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destinygoldenstar · 3 months

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I Analyzed The Ninjago Movie Instead Of Sleeping

I have real mixed feelings on this movie. But not for the reasons you might think from a fan of the TV show.

The movie didn’t NEED to be connected to the show. And it clearly wasn’t trying to.

It was meant to be an AU in a way.

(If you look at the behind the scenes one of their original rewrites was a plot of them going back in time to save Lloyd’s dad from becoming the villainous figure he is in the present day.)

So I can forgive the inaccuracy so long as it could stand on its own as a proper story.

It doesn’t do that.

If you DON’T compare it to the show:

You got a movie with SOME good jokes, amazing animation, (SERIOUSLY THIS MOVIE LOOKS BEAUTIFUL AND VISUALS ALONE ARE A CHEFS KISS TO ME) but is so strangely paced that it feels like the movie starts at the middle of the story and never shows the beginning, and feels like a completely different movie halfway through, and is also very choppily edited.

(I even double checked a clip of the movie just to prove my point there: When Lloyd uses all his dragon mech weapons on Garmadon, they play the exact same sound effect and explosion, just with different angles, SIX TIMES. FSM WAS THAT EDITOR HUNG OVER WHEN DOING THEIR JOB THAT DAY?! And that’s just one example I’ve got. I think this was the first time EVER when I was in a movie theater and I distinctly remember asking “What is wrong with the editing here? Who thought this was good editing?? Who thought this was appropriate in any way???” So I thank this movie for giving me such a memory and making me value good editing.)

You also got a world that isn’t very well fleshed out, characters that the movie chooses to not focus on except the main character and the main villain. And you got a movie that tells its audience it’s okay to forgive your parents that neglected you and are active terrorists even if they earned or done absolutely no redemption whatsoever.

I mean Garmadon in this movie BETRAYS them and leaves them to rot so he could terrorize the city again at the end. Then gets eaten by the cat. Then Lloyd forgives him. Idk what more you want me to say.

I’m not gonna act like Crystalized did it any better though. Pick your poison.

But then you got fans of the show. The people who watched the show since kids (that includes me). Who are naturally bias towards the shows lore and characterization…

OOOOOOHHH boy…

I don’t hate EVERY portrayal of the ninja in the movie as much as other people. I actually think there’s some good ideas for an AU version of these characters here. Problem is the movie never does anything with them.

Well, I say I don’t hate every portrayal, the one I truly cannot stand is Zane’s.

There’s just so much wrong with how they portrayed Zane that it just does not work. Not as an adaptation of the character. Not in any way that makes sense for this universe and is actually kinda insulting.

There’s no other robots in this city. (Like there are in the show) Why is Zane the only one and why is he in high school? Why would Wu ever pick a robot to be a ninja?

In the show the reason is pretty simple: Wu didn’t know at the time.

But everyone knows in the movie. What’s movie Wu’s excuse?

There’s also in terms of personality.

Keep in mind later seasons of the show have the same issues, so I’m talking about what it was at the time of the movie.

Zane’s whole robot identity is crucial to his character. The show introduced him as ‘the strange one’. As he couldn’t understand social cues, took things very seriously, didn’t share the same sense of humor as the rest of the team, had a hard time displaying his emotions, and bonded with things the others didn’t and excelled at certain areas like cooking.

He’s a character that connected to a lot of neurodivergent people in the audience who could relate to him. No he’s not intentional autistic rep, but one that definitely mattered to the people that headcannoned him as such.

(Also helps that they introduce other robot characters later that clearly don’t have the same characteristics he does. So really it depends on what you see.)

So the reveal that he was a robot was such a huge deal to not just the plot but to him as he finally got a concrete definition of what he is and who he is. And the show NEVER decides to say “You know, it would be so much better if you were a human!”

“Why can’t you just be normal?!”

That’s part of why I personally can’t stand fics that make Zane human. It just doesn’t feel right to me and misses the point of the character.

While I absolutely did not expect the movie to cover his… really heavy backstory with his inventor/father and how he outlived him, then got his memory and sense of identity wiped by him moments before death, which was meant to be an act of sympathy but would actually harm Zane’s mentality for the entire show…

The movie didn’t need to adapt that. For all we know, movie Zane could have a very happy backstory. And that would be fine. All I wanted was for the identity-seeking aspect of Zane’s character to matter in some way.

It didn’t.

The jokes they use for Zane in this movie are that of “Haha, he’s a robot. Isn’t it so funny that he doesn’t understand humanity very well?”

You know, something that in one episode of the show was portrayed as a BAD THING for people to think that of him! And that those people needed to learn to respect him for who he is!

And that’s the ONLY thing they do with him. Just robot jokes. Very stereotypical robot jokes.

Again, later seasons of the show are guilty of this too. So I will not act like the show is perfect.

For the reasons I listed, these are actually far more offensive and harmful than you think. Especially fans of the show watching the movie. Him being the only robot in this movie world makes me think even more that this actually is autistic coding… and that makes it so much worse.

Zane being a robot being equal to autism is its own discussion. And has its own problems on paper alone. Whether or not this is your headcanon of him, and whether or not you think this is good representation either way is up to your feelings and experiences. (Personally I think it’s better than some live action shows attempting this)

The others don’t even seem to trust or want to be around him that much. The others seem annoyed by him half the time. Like they’re only tolerating him because he’s on their team. Yeah they don’t say that but simple looks and gestures are enough to get that impression. And not once does anyone ever express Zane’s value in their team. That’s the ONE thing that would’ve had me forgive this all.

But there’s my rant. The others?

Jay is mostly fine. I think this personality for the movie is a neat AU concept. Yes show Jay is openly terrified of things and awkward, but if there’s something he wasn’t was SHY.

Movie Jay is a shy and nervous wreck. And you know what? For a high school AU, I think it works. It doesn’t erase Jay’s essence entirely. They at the very least kept the detail of his character that he’s a fast learner.

I appreciate that.

Cole is actually a REALLY interesting concept to me with the AU idea they gave.

On the surface it’s just ‘He’s a DJ and willingly old school’

But if you see the show, this is actually an ODD approach. Because show Cole has a very complicated relationship with music.

In the show, Cole’s parents thrived in singing and dancing. His father specifically was a performer that won several awards with his band ‘The Royal Blacksmiths’. After Cole’s mother passed away, his father proceeded to push his ideals and his passions onto his kid and pressuring him to become another version of him. It got stressful enough that Cole ran away from home and resented music, something that used to be a bond of family for them, and that’s where Wu found him and made him a ninja.

Throughout the show, Cole would open up to music again more, but it’s pretty gradual and a very subtle bit of character development for him throughout the show. He doesn’t need to say “I hate making music” to get the point across. He only starts the music route again whenever it has something to do with making a family member, blood or not, happy.

So movie Cole is interesting to me for that reason. Because at the start, he basically IS a mini Lou. His whole thing is music and it’s heavily reflected on his personality.

To the point where his element in the movie isn’t even animated or portrayed as earth like it’s supposed to, instead it’s… sound waves?

Weird choice. Interesting one though cause maybe that’s just how movie Cole functions.

So it’s “Oh, what if Cole DID follow in his fathers footsteps and DID want to become a musician?”

Very interesting approach for a completely different approach of character development.

But the problem? Just like the others, not utilized.

But I do think this was an interesting AU idea. Is it accurate to the show version of the character? No. But that’s kind of the point I think.

Then there’s the RGB siblings. This is where it gets kinda weird for me.

Thanks to the movie, a lot of my friends mistook Kai and Nya for being twins.

They are not twins in the show. Kai is older.

I don’t think that dents their characters too much in the movie so long as the same points were across. They’re the blood related brother and sister who raised themselves when their parents abandoned them, and climbed out of the ashes to protect each other, and found a new expansion on their family that didn’t have to be blood related to count.

These two, in different ways, are the support of the team and especially Lloyd. They’re usually the lancer characters that Lloyd goes to when he can.

I still say that about Nya even though originally, she was NOT a ninja, but rather was a Samurai with a mech of her own invention that acted as a Tuxedo Mask for the ninja. She didn’t become the water ninja until Season 5.

Which… I know the movie takes heavy inspiration from the first two seasons, the beginning, so for those who haven’t seen the show watching the movie… yikes I feel bad about the lack of a spoiler warning. Same goes for Zane being a robot.

But I think that’s also a factor into Kai, at the former half of this show, (again I’m talking pre-movie with this). He was the first character we were introduced to and we’re following in the show before Lloyd ever showed up. So naturally he’d be the one with the most attention to supporting the Green Ninja. Something that was very vital character development for him individually as well.

He’s the old school one. He’s the cool one. He’s the one who looks out for you even if you don’t want them to. He’s the one that will jump to anything without thinking. He’s also the one with the most value in tradition out of the ninja, as a blacksmith instead of a techie and as a traditional sword fighter rather than a fancy complicated weapon. He doesn’t get involved in tech willingly till he learns Twitter is a thing.

And in the movie, I think they took this characterization and said “Eh, give it to the girl instead.”

So most of show Kai’s character traits are now movie Nya’s. She’s the cool one with the most passion for traditional stories, she’s the one with arguably the most talks with Lloyd to calm him, and she’s pretty loud and brash in personality.

Not saying show Nya is not those things, she is. But the difference in the show was that Nya was HUGE on independence and doing her own thing. Being the only woman and a younger sibling in the main cast is actually a big deal to her. Not wanting to have her destiny be decided by the world or her brother as a damsel in distress or a sacrifice, she took to tech to invent her own ways of helping. Her own character.

Until destiny told her “Actually no, you can’t be the person you want to be. You have to stick to tradition that your mother had and be the water ninja.”

That’s… honestly a very brutally honest message that not a lot of people I see give credit for. Cause yes, expressing yourself and being your own person and being able to make your own fate is amazing… but it’s not always possible.

Sometimes you can’t be the person you want. Sometimes the world just will not let you. That doesn’t mean your identity is worthless, though. If you go with the flow, you can actually find that fate has plans for you that might not suck after all.

Basically a ‘It’s A Wonderful Life’ messaging there.

It’s part of why Nya’s whole thing throughout the show is her starting as a damsel trying to reinvent herself and her stereotype, and ending as a willing sacrifice and death of her whole identity that she doesn’t regret because she’s embraced the flow of life and purpose. Even if she forgets herself in the realm of spirituality, her loves one’s never will.

…Until Crystalized undid ALL of that. BUT LETS NOT.

Movie Nya just really isn’t any of that. She’s basically just her brother.

Which… I’m actually fine with. The show has some bumps in the road in execution of her story anyway. And they want the only female of this team to not be a background character cause that’s look bad. I totally understand that. And her being a sibling to Kai makes me forgive it a whole lot more cause it does make sense.

But again, we don’t know what their lives are like or if they have similar backstories to theirs in the show at all.

But where does that leave Kai?

Well his whole character in the movie seems to basically be “I’m the loud one and a complete klutz and meathead.”

Basically TD Tyler.

It’s a personality in the movie that bled in the show post movie. While I personally think it was not THAT bad in the show, Secrets of the Forbidden Spinjitsu made me go “Okay. I understand now.”

As for movie Kai, that’s really about it.

It really was an early indicator of just giving Kai’s character traits to other characters. Before the show was visibly doing it.

Cause movie Lloyd is also basically just Kai but with a different backstory and context to situation. But honestly, I DO see what they were going for here.

As the ONLY ninja to get ANY focus, this version of Lloyd is well explained on what his life is.

In the show, he’s an abandoned child in an abusive boarding school who heavily idolizes his father, Lord Garmadon, and runs away to become a super villain. Only for Destiny to tell him not to, and we see his true colors and that he just wanted his family together and to love him. Something that was… hard. Considering who Garmadon is.

That is actually carried into the movie. Just cut out him running away. Here’s the difference.

Show Lloyd loves his dad and refuses to hurt him until he has to. While he is the Green Ninja, he didn’t resent himself being Garmadon’s son. What he resented was the destiny that took them apart.

Movie Lloyd HATES his dad for abandoning him, terrorizing the city, making said city cancel him for EXISTING, and he wants every excuse to shut this man out of his life forever.

That does make sense. And to the movie’s credit, the movie logic DOES work to make this version of Lloyd make sense.

It makes the movie pretty mean spirited and kinda unpleasant at times. But it works for the story.

I described Lloyd as ‘The Emo Child’. In the show. But that’s two words.

Emo. CHILD.

He’s still a kid. He’s still the youngest. He still has his own child-like wonder of the world and the aspirations that of a child would.

Yeah he’s a lot of angst. But he’s also a sweet kid who deserves hugs.

That’s not very apparent in movie Lloyd. Not that it needs to fit movie context.

But because we never see how the ninja in the movie got together, we have no idea why Lloyd even accepted being the Green Ninja in the first place. He even says in the movie that he’d give it up if it meant he didn’t have to be Garmadon’s son.

Movie Lloyd is the only ninja in this movie with an actual character arc. He resents his dad, tries to be rid of him, only to get consequences for it, goes on a quest to fix his mistake, bonds with his dad to learn he’s… sympathetic? I guess?? And in the end forgives his dad and chooses to let him in his life again.

Simple. Fine. It works on Lloyds end just fine. And I have to give credit for the movie making Lloyd resenting Garmadon more logical than Crystalized ever did.

It’s Garmadon’s end that just makes the whole thing a bad message in the end of ‘forgive your abusers.’

Yes he’s funny. That doesn’t undo his actions.

No it’s not undone in the show either, but at least you can buy the forgiveness there because every character knew that he had no choice.

In the show, Garmadon is the Oni Child of the FSM. Thus all it took was for another Oni creature, the Great Devourer, to trigger his blood and FORCE him into the evil role without his consent. It forced him to do nasty things to his loved ones and the land his dad created, and by the time he became his evil form, he was forcefully stripped away from all of his loved ones and a chance at normal life. So the only way he could ever get that back was to turn the world into his own image, thus having the world become him too. A monster.

The show made it abundantly clear that most of Garmadon’s evil deeds are either out of ambition for what he deems as helping the family, or not his fault at all due to snake venom influence.

I THINK the movie also has this because they do address him getting bit and becoming the creature he appears as in both versions.

Better than nothing I guess.

But then you get his ‘sympathetic backstory’ which is pretty much just a love story between him and Koko-

Yeah Lloyds moms name is actually different in both versions. And in role.

Misako abandoned her child to try and solve the destiny crisis, then returned to his life to help her kid out.

Koko remained a mother to her kid and supported him even when everyone hated him.

These are very different characters basically, and which one you prefer is up to you. Personally… I actually prefer the movie. I do think the mom was the one character that the movie actually improved upon. Especially with a very interesting story for her.

In the show, Misako is a researcher and just the fair maiden figure that Wu and Garmadon fell in love with. To which she chose Garmadon because of Wu’s letter that Garmadon forged his name on… it’s complicated.

In the movie, she was actually a fighter as well and took a part of the wars Garmadon was in. She enjoyed the thrill of the fight and fell in love with her opponent in a pretty cute montage.

But then they had a baby and her reality changed, realizing she could not raise her child on the battlefield. And when Garmadon refused to change his mind, she took Lloyd and left him behind. So she could be a mother.

Explains her actions in the movie all throughout very well and I never got lost when it came to her. She’s probably the one character in the movie I felt the most sorry for. She’s such a sweet parent and her interactions with Lloyd are probably the best parts of the movie. I wanna hug her.

But that’s all that’s shown of Garmadon. Apparently Garmadon was oppressed, but that’s told at the end and not shown or been significant at all.

They don’t hate you cause you look funky. They hate you cause YOU TERRORIZE THEIR CITY ON A DAILY BASIS AND SHOOT PEOPLE OUT OF A VOLCANO

Yeah show Garmadon did similar stuff, but again, WASNT HIS CHOICE.

Here, it’s absolutely his choice cause nothing indicated otherwise.

Garmadon doesn’t even PROCESS his kids existence or his own negligence three quarters of the time. And you expect me to buy a redemption from him?

You know, I’d be fine with it if he was just a one dimensional villain and the story of the movie was about Lloyd putting his energy away from a family that doesn’t care about him and more towards a surrogate one he has.

But no. You gotta have Lloyd forgive Garmadon and have Garmadon redeemed.

Cause that’s what the show did.

Even though this is supposed to be an AU not connected to the show so we can do whatever we want.

The most they do for Garmadon’s redemption is force him to be the mentor after Wu got yeeted off a bridge by a butterfly, have him go “Oh yeah, I DID shoot people out of a volcano!”, teach his son how to catch, and tell his son his backstory.

(Speaking if, Wu to me is basically the same. Just different voice actor delivery. I got nothing to say on him)

And then if that IS redemption, then he failed it. Because he offers Lloyd to be his general when they take over the city again, showing he’s learned nothing. Then when Lloyd says no, he steals their magic weapons and ditches them in a temple leaving them to DIE. Then he goes to terrorize the city again.

What redemption. /s

Again, this was all HIS choice. If it was not and if it was snake venom, they couldn’t at least give a visual cue or address it?

And now LLOYD has to apologize?

NO. LLOYD WAS RIGHT. THERES ABSOLUTELY NO REASON WHY HE SHOULD LET HIS DAD INTO HIS LIFE. THE DAD HIMSELF PROVED THAT.

It just paints an unintentional bad message of ‘you have to forgive your abusers’

I’m sorry but Lloyd doesn’t owe this Garmadon anything.

I do like Lloyd’s VA delivery though, and the speech about green being the color of life. I actually like the idea of Lloyds power being his heart. Yeah it’s not flashy powers like in the show, but for an AU, it’s a really cool idea and I wish they used it more.

I have mixed feelings on the celebrity casting. Did I expect the original voice actors? No. But this casting wasn’t awful.

Garmadon’s VA is amazing in this movie. Jackie Chan as Wu is very subjective I feel, love it or hate it. Nya and Jay’s were really good too. I think the only one that didn’t work for me was Kai’s VA. Just… why does this teenager sound like a 50 year old man??

But honestly, I think the thing that got to me the most about the movie was something I praised about the show not too long ago.

The bond between the ninja.

I talked about how the show is a master class at character dynamics. There is almost no point where the characters are just standing there in one big clunk. Someone is saying something, someone is making a comment, someone is doing something, and it’s usually there for others to see and react to. It’s a very small thing, but it keeps the scenes alive and fresh the whole time and helps the audience be sold on the characters bond.

They don’t wait for the scenes of “Okay it’s time for characters to interact”. They just do it all the time.

And guess what the movie did? They’re just there in one big chunk all the time. With “okay it’s time for characters to interact” bits.

It’s one thing to not explore the other ninja at all. It’s another to ignore their bond.

In the show, they’re a found family. They all had rough upbringings in life and find a new sense of purpose in each other.

That’s NEVER emphasized in the movie except for one speech at the end Lloyd makes. Mostly cause we don’t know the other ninjas lives, and we don’t know how they even got together. Cause as I said, the movie starts at the middle, and awkwardly cuts after Garmadon is forgiven to be the end. We don’t know what it is about THIS ninja team that we should care about. It’s not shown.

All were shown is them being a team by circumstance only. Then Lloyd pulls out the cat laser and the cat nearly kills them. Then they hate Lloyd for it and spend the rest of the movie making fun of Lloyd.

Which yeah they make fun of each other in the show too, but where it ended in the show was playful teasing in the middle of moments that showed they cared about each other. And when one bond between two or more of them was broken, you felt it.

Here? I don’t know that and there isn’t anything besides the high school montage to show they cared. Just some comments about “Oh it’s okay Lloyd, it’s just awkward that your dad is a terrorist”. And then they make fun of Lloyds expense.

It’s mean spirited. It makes me think they don’t like each other. And it’s not like they ever apologize for it. They’re just teammates because Wu said so. They’re just tolerating Lloyd cause Wu said so.

Honestly the bloopers for this movie show more personality and more of this bond than the entire movie does.

…OOF that took awhile. I don’t even know why I did this, I just didn’t feel like sleeping. Uh… you read this, congrats. Idk why you did.

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randomyuu · 1 month

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so hold my hand (consign me not to darkness) [1/4]

Ah, yes. The fic that made me realise I’m in desperate need of Cursed Spirit Gojou in my ever-growing favourite GoYuu tropes.

Content Warning!

Major Character Death. Other characters are disrespectful to the corpse.

I highly suggest you read the fic first, or just the fic, since I don’t think I was properly able to adapt it into drawings. While I managed to use roughly two weeks of on-and-off planning, researching, and storyboarding, I only had a full week to finish it. You can read more of my thoughts below the comic if you’re curious.

Title: so hold my hand (consign me not to darkness)

Author: qalb_al_louz

It’s ongoing, and as of this drawing, the fic is in its third chapter. While this is (sexually) SFW, always be mindful of the tags! Please keep yourself safe and sound.

Please read from right to left, and enjoy!

You can only upload 30 images in one post, huh Damn, I gotta divide it into parts

Part 1 | Part 2 | Part 3 | Part 4

Alrighty, I'll put my watered down unhinged thoughts below. No extra drawings down there if you're curious haha (unless you want to see the storyboard and the characters' full body character sheet, lemme know). You can skip the stuff underneath the Keep Reading for all parts.

This fic had me grinning from ear to ear every time I read this. The atmosphere, how it goes from POV to POV—of pure fear and panic—and the peak excitement I got when Yuuji properly meets Gojou, like brooooo 😭

Gosh I cannot emphasise how much I love this fic. I’ve always been wanting to make a whole comic out of it, especially since it was 2 chapters and it doesn’t look like the author will update it, but it just… kind of forgotten ∠( ᐛ 」∠)＿

But then the author posted a new chapter and I told myself this is a sign I should really start.

also goddamn I was so naive to think I can tackle 2 chapters as comic—no I was in fact cannot

The moment I laid my eyes on the first paragraph, things were portrayed very vividly in my mind. The panel, the angle, Gojou's head rolling down... I was like, hell yeah. Then I continued reading and I finally succumbed to my desire to draw this out.

At first I want to adapt this into a vertical format like those manhwas. However the longer I try to learn and storyboard it... I am simply not yet comfortable with it, especially for such a big project. Even the 1st storyboard starts vaguely vertical before the panels quickly crammed into that B4-B5 format lol. The first sketch estimated 69 (heh) pages for 90% of chapter 1. I said "no" for my own sanity and fully focused on the usual manga format and it was narrowed down to 60. Still a lot though, quantity and time-wise. So with a heavy heart, I can only do the majority of chapter 1 :”) I really really want to draw Sukuna talks back to Gojou—do you have any idea how good that scene was??? Gojou tried so hard to restrain himself, he’s so other I love him 😭

Due to the sheer length of this comic (I'm still in disbelief), I have limit lots of things, and that includes the drawing. If you've seen my other JJK fanarts, they are more rendered than this one. Well, this one is purely sketched with the help of the eraser to tidy up some lines. This is also the first fanart that I did purely on Photoshop, so I can control the typesets and drawings in one place. Usually, I use Photoshop for panels and typesetting and Krita for drawing.

I don't really like Photoshop's brush, but it did really well in curbing my perfectionist tendencies, so that's good.

It's also been quite a while since I draw in general (sobs) so... yeah, you might find differences, or not ¯\_(ツ)_/¯ But I hope you enjoy it nonetheless!

I know setting is important, but maaan I genuinely won't miss rereading chapter 83-93 with a heavy focus on background and character locations. I just want to read the action and dialogue😭 However continuity is really important. But my spatial intelligence is almost non-existent even GPS sometimes can't help me. All I'm saying is that if you find some silly drawing mistakes, do forgive me ∠( ᐛ 」∠)＿I only drew all this in a week because otherwise I won't have another chance to complete this.

Well, lots of things I won't miss from this project, but haha let's talk about the characters instead because holy shit what was I thinking, starting this year drawing this many characters in the same project??? I have never drawn anyone here except for Yuuji, Gojou, Nanami and Megumi. I don't think I've ever drawn older Getou before. I already forgot how to draw my boy Yuuji and I gotta draw all these people???

This is what you call making a bad decision, kids. Don't do your "drawing warmup" after months of not drawing and tackling a project of a scale way bigger than you've ever tackled before.

Thank you for reading this far! I hope you find my complaint entertaining! But make no mistake, I genuinely still love the fic. Drawing this, even with all the headaches it gave me, only makes me adore this fic even more.

Thank you very much to each one of you who follows and leaves comments and tags on my silly art—it never failed to make my day :D And I sincerely wish this one also made your day or even made your minute! I'll see you in the next part!

#yuu's art #jjk-fic-fanart #jjk-ship #五悠 #goyuu #goyu #5u #gojou x yuuji #shibuya arc #shibuya arc canon divergence #lots of characters on this one #kenjaku #chousou #mahito #jogo jjk #gojo satoru

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iwritenarrativesandstuff · 3 months

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started watching the new live action avatar

it’s. It’s pretty ok I guess? But there’s a lot of things I’m not altogether happy about. It feels very. Generic. Which is kind of sad.

I’m only two episodes in though, so I won’t be too harsh. But there are a few things that I really don’t like, and number one was Aang going into the Avatar State in front of Sokka and Katara for the first time when seeing Monk Gyatso instead of when escaping Zuko, and that moment being isolated instead of the moment everyone in the world knew the Avatar had returned

in the original series, Aang goes into the Avatar State when confronted by irrefutable proof in the form of the skeleton of his best friend and mentor - the airbenders really were massacred and he can no longer deny it.

every statue of the Avatar around the globe lights up in a single moment. the legendary figure’s destined return is announced to the world by an overwhelming outpouring of grief and rage from a young child who just discovered that everyone he ever knew and loved is gone. it’s poignant. the Avatar’s return in that moment is not a triumph. that terrifying show of strength and power, enough to light up the world in its glow, is pure emotional anguish from a small twelve year old, who just saw the dead body of his mentor and now believes he is all alone

and Katara and Sokka having seen the Avatar State before means that there is less of the shock and “what is happening” in this pivotal scene (which was the main focus in the live action). of course Sokka is still concerned about them potentially getting flung off the mountain. but both of them know this reaction for what it is - mysterious power, sure, but primarily, they see and recognize his grief.

I just. what happened to “we’re your family now” and “neither of us are gonna let anything happen to you”??? :(

on a side note, I do feel like Katara and Sokka themselves have been heavily (heh) watered down. it’s a shame. Sokka’s my favourite, and I just think that I. Don’t trust writers with Katara now. (Why is her waterbending a secret? The whole reason she didn’t learn was because there was no one to teach her and she couldn’t leave… also where is her instant connection with Aang… where is their silliness… where did it go…)

however! I did like a couple things that were done and I want to be a bit positive so here

love Zuko and Suki’s actors. they did a great job

Sokka and Suki’s training together was cute ☺️ (though I wish he had worn the uniform of the Kyoshi Warriors…)

Aang himself is adorable :) (wish he got to be a little more silly but Netflix adaptations always are more serious for some reason)

I actually kind of enjoyed getting to see some of the scenes from the war’s outbreak. I prefer the way the original show portrays it, with a lot of info being learned reverse chronologically, but it was cool to see Sozin, and some of the airbenders, and a little more of Gyatso (who I also really enjoyed :’) )

Katara bending water at Aang and it reducing to them splashing each other without even trying to bend. Rare sillies!

I thought Kyoshi herself coming to defend her island was pretty sweet!!!

Katara getting flashbacks to her mother’s death on seeing firebending. Well I don’t like this, obviously, but it clearly shows how her mother’s death haunts her, and if they have Katara face off against Zuko again at the North Pole, it’ll be all the more triumphant.

Suki’s mom!!! Damn she was so cool!!!!!!

#also whyyy was Katara not the first person Aang saw??? this is really important!!!#and what is Katara’s role here. She didn’t even seem to break the iceberg. That’s. That’s her whole. That’s. She. She kickstarts it. Gah.#Katara my beloved my sweetie I don’t know why your writing got fucked up in the comics and now here #you deserve so much better #also why no Aang and Zuko confrontation? hello? that’s really important???#they had him meet Iroh though. so that was actually pretty interesting #no agni kai between Zhao and Zuko either? maybe it’ll happen next episode?#ugh. I actually don’t like a lot of things. But I’ve only watched two episode so I’ll be chill and wait for more #storyrambles #atla #also this is just me being nitpicky but if we were going to actually see gyatso’s death (which. Idk it was more impactful not seeing it tbh #there’s this implication that gyatso may have broken his vow of pacifism since his skeleton was surrounded by tons of fire nation soldiers #implying he may have killed them #it wouldn’t have fit or made sense at the beginning of the show #but if they were going to show his death scene. Idk. Guess I just expected something more substantial #personally from what little we knew of Gyatso it actually does seem likely he’d break his vow if he really did die protecting the children #also. he was supposed to be the strongest airbender at the time. come on now. he just gets roasted?

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shippingdragons · 2 months

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Toby Stephens Returns to the New York Stage to Investigate the Media In ‘Corruption’

Stephens talks about playing Tom Watson, the member of Parliament who pursued the investigation of the UK phone hacking scandal. “We’re still living in the aftermath of all the stuff that came out," he says.

By Harry Haun • 03/25/24 4:55pm

Toby Stephens as Tom Watson in Corruption at Lincoln Center’s Mitzi E. Newhouse Theater. T Charles Erickson

“I love doing what I do on stage,” declares Toby Stephens, more joyfully than boastfully. Call it a (very) early calling. The gifted offspring of genuine theatrical royalty (Sir Robert Stephens and Dame Maggie Smith), he plies the family trade with distinction on two continents. He can’t help it.

When Broadway first saw Stephens, he was drawing double duty in the 1999 revival of Jean Anouilh’s Ring Round the Moon, playing patrician twins who turn into romantic rivals. A quarter of a century later he has finally returned to New York in Corruption, where he is one of just two actors in a company of 13 who does not play multiple roles.

Stephens portrays Tom Watson, a British Parliament member who helped squeeze a death rattle out of Rupert Murdoch’s News of the World for hacking the phones of thousands of celebrities. Playwright J.T. Rogers adapted Watson and journalist Martin Hickman’s 2012 book Dial M for Murdoch: News Corporation and The Corruption of Britain into Corruption, currently getting a world-premiere staging from Bartlett Sher at Lincoln Center’s Mitzi E. Newhouse Theater, the site of the duo’s previous Tony winner, 2016’s Oslo.

In the 25 years between his New York stage sojourns Stephens has been busy doing his thing “in an industry that’s becoming more and more precarious,” he tells Observer. That’s meant keeping “a variety going,” trading movie roles like the Bond villain Gustav Graves in Die Another Day with a turn as Hamlet with the Royal Shakespeare Company. “I still try to balance theater with making money. That’s what it comes down to—finding that balance.”

What was the lure that brought Stephens back to New York? “A number of things,” he begins. “Firstly, I worked with Bart and J.T. on Oslo in London and enjoyed the experience. Secondly, Corruption is a new piece. Really interesting new writing is quite rare these days. Lots of revivals are done, but I really want to work on something new.” And then there’s focus of Corruption: the media, privacy, and truth itself. “It’s an important subject because we’re still living in the aftermath of all the stuff that came out. It’s still on-going.”

It’s not been an easy play to bring off. “There’s a point in rehearsals and previews where you suddenly feel like ‘Oh, I’m in control of this. It’s not in control of me,’” he says. “What I hate is when you aren’t quite in control of the material. It’s just beyond your fingertips.” The challenge of Corruption was its complexity. “The play is freighted with information, and you have to get that across and make it all seem naturalistic and real. You must leave the audience believing this narrative.”

Adding to the complexity, the show changed throughout previews, a process Stephens calls “terrifying,” though, “that’s how J.T. and Bart work,” he adds. Some of the changes were subtle, others were major. “By the time we reached the first night, it was a very different piece than what we started with. The skeleton was there, but the way we told the story was different. They tightened it up, cut things, rearranged things, even put new scenes in.” Still, there was enough time to work with the material that by opening night Stephens had found the control he was looking for. “I had fun because I knew it was cemented and this would be the piece we’re doing.”

How deeply did Stephens delve into the character of the man he was playing? “Not very,” the actor admits. “I know of him because I’m aware politically in the U.K. I read the newspaper and follow current affairs. I’ve watched him through the years. In terms of research, I believe the play is the play. That’s my main touchstone. I have to trust J.T. has done thorough research, which he has.”

Tom Watson, Toby Stephens, playwright J.T. Rogers, and director Bartlett Sher on opening of Corruption. Tricia Baron

In fact, Stephens opted not to read the book the play is based on. “I find doing loads of research—beyond what the material is— isn’t helpful. All that does is confuse and muddy what you’re doing,” he says. “My business is to do the play I’m given and make my character dramatic and nuanced enough for audiences to deal with.”

So for Stephens, the research is the script, though he does admit one addition to get Watson’s accent right. “He’s got an accent that’s quite broad when he’s talking as himself, but when he’s in Parliament or talking officially, it’s slightly subtler,” he says. To nail that, he watched “a lot of videos—but up to a point. I don’t want to do an impersonation.”

Tom Watson was a surprise guest at Corruption’s opening. “Thank God, I didn’t know that he was present,” Stephens sighs. “Afterwards, Tom said, ‘If this play was done in London, it would be a lightning rod.’ I think he’s right about that. It’s still very fresh in people’s memory. There’s still legal action against newspapers for hacking.” Though Watson had read the play before seeing it, Stephens thinks he was slightly stunned by the whole thing. “Actually seeing it, seeing somebody else playing you, is a completely different thing. You’ve got someone who has lived the real story, and you’re doing a simplified version of that. But I think that he was very, very impressed by the show. ”

#toby stephens #corruption play #lincoln center theater #Broadway #theater #interviews #tom watson

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mejomonster · 1 year

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I'm overwhelmed. Justice in the dark ep 2:

I need to find downloads of the eps. Does anyone have anywhere they know of I could download? I need to backup this show.

The scenes of Fei Du (pei su) as a child are SO good. So good. So fitting of the book. So heavy emotionally it makes me feel like Fei Du is similar to the Protagonist in Flower of Evil. Such a Korean drama style emotional horror tone to it, which is heavy and intimate in a way I didn't expect to run into.

The way light is used for Luo in Pei Sus flashbacks - the light that rushes in to hold him, to hide the death from his eyes, that pulls him out of the dark house (prison) and into the light outside (freedom). The person who stands in the light of his flashbacks, the person he looks to for help as his dad holds him and drags him back into the dark of the house. His eyes saying: help me. Believe me. Luos expression saying he'd do anything to save the kid, wants to do anything to help Pei Su. The scene in the police room where pei su is so angry, and you know Luo reached the limit of what he could legally do to help pei su, and it broke both of them in that room. And ever since they've been fractured and reactive. Just ALL the visuals of those scenes were so perfectly done, so that the themes of the story hit visually and create the entire experience. It was so so cool to see the book moments like that visually.

The scene right after. With Luo in the light and warmth, pei su in the dark and white cool tones in the dark house with the flowers showing he's still trapped in the past. Luo is in the warmth, the present, but he's looking at the present documents (of the case) and connected to all his past cases through that, he's trapped in the past too but seeking a path forward into the future, and he's the light that can help pei su move forward too. I loved the comparison of them as warmth and cold, passion and thought. The yin yang kind of comparison, the opposites, the way they're the focus point of the entire 7 years together ans even though Tao was there he's a side piece of it, the witness to Luo trying to save Pei Su and failing, of them revolving around each other connected ever since that event. Absolutely amazing to see that visual. I loved it so much

Funner smaller notes: Luo with a black cat, stubble, and a blue walled apartment screams Zhao Yunlan and I suspect those were intentional references.

The city and car chases actually look good, which I'm happy for. In contrast the mansion and police office look more fantasy like a xianxia cgi set, and i personally like it because it gives this sort of a quality like we are seeing these very Important Locations for Pei Su as if through his eyes of what they symbolize - the manor is cold, dark, dead, looming too tall, oppressive, covered in shadows. The seat of justice where Luo works has open windows that are beautiful and let in the light, but it also looms and has its shadows occasionally, it's failings where it falls short, where it's a part of the machine that hurts others and fails to allow good to happen (like Luo unable to save pei su from his father). With Luos own home being warm and cozy, and the outside environments and offices being the most safe and bright and open (things Pei Su associates with seeing Luo - outside his hhouse, outside in the city, in the office of Luo and Tao). For me this choice of either less realism or specific places to save budget lol, is a good one

so COOL to hear Pei Sus English Song he likes to listen to instead of imagining it

I love that Pei Su is the protagonist, and portrayed in this way like you don't know if he's a murderer or not if you haven't read the book. Again it reminds me of how Flower of Evil started, which is an ambiguous take for a protagonist I did NOT expect to be given but I love a lot

This adaptation is SO much better than I expected it to be. Its so cool seeing scenes from the book play out

I love the aesthetic of the show it reminds me of Under the Skin which I had desperately hoped for

I love Tao Rans casting he's perfect he's exactly what I imagined when I read and it's just reminding me how dearly I love him.

I actually do like Luos actor now that I'm seeing him act. Visually he's not what I expected but honestly I couldn't even fancast for him I had such a specific mental visual. But the actual acting of the guy? He's doing exactly the kind of personality I expected. I love his acting, especially when he looks at Pei Su in the flashbacks like he wants to save him so much, help, and just Can't.

I love the Tao/luo/pei interactions. They're just how i pictured them. Luo/pei are too snippy to have flirty chemistry super early on, and both fighting for Tao to back them up and be Theirs and pick Their side. But all 3 are very familiar. <3

I love. I love. I need to back this show up.

#rant #justice in the dark #lb #i also wish this was on viki cause i could edit and fix these subtitles SO fast

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emberwritesinsight · 1 year

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I just got back from seeing the movie adaptation of Are You There God? It’s Me, Margaret (NO idea how it took this long to get one, the book is like 50 years old) and I spent most of the movie just grinning at the screen. Margaret is so endearing and I can’t for the life of me remember the name of the girl who plays her, but she did a great job and they cast her well. I don’t think Margaret’s parents get this much focus in the book, but you know what? I like it. Their relationship with each other and with Margaret is very sweet. Grandma Simon is also a highlight, the life expectancy line took me out.

The tug-of-war going on between both of Margaret’s sets of grandparents is painful. I do appreciate how they don’t present it as a “both sides are equally wrong” situation. Both sides are being pushy and not really asking Margaret what she wants, but they are not the same. Grandma Simon is pretty enthusiastic about the prospect of Margaret being Jewish, perhaps overly enthusiastic at times, but they also just like each other and she would obviously love Margaret regardless. The maternal grandparents, on the other hand, disowned their daughter just for marrying a Jewish guy, and the main reason they have the gall to show their faces in her house again is because they’re trying to convert Margaret to Christianity. It fucking hurts, dude. In a good way.

All of Margaret’s friends and classmates are also great, they really got the Vibes of... well, everyone, but special mention goes to Nancy Wheeler and Phillip Leeroy, who both suck in distinctly middle-schooler ways (well, they’re technically still in elementary, but they’re sixth graders, and sixth grade will always be middle school territory to me) and were portrayed perfectly. HUGE props to Nancy Wheeler’s actress for getting through that “practice kissing” scene with a straight face, I imagine it took a lot of takes. Also, she managed to make me feel legitimately sorry for Nancy when she starts crying (I could never really fully hate her because she’s Literally Twelve but she had been getting on my nerves with her... everything). Even though Nancy’s primary role in the story is to confidently spew bullshit that makes Margaret feel insecure, she is also, again, Literally Twelve and that comes through very clearly.

Whatever Moose and Margaret have going on is understated but cute. I hope they have fun hanging out after Margaret gets back from summer camp.

All in all, great movie, absolutely recommend. I loved it.

#are you there god? it's me margaret spoilers #are you there god? it's me margaret

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nablah · 1 year

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would you please tell us more about your productions of rigoletto and/or la traviata?? 🥺

!!!

So from my ideas on Le Nozze/ Ang Kasal, ethnic and national identity would need to play heavily into Filipino adaptations/productions to actually make an impact. disclaimer: I really prefer race informed over race blind stuff because theres such a rich history you can get from a random actor/singer. and its personal. its resonant. opera where these characters are just characters are already interesting, but my point with these productions is that instead of being an offshoot of colonial influence and viewed as such, operas can be a way Filipino audiences can see themselves or their history in.

I think Rigoletto set in either the American colonial era would add another layer to the oppression Rigoletto, and to an extent, Glinda, experience due to the unequal standing of the Philippines as a colonial state. We focus a lot on Spanish oppression of Filipinos but I think the benevolent assimilation approach the US took is more in line with someone in power like the Duke who abuses those under him and is yet desired. Theres's hierarchy in Rigoletto and in the American colonial era, but these hierarchies depend more on allegiance, not race or ethnicity, though those already make a subservient Filipino as merely a little brown brother and not a true American. And the Duke, btw, doesnt even have to be American; there's a possible other layer to the idea of betrayal and abuse the Filipino elite were able to enact as allies of the new colonial power (the hot take here is the duke parallels rigoletto but in the opposite direction)

I think it would be very similar if it were set during the Marcos era; there's a reason protesters called/still call it a US-Marcos dictatorship. In this setting though, the power afforded to the Duke is no longer a colonial power but one of their own (from the concept of "tayo" vs "sila", it is a division within "tayo"). Evil wields political power and with the suppression of those who go against the administration, the threat of death and torture is much greater. Also factor in the possible allegory of Glinda as an innocent bystander who becomes a desaparecidos/disappeared like many innocents and even loyal allies of the Marcoses who were eventually betrayed. The presence of Sparafucile and Maddalena also lurk to contradict the whitewashed history the Marcoses try to portray: Ang Bagong Lipunan/A New Society, where crime and poverty are supposedly eradicated. Extrajudicial killings beyond political reasons still occur, and even act on behalf of the government. And who is Rigoletto in these two settings? A turncoat who betrays not just fellow humans but even his own ethnicity (insert rant on regionalism in the Philippines) and ideology? Or a man trying to save himself and his daughter in a system that is formed to consume them? Idk i guess these are really shallow parallels but solidarity is a thing across the world, recogizing the self through the other and whatnot.

In modern PH society, I think the nature of imperialism and capitalism really just makes a periphery nation a whore/ibong mababa ang lipad, but considering the still dilapidated health system and the "way out" for many Filipino women by marrying a rich white guy really makes Violetta a resonant character? She's not sempere libera-ing, she's still stuck in a patriarchal and a neocolonial system where she has no control, even over her own health because of the stigma she faces as a courtesan, even though its ingrained in our society to do exactly that! I mean, she is trying to escape but she will never escape!!! (whats also sad is that i'm actually equating 19th century healthcare with moden ph healthcare lol)

i'd love any thoughts though, these are just funky ideas i play with sometimes :>

#sorry napahaba #but these are just some stuff i concoct while sitting in history/asean studies/global studies class #i am playing with them #theresa-of-liechtenstein #thanks for the ask!#opera #tbh though the most fleshed out is the Marcos era rigoletto. everyone knows a glinda #everyone hates Marcos' rigolettos but why?

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miss-lucy-not-westenra · 1 year

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so i've finally watched wednesday, and i have...so many thoughts. spoilers, btw

(and i'm mostly looking at the show as separate from the previous iterations of the addams family, because i don't have the energy to look at it as an adaptation at the moment. also, i'm not well-versed enough in the history of the addams family. maybe another time. anyway!)

i thought the show was fun. jenna ortega was great. i didn't hate watching it, and i could see myself watching it again if i got bored. in fact, i'll just say flat-out that yes, i liked it. but i have many critiques.

overall, the show felt disorganized. it felt like it needed to go through another round of edits and cuts, bc there were so many points where it felt lacking in focus. even though things did tie together, it could've been tighter.

the references were shallow. like, yeah, poe wrote spooky stuff and this is a spooky school, so let's make poe the mascot. but there wasn't anything more beyond that. and i'm not saying that poe could have or should have had thematic relevance to the show—i'm saying that it's obvious that the writers didn't even try to see if he and his work could have deeper thematic relevance.

the metaphors were shaky as well. when they tried to make enid's lycanthropy troubles a conversion therapy metaphor, that literally did not make sense, because up to that point, if enid's lycanthropy was a metaphor for anything, it read more like a metaphor for menstruation. (the implications of enid being a late bloomer, she can't be a functioning pack member (ie, an "adult"), she should have experienced this by now, etc.) enid's problem was also that she wasn't weird enough, so the whole "conversion camp" thing just fell flat and felt backwards.

and as a small side note, it drove me up the wall that they were acting like "goody" was goody addams's actual name. were the writers aware that in the witch trials, "goody" was a title, like "ms"? were they aware that "goody" was not their first name? bc hearing the characters talk like "goody" was her real name was embarrassing.

the tyler twist felt unearned, specifically when he started boasting. tyler was portrayed too sympathetically for that to feel natural. it would've made more sense if, as a hyde, he really was completely unaware of what was happening and wasn't acting of his own free will. it would also make thornhill a more threatening villain, because it demonstrates her having an amount of control over the uncontrollable.

(there's also something to be said for tyler being an asshole all along being a very strange choice, considering that whole situation reads a lot like a victim of grooming. already, people mock male victims of abuse, especially if the abuser is a woman, so...idk maybe they don't also need to be demonized?)

and lastly, with tyler's being a hyde, they really shot themselves in the foot on the whole "acceptance" thing. bc all outcasts are good! except for this one Bad One! it reinforces the whole "be accepting of the mentally ill, except for the people with The Scary Evil Condition" and "if you're mentally ill, you're not evil, unless you have Bad Person Disorder" thing. there's a lot more to be had with that conversation, but that's the main, simplified gist.

in general, i wasn't fond of the xavier/wednesday/tyler love triangle. but a trick to make that more enjoyable is to read it as xavier and tyler being bitter exes.

i know there are way more discussions to be had with this show, and probably more things to critique, but those are my thoughts for now. who knows? i'll probably have more later on. cheers!

#long post #wednesday #wednesday addams

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cy-cyborg · 9 months

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I've read a lot of stories with disabled characters, and I've enjoyed some of them more than others. I'm wondering, can non-disabled people write disabled people in stories? Is it possible to do it respectfully and accurately?

I recently read the book "Me Before You" by Jojo Moyes. I really enjoyed the story, but I'm not sure if I would have enjoyed it as much if I had been disabled myself. The main character, Will, is a quadriplegic, and the story explores his relationship with his caretaker, Louisa. I thought the book did a good job of portraying Will's physical limitations, but I'm not sure if it did a good job of portraying his emotional and psychological journey.

What do you think? Can non-disabled people write disabled people in stories?

Sorry for the late reply, I thought I posted the answer to this already, but I saved it to my queue instead 😅

This is a really hotly debated topic in disability circles, but in my opinion, there's nothing wrong with non-disabled folks telling stories featuring disability, so long as you're respectful and do your research/hire sensitivity readers. Stories where a character (even the main character) is disabled, or becomes disabled during the story, but that's not what the core of the story is about. Disability is a natural part of life, the disabled community makes up nearly 20% of the total population according to some sources (though many people think this is an under-estimate and the real numbers are much higher, since what is considered a disability isn't universally agreed on), it's unrealistic to just straight-up not include it.

But stories that are specifically about the disabled experience, about what life as a disabled person is like, about learning to live with disability and learning how to adapt to it, where any of those themes are a part of the main plot, then I think that's usually best left to disabled people to tell those stories. There are some things that, unless you've lived through it, you can never truly understand, and I do think disability is one of those things (this doesn't just apply to non-disabled people, but also to people with disabilities different from your own. I know what life for an amputee with autism is like, but that doesn't mean I also know what living with DID or paraplegia is like). If you try to tell a story where those things you haven't lived through are the centre focus, the holes become very visible to those who have. I do say usually though, I've seen some exceptions where people still do a good job, but they're usually from very well-established writers who have a team of people like sensitivity readers, consultants etc, and a lot of them who are able to pull it off.

The irony that you used Me Before You as an example though is a little funny. I try not to talk about that story specifically because I couldn't even finish the movie, let alone the book 😅 but the online disabled community has made their thoughts on both known. The general consensus as I've seen it is it is a perfect example of the author doing everything wrong, but getting it close enough that most non-disabled folks won't notice, and the movie just following in its footsteps. Take this with a grain of salt of course, but I've heard that the author didn't even talk to anyone with Will's disability directly, she only spoke to and consulted with healthcare workers/carers who worked with people like Will, which will always give you a very incomplete view of life with a disability at best and a very jaded and pessimistic view of things at worst - both in regards to the emotional side of things and the ability of the disabled person. I'm not here to say you can't enjoy it, but it does play into a lot of very harmful tropes and stereotypes. I'm not the best person to discuss it in any real detail though, sorry. There's some great video essays on YouTube though, including a few from people with the same disability as will, so I'd definitely recommend taking a look at them if you want to know more!

TLDR: I don't think there's anything wrong with non-disabled folks telling stories that contain disabled characters, but stories about our lived experience should be left to those with that lived experience.

#disability #disabled #disability representation #writeblr #writing #authors of tumblr #writing disability #creative writing #writer #on writing #writers on tumblr

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dreamingsushi · 10 months

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See You in My 19 Life - Overall Review

I finally just finished watching the live action of that Webtoon that I loved to pieces. Obviously, my opinion is going to be biased since I read the original story way before it came out as a drama. However, I will try my best to put it into perspective.

Plot

Even though I have some frustrations about the way the drama unraveled differently than the comic, it is a very interesting plot. Ban Ji-eum is a young woman who remembers her past life. After dying too early in her 18th life, she vows to find back her childhood friend/love interest in her next life. She transfers to the hotel he works in and as she reconnects, she’s still very much in love with him and tries to gain his affections, while working through his trauma of seeing her past self die. It’s a beautiful story aside of the romance, because it teaches how to be forgiving towards oneself, even when it’s hard. There’s a lot of growth going on, even for a character that already lived 18th lives to become more mature.

Honestly, I think that if I didn’t read the manhwa, I would have loved the story as it is. I really enjoyed the littles slices of life from Ji-eum’s past life, it was super sweet most of the time. However, I’m very disappointed in how they changed her first life, which is the beginning of everything. I feel like they went to a more fated love route, because us romantic usually never get enough of these, but knowing the real reason she was remembering her past lives in the original story makes this adaptation very… plain. But that’s my opinion. To me, the original version was just that good, that it didn’t need any changes.

Overall, it’s hard for me to rate the plot of this drama, because of my bias. I would say it would be an 8/10 if I didn’t read the Webtoon, but since I read it, it’s more of a 7/10 for. Not excellent, but not so bad either.

Acting

As a disclaimer, I have almost to no knowledge of Korean. So my notes and remarks here are based on feelings solely, as I rely on subtitles to understand what’s going on and I don’t trust them 100%.

Can we talk about Shin Hye Sun? She was wonderful. I really liked how she portrayed Ji-eum. The character was loveable even though it was supposed to be so old. She was really a natural at jumping between each sides of her personality, going back to a moment of her past lives. I liked her quirkyness. I only enjoyed a little less her acting as Su, in her first life, but I think it’s partly because it wasn’t aligned with the original story and it was pretty intense. I think she carried this whole drama by herself and I’m really looking forward to see her again on the screen.

However, I really never could agree with the casting for Seoha. Ahn Bo Hyun is… I don’t know. Too serious. Seoha is a serious character, definitely not the most joyful one since he does have a tormented past. However, I didn’t picture him as tormented as they portrayed him in the drama. And I don’t think the actor did a bad job here, his interpretation was a little bland to me at some point, but it got a little better towards the end. It was just really hard to relate to his characters emotions and I could really feel a wall that shouldn’t have been there.

I always focus on the main leads, however I really liked Ha Yoon Kyung as Chowon, she was little less cute than what I would have imagined, but it fitted really well with the drama and the rest of the casting, so I enjoyed her presence. As for Ahn Dong Goo, they didn’t give him really any opportunity to shine. There wasn’t enough room for development for his character and thus when he could have done a brilliant job, the context made it feel all the way too rushed. Which is a shame.

If it was only for Shin Hye Sun, it would be a 10/10, however I can’t rate this any higher than a 7/10 again, because there were some casting and directing errors that didn’t bring out the best of the actors.

Aesthetic

Visually it was a very pleasant drama to watch. I especially liked the past lives scenes. The ones from her first life were great, with the tinted clothes and everything. There was a lot of symbolism with the glimpses that we could see and that was so great. They kept everything simple and I feel it’s a little harder to comment on the visuals of a somewhat modern day drama, because I’m not really into nowadays clothings, where as when it is a costume drama, there’s so much details that wow me.

However, I really liked the OST of the drama. The songs were really good, especially the kind of sad one. I need to find out what’s the title for it, because that’s the kind of music that I would put on my playlist. Anyways, it was overall very well matched to the events in the drama, so good job.

This gets an 8/10 for me!

Should you watch it?

I would say… if you haven’t read the Webtoon, it’s a very nice drama. It’s cute at moment, but it’s also serious. The plot is quite original and is a nice change of pace if you want to go for something a little unusual. The story is easy to follow, the lead actress is phenomal, it would say you can’t go wrong. If however you did read the Webtoon, just be prepared for disappointment. Because it’s just really not as good once you know everything. I was thrilled to see some scenes from the Webtoon that I really liked, however… I was disappointed in many ways by the ending. It’s a fine ending, it’s jut… not the one I hoped for and what waiting for. So yeah, if you’re looking for a quick watch that is a minimum serious, this is good, but if you need to chose between the comic and the live action, go for the comic.

The whole drama is about a 7/10 for me, if that could help into making your decision. It’s a good watch overall, just not an all time favourite. See you soon!

List of full recaps

All / 1 / 2 / 3 / 4 / 5 / 6 / 7 / 8 / 9 / 10 / 11 / 12

#see you in my 19th life #shin hye sun #ahn bo hyun #ahn dong goo #ha yoon kyung #kdrama #K-Drama #korean drama #drama review #drama recap #drama recommendation

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robotlesbianjavert · 3 years

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MVA is a Matryoshka Doll of Character Development & Framing: Yes This is About How the Anime Failed. Whatever.

Breaking it down, the My Villain Academia arc serves two (2) main purposes in the overall narrative.

→ Put the League of Villains back in a position where they can be a credible threat to the heroes after losing All for One and their potential partnership with Overhaul falling through. Obviously accomplished by upgrading Shigaraki / Twice / Toga, giving Shigaraki the Meta Liberation Army, Ujiko’s assistance, Gigantomachia’s loyalty, etc.

Of course the anime undercuts all of this by letting the heroes know what the League is planning before the League can take advantage of their new position (ergo narratively giving heroes the advantage, as seen in the manga’s war arc) before we even get to see HOW they got all these cool new toys. So why bother. That’s a different sin that the anime has committed, we can put this on the backburner.

→ Pseudo-reboot the direction of the story so that villains are characters on equal standing with the heroes, rather than being obstacles to beat up. This involves a lot more factors, but it’s all rooted in how the arc and characters are framed, and how the characters are developed.

I talked a bit about my concern about the sympathetic framing of the League in MVA way back when we first learned about the anime arcs being shuffle here (my triumph of objectivity). The gist of it is that the arc switch undermines the way the League are portrayed as underdogs—broke, aimless, and relatively weak compared to the heroes and the army coming for their heads—and I was right! Worse, they didn’t just undermine that underdog framing, they straight up didn’t bother. There is zero context for the League’s situation post-Overhaul, pre-Gigantomachia. No explanation for how they have to rob other villain groups to get by, that their equipment is breaking down, that they have no solid end goal or means to achieve anything of note. Just a challenge from Ujiko and Gigantomachia that loses a lot of pressure without understanding the sorry situation the League is in.

Tellingly, they don’t even let the League kill the fantasy racists. Who doesn’t want to see the fantasy racists get murdered! Outside of the existence of the CRC being an interesting bit of worldbuilding that confirmed the existence of heteromorphic discrimination, which is likely to continue playing a role in the manga, it’s an easy way to let the villains be villains while allowing the readers to go with the flow into this villain-focused arc, without having to be outraged by their actions.

From the get go, we’ve lost the framing that made MVA an arc worth paying attention to when it was first released, which indicates a) that the anime doesn’t care about the actual purpose of this arc outside of setting up a flashy hero vs. villain fight for season six and b) that we shouldn’t expect much from the rest of the anime arc. Even if they get the technical aspects of it right, we’ve already lost the weight of the narrative.

MVA is also obviously known as being the big push to develop the villains as characters. We’ve gotten some character development for them before (Twice and Toga’s adventures with Overhaul, Shigaraki’s consistent growth from “brat” to a capable villain and leader in his own right), but MVA is the first arc solely dedicated to their stories and humanization. However, there are “tiers” of character development and focus here, nested within each other, that are tied into the arc’s narrative structure.

Getting them out of the way: Dabi and Compress didn’t get to do much, though we do get to see their relationships with the League in action, plus stuff like Dabi’s quirk limits which come up later. Otherwise, their actual storylines only come into fruition or start with the PLF Raid arc (which in itself is dependent on MVA but that’s another argument).

More memorable and meaty is the development for Toga and Twice. We learn more about their backstories, we get to see them push themselves to the breaking point for the sake of survival, Toga gets to evolve her quirk while Twice finally uses his to its full potential. We also get to understand their personal philosophies, relationships with society, how they view the world around them, and their loyalty to Shigaraki and the League. And with the manga’s underdog framing and the life-threatening situations they were thrust into (plus at the time they didn’t have guaranteed plot armour the way the students and heroes did), the audience wants to root for them, even if they’re the bad guys!

Toga and Twice’s development are undeniable highlights of the arc, contribute strongly to the story as a whole, and justifiably receive a lot of attention. However, they are also primarily moments nested within the arc, tying into their personal ongoing storylines (Twice’s starting with the Overhaul arc and ending tragically with the PLF Raid; Toga’s storyline carries on into the PLF Raid with the loss of Twice and her confrontation with Uraraka). But they aren’t the primary storylines of the arc.

A primary storyline of MVA is in Shigaraki being able to identify the direction he wants to take the League in and make that a reality, as well as answering the questions of his past. MVA starts with the League’s aimlessness and with him revealing how little he remembers of his origins; the arc climaxes with him regaining his memories and having the confidence and strength to earn the Ujiko, Gigantomachia, and Redestro’s loyalty and resources, giving him the means to finally enact his dreams of destroying hero society. Toga and Twice’s development is encased within Shigaraki’s storyline, and that storyline provides a concisive beginning and endpoint structure of My Villain Academia—

Except Shigaraki’s narrative structure is encompassed by a layer even beyond that: Spinner’s story. When the arc begins, before Shigaraki can discuss his dream of a destroyed horizon, Spinner is the one challenging him about the League’s lack of direction and purpose. When the arc ends and Shigaraki stands victorious, Spinner is the witness who now understands that the destroyed horizon can be their reality. Spinner is the one watching Shigaraki throughout the arc, Spinner’s gaze is emphasized at the beginning and end of Shigaraki’s MVA storyline, and Spinner is the one who undergoes the most radical change from frustrated Stain flunky to Shigaraki’s devoted follower.

To paraphrase from @stillness-in-green, My Villain Academia is “about what Shigaraki coming into his own looks like to the people watching him”. To Re-Destro, to Ujiko and Machia, and most importantly to Spinner.

It’s been frustrating enough over the past two years to see people who have read the manga discard Spinner’s role in the arc just because he isn’t a basic easy pretty boy didn’t get an elaborate flashback sequence the same way that Toga, Twice, and Shigaraki did. Seeing the anime not even bother emphasizes that lack of comprehension. But why does it specifically matter that the anime screwed over the Spinner & Shigaraki premise of MVA?

Aside from the anime’s decisions taking all the weight out of the story: In the current manga, Spinner is the only one left at Shigaraki’s side who is specifically loyal to and cares for him.

Barring executive meddling, Horikoshi changing his mind on plot points that he set up, and straight up bad writing (which can all very well happen): You don’t go through the effort of developing a character like Spinner, explicitly in conjunction with your main villain, as the framing perspective of an arc that is so vital to your story, without having a plan for that character. With the way Spinner is positioned right now, there’s a lot that can be done with him! And if that potential does get utilized, then the anime lost out their chance to give that potential its due.

Between the immediate loss of set up and context, tossing the pseudo-protagonist framing of the League, and gutting the emotional core of Spinner’s developing regard for Shigaraki, the anime adaptation has already lost. The rest of the episodes could be perfectly competent, but without the actual base of the arc it all falls flat. Hell, they could stick Spinner’s confrontation with Shigaraki in as a flashback in his fight against Trumpet and it won’t matter; that just nests Spinner’s story within Shigaraki’s the same way Toga and Twice’s is, when it should be the other way around.

Of course there are other reasons why MVA anime arc is set up to fail without reany spect for the source material (I know that the MLA got screwed over in the PLF Raid arc but that’s no reason to not even TRY with introducing them into the show properly just LET Rikiya be his fun, threatening, and engaging self!), but the fact of the matter is that I’m not going to get my Spinaraki AMVs and I want to fucking die about it.

#a lot of this has been said but people are still JUST off the mark of why exactly losing spinner's scenes is Bad #bnha #bnha bloggin #bnha spoilers ?#spinner #shuichi iguchi #mva wank

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plutoswrath · 3 years

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hii, is there any way to guess someone’s rising sign and how / where the signs fall in the houses? i’m trying to figure out a friend’s chart without a birthtime and it’s quite difficult rn lol

Hello!

I agree, guessing rising signs can be difficult. I have answered a post recently regarding the topic, you can read it here for additional information! x I think I can give you a few tips to guess someones rising sign which might help you! x

My guide to guessing rising signs:

When the birth chart is the painting, the rising sign is the frame holding it together, if Mars is our drive and temper, how we take action, the rising can be best decribed as concept we insert this cluster of energies in that our birth chart is (not to be mistaken with our ego, the sun). You could also describe the Ascendant as our compass we orientate ourselves with, because it leads us through life. It is the overall approach we have to the environment.

adding on to that: the rising sign often times walks hand in hand with the additional placements/aspects that are reacting right now in the moment. It’s always apparent, even when other placements take the spotlight at times, it might just wait a while. Also: the more you age, the more you actually grow into your Ascendant, since it’s the way you set yourself into a larger collective, a social setting, your environment (pretty interesing when you set it into the conext of social science and act of socialization of people).

-> that being said: look at the areas where the rising signs shows more prominentely: how does the person act in a new social setting? How do they integrate in a group? Is there a theme in their life that shines through in their views, opinions, actions, something that adds to their value system, something they find as important to act out and live by?

having said that, if you feel unsure, no matter if you have a birth chart at hand or not: do not overcomplicate things from the beginning. I would consider every plausible, obvious possibility and if you have this, then you can set it into the conext of the birth chart and think about the way the energies play out when connected. You can defenitely take physical attributes of the rising sign into consideration, sometimes that can even make it easier. If you’re set on your more generalized ideas, you can go in depth!

When you have a rising sign in mind, think about the deviations that are possible: Depending on the degree the risign sign is in you not only have the rising sign in different decades, but also intercepted houses and signs, always consider the chart ruler as well as the 4-10th house axis , as well as 1st - 7th house axis, as they are determined by the Ascendant. Another important note is the degree the rising falls in can change the positions the houses are in: Imagine having Scorpio rising in a third decade, so in a degree of ex. 27 and Pluto in Sagittarius in a degree of 17. Chances are Pluto will still be in the 1st and not in the 2nd, even though Sagittarius rules the 2nd.

overall: basics first, then the details! I try to ‘reconstruct’ the birth chart (even if no is at hand) as best a spossible when guessing rising signs, but maybe that’s not for everyone. Guessing risigns signs is always very subjective and I believe everyone has a specific way to go for it, this is the way I do it. I’m not saying this is how it should be done, but this method always felt very comfortable for me.

A few additional remarks from my side/tips:

-> mutuable rising signs are said to be the hardest to guess, because of their highly adaptable nature

-> if you try guessing the rising sign of a celebrity or public person, always consider the MC, since that’s how people like to portray themselves in public and actually desire to be seen as. It reflects the way we consciously want to see ourselves in society/in a career.

-> the chart ruler also plays a role when you try to guess someones rising sign, also when you want to set it into context with the birth chart

-> Fire risings are rather action oriented and direct in their approach, Air risings are verbally expressive and need to connect to their environment mentally quickly, Water risings are very reactional to their environment and can get influenced by it the most because it affects their emotions directly, Earth risings have a factual approach, step by step and more principle oriented

-> when looking at physical attributes, especially when comparing to other people, try to not focus on shapes, proportions, textures (ex: Jupiter tends to stretches things) and also expressions and vibes (ex: Moon in the 8th, Taurus/Scorpio Moon can give one have a strong, piercing gaze and can add strong colors/nuances to the iris). I say this because at first glance a lot of people with the same rising can look completely different.

#replies #anonymous #hoh boy I hope I explained myself well enough #astrology #ascendant #rising sign #Astro notes #Astro observations #astrology notes #astrology observations #own #mine #guide

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blindbeta · 3 years

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Different anon here! I have a character who's blindness is incident related, but it's been several years since then and the story isn't heavily focused on his trauma (or at least that specific trauma, as he has others that aren't related to blindness)

This was before I knew injury-based blindness was a harmful/potentially harmful trope though, so now I'm worried that I'll have to rewrite his backstory entirely to avoid writing about experiences I don't have, or pushing any harmful tropes that are already pushed far too much.

What do you think? Could I still use that as part of his story without focusing too much on that specific traumatic event, or do you think it's better for me to discard it entirely?

The Accident Narrative/Going Blind Through Trauma trope and How to Make It Better - (I’m just calling it that because I don’t know if this thing has a name)

My problem with this trope - and the problem many people have with it- is very specific. I’ll try to break it down for you so it is easier to understand. My problem is basically with the execution.

Characters go blind unrealistically often from traumatic accidents in media. Mainly because it creates a lot of drama, which is fair, if cheap. It is also a good story starter if the story will be about them being all sad that they’re blind. These stories usually focus heavily on the blind part rather than the trauma part, and they paint blindness as the worst thing that can happen to anyone. Including death. Sometimes the character grows out of this feeling and sometimes they don’t.

The way you portray this is what changes the narrative.

I like that your story takes place several years after the incident although how well it is done will depend on the portrayal of the resulting blindness. Blindness can be tough, but avoiding considering the incident a tragedy that ended his vision could help. Not having too much of a woe-is-me attitude toward it will also help. Starting the story years after the incident creates beneficial distance.

With this in mind, the story won’t be - about - him going blind and then adapting and possibly being sad, possibly not sad about it. That would be a type of story that is probably best left to blind people who lost their vision later in life. Your story avoids this issue by starting the story well after the incident occurred. When you said you didn’t want to write about something you hadn’t experienced, to tell a story that wasn’t yours to tell, this is what you want to avoid. If you aren’t writing about going blind/being blind, you’re good, at least for this question.

So, you have avoided writing about the experience of going blind (and having that be the focus of your story) and starting the story at another time so your character can have some distance from his trauma. Your story will not be showing your character tragically losing his sight and learning to adapt. -dramatic sniffle-

The other part of this ask that really works for me is the part about focusing on different traumas. It sounds like the character is going to have more to them, and the idea of the Blindness Trauma being not as significant as other more recent traumas sounds good and true to life. It also takes the focus away from any implications of blindness as particularly tragic and all-encompassing. Your character will expirience different things just as anyone else would. Focusing more heavily on other things in his life is a good idea. That, coupled with the distance from the initial traumatic incident makes it okay with me.

What else can you do?

Here are a few other options for you or other readers who are writing incident-related blindness:

1. Have them focus on the traumatic incident itself rather than the resulting blindness.

Yes, going blind can change your life. It can be scary and someone may need to grieve their vision loss as they would any other major change. However, this doesn’t have to be the dramatic take-up-an-entire story thing either.

If you decided to write flashbacks, you can show the character mostly dealing with trauma, with blindness as a reminder of it. This puts the focus on the traumatic incident itself healing from trauma rather than trying to heal from blindness. When sighted people write about this, it comes out as awkward, not relatable, and impossible to separate voice-type things - like worrying about never being able to marry - from the authors own opinion or worries about blindness.

Focusing on the trauma of say, extreme injury can help with that. It is important to make a distinction for the reader, who usually goes in not knowing much about blindness and conceptualizing it as one of the worst things that could happen to them. Make it as clear as you can that the character is upset due to trauma rather than being devastated their life is over because they are blind.

2. Have the trauma happen off-screen / have them not remember it much due to young age

It sounds like this is also what you’re going to do. You could mention the traumatic incident briefly, without too many dramatic details. A few descriptive sentences should be enough. You could write it for reference and only take a few samples from it you liked. This keeps the focus away from drama for drama’s sake. It also disrupts the usual narrative, putting you farther away from the Accident Narrative or trope. You could simply have had the character be too young to remember much detail.

3. Add more blind characters

This one is good for any story. You should always trace your logic for topics like the one you presented or consider how to do things better, but one easy way to avoid readers thinking all blind people are like your character (which they might), you can add another blind character or more who were born blind or went blind at a very young age. Who don’t struggle with being blind generally. This exposes your readers to more ideas of blind people.

When your story is standing on the line between nuanced character and meeting a stereotype, you should absolutely have at least one other if not a few blind characters. In fact, I would be surprised if a story like this didn’t have other blind characters and, if I were reading this story randomly, I might even feel less forgiving or open to what was different about the Accident Narrative this time.

Thank you for asking this question. It is kind of challenging to answer and I had to rewrite this a few times. Basically, you want to do what you can to disrupt the usual portrayals of blindness because there are actually so few and most are made by people who aren’t blind or even disabled. You cannot make this trope or stereotype go away, but you can try to shake it up. Because this can be done differently, to avoid writing about adapting the tragic blindness, I am ok with this type of story.

I don’t know if this one is harmful exactly, but it is frustrating to see and can certainly lead to some harmful ideas, such as blindness only being tragic even when someone was born blind. I have a review coming up for a book called Blind that might be helpful, as well as a post called Tropes I’m Tired Of that I hope will help. Your ask definitely helped me consider more ways this trope could be made more bearable and concentrate on what exactly I dislike about it.

All that said, this is not a post encouraging people to use this narrative in all their projects. Only if you feel like it is necessary and fits the character. I would like for this trope to be less common than being born blind or going blind in a way that isn’t so dramatic and, possibly, abrupt. When most characters go blind through traumatic accidents it contributes to people’s idea that blindness is not only traumatic for anyone at any age, but also cannot be anything but a tragedy.

I really hope this helps. Of course, I would really encourage a few different sensitivity readers with this story. Just to get different perspectives. There is another blind person who also offers sensitivity reading at @sensitivityreaders and it might help to get them or someone else, in addition to me. Because I would love to read this sometime.

-BlindBeta

#ask #anon ask #blind #blind characters #writing blind characters #blind people #writing #accident narrative

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sprawa-przybyszewskiej · 3 years

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Ekphrasis in The Danton Case, Thermidor, and their adaptations

Ekphrasis is invoking a piece of visual media into a literary piece. It can be done for a variety of reasons, from entirely pragmatic (mostly grounding the literature in reality - if the invoked piece is a real piece of art, one you could find in a museum, for example) or more poetic (drawing some symbolic meaning between the piece of art and the idea behind the text).

In Przybyszewska's plays ekphrasis is nonexistent, at least on the foreground. I don't recall any clearly established visual, given to the readers by the original author. It's not weird in any way - how many pieces of medai do you recall which refrain from its sophisticated and additional piece of subtext and iformation? Hundreds, probably. The only other artistic thing that she has weaved into her plays is La Marseillaise, which is invoked twice in The Danton Case. There are also three book references to Othello, Orlando furioso and this one book Robespierre summarizes to Saint-Just when he's talking about hatred (but of which I have no idea if it's a real one - it probably is - or not). Other than that - nothing, plus the books count only a little, forekpfrasis should be, as I said, visual in nature.

Of course, the historical aspect of her works is what grounds them in our reality, and so cleverly, too (seeing as they're not really historical plays in any way or form, but manage to fool most anybody). And thanks to her extensive stage directions, we have no need of any additional element helping us visualize the scenes, for she does it perfectly enough on her own.

However, seein as these are plays calls for a mirror ekpfrastic effect and thus theatrical and cinematographical adapations are born. And they, on the other hand, have a potential to be filled to the brim with visual refernces. Here I would like to have a look at a few, which are taken from one of the most well known staging and the famous Wajda movie (plus some). In no particular order, there goes:

This is the very first scene of a controversial theatre adaptation of The Danton Case. Instead on portraying Robespierre as a firm leader, who only in the very end collapsed temporarily under the huge responsibility he now had to bear, the director decided to portray him as someone physically weak, not in the sense Danton meant when he called him a weakling, but in the sense of somebody who already bears so much responsibility, pain, physical ailments, doubts and whatnot. Just: everything, everythin a human could possible deal with, he deals with, and has to do so in a way that doesn't make people suspiscious about his "shortcomings". There is a interesting parallel between him and Saint-Just, whose upright and unbreakeable character is symbolised by a neck braces, something which people wear after a spine endangering accidents - and incidentally, wasn't it Saint-Just who accused Robespierre of "breaking his spine"? But not in this adaptation, oh no - here their very last scene is cut extremely short and they recite the last few sentences along with some Thermidor lines as two floating heads, a vision into the future which awaits them.

Enough about Saint-Just, though, let's focus on Robespierre and Marat. I must admit I know next to nothing about him, only what some passage here and there in this or that historical study might tell me, but I know, as does everybody, that he was known as L'ami du Peuple, which is why of the reasons, I think, why the director took this image and transposed it onto Robespierre: to make him even more likeable, to show for the umpteenth time that it is Robespierre whom we should cheer on and whom we should feel sorry for. This might also be a parallel between their both's tarnished health, their premature deaths and - last but not least - the role of an icon of the Rvolution both of them play in nowadays' audience's minds. You don't have to study history to knowwho Robespierre was, you don't have to study art to know this painting. Even if you don't agree with some more in-depth explanation of linking this person to this painting, it is a good opening image. It captures our attention in a good way.

I had mention Saint-Just and there he is, in the background of the picture, symbolically assisting Danton and his clique in their last moments. Instead of shwoign them in torn shirts, the director went into another direction altogether and enshrouded them in white sheets from heads to toes, making them all look like very stereotypical ghosts, whom they will all become in just a couple of moments.

In Polish culture, the first thing that comes to mind when talking about ghosts is Dziady, an old slavic tradition that is now replaced with the Catholic All Souls Eve. Dziady is no longer, apart from perhaps some small minorities who still practice old pagan faiths, but as a ritual, they are immortalised in a play by Adam Mickiewicz, undoubtedly the greatest Polish poet ever. Everybody know this play, some scens - by heart, and they were and are being staged pretty much constantly from one point on. Needless to say, they inspire a lot of art, and I decided to show this very fmous poster by the most famous Polish poster designer, Franciszek Starowieyski…

…who is important in this case, because he played David in Wajda's movie.

Not many people know - because his other carreer overshadowed by a lot his first one - that Wajda was a painter. Who actually hated his art, some of his pieces are in the national museum of contemporary art in Łódź alongside stars such as Władysław Strzemiński (the hero of Wajda's very last movie), which is a fact he absolutely detested. I dont know, nor do I care, why was that, because what matters is his previous education as an artist at the very least helped him not only to envision the visuals of the movie, but also acquainted him with great works of art. On which he could model this or that setup. I think it's a nice little detail he catsed Starowieyski as David, a real painter acting as another real painter, it adds a layer of reality onto the movie, and presumably makes for a more natural acting in the few scenes he was in his studio (I also think they look alike).

Speaking of David's studio, I once stumbled upon a lecture which drew parallels between some scenes in the movie and some paitings, which was mostly focused on character and costume design, and truth be told didn't contribute much to the overall watching experience of Danton. However, I must admit the lecturer had a very good eye in this one particular case, in which he pointed out that this quick shot in David's studio pretty obviously invokes the Fussli's The Artist's Despair Before The Grandeur Of Ancient Ruins. I don't think it's a coincidence (or at the very least, would be funny if it were) this shot is shown during the scene where Robespierre starts to grasp at desperate measures to save the country/save his own face in the trial. It is an artist's despair, only artist of a different kind. And it is a despair when being faced with a (possible) ruin of something great, even if its greatness is not yet formed, as opposed to the greatness passed.

The very last example I was able to think of was this photo I found of The Danton Case from 1975. It is one of those old, very classical (I presume) adaptations, which are mostly filled to the brim with riddiculosly attractive people and very often deliberately drew from other sources of artistry, like the one pictured above. No matter what the real relationship between Louise Danton and her husband was, in the play it is portrayed as something atrocious, and I cringe whenever directors try to make it something else without good reasons for doing so, so I am very glad in the past at least they stuck with classicaly depicted acts of violation against women, not because it is a violation, but because in the classical stories (like the myth of Persephone shown in the sculpture above) the woman will usually get her revenge. Just like Przybyszewska's Louison did.

Thank you for bearing with me until the end, and if you have any other examples of this come to your mind, I compel you to share them with me!

List of pieces of art in the order of their appearance:

Jacques-Louis David, The Death of Marat

Franciszek Starowieyski, Dziady

Jacques-Louis David, Self-portrait

Heinrich Fussli, The Artist's Despair Before The Grandeur Of Ancient Ruins

Gianlorenzo Bernini, The Rape Of Persephone

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thelovelyghostwriter · 3 years

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Some of my favourite female characters in fiction

This list is not exhaustive and while I do have other characters that I find charming and that I love, I have noted these characters because in my opinion, they have struggled and/or there is a certain analysis to their personalities.

Please take note that some of the characters are not morally good or have done questionable actions. This is not to discuss or say they are role models, but rather to write up what they represented, their role in the story or simply their personalities. I’m not here to justify the character’s actions.

Remember that a well-written characters do not have to be morally good.

Also, a lot of them are from memory and the analysis aren’t well-structured.

Let’s dive in:

1. Daisy Buchanan from The Great Gatsby

Daisy, in my opinion, is incredibly misunderstood and unjustifiably hated among the readers. Her betrayal to Gatsby is indeed vile and it did upset me, I definitely think that she is materialistic, shallow and hurtful.

“I hope she’ll be a fool—that’s the best thing a girl can be in this world, a beautiful little fool.”

Daisy did shit on Gatsby [trying to avoid spoilers here].

However, I do like to note that I think part of her materialism and shallowness is because of how women were in the 1920s. They did not have any freedom or agency. To Tom, she seems to be a trophy wife for him to keep; and to Gatsby, he only liked the idea of her, he wasn’t in love with her. To everyone around her, she was an item, a beautiful doll to be possessed, rather than a person. I think that’s why she turned out like that.

She's materialistic because men around her sees her as an object. Nonetheless, Daisy is still “careless” and hurtful; and I think this stemmed from the life she had led that were a compilation of choices that were made for her. Her betrayal towards Gatsby is what makes her character rather disappointing to most readers. The whiteness in her dress as described in her first appearance? It’s not innocence, but rather a void and jadedness.

2. Neon Nostrade from Hunter x Hunter

Yet, another girl in our list that loves to be hated by the fandom. Though honestly, most of her haters are Chrollo and Kurapika stans who gets jealous because Chrollo got to hang out with her and Kurapika works under her. Also her repulsive hobby - although this is actually what makes me like her.

I have addressed this in my other posts before, but let me just copy and paste them (and modify a bit): Her upbringing and exploitation by her dad makes her materialistic and emotionally detached. This materialism and detachment is manifested in the form of her hobby as a dead body parts collector. But other than that, she’s really a normal girl, just sheltered and spoilt. The money she spends are even from her talent Lovely Ghostwriter, her father will be nothing without her. So I don’t see an issue with her spending them on shopping etc.

In fact, I would argue that she bathes in materialism to fill the emptiness that she has. Her father is more concerned with her ability and power, she has no friends and is guarded 24/7 by employees.

All the times she threw tantrums and the way she talks… it’s a different speech pattern altogether when she interacts with Chrollo - which may suggest that the whole spoilt attitude is exaggerated to gain attention from a father who is indulgent in terms of material gifts, but not in terms of affection and time for her.

When Eliza cried, she was willing to forgo bidding the auction physically. Yes she did not care about the bodyguards because she is more focused on the living and the present (Eliza) than the dead.

The reason why she didn’t seem fazed when Dalzollene and the others died is because a) they were her bodyguards, it’s their job to put their life on the line to protect her, b) she mentioned to Chrollo that her fortune-telling is for the living, she likes to live in the present and doesn’t believe in the afterlife.

Neon is more focused on who is alive, rather than the dead (which also represented by her hobby of dead body parts collecting). She focuses on the present, unlike her clients who likes to know their future or people who dwell in the past. Kurapika on the other hand, is the complete opposite. He dwells on the past and likes to focus on his dead clan rather than the present times with his friends (which is completely understandable).

Another significance is that her fortune-telling ability is very useful and helpful, she says that she wanted to make people happy with it; but however, it is commercialized and used as a means of power (knowledge of the future = power) by her father and pretty much everyone around her. Just like how she objectifies dead people by collecting their parts, the people around her sees her as a tool due to her fortune-telling abilities, rather than see her as a person. Even Kurapika chose to get employed under her, for his own agenda (he is bound to meet dead body parts collectors at some point).

She treats people like objects because people see her as one.

Of course, collecting dead body parts is a pretty fucked hobby; but what she represents and her role as a minor character is what makes her an outstanding minor female character in the show.

Yes. She has traits that are not your typical role model, but neither are other hxh characters. She’s not independent, naive, can’t fight, in need of saving, uncaring at times and spoilt. She is far from so-called “strong female character” that we often look up to. She is a character with bad traits which is a result of being a victim. But that’s what makes me love her as a character in hxh. It reminds us that there are girls out there who has lack of freedom and control over their own fate; and their only way out is through materialism and detaching themselves from people.

In fact, she might be even relateable to some people more than other female characters because there is vulnerability in her character.

3. Hua Mulan (Mostly the Chinese 2009 film, though the most well-known is the Disney 1998 animated film)

There has been various adaptations for this character, with the Disney Animated version being the most prominent.

However, my favourite one is definitely the Chinese film Hua Mulan: Rise of A Warrior (2009). It portrays the horrors of war and the suffering it brings, nationalism, camaraderie among the army - all while giving us the admirable Mulan climbing up to the ranks of being a war general.

I highly recommend this adaptation. I know the Disney Live Action 2020 version did not receive good reception, and we honestly did not need one because this 2009 Chinese film does the job well (I like their soundtrack though). It's not really well-known because it's a Chinese film (which is hella ironic because Hua Mulan is a Chinese character? Lmao).

"Today we will stain the battlefield with our blood. Behind us is our homeland. If we have to bleed out our last drop of blood, if we have to become bleached bones in this desert, we must defend it to the death! We must let the Rourans know we Wei warriors will never surrender and will never compromise! Soldiers may rebel against me, generals may leave me for dead, but I, Hua Mulan, will never betray my country!"

Generally, I either have an issue with strong female characters because they are just shallow (meaning they are only physically strong, often viewing rudeness, misandry and independence as strength). I like female characters who are so much more to that.

Mulan, in this film, not only showed her badassery in fighting the war for more than a decade, but we also see how much she struggled. Everytime her comrades die, her heart gets broken. Yet she has to learn how to pick herself up and become the leader that they need. She dislikes war, she dislikes the bloodshed; yet she fights for her country.

To me, a strong female character is not just a feminist icon or someone who can fight. In fact, a female character doesn't need to be someone capable of fighting, what makes her strong is to be able to overcome turbulence with determination.

I think this is something that is lacking in recent "strong female characters" - showing us their strength through perseverance.

As for the Disney's counterpart (talking about the 1998 film here), it is less morbid but we also see her trying her best to make her family proud and protect her country. Like the song Reflection and Loyal, Brave and True, she struggles with finding her purpose and her role in her family.

"The greatest gift of honour, is having you for a daughter."

4. Blanche Dubois from A Streetcar Named Desire

It's been years since I had analysed Blanche, but among all the 6 books that I had to study for English Literature, A Streetcar Named Desire has been my absolute favourite.

I think what struck me in this book is not just the style, but Blanche's vulnerability. Her actions are definitely not morally good: she misrepresents things, she lies, she even had sex with an underage student. She's paranoid, mentally unstable and prissy. Which was why, her polar opposite character, Stanley, is so annoyed with her.

After her husband's suicide, we see Blanche relying on the company of men to fill the void of her loneliness and misery. She is also concerned about her beauty fading with age - I find that highly reliable. It sounds incredibly "vain", but beauty does play a part.

Based on Evolutionary and Mating Theories among humans, appearance in women are especially important (also for men but not as much as women). Of course, there are other factors and traits that people find attractive, but Blanche's concern is valid here. She needs to find a husband to escape from her financial troubles; and her age, beauty and chastity plays a huge factor in her search for getting a man in the setting she was in (which was Mitch in this case). Ironically, these are the very traits that she has "lost" and so desperately tries to hide it.

Her ending is truly a devastating and upsetting one. [Will not talk about it due to spoilers]

"I've always depended on the kindness of strangers."

5. Haibara Ai/Shiho Miyano from Detective Conan

Perhaps one of the girls that is a wasted potential. In a series where the characters are mostly flat, she's arguably the most multi-faceted (but somehow I had heard that she no longer has the same complexity as she used to have - it's been a while since I followed this series).

But I remember absolutely loving this character.

Her background story is really unique in the show and one that is embedded within the Black Organisation plotline (why her character was dropped... Forever frustrating for me).

From the moment she was first introduced, we see Conan taking an immediate distrust towards her. A guy who is a detective who had been catching criminals - yet one ex-syndicate member stands before him. The one that actually helped to develop the APTX4869 that changed his life.

Yet, we see that it wasn't entirely within her control. Both her parents were syndicate members and when her sister tries to get both of them to leave, her sister dies.

Ai starts off as seemingly cold, pessimistic and avoidant. But as her arc goes on, the iceberg around her melts. We see her quirky sarcastic replies, her taste for fashion and she genuinely desires to be happy. Her relationship with Conan developed into a beautiful one - to the point where Conan trusts her with anything and they would risk their lives for one another.

Yet, we also empathies with her impending jealousy and heartache. The boy she has fallen for already has someone else. What's more, the girl is genuinely kind and is a splitting image of her sister. After Ran saved her from Vermouth, she quickly warms up to Ran as well.

She's also the key to developing the antidote for Shinichi to be back with Ran - an almost painful metaphor for her to give him away (he never belonged to her in the first place). Yet, she doesn't really stop them from being together (even though in some cases she appears jealous or phrase ShinRan's reunion as a word of caution).

I definitely think she is the most compelling character in Detective Conan because of her character development and the struggles she faces. It's definitely upsetting that her character has been neglected.

“Don’t judge people from the outside. Like any rose has thorns, the more the person appears nice on the outside, the more you should doubt the inside.”

6. Misato Katsuragi from Neon Genesis Evangelion

Who is the best female character in Eva? Asuka or Rei? My answer will always be Misato, Risato is a close second (I wanted to analyse Risato, but I’m trying to keep it to one person per series). Misato is one of the 90s anime babes. She definitely captivated many people’s heart.

I must say though, I have a soft spot towards female characters who has some sort of daddy issues (why I like Neon Nostrade). It’s been a while since I had watched Eva, but I’m going to try to remember why I like her.

I think the concept of Hedgehog’s Dilemma has been echoed throughout the series, and all the characters seem to struggle with emotional attachment towards people. I actually like to phrase the Hedgehog Dilemma as “Avoidant-Fearful Attachment Style” - wanting connection with people, yet not being able to do so out of fear of being hurt.

For Misato, when I initially first watched Eva, I compared her a little to Blanche Dubois in how they cope with loneliness - their sexuality. I remember being confused with her interactions with Shinji, who was half her age. At times, she serves as his guardian/mother figure; but at some moments (I think it was sometimes after Kaji’s death), she tried to seek comfort with Shinji by attempting to initiate sex (which Shinji rejects). I remember coming across a comment somewhere that Shinji and Misato’s relationship is somewhat like Humbert and Dolores (from Lolita) - can’t comment on this as I only read the first chapter of the book.

It makes me think that she uses sex as a way to cope and the only way she can connect with people (and it’s superficial), which doesn’t work for Shinji because she needs to be her guardian (and ultimately fails to be purely his guardian once she crossed that no-no boundary).

Another thing to note was her backstory about her dad. There seems to be a dissonance, given that she resented her dad for not spending time with her due to his work, but he ended up sacrificing her life for her. I do think it’s a bit of guilt (because resenting her dad but he saves her - these two contradicts one another). It’s clear that her issues to connect stems from her backstory regarding her father.

It’s interesting how she compares Kaji to her father. I do think she loves Kaji, but “reminds him too much of her father” (as to put it simply). There is this... stereotype that we find someone similar to our opposite-gender parents, no matter how shitty they were towards us. I believe that it is because we tend to stick to something that is familiar to us, even if those type of people aren’t good for us (I think to break this cycle is to practise self-awareness and know what is good for us).

Anyway, Misato is a character that I really liked (as all the characters in Eva) because they highlight Hedgehog’s Dilemma that stemmed from their parental issues. Maybe I have not watched a lot of anime, but female characters with issues with their fathers are not as explored deeply as male characters and their parental issues. A lot of times, female characters (especially in shounen) serves as a romantic interest and yes they can have really sad backstory, but not issues towards their father and how it affects their relationship with other people. So far, the only ones I had seen is Mukuro (Yu Yu Hakusho), Misato and Neon Nostrade.

7. Disney's Cinderella

First of all, she has been a victim of abuse since she was a child. It's not easy for her to escape her predicament. Where can she go? It's not that easy.

Boy. I hate how much people remember Cinderella wrongly and attack her for being "backwards", which is actually factually wrong.

Cinderella always get flack for using the Prince to "escape" her predicament when "she can do it herself".

I say that's bullshit. I actually came across a youtube video: Cinderella Stop Blaming the Victim [please check it out for more in-depth analysis]

Despite all that, she's doesn't internalize it. She knows she doesn't deserve to be treated this way, and she does to a certain degree stand up to them (whenever the cat makes her tasks harder). She knows when to fight back and restrain herself because it might endanger her life.

After years of suffering in this domestic household, she remains kind, compassionate and hopeful. Which is not an easy feat. The problem is, these traits are often seen as feminine and synonymous with being weak. But it is actually, in fact, signs of strength. The mental fortitude she has to remain kind after all she went through is a sign of strength.

The Fairy Godmother only appeared when she was losing hope - take note that she ends up crying because her stepsisters tore her mother’s dress (which is the most disturbing scene in the film).

Even I had remembered this wrongly - one crucial fact is that... She did not want to go the ball to nab the Prince. That was her stepsisters. Homegirl just wanted to chill. She did not even know she was dancing with the Prince!

When Lady Tremaine locked her up to prevent her from reaching the Prince, it wasn’t the Prince that saved her. She and her animal friends got her out of the room, and proceeded to prove that she was indeed the maiden that had danced with the Prince. Her marrying the Prince was only a fitting end to her because it provides her a home and an escape from an abusive household; however, it was her resilience for holding onto fate and being mentally strong, and her initiatives partially contributed to her happy end. The Prince is more like a passive character.

I highly think that people tend to brush her traits - e.g. compassion, having fate, being kind is listed as feminine. However, it is far from being weak, which most people would deem it as. But that is definitely not true.

“No matter how your heart is grieving, if you keep on believing, the dream that you wish can come true.”

8. Mikasa Ackerman from Attack on Titan

Mikasa is either a hit or miss among AOT fans. Some people like Mikasa because she is physically strong and her loyalty to Eren is admirable. On the other hand, some people think she’s clingy and her being physically strong makes her a Mary Sue.

Whether or not you like Mikasa, there is a fact that she is not a Mary Sue. The definition of a Mary Sue is a female character lacking in weakness and seems perfect.

She is physically strong, yes - I believe that Isayama wanted to distribute traits to the trio. Even Hannes has said it in S1. Armin represents intellect, Eren represents grit and Mikasa represents strength. So her being physically strong makes sense, and Isayama also provided an explanation for it (being an Ackerman).

However, this does not mean she lacks any weakness. Arguably, her loyalty to Eren is both a liability and her strength. This “weakness” has been highlighted by her dilemma between her loyalty towards Eren and her belief that mass genocide is wrong.

[I won’t go into details about the manga parts that have not been animated as of 2021, can’t spoil it too much].

#daisy buchanan #mikasa ackerman #misato katsuragi #evangelion #cinderella #mulan #haibara ai #ai haibara #detective conan #shiho miyano #neon nostrade #hxh #hunterxhunter #blanche dubois #a streetcar named desire

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