#but I have a good idea of the overarching arcs and most of a first season
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if I theoretically wrote a screenplay for a theoretical rebels sequel opening ep… wouldst thou… read it???
#I have like an entire show in my head basically. not joking. it’s missing a lot of logic and the whole middle#but I have a good idea of the overarching arcs and most of a first season#I’ve never tried to write a screenplay though. I think I could do it? after my exams this week at least el em ey oh.
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An introductory guide to getting into Sonic the Hedgehog...
…if you're a grown-ass adult who is busy and doesn't want to play a bunch of video games but thinks the characters look sorta cool.
If you've ever been curious about Sonic as a series but haven't known where to start, I have some recommendations! I think Sonic is a cool and still somewhat unique thing because it takes cartoony characters (like a Mickey Mouse or Felix the Cat) and lets them jump around in cool action sequences through the lens of a shonen anime. It's colorful and usually pretty light-hearted, and I think the character designs are pretty iconic.
There's two handy places you can start without prior context, to see if it's something you'd be into...
Getting Started: If You Wanna Read Something
The IDW Sonic Comics
There were years of different Sonic comics back in the '90s and early 2000's, but the franchise got a complete reboot and fresh start with IDW Publishing in 2018. If you're looking for the most straight-forward way to get into this world of characters, I think this is a great start. You don't need any prior knowledge whatsoever to crack open issue 1 and get started. All you need to know is "Sonic and his friends protect the world by fighting against an evil scientist named Dr. Eggman, who they just recently defeated after he briefly took over the world."
I love these comics and I feel that the writers and artists who work on it have a really good sense for this series. Reading issues 1 through 12 will get you the first major story arc. If you like it so far, I highly suggest reading up through issue 32, when another major story arc concludes. After that, the world's your oyster! Unlike the tangled web of Marvel or DC comics, IDW Sonic has a very simple and linear reading order. You pretty much just read the issues in order, and occasionally there are spinoff stories that are optional to read.
Getting Started: If You Wanna Watch Something
Sonic Mania Adventures
Maybe comics aren't your thing and you want something even quicker. These are a series of animated shorts that are lovely. Conveniently, they've been compiled together by Sega into one little video right here.
It's a great intro to some of the main characters, and combines cartoon slapstick with some amazing action sequences.
There's also a nice little epilogue short.
Sonic CD's intro cutscene
If I had to pick a single 1-and-a-half minute clip to embody what I like about this series, it would be this very simple intro movie that plays before Sonic CD. Check it out!
Sonic Origins/Sonic Origins Plus Cutscenes
In 2022, Sega released a compilation of the classic Genesis games on modern consoles. In it, they added a few animated cutscenes. You can watch those cutscenes, plus the Sonic CD intro and the Sonic Mania Adventures episodes, all compiled into one handy Youtube video.
Taking The Next Step: If You Wanna Read Something
The Archie Sonic Comics
You might have heard that Sonic had a comic series published by Archie Comics from 1992 to 2016. This was a vast, overarching series that wrote an original story by weaving together ideas from the different Sonic cartoons and games. It went through several different writers, many different artists, and obviously spanned over multiple eras of pop culture.
It's pretty cool! The fact that it was so long-running, and the fact that Sega wasn't very strict with what the writers could do, led to a lot of buckwild lore, new characters, and plot developments. That said, it's also pretty bizarre, complicated, corny, and cringey at times. There is a stretch in the middle that is pretty infamous among fans.
You have a few options for jumping in.
Option A: You can start at the very beginning and read all of it. If you do this, it is going to be like a One Piece / Homestuck / etc. kind of undertaking, and you're going to be pushing through the good and the bad of huge genre and tone shifts. That's your call!
Option B: You can brush up on the main characters on a wiki and then start at Issue 160, when Ian Flynn (who now does a lot of work on IDW Sonic) became the lead writer. More specifically, you can jump in at the start of a new story arc by starting at Issue 175.
Option C: You can start at Issue 252, when there is a universe-altering event that essentially retcons all of the characters and plot threads from the previous writers and starts completely fresh. Easier to keep track of and you won't have to worry about all the previous plot and lore.
If you want something you can read in a single sitting, you should instead read Sonic: Mega Drive, a short-lived miniseries published by Archie that follows "Classic Sonic" characters (aka, the same vibe and art style of Sonic Origins, Sonic Mania Adventures, etc.) It's really great!
Taking The Next Step: If You Wanna Watch Something
Sonic the Hedgehog (OVA) aka "Sonic the Hedgehog: The Movie" (1996)
This is, essentially, a 1-hour Sonic anime movie. You can watch it in Japanese or in English. I adore it. It makes up its own lore and continuity so you don't need to know anything before going in, besides generally knowing a one-sentence synopsis of who Sonic, Tails, and Dr. Robotnik are. It's action-packed, well-animated, and has great music. Enjoy!
Sonic X
If you're enjoying what you've seen so far, and you want something much, much longer...there's an official 78-episode anime adaptation of Sonic called Sonic X. It's an original story that loosely pulls together some ideas from a few of the games. It's mostly intended for a younger audience, but I hear if you watch it in the original uncut Japanese, it feels a little less "for kids."
Other Ways To Get Into Sonic
There's some great video essays on Youtube about the series!
Professional animator Dan Floyd did an in-depth video looking at the highs and lows of Sonic character animation in the games starting from Sonic 1 up through Sonic Forces.
Super Bunnyhop plays through the first level of a bunch of Sonic games to compare how the mechanics, physics, and level design feel throughout the games' history.
Liam Triforce has a great deep dive on the franchise's music.
You can play The Murder of Sonic the Hedgehog, a murder-mystery-party themed visual novel put out by Sega. It's nice and short, so you can finish it in an afternoon.
If you haven't seen them already, you can check out the live-action/animated hybrid films Sonic 1 and Sonic 2 featuring Ben Schwartz and Jim Carrey, they're pretty good. That Sonic Prime cartoon that's currently on Netflix is pretty good too.
This may sound strange, but honestly you might enjoy poring over the sprite sheets from the old games. In particular, I really like the sprite animations from the GBA games, like Sonic Advance and Sonic Battle.
Sega is pretty lax about allowing noncommercial fan games, so there's at least a hundred different Sonic fan games out there by hobbyist developers. Check out the Sonic Amateur Games Expo and the Sonic Fan Games HQ.
You can watch LPs or cutscene compilations of the games on Youtube! If you watch Sonic Adventure, Sonic Adventure 2, and Sonic Heroes, you'll get a crash course on most of the characters.
And finally, of course...you can play the games if you want to! There's a number of them that are available on Steam, Switch, Xbox, and Playstation if you don't have access to older consoles.
There's a lot of different angles to come at Sonic as a franchise, and lots of different entry points. Have fun!
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sometimes i wonder about what fandom is going to look like in 5 or 10 years. i think we might have already started to see a shift.
because, look, most of the oldest, biggest fandoms are from tv shows and movies, in particular ones that go on for years and scores of episodes. star trek, star wars, stargate (is everything star?), doctor who, supernatural…even sherlock really got its biggest popularity boosts in the modern day from tv adaptations. marvel and dc were comics first, too, but movies made them more accessible; their “cinematic universe” tags are the biggest on ao3 by far.
but what tv shows are we getting now? short, 8-episode things that get canceled two or three seasons in, that are usually less-than-faithful adaptations of other media anyway.
what movies are we getting? well, marvel turns more to slop every day, and everything else is remakes and sequels no one asked for. the general populace will still go see them and find some good movies that they like, but there’s not much really for fandom to grasp onto.
the best shows for fandom that we’ve had recently, that i can think of, are stranger things, game of thrones, and maybe our flag means death. stranger things is dying off, especially since they’re looking at a 3-4 YEAR gap between s4 and s5. game of thrones’s popularity plummeted after its final season, we all know that. our flag means death is still chugging fairly okay, but after that second season a lot of the fandom dropped it, and with it now being cancelled, i don’t see it sticking around.
yes, we can chalk part of this up to a new generation to of fans having this growing idea that fandom is super temporary, to be abandoned as soon as its not on trend. but media used to be on trend for a whole lot longer than it is now. seasons were longer, we had filler episodes, things were lower quality sometimes but at least they came out on a consistent schedule. i don’t mind if supernatural isn’t an artistic masterpiece, but if i was a stranger things fan waiting until 2026 for the final season, i would be annoyed if it wasn’t damn near perfect. that’s assuming i watched it at all—we’re all so used to not getting endings and moving on, so why would i bother?
i think there are two types of shows doing sort of okay about this. one is procedurals—9-1-1 is a popular one i’ve run into, and it started in 2018, around the beginning of the decline, but it’s managed 7 seasons in those six years, most of them with 18 episodes. the other is, honestly, anime—though we can and SHOULD talk about the terrible working conditions that make the fast turnarounds there possible. look at how big some anime fandoms are.
judging by the relative fandom popularity of other procedural dramas (grey’s anatomy, law & order, criminal minds), i think that’s going to remain sort of niche. fandom likes fantasy and scifi best, and they just don’t tend to have as strong of an overarching arc to dig into. at least, that’s why i wouldn’t watch them. i think there’s also a good chance these will start to die out in the coming years as well.
anime could also die out a little bit. better working conditions would necessitate less/slower content, and it’s true that most of the popular anime fandoms have been around for years, even decades.
so, what, no new, lasting tv show or movie fandoms anymore?
what will the biggest fandoms be in 5-10 years?
podcast fandoms have a shot. the magnus archives is still going strong, and i’ve been seeing a lot about dungeons and daddies. i think we’re kind of almost past the golden age for podcasts, but i am an outsider, so maybe that will change.
book fandoms seem like a kind of obvious choice, but they just don’t get as big without, you guessed it, a movie or show adaptation. and the downsizing has hit them, too—can you think of anything from the last 5 or 10 years that rivals harry potter, percy jackson, warriors, lord of the rings, hunger games, acotar…even game of thrones (asoiaf) again? i can’t. the collapse of the publishing industry is another post entirely.
2020 is really what cemented these changes, though they were starting in the late 2010s, at least. with actual industries shutting down, there was room for indie creators making things alone in their houses to pop up, and people had more time on their hands to try new things out and get into them.
the two things that have really been on the rise since 2020 is rpf and video game fic—often both combined. we’ve got genshin impact, call of duty, minecraft of course being huge, rpf of various youtubers, and k-pop rpf. now, i think rpf is contentious enough that it won’t really become the main fandom, but video game fic…might be it.
even video blogging rpf can often be a blurred enough line that people are more comfortable with it. and the thing is…youtube creators are actually more reliable than mainstream television these days. they need to be, to maintain their platforms. they need to not cancel series and to live up to their own hype as best they can and to not abandon the channel for 3 or 4 years at a time. and again, you can talk about burnout and unrealistic expectations and all of those things, but it’s still true.
maybe i’m completely wrong. maybe in 10 years the film and publishing industries will all sort themselves out and we’ll go back to the status quo. but i think this position fandom is finding itself in is interesting, and i wouldn’t necessarily be surprised if what’s most popular (both in the specific source material sense and the medium/genre sense) is different some time down the road.
#wren wrambles#fanfiction#ao3#fandom#fandom meta#fanfic#fanfiction meta#i’m curious what other people think about this#tempted to tag the fandoms i mentioned for reach but. dont know. we’ll see how this does
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Behind the Seams: Part III
Welcome to the first instalment of Behind the Seams! Thank you everyone who has responded so positively to this slightly self-indulgent idea I had. I know I take so long in between chapters, this seems like a fun way to keep you guys in the loop, and also to keep myself motivated and productive while I work by sharing my thoughts as I go.
This time, I'll be rambling about focusing on the characters as I'm still in the thick of developing personalities and interpretations in the Seams universe, and I'd love to put all the thoughts that have been rattling around my brain into words to help me process it.
I will be tagging these posts as 'behind the seams' together with the chapter number 'seams iii' so you can filter this out if you don't want to see them! For those who are interested, let's dive in below the cut!
Current status: 3.2k written, fully outlined rough draft with most of the dialogue drafted.
Initial thoughts: This chapter wrote far more easily than I expected to so far. Each story is different, but I tend to find the 3rd to 5th chapters hardest to write, when you're building up the shape of the arc of the whole series.
I'm still keeping my options open with regards to what Seams is or can be, but I'm still thinking 'loose fit series' i.e. there won't be a solid, overarching story arc or ending to the series since it's not a plot-driven story. It will be interesting to see if my approach changes after a couple more chapters!
The challenge: The first two instalments were so hyper-zoomed in on Joel and Pin, I knew that the challenge for this chapter is pulling back the camera and seeing how they interact with each other outside the safety of the Outfitters, and how they fit into the wider community.
Joel and Pin: I was re-reading Threads in preparation for writing Part III, and what strikes me is that these two really don't know a lot about one another. They've barely had a fully formed conversation despite the forced proximity and some very charged moments in the last two chapters. I've tentatively written most of their dialogue in this chapter, and it's interesting that a couple of times, I've stopped myself and thought - is this too playful for a shy person like Pin? Is it too familiar with two people who are practically strangers, despite their chemistry? It's a balance that I'll have to find as I edit, and I'm excited to see how it turns out.
Tommy: For some reason, Tommy comes fairly easily to me, a testament to Pedro and Gabriel’s chemistry on screen. Without giving too much away, I'm really happy with the angle I found for Joel and Tommy in this chapter. There's a lot to unpack between the two brothers, but the happy occasion means that I can focus on the good part of their relationship for now. However, I am keeping the tensions in their history in my back pocket because I don't want to gloss over the very real and three-dimensional relationship we saw in the series.
Ellie: I've talked about how I'm nervous about writing Ellie. My Pedro boys are all lone wolves - sure they have their best friends (Teak to Palomino!Jack, Santi to Grays!Frankie, Pete/Rebecca to Consent!Dieter), but Ellie is Joel's kid, and she's part of his life more than any BFF is to my other Pedro boys. Luckily, I have found an in with Ellie that I think works well with the story in Part III, and also fits in with the broader direction of the fic. It's going to be nerve-wrecking, but I'm ready to write her into Seams!
Tess: I'm not in a place to say too much yet about Tess, but it's so important to me that she isn't erased from the Seams universe despite her not being there. I've been thinking a lot about Tess lately, about how she will fit into the story, how Joel will fit Pin into his and in relation to Tess. There are no easy answers, and it will be something to mull over in the next few chapters.
Something fun: Ok, all this character stuff is pretty heavy, so I want to end on a light-hearted note - Joel's tummy makes a cameo in a white undervest 😌
And that's it for Behind the Seams: Part III! I feel a lot lighter having found a space for all the things I have been thinking about while drafting the chapter. I hope this was a fun deep dive for you guys as well, I'll be hitting Google Docs hard this weekend to try to get all of the writing done for Part III so that I can start editing next week. My askbox is always open if anyone wants to chat 🥰
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you don't understand guillermo and his arc
have i got your attention?
hello, my name is nia, and welcome to me opening a blog solely for the sake of yelling into the void my analysis/meta of the haha hehe silly vampire show.
Small introduction/index right before beginning:
Spoilers for s5 finale!
Re-framing of what wwdits is really about and setting the record straight as what to expect and what not to be angry about.
Discussing how Guillermo's arc of letting go of his vampirism isn't, in fact, a let down or a missed opportunity and quite the opposite, is in character for him, in line with his character arc, and wasn't "all for nothing".
Long ass post (not exaggerating), so click "read more" and buckle up. Here we go.
I have to start this by reiterating that first and foremost, this is a batshit insane comedy show with batshit insane, morally bankrupt (yet endearing) and complex characters. It's not interested in telling a story or a plot, it's not interested in being pretentiously deep, and I say that for the people who can't really come to terms with the format and that the show is going nowhere, because it's not supposed to be going anywhere, it's just the daily lives of vampires and their little adventures and sometimes struggles. In a weird way, it's slice of life.
This show isn't like Good Omens or Our Flag Means Death in which you're concerned with an overarching plot. Even season 4 and 5 seem to look like it has an overarching plot, the term you're looking for is contained theme of the season. It's like "villain of the week" format. Only for the seasons. S1 we had the baron, s2 we had vampire slayer guillermo, s3 we had the vampire council, s4 we had nadja's night club, s5 we had vampire guillermo -- and these are just very broad summaries.
There ISNT an overarching plot, it's the character arcs that are starting to pick up, which guillermo's is the strongest and most reoccurring.
It's episodic even when there's a theme and plot of a season, and it's meant to be bite-sized and contained and followable. Someone who doesn't know this show can watch one episode from season one and one from season three and it wouldn't be that jarring depending on the episodes, like, the cast were able to answer "what episodes would you recommend to someone who hasn't watched the show" on the tumblr live ask.
The writers and the producers of wwdits are concerned with making you laugh, exploring how insane and unexpected places they can take things with a cast of vampires of the past who haven't quite adapted to the modern times and are devoid of common sense and knowledge most of the time in a mockumentary style. Yes, you know this already, I know, it looks like I'm being patronizing or condescending.
But do you know, really? I'm talking to a certain demographic, so please don't take this personally.
What most of these people consider dropping the show over, like the reasons "nothing changes" or "things go back to the usual and it's getting old" or "they throw ideas away" or "serious stuff gets brushed over so quickly" don't consider that these are often done on purpose.
Half because of the format and that the documentary crew can't be there all the time to capture every little thing and character moments you are naturally given in a normal TV show/movie, and half because it's one of the core themes of the show, that nothing ever really changes and these are centuries old vampires who are so closed off to change. That's the thing. That's what it's all about and that's where all the jokes are stemming from.
In a normal comedy show, you might perhaps see the characters being unhinged together, but you would also get to see their most private and vulnerable moments, (like maybe brooklynn 99), and you take that as granted, it's sometimes spoon-fed through cinematography and what's purposefully caught in camera per director and writer choices.
wwdits follows a very clear show-don't-tell narrative of characters putting on a front for the cameras, and you have to read between the lines more often than not to figure out these unreliable narrators, otherwise you might miss some things and take it at face value.
one example of this in my opinion is the relation between laszlo, baby colin robinson, the bastard children he doesn't like to talk about and the baby he turned into a vampire. the latter is very much played as a joke, the bastards are throw away line by nadja, but when you take baby colin into the picture and how happy it made laszlo to be a father (no matter how questionable), how (questionably) amazing he was at it, and how losing baby colin robinson downright made him grieve and mourn (like. he abandoned nadja to look after this child), you get a clearer picture as to why laszlo might have made a baby into a vampire and why he doesn't like to talk about the children he's fathered. maybe it's because he wanted to be a parent at one point, maybe with a vampire baby he could have a child who wouldn't die. it seems deeper than it was at first glance, the complexity is hidden beneath the layers of vampires being funny assholes.
other times you have to not overthink it and learn to accept some things are purely for shits and giggles. no matter how many levels of fucked up they are on. it's literally no use discussing the morality or how wrong things are. and on a framework such as this, the running gag being characters being left somewhere when their plot-relevance is over (benjy, jim the vampire, derek, the hybrid creatures etc.) shouldn't come off as surprising or lazy writing. because that's it, that's the joke.
This isn't to say this is a get out of the jail free card for not having progression or development.
I'm just saying that the vampires getting into shenanigans and everything being okay in the end despite all the drama is the status quo, and if you're going to have a problem with "sunrise sunset" and are so impatient with the theme of change being explored at a slow pace, then this show is not for you.
You are perfectly welcome to be frustrated with everything resetting, but you also have to know this is what you signed up for. The show is both trying to tell you something using this storytelling device to navigate the inherent cycle of stagnated repetition of the vampires' lives AND showing you that things ARE changing at the end of every season, bit by bit.
It's entirely on you that you don't notice and/or care it wasn't in the way you wanted it to be.
Like what they did with Guillermo.
The consensus of the arguments I've seen on this site consist of:
they finally made him a vampire and took it away from him and it was for nothing
it wasn't explored enough and well-enough
it breaks canon for him to be so squeamish about killing when he's been committing atrocities the whole show and it's a lazy reason to turn him back
nothing came of it. it ruins his character
he should have stayed a vampire it's what he wanted and deserved all along
it doesn't make sense with the narrative, they are writing him so differently now like he suddenly doesnt want to be a vampire? his character arc peaked in s3
First question: have we been watching the same show?
I'm going to walk you through this step by step for analysis sake, bear with me.
Who is Guillermo de la Cruz at the beginning of the show?
He is a fucking loser.
He is a pushover, has no confidence, deep down he's become so twisted from all the resentment and spite built up from being so overlooked, underappreciated and being cast aside. He has no life, he pays to live there as a familiar, his entire life is dedicated to Nandor, he's so tiny, has no presence.
And we establish his main motivation and want: to become a vampire.
But why does he want to be a vampire? Antonio Banderas in Interview with a Vampire. This apparently "inspired Guillermo because he had never seen another Hispanic person onscreen as a vampire". Yes, he projected and self-inserted to Armand, yes we know.
When you look closer, you'll pretty soon understands he craves the power he'll receive once he becomes a vampire. He'll become cooler, "sexier" (like he says that he doesn't feel any sexier when he became a vampire), nobody can look down on him, he can finally be someone, leave the old, pitiful Guillermo behind, it's all he's betting on. He doesn't want to grapple with his problems, the sexuality he represses, the Catholic guilt; he wholeheartedly assumes he'll just be a new person once he becomes a vampire, and for that, he'll do anything. He doesn't want to be a vampire, he wants to be a new, burden-free, hot-girl-eternal summer Guillermo who will demand respect just by existing.
Vampirism is the get out of the jail free card for him. The easy way out of his flaws and insecurities.
There's something called character's want vs. need in writing. What a character wants may not always be what they need. This is perfectly portrayed with Guillermo. Becoming a vampire isn't necessarily what he needs.
What he needs is making peace with himself, growing, acceptance, love, establishing confidence, finding his power -- self-growth.
the problem is he thinks vampirism will automatically give these to him. it couldn't be farther from the truth. this is a typical case of thinking the grass is greener on the other side.
So, naturally, discovering he's a vampire slayer is ruining everything for Guillermo, setting him up against the vampires whom he's trying to be a part of, to be accepted and loved by. It's threatening his found family.
Even though it's the most competent, confident, sexiest, and in element he's ever been in his life. It's what he's best at, when he's doubting himself the least, when he shines the most, the abilities come to him from within.
And he can't allow himself to embrace it. He still thinks vampirism will give him what being a Van Helsing is already giving him. He's gaining his footing, sticking it to the vamps who don't appreciate him where they deserve it, standing up for himself, being sassy and cunty, opening up, GROWING.
Yet he doesn't see it.
He believes he'll be whole once he becomes a vampire. You see him benefit so much from the van helsing genes but not once does he embrace it or actually celebrate his identity, embrace himself and who he is when it's what made him bloom in the first place. HE DOESN'T SEE IT.
He wants to renounce being a vampire slayer. He says it in season 5 to the baron. He full on wants to give up what makes him, him.
Hell, the symbolism of being a vampire slayer getting in the way of his transformation by fighting off the vampirism is so ironic and symbolic at the same time:
He can't find his true self and what his heart truly wants and needs if he doesn't give up the idea of being a fucking vampire. His true self has been within all along.
Guillermo's arc didn't peak in s3, it wasn't even close to being completed, because he hasn't found himself yet, he hasn't accepted himself yet. He hates being a vampire slayer deep down for setting him against the vampires and what he wants to become. Yes, he went through tremendous growth. He was powerful, he gained agency. But it was because THE POWERS VAN HELSING DNA GAVE HIM ON A SILVER PLATE. It wasn't that he accepted it. It wasn't that he found a sense of self in it.
He just got a preview of what he could become, is all. It made him think he was ready to become a vampire. He would never choose to stay a human/vampire slayer before the events of s5, it's always been about the endgame for him.
And it's so sad because Nandor is like. So stoked about vampire slayer Guillermo. He's so proud and giddy about him "being a warrior" because he knows Guillermo better than anyone and just when and how he's at his best. It's just that Guillermo doesn't see it and Nandor does. Just like how he knows Guillermo wasn't ready to become a vampire and how hard he would really take to actually killing people.
In retrospective, season 5 was about things we want not really being the things we thing we want.
They show that guillermo has gained the things he's wanted -- the love and friendship of the vampires and them deeply caring for him, thinking of him as family just in the way he thinks of them as, their respect, and he didn't need to be a vampire to get that. He already has the power he craves deep down.
He doesn't see it. He's not aware of any of it, he's so laser-focused to what he wants that he hasn't figured out how to handle the ugly side of vampirism, he hasn't even thought of it -- because he doesn't see any bad in being a vampire. He's so enticed by the power, the promise of sexiness and transformation and so blissfully ignorant by what he has to do to survive from being on clockwork in doing the dirty work for the vamps.
And precisely because of that hey show that guillermo wasn't ready to be a vampire -- yet. Because how can he be ready when he hasn't even figured himself out yet? When it's painfully obvious what he really wants isnt being a vampire but something he desires on a more emotional needs level?
And the most glaring point of this is how brutal and bloody his transformation was. It wasn't how he imagined or wanted it to be. He just wanted to be a vampire, and right off the bat everything went wrong.
He wanted it to be Nandor. He wanted it to be earned. He wanted it to be poetic, sexy and climactic.
Instead it was miserable and horrifying, the biggest shame to a vampire, and he had to keep it a secret to save his own life and nandor's -- hell, he wasn't even a full vampire, nothing had changed. Nothing had changed. When everything was supposed to change. (Catch the theme?)
And the thing he's happy about? The itty bitty powers he slowly starts to gain. Nothing else about vampirism is doing it for him. The raw meat craving, for one. He even cringes when he's drinking the blood Nandor gives him.
He only really wants the powers. He even goes on a little power trip when he fully turns. He's on a brief high until it comes to feeding.
And then the reality fully sinks in.
Guillermo has to come to terms with having to harm people if he wants to be a vampire. It's not the same as leading people to their deaths, he can't take the moral high ground by making the excuse he's not the one doing the killing or anything, vampires have their victims and he just handles the aftermath. Hypocritical? You bet your ass it is. Guillermo is considerate and horrible at the same time. That's what being complex is about.
Sure, there are ways such as not fully draining and just drinking his fill, but he isn't ready for tackling those topics yet. Vampirism was about becoming a new person for him up until that point, not having to drink blood to survive.
And figuring out that no, if he's given the choice, he wants to stay human has to be more devastating and earth-shattering for him.
Because everything he's worked for in the past 14 years, now, is up in the air for Guillermo. What does this mean for him, when will he go from there, is he still going to be a familiar, can he still stay with the vamps?
What does being a vampire mean to him now that his entire sense of self and future he'd built upon it is gone?
Here's what Yana Groskaya has to say about it:
This is one of the core themes of season 6.
In a sense, they've taken Guillermo's one and only hyperfixation away that was limiting his character. They've opened him up to new explorations.
He has to consider what being a van helsing could mean to him now that he can fully face his real self and there isn't a time limit to brush it under the rug so he can fully focus on becoming a vampire.
He has to face himself, learn about himself, go out more, discover himself better.
This also in a way is a direct parallel to Nandor in Season 3, and it's an interesting thing that it was Nandor who helped Guillermo to realize what he really wanted.
This wasn't "all for nothing" - it was a major beat in Guillermo's arc. To face what he naively and childishly wanted to "fix" himself had to be considered more seriously:
Nandor going "This is what I was waiting for" when Guillermo beat him in their fight in season 3 means SO MUCH MORE in this context.
Guillermo, in his BEST, having all the power, going all in on Nandor, seemed ready, as a slayer, he didn't hesitate to fight, harm, or throw hands, he could handle vampires and vampirism, and Nandor saw him fit. THIS was what he was waiting for. "You are alive because I let you live" and full on proving that statement. That he wasn't afraid to kill. For Guillermo to be ready in his soul, and it was his vampire slayer identity readied him. He had it in him all this time.
But in season 5, he has renounced it. He SAYS he has renounced it to be a vampire.
He has to embrace that part of himself to be truly ready.
Him becoming a vampire at this point in his life was so wrong on so many levels, they showed that Nandor would know when it was the right moment and he would do so right by Guillermo, and showed that really, what you think you want isn't actually what you want/need.
So no, this was bound to happen eventually, and an entire season dedicated to it was amazing in my opinion. Amazing things are coming for Guillermo, please don't be discouraged.
Thank you for reading this far.
I also want to write a Nandermo analysis at one point because I'm more passionate than ever and so excited (i loved what this season did with them), but we shall see!
#guillermo de la cruz#wwdits meta#wwdits#what we do in the shadows#wwdits season 5#wwdits spoilers#nandermo#wwdits s5
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💭 harley quinn #32-37
it's time to process tini howard and sweeney boo's second story arc. unfortunately, harley is still hammering it out with the multiverse, but this time she is working with lady quark instead of against her. kinda.
now we have a new force to reckon with - the brother eyes.
howard is again enjoying throwing in dc deep cuts with the brother eyes (meaning I once again got to do a google deep dive). I do appreciate this true conceptualizing of harley in a broader, shared universe.
in howard's story, the brother eyes work for lady quark. on a craft level, this is an excellent setup for what howard's trying to do in this arc because so does harley. this creates a parallel within howard's tale that mirrors the overarching parallel howard bases her story reasoning upon.
because why are the brother eyes so interested in harley? in watching her and understanding her and mapping her? because she was once a sidekick who made something of herself. and they want to do that, too.
I like this idea. I like it a lot. it creates a unique story around one of the things that makes harley truly special. but I never said howard had bad ideas.
but before I get into the perils of howard's writing, I want to do a run down on some other important players in this arc.
in harley quinn #32, we get introduced to lux kirby, p.i. lux is a completely new character from this creative team, but I couldn't help feeling a sense of deja vu when they appeared. the "detective" seeking out a multiversal harley murderer felt a lot like something out of stephanie phillip's last arc. just sayin.
however, ultimately, I liked lux and what they brought to harley and this story. they were a fun catalyst and means to much of the action. I always vibe with a character like that. and they were a good friend. harley struggled a lot with her mental health and self-perception in these issues, and lux helped ground her.
speaking of friends, KEVIN'S BACK :DDD. and acting like kevin. god bless.
I was sososo pissed when howard essentially fucked kevin over at the beginning of her run. but she definitely put in the time here to make it up to us. that sequence where harley had to anticipate kevin's choices in order to locate him in the multiverse was genius.
there's also two groups of characters from the first arc that play an important role in this one - bud and lou and harley's college class.
y'all know I always love the babies. I appreciate that howard wanted to do something big and bold with them. I liked the twist where they were the suspected murderers. BUT a lot of their actions here were just convoluted to create conflict and drama. like... we can't tell harley the brother eyes are out to get her because... why???
and I thought it was fun having harley's class get dragged along in her adventures. but every time, it felt like howard got the concept but fumbled the execution. harley's class ends up on warworld? cool! but it feels too smooth and rushed and weird. harley's students get turned into omacs? oh no! except there was no emotional or consequential impact.
sadly, that's a common occurrence for howard's writing. howard has exciting ideas, but her writing is too surface level with bad transitions and flow. much of the time I feel like I'm reading her bulleted outline, not the final story.
she rushes pivotal moments. we end an issue with the brother eyes about to reveal harley's worst moments, but then we gloss over that at the beginning of the next one. she throws out plot threads and doesn't carry them through. we should be concerned that the warworld royal family has been turned into omacs, powerful weapons to be used against harley, but then we don't see them anything until they're healed.
that's not to say every single line or scene is bad. howard has said that harley's mental health is one of the most compelling parts of harley's character to her. we can see that reflected in the comics - in the storyline and themes but also in the moments that shine.
I thought the multiverse sequence in harley quinn #37 was the strongest part of this arc. (this does not count the framing narrative.) each scene portrayed harley's fears and doubts about her own capabilities and power in a creative way. what if she became the controlling one in her relationship? what if she was good but still so unstable she had to be locked up? what if she pushed everyone who cared about her away?
sweeney boo's art also had some great moments depicting harley's mental state from her spiraling to her negative self-talk.
however, as with everything in this run, the depiction of harley's mental health has its downsides. howard leans too much into sentiments like "oh no, everyone will think I'm bad!" "oh no, everyone's just putting up with me! "oh no, I'm such a screw up!" and "oh no, I'm going to get in trouble! better hide!" it reads too childish and infantilizing for a capable grown woman who has a PhD in psychology and a lifetime of living inside her own mind.
of course, I think harley's going to have worries, doubts, and fears as she navigates being a hero. exploring this is good since this is the story route we're taking. but howard often fails to strike the right balance.
unfortunately, this bleeds over into the depiction of harley and ivy's relationship. there's this idea that ivy has to handle or deal with harley. that harley's too loud and too much. that harley could disappoint ivy at any moment. harley shouldn't be a problem. harley should be a partner.
along those lines, when harley and ivy aren't fighting, ivy isn't doing... anything. she's just there. in a way that feels eerie. like we're still in knight terrors: poison ivy #1. you can see it in the facial expressions.
harley hides her shenanigans from ivy for most of howard's twelve issues because "oh no, ivy's going to be mad at me!" even when harley finally tells her what's going on, ivy sits it out. and it just... really sucks. ivy is harley's PARTNER IN CRIME. always has been. she should be IN ON THE SHENANIGANS.
I do acknowledge that this might be a broader dc editorial problem since ivy has her own ongoing and concurrent story, but STILL.
this second story arc was far from one of my favorite harley quinn tales, but at least now we can move on from this multiversal madness. (please gawd let us move on from this multiversal madness.)
#harley quinn#poison ivy#harlivy#dc comics#comics#harley quinn 32#harley quinn 33#harley quinn 34#harley quinn 35#harley quinn 36#harley quinn 37#comics review#spoilers
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Good and Bad news
Howdy guys! I don't talk to y'all one on one too much, but I want to keep you in the loop.
To start off, I am so super thankful for the support this comic has received!! This is my first real venture into comic making, I am so incredibly grateful to have such a positive reception.
Onto the bad news, y'all may have noticed my posting speed has slowed. I'm very busy in college (graduating with my AA this summer!) between a radio show, being president of the creative writing club, and keeping up with homework, which means I don't have a ton of time to work on personal projects, and when I do, I try to chase what gives me the most dopamine. This isn't super relevant, however, just a peek into my creative process.
The Bad News
Surfclan is going to go onto hiatus after the next two posts so I can work on the overarching story I want to portray. These two posts will finish Arc 1 of Surfclan, which I am happy with and have ironed out, but the draft I have for the rest of the series is kind of cobbled together and not satisfying, certainly not work I'm proud of. If I'm going to dedicate so much time to something, I want it to be work that I am proud of. As a writing student too, it's not right to put so little effort into the writing.
I went into Surfclan without a plan. I wanted a coastal set of clans to worldbuild with, but I had no idea for plot. I let the generator decide what that plot would be, which is fine! But I wasn't given much besides a clan that grew at a decently steady rate and got into occasional shenanigans. I need to put those pieces together properly and figure out how to best portray the themes I want in a respectful manner (right now, there's a heavy theme of colonialism that I just don't think I'm quite ready to handle tactfully.)
If you aren't using Surfclan, can I?
Absolutely! Please feel free to use Surfclan as background characters or cats to fill out gatherings. I am always happy to organize plots in DMs and weave it into Surfclan's eventual finalized script. As long as my babies are kept relatively in character, I have no issues with making it canon. If they aren't, no worries! It just won't be canon to Surfclan. Think of it like an AU!
When will you be back?
I'm not sure, but I'm always happy to answer DMs if you want to chit chat, and I will make a post announcing Surfclan's return when I am ready.
What's the good news then?
Surfclan was always designed to be a "for fun" project that I didn't put too much effort into, hence the scattered upload schedule and art styles, but now that I've experimented a bit, I'm ready to get into comic making more seriously. While I brainstorm ideas for Surfclan I will be shifting focus towards a new Clangen blog loosely based on marshmallow_cat3's Dark Forest challenge and @gray-thistleclan .
Cottonmouth Clan has distinct win and lose conditions and a solidified plot with mysteries to discover. I'm currently working on world building and character design that will be posted to my main blog, @antlermoss. I will have a post up there when I have my details organized with the rules for the challenge, of which you are welcome to use in your own games and comics!
I will reblog Cottonmouth's starter post here when I am ready.
I appreciate your patience and understanding, and hope you guys enjoy the new project (:
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"It’s a nitpick but it also bothers me on how not ONE of these episodes actually have to do with redeeming a sinner…ya know, the main plot for the show?"
Wanted to give my take on this—if a sinner was redeemed in the course of a single episode, that would be bad writing.
Yes, redeeming sinners is the overarching goal in the show. But that kind of character growth comes through multiple episodes of a sinner staying at the hotel.
Do you think Zuko's redemption in Avatar would be seen as the model of all redemption arcs if he went from being a jerk at the beginning of an episode to his late Season 3 self in 2022 minutes? Do you think The Good Place would be able to properly show how Eleanor grows as a person if she went from S1E1 Eleanor to series finale Eleanor in the course of a single episode? Of course not.
Sorry to be blunt, but anyone who says "Episodes aren't about instantly redeeming a sinner we just met over the course of 22 minutes, this fails at its premise!" clearly know nothing of how to do character development properly. Granted, I have my doubts Viv can do character development properly with how she's handling Helluva, but at least she has the sense to not have it be "redeem a new sinner every episode". Every few episodes, perhaps, not not once an episode.
I should have been more clearer, I never expected a sinner to actually BE redeemed this quickly, obviously yeah that would be lazy and rushed writing. I just meant that I wish most of the episodes plots were revolved around TRYING to redeem a sinner, and it would end with it either going horribly wrong or the sinner making SOME progress, kinda like Angel where he’s nowhere near redemption but has some good qualities. This opens a door for so much potential, all demons of shapes, cultures and sizes coming to the hotel, it would be wacky hijinks/emotional stuff galore. Seeing Charlie struggle to redeem horrible people who are either too far gone or are a handful to manage would be entertaining and the potential is THERE, so that’s why it’s such a head scratcher to see the episode ideas Viv had in mind for the show literally have nothing to do with the main premise.
The extermination stuff is the only thing from the premise that seems to be sticking, which is good considering that’s the reason the Hotel was created in the first place, however the rest of the episodes are just the show “Friends” but in Hell. It’s very filler based with Viv just wanting an excuse to put the main gang into wacky random scenarios, which to some extent is fine, but it has nothing to do with the Hotel or redemption, like…yeah it says they put out a commercial for the Hotel and Baxter and Mimzy show up, but it’s more with the intention for hijinks to ensue rather than for them to work on being redeemed. It’s just so weird bc Viv paints Hazbin out to be this epic narrative redemption story and these are the episode ideas she comes up with??? It gets me very worried that Hazbin will also loose its main premise like Helluva did. This shit about to be underwhelming as all hell.
#reply#ask#vivziepop critical#spindlehorse critical#Hazbin critical#Hazbin hotel critical#hazbin criticism
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hi! what do you think are the best/most tolerable episodes in season 4 of community? it’s widely regarded as the worst season and I never know which episodes to watch each time I go through a community rewatch binge lol. so, I figured I would consult the encyclopedia! (this is my first time using the ask feature so I apologize if I am not using it correctly)
heyo! this is a great question. I actually have an abbreviated season 4 watchlist that cuts out the worst episodes (in my opinion), while staying comprehensible and making sure you're still able to follow the season's overarching plots:
4x01: history 101
4x03: conventions of space and time*
4x05: cooperative escapism in familial relations*
4x06: advanced documentary filmmaking
4x08: herstory of dance
4x11: basic human anatomy*
4x12: heroic origins*
4x13: advanced introduction to finality
the episodes with asterisks* are the ones I actually really enjoy watching. the others on the list are pretty mid, but are, in my opinion, important enough to the overarching plot and character development to be worth watching. when I'm showing other people season 4 for the first time, I adhere to this watchlist lol.
I’m going to do some (hopefully quick) explanations of how I came up with this list, but you don't have to read it if you don't want to lol:
✅ history 101: it's the first episode of the season, so it really does set the tone and establish some important details (jeff wants to graduate early, troy and britta are dating, this is their last year at greendale, etc.) as with most of season 4, the weirdness seems really contrived and unnatural, but it does have its moments of being genuinely funny. it's also a pretty abed-centric episode, which is always a bonus lol
❌ paranormal parentage: I don’t hate this episode, but it's just kind of boring and doesn't really add anything to the season. I love megan ganz but... yeah. a lot of the jokes seem forced, and there's way too much pierce for my liking. there are a couple good one liners ("you should probably tell your boyfriend's boyfriend" "I remember when this show was about community college") and it does help set up jeff finally contacting his dad, but imo it doesn't quite make the episode worth watching
✅ conventions of space and time: I’ve heard that some people hate this episode? couldn't be me. way too much trobed for me to hate it lmao. there is a lot of jeffannie in it too, but that resolves with the conclusion that annie is just a romantic who loves to fantasize, and doesn't actually have real feelings for jeff. it actually fuels my lesbiannie agenda tbh, because she is evidently just in love with the idea of a man but doesn't actually put that into practice. but that's another post lmao. we have some great one-liners, we have britta helping troy through his jealousy, we have "troy will find me :)" we have some more inspector spacetime lore, etc etc. I love this episode and rewatch it frequently.
❌ alternative history of the german invasion: for me, this episode has almost zero redeeming qualities. the jokes are lame, I hate professor cornwallis, there is so much discontinuity, it has zero importance in the bigger picture of the season and the show, it's out of character, etc. the one thing I like is the end tag.
✅ cooperative escapism in familial relations: this is a big one for me. I never see people talking about it, but to me this episode is one of season 4's saviors. we have HUGE jeff development, jeffbritta moments, some much needed shirley screentime and development, some great jokes ("-to eat garbage dip WHY DID I HAVE TO GO THIRD), classic trobedison shenanigans, and the shawshank redemption homage is very funny to me. plus! adam devine cameo! I like this episode more every time I watch it. unsung hero fr.
✅ advanced documentary filmmaking: okay so I won’t lie, I fucking HATE the changnesia arc. I think it is so incredibly stupid and uncreative. there are a million different and better ways they could have brought him back. but, this episode is just too important in the season's development to skip. and, honestly, if I ignore the whole premise, there are a lot of funny bits and jokes in this one. troy constantly smiling at the camera (read: smiling at abed), troy and annie being the silliest ever, jeff's trust issues, and ken jeong is truly very funny, I just hate this arc so much. but ultimately it's too important to cut. imo.
❌ economics of marine biology: I basically feel the same about this one as I do about alternative history of the german invasion. it's boring, the premise is stupid, it's out of character, it's unfunny, the guest character is lame, and it's pointless to the overall plot. abed and the delta cubes is a little bit funny? and I guess you could argue that the jeff and pierce development is important? but I’d refute that very quickly. it's pierce, who cares. not. worth. it.
✅ herstory of dance: this episode is honestly the upper end of mid, but it has enough good jokes and development to make it worth it. it is also Very abed-centric, which we've established is always a plus imo, and his whole bit with going on two dates at once is very in character. he also meets rachel, who comes back in season 5, so that's important. it also has some great jeff & britta development!!! which is sort of few and far between in the later seasons!!! yippee!!!
❌ intro to felt surrogacy: tied for my least favorite community episode of all time. it's clear they tried to do something similar to what they did with abed's uncontrollable christmas, but it is so incredibly contrived that it is physically painful to watch. I hate the puppets. the hot air balloon story is so stupid and out of character. the songs are bad. how dare they sully the legacy of my third favorite episode (lmao). the only redeeming qualities are troy as a whole (all of his lines are good, and that moment when he pretends his puppet is falling asleep is very funny), and the fact that pierce is not physically in it. but those do not make up for how horrific the rest of it is. in my opinion. haha.
❌ intro to knots: once again! Tied For My Least Favorite Community Episode! they're right next to each other, how convenient. and again: bad jokes, bad premise, I fucking hate professor cornwallis, the changnesia shit is back, the plot is ALL over the place, there is little to no actual character development, the dialogue just goes in circles, and it ends with a random litter of kittens that are never mentioned again??? I guess the only mildly important thing is the end tag with the evil study group, which comes back during the season finale. but yeah. not worth it. disgusting.
✅ basic human anatomy: and here we have a HUGE jump from the last one. this is my favorite season 4 episode, and is probably in my top 15 from the entire show. I could talk about this episode for hours. the troy development alone is so so so good and important. add abed into the mix and Oh Boy!!! britta is great in this one, jeff and the dean's whole thing is so fucking funny, shirley and annie competing against leonard for valedictorian on a technicality is very in character and silly, danny and donald's acting in this one is commendable, etc etc etc. there really isn't much, if anything, I dislike about this episode. jim rash being the credited writer makes me love him even more. legendary. outstanding.
✅ heroic origins: I actually really like this episode. it does still have that sort of unnatural and off-putting vibe that the majority of season 4 has, but I think it holds up. it's in character, it has some great jokes and one-liners, and although it does have its moments of discontinuity, it does a surprisingly good job of staying compliant with what has already been established. certainly much better than alternative history of the german invasion. abed's whole bit with the star wars prequels makes me laugh, the annie's boobs lore, footage of annie and troy in high school (surprisingly well done if you ignore the discontinuity of troy's injury), etc. it's also massively important for the overarching season plot, and we finally get to the conclusion of the stupid changnesia arc. I could go on and on, there's just a ton of really cool callbacks (including one to the pilot, which I only noticed a few months ago and am obsessed with), and I just. wasn't expecting this one to work out as well as it did. pleasantly surprised, all in all.
✅ advanced introduction to finality: this one is not great tbh, but it's too important plot-wise to skip. and, I mean, it does have some good moments. abed immediately recognizing evil jeff, the whole thing being in jeff's head a la remedial chaos all being in abed's head (insert something about how this being yet another demonstration of how fundamentally jeff and abed understand each other, which I could expand way more on but won't in this particular post), season 2 of the cape, "one of us is out of bullets" "is it you" "...yeah" "why would you tell me that," and more. overall, yeah, worth watching imo.
I do also want to say that I think season 4 is a bit overhated. I do agree that it is the worst season, I think most of us can agree that that is an objective truth, but it does have its moments and I do get slightly frustrated when people write the entire season off.
I’m also happy to hear anyone else's opinions on what you think is/isn't worth watching in season 4, especially if you really strongly disagree with me. I’m curious to what your reasoning is lmao.
okay! this is definitely way more elaboration than you needed, but I hope this was helpful 💯💯💯
#sorry again for the long wait on a response#thank you for your patience :)#community#nbc community#community nbc#media analysis#community encyclopedia
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I find it really interesting that you don’t like kallus at all bc say what you will about fulcrum or kalluzeb but he’s the first ex-/imperial character that we saw on screen who wasn’t already defected when we met him. Like obvs you’ve got Han and Sabine who started off in the academy and then left bc they realised in wasn’t what they wanted and tala who’s already a mole for the path by the time she’s on screen but most other characters we interact with regularly and significantly either stay imperial or have never been one as far as we know. And I think that watching kallus’ arc play out as he realises that no the empire isn’t worth it actually and it is worse and the rebels he’s fighting and trying to capture are better and are the good guys is just so fascinating to watch. If anakin’s arc in tcw and the prequels is about him getting worse and worse and making all the wrong choices again and again then kallus’s overarching storyline is about learning that actually his choices were wrong and he is the villain and he needs to accept that and try to do better as best he can. Ymmv on how well it was executed (and I do think there are parts that could have been done so much better) but the bare bones are there (and also I do love the interactions he has with kanan and Ezra post defection pre extraction where they’re like “this guy 😤” and are doing things like throwing him through glass screens to cover for him bc hey! They’re helping and they get to be a bit petty about it bc they still don’t like him and he just. Has to put up with it bc he’s on their side now and they are technically helping him)
I don’t know I just think it’s a pretty interesting arc to follow and I do think that however clumsily handled (again ymmv on how clumsily), the idea in his character of “it’s not too late to change and to choose to do better, you can unlearn your prejudice and biases and you can always start trying to do good no matter who you are” is a really important message that feels like Star Wars yk
(Side note: I just wanted to add that I love the anakin salt and the pro Jedi posts. I always pop around your blog when I’ve seen a few too many “he’s misunderstood” takes for my own good and it’s really cathartic to see someone else point out he sucks in new ways I hadn’t yet considered. I also find your Ahsoka takes super interesting bc most other things I see either just straight up do not like her or think she’s perfect where I always fell in the middle of “she’s interesting and narratively seems to be there to point out how anakin could have been if he’d made different choices since their flaws are so similar” ❤️❤️❤️)
This probably should have been split into two asks but I’ve written it all out now and my break is over so I guess it’s going to be one
Hi! I'm glad my blog helps provide you an area to just feel a little bitter sometimes when fandom gets hard, that's exactly why I made it for myself, just an escape when I'm starting to forget why I like this stuff sometimes and I just need to get rid of some of the bitterness.
I'm not against the IDEA of an Imperial character who turns against the Empire, of watching an Imperial character start to learn better and change sides. I promise I'm not!
I just think it shouldn't have been Kallus. I don't personally believe that they had a redemption arc in mind for Kallus when they were writing him in the first season at all. I don't know when the idea first got brought up for the writers, but it doesn't really seem to be one they had in mind in early season 2, either, so it just comes out of NOWHERE in that episode with Zeb where they get stuck in the ice. And the side effect of this lack of set up means that they really were writing Kallus as an irredeemable villain. He led a genocide against Zeb's people, he laughs at Zeb about being a survivor, he uses one of the Lasat's weapons as a trophy he took from that genocide. He turns against one of his own fellow officers at the end of season 1/beginning of season 2 when Tarkin and Vader show up and want someone to answer for their failure on Lothal. He helps lead Tua to her death and SMILES about the whole thing. Tua's death could've been a way to begin that journey, give him a crack in the wall where he feels doubt about what they're doing, but it DOESN'T, it just makes him MORE of a fanatic.
So when you get to that episode with Zeb in the ice, all of the sudden you have to take Kallus at his word that he DIDN'T lead the genocide he's already been saying he led, that he DIDN'T steal the Lasat weapon he already said he stole, that he totally had a sorta sympathetic reason for wanting an entire group of people eliminated from the galaxy, and that he apparently cares about having friends in the Empire. This isn't just a retcon of his backstory, it's a retcon of his CHARACTER. And they have to "all lives matter" the entire situation to do it by having him point out that Zeb judges all Imperials the same (and sees them all as enemies) which is somehow equivalent to Kallus judging an entire SPECIES for the actions of ONE PERSON and choosing to go genocide the entire species as a result. That's not just clumsy, that's OFFENSIVE. This is one of the WORST written episodes of Star Wars I have ever seen, which is saying something since I've seen the Ahsoka show and the Book of Boba Fett and The Mandalorian Season 3.
I think my major issue with Kallus's "arc", beyond the offensiveness of the retcon of his entire character, is that it isn't really an arc at all. It's ONE episode. The next time we even SEE Kallus, he's already willing to help Sabine escape from the Empire and then season 3 goes on to basically tell us he's been acting as a spy most of the season now. We DON'T actually get to see that arc for Kallus, he spends a few hours in the ice with Zeb and that's all it takes to turn him against the Empire really. The few times he shows up in-between don't do a lot to really emphasize a JOURNEY he's going on, he's just already on the side of the rebels and trying to push back against the Empire. And he fucking SUCKS at it, too. They have to come rescue his ass TWICE because he wasn't good enough at being a spy to not get caught and then he has the fucking GALL to think he's thrown off Thrawn and refuses to run when Kanan and Ezra risk their necks to save him which is what directly leads to Chopper Base being discovered. So not only is his redemption "arc" barely there anyway, he's an awful rebel and an awful spy.
This is why I keep arguing that it should've been PRYCE to be the Imperial defector. She isn't introduced to the story until season 3, and so her character is basically a big blank slate. They'd MENTIONED her, but all we knew is that she was the governor of the planet or something and she was gone on Coruscant dealing with stuff. This and the fact that she has an ACTUAL connection to Lothal by being FROM THE PLANET gives her a really really excellent pathway towards turning on the Empire. Maybe she sided with the Empire because she genuinely believed it would help save them from what everyone else suffered by fighting back. Maybe she was promised certain advantages if she sided with the Empire that they could show haven't been kept. Let her CARE about Lothal and its people just enough for her to have a REASON to turn against the Empire and see its truth.
It's one of the other reasons I don't like using Kallus, he's not really emotionally connected to any character but Zeb. Turning Kallus does very little for the main characters Ezra and Kanan. If they were going to turn an Imperial character, which IS a fairly big thing to put into a narrative, I feel like it should've impacted the MAIN characters far more than it actually does. Let Ezra, the person whose story is being told here, be a part of the reason that Imperial character turns. Let that journey away from the Empire be something they're actively WORKING on rather than something that primarily happens off screen in Kallus's head.
I think the only reason they chose Kallus for this was because fans already liked him and they couldn't figure out what else to do with him at this point. He's a basically ineffective villain because he keeps having to lose and the only times he "wins" against the crew is when they LET him win by sacrificing themselves or something. And they were already starting to write him out as an antagonist by including Vader, Tarkin, the Inquisitors, and they might've known they were bringing in Thrawn in season 3 (and maybe that Pryce would finally show up) by the time that ice episode was being written. Kallus was becoming irrelevant, but fans enjoyed him so they had to figure out a way to make him relevant moving forward, and so, quick and dirty redemption "arc" so he can move to the rebel side. You'll notice he barely does anything in season 4, though, once he's moved to the rebellion he's just kinda... there. Irrelevant again because he's not actually good enough at anything to be worth having him DO anything important or interesting to the plot.
A LOT of people seem to think Kallus's "redemption" was really well done and I just can't agree. I think it would've been better to take Kallus a different direction, to really have him just succumb to being evil, to become even MORE of a fanatic for the Empire moving forward, and then just pick someone else to be the defected Imperial character. Or they should've had a redemption arc in mind for Kallus from the beginning. Using Tua's death to start the process of doubt in his mind, or having him be the one the Empire turns on would've both worked. They didn't give themselves enough time to really write him a good redemption arc where the reasons for why he turns on the Empire actually feel in character to what we've been told and shown of him so far.
I think if you just... start in season 3 and act like Kallus has HAD a true redemption arc already by season 3, then those scenes work. The humor of the Rebels crew starting to discover Kallus is on their side now and not entirely trusting that and wanting to punt him through a window IS funny! I, too, would like to throw Kallus through a window several times, even perhaps over a cliff or out an airlock. But those scenes come with the context of having seen the first two seasons and feeling the VERY abrupt 180 his character took without the show doing any of the actual work to make his defection seem realistic or reasonable. Season 3 is fine for Kallus, the scenes are funny, etc. But he wasn't actually redeemed yet and neither season 2 nor season 3 do the work to showcase that journey.
And I think that this is likely one of the reasons we DON'T see very many Imperial redemption stories and most of the Imperial defectors we see are already defected when we meet them. You can count Gorn and Taramyn from Andor in this category, as well. It's HARD to take a character who's been set up as violent, selfish, and cruel, and REALLY do the work necessary to turn them around into someone who would genuinely turn on the Empire and join the Rebellion. It's by no means impossible, but it takes a lot of work and a lot of focus on said character. Most of these shows and stories aren't willing to put in that kind of work because they're focusing on someone else who needs their story told instead, so it's easier to just... have someone who's already changed sides.
All of that being said, there IS a character who we've seen go through this arc that I think was done MILES better than Kallus.
Reva Sevander. An Inquisitor (possibly BY CHOICE unlike all of the others who were presumably captured and broken into it) working for the Empire, who DOES do violent and selfish stuff, but who ultimately leaves that behind by the end of the season. Reva, who obviously was written with that turn in mind, and so her tragedy is BAKED into her character from the moment the show begins (we literally start the ENTIRE SHOW with a flashback of Reva at the Temple when Order 66 starts, and the terror of that night). The twist in her character, that she's doing all of this as a way to get closer to Anakin so she can kill him as vengeance for the Jedi, doesn't feel like it comes out of nowhere. It's just always been there FROM THE BEGINNING. Making her an Inquisitor, something Jedi: Fallen Order and some comic books have fleshed out into people who weren't given much choice in becoming monsters, was an expert choice. Using her to parallel and foil Anakin, someone whose primary storyline is that he was a GOOD person who turned bad and still had good in him, also helps her out.
I'd argue Reva hasn't gone on a full "redemption arc" as yet, she's sort-of barely scratched the surface of it, but she does obviously make the choice to STOP going down the path she's on, to turn away from her anger and vengeance, and leaves behind being an Inquisitor and the darkness she'd succumbed to. The reasons for why she does the things she does MAKE SENSE, they're narratively relevant, they're important to the main character of the story she's in, and the writers didn't wait too long to tell us more about her and her motivations. It's expertly done in my opinion.
So while Kallus might have been the first Imperial defector to show up in mainstream Star Wars, he is not the ONLY Imperial character we have seen to turn against the Empire. And yet Kallus gets praise and accolades for being such a great character with such a great character arc, while Reva got panned and critiqued for being unlikable. I wonder what could be the reason behind that.
So I think you and I have fairly similar feelings on this in that the IDEA of a redeemed Imperial character whose journey towards turning on the Empire is actually shown is a GOOD story to tell (with a very Star Wars style message, as you say), but that the way it was done with Kallus was REALLY badly written. You seem to be leaning towards liking the concept enough that the clumsiness of it is outweighed, whereas I hate the clumsy way it was written so much that my positive feelings towards the concept are outweighed.
And I deserve a good Reva show where we get to follow more of her character post-OWK where she still has to work on herself and figure out who she is now that she's left the darkness behind. Finish the arc she's only just started on.
#star wars#reva#reva sevander#anti kallus#anti aleksander kallus#kallus critical#aleksander kallus critical
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saki i'm sorry i don't know much about DC comics, but i have been confused about something recently when seeing fan comics — are Bruce and Two-Face (Harvey?) still friends post-whatever happened to him? I think they were friends before, maybe, but some fanon has been suggesting to me they might still be, so I was wondering about that. Opinions on him, too, maybe? I know fuck all about him but he's so quirky
i wouldn't say they're... still friends exactly. let's do some background real quick.
i think the really sweet and close friendship bruce wayne and harvey dent had prior to his acid attack, that inspires a lot of fancontent — is from Batman: The Animated Show. in this iteration of their history, they're close friends who obviously mean a lot to each other, which is why the guilt batman feels for two-face is only more painful.
(of course in much earlier comics and harvey's original introduction (detective comics #66) bruce and harvey are friends too. though, it's not often referenced as his origin much anymore.)
in the comics however, the friendship starts and unfortunately ends with batman. batman, (captain) jim gordon, (DA) harvey all work together to try and solve the case in Batman: The Long Halloween.
they grow close and personally, i think bruce was really starting to form a close bond and trust with harvey throughout their partnership. this really shines through when after harvey becomes two-face (which is a long and sad story), bruce still has somewhat of a belief that harvey can still be good.
though, we know now that two-face ends up having a permanent spot in gothams rouge gallery, but i suppose it's because of this history of trust that batman continues to encourage harvey to turn his life around (a sentiment he has with a lot of his rouges, but something that is especially prominent in his relationship with two-face).
as for what their origins are in the new 52? i have no idea! moving on.
for what their relationship is like currently;
the most recent interactions i think they've had is in ram v's current Detective Comics run (which is FANTASTIC) and out of all the harvey and bruce comics i have read, it is probably my favourite. they're not even the main focused relationship, but it is such an important one for the theme of this arc.
in this run harvey is at war with himself, struggling between being 'good' and being 'bad' — but also struggling to simply have a choice at doing either. bruce is also facing a similar turmoil. so we see this really wonderful parallel in the midst of a battle where harvey is debating whether or not he wants to save bruce or leave him to die, and bruce is battling whether he wants to give in or keep going.
two-face does end up saving bruce. this is something very important to both of their characters.
it shows bruce that the man he befriended is not lost and it gives harvey a sense of autonomy that he's been stripped of for a long time. it's a short but very moving subplot about hope.
that being said, harvey isn't doing this because he wants to be friends with bruce again. or well, two-face isn't. it's complicated.
i don't think i could do the writing justice (there is also like, an insane overarching plot going on). once he drags bruces half dead body to safety, he threatens him, leaves bruce there and is currently, on the run.
so friends? not really. enemies? also not exactly. really tragic story about missing someone you once knew, wondering if you ever really knew them in the first place? ABSOLUTELY.
there is also some insanely obvious queercoding taking place in their story, but i focused on their friendship side of things.
it's one of bruce's more complicated rouge relationships, and probably the best one thematically. harvey is such an interesting character and if dc wouldn't use the same green headed dumbass as the villain in all their batman stories, two-face would definitely be the most compelling rouge for bruce.
i don't know if this actually made any sense, and also apologies for taking so long to answer this! here is probably one of the best detective comics covers ever made as an apology (it is bruce standing in the middle of a split two-face carved golden door with a batman shadow in the back. this shit is marvelous).
#bruce wayne#harvey dent#such an interesting relationship these two have#i have not done them justice with this explanation#saki comic talks
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The life series relationship between Joel and Scott is so interesting to me and I just need to gush about it for a minute. Like, it’s a rivalry that’s almost one-sided, but not completely. It also just continues to progress throughout the whole series, through every season with pretty much the same dynamic throughout.
I think the place it really starts is in third life, with Joel’s burning of the wall. Before this there’s still some conflict between them, like when Joel decides to steal Scott’s cows with Martyn, but that was more Martyn’s idea than his so I don’t count it. The wall was the true catalyst for everything. Not much else really happens between them in third life besides just an overall distrust of each other, so I’ll move on.
In last life, most of their interactions involve Joel trying to kill Scott with varying levels of success. He manages to get a boogey kill on him in the second episode but gets killed by Pearl right after, turning him to red. As a red name, he often tries to kill Scott but it never really works, though he does manage to destroy the Scottage with tnt. Eventually, when Scott becomes red as well, they make a tentative red alliance. They still don’t trust or like each other though and plan to separate at the soonest possible convenience. In one of my favorite exchanges between the two, Scott asks Joel why he doesn’t like him when he’s the one doing everything to him and Joel answers that Scott just looked at him funny one day. I think I’ve talked about last life enough but now though, so the gist of how it ends is that Scott and his allies hunt down Joel and Grian and Scott gets the final kill on both.
So now it’s double life, the season where they’re probably the most friendly to each other. They’re neighbors and they have a good relationship for the most part. Joel is the one to get the first two kills on the Scott and Pearl soulmate duo, but the first one isn’t personal to Scott, it was just because Pearl decided to make bad decisions. The second one was definitely personal, however. Joel wanted to kill Scott, so he got all the reds to help him kill Scott. Before this though, something interesting happened. Scott set Joel’s relation ship on fire and Joel burns down every other base in return. I think that’s mostly it for double life, so let’s move on.
Limited life is where it gets really interesting, because this is when Scott finally snaps. Joel tries to kill Scott so many times and while I don’t remember every single death in this series since there are so many, I’m pretty sure he never succeeds. At one point, he even gathers everyone but Scott’s allies and gets them to chase and try to kill Scott. This seems to be becoming a pattern now. Anyways, Scott eventually has enough and switches it. Now, he’s the one hunting Joel down, but unlike his rival, Scott succeeds. He kills Joel again and again and again, and in the end, ends Joel’s series and making him the third one out.
Now I know that’s a lot of raw information, so let’s review. Joel tries to kill Scott a lot. He sometimes manages to do it, but most of the time he fails. He also destroys all of Scott’s bases except for the coral isles in limited life. Scott, though, does not go out of his way to kill or harm Joel, at least not until the end. Most of the things he does against Joel are revenge, and usually not even equal revenge at that. As the series goes on, though, Joel gets more and more determined to kill him and Scott gets more and more frustrated at these attempts. This all culminates in the end of Joel’s limited life series, where Scott kills him a bunch of times.
All this is why, in my totally correct opinion, Scott and Joel should team up in the next life series. Think about it. It would wrap up their relationship arc well while changing things up in the dynamic. It’s also very likely that Joel would end up betraying Scott, adding angst fuel to both their overarching stories with Scott being betrayed again and Joel being alone again. Also, on a purely statistical level, they would make a great team. Joel’s problem is that he’s really reckless. We’ve seen before with Etho that when Joel is with someone who’s more level-headed and practical than him, he can do very well. Scott definitely fits the bill for this. They’re also both very good at pvp. This would make them something of a power duo, and I would love to see that with them.
#trafficblr#life series#scott smajor#joel smallishbeans#i’m normal about block men#sorry if I said ‘though’ too many times#more of a ramble#very long post
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Hi, so I'm in the process of writing my own transformers au, and I was wondering how you organized your lore, since I've been having some trouble with that (rn I just have a bunch of ideas floating around)
hey!! im probably not the best person to ask since I'm not very organized (alot of my ideas are just scattered about across art and conversations with other people), but i can tell you how i orchestrated my planning process :)
the very first things I came up with were the themes and the basic plot outline. while it was very tempting to flesh out random lore stuff I was interested in first, the overarching thesis was important for limiting my scope. think of it like a pitch for a TV show or something like that :) having an underlying story helps you think of things from the perspective of a completed work instead of just characters floating around in metaphorical space, and you can use that understanding to tie the character arcs together and keep everything consistent! in my case, I split everything into phases, so I've got a first, second, and third act, with any additional material separated into pre-story and post-story. most of the asks I do feature the characters as they exist in pre-story, with a few exceptions, like Hotrod.
After that, you can start thinking in terms of story beats instead of just concepts. Whenever I get a lore idea I try to figure out if i could make an "episode" or "issue" around that, and if I can't it gets scrapped or delegated to throwaway line/pitch bible purgatory. you can brainstorm ideas endlessly, but a big part of writing is deciding which of those ideas are good enough to make it into production, and which ones aren't!
another thing that helps me out is picking a main cast and sticking with it. It's normal to add or remove characters over time, but realistically speaking, not every background character needs their own feature--and not every background character deserves one! you'll be helping yourself out alot if you limit yourself, even in hypothetical "this will probably never happen" project ideas like this. in a similar vein, if you've got a cast of primary characters, be very careful about picking favorites. it's normal to HAVE favorites (and you're obviously allowed to indulge in what you want to see) but if one of your primary characters only exists to cheer on or play accessory to another, then that isn't a compelling character. your main cast shouldn't be third wheeling eachother :)
that's all!! again, this is all coming from my kinda scatterbrained hobbyist perspective, but you asked, so I hope this is helpful!
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I saw a take that said the family dynamics between team red (especially shadowsan + carm) are somewhat exaggerated by fandom and there's not actually a lot in canon that supports a lot of popular head canons or attributed roles. And it's like, first of all, please keep your hurtful truths to yourself. Second of all, I'm probably going to need a read more.
Despite myself, I really cannot disagree with the points made by this particular poster. It's a sound argument. Carmen Sandiego (2019) is an adventure series. It's fast paced, action packed, and focused a decent amount on edutainment. This is understandable, this is after all, the point of the franchise as a whole. The characters have enough sustenance that they are likeable, though they are most noticeably flat.
I'd argue that Shadowsan and Devineaux are the most dynamic characters, but even then the handling of their respective character arcs leaves something to be desired. Much like the rest of the series, their storylines feel rushed and added in as a second thought. I get the impression that the show was envisioned simply as an adventure of the week type of thing. They had a premise and a gimmick and they wanted to run with it. This is fine. But then came the overarching story lines and... Well. There were no master pieces.
We'll take season one as an example. The first two episodes were pretty solid. They had a coherent and well executed story line supported by characters with personality and potential for growth and depth. The pilot episode of a series serves to set up character arcs and overarching themes without having to go too into depth because of the fact that it's simply the beginning. The first two episodes of this series fulfilled their purpose, and they were executed well. I will even be generous to the rest of the season's story line and say that there did seem to be at least the minimal amount of foreshadowing and groundwork laid for the twist at the end of the season.
The problem then comes into play with the remaining episodes. From episodes three to eight, the story line is episodic and self-contained. There's a formula and it works well without there necessarily being a greater need for depth. I was perfectly invested simply with the caper by caper formula. It was never thought-provoking for me nor did it need to be. It was just a bit of fun. And then came the final episode and it was... interesting! I was pleasantly surprised by the sudden inclusion of an overarching story line, if not scratching my head a little.
Shadowsan's reveal made a decent amount of sense in hindsight, but didn't come across as particularly expertly crafted. It was a sudden shift to the status quo with little build up, and it felt vaguely out of place. It's an episode that could have been executed better if the narrative had started to shift earlier in the season or if there were more episodes between "The Chasing Paper Caper" and "The French Connection Caper." Instead it's everything all at once and I found myself thinking, "Oh! Okay! So we're doing this now."
Upon rewatching, there is some build up that can be noticed and recontextualizes, but it's not much. Even knowing how the season concludes, episodes 3-8 still feel episodic and disconnected from any greater story line. You've got some angst about Carmen's origin, and Shadowsan's insistence about sending Tigress for a second time reframes itself as a calculated decision rather than misjudgment but that's about it. They have the bare essentials of story telling, but they're not skillfully crafted. And that's... fine! This is children's TV. I don't actually hold it to the same standard as adult television, and I do think it's a pretty decent show for what it is.
My point then that I want to address is this idea of bare essential story telling. Carmen Sandiego doesn't lack the elements needed to tell a good story. They're there, just not expertly executed. The post that inspired this spiel mentioned that Team Red reads more as friendly coworkers. I don't fully agree with this, but I see their point. I will also say that I don't think this was what the writers had in mind. I do believe they were meant to be read as Found Family, in fact, it is more or less explicitly stated in "The African Ice Caper." It's just that, like every other aspect of the show, it's handled in a way that gives hints of further depth while not fully conceptualizing the theme.
This is not a smear campaign against the series. No, this is very much a product of passion. It's an entertaining show with beautiful animation and captivating fight sequences. I was hooked from the first episode and I continued to be so through the end of the series. I'd say one of the greatest draws of this show lies in its weakness. We're only given impressions of characters' further depth and personality. With the obvious exception of Carmen, we're only given glimpses of characters'back stories. In regards to over arching story lines, we're only given bare bone elements. This isn't great from a critical standpoint, but it does open the door to a large array of fan interpretation and transformative fanworks.
Because of the flaws in canon, fans are not bound by strict limitations. They are free to come up with their own unique interpretations of characters, they can flesh out back stories however they see fit, and otherwise flimsy storylines lend themselves to deeper fan-driven exploration.
Frequently on Tumblr, you'll see posts that disparage fanon for the way that it tends to flanderize and flatten characters. And yeah! This is bad! Unsurprisingly, flattening complex stories into easily recognizable tropes and clichés is actually the devil! A lot of times in fandom, you see this sort of corporate brain rot that simplifies stories into familiar and easily consumable pieces of "media" ("Consuming media," my beloathed)
Fanon gets a bad rep. Is it deserved? Mm. A good majority of the time, maybe. But where is the discussion for fanon in the other direction? What about when fanon expands a work of fiction? When it assigns more complexity than canonically given? There's something innately human about connecting with a piece of fiction and wanting to do more. We don't so easily let go of things, you know? When you love a piece of art that's otherwise disappointing, you have this desire to see it do better. To meet its potential. I think that's where fanon in the opposite direction stems from.
I think the fandom surrounding Carmen Sandiego (2019) is a decent example of this. The characterization is admittedly lacking, but that's done nothing to stop fanartists from coming up with their own rich interpretations of characters and their relations to others.
Carmen and Julia are two characters that share a decent amount of screen time, but their relationship otherwise suffers from the amount of time stretching between interactions. This has done nothing to deter fans. It seems I can't throw a stone in this fandom without hitting beautiful pieces of fanart depicting the two, or multi-chapter fics exploring the two's dynamics, or impassioned ramblings about them.
The same thing can be said about Graham and Carmen. They share a decent amount of screen time and their interactions are compelling, but they're too far and in between. What's there is not fully developed. Again, bringing it back to the idea of bare essential story telling. They have what they need to hint at the intrigue of both these dynamics, but they're not satisfactorily executed and both relationships suffer as a result. Their relationships, and indeed, the show as a whole, kind of feels like a completed puzzle with various missing pieces.
I chose Julethief and Redcrackle to use as examples, but similar things can be said of every other relationship in this show. Player and Carmen have moments that hint at a dynamic friendship built on unwavering trust and care, but it's only in a few select scenes, (though, the scenes that do do this are phenomenal and make me want to cry-- and I'm so sorry shippers-- but Player and Carmen have a monopoly on the hard hitting emotionally impactful moments in this show. I don't make the rules, I'm sorry.) and the majority of their interactions are reserved for getting down to business.
However, because of the glimpses we do see, you see countless fics detailing their friendship and building on to what we see in canon by going behind the scenes. I myself have extensive head canons about these two and honestly, what I've written and published is only the tip of the iceberg. Player is a bit of a tricky character to get a grasp on because of his limited role in canon, but what we do see opens up all sort of interpretation. I have such a fun time writing him because I can use what I see in canon to shape my own ideas about how he would act in various scenarios. My version of Player is far more dynamic than what we see in canon, but it's only like that because I love the canon character so much. I want him to do more, I want him to be more. My creativity is piqued with this character.
Moving on, let's focus on Shdowsan and Carmen, my other beloved dynamic. I have so many ideas about these two's relationship, and I especially enjoy delving into the dynamic between him and Black Sheep. They suffer the same problems as prior discussed. The scenes building on their relationship are sparse, but they are there. Take for several examples:
Shadowsan interacting with little Black Sheep in the "Daisho Caper," Shadowsan's stated remorse at not being able to tell Carmen about her own family, Shadowsan nursing her back to health after "The Stockholm Syndrome Caper," his stated motive for hiding the truth of her lineage from her, Shadowsan telling her he'd be with her till the end of the line, Shadowsan reminiscing about little Black Sheep when he visits the destroyed VILE Island, Shadowsan's dedication to finding Carmen's mother for her, Shadowsan telling her she can finally rest, and, and, and, and.
There is certainly a reason that fans have interpreted he and Carmen as being father and daughter, and I am in no way surprised by the beautiful and extensive explorations that certain fans have taken into these two's shared history (@frozenwolftemplar my beloved)
After all, you really do have to wonder about the hardened assassin who couldn't bring himself to harm a child or her father. Could there have been more done on the show writers part to really cement their relationship as adoptive father and daughter? Yes, absolutely. Does the development of their relationship leave something to be desired? Yes, absolutely. Do the existing interactions inspire me to delve further and call up melancholy memories of me and my own father, thus making me want to extensively detail their shared history before expanding on their present relationship so that I can process my own feelings about my own father? Yes, absolutely. Is this type of connection a deeply valuable faucet of story telling and kind of the whole point of creating art to begin with? I think so!
Carmen Sandiego doesn't necessarily set things up just to drop them so much as it strives to create compelling story lines and interesting characters before ultimately failing to delve deep enough or dedicate enough time for these things to fully come into their own. They're there and they exist, but it's like... Drinking water with oranges in it. I can taste the oranges, but damnit, now I want orange juice.
It utilizes story telling techniques, but not enough so that the show fully benefits from them. There's an impression of character dynamics, back stories, and personality but they're not fully recognized.
However, it is because of these flaws that fans can take the source material and go absolutely bonkers with it. By engaging with the story and characters, you really get the chance to flex your creative muscle. It's like a sandbox. The sand is there, the box is there, and the tools are there, but what you make is up to you. I've seen some deeply moving pieces of writing come out of this fandom, and it's insane to me how some authors can do so much with so little. In engaging with fanworks for this show, I've drawn connections to my own life and my own relationships. There are lines of writing that have been engraved into my brain. I've met wonderfully creative people and I'm glad to be an active member of the community.
No, the show itself is no amazing piece of story telling. It's fun and it's entertaining, but it doesn't fully realize everything that it set out to do. It does, however, open the door to community as well as inspiring creativity and transformity, and that means the world to me.
#god damnit i did it again#when will i stop dedicating hours of my life to hand wavy analysis of my niche special interests#suzie speaks#carmen sandiego 2019#carmen sandiego netflix
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🔥 Darklina?
I don't really get the argument that alina should have stuck around. yeah, baghra could be lying and alina has no reason to trust her, and I will criticize all day long the deus ex way this happens when alina could be operating at a much more complex and engaging level of agency - as well as how the writing overall about the reveal could have been better tailored to the intended themes and messages. but in general, the argument that alina should have stayed to hear him out is unfair.
alina just discovered someone else with shadow powers. she has had everything she believed upended, and she is about to further her intimate relationship with a man that someone of status claims to have nefarious plans for her. I think the method of reveal is ridiculously stupid, but that's just my criticism for the writing of baghra overall and the cheap ways bardugo employs narrative devices. alina running makes sense, and even if it didn't logically follow, that doesn't negate an emotional and illogical reaction to stress, fear, and shock.
why should alina stay and risk her safety? leaving is also a foolish idea, considering the outside world is unkind to grisha and she's naive about the persecution of her people and the sociological climate, but alina has no awareness of this. all she knows is that she trusted someone, and that trust has been broken (in a method that is devised by a woman who she should be able to rely on completely).
what would happen if alina stayed? what if she confronts him, and he decides she knows too much? what if she questions him, and he at first tries to reason with her, but realizes their morals are so misaligned that he must betray her regardless? what if he tries to work with her, and decides later down the line that she compromises the greater good of his people?
I think the darkling is right about most things, and to be honest the moral tone of sab is sickening when considering both grisha persecution and alina's regressive arc, as well as the writing of the female characters in general and the overarching puritanical plot structure, but I don't think alina was necessarily wrong to run. there were cons to her running, sure, and maybe she could have stayed to talk to the darkling. but in the end, is that a risk worth taking? she decided it wasn't, and I agree with her.
and alina is a selfish character. the reason the darkling decides to follow through with his plan in the first place is probably because she asks him to when they first meet. because she would rather live a selfish, safe life than a grand and heroic one. she would rather remain in a place she knows than try to experience real change. alina is a character comfortable in her mediocrity while longing for more, but terrified of actually leaving the only piece of her identity behind - because she struggles so much with defining and knowing herself.
what she experienced at the little palace was the real change that she'd been longing for, and she started to find a real identity within all of that which went beyond the scraps she clung to throughout her life. then she actually began to want to help more people - to stretch truly beyond herself and sacrifice for others. but realizing that all of that sudden change which you love but that society has taught you is bad (and of which you are wholly unprepared for) - realizing all of that is tied to something that could hurt you? it's an understandable reaction. alina was rocketing into space after being held back for so long, and she thought she saw a planet in the distance. is it any wonder she swerved to avoid crashing?
send me a 🔥 for an unpopular opinion (x)
#grishaverse#shadow and bone#sab#alina starkov#aleksander morozova#the darkling#myramblings#sab meta#ask games#asks and answers#ty for the ask nonny!#pro alina starkov#sab critical
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This is a really long-winded work up to a fic idea/vague character analysis BEAR WITH ME.
this'll be the last HTTYD meta post of the night. It's hard to pinpoint when Cowell fully created the later book's storyline (The seeds really start getting planted in 5, but of course 8 kicks things off, but was that the book when she first truly knew? who knows) but it's obvious the end game plot wasn't conceived by the start of the series. Cowell manages to transition from mostly episodic style adventure books to an overarching plot pretty well but there's some occasional wonkyness. The most fascinating weirdness to me is how the earlier books treat dragons and their societal standing.
I am doing a very out of order re-listen rn so I could be very wrong but while dragons are treated as 'creatures to own' from the start the slavery and mistreatment of dragons by humans starts to really become more textual rather than messy implications by like the 3rd and 4th books. But I don't think Cowell knew if she wanted to Unpack All That Right Now just yet when writing those books, so we get this weird ground where the mistreatment of dragons is there and explicit but none of the characters linger or reflect on it. Specifically in book 4 Oneye is all very "y'all are fucking pig slave drivers" and Hiccup doesn't object or anything but does not think about or engage with Oneye's rhetoric at all. This was a tad jarring coming off of listening to Hiccup giving a massive impassioned speech about how slavery is disgusting and needs to be eradicated in 10 to Hiccup meekly telling Snotlout not to whip dragons for fun in 4. Of course, Hiccup is a child and very rarely do elementary schooler age members of the oppressor class fully understand the abusive systems they profit off of (and obviously Hiccup not standing up to Snotlout is a whole other thing bc Snotlout is a horrible little shit. I'm not condemning Hiccup for not doing much here). Hiccup has all the groundwork of becoming the little leftist abolitionist revolutionary he ends up but he isn't there just yet.
This should have been ground for a bit of a character arc. And yet, it sort of wasn't?? Kinda?? It is but isnt. I think by 7 Cressida knew where the series was going enough to know that Hiccup needed to have a personal reconing with slavery & that's what the Northern Wanderers were for. Hiccup has a close brush with human slaves, gets marked as a slave and comes to see their humanity and dignity despite the rest of his friends and his culture not respecting them or their personhood. On paper, that's decent. Maybe not very good indigenous rep, but decent plot wise. However, it doesn't entirely work. Firstly because Hiccup should already know that captial S Slavery is Bad because of 5. That's a large part of 5. And yet I do not remember Hiccup ever really having much dialogue or internal introspection about slavery and the horrors of it & how it has effected Windwalker and those around him. The narration drills in it's awfulness but Hiccup sort of...doesn't super acknowledge it. Which is weird bc Hiccup is so pro dragon and such a good person you think he might be a bit angry or have some shit to say about Lavalout island or what happened to Humongous (I think there was some 'wow that's awfuls' but nothing much more then that. Or maybe I'm mis remembering grain of salt) 5 should have already done this, but again in 7 we don't get any introspection! The wanderers say a lot of things to Hiccup. They call him a devil, they say that all of history is against his kind, they think that he is inherently irredeemable and should be killed before he himself does harm. Hiccup doesn't think about any of this. And so the attempted arc kind of...falls flat for me. But cool Hiccup is in theory like yeah capital S slavery is bad. Then 8 is what REALLY starts off on Hiccup's abolitionism. Hiccup saves Furious, empathises with the chained monster against possible best judgement, and is disgusted by his torture. He wants to free all the prisoners, everyone locked away on Berserk. This is finally when Hiccup starts having a bit more of a reaction to slavery and imprisonment, and then he starts truly pushing against it out of his own accord and disgust and anger at it.
And yet. Not much inner monologue or reflection or dialogue about slavery outside of Hiccup's talk with Furious. It stays that way until book 9, where Hiccup faces the concept of being a king for the first time and then fights his father for the throne, knowing his father won't do the right thing. So, character arc! We get all the beats but I feel like we sort of don't get the development that goes along with the beats so it doesn't totally feeel like a character arc. Why the internal radio silence? Truly it's probably something about Cowell not wanting to make the books too depressing too early on by lingering on the messed up stuff too hard or something else but. I think there's a very in character and plausible explanation for Hiccup's arc around slavery. And it's all about his father.
The Hooligans are later named as one of the 'kinder tribes' who don't engage in slavery and don't agree with it morally but turn a blind eye to rampant slavery happening elsewhere. Slavery seems to really not be discussed much on Berk, but Hiccup and the other Hooligan boys his age probably grew up with some vague sense of pride in being 'the better ones', for having more honour and morals, something shared by the older tribe members. But this inaction is immoral and even though the Hooligans and other tribes aren't slave fairing, they do abuse and exploit dragons on a daily basis. Book 9 is about Hiccup finally acknowledging what has stopped him from thinking too hard or engaging with the enslavement and mistreatment of dragons. The Hooligans are still in the wrong, doing the wrong thing, upholding a bad system. Which means his father is. Stoick is the HTTYD equivalent of a neo-liberal. He dislikes the disdainful messy bits of capitalism, but he ultimately upholds the abusive and violent capitalist system while helping put down leftist organising. And seeing that in your beloved father, for someone as impassioned as Hiccup, is a fucking bitch. It's what makes their fight so heartbreaking. Hiccup couldn't let himself start down the path of unpacking the suffering of dragons and other humans until it was VITAL to do so because I think he knew things would lead back to the feet of his father, and also Hiccup's own. You don't grow up in an abusive system as a member of the oppressor class without being at least a bit complicit in violence and oppression, and I think that eats at hiccup.
ANYWAY fic idea what if I actually fleshed this all out through fic via like snapshots of Hiccup's various radicalisation moments which then focuses on the gap between 9 and 10 where Hiccup is in the woods for like a year with nothing but dragons, anti war domestic terrorism/sabotage and his thoughts for company while showing more anti war rebellion groups bc surely Hiccup and Cami were not the only ones. Cami's team getting a spotlight. ....thuggory pov??? I have vague fic soup rn and it's threatening to engulf me so I had to get this out somehow.
#httyd books#httyd book spoilers#listen idk if this makes sense I have a couple of beans rattling around in my brain as the main processing power#shut up flynn#Explicitly leftist anti-establishment readings of vaguely leftist anti-establishment children's books? more likely than you might think.#not sw
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