri Honjo and Mayuko Nise. Yuri explodes with joy whenever Mayuko shows her appreciation and they form a sisterly bond that’s truly wonderful, as is Mayuko’s embarrassment every time she opens herself up to Yuri a little more. These two have somehow brought out the best in each other in this twisted world and the growing bond between them is one of the highlights of the series. They’re the new reigning Murder Wives.
No one in the cast feels like a waste, but Yuri and Mayuko grow into especially entertaining protagonists who have a surreal sense of humor and empathy that add a lot to each of them. Mayuko’s romantic love towards sharp blades is a good example of High-Rise Invasion’s wild mix of sensibilities. The dynamic between Yuri and Mayuko is a consistent delight, but High-Rise Invasion develops strong character dynamics across the board and there are multiple pairings of unlikely figures that blossom into endearing friendships by the end of the season. Sniper Mask is often played in juxtaposition to Yuri and his bond with Kuon Shinzaki is also genuinely sweet.
The vocal performances in the English version are also exceptional across the board and add a lot to the characters. Suzi Yeung as Yuri and Jonas Scott as Sniper Mask are the best of the lot, but everyone makes a strong impression. The Mask characters are by nature caricatures and all have generalized names that speak to their weapon of choice like Sniper Mask, Axe Mask, or even Masked Rider Mask. Baseball Mask and Chef Mask are some of the most creative of the lot and are also highly terrifying. High-Rise Invasion at least seems to be aware of how absurd and exaggerated all of this is and is in on the “joke.”
It’s common for series with an overarching mystery as dense as High-Rise Invasion to drag things out or for there to not be enough content to sustain the entire season. High-Rise Invasion very carefully parses out details where different characters collect disparate nuggets of what’s going on in this “realm,” while the audience is allowed to piece all of this together and try to get a little ahead of the game. The anime is also a case where it only improves as the season goes on and it doesn’t run out of ammunition after the first few installments. If anything, it uses this time to work out its more awkward impulses and really find its groove with the characters and structure.
Once everything does come together there’s a considerably different story being told than what it initially seemed. The answers that High-Rise Invasion provides are satisfying and still leave plenty to be discovered in subsequent seasons. These episodes do feel like the end of a first chapter and that the anime and its world are about to get considerably bigger in its second season, yet there’s still enough of a full story being told that the ending doesn’t feel incomplete.
High-Rise Invasion is a very satisfying journey that’s thankfully more than the sum of its parts. It’d be easy for this series to coast on some creepy imagery and boatloads of violence, but there’s a more intricate story that’s in play here. It does give in to some of its baser instincts at times, but this first season delicately builds a gripping mythology and solid foundation to fall back on.
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This is an anime with dozens of murders across its 12 episodes, heightened brainwashed assassins, and those that want to ascend to a level of deity, but it’s really about finding independence in an oppressive world and how the right friend can change someone’s universe. High-Rise Invasion manages to make its gonzo murder party somehow feel relatable and spill just as much empathy as it does viscera.
All 12 episodes of season one of High-Rise Invasion are now available to stream on Netflix
The post High-Rise Invasion Review: Bloody Anime is a Satisfying Character Study appeared first on Den of Geek.
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Hi you... if you were going to curate a little season of films for me, which ones would you choose and why? They don't need to be horror, I'm just curious what you would choose 🌸
I don’t know if you’ll like these movies, or if you’ve already watched them, but after i watched these films, i felt like they might need to belong to you now. i hope they make you smile, roll your eyes, and cry just as much as i did.
1. city of god (2002): this is one of the most immersive and gorgeously shot films i’ve ever seen. it’s set in rio de janeiro during the 60s and spans decades exploring the drug culture in the slums and how this can affect kids just as they are trying to figure their own selves out. the way this film is shot, feels like you were at the sea with them as the sand crunched underneath your feet. but the way that the director captures these individuals, makes you so fucking relieved that you don’t live through any of the circumstances that they go through.
2. the dreamers (2004): set in 1968, this film follows three students in Paris who come of age and explore one another and their limits during the revolution. while these students prop themselves up as individuals obsessed with sex, running underneath themselves is a current of jealousy, obsession, and blurred familial relationships that made me increasingly uncomfortable. you find yourself feeling bad for the children, and ultimately upset at their upbringing because of their parents.
3. if beale street could talk (2018): this movie is based off of james baldwin’s titular 1974 novel. in it, the director expertly and vigorously explores love: a love that feels so real that it hurts. the cast is what sold this film to me. the way they talk, laugh, cry, and smile at one another is achingly beautiful and terrifyingly sad. i wanted to transport myself back to their time period and watch the main characters fall in love because the film didn’t seem like enough.
4. the neon demon (2016): this film follows an emerging model who sacrifices herself to the demands of the industry in order to be attractive and beautiful. there are so many stunning colors in this film that it makes you dizzy, like you’re in a trance and that’s what this world is for the main character: a trance. as she oscillates between reality and fantasy, her world and the characters in it, increasingly seek out to alter her personality.
5. death becomes her (1992): a deliberately ultra-campy parody of trashy, pandering "women's pictures," soap operas and paperbacks from the '80s and '90s. The three leads all do some of their best work - it's hilarious watching Meryl Streep play a terrible actress, Goldie Hawn is particularly hilarious during her character's cat lady phase, and all around just a really fun and eccentric film.
6. princess cyd (2017): i can’t think of anything to write for this but i just wanna say that this is literally one of the most pleasant movie experiences i’ve ever had. so much light and genuine interaction in warm sun rays radiating positive energy and an openness that is far too uncommon in movies nowadays. people talk, people connect, people grow bonds and are allowed to be sexual or intimate or personal without an air of shame or judgement. just pure kind and curious human association.
7. spiderman: into the spiderverse (2018): the message of Spider-Verse is not "gentrify yourself! stop expressing your personality and just conform to what society wants you to be!" After all, what makes you different makes you Spider-Man, and Miles' final expression of himself as a superhero still retains much of his personality and individuality...they're just being used in more productive and fulfilling ways. It's the little things that drive the point home, like noticing that the title page for Miles' finished Great Expectations essay has been stylistically doodled and colored like street art. Rather than seeing his artistic gifts as an opposition to his schoolwork, Miles infuses them together to make the best of the hand he's been dealt.
8. my life as a zucchini (2016): initially heartbreaking and sad, but slowly becoming more joyful and heartwarming as the plot moves along. The film really feels like it captures the essence and child like wonder of these kids, all of them going through hardships but managing to find something to help each other out. It’s so refreshing to see the actual orphanage portrayed in a more positive light, not the usual horrid dump that a lot of lesser movies play them out as. The animation is stunning. One of the best uses of stop motion I’ve seen, everything is so colourful and detailed. There’s some moments set in snowy mountains and these look incredible. There’s clearly been so much love and care put into each and every scene here. The music too, sounds spectacular, it really works well with each scene.
9. lovesong (2016): Mindy and Sarah have that type of relationship where they don't need words because they speak in a language made out of glances and touches. This movie is about the fear of ruining a meaningful friendship and losing an important person, about love that is so complicated that one might not even try because the outcome seems to be so obvious.
10. her (2013): Heartbreak is formative: it changes you heart side out, and leaves your muscles a little stronger, your skin a little thicker, your bones easier to repair. Before this film, I’d never seen anything constructive in having your insides pulled apart by the seams by another person, but this film taught me how. Being in love and then being forced out of it is an experience that changes you fundamentally, but Her taught me its purpose – you don’t need them to leave you so that you can find someone who’s a better fit, because perhaps you never will. You need it to participate in humanity. The common denominator is being hurt, and without it, you’re barely alive.
11. shoplifters (2018): bittersweet and richly transportive, Shoplifters is a film that nonchalantly eases you into its tragic beauty in a way that doesn't punch you hard until the end. It simultaneously made me want to be part of the film's world and also very glad that I'm not. The setting the characters live in is messy and cluttered and full of dysfunction and lies, but it's also got family, and laughter, and fist-bumps, and slurping warm noodles while rain pings on the tin rooftop. So nuanced, so many tiny moments of delicate beauty and unassuming heartbreak, so many people making terrible decisions with good intentions.
12. god’s own country (2017): though it is a love story between two men, this aspect is only addressed briefly in a single scene. Rather, the film is about finding someone who makes you want to be a better person, someone who comes into your life just when you needed it most. Gheorghe helps Johnny open up and realize the beauty of the simple life. From this relationship, Johnny begins to feel comfortable with expressing himself, and his love and gratitude towards others. He also begins to appreciate life in the country, surrounded by stunning landscapes and the beauty of simplicity. Addressing the Yorkshire countryside, Gheorghe says "It is beautiful, but lonely." Johnny is presented with the notion that he doesn't have to be cold and miserable, slaving and drinking his days away. He is presented with the possibility of no longer being alone and finally finding happiness and contentment - and it is more than gratifying to see him accept it.
13. disobedience (2017): a tender star-crossed daydream. the three main character dynamics are special enough on their own, but the romance that blooms at the center is cathartically intimate and even magical: a reunion that feels so inevitable. catching glimpses of a past life, details we aren’t privy to. all the stolen kisses and whispers and promises. a bond so strong that they fall back in sync with each other like second nature, even if they try to fight against it. even if it won’t work. and yet they choose each other, even if for a few minutes.
14. raw (2016): this film is so gross and I like that. There is tons of blood and unique body horror and it all works perfectly for the tone the film is attempting to set. The use of color, specifically neons, creates a constant feeling that you are traveling through some sort of weird ghost world, which I really like. Overall, it's a very well put together film with flashes of brilliance.
15. the night is short, walk on girl (2017): what an absolutely magical adventure of a film. Essentially this is a heavily episodic look at a night in the lives of several people, centered on a woman and a man as she gleefully floats from event to event while he neurotically obsesses over how to "coincidentally" talk to her. The storytelling is incredible; while the overarching narrative is simple there are countless threads woven together to connect everyone in the story to each other. That in itself is a big theme: connections between people, how everything is interrelated, and what a large impact seemingly insignificant things people do can have an impact on everyone around them.
16. coraline (2009): Coraline is the best stop motion movie ever made in my opinion. Before the film released in 2009, I read the book and was completely blown away by its creativity and story. It’s a pretty dark tale featuring many scenes of fright that work well in both a horror setting and an animated kids setting. On surface value, this film is quite horrifying, which is something I’ve always loved about it. While it does make a few minor changes to the book, it improves upon a piece of art that was already jaw-droppingly good. Coraline feels like a real little girl with some real problems. She’s selfish but likable which is something most films cannot translate well. Of course, she has a pretty awesome arc as well which brings this movie to a perfect close for her character. The other-mother is also perfectly done. She is almost exactly how I imagined her in the book and the animation on her is spookily gorgeous. There is not one dull moment in this film. It is literally a perfect piece of cinema.
17. the third wife (2019): haven’t seen a film this visually delicate in a while. Ash Mayfair works with the looming mountain surroundings to make her characters —these women, these girls— as small as possible, as isolated as possible. Uneasiest of all is the protagonist May, so young and so weighed by responsibility, her position blurs between being one of the wives and being one of the daughters. It’s an extremely bleak tale of circumstance. An old tale, certainly, but so beautifully crafted it doesn’t matter. Mayfair holds a fearful tension throughout, and it only ever shatters in the cruelest of ways.The abundance of women and display of sisterhood begin as a comfort, but horror takes over as we realize how conditional and fragile that comfort is. Even the daughters are subconsciously aware, one of them praying to the gods to grow up and become a man, shearing her hair off in naive triumph. It’s a doomed cycle of girls performing roles which are unfortunately their best option, right up until the final scene of May with her daughter, still in their mourning clothes. She, like the older wives, finally realizes they’re the same as the cattle laying on their side for too many days.
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Bookshelf Briefs 1/4/21
Black Clover, Vol. 23 | By Yuki Tabata | Viz Media – Given we came to the end of a very long arc last time, it makes sense that there’s a lot of goofy comedy before we start the next arc (which has a timeskip!). Fortunately, Black Clover is pretty good at being dumb and goofy in a shonen way—I’ve said before that it’s ripping off every single shonen series in the world, but it’s not doing it badly. Therefore we get a lot of silly love confessions, and priestesses who wear spiral “nerd” glasses like Mousse from Ranma 1/2. Oh yes, and Asta is not executed—for now. They still think he’s totally evil, though. Hopefully fighting a devil may help to change that opinion. This has become one of the longest-running Jump series now, and it’s easy to see why it’s still going. – Sean Gaffney
Days of Love at Seagull Villa, Vol. 1 | By Kodama Naoko | Seven Seas – Another yuri series from this author, this book starts with one of our heroines fleeing to the countryside after her boyfriend gets her best friend pregnant. She’s there to teach (and boy, her class could use some lessons in “don’t slutshame and don’t bully”), but she’s also staying with a young woman who’s raising a kid alone after her whole family was killed. The two are seeming opposites, but turn out to possibly have much in common. The yuri so far here is just a drunken kiss, but I’m sure there will be more to it. That said, the series seems content to introduce its cast and then start to simmer things to a slow boil. That’s good too. I want to learn more about this village. – Sean Gaffney
Didn’t I Say to Make My Abilities Average in the Next Life?! Everyday Misadventures!, Vol. 1 | By FUNA and Yuki Moritaka | Seven Seas – I was expecting this to be a 4-koma sort of volume, but it isn’t. Instead it’s just goofy comedy chapters without the ongoing plot that we get in the normal series. So you get things like Reina trying to learn to cook, and Mavis getting hit on by women again, etc. The usual stereotypes apply—Pauline has large breasts, Mile is… well, Mile, Reina is hot-headed, etc. There’s also a flashback to Adele’s experiences at school, where it turns out that all the school’s “Seven Mysteries” are just her being stupidly overpowered. No one should get this who’s not a fan of the original, but those who are should be quite pleased. – Sean Gaffney
Dr. STONE, Vol. 14 | By Riichiro Inagaki and Boichi | Viz Media – Most of this volume is trying to rescue everyone from the evil village “god” and his even more evil minion, who is unfortunately more overpowered than most of our team. On the cool side, most of the rest of the group gets un-petrified after recovering their bodies from the ocean floor, thanks to the power of Taiju being really strong and really dumb. On the less-cool side, Kohaku and Ginro are now petrified, though frankly that’s a good thing in Ginro’s case, as he was bleeding to death. This is probably the biggest villain that Senku and company have had to face before, so it makes sense that he’s finally taking a very dark step (as he himself says) and bringing guns into this world. Great fun. – Sean Gaffney
Eniale & Dewiela, Vol. 1 | By Kamome Shirahama | Yen Press – I was told when I saw who the author of this series was that I should not expect it to be much like Witch Hat Atelier, and that’s an understatement if anything. Oh, the art is still amazingly gorgeous, but the content is very much designed for those who enjoy the dynamic of, say, Gabriel Dropout. An angel and a demon are best friends despite sniping at each other the entire volume. Eniale is a bit of a featherhead. Dewiela has a bit of a temper. Together, they get involved in Very Wacky Situations. How much you enjoy this will depend on how wacky you find the situations. I found it fun, but I think I would enjoy it better in a magazine chapter by chapter than in volume form. – Sean Gaffney
Hatsu*Haru, Vol. 13 | By Shizuki Fujisawa | Yen Press – This series about four couples—heavily overbalanced towards two of them—finally comes to a close by going back to its leads, as Riko’s mom is moving due to her job and… is NOT asking Riko to come with her. Yes, the final volume involves everyone trying to self-sacrifice the most, with lots of tears and angry words. Of course we know that Riko really needs to be with her mom, even if they may not have the best relationship, which of course means that she and Kai are now far from each other. Fortunately, it’s the final volume, so this can be resolved with a flash forward to college. This was a solid series, but I’ll remember it for Takaya and Ayumi more than anyone else—in fact, possibly just Ayumi. – Sean Gaffney
I Love You So Much, I Hate You | By Yuni | Yen Press – Ayako Asano and Saori Fujimura are both accomplished, successful career women working closely with each other at their company. But outside of the office they’re even closer—they’ve actually started sleeping with one another. Two women becoming romantically involved isn’t so much of an issue, but the fact that Ayako is both married to a man and is Saori’s boss poses some significant problems. I Love You So Much, I Hate You is a mature manga dealing with some mature themes. Initially, there are definite imbalances in Ayako and Saori’s relationship, each woman approaching it from a different starting point and hoping to get different things out of it. However, over the course of the volume their needs and desires begin to align. But it’s not easy for either of them for a variety of reasons; granted, a relationship that starts out as an affair is bound to be complicated. – Ash Brown
An Incurable Case of Love, Vol. 5 | By Maki Enjoji | Viz Media – Nanase and Dr. Tendo are a couple now, so, inevitably, we must introduce the rivals. This volume gives us the first one, a rich young man with a medical condition who cynically says that people only care about him because of his money. He runs into Nanase, who is, well, herself, and falls head over heels in love with her. I was impressed how the author took this old-standard josei manga trope and simply… had the leads act like adults. There are a few misunderstandings and small fights, but there’s no huge blowup or breakup, mostly as Dr. Tendo is very familiar with who Nanase is. That said, Nanase still has self-image issues, and the cliffhanger implies a stronger rival on the way. Maki Enjoji is always good. – Sean Gaffney
Kaguya-sama: Love Is War, Vol. 17 | By Aka Akasaka | Viz Media – While we’re still dealing with the consequences of Miyuki and Kaguya dating, the series really has gotten very good at the tiny little jokes. Including possibly the DARKEST ‘in between chapters’ gag I’ve ever seen, where Iino talks about how she enjoys pain as it makes her “feel safe.” As for Chika, I think she has realized that the author increasingly doesn’t know what to do with her. She probably does not have a big character-building arc like the other four, so she’s essentially the goofy one that annoys people, something she is catching on to. Though the funniest chapter in this book features Karen invading the main title from her spin-off manga—still sadly not licensed—and almost getting everyone arrested. – Sean Gaffney
Practice Makes Perfect, Vol. 3 | By Ui Hanamiya | Kodansha Comics (digitial only) – This volume has our lead couple finally going all the way, but that doesn’t mean there aren’t problems. For one, the first time HURTS, and even successive attempts are nine parts pain to one part pleasure for Nohara (who, amusingly, is still trying to handle this in a “sports” way, as is Yano). There’s also the fact that Yano thinks that Nohara is going to break if he tries to be anything but super super gentle, which… also is not helping, though it leads to the volume’s best joke. Fortunately, the next volume is the last. Unfortunately, it appears that we’re going to get a “hey, the girl I love spends her days surrounded by hot guys!” chapter. Still, this Rated-R manga is still a lot more fun than I expected. – Sean Gaffney
By: Ash Brown
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An M9 major arc breakdown: part 1
Arc 1: Who the fuck are you? (I think we might be mercenaries??): episodes 1-25
I was going to do a nice gloss over what I see as the four major arcs of the Mighty Nein story so far in one post, and then I realized that I am (*ahem*) long-winded, we’ll say. And there’s a lot to be said!
Instead, a separate post for each arc, why not. [I will stick links to parts 2-4 here when they’re written and posted!]
So: arc 1. Covering 24 episodes and, according to critrole stats, about 35 in-game days, this arc manages to be both one of the longest and one of the shortest. It covers levels 2-5, and everything from the first meeting in Trostenwald all the way through leaving Hupperdook. It’s a lot! And I thought a lot about trying to split it up, but the more I looked for a breaking point in these episodes, the more every possible division felt really arbitrary, and reinforced the idea that this chunk of episodes has the same theme at the center all the way through.
The arc of these episodes is specifically the progression of the Mighty Nein from not being a thing at all to maybe, sort of, somehow being a thing. It’s full of great character moments, and lays the groundwork for, I suspect, pretty much every important thing to happen throughout the entire campaign, (with the possible exception of some of Caduceus’s stuff, but even then, I have suspicions), because Matt is Good At His Shit. It’s also super interesting in terms of the entire show, because even though it establishes everything, the unsteady conclusion it seems to reach about who the M9 might be or might become gets almost completely (seemingly) thrown out the window by the very next arc--but more about that in the next arc’s post.
In this arc I think we need to take just a moment to get meta in terms of players vs characters, because this is the one part of the story so far where that division is actually, actively important. There’s two big reasons for that. One, the players are still learning who their own characters are, even as the characters are learning each other. Two, there is one single, central, and encompassingly important fact that the players all know that the characters don’t, and resolving that disconnect shapes the tone of this entire arc.
The members of the Mighty Nein are going to be together for a very long and very epic journey. It’s a fact. Even if individual characters die or choose to leave, the group itself is destined for something big, because everybody at that table has every intention of playing straight through to level 20 all over again. What’s more, everybody at that table is already family in nearly every real-life way that matters. The audience knows that this group is going to be something special, expects them to become family in their own right before they’ve even met. The DM knows. The world itself probably knows, in-game--a group of strangers meet in Trostenwald and somewhere on her celestial plane, the Raven Queen is probably watching a bunch of fate-threads tangle together and make a mess of her pretty fate tapestry all over again. The only people who don’t know how meaningful this group is going to be, to the world or to its own members, are the characters themselves.
And that leads to a fascinating dynamic, where these characters run into each other in Trostenwald, and then stay together for reasons even they can’t necessarily fully explain. They never sit down and say, “okay, let’s be mercenaries together”--they get kicked out of Trostenwald and say, “I guess let’s go to Zadash together, maybe?”, and then they just...never break up. The number one question for the whole first chunk of this arc is, “Why am I even with these assholes?” Sure, the easy answer is, “because the players have decided the characters are going to be,” but that’s boring and kind of besides the point. Yes the players have decided that the characters are going to be together--and that creates a story where the characters and the players both have to figure out why as they go along.
.
The way this plays out is different for each character, but there are some commonalities:
Caleb and Nott both have long-term goals, and even though neither of them knows it at first, they both have the same long-term goal: somehow get back to the way the world used to be. The trouble is, this is a really distant goal for both of them, something that requires the kind of intense magic they don’t understand and barely even believe in. Their short-term goals are a much more basic ‘survive and also keep this other person alive long enough to figure out how to achieve that long-term goal’, and that’s what they say they’ve signed up with the rest of the group for. It’s a relatively simple answer that ends up getting ever more complicated in reality.
Caleb and Nott’s relationships with the group actually parallel each other a lot at this early stage, and it isn’t just because they come as a prepackaged duo. Both of their long-term goals have an undercurrent of desperate loneliness that they’ve each been living with since their lives fell apart. In theory, getting what they’re after will help fix that one way or another--but in the mean time, suddenly they’re surrounded by people, and they can’t help but care. They just also don’t trust the rest of the group, because how do you trust people at all, ever? Nobody’s been particularly kind to either of them since everything went to shit, and if the universe had any kindness to begin with it never would’ve happened in the first place. But there’s this undercurrent of...maybe, if they learned to love and trust this group, they’d find out they don’t need what they’re trying to get to begin with, because they’ve already got the secure love and acceptance they’re really craving. Maybe. Certainly neither of them have started to figure that out yet. They can barely admit to liking their compatriots at all.
What’s even more tricky is that neither of them actually have much of a plan for getting from their short-term survival goals towards their long-term goals. Nott literally doesn’t know how Caleb could turn her back into a halfling--she just has faith that he can, if he gets powerful enough, and it leads to things like the stolen letter for an academy Caleb would not set foot in again for all the love or money in the world. Caleb is so bad at bridging the gap between what’s in front of him in this world right now, and the big nebulous world-shattering Thing he wants to eventually achieve. After all, what’s in front of Caleb right now doesn’t matter, or it won’t once he twists the whole world into a new shape anyway--except that it is in front of him right now, and needs to be survived and dealt with, somehow, and that’s distracting in its own right. So the whole first arc is full of moments like Caleb trying to take the spell scroll and Nott trying to steal Fjord’s letter, where they’re grabbing at an apparent immediate step towards their long-term goals at the expense of the people around them, and maybe even to the detriment of those ultimate aims.
Basically, for Caleb and Nott, being with this group is supposed to be a means to an end--but they don’t really know how being with this group is going to help them achieve that end, they’re just...pretty sure it will. Somehow. They’re definitely eating better now, and maybe if Caleb gets into that library it’ll help, or something, maybe, he hopes. The unspoken question for Caleb and Nott both, as Arc 1 progresses, is--do they actually think being with the group is going to help them achieve those all-important goals, or do they just like being here? Nott will follow Caleb anywhere, because he’s her way out of this goblin life, but she doesn’t encourage him to leave to progress somewhere else. Caleb argues with himself when he’s alone, but he always stays in the end. Is it practicality? Is there a plan? Or did they just accidentally fall in with a group of people they actually like, and the group’s constant shenanigans are a useful distraction from having to admit what they're apparently willing to sacrifice for the sake of being here rather than alone?
Fjord and Jester, meanwhile, both claim to have long-term goals, but they sure don’t show any indication that they care about pursuing them. Which makes sense, because Jester and Fjord show up in Trostenwald with personal quests that are devoted to a very nebulous, hypothetical sort of belonging (contrast with Caleb and Nott, who want to belong in very specific ways, in places they once already lived). Their worlds have both fallen apart, too, but far more recently and a little less dramatically. They’re not looking to get back to what they once had, they’re looking to replace it.
Or, to be more specific: Fjord’s entire adult life thus far has been defined by his job. Being a sailor wasn’t just his profession, it was his identity. It’s what he did; it’s where he lived; it’s where he found the only person who ever really cared about him or called him family; it’s where he found his self-worth and his social worth, the first and only place he ever felt valuable to anyone else in the community or the world at large. Heading up to the Soltryce Academy to figure out what’s up with this sword is about finding a whole new self, with a new purpose, a new job, a new person who can tell him what he’s good at and good for and where he belongs now.
Jester’s entire life has been defined by her mom. Marion is her entire world. Jester literally doesn’t know anybody outside the Lavish Chateau, and aside from the Traveller, the few people who do know she exists at all are servants or coworkers of her mother. Jester’s world is tiny, with Marion at the center of it. If Fjord’s self-worth is caught up in his job and what he does, Jester’s is entirely determined by making people joyful and happy, and the only two people she’s ever really had the chance to please in that way are her mother and the Traveler. So she’s looking for her other parent, to replace the one thing she’s always had right there.
In many ways, the particulars of what Fjord and Jester are pursuing don’t actually matter that much. Fjord doesn’t need the Soltryce to give him a job or a purpose. He jumps headfirst into the mercenary business almost overnight; they’ve been in Zadash less than a week before he’s chatting with the Gentleman about professional networking like a man who’s about to pull out his company business cards. Jester doesn’t need a dad, she just needs people to love her and be delighted by her presence. It turns out that this team of people just so happens to address that core need for both of them, and that’s enough for Jester and Fjord. They’re in this head first.
The thing about Fjord and Jester is, though, neither of them are asking any questions about the long term either. Because rolling with the Mighty Nein is hitting all the right buttons to get at the root of what they need, they’re both super blase about letting certain details go without question. Why does Fjord have these new powers he’s now starting to understand? What kind of relationship does Jester actually want with a parent? And where does the rest of the group see this whole situation going in the next weeks, months, years? Jester and Fjord aren’t asking--and that makes sense too, because if they’re not asking, then they don’t have to face the answers. If Fjord doesn’t ever make it to Soltryce, nobody can tell him he’s not good enough, and if Jester never quite gets around to meeting her father, she doesn’t have to find out why he never came back. If they don’t ask questions about the group, maybe nobody will ever remember to leave.
Beau and Molly would be so pissed at being grouped together here, which is not actually why I did it, but is a nice additional nuance. (Part of why they hate each other so much is because they’ve got a lot in common deep down--they both care very deeply and project an image of not caring very much at all, and it pisses both of them off constantly.) The truth is, Beau and Molly are both with the Mighty Nein because they literally have nowhere else to go. Caleb and Nott are trying to regain their old lives; Fjord and Jester are trying to replace their old lives; but Molly and Beau don’t really have lives besides this, or at least not lives they’d admit to.
These two are the closest thing to Professional Criminals in the group when it all gets started--Nott and Caleb might steal and con to survive, but for Beau and Molly it’s been an actual job, with coworkers and workplace etiquette, and bigger heists with full crews arguably similar to the M9 in the past. The circus was Molly’s everything and it got smashed to bits within the first four episodes, but the core Mollymauk of it all means that his life fundamentally doesn’t change with its loss. He is still on the road skipping from place to place, living out of bedrolls and carts and inns if there’s good luck; he’s still slinging bullshit and the odd con, doing a good turn when he can and keeping an eye out for coin; he’s still messing around with a couple of swords, trying not to get beat up or thrown in jail or run out of town, killing a bit when necessary; he’s still embedded in the middle of a group of walking disaster weirdos full of Issues and interpersonal conflict who somehow have to live together and rely on each other with all their broken bits and strangeness. Beau played local contact for every reasonably-sized crew of criminals to come through Kamordah, and not a one of them ever kept her around for the long haul, but she knows seedy underbellies and she knows how to punch people for pay and she knows about honor among thieves and she knows how to trust fundamentally untrustworthy people just exactly as far as she can throw them.
So just the basic everyday operation of being part of the Mighty Nein, the important job skills and general lifestyle, is more in line with what Beau and Molly have already been doing than it is for anyone else in the group. There’s also less conflict with their overarching long-term life goals. Neither of them have any, besides ‘keep doing this as long as I can’. I don’t think either Molly or Beau have any real vision of what a future even looks like, Beau because she’s young and too busy rebelling against to think about building towards, Molly because with no real past he barely even has a concept of change or becoming anything other than what he is. The most either of them can really picture would be a life they don’t want: the Proper Lionett Daughter or Lucien Whoever-The-Fuck. Those are nightmare scenario lives that belong to other people, and Beau and Molly will run from them literally as far and as fast as they can.
While Caleb and Nott are avoiding the question of “is this group really going to help me get what I want?” (because the answer might mean they should leave, and they want to stay); and Fjord and Jester are avoiding the question of “should I actually try to find the thing I came looking for in the first place?” (because real answers are so much scarier than unsolved questions); Beau and Molly are determinedly avoiding the high school guidance counselor question question of “where do you see yourself in five years?”. They have no long-term plans, and neither of them want any. What they’ve got going on right here is good. They don’t have to be alone (which Beau has been all her life, and Molly has never been once, and they both want so badly to avoid). They get to stay in constant motion, running and fighting and drinking and earning money and occasionally experimenting with illegal ethereal-plane-enhancing substances, and that’s just fine.
Yasha doesn’t quite fit in with anyone else because Yasha is gone so damn much, but also because she doesn’t quite match any of the categories. Her whole life fell apart, just like practically everyone else’s, but she’s not trying to get it back, and she’s not trying to replace it. And Yasha does have somewhere else to be, a path she thinks maybe she ought to be following if she could just figure out where it is. She keeps coming back because Molly is the closest thing she has to family; she keeps coming back because fate keeps bumping her into the group and saying she should; she keeps coming back because it’s good coin and easy killing-things work and they’ll have her; she keeps coming back because she likes them, because Caleb is awkward with people but lends her his cat, because Jester is bright and smiling and also loves flowers, because Beau fights next to her and Fjord respects her and Nott gave her flowers once, and that matters.
.
As Arc 1 progresses, as the players get to know their characters better and the characters get to know each other, they begin to collectively answer “Why am I with this group?” with another question: “Just what is this group, anyway?”. It’s a little out of order and a little bit of a mess, just like the party itself, just like life, but the truth is that the members of the Nein find themselves more or less attached to this merry little band before they’ve even really defined what said band is. The characters become a group by accident, by fate, by will of the players, because they’re all desperate for things and avoiding things and because why not. Many decisions about what kind of group they become, though, are a lot more deliberate.
‘Mercenary’ is the first thing they pick up, and they specifically don’t choose it for themselves. (It’s also the first thing they lose when the next arc starts, or maybe at the very end of this one.) They roll into Allfield in the middle of a gnoll attack, and Bryce offers cash for gnoll ears before they can even ask ‘what’s in it for us?’. They already had weapons in hand to deal with the threat--it’s impossible to say what the team would’ve done without that offer, and they were all broke as fuck and badly in need of money anyway--but they didn’t present themselves as swords-for-hire until someone was already asking to hire them.
Allfield teaches them that they can be mercenaries (and gives them an excuse to stay as a group), while Zadash begins to teach them what kind of mercenaries they want to be. It becomes very clear very quickly that this group does not like institutions of power (something I’ve already written about at length). They do a single job for the crownsguard and then immediately turn around and start working with back-tavern insurgents and underground smugglers. While their individual opinions may vary, collectively they do Not Like The Empire.
They also establish themselves as a group that does not trust in general, either the outside world or each other--and furthermore, a group that will push and investigate and uncover answers every time a mystery pops up. They don’t take the Knights of Requital at face value, they investigate around the back end; they track down the Gentleman just because he’s there. They demand answers from each other, from Molly baiting a trap to catch Nott stealing from Fjord to the whole group teaming up to demand ‘Lucien’ explain himself. Caleb doesn’t trust Callie, and Beau doesn’t trust Caleb, and nobody trusts Fjord’s stone-swallowing, and there’s no resolution, only more questions.
Likewise, they are not trustworthy. While they take jobs and generally deliver on what they pay for, they also ad-lib and change direction for their own benefit, and their loyalty to their employers is debatable at best. The argument over the spell scrolls in the High Richter’s house is a major division at the time, but by the time they’re clearing out necromancy for the Gentleman, nobody really sides against stealing the journal or Yasha’s sword. They just come up with a plan together to cheat the Gentleman effectively. When they clear out the merrow in his safehouse in the swamp, they have no problem taking as much of his stuff as they can. They are out for themselves, and the jobs they take are a means to their own ends, not particularly important in and of themselves.
The M9 feel very small, as a group, in the face of a world that’s very big, and we see that tie back in with the past two points over and over again. So much of the Zadash part of the arc involves the stirrings and edges of the war with Xhorhas, and the Nein’s almost instant response of, okay, we want to stay as FAR FROM THAT AS POSSIBLE. The major powers of the world are big enough to crush them, and they are afraid of that--but, the attitude seems to go, the major powers of the world are also big enough to miss noticing them, and that matters too. They steal the dodecahedron and disappear off into the shadows because they know it means something huge, and that’s scary, and therefore grabbing this piece of it might somehow protect them or the world in the long run. They’re able to do it because they’re small, because in this clash of international titans they’re still nobody.
Lastly, this group desperately wants to be doing something moral, they just don’t necessarily know how. They debate over whether the Knights of Requital are good guys, over whether they should help the crown, over the right thing to do with the Krynn assassin. They are so much more comfortable working for the Gentleman, who’s a criminal right there on the surface but doesn’t appear to be actively hurting anybody, than assisting the local law. Even when it’s not a job, or maybe even more when it’s not a job, they find themselves going out of their way to be good people: rescuing Kiri, helping Callie, finding ways to help Horace and Dolan after the attack on the spire explodes everything. For a group of self-proclaimed mercenaries, there’s a constant undercurrent of...should we be doing this? Is this the right thing to do? Should we totally betray our employers because that’s the right thing to do? They’re not loyal to anybody in particular, except maybe each other, but they’re struggling to find some kind of ideal or guiding principle to be loyal to.
All of this culminates in Hupperdook. The group is finally unbending a little, coming to trust each other that little bit more. Beau talks about her childhood, and Caleb says Astrid’s name, and Nott says Yeza’s, and Fjord talks about the orphanage where he grew up. They go down into a prison to fight a whirling death-robot, and it’s sort of because Rissa’s dad promised them a reward but also sort of because Rissa is Theirs Now, and more than anything it’s to save the parents of a bunch of penniless near-orphans. It’s a way to say fuck you! to the Imperial system; it’s a way to combine two jobs at once for their own purposes. It is above all a very new-feeling exploration of the idea that, small or not, they can in fact actually make a meaningful difference in the world. They have power, and that power can be used for good.
It’s by far the least mercenary-like job they’ve taken. Between the bail money they pay for the Schuesters and the additional cash they leave with them to take care of Kiri, they probably spend half as much on the whole endeavor as that new fancy crossbow was worth to begin with. They did something good, and it feels better and more right than all their fumbling maybes.
Aside from Trostenwald, where crisis came to them and the whole story was about getting themselves out of trouble, Allfield and Hupperdook very much bookend this arc, and that makes a lot of sense, because there’s a very similar feeling to both jobs. They’ve done something dangerous, and saved lives, and helped people--regular, good people who hadn’t hurt anyone to get into the situations they were in. They made some profit doing it. Those things are not mutually exclusive, and maybe, maybe they can build something of a career path out of finding the places where they intersect.
This first arc doesn’t exactly conclude--because with an ongoing show like this, nothing ever quite concludes--so much as it reaches a point where many of its primary themes and issues begin to look as though they could, in theory, someday be resolved. There’s a visible path ahead that combines altruism and self-interest. The group members are talking to each other, slowly and carefully. There are still a lot of unanswered questions about who everyone is and what they want, but it seems like the group might just be heading in a direction towards those questions at least eventually getting asked.
It’s maybe the most optimistic place the group’s been in so far, which is of course why this is the point where everything in the whole world comes crashing down--but that’s for the next arc.
#critical role#driveby meta attack#mighty nein#campaign 2 spoilers#mostly only for the first block of episodes
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Do you shipp bats and superman? Or bruce and selina or you don't ship bruce with anyone?
Tbh, I don’t have strong preferences on the matter of Bruce’s ships. Its not a matter of disliking them usually, so much as just not being super hardcore one way or another lol.
I would say probably my go-to is Bruce/Selina, just because I love Selina and there’s that opposites attract element to them that can be hard to make work, but when it works, ugh, it just WORKS, y’know?
I do ship Bruce and Clark for similar reasons, though this is actually more of a recent thing, honestly.....back before I first left DC fandom the first time around, probably around 2012-2013, I definitely would not have called myself a Superbat shipper at all, but that didn’t really have anything to do with not seeing their potential or not liking the characters together. It was more just a byproduct of like.....back then, I didn’t really like how Bruce and Clark tended to be written together?
Like, a lot of that was probably due to the tendency there sometimes is with slash ships to not really write just two male characters from some show or comic and put them in a relationship together, but rather to just kinda take two characters and write them in such a way that they feel like this kinda generic cookie cutter relationship that has more to do with going down a checklist of characteristics/specific moments/themes/etc than it does with who those characters are and what they’re like normally.
But for whatever reason, since I started getting back into DC fandom stuff last year, I’ve found a lot more Superbat fics that are a lot more to my liking, or that just FEEL more like Bruce and Clark in a relationship rather than coming across as two characters who have little in common with them and just happen to share the same names. I honestly have no idea what’s changed in the time since I was last in fandom til rejoining it, at least in regards to this specific ship and how its written, or just as equally likely, something changed about my perspective between then and now that made me read it differently or be more open to it than I was in the past. *Shrugs* Who knows. So again, its like Bruce/Selina, I’m not opposed to it at all, have enjoyed several, but I just don’t tend to ship Bruce the same way or to the degree I have ships I’m more invested in, for most of his kids.
My one big caveat with Bruce and Clark is that like, its GOT to be respectful of Lois, she still should have a presence in Clark’s life and not have been just...erased or overlooked or killed off or just sacrificed on the altar of Superbat to make room for them to get together, y’know? Like I don’t have a particular preference here, like, they could have previously discovered they just prefer being platonic soulmates and just have a super strong friendship that’s not threatened or replaced or lessened by what Clark comes to have with Bruce later, they could have previously been married and are amicably divorced now for whatever reason and still successfully co-parent Jon now, who splits his time between living with his Dad and Bruce and step-siblings at Wayne Manor, and then the rest of his time with his mom and her new girlfriend or wife Diana, perhaps...whatever. Not picky on the particulars, I just need Lois to still be important to Clark rather than treated as though an obstacle in the way of Superbat’s true love.
As far as other ships go......I never got on board with Bruce/Diana even though they do at times have great chemistry.....I’ve just never seen that really successfully resulting in an actual relationship....unless Clark is involved as kinda a...not buffer, exactly, so much as a third complemetary piece needed to complete the picture. Same thing with Clark and Diana too, though, their brief New 52 relationship not working for me for the same reasons. The full Trinity together in every sense of the word? I can dig it. Just two of them though....Clark and Bruce is the only pairing out of the three of them that actually fits on its own, IMO, because something about Clark and Diana has always just felt a little too....forced, or artificial to me for some reason, like.....people always try too hard to emphasize how good a pairing they make on paper, that it just never FEELS natural or organic in execution, and I’ve never really felt any interest in trying to execute a version of it myself to have any idea how my own attempt would fare. *Shrugs*
And then Bruce and Diana on their own, like.....I think Diana respects the hell out of Bruce and will always have a soft spot for him, but her bullshit tolerance does come with a ceiling, and I think for Diana, Bruce is one of those people where she does better with him in small doses, lol. Too much exposure to Bruce, too constantly, and for too longterm.....I think she would end up being like “this relationship is starting to feel too much like a Greek tragedy, and not even one of the good ones, I gotta go, bye” lololol okay so it wouldn’t really be like that. I just mean.....Bruce thrives off of structure and rigid discipline in a way that Diana would find stifling, I believe?
Don’t get me wrong, Diana is incredibly disciplined herself and capable of holding herself firm and steady in anything with a kind of discipline few others could ever dream of, but its not her PREFERENCE, I don’t think. She’d rather default to a freer approach to and through life, whereas Bruce can do that at times to accommodate loved ones needing or wanting that from him too, but at the end of the day, I think he’s always going to rather scheduling in some time set aside for the both of them, as something to look forward to....rather than just letting it come when it comes and then when it does, obsessing over whether he’s neglecting something else as a result.
So again...Bruce and Clark I think work, but Bruce and Diana or Clark and Diana - require all three working in harmony to be what all three of them actually need and want from that triad.
And then Bruce and Talia I’ve talked about a couple times before in depth, and I have hugely complicated thoughts on them due to the sheer bullshit writers have subjected Talia to over the years. I try to ignore Morrison’s take on Damian’s conception as much as possible, like, I never go with that angle or that particular taint on their relationship unless for whatever reason its absolutely relevant to the plot - and I’ve never come up with a plot where it is, nor do I think I’m likely to. And this is for a couple of reasons - the first is that while I’m always saying that any writer could make a case for any character doing anything, conceivably, Damian’s conception as written by Morrison just...destroys so much of the amazingly complex and multi-faceted character Talia often was before he wrote that, and recasts every aspect of her and Bruce’s previous love story as just...a painful, not funny joke. Its not remotely something I ever want to read into those two, even if I’ve never shipped them as endgame myself.
But at the same time, because it did so unequivocally happen in canon, I can never really blame others for accepting it as the reality of their relationship by this point, for whatever reason.....I mean, there’s the simple fact that something like that is so hugely personal to read about and see yourself in as a survivor, for instance, for any survivors who read Morrison’s story and afterward had trouble separating that view of Talia from previous stories of her....like to me, no matter how much I think Morrison is bullshit for writing that story, especially since its hardly like he had any interest in writing or acknowledging Bruce as a survivor in its aftermath.....I fully believe Morrison was like “how can I make Bruce a biological father who owes nothing to the mother and has no obligation to share the child with her or fight over custody or anything like that.”
Which is a shitty reason to do that particular kind of story. And why I don’t blame anyone for disregarding it, as I try to whenever possible, but neither do I blame anyone for finding their relationship kinda ruined in the wake of it, just because sometimes its physically/emotionally just hard to see PAST that kind of thing, even when you know the reasons for it existing at all are threadbare in the first place.
(Its like how I do write and focus on Bruce’s abusive behavior with some of his kids in the past, not because I necessarily LIKE to, so much as it just being such a personal topic to me that from the second it was written into his character and dynamics, whether written WELL or PLAUSIBLY or not, it just became impossible for me to pretend it just never happened or I never read any of those stories, so I have to find some way to tackle it in my stories and takes. But because I do think that the reasons for writing Bruce act that way in the first place were always poorly thought through, and it is a disservice to a lot of the reasons others love the character, I don’t blame them for disliking it and disregarding it themselves, so long as they don’t shit on me or my reasons for not doing the same).
So yeah, I don’t tend to write that particular element into Bruce and Talia’s story ever, for all those above reasons and also one other specific one: it doesn’t just make Talia a rapist and Bruce a survivor, it makes Damian the child of rape. And he’s just had so much shit to deal with in his life with everything else alone, I never am comfortable heaping that onto him as well, because sooner or later it WOULD eventually become something he had to deal with, and no easy thing to deal with, so I’m just like....what if he didn’t have that particular issue to deal with ever.
NOW, all that said....Bruce and Talia still even without that have never really been an endgame ship for me, but rather something that’s kinda always been doomed to be a tragic romance, like they’re each other’s one that forever got away. And that’s because for me, unlike Bruce and Selina being opposite in just the right ways, Bruce and Talia are alike in the wrong ways. Its part of WHY they have the connection they do, and such a deep one....they GET each other, in ways I don’t think anyone else has ever truly understood them. They might not subscribe to the same beliefs, even have the same morals, they might not be willing to use the same methods, their ultimate goals aren’t necessarily the same....but their PASSION for their goals, their beliefs, their commitment to doing whatever each believes they have to do in order to see their goals fulfilled, to see that they never stray from what they believe is their duty, their reasons for existing....THAT is something I think they’ve both always understood about each other, that they have in common. Both believe too strongly in what THEY believe and value as most important, to be truly willing to give that up and follow the other to their goal or along their path instead.....and they get that, so they never truly ask that of each other, or at least aren’t surprised nor hold it against the other when they turn them down. I think they do love each other, and on some level always will.....and it might not even be that they don’t WANT to give everything else up to be with them.....its just, I don’t think either truly knows how to do that and still be them, like they know that even were they to make that choice, it would cost them too much of what makes them THEM, to ever truly do it.
And aside from that, even in an AU setting where Talia didn’t raise Damian in the League, where he wasn’t forced to grow up fighting the way he did, and say she spirited him away and into hiding at birth to hide him from Ra’s, but still never sought Bruce out til Damian was ten or so, even if only because Bruce is too easy for Ra’s to find or keep an eye on....basically, I just mean even in an AU where Talia was a great mom to Damian from Day One til the day Bruce met Damian, and she only kept him from Bruce for ten years or whatever for Damian’s safety....I think that would still destroy any chance of Bruce and Talia ever being together after that, just because in that kind of scenario, Bruce might absolutely understand why she did what she did, even agree with it....and still not be able to get PAST it, not to the degree of....trusting her with his heart again, even if they were perfectly able to coexist well for Damian’s sake. Bruce missed out on the first parts of all his other childrens’ lives because they were someone else’s first. The fact that Damian is the one and only kid of his that theoretically, there was nothing keeping Bruce from being a part of that from day one....like this is the one and only way I will ever accept Bruce having a distinct view of Damian as being different from his other kids in his eyes....its not about him being Bruce’s biological son, its about him being Bruce’s son that he never had to be second to come into his life, that there was nothing stopping him from being there from the start....the fact that Talia, for any reason, did keep him from that, even were it with the best intentions, IMO....that would be something that might not even be Bruce’s to ‘forgive’ per se, like that’s not even the right word to describe certain scenarios that might result in that.....but it would still just irrevocably change something between them I don’t think they could ever get back.
So except for AUs where Talia brought Damian to Bruce right after he was born and stayed with him to raise Damian together, I don’t see them ever working out longterm.....and I don’t really see Talia ever giving up her own beliefs as to how to live her life, shape the world, wield her influence....just to live in Bristol with Bruce and raise Damian with him, even as there is nothing really in that case keeping Bruce from still at the same time continuing to be Batman and do all of that the way HE prioritizes. But again, by the same token.....I also don’t see the inverse ever happening, where Talia finds a way to go where she needs to and do what she believes needs doing, with Damian in tow....and Bruce willing to give up being Batman to just come along for the ride and to help raise Damian. So yeah, ultimately, for me those two are the ultimate tragic romance of Bruce’s core ships, where love has nothing to do with whether or not they work out....just rather who and what they are getting in the way of what they are too each other.
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Feminist Relevant Themes
<-Previous (Introduction)
To talk about Magia Record’s writing in detail, it helps to understand how the game is structured.
Magia Record has many story modes:
Main Story: The main plot, centered on new protagonist Iroha arriving in the city of Kamihama to search for her missing sister. Everyone can read this at any time, and new chapters come out every few months.
Another Story: The events of the Main Story, but told from the point of view of the original Madoka Magica cast. Also always available to everyone.
Magical Girl Stories: short stories centered on one specific magical girl - usually they tell the backstory of the girl’s wish. Can only be watched after obtaining the character in the gacha.
Mirrors Story: A very slowly updated story unlocked by completing many player vs. player battles.
Event Stories: Short stories that come out roughly every two weeks. Sometimes introduce a new character for the gacha, sometimes related to a seasonal holiday. Playable to anyone around during the event (and will be stored in the archive afterwards).
Costume Stories: Tiny story snippets involving a character wearing a special outfit. Implemented one year in and unlocked by obtaining both the character and the outfit in question.
Good
Female Friendship
As with the better side of magical girl media, the game’s biggest feminist plus is its complex female characters and focus on female friendships, including some great examples of female mentors and role models. The mechanics of the setting are even tweaked to facilitate this - gone is the TV series’ lonely, competitive system that isolated girls from each other. Instead, in present-day Kamihama, witches are so strong and plentiful that magical girls are better off forming teams to support one another.
While this change arguably waters down some of the thematic weight of the original (in that this isolation was another example of how Kyuubey’s system is an easy metaphor for other oppressive systems), I find it a worthy trade-off. Allowing for magical girl teams to exist results in much richer possibilities for interactions between characters, especially welcome in a sprawling game with far more narrative content than a one-season anime.
And the game takes good advantage of this - no two magical girl teams are exactly alike, both in terms of internal dynamics and how they interact with other teams.
Doppels
The main gimmick of the game’s story is the existence of “doppels” - a mechanic where a magical girl partially transforms into her own witch to unleash a powerful attack. And from gameplay to story to art, doppels are excellent. They look cool and they’re rewarding to unlock and use in game. From a feminist perspective, I also love the idea of reclaiming witches, the “adult” form of magical girls, into a source of salvation and empowerment for girls* instead of a curse. On a meta-level, it echoes a common magical girl trope of the character transforming into an older version of herself, while specifically to Madoka Magica, it’s a creative way to dismantle the misogynistic implications of Kyuubey’s system!
(*There are supposedly drawbacks to doppels, but that bit of setting mostly serves to make them a ~dangerous forbidden technique~ that shouldn’t be overused.)
Struggling against class prejudice
The tensions between different wards of Kamihama are a key component of the setting, and affect many character interactions. One aspect the Magical Girl Stories are good at is showing how arbitrary and hurtful this discrimination is, and how difficult it is to overcome prejudice once it has become entrenched. It’s made abundantly clear that Kamihama would be a better city without these attitudes - the question is, how to get there?
A variety of careers
Several girls make wishes or have backstories centered on what they want to do when they grow up. What’s especially neat is that most girls ask for the opportunity to follow their passions, rather than having a talent magically granted to them - thus avoiding the pitfall of having a female character’s abilities originate from a power granted by a male character.
The range of career interests depicted isn’t as amazing as it could be (In a cast of 80+, I would love to have more than three girls representing STEM), but there’s some decent variety. Many girls aspire to take over their parents’ family business, for example.
And even some characters who follow more seemingly feminine careers (a model, a chef, an artist, etc.) have serious narratives centered on the skill and effort needed to succeed in those highly competitive fields, which is quite refreshing to see.
Mixed
The many different ways to be a girl
The nice thing about having a large cast of female characters is that it gives plenty of opportunities to show how all of these characters are different. And in general, Magia Record does very well on this front! One aspect I’ve particularly been enjoying is the how the cast has widely varying tastes in fiction. Yes, there are girls who like dreamy romances, but there are also girls who bond over their shared love of a hotblooded shounen series!
Where this falls down somewhat is an overuse of “but look, she has a secret feminine interest.” Sometimes this plot can work, if coming at it from the angle that superficial judgments can be misleading, or that there’s nothing wrong with having feminine interests. But when all the more masculine-presenting girls end up with a hidden fondness for stuffed animals, the sheer repetition becomes rather irksome. It’s as though the game feels the need to insist “but look, she really is a girl!” because the audience wouldn’t believe it without such a trait.
LGBTQ+ characters
In terms of LGBTQ+ content, the game feels rather similar to the original anime and other Madoka spinoffs. That is to say, there are tons of shippable f/f pairings that get teased, but as of the present, only one new playable character (and a tiny sample of minor characters) are explicitly confirmed to be lesbians. No trans or otherwise queer characters either, unfortunately. (Though of course that’s not to stop a good interpretation or headcanon!)
However, as a whole, the game is oddly averse to showing the characters in active, healthy relationships. One of the early frustrations I had with the new character’s portrayal was that the game’s one mutual gay relationship was never directly shown on-screen and gets broken up in favor of more ambiguous teasing. That being said, all the het relationships are treated similarly, either never being confessed and requited or never getting shown on screen. So… I suppose there’s not actually a double standard here, but players hoping for lots of canon yuri content might end up a bit disappointed.
Also, a note on Homura specifically - this game’s version is “glasses Homura,” who hasn’t realized she’s in love with Madoka yet. So despite what you might expect given Rebellion, in Magia Record there’s nothing beyond heavy hints and ambiguously cute scenes between her and Madoka.
Characters with disabilities
A few characters in the game have difficulty speaking. It’s not made clear if this is a speech impediment or something like social anxiety (or autism - I know I’ve seen headcanons for that). There is some depiction of these characters getting bullied, but in each case the character ultimately finds a group of friends who love and support them as they are.
After two years, now there is technically a magical girl who uses a wheelchair. (And it’s a cool custom wheelchair too!) Unfortunately I hesitate to count this as a full positive, because shortly after she appears in it, the character becomes unable to transform and fight for an unrelated reason, so we haven’t seen her in battle since. But who knows - the story’s still moving forward on the Japanese server, and there’s likely to be more content with her in the future.
At the end of the day, though, this is a setting with magic wishes and healing effects. Thus, it’s very common for girls to wish to cure someone’s illness, or to use their abilities as a magical girl to cure themselves, which can easily fall into ableist tropes.
College age magical girls
Yes, really! Although even the oldest characters are only nineteen. However, there’s also a subplot about how two of the nineteen-year-olds are losing power because they’re older, which… hm. The message that we all need to accept passing the torch to the next generation is generally a valuable and good one. Aiming it at older teen girls just on the verge of adulthood is where the implications nosedive into unfortunate. Young girls already get far too many messages that their worth is entirely dependent on their youth/beauty/innocence and that it’s better to stay a “girl” than to be a fully grown “woman.”
The entire reason it’s exciting to see college age magical girls in the first place is that even now, it’s rare to see adult women as protagonists in these types of fantasy adventures. By introducing these young adult characters only to caveat their inclusion with“they’re getting too old to be here”, it puts a very sour note on what’s otherwise a welcome expansion of the Madoka Magica universe.
(It’s also hilariously contradictory to other spin offs in the Madoka Magica franchise, including the implications of the anime canon itself, so… whoops?)
Bad
Lack of diversity
(Particularly racial diversity.)
The only non-Japanese magical girls are from the pre-existing Tart Magica spin-off set in medieval France… and Meiyui. (And maybe Alina.)
Meiyui is a complicated case - her family has ties to both Japan and Hong Kong. Meiyui herself is a fun character, but she also ticks a lot of the checkboxes for a Japanese stereotype of a Chinese person (a la Xiao Mei in Fullmetal Alchemist). As a white person only familiar with US culture, it’s not my place to make a judgement call here, but I’d love to hear from someone who knows more!
The largest disappointment, though, is in wondering what might have been. The Madoka Magica anime implied that there are magical girls all over the globe from every different time and culture, so the game’s narrow focus on one modern Japanese city greatly limits the setting from its full potential. And even within that limitation, the sheer homogeneity of the new cast is starting to get awkwardly same-y.
The arc two’s logo teases what might be girls from several other backgrounds, though, so perhaps this will improve in the very near future. Of course, success will depend on the writers’ abilities to handle other cultures. Which, when given the example of Meiyui, might actually be cause for concern...
Revolutionary Girl Utena, this ain’t
In a game full of decent-to-good backstories, you’ll sometimes hit an unfortunate and very disappointing outlier.
My personal least favorite is the victim-blaming one mentioned in the content warnings. Another low point is a story where a girl frantically diets as a response to another girl’s comments about her weight.
Then there’s the backstory the above picture comes from. It involves a girl who has to drop out of sports because her next school only has a boy’s team - and instead of challenging this situation, it’s the inspiration for her to discover she’s actually happier as a cheerleader anyway. Hm.
This last case is actually pretty emblematic of the game as a whole. Whoever’s doing the writing (the credited scenario team is four people, and from the names at least two might be women?) mostly seems to mean well, but they occasionally step hard into the -isms that come from not actually thinking about the problems with the status quo.
So the game isn’t typically hateful, but it doesn’t push the envelope in any revolutionary directions either. As a result - and it feels weird to say this, but - I really miss having Urobuchi as the writer. Sure, his writing had its own problems, but in comparison, it was at least genuinely thought-provoking. The way that even the adult female characters got complexity and screentime, that whole conversation between Sayaka and the misogynistic men on the train, the compelling exploration of consent and determination that underlies the whole anime – even six years later, these aspects hold up and stand out.
Magia Record is an inversion – far more pleasant on the surface, but without the backbone and depth that made the original so thematically intriguing despite all the suffering.
Next (Other Writing Aspects)->
#puella magi madoka magica#pmmm#magia record#magical girls#feminist analysis#my blog organization tags#magia record analysis#my feminist friendly magireco review#madoka magica#magical girl genre#magia record jp#magia record na#my ramblings#haha this section is so long#nothing else even touches it#and even then there’s so much other stuff I could rant about lol
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Why the Alpha/Beta/Omega dynamics is a rubbish idea, and how to do better
I’ve been reading fanfictions for almost a decade now, younger me really liked Johnlock and Stony and things like that. I’ve read some godawful things and some genuinely great stuff. But if there’s one thing I’ve always felt quite iffy about, it’s the a/b/o dynamics and the omegaverse things.
I genuinely believe that the entire premise of the omegaverse is rubbish and really easy to use to portray harmful ideas, relationships and power structures as something hot and sexy and whatnot when it’s clearly terrible.
Let’s:
1. Take a look at what the a/b/o premise is
2. See what is utter rubbish about it
3. Propose a few ideas to avoid writing an omegaverse fic (if you still wish to write one) which present these ideas at face value
But before we begin, a few things:
First, the themes of rape, sexual violence and abusive relationships will be discussed during this, so there’s a tw tag for these things.
Secondly, I do not believe that depicting terrible things in art means you automatically condone them. Take the way Toni Morrison deals with that scene between Pecola and her father in The Bluest Eye, for instance (that’s the one example that comes to my mind but there are countless others). But I also believe that you have to be responsible when you depict terrible things, and that you should try to make sure what you produce cannot be interpreted as an endorsement of these things.
I’m not here to tell you you are a bad person if you enjoy omegaverse fics, I don’t know you and I’m not here to judge you as people, I wish to engage with ideas and the way they may impact people.
At last, I am not here to tell you what to think or what to write. These are just my thoughts and suggestions, nothing more. I have no authority over you, I can’t tell you what to do.
Are we good?
Alright, then, let’s get started!
1. What are these Alpha/Beta/Omega dynamics all about?
There are posts all over the internet for that’ll explain you that in more detail than this post, a Fanlore wiki page here if you want to read that, it does a great job at tracking down the history of a/b/o, but I’ll sum it up here with a few extra things I think are relevant.
So, in the omegaverse, the society is split between two, or three categories. Characters are either alphas, betas or omegas, well-established roles, socially and genetically: Alphas are in a position of power, the sexually ‘dominant’ ones, whereas the Omega is the opposite of this and the one to carry the Alpha’s seed and whatnot (there are no other ways to put it); the beta is sort of a middle ground between the two.
This introduction of these concepts and that distinction between so-called Alphas, Betas and Omegas comes from a 1970 bestseller, “The Wolf: The Ecology and Behaviour of an Endangered Species” by zoologist L. D. Mech, and we’ll talk a little more about that thesis later.
So it is not surprising that the omegaverse tropes are really common in werewolf fiction and werewolf AUs. Teen Wolf and Supernatural have thousands of these fics on ao3 alone, and there’s more on many other websites.
The classic narrative scheme is the following: the strong and domineering Alpha is in heat and mates with a submissive Omega, bonding with them in the process. The great majority of these fics are M/M fics.
What we have here is the superposition of a social role and of biological functions: the Alpha is in a position of absolute power from a social, and material standpoint, and is the one who gets to impregnate their partner/partners, they have the most sexual power. To put things crudely, they are the ones to make use of their penises whereas the beta/omega does not have this sexual intensity and plays a more passive role.
In the omegaverse, you need Alpha blood and an Alpha’s social status to have sex the way an Alpha has sex, you need to have Alpha blood to live like one. These two things cannot be dissociated. And sex… There’s a lot of it in the omegaverse, I mean it’s basically the offshoot of other kink fics and is pretty much a kink itself.
2. So, OK, the hierarchical aspect of the relationship is a bit weird, and maybe Mpreg is as well, but that’s it, right?
Well not only. Remember that thing about the 1970 bestseller? Its own author acknowledges that it is biologically incorrect and does not apply to wolves at all. There are no such things as Alphas, Betas and Omegas in wolf packs.
But did that keep people from using these notions even though they have been proven to be rubbish?
I mean, the alt right seems to love them and uses them unironically so, I don’t know… And so do some fics. Does that mean that all a/b/o fics are inherently fascist? For the most part, I don’t think so. But they don’t always try to detach themselves from that either.
What about the sex?
Yes, let’s talk about sex. That’s the main reason why 14yo me once clicked on one of these fics, out of curiosity and because I was 14 and didn’t know better. I regret so many things.
Sex in the a/b/o fics is very explicit, very anatomically inaccurate (though it’s not why we click on these in the first place, or smut in general, but none of the gay/bi/pan men I personally know enjoy a/b/o), and quite often, it’s very fucked up sex. Dubious consent, underage sex, outright rape, you name it, that’s what tags are for.
Sex in the omegaverse is a traumatic experience with that strong sense of hierarchy, a possessive alpha and their possession, an omega. It often comes with knotting, too. And if you don’t know what that is, you’re really lucky, don’t google that, ever. Just know that, at least in the beginning, sex doesn’t feel good for the beta/omega, and when it does, it still comes with quite some pain.
I’d argue that sex in a/b/o fics is not too far off from the uke/seme dynamics in yaoi, the two even overlap: there’s an “attacker” and a “receiver”. This is not just dom/subs, which can still be healthy, it’s almost spelled out “the way these have men have sex is downright abusive”. I won’t discuss the rape tropes in yaoi here, many have done so before and better than I could ever do it, but they’re here.
The Alpha is the attacker, depicted with hyper (and obviously toxic) masculine traits and quite the emphasis on his… Membrum virile. He is not the one who has to carry the child in the case of a Mpreg fic. He can’t act any other way, it’s in his blood, it’s his nature, his instincts, he can’t help it if he’s in heat and wants to fuck. Oh, I sure wonder what that sort of justifications makes me think of. I’m sure you’ll find it.
The Omega, on the other hand, is in a position of inferiority because of his role during sex and due to his social status: he is submissive, abused, soft-spoken and physically weaker than the Alpha. He is belittled because he is the one who can give birth to a child, yet a prized possession — not a being, a possession— because of that. Change the pronouns from “he” to “she” and there you'll have a nice surprise. (It’s really not surprising at all).
I’d like to quote a prompt also featured in the Fanlore wiki page for a/b/o, and think about it for a little while.
“There are three types of men, alpha males, beta males, and omega males. Alpha males are like any ordinary guy with the exception of their cocks, they work just like canines (the knot, tons of cum, strong breeders, etc) The beta male, is an ordinary guy without the special cock. Omega males are capable of child bearing and often called bitch males”
The use of “bitch” here is extremely revealing, don’t you think? We’ve got both the animalistic aspect and the misogynistic undertones that come with it. And we, readers, are supposed to find that sexy.
So, what we have is M/M fics dripping with rape culture, misogyny, homophobic clichés (the rampant homosexual and his uncontrollable and violent sexual urges). And don’t get me started on the transphobia and transmisogyny, and racism (when there are POC in at all, which is to say rarely).
Does this mean all writers who write a/b/o fics are rampant misogynistic, homophobic people who endorse rape culture?
The answer is complicated. But, as a former member of the “not like the other girls” group, I’d say that internalised misogyny is very, very pernicious. Rape narratives are ubiquitous in modern “Western” culture. And a/b/o often perpetuates homophobic clichés.
3. What do we do now?
With such a terrible premise, it would be wise to not write anything a/b/o at all.
But perhaps with a self-aware approach, perhaps by subverting these tropes, by dissociating this “biological” aspect from the societal one or by throwing them out the window completely, writing something a little more interesting is possible.
Showing that these categories are rubbish and an artificial construction, for instance. Have the rape victim get away from his rapist, or even better, no rape at all. Have the couple adopt children.
But, personally, I believe writing something else than a/b/o is still the better option.
Fan fiction, fan content can be so much more than these terrible shitty things if we try our best to know where ideas come from, what they imply and how to execute on them.
#fanfiction#omegaverse#discourse#tw: rape#tw: homophobia#a feminist and queer approach to fiction#alpha#beta#omega#a/b/o dynamics#a/b/o verse
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“Spider-man: Far From Home” Review: Spidey’s Euro Trip Keeps MCU Hype Alive
Directed by Jon Watts
Starring: Tom Holland, Zendaya, Jake Gyllenhaal, Samuel L. Jackson, and Jacob Batalon
Considering “Spider-man: Far From Home” had the unenviable task of following up perhaps the greatest blockbuster/finale of all-time in “Avengers: Endgame” it’s shocking how great this film is from start to finish.
It has no right to be as endlessly entertaining without feeling like an afterthought in the wake of “Endgame’s” glorious finale yet here I am shocked at how much I loved this movie.
(Yeah own that shit, Spidey.)
It’s more than just a fun Spider-man romp, it’s genuinely a well-executed and engrossing superhero flick that will suck you in with its charm, thrills, and teenage rom-com joy.
“Spider-man: Far From Home” takes place not long after the events of “Endgame” as an inverse of the snap has occurred throughout Earth known as simply “the blip” where everyone who was snapped has suddenly come back into existence exactly as they were while those who weren’t snapped aged normally. Conveniently of course Peter Parker’s classmates, including his crush MJ, were snapped and subsequently blipped back and now they find themselves on a field trip to Europe where Peter hopes he can tell the girl he loves how he’s feeling. Of course things are never that simple as creatures known as The Elementals are wreaking havoc on planet and when a super powered man from another dimension named Quentin Beck shows up to stop them, Peter joins forces to help save the world once again.
“Spider-man: Homecoming” was a decent rebirth for the webslinger back in 2017, especially in the wake of the wretched “Amazing” series but even though elements of Peter Parker and Spider-man were there in Tom Holland’s portrayal I never felt he truly became either of them. He was a little too prone to quips, pop culture references and frankly had more in common with Miles Morales Spidey right down his fat Asian American best friend (which is a bit problematic). This isn’t to say “Homecoming” was a bad movie, in fact its easily a top 10 for the MCU, but it still felt like a Spidey flick that was just a bit off.
In “Far From Home” we finally, in my mind at least, get to see Holland really become your friendly neighborhood Spider-man but more importantly Peter Parker. Holland is more believably awkward in this film but nonetheless earnest and sincere, not reducing his lines to simple catchy one-liners but showing off more of the character’s personal emotional range. We even see more of the tech savy side that made the character one of the brightest young minds in the comic book.
Peter becomes less of a joke machine in this film, understandably given that his surrogate father figure in Stark has died, and we get to see how this teenager grows into these huge shoes left behind. Its obviously a lot to live up to and the film plays off these emotions of the character well but though he doesn’t go as far as saving the universe he still has a hugely satisfying arc by the end of the film.
(I mean it’s a lot of pressure to live up to the mantle of a billionaire, playboy, philanthropist who just saved the universe.)
This is all happening of course while Peter is just trying to be a kid understandably and get closer to the girl he likes only complicating the teenage angst and often comedic emotions that are playing out in the story. The film balances all this perfectly though as it juggles being both a cute teen rom-com, a Spidey flick and a worthy follow-up to “Endgame” all in one.
It’s kind of nuts how well all these elements work in harmony with one another but the film is just plain delightful, exciting and even tense all the way through.
It’s the pitch perfect cast that gels all these elements together in symphonic tune. Zendaya and Jacob Batalon return and play their parts exquisitely between MJ and Ned respectively. Batalon does a a great job again playing Peter’s best friend delivering some of the film’s most humorous moments and their onscreen dynamic is a ton of fun to watch. There’s undeniable chemistry though between Zendaya and Holland who’s pairing will remind you of plenty of your favorite John Hughes movies. The two help make the whimsical teen rom-com element of the story function at pitch perfect frequency as the “will they, won’t they” dynamic between MJ and Peter is both cute and plenty of times equally hilarious. It might be the most believable teen romance depicted in a major blockbuster to date right down to the awkwardness and dry humored dialogue.
(OTP! OTP! OTP! #ImTrash)
It’s Jake Gyllenhaal’s turn as Quentin Beck aka Mysterio who (SPOILER, if you’ve been living under a rock) continues the new upward trend of quality MCU villains. Gyllenhaal’s Beck is charismatic as hell as the spurned ex-Stark Industries engineer looking to take revenge on the legacy of the late Iron Man. The way his character manipulates Peter, playing on his insecurities and emotions, is at times tense to watch in the best way. It’s nice to have a villain in these films that isn’t just a dark mirror of the hero and Gyllenhaal’s Mysterio, even with low bar set by older films in the franchise, goes above and beyond in this role.
The action is of course fun as always is still very much enjoyable here. The finale is definitely in the top tier of the MCU. The way Mysterio uses his illusion tech in the movie to fight Peter is probably the most imaginative this series has gotten when it comes to these big hero vs villain fights. Holland and Gyllenhaal do great here and viewers will likely enjoy every minute of their exchanges.
(Daaaaww, he isn’t so bad.)
There are no major criticisms I have here, other than perhaps the film still recycles a bunch of old ideas and themes from previous movies but the movie still finds a way to keep it mostly refreshing and the new setting for Spidey certainly helps as well. It’s a Spider-man film at the end of the day though and your enjoyment will probably be gauged on how much you care about seeing another movie starring the webslinger or if the MCU’s franchise fatigue has set in for you yet. Though after “Endgame” I was certainly expecting this movie to be merely just a fun but forgettable in the shadow of “Endgame” but much like this film’s hero it rises to the challenge and helps fill the big shoes left behind.
There’s a joy and energy that’s palpable in the script and the cast playing it out from start to finish that’ll be hard for even the most burnt out movie-goer to ignore. It’s a popcorn flick that rises well above the average and that should be more than enough for most viewers.
After “Endgame” it was hard to imagine how this series could possibly continue without feeling stale but somehow even just two months after its release it still feels like the MCU has plenty of stories left and energy to tell them too.
So amazingly the MCU still has a pulse even after its Iron hearted God father passed on and there is no reason for fans to believe, yet, that this series will run out of ways to entertain us anytime soon.
Not that will stop Disney from churning these films out until the end of time of course...huhah...
VERDICT:
4.5 out of 5
Keep making dad proud, Spidey
#Spider-man#spiderman#Spider man#spider-man: far from home#Spider-Man: Homecoming#Tom Holland#Zendaya#jacob batalon#marvel mcu#Marvel Comics#Captain Marvel#marvel cinematic universe#marvel#comics#comic#comic book#film#films#movie#movies#Spider-man: Far From Home review#review#reviews#movie review#film review#MCU movies#MCU films#Avengers#avengers: endgame#Thanos
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“Predictable” Is Not A Four-Letter Word
Well, looks like it’s that time again. That’s right: it’s time to talk about our good friend, Subverted Expectations™.(WARNING: Game of Thrones spoilers below the jump)
Hey, who’s super excited for the upcoming Benioff and Weiss Star Wars trilogy now?
I’m alluding, of course, to the latest episode of HBO’s Game of Thrones, in which, after an 8-season-long journey learning to own her own power, master her fate, lead armies, free slaves, and reclaim her family’s place on the Iron Throne, Daenerys Targaryen evidently got just a wee bit too much girl power and decided to become…bad? I guess? Boy, who could have foretold such a stunning subversion of expectations?
(I mean, a woman gaining power, being gradually resented by the men around her for her ascent, and eventually being viewed as a megalomaniacal villainess who needs to be taken down a peg is kind of the opposite of a subversion, it’s actually pretty much what happens to most women in power, fictional, or non-fictional, but I digress)
Fan response, needless to say, has been…mixed. Generally, folks seem to be unhappy with this course of events, given that, aside from some allusions to “Targaryen Madness” throughout the series, the buildup to Dany’s heel turn has been widely seen as rushed and somewhat arbitrary. True, she’s suffered a lot in the past few episodes, but the series has also put quite a lot of effort into making Dany a sympathetic character. Complicated, yes, and flawed, as most GoT protagonists are, but still heroic and generally good. Even as a conqueror, she holds her armies to a code of conduct, shows sympathy to the downtrodden, and overall seems to want to be a good, ethical ruler even after she’s taken the Iron Throne. So, uh….what gives?
Those of us who were Star Wars fans during the release and aftermath of The Last Jedi will recognize this feeling all too well. And, much like with TLJ, the backlash itself spawned a backlash. “Actually,” declared the internet masses, “It’s good that Rian Johnson subverted our expectations. To follow through on what Abrams set up would have been obvious and boring. The whole point of storytelling is to be unexpected!” But if this is the case, why did so many people walk away from TLJ, or this past episode of GoT, feeling so unsatisfied? And why, for god’s sake, do we find ourselves constantly having this argument any time a new piece of media comes to an end?
The internet certainly provides many examples of the attitude that objection to an incongruous shock ending is somehow weak, entitled, emotional, and juvenile. There’s a sense that true fans of a franchise are tough enough to absorb an unsatisfying ending, that they actually find satisfaction from the dissatisfaction, and that to want an ending that ties up loose ends and closes character arcs (dare I say, even happily, at times) is to want one’s hand held, or to be incapable of handling nuance or bittersweetness. “Life isn’t always happy!” the internet masses cry. “Life doesn’t always make sense! Life is disappointing too! Deal with it!” But stories aren’t vegetables we’re supposed to choke down before we can leave the dinner table. The purpose of storytelling, for adults, at least, is not just to condescendingly remind the viewer that bad things happen sometimes, and force them to suck it up. Which, of course, isn’t to say that all endings have to be neat and happy, either–there are stories with dark endings that are deeply satisfying (Breaking Bad) and ones with happy endings that are deeply unsatisfying (How I Met Your Mother). There are even stories with subtle, unclear endings that still feel logical and satisfying to many viewers, albeit not all. The ending of The Sopranos, for instance was famously controversial for its ambiguity, but even this ending was tied to themes and concepts planted earlier in the series, and several perfectly cogent arguments have been written to explain this quite persuasively.
But what satisfying endings tend to have in common, that unsatisfying ones don’t, is a feeling of appropriateness and completeness. Most fans who hated the finale of How I Met Your Mother did so not because they resented that it was “happy,” but because they felt it was a 180-degree turn from the arcs of all the characters and storylines up until the last few minutes of the last episode. Conversely, people didn’t love Breaking Bad’s ending because it was “difficult” or “dark,” they loved it because it was a believable, complete, fitting ending to the story that had come before (funny enough, I would wager that more people guessed the ending of Breaking Bad than guessed the ending of How I Met Your Mother, though that’s neither here nor there). But in the current cultural environment, a person can gain quite a bit of attention for boasting that unlike those blubbering fake fans, they LIKED that this ending didn’t conclude the arcs that had built for years, didn’t pick up dropped plot threads, didn’t allow protagonists to learn anything or achieve their goals, and so on and so forth. That they, by virtue of some unspecified quality, didn’t NEED an ending like that in order to enjoy what they were watching. Do I believe people who say this? Well, maybe. Human opinions are varied, and I don’t allege some conspiracy where everyone secretly hates the same things I hate. Nonetheless, I often find a degree of disingenuousness in these statements. A good ending can be obvious, unexpected, happy, sad, or even ambiguous–but more often than not, what makes it good is that it is satisfying. And loving an ending because it is unsatisfying, because it gives the audience nothing it wants, runs counter to this instinct, like it or not.
To use one example of a satisfying ending (albeit not a true ending, since it comes in the middle installment of a trilogy), Darth Vader’s revelation that he is Luke Skywalker’s father has gone down as one of the greatest plot twists in cinema history. Indeed, if you didn’t know that a mystery like this was building, you’d never think to put the pieces together–the ominous references to Luke having “too much of his father in him” or having “much anger…like his father,” the Chekhov’s gun of Anakin’s murder that goes unaddressed throughout A New Hope, and so on. But this twist is somewhat unique in that much of the buildup to it was done retroactively. During the writing of A New Hope, there was no plan for Vader to be Luke’s father–instead, the decision was the result of looking back at what the story had built, and following it to a coherent, unexpected, yet somehow totally natural conclusion that set up compelling stakes for the subsequent chapter. That is why the Vader twist works–it wasn’t chosen purely so the audience couldn’t guess the ending of the film, it was chosen because that was a compelling direction for the story to go, because it complicated and heightened the stakes, and because it deepened the existing text through unexpected means. In other words, arguably the greatest movie twist in history wasn’t great just because it was hard to guess, it was great because of the emotional impact of looking backwards and realizing how well it fit into the framework that was already in place despite the twist being unexpected. The surprise on its own is only a surprise; the surprise filling in the blanks of the story so effectively is what makes it sublime.
So why, then, do we find ourselves sucked into a maelstrom of hot takes every time we say we dislike a shock-value ending? And why does this trend seem to have gotten so much worse in recent years?
Well, it should come as a surprise to nobody that fandom culture to begin with is notorious for the ways in which elitism, gatekeeping, and all-around dick-measuring feature in its social interactions. Anybody who’s spent time in a major fandom has undoubtedly encountered this bizarre form of competitiveness, whether it’s being quizzed by strangers on their knowledge of canon or listening to boasts of “I was into it before it was cool” that would make a Brooklyn vinyl store owner blush. What has changed in recent years is the increased integration of the larger internet into these fandoms, shifting fan discussions from the confines of in-person hangouts or small online chat rooms, into massive public forums such as Tumblr and Reddit. Suddenly, said dick-measuring is not only happening for a far larger audience (including the general public, not just hardcore fans), but likes, reblogs, gold, and upvotes actually give fans a metric by which they can “win” or “lose” these competitions, further incentivizing them as a go-to mode of interaction among fans.
Now, with longform franchises, such as Star Wars, Marvel, and Game of Thrones, this who-is-the-nerdiest-of-them-all dynamic runs headlong into another common form of fan interaction; that is, speculation. When fans of a certain TV show or film series gather together, it’s only logical that one of the main topics of discussion is what they think might happen to their favorite characters next. These two dynamics in conjunction with one another form a fertile breeding ground for the almost gladiatorial style of fan speculation we see in most major forums nowadays. One person theorizes about a certain future plot line and receives a shower of upvotes, likes, favorites, and so on. Another comes back with a biting critique, and is given even more praise. Eventually, what might otherwise be a simple discussion becomes an outright competition, complete with points and ranking systems to keep track of who is “winning.”
This paradigm, in turn, incentivizes a very specific style of speculation. If I begin telling you a story about a girl named Cinderella who lives with her wicked stepmother and two wicked stepsisters, who asks to go to the prince’s ball, and leaves a shoe behind on the steps of the palace, your inevitable prediction that the story will end with a shoe fitting and a royal wedding may be correct, but it’s hardly cause for bragging. Of course you could predict how the story would end, because the ending was obvious. However, if I gave subtle clues in my story that the ending would go a different way, and you were the only one to predict that in this version, Cinderella was actually a vampire the whole time, and the story would end with her turning all the other characters into vampires, you could get praise for your attention to detail and ability to pick up on clues others had missed in this (absolutely bonkers) adaptation of Cinderella. Those of us who have followed the Star Wars online fandom since the release of The Force Awakens will recognize this pattern of behavior, especially in the areas of Snoke’s identity and Rey’s parentage. Though most agreed immediately on the heels of TFA that Rey was heavily implied to be Luke Skywalker’s daughter (or possibly Han and Leia’s), it only took a few weeks for the tide to shift to increasingly fantastical theories. First, the relatively mundane theories that she was a Palpatine or a Kenobi, then the slightly more perplexing suggestions that she was a Lars or Naberrie, and eventually theories that she was an immaculately conceived Force baby, or a clone, or a reincarnation of Padme Amidala.
The simplest explanation for this progression is just that people get bored of talking about obvious theories and want to mix things up with more unusual “what if” scenarios. But it’s hard to ignore the way that the competitive nature of social media fandom fosters this paradigm as well. Like someone betting on horse races, the lower the odds, the higher the reward and the sweeter the victory. Guessing that Rey is Luke Skywalker’s daughter, immediately after The Force Awakens, would be like guessing that the story of Cinderella ends with a wedding–yes, you’re likely right, but so is any schlub off the street who watched the movie once and made an idle guess. However, if you guess that Rey is the reincarnation of Padme Amidala, conceived through the Force, and you’re right, you may well be treated as some sort of prophet. Cue the showers of fake internet points.
I should be clear here–I don’t think there is anything wrong with wanting to guess the right answer to a mystery, or come up with a particularly clever solution to a problem that nobody else has thought of before. To the contrary, these are very normal human desires, ones that anyone who follows my writing knows that I myself engage in. The problem is, again, that this incentive to up the stakes of speculation with increasingly nonsensical, out-of-left-field proposals, purely to outdo others, makes it so that cohesive storytelling without shock value is stigmatized in fandom discussions. Which, of course, makes it harder to call content out for being unsatisfying without being accused of being childish, unsophisticated, or foolish. And so, we wind up in a self-perpetuating cycle. When we set up a paradigm where guessing the plot of a story is a competition, any predictable, reasonable, ho-hum answer becomes “too easy.” We expect content creators to structure their stories to make our guessing games harder, because after all, what’s the point of consuming media if the sweetness of “victory” is undercut by a simple, obvious answer? And if setting up these unexpected endings comes at the expense of a satisfying story, the response from many fans is “so be it.”
Which brings us to an even more pressing issue: the actual impact this discourse has on media itself. Content creators are praised by this subset of fans for creating endings that viewers didn’t expect, because, as established, this style of writing enriches the “game” that they play with one another in various forums. Consequently, fans begin to assume it is in longform media writers’ best interest to structure stories this way–to build a story that seems as though it will go one way, only to pull a U-turn at the last minute just to ensure nobody guessed the ending. Fan discourse, in other words, is normalizing bait-and-switching as a core pillar of storytelling, rather than one of many techniques writers can use to build a compelling story. And, as more people who came of age in the internet era grow up to become content creators themselves, I fear that this recent spate of shock-value media is going to become more of a trend than an aberration. Much has been said about the internet creating political echo chambers, but so too can it create artistic ones–and without dissenting opinions at the table, those reverberations will only get stronger.
So, am I advocating that people fearlessly defend “predictable” storytelling in its common connotation of “boring” and “unoriginal?” Of course not. But even if a story isn’t predictable, an audience member with a keen eye, a good instinct, and some time and attention, should in theory be able to predict it. It shows that the writer has put thought into foreshadowing, thematic congruence, consistency of character and motivation, and overall cohesion. Great, surprising endings are not created by building false decoys of these things. Instead, they’re created by rendering them subtly, slipping them in under the audience’s nose so they’re not aware of a surprise building; or sprinkling in deceptively contradicting information so the audience has to struggle to reconcile these conflicts in their minds. To expand upon a metaphor from our own HypersonicHarpist, a good storyteller–like a good magician–may disguise what they are doing with sleight of hand and misdirection, but ultimately they don’t stop mid-act, set down the hat and wand, and then pull a rabbit out of a nearby air duct vent instead. Put quite simply, we are hard-wired to want stories that leave us feeling satisfied. And the beauty is, we all have different ideas of what that looks like–that’s where good, productive discussion comes in.
But when we let disingenuous, performative internet groupthink make us doubt our instincts that something is amiss, for fear of appearing uncultured or childish, we do ourselves and our media a disservice. Bad-faith criticisms of “predictable” story arcs have poisoned fan discourse to the point where even genuine appreciation for certain shocking endings are drowned out in the cacophony of hot takes. And until more people begin to honestly admit it when they don’t see the Emperor’s new clothes, discussions on media will remain that way. As fans in the age of the internet, we have unprecedented voice and access to content creators, and more tools at our disposal to create content ourselves than any generation before us. Now more than ever, the way we talk about media guides media. It’s up to each of us to make sure we have a voice in that conversation.
#daenerys#daenerys targaryen#gameofthrones#jaime lannister#got#got spoilers#tros#star wars tros#subversion#longread#analysis
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